Hasil untuk "Sculpture"

Mansour Hessami Kermani, Mahila Hessami

Introduction: Existentialism is one of the most significant trends in Western philosophy, with Jean-Paul Sartre playing a pivotal role in its development, focusing on human identity, freedom, loneliness, and anxiety. The post-World War II period, marked by widespread despair, was a time when art and philosophy significantly influenced each other. Studying artworks created during this era showcases the reflection of philosophy in art. The thoughts, ideas, and works of Sartre and Jean Dubuffet are the result of years intertwined with war, and the influence of Sartre's philosophy on Dubuffet's art is worthy of examination and study. The main question is, «How can Jean Dubuffet's paintings be studied based on Sartre's existential philosophy?»Research Method: This qualitative study used a descriptive-analytical and comparative method, with data collection based on library resources.Findings: The study of key elements of existentialism, such as the precedence of existence over essence, individual responsibility, the absurdity of the world, and loneliness, in Dubuffet's paintings reveals that these concepts are widely reflected in his works. Dubuffet is one of the important painters after World War II who preferred self-learning over the academic rules of art.Conclusion: By employing his unique techniques, Dubuffet has clearly reflected existentialist concepts in his works, and a close connection exists between Sartre's philosophy and his paintings.

Noah Randolph

At the entrance to City Park in New Orleans, Louisiana, a monument to Confederate general P.G.T. Beauregard rose twenty-seven feet over the citizens of New Orleans until 2017, when the sculpture was removed from its pedestal. Following the removal, Mayor Mitch Landrieu asked: “why there are no slave ship monuments, no prominent markers on public land to remember the lynchings or the slave blocks; nothing to remember this long chapter of our lives; the pain, the sacrifice, the shame… all of it happening on the soil of New Orleans.” This landscape of empty pedestals was confronted by Paula Wilson that fall. Rather than erect a material monument that would directly replace the fallen General Beauregard, Wilson turned to her own body. Before the sun rose early one morning, she climbed atop the empty pedestal and began dancing in a performance titled “Living Monument.” This paper analyzes Wilson’s performance and its documentation as radical acts of refusing the logics of monumentality. In examining this work, I consider how performance as a mode of memorialization completely destabilizes the monumental presentation of a static history, thus offering a new grammar by which to think through modes of revolution and redress in the symbolic landscape.

Chnar Najmaddin Fathullaio, Bahar Jalal Mahmood

The Gossypium hirsutum genotypes were have been different types of stomata as anisocytic, paracytic, hemi-paracytic and tetracytic with presence in both surfaces, and found conjugated stomata. The stomata generally composed of two guard cells with ordinary epidermal cells, while some genotypes composed of one guard cell. The pollen grains were colporated, prolate, sub-prolate, and prolate-spheroidal in shaped with echinus orientation sculpture.

Marion Boudier, Linus Gratte

In this article, we would like to share a discussion about the processes of inventory and analysis currently underway on the archives of the performing arts at the Pompidou Centre in Paris. This work, initiated by the authors of the present article, is being carried out under the auspices of the Laboratoire d’histoire permanente (LHP), a laboratory for permanent history at the Pompidou centre, run by Antoine de Baecque from 2022 to 2024. It concentrates on the centre’s first ten years from 1977 to 1987. The ambition of the Pompidou Centre at the time of its creation in 1977 was, in the words of its first president Robert Bordaz “to unite realities that historical evolution, over time, has separated by diversification and specialisation.” By means of ‘polyvalence’ and ‘interdisciplinarity’, the brand-new museum and cultural institution was expected to reassociate ‘theatrical research’ with music, poetry, architecture, sculpture and painting, in the hope of “reinserting art and culture into the tissues of life.” And indeed, the Centre’s early years offer a varied programme of the performing arts, underlining the place’s experimental vocation and its ambition to make creative work resonate with the innovative architecture of the building. Next to those of choreographers and performance artists works were presented by playwrights and theatrical creators such as Lucien Attoun’s Théâtre Ouvert or Antoine Vitez, or the pluri-disciplinary spectacle entitled ‘The ephemeral is eternal’, by Claude Confortès and Elsa Wolliaston, based on a text by Michel Seuphor with sets inspired by Piet Mondrian. The spectacles were all exploratory ventures, leaving archival traces or ‘signs of loss’ (Georges Banu). The analysis of this intense activity in the field of the performing arts reveals ‘hegemonic structures’ (Anne Bénichou) which are an invitation to question the place of the performing arts within the new museum and cultural institution and the possible ways of preserving a heritage of these performing arts.

Paulina Kluz, Józef Skrabski

Two artists, Francesco Placidi from Rome and sculptor Ludwig Ladislaus from Opava, played a significant role in Krakow artistic circles of the 1740s and 1750s. Placidi was brought to Poland by another Roman architect, Gaetano Chiaveri, under whose guidance he directed the construction of the court church in Dresden, and was active in Kraków since 1742. Ladisalus was first recorded in the records of the city of Krakow in 1741. The two lived in the same parishes, first All Saints’ and then St Mary’s, and were connected both socially and professionally. Following the study of sources and styles, it was determined that Placidi designed and Ladilaus executed the interior furnishings of the parish church in Morawica (c. 1748–55) funded by Aleksander August and Maria Zofia Czartoryski, the main altar in the Sanctuary of the Crucified Christ in Kobylanka (c. 1750) funded by Jan Wielopolski, and the main altar in the former collegiate church in Sandomierz (1756–57). A detailed investigation outlined the origin of architectural solutions defined by Placidi and captured the stylistic and formal features that Ladislaus’s sculptures share. The case is but a contribution to further research on the mutual relations between designers and makers of architecture and sculptures. Especially with respect to the roles of both the Italian architect imposing (or not) the general and/or detailed concept of the work, and the sculptor following (or not) the designer’s ideas, yet also contributing his own formal and stylistic solutions resulting from his individual artistic path of development (in the case of Ladislaus: in the Austrian Silesia). Beyond doubt, with his extensive contacts with ecclesiastical and secular aristocracy and the royal court, Placidi played an important role in Kraków, providing a link between artists of various professions, and maintaining familial and social contacts with some.

Arturo García-López, Jesús Robles Moreno

Se presenta en este trabajo una revisión del conjunto material procedente del yacimiento de Cercado de Galera (Liétor, Albacete), un yacimiento en el valle del medio río Mundo conocido desde el año 1971 gracias al hallazgo casual de esculturas y sillares. El objeto de este es actualizar la base material del sitio, a luz de nuevos descubrimientos, y presentar algunas nuevas posibilidades interpretativas emanadas del estado actual de las investigaciones en Protohistoria peninsular; líneas de trabajo que tanto han cambiado desde que el yacimiento cayó en el olvido en los años 90. ABSTRACT: This paper presents a revision of the corpus from the site of Cercado de Galera (Liétor, Albacete), a site in the valley of the middle Mundo River, known since 1971 thanks to the casual discovery of sculptures and ashlars. The purpose of this paper is to uptade the material base of the site, in the light of new discoveries, and to present some new interpretative possibilities derived from the current state of research in Peninsular Protohistory. These lines of work have changed a lot since this site fell into oblivion in the 1990s.

Chongrui Zhang, Xufei Liu, Jiang Gong et al.

Abstract Aqueous two-phase systems (ATPS) provide imperative interfaces and compartments in biology, but the sculpture and conversion of liquid structures to functional solids is challenging. Here, inspired by phase evolution of mussel foot proteins ATPS, we tackle this problem by designing poly(ionic liquids) capable of responsive condensation and phase-dependent curing. When mixed with poly(dimethyl diallyl ammonium chloride), the poly(ionic liquids) formed liquid condensates and ATPS, which were tuned into bicontinuous liquid phases under stirring. Selective, rapid curing of the poly(ionic liquids)-rich phase was facilitated under basic conditions (pH 11), leading to the liquid-to-gel conversion and structure sculpture, i.e., the evolution from ATPS to macroporous sponges featuring bead-and-string networks. This mechanism enabled the selective embedment of carbon nanotubes in the poly(ionic liquids)-rich phase, which showed exceptional stability in harsh conditions (10 wt% NaCl, 80 oC, 3 days) and high (2.5 kg/m2h) solar thermal desalination of concentrated salty water under 1-sun irradiation.

Ferhat Taş, Rushan Ziatdinov

Ruled surfaces play an important role in various types of design, architecture, manufacturing, art, and sculpture. They can be created in a variety of ways, which is a topic that has been the subject of a lot of discussion in mathematics and engineering journals. In geometric modelling, ideas are successful if they are not too complex for engineers and practitioners to understand and not too difficult to implement, because these specialists put mathematical theories into practice by implementing them in CAD/CAM systems. Some of these popular systems such as AutoCAD, Solidworks, CATIA, Rhinoceros 3D, and others are based on simple polynomial or rational splines and many other beautiful mathematical theories that have not yet been implemented due to their complexity. Based on this philosophy, in the present work, we investigate a simple method of generating ruled surfaces whose generators are the curvature axes of curves. We show that this type of ruled surface is a developable surface and that there is at least one curve whose curvature axis is a line on the given developable surface. In addition, we discuss the classifications of developable surfaces corresponding to space curves with singularities, as these curves and surfaces are most often avoided in practical design. Our research also contributes to the understanding of the singularities of developable surfaces and, in their visualisation, proposes the use of environmental maps with a circular pattern that creates flower-like structures around the singularities.

Sagita Mirjam Sunara

Aim. The paper describes a problem-based learning assignment through which conservation-restoration students become acquainted with the assessment and management of risks to cultural heritage. The assignment includes identification of threats, writing incident scenarios, proposing mitigation measures and identifying persons/institutions that can implement them. All risks are considered in the assignment, not just those related to disasters. Approach/methodology. In the Introduction section, the concept of risk assessment and the context of the assignment are explained. A short description of objects selected as case studies is provided (three sculptures from the Sisak Steelworks Sculpture Park), as well as basic information about the students who worked on the assignment. Next, all the steps of the assignment are described. The final results are only broadly indicated. Findings. Seventy-eight different incident scenarios were identified for outdoor sculptures. To help the reader understand the idea behind the assignment, mitigation measures for three incident scenarios are presented, and potential stakeholders listed. Practical implications. Although the assignment used outdoor sculptures as case studies, it can be applied to any object or collection. The assignment does not have to be included in a preventive conservation course, nor does it have to be directed only to (conservation-restoration) students: it can be used by museum and heritage professionals as a first step in risk assessment for collections. Originality/value. The topic presented in this paper is not well represented in Croatian professional literature. The assignment may be considered innovative in the context of the methodology of teaching conservation-restoration at higher education institutions in Croatia.

Mariana Lanari

Zacharova NatalIa

The article highlights the issues of solving educational, methodological and organizational tasks of integrating the disciplines of the art cycle under the auspices of the creative cluster in the distance education of bachelors. The article includes a description of the concept of “creative cluster” in the context of our research, which in the educational sphere takes the form of a cluster of creatively oriented technologies aimed at studying the disciplines of the artistic cycle. The problems of the formation of students’ motivation for artistic-applied, scientific-research and self-educational activities were also studied in the article. This problem is especially relevant in the presence of high speeds of information transfer in an integrated distance learning course. The features of pedagogical support for the generation of creative ideas in the information space during distance learning, the conditions for the implementation of the cluster program block with the use of distance educational technologies, the types of distance learning are considered. The educational and methodological content of the creative cluster module includes educational technologies of painting, drawing and sculpture. The block-modular system integrates the progressive movement of educational content.

Denis V. Tumanov

An integrative redescription of Hypsibius pallidoides Pilato, Kiosya, Lisi, Inshina & Biserov, 2011 was undertaken following a reexamination of the type material and new material using high-quality light microscopy, scanning electron microscopy and methods of molecular taxonomy. Detailed morphological investigations revealed a unique complex of characters that precluded the attribution of this species to the genus Hypsibius Ehrenberg, 1848. Furthermore, phylogenetic analyses indicated the affinity of this species within the subfamily Pilatobiinae (Hypsibiidae). Notahypsibius gen. nov. is erected for H. pallidoides and two putatively related species: H. scaber Maucci, 1987 and Ramazzottius arcticus (Murray, 1907). An emended diagnosis for the genus Pilatobius is given, while the subfamily Pilatobiinae lacks a cohesive morphological diagnosis despite representing, at the same time, a well-supported molecular clade. Obvious controversy between the results of the morphological and molecular analyses of the phylogeny of Hypsibioidea is discussed. The distribution of morphological characters such as the claw type, organization of the bucco-pharyngeal apparatus, and egg shell sculpture type within Eutardigrada is analyzed and their phylogenetic significance discussed.

Klaus H. Kiefer

In Carl Einstein’s work, the death of God, as proclaimed by Nietzsche, provokes several responses. In the Dilettantes of Miracle or in G.F.R.G., his scepticism prevails over the desire of a mythical Ersatz which Einstein nevertheless postulates vigorously. In this context, the concept of community plays a central role, first in form of communism, then in form of anarcho-syndicalism. But under the influence of Negro Sculpture, Einstein looks out for an aesthetic solution of the transcendental problem which around 1930 culminates in the demand to create a new myth following surrealist procedures. In 1933 this hope is annihilated by another myth, the myth of the Third Reich – “jew without god”, Einstein wakes up from his utopian dreams in exile. In his Fabrication of Fictions, he transforms his “Ethnologie du Blanc” into a radical ideological critique which includes his own position. Ruined intellectually and economically, Einstein engages in the antifascist fight in Spain, and he lives again a mythical community on the side of the legendary Buonaventura Durutti.

Małgorzata Klimko, Stanisława Korszun, Joanna Bykowska

The article presents the results of research on the morphology and anatomy of the leaves of 21 cultivars (including 10 Polish cultivars) and two clones of Ginkgo biloba. Leaves from long shoots were collected at the Department of Dendrology and Nursery, Poznań University of Life Sciences, Poland. A light microscope and scanning electron microscope were used for observations. Eight morphological traits were analysed in the leaves, including the lamina and petiole. The research revealed that there were significant differences between the leaves of individual cultivars and that they differed in the length, width of the lamina and the length of petioles to a much greater extent than publications had described it so far. There were significant differences between the adaxial and abaxial epidermis of all the taxa, i.e. in the cuticle ornamentation, in the protrusive secondary sculpture (absence of papillae), the position and presence of stomata (occasionally on the adaxial leaf surface), the absence of the peristomatal ring and the thickness of the epidermis. Anatomical investigations revealed that the leaves of Ginkgo cultivars and clones under study were bifacial and the multi-layered mesophyll was diversified into spongy and palisade parenchyma. The research findings may be used for the identification of Ginkgo biloba cultivars, and the epicuticular traits may be useful for the identification and classification of fragments of fossil leaves. The article includes descriptions and illustrations of several new quantitative and qualitative characters of petiole and lamina which have not been published previously.

Moder Gregor

Through an original and extraordinarily fruitful reading of the Hegelian conception of negativity, Catherine Malabou developed the concept of plasticity which she keeps working on as one of her cardinal concepts even to this day. Engaging in the problematic of unity in Hegel, the paper takes on the task of trying to answer the question whether plasticity is one or are there several plasticities. The author argues that one must be careful not to reduce the inherent multiple of plasticity to a single plasticity which becomes plasticity par excellence: the plasticity of plastic explosion, of an abrupt and absolute break, to be distinguished from a creative or productive plasticity of habit. Malabou claimed that Hegel was - contrary to what Deleuz read in him - a philosopher of conceptual multitude as a multitude which cannot be reduced to only one image, the image of unity. If this is true, then the concept of plasticity itself with which she grasped the essence of Hegel’s dialectics, should be understood at least as a “unity in conflict”, if not as an inorganic, inhomogeneous, composed unity - and perhaps even as a unity of the pack.

Claire Maingon

The Exposition d’œuvres d’art mutilées ou provenant des régions dévastées par l’ennemi (exhibition of mutilated works of art or of works originating from areas devastated by the enemy), organized at the Petit Palais in Paris from November 1916 to Dececember 1917, is truly part of war culture. In a resolutely patriotic perspective, it puts the heritage forward as both witness to and victim of German atrocities. Without any ideal of peace, the exhibition promotes notions of victory and revenge. The artefacts and masterpieces on display, coming come from representative cities such as Rheims, Soissons or Arras, are considered like human beings and magnified as real victims of the war. These ruins and remains of a new kind are the symbols of the survival of an ancient culture.

Ahmed A.A.Duroobi

This research presents the theoretical model, simulation and experimental verification of the maximum stepover estimation for different cases on the machine surface profile using the end-filleted cutter in multi-axis machining. Where in this research, the equations that detect the maximum stepover at allowable scallop height value have been taking into consideration and derived to predict the tool path generation for different inclination angles of tool axis. A set of inclination angles of cutter tool axis that can machine the workpiece have been taken into consideration depending on the shape of the workpiece. The inclination angle of the tool axis, effective cutter radius, and the geometrical shape of the workpiece have been studied and experimentally verified for milling operation. The results show that the proposed model for estimating stepover at constant scallop height can predict the tool path generation for machining sculpture surfaces using CNC multi-axis machine.

Martin Pavlíček

The paper deals with the new facts concernig the sculptures by Matthias Bernard Braun (1684–1738) in Kuks. In addition to a new assessment of the Eight Beatitudes outside the hospital chapel, the article deals with Braun’s relation to the ancient sculpture and the artistic buzz in the Baroque Vienna. These two artistic phenomena influenced the sculptor’s work more than we have thought so far.

Petrović Radmilo

In the conclusion of the work on interpretating the conclusion of the two most beautiful Vinčan sculptures from Kosovo and Metohia, one from the locality of Predionica and the other from Bariljevo, the author l says some facts interesting to all which have been so far overlooked by all previous researchers. They are to explain why the Vinčan civilization and its eponymous locality at 15km from Belgrade produced more than 1000 sculptures, made of baked earth in an almost identical manner, and then as a form of fashion dispersed across the Balkans and where elsewhere produced identically. Our conclusion tries to solve the dilemma of prof. Nenad Tasić - why all sculptures were dispersed only within the settlement, mot at special cult places and why they mute, not having mouths? Therefore, the author returns again to the Avala mine of cynabarite, which was a unique cult place for this part of Europe and the world; in ancient times only one such a mine was known of, that in Asia Minor, on Kilbian Fields near the town of Ephesus, near Artemis Temple. The author remembers that Temple of Artemis of Ephesus was one of the seven world wonders of the time, and her zoomorphic hypostasis being just the deer. This was in an ancient time. On the other hand, the mine of cynabarite in Šuplja Stena on Avala, near Vinča, was the most renowned mine of cynabarite in prehistoric times. The back of some formed sanctuary within Vinčan settlement where the sculpture would have been deposited, as well as the back of mouths with all Vinčan sculptures, led him to reread ancient sources related to these problems. Dioscorides (V, 109), while explaining that the ore of cynabarite consisted of droplets of quicksilver, pointed to the danger of inhaling quicksilver's vapours from the ore of cynabarite, giving this description: 'In the mines of quicksilver a choking vapor develops. Therefore, the people (working there) put on their faces bovine and carvel bubble so that can see through them but not inhale those quicksilver evaporations'. Roman historian Plinius (XXXIII, 122) adds to this Dioscorides conclusion the following: 'The people that work in the workshops of cynabarite till marks to their faces best inhale the noxious vapour, but to be able to see through them'. These cited historical sources, Dioscorides and Plinius, as if give a true mine and workshop context in processing of cynabarite are from Šuplja Stena. Thousands of found Vinčan sculptures similar to the figurines of servants found in Tutankhamen tomb are a memory of the death danger of the royal medicine, powder of cynober whorled men strove once for immortality. Therefore, in Vinča all sculptures were dressed in leather skirts that served for collecting golden dust and ore of cynabarite, while on their heads, over faces, they were masks with cuts for eyes but not for mouth as well, lest be poisoned by quicksilver vapours. The most of the decoration on their sculptural bodies was a mixture of schematized form of swastika - the sun, played out by quicksilver vapour that caused death. But the fruit of this work was the powder of 'cynober dye', which perhaps meant for some not only a long life, but also immortality. The deer and the form of Magna Mother Deorum, the pregnant prohemititrix of all prehistoric people, here in Vinča meant: Deer's skull and horns always represented an annual sacrifice which marked the death of nature of one year and heralded the birth of the nature of the coming year. Then it is no wonder that the principal Greek goddess of Cretan and Mycenaean age from 3000 to 1200 BC was Artemis of Ephesus, the protectress of the mine of cynybyrite from Kilbian Fields. Perhaps most interesting with the most of the bodies of Vinčan sculptures is the disposition of a schematized, geometrical ornament in a form of swastika - the sun which is a mark of winter solstice of 26 December and of birth of anew life of nature, by quicksilver vapor, whereby one attained, trough death, immortality.

Ricardo Cardoso Vieira, Doria Maria Saiter Gomes

São apresentados dados relativos à micromorfologia da superfície foliar de quatro espécies de Psychotria. O estudo foi realizado em indivíduos que ocorrem na Floresta Pluvial Tropical (Mata Atlântica). Atenção especial é dada ao tipo de cera epicuticular e da escultura da superfície dos estômatos, papilas e demais células epidérmicas.<br>Micromorphology characteristics of foliar surface of Psychotria specimens are presented. The material studied was collected from specimens which grow in Tropical Rain Forest (Mata Atlântica). Special focusing is concentrated on the epicuticular wax type, as well as on the sculpture of the surface of stomata, papillae and other epidermic cells.