Hasil untuk "Decorative arts"

Abhinaba Basu, Pavan Chakraborty

Language models increasingly "show their work" by writing step-by-step reasoning before answering. But are these reasoning steps genuinely used, or decorative narratives generated after the model has already decided? We introduce step-level faithfulness evaluation - removing one reasoning sentence at a time and checking whether the answer changes - requiring only API access at $1-2 per model per task. Evaluating 13 frontier models (GPT-5.4, Claude Opus, DeepSeek-V3.2, DeepSeek-R1, Gemini 2.5 Pro, MiniMax-M2.5, Kimi-K2.5, and others) across six domains (sentiment, mathematics, topic classification, medical QA, commonsense, science; N=376-500 each), we find reasoning falls into three modes - not the binary faithful/unfaithful of prior work. In "genuine reasoning," steps matter and CoT is essential (MiniMax: 37% necessity, +69pp from CoT). In "scaffolding," CoT helps but steps are interchangeable (Kimi on math: 1% necessity, +94pp from CoT). In "decoration," CoT adds nothing (DeepSeek-V3.2: 11% necessity, -1pp from CoT). The DeepSeek family provides causal evidence: R1 reasoning models show 91-93% necessity on math versus 4% for V3.2 - same organisation, proving training objective determines faithfulness. A novel shuffled-CoT mechanistic baseline confirms reasoning-trained models semantically process their steps (7-19pp attention gap) while standard models attend positionally. We also discover "output rigidity" - models that shortcut internally also refuse to explain externally, a blind spot for explanation-based evaluation.

Alessandro Iraci, Roberto Pagaria, Giovanni Paolini

In this paper, we formulate a rational analog of the fall Delta theorem and the Delta square conjecture. We find a new dinv statistic on fall-decorated paths on a $(m+k) \times (n+k)$ rectangle that simultaneously extends the previously known dinv statistics on decorated square objects and non-decorated rectangular objects. We prove a symmetric function formula for the $q,t$-generating function of fall-decorated rectangular Dyck paths as a skewing operator applied to $e_{m,n+km}$ and, conditionally on the rectangular paths conjecture, an analog formula for fall-decorated rectangular paths.

Golubeva Oxana A.

The article examines the concept of art tourism as a direction of cultural travel (tourist interaction with local culture through creative self-expression) and its impact on the demand and attractiveness of urban space using the city of Izhevsk as an example. Izhevsk ‘s current resources that can be used to promote art tourism are described. A typology of cultural resources for the development of art tourism is proposed. Once organized as tourist routes in the territory of Izhevsk, these resources would allow forming a territorial map of art tourism in the city and trigger off a mechanism of emotional impact on local residents and visitors, solving the problem of high competition between cities on the domestic tourism market. The emphasis is on the art resources of the urban environment, since the greatest number of creative activities occur in the city space (architecture, fine and decorative arts, etc.).

Zhongwei Wang, Ruyue Zheng, Jian Tang et al.

Traditional Lingnan gardens, one of the three major types of Chinese garden design, have evolved over nearly a millennium, embodying the distinctive craftsmanship and aesthetic sensibilities of the Lingnan region. The architectural elements of doors and windows in these gardens serve as key expressions of regional cultural identity. This study focuses on four renowned Lingnan gardens (e.g., Yuyin Garden in Guangzhou, Liang Garden in Foshan, Qinghui Garden in Shunde, and Ke Garden in Dongguan) as primary case studies to examine the typologies, decorative characteristics, and aesthetic qualities of their doors and windows. Based on aesthetic imagery, the research elucidates both the functional and structural principles governing these designs, while also exploring their aesthetic resonance with traditional Chinese arts, such as calligraphy, painting, and poetry. By deepening the theoretical understanding of the formal and artistic features of Lingnan garden doors and windows, this study contributes to advancing the scholarly discourse on traditional garden architecture and supports the ongoing cultural preservation of this important heritage.

Erwin Ardianto Halim, Tessa Eka Darmayanti

This qualitative descriptive research was conducted to identify ethnomathematics concepts in Wat Arun "Temple of Dwan" in Bangkok, Thailand using the ethnographic approach. The purpose was to explore and examine the mathematical elements or concepts as well as meaning contained in the geometric patterns of temple. The process involved describing the motif associated with temple based on certain categories using the data retrieved from documentation, observation, and literature review. The results showed that mathematical and the geometric concepts such as triangles, squares, and rhombus were depicted in the geometric and floral motifs, offering compelling evidence of the involuntary implementation of mathematics in traditional motifs. Furthermore, these results can also be applied as a reference to develop mathematics teaching materials and interior design or architecture courses based on local wisdom.

Felix Schur, Jonas Peters

Causal inference on time series data is a challenging problem, especially in the presence of unobserved confounders. This work focuses on estimating the causal effect between two time series that are confounded by a third, unobserved time series. Assuming spectral sparsity of the confounder, we show how in the frequency domain this problem can be framed as an adversarial outlier problem. We introduce Deconfounding by Robust regression (DecoR), a novel approach that estimates the causal effect using robust linear regression in the frequency domain. Considering two different robust regression techniques, we first improve existing bounds on the estimation error for such techniques. Crucially, our results do not require distributional assumptions on the covariates. We can therefore use them in time series settings. Applying these results to DecoR, we prove, under suitable assumptions, upper bounds for the estimation error of DecoR that imply consistency. We demonstrate DecoR's effectiveness through experiments on both synthetic and real-world data from Earth system science. The simulation experiments furthermore suggest that DecoR is robust with respect to model misspecification.

Marine Le Bail

Can books be treated as mere decorative items ? From the 19th Century, when books started to beceome everyday consomer products, to nowadays, when social media tend to promote books by associating them with vintage and comforting values, books have found their place in the field of decorative arts and have been present in interior decoration manuals. Indeed, books can be at the center of several scenographies that contribute to expose them at home ; as such, they become part of our daily environment. Beyond their aesthetic interest, however, books are also part of a self-dramaturgy that takes place at home as well on the Bookoverse, according to new patterns. Nevertheless, the decorative uses of books tend to conflict with the dominant axiology that subordinate books to reading. Contrary to the temptation of opposing reading and non-reading as to celebrate the first one and condamn the latest, this paper aims at showing that decorative uses of books can be seen as a prolongation of our relation towards texts by making them immediately visible in our day-to-day environment.

Assist.Prof. Dr. Ragaa Abd El Khalek Mohamed Nour

The aesthetic artistic expression of Islamic arts represents a vital form in the decorative arts. Islamic arts realize the beauty of things. From this concept, Islamic civilization provided its artists and children with the need for serenity and beauty of the inner spirit and the development of their external visual enjoyment, The research problem includes the need to change the view of the consumer and the owners of ready-made garments printing factories, and the development of the visual culture of the print designer, the consumer, and the factory owners of ready-made garments by making use of the basics of aesthetic artistic expression in Islamic decorative arts, Employing the aesthetics of Islamic arts in the work of contemporary print designs that carry new formal values and achieve excellence and individuality, and study the basic concepts that emphasize the promotion of creativity and link the innovative aspect to the applied aspect in the field of textile printing for ready-made clothes, Design plays an important role in the development of the aesthetic aspect in the life of the individual and the design of the printed uniform is the first source of consumer attraction, The research aims to study the essential characteristics and features that raised the manifestations of Islamic aesthetic art and to reach how to take advantage of the concepts that link the innovative aspect and practical application to obtain print designs for ready-made clothes that carry distinction and individuality and show the extent of benefit from the aesthetic thought of Islamic arts in terms of its decorative vocabulary, Reviving the innovative aspect of the contemporary designer artist to create innovative contemporary print designs that change the external visual enjoyment of the consumer and owners of printing factories and ready-made clothes. The research depends on the descriptive analytical approach with applied study, From the results of the research the researcher proved that the Islamic decorative artworks were distinguished by their individuality, which resulted in the purity and beauty of the inner spirit and the visual enjoyment of the outer, Which helped the researcher to achieve the goal of the research and to know the textile printing designer how to revive his innovative side in obtaining new, contemporary creations for the printing of ready-made garments that help develop the visual culture of producers, factory owners and consumers, And there is a statistically significant relationship between benefiting from the aesthetics of the aesthetic expression of Islamic decorative arts and making innovative print design applications for ready-made garments of an Egyptian character with a distinct individuality and occasion.

Justin Curry, Washington Mio, Tom Needham et al.

Given a map $f:X \to M$ from a topological space $X$ to a metric space $M$, a decorated Reeb space consists of the Reeb space, together with an attribution function whose values recover geometric information lost during the construction of the Reeb space. For example, when $M=\mathbb{R}$ is the real line, the Reeb space is the well-known Reeb graph, and the attributions may consist of persistence diagrams summarizing the level set topology of $f$. In this paper, we introduce decorated Reeb spaces in various flavors and prove that our constructions are Gromov-Hausdorff stable. We also provide results on approximating decorated Reeb spaces from finite samples and leverage these to develop a computational framework for applying these constructions to point cloud data.

Keno K. Bressem, Jens-Michalis Papaioannou, Paul Grundmann et al.

This paper presents medBERTde, a pre-trained German BERT model specifically designed for the German medical domain. The model has been trained on a large corpus of 4.7 Million German medical documents and has been shown to achieve new state-of-the-art performance on eight different medical benchmarks covering a wide range of disciplines and medical document types. In addition to evaluating the overall performance of the model, this paper also conducts a more in-depth analysis of its capabilities. We investigate the impact of data deduplication on the model's performance, as well as the potential benefits of using more efficient tokenization methods. Our results indicate that domain-specific models such as medBERTde are particularly useful for longer texts, and that deduplication of training data does not necessarily lead to improved performance. Furthermore, we found that efficient tokenization plays only a minor role in improving model performance, and attribute most of the improved performance to the large amount of training data. To encourage further research, the pre-trained model weights and new benchmarks based on radiological data are made publicly available for use by the scientific community.

Pallavi Panda

In this paper we study the hyperbolic and parabolic strip deformations of ideal (possibly once-punctured) hyperbolic polygons whose vertices are decorated with horoballs. We prove that the interiors of their arc complexes parametrise the open convex set of all uniformly lengthening infinitesimal deformations of the decorated hyperbolic metrics on these surfaces, motivated by the work of Danciger-Guéritaud-Kassel.

Shaoor Munir, Patrick Lee, Umar Iqbal et al.

While privacy-focused browsers have taken steps to block third-party cookies and mitigate browser fingerprinting, novel tracking techniques that can bypass existing countermeasures continue to emerge. Since trackers need to share information from the client-side to the server-side through link decoration regardless of the tracking technique they employ, a promising orthogonal approach is to detect and sanitize tracking information in decorated links. To this end, we present PURL (pronounced purel-l), a machine-learning approach that leverages a cross-layer graph representation of webpage execution to safely and effectively sanitize link decoration. Our evaluation shows that PURL significantly outperforms existing countermeasures in terms of accuracy and reducing website breakage while being robust to common evasion techniques. PURL's deployment on a sample of top-million websites shows that link decoration is abused for tracking on nearly three-quarters of the websites, often to share cookies, email addresses, and fingerprinting information.

Alexander I. Bobenko, Carl O. R. Lutz

We introduce decorated piecewise hyperbolic and spherical surfaces and discuss their discrete conformal equivalence. A decoration is a choice of circle about each vertex of the surface. Our decorated surfaces are closely related to inversive distance circle packings, canonical tessellations of hyperbolic surfaces, and hyperbolic polyhedra. We prove the corresponding uniformization theorem. Furthermore, we show that on can deform continuously between decorated piecewise hyperbolic, Euclidean, and spherical surfaces sharing the same fundamental discrete conformal invariant. Therefore, there is one master theory of discrete conformal equivalence in different background geometries. Our approach is based on a variational principle, which also provides a way to compute the discrete uniformization and geometric transitions.

Claudia Morea

The European Commission within the Strategy for Sustainable and Circular Textiles cited circular business model solutions and ecodesign strategies as paramount for the sustainability of the textile sector. Nevertheless, how can sustainability knowledge be transmitted to the constellation of SMEs? The Eu Act for skills identified a gap between the knowledge currently owned by companies and the skills required for the green transition. The research investigated the possibilities of conducting the upskilling by integrating the Life Cycle Design approach within fashion design education. A toolkit has been developed for the qualitative and quantitative assessment of eco-design strategies in which Life Cycle Assessment analysis has a keyrole. The toolkit validation took place through a set of intensive workshops and a structured course, involving around 400 students at university level. Finally, the brands involved have enthusiastically greeted the effectiveness of students’ outcomes.

Mrunmay Jagadale

We discuss topological quantum field theories that compute topological invariants which depend on additional structures (or decorations) on three-manifolds. The $q$-series invariant $\hat{Z}(q)$ proposed by Gukov, Pei, Putrov and Vafa is an example of such an invariant. We describe how to obtain these decorated invariants by cutting and gluing, and make a proposal for Hilbert spaces that are assigned to two-dimensional surfaces in the $\hat{Z}$-TQFT.

Gert Aarts

Out of the many exciting results obtained with the lattice approach to QCD under extreme conditions, I discuss a few selected items related to chiral symmetry: the chiral condensate as an approximate order parameter, meson screening masses, and masses of baryons and mesons, including D(s) mesons, when approaching the crossover from the hadronic side.

Rabia Özgül Kılınçarslan

In the 1980s, one of the most important debates in the arts and culture scene in Turkey is the commercialization of art. One of the results of the commercialization of art is the transformation of the work of art into a decorative object. As a solution to this problem, instead of a work of art produced by traditional mediums, an artistic practice outside the demands of the art market has been proposed. The question of how and with which mediums to create this artistic practice has brought out alternative artistic tendencies. Held in 1986 at the Izmir German Cultural Center, Another Art Collective Exhibition in the Memory of Joseph Beuys exhibition is an important example to understand these discussions. Joseph Beuys, one of the important artists who determined the language of contemporary art with his artistic practice, blurred the border between art and life and expanded the field of art disciplines with the concept of social sculpture. The fact that it is the first group exhibition in the Izmir culture and arts environment where alternative art practices are exhibited determines the place of the exhibition in the art history chronology. The aim of this study is to convey the previously unwritten content of the exhibition, which shows an extremely important historical shift in visual art practices, and to reveal its art-historical importance.

Nadia Ashayeri, Behzad Vasigh

Some of the most impressive displays of delicate plaster work can be found when we look up in a space in Islamic Iranian architecture. Plaster is an ideal medium for decorative work, because it can take fine detail. It is also versatile: plaster can be formed into ornate, multi-layered ceiling medallions, intricate friezes replete with scrolls and swags, or long runs of coved cornice work. Plaster can be cast, shaped, carved, sculpted, sanded, or cut. When Islam opened a new view to art philosophy, it affected the ornament style in Iranian architecture. If one had to choose the defining material of Muslim culture, it would, without a doubt, be stucco. In contemporary history, plaster has been considered a relatively poor material, probably due to its lack of application in heavy duty building work, its easy handling and the simple process it takes to transform it from rock mineral. But, human dexterity, particularly that of Muslim artisans, helped to produce designs in stucco, and numerous buildings decorated with that technique have survived for us to admire. Architectural decoration has been one of the most resilient of the Islamic arts. The partial and more often overall decoration of buildings has been a characteristic feature of Islamic architecture from the eighth century onwards. Religious monuments as well as secular complexes have been decorated with an array of styles and techniques that reflected the multiplicity of Muslim societies and their cultural expressions. The importance given to decorating one's built environment has also been applied to temporary settlements such as tented encampments. Islamic plasterwork covers almost every single surface of walls, arches, vaults and ceilings, gaining an almost textile-like quality through their intricate ornament and vibrant palette of colours. Its almost overwhelming appearance is the result of the interconnection and superimposition of different ornamental elements: calligraphic inscriptions, geometric lazo. The interior decorations are centered on the mihrab. In fact, one can find almost all elements and methods of decoration on and around this symbolic place. There is a harmonious and creative co-existence between plaster, marble and brass. In addition, the mihrab typifies the beautiful marriage of all methods of decoration, especially geometry, floriation, calligraphy. The main roll of mihrab and its decoration became a mainstream in aesthetic orientation in Iranian art and architecture that spread to numerous architectural types such as schools to houses. One of the types of secular architecture is the house. Therefore, in order to evaluate this hypothesis and find the answer to the question: In what period are Chohar-soffeh decorations of Dosiran village rooted? the authors attempted to gather the information about Dosiran’s Chohar-soffeh houses and their decorations, and then examined the characteristics of these decorations and index samples similar to them in the history of the country and finally made a comparative comparison of the physical content of these samples. The research method includes survey, analytical-descriptive and interpretive-historical methods. Research data were obtained through field surveys, personal observations, and library documents. The research tool is logical inference and comparative comparison based on Carry-Walk-Method. Finally, it was concluded that two types of these inscriptions have a body similar to the plaster altars of the Ilkhanid period and in terms of content have the salient features of the plasterwork of this period; nevertheless, works of art combining the late Sassanid and early Islamic periods can also be seen in the drawings of all these inscriptions. The ornaments of Dosiran’s Chohar-soffehs, due to their appearance, organization and special content, as well as the way they are placed on the walls of the plates and the level of rib vaults, have given double value to the mansions of Gholam Hossein Naderi and Koohyar Dashti. These inscriptions include five different shapes and three general patterns. From the studies and comparisons, it was concluded that the Dosiran’s Chohar-soffehs strongly show the artistic course of the country from the late Sassanid period to the Ilkhanid period due to having well-known and important designs in the art history of Iran such as arabesques and Khataee motifs, flowers, knots (Gereh) and significant objects, which are mainly rooted in the Islamic period, as well as representing distinctive features such as great similarity to the valuable and sacred pattern of the altar in Islamic art and architecture, indicative features of Ilkhanid altars, using similar motifs to widely used motifs of the Sassanid era, the application of the natural form of plants and important techniques such as Muqarnas and honeysuckle (Laneh Zanbouri) ornament. The appearance and origins of the drawings of these inscriptions and the adapted examples are evidence of this claim; because despite the existence of continuity and artistic connection in the history of the country, some artistic features are specific to a particular period of history and are less considered in later periods. However, in Dosiran’s Chohar-soffehs, the characteristics of the bedrock of several periods are shown together.

neda salour, Mahin Sohrabi nasirabadi, Narges Nazarnejad

IntroductionTraditional Persian arts, with all their aesthetic and semantic aspects, are derived from the Iranian culture, thought, and beliefs and are eminent manifestations of the notion of tradition for Iranians. Traditional designs with symbolic motifs and patterns constitute the foundation of traditional arts. Such arts are mainly characterized by the artist’s reluctance to imitate the nature and his or her focus on abstraction and expression of symbolic concepts. If traditional motifs are measured and appraised in terms of the right criteria and principles, it turns out that they are not only non-repetitive but also fully ingenious and creative, and display themselves in the design through a refinement made in the artist’s mind. Such intellectual analyses prevailed in line with rationalistic theories that relied on reasoning and arguments since fourth century AH (tenth century CE) along with the prevalence of the rationalistic Peripatetic philosophy and then Avicenna’s theories of psychological faculties, particularly the human-specific rational or intellectual faculty. For Avicenna, the human intellect has degrees and it has the potential to move toward perfection. One comes to obtain the ability to connect to the Active Intellect (al-ʿaql al-faʿʿāl) or the Bestower of Forms (wāhib al-ṣuwar) by developing one’s intellect, and then enjoys its grace and emanation, in virtue of which one knows and understands the world and finds the ability for reasoning and acquisition of knowledge. Avicenna believes that imagination is directed at the intellect or reason, and the artist’s perceptions are of the same kind as intellectual intuition.Avicenna enumerates certain principles for the beauty of a work of art, suggesting that its beauty results from reason or intellect. The principles include good moderation, good synthesis (proportions), and good order. On the other hand, the method of drawing traditional motifs were transmitted to us through generations. The superficial aspects of traditional motifs are addressed in Dr. Ali Hasouri’s Foundations of traditional design, Dr. Abolghasem Dadvar’s Theoretical foundations of traditional arts (a collection of the views and theories of Muslim intellectuals about art and aesthetics from the perspective of Islamic philosophy and mysticism), and Dr. Yaghoub Azhand’s Seven decorative principles of Persian art (all in Persian). However, they fail to formulate the rules of formation in the method of drawing the motifs and the scientific criteria they involve. Perhaps they have taken these for granted, while an analysis and formulation of the roots and rational dimensions of the principles and rules of the traditional design can lead to creative motifs. Accordingly, preservation, revival, development, promotion, innovation, and a new discourse in the domain of traditional designs require a scientific and artistic underpinning, saturated with philosophical and intellectual grounds.Method of ResearchThe present research draws on the method of theory evaluation and an assessment of how Avicenna’s aesthetic principles corresponds to the rules of drawing the traditional motifs to present a theory about the rationalistic design of the rational traditional Persian vegetal motifs as the most fundamental and widespread motifs. The data were collected through a library-documentary method, and finally the findings are presented through a descriptive-analytic method.Discussion and ResultsThe method of drawing traditional vegetal motifs alone or alongside each other follows certain principles and rules, each of which is separately matched with Avicenna’s aesthetic principles, including:With respect to their aversion of nature, their abstraction, simplification, symbolism, and centripetalism (manifestation of unity and multiplicity), the motifs are expressive and have “good order”; that is, their parts are proportionate to, and harmonious with, the whole.The motion and dynamic of the motifs, their generativity and reproduction in varieties of frames and directions, the balance, proposition, and symmetry in design, the existence of a geometrical order among the parts, the existence of rhythm and harmony between the motifs and the design, variety in composition and frame, collation and replacement relations between motifs, and the correspondence with varieties of backgrounds, frames, and materials in the performance context are all in line with Avicenna’s definition of “good moderation” and order.Line value (intensity and mildness), which gives an impression of perspective in the two-dimensional space, equivalence of the positive and negative spaces (over and cover spaces), and the existence of the element of timelessness and placelessness in traditional designs indicate the “good synthesis” as well as the order and coherence in the design.For Avicenna, the principles of aesthetics (good synthesis, order, and moderation) are formulated based on knowledge, which is in turn a consequence of reason or intellect. Since the Avicenna’s aesthetic rules of traditional motifs are also in conformity with mathematical and geometrical proportions, it can be said to follow scientific criteria.ConclusionOur study shows that, first, the existence of order, coherence, and harmony between motifs as well as the proportion and balance within the design come from scientific criteria, which are induced by the intellectual faculty. Accordingly, once connected to the Active Intellect, the artist obtains an intuition, and after the stage of the imaginative faculty, he or she can reason by means of the intellectual faculty. Since the contribution and function of the imaginative and intellectual faculties vary at each stage of creating the design, the artist begins with senses, and then reaches the stage of imagination and abstraction until he or she attains the degree of intellection and reasoning to the point of innovation and invention in the field of art, particularly in drawing traditional vegetal motifs. This sort of intuition, which Avicenna calls “intellectual intuition,” as well as the match between the rules of the traditional design and Avicenna’s aesthetic principles, indicate the rationalistic character of the course of traditional motifs and the predominance of the intellectual faculty in the creation of innovative motifs.

Hong-Wing Pang, Yingshu Chen, Phuoc-Hieu Le et al.

Furnishing and rendering indoor scenes has been a long-standing task for interior design, where artists create a conceptual design for the space, build a 3D model of the space, decorate, and then perform rendering. Although the task is important, it is tedious and requires tremendous effort. In this paper, we introduce a new problem of domain-specific indoor scene image synthesis, namely neural scene decoration. Given a photograph of an empty indoor space and a list of decorations with layout determined by user, we aim to synthesize a new image of the same space with desired furnishing and decorations. Neural scene decoration can be applied to create conceptual interior designs in a simple yet effective manner. Our attempt to this research problem is a novel scene generation architecture that transforms an empty scene and an object layout into a realistic furnished scene photograph. We demonstrate the performance of our proposed method by comparing it with conditional image synthesis baselines built upon prevailing image translation approaches both qualitatively and quantitatively. We conduct extensive experiments to further validate the plausibility and aesthetics of our generated scenes. Our implementation is available at \url{https://github.com/hkust-vgd/neural_scene_decoration}.