Relevant bibliographies by topics / Abstract impressionism

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Abstract impressionism'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

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Journal articles on the topic "Abstract impressionism"

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Felleman, Susan. "“Show the Clichés:” the Appearance of Happiness in Agnès Varda’s Le Bonheur." Acta Universitatis Sapientiae, Film and Media Studies 19, no. 1 (March 1, 2021): 17–34. http://dx.doi.org/10.2478/ausfm-2021-0002.

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Abstract Le Bonheur, perhaps Agnès Varda’s most beautiful film, is also her most perplexing. The film’s insistently idyllic surface qualities, overtly beautiful imagery, and psychologically impenetrable, improbably content characters mystify and confuse. Of late, feminist scholars have clarified the situation, noting Varda’s incorporation of advertising and pop cultural visual rhetoric to implicate the social forces framing the picture and those insistently “happy” people: more like advertising ciphers than dramatic characters. Varda herself referenced Impressionist painting as a source of the film’s aesthetics. The purposes of this vivid, chromatic intertextual and intermedial source, in relation to the rhetoric of commercial and popular culture, demand attention. Varda studied art history and connected the milieu of Le Bonheur, the Parisian exurbs, their petit-bourgeois and working-class populace, and bucolic leisure, artisanal and industrial settings, to the modernity of 19th-century Impressionism. Le Bonheur uses an Impressionist picturesque dialectically, in relation to a pop contemporaneity, to observe and critique an ideological genealogy of capitalism and its oppression of women.
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Murray, Natalia. "Nikolai Punin: The Man who Died for Cezanne." Experiment 29, no. 1 (December 12, 2023): 206–15. http://dx.doi.org/10.30965/2211730x-12340053.

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Abstract Throughout his life, the art-critic, Nikolai Punin (1888–1953) was a great admirer of Paul Cezanne. He believed that this leader of French modernism had the power to inspire avant-garde artists in Russia, encouraging them to break free from accepted academic rules and limitations. Even after French Impressionism and Post-Impressionism were regarded as a bad influence on young Soviet peo-ple, Punin continued telling his students about the importance of Cezanne and his new system in art. In August 1949, Punin was arrested and sent to the Gulag for promoting the art of Cezanne and Van Gogh. He died there – beyond the Arctic circle – in 1953, shortly before the ban on Western-European art was lifted, and the paintings of Punin’s favourite artists could be exhibited in Moscow and Leningrad once again.
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Leleń, Halszka. "Littoral Impressionism in The Wreck of the Archangel by George Mackay Brown." Acta Neophilologica 1, no. XXV (June 23, 2023): 99–115. http://dx.doi.org/10.31648/an.8814.

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Abstract: George Mackay Brown’s poetic renderings of northern archipelagic world have never been considered in the context of the techniques of literary Impressionism as deployed to attain the aesthetic effect of reader engagement. It is possible to view the author’s mature collection of poetry The Wreck of the Archangel as composed on the principle of littoral Impressionism that expands Joseph Conrad’s idea of art as expressed in the Preface to The Nigger of the “Narcissus”. This article will examine Brown’s ecosophy of community that emerges from his major aesthetic principles used to give the reader the literary experience of the seatangled multiperspectivity. Brown’s unique lyrical-narrative insights into multiplicity of qualia and ecopoetic focus result in particular aesthetic effect of phenomenological immediacy. Adopting such perspective on the Orkney author might be an important point for reassessment of his position in the history of Scottish and British literature.
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Boldea, Iulian. "The Eternal Return to the Eminescian Text." Acta Marisiensis. Philologia 1, no. 1 (September 1, 2019): 1–3. http://dx.doi.org/10.2478/amph-2022-0013.

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Abstract The books of literary criticism of Alex Ștefănescu include reading notes, comments, interpretations and analyzes. The critic uses a strategy persuading readers through a language of deliberate simplicity, with a detached writing. The critic cultivates a certain hedonism of the encounter with literature, an unrepressed lust for reading and rereading. In the case of Alex Ștefănescu, frankness, the sharpness of the statements is combined with a dose of critical impressionism, determined by the identification with the relief of the literary work.
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Dunning, Alan, and Paul Woodrow. "Body Degree Zero: The Mediatized Body in an Interactive Performance." Canadian Theatre Review 127 (June 2006): 46–53. http://dx.doi.org/10.3138/ctr.127.009.

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Within the context of European and North American art practices, the twentieth century has witnessed a de-configuration of the image, beginning with impressionism, the Cubists and the expressionists and including a variety of abstract styles. Running parallel to artistic movements, it is also evident that de-configuration has occurred within the context of literature, as is noticeable in poetry. De-configuration comprises the break-up of surfaces – decomposition into smaller, often disjunctive fragments. Image de-configuration is also a resulting product of the twentieth-century technological inventions of television and computer screens.
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Cronan, Todd. "Judgment Takes Care of Itself." MFS Modern Fiction Studies 70, no. 2 (June 2024): 225–42. http://dx.doi.org/10.1353/mfs.2024.a928340.

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Abstract: Aesthetic judgment does not require defense, because moral judgment saturates our language and our experience. In the first part of this essay, I look at the writings of Iris Murdoch, Stanley Cavell, and G. E. M. Anscombe to show how judgments shape our most intimate dealings with the world. In the second part, I examine a strong instance of practical criticism: the writings of Clement Greenberg on Impressionism and Henri Matisse. Greenberg’s Kantian attempt to separate aesthetic judgment from moral judgment breaks down in practice, a testimony to the depth of his engagement with art and the ubiquity of moral judgment.
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Nikolić, Miljana. "MODUSI ESTETSKE OBRADE, PERFEKCIONIZAM I DIVLJENJE KAO PREDIKTORI UMETNIČKE VREDNOSTI." ГОДИШЊАК ЗА ПСИХОЛОГИЈУ 18, no. 1 (December 13, 2021): 107–22. http://dx.doi.org/10.46630/gpsi.18.2021.07.

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The aim of the research was to examine whether the perceived artistic value of the paintings can be predicted by perfectionism and awe, as well as with the modes of aesthetic processing (H - harmony and R - redundancy). The convenience sample was used and it consisted of 92 respondents (Nmale = 10, Nfemale = 82), with average age of 24.65 years (SD = 6.89). Following instruments were used: Scale of Positive and Negative Perfectionism, Awe Experience Scale and semantic differential scales used to assess harmony, redundancy and distance, as well as the perceived artistic value. Stimuli were paintings from nine artistic movements: Renaissance, Romanticism, Impressionism, Expressionism, Post-impressionism, Fauvism, Cubism, Abstract Art and Surrealism. For each of these movements three paintings of one most prominent representative were chosen (omitting the most famous pieces) in order for the quality of artwork to be uniform. Hierarchical linear regression was used for data analysis. Predictors in the first step were modes of aesthetic processing (H and R), perfectionism in the second step, and subscales of awe were added in the third step. The criterion is artistic value. The model composed of H and R explains 26% of the total variance of artistic value (p < .01). The suscales of perfectionism and awe do not make a significant contribution to prediction. A statistically significant single predictor is R, redundancy (β = .39, t = 2.59, p = .01). The potential existence of mediation was also examined; however, the results of the analysis indicate that there is no statistically significant mediator effect. Keywords: perfectionism, awe, modes of aesthetic processing, Harmony, Redundancy
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Sullivan, Erin. "The Role of the Arts in the History of Emotions: Aesthetic Experience and Emotion as Method." Emotions: History, Culture, Society 2, no. 1 (July 19, 2018): 113–31. http://dx.doi.org/10.1163/2208522x-02010006.

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Abstract What role do the arts play in the study of the history of emotions? This essay reflects on the position that aesthetic works and arts-oriented methodologies have occupied in the field’s development since the early 2000s. It begins by connecting artistic sources to anxieties about impressionism within cultural history, before looking at examples from literature that help illustrate the advantages works of art can bring to the study of emotion over time. Chief among these benefits is the power of artistic sources to create emotional worlds for their audiences – including, of course, historians. Ultimately, in arguing for a greater use of aesthetic works in our field, the essay makes the case for a more overtly emotional history of the emotions.
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Ortiz, Carlos Manuel Montenegro. "Pragmatism and Creativity: Patenting the School Art Manifesto from Dewey’s Aesthetic Experience." Creativity. Theories – Research - Applications 9, no. 1 (June 1, 2022): 130–45. http://dx.doi.org/10.2478/ctra-2022-0007.

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Abstract An original way to make sense of the aesthetic experience concept – in a Deweyan perspective – is from the Art-Education binomial. After studying the pragmatist philosophical category of Experience in John Dewey, a product of Doctoral theoretical research in education, it was possible to characterize a new art movement: School Art. Hence, this conceptual-theoretical finding will expand a wide range of art movements that emerged between the nineteenth century and contemporaneity: Art Nouveau, Impressionism, Abstract Art, Futurism, Action Painting, and Children’s Art, among many others. However, because of lexical reasons and hoping to achieve greater acceptance among theorists, the so-called School Art will patent from this paper as a neologism named from now on as Artscholarism. Thus, its philosophical-historical foundations, characteristics, and description will be the article’s primary purpose. In that sense, psychological and historical discussions will emerge throughout the paper. In conclusion, the new art movement – Artscholarism – comes from Deweyan thinking and is framed by creativity and a social context.
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Logan, Peter Melville. "Imitations of Insanity and Victorian Medical Aesthetics." Articles, no. 49 (April 9, 2008): 0. http://dx.doi.org/10.7202/017855ar.

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Abstract The pre-eminent figure in mid-Victorian psychological medicine, Dr. John Conolly had his reputation damaged in the 1850s by scandals linking him to cases of wrongful confinement, including one that figures in Charles Reade’s novel, Hard Cash. This essay looks at two major works Conolly published during the scandals and argues that they are responses to the charges against him. Both works focus on representations of insanity in art, rather than actual patients. “The Physiognomy of Insanity” (1858-59) is a series of essays on photographic portraits of asylum patients, and his essays prove to be more fictional than factual. A Study of Hamlet (1863) looks at the ambiguity of madness in Shakespeare’s portrayal of Hamlet, but it explains how Conolly understood the relationship between fact and fiction in cases of insanity. In both works, Conolly defends himself as an aesthete and defines his diagnostic method as a deliberate and necessary form of impressionism.
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Dissertations / Theses on the topic "Abstract impressionism"

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Wengier, Sabrina Emilie. "The Politics and Poetics of Ekphrasis in Nineteenth-Century French Art Novels." Scholarly Repository, 2010. http://scholarlyrepository.miami.edu/oa_dissertations/383.

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This dissertation explores how literary descriptions of visual artworks affect the narrative and descriptive fabric of a text. The novels I examine operate on three textual levels: the painter's creative struggles, his amorous entanglements with his model and/or the painted women of his canvas, and his aesthetic claims to revolutionize painting. My project argues that ekphrasis is a translational mode that takes two forms: the traditional, "contained" description of a visual artwork; and a mode of writing that pervades the entire text and emulates the characteristics of painting. For example, Balzac's "Le Chef d'oeuvre inconnu" and the Goncourts' Manette Salomon successfully adopt the ekphrastic mode of writing, transforming the narrative into a canvas where the boundaries between the media are blurred. On the other hand, Zola's L'oeuvre exploits ekphrasis in order to advance the superiority of literature over painting. At the heart of these Realist and Naturalist texts, the fundamental adherence to the mimetic principle of art is confronted with the nonfigurative experiments of their fictional painters. The female body, as the embodiment of Art and the manifestation of the artist's desire, becomes the symptom of his incursion into abstract painting and the site of the resistance to ekphrasis.
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Miller, Shelby E. ""The Cult of Cézanne:" Marcel Duchamp, Clyfford Still, and Banksy." Bowling Green State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu149471175808765.

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Agache, Annie. "Antonin Fanart et son temps : étude d'un paysagiste comtois et contribution à l'étude de la vie sociale en Franche-Comté au XIXe siècle." Besançon, 1990. http://www.theses.fr/1990BESA1017.

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Bien qu'il ait eu son heure de célébrité, le paysagiste Antonin Fanart (1831-1903) n'avait jamais fait l'objet d'une étude. Ce travail, qui nécessita de vastes dépouillements révèle d'abord ses engagements politiques (Fanart était un républicain convaincu) et culturels (il stimula la vie artistique régionale). Cette investigation devient ainsi l'occasion d'une incursion sur le vif dans la vie de la Franche-Comté de cette époque. Mais l'intérêt essentiel réside dans la première vue générale de son œuvre qui est proposée : le catalogue comprend 498 titres, regroupés dans une table générale finale, dont 362 sont assortis de reproductions. L'ensemble permet une premiere definition de l'art de Fanart : formé par l'école de Diday à Genève, le jeune artiste fait quelques emprunts à Corot et Courbet, mais rejoint rapidement la vision des artistes de Barbizon dans leur quête de la vérité simple et de la lumière. Son art, d'une grande unité, mais varie, peut être qualité de naturalisme lyrique. Dans ce mouvement, il se distingue par son sens de l'espace, sa poésie, et l'expression de ses harmonies.
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Liu, Chiao-Mei. "Cézanne : la série du Château Noir." Paris 1, 1998. http://www.theses.fr/1998PA010572.

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Le but de ce travail est d'étudier d'abord une série inédite de Cézanne les paysages qu'il exécute aux environs du château noir dans les années v. 1895-1906 -, et, ensuite, restituer la couleur de Cézanne dans l'esthétique impressionniste. L'influence de Cézanne sur l'abstraction est analysée sous un angle autre que la forme. La partie II présente le lieu du château noir et la jeunesse de Cézanne dans les environs d'Aix, du côté du Tholonet. Son travail à Fontainebleau est pris en compte avec ses études château noir. La partie III traite de la série de château noir et l'art de son temps. Les tableaux sont répartis en deux groupes. Les Fontainebleau sont confrontés aux château noir. Je souligne la fragmentation de la forme, dans le développement du romantisme a l'impressionnisme. La partie IV traite l'harmonie chromatique de Cézanne et son aspect phénoménologique. J'étudie le retour de la jeunesse dans la couleur de ses derniers paysages. La modulation plurielle chez Cézanne aboutit à une profondeur phénoménologique, discontinue. Les sensations colorées de Cézanne sont encore comparées aux correspondances baudelairiennees. La partie V essaie de cerner la modernité de Cézanne dans le contexte de l'esthétique impressionniste et de la culture fin-de-siècle. Sa couleur phénoménologique rend compte de la temporalité discontinue qui est la condition implicite de la subjectivité impressionniste. Je ferme cette thèse sur l'influence de Cézanne sur l'abstraction dans la temporalité discontinue - la dynamique et l'ouverture du processus créateur
This thesis aims at first studying a neglected series of landscapes by Cezanne done around chateau noir during a. 1895-1906, and, secondly, reconstitute Cezanne's colour in impressionnist aesthetics. The influence of Cezanne on abstract art is analyzed from a new point of view. Part II presents the place of chateau noir and the youth of cCezanne around tholonet, near Aix-en-Provence. His studies in Fontainebleau are considered together with his work at chateau noir. Part III treats the series of chateau noir and the art of Cezanne's time. The pictures are divised into two groups : architecture with trees, and trees and rocks. The fontainebleau are compared to the chateau noir. I remark the fragmentation of form, in the development from romanticism to impressionism. Part IV treats the chromatic harmony of Cezanne and its phenomenological aspect. I find the return of his youth in the colour of his last landscapes. Cezanne's multiple modulation of colours achieves a phenomenological, discontinuous spacial depth. His sensations of colours are also studied in the aesthetics of correspondances of Baudelaire. Part V outlines cezanne's modernity in the context of impressionnist aesthetics and fin-desiecle culture. Cezanne's phenomenological colour formulates the discontinous temporality, which is the implicit condition of impressionist subjectivity. I close this thesis on the influence of Cezanne on abstraction in discontinuous temporality - the dynamics and the opening of creative process
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Books on the topic "Abstract impressionism"

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Rossi, Attilio. Attilio Rossi: La pittura, 1935-1994 : la condizione umana. Cinisello Balsamo (Milano): Silvana, 2006.

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Gallery, Albright-Knox Art, ed. The Impressionist revolution and the advent of abstract art. Buffalo, New York: Buffalo Fine Arts Academy, 2016.

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Cattani, Silvio. Silvio Cattani, Diether Kunerth, Otto Neudert. Ottobeuren: Museum für Zeitgenössische Kunst - Diether Kunerth, 2016.

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Ernst, Beyeler, and Fondation Beyeler, eds. Claude Monet: Up to digital impressionism ; exhibition: 28 March - 4 August, 2002, Fondation Beyeler. Munich: Prestel, 2002.

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Monet, Claude. Claude Monet: Les falaises. Rouen: Éditions des Falaises, 2013.

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Kiefer, Theresia. Punkt.Systeme: Vom Pointillismus zum Pixel. Heidelberg: Kehrer, 2012.

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Ann, Temkin, ed. Abstract expressionism at the Museum of Modern Art: Selections from the collection. New York: Museum of Modern Art, 2010.

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Aigret, Jaimée M., producer, film editor and Teaching Company, eds. The world's greatest paintings. Chantilly, Va: Teaching Company, 2010.

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Stanton, Bob. Collected word paintings: Wordstroke impressions & portraits, surreal brainscapes, abstract moods & mono-dramatic expressions. Lewiston, N.Y: Mellen Poetry Press, 2000.

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Ernst, Beyeler, Bazaine Jean 1904-2001, Monet Claude 1840-1926, and Fondation Beyeler, eds. Claude Monet: --bis zum digitalen Impressionismus : Ausstellung, 28. März bis 4. August 2002. München: Prestel, 2002.

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Book chapters on the topic "Abstract impressionism"

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Taylor, David G. "First Impressions: The Impact of Graphic Syllabi on Student Attitudes: An Abstract." In Developments in Marketing Science: Proceedings of the Academy of Marketing Science, 271–72. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-02568-7_66.

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Bourdin, David, and Christina Sichtmann. "First Impressions of Foreign-Born Frontline Employees: Impact on Customer Participation: An Abstract." In Developments in Marketing Science: Proceedings of the Academy of Marketing Science, 587–88. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-89883-0_162.

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"abstract impressionism, n." In Oxford English Dictionary. 3rd ed. Oxford University Press, 2023. http://dx.doi.org/10.1093/oed/4245100547.

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Barr, Alfred H. "From Impressionism to Fauvism, 1875–1905." In Cubism and Abstract Art, 20–28. Routledge, 2019. http://dx.doi.org/10.4324/9780429059148-3.

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Watt, Ian. "Conrad’s Impressionism." In Joseph Conrad’s Heart Of Darkness, 169–82. Oxford University PressNew York, NY, 2002. http://dx.doi.org/10.1093/oso/9780195159950.003.0009.

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Abstract Mist or haze is a very persistent image in Conrad. It appeared as soon as he began to write: there was an “opaline haze” over the Thames on the morning when he had recalled Almayer; and the original Olmeijer had first come into Conrad’s view through the morning mists of Borneo. In Heart of Darkness the fugitive nature and indefinite contours of haze are given a special significance by the primary narrator; he warns us that Marlow’s tale will be not centered on, but surrounded by, its meaning; and this meaning will be only as fitfully and tenuously visible as a hitherto unnoticed presence of dust particles and water vapor in a space that normally looks dark and void.
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Trotter, David. "Ford’s Impressionism." In Paranoid Modernism, 187–219. Oxford University PressOxford, 2001. http://dx.doi.org/10.1093/oso/9780198187554.003.0007.

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Abstract One day in 1914, Ford Madox Ford, then 40 years old and feeling it, found himself for a while in the custody of the youthful Percy Wyndham Lewis, a writer whose work had appeared in Ford’s magazine, the English Re11ielll, and who was about to launch a magazine of his own, the rather more intemperate Blast. Gripping Ford by the elbow, Lewis, who was as usual in incendiary mood, poured scorn on him and his associates. ‘You and Mr Conrad and Mr James and all those old fellows are done’, he was to be heard insisting. ‘Exploded! ⃛ Fich11s! .⃛Vieux jeu! .⃛No good! ⃛ Finished!’ Lewis’s beef was with literary ‘impressionism’: with novels which sought intricately to render the movements, at once furtive and immense, of a consciousness enmeshed in and inseparable from worlds not of its own making. ‘
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O’Brien, Nanette. "Culinary Impressionism." In Food and Culture in the Works of Ford Madox Ford, Gertrude Stein, and Virginia Woolf, 58–115. Oxford University PressOxford, 2024. http://dx.doi.org/10.1093/oso/9780198871729.003.0003.

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Abstract Chapter 2: ‘Culinary Impressionism: Ford Madox Ford’s Agrarianism and Cookery’ connects Ford’s literary Impressionism with cookery, forging an integrated culinary/literary path in his writing. Culinary Impressionism illustrates the ways in which cookery and local agriculture contain the potential to establish individual creativity and international exchange, as represented in Ford’s memoir It Was the Nightingale and the novels The Good Soldier, Parade’s End tetralogy, and his late prose works, Provence and Great Trade Route. As a technique, culinary Impressionism creates a channel between both Ford’s creative fiction and life-writing and his cooking and cookery-writing. Following Ford in his travels, this chapter also addresses the transatlantic alimentary connections between England, France, and America, and also from the Far East to the West, which he explores in Great Trade Route. It is particularly through emphasis on the mobility of food and its possibility of uniting diverse cultures that Ford develops his theories of ‘civilization’ and ‘barbarism’.
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Trotter, David. "The Will-to-Abstraction: Hulme, Lewis, Lawrence." In Paranoid Modernism, 220–49. Oxford University PressOxford, 2001. http://dx.doi.org/10.1093/oso/9780198187554.003.0008.

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Abstract People no longer wanted the self-effacements of impressionism, Wyndham Lewis told Ford Madox Ford in 1914. And while I have tried to show in my previous two chapters that literary impressionism was less self-effacing than one might suppose, nobody could doubt that the stunts and firework-displays Lewis had in mind were of a different order to the sad stories told by Conrad and Ford. ‘What’s the good of being an author’, Lewis demanded, ‘if you don’t get any fun out of it?’ This chapter is in part an attempt to determine what it was that Lewis got his fun out of. For the purpose of the stunts he performed in the years before the war was to outshine impressionism. Ford (Hueffer, as he then was) had given Lewis his big literary break by publishing some pieces in the English Reviell’. He was ripe for outshining.
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Novak, Barbara. "Albert Pinkham Ryder: Even With A Thought." In American Painting of the Nineteenth Century, 175–84. Oxford University PressNew York, NY, 2007. http://dx.doi.org/10.1093/oso/9780195309423.003.0012.

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Abstract Thomas Cole had complained that the American public wanted “things, not thoughts.” Albert Pinkham Ryder (1847–1917) can be said to have made thought into a thing, into a substance built up of innumerable layers of paint. In his awareness of the expressive potential of paint, Ryder recalls the romanticism of Allston earlier in the century. Both artists have links to the coloristic tradition of European art, from the Venetians through Rubens, into Delacroix’s romanticism, Impressionism, and ultimately into Expressionism.
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Fowler, Alan. "Pasmore, Victor (1908–1998)." In Routledge Encyclopedia of Modernism. London: Routledge, 2018. http://dx.doi.org/10.4324/9781135000356-rem2065-1.

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Born in Chesham, Surrey, in 1908, Victor Pasmore became one of the most influential British abstract artists after the Second World War, although prior to the war his paintings were representational and strongly influenced by post-impressionism. Then in 1937 he co-founded the Euston Road School of realist painting with Claude Rogers, Graham Bell, and William Coldstream. Soon after the war he began experimenting with abstraction and by 1950 had abandoned realism for abstract works involving geometric imagery. From 1951 to 1955, Pasmore was the central figure in the Constructionist group of abstract artists, most of whom went on to pursue lifetime careers in the broad constructivist tradition.
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Conference papers on the topic "Abstract impressionism"

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Marakas, George M., and Daniel Robey. "Managing impressions with information technology (extended abstract)." In the 1994 computer personnel research conference. New York, New York, USA: ACM Press, 1994. http://dx.doi.org/10.1145/186281.186288.

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Golub, Todd R. "Abstract SY30-03: First impressions of the multiple myeloma genome." In Proceedings: AACR 101st Annual Meeting 2010; Apr 17-21, 2010; Washington, DC. American Association for Cancer Research, 2010. http://dx.doi.org/10.1158/1538-7445.am10-sy30-03.

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Camara, Giane Caon, Juliana Oliveira, Anne Tiedemann, Catherine Sherrington, Stephen R. Lord, Adrian E. Bauman, Kaarin J. Anstey, and Roberta B. Shepherd. "591 Yoga for falls prevention: impressions of people aged 60 years and over." In 14th World Conference on Injury Prevention and Safety Promotion (Safety 2022) abstracts. BMJ Publishing Group Ltd, 2022. http://dx.doi.org/10.1136/injuryprev-2022-safety2022.264.

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Mittmann, P., G. Lauer, J. Wagner, R. Seidl, and A. Ernst. "Electrophysiologic changes after 'pullback' of the slim modiolar electrode – first clinical impressions." In Abstract- und Posterband – 90. Jahresversammlung der Deutschen Gesellschaft für HNO-Heilkunde, Kopf- und Hals-Chirurgie e.V., Bonn – Digitalisierung in der HNO-Heilkunde. Georg Thieme Verlag KG, 2019. http://dx.doi.org/10.1055/s-0039-1686460.

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Maio, Rafael, Bernardo Marques, Andre Santos, Pedro Ramalho, Duarte Almeida, Paulo Dias, and Beatriz Sousa Santos. "Real-Time Data Monitoring of an Industry 4.0 Assembly Line using Pervasive Augmented Reality: First Impressions." In 2023 IEEE Conference on Virtual Reality and 3D User Interfaces Abstracts and Workshops (VRW). IEEE, 2023. http://dx.doi.org/10.1109/vrw58643.2023.00090.

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Berriche, R., R. K. Lowry, and M. I. Rosenfield. "Evaluation of the Resistance of Individual Si Die to Cracking." In ISTFA 1998. ASM International, 1998. http://dx.doi.org/10.31399/asm.cp.istfa1998p0197.

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Abstract The present work investigated the use of the Vickers micro-hardness test method to determine the resistance of individual die to cracking. The results are used as an indicator of resistance to failure under the thermal and mechanical stresses of packaging and subsequent thermal cycling. Indentation measurements on die back surfaces are used to determine how changes in wafer backside processing conditions affect cracks that form around impressions produced at different loads. Test methodology and results obtained at different processing conditions are discussed.
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Yamakawa, Hiroshi, Masao Arakawa, and Nobuyuki Katsuyama. "A Study on Heredity and Evolution of Designs Considering Kansei by Using Genetic Algorithms." In ASME 1995 Design Engineering Technical Conferences collocated with the ASME 1995 15th International Computers in Engineering Conference and the ASME 1995 9th Annual Engineering Database Symposium. American Society of Mechanical Engineers, 1995. http://dx.doi.org/10.1115/detc1995-0208.

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Abstract A new concept on the heredity and evolution of designs was proposed and an optimum design method based on the concept was developed newly by one of the authors. Several kinds of needs for designs may exist and users of some products are not satisfied with the functions of the products but also with their sensuous beauties or impressions of shapes and materials. To consider such sensous quality of the products was called “Kansei designs” in Japan and have become of interest and important lately (Nagamachi, 1989). In this study we introduce the same concept on heredity and evolution of designs as in the previous reports shown in Fig.1 (Yamakawa, 1994) and present a general design method to consider the Kansei design into ordinary, design process by making use of both SD (Semantic Differential) and the Genetic Algorithms. In order to support designer’s impressions, we also consider to take for other features Kansei estimation, which is similar to the original feature and easier to take “Kansei”, into account and developed an interface system which can show the transition of feature during GA process. Front view designs of a car are taken as simple numerical examples and the effectiveness of the proposed method is examined.
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Anzai, Ryusei, and Wonseok Yang. "The Effect of the Visual Stimulus on During Rest About Online Learning." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001755.

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Online learning is spreading rapidly in the field of education with the development of ICT. Online methods are no need to spend time moving and is expected to improve learning effectiveness, but it is more tiring on the physical exhaustion and difficult to maintain concentration for a long time than in-person classes. For those reasons, it is crucial to take appropriate rest in the Physical and mental aspects and recommence learning smoothly. According to Matsui et al.'s research, the faster the visual stimulus is presented, the more humans tend to overestimate the time, which indicates that there is a correlation between visual stimulus and cognitive sense. Thus, we thought it would be possible to provide rest with a high relaxation effect by giving the learner a visual stimulus during the rest time of online learning. In this research, we investigate human’s Kansei to visual stimuli during breaks in online learning. Based on the results, the aim is to propose a resting method with a high relaxation effect. Firstly, we conducted a short-term experiment on how to display the remaining time during the rest time of online learning over a period of 4 days. The results showed that the abstract display of the remaining time was more relaxing than the concrete display. Secondly, we evaluated learners' impressions of visual stimuli during the rest time in online learning, focusing on animation. The results showed that constant, easing, steps, and coming and going animation have different impressions. We found that constant animation tended to have an impression of calmness and stability. We also found that easing animation was average in various senses and that ease-in animation was more likely to have an impression of a distraction than ease-out animation. The steps animation tended to cause psychological anxiety due to its coarseness and roughness. Furthermore, We discovered that coming and going animation was more likely to cause dynamic or flashy impressions. Based on these survey results, we proposed a resting method with a high relaxation effect. Specifically, we proposed a method to abstract the display of the break time and present the animation according to the purpose of the rest. For cooling down, it is better to use constant animation that gives a sense of calmness and stability. For raising the learners' feelings, it is better to use coming and going animation, which tends to be dynamic and stimulating. Other than that, easing animation, which has less emotional change, is considered to be effective. Thus, providing abstract visual stimuli and changing the animation depending on the type of the rest may be effective in helping learners to relax.
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Kitaguchi, Saori, and Shintaro Kato. "Kimono design and color scheme proposal using image-generating AI technology." In 15th International Conference on Applied Human Factors and Ergonomics (AHFE 2024). AHFE International, 2024. http://dx.doi.org/10.54941/ahfe1004920.

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The kimono market has shrunk by about a tenth in 40 years. While demand is decreasing, there is an equal or even more significant shortage of companies and workers, so some existing companies face a greater burden in production than before. Some kimono OEM productions in Nishijin, a part of Kyoto in Japan famous for kimono textiles, have more customers as the number of competitors in the same business is decreasing. This has made it difficult to propose differentiated designs for each customer. In particular, the content of the customer's order is often expressed only in words and abstract expressions, making it difficult to determine the design. In addition, it is usually necessary to consider multiple color schemes for each design. These processes must be carried out by a limited number of people within the company and in a short period. Given the current situation, we believe ‘streamlining the design process’ is necessary in the kimono industry. On the other hand, the technological development of image-generating AI is accelerating rapidly and attracting great social interest. The rapid development of image-generating AI technology is expected to improve the productivity of various operations in various industries. Therefore, this study investigated and verified the possibility of using image-generating AI in the kimono design process. In the experiment, AI was used to generate images using texts as input values, and it was examined whether the design and color scheme of the images matched human impressions. Under the current experimental environment, it was found that the AI-generated images and human impressions were close in terms of country/region with a high degree of accuracy. The color analysis showed that the color of the AI-generated images was comparable to that of human impressions for both the country/region and the adjective word. This suggested the possibility of using image-generating AIs to support the kimono coloring process.
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Hassan, Anas M., Emad W. Al-Shalabi, Ahmed S. Adila, Mursal Zeynalli, Muhammad S. Kamal, Shirish Patil, and Syed M. Shakil Hussain. "Novel Impressions of Hybrid Low Salinity Polymer (LSP) Injection: A Geochemical Modeling Study." In ADIPEC. SPE, 2023. http://dx.doi.org/10.2118/216197-ms.

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Abstract The hybrid Enhanced Oil Recovery (EOR) method of Low Salinity Polymer (LSP) injection is an advanced synergetic coalescence with remarkable additional oil recovery capability. Several studies have reported that the LSP process significantly enhances polymer rheology and viscoelasticity, along with improving the injectivity and displacement efficiency. However, to accurately simulate and capture the complex geochemistry of the Polymer-Brine-Rock (PBR) system during LSP-injection, sophisticated mechanistic predictive models are required, which the literature rarely discusses. Therefore, we modeled the PBR-system interactions in this study, using our coupled numerical simulator, in order to acquire new understandings of the LSP-injection process. Our coupled numerical simulator integrates the MATLAB-Reservoir-Simulation Toolbox (MRST) with the geochemical-software IPhreeqc. This study investigates the effects of variations in water chemistry (salinity and hardness), permeability, and polymer hydrolysis on polymer viscosity and adsorption through mechanistic modeling of the LSP process using the MRST-IPhreeqc coupled simulator. In this sensitivity analysis, the various injected water salinity and hardness models were generated by spiking and diluting both the salinity and the hardness of the baseline model by 3-, 5-, and 15-times each, and subsequently investigating their impact on polymer viscosity and adsorption. Furthermore, to evaluate the effect of various degrees of hydrolysis on polymer viscosity, we investigated the polymer hydrolysis degree of 30% (base-case), and then 15% and 80% polymer hydrolysis degrees. Next, the impact of different permeabilities on polymer adsorption was investigated for the base-case permeability (71 mD), low permeability (50 mD), and high permeability (150 mD) scenarios. A number of mineral dissolutions can occur in the PBR-system causing the calcium (Ca2+) and magnesium (Mg2+) ions to release, which then form polymer complexes to massively reduce the polymer-viscosity. Also, mechanical entrapment can lead to high polymer adsorption during LSP flooding. Based on the sensitivity analysis, the results of the investigation regarding the effect of salinity on polymer viscosity indicated that the scenario of 15-times spiked salinity (9345 ppm) is more beneficial than those of 5-times (3115 ppm) and 3-times (1869 ppm) spiked salinities, based on their corresponding polymer-viscosity losses of 8%, 10%, and 19%. The same effect was observed for the increase in hardness (Ca2+ + Mg2+) scenario where 15-times spiked hardness (165 ppm) is superior to the 5-times (55 ppm) and 3-times spiked (33 ppm) scenarios, based on their corresponding polymer-viscosity losses of 25%, 47%, and 52%. Similarly, examining the impact of polymer hydrolysis on polymer viscosity indicated that the viscosity of the polymer decreases as the degree of hydrolysis increases to 80% or decreases to 15%. Regarding the effect of salinity and hardness variations on polymer adsorption, the results showed that as the salinity and hardness increase, polymer adsorption increases too. Contrariwise, the diluted salinity and hardness solutions resulted in lower adsorption levels. In terms of the impact of permeability on polymer adsorption, mechanical entrapment causes the polymer adsorption to rise at a low permeability of 50 mD, and conversely, the adsorption starts to decline at high permeability of 150 mD. Finally, according to the CR calculations, if CR &gt; 1, this implies low viscosity loss in the LSP-solution, which equates to the cation threshold concentration of 130 ppm. At CR &lt; 0.5, the LSP-solution will likely have a significant decrease in viscosity. When 0.5 &lt; CR &lt; 1, additional assessment for risk of viscosity loss is needed. Therefore, the novel findings resulting from this study can help design more effective LSP-injection strategies at field-scale.
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