Les connotations négatives attribuées à l’adjectif « théâtral » ont nourri des positions esthétiques contradictoires vers le milieu du XXe siècle. Chez Fried, il qualifie la présence littérale de l’objet dans la sculpture minimaliste, dans une situation partagée avec le spectateur, ce qui mine l’autonomie de l’œuvre, tandis que les performeurs de la scène expérimentale new-yorkaise des années 1960 voient dans cette dimension relationnelle la clé des performances non-théâtrales qui rejettent la virtuosité du comédien et l’autorité d’un texte prescriptif stable sur le spectacle. Plutôt que de trancher en faveur de l’une de ces définitions du théâtre pour circonscrire négativement des pratiques artistiques autres, cet article étend la thèse de Schechner du happening comme « théâtre post-dramatique » (Performance Theory, 1977) à plusieurs figures de la performance du début des années 1960, pour envisager avec H.-T. Lehmann les différents modes d’« éloignement (…) des traditions de la forme dramatique » et de mise en suspens de ses normes. Les analyses de scripts non mimétiques de Jackson Mac Low, Simone Forti ou de performances historiques de Yoko Ono mettent en lumière la persistance de la symbolisation. Ces dispositifs qui articulent plusieurs lieux incitent à penser les pratiques performatives sous une perspective processuelle afin d’éclairer les reconfigurations sous-jacentes à la formation d’un collectif en mouvement constant, et à conclure sur l’hypothèse d’une pantextualité plus proche du théâtre poétique d’une Gertrude Stein que du rejet du verbe prôné par Antonin Artaud.
Ziming Zhang, MM, Ying Jia, MD, Tulepaer Tawulan, MM
et al.
Background:. We aimed to compare the location and depth of multiple dermal fillers used for periorbital rejuvenation using high-frequency ultrasound and to access the resulting complications.
Methods:. Data of patients who underwent periorbital high-frequency ultrasound from March 2015 to April 2024 at our hospital were collected, and all ultrasound images were counted and analyzed.
Results:. A total of 191 patients were included, comprising 7 men and 184 women. The mean age was 40 ± 1 (18–68) years; among them, there were a total of 99 cases of hyaluronic acid, 42 cases of silicone oil, 34 cases of fat, 6 cases of thread sculpture, 5 cases of growth factors, and 5 cases of polyacrylamide hydrogel. Different dermal fillers have different ultrasound characteristics under high-frequency ultrasound, and the ultrasound characteristics of all fillers are demonstrated in the tables. In addition, the presence of blood flow signal within the echogenic region suggests filler infection, and the presence of punctate strong echoes with acoustic shadows suggests calcification.
Conclusions:. High-frequency ultrasound accurately localizes and characterizes dermal fillers in the periorbital region. The distinct imaging features facilitate precise identification of filler types, providing valuable clinical usage in aesthetic assessments.
We present Follow-Your-Emoji-Faster, an efficient diffusion-based framework for freestyle portrait animation driven by facial landmarks. The main challenges in this task are preserving the identity of the reference portrait, accurately transferring target expressions, and maintaining long-term temporal consistency while ensuring generation efficiency. To address identity preservation and accurate expression retargeting, we enhance Stable Diffusion with two key components: a expression-aware landmarks as explicit motion signals, which improve motion alignment, support exaggerated expressions, and reduce identity leakage; and a fine-grained facial loss that leverages both expression and facial masks to better capture subtle expressions and faithfully preserve the reference appearance. With these components, our model supports controllable and expressive animation across diverse portrait types, including real faces, cartoons, sculptures, and animals. However, diffusion-based frameworks typically struggle to efficiently generate long-term stable animation results, which remains a core challenge in this task. To address this, we propose a progressive generation strategy for stable long-term animation, and introduce a Taylor-interpolated cache, achieving a 2.6X lossless acceleration. These two strategies ensure that our method produces high-quality results efficiently, making it user-friendly and accessible. Finally, we introduce EmojiBench++, a more comprehensive benchmark comprising diverse portraits, driving videos, and landmark sequences. Extensive evaluations on EmojiBench++ demonstrate that Follow-Your-Emoji-Faster achieves superior performance in both animation quality and controllability. The code, training dataset and benchmark will be found in https://follow-your-emoji.github.io/.
Abstract Massive cultural objects made of wood are often situated in historic interiors in which they experience uncontrolled dynamic variations of relative humidity (RH). Although the objects usually have acclimatized to the natural climate variability, preventing risks related to any kind of modification of their environment requires an understanding of the object’s response to the expected changes. In the present study, an analysis of the risk of cracking related to continuous or intermittent heating, or the transfer to hypothetically ideal conditions in a conservation studio was performed for the case of elements of Veit Stoss’ altarpiece (1477–1489) preserved in St. Mary’s Basilica in Krakow, Poland. Massive sculptures carved in lime wood and approximately one meter in diameter were analysed. The study aimed at determining safe margins of environment modifications that would not cause propagation of cracks that are known to have accumulated in wood during centuries of the altarpiece’s existence. The mechanical properties of lime wood were determined experimentally to feed the numerical model. The energy release rates around the tips of cracks of various depths in a wooden sculpture were calculated using the finite element analysis and compared with the critical value of the parameter triggering the fracture propagation in the material, derived from the fracture energy measurement. It was shown that the church interior housing the altarpiece can be heated to 11 °C during the cold season to provide human comfort. The allowable duration of intermittent heating events to more comfortable 18 °C that would induce drops in RH of up to 40% was assessed as 12 h. The study demonstrated that moving the sculptures to the conservation studio would have to be done with extreme caution as it would be connected with risks depending on the depth of existing cracks and the duration of the RH change.
We present Follow-Your-Emoji, a diffusion-based framework for portrait animation, which animates a reference portrait with target landmark sequences. The main challenge of portrait animation is to preserve the identity of the reference portrait and transfer the target expression to this portrait while maintaining temporal consistency and fidelity. To address these challenges, Follow-Your-Emoji equipped the powerful Stable Diffusion model with two well-designed technologies. Specifically, we first adopt a new explicit motion signal, namely expression-aware landmark, to guide the animation process. We discover this landmark can not only ensure the accurate motion alignment between the reference portrait and target motion during inference but also increase the ability to portray exaggerated expressions (i.e., large pupil movements) and avoid identity leakage. Then, we propose a facial fine-grained loss to improve the model's ability of subtle expression perception and reference portrait appearance reconstruction by using both expression and facial masks. Accordingly, our method demonstrates significant performance in controlling the expression of freestyle portraits, including real humans, cartoons, sculptures, and even animals. By leveraging a simple and effective progressive generation strategy, we extend our model to stable long-term animation, thus increasing its potential application value. To address the lack of a benchmark for this field, we introduce EmojiBench, a comprehensive benchmark comprising diverse portrait images, driving videos, and landmarks. We show extensive evaluations on EmojiBench to verify the superiority of Follow-Your-Emoji.
Problem Definition: The Masnavi, or Masnavi-ye-Ma'navi of Rumi, is one of the best books of ancient Persian mystical literature and Persian wisdom after Islam, whose mystical and literary themes are considered the main themes of the miniature paintings of the Safavid period (907-1135 A.H.). The stories in the Masnavi are a means of expressing Rumi's mystical thoughts. The source of these stories is the Qur'an, hadiths, and narratives that Rumi used and employed the stories of the prophets to induce mystical themes. Since the explanation of the aesthetics of the art of miniature painting was based on mystical teachings, especially the world of imagination or ideas, in line with the stories of the Masnavi, the Safavid painters also used impressions of the mystic poems and thoughts of Rumi and the influence of the Qur'anic verses to depict these religious stories, especially the stories of Prophets. The result of the visual expression of the stories of the prophets using the method of creating a multi-dimensional space of painting is the expression of religious and mystical meanings in these miniature paintings. The main question of the research is, "What visual elements of the Masnavi paintings of the life stories of the prophets of the Safavid period are used to express mystical and philosophical themes?"Objective: The primary purpose of the research is to examine the concepts in Masnavi's poems in miniature paintings from the Safavid period (based on the stories of Rumi's Masnavi).Research Method: This research, using a descriptive and analytical method and collecting data through a library-based (documents) procedure, aims to investigate the relationship between the two subjects of the use of visual elements and space creation method in the miniature paintings of the Safavid era with mystical and religious themes of Masnavi, relying on the stories of the prophets.Results: The findings of the research indicate that due to the close connection of imagination in the painting with mystical themes, the reflection of multi-dimensional spaces, the lack of perspective, and the use of form in the paintings of the Safavid period undoubtedly influenced by the Islamic mystical insight, which gave a special meaning to the miniature painting of the Safavid period, and the peak of perfection and coherence of the multi-dimensional system of Iranian painting along with mystical literature has been manifested in these paintings.
J. Irving Vasquez-Gomez, David Troncoso, Israel Becerra
et al.
Automated three-dimensional (3D) object reconstruction is the task of building a geometric representation of a physical object by means of sensing its surface. Even though new single view reconstruction techniques can predict the surface, they lead to incomplete models, specially, for non commons objects such as antique objects or art sculptures. Therefore, to achieve the task's goals, it is essential to automatically determine the locations where the sensor will be placed so that the surface will be completely observed. This problem is known as the next-best-view problem. In this paper, we propose a data-driven approach to address the problem. The proposed approach trains a 3D convolutional neural network (3D CNN) with previous reconstructions in order to regress the \btxt{position of the} next-best-view. To the best of our knowledge, this is one of the first works that directly infers the next-best-view in a continuous space using a data-driven approach for the 3D object reconstruction task. We have validated the proposed approach making use of two groups of experiments. In the first group, several variants of the proposed architecture are analyzed. Predicted next-best-views were observed to be closely positioned to the ground truth. In the second group of experiments, the proposed approach is requested to reconstruct several unseen objects, namely, objects not considered by the 3D CNN during training nor validation. Coverage percentages of up to 90 \% were observed. With respect to current state-of-the-art methods, the proposed approach improves the performance of previous next-best-view classification approaches and it is quite fast in running time (3 frames per second), given that it does not compute the expensive ray tracing required by previous information metrics.
Marcada pelo seu caráter efêmero e descontinuo a arte de rua vem tendo um papel cada vez mais significativo tanto no espaço de visualidade das cidades modernas, quanto nas pesquisas acadêmicas que refletem seu fenômeno. Este trabalho busca trazer um debate sobre o tempo e as questões geracionais que envolvem as relações entre políticas culturais/urbanas e intervenções artísticas na cidade. É na “Dialética da Duração” de Gaston Bachelard, e na sua apropriação etnográfica por Eckert&Rocha, que encontro uma ferramenta teórica e metodológica para o entendimento da memória da arte de rua em Porto Alegre, no extremo sul do Brasil. Enfim, trago uma questão que me acompanha nesta proposta de trabalho “O graffiti morreu?” através dela elaboro uma reflexão sobre o tema da crise e dos projetos, relacionados a uma insurgente geração de artistas urbanos.
Defamiliarization is one of the novel techniques for the presentation of new forms in an attempt to achieve a stronger effect in some fields, including visual arts. This concept is usually formed by presenting or creating new artwork and depends on such components as time and space, imitation and habits, rules, and traditions. The current study which was conducted with the aim of recognizing the components of time and space in the works of some prominent graphic designers and its application in graphic design. It was attempted to answer the following question: How can we defamiliarize graphic design works? Information and library databases constituted the source of the present descriptive-analytical study. In this regard, "Shafiei Kadkani" elaborates on the position of this approach in literature in an article entitled "Defamiliarization" in 2012. He is of the belief that all innovations in the field of literature and art are related to the concept of defamiliarization, except in very exceptional and rare cases. Moreover, in 2019, "Mohammad Khazaei" and "Erafaneh Ismaili" in an article entitled "Understanding the concept of defamiliarization in Michal Batory's posters" provided a detailed study of defamiliarization in works of this artist and also defamiliarization techniques in graphic design including visual arrays.
sahy hassan, Manal Hela, Marwan Abdu-Allah Hussien Ibrahim
Technology is considered a science that has its origins and theories and is considered a process that is constantly evolving and improving, This research deals with the impact of nanotechnology and its role in the development of Contemporary Sculptural Thought, as it is one of the most prominent modern technological trends that may cause a qualitative shift in the field of architectural sculpture making transforming science fiction into reality based on scientific research that helps to apply these modern inventions possible, in addition to its several usage fields starting from the influence in the initial stages of design to finishing touches, especially in the selected materials, that don’t only affect design but also have a great impact on the designers thoughts according to large scope of options that are provided by the technique.Designers main target during designing process has become how this design comprises all needs and matches all generations; that means it is sustainable. These old materials - processed upon by nanotechnology - that have been used in their designs are called smart materials as they possess properties of more than one material facilitating performing modern sculptural designs that never had to be before.Therefore, this research will show role of nanotechnology on unexpected and modern designers’ creativity that is inspired by nature and free from traditional design and structural constraints, besides, studying some Nano-processed materials and how their properties are modified by moving some atoms and then rearranging it to produce new smart materials of high quality.
Renata G. Raidou, M. Eduard Gröller, Hsiang-Yun Wu
During the last decades, anatomy has become an interesting topic in education---even for laymen or schoolchildren. As medical imaging techniques become increasingly sophisticated, virtual anatomical education applications have emerged. Still, anatomical models are often preferred, as they facilitate 3D localization of anatomical structures. Recently, data physicalizations (i.e., physical visualizations) have proven to be effective and engaging---sometimes, even more than their virtual counterparts. So far, medical data physicalizations involve mainly 3D printing, which is still expensive and cumbersome. We investigate alternative forms of physicalizations, which use readily available technologies (home printers) and inexpensive materials (paper or semi-transparent films) to generate crafts for anatomical edutainment. To the best of our knowledge, this is the first computer-generated crafting approach within an anatomical edutainment context. Our approach follows a cost-effective, simple, and easy-to-employ workflow, resulting in assemblable data sculptures (i.e., semi-transparent sliceforms). It primarily supports volumetric data (such as CT or MRI), but mesh data can also be imported. An octree slices the imported volume and an optimization step simplifies the slice configuration, proposing the optimal order for easy assembly. A packing algorithm places the resulting slices with their labels, annotations, and assembly instructions on a paper or transparent film of user-selected size, to be printed, assembled into a sliceform, and explored. We conducted two user studies to assess our approach, demonstrating that it is an initial positive step towards the successful creation of interactive and engaging anatomical physicalizations.
According to the idea of intertextuality no text is formed by itself separated from other parts; no text is comprehensible without being related with other texts. Accordingly, all branches of science are interlinked to previously existent sciences. Similar to written texts, there is an intertextual relationship governing in painting in general and in classic paintings in particular. This intertextual relationship, during the course of art history, has been represented in certain artworks more vividly than in others. This study aimed to identify and analyze different kinds of intertextual relationship in paintings. On this basis, two paintings of Baroque era were analyzed based on general forms of intertextuality, that is explicit and implicit, posed by Gérard Genette, This study specifically aimed to discover whether it is possible, by analyzing the arrangement of elements and structural parts, to identify the two forms of intertextual relationship creating a semantic relationship between two texts leading to new interpretations. Accordingly, several outstanding Baroque paintings in which signs of one or more paintings are visible were grouped in terms of intertextuality quality by analyzing the structure of the paintings. In this regard, having adopted a deconstructivist approach to read a text, Ali Asghar Gharebaghi(2001) has analyzed one of the paintings of Johannes Vermeer in his article Genealogy of Postmodernism and by raising certain questions, has studied a kind of intertextual discourse between Vermeer’s work and the painting shown in the original work yielding a wider range of interpretations. Again, in Intertextuality in Painting by Wendy Steiner (1985) and in Influence and Intertextuality by Adem Genç (2016), pictorial similarities among the paintings of various perspectives have been examined. Notwithstanding, what has been particularly studied in this research is appreciation of relationship between two pictorial texts in terms of content and intertextuality based on their visual structure. As such, the approach adopted is not only helpful in the analysis process of a painting, but also in how to make references to other visual works.
Jana Vejpravova, Barbara Pacakova, Mildred S. Dresselhaus
et al.
The stacking and bending of graphene are trivial but extremely powerful agents of control over graphene's manifold physics. By changing the twist angle, one can drive the system over a plethora of exotic states via strong electron correlation, thanks to the moiré superlattice potentials, while the periodic or triaxial strains induce discretization of the band structure into Landau levels without the need for an external magnetic field. We fabricated a hybrid system comprising both the stacking and bending tuning knobs. We have grown the graphene monolayers by chemical vapor deposition, using $^{12}$C and $^{13}$C precursors, which enabled us to individually address the layers through Raman spectroscopy mapping. We achieved the long-range spatial modulation by sculpturing the top layer ($^{13}$C) over uniform magnetic nanoparticles (NPs) deposited on the bottom layer ($^{12}$C). An atomic force microscopy study revealed that the top layer tends to relax into pyramidal corrugations with C$_3$ axial symmetry at the position of the NPs, which have been widely reported as a source of large pseudomagnetic fields (PMFs) in graphene monolayers. The modulated graphene bilayer (MGBL) also contains a few micrometer large domains, with the twist angle ~ 10$^{\circ}$, which were identified via extreme enhancement of the Raman intensity of the G-mode due to formation of Van Hove singularities (VHSs). We thereby conclude that the twist induced VHSs coexist with the PMFs generated in the strained pyramidal objects without mutual disturbance. The graphene bilayer modulated with magnetic NPs is a non-trivial hybrid system that accommodates features of twist induced VHSs and PMFs in environs of giant classical spins.