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Copyright of Archaeologiai Értesítő is the property of Akademiai Kiado and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Trees represent a cherished treasure for each nation. They provide a living, soulful, and earthly material, wood, which most often survives millennia and embellishes our everyday life. Wood can be transformed into valuable pieces of art under skilled hands and tools through carving. In Romania, wood is omnipresent in each milepost of people's life journey from birth to death. It becomes a true and empathic companion of both happy and sad events. Wood teaches us to focus on the present moment and to let go of stressful thoughts and feelings. It is a real valuable "good" in our life. [ABSTRACT FROM AUTHOR]

Wood carving has been an integral part of many ethnic groups in Ghana and worldwide. Currently, Ghanaian wood carvers produce countless varieties of wooden sculptures for tourist trade or export. The wood carving business in Vakpo has provided employment for natives in the production of different wooden objects such as stools, umbrella tops, linguist staffs, walking sticks, human and animal figures/figurines, and many more. Unlike any other wood carving industry, one of the major challenges facing Vakpo traditional wood carving is less recognition by art lovers due to scanty literature in the town and insufficient art enthusiasts in Ghana. The study adopts a qualitative research design with a descriptive research method. The data was gathered through observations and interviews. The results indicate that wood carvers in Vakpo exhibit mastery in creativity, intricate cuts as well as finishing, and their quality wood carvings are by no means inferior to the wooden sculptures of other wood carvers from renowned towns such as Aburi, Ahwiaa, Foase, and others.

Focusing on the related engraving techniques of openwork and opus sectile carving as evidence, this paper demonstrates that glass production in the Eastern Mediterranean in late Antiquity was an example of cross-craft, involving aspects of specialised collaboration among glass producers. As such, it represents the interdependence required of inter-industry relations in terms not only of resources but fundamentally of skills. Beyond just glass, cold-worked carving in various media suggests relatively large-scale late Roman urban production was more likely defined by a transferrable skill set (in this case carving) as opposed to a material. [ABSTRACT FROM AUTHOR]

GERASA, in north Jordan, dating to the Roman period, has been found to contain impressive and well - Musicians and Musical instruments carving on architecture elements (pedestal or candelabrum base). The Gerasa carving expertly combined motifs with a long tradition, some going back to the Roman imperial age and earlier. This study is concerned with the musical instruments appear on architecture elements. The article provides a study of the musical instruments that can be classified into two main types: Aulos and Kithara. Purpose of this paper is to examine the details of those instruments and compare them with other musical instruments from the Roman period, where influences in design within and between regions can be seen. Wherever possible, comparative examples have been chosen from sites that are relatively nearby to establish an overview of musical instruments in the region, but also to distinguish the influences coming from Asia Minor and other areas. [ABSTRACT FROM AUTHOR]

East Nusa Tenggara (NTT) has a rich culture and diverse traditions. Several ethnic sub-groups, including the Ngada-Lio ethnic sub-group, mark this diversity. This ethnic sub-group inhabits the Ngada Regency area, where traditional villages are scattered at several points. Traditional villages are places to preserve a culture that has been passed down from generation to generation, one of which is weti carvings. These carvings have a variety of figures, including Bhénga and Manu. The depiction of these two figures is like a buffalo horn and a chicken. In some traditional houses in Indonesia, there are also similar figures, namely in the Tongkonan Toraja traditional house and the Karo Batak traditional house. This research is a qualitative descriptive research. The researcher chose this method to describe the figures of Bhéngaand Manu in detail and depth. This research began with observation and interviews, after which the research continued by analyzing the data using morphological, stylistic, and comparative analysis. The results of this study show that various ornamental figures of buffalo and chicken are depicted on the walls of the Sao traditional house because the two animals have a special closeness to the community. Besides that, the ornamental variety is carved on the wall of the traditional house as an addition to the aesthetic value of the traditional house.

Mataisau is the Fijian word relating to a clan in Fiji known as the “born carpenters.” They were a group of individuals gifted with carpentry skills—especially in building houses, boats, furniture, and tools—passed down by their ancestors through many generations. My paper is devoted to highlighting the role of the mataisau and to reaffirm how highly regarded and integral they were to Fijian society. I believe it is a traditional role that has been undervalued, underappreciated and overlooked in the literature of Pacific ethnobotany and cultural studies. Visitors to Fiji and the Pacific two centuries ago documented the vast botanical knowledge possessed by the Indigenous islanders. They utilised this knowledge to access and extract plants and trees for their survival. The islanders then incorporated a barter system to trade and exchange resources to which they did not have access. One such example was the trade route between Fiji, Tonga, and Samoa. Over many centuries, they traded various resources, including people who knew how to build and carve ocean-going vessels such as the drua (double-hull canoes). During my research visit to the island of Kabara in 2006, I was able to witness the remnants of such ancient trade through the presence of the Lemaki clan descendants who are still proud to be engaging the craft of their forefathers. Although the number of carvers is dwindling, the knowledge of and appreciation for the mataisau still exists in the Lau islands.

In this article, the properties and working methods of the tools and machines for wood carving are analyzed, starting with the simplest and primitive tools for processing materials up to the most complex machines. Wood is one of the oldest materials practiced in sculpture, and the following traditional tools are used for its processing: chisels, hammers, saws, abrasives. Along with the development of the industrial era, tools and machines for processing materials also developed. Therefore, it is found that the use of both traditional and modern utensils provides an opportunity to bring out the shape, texture, color and beauty of the sculpture. The working tools chosen by the artist, whether simple or complex, depend on the material used to make the work. This dependence has contributed to the development and modernisation tools and machinery for processing the materials used in sculpture, with the discovery and increasing knowledge of the ideational value offered by the material, be it clay, wood, stone, metal or unconventional materials.

The history of global society has shaped the leadership of universal organisations; the Adat Perpatih community, which creates three-dimensional wood carvings of buah buton based on the natural context, is no exception. Therefore, this study aims scrutinize the interrelation between the natural environment and the Adat Perpatih community, as depicted in the three-dimensional wood carving of the buah buton. In order to accomplish these aims, this study employs qualitative methods, including fieldwork and interviews. Traditional houses with buah buton carvings were researched in the vicinity of Luak Tanah Mengandung, Negeri Sembilan, as part of the fieldwork. Meanwhile, interviews highlight Adat Perpatih practitioners, Adat Perpatih researchers, and local communities as sources of information. Based on this data, it was determined that buah buton is only found in traditional houses owned or inhabited by customary leaders or nobles. The application of the buah buton as a reminder for its proprietor, who has a status in the Adat Perpatih, can be concluded by making the natural context a reference and guide for the community. It demonstrates that the character or essence of nature is used as a metaphor for developing a holistic and competent leadership mindset. It affects the personality of someone who uses buah buton for more than just decoration; rather, by using reason, they can pierce the owner's heart and soul. Therefore, this article suggests that specific research be conducted on the significance of each feature carved on the buah buton carving to determine its relationship with organisational leadership. [ABSTRACT FROM AUTHOR]

Naming or names (ming 名) is one of the key concepts in Daodejing (道德經). According to a popular understanding, names in Daodejing correspond to features (xing 形) of things; ordinary things have names, but Dao is featureless and nameless. What is missing, however, is atheory of the relationship between names and features explaining why ordinary things have names but Dao does not. In this paper, I develop a theory of names in Daodejing that explains how names relate to things and their features. According to this theory, a name corresponds to a feature that is shared by a group of things, and names provide identity conditions for individuating ordinary things. Further, this theory implies that the various descriptions of Dao in Daodejing do not include names; therefore, talking about Dao while insisting that it is unnamable is not committed to any paradox. [ABSTRACT FROM AUTHOR]

Copyright of Turkish Online Journal of Design, Art & Communication is the property of Turkish Online Journal of Design, Art & Communication and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Ganç oymacılık sanatı, merkezi Orta Asya olan, yüksek işçilik gerektiren ve sürdürülebilir bir süsleme sanatıdır. Antik çağlardan bu yana var olan ve içinde bulunduğu toplumlardan etkilenerek zenginleşen bu sanat dalı sürdürülebilir malzeme kullanımı ile de öne çıkmaktadır. Derin felsefi ve sanatsal anlam yüklü birimlerin birbirleri ile eşsiz uyumunu sergileyen Ganç sanatında insan faktörü önemli rol oynamaktadır. Öyle ki birbirini tamamlayan bu iki unsur aynı zamanda birbirlerini de etkilemişlerdir. Alçı taşı ve kil malzemesinden elde edilen sıvanın yüzeye iki kat olarak uygulanması ve ardından ıslak yüzeyin özel aletler ile oyularak desen işlenmesi Ganç sanatının temelini oluşturmaktadır. İslam estetiği ve felsefesi ile tanışmasıyla boyut değiştiren ve büyük bir zenginliğe kavuşan Ganç sanatı, bu zenginliği iç ve dış cephe tasarımlarına da aktarmıştır. İcra edildiği dönemin izlerini barındıran Ganç sanatı kullanılarak gerçekleştirilen cephe tasarımları halen ihtişamını korumaktadır. Bu çalışmada Ganç oymacılık sanatının insan ve toplum ilişkisi incelenmekte, yüzey ve cephe tasarımı ile ürün tasarımına dair örnekler sunulmaktadır. Bu çerçevede sanat ve insan ilişkisini etkileyen sosyal, kültürel ve dini gelişmelerin Ganç sanatı üzerindeki etkileri günümüzden örneklerle birlikte değerlendirilmektedir.

Since prehistory, human populations have developed specific knowledge related to the excavating and exploitation of underground resources. These abilities are reflected in the tools used to extract and process raw materials and the use of specific architectural expressions such as rock-cut tombs. As part of these practices, Neolithic human groups used a range of techniques that were closely connected to the environmental constraints of the subterranean sphere. As part of a study of both mining and burial structures in the Madrid region during the Neolithic period, we are investigating the technical gestures used in extracting flint from shafts by means of experimentation. The case study we have chosen is the Casa Montero mining site. With more than 4,000 extraction pits over a period of use of several hundred years, Casa Montero is one of the oldest flint extraction sites on the Iberian Peninsula. This study, therefore, focuses on the excavation of an experimental flint extraction pit like the structures found at Casa Montero.

Linguistic terms are important within the field of linguistics, given its significant role in establishing a network of communicative relationships among all those involved in the development of linguistic studies. Terms are considered the key to building theories about the nature of linguistic terms. Therefore, researchers have made efforts to define their concepts and make them more precise. Scholars have shown great interest in terms, both in terms of definition and formulation, as well as their usage and application within various knowledge domains. Terms have a wide impact on the thoughts and work of scholars across different disciplines, as they are the fundamental means by which cultures are constructed and developed in various sciences. Due to the importance of linguistic terms, many researchers and linguists have hastened to study and simplify them, given the terminological complexities arising from the abundance of knowledge and the resulting chaos manifested in the multitude of synonyms, translations, and variations. Furthermore, the arbitrary placement of terms, the multitude of mechanisms for their generation, and the preference of one over another have added to the challenges. In order to achieve this, collective and individual efforts have multiplied, each with its own approach and methodology in dealing with linguistic terms, whether in translation, definition, or formulation [ABSTRACT FROM AUTHOR]

Copyright of Cuadernos de Arte Prehistorico is the property of Editorial Cuadernos de Sofia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article is devoted to the work of ivory carving artists in Sakha (Yakutia). It analyzes the ways craftsmen use, engage, and relate to mammoth ivory in their creative work. They start each carving project with consideration of the material, its quality and condition. Material often dictates the ways the creative idea develops and predetermines the outcome. Attention to the material is an important aspect of the relational engagement with it. Mammoth ivory, due to its structure, responds to climatic fluctuations, which is often described by artists as "breathing," and it therefore demonstrates the qualities of an active material. For craftsmen, mammoth ivory is an agent and sentient material. The article contributes to the discussion of the importance of material in creative work. [ABSTRACT FROM AUTHOR]

During the Ottoman period, wood had replaced marble in Orthodox churches. Between the 16th and 19th century, common, unknown craftsmen created wonderful wood-carved ecclesiastical works by hand, though many of them have been partially or completely destroyed, usually without any of their images being saved. Advances in technology now make it possible to develop a detailed digital copy of an object of our cultural heritage, creating an unaltered prototype material to be studied by all, while offering in parallel the ease of reproducing precise copies, ensuring even museum quality standards. In the present study, a corresponding attempt to record, scan and then reconstruct a 17th century "Bema Door" (located in the Holy Monastery of Hilandar in Mount Athos) is implemented, presented step-by-step and discussed, in order to highlight the challenges and potential of the applied methods. The process included on-site recording of a 3D digital scan, and then the creation of the Bema door copy, first applying Computerized Numerical Control (CNC) machining and then, with elaborate handwork by experienced wood-carvers who successfully completed the process, imparting the necessary and unique human artistic character. The current work transfers the experience on this reproduction technique applied in a Bema door element, shares significant information and details on tools, materials, process steps, etc., in order to be an inspiration and stimulus for the preservation or reproduction of other cultural heritage monuments of high importance. [ABSTRACT FROM AUTHOR]

AbstractCarving is a historical art form utilized for adornment and as a status symbol worldwide, and buah buton is no exception. Therefore, this article aims to establish a relationship between buah buton’s wood carving and social leadership. Other than that, this study uses qualitative research methods, including fieldwork and interviews. The fieldwork targets traditional houses around Luak Tanah Mengandung, Negeri Sembilan, with buah buton. Moreover, interviews were conducted with heirs, customary leaders, researchers, and local community members. According to the findings of this study based on two methods, buah buton can only be discovered in traditional houses belonging to customary leaders and the nobility. In the Adat Perpatih community, the buah buton serves as a significant symbol of authority, social hierarchy, and communal values. It is not only a decorative embellishment. Its presence in traditional houses conveys a clear impression of the moral character of leaders and their dedication to maintaining this unique Malaysian community’s customs and traditions. Therefore, buah buton is a justification that verifies a person’s status within a communal group by applying the subject to specific parts of their residence. This research’s findings can serve as a guide for the design of houses that employ buah buton involving philosophy, aesthetics and meaning to refer to the context of the symbolism of leadership in the contemporary era.

Carving is a historical art form utilized for adornment and as a status symbol worldwide, and buah buton is no exception. Therefore, this article aims to establish a relationship between buah buton's wood carving and social leadership. Other than that, this study uses qualitative research methods, including fieldwork and interviews. The fieldwork targets traditional houses around Luak Tanah Mengandung, Negeri Sembilan, with buah buton. Moreover, interviews were conducted with heirs, customary leaders, researchers, and local community members. According to the findings of this study based on two methods, buah buton can only be discovered in traditional houses belonging to customary leaders and the nobility. In the Adat Perpatih community, the buah buton serves as a significant symbol of authority, social hierarchy, and communal values. It is not only a decorative embellishment. Its presence in traditional houses conveys a clear impression of the moral character of leaders and their dedication to maintaining this unique Malaysian community's customs and traditions. Therefore, buah buton is a justification that verifies a person's status within a communal group by applying the subject to specific parts of their residence. This research's findings can serve as a guide for the design of houses that employ buah buton involving philosophy, aesthetics and meaning to refer to the context of the symbolism of leadership in the contemporary era. [ABSTRACT FROM AUTHOR]

Block printing on a vintage music sheet. This piece depicts the artist's rendition of the tarot card, "The Sun", in the medium of a block print. This piece emphasizes femininity and self.

This research analyzed the morphological/morphometric parameters of the relief and drainage network of the Formiga River subbasin, southern Minas Gerais State, Brazil. This study identified and examined the influences of control mechanisms in the development of current configurations. The methodology was based on the application of indices and parameters: (1) slope length (Hack's Sl); (2) normalized slope index (ksn); (3) river hierarchy; (4) drainage density; (5) hydrographic density; (6) sinuosity index; (7) density of structural lineaments; (8) transverse topographic symmetry factor; (9) asymmetry factor of drainage basins; (10) topographic profiles transverse to the valleys; (11) relief ratio; (12) roughness index; (13) roughness concentration index; (14) compactness coefficient; (15) circularity index and (16) form factor. The results indicated 3 sectors of the subbasin with distinct geomorphic behaviors, which resulted in peculiar surface structures and divergent current dynamics. The subbasin presents physical evidence that demonstrates and corroborates strong tectonic and structural control in the development of the current drainage network and relief. Human action has also affected, from the construction of dams, the dynamics of the lower course of the river, drowned by the reservoir of the hydroelectric plant of Furnas.

During the Ottoman period, wood had replaced marble in Orthodox churches. Between the 16th and 19th century, common, unknown craftsmen created wonderful wood-carved ecclesiastical works by hand, though many of them have been partially or completely destroyed, usually without any of their images being saved. Advances in technology now make it possible to develop a detailed digital copy of an object of our cultural heritage, creating an unaltered prototype material to be studied by all, while offering in parallel the ease of reproducing precise copies, ensuring even museum quality standards. In the present study, a corresponding attempt to record, scan and then reconstruct a 17th century “Bema Door” (located in the Holy Monastery of Hilandar in Mount Athos) is implemented, presented step-by-step and discussed, in order to highlight the challenges and potential of the applied methods. The process included on-site recording of a 3D digital scan, and then the creation of the Bema door copy, first applying Computerized Numerical Control (CNC) machining and then, with elaborate handwork by experienced wood-carvers who successfully completed the process, imparting the necessary and unique human artistic character. The current work transfers the experience on this reproduction technique applied in a Bema door element, shares significant information and details on tools, materials, process steps, etc., in order to be an inspiration and stimulus for the preservation or reproduction of other cultural heritage monuments of high importance.

The purpose of work is to identify the place of Lemko carving traditions in applied art, to describe peculiarities of Lemko carving traditions, and identify its leading artists. The research is related to the fact that Lemko national carpenters and carvers created real masterpieces, distinguished by uniqueness and originality of artistic forms. Methodology of research consists is applying comparative, historical, and logical methods. Scientific novelty of the work consists in the expansion of ideas about the place of Lemko carving traditions in applied art. The specialities of Lemko carving traditions have been shortly described, it has been resumed that Lemkos depicted floral ornaments on their products. It has been assumed that flat carving (plates, trays) probably arose, the products are combined from leaves of various trees, flowers, and bunches of grapes. Firstly, peasants decorated with floral ornament household items, for example, wooden boxes (chests), lizhnyks (woollen plaids), house tragars (decorative wooden beams). Soon, the masters transferred decorative elements to industrial souvenirs (plates, cassettes, and trays). It has been emphasised that one of the most outstanding masters of Rusyn wood carving in Lemko region is M. Orysyk (1885–1946) («Lemko-Rusyn» (1930s) is the most famous work) and V. Odrekhivskyi, the Honored Worker of Arts of Ukraine (1964), the member of the Union of Artists of Ukraine. Conclusions. Highly artistic Lemko carvings reflect the centuries-old traditions of carving, as well as the rich history of the formation and development of Lemko culture, which give us the opportunity to learn the true value of Lemkos. Woodcarving became a very popular type of artistic and decorative wood processing in Lemko region at the border of the 19th and 20th centuries and a significant part of applied art. The purpose of work is to identify the place of Lemko carving traditions in applied art, to describe peculiarities of Lemko carving traditions, and identify its leading artists. The research is related to the fact that Lemko national carpenters and carvers created real masterpieces, distinguished by uniqueness and originality of artistic forms. Methodology of research consists is applying comparative, historical, and logical methods. Scientific novelty of the work consists in the expansion of ideas about the place of Lemko carving traditions in applied art. The specialities of Lemko carving traditions have been shortly described, it has been resumed that Lemkos depicted floral ornaments on their products. It has been assumed that flat carving (plates, trays) probably arose, the products are combined from leaves of various trees, flowers, and bunches of grapes. Firstly, peasants decorated with floral ornament household items, for example, wooden boxes (chests), lizhnyks (woollen plaids), house tragars (decorative wooden beams). Soon, the masters transferred decorative elements to industrial souvenirs (plates, cassettes, and trays). It has been emphasised that one of the most outstanding masters of Rusyn wood carving in Lemko region is M. Orysyk (1885–1946) («Lemko-Rusyn» (1930s) is the most famous work) and V. Odrekhivskyi, the Honored Worker of Arts of Ukraine (1964), the member of the Union of Artists of Ukraine. Conclusions. Highly artistic Lemko carvings reflect the centuries-old traditions of carving, as well as the rich history of the formation and development of Lemko culture, which give us the opportunity to learn the true value of Lemkos. Woodcarving became a very popular type of artistic and decorative wood processing in Lemko region at the border of the 19th and 20th centuries and a significant part of applied art. [ABSTRACT FROM AUTHOR]

Introduction: Seasonal media reports often describe the dangers of pumpkin carving, yet little data exists regarding the actual incidence of hand injuries resulting from pumpkin carving. The purpose of this study is to describe, quantify, and trend ED encounters associated with pumpkin-related knife injuries.Methods: The National Electronic Injury Surveillance System (NEISS) was queried for pumpkin-related knife injuries from 2012 to 2021. Patient demographic and injury data was collected and analyzed to describe trends in incidence, patient demographics, and injury patterns associated with an ED encounter for a pumpkin-related knife injury.Results: There were an estimated 20,579 (95% CI: 17,738-23,420) pumpkin-related knife injuries from 2012 to 2021. The incidence of pumpkin-related knife injuries remained stable over time (R2 = 0.195, P = 0.201). Hand injuries comprised 87.6% of all injuries, with the thumb (33.5%) and index finger (25.0%) most commonly affected. Men and women were injured at similar rates (51.6% vs 48.4%). The most common demographic injured were 10 to 19-year olds (31.5%) followed by children <10-years old (19.5%). Women ages 10 to 19-years old were the most commonly injured subgroup (10.0% of all injuries). Most ED presentations occurred on Saturdays (16.5%) or Sundays (23.3%). The large majority occurred during the months of October (83.5%) followed by November (11.2%), with almost half of all cases (45.6%) occurring in the last week of October. Peak incidence of injury occurred on October 30th.Conclusion: Pumpkin-related knife injuries are a preventable cause of hand injury with predictably high-incidence in fall months. Additionally, our data suggests further precautions should be taken to prevent injury in pediatric patients. Understanding at-risk populations in addition to implementing public safety initiatives and education on safe pumpkin-carving techniques could prevent serious injuries in the future. [ABSTRACT FROM AUTHOR]

Background: Nowadays, surgical reconstruction with autologous tissue is the most common clinical practice. The procedure requires a high level of manual and artistic techniques of a surgeon in carving and sculpting of harvested costal cartilage of the patient to recreate an auricular framework to insert within a skin pocket obtained at the malformed ear region. The aesthetic outcomes of the surgery are highly dependent on the experience of the surgeon performing the surgery. For this reason, surgeons need simulators to acquire adequate technical skills out of the surgery room without compromising the aesthetic appearance of the patient. Aim of the Work: The objective of this study is evaluation of Bovine Scapular Cartilage as a Valid Training Model for Auricular Carving. Patients and Methods: 15 Bovine scapular cartilages were used by 16 trainees as training model for ear carving. Some of cartilages were cut to resemble the 8th floating rib and the other were cut to resemble syncytium. 3/0 prolene sutures, needle holder and surgical blade were used, also carving of framework was done by using either 2D xray film patron or 3D printed auricle. Results: Bovine scapular cartilage model is a valid model to teach the carving of the ear for ear reconstruction surgeries. All of the participants were able to successfully carve a satisfactory ear framework by using the surgical blade also make a suture by 3/0 prolene tip round suture in the cartilage. Moreover, this cartilage gives good replica of human cartilage in consistency and flexibility as it was easy to carve in it the 8th floating rib and syncytium part. Conclusion: Bovine scapular cartilage is considered an ideal model for training to achieve experience in auricular carving. [ABSTRACT FROM AUTHOR]

Given an input 3D geometry such as a triangle soup or a point set, we address the problem of generating a watertight and orientable surface triangle mesh that strictly encloses the input. The output mesh is obtained by greedily refining and carving a 3D Delaunay triangulation on an offset surface of the input, while carving with empty balls of radius alpha. The proposed algorithm is controlled via two user-defined parameters: alpha and offset. Alpha controls the size of cavities or holes that cannot be traversed during carving, while offset controls the distance between the vertices of the output mesh and the input. Our algorithm is guaranteed to terminate and to yield a valid and strictly enclosing mesh, even for defect-laden inputs. Genericity is achieved using an abstract interface probing the input, enabling any geometry to be used, provided a few basic geometric queries can be answered. We benchmark the algorithm on large public datasets such as Thingi10k, and compare it to state-of-the-art approaches in terms of robustness, approximation, output complexity, speed, and peak memory consumption. Our implementation is available through the CGAL library. [ABSTRACT FROM AUTHOR]

Problem Definition: Among traditional arts, Islamic architecture and related decorations have always been a suitable platform for the presence of various visual elements, especially decorative arrays. Imamzadeh Darb-e Imam of Isfahan belongs to the Qara Qoyunlu Turkomans period and despite the historical research on the mentioned building, the visual elements of the decorations have been less investigated. A remarkable part of the building's decorations includes wooden works, including wood-carved doors. Among the wooden doors, an old door belonging to the Sa'id ibn Jubayr mosque and the Turkomans period can be seen, however, because of the damages caused to the door due to the passing of time, basically its decorations and features have been less discussed. The issue raised here is to analyze the decorations of the mentioned door, to know it more precisely, and to check the transferable capacity of the artistic dimensions of its decorations to the contemporary period. This study answers the question of this research, which is to know the themes and content of the motifs of this historical work, by examining the meaning of the motifs of the mentioned door and evaluating the features and visual values. Objective: This research aims to know the visual features and themes of the motifs, distinguish the motifs used in the Turkomans period in the decorations of the mentioned wooden door, read the text of the inscriptions, and reconstruct the decorations. Research Method: The current research has been carried out using a descriptive-analytical method and data collection has been done based on library sources, documents, and field research. Results: The results show that in the inscription on the mentioned door, the phrase (لااله الا الله محمد رسول الله علی ولی الله) and the other inscription, the phrase (و توکل علی الله و کفی بالله وکیلا) are written. Geometric patterns, hexagrams, and round star-shaped flowers are among the frequent motifs of the Turkomans period, which are used in decorations. Considering that the qualities and visual literacy are observed in these motifs, they can be used today in branches of contemporary art.

Abstract Background Tobacco use is one of the most important risk factors for health, and China is the largest producer and consumer of tobacco in the world. Monitoring and controlling the tobacco epidemic is an important issue. However, the motivation underlying smoking behavior is complex and specific to the individual. The Habit, Reward and Fear Scale (HRFS) is a feasible tool to evaluate this complex motivation. Objectives To validate the psychometric properties of the HRFS Chinese version (HRFS‐C) and to assess the relationship between motivation and smoking behavior. Method We recruited 967 participants through social media and assessed their smoking behavior with three instruments: the Fagerstrom Test for Nicotine Dependence‐Chinese version (FTND‐C), the Questionnaire on Smoking Urges‐Brief Scale‐Chinese version (QSU‐brief‐C), and the HRFS‐C. Ultimately, we retained 700 valid data points. Cronbach's α and split‐half tests were used to evaluate the reliability. Confirmatory factor analysis, Pearson's r and an analysis of variance (ANOVA) were used to evaluate the validity. In addition, linear regression was used to explore the relationship among the three instruments. The HRFS‐C showed good homogeneity (α = 0.965), concurrent validity, and discriminant validity. A significant linear relationship was observed among the FTND‐C, QSU‐brief‐C, and HRFS‐C (p

Basing on his study of archival and literature sources, field observations and photofixation, the author explores architecture of the so-called small and historic settlements in Zabaikalye, the frontier earth fortification in Aksha, and Sretensk, which celebrated its 330th anniversary in 2019. The author studies the planning, compositional and stylistic peculiarities of architecture of the given settlements and analyses the most architecturally interesting structures and specific decorations of wooden houses.

Basing on his field observations, photofixation and study of archival and literature sources, the author explores the process of formation of historic settlements in the Chita region (now Zabaikalsky Krai). Nerchinsk stands out among other historic towns of Zabaikalye thanks to its history and plenty of historical and architectural monuments, being of interest for historico-architectural science. The author studies the planning and compositional peculiarities of the most significant structures and complexes of the given historical period.

Sedimentation in bodies of water is a worldwide problem that impairs its navigability and utilization, and, in reservoirs, this process reduces their partial or total storage capacity. Using single-beam bathymetric survey techniques, this study evaluates the sedimentation process in a reservoir section at the Federal University of Viçosa (UFV), located in Viçosa, Minas Gerais, in the Southeast region of Brazil. An analysis of the charts showing the DEM (Digital Elevation Models) and the Elevation x Surface Area x Accumulated Volume for three surveys conducted in 2010, 2012, and 2016 provided the sedimentation rates between these years, as well as the accumulated volume of sediments in the area under analysis for each year. The information we collected shows sediments accumulated in the deepest part of the reservoir in the period between 2010 and 2012. From 2012 to 2016, however, the sedimentation effect was concentrated in shallower depths, whereas the desilting was observed in the deepest parts. Moreover, the sedimentation rate in the analyzed area may be linked to the total precipitation in the municipality during the concerning time frame, as well as to changes in land use that occurred over the past years throughout the watershed. This data indicates a call for management actions to reduce soil erosion in the watershed, as well as a need for desilting of the reservoirs in order to recover its storage capacity. [ABSTRACT FROM AUTHOR]

This paper examines a history of vandalism of Māori art by a range of actors: missionaries, soldiers, museum directors, artists and religious zealots. The main focus is on Māori carvings in museums and in situ, as well as rock art sites. It presents an Indigenous perspective on their acts, and asks what were the motivations for the censorship of Māori carvings? What is the relationship to the process of colonisation? And finally, what is the significance of these acts for Māori today? [ABSTRACT FROM AUTHOR]

Background: Auricular reconstruction is a challenging problem facing every reconstructive surgeon that demands meticulous technique combined with artistic creativity. This study aimed to find a method that is convenient for auricular carving training, thus increasing the surgeon's carving skills and decreasing the consumed time during carving process. Methods: This prospective, experimental study was carried out using two different materials for training on auricular carving: synthetic foam that is used for thermal insulation (polystyrene) and bovine cartilage. Forty sculptures in total were done, 20 of each material. The sculptures were done sequentially starting with the foam material. Sculptures were divided into 8 groups according to their chronological order. Results: The 40 frameworks were rated using a 5-point Likert scale. Every item was given a grade ranging from 1 to 5. A total score was calculated for each sculpture ranging from 5 to 25. There was a gentle improvement of the results in the first 20 carvings followed by a drop on starting to use the bovine cartilage material, but started to improve again and the improvement was a little more rapid than the first 20 foam carvings. Conclusions: Foam material is not enough for training on auricular carving as it does not resemble the consistency of the human cartilages but it helps to understand and differentiate each piece to be carved, the three-dimensional shape of the auricle, and the basic carving steps, so a combination between foam material and bovine cartilage is recommended to achieve better results. Level of evidence: Not ratable [ABSTRACT FROM AUTHOR]

Copyright of Études Inuit Studies is the property of Centre interuniversitaire d'etudes et de recherches autochtones (CIERA) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

We present FiFTy, a modern file-type identification tool for memory forensics and data carving. In contrast to previous approaches based on hand-crafted features, we design a compact neural network architecture, which uses a trainable embedding space. Our approach dispenses with the explicit feature extraction which has been a bottleneck in legacy systems. We evaluate the proposed method on a novel dataset with 75 file-types – the most diverse and balanced dataset reported to date. FiFTy consistently outperforms all baselines in terms of speed, accuracy and individual misclassification rates. We achieved an average accuracy of 77.5% with processing speed of $\approx 38$ sec/GB, which is better and more than an order of magnitude faster than the previous state-of-the-art tool - Sceadan (69% at 9 min/GB). Our tool and the corresponding dataset is open-source. [ABSTRACT FROM AUTHOR]

The painter Ioan from Poiana worked in the first half of 19 th century, especially in villages from Mărginimea Sibiului area. His works includes both wall paintings in fresco and tempera on wood. In case of polychrome wood objects or icons, the painter can be singled out by decoration with metallic leaf (gold or silver) of carved decorations, translucent glassies, byzantine drawings sketched directly on metallic leaf, consistent colours for carnation. In this article we tried to summarize the artist’s activity and his approached style regarding the wooden pieces identified in Sibiu County. Many of these have been restored in the Conservation and Restoration Department of Orthodox Archiepiscopy in collaboration with the Department of Lucian Blaga University of History, Heritage and Protestant Theology from Sibiu. The article follows the conservation and restoration process and the special approach in this case of a signed and dated piece preserved in the church from Poiana village, locality where the author probably comes from. [ABSTRACT FROM AUTHOR]

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Copyright of Estúdio (1647-6158) is the property of Revista Estudio and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)