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Journal articles on the topic 'Aerial arts'

Author: Grafiati

Published: 30 May 2022

Last updated: 31 July 2025

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1

Boldrick, Stocy. "Reviewing the aerial view." Architectural Research Quarterly 11, no. 1 (2007): 11–15. http://dx.doi.org/10.1017/s1359135507000462.

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A group organised by the University of Edinburgh, led by Mark Dorrian, and CNRS Paris, led by Frédéric Pousin is exploring the history and the cultural meanings of the aerial view. It aims to investigate how the aerial view can be defined, how images are produced, how ‘elevated’ one has to be in order to produce or experience an aerial view, and how images are used and consumed. Jointly funded by the British Academy and CNRS, a numberof meetings will be held over the next two years. The following account reports on the first meeting held in Edinburgh on 3 February 2007.

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2

Kolz, Nadine. "Aerial aftermaths: wartime from above." Continuum 33, no. 6 (2019): 759–61. http://dx.doi.org/10.1080/10304312.2019.1664400.

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3

Deriu, Davide. "Above Paris: The Aerial Survey of Roger Henrard / Shot from Above: Aerial Aspects of London." Journal of Architecture 13, no. 5 (2008): 661–68. http://dx.doi.org/10.1080/13602360802453541.

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4

Spagnol, Gabriela Salim, Carolinne Yuri Tagami, Gabriela Bagattini de Siqueira, and Li Min Li. "Arts-based knowledge translation in aerial silk to promote epilepsy awareness." Epilepsy & Behavior 93 (April 2019): 60–64. http://dx.doi.org/10.1016/j.yebeh.2018.12.005.

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5

de Santis, Teresa. "Aerial warfare." Cultural Studies 2, no. 2 (1988): 242–46. http://dx.doi.org/10.1080/09502388800490391.

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6

B.Kurbonova and I.Yuldashev. "UZBEK ARTIST AND CREATIVE WORKS IN THE PERIOD OF INDEPENDENCE." Research Focus 1, no. 2 (2022): 221–25. https://doi.org/10.5281/zenodo.7327377.

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7

Riley, D. N. "New aerial reconnaissance in Apulia." Papers of the British School at Rome 60 (November 1992): 291–307. http://dx.doi.org/10.1017/s0068246200009843.

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NUOVE RICOGNIZIONI AEREE IN PUGLIAGrazie alle fotografie scattate dalla Royal Air Force durante la Seconda Guerra Mondiale nell'area del Tavoliere, in Puglia, fu registrata la presenza di tracce nelle piante coltivate dalle quali sono state ottenute un gran numero di informazioni di tipo archeologico. Ulteriori voli compiuti nel 1987 e nel 1989 dal Oberstleutnant O. Braasch, accompagnato sia dall'Autore che da altri, hanno dimostrato come ancora sia possibile utilizzare tale tecnica per l'individuazione di antiche tracce nelle piante coltivate, sempre in Puglia, nonostante i danni procurati fi

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8

Frey, Heather Fitzsimmons. "Balancing between Borders: Liveness and Aerial Theatre." Canadian Theatre Review 127 (June 2006): 80–85. http://dx.doi.org/10.3138/ctr.127.014.

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One of the exciting things about creating performance based on two different artistic traditions is imagining what that hybrid/pastiche/blend or new form will look like. Another is imagining how the audience will expect to read the new performance hybrid. Circus and theatre practitioners approach the audience-to-performer relationship differently, and therein lies a tension that significantly influences the way that aerial theatre is created and received. Aerial theatre is a dramatic presentation, in which the trapeze, hoops, silks or ropes are central to the execution and telling of a story.

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9

Tait, Peta. "Disappearing the feminine in aerial performance." Women & Performance: a journal of feminist theory 7, no. 1 (1994): 82–96. http://dx.doi.org/10.1080/07407709408571194.

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10

Stich, Elizabeth. "A choreographic method of mis/fit in aerial dance." Choreographic Practices 15, no. 2 (2024): 243–64. https://doi.org/10.1386/chor_00081_1.

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This article examines the disability studies concept of misfit applied to aerial dance choreography. Rosemarie Garland-Thomson defines a misfit as an incongruency between two things, as in a square peg and round hole. Thus, misfit is not a fixed attribute but rather arises from the interaction of those two things. In aerial arts, fit or misfit is located in the relationship between a particular dancer’s body and the aerial apparatus. The aerial hoop, a rigid metal circle, is rife with potential misfits. The dancers in this project are visibly non-disabled, yet Garland-Thomson explicitly invite

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11

Doucet, Emily, Matthew C. Hunter, and Nicholas Robbins. "Editors' Introduction: The Aerial Image." Grey Room, no. 83 (2021): 6–23. http://dx.doi.org/10.1162/grey_a_00318.

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12

Leggett, Mike. "Aerial Aftermaths: Wartime from Above." Leonardo 52, no. 2 (2019): 203–4. http://dx.doi.org/10.1162/leon_r_01730.

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13

Featherstone, Roger. "Aerial reconnaissance in England 1994." Antiquity 68, no. 261 (1994): 812–15. http://dx.doi.org/10.1017/s0003598x00047499.

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The summer of 1994 in Britain started cold and wet, with the spring growing season distinctly late, and then turned very hot. Each summer, with its own personality, makes for a different flavour to the air photography.

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14

Burnham, Brian. "Three Dimensional Visualization of Complex Environmental Data Sets of Variable Resolution." Leonardo 46, no. 3 (2013): 290–91. http://dx.doi.org/10.1162/leon_a_00580.

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Three dimensional visualization of complex, variable resolution data sets is an inherent problem with the increase in data retrieval and processing methods. This problem translates across many disciplines in the sciences and engineering, but also in the arts, new media and social networking. In this paper the authors report on a project to integrate terrestrial and aerial based terrain data with variable degrees of resolution. Future implications of big data set visualization and the development of transdisciplinary approaches that can be used in both the sciences and the arts are discussed.

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15

Babiy, Yu A., V. V. Polishchuk, M. O. Matsyshyn, V. P. Martinyuk, A. V. Martinyuk, and D. A. Chernousov. "DEVELOPMENT OF UNLIMITED AVIATION IN THE WORLD AND UKRAINE: ANALYSIS OF FEATURES AND TECHNICAL CHARACTERISTICS." Collection of scientific works of the Military Institute of Kyiv National Taras Shevchenko University, no. 75 (2022): 5–14. http://dx.doi.org/10.17721/2519-481x/2022/75-01.

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The capabilities of unmanned aerial vehicles are constantly growing, the scope of their use is expanding, combat survivability is increasing. Most of them are small, low optical and radar contrast, so they are less vulnerable to enemy air defenses. At the same time, in the armed forces of the world's leading countries, in particular the Armed Forces of Ukraine, unmanned aerial vehicles are increasingly used instead of manned aircraft to perform combat tasks of reconnaissance, battlefield surveillance, destruction of ground targets, creation of false air targets and more. In general, the assess

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16

Adams, Matthew T., Brian Bishop, Jesse Moore, Justin Tufariello, and Jerry Kim. "Undersea detection of aerial targets." Journal of the Acoustical Society of America 149, no. 4 (2021): A132. http://dx.doi.org/10.1121/10.0005318.

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17

Millward, Liz. "The Embodied Aerial Subject." Journal of Transport History 29, no. 1 (2008): 5–22. http://dx.doi.org/10.7227/tjth.29.1.3.

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18

Mancebo Roca, Juan Agustín. "El mito aéreo en el futurismo italiano: del periodo heroico a la espiritualidad aérea (1909-1944) The aerial myth of Itanian futurism: from the heroic period to the aerial spirituality (1909-1944)." Ars Longa. Cuadernos de arte, no. 29 (May 12, 2021): 219. http://dx.doi.org/10.7203/arslonga.29.17102.

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La poética de lo aéreo atravesó transversalmente la historia del futurismo italiano. El undécimo punto de su manifiesto y fundación en 1909, hizo referencia al aeroplano como una máquina esencial para comprender que la vida y el arte se debían someter a un mundo en permanente transformación. Lo aéreo y sus implicaciones compusieron proclamas y manifiestos determinando la creación literaria y artística del periodo heroico. En los años treinta, cuando el futurismo planteaba su supervivencia en el complejo contexto social y político italiano, la aeropintura se convirtió en su línea oficial. Un pe

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19

Santiáñez, Nil. "Aerial bombing and catastrophic modernism." Neohelicon 45, no. 1 (2017): 229–48. http://dx.doi.org/10.1007/s11059-017-0412-y.

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20

Faustmann, Antje, and Rog Palmer. "Wings over Armenia: use of a paramotor for archaeological aerial survey." Antiquity 79, no. 304 (2005): 402–10. http://dx.doi.org/10.1017/s0003598x00114188.

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Aerial survey in a country with restricted overflying can be frustrating. Armenian and British archaeologists solved the problem by acquiring a two-person paramotor and photographing with a digital camera at 300m. Here are some of the first aerial pictures of the rich tapestry of Armenia’s archaeology.

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21

Tait, Peta. "Danger Delights: Texts of Gender and Race in Aerial Performance." New Theatre Quarterly 12, no. 45 (1996): 43–49. http://dx.doi.org/10.1017/s0266464x00009611.

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Circus artists, especially aerial performers and wire-walkers, transgress and reconstruct the boundaries of racial and gender identity as part of their routine. In the following article, Peta Tait analyzes the careers of two twentieth-century Australian aerialists of Aboriginal descent who had to assume alternative racial identities to facilitate and enhance their careers. Both Con Colleano, who became a world-famous wire-walker in the 1920s, and Dawn de Ramirez, a side-show and circus aerialist who worked in Europe in the 1960s, undermined the social separation of masculine and feminine behav

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22

Dorrian, Mark. "The Aerial Image: Vertigo, Transparency and Miniaturization." Parallax 15, no. 4 (2009): 83–93. http://dx.doi.org/10.1080/13534640903208958.

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23

Su, Yifei, Dong An, Kehan Chen, et al. "Learning Fine-Grained Alignment for Aerial Vision-Dialog Navigation." Proceedings of the AAAI Conference on Artificial Intelligence 39, no. 7 (2025): 7060–68. https://doi.org/10.1609/aaai.v39i7.32758.

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Aerial Vision-Dialog Navigation (AVDN) is a new task that requires drones to navigate to a target location based on human-robot dialog history. This paper focuses on the critical fine-grained cross-modal alignment problem in AVDN, requiring the drone to align language entities with visual landmarks in top-down views. To achieve this, we first construct a Fine-Grained AVDN (FG-AVDN) dataset via a semi-automatic annotation pipeline, providing diverse multimodal annotations at the entity-landmark level. Based on this, a novel Fine-grained Entity-Landmark Alignment (FELA) method is proposed to lea

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24

Kosma, Maria. "Gadamer’s Hermeneutic Universality of Play: The Greatest Form of Human Play is Art and its Signification to Movement Education." Athens Journal of Sports 11, no. 1 (2024): 9–20. http://dx.doi.org/10.30958/ajspo.11-1-1.

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Given that playful movement can be long-lasting and lead to health and well-being, the purpose of this concept-based paper was to showcase Gadamer’s hermeneutic universality of play, including the reasons the highest form of human play is art. Specifically, Gadamer’s universal elements of play are discussed, including its seriousness, non-purposeful nature, unique spirit, self-representation, and ideality via arts. The highest form of human play takes precedence in the arts because it represents the true before a participating audience. Subsequently, artistic play is timeless like the celebrat

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25

Swift, Adam. "Fashion as Aerial: Transmitting and Receiving Cyborg Culture." TEXTILE 3, no. 1 (2005): 100–114. http://dx.doi.org/10.2752/147597505778052657.

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26

Schnepf, J. D. "In sheep’s clothing: mammalian morphologies and aerial infrared surveillance." Feminist Media Studies 20, no. 2 (2020): 297–99. http://dx.doi.org/10.1080/14680777.2020.1720350.

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27

Warner, W. S., R. W. Graham, S. E. Read, and Grant Thomson. "Book Review Small Format Aerial Photography." Journal of Photographic Science 44, no. 6 (1996): 200. http://dx.doi.org/10.1080/00223638.1996.11737662.

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28

Edis, Jonathan, David Macleod, and Robert Bewley. "An archaeologist's guide to classification of cropmarks and soilmarks." Antiquity 63, no. 238 (1989): 112–26. http://dx.doi.org/10.1017/s0003598x00075621.

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The classification of man-made features recorded on aerial photographs depends on a combination of morphological comparison and functional interpretation. Here, a computer-based method of morphological recording and classification is described, and its advantages argued. It has special relevance in England, where the Monument Protection Programme needs to assess the relative value and importance of many thousands of buried archaeological sites that are known only from the evidence of aerial photography.

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29

Bohouta, Gamal. "Automatic speech recognition for unmanned aerial vehicles." Journal of the Acoustical Society of America 152, no. 4 (2022): A98. http://dx.doi.org/10.1121/10.0015671.

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Unmanned aerial vehicles (UAVs), also known as unmanned aerial systems (UASs), are quickly becoming a ubiquitous technology, poised to enter some key large-scale markets in the very near future. Fleets of such vehicles will be required in these large-scale deployments for commercial, industrial, and emergency response, along with the ability to efficiently control these fleets. Voice control and communication between human operators and these fleets will become imperative. This paper explores the framework for building an automatic speech recognition (ASR) use to the control of unmanned aerial

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30

Walker, Adin. "Lulu “Works the Trapeze”." TSQ 10, no. 3-4 (2023): 449–83. http://dx.doi.org/10.1215/23289252-10900956.

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Abstract This article is a historical analysis of two nineteenth-century aerialists: Lulu, a cross-gender performer who went on to become a prolific photographer, and Zazel, who is said to be the first performer shot from a cannon. Working with image-based posters, audience accounts, and a document by E. K. Stimson (ca. 1885) narrativizing Lulu's life up until the age of thirty, this article employs film theory as well as queer and transgender historiography to develop two interconnecting arguments: first, the aerial apparatus during the late nineteenth century is a critical tool for teaching

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31

Stewart, Garrett. "Digital Fatigue: Imaging War in Recent American Film." Film Quarterly 62, no. 4 (2009): 45–55. http://dx.doi.org/10.1525/fq.2009.62.4.45.

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Abstract The new wired combat in Iraq, alternating in American films between aerial surveillance and camcorder logs or cell-phone video, tends to displace the failed resolutions of plot onto an electronic mediation that not only turns virtual on the spot, but anticipates the post-traumatic flashback as digital playback.

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32

Holt, Marla M., Ronald J. Schusterman, David Kastak, and Brandon L. Southall. "Localization of aerial pure tones by pinnipeds." Journal of the Acoustical Society of America 118, no. 6 (2005): 3921–26. http://dx.doi.org/10.1121/1.2126931.

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33

Holt, Marla M., Ronald J. Schusterman, Brandon L. Southall, and David Kastak. "Localization of aerial broadband noise by pinnipeds." Journal of the Acoustical Society of America 115, no. 5 (2004): 2339–45. http://dx.doi.org/10.1121/1.1694995.

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34

Millican, Kirsty, Helen Goodchild, and Dorothy Graves McEwan. "MONUMENTS AND LANDSCAPE: INVESTIGATING A PREHISTORIC MONUMENT COMPLEX AT LOCHBROW, DUMFRIES AND GALLOWAY." Antiquaries Journal 97 (September 2017): 27–47. http://dx.doi.org/10.1017/s0003581517000270.

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This paper presents the results of a survey project investigating a complex of prehistoric archaeological sites at Lochbrow, in Dumfries and Galloway, Scotland. An Early Neolithic timber cursus, Late Neolithic or Early Bronze Age timber circles and Bronze Age round barrows were first recorded as cropmarks on aerial photographs in the 1980s and 1990s. The Lochbrow Landscape Project set out to investigate and understand this lesser-known complex of prehistoric sites and their layout in the landscape using non-destructive survey techniques, including geophysical survey, experiential survey and re

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35

Doucet, Emily. "“The Idea Was in the Air”: Nadar's Aerial Media." Grey Room, no. 83 (2021): 112–37. http://dx.doi.org/10.1162/grey_a_00322.

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36

Baetens, Jan. "Barnstorming the Prairies: How Aerial Vision Shaped the Midwest." Leonardo 50, no. 1 (2017): 102–3. http://dx.doi.org/10.1162/leon_r_01365.

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37

Martin, Jane Roland. "Aerial Distance, Esotericism, and Other Closely Related Traps." Signs: Journal of Women in Culture and Society 21, no. 3 (1996): 584–614. http://dx.doi.org/10.1086/495099.

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38

Zhang, Yutong, Chunjie Ma, Li Zhuo, and Jiafeng Li. "Arbitrary-Oriented Object Detection in Aerial Images with Dynamic Deformable Convolution and Self-Normalizing Channel Attention." Electronics 12, no. 9 (2023): 2132. http://dx.doi.org/10.3390/electronics12092132.

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Objects in aerial images often have arbitrary orientations and variable shapes and sizes. As a result, accurate and robust object detection in aerial images is a challenging problem. In this paper, an arbitrary-oriented object detection method for aerial images, based on Dynamic Deformable Convolution (DDC) and Self-normalizing Channel Attention Mechanism (SCAM), is proposed; this method uses ReResNet-50 as the backbone network to extract rotation-equivariant features. First, DDC is proposed as a replacement for the conventional convolution operation in the Convolutional Neural Network (CNN) i

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39

Xikui Guo. "Application of Mathematical Methods in the Analysis of Martial Arts Movements: A Case Study of the 720-Degree Aerial Lotus Kick Combined with the Horse Stance." Journal of Electrical Systems 20, no. 11s (2024): 1906–18. https://doi.org/10.52783/jes.7664.

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This study investigates the application of mathematical methods in the analysis of the 720-degree aerial lotus kick combined with the horse stance, a complex technique in martial arts. Through kinematic and dynamic analyses, as well as numerical simulations, the biomechanical principles and optimization strategies for this movement are examined. The research findings highlight the critical roles of takeoff velocity, rotational velocity, and landing technique in the successful execution of the technique. The study also emphasizes the importance of progressive and systematic training programs, a

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40

Helbig, Daniela K. "La Trace de Rome? Aerial Photography and Archaeology in Mandate Syria and Lebanon." History of Photography 40, no. 3 (2016): 283–300. http://dx.doi.org/10.1080/09639489.2016.1171464.

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41

Potter, T. W., and B. Robinson. "New Roman and prehistoric aerial discoveries at Grandford, Cambridgeshire." Antiquity 74, no. 283 (2000): 31–32. http://dx.doi.org/10.1017/s0003598x00066072.

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The Romano-British settlement at Grandford lies northwest of the town of March, in the heart of the Fens of eastern England. It straddles the ‘Fen Causeway’, a Roman road that ran west—east across the Fens, and which probably originated at the legionary vexillation fortress at Longthorpe, near Peterborough, held between c. AD 48 and 61/62. Small-scale excavations between 1958 and 1968 demonstrated occupation for much of the Roman period, down to the later 4th century, beginning at least as early as c. AD 65 (Potter & Potter 1982). It was suggested on various grounds that the settlement nia

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42

Farmer, Sophia Maxine. "Capturing the Void: Michael Light’s Aerial Photographs of the American West." Getty Research Journal 16 (August 1, 2022): 169–93. http://dx.doi.org/10.1086/721989.

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43

Blackmon, Fletcher A., and Lynn T. Antonelli. "Remote, aerial, translayer, nonlinear downlink underwater acoustic communication." Journal of the Acoustical Society of America 125, no. 4 (2009): 2556. http://dx.doi.org/10.1121/1.4783675.

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44

Fang, Jian, Anthony Finn, Ron Wyber, and Russell S. A. Brinkworth. "Acoustic detection of unmanned aerial vehicles using biologically inspired vision processing." Journal of the Acoustical Society of America 151, no. 2 (2022): 968–81. http://dx.doi.org/10.1121/10.0009350.

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Robust detection of acoustically quiet, slow-moving, small unmanned aerial vehicles is challenging. A biologically inspired vision approach applied to the acoustic detection of unmanned aerial vehicles is proposed and demonstrated. The early vision system of insects significantly enhances signal-to-noise ratios in complex, cluttered, and low-light (noisy) scenes. Traditional time-frequency analysis allows acoustic signals to be visualized as images using spectrograms and correlograms. The signals of interest in these representations of acoustic signals, such as linearly related harmonics or br

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45

Chandu, Arun. "Pioneering flying: The vision and the failure of Australasian Aerial Transport, 1919–20." Journal of Transport History 39, no. 1 (2018): 92–109. http://dx.doi.org/10.1177/0022526618755556.

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The early post-World War I period saw a dramatic increase in aviation activity in Australia. Using material from the National Archives of Australia, and from newspapers and journals, the development and significance of Australasian Aerial Transport is documented in the context of early post-World War I era progress of commercial aviation in Australia. Australasian Aerial Transport was one of these nascent aviation ventures and was the first in Australia to have planned scheduled passenger air services between the country’s major cities. This paper notes the visionary and speculative elements o

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46

Yacowar, Maurice. "Heaven." Film Quarterly 56, no. 3 (2003): 47–49. http://dx.doi.org/10.1525/fq.2003.56.3.47.

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Tom Tykwer gives Krzysztof Kiesłłowski a voice from the dead. Kiesłłowski's script follows the unlikely love affair between an idealistic woman bomber and the young second-generation cop who helps her escape from jail. They bring each other different kinds of salvation. A pattern of striking aerial visuals points to the characters' transcendence of both mundane laws and the rhetoric of melodrama. This rich film surely is All That Kiesłłowski's Heaven Allows.

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47

Arustamova-Andriaka, S. S., D. V. Andriaka, and D. V. Fomicheva. "Sergey Andriaka’s Original Methodology: Teaching Plein Air Painting in the Technique of Multilayer Watercolor (Using Winter Motifs as an Example)." Secreta Artis 7, no. 2 (2025): 8–21. https://doi.org/10.51236/2618-7140-2024-7-2-8-21.

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This article explores the key elements of the original methodology for teaching landscape painting with the multilayer watercolor technique, developed by Sergey Nikolaevich Andriaka, People's Artist of the Russian Federation, Full Member of the Russian Academy of Arts, and Rector of the Academy of Watercolor and Fine Arts from 2012 to 2024. At the heart of his approach lies the use of winter motifs as a foundation for teaching coloristic landscape painting. Andriaka argued that the depiction of seemingly colorless, snow-covered landscapes - defined by sharp tonal contrasts - provides students

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48

Ferdinand, Simon. "Barnstorming the prairies: How aerial vision shaped the Midwest by Jason Weems." Visual Studies 32, no. 2 (2017): 198–200. http://dx.doi.org/10.1080/1472586x.2017.1320086.

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49

Griffith, F. M. "Aerial reconnaissance in mainland Britain in the summer of 1989." Antiquity 64, no. 242 (1990): 14–33. http://dx.doi.org/10.1017/s0003598x00077279.

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The summer of 1989 was hot and exceptionally dry in Britain, making it a good year for aerial archaeology, especially in those damper regions which are rarely forthcoming with visible crop- or parch-marks. Major finds of last year are presented, in the context of the larger pattern of year-by-year work.

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50

Morshed, Adnan. "The Aesthetics of Ascension in Norman Bel Geddes's Futurama." Journal of the Society of Architectural Historians 63, no. 1 (2004): 74–99. http://dx.doi.org/10.2307/4127993.

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The present article concerns the early-twentieth-century avant-garde's aestheticizing of a new vision occasioned by the advent of human flight. It focuses on the project that best reflects this vision: the Futurama, an exhibit created by the American industrial designer Norman Bel Geddes for the 1939 New York World's Fair. The Futurama's status as the "number one hit show" of the fair derived largely from its theatrical technique of seeing: spectators literally gazed down on an American utopia as if they were aviators in a low-flying airplane. Conceived during the golden age of American aviati

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