The purpose of the article is to explore the interaction of screen and stage activities, to study the influence of theatre performances on cinema, to identify the emergence of new genres in cinema through the combination of different art forms, and to outline the significance of screen adaptations of literary works. Research methodology. The analysis of theoretical materials and scientific works was used to determine the influence of different types of art on each other, the role of the transformation of a literary work into a screen one and the emergence of new artistic genres, which includes the study of the relationship between different artistic disciplines, as well as the impact of their evolution on the formation of new creative trends and styles in contemporary art. The specifics of adapting literary works to the screen format are revealed, including the study of methods of transferring plot, characters and ideas from a book text to the screen, as well as the analysis of the impact of this process on the audience’s perception of the work and its interpretation. The method of comparing different art forms was used to characterise the interaction between literature, cinema, theatre and other art forms, identifying similarities and differences in their modes of expression and impact on the audience. The synthesis method allowed us to discover the peculiarities of the interaction between different art forms and to identify how the interaction between literature, cinema, theatre, and other art forms contributes to creating new possibilities for interpretation. Scientific novelty. A scientific novelty. For the first time, the author analyses screenworks and stage productions as separate types of cultural activity, studying the mixing of genres and the emergence of film opera as a new contemporary art form by adapting literary works. Conclusions. The study analysed the interaction between cinema and the performing arts and revealed the mutual influence of theatre productions on-screen activities. The study examines how the aesthetics and techniques of theatre influence the shooting and editing of films. In addition, the author outlines the vital role of film adaptations of literary works in developing cinema and its importance as a way of transforming a verbal text into a visual and audiovisual product and enriching the audience’s artistic experience.
In three decades, the BFI Film Classics book series has devoted almost two hundred monographs to the analysis and discussion of cult films, art films, and international films contributing significantly to the flourishing and renewal of cinephilia in successive generations. These short but intensive monographs, normally about a hundred pages in length, provide rigorous and focused scrutiny of a single film including production, reception, and critique, which could well be obscured in a larger book-length study of a particular auteur, their oeuvre, and their cultural milieu. Many well-established and up and coming film scholars have written about specific films for the BFI Film Classics book series; including Dana Polan who has already contributed marvellous analyses of Nicholas Ray’s In A Lonely Place (1950) in 1994 and Quentin Tarantino’s Pulp Fiction (1994) in 2000. However, it is surprising to see Polan writing on Steven Spielberg’s three different versions of Close Encounters of the Third Kind (1977, 1980, 1998).
Diederik Aerts, Suzette Geriente, Roberto Leporini
et al.
We analyze the results of three information retrieval tests on conceptual combinations that we have recently performed using corpora of Italian language. The tests have the form of a 'Bell-type test' and were aimed at identifying 'quantum entanglement' in the combination, or composition, of two concepts. In the first two tests, we studied the Italian translation of the combination 'The Animal Acts', while in the third test, we studied the Italian translation of the combination 'The Animal eats the Food'. We found a significant violation of Bell's inequalities in all tests. Empirical patterns confirm the results obtained with corpora of English language, which indicates the existence of deep structures in concept formation that are language-independent. The systematic violation of Bell's inequalities suggests the presence of entanglement and, indeed, we elaborate here a 'quantum model in Hilbert space' for the collected data. This investigation supports our theoretical hypothesis about entanglement as a phenomenon of 'contextual updating', independently of the nature, micro-physical or conceptual linguistic, of the entities involved. Finally, these findings allow us to further clarify the mutual relationships between entanglement, Cirel'son's bound, and no-signaling in Bell-type situations.
Ingrid Sánchez Téllez, Juan Contreras Escobar, Claudio Contreras Escobar
El objetivo de este artículo es estudiar las imágenes del género musical soviet wave a partir de la función estética de la nostalgia como resultado de la ruptura temporal que significó la caída de la ex Unión Soviética y otros desastres aunados, como el de Chernóbil. Para tal fin el artículo estudia la función estética de la nostalgia como un proyecto artístico y cultural creativo que, en definitiva, logra desarrollar una sensibilidad estética, pero implica un anti-activismo político, al no restaurar las viejas formas políticas, artísticas, económicas y sociales, así como no produce nuevas formas activas de sensibilidad. Las imágenes y las letras del género soviet wave proyectan una sensibilidad nostálgica que las mantiene dentro de una lógica mercantil o del fracaso social. Por consiguiente, la nostalgia no puede generar un activismo político porque refiere a la inactividad, más que a la acción. El artículo está dividido en dos partes. La primera parte estudia la redimensión temporal a partir de la caída de la ex Unión Soviética y el desastre de Chernóbil como hitos desencadenantes para plantear que el soviet wave instaura tres categorías estéticas fundadas en la nueva percepción temporal: la melancolía, la nostalgia y “lo retro”. La segunda parte estudia las imágenes nostálgicas o “retro” producidas por los nuevos dispositivos tecnológicos que dan forma a la estética soviet wave, a partir de un análisis multimodal de la construcción del significado en la imagen. En conclusión, es posible postular que el soviet wave funciona como la exposición de la crisis de la social democracia y el capitalismo actual en su versión neoliberal por medio de los dispositivos técnicos y formas de organización visual que rememoran las décadas de 1970 y 1980.
Abeer S. Almogren, Waleed Mugahed Al-Rahmi, Nisar Ahmed Dahri
This study examines the impact of mobile learning, social media engagement, and artificial intelligence on academic performance in higher education, based on a theoretical model that includes ubiquitous access, interactivity, information sharing, collaborative learning, motivation, personalized learning, student support, and automation. Employing quantitative methodology, a total of three hundred eighty-one students participated in a survey at King Saud University, both online and in-person. Structural Equation Modeling (SEM) analysis, provided by the SmartPLS tool, was utilized to examine the relationship between these variables. Study findings show that ubiquitous access and interactivity significantly enhance mobile learning. Whereas information sharing and motivation positively influence social media engagement, collaborative learning does not significantly impact it. However, personalized learning and student support were found to positively affect artificial intelligence technology, with Automation further improving its effectiveness. The study also reveals that mobile learning positively affects both social media engagement and academic performance, and artificial intelligence enhances academic performance through personalized support. However, the interaction between Artificial Intelligence and Mobile Learning does not significantly amplify academic benefits. The study highlights the need for a multi-dimensional approach to integrating mobile learning, AI, and social media in education, promoting personalized and adaptive learning environments. Practically, it encourages educators to adopt these technologies for enhanced academic performance and urges policymakers to invest in infrastructure and training for effective implementation.
AvatarStaging framework consists in directing avatars on a mixed theatrical stage, enabling a co-presence between the materiality of the physical actor and the virtuality of avatars controlled in real time by motion capture or specific animation players. It led to the implementation of the AKN_Regie authoring tool, programmed with the Blueprint visual language as a plugin for the Unreal Engine (UE) video game engine. The paper describes AKN_Regie main functionalities as a tool for non-programmer theatrical people. It gives insights of its implementation in the Blueprint visual language specific to UE. It details how the tool evolved along with its use in around ten theater productions. A circulation process between a nonprogramming point of view on AKN_Regie called Plugin Perspective and a programming acculturation to its development called Blueprint Perspective is discussed. Finally, a C++ Perspective is suggested to enhance the cultural appropriation of technological issues, bridging the gap between performing arts deeply involved in human materiality and avatars inviting to discover new worlds.
Gert Aarts, Ouraman Hajizadeh, Biagio Lucini
et al.
During training, weight matrices in machine learning architectures are updated using stochastic gradient descent or variations thereof. In this contribution we employ concepts of random matrix theory to analyse the resulting stochastic matrix dynamics. We first demonstrate that the dynamics can generically be described using Dyson Brownian motion, leading to e.g. eigenvalue repulsion. The level of stochasticity is shown to depend on the ratio of the learning rate and the mini-batch size, explaining the empirically observed linear scaling rule. We verify this linear scaling in the restricted Boltzmann machine. Subsequently we study weight matrix dynamics in transformers (a nano-GPT), following the evolution from a Marchenko-Pastur distribution for eigenvalues at initialisation to a combination with additional structure at the end of learning.
This paper provides an overview of some of the most relevant deep learning approaches to pattern extraction and recognition in visual arts, particularly painting and drawing. Recent advances in deep learning and computer vision, coupled with the growing availability of large digitized visual art collections, have opened new opportunities for computer science researchers to assist the art community with automatic tools to analyse and further understand visual arts. Among other benefits, a deeper understanding of visual arts has the potential to make them more accessible to a wider population, ultimately supporting the spread of culture.
This article, developed in conversation with ChatGPT and GPT-4, explores how artists have represented human-machine AI entanglements by using works by Lynn Hershman Leeson, Mario Klingemann, Kate Crawford and Trevor Paglen, and Luca Viganò as case studies.
Rotation matters for the life of a star. It causes a multitude of dynamical phenomena in the stellar interior during a star's evolution and its effects accumulate until the star dies. All stars rotate at some level but those born with a mass above about 1.3 times the mass of the Sun rotate rapidly during more than 90% of their nuclear lifetime. Internal rotation guides the angular momentum and chemical element transport throughout the stellar interior. These transport processes change over time as the star evolves. The cumulative effects of stellar rotation and its induced transport processes determine the helium content of the core by the time it exhausts its hydrogen isotopes. The amount of helium at that stage also guides the heavy element yields by the end of the star's life. A proper theory of stellar evolution and any realistic models for the chemical enrichment of galaxies, must be based on observational calibrations of stellar rotation and of the induced transport processes. Since a few years, asteroseismology offers such calibrations, for single and binary stars. We review the current status of asteroseismic modelling of rotating stars for different stellar mass regimes, in an accessible way for the non-expert. While doing so, we describe exciting opportunities sparked by asteroseismology for various domains in astrophysics, touching upon topics from exoplanetary science to galactic structure and evolution towards gravitational wave physics. Along the way, we provide ample sneak-previews for future 'industrialised' applications of asteroseismology to slow and rapid rotators, from exploitation of combined Kepler, TESS, PLATO, Gaia, and spectroscopy surveys. We end the review with a list of take away messages and achievements of asteroseismology, which are of relevance for many fields of astrophysics.
Achievement in different domains, such as academics, music, or visual arts, plays a central role in all modern societies. Different psychological models aim to describe and explain achievement and its development in different domains. However, there remains a need for a framework that guides empirical research within and across different domains. With the talent-development-in-achievement-domains (TAD) framework, we provide a general talent-development framework applicable to a wide range of achievement domains. The overarching aim of this framework is to support empirical research by focusing on measurable psychological constructs and their meaning at different levels of talent development. Furthermore, the TAD framework can be used for constructing domain-specific talent-development models. With examples for the application of the TAD framework to the domains of mathematics, music, and visual arts, the review provided supports the suitability of the TAD framework for domain-specific model construction and indicates numerous research gaps and open questions that should be addressed in future research.
Though “purge” may seem a rather dramatic choice of terms to refer to a drastic shift in the overall nature of network television programming in the United States, it has long been used by media scholars, notably in reference to “The Great Rural Purge of 1971”, when CBS suddenly decided to cancel all of its most popular, rural-based sitcoms and variety shows in exchange for a new lineup of hard-hitting, urban-based sitcoms that leaned left and dealt unapologetically with the most burning social issues of the day. This study, however, hopes to show that this shift was in fact not the first big “purge” but the second, the first having occurred circa 1957 and having moved in the exact opposite direction. One of the great misconceptions about network television is indeed that it was very conservative at its onset and grew steadily more progressive and inclusive over the decades, for pre-1957 network television and especially its comedy programs – those of the first era of the Golden Age of Television, as it were – were remarkably avant-garde and politically incorrect for their time. Anti-establishment humor, budding feminist themes (with independent women both on screen and in the writing room), racial and ethnic diversity, in-your-face insolence and transgressional humor – all of these progressive topics were showcased in very urban settings before that first “purge” erased those gains and reset the U.S. TV landscape as white, patriarchal, rural, conservative and harmlessly escapist. This study will not only discuss those breakthrough sitcoms of the early 1950s themselves, but, just as importantly, it will trace the many factors that led to that first great shift – a vast confluence of decisions and incidents that would lead to what could be dubbed “The Great Urban Purge of 1957”.
Alma Elisa Delgado Coellar, Daniela Velázquez Ruíz
El presente artículo describe dos enfoques paradigmáticos de la historia de la ciencia. Por un lado, las ciencias de la naturaleza, y por otro, las ciencias del espíritu. Esto funciona como un preámbulo hacia las metodologías del arte que inciden en un estudio profundo del proceso generador de la obra, no en miras de una evaluación de un producto final y/o terminado, sino por el contrario, la consideración de la serie de elementos que le configuran, desde su entorno ambiental, sus condiciones socio-político-culturales, las características de la tecnología de la cual se dispone para su creación, las cualidades de quien le produce, entre otros elementos, todos estos determinantes en un pensamiento fenomenológico integrador para la investigación de las artes.
En este artículo, proponemos reflexionar sobre la urgencia de decolonizar las prácticas artísticas en Internet, sobre todo en este último tiempo cuando la pandemia de la enfermedad por coronavirus (COVID-19) pone en evidencia la inequidad en la distribución de los recursos. Es ineludible construir otras maneras de interacción y de diálogo, lo que requiere la configuración de nuevas experiencias relacionales para las prácticas compartidas entre arte, ciencia y tecnología. Caracterizamos el hacer decolonial como aquel que se desarrolla —en un campo dinámico de tensiones disciplinares— mediante acciones en la producción relacional y en la trayectoria situada, las que determinan una disposición que permite, en principio, emanciparse tanto de los hábitos totalizantes de lo disciplinar como de la enajenación simbólica y mediática de los nuevos escenarios en línea.
در متون مقدس، بازگشت مجدد مسیح برای واپسین داوری در دو مرحله انجام خواهد شد. بازگشت اول در آسمان و بازگشت دوم که با نام داوری اخروی شناخته میشود، بر روی زمین رخ میدهد. داوری اخروی یکی از موضوعات موردتوجه هنرمندان مسیحی در دورههای مختلف بوده است. هیرونیموس بوش (1450-1516 م) هلندی و میکلانژ (1475-1564 م) ایتالیایی، دو هنرمند شاخص همعصر هستند که به این موضوع پرداختهاند. مسأله این پژوهش بررسی تفاوتها و شباهتهای نگاه بوش و میکلانژ به داوری اخروی با هدف شناخت غایت آفرینندگی در آثار این دو هنرمند است. علت انتخاب این دو اثر، اهمیت تاریخی و شاخص بودن هنرمندان آفریننده آنها در تاریخ هنر است. این پژوهش ماهیت کیفی داشته و در انجام آن از روشهای توصیفی، تحلیلی و تطبیقی استفاده شده است. فرضیهی پژوهش آن بوده که موجودیت آثار خلقشده، با ویژگیهای یک دوره تاریخی، یک گروه اجتماعی و یا یک فرد رابطه دارد. سوال پژوهش آن بوده که دو اثر «داوری اخروی» هیرانیموس بوش و میکلانژ چه شباهت و تفاوتهای موضوعی و مضمونی (محتوایی) با هم دارند. بررسیها نشان میدهد وفاداری به روایت رویدادها، بیان همزمان دو مرحلهی داوری و به تصویر کشیدن عناصر موجود در رویداد داوری اخروی، شباهتهای دو اثر هستند. این آثار با رویکردی انسانگرایانه، اما متأثر از دو ریشهی متفاوت تاریخی آفریده شدهاند. بوش در اثر خود، وفاداری به فلسفهی مسیحی قرونوسطایی را با تمرکز بر فرودستی انسان در برابر امر متعالی و بر روی سه لوح چوبی به تصویر کشیده و میکلانژ، تولّد و جریان نوپای انسانمداریِ (اومانیسم) رنسانس را با تمرکز بر محوریت انسان و با روایت یک آموزهی مسیحی بهوسیلهی تصاویری برگرفته از هنر باستانی یونان، بر دیوار بزرگ محراب کلیسای مشهور سیستین جاودانه کرده است. ازاینرو میتوان گفت اثر هیرانیموس بوش، برای خدا آفریده شده است و اثر میکلانژ برای انسان.
Within the framework of the Lindblad master equation, we propose a general methodology to describe the effects of the environment on a system in dilute gas phase. The phenomenological parameters characterizing the transitions between rovibrational states of the system induced by collisions can be extracted from experimental transition kinetic constants, relying on Energy Gap fitting laws. As the availability of this kind of experimental data can be limited, the present work relied on experimental line broadening coefficients, however still using Energy Gap fitting laws. The 3 $μ$m infrared spectral range of acetylene was chosen to illustrate the proposed approach. The method shows fair agreement with available experimental data while being computationally inexpensive. The results are discussed in the context of state laser quantum control.
Research covered titled visualize prayer road crosses by adopting the Wayang Beber style used a woodcut technique of the printmaking is the artistic research (the creation of art) that is carried out based on the art of printing graphic especially a woodcut which is initially be used as a tool to increase religious manuscripts , book illustrations , and then used as propaganda media can be printed because she is the presence of many unique visual and character .Pengkarya use uniqueness in the graphic arts this as an element that reinforce the value estetik and artistic work in visual. This research which was conducted with us is to conduct a study on the degree to which the prayers of devotion road crosses was influential on the strengthening of the value of the true faith admit this catholics in general. The study on Wayang Beber show some years previously had broken also needs to be undertaken of the aspect of visual and if they used these tools as a means of second to disseminate the rudimentary and elemental teachings religious and the good aspects it has done. Through a process go brainstorm and the review of visual artworks in with the theme of or illustration the story of poor reduced to such misery in its course the cross of Jesus Christ was one of those which is borne by their stations of a place of rest the way of a cross in religious place then enacted into a the theme of the creation of the aertwork. The hope is by the creation of the work of the printmaking is due to the activities to give alternarif new in the perspective of all the participants to pray visualization road crosses as well as as a medium for the congregation of the Catholics to are more likely to set on other concerns the road crosses and make him of the love of the faithful for accordance with what god has cope with life.
Shortly after the bombing of Pearl Harbor in December of 1941, the American government impressed upon the media industry and corporate advertising the cooperative need to boost morale and enlist nationalist support for the war effort. Public opinion was shaped through an active campaign of visual propaganda and media censorship in which the social trauma of war, in particular, representations of death and destructive disorder, was erased from official news reports. However, avant-garde art and writing in View magazine during the early 1940s can be analyzed as a radical form of counter-discourse that challenged the media’s representation of the war. View had been founded in 1940 by the poet Charles Henri Ford, who vowed to create a magazine devoted to what he called the “new journalism”, a form of international reporting by poets and visual artists that would provide visionary critical insight on the forthcoming political catastrophe in Europe. Lacking their own publishing forum, a number of Surrealist émigrés and American adherents of Surrealism gravitated towards View. As this article will examine, Surrealist imagery and prose in View evoked a profound sense of the bodily trauma and physical destruction omitted from mass media, subverting the government’s highly sanitized and ideologically manipulated representations of World War II.
From a “manifesto” –textual genre of the “activist” or “revolutionary document”– we expect a declaration (often without any justifications) of aims and procedures to implement a “different” vision compared to a given situation, and we expect above all the indication of the actual stakes. Here the “given situation” is that of the studies on representation cultivated in design schools, studies that are documented by a vast scientific literature with its unstable boundaries between “design studies” and “visual (cultural) studies”, between “techniques of the (graphic and eidomatic) representation” and “sciences of perception and cognition”. But what is at stake in this dispute among knowledge boundaries on the practical ground of the technical and artistic project? I believe that these “stakes” consist, first of all, in knowing why our artefacts for aesthetic use have the shape they have, but I do not believe that a satisfactory answer may come separately from history or from the natural sciences. Anyway, we must give an answer here because the question has its own essential necessity: we cannot avoid it because it guides (in an ethical way) our design activity by modelling our ideation techniques. The answer that I present here is biographical and assertive: it proposes a “Simondonian” manifesto, that is, a horizon of the task that must be a matter, in our opinion, of the discipline of “Disegno”.