This article discusses the role of images in archaeological disciplines and the contribution that graphic sciences can make to research in this subject area. In archaeology, and not only, ‘visualization’ differs significantly from the more commonly used noun ‘representation.’ In this sense, archaeological visualization is a practice of reconstructing and understanding the past rather than documenting and representing only the material remains that have come down to us. From archaeological drawing to virtual reality, numerous techniques and tools from the graphic sciences are applied in archaeology. Some of these can now be ascribed to the disciplinary tools, while others fall outside the specific skills of the archaeologist and require interaction with the disciplines deputed to visualization and, thus, with the graphic sciences. In order to better understand the difference between visualization and representation in archaeology, the article uses prenuragic altar of Monte d’Accoddi as a case study to focus on the creation of different graphic-visual products starting from the same model, in order to demonstrate the role of different graphic artefacts.
Il daylighting design rappresenta oggi una componente essenziale nella progettazione architettonica, in relazione a obiettivi ambientali, qualitativi e percettivi. Tuttavia, nonostante il crescente interesse verso la luce naturale, permangono lacune significative nella formazione e nella pratica progettuale, spesso legata a logiche prestazionali o standardizzate. Il progetto SOLARIA (Sistema Operativo di supporto alle scelte progettuali per LA progettazione ARchitettonica basata sull’Intelligenza ArtificIAle) nasce per supportare la costruzione di una consapevolezza progettuale più articolata, attraverso un sistema di supporto decisionale (DSS) basato su intelligenza artificiale non-generativa. Il sistema restituisce informazioni qualitative e contestuali, organizzate in due repertori (strategie e dispositivi), e guida il progettista nella fase preliminare mediante un’interfaccia a query. L’obiettivo è restituire centralità alla luce come materia progettuale, attivando un uso critico e creativo dell’informazione, e contribuendo a una cultura del progetto più sensibile, informata e sostenibile.
Global climate change, one of the most important problems of today, and human activities have negative effects on the sustainability of natural resources. It has become necessary to establish planning and management mechanisms for the sustainable use of drinking water basins within the protection-use balance. Beyşehir Basin, Türkiye was chosen as the study area. The aim of this study is to present a new model approach for the use of Analytical Hierarchy Process and Geographic Information Systems, based on the unique topographic, hydrological, and environmental characteristics of the basin, in the determination of the drinking water basin protection zones. Thirteen criteria, which affect the reaching of the pollutants to the water surface and reflect the topographic, hydrological, and environmental characteristics of the basin, were used in the determination of the protection zones. As a result of the study, it was determined that 2.83% of the basin is in the absolute protection zone, 44.97% in the short-range protection zone, 35.93% in the medium-range protection zone and 16.26% in the long-range protection zone. In the last stage, the conservation areas determined by the current legal regulations for the basin and the protection zones determined by the model approach were spatially and areally compared. According to the results of the comparison, it was determined with the proposed protection model that the absolute protection, the short-range protection, and the medium-range protection zones increased areally, and the spatial distributions of these protection zones were shaped according to the structure of the basin.
Abstract This paper introduces the concept of pattern systems that evolve, with a focus on scripts, a specific type of pattern system. The study analyses the development of different script systems, known as scriptinformatics, with a focus on the historical Rovash scripts used in the Eurasian steppe. The aim is to assess the traditional classification of historical inscriptions, referred to as script relics, into distinct Rovash scripts. Clustering and ordination techniques were used to perform multivariate analyses on Rovash scripts and inscriptions. The study presents two new measures, the script-specific holophyletic index and the joint holophyletic index, for evaluating trees produced by hierarchical clustering. The results indicate that holophyletic indices can validate the traditional assignment of inscriptions to scripts through phylogenetic tree evaluation. This method can be extended to include pattern systems with evolutionary properties and graph sequences derived from them, as well as additional scripts and inscriptions.
يعد الإعلان أداة مهمة ومؤثرة في العمليّات التّجاريّة المختلفة، كونه يمثل وسيلة اتصال تعتمد التأثير على الافراد لو المجتمع ككل، تعمل على وصل بين المنتج والمستهلك، لذلك تظهر اهمية الاعلان ببعدين الاول اقتصادي متمثل بدوره في تحقيق النموّ الاقتصاديّ للمنشأة، اما البعد الاجتماعي فيكمن في دوره بالتأثير في سلوكيات وافكار الافراد، ومن هنا تظهر لنا اهمية صياغة وتنظيم وتصميم الرسالة الاعلانية التي تلجأ لها الوكالات الاعلانية في حملاتها الدعائية هو موضوع (النداء البصري) الذي تعنى به هذه الدراسة عن طريق طرح مشكلة البحث المتمثلة بالتساؤل الآتي: ما هو دور للنداء البصري في التوجيه والتعريف ورفع مستوى الرسالة الاعلانية للمنتجات المحلية واقتناءها؟
فيما حُدد هدف البحث في كشف النداء البصري وانعكاساته في التصميم الاعلاني، واهتم الإطار النظري بمبحثين, تطرق المبحث الأول إلى خصائص النداء البصري وتشكيل الخطاب، اما المبحث الثاني فتطرق الى النداء البصري في الاعلان التجاري، وفي الفصل الثالث تم وصف وتحليل (2) نماذج بحثية، مرتكزة إلى فقرات التحليل المستنبطة من الإطار النظري، وما تمخض عنه من مؤشرات وتضمنت عرضاً للنتائج التي توصل إليها الباحث وكان منها:
- الاستناد إلى خصائص التنظيم الاعلاني من خلال تحفيز الرغبات ومحاورة العقل الباطن لاستمالته لدى المتلقي، ليكون خصيصة التشويق حاضرة وتنمي التحفيز.
- التركيز على العلامة التجارية وقيمتها اللونية في جميع العينات لبيان هوية المنتج وصفاته وخصائصه الاشهارية، مع امتلاك تلك الهوية البصرية يعد النداء البصري فيها نداءاً جذاب ومشوق ويحقق الانتباه والاثارة في جميع العينات.
فيما حُدد هدف البحث في كشف النداء البصري وانعكاساته في التصميم الاعلاني، واهتم الإطار النظري بمبحثين, تطرق المبحث الأول إلى خصائص النداء البصري وتشكيل الخطاب، اما المبحث الثاني فتطرق الى النداء البصري في الاعلان التجاري، وفي الفصل الثالث تم وصف وتحليل (2) نماذج بحثية، مرتكزة إلى فقرات التحليل المستنبطة من الإطار النظري، وما تمخض عنه من مؤشرات وتضمنت عرضاً للنتائج التي توصل إليها الباحث وكان منها:
- الاستناد إلى خصائص التنظيم الاعلاني من خلال تحفيز الرغبات ومحاورة العقل الباطن لاستمالته لدى المتلقي، ليكون خصيصة التشويق حاضرة وتنمي التحفيز.
- التركيز على العلامة التجارية وقيمتها اللونية في جميع العينات لبيان هوية المنتج وصفاته وخصائصه الاشهارية، مع إمتلاك تلك الهوية البصرية يعد النداء البصري فيها نداءاً جذاب ومشوق ويحقق الانتباه والاثارة في جميع العينات.
This paper aims to trace the pre-Islamic Zoroastrian concept of “royal divine glory” (farr) through its visual translations within the Iranian manuscript cultures in the Safavid period, specifically in the illustrations of the Shahnama-yi Shahi in the 16th century. Reviewing the longue durée idea of Iranian kingship perceived within the Safavid royal ideology in the reigns of the first two monarchs, we delve into the Shahnama paintings to see the artists’ assets for showing the divinity and dignity of Iranian kings and how they managed to mark a difference between the profane and Shiite iconographies. We took as case studies nine illustrations of Zahhak’s story, the most tyrannical legendary King in Shah Tahmasp’s Shahnama. Indeed, to analyse the artistic manifestations of the Royal farr, we examined the scenes where the “true” king is literally absent.
Art is not only cognitively important, but through it, it cultivates aesthetic pleasure, develops human senses and mind, and opens talents. Visual arts studies provide comprehensive knowledge by considering the sources of creativity, features of artistic thinking, role in society, and methods of creation, along with the biographies of artists. Therefore, in all countries of the world, there is a lot of space for professional art historians, and reviews and analyzes of works of art develop with value.Mongolian visual art has a rich history that has evolved from petroglyphs to contemporary or modern art. In the era of social-realism as we know it, although it was limited directly by the ideological policy of the party government, there was no opportunity to limit the free thinking of the artist, the works of the history makers clearly show. At that time, considering the current social scene, art studies were developed at a certain level under the leadership of Dashbaldan researcher. It would not be wrong to say that Mongolian visual arts studies at the beginning of the 21st century have stagnated in their development. Because art studies articles have been created a lot, but one-sided studies have increased. Criticism needs to be studied not only in the field of art studies, but also from a scientific point of view. In this, the definitions of scientists and research work on criticism are considered. The importance of the theory and practice of critical studies was aimed to be known to a certain extent, and as an example, the criticism of paintings was analyzed by the interpretation method. Монголын дүрслэх урлагт дутагдаж буй шүүмж судлалын зарим асуудлыг хөндөх нь Хураангуй: Урлаг зөвхөн танин мэдэхүйн ач хол богдолтой бус түүгээр дамжуулан гоо сайхны таа шаал ыг төлөвшүүлэх, улмаар хүний мэдрэхүй, оюун санааг хөгжүүлэх, авьяас билгийг нээх, бүтээл туурвих урам зоригийг бадраадаг билээ. Харин дүрслэх урлагийн тухай нийтлэг болон өвөрмөц зүй тогтлыг нийгмийн хөгжлийн түүхт эй хамт уялдуулан шинжлэгч урлаг судлал нь бүтээл туурвилын эх сурвал ж, уран сайхны сэтгэлгээний онцлог, нийгэмд гүйцэтгэх үүрэг, бүтээсэн арга барил зэргийг зураач урчуудын намтар түүхт эй нь авч үзд эгээрээ цогц мэдлэг олгодог . Тиймээс дэлхийн бүхий л оронд мэргэжлийн мэргэшсэн урлаг судлаачдын орон зай нэн арвин ба урлагийн бүтээлүүдийн шүүмж, анализ ууд үнэ цэнтэйгээр хөгждөг билээ.Монголын дүрслэх урлаг цаг үеийнхээ нөхцөл байдалд нийцэхийн зэрэгцээ урлагийн хөгжлийн жам ёсоор “даравч дардайна ” гэдгээр хадны сүг зураг дүрслэлээс үүдээд конте мпорари буюу орчин үеийн урлаг болтлоо хөгжсөөр ирсэн баялаг түүхтэй. Бидний мэдэх соц-реализмын үед нам засгийн үзэл суртл ын бодлогоос шууд хамаарч, хязгаарлагд мал байсан хэдий ч уран бүтээлчийн чөлөөт сэтгэлгээг хязгаарлах боломж байгаагүйг түүх бүтээгчдийн бүтээл бэлхнээ хар уулдаг. Тэр үед өнөөгийн нийгмийн дүр зургийг бодоход урлаг судлалыг Дашбалдан агсан тэргүүлэн тодорхой төвшинд хөгжүүлж байсан . ХХI зууны эхэн үеийн монгол ын дүрслэх урлаг судлал хөгжлийнхөө зогсонги байдалд орсон гэхэд буруудахгүй. Учир нь урлаг судлалын өгүүлэл илтгэл багагүй бүтээгдсэн боловч нэг тал ыг барьсан судалгаанууд олширсон байна.Шүүмж судлал ыг зөвхөн урлаг судлал ын хүрээнд бус шинжлэх ухаан ы үүднээс дэлгэрүүлэн судлах шаардлагатай хэмээн үзэж, дараах байдлаар дэлгэрүүллээ. Үүнд: шүүмжийн талаарх эрд эмтдийн тодорхойлолт , судалгаа шинжилгээний ажлыг авч үзлээ. Шүүмж судлалын онол практикийн ач хол богдл ыг тодорхой хэмжээнд тани улахыг зорьсон ба жишээ болгон уран зургийн шүүмжийг интерпретацийн аргаар задлан авч үзэв.Түлхүүр үгс: урлагийн онол, урлаг судлал, шүүмж судлал, уран зураг, анализ
روح الله پورملایی, علی اکبر امینی, سید اسد الله اطهری
فرهنگ سیاسی مجموعهای از نگرشها، ارزشها و هنجارهای موجود دربارۀ سیاست و قدرت است که بهعنوان زمینۀ پشتیبانیکنندۀ کل فرآیند توسعه تلقی میشود. فرهنگ سیاسی در طول حیات سیاسی و اجتماعی یک جامعه و تحت تأثیر عوامل مختلفی چون وضعیت اقلیمی و جغرافیایی، ساختار نظام سیاسی و اجتماعی، شرایط تاریخی، نظام اعتقادی، آداب و رسوم، نظام اقتصادی و... شکل میگیرد، سپس در یک فرآیند مستمر جامعهپذیری، نهادینه و از نسلی به نسل دیگر منتقل میشود. در جامعۀ ایران عصر قاجار، فرهنگ سیاسی ناسالم همچون ساختار سیاسی پاتریمونیالیستی، اعتقاد به باورهای خرافی، طلسم و جادو و تقدیرگرایی تفکر غالب در جامعه است که ردپای آن را در سفرنامهها، جراید و آثار ادیبان و متفکران این دوران میتوان بهوفور یافت. بر همین اساس، پژوهش حاضر تأثیر فرهنگ سیاسی ناسالم بر توسعهنیافتگی و عقبماندگی دوران قاجار را محور کار خود قرار داده و به روش توصیفی-تحلیلی و با استفاده از چارچوب نظری تحلیل انتقادی نورمن فرکلاف در پی پاسخ به این پرسش است که فرهنگ سیاسی ناسالم (خرافهگرا) چه نقشی بر توسعهنیافتگی دورۀ قاجار ایفا کرده است و این مسئله چه بازتابی در نسخههای چاپ سنگی مذهبی داشته است؟ یافتههای پژوهش حاکی از این است که فرهنگ سیاسی بهویژه در ساحت ناسالم آن (خرافهگرایی) از طریق عقلستیزی، علمگریزی و بیخبری، یکی از علل توسعهنیافتگی در دوران قاجار محسوب میشود و این مسئله بهخوبی در نسخ چاپ سنگی مذهبی دورۀ قاجار نیز منعکس شده است.اهداف پژوهشبازشناسی گفتمان ساختار سیاسی، اجتماعی و فرهنگی دورۀ قاجار؛واکاوی چگونگی انعکاس ساختار سیاسی، اجتماعی و فرهنگی دورۀ قاجار در نسخههای چاپ سنگی مذهبی.سؤالات پژوهشساختار سیاسی، اجتماعی و فرهنگی دورۀ قاجار دارای چه مختصاتی بود؟گفتمان ساختار سیاسی، اجتماعی و فرهنگی چه بازتابی در نسخههای چاپ سنگی مذهبی دورۀ قاجار دارد؟
Актуальным дискурсом существования современного города, объектом исследования и проектирования становится особый генетический код города и культуры. Наследование служит составляющим элементом процессов развития. Среди особенностей интерпретации преемственности выделяется взаимодействие старого и нового. Трансмутационный контакт «нового с наличным» и «нового в наличном» представляется частью процессов преемственности и общего развития культуры, одним из механизмов воспроизводства культурных образцов и генетических кодов.
As part of the discipline and practice of design (understood in its broadest sense of «strategic problem-solving process that drives innovation, builds business success, and leads to a better quality of life through innovative products, systems, services, and experiences» ICSID, 2015), the conflict has always had a fundamental role as evolutionary impulse of genuine cultural regeneration that is expressed through the visions of artifacts, whether physical or cognitive, their meanings, their roles, practices and relationships, the imaginaries that they create or are associated with. Artifacts give voice, in their forms and in their behavior, to social and collective conflicts between worlds and between representations – Internal / external, past / present, tradition / innovation, individuality / standardization – and their pervasiveness, narrative force and creation of experiences, present themselves as messengers and interpreters at the same time, of dissensions and conflicts of contemporaneity. The speculative attitude of critical design, in example «uses speculative design proposals to challenge narrow assumptions, preconceptions and givens about the role products play in everyday life» (Dunne, Raby, 2013, p. 34): with their projects Anthony Dunne and Fiona Raby challenge the power of consumerism, the brands and the use of pre-established objects; similarly fiction design (Sterling, 2005; Bleecker, 2009) represents and investigates dystopian worlds «in order to create a discursive space, where 'something' may mean 'anything'» (Lindley, Coulton, 2015, pp. 210-211). This translates concretely into “provocative” design forms, such as that of the Near Future Laboratory which offers a catalog of fictional objects, ie extra-ordinary prototypes that could be part of the normal daily life of the near future. The same visionary attitude, combined with the envisioning capacity of design, is rather typical of the DesignArt (Coles, 2005; Lupo, 2011) where technological, symbolic and relational aesthetic straddling art and design combine to generate artifacts according to a logic of disruptive innovation and a critical-conceptual attitude exemplified also by the exhibition “disobedient objects” (by designer Giulio Iachetti, held in Milan Triennale, 2008) «who rebel against the logic of consumption, sow doubts and who aspire to be something else». (Iacchetti, 2009). The essay aims to define, explore, critically and phenomenologically, the phenomenon of dissenting design as an act not simply oriented towards solutions and needs, but establishing conversation devices for an ongoing social, political and cultural commitment.
Este trabalho visa demonstrar a importância da luz natural para a eficiência das edificações escolares através de simulações computacionais de estratégias captação de luz natural. Visa demonstrar em rápido exercício o desperdício, econômico e energético e apresentar propostas para reduzir o consumo da energia elétrica em uma escola pública. Pretende demonstrar como a luz natural poderá aumentar a eficiência das tarefas visuais exercidas nestes espaços, utilizando-se de elementos arquitetônicos utilizados na região tropical brasileira. Esta potencialidade climática tem sido pouco explorada principalmente, em regiões tropicais quentes - úmidas, como é o caso da cidade de Maceió–AL, foco deste trabalho.
A partir de Hugh Dubblerly, Usman Haque e Paul Pangaro em What is interaction: Are there different types?, como a lógica de diferentes sistemas - lineares, que se autorregulam, e que aprendem - pode modificar o pensamento do artista? Abordaremos este assunto colocando em foco o envolvimento da linguagem de programação na obra de arte e os modos por meio dos quais a relação entre autônomo e autômato pode estimular um novo campo de possibilidades.
Andrew Morrison, Alex Davies, Geska Brečević
et al.
This article takes up the concept of performativity prevalent in the humanities and applies it to the design of installation arts in mixed reality mode. Based on the design, development and public access to two specific works, the concept is related to a form of research by design. We argue that the concept of performativity may be further usefully employed in investigations (design and research, artistic and public) into digital arts where complex intersections between concepts, technologies, dramaturgy, media and participant actions are in flux and together constitute the emergence and experience of a work. Theories of performativity are related to these two works in an argument that further suggests there is room in research by design to also include ‘performative design’. The article is the result of a wide-ranging interdisciplinary collaboration and aims to convey some sense of that in its reporting style, content and analysis.
The painted and coated “starched cloth” technique seems to have been used since the XVIthcentury, in Italy. Today this practice has been forgotten and there is very little research made on the subject. To create realism, lightness, and gain time and means it was used to reproduce draperies. Shaped and painted works with finished cloth were made to reproduce scenes, some of which were theatrical with painted wooden figures or mannequins playing major roles associated with these painted canvases. The subject of research is an “entombment", kept in St Marie d'Espira de Conflent’s church. It is made up of seven characters dressed in "starched cloth" and staged in a coated and painted canopy. This assemblage is subject to humidity problems in the church and due to much shipping and handling it is now in an alarming state of conservation. This is a technique that still conceals many mysteries. This study tries to clarify some of them.
Advertisements do not just sell goods or services, but also reflect certain cultural aspects to their viewers because they attempt to change people’s lifestyles. Ads simplify lives, therefore do not see other factors that can contribute to happiness in life. The visualization for Mentari Free Talk SIM card advertisement shows the presence of social codes phenomenon that take on the gender perspective through the figure Dian Sastro, which are beauty, intelligence, and an artist who’s gaining popularity. Woman in this case becomes a means to identify a product in its ability in creating visibility or product image.
En marzo de 2006, fue convocado por la Empresa Municipal de la Vivienda y el Suelo de Madrid (EMVS) un concurso restringido de ideas arquitectónicas como primer paso para la construcción de un edificio, en el contexto de la estrategia marcada por el Proyecto Integrado I+D+i Manubuild, con financiación de la Comisión Europea a través del 6º Programa Marco.
El objetivo de este concurso, en el que participaron diferentes equipos europeos, fue obtener propuestas de alto nivel arquitectónico sobre nuevos tipos edificatorios -en el ámbito de la climatología y la cultura mediterráneos-, con aplicación de sistemas constructivos industrializados, abiertos y sostenibles, de tal modo que las ideas seleccionadas constituyesen el punto de partida conceptual para el edificio que la EMVS tenía previsto realizar en Madrid como demostrador de la investigación.
La propuesta ganadora –redactada por el Estudio RLA– pretende superar las inercias que tradicionalmente han lastrado a la construcción en España, un modelo pseudoartesanal fundado en la promoción inmobiliaria oportunista, con el resultado de que nuestro modo de crecer ha sido el más insostenible de la Unión Europea.
La estrategia del proyecto rehúye asimismo cualquier industrialización o seriación cerrada, optando por un planteamiento intelectual que interpreta las ventajas de la industrialización en clave energética, proponiendo una respuesta integral que dé cuenta de nuevos tipos edificatorios flexibles y con capacidad para evolucionar, adaptándose a las necesidades cambiantes de los usuarios y asegurando la compatibilidad geométrica que los sistemas industrializados exigen.
La flexibilidad espacial requerida por las bases del concurso se desarrolla, de este modo, con sistemas industrializados que generan la estructura portante, las instalaciones, los sistemas bioclimáticos pasivos y activos y el sistema de la envolvente, permitiendo el alcanzar una solución completamente abierta donde es posible combinar los elementos constructivos dentro de una gama estandarizada de productos y proveedores.