This paper investigates two techniques for developing efficient self-supervised vision transformers (EsViT) for visual representation learning. First, we show through a comprehensive empirical study that multi-stage architectures with sparse self-attentions can significantly reduce modeling complexity but with a cost of losing the ability to capture fine-grained correspondences between image regions. Second, we propose a new pre-training task of region matching which allows the model to capture fine-grained region dependencies and as a result significantly improves the quality of the learned vision representations. Our results show that combining the two techniques, EsViT achieves 81.3% top-1 on the ImageNet linear probe evaluation, outperforming prior arts with around an order magnitude of higher throughput. When transferring to downstream linear classification tasks, EsViT outperforms its supervised counterpart on 17 out of 18 datasets. The code and models are publicly available: https://github.com/microsoft/esvit
This paper presents a novel method to deal with the challenging task of generating photographic images conditioned on semantic image descriptions. Our method introduces accompanying hierarchical-nested adversarial objectives inside the network hierarchies, which regularize mid-level representations and assist generator training to capture the complex image statistics. We present an extensile single-stream generator architecture to better adapt the jointed discriminators and push generated images up to high resolutions. We adopt a multi-purpose adversarial loss to encourage more effective image and text information usage in order to improve the semantic consistency and image fidelity simultaneously. Furthermore, we introduce a new visual-semantic similarity measure to evaluate the semantic consistency of generated images. With extensive experimental validation on three public datasets, our method significantly improves previous state of the arts on all datasets over different evaluation metrics.
Designing for dissemination and sustainability (D4DS) refers to principles and methods for enhancing the fit between a health program, policy, or practice and the context in which it is intended to be adopted. In this article we first summarize the historical context of D4DS and justify the need to shift traditional health research and dissemination practices. We present a diverse literature according to a D4DS organizing schema and describe a variety of dissemination products, design processes and outcomes, and approaches to messaging, packaging, and distribution. D4DS design processes include stakeholder engagement, participatory codesign, and context and situation analysis, and leverage methods and frameworks from dissemination and implementation science, marketing and business, communications and visual arts, and systems science. Finally, we present eight recommendations to adopt a D4DS paradigm, reflecting shifts in ways of thinking, skills and approaches, and infrastructure and systems for training and evaluation.
Este trabajo parte de una necesidad de posicionar a la arquitectura como una disciplina que ayuda a la sociedad en diversos contextos complejos. Uno de ellos es el proceso de duelo que se volvió una constante mundial después de la pandemia producida por COVID-19. Este trabajo se cataloga como una investigación basada en aproximaciones documentales, un proceso de aplicación del diseño fenomenológico-espiritual y un producto que evalúa el resultado del diseño en estudiantes, con la finalidad de evidenciar que la arquitectura no solo es un habitáculo tectónico, sino que la experiencia dentro del espacio. Así mismo, los resultados muestran una oportunidad de traducir lo intangible en un proceso que ayuda a potencializar las emociones en el interior de los edificios. El objetivo de este trabajo es cuestionar y entender la fenomenología de la arquitectura como una manera de percibir el espacio interior de los edificios y producir una arquitectura emocional como un reto y desafío para que los estudiantes de arquitectura generen una propuesta donde, ayudados por la multidisciplinariedad en el proceso de diseño, se logre entender y producir espacios que planteen una función espiritual a través de elementos intangibles que trasciendan su significado con la aparición del alma de la arquitectura. El diseño de parámetros emocionales como la fe, meditación, contemplación, conexión,
relación, entre otros, forman parte de la base que el diseño fenomenológico traduce en las propuestas creativas, con la finalidad de potencializar el proceso de diseño en ejercicios de arquitectura sensorial y emocional.
This article explores the work and artistic journey of urban visual artist Cadumen, highlighting his ability to transform discarded elements into art and to promote a dialogue between city and nature. Through reflections on environmental, social, and cultural issues, his creations emerge from an artistic sensibility that results in murals and assemblages that denounce the impact of urbanisation and environmental degradation. From childhood, he has shown a sharp eye for the re-signification of materials, a versatility that continues in his works over the years. Cardboard, wood, and other ephemeral elements become the basis for visual compositions that tell stories and invite reflection on belonging, sustainability, and ancestry. The impact of his work transcends aesthetics, functioning as a manifesto against environmental deterioration and as an invitation to reconnect with values essential to human existence. Revealing who his greatest artistic influences were, this article also presents the search for balance between technique and concept, exploring the beauty of the unexpected and the improvised. Cadumen’s work, exhibited in various parts of the world, is portrayed as a poetic breath amid the growing artificiality of large cities, recovering the transformative power of art as a tool for awareness and resistance.
Alessia Gutiérrez Delgado, Carlos Jesús Gómez-Martín, Mireia Serra-Vila
et al.
Este estudio cuasi-experimental con grupo control y metodología mixta evalúa los efectos de un programa de arteterapia y musicoterapia en pacientes adultos oncológicos hospitalizados. Tras tres sesiones de intervención, el grupo experimental experimentó mejoras significativas en dolor, ansiedad, depresión y distrés emocional en comparación con el grupo control, que recibió tratamiento médico estándar. Las reducciones significativas incluyeron el dolor (-4.72; p < 0.001), la ansiedad (-4.78; p < 0.001), la depresión (-4.06; p < 0.001) y el distrés (-5.28; p < 0.001), medidas a través de las escalas EVA, HADS, PHQ-9, y DME/TD. Además, se observaron mejoras fisiológicas notables, como la reducción de la presión arterial sistólica (-25.34 mmHg) y diastólica (-11.92 mmHg), así como de la frecuencia cardíaca. Aunque los cambios en la autonomía funcional evaluada con el índice BABVD no alcanzaron significancia estadística, se observó una tendencia positiva. Las entrevistas semiestructuradas revelaron mejoras en el bienestar emocional, la motivación y las relaciones interpersonales. Estos hallazgos subrayan el valor de integrar terapias creativas como complemento en la atención oncológica, contribuyendo a mejorar el bienestar físico y emocional de los pacientes hospitalizados.
Advantages of the Egyptian contemporary art include experimentation and innovation. Like life, art is subject to the inevitability of development. Art has become individual and autonomous because it is a combination of creativity and ideology, and translation of what is inside the artist himself. Herbert Read finds that "The origin of modernism in art is the innovation of style and search for new approaches of expression that reflect the freedom and have dimensions that extend as roots that take and benefit from all previous approaches".
When we refer to the heritage should be seen innovatively, and we can not take without deepening the understanding of the cultural content and philosophy and its own belief, and the Egyptian heritage is formed in its general fabric of multiple cultures have overlapped and combined and merged to make the total unity of that heritage, in our heritage meet the tributaries of the ancient Pharaonic, Coptic and Islamic uniquely makes them a strong current of aesthetics and distinct domes.
With its philosophy, Islamic Art was a source of inspiration of modern arts. Islamic art was able to have a positive effect. This research tries to establish a relation between the external form and the ideology adopted by the artist in the Islamic ages… through abstraction, modification and use of (plant, geometric and scripture) ornaments, perforation, overlay, plating, etching, miniature and filling, and how it has become inspiring in the contemporary relief works in terms of abstraction, summarization, simplification, slabbing, avoidance of details, structure of form, balance of masses and relations of surfaces with each other, and repetition which is named later visual and dynamic art (optical illusion art).
For this purpose, this research is conducted to determine some artistic features and formal relations that were inspired by artist from the Islamic heritage, such as repetition of its formations and how to use them by analysis of some examples of contemporary relief works and their affection by Islamic art.
Research problem: The research can be formulated in the following questions 1-To what extent does repetition as a distinctive feature of Islamic art affect the affirmation of expressive values in contemporary works of bas-relief?
2-Possible utilization of the items of Islamic art and inspiration of its forms in contemporary formations of repetition- based relief sculpture?
Art is a language in which the artist expresses himself, his society, and the events he lives in, so new artistic trends emerged, so the artist no longer practices his art as required by any previous artistic rules. And the thoughts wandering inside him, which led him to the abstract method in which the artist tries to employ the elements of the artwork in a plastic construction through which he achieves the relationships of the abstract form through the rhythms of lines, colors, spaces, shapes and textures without these plastic elements having any connection with the visual reality.
The research aims to find a new vision inspired by the school of geometric abstraction to enrich the field of Saudi plastic painting. And to take advantage of the characteristics of the school of geometric abstraction to produce innovative paintings in the field of plastic painting. The research dealt with the geometric abstract school in terms of the concept, its origin, and its most important artists and works. The research community consisted of the total artistic productions carried out by the artist, as an intentional sample of artists who dealt with the geometric abstract school style was chosen in their artistic production. The researcher followed the analytical descriptive approach in tracking the literature related to the geometric abstract school, and the experimental approach in conducting the research experiment. The researcher reached the following results: 1- Introducing new visions from the geometric abstraction school with various techniques with distinctive rhythmic systems produced by the artist's thought and imagination through the geometric abstraction school method, which affected the flat plastic painting.2- Geometric abstraction is characterized by strong tools and elements such as: fragmentation, simplification, compositions, overlapping lines and colors, in addition to methods of repetition, vertical and horizontal perpendiculars, and oblique axes in a structural relationship.3- The artist was able to reflect his emotions on the lines, colors and tools he used to produce the artwork according to what he deems appropriate in the style of the geometric abstract school.
In this article, we closely examine the pre-Romantic artist Henry Füssli's version of The Nightmare (1781), observing how he not only accurately depicted the described and identified characteristics of the sleep disorder known as sleep paralysis, but also personified the affected sleeper's own sensations through his work. We undertake a comprehensive review of his work in order to explore the motivations behind Füssli's interest in depicting parasomnia, and attempt to understand the pictorial corporeality inspired by this phenomenon. To achieve the latter aim, we examined the different determining factors belonging to the Burkean aesthetic categories of beauty and the sublime. This approach highlights how Füssli managed to capture parasomnia in his work under a misogynistic gaze through the idea of the sublime, and the importance of its iconic and repeated representation in art. Through this, we can observe, understand, and precisely interpret the psychophysical effects of this experience on the viewer and detect the pleasure of scopophilia in Füssli's male gaze.
Este artigo busca compreender as formulações do espaço cênico no audiovisual recuperando e enfatizando as tecnologias que reivindicam esses espaços audiovisuais como cenários. Inicialmente, organizam-se os parâmetros gerais pelos quais devem ser reconhecidas e lidas as articulações cênicas do espaço no audiovisual, definindo os papeis do enquadramento e da encenação desse espaço. Depois disso, são apresentados alguns exemplos que evidenciam uma instabilidade nessa articulação do espaço. Em uma perspectiva, discute-se as reconfigurações do lugar e o deslocamento operado por alguns gêneros da televisão. Em uma segunda perspectiva, são enfatizadas tecnologias como a projeção traseira e a sua atuação na articulação de espaços cênicos. Enfim, o artigo coloca em questão o papel de indexicalidade dos espaços do audiovisual e discute o uso dos conceitos de lugar e de paisagem para as encenações audiovisuais, relacionando-os às problemáticas criativas do cenário.
O artigo examina o estilo indireto livre de Gustave Flaubert, lendo-o como um gancho (com Georges Bataille) que impede o leitor de escorregar de vez para dentro do mundo interno dessa célebre personagem, Emma Bovary, e acompanhando, na casa das máquinas do romance, as inquietações do autor, que precisa se levantar e como que tomar alguma distância para não se perder na obra. Esse "ataque de nervos" está fora, mas está dentro da obra, sobretudo quando Emma se aproxima de um cego. Proponho, então, relendo a cena da morte, haver um ponto psicótico, impulsionado pela tensão entre Emma e o cego, ponto em que a narrativa alucina. Walter Benjamin, Jean-Pierre Vernant e Erik Porge dão as condições para uma leitura a contrapelo do romance realista.
Desde la insurrección Zapatista en México en 1994, algunas prácticas digitales han experimentado con formas de sociabilidad en las que se borran las distinciones entre arte digital y activismo político. Este artículo revisa casos notablemente distintos como Mejor Vida Corp. (1998), sitio*TAXI (2004), El Rancho Electrónico (2013) o Telecomunicaciones Indígenas Comunitarias (2016) que, en el periodo de auge del neoliberalismo en México y su sistemática privatización de las telecomunicaciones, han puesto en el centro de sus estrategias modos singulares de producir formas de sociabilidad mediadas digitalmente. Los comunes será un concepto clave para dilucidar la especificidad de esos procesos de sociabilidad, lo que permitirá caracterizar cómo se producen y mantienen relaciones sociales en los intersticios de la lógica de mercado. Como conclusión, se señalará que en estos procesos de comunalización digital la comunidad no aparece como un presupuesto sino como el incierto resultado de las mediaciones digitales.
Gabriela Arhelí García Guerra, Coral Revueltas Valle
La imagen de la mujer representada en el arte se ha transformado conforme el contexto de su época, el cual a su vez estuvo sometido a creencias y propósitos. A dos décadas del siglo XXI es posible identificar los orígenes de los paradigmas en la imagen femenina, así como hacer una crítica hacia estos pensamientos hoy en día obsoletos. De tal manera, el presente texto tiene como propósito señalar algunas de las concepciones femeninas principalmente en México y Latinoamérica. Primero, se señala por medio de diferentes autores como las obras artísticas contienen latentemente elementos de dominación sobre el cuerpo de la mujer, pero también sobre otros grupos vulnerables. Por último, se encuentra a modo de conclusión distintas reflexiones sobre el sentido del arte y el poder que este tiene sobre los espectadores.