Hasil untuk "Visual arts"

U. Eco

M. Ryoo, A. Piergiovanni, Anurag Arnab et al.

In this paper, we introduce a novel visual representation learning which relies on a handful of adaptively learned tokens, and which is applicable to both image and video understanding tasks. Instead of relying on hand-designed splitting strategies to obtain visual tokens and processing a large number of densely sampled patches for attention, our approach learns to mine important tokens in visual data. This results in efficiently and effectively finding a few important visual tokens and enables modeling of pairwise attention between such tokens, over a longer temporal horizon for videos, or the spatial content in images. Our experiments demonstrate strong performance on several challenging benchmarks for both image and video recognition tasks. Importantly, due to our tokens being adaptive, we accomplish competitive results at significantly reduced compute amount. We obtain comparable results to the state-of-the-arts on ImageNet while being computationally more efficient. We also confirm the effectiveness of the approach on multiple video datasets, including Kinetics-400, Kinetics-600, Charades, and AViD. The code is available at: https://github.com/google-research/scenic/tree/main/scenic/projects/token_learner

Liyi Chen, Zhi Li, Tong Xu et al.

The booming of multi-modal knowledge graphs (MMKGs) has raised the imperative demand for multi-modal entity alignment techniques, which facilitate the integration of multiple MMKGs from separate data sources. Unfortunately, prior arts harness multi-modal knowledge only via the heuristic merging of uni-modal feature embeddings. Therefore, inter-modal cues concealed in multi-modal knowledge could be largely ignored. To deal with that problem, in this paper, we propose a novel Multi-modal Siamese Network for Entity Alignment (MSNEA) to align entities in different MMKGs, in which multi-modal knowledge could be comprehensively leveraged by the exploitation of inter-modal effect. Specifically, we first devise a multi-modal knowledge embedding module to extract visual, relational, and attribute features of entities to generate holistic entity representations for distinct MMKGs. During this procedure, we employ inter-modal enhancement mechanisms to integrate visual features to guide relational feature learning and adaptively assign attention weights to capture valuable attributes for alignment. Afterwards, we design a multi-modal contrastive learning module to achieve inter-modal enhancement fusion with avoiding the overwhelming impact of weak modalities. Experimental results on two public datasets demonstrate that our proposed MSNEA provides state-of-the-art performance with a large margin compared with competitive baselines.

Sergey Malenko / Сергей Анатольевич Маленко, Andrey Nekita / Андрей Григорьевич Некита

The article analyzes the film Through the Snow (2013), directed by Pong Jun-ho, as a multi-layered socio-political dystopia that embodies archetypal scenarios of an isolated and simultaneously dynamic post-apocalyptic society. The film's central theme is the train-society, a closed world of trains where a rigid horizontal hierarchy models global mechanisms of power, suppression, and "controlled chaos". The figures of the key characters — Mr. Wilford (the creator of the Train), Minister Mason (the regime's ideologue), and Gilliam (the leader of the Tail) — reveal the technologies of legitimizing inequality: propaganda, violence, and memory manipulation. Curtis Everett's rebellion does not break the system but reproduces it as an inherent element. The film demonstrates the self-regulation of a totalitarian order through a perpetual and smoldering conflict. Special attention is paid to archetypal images ("Father" - Wilford and Gilliam; "Son" - Curtis; "Dark Mother" - Mason) and their role in the Hero's individuation. The train's symbolism enhances the metaphor of a closed civilization where biopolitics and technocracy replace the human essence. Train-society becomes a mirror of the Western world and any closed systems where order is maintained through fear, exploitation of children, and ritualized violence. / В статье анализируется фильм «Сквозь снег» (2013) режиссера Пон Чжун‑Хо как многослойная социально‑политическая антиутопия, воплощающая архетипические сценарии существования изолированного и одновременно динамического постапокалиптического социума. Центральным образом фильма выступает train‑общество — замкнутый мир Поезда, где жесткая горизонтальная иерархия моделирует глобальные механизмы власти, подавления и «управляемого хаоса». Фигуры ключевых персонажей — мистера Уилфорда (создателя Поезда), министра Мейсон (идеолога режима) и Гиллиама (лидера Хвоста) — раскрывают технологии легитимации неравенства: пропаганда, насилие, манипуляция памятью. Бунт Кертиса Эверетта не ломает систему, а воспроизводит ее как изначально встроенный элемент. Фильм демонстрирует саморегуляцию тоталитарного порядка через перманентный и тлеющий конфликт. Особое внимание уделяется архетипическим образам («Отец» — Уилфорд и Гиллиам; «Сын» — Кертис; «Темная Мать» — Мейсон) и их роли в индивидуации Героя. Символика Поезда усиливает метафору замкнутой цивилизации, где биополитика и технократия подменяют человеческое начало. Train‑общество становится зеркалом западного мира и любых закрытых систем, где порядок держится на страхе, эксплуатации детей и ритуальном насилии.

Julie Lageyre

On April 22nd, 1909, the exhibition A Hundred Portraits of Women from the English and French Schools opened in the galleries of the Jeu de Paume, Paris. Organised by Armand Dayot (1851‑1934), it brought together the great masters of the French and English schools of the 18th century, through the theme of the female portrait. The event was a milestone in the reception of English painting in France, because of its scope, media exposure and critical acclaim. Within the frame of the exhibition, the study of female portraits accompanied a discussion about the characterization of an English art or a national school in England. Thus, the critical reception of the exhibition displays some interesting issues pertaining to the historiography of English painting as it was conceived in the 1900s in France, including the interaction between the history of the portrait, the art of female representation and the emergence of English art in the 18th century.

Irene Caravita

Iole de Freitas (1945) is a Brazilian artist who, escaping a totalitarian regime, set up in Milano between 1970 and 1978, initially working for Olivetti. During 1972 she began to experiment with photography and video, making short films in super 8 in color and intricate photographic series, which she exhibited for the first time in June 1973 at the Diagramma gallery, run by Luciano Inga-Pin, opening a decade filled with invitations to major exhibitions devoted to new media, body art and feminist art. Indeed, she catch the attention of the critics and curators Anne Marie Sauzeau, Romana Loda and Barbara Radice, with works that show a meticulous and slow process of analyzing her own body, thanks to the camera's eye and other reflective tools such as mirrors, metal objects and knives. They are works in which her woman-being is central, yet they escape an explicit definition of feminist art. Therefore, I propose to rethink the works of de Freitas taking into account this ambiguity, which underlies questions that have never been resolved. In addition to the international bibliography, but considering the absence of archival sources, a prolonged conversation with the artist has been vital, especially to focus on the radical change in her artistic practice upon returning to Brazil.

Runzhou Ge, J. Gao, Kan Chen et al.

We address the problem of language-based temporal localization in untrimmed videos. Compared to temporal localization with fixed categories, this problem is more challenging as the language-based queries not only have no pre-defined activity list but also may contain complex descriptions. Previous methods address the problem by considering features from video sliding windows and language queries and learning a subspace to encode their correlation, which ignore rich semantic cues about activities in videos and queries. We propose to mine activity concepts from both video and language modalities by applying the actionness score enhanced Activity Concepts based Localizer (ACL). Specifically, the novel ACL encodes the semantic concepts from verb-obj pairs in language queries and leverages activity classifiers' prediction scores to encode visual concepts. Besides, ACL also has the capability to regress sliding windows as localization results. Experiments show that ACL significantly outperforms state-of-the-arts under the widely used metric, with more than 5% increase on both Charades-STA and TACoS datasets.

Zohreh Taher, Farzaneh Farrokhfar, Saba Fadavi

Symbolism is a cryptic and effective way of conveying meaning, handled by Iranian painters in different periods. During the Safavid period, the use of symbolic elements became more prominent with the recognition of the Shiite religion and the tendency of art workshops to portray mystical and religious themes. Among these workshops was the royal workshop of Prince Ibrahim Mirza in Mashhad, which is recognized both for its religious and cultural significance of Khorasan and for its illustration of magnificent manuscripts such as the Jami’s Haft Awrang. Ibrahim Mirza's Haft Awrang paintings are based on Jami’s stories and have different themes, such as the story of "Yusuf and Zuleykha" mentioned in the Qur’an and other books of the monotheistic religions, or the often told story of "Leily and Majnoon". It is reflected in Iranian literature and culture. The aim of this study is to comparatively examine the symbolism in the paintings of these two stories, to determine their relationship with the religious and cultural beliefs of this period, and to answer the following questions: 1. How were the culture and religious beliefs of the Safavid period reflected in the symbolism of the two stories? 2. What is the connection between the symbolism in the paintings of the two stories and religious and cultural beliefs of the Iranians during the Safavid era? The research method is comparative-analytical, and the information collection method is library research. We start with symbols classifications: One of the types of symbols classification is the placement of symbols into the type of human symbols and transcendent symbols, based on the theory of symbolism by Charles Chadwick (1996). "Human symbols" is a personal aspect of symbolism that can be considered the art of expressing thoughts and feelings by referring to how they are expressed by the artist; like a jar in Khayyam's poems. In this sense, it is the artist who brings a symbolic concept to the symbol and uses it in a certain sense in his works, and this requires the examination of all the works of an artist that are outside the scope of this study. But, in "transcendent symbolism" symbols are broad, general and ideally objective images of the world, of which the present world is only an incomplete representation, mystical symbols, and cultural symbols may be considered of this type. Transcendent religious symbols refer to religious content, and transcendental cultural symbols refer to literature and culture, and transcendent artistic symbols are derived from the principles of Iranian painting and elements of nature. We examine artistic symbols in two sub-categories of geometric and natural in 6 paintings of Haft Awrang. What can be deduced from the analysis of the research findings and the comparison of the two categories of painting is that the painters of Ibrahim Mirza’s Haft Awrang paid attention to the belief and culture of their period in the painting of religious and cultural content. The use of symbols such as the Ghezelbash Hat of the main characters of the story, Islimi, Greh, lotus, green and blue colors, mountain -tree, and the golden sky is in accordance with religious and cultural beliefs and principles. In response to the second question from the painting tradition of this period, despite the similarities in the use of some transcendent artistic symbols in both categories of painting originating from the Iranian painting tradition and originating from the seven principles of painting during the Safavids period, symbolism is different in the pantings of two stories. It is clear that in the Iranian painting tradition, symbols, like other nations, have a cultural and doctrinal basis, which is immortalized to express deep and cryptic concepts in the literature and culture of the nations. Therefore, the formation of principles based on this deep connection between religion and culture in the Iranian painting tradition has led to the use of some similar transcendent artistic symbols. As the winged angel and phoenix are combined symbols, rooted in the ancient myths of ancient Iran, and after Islam, under the influence of the common concepts of religions, the winged angel became a symbol for Gabriel and angels close to God, and phoenix found a sacred and spiritual role. Therefore, the painters paid attention to the religious and cultural context of the story in symbolism, and used symbols accordingly in their paintings. Despite the influence of religion and culture on each other and the art of the Safavid period, it can be said that some mythological symbols such as phoenix and dragon from the rich culture of ancient Iran remained strong and alive. The painters also used symbols like Lutus, Greh, etc. and they became the common ground and basic principles of Iranian painting. Some symbols such as the winged angel and the phoenix, retained their mythological forms, but took on a religious color and were used in a new sense.

Sara Gabriela Baz Sánchez

En este texto busco reflexionar sobre las posibilidades simbólicas de la ausencia, a fin de plantear una indagación epistémica que permita valorar, desde una perspectiva distinta, las contribuciones de Francisco de la Maza, en particular, en Las piras funerarias en la historia y en el arte de México (1946). Parto de la base de que esta obra merece una revisión historiográfica más detenida y que, en justicia, su apreciación crecería muchísimo si se planteara un análisis al considerarla en el marco de la opera omnia de su autor. Lo que me propongo hacer a lo largo de estas páginas es mucho más limitado; consiste en construir un andamiaje mediante el cual se pueda abundar en la estructura con la que De la Maza propuso una serie de enunciaciones sobre el arte efímero y, con ello, sentó las bases para formular conocimiento.

C. Emilia

Introduction Considering the development of this study, we selected cases where art therapy played a central role in the educational/therapeutic process. Studied 130-150 cases per year on average, for 25 years (1996-2021), including children and adolescents aged between 2 and 18 years of both sexes, different social backgrounds in terms of housing, culture, and education: education/ clinical art therapy ( Mental Health Center for Children and Adolescents ward of the Cluj-Napoca Children’s Emergency Hospital) and non-clinical education/art-therapy. The activities also have components of artistic creation, research, and teaching with students, within the disciplines “Art therapy in institutional contexts” and “Artistic play and experiment in group dynamics”, within the University of Art and Design section Pedagogy of Plastic and Decorative Arts from Cluj-Napoca Romania. The results are published at the international and world congresses to which we were invited together with the practitioners under supervision. Objectives The aims of occupational therapy, which include art therapy and play therapy, are to facilitate the use of creative process and symbolic communication, associated with narrative and imitation, to develop new ways of communication, self-expression and seeing things. Methods We use materials and techniques that are specific to visual arts (painting, sculpture, graphic, multimedia, photography, film, animation, and digital media), but also traditional ones, specific to tridimensional arts, such as pottery wheels and sculptural modeling. Activities are structured according to the following dimensions: • The making of art or the production of other crafts resembles a situation test • The analysis of the products allows the beneficiaries to attain a certain level of introspection and to “work through” their problems in constructive manner • The execution of an operation requires sensory, cognitive, and affective intervention; • Psychological dimensions, which include the individual’s intrinsic need for self-improvement, for obtaining competence and self-knowledge; • The socio-cultural and symbolic dimension of the act; • The spiritual dimension, related to the meaning of the occupation for the individual; • The temporal dimensions of the occupation (referring to the time or period of time required for recovery). Results By interacting with these factors, the individual gets to know his own potential and limits, but also those of the environment in which he lives. Image: Image 2: Conclusions An equidistant trialogue and circular relations between art, religion and science, without any specific supremacy, is created, which can offer from the start the possibility of lasting harmonizations, of informational transfers and professional enhancements that support developments, ennobling the human being through positive reorientations and beneficial recoveries. Disclosure of Interest None Declared

Daniel Wilson, Thayer Alshaabi, Colin Van Oort et al.

Object geo-localization from images is crucial to many applications such as land surveying, self-driving, and asset management. Current visual object geo-localization algorithms suffer from hardware limitations and impractical assumptions limiting their usability in real-world applications. Most of the current methods assume object sparsity, the presence of objects in at least two frames, and most importantly they only support a single class of objects. In this paper, we present a novel two-stage technique that detects and geo-localizes dense, multi-class objects such as traffic signs from street videos. Our algorithm is able to handle low frame rate inputs in which objects might be missing in one or more frames. We propose a detector that is not only able to detect objects in images, but also predicts a positional offset for each object relative to the camera GPS location. We also propose a novel tracker algorithm that is able to track a large number of multi-class objects. Many current geo-localization datasets require specialized hardware, suffer from idealized assumptions not representative of reality, and are often not publicly available. In this paper, we propose a public dataset called ARTSv2, which is an extension of ARTS dataset that covers a diverse set of roads in widely varying environments to ensure it is representative of real-world scenarios. Our dataset will both support future research and provide a crucial benchmark for the field.

Raphaëlle Costa de Beauregard

Unfaithfully Yours (Preston Sturges, 1948) is a complex film with an intricate play on the transfer of media characteristics among dissimilar media. In this article, the source of the theoretical approach is mainly Lars Elleström’s (2014); its presentation in Bruhn and Schirrmacher (2022) is also used as a reference. The case study focuses on the performance of two Overtures of operas and a tone poem for a concert. In the film, they are used both in the representation of the concert, and as film music, the main character being an orchestra conductor who eventually imagines secret revenge dramas and becomes the sound recorder of three fiction films. The four modalities of media interact in Sturges’s film with great variety, during the rehearsal of Rossini’s Overture before the concert, or during the concert as we share the conductor’s mind busy satisfying his secret obsessions, and even, after the concert, when the material and sensorial modalities of sounds appear in the screening of objects. The main point of the transfer of these media characteristics is how they interact in the spectator’s mind; moreover, they either arouse emotions that are shared with the characters, or laughter owing to burlesque effects thus created.

Donald D. Hoffman

Leszek Makówka

The burial crypt of the bishops of Katowice located in the vaults of the Silesian Cathedral was decorated in 2017 with murals inspired by the message of the final book of Holy Scripture, the Apocalypse of John. The authors of the project and its executors are the Katowice artists Joanna Piech and Roman Kalarus. The Apocalypse heralds the coming of God’s reign, symbolised by the image of the New Jerusalem laid out on the central wall of the crypt. Other representations refer to the dramatic events preceding the final victory of God. The mural is another monumental project by those artists for church interiors. As in their earlier works, they used their own artistic experience: Piech – as a graphic artist, Kalarus – as a poster artist. Formally, the expression of the representation is conveyed through a strong colour palette. The artists used primary colours with deep saturation. The power of expression is strengthened by downright aggressive colour contrasts. Undoubtedly, the Katowice murals are an important example of contemporary wall painting in church space.

Tyar Ratuannisa, Imam Santosa, Kahfiati Kahdar et al.

Fashion style refers to the way of wearing certain categories of clothing related to the concept of taste that refers to a person’s preferences or tendencies towards a particular style. In Indonesia, clothing does not only function as a body covering but also as a person’s style. One way is to use traditional cloth is by wearing batik.Batik clothing, which initially took the form of non -sewn cloth, such as a long cloth, became a sewn cloth like a sarong that functions as a subordinate, evolved with the changing fashion trends prevailing in Indonesia. At the beginning of the development of batik in Indonesia, in the 18th century, batik as a women’s main clothing was limited to the form of kain panjang and sarong. However, in the following century, the use of batik clothing became increasingly diverse as material for dresses, tunics, and blouses.This research uses a historical approach in observing batik fashion by utilizing documentation of fashion magazines and women’s magazines in Indonesia. The change and diversity of batik clothing in Indonesian women’s clothing styles are influenced by changes and developments in the role of Indonesian women themselves, ranging from those that are only doing domestic activities, but also going to school, and working in the public. However, fashion trend factors are also a parameter of change in batik clothing, which result in adaptive and flexible batik clothing.

Mathilde Falguière, Rodrigo Fontanari

Roland Barthes and the photographer Daniel Boudinet have occasionally collaborated: images from Boudinet illustrate two of the semiologist’s works, who in return commented a series of his photographs for a journal. A comparative reading of their archives and works enables deeper links to emerge : Boudinet’s work incarnates for Barthes an esthetics of the “Neutral” in photography, and it is through their interactions that he begins to elaborate the theses of La Chambre claire. The two authors question, each within their own field, photography’s relationship with time.

Eduardo Morettin

Apresentação da edição 51 de Significação: revista de cultura audiovisual

Ana Diéguez Rodríguez

The exhibition and the catalogue about the Vanderneyden Collection are analized in this review, pointing out the more relevants contributions of the text.

Gregorio HernándezPulgarín

En este artículo se analiza el papel del diseño urbano en la transformación de la ciudad de Montpellier, Francia. Se parte del estudio de un período de crisis de la ciudad experimentado hasta principios de los años 80 y la manera cómo a través de dos operaciones de urbanismo provistas de un diseño arquitectónico y de urbanismo de excepción, la ciudad conjuró la crisis; respondiendo, a través de la creación de una imagen de ciudad atractiva e innovadora, a los imperativos económicos de su contexto de competencia interurbana. El análisis se basó en el empleo de métodos cualitativos como la revisión documental sobre las operaciones de urbanismo, así como en la realización de entrevistas a los planificadores y el análisis semiótico del espacio urbano. El artículo permitió comprender la manera en que las nociones de ‘crisis’ y de ‘renacimiento’ de la ciudad revelan concepciones del tiempo y del espacio brindadas por los planificadores, las cuales resultan determinantes en su toma de decisiones y de la forma y estructura adoptada por las ciudades europeas al día de hoy.

K. Freedman