RGB-Infrared person re-identification (RGB-IR ReID) is a challenging cross-modality retrieval problem, which aims at matching the person-of-interest over visible and infrared camera views. Most existing works achieve performance gains through manually-designed feature selection modules, which often require significant domain knowledge and rich experience. In this paper, we study a general paradigm, termed Neural Feature Search (NFS), to automate the process of feature selection. Specifically, NFS combines a dual-level feature search space and a differentiable search strategy to jointly select identity-related cues in coarse-grained channels and fine-grained spatial pixels. This combination allows NFS to adaptively filter background noises and concentrate on informative parts of human bodies in a data-driven manner. Moreover, a cross-modality contrastive optimization scheme further guides NFS to search features that can minimize modality discrepancy whilst maximizing inter-class distance. Extensive experiments on mainstream benchmarks demonstrate that our method outperforms state-of-the-arts, especially achieving better performance on the RegDB dataset with significant improvement of 11.20% and 8.64% in Rank-1 and mAP, respectively.
Efficient and robust grasp pose detection is vital for robotic manipulation. For general 6 DoF grasping, conventional methods treat all points in a scene equally and usually adopt uniform sampling to select grasp candidates. However, we discover that ignoring where to grasp greatly harms the speed and accuracy of current grasp pose detection methods. In this paper, we propose "graspness", a quality based on geometry cues that distinguishes graspable area in cluttered scenes. A look-ahead searching method is proposed for measuring the graspness and statistical results justify the rationality of our method. To quickly detect graspness in practice, we develop a neural network named graspness model to approximate the searching process. Extensive experiments verify the stability, generality and effectiveness of our graspness model, allowing it to be used as a plug-and-play module for different methods. A large improvement in accuracy is witnessed for various previous methods after equipping our graspness model. Moreover, we develop GSNet, an end-to-end network that incorporate our graspness model for early filtering of low quality predictions. Experiments on a large scale benchmark, GraspNet-1Billion, show that our method outperforms previous arts by a large margin (30 + AP) and achieves a high inference speed.
General image super-resolution techniques have difficulties in recovering detailed face structures when applying to low resolution face images. Recent deep learning based methods tailored for face images have achieved improved performance by jointly trained with additional task such as face parsing and landmark prediction. However, multi-task learning requires extra manually labeled data. Besides, most of the existing works can only generate relatively low resolution face images (e.g., $128\times 128$ ), and their applications are therefore limited. In this paper, we introduce a novel SPatial Attention Residual Network (SPARNet) built on our newly proposed Face Attention Units (FAUs) for face super-resolution. Specifically, we introduce a spatial attention mechanism to the vanilla residual blocks. This enables the convolutional layers to adaptively bootstrap features related to the key face structures and pay less attention to those less feature-rich regions. This makes the training more effective and efficient as the key face structures only account for a very small portion of the face image. Visualization of the attention maps shows that our spatial attention network can capture the key face structures well even for very low resolution faces (e.g., $16\times 16$ ). Quantitative comparisons on various kinds of metrics (including PSNR, SSIM, identity similarity, and landmark detection) demonstrate the superiority of our method over current state-of-the-arts. We further extend SPARNet with multi-scale discriminators, named as SPARNetHD, to produce high resolution results (i.e., $512\times 512$ ). We show that SPARNetHD trained with synthetic data can not only produce high quality and high resolution outputs for synthetically degraded face images, but also show good generalization ability to real world low quality face images. Codes are available at https://github.com/chaofengc/Face-SPARNet.
This study explores how classical painting techniques, particularly those rooted in the Renaissance tradition, can produce illusions of depth that vary with the viewer’s position. Focusing on a work rich in soft shading and subtle tonal transitions, we investigate how movement across the frontal plane influences the perception of spatial structure. A sequence of high-resolution photographs was taken from slightly offset viewpoints, simulating natural viewer motion. Using image alignment and pixel-wise difference mapping, we reveal perceptual shifts that suggest the presence of latent three-dimensional cues embedded within the painted surface. The findings offer visual and empirical support for concepts such as and dynamic engagement, where depth is constructed not solely by the image, but by the interaction between the artwork and the observer. Our approach demonstrates how digital analysis can enrich art historical interpretation, offering new insight into how still images can evoke the illusion of spatial presence.
Dev Sanskriti: Interdisciplinary International Journal, published by Dev Sanskriti Vishwavidyalaya, Haridwar, continues to uphold its founding vision—to serve as a platform for research on interdisciplinary subjects grounded in indigenous Indian knowledge systems, with a focus on harmonizing science and spirituality. Rooted in the inspiration of Yugrishi Pandit Shri Ram Sharma Acharya, the journal remains committed to fostering insightful scholarship that contributes meaningfully to individual upliftment and societal transformation.
The current issue features a diverse array of contributions spanning yogic science, philosophy, and Ayurvedic clinical practices—each offering unique insights into ancient Indian wisdom adapted for contemporary relevance.
The first research article by Chinmay Pandya and Jana Koci explores the cultural, historical, and linguistic connections between India and the Czech Republic. Drawing on shared Indo-European roots, historical struggles for freedom, and traditions in festivals and folk arts, the study highlights how both nations embody resilience, moral values, and humanistic principles, fostering cross-cultural bridges through education, craftsmanship, and soft power.
The second research article by Amrita Sharma and Chinmay Pandya examines the effect of Pragya Yoga as a holistic practice on psychological well-being in young adults aged 18-25. Through a pre-post intervention with a control group using the PGI General Well-Being Measure, the findings reveal significant improvements in emotional regulation, self-image, and overall well-being, with notable effect sizes across genders, underscoring Pragya Yoga's potential as a culture-specific mental health resource.
The third article, a perspective written in Hindi by Varsha Singh and Gayatri Gurvendra offers an analytical reflection on the Pragyayog Sadhana Protocol for holistic health as an Indian solution to global problems. It integrates elements of Jnana Yoga, Karma Yoga, and Bhakti Yoga into a daily routine accessible to all ages, emphasizing how physical, mental, and emotional well-being can lead to societal and global harmony, drawing from Vedic and Upanishadic principles.
The fourth article, a perspective by Upasana Sureshbhai Pawar and Yogita Baburao Mandle, presents an understanding of Vedanta Darshan and its conceptual comparison to Ayurveda. It delves into the schools of Vedanta (Advaita, Vishishtadvaita, Dvaita) and their alignment with Ayurvedic goals of moksha through purification of body, mind, and soul, highlighting the role of sattvic ahara and practices like self-inquiry in achieving holistic well-being and spiritual liberation.
The fifth article by Vineet Kumar, Prashant C. Patil, and Parvathy Sreekumar discusses insights into Arishta Lakshanas with respect to Panchindriya. This review correlates Ayurvedic signs of impending death—linked to sensory organs and Dosha imbalances—with modern medical indicators like death rattle and agonal breathing, emphasizing the prognostic value of these ancient observations in contemporary clinical practice.
We express our deep appreciation to all reviewers and contributors for their scholarly dedication and valuable efforts. We hope this issue will encourage deeper engagement with indigenous knowledge systems and inspire further academic inquiry in the fields of yoga, Ayurveda, philosophy, and allied disciplines.
We welcome feedback and suggestions from our readers to continue improving the journal as a meaningful platform for interdisciplinary research rooted in Indian traditions. Enjoy reading and enrich yourself. Have a wonderful year ahead!
The task of large-scale retrieval-based image localization is to estimate the geographical location of a query image by recognizing its nearest reference images from a city-scale dataset. However, the general public benchmarks only provide noisy GPS labels associated with the training images, which act as weak supervisions for learning image-to-image similarities. Such label noise prevents deep neural networks from learning discriminative features for accurate localization. To tackle this challenge, we propose to self-supervise image-to-region similarities in order to fully explore the potential of difficult positive images alongside their sub-regions. The estimated image-to-region similarities can serve as extra training supervision for improving the network in generations, which could in turn gradually refine the fine-grained similarities to achieve optimal performance. Our proposed self-enhanced image-to-region similarity labels effectively deal with the training bottleneck in the state-of-the-art pipelines without any additional parameters or manual annotations in both training and inference. Our method outperforms state-of-the-arts on the standard localization benchmarks by noticeable margins and shows excellent generalization capability on multiple image retrieval datasets.
Egyptian heritage is considered one of the most important sources of inspiration for producing new ideas in the fields of plastic arts, as Egyptian heritage contains decorations and symbols of cultural authenticity, with a wealth of intellectual and social connotations that represent Egyptian identity. Egyptian heritage is a creative source that distinguishes Egyptian identity because of its meanings directly linked to people’s customs. And its traditions and rituals, through some of the various symbols that the Egyptian artist deals with in his plastic expressions. We must pay attention to the symbols of the Egyptian heritage to preserve this great heritage, as it is an important factor in human culture.
The art of hand weaving is one of the arts that can directly express legacies, people’s customs, traditions, rituals and beliefs in particular, and shows the Egyptian identity in general, and through the researcher’s practical practice in teaching the hand weaving course with first-year
This article examines the protection of cultural heritage in the jurisprudence of the International Court of Justice (ICJ, or Court) under the 1965 International Convention on the Elimination of All Forms of Racial Discrimination (CERD). It analyses all the cases before the ICJ in which the issue has arisen to date, with a particular focus on the key order on provisional measures in Armenia v. Azerbaijan, issued in 2021. The main argument is that this decision, although to some extent controversial, has set a precedent for other cultural heritage protection cases before the Court. However, in light of further ICJ jurisprudence, states will still have to meet a heavy burden of proof in order to make real use of this precedent, in particular to redress actual collective harm to affected communities.
Curricula are the guidelines prepared to carry out education and training activities in accordance with their purposes. Teaching programs are prepared based on the goals of the school or educational institution, student needs, learning and teaching processes, course contents, learning materials, measurement and evaluation systems, teacher and student roles and relationships. The curriculum aims to develop students’ knowledge, skills and abilities in a specific discipline by supporting their individual development. It can be said that education and training programs have a structure that changes and develops people’s behaviors and thoughts in many ways. Students, teachers, and educational programs are among the most important elements that shape and guide the education system. Therefore, while creating the education program, it should be aimed to be focused on meeting the needs of the society as well as the views of students and teachers. Fine Arts High Schools are private schools that aim to provide students with artistic and cultural skills. They offer educational programs where students can develop their skills in art branches such as music, painting, dancing, and increase their artistic accumulation with art history, aesthetics and culture courses. This study aims to determine the differences in the individual instrument (Violin) course curriculum conducted in Fine Arts High Schools between 1990-2022. Relational screening pattern based on qualitative research model was used in the study and status determination and evaluation was performed. In the study, the relevant reports published in the Republic of Turkey Ministry of National Education and MoNE Journal of Communiqués were used to specify the main objectives and program objectives of the individual instrument (violin) course curricula of Fine Arts High Schools between 1990-2022. Document analysis, which is used in case studies, was used in the analysis of the data. When examining the violin curricula in fine arts high schools from their establishment to the present day, it becomes evident that there has been a continuous emphasis on the development of technical and theoretical knowledge, as well as repertoire building. As a result of the research, it is concluded that the violin lesson curriculum of 2022 covers the programs of previous years. Also in order to cultivate well-rounded musicians in fine arts high schools, it is crucial to develop an education plan that not only focuses on technical and theoretical aspects but also places a strong emphasis on enhancing musicality, interpretation, and music literacy. The results were collected under the relevant programs and suggestions were made for the field.
Women are an active, if often low-key, presence in Whistler’s Thames images, from ghostly figures of models and fashionable strolling women to the small traders who populated the streets near his home in Chelsea. Women shopped for their families; they worked outside the home as servants, nursemaids, shop assistants, and in family trades. They travelled along the river daily and criss-crossed its banks in a changing cityscape in which new spaces for leisure were being opened up. They sought a living in a night-time world of entertainment venues like Vauxhall Gardens and Cremorne that could lead to exploitation, disease, and an early grave. This world beyond Whistler’s Chelsea homes, overseen during the 1860s by his model and partner, Joanna Hiffernan (and by his mother, Anna Whistler for a time), is often overlooked. Moreover, Whistler’s suggestion that the presence of tiny, anonymised female figures in works like Variations in Pink and Grey: Chelsea and Cremorne Gardens, No. 2 was merely about colour and establishing a balance of decorative elements invites fresh analysis. This essay takes as its starting point women’s presences in Whistler’s riverside home and family circle before venturing outdoors to explore the world they inhabited along the Thames at Chelsea. It considers such questions as: how did women experience the contemporary redevelopment of the river? How did they occupy its adjacent streets and public spaces? Drawing upon examples of Whistler’s Thames subjects from the 1870s and the work of chroniclers of social change like Chelsea photographer James Hedderly (1815–1885), it examines the world of women along the river in the context of visual, literary, and socio-economic discourses of the period. It seeks to give voice to their presence beneath the quiet surface of Whistler’s images and how, as “involuntary neighbours”, they made sense of the watery, arterial world of London’s celebrated river.
The Jewish art dealer Julius Carlebach opened his art shop ‘Die Volkskunst’ in Berlin in 1932, specializing in antiques and cultural-historical objects. Carlebach quickly became a recognized businessman; he became known for supporting collectors and museums in their search for special artefacts, for supplying specific cultural-historical special collections and for having a wide network of suppliers and interested parties. When the National Socialists seized power in 1933, his private and professional situation changed in the course of the new National Socialist laws, hostilities and persecution in such a way that he lost his business and left his country towards the end of 1937 emigrating to the USA. The article focuses in particular on the period between the professional ban in 1936 and Carlebach’s emigration. In a research project funded by the German Lost Art Foundation at the German Optical Museum in Jena, it was possible to reconstruct Carlebach’s living situation at the time mentioned using high-quality historical documents and objects from the collection. Carlebach has sold around 1.000 objects on the subject of optics to the Optical Museum Jena. The surviving sales correspondence not only provides information about the objects, but also, in connection with Carlebach’s personal file of the Reich Chamber of Fine Arts, deep insights into Carlebach’s persecution scenario and into the special role of the Optical Museum Jena as a possible escape helper.
Keywords: Professional ban; Reich Chamber of Fine Arts; trade in optical instruments; Optical Museum Jena; emigration
اخیراً در جهان، نسبت به گذشته بر مقوله تعلیم و تربیت از طریق نمایش، تأکید بیشتری به وجود آمده است. در جوامع مختلف به تدریج مسیر رو به رشدی را طی کرده است؛ بیشتر مخاطبان خود را در رده سنی کودکان و نوجوانان مییابد. با توجه به اهمیتی که این رده سنی برای مسئله تربیت و ایجاد مهارت دارد، بررسی این مقوله در دانشآموزان ابتدایی میتواند نکات مهمی را آشکار سازد. این پژوهش به روش توصیفی و تحلیلی و با تکیه بر دادههای کمی انجام شده است. روش تحقیق، نیمه آزمایشی بود. جامعه آماری 361 نفر از دانشآموز به روش نمونهگیری تصادفی مرحلهای با استفاده از جدول مورگان انتخاب شدند و پرسشنامه مهارت اجتماعی گرشام و الیوت (1999) را دریافت نمودند. سپس بهطور تصادفی ساده در دو گروه 180 نفری در دو گروه آزمایش(مدارس غیردولتی) و کنترل(مدارس دولتی) جایگزین شدند. گروه آزمایش در یک ماه و طی 4 جلسه 45 دقیقهای مفید در کلاس هنری (نمایش) آموزش دیدند، در حالیکه گروه کنترل در طی این مدت برنامه روزانه خود را دنبال میکردند و هیچگونه مداخله آموزشی دریافت نکردند. پس از اجرای برنامه آموزشی، مجدداً پرسشنامه بر روی هر دو گروه اجرا گردید. تحلیل دادهها با استفاده از تحلیل کواریانس نشان داد که شرکت در کلاسهای هنری نمایش بر ارتقای پیشرفت تحصیلی دانشآموزان بهطور معناداری مؤثر بوده است. این نتایج نشان میدهد که نمایش بر مهارت اجتماعی در ابعاد: همکاری، ابراز وجود، خویشتنداری و همدلی، تأثیر مثبت و معنادار داشته است.اهداف پژوهش:1.بررسی تأثیر شرکت در کلاسهای هنری نمایش بر پیشرفت تحصیلی دانشآموزان دختر دوره ابتدایی تهران.2.مطالعه میزان مهارتپذیری دانشآموزان در مقطع ابتدایی.سؤالات پژوهش:1.تأثیر شرکت در کلاسهای هنری نمایش بر پیشرفت تحصیلی و مهارت اجتماعی دانشآموزان دختر دوره ابتدایی تهران چگونه است؟2.سن دانشآموزان ابتدایی چه تأثیری بر میزان مهارتپذیری آنها دارد؟
Women’s voices have historically been silenced in a vast array of contexts. Ethical incongruities exist between theoretical perspectives regarding right action for protection of women’s dignity and the tangible dilemma presented by systemic silencing. A fictive imagination found in the arts – and literature in particular – often plays a role in bridging that ethical gap between theory and practice. Using my arts-based approach of poet(h)ic inquiry (Duff, 2016a), I portray the symbolic power of women’s voices, fictionality, and textual polyvocality in a research-based play. Poet(h)ic inquiry is a method for ethical reflection incorporating spiritual and poetic-aesthetic values: a pedagogical space of inquiry within a non-fixed site of teaching, life-long learning, creativity, and knowing, located at the confluence of the creative writing process (in the context of fiction as research), ethics, and spirit. In “Story about Story. Toronto 2001,” I inquire poet(h)ically, in a speculative fictional tale about a woman’s journey with her baby, using research journal data and “freefall writing” notes as springboard for a “fictive leap” (Mitchell, 1977). Through the fictive writing process, knowledge is generated with respect to themes of isolation and connection towards re-finding the lost self’s language. Voices heard and unheard, pinpoint an ethic of meaning towards transcending silence, suffering, and colonial injustices. My story evokes ironies and eco-ethical queries within wildlife research, as well as questions evoked by the sensory overload of urban commerce, and an unspoken class system. I include reflections on fictionality, literature, and redemption.
آینه از دیر باز به دلیل خاصیت بازنمایی از دنیای اطراف و قابلیت تغییر در چگونگی این بازنمایی، همواره، در ماهیت خود برای هنرمند جذابیت و رمزآلودگی به جهت انتخاب موضوع اثر هنری خود داشته است. رویکرد و مساله این پژوهش اهمیت نظریه مرگ مولف بارت و استقبال آن توسط دریدا در هنر پست مدرن است. بدین ترتیب، این پژوهش سعی در به چالش کشیدن نظریه مرگ مولف در تعمیم به آثار هنری جدید از یک سو، و تحلیل و بررسی کارکرد آینه بر اساس نظریه ساختار شکنی دریدا از سوی دیگر دارد. بر این اساس، پژوهش حاضر به دنبال پاسخگویی به این پرسشها است: 1) آیا آرا و نظریه های پساساختگرایانی چون رولان بارت و دریدا بر آثار هنری پست مدرن قابل تعمیم و تطبیق است؟ 2) آیا میتوان اثر هنری تجسمی را مانند متن ادبی با مرگ مولف دارای معنا و مفهوم جدیدی کرد؟ بنابراین، برای اثبات این نظریه پژوهش حاضر، نقش آینه را در چهارچوب نظری پساساختگرایان و با دیدگاه تطبیقی به نظریه مرگ مولف رولان بارت مطرح و بررسی مینماید. درنهایت، قصد برآن است تا با تحلیل و بررسی آن به نتایج تازه و بدیعی از تغییر شکل و نقش مولف و پدید آورنده در ارتباط با مخاطب دست یابد. این رهنمود نشانگر آن است که، مولف نه تنها غایب و حذف نشده، بلکه با نمودی موثرتر ولی غیرمستقیم و نامحسوس با مخاطب خود در تعامل است و نیز بیانگر آن است که، هنرهای تعاملی با کارکرد آینه نمونه تطبیقی موثقی از آثار هنری پست مدرن میتوانند باشند که اندیشهها و عقاید پساساختگرایانی مانند بارت و دریدا را در آثارشان انعکاس داده و بازگو میکنند. پژوهش حاضر با استفاده از منابع کتابخانهای به روش اسنادی و توصیفی و تطبیقی انجام شدهاست. جامعه آماری شامل شش اثر از مجموعه هنرهای تعاملی آثار هنرمندان دهههای گذشتهاست. این آثار به گونهای گزینش گردیده که برای اثبات فرضیه و نیز تعمیم آن بر اساس نظریات مطرح شده، کفایت کند.
Мета статті – визначити специфіку візуальної культури в соціальних мережах у контексті соціальної самоідентифікації користувачів. Методологія дослідження. Наукові положення дослідження аргументовані на рівні сукупності загальнонаукових методів пізнання (аналітичного, джерелознавчого, історичного) та культурологічних підходів. Наукова новизна. Розглянуто специфіку візуальної культури в популярних соціальних мережах та мобільних додатках «MySpace», «Instagram», «Webrity», «YouTube», «Facebook», «Snapchat», «Tinder» та досліджено особливості соціальної самоідентифікації користувачів; визначено, що домінуючими тенденціями у візуальній культурі соціальних мереж на сучасному етапі є автентичність, справжність та достовірність презентованих користувачами образів, а прискоренню виявлення трендів та домінуючого візуального засобу привертання уваги аудиторії сприяють мобільні додатки, завдяки можливість швидкої візуальної трансляції; доведено позитивний вплив практик соціального навчання на розвиток особистості засобами візуальної культури в мережі Інтернет. Висновки. Побудова ідентичності у ізуальній культурі соціальних мереж на сучасному етапі є складним і безперервним процесом, надзвичайно важливим у якому є здійснення критичного аналізу та здатність робити осмислений вибір підтримки власної популярності в Інтернеті через композицію зображення та ін. Особисті цінності, відповідно до специфіки впливу візуальної культури у соціальних мережах, поєднуються з домінуючими тенденціями формування ідентичності, засобами презентації привабливих образів. Наявність стратегії та інструментів для управління користуванням соціальними мережами, а також мінімалізація порівнянь кожної конкретної особистості з об’єктами візуальної культури, безумовно позитивно відобразяться на розвитку суспільства загалом та окремих індивідуумів зокрема.
En los últimos treinta años el número de nuevos programas e iniciativas de arte público se ha incrementado exponencialmente tanto en Estados Unidos como a nivel internacional. El aumento de iniciativas que promueven esta disciplina y la falta de rigurosidad en sus procesos de selección y gestión dificultan la consecución de piezas de arte público exitosas. El siguiente artículo presenta y evalúa diferentes aspectos que facilitan la concepción de piezas de arte público con garantías a través del Percent for Art Program, de la Concejalía de Cultural de Nueva York, programa pionero en la disciplina en Estados Unidos.