Hasil untuk "Sculpture"

S. Boym

Andreas Huyssen

Present pasts - media, politics, amnesia Monumental seduction - Christo in Berlin The voids of Berlin After the war - Berlin as palimpsest Fear of mice - the Times Square redevelopment Memory sites in an expanded field - the Memory Park inBuenos Aires Doris Salcedo's memory sculpture unland - the Orphan's Tunic Of mice and mimesis - reading Spiegelman's Maus with Adorno Rewritings and new beginnings - W.G. Sebald and the literature on the air war Twin memories - after-images of nine/eleven.

Haonan Wang, Hanyu Zhou, Haoyue Liu et al.

Generative models have achieved success in producing semantically plausible 2D images, but it remains challenging in 3D generation due to the absence of spatial geometry constraints. Typically, existing methods utilize geometric features as conditions to enhance spatial awareness. However, these methods can only model relative relationships and are prone to scale inconsistency of absolute geometry. Thus, we argue that semantic information and absolute geometry empower 3D cognition, thereby enabling controllable 3D generation for the physical world. In this work, we propose Cog2Gen3D, a 3D cognition-guided diffusion framework for 3D generation. Our model is guided by three key designs: 1) Cognitive Feature Embeddings. We encode different modalities into semantic and geometric representations and further extract logical representations. 2) 3D Latent Cognition Graph. We structure different representations into dual-stream semantic-geometric graphs and fuse them via common-based cross-attention to obtain a 3D cognition graph. 3) Cognition-Guided Latent Diffusion. We leverage the fused 3D cognition graph as the condition to guide the latent diffusion process for 3D Gaussian generation. Under this unified framework, the 3D cognition graph ensures the physical plausibility and structural rationality of 3D generation. Moreover, we construct a validation subset based on the Marble World Labs. Extensive experiments demonstrate that our Cog2Gen3D significantly outperforms existing methods in both semantic fidelity and geometric plausibility.

Michele Giuliano Cipolla

The aim of the article is to investigate some works produced by Enrico Castellani in the early 1970s. In the light of the theoretical elaborations conceived by Castellani in the 1960s and during the following decades, the article aims to reread in particular two types of formal articulation executed between 1972 and 1973, that is Lavagna and the Topologema series, in which it seems possible to trace the genesis of an unprecedented speculative need by the author. Without ever neglecting Castellani's ‘classic’ work, relating to his famous monochrome Superfici sensitised by a punctuation of nails, and indeed always developing the discourse through the necessary reference to the canonical work, the artist's explorations carried out almost in the same months on canvas and slate manifest an investigation of the formal opportunities provided by the constituent elements of painting. Point, line and surface are the foundation of the reflection started by Castellani already at the end of the 1950s, the basis to which are now added the coordinates of the grid, decentralisation and transparency, values that in the 1970s the artist seems to want to recode within a new technical-theoretical research. Reaching as far as the observation of the plastic outcome of this trend through a sculpture from 2015, the aim of the article is to record these experiments precisely as processes of testing and verifying the artist's primary idea, comparing his writings with the texts of international critics - such as Alloway and Krauss - who simultaneously, in the United States, identify similar paths.

Pengyu Yang, Kai Yin, Xinghao Song et al.

Alexander Htet Kyaw, Haotian Ma, Sasa Zivkovic et al.

We present an AI-assisted Augmented Reality assembly workflow that uses deep learning-based object recognition to identify different assembly components and display step-by-step instructions. For each assembly step, the system displays a bounding box around the corresponding components in the physical space, and where the component should be placed. By connecting assembly instructions with the real-time location of relevant components, the system eliminates the need for manual searching, sorting, or labeling of different components before each assembly. To demonstrate the feasibility of using object recognition for AR-assisted assembly, we highlight a case study involving the assembly of LEGO sculptures.

Daniel Toso

Como entender la complejidad de los proyectos culturales que hacen necesaria la intervención de las sabidurías de una gran cantidad de áreas del conocimiento, que deben ser coordinadas con jerarquías horizontales, donde cada parte debe conocer el alcance de su trabajo (scop of work) y respetar los contextos humanos y las metodologías de producción diseñadas específicamente para la actuación. TRABAJO EN EQUIPO (TRANSDISCIPLINAR) Todo lo que logramos individualmente y en equipo podría ser el resultado de la ayuda que recibimos • La gestión de un proyecto CULTURAL incluye: - Identificación de los requisitos. - Contextualización del proyecto en el ámbito paisajístico, histórico- cultural y social – LUGAR / TERRITORIO - (no solo pensar en el publico objetivo sino tener un conocimiento muy profundo delas instancias culturales / tribales ancestrales, los impactos migratorios, colonialismos y guerras civiles, promoción pública de la “IDENTIDAD NACIONAL”, capitalismos y nuevos colonialismos, las relaciones con las tecnologías de la producción y comunicación y la composición de las ESTRUCTURAS DE PENSAMIENTO Y/O INTELIGENCIA EMOCIONAL INDIVIDUAL Y SOCIAL, en el espacio temporal actual como resultado de estas previas interacciones de PODER). - Establecimiento de objetivos claros y alcanzables (PLAN ESTRATÉGICO - PLAN DE GESTIÓN INICIAL Y MANTENIMIENTO REVISABLES). - Equilibrar las demandas concurrentes de calidad, alcance, tiempo y costo. - Adaptar las especificaciones, planos / documentos, y el enfoque a las distintas inquietudes y expectativas de las diversas partes interesadas. - Formación de los lideres de equipos de comunicación y gestión ( ACTITUD PERSONAL NECESARIA, COMPRENSIÓN DE LOS OBJETIVOS Y APRENDIZAJE DE MANEJO DE HERRAMIENTAS NECESARIAS PARA CONDUCCIÓN DE EQUIPOS DE TRABAJO EN EL AMBITO DE LA CULTURA).

Sungho Kang, YeongHyeon Park, Hyunkyu Park et al.

Scene depth estimation from paintings can streamline the process of 3D sculpture creation so that visually impaired people appreciate the paintings with tactile sense. However, measuring depth of oriental landscape painting images is extremely challenging due to its unique method of depicting depth and poor preservation. To address the problem of scene depth estimation from oriental landscape painting images, we propose a novel framework that consists of two-step Image-to-Image translation method with CLIP-based image matching at the front end to predict the real scene image that best matches with the given oriental landscape painting image. Then, we employ a pre-trained SOTA depth estimation model for the generated real scene image. In the first step, CycleGAN converts an oriental landscape painting image into a pseudo-real scene image. We utilize CLIP to semantically match landscape photo images with an oriental landscape painting image for training CycleGAN in an unsupervised manner. Then, the pseudo-real scene image and oriental landscape painting image are fed into DiffuseIT to predict a final real scene image in the second step. Finally, we measure depth of the generated real scene image using a pre-trained depth estimation model such as MiDaS. Experimental results show that our approach performs well enough to predict real scene images corresponding to oriental landscape painting images. To the best of our knowledge, this is the first study to measure the depth of oriental landscape painting images. Our research potentially assists visually impaired people in experiencing paintings in diverse ways. We will release our code and resulting dataset.

Elizabeth Lee

This study unpacks the Buddhist assimilation of Namsan (South Mountain) in Kyŏngju through the creation and aggregation of Buddhist sculptures and structures on its slopes during the seventh to tenth centuries. Though steeped in native lore regarding nature deities and efficacious rocks, auspicious geological features such as Namsan were recast as part of a Buddhist landscape filled with manifestations of the Buddha and his attendants. These images served to demarcate claims of Buddhism’s place in the peninsula and were situated within sites that were previously marked and claimed by indigenous systems of belief. Employing an approach that draws parallels with David Harvey’s concept of urban environments as palimpsests, this paper reveals that Namsan was a multifaceted site, with military fortifications, temples, and rock-carved sculptures augmenting its spiritual and political significance. The repeated installation of Buddhist imagery ‘recovered’ the mountain, subsuming indigenous beliefs under Buddhist practices. This research finds that Namsan’s landscape was purposefully layered, reflecting the dialectical relationship between various communities and their religious and social practices over time. Analyzing Namsan as a palimpsest underscores the strategic appropriation of the mountain’s materiality and sacrality to establish a Buddhist territory deeply intertwined with the Silla elite’s politics and ideologies.

Белокурова, С.М.

В сентябре 2024 года исполняется 85 лет разгрому японской армии на реке Халхин-Гол. Общая победа монгольских и советских войск стала важной вехой для хода дальнейших драматических событий 1940-х годов. Тема халхингольского сражения получила отражение и в изобразительном искусстве, особенно в монументальной скульптуре. Наиболее выдающимся памятником является монумент, созданный в 1981–1984 годах совместной советско-монгольской группой скульпторов и архитекторов. Одним из авторов стал Цэвэгмид Амгалан, талантливый скульптор, выпускник Академии художеств имени И.Е. Репина. Поскольку творчество Ц. Амгалана очень мало освещено в российском искусствоведении, автор статьи ставит перед собой ряд задач. Во-первых, рассмотреть основные этапы биографии скульптора, особенно период его обучения в Ленинграде. Во-вторых, провести анализ композиционных особенностей монумента, посвященного победе на Халхин-Голе. Исследование проведено с использованием историко-биографического и иконографического методов.

Marta Baron-Milian

The article outlines the various roles that figures of silence play in texts by Italian futurists and the avant-garde responses by female futurists, conveyed in a horizon of linguistic, sonic, visual, and performative signs and figures. In futurist manifestos – full of urban noise and shouting – silence marks the field of a “futurist anti-tradition” (G. Apollinaire), becoming the negative starting point of programmatic texts concerning literature (F.T. Marinetti), music (L. Russolo), painting, sculpture, and architecture (C. Carrà, U. Boccioni, A. Sant’Elia). However, the matters looks different when we consider female futurists’ voices, in which “wordless states” are more than just a negative opposite to the scream and noise affirmed by futurism. In works by Mina Loy or Benedetta Cappa Marinetti the textual figures of silence often become an ironic critical response to the shout-filled texts by male futurists.

Xuan Ju, Ailing Zeng, Jianan Wang et al.

Humans have long been recorded in a variety of forms since antiquity. For example, sculptures and paintings were the primary media for depicting human beings before the invention of cameras. However, most current human-centric computer vision tasks like human pose estimation and human image generation focus exclusively on natural images in the real world. Artificial humans, such as those in sculptures, paintings, and cartoons, are commonly neglected, making existing models fail in these scenarios. As an abstraction of life, art incorporates humans in both natural and artificial scenes. We take advantage of it and introduce the Human-Art dataset to bridge related tasks in natural and artificial scenarios. Specifically, Human-Art contains 50k high-quality images with over 123k person instances from 5 natural and 15 artificial scenarios, which are annotated with bounding boxes, keypoints, self-contact points, and text information for humans represented in both 2D and 3D. It is, therefore, comprehensive and versatile for various downstream tasks. We also provide a rich set of baseline results and detailed analyses for related tasks, including human detection, 2D and 3D human pose estimation, image generation, and motion transfer. As a challenging dataset, we hope Human-Art can provide insights for relevant research and open up new research questions.

María Paz Sáez-Pérez, Luisa María García Ruiz, Jorge A. Durán-Suárez et al.

The present investigation carries out a thermal evaluation of two rooms located in the Royal Hospital of Granada (Rector’s Office). This is a heritage building where have been done studies that allow the as-sessment of possible improvements in future interventions that guarantee improvement in en-ergy and regulatory compliance are decisive. This article presents for the first time, through energy simulation, the behavior of two rooms in two temporal periods, thermally extreme (summer and winter) and with opposite orientations. This has allowed the potential benefits to be considered in real climate conditions. The results demonstrate and quantify that considering the location, orientation, arrangement of openings, and inclusion of transition zones between the exterior and the interior, an improvement in thermal comfort is obtained. The southwesterly orientation is favorable in the winter period and the northeasterly orientation in the summer period. It is also confirmed that the arrangement of thick masonry walls responds adequately in climates with high thermal amplitudes, favoring the mitigation of extreme conditions. It is concluded by stating that the orientation and the construction components are the main responsible factors for the thermal capacity in this type of building. In this context, the use of non-destructive study methods offers valuable scientific support through the results obtained.

Nicolas Gutierrez-Perez, Manuel De-Miguel-Sanchez

<p>This work presents part of the experience accumulated by the research team of which the authors are members in data collection and information management for the representation of architectural and artistic heritage. To do so, we will analyze the results according to the characteristics of the elements to be studied, which we shall classify according to their scale, location, and nature. In this sense, we propose three working approaches: the L scale, linked to exterior urban spaces, the M scale, for buildings and their interiors, and the S scale, for movable objects and sculptures. Likewise, we address an aspect that is not often dealt with in scientific publications, such as the importance of the graphic planning of tasks and timings in order to make campaigns more efficient. In addition, we performed a critical analysis of the workflows prioritizing the characteristics of the object and the physical constraints that researchers in this field must overcome.<br />As a case study, we shall use the Chapel of San Ildefonso, the foundational space of the University of Alcalá (Madrid), declared a World Heritage Site by UNESCO. The heritage qualities of this space allow us to test and exemplify the work process according to the aforementioned scales of approximation. That is to say, the facade as an example of urban scale (L), the wooden coffered ceiling as the main element of the building´s interior (M) and the tomb of Cardinal Cisneros and the adjacent altarpiece as an example of movable scale (S). In short, the contribution is a reference for the effective planning and execution of the survey process, as well as for the processing of the models discussed.</p><p>DOI: https://doi.org/10.20365/disegnarecon.30.2023.5</p>

Donna Strahan

The production of copper alloy devotional images of the Buddha probably began in northern India sometime in the late second century CE but certainly by the third century. From there the transmission of copper alloy Buddha sculpture technology traveled across Asia, beginning with the earliest known images from Pakistan, Afghanistan, and the Hindu Kush regions then moving across northern India. It continued north into western China, across China, and into Korea and Japan. As the religion spread, the need for sculptures also traveled a southern route, from India into Sri Lanka, Myanmar, Thailand, Cambodia, Vietnam, and Indonesia. Early representations of the Buddha were interpreted differently from region to region, with a range of views about how to use and understand the imagery. Transmission of technique came along with the transmission of style. However, where materials were not available, an evolution of alternative materials and methods developed. These different technologies affected style, producing images of varied appearances. This paper focuses on early casting developments along the southern route from the fourth through the ninth centuries CE.

Qiucheng Wu, Yifan Jiang, Junru Wu et al.

The disentanglement of StyleGAN latent space has paved the way for realistic and controllable image editing, but does StyleGAN know anything about temporal motion, as it was only trained on static images? To study the motion features in the latent space of StyleGAN, in this paper, we hypothesize and demonstrate that a series of meaningful, natural, and versatile small, local movements (referred to as "micromotion", such as expression, head movement, and aging effect) can be represented in low-rank spaces extracted from the latent space of a conventionally pre-trained StyleGAN-v2 model for face generation, with the guidance of proper "anchors" in the form of either short text or video clips. Starting from one target face image, with the editing direction decoded from the low-rank space, its micromotion features can be represented as simple as an affine transformation over its latent feature. Perhaps more surprisingly, such micromotion subspace, even learned from just single target face, can be painlessly transferred to other unseen face images, even those from vastly different domains (such as oil painting, cartoon, and sculpture faces). It demonstrates that the local feature geometry corresponding to one type of micromotion is aligned across different face subjects, and hence that StyleGAN-v2 is indeed "secretly" aware of the subject-disentangled feature variations caused by that micromotion. We present various successful examples of applying our low-dimensional micromotion subspace technique to directly and effortlessly manipulate faces, showing high robustness, low computational overhead, and impressive domain transferability. Our codes are available at https://github.com/wuqiuche/micromotion-StyleGAN.

Marwin Schindler, Thorsten Korpitsch, Renata G. Raidou et al.

In this paper, we present a new workflow for the computer-aided generation of physicalizations, addressing nested configurations in anatomical and biological structures. Physicalizations are an important component of anatomical and biological education and edutainment. However, existing approaches have mainly revolved around creating data sculptures through digital fabrication. Only a few recent works proposed computer-aided pipelines for generating sculptures, such as papercrafts, with affordable and readily available materials. Papercraft generation remains a challenging topic by itself. Yet, anatomical and biological applications pose additional challenges, such as reconstruction complexity and insufficiency to account for multiple, nested structures--often present in anatomical and biological structures. Our workflow comprises the following steps: (i) define the nested configuration of the model and detect its levels, (ii) calculate the viewpoint that provides optimal, unobstructed views on inner levels, (iii) perform cuts on the outer levels to reveal the inner ones based on the viewpoint selection, (iv) estimate the stability of the cut papercraft to ensure a reliable outcome, (v) generate textures at each level, as a smart visibility mechanism that provides additional information on the inner structures, and (vi) unfold each textured mesh guaranteeing reconstruction. Our novel approach exploits the interactivity of nested papercraft models for edutainment purposes.

Ajay Divakaran, Aparna Sridhar, Ramya Srinivasan

Incorporating interdisciplinary perspectives is seen as an essential step towards enhancing artificial intelligence (AI) ethics. In this regard, the field of arts is perceived to play a key role in elucidating diverse historical and cultural narratives, serving as a bridge across research communities. Most of the works that examine the interplay between the field of arts and AI ethics concern digital artworks, largely exploring the potential of computational tools in being able to surface biases in AI systems. In this paper, we investigate a complementary direction--that of uncovering the unique socio-cultural perspectives embedded in human-made art, which in turn, can be valuable in expanding the horizon of AI ethics. Through semi-structured interviews across sixteen artists, art scholars, and researchers of diverse Indian art forms like music, sculpture, painting, floor drawings, dance, etc., we explore how {\it non-Western} ethical abstractions, methods of learning, and participatory practices observed in Indian arts, one of the most ancient yet perpetual and influential art traditions, can shed light on aspects related to ethical AI systems. Through a case study concerning the Indian dance system (i.e. the {\it `Natyashastra'}), we analyze potential pathways towards enhancing ethics in AI systems. Insights from our study outline the need for (1) incorporating empathy in ethical AI algorithms, (2) integrating multimodal data formats for ethical AI system design and development, (3) viewing AI ethics as a dynamic, diverse, cumulative, and shared process rather than as a static, self-contained framework to facilitate adaptability without annihilation of values (4) consistent life-long learning to enhance AI accountability

Roberta Trapani

Promoteurs de l’imagination contre le réel, les surréalistes fantasment une demeure qui, étant une figure de la poésie, ne peut pas exister dans le monde réel. Par leurs regards, ils offrent pourtant un horizon inverse à celui du modernisme, relevant d’une approche à la fois onirique et organique de l’architecture. Ils enrichissent ainsi la pensée architecturale de l’époque par le recours au mythe, au sacré, à l’irrationnel, au grotesque, au spontané. Ils travaillent d’ailleurs à établir une contre-tradition architecturale qui fera sortir de l’ombre des antécédents bannis par la rhétorique fonctionnaliste, ainsi que l’œuvre d’autodidactes ayant décoré leur espace de vie. Le délire rocailleux de Cheval et les formulations organiques de l’Art Nouveau auront une place centrale dans cette contre-histoire qui réhabilite l’ornement et donne une impulsion au mouvement de l’architecture-sculpture, influençant l’œuvre de créateurs atypiques comme Etienne-Martin, Asger Jorn, Jean Tinguely, Niki de Saint-Phalle ou encore Jean-Luc Johannet.

Mathias Blanc

This article reports on fieldwork conducted at the Musée du Louvre-Lens with visitors discovering a sculpture from the Louvre, the Discophorus. To study the statue’s reception, we developed a mixed methodology based on video recordings and “annotation traces in augmented reality”. The article presents the salient results of several weeks of fieldwork with and without the digital device Ikonikat 3D. It appears that our study corroborates the strong influence of the label on the way visitors look at the sculptures. But it also shows that the use of a digital device, depending on the human-machine interaction it supports, creates a space of vision and a space of action that have consequences in terms of distance and point of view on the work being viewed. Finally, we can observe different registers of meaning in the museum situation. This leads us to use a certain perspective to accompany visitor engagement with the sculptures.