Producing afterglow room temperature phosphorescence (RTP) from natural sources is an attractive approach to sustainable RTP materials. However, converting natural resources to RTP materials often requires toxic reagents or complex processing. Here we report that natural wood may be converted into a viable RTP material by treating with magnesium chloride. Specifically, immersing natural wood into an aqueous MgCl_2 solution at room temperature produces so-called C-wood containing chloride anions that act to promote spin orbit coupling (SOC) and increase the RTP lifetime. Produced in this manner, C-wood exhibits an intense RTP emission with a lifetime of ~ 297 ms (vs. the ca. 17.5 ms seen for natural wood). As a demonstration of potential utility, an afterglow wood sculpture is prepared in situ by simply spraying the original sculpture with a MgCl_2 solution. C-wood was also mixed with polypropylene (PP) to generate printable afterglow fibers suitable for the fabrication of luminescent plastics via 3D printing. We anticipate that the present study will facilitate the development of sustainable RTP materials. Converting natural wood to room temperature phosphorescent (RTP) materials is a complex process often requiring toxic reagents. Here the authors convert natural wood to a RTP material using external chloride ions from a MgCl2 solution, obtaining a promising luminescent additive material for 3D printing.
Preface Acknowledgements One The Basic Elements of Visual Language Two The Visual Variables Three Syntax of Visual Language Four The Pictorial Basic Plane Five Effects of Distance and Perspectives Six The Grammar of Sculpture Seven Semiotical Analysis Appendix I Appendix II Appendix III Appendix IV References Index
The aim of the article is to analyse conceptual foundations of sculpture films in the 1970s–1980s in the context of experiments with “cinema expansion”. Results. Sculpture films of the 1970s–1980s show signs of a tendency toward conceptualism inherent in postmodern art. In innovative experiments on the audiovisual art and sculpture synthesis, not only the updated artistic toolkit became basic, but the process of meaning creation with a mandatory appeal to the audience’s perception as well. All this was organically integrated into the general search of avant-garde directors, aimed at developing the technological and artistic possibilities of cinematography, which received a generalised name “expanded cinema” (G. Youngblood). W. Turnbull, A. Forbes, D. Ashton, R. Horn, V. Pye, G. Matta-Clark, L. Lijn, B. Flanagan, R. Smithson, G. Stevens, P. Dockley, D. Hall, D. Dye, E. McCall, L. Lye, J. Hilliard, T. Hill, and many others, can be considered the figures in this direction. Scientific novelty. For the first time, the conceptual foundations of sculpture films of the 1970s–1980s are systematically analysed in the context of avant-garde searches by masters in creating interdisciplinary arts, and in extended cinema as well. Conclusions. The analysis of projects significant for sculpture cinema in the 1970s–1980s reveals a few conceptual creative approaches: video documentation of the process of creating a sculpture, and presenting an audiovisual work as an independent art object; filming the transformation and destruction of sculpture works for the purpose of provocative statements on current topics; use of cinematographic equipment as a material for creating sculptures; expanded interpretation of the concept of “sculpture” as a form, the construction of which is not limited to solid materials or inanimate objects; fixation on film of kinetic sculptures, the contemplation of which is inseparable from the surrounding environment. A general conclusion is made that experiments with sculpture films contributed to the video art formation, and influenced the further development of media art.
Development of information technology is developing very faster now influencing the community in supporting various business activities both large and small to be known globally. The most obvious impact is not only being known but also increasing the volume of sales and profits. Digital Marketing is one of the very large marketing media that has an influence. By using digital marketing in this case is social media, sculpture carvings from Cipacing Bandung market the results of home industry in the form of handicrafts from a piece of unused wood carved into a unique sculpture. Initially this activity was only as a free time, but at this time it became the main activity as an increase in economic turnover in the household. Formerly the sales activities of these industrial products were conventional and traditional, they make products only on order. But after getting to know about the existence of some social cipacing residents, they have started to receive a lot of orders, so the sales volume is increasing faster compared to when selling with the old way. Digital marketing is seen as the best media as the most effective and efficient promotional tool and able to increase sales volume significantly.
The epistemological investigations concerning the visual arts of sculpture and video proposed in this essay begin in a performative field of research on the Greek islands of Kos and Crete. The intentional act of creating images from my own shadow meeting archeological objects brings an insightful approach to an update of these aesthetic languages, inspired by semantic displacement and ageless nomadism phenomena. The research is based on cognition, philosophy and body studies, as well as the modern concepts of minimalist art.
History of scholarship and learning. The humanities, Fine Arts
A new species of freshwater mussel belonging to the genus Pseudocuneopsis, namely Pseudocuneopsis wuana sp. nov., is diagnosed and described from Guangxi Province, China. This paper provides a detailed shell morphological description, soft-body anatomical characteristics, and partial sequences of mitochondrial COI as DNA barcode data for the novel species. The new species can be distinguished from its congeners (Pseudocuneopsis sichuanensis, P. yangshuoensis, and P. capitata) by shell shape, beak position, and surface sculpture. Phylogenetic analyses based on the mitochondrial COI gene reveal that Pseudocuneopsis wuana sp. nov. forms a sister group with P. yangshuoensis and exhibits an interspecific genetic distance of 5.1%. Therefore, we provide robust morphological and molecular evidence to support the validity of this new species.
Aleksandra Jasińska, Krystian Pyka, Elżbieta Pastucha
et al.
Recently, the term smartphone photogrammetry gained popularity. This suggests that photogrammetry may become a simple measurement tool by virtually every smartphone user. The research was undertaken to clarify whether it is appropriate to use the Structure from Motion—Multi Stereo View (SfM-MVS) procedure with self-calibration as it is done in Uncrewed Aerial Vehicle photogrammetry. First, the geometric stability of smartphone cameras was tested. Fourteen smartphones were calibrated on the checkerboard test field. The process was repeated multiple times. These observations were found: (1) most smartphone cameras have lower stability of the internal orientation parameters than a Digital Single-Lens Reflex (DSLR) camera, and (2) the principal distance and position of the principal point are constantly changing. Then, based on images from two selected smartphones, 3D models of a small sculpture were developed. The SfM-MVS method was used, with self-calibration and pre-calibration variants. By comparing the resultant models with the reference DSLR-created model it was shown that introducing calibration obtained in the test field instead of self-calibration improves the geometry of 3D models. In particular, deformations of local concavities and convexities decreased. In conclusion, there is real potential in smartphone photogrammetry, but it also has its limits.
An eighth-century sculpture of Kokūzō Bosatsu (Space Repository Bodhisattva) from Kakuanji in Nara sits upon a base with two inscriptions: the first, dated to Kōan 5 (1282), recounts the eighth-century role of the sculpture as the primary object of worship for the priest Dōji (d. 744) in the gumonjihō (ritual for memory retention), followed by its thirteenth-century restoration and subsequent (re)consecration by the priest Eison (1200–1290). The second inscription is from Meiji 12 (1879) and states that, in this year, this inscription was reported to Home Minister Itō Hirobumi by the Kakuanji head priest. This article explores these inscriptions and their role in the conceptual reuse of the sculpture in different periods; first as a tool to legitimize the Buddhist activities of the thirteenth-century priest Eison; and later as a prime example of Japan’s long-standing religious “art” tradition, which was being developed in the Meiji period.奈良の額安寺に由来する8世紀の虚空蔵菩薩像の台座には、2つの銘文が残されている。弘安5年(1282年）に年代づけられる1つ目の銘文は、この像が、8世紀に導慈律師（-744）が求聞持法（記憶力増進のための修法）の本尊であったこと、および13世紀に修復が行われ、叡尊（1200-1290）によって再び開眼供養が行われたことを語っている。2つ目の銘文は明治12年（1879年）のもので、同年、額安寺の僧から内務卿伊藤博文に、13世紀の銘文について報告が行われたと記されている。本論文ではこれらの銘文を考察し、各時代において、さまざまな思想に基づいた仏像の再利用にそれらが果たした役割を考察する。1つ目は13世紀の叡尊による仏教活動を正当化するための手段/象徴としての仏像の利用、そしてその後、明治期に推し進められた日本の宗教「芸術」の長い伝統の優れた実例としてである。
R. Goto Collins and T. Collins are environmental artists. Their goal is to challenge their own subjectivity through research and practice. Reiko’s interest in relational and collaborative artwork with the more-than-human world goes back to the 1980s. In 2014, she decided to engage a horse (Darkness) as a collaborative partner, with Tim’s support. In this article, the reader will find a reflection on a creative inquiry between a horse, two humans and their shared environment. How a practice (of being with) might reveal an evolving subjectivity (becoming) with a horse? With a foundation of reading and practical testing of Edith Stein’s ideas in we then looked to Charles Sanders Pierce’s work on signs. This would provide a structure that enabled us to appreciate and process the range of signs discovered as we sought to communicate across species. Specific questions include: does Darkness interact with and adapt to changes in his environment? Is he self-aware and evolving through life experience, uniquely engaged with his environment? By recognizing and supporting his life and intelligence, would he reveal a world Tim and I were immersed in but could not perceive? How could we communicate that world through arts-based research?
Tetiana Dvirna, Oksana Futorna, Valentyna Minarchenko
et al.
The genus Crataegus L. is one of the largest species in the family Rosaceae Juss. The fruits are used as medicinal raw materials (Crataegus fructus), as they contain a set of biologically active compounds. The genus is voluminous and taxonomically problematic due to significant variability, hybridization, apomixis, and polyploidy. As a result, it is difficult to determine the species of the genus. Species of the genus have a number of diagnostic features, one of which is a distinct fruit with seeds. The aim of our study was to identify and compare the diagnostic features of the fruits of seven species of the genus Crataegus flora of Ukraine, which are most often used as medicinal raw materials and are the most common in Ukraine – Crataegus laevigata, C. monogyna, C. pentagyna, C. pseudokyrtostyla, C. sanguinea, C. fallacina, and C. rhipidophylla. The study was performed using scanning and digital microscopy, and descriptions were made by standard methods. As a result, we identified features that clearly distinguished the studied species from each other. We identified mature fruits that contain only one pyrene (C. monogyna, C. pseudokyrtostyla, C. fallacina, and C. rhipidophylla), and several pyrenes (C. laevigata, C. pentagyna, and C. sanguinea) among the studied species of the genus. The studied species are characterized by spherical and ellipsoidal fruits. The predominant color is fulvous/brown with different shades, but almost-black fruits of the species C. pentagyna are well distinguished. Fruits of all studied species of the genus are fleshy, except C. sanguinea, which is floury. The species is characterized mainly by yellow flesh fruits, except C. pentagyna, which has ribbed fruits. The fruits of C. monogyna plants differ from those of other studied species by the spinous-tuberous surface relief. Pyrenes of triangular shape are observed only in C. pentagyna. We suggest that these features can be used as additional diagnostic tools to determine the species of the genus Crataegus flora in Ukraine.
Lisbon - Portugal is considered one of the world capitals of urban art. The urban art (also known as street art) emerged around 5 decades ago in USA, specifically at Philadelphia and later at New York. It was also named as “graffiti” by young people as a claim of a communicative space in the city. The urban art supposes the transposition of places and non-places represented by the public space as the opposite of the house, the nest. It’s the place appropriation, as exposed in the image above that is a tile wall close to the Ladra fair (Feira da Ladra). That art represents the city reinterpretation, focusing in the main monuments with a mix of elements that promote a look development, the sensitive feeling.
This article is concerned with the ratio of plastic arts as exemplified by sculptural works depicting dances of the early 20th century. Special attention is paid to the Greek motives in the Russian art of this period, which became the subject of inexhaustible aesthetic and artistic interest. The representation of ancient dance motifs, their figurative image and the nature of antiquity in sculptural plastics, various approaches to the interpretation of ancient plots and themes, the role and significance of the “antique” component in their artistic structure are considered in the article. The study of multi‐level interactions between sculpture and dance in the context of antiquity calls for a comprehensive approach, including historical‐cultural, theoretical‐analytical and comparative‐typological methods. Relating to ancient Greek images, ballet images of S. Konenkov, M. Ryndzyunskaya, N. Andreev, V. Vatagin, V. Beklimishev and S. Erzya provide a purely individual, unique and peculiar vision of dance corresponding to the ancient era. The categories and expressive means of dance were simultaneously analyzed close to the sculptural style of the masters because they are difficult to be divided methodologically and exist as an established artistic system. The concepts of “plastic expressiveness” in relation to the dancers imprinted in sculptures were interpreted. Analyzing the museum materials and sculptures depicting the dancing process, it was concluded that the ancient influence of plastic images on structural and genre determinants may vary.
Roberto E Vogler, Alejandra Rumi, Leila B Guzmán
et al.
High-energy freshwater environments such as rapids and waterfalls in the Upper-Paraná Atlantic Forest are home to highly endemic minute freshwater snails of the genus Acrorbis. Only one species, Acrorbis petricola, is currently included within this genus, whose geographical distribution is restricted to three known populations, one in Brazil and the other two in Argentina. Because of habitat specificity and limited geographical distribution, the species is considered vulnerable in Argentina and endangered in Brazil. In this work, we identify five new populations of A. petricola in southern Upper-Paraná Atlantic Forest, exclusively found on waterfalls from the Misiones Province, Argentina. Based on these populations and on specimens of one of the two historical populations from the Misiones Province, we explored the morphological features of shells and reproductive system of specimens from each location and provide the first molecular data on the species. We used DNA sequences from cytochrome c oxidase subunit I (COI) and 16S-rRNA genes to investigate the molecular diversity, genetic distances and genealogical relationships among populations. We verified the existence of intra- and interpopulation morphological variability, with the greatest variation being found in spire, spiral sculpture, penis sheath, flagella, prostatic diverticula and bursa copulatrix. We found interpopulation genetic diversity, with no intrapopulation variation, and identified six geographically structured genetic lineages with maximum genetic distances of up to 2.3%. Different combinations of morphological characters with the same genetic background within each locality were observed. The finding of new populations genetically differentiated not only broadens the known distribution of the species, but also illustrates that waterfall environments in the Atlantic Forest harbour a hidden diversity of Acrorbis that still remains to be discovered. This scenario suggests a complex evolutionary history that needs to be unveiled and taken into account for future development of conservation strategies in this endemic genus.
The article is devoted to “Transformation”, a new plein-air sculpture by D. Namdakov. It describes the symbolics of the sculpture, its penetration into the contemporary mentality and its location on the territory of Siberian Federal University in Krasnoyarsk. The article points out its originality and continuity of traditions. It speaks about the eclecticity of contemporary artistic perception and the diversity of interpretations of the artistic spirit of the sculpture.