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Cecil, Elizabeth A., and Peter C. Bisschop. "Idiom and innovation in the ‘Gupta Period’: Revisiting Eran and Sondhni." Indian Economic & Social History Review 58, no. 1 (January 2021): 29–71. http://dx.doi.org/10.1177/0019464620982258.
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To show how kingship was enacted and materialised in specific contexts within the ‘Gupta Ecumene’, writ large, this article presents a detailed analysis of two sites that served as centres for political performance, devotional practice, and artistic production between the fourth and the sixth century CE: Eran and Sondhni in the Indian heartland of Madhya Pradesh. Eran is commonly held to be a key site for the study of Gupta art and architecture and holds several important inscriptions from the beginning to the end of the Gupta period, including one issued by Samudragupta. Sondhni is marked by two inscribed columns of Yaśodharman, a former Gupta subordinate who challenged the imperial rulers using metaphors borrowed from Samudragupta’s Allahabad Pillar Inscription. Examining these two sites in dialogue presents an opportunity to identify a shared cultural realm in which local polities participated and developed a transregional ‘Gupta’ political discourse. This study normalises a Gupta-centred imperial history and, in doing so, participates in a wider departure from dynastic history by emphasising the ways in which localised polities and rulers negotiated the political idioms of their day, challenged them, and created spaces for innovation.
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Gupta, Atreyee. "Thai Art: Currencies of the Contemporary Atreyee Gupta by David Teh." Southeast of Now: Directions in Contemporary and Modern Art in Asia 2, no. 2 (2018): 223–27. http://dx.doi.org/10.1353/sen.2018.0009.
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Dubey, Shraddha. "AJANTA'S DRAWINGS AND COLOR COMBINATIONS (IN THE PERSPECTIVE OF GUPTA ART)." International Journal of Research -GRANTHAALAYAH 2, no. 3SE (December 31, 2014): 1. http://dx.doi.org/10.29121/granthaalayah.v2.i3se.2014.3674.
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The Gupta period is called the Golden Age of India's history. In this era of happiness, prosperity and splendor, all arts were equally upgraded. The biggest gift of this era is Ajanta's frescoes. The inaudible works created by painters sitting in deep cenotaphic caves are unmatched. In this, the content and themes were not only taken from the life and Jataka tales of Lord Tathagata, but kept them bound in any limit. In them, hundreds of years of folklore is mirrored like a mirror. In Ajanta, 29 caves have been made by cutting a semi-crescent mountain. It is divided into groups. Among them, the tenth and ninth caves are in the middle group.Most of the pictures of Ajanta caves have been erased, but the remaining ones are amazing. The earliest paintings have the influence of Shung Kala. Lord Tathagata is seated in a view of the ninth cave, King Rani Amatigan and the worshiping monks surround him. Amatyas have turbaned threads at the ends and are wearing heavy jewelery in the hands and neck. With the shapes, they appear to be people of a primitive caste from the south. We can call it the earlier tradition of Ajanta painting. There is more use of gray color in it, but due to the use of natural colors, every object can be seen clearly as above. Due to the lack of bright colors, they reveal the plot seriously and give impetus to its spiritual nature.
गुप्तकाल भारत के इतिहास का स्वर्ण-युग कहा जाता है। सुख समृद्धि और वैभव के इस काल में सभी कलाओं का समान रूप से उन्नयन हुआ। इस युग की सबसे बड़ी देन है अजंता के भित्तिचित्र। चित्रकारों ने गहन अधंकरामयी गुफाओं में बैठकर जिन अपार्थिव कृत्तियों का सृजन किया वे अप्रतिम है। इनमें कथावस्तु और विषय तो भगवान तथागत के जीवन और जातक कथाओं से ही लिए किन्तु उन्हें किसी सीमा में बांध कर नहीं रखा। उनमें सैकड़ों वर्षों का लोकजीव दर्पण की भाँति प्रतिबिम्बित है।अजंता में अर्ध-चन्द्राकार पर्वत को काटकर 29 गुफाएँ बनाई गई है। यह समूहों में बंटी हुई है। इनमें दसवीं और नवीं गुफाएँ बीच के समूह में है।अजंता की गुफाओं के अधिकांष चित्र मिट चुके हैं परन्तु जो शेष है वे अद्भुत हैं। सबसे पुराने चित्रों पर शुंग कला का प्रभाव है। नवीं गुफा के एक दृश्य में जो मिट सा गया है भगवान तथागत बैठे हैं, राजा रानी अमात्यगण और उपासक भिक्षु उन्हें घेरे हुए हैं। अमात्यों के सिरों पर लटूदार पगड़ियाँ है और वे हाथों और गले में भारी-भारी आभूषण पहने हैं। आकृतियों से वे दक्षिण की ही किसी आदिम जाति के लोग लगते हैं। इसे हम अजंता चित्रकला की पूर्व परम्परा कह सकते हैं। इसमें धूसरित रंग का प्रयोग अधिक है किन्तु प्राकृतिक रंगों के प्रयोग की वजह से प्रत्येक वस्तु ऊपर वर्णानुसार स्पष्ट नजर आती है। चटख रंग न होने की वजह से यह कथानक को गंभीरता से प्रकट करते हैं और उसके आध्यात्मिक स्वरूप को गति प्रदान करते हैं।
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Aaftab, Mohsina. "INSTALLATION ART IN INDIA: CONCEPTS AND ROOTS." International Journal of Research -GRANTHAALAYAH 4, no. 10 (October 31, 2016): 16–20. http://dx.doi.org/10.29121/granthaalayah.v4.i10.2016.2483.
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Present study focuses on the new media Installation Art in India, its present scenario, and backgrounds. Essentially installation art has taken its heritage from conceptual art, which came into prominence in 1970s, when the concept or idea was prominent – when an artist uses a conceptual form of art which means that all of the arrangement and conclusion are made previously and the implementation is an obligatory concern. So, spontaneously idea became a machine that makes the art. An idea suddenly pops in his mind and he just implemented it, in his very own way. This kind of art does not narrow itself to gallery spaces and can refer to any materials intervention in everyday public or private spaces. After India became independent, art began to change here. considerately several movements and group bounced up all over the country headed by ambitious young artists with vision of bringing modern art to India. Now the art of India is totally changed. Contemporaries are not bound to use paper and canvas, wall or any other art surfaces. They are not bound to make mythological paintings or sculptures but they are free to do anything, they are free to use any medium, material and space they want. After a European artist Marcel Duchamp’s “ready-mades artist” started exploring the margin of art, trying to eliminate the contrast between art and life. For conceptual artists art need not look like a traditional work of art. Presented study focuses on the installation work of Indian artists. Four artists were selected by the researcher viz. Subodh Gupta, Shilpa Gupta, Bharti Kher and ChintanUpadhaya. Researcher investigates the concepts behind the art work of selected artists, their methods and materials they have used in their art work. The selection of artist in current study is on the bases of their fame and popularity. Method of the current study is analytical.
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Fernández-Menicucci, Amaya. "The Art of the Self: Identity and Performance in Sunetra Gupta’s So Good in Black and Kamila Shamsie’s Broken Verses." Revista Alicantina de Estudios Ingleses, no. 26 (November 15, 2013): 73. http://dx.doi.org/10.14198/raei.2013.26.06.
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This essay explores the intersection between art, performance and political agency in the quest for and building of self-identities in two novels by two Britain-based authors of the South Asian diaspora: Sunetra Gupta and Kamila Shamsie. Gupta’s So Good in Black (2009) and Shamsie’s Broken Verses (2005) provide a fertile ground for a critical comparison of the way in which each author understands and deploys the performative relationship between agency, creativity and identity. Following Marvin Carlson’s distinction between ‘positive’ and ‘negative’ perspectives on social performance, the present textual analysis focuses on the fact that Gupta understands individual subjectivities to be overruled and dramatically reshaped by social roles and identifications, whereas Shamsie sees the performative nature of identity as instrumental in the opening up of ‘liminal’ spaces in which identity is negotiated and the process of self-construction can truly take place. This paper aims, therefore, at analysing the discursive strategies through which Gupta’s and Shamsie’s travel writers, actors, poets, dancers and political activists use both onstage and offstage performance to act ‘against’ socio-cultural (de)limitations and impositions and ‘upon’ external and internal realities alike—or fail to do so.
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Maithani, Charu. "Screens as Gestures in Interactive Art Assemblage." AM Journal of Art and Media Studies, no. 17 (October 16, 2018): 147. http://dx.doi.org/10.25038/am.v0i17.278.
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The interaction in the contemporary media art installations can be viewed as a process of transformation as the parts of the installation engage and respond to each other. This paper considers interactive media art as assemblages and argues screens to be gestures of this assemblage. The screens activate and rearrange the relations between the elements of the assemblage by providing multiple connections between them. By examining two artworks, Breath (1991/92) by Ulrike Gabriel and Shadow 3 (2007) by Shilpa Gupta, the paper extrapolates the aesthetic experiences gestured by the screens. Article received: April 25, 2018; Article accepted: May 10, 2018; Published online: October 15, 2018; Preliminary report – Short CommunicationsHow to cite this article: Maithani, Charu. "Screens as Gestures in Interactive Art Assemblage." AM Journal of Art and Media Studies 17 (2018): 147−155. doi: 10.25038/am.v0i17.278
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Kuligowski, Waldemar. "„Fuck the context!”. Krytyczny dyskurs regionalny w kontekście badań foresight." Kultura i Społeczeństwo 60, no. 2 (May 23, 2016): 3–17. http://dx.doi.org/10.35757/kis.2016.60.2.1.
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This article is an attempt at a critical and interdisciplinary analysis of the idea of the region. The author reviews and summarizes critical views of the idea in the discourses of architecture (Frampton, Koolhaas, Ibelings), art history (DaCosta, Kauffman, Piotrowski), and social anthropology (Gupta, Ferguson, Malkki, Bhabha). He then focuses on the example of the contemporary discourse on power, in which the concept of ‘region’ still functions in the form of implicit premises about the naturalness of differences and territorial and cultural divisions. The example is analyzed through the findings of the research project ‘Regional Foresight for Wielkopolska’ (2009–2011). The author’s conclusion points to the great dissonance between the discourse of modern humanities and the applied discourse of contemporary policy (including regional policy).
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Roca-Fàbrega, Santi, Pedro Colin, Octavio Valenzuela, Francesca Figueras, and Yair Krongold. "Hot gas in Milky Way size galaxies at z=0." Proceedings of the International Astronomical Union 11, S321 (March 2016): 72–74. http://dx.doi.org/10.1017/s1743921316009340.
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AbstractWe present a new set of cosmological Milky Way size galaxy simulations using ART. In our simulations the main system has been evolved inside a 28 Mpc cosmological box with a spatial resolution of 109 pc. At z=0 our systems have an Mvir = 6 − 8 × 1011 M⊙. In several of out models we have observed how a well defined disk is formed inside the dark matter halo and the overall amount of gas and stars is comparable with MW observations. Several non-axisymmetric structures arise out of the disk: spirals, bars and also a warp. We have also observed that a huge reservoir of hot gas is present at large distances from the disk, embedded in the dark matter halo region, accounting for only a fraction of the ”missing baryons”. Gas column density, emission (EM) and dispersion (DM) measure have been computed from inside the simulated disk at a position of 8 kpc from the center and in several directions. Our preliminary results reveal that the distribution of hot gas is non-isotropic according with observations (Gupta et al. 2012, Gupta et al. 2014). Also its metallic content presents a clear bimodality what is a consequence of a recent accretion of a satellite galaxy among others. After a careful analysis we confirm that due to the anisotropy in the gas distribution a new observational parameter needs to be defined to recover the real distribution of hot gas in the galactic halo (Roca-Fàbrega et al. 2016).
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Maithani, Charu. "Intermediality of Screens in Post-Media Assemblages." Acta Universitatis Sapientiae, Film and Media Studies 17, no. 1 (October 1, 2019): 63–80. http://dx.doi.org/10.2478/ausfm-2019-0015.
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Abstract In contemporary artworks of so-called post-media assemblage, screens can be argued to emphasize, interconnect and rearticulate relationships between various parts in various modalities of image-making and display. They can be understood to produce gesturality that maintains conditions of mediality, which is the sustenance of relations between different parts of the media ensemble. This paper is an attempt to understand screens by analysing the gesturality that they propagate and not just facilitate. For this purpose, the paper interrogates the intermediality of screens in contemporary media arts that rely on this gesturality. By closely analysing contemporary media art installations such as Solar Reserve (Tonopah, Nevada) (John Gerrard, 2014) and Shadow 3 (Shilpa Gupta, 2007), this paper elaborates a concept of intermediality as an unfixed state and describes in-betweenness as enabling an openness to continuously form, unform and deform relations with different entities, thereby producing a gestural modality.
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Balogh, Dániel. "The Badoh-Pathari Saptamātṛ Panel Inscription." Indo-Iranian Journal 62, no. 3 (July 25, 2019): 191–226. http://dx.doi.org/10.1163/15728536-06203001.
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Abstract Located in Vidisha District, Madhya Pradesh, the area of Badoh-Pathari is home to a rock shelter with a sculpted panel depicting seven mother goddesses. A weathered inscription next to the sculptures was reported as early as 1926. The inscription is dateable to the fifth century on the basis of its palaeography and the art-historical dating of the site. Though partly effaced beyond hope of decipherment, roughly half of the text can be read with confidence, while some of the rest may be restored conjecturally, and some speculatively. The epigraph pays homage to Rudra and Skanda in addition to the Mothers themselves, and is thus a key resource concerning mātṛ worship in the Gupta period. It mentions the otherwise unknown local ruler Jayatsena of Avamukta (a region also named in the Allahabad pillar inscription), and may refer to the reign of Kumāragupta (I).
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Vikas, Kumar. "BANARAS: A PARALLEL SPACE OF THE COSMIC UNIVERSE AND ITS CONTRIBUTION TO ARCHITECTURE." International Journal of Advanced Research 8, no. 10 (October 31, 2020): 936–43. http://dx.doi.org/10.21474/ijar01/11920.
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From its prominent position on the river Ganges , Banaras has borne testimony to a flourishing civilization and the many socio-political turmoil associated with a thriving territory from the ancient kingdoms of Aryans with its mention in Ramayana to the combats of medieval rulers of Mauryan and Gupta dynasty and the never ceasing instability during the dominance of Muslim and British regime.[1] The historical unrest has vanished and the city with its inhabitants of “grin-and-bear-it” attitude endured every phase of this turmoil and adapted to it and commemorated every such change in their stories and culture. Every paradigm shift gave Banaras its own unique Art and Culture which it (Banaras) has assimilated and made it its very own signature be it Food, Fabric, Jewellery, Lifestyle, Mode of communication, Weapons, Architecture, Mythology, Tales, Culture, Cult , Art and much more The citys divine image , its elaborate traditional rituals , its prodigious display of the hand-in-hand existence of art and the mundane activities of life. All give it a peculiar feel, though the city has tried to keep pace with time, it has modernized or commercialised but what has stayed with time is what satiates the quench of a mystic or an explorer of Art and Culture . This write up here is an attempt to bring to words the connection between what the oldest civilizations or cults have left to enrich the Art & culture or other-way-round , how by exploring the existing we are able to get a glimpse into the glorious past that has passed and enriched India .This manuscript is a study and construal of Varanasi from the perspective of one who is close enough to the hindu tradition to see its religious significance and also close enough to art , design and academics to know the understanding that Arts and Varanasi might pose. The journey towards the finalization of this script started with mapping the city and searching for the temples mentioned in various texts and my work is based on two primary sources : the city itself with its multitude of temples , its seasons of pilgrimage , the Akharas , voluminous literature on Banaras and its pandas and lay interpreters.
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Asharov, Gilad, Daniel Demmler, Michael Schapira, Thomas Schneider, Gil Segev, Scott Shenker, and Michael Zohner. "Privacy-Preserving Interdomain Routing at Internet Scale." Proceedings on Privacy Enhancing Technologies 2017, no. 3 (July 1, 2017): 147–67. http://dx.doi.org/10.1515/popets-2017-0033.
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Abstract The Border Gateway Protocol (BGP) computes routes between the organizational networks that make up today’s Internet. Unfortunately, BGP suffers from deficiencies, including slow convergence, security problems, a lack of innovation, and the leakage of sensitive information about domains’ routing preferences. To overcome some of these problems, we revisit the idea of centralizing and using secure multi-party computation (MPC) for interdomain routing which was proposed by Gupta et al. (ACM HotNets’12). We implement two algorithms for interdomain routing with state-of-the-art MPC protocols. On an empirically derived dataset that approximates the topology of today’s Internet (55 809 nodes), our protocols take as little as 6 s of topology-independent precomputation and only 3 s of online time. We show, moreover, that when our MPC approach is applied at country/region-level scale, runtimes can be as low as 0.17 s online time and 0.20 s pre-computation time. Our results motivate the MPC approach for interdomain routing and furthermore demonstrate that current MPC techniques are capable of efficiently tackling real-world problems at a large scale.
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Murdihastomo, Ashar. "GANESHA TANPA MAHKOTA DALAM PUSARAN RELIGI MASYARAKAT JAWA KUNA (SEBUAH KAJIAN PERMULAAN)." KALPATARU 29, no. 1 (July 15, 2020): 1–14. http://dx.doi.org/10.24832/kpt.v29i1.700.
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Abstract. The Ganesha statue without a crown is one of the unique depictions of archeological remains in Indonesia. These statues can be found in several areas such as Temanggung, Pekalongan, the National Museum, and Yogyakarta. This uniqueness is a reason to be appointed in an initial assessment. This is because no one has ever discussed this topic. Therefore, the challenge to be raised on this occasion is about the Ganesha in the community regarding their portrayal in the form without a crown? The objective to be achieved from this discussion is a discussion of Javanese society related to the previous discussion. In answering these questions, qualitative research methods are used by taking secondary data from a literature review. The approach used in this review discusses the iconology proposed to explain the background of phenomena that occur through related stories or mythologies. Through an analysis of the results, offering three initial responses to the crownless Ganesha statue, related to the story of Ganesh who prevented Ravana from bringing Atmalinga to Lanka, the spread of Gupta art in Southeast Asia, and related to traditions outside the palace.
Keywords: Ganesha, Ancient Java, Brahmin
Abstrak. Arca Ganesha tanpa mahkota merupakan salah satu bentuk penggambaran unik dari tinggalan arkeologi di Indonesia. Keberadaannya diketahui terdapat di beberapa wilayah seperti Temanggung, Pekalongan, dan Museum Nasional. Keunikan tersebut menjadi alasan untuk diangkat dalam sebuah kajian permulaan. Hal ini dikarenakan belum pernah ada kajian yang membahas topik tersebut. Oleh karena itu, permasalahan yang coba diangkat pada kesempatan ini adalah bagaimana posisi dewa Ganesha di lingkungan masyarakat pada penggambarannya dalam wujud tanpa mahkota? Tujuan yang ingin dicapai adalah mengetahui pandangan masyarakat jawa Kuno terkait dengan keberadaan arca tersebut. Dalam upaya menjawab permasalahan tersebut, digunakan metode penelitian kualitatif dengan mengambil data sekunder dari kajian pustaka. Pendekatan yang digunakan pada kajian ini adalah pendekatan ikonologi, yang berusaha untuk menjelaskan latar belakang keberadaan fenomena tersebut melalui kisah atau mitologi yang terkait. Melalui hasil analisis, diperoleh tiga asumsi awal terhadap keberadaan arca Ganesha tanpa mahkota, yaitu terkait dengan kisah Ganesha yang mencegah Rahwana membawa Atmalinga ke Lanka, terkait dengan persebaran gaya seni Gupta di Asia Tenggara, dan terkait dengan tradisi luar keraton.
Kata kunci: Ganesha, Jawa Kuna, Brahmana
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Ayzel, Georgy, and Alexander Izhitskiy. "Climate Change Impact Assessment on Freshwater Inflow into the Small Aral Sea." Water 11, no. 11 (November 13, 2019): 2377. http://dx.doi.org/10.3390/w11112377.
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During the last few decades, the rapid separation of the Small Aral Sea from the isolated basin has changed its hydrological and ecological conditions tremendously. In the present study, we developed and validated the hybrid model for the Syr Darya River basin based on a combination of state-of-the-art hydrological and machine learning models. Climate change impact on freshwater inflow into the Small Aral Sea for the projection period 2007–2099 has been quantified based on the developed hybrid model and bias corrected and downscaled meteorological projections simulated by four General Circulation Models (GCM) for each of three Representative Concentration Pathway scenarios (RCP). The developed hybrid model reliably simulates freshwater inflow for the historical period with a Nash–Sutcliffe efficiency of 0.72 and a Kling–Gupta efficiency of 0.77. Results of the climate change impact assessment showed that the freshwater inflow projections produced by different GCMs are misleading by providing contradictory results for the projection period. However, we identified that the relative runoff changes are expected to be more pronounced in the case of more aggressive RCP scenarios. The simulated projections of freshwater inflow provide a basis for further assessment of climate change impacts on hydrological and ecological conditions of the Small Aral Sea in the 21st Century.
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Pawar, Vasundhara. "COLOR COMBINATION IN RAJASTHANI PAINTING." International Journal of Research -GRANTHAALAYAH 2, no. 3SE (December 31, 2014): 1–2. http://dx.doi.org/10.29121/granthaalayah.v2.i3se.2014.3662.
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"Sumeru in the mountains, Garun among birds, Raja is superior in individuals, in the same way" painting "is considered superior." The name of human perception of feeling is art. Kumar Swamy has said that art not only displays emotions but is also the carrier of spiritual message. The word Kala is mentioned in the eighth circle of the Rigveda. By the time of Mahajanapada period, the counting of 64 arts had begun. The nature of Indian painting is as expansive as its history. The earliest specimens of painting in India are found in prehistoric rock paintings. In which Mirzapur, Bhimvetika and tiger caves are prominent. With the development, beautiful paintings were done in Ajanta caves from the Shung period to the Gupta period in the historical era. The production of paintings on paper began in the 11th-12th century, and most of the pictures related to Jainism were made in Gujarat and its surrounding areas.
‘‘पर्वतों में सुमेरु, पक्षियों में गरुण, व्यक्तियों में राजा श्रेष्ठ है, वैसे ही कलाओं में ‘‘चित्रकला‘‘ श्रेष्ठ मानी गई है।‘‘ मानव की अनुभूतियों की अभिभक्ति का नाम कला है। कुमार स्वामी ने काहा है कि कला केवल भावों का प्रदर्शन ही नही करती अपितु अध्यात्मिक सन्देश की वाहक भी है। कला‘ शब्द का उल्लेख ऋग्वेद के आठवें मण्डल मे मिलता है। महाजनपद काल तक 64 कलाओं की गणना प्रारम्भ हो चुकी थी। भारतीय चित्रकला का स्वरूप जितना प्रशस्त है, उतना ही इसका इतिहास पुरातन है। भारत मे चित्रकला के प्राचिन्तम नमूने प्रागैतिहासिक शैल चित्रो मे मिलते है। जिनमें मिर्जापुर, भीमवेटिका तथा बाघ की गुफायें प्रमुख है।विकास के साथ ऐतिहासिक युग मे शुन्ग काल से गुप्त काल तक अजन्ता की गुफाओं मे सुन्दर चित्रकारी की गयी। कागज पर चित्रों का निर्मण 11 वीं 12 वीं शती मे शुरू हुआ, और जैन धर्म से सम्बन्धित अधिकाॅश चित्र गुजरात और उसके आसपास के क्षेत्र मे बनाये गये।
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BISSCHOP, PETER. "Śaivism in the Gupta-Vākāṭaka Age." Journal of the Royal Asiatic Society 20, no. 4 (October 2010): 477–88. http://dx.doi.org/10.1017/s1356186310000295.
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AbstractOne of the features of the Gupta-Vākāṭaka age is the growth of Śaivism. In this article some of the epigraphical evidence for this process is assembled and discussed. While the direct evidence for the adoption of Śiva worship among the Guptas is limited to ministers of the Gupta court, it is clear that the Vākāṭaka kings were predominantly Māheśvaras. New fragmentary wall inscriptions uncovered from Mansar, the site of Pravarasena II's palace, hint at a possible connection with the teachings of the Śvetāśvatara-Upaniṣad. Two post-Gupta inscriptions from the area around Mandasor are discussed in the light of a tendency towards religious hierarchisation, an attitude which came to be increasingly characteristic of early medieval Śaivism. In the second part attention is drawn to the variety of Pāśupata and Māheśvara worship in the Gupta-Vākāṭaka age, as well as to the trifold organisation of the Pāśupata movement. The article ends with a note on the interaction with non-Śaiva traditions, in particular Buddhism, and its possible impact upon the formation of the Pāśupata movement.
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Xiong, Quan, Liping Di, Quanlong Feng, Diyou Liu, Wei Liu, Xuli Zan, Lin Zhang, et al. "Deriving Non-Cloud Contaminated Sentinel-2 Images with RGB and Near-Infrared Bands from Sentinel-1 Images Based on a Conditional Generative Adversarial Network." Remote Sensing 13, no. 8 (April 14, 2021): 1512. http://dx.doi.org/10.3390/rs13081512.
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Sentinel-2 images have been widely used in studying land surface phenomena and processes, but they inevitably suffer from cloud contamination. To solve this critical optical data availability issue, it is ideal to fuse Sentinel-1 and Sentinel-2 images to create fused, cloud-free Sentinel-2-like images for facilitating land surface applications. In this paper, we propose a new data fusion model, the Multi-channels Conditional Generative Adversarial Network (MCcGAN), based on the conditional generative adversarial network, which is able to convert images from Domain A to Domain B. With the model, we were able to generate fused, cloud-free Sentinel-2-like images for a target date by using a pair of reference Sentinel-1/Sentinel-2 images and target-date Sentinel-1 images as inputs. In order to demonstrate the superiority of our method, we also compared it with other state-of-the-art methods using the same data. To make the evaluation more objective and reliable, we calculated the root-mean-square-error (RSME), R2, Kling–Gupta efficiency (KGE), structural similarity index (SSIM), spectral angle mapper (SAM), and peak signal-to-noise ratio (PSNR) of the simulated Sentinel-2 images generated by different methods. The results show that the simulated Sentinel-2 images generated by the MCcGAN have a higher quality and accuracy than those produced via the previous methods.
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Khare, Mrs Asha. "ROLE OF COMMUNICATION TOOLS IN THE PROMOTION OF MUSIC." International Journal of Research -GRANTHAALAYAH 3, no. 1SE (January 31, 2015): 1–4. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3400.
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Hegel, a well-known scholar of Jammani, has placed music in the category of love arts. Indian music has been called the essence of all four languages. Music has been worshiped extensively in India and has been worshiped as Veena Vavadani. Sa vidya or liberation is music. In the divine period, the reins of music were in the hands of Brahmins. In this period, music flourished in religious atmosphere. Samudragupta was self-effacing. In this period, music began to develop in Rajashraya. Classical and folk music was also promoted. Kaval Das and Bhasa, the great poet and playwright of Sanskrit, wrote important texts in this period. The Rajputs were ruled after the Gupta period. Indian music, which was embedded in the thread of unity, began to be divided into two streams, the music of North India and the music of South India. Important texts of music were written. In the Muvassalam era, Sharangadee wrote a famous book of music called Sangeet Ratnakara. During this period, Amir Khusro brought a new verse in the field of music. The origins of the plants became popular for singing songs and singing ghazali. Bhagakat music was emphasized during the Mughal period. Dhrupad Dhamar singing was popular. The reign of Akbar in the Mughal period has been called the era of music. During this period, musicians and artists enjoyed royalty, and art greatly developed.
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BAKKER, HANS. "Royal Patronage and Religious Tolerance The Formative Period of Gupta–Vākāṭaka Culture." Journal of the Royal Asiatic Society 20, no. 4 (October 2010): 461–75. http://dx.doi.org/10.1017/s1356186310000301.
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AbstractPatronage by the royal court of religious institutions and foundations is one of the hallmarks of the development of India under the rule of the Gupta and Vākāṭaka kings (4th–5th centuries). This patronage was extended also to religious movements other than the king's own persuasion. The evolving culture of religious tolerance and enthusiasm is apparent in the temple monuments of the time. In this article we focus on four archeological sites where these developments become best visible: Udayagiri, Māṇḍhaḷ, Rāmagiri (Ramtek), and Mansar. The close relationship of the Gupta and Vākāṭaka realms is investigated in its local settings. Renewed attention is given to the ‘Mandhal Inscription, Year 5’ of the Vākāṭaka king Rudrasena II and the deity on whose authority the charter was issued: Muṇḍasvāmin. It is argued that the name Muṇḍa refers to no one else than the Gupta queen of Rudrasena II, Prabhāvatī Guptā. During the last decade, excavations in Mansar (5 km west of Ramtek) have brought to light the state sanctuary of the youngest son of Prabhāvatī, Pravarasena II. The findings there are placed within the tradition that can be traced back, through Rāmagiri and Māṇḍhaḷ, to the religious foundations in Udayagiri.
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Shere, Pramila. "COORDINATION AND COMBINATION OF COLORS IN PAINTING (WITH REFERENCE TO PREHISTORIC PERIOD AND MODERN PERIOD)." International Journal of Research -GRANTHAALAYAH 2, no. 3SE (December 31, 2014): 1–3. http://dx.doi.org/10.29121/granthaalayah.v2.i3se.2014.3576.
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The art of prehistoric India is easily introduced to the art of prehistoric India by studying the motifs of textiles, stone paintings, clay characters, creeping insects, animals, birds, humans etc. available from different regions of India. Like today, Adi Man was also a beauty doctor. Due to this aesthetic love, he tended to give tangible form to his abstract feelings. We find evidence of this in the art materials available from the excavations of Mohenjodaro and Hadappa. It is known from a verse in the ancient mantra samhita of the Rig Veda that at that time there was a practice of painting on leather. In some of the mantras of the Rig Veda, there is mention of inscriptions of goddesses on the boards of the Yajnashalas.The art of culture flourished and preserved by Emperor Ashoka is seen even today. Buddhism has a special reputation in the production of paintings. The calligraphy of the lines in the paintings of the tiger and Ajanta and the various conventions of the use of colors express the development of the painting of this era. The actual form of Gupta art is seen in the paintings of Ajanta, Ellora and tiger caves. Graffiti has an important place in the history of Indian painting. The frescoes are seen in the caves of Bhimbetka, Jogimara, Tiger, Ajanta Badami, Sittanvasal, Ellora, Elephanta. South India has also been a pioneer in the rise of painting. In the history of Indian painting, Rajput style has its own distinctness and its own independent existence. After the establishment of the Mughal period in India, a new direction in the field of painting came to light. Himachal Pradesh has been the land of construction of hill pictures - Jammu, Tehri, Garhwal, Kallu, Chamba, Basauli, Kangra etc.
भारत के विभिन्न क्षेत्रों से उपलब्ध वस्त्रों, पाशाणचित्रों, मृत्तिका पात्रों, लाल-पीले रंगों में चित्रित रेंगते हुए कीड़ों, पशुओं, पक्षियों मनुष्यों आदि की आकृति का अध्ययन करके प्रागैतिहासिक भारत के कलाप्रेम का सहज ही मंें परिचय मिल जाता है। आज की भाँति आदि मानव भी सौन्दर्योपासक था। इसी सौन्दर्यप्रेम के कारण वह अपने अमूर्त भावों को मूर्त रुप देने की ओर प्रवृत्त हुआ। इसके प्रमाण हमें मोहनजोदड़ो तथा हडप्पा की खुदाईयों से उपलब्ध कला सामग्री में देखने को मिलते है। ऋगवेद की प्राचीनतम मंत्र संहिता की एक ऋचा से ज्ञात होता है कि उस समय चमड़े पर चित्र अंकित करने का प्रचलन था। ऋगवेद के कुछ मंत्रों में यज्ञषालाओं की चैखटों पर द्वार देवियों के चित्र अंकित किये जाने का उल्लेख मिलता है।सम्राट अषोक द्वारा पल्लवित एवं संरक्षित कला की थाती आज भी देखने को मिलती है। पटचित्रों के निर्माण में बौध्दकला की विशेष ख्याति रही है। बाघ और अजंता के चित्रों में रेखाओं का सुलेखन और रंगों के प्रयोग की विभिन्न परिपाटियाँ इस युग के चित्रांकन का विकास व्यक्त करती है। अजंता, एलोरा और बाघ की गुफाओं की चित्रकारी में गुप्तकालीन कला का वास्तविक रुप देखने को मिलता है। भारतीय चित्रकला के इतिहास में भित्तीचित्रों का महत्वपूर्ण स्थान है। भित्तिचित्र भीमबेटका, जोगीमारा, बाघ, अजन्ता बादामी, सित्तनवासल, ऐलोरा, ऐलीफेंटा की गुफाओं में देखने को मिलते है। चित्रकला के उत्थान में दक्षिण भारत भी अग्रणी रहा है। भारतीय चित्रकला के इतिहास में राजपूत षैली की अपनी विशिष्टता और अपना स्वतंत्र अस्तित्व है। भारत में मुगल काल की स्थापना के बाद चित्रकला के क्षेत्र में एक नयी दिषा प्रकाष में आयी। पहाड़ी चित्र षैलियों की निर्माण भूमि हिमाचल रहा है-जम्मू, टिहरी, गढवाल, कल्लू, चम्बा, बसौली, कांगड़ा आदि इसके क्षेत्र रहे है।
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Ghimire, Deo, Raj, and Mi. "Deep Learning Neural Networks Trained with MODIS Satellite-Derived Predictors for Long-Term Global Solar Radiation Prediction." Energies 12, no. 12 (June 22, 2019): 2407. http://dx.doi.org/10.3390/en12122407.
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Solar energy predictive models designed to emulate the long-term (e.g., monthly) global solar radiation (GSR) trained with satellite-derived predictors can be employed as decision tenets in the exploration, installation and management of solar energy production systems in remote and inaccessible solar-powered sites. In spite of a plethora of models designed for GSR prediction, deep learning, representing a state-of-the-art intelligent tool, remains an attractive approach for renewable energy exploration, monitoring and forecasting. In this paper, algorithms based on deep belief networks and deep neural networks are designed to predict long-term GSR. Deep learning algorithms trained with publicly-accessible Moderate Resolution Imaging Spectroradiometer (MODIS) satellite data are tested in Australia’s solar cities to predict the monthly GSR: single hidden layer and ensemble models. The monthly-scale MODIS-derived predictors (2003–2018) are adopted, with 15 diverse feature selection approaches including a Gaussian Emulation Machine for sensitivity analysis used to select optimal MODIS-predictor variables to simulate GSR against ground-truth values. Several statistical score metrics are adopted to comprehensively verify surface GSR simulations to ascertain the practicality of deep belief and deep neural networks. In the testing phase, deep learning models generate significantly lower absolute percentage bias (≤3%) and high Kling–Gupta efficiency (≥97.5%) values compared to the single hidden layer and ensemble model. This study ascertains that the optimal MODIS input variables employed in GSR prediction for solar energy applications can be relatively different for diverse sites, advocating a need for feature selection prior to the modelling of GSR. The proposed deep learning approach can be adopted to identify solar energy potential proactively in locations where it is impossible to install an environmental monitoring data acquisition instrument. Hence, MODIS and other related satellite-derived predictors can be incorporated for solar energy prediction as a strategy for long-term renewable energy exploration.
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Ahmed, Kamal, Dhanapala A. Sachindra, Shamsuddin Shahid, Mehmet C. Demirel, and Eun-Sung Chung. "Selection of multi-model ensemble of general circulation models for the simulation of precipitation and maximum and minimum temperature based on spatial assessment metrics." Hydrology and Earth System Sciences 23, no. 11 (November 25, 2019): 4803–24. http://dx.doi.org/10.5194/hess-23-4803-2019.
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Abstract. The climate modelling community has trialled a large number of metrics for evaluating the temporal performance of general circulation models (GCMs), while very little attention has been given to the assessment of their spatial performance, which is equally important. This study evaluated the performance of 36 Coupled Model Intercomparison Project 5 (CMIP5) GCMs in relation to their skills in simulating mean annual, monsoon, winter, pre-monsoon, and post-monsoon precipitation and maximum and minimum temperature over Pakistan using state-of-the-art spatial metrics, SPAtial EFficiency, fractions skill score, Goodman–Kruskal's lambda, Cramer's V, Mapcurves, and Kling–Gupta efficiency, for the period 1961–2005. The multi-model ensemble (MME) precipitation and maximum and minimum temperature data were generated through the intelligent merging of simulated precipitation and maximum and minimum temperature of selected GCMs employing random forest (RF) regression and simple mean (SM) techniques. The results indicated some differences in the ranks of GCMs for different spatial metrics. The overall ranks indicated NorESM1-M, MIROC5, BCC-CSM1-1, and ACCESS1-3 as the best GCMs in simulating the spatial patterns of mean annual, monsoon, winter, pre-monsoon, and post-monsoon precipitation and maximum and minimum temperature over Pakistan. MME precipitation and maximum and minimum temperature generated based on the best-performing GCMs showed more similarities with observed precipitation and maximum and minimum temperature compared to precipitation and maximum and minimum temperature simulated by individual GCMs. The MMEs developed using RF displayed better performance than the MMEs based on SM. Multiple spatial metrics have been used for the first time for selecting GCMs based on their capability to mimic the spatial patterns of annual and seasonal precipitation and maximum and minimum temperature. The approach proposed in the present study can be extended to any number of GCMs and climate variables and applicable to any region for the suitable selection of an ensemble of GCMs to reduce uncertainties in climate projections.
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Salomon, Richard, Bahardurchand Chhabra, and Govind Swamirao Gai. "Inscriptions of the Early Gupta Kings." Journal of the American Oriental Society 105, no. 4 (October 1985): 787. http://dx.doi.org/10.2307/602779.
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Craft, N., and R. Smith. "BMJ response to Dr. Gupta." Journal of Medical Ethics 22, no. 4 (August 1, 1996): 245–46. http://dx.doi.org/10.1136/jme.22.4.245.
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Zambrano-Bigiarini, Mauricio, Alexandra Nauditt, Christian Birkel, Koen Verbist, and Lars Ribbe. "Temporal and spatial evaluation of satellite-based rainfall estimates across the complex topographical and climatic gradients of Chile." Hydrology and Earth System Sciences 21, no. 2 (March 2, 2017): 1295–320. http://dx.doi.org/10.5194/hess-21-1295-2017.
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Abstract. Accurate representation of the real spatio-temporal variability of catchment rainfall inputs is currently severely limited. Moreover, spatially interpolated catchment precipitation is subject to large uncertainties, particularly in developing countries and regions which are difficult to access. Recently, satellite-based rainfall estimates (SREs) provide an unprecedented opportunity for a wide range of hydrological applications, from water resources modelling to monitoring of extreme events such as droughts and floods.This study attempts to exhaustively evaluate – for the first time – the suitability of seven state-of-the-art SRE products (TMPA 3B42v7, CHIRPSv2, CMORPH, PERSIANN-CDR, PERSIAN-CCS-Adj, MSWEPv1.1, and PGFv3) over the complex topography and diverse climatic gradients of Chile. Different temporal scales (daily, monthly, seasonal, annual) are used in a point-to-pixel comparison between precipitation time series measured at 366 stations (from sea level to 4600 m a.s.l. in the Andean Plateau) and the corresponding grid cell of each SRE (rescaled to a 0.25° grid if necessary). The modified Kling–Gupta efficiency was used to identify possible sources of systematic errors in each SRE. In addition, five categorical indices (PC, POD, FAR, ETS, fBIAS) were used to assess the ability of each SRE to correctly identify different precipitation intensities.Results revealed that most SRE products performed better for the humid South (36.4–43.7° S) and Central Chile (32.18–36.4° S), in particular at low- and mid-elevation zones (0–1000 m a.s.l.) compared to the arid northern regions and the Far South. Seasonally, all products performed best during the wet seasons (autumn and winter; MAM–JJA) compared to summer (DJF) and spring (SON). In addition, all SREs were able to correctly identify the occurrence of no-rain events, but they presented a low skill in classifying precipitation intensities during rainy days. Overall, PGFv3 exhibited the best performance everywhere and for all timescales, which can be clearly attributed to its bias-correction procedure using 217 stations from Chile. Good results were also obtained by the research products CHIRPSv2, TMPA 3B42v7 and MSWEPv1.1, while CMORPH, PERSIANN-CDR, and the real-time PERSIANN-CCS-Adj were less skillful in representing observed rainfall. While PGFv3 (currently available up to 2010) might be used in Chile for historical analyses and calibration of hydrological models, the high spatial resolution, low latency and long data records of CHIRPS and TMPA 3B42v7 (in transition to IMERG) show promising potential to be used in meteorological studies and water resource assessments. We finally conclude that despite improvements of most SRE products, a site-specific assessment is still needed before any use in catchment-scale hydrological studies.
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Auboyer, Jeannine. "Une tête de Buddha gupta au musée Guimet." Arts asiatiques 43, no. 1 (1988): 157–59. http://dx.doi.org/10.3406/arasi.1988.1247.
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Schmid, Charlotte. "Les Vaikuṇṭha gupta de Mathura : Viṣṇu ou Kṛṣṇa ?" Arts asiatiques 52, no. 1 (1997): 60–88. http://dx.doi.org/10.3406/arasi.1997.1401.
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Narain, A. K., and Ellen M. Raven. "Gupta Gold Coins with a Garuḍa Banner." Journal of the American Oriental Society 117, no. 1 (January 1997): 202. http://dx.doi.org/10.2307/605661.
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Willis, Michael. "Later Gupta History: Inscriptions, Coins and Historical Ideology." Journal of the Royal Asiatic Society of Great Britain & Ireland 15, no. 2 (July 2005): 131–50. http://dx.doi.org/10.1017/s135618630500502x.
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AbstractThis article argues for a radical revision of later Gupta chronology based on a review of the primary evidence. The paucity of dated material has meant that historical reconstructions of the period have been based on late-Victorian assumptions about the nature of society and kingship. Removing this ideological framework allows not only for a revision of chronology — a traditional historical concern — but for a new understanding of Gupta kingship and the constitution of state.
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Guinaldo, Thibault, Simon Munier, Patrick Le Moigne, Aaron Boone, Bertrand Decharme, Margarita Choulga, and Delphine J. Leroux. "Parametrization of a lake water dynamics model MLake in the ISBA-CTRIP land surface system (SURFEX v8.1)." Geoscientific Model Development 14, no. 3 (March 10, 2021): 1309–44. http://dx.doi.org/10.5194/gmd-14-1309-2021.
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Abstract. Lakes are of fundamental importance in the Earth system as they support essential environmental and economic services, such as freshwater supply. Streamflow variability and temporal evolution are impacted by the presence of lakes in the river network; therefore, any change in the lake state can induce a modification of the regional hydrological regime. Despite the importance of the impact of lakes on hydrological fluxes and the water balance, a representation of the mass budget is generally not included in climate models and global-scale hydrological modeling platforms. The goal of this study is to introduce a new lake mass module, MLake (Mass-Lake model), into the river-routing model CTRIP to resolve the specific mass balance of open-water bodies. Based on the inherent CTRIP parameters, the development of the non-calibrated MLake model was introduced to examine the influence of such hydrological buffer areas on global-scale river-routing performance. In the current study, an offline evaluation was performed for four river networks using a set of state-of-the-art quality atmospheric forcings and a combination of in situ and satellite measurements for river discharge and lake level observations. The results reveal a general improvement in CTRIP-simulated discharge and its variability, while also generating realistic lake level variations. MLake produces more realistic streamflows both in terms of daily and seasonal correlation. Excluding the specific case of Lake Victoria having low performances, the mean skill score of Kling–Gupta efficiency (KGE) is 0.41 while the normalized information contribution (NIC) shows a mean improvement of 0.56 (ranging from 0.15 to 0.94). Streamflow results are spatially scale-dependent, with better scores associated with larger lakes and increased sensitivity to the width of the lake outlet. Regarding lake level variations, results indicate a good agreement between observations and simulations with a mean correlation of 0.56 (ranging from 0.07 to 0.92) which is linked to the capability of the model to retrieve seasonal variations. Discrepancies in the results are mainly explained by the anthropization of the selected lakes, which introduces high-frequency variations in both streamflows and lake levels that degraded the scores. Anthropization effects are prevalent in most of the lakes studied, but they are predominant for Lake Victoria and are the main cause for relatively low statistical scores for the Nile River However, results on the Angara and the Neva rivers also depend on the inherent gap of ISBA-CTRIP process representation, which relies on further development such as the partitioned energy budget between the snow and the canopy over a boreal zone. The study is a first step towards a global coupled land system that will help to qualitatively assess the evolution of future global water resources, leading to improvements in flood risk and drought forecasting.
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Assayag, Jackie. "Dipankar Gupta, Mistaken Modernity. India Between Two Worlds." L'Homme, no. 163 (June 21, 2002): 267–69. http://dx.doi.org/10.4000/lhomme.12561.
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Gupta, N., A. Pandey, and S. C. Gupta. "30 IN VITRO EXPRESSION OF BAX AND BCL2 GENES IN NUCLEAR DONOR SKIN FIBROBLAST, CUMULUS, AND GRANULOSA CULTURED CELLS DURING CULTURE AND THEIR SOMATIC CELL NUCLEAR TRANSFER-CLONED EMBRYOS IN INDIAN BUFFALOES (BUBALUS BUBALIS)." Reproduction, Fertility and Development 21, no. 1 (2009): 115. http://dx.doi.org/10.1071/rdv21n1ab30.
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Somatic cell nuclear transfer (SCNT) involves functional changes in the genome which result in low efficiency for the production of viable and cloned embryos. It is primarily due to incomplete reprogramming of genome of donor cell nuclei in the reconstructed embryos (Vassena et al. 2007 Dev. Biol. 304, 75–89). Expression of BCL2 and Bax can be correlated with apoptosis. BCL2 inhibits apoptosis by regulating the release of cytochrome-c and other proteins from mitochondria (Keep et al. 2007 EMBO J. 26, 825–834). Antiapoptotic BCL2 is antiproliferative by facilitating G0. Bax is proapoptotic and accelerates S-phase progression. The dual functions in apoptosis and cell cycle are coordinately regulated by the BCL2 family and suggest that survival is maintained at the expense of proliferation (Zinkel et al. 2006 Cell Death Differ. 13, 1351–1359). The aim of this study was to estimate the relative expression of BCL2 oncogene and Bax gene in regulating apoptosis, in skin fibroblast, cumulus, and granulosa cells in culture, so that ideal-type donor cell lines are developed for higher success rates in SCNT-derived buffalo cloning. The cell lines up to 25th passage were from all the 3 tissue types by previous method (Gupta et al. 2007 Cell Biol. Int. 31, 1257–1264). The cells between passages 5th to 15th were selected as competent donor cells and transferred into enucleated in vitro-matured oocytes from slaughter ovaries. The couplets were activated electrically (1.5 kV cm–2, 15 μs) and chemically (ionomycin, 6-DMAP, CHX, and Cyto-B) and were cultured up to blastocyst. The cDNA were prepared from the growing cells in culture at 5, 10, and 15 passages from all cell lines and SCNT-cloned blastocysts from these cell lines at respective passages for Bax and BCL2 gene expression analysis. Relative expression of these candidate genes was quantified using real-time PCR. The data was analyzed for 1-way ANOVA and post-hoc Duncan multiple range test at P ≤ 0.05 level of significance. The cell proliferation rate in cultured cells at fifth passage was higher in all the 3 cell lines and declined in subsequent passages (range from 1.06 to 0.67). The relative abundance of Bax mRNA in granulosa cell was comparable with skin fibroblasts but significanly higher than cumulus cells at respective passages. BCL2 mRNA expression was significantly upregulated in cumulus cells as compared to granulosa cells but not with skin fibroblasts. The SCNT blastocyst production rates from granulosa were highest (24.28%) as compared to fibroblast (22.6%) and cumulus (21.4%) at passage 10. Level of Bax and BCL2 mRNA in granulosa and fibroblast SCNT blastocysts was not significantly different from IVF (control), whereas cumulus-derived blastocyst showed abnormal patterns with downregulated expression of Bax mRNA and upregulated expression of BCl2 mRNA. Identification of expressed genes in cells and cloned embryos will help to investigate the causes of developmental abnormality due to deregulation of expression of important gene associated with ART.
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Agrawal, Jagannath. "A study of some verses of the Mandasor Stone inscription dated Malava Year 529." Journal of the Royal Asiatic Society of Great Britain & Ireland 118, no. 1 (January 1986): 53–58. http://dx.doi.org/10.1017/s0035869x00139103.
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This inscription of great historical importance was discovered by the copyists of J. F. Fleet in 1884 and was first published by him in the Indian Antiquary, XV, in 1886. He subsequently included it in the Corpus Inscriptionum Indicarum, Vol. III, which he edited and which was published in 1888. Sir R. G. Bhandarkar published some corrections to the text and translation in JBBRAS, XVII (1887–89). F. Kielhorn published the correction of a reading in verse 31 which much improved the sense. The late A. L. Basham presented a fresh study of this epigraph, in his paper read at the symposium on the Gupta Period of Indian history at Carlton College in Northfield, Minnesota, in 1977. The papers presented at this symposium have now been printed under the title Essays on Gupta culture
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Desai, Amit. "Caste in question: identity or hierarchy? ? Edited by Dipankar Gupta." Journal of the Royal Anthropological Institute 13, no. 3 (September 2007): 750–51. http://dx.doi.org/10.1111/j.1467-9655.2007.00455_8.x.
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Aleaz, Bonita. "Book review: S. Shankar and Charu Gupta (Eds.), Caste and Life Narratives." Indian Journal of Gender Studies 28, no. 2 (May 27, 2021): 313–16. http://dx.doi.org/10.1177/0971521521997938.
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Senelick, Laurence. "Double Vision: Second Empire Theatre in Stereographs." Theatre Research International 24, no. 1 (1999): 83–88. http://dx.doi.org/10.1017/s0307883300020289.
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Of cherry-wood or pressed tin, lined with red plush or gutta-percha, hand-held or mounted in a self-standing case, the stereoscope was, by the mid-1850s, ubiquitous in the Victorian parlor, where the viewing device and its attendant cards provided an inoffensive and instructive amusement. ‘The stereoscope is now seen in every drawing-room’, reported the Art Journal of 1856, ‘philosophers talk learnedly upon it; ladies are delighted with its magic representations; and children play with it.’
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Yalaoui, Farouk. "Minimizing Total Tardiness in Parallel-Machine Scheduling with Release Dates." International Journal of Applied Evolutionary Computation 3, no. 1 (January 2012): 21–46. http://dx.doi.org/10.4018/jaec.2012010102.
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The considered problem is the scheduling of a set of jobs on identical parallel machines in order to minimize the total tardiness without any preemption or splitting. Each job has its own processing time, release date and due date. All the machines are considered identical (with same speed) and available during all the scheduling period. This problem is NP-hard. An exact resolution, an Ant Colony Algorithm (ACO), a Tabu Search (TS) method, a set of Heuristics based on priority rules and an adapted Biskup Hermann Gupta (BHG) method are proposed to solve the problem. The obtained results are discussed and analyzed.
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Salomon, Richard, K. V. Ramesh, and S. P. Tewari. "A Copper-Plate Hoard of the Gupta Period from Bagh, Madhya Pradesh." Journal of the American Oriental Society 111, no. 4 (October 1991): 842. http://dx.doi.org/10.2307/603447.
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Gupta, Tanika. "As Long as the Punters Enjoy It." New Theatre Quarterly 24, no. 3 (August 2008): 260–69. http://dx.doi.org/10.1017/s0266464x08000316.
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Tanika Gupta is one of the most prolific and outstanding new writers in contemporary British theatre. Born in Chiswick in 1965, she is a bilingual British Bengali who – after reading modern history at Oxford University – began her career in 1991, when her Radio 4 play, Asha, was part of the BBC Young Playwrights Festival. In 1995, her BBC film, The Rhythm of Raz, was nominated for a Children's BAFTA and the following year her film Bideshi won an award at the Bombay Short Film Festival. Meanwhile, although she made a living writing for Grange Hill and EastEnders, her play Voices on the Wind was being developed and, in 1996–98, she was Writer-in-Residence at the Soho Theatre. In 1997, A River Sutra was staged at Three Mills Island, London, and Skeleton at the Soho Theatre. In 1998, Flight, her BBC2 screenplay, won an EMMA. The Waiting Room (2000), staged by the National, won the John Whiting Award, and was followed by Sanctuary (National) and Inside Out, toured by Clean Break (both 2002). In 2003, Gupta's Fragile Land opened the new Hampstead Theatre's education space, her Asian version of Hobson's Choice was staged at the Young Vic, and she won the Asian Woman of Achievement Award. Later, she had further success with her campaigning play about the Zahid Mubarek case, Gladiator Games (Sheffield Crucible, 2005), and Sugar Mummies (Royal Court, 2006). A year later came a play for the National Youth Theatre, White Boy (Soho). What follows is an edited transcript of Aleks Sierz's ‘In Conversation with Tanika Gupta’, part of the ‘Universal Voices’ festival held at Rose Bruford College, Sidcup, Kent, in April 2007, organized by Nesta Jones.
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Tayal, Devika, Mrinal Gupta, and Binita Goswami. "Does Prolonged Storage of Serum Samples alter the Lab Results?" Indian journal of Medical Biochemistry 21, no. 1 (2017): 30–33. http://dx.doi.org/10.5005/jp-journals-10054-0015.
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ABSTRACT Background Sample storage for prolonged periods can lead to alterations in routine biochemical parameters. Aim This study was undertaken to observe the biochemical changes on serum samples when they are stored for prolonged periods at –20°C on different routine biochemical parameters. Results Significant changes were observed in serum glucose, aspartate aminotransferase (AST), alanine aminotransferase (ALT), creatinine, and potassium levels after 72 hours of storage, which further deteriorate in 3 months. Rest of the parameters did not show any significant alteration. Conclusion Prolonged storage of samples lead to alterations in the analyte concentration in serum. Serum glucose, AST, ALT, creatinine, and potassium levels should be estimated within 72 hours if prolonged storage is unavoidable. In conclusion, all the parameters should be assayed within 24 hours to avoid misinterpretation of results and better patient care. How to cite this article Tayal D, Gupta M, Goswami B. Does Prolonged Storage of Serum Samples alter the Lab Results? Indian J Med Biochem 2017;21(1):30-33.
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Weszkalnys, Gisa. "The anthropology of the state: a reader ? Edited by Aradhana Sharma & Akhil Gupta." Journal of the Royal Anthropological Institute 13, no. 2 (June 2007): 503–4. http://dx.doi.org/10.1111/j.1467-9655.2007.00439_25.x.
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Spada, Marco. "Nikhil Anand, Akhil Gupta and Hannah Appel (eds), The Promise of Infrastructure." Environment and History 26, no. 1 (February 1, 2020): 134–36. http://dx.doi.org/10.3197/096734019x15755402985604.
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Podh, Kishor K. "Book Review: Dipankar Gupta, From ‘People’ to ‘Citizen’: Democracy’s Must Take Road." South Asia Research 39, no. 3_suppl (October 21, 2019): 89S—92S. http://dx.doi.org/10.1177/0262728019874534.
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Datta, Partho. "Review essay: Celebrating Calcutta." Urban History 19, no. 1 (April 1992): 84–98. http://dx.doi.org/10.1017/s0963926800009640.
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Calcutta celebrated its tercentenary in 1990. The city rose to the occasion handsomely with floats, exhibitions, seminars, the usual flurry of publications and some soul-searching. So it has been an exciting year for Indian urban historians. A decade has elapsed since Narayani Gupta reviewed the state of current research on urban India, and after a brief examination of writings on colonial cities, attention is devoted here to a more extensive survey of works on Calcutta including those published on the occasion of the tercentenary.
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STEWART, MICHAEL. "The anthropology of the state. A reader. edited by Sharma, Aradhana and Akhil Gupta." Social Anthropology 16, no. 2 (July 25, 2008): 252–53. http://dx.doi.org/10.1111/j.1469-8676.2008.00026_12.x.
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R., L., and Hemchandra Raychaudhuri. "Political History of Ancient India: From the Accession of Parikshit to the Extinction of the Gupta Dynasty." Journal of the American Oriental Society 119, no. 3 (July 1999): 552. http://dx.doi.org/10.2307/605994.
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Mitchell, Stephen A. "Guta Saga: The History of the Gotlanders. Christine Peel." Speculum 77, no. 4 (October 2002): 1377–78. http://dx.doi.org/10.2307/3301296.
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Sen, Priyanjali. "Author–Screenwriter– Director (1930s–1950s): Articulating Authorship Through Self-Adaptations and Film Novelisations in Bengali." BioScope: South Asian Screen Studies 11, no. 2 (December 2020): 169–86. http://dx.doi.org/10.1177/0974927620983952.
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During the 1930s, one of the significant factors that strengthened the connection between Bengali literature and film was the emergence of certain key figures who straddled overlapping roles as author–screenwriter–director, frequently adapting their own literary works and reframing the contentious ‘authorship issue’ that arises between writer and filmmaker. By focusing on three such figures—Premankur Atorthy (1890–1964), Sailajananda Mukhopadhyay (1901–1976) and Premendra Mitra (1904–1988)—this essay examines the manner in which self-adaptations served to transfer the power of the literary author to the nascent cinematic auteur, particularly through the intermediary process of screenwriting. The essay also draws attention to the practice of film novelisations that was mobilised since the mid-1940s by Mitra and others like Jyotirmoy Roy and Panchugopal Mukhopadhyay, where novels were written based on cinematic works, akin to French cinéromans and contrary to ‘authorless’ novelisations by ghostwriters. In subsequent years, film novels were written by director Hemen Gupta, writers Tarashankar Bandopadhyay, Shaktipada Rajguru and Kalkut, which brings to light a largely unexplored dimension of the relationship between Bengali film and literature.
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Kippen, James R., and Richard Widdess. "The Rāgas of Early Indian Music: Modes, Melodies and Musical Notations from the Gupta Period to c. 1250." Journal of the American Oriental Society 117, no. 3 (July 1997): 587. http://dx.doi.org/10.2307/605269.
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Willis, Michael D. "An introduction to the historical geography of Gopakṣetra, Daśārṇa, and Jejākadeśa." Bulletin of the School of Oriental and African Studies 51, no. 2 (June 1988): 271–78. http://dx.doi.org/10.1017/s0041977x00114582.
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Emphasizing the importance of balanced geographical and historical knowledge in the late sixteenth century, Richard Hakluyt remarked: ‘Geographie and Chronologie are the sune and moone, the right eye and left eye of all history.’ In current studies of archaeology and history this emphasis remains apt, for to write a proper account of both artifacts and kings, they must be set geographi- cally in space and chronologically in time. The regions south of the River Yamunā, anciently known as Gopakṣetra, Daśārṇa, and Jejākadeśa (Maps 1 and 2), are rich in antiquarian remains, and have played an important role in the history of India, especially from the Gupta period to the time of the Muslim invasion. Their historical geography, however, has been generally ignored, and scholars have been content to describe the area simply as ‘ Central India’. The purpose of the present essay is to give an introduction to the historical geography of these provinces, and as such it can be taken as a foundation for further studies in local history and archaeology.