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1
Elliot, Michael. "Michael Elliot: Artist Statement and Artwork." Cultural and Pedagogical Inquiry 12, no. 1 (February 1, 2021): 305–8. http://dx.doi.org/10.18733/cpi29557.
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Included are images representing paintings from Michael Elliot's "Windrush Series, "Brixton Brewing" and "The Drop", preceded by a statement describing the importance of the series, which represents the history of West Indians who migrated to Britain and the social problems that they faced. Incorporated in the works are the elements of tea cups which are representative of the original Windrush ship, and tea bags which illustrate the essence being drained from the Black man until there is nothing left to give.
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Oleynik, Maria. "Visual Representation of the Marine Theme in the Artistic Culture of Russia (XVIII–XX Centuries)." Ideas and Ideals 14, no. 2-2 (June 27, 2022): 350–62. http://dx.doi.org/10.17212/2075-0862-2022-14.2.2-350-362.
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Тhe meaning of visual representation includes perception of information through the visual image. This form of information delivery to the general public was known in pagan cultures and asserted itself in Christianity. Since the late 20th century the concept of visualization united in itself not only religious and artistic images, but also the vision of mass culture. The performed research places emphasis on the establishment and the development of visual representation in Russia’s art culture of the ХVIII-XIX centuries. During the reign of Peter the Great, in a succession of state reforms and due to the influence of samples of European art, a transformation of national art culture occured. In this context, maritime art is viewed as one of the visual representation forms. The seascape, as a separate genre of painting, originates in the Dutch landscape. The first marinas were brought by Peter the 1st to decorate palaces and country residences. The victory in the Battle of Chesme (1770) and the joining of Crimea to the Russian Empire prompted Catherine the 2nd to invite J. P. Hackert to perpetuate the glory of Russian weapons. The artist became the first marine painter on Russian soil and performed a series of twelve paintings. The flourishing of the national seascape in Russia took place in the 19th century. The first who took the post of artist at the Ministry of the Sea was I.K. Aivazovsky. Since then the seascape acquired special significance and perpetuates the sea victories of Russia. A subtle metaphysical meaning is present in some romantic landscapes by I.K. Aivazovsky. Sea battle paintings acquired clear realistic features in the painting of A.P. Bogolyubov. The artists are concerned not only with the image of the sea, but also with the architecture of the ship, which forms a separate painting genre: the ship portrait genre. The image of the ship in the paintings of the XIX-XX centuries combines the lines of scripture and poetry, focusing the attention of the viewer on a deep semantic reading of the landscape.
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Takemoto, Tina. "Drawing Complaint." Asian Diasporic Visual Cultures and the Americas 1, no. 1-2 (February 24, 2015): 84–107. http://dx.doi.org/10.1163/23523085-00101005.
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Matthew Barney’s 2006 solo exhibition at the San Francisco Museum of Modern Art showcased large-scale sculptures, drawings, and photographs relating to his filmDrawing Restraint 9featuring the artist and his partner Björk on a whaling ship in Japan. This essay examines Barney’s neo-Orientalist project in light of cultural appropriation and discusses the author’s participation inDrawing Complaint: Memoirs of Björk-Geisha,a guerrilla art scheme to interrupt the exhibition opening. The successes and failures of this intervention are considered alongside other artistic practices that deploy disidentification and hyperracial drag to interrogate the consumption of exotic and erotic spectacles only to encounter further exotification or cooptation. This essay also reflects on the instability of disidentificatory interventionist tactics as well as the psychic and personal toll of embodying toxic representations especially for queer artists of color who deliberately perform their own racial and sexual abjection as a mode of critique.
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Teece, Denise-Marie. "“Compassionate Companion, Familiar Friend”: The Turin Safīna (Biblioteca Reale Ms. Or. 101) and Its Significance." Muqarnas Online 36, no. 1 (October 3, 2019): 61–82. http://dx.doi.org/10.1163/22118993-00361p04.
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Abstract This article examines some of the more significant aspects of Turin Safīna manuscript Biblioteca Reale Ms. Or. 101. One of these is its unique and important six-page preface, which refers to the manuscript as a safīna (ship or vessel) and explains in poetic language why some Persian manuscripts are referred to using this term. In addition to this significant preface, which is translated and analyzed in the first half of the article, the manuscript also exhibits delicate illuminations and calligraphy work that may be connected to a network of artist-families active in western Persia (primarily in the region of Shiraz) around the time of its completion. The second half of this article revisits the careers of some of these artists, and discusses the broader artistic context for the creation of the Turin safīna manuscript. Special attention will be given to the careers of the illuminator known as Ruzbehan al-Modhahheb, and his calligrapher father Naʿim al-Din al-Kateb.
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Alekseeva, Tatiana, Vasiliy Tikhonov, Sergei Frolov, Irina Repina, Mikhael Raev, Julia Sokolova, Evgeniy Sharkov, Ekaterina Afanasieva, and Sergei Serovetnikov. "Comparison of Arctic Sea Ice Concentrations from the NASA Team, ASI, and VASIA2 Algorithms with Summer and Winter Ship Data." Remote Sensing 11, no. 21 (October 24, 2019): 2481. http://dx.doi.org/10.3390/rs11212481.
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The paper presents a comparison of sea ice concentration (SIC) derived from satellite microwave radiometry data and dedicated ship observations. For the purpose, the NASA Team (NT), Arctic Radiation and Turbulence Interaction Study (ARTIST) Sea Ice (ASI), and Variation Arctic/Antarctic Sea Ice Algorithm 2 (VASIA2) algorithms were used as well as the database of visual ice observations accumulated in the course of 15 Arctic expeditions. The comparison was performed in line with the SIC gradation (in tenths) into very open (1–3), open (4–6), close (7–8), very close and compact (9–10,10) ice, separately for summer and winter seasons. On average, in summer NT underestimates SIC by 0.4 tenth as compared to ship observations, while ASI and VASIA2 by 0.3 tenth. All three algorithms overestimate total SIC in regions of very open ice and underestimate it in regions of close, very close, and compact ice. The maximum average errors are typical of open ice regions that are most common in marginal ice zones. In winter, NT and ASI also underestimate SIC on average by 0.4 and 0.8 tenths, respectively, while VASIA2, on the contrary, overestimates by 0.2 tenth against the ship data, however, for open and close ice the average errors are significantly higher than in summer. In the paper, we also estimate the impact of ice melt stage and presence of new ice and nilas on SIC derived from NT, ASI, and VASIA2.
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Hamović, Valentina. "The portrait of an artist as a young man: early poetry of Jovan Dučić and Miloš Crnjanski." Inovacije u nastavi 35, no. 3 (2022): 1–10. http://dx.doi.org/10.5937/inovacije2203001h.
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The paper looks at the origin of the identical motives in the poems "At Sea" by Jovan Dučić and "Destiny" by Miloš Crnjanski. A dominant poetic image of a ship carried and broken by waves on a rough sea is a product of the poets' youthful phase and demonstrates the evolution of their poetic systems. Resorting to a traditional topos is interpreted as a consequence of literary, historical, and poetic turmoil of the late 19th and early 20th centuries, but also as a consequence of an imanent poetic development, i.e. the phenomenon which Mario Praz calls "the education of sensibility". Given that these two poets are canonical writers, and constitute an indespensable part of all primary and high school textbooks, our wish is to show the path of their poetic maturation.
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Howard, David Brian. "Postcards: Flotsam and Jetsam: Art, Allegory, and Shipwreck in the Twenty-First Century (I)." American, British and Canadian Studies 38, no. 1 (June 1, 2022): 224–51. http://dx.doi.org/10.2478/abcsj-2022-0012.
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Abstract This allegorical postcard is organized around two groups of photographs. The first group was the result of a joint collaboration with the Vancouver artist Scott Saunders and produced photographs which have peppered several of my previous texts published by American, British and Canadian Studies. The second is a series of photographs taken by Scott Saunders from the window of his apartment in Vancouver in which he documents the street life constantly ebbing and flowing on the sidewalk below. The catalyst for bringing these two groups together was a photograph I took several years ago in Sambro, Nova Scotia (a small fishing village located just outside of the city of Halifax) depicting a forlorn sunken fishing vessel. The term “flotsam” is applied, according to the Oxford Reference Dictionary, to “the wreckage of a ship or its cargo floating on or washed up by the sea,” while “jetsam” describes the things or objects deliberately “thrown away, especially from a ship at sea and that float toward land.” Combined, these images of words and devastated human beings are caught in an apparently endless circulation of violence and contingency located at the heart of the urban fabric of a modernity bereft of any horizon of hope, redemption, or rescue.
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Howard, David Brian. "Flotsam and Jetsam: Art, Allegory, and Shipwreck in the Twenty-First Century (II)." American, British and Canadian Studies 40, no. 1 (June 1, 2023): 150–76. http://dx.doi.org/10.2478/abcsj-2023-0011.
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Abstract This allegorical postcard is organized around two groups of photographs. The first group was the result of a joint collaboration with the Vancouver artist Scott Saunders and produced photographs which have peppered several of my previous texts published by American, British and Canadian Studies. The second is a series of photographs taken by Scott Saunders from the window of his apartment in Vancouver in which he documents the street life constantly ebbing and flowing on the sidewalk below. The catalyst for bringing these two groups together was a photograph I took several years ago in Sambro, Nova Scotia (a small fishing village located just outside of the city of Halifax) depicting a forlorn sunken fishing vessel. The term “flotsam” is applied, according to the Oxford Reference Dictionary, to “the wreckage of a ship or its cargo floating on or washed up by the sea,” while “jetsam” describes the things or objects deliberately “thrown away, especially from a ship at sea and that float toward land.” Combined, these images of words and devastated human beings are caught in an apparently endless circulation of violence and contingency located at the heart of the urban fabric of a modernity bereft of any horizon of hope, redemption, or rescue.
9
Popova, Alexandra V. "ROMANTICISM AND CONSTRUCTIVISM IN THE POLISH THEATRE OF 1920-1930S." Articult, no. 2 (June 2024): 30–40. http://dx.doi.org/10.28995/2227-6165-2024-2-30-40.
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In the 1920-1930s, Polish theatre was experiencing a turn to new comprehension of the practice of stage space organization – the art of scenography was developing. It replaced the practice of creating theatrical decorations for garnishing the play and constituting the background for the action. The new scenography declared itself to be an art of the stage space composing. The development of new theatrical practice was influenced by constructivist spatial and rhythmical perception of environment, which Polish artists were improving in close cooperation with avant-garde architects. A similar approach to the stage design is common for the whole European theatre in the first decades of XX century, however the distinction of theatrical avant-garde in Poland came out as a special reference of the culture to its past and in particular to the romanticism heritage. Polish theatrical avant-garde, which came at restoration of independence time, was developing on overlap of the national myth and new unexplored freedom. Artists of the first half of XX century managed to disengage from the romantic myth only in some measure, but instead of resetting the national heroes and their heritage from the ship of modernity they turned to search for the new forms to embody that matter. The article reviews Polish theatre of the 1920-1930-s in the context of Polish romantic tradition on the one hand and constructivism, promoted by new avant-garde artist collectives – on the other. As an example of integration of two movements, a brief description of the unique project of Simultaneous theatre, created by stage designer Andrzej Pronaszko and architect Szymon Syrkus is given.
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Vulea (Motofelea), Luciana Mihaela. "Nivelul de fericire relaționat la inovația digitală." Symbolon 24, no. 2(45) (2023): 79–86. http://dx.doi.org/10.46522/s.2023.02.10.
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"What used to take a year in the past, today, with the Data Revolution, takes place in a second. Advantages and disadvantages always come together. We are happy that information is transmitted instantly, but we are saddened by the fact that probably thousands of other artworks are appearing simultaneously. We can even make the analogy that if it took 365 days to ship a work of art in the past, today, 365 are sent in a second. However, their diversity can satisfy the consumers' demands. The digitized art industry raises one of the artist's most critical issues: the inhibition of creativity. The viewer receives a state of ecstasy, especially in cases where the visual moment of creation is presented, and the feeling of knowing appears. The chance of exposure is unlimited. The border between artist and viewer, provider and consumer of media, thus became diffuse."
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Robertson, Kate. "The Artist and the Ship: The Voyages of John Longstaff, George Lambert and Hilda Rix Nicholas between Australia and Europe." Australian and New Zealand Journal of Art 15, no. 1 (January 2, 2015): 94–109. http://dx.doi.org/10.1080/14434318.2015.1040533.
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Wilson, Emma. "Love Me Tender: New Films from Claire Denis." Film Quarterly 72, no. 4 (2019): 18–28. http://dx.doi.org/10.1525/fq.2019.72.4.18.
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Now at the acme of her slow-burn career—she turned 72 last year—Claire Denis is producing work that is superlative. Her newest works conjure feelings of an unrivalled intensity and tenderness. This article considers her English-language sci-fi film High Life (2018) and her French rom-com Un Beau Soleil Intérieur [Let the Sunshine In] (2017) in parallel, arguing that the two films converge as forceful meditations on love and death. In the world of Denis, tenderness characterizes the gentlest, most delicate feelings, but is also about vulnerability, a sensitivity to pain. Denis brings these qualities into relief as she contemplates death and a finite future through these two stories of a female artist exploring relationships and of convict passengers on a space ship. Through the roles of actress Juliette Binoche in each film, Denis takes a feminist stance on ageing and sexuality, as she also looks openly at other human feelings.
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Uryupin, I. S. "The semantics of sea imagery in R. I. Rozhdestvensky’s poem "Czar Peter House in Zaandam" (to the 90th anniversary of the birth)." Russian language at school 83, no. 4 (July 25, 2022): 50–54. http://dx.doi.org/10.30515/0131-6141-2022-83-4-50-54.
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The article presents a linguo-stylistic and poetic-philosophical analysis of R. I. Rozhdestvensky’s poem "Czar Peter House in Zaandam". This piece of poetry is one of the key texts in the ideological and artistic structure of the "City’s Voice" collection of poems as it links the present with the landmarks in our national history in a single artistic continuum. The paper aims to identify the potential of the imagery in the poem for representing sociocultural and historiosophical problems of a twentieth-century person’s state and personal existence. The study also seeks to reveal the formal and semantic system of the realisation of the figures of speech and expressive means employed to represent sea imagery as a cultural and semantic marker of the poet’s world, which is seamlessly integrated into the national semiosphere. To accomplish the declared aim, the research used cognitive-semantic, systemic-holistic, structural-typological, and historical-functional methods and approaches. Additionally, elements of mythopoetic literary text analysis were employed in the unity of paradigmatic and syntagmatic relations. The sea imagery in the poem by R. I. Rozhdestvensky is not only a poetic leitmotif that constitutes the lyrical plot of the piece, but it also integrates the concepts associated with natural phenomena symbolising the space of freedom, irrational impulses, and creative life. The key image-symbol of the poem, i. e. the ship – has been identified. The artist envisaged that both "Czar Peter House in Zaandam" and Russia rushing to its great future were a ship.
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Zhao, Xi, Haoyue Su, Alfred Stein, and Xiaoping Pang. "Comparison between AMSR-E ASI sea-ice concentration product, MODIS and pseudo-ship observations of the Antarctic sea-ice edge." Annals of Glaciology 56, no. 69 (2015): 45–52. http://dx.doi.org/10.3189/2015aog69a588.
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AbstractThe performance of passive microwave sea-ice concentration products in the marginal ice zone and at the ice edge draws much attention in accuracy assessments. In this study, we generated 917 pseudo-ship observations from four Moderate Resolution Imaging Spectroradiometer (MODIS) images based on the Antarctic Sea Ice Processes and Climate (ASPeCt) protocol to assess the quality of the Advanced Microwave Scanning Radiometer for Earth Observing System (AMSR-E) ARTIST (Arctic Radiation and Turbulence Interaction STudy) Sea Ice (ASI) concentrations at the ice edge in Antarctica. The results indicate that the ASI pixels in the pseudo-ASPeCt observations have a mean ice concentration of 13% and are significantly different from the well-established 15% threshold. The average distance between the pseudo-ice edge and the 15% threshold contour is ~10 km. The correlation between the sea-ice concentration (SIC), SICASI and SICMODIS values at the ice edge was considerably lower than the high coefficients obtained from a transect analysis. Underestimation of SICASI occurred in summer, whereas no clear bias was observed in winter. The proposed method provides an opportunity to generate a new source of reference data in which the spatial coverage is wider and more flexible than in traditional in situ observations.
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Panarina, Daria S. "Philippines of the 19th Century as Seen by Two Russian Explorers: Ivan Goncharov and Louis Сhoris." Oriental Courier, no. 2 (2023): 210. http://dx.doi.org/10.18254/s268684310026704-2.
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The paper depicts the presence of Russian navigators in the Philippines and their impressions of Manila and the island of Luzon in the 19th century. The author considers two visits by Russian navigators to the Philippines: During the expedition of O. Kotzebue in 1815–1818 when necessary, repairs to the ship were being taken and in 1854 during the Russian voyage to Japan. Among the members of the first expedition, the impressions of the Russian German Louis Khoris, who was the artist of the expedition, and the German A. Chamisso, a visiting naturalist, are considered. Image of the Philippines in the second half of the 19th century is shown through the travel notes of the Russian writer Ivan A. Goncharov, who participated in the expedition of E. V. Putyatin as a secretary. The text contains quotations from books published on the basis of travel notes, diaries and observations of all the navigators mentioned above. The article is illustrated with drawings by L. Khoris made during the stay in Manila and later lithographs of the year 1860 taken from the works of foreign travelers visiting the Philippines during the same period.
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Behrens, Roy R. "The Role of Artists in Ship Camouflage During World War I." Leonardo 32, no. 1 (February 1999): 53–59. http://dx.doi.org/10.1162/002409499553000.
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Experiments in ship camouflage during World War I were necessitated by the inordinate success of German submarines (called “U-boats”) in destroying Allied ships. Because it is impossible to make a ship invisible at sea, Norman Wilkinson, Everett L. Warner and other artists devised methods of course distortion in which high-contrast, unrelated shapes were painted on a ship's surface, thereby confusing the periscope view of the submarine gunner.
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Radburn, Nicholas, and David Eltis. "Visualizing the Middle Passage: The Brooks and the Reality of Ship Crowding in the Transatlantic Slave Trade." Journal of Interdisciplinary History 49, no. 4 (March 2019): 533–65. http://dx.doi.org/10.1162/jinh_a_01337.
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Crowding on slave ships was much more severe than historians have recognized, worsening in the nineteenth century during the illegal phase of the traffic. An analysis of numerous illustrations of slave vessels created by then-contemporary artists, in conjunction with new data, demonstrates that the 1789 diagram of the British slave ship Brooks—the most iconic of these illustrations—fails to capture the degree to which enslaved people were crowded on the Brooks, as well as on most other British slaving vessels of the eighteenth century. Five other images of slave ships sailing under different national colors in different eras further reveal the realities of ship crowding in different periods. The most accurate representation of ship-board conditions in the eighteenth-century slave trade is in the paintings of the French slave ship Marie-Séraphique.
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Kern, Stefan, Thomas Lavergne, Dirk Notz, Leif Toudal Pedersen, Rasmus Tage Tonboe, Roberto Saldo, and Atle MacDonald Sørensen. "Satellite passive microwave sea-ice concentration data set intercomparison: closed ice and ship-based observations." Cryosphere 13, no. 12 (December 10, 2019): 3261–307. http://dx.doi.org/10.5194/tc-13-3261-2019.
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Abstract. We report on results of a systematic inter-comparison of 10 global sea-ice concentration (SIC) data products at 12.5 to 50.0 km grid resolution for both the Arctic and the Antarctic. The products are compared with each other with respect to differences in SIC, sea-ice area (SIA), and sea-ice extent (SIE), and they are compared against a global wintertime near-100 % reference SIC data set for closed pack ice conditions and against global year-round ship-based visual observations of the sea-ice cover. We can group the products based on the concept of their SIC retrieval algorithms. Group I consists of data sets using the self-optimizing EUMETSAT OSI SAF and ESA CCI algorithms. Group II includes data using the Comiso bootstrap algorithm and the NOAA NSIDC sea-ice concentration climate data record (CDR). The standard NASA Team and the ARTIST Sea Ice (ASI) algorithms are put into group III, and NASA Team 2 is the only element of group IV. The three CDRs of group I (SICCI-25km, SICCI-50km, and OSI-450) are biased low compared to a 100 % reference SIC data set with biases of −0.4 % to −1.0 % (Arctic) and −0.3 % to −1.1 % (Antarctic). Products of group II appear to be mostly biased high in the Arctic by between +1.0 % and +3.5 %, while their biases in the Antarctic range from −0.2 % to +0.9 %. Group III product biases are different for the Arctic, +0.9 % (NASA Team) and −3.7 % (ASI), but similar for the Antarctic, −5.4 % and −5.6 %, respectively. The standard deviation is smaller in the Arctic for the quoted group I products (1.9 % to 2.9 %) and Antarctic (2.5 % to 3.1 %) than for group II and III products: 3.6 % to 5.0 % for the Arctic and 4.0 % to 6.5 % for the Antarctic. We refer to the paper to understand why we could not give values for group IV here. We discuss the impact of truncating the SIC distribution, as naturally retrieved by the algorithms around the 100 % sea-ice concentration end. We show that evaluation studies of such truncated SIC products can result in misleading statistics and favour data sets that systematically overestimate SIC. We describe a method to reconstruct the non-truncated distribution of SIC before the evaluation is performed. On the basis of this evaluation, we open a discussion about the overestimation of SIC in data products, with far-reaching consequences for surface heat flux estimations in winter. We also document inconsistencies in the behaviour of the weather filters used in products of group II, and we suggest advancing studies about the influence of these weather filters on SIA and SIE time series and their trends.
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Dash, J. Michael. "Aimé Césaire: The Bearable Lightness of Becoming." PMLA/Publications of the Modern Language Association of America 125, no. 3 (May 2010): 737–42. http://dx.doi.org/10.1632/pmla.2010.125.3.737.
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Allons, la vraie poésie est ailleurs. Come on, true poetry lies elsewhere.—Suzanne CésaireThe Recent Death of AIMÉ Césaire has Been an Occasion for Extolling his Virtues As Venerable Patriarch, Founding Father, and sovereign artist. Even his fiercest critics have considered him a unique poet-politician worthy of being interred in the Pantheon by the French state. Members of the créolité movement, such as Raphael Confiant and Patrick Chamoiseau, hailed him as the “nègre fondamental” ‘foundational black man,’ who was also like the father of the Martinican people. Confiant reiterated his filial devotion as Césaire's “fils à jamais” ‘son forevermore,’ and Chamoiseau identified him as the “maître-marronneur” ‘master Maroon.’ This wave of adulation tends to emphasize the militant poet-politician that Césaire never quite was. He was arguably the founder neither of a nation nor of a people nor, for that matter, of a movement. While he coined the word négritude, he was less the founder of the negritude movement than was his contemporary Léopold Sédar Senghor, who set about creating a totalizing, biologically based ideology around the concept of negritude. Perhaps even more telling is his view of the Haitian leader Henry Christophe as tragically flawed because of Christophe's obsession with founding a people. The protagonist of the play La tragédie du roi Christophe (The Tragedy of King Christophe) is a heedless builder, so obsessed by the need to construct and to found that he destroys himself, leaving behind the massive stone ship of the Citadelle as his legacy.
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Hill, Richard W., and Daniel Coleman. "The Two Row Wampum-Covenant Chain Tradition as a Guide for Indigenous-University Research Partnerships." Cultural Studies ↔ Critical Methodologies 19, no. 5 (November 26, 2018): 339–59. http://dx.doi.org/10.1177/1532708618809138.
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This co-authored article examines the oldest known treaty between incoming Europeans and Indigenous North Americans to derive five basic principles to guide healthy, productive relationships between Indigenous community-based researchers and university-based ones. Rick Hill, Tuscarora artist and knowledge keeper from the Six Nations of the Grand River, publishes for the first time here the most complete oral history that exists today of that ancient treaty, from the early seventeenth century, known as the Two Row Wampum or the Covenant Chain agreement. Interspersed with Dr. Hill’s reflections, Daniel Coleman, a settler professor of English and Cultural Studies at McMaster University, outlines five principles for research partnerships derived from the discussions of the Two Row Research Partnership seminars that Hill and Coleman have been hosting at Deyohahá:ge: Indigenous Knowledge Centre for the past four years. Formed between the Hodinöhsö:ni’ confederacy and Dutch merchants arriving near Albany, New York in 1609, the Two Row Wampum-Covenant Chain treaty set the precedent for nation-to-nation treaties between European colonial powers and Indigenous peoples with two parallel rows representing the Hodinöhsö:ni’ canoe and the Dutch ship sailing down the shared river. Each party agreed to keep their beliefs and laws in their separate vessels, and on this basis of interdependent autonomy, they established a long-lasting friendship. This article suggests that by renewing our understanding of the Two Row Wampum-Covenant Chain treaty, Indigenous and non-Indigenous researchers alike can rebuild relationships of trust and cooperation that can decolonize Western presumptions and re-establish healthy and productive research partnerships.
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Lebedev, Sergei, Raffaele Bonadio, Clara Gómez-García, Janneke I. de Laat, Laura Bérdi, Bruna Chagas de Melo, Daniel Farrell, et al. "Education and public engagement using an active research project: lessons and recipes from the SEA-SEIS North Atlantic Expedition's programme for Irish schools." Geoscience Communication 2, no. 2 (October 11, 2019): 143–55. http://dx.doi.org/10.5194/gc-2-143-2019.
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Abstract. An exciting research project, for example with an unusual field component, presents a unique opportunity for education and public engagement (EPE). The adventure aspect of the fieldwork and the drive and creativity of the researchers can combine to produce effective, novel EPE approaches. Engagement with schools, in particular, can have a profound impact, showing the students how science works in practice, encouraging them to study science, and broadening their career perspectives. The project SEA-SEIS (Structure, Evolution And Seismicity of the Irish offshore, https://www.sea-seis.ie, last access: 6 October 2019) kicked off in 2018 with a 3-week expedition on the research vessel (RV) Celtic Explorer in the North Atlantic. Secondary and primary school students were invited to participate and help scientists in the research project, which got the students enthusiastically engaged. In a nation-wide competition before the expedition, schools from across Ireland gave names to each of the seismometers. During the expedition, teachers were invited to sign up for live, ship-to-class video link-ups, and 18 of these were conducted. The follow-up survey showed that the engagement was not only exciting but encouraged the students' interest in science, technology, engineering, and mathematics (STEM) and STEM-related careers. With most of the lead presenting scientists on the ship being female, both girls and boys in the classrooms were presented with engaging role models. After the expedition, the programme continued with follow-up, geoscience-themed competitions (a song-and-rap one for secondary and a drawing one for primary schools). Many of the programme's best ideas came from teachers, who were its key co-creators. The activities were developed by a diverse team including scientists and engineers, teachers, a journalist, and a sound artist. The programme's success in engaging and inspiring school students illustrates the EPE potential of active research projects. The programme shows how research projects and the researchers working on them are a rich resource for EPE, highlights the importance of an EPE team with diverse backgrounds and expertise, and demonstrates the value of co-creation by the EPE team, teachers, and school students. It also provides a template for a multifaceted EPE programme that school teachers can use with flexibility, without extra strain on their teaching schedules. The outcomes of an EPE programme coupled with research projects can include both an increase in the students' interest in STEM and STEM careers and an increase in the researchers' interest and proficiency in EPE.
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Sakai, Masahiro, Reo Haga, Toshio Tsuchiya, Tomonari Akamatsu, and Naoya Umeda. "Statistical analysis of measured underwater radiated noise from merchant ships using ship operational and design parameters." Journal of the Acoustical Society of America 154, no. 2 (August 1, 2023): 1095–105. http://dx.doi.org/10.1121/10.0020668.
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Ships unintentionally radiate underwater noise mainly due to propeller cavitation under usual operations. In 2022, the International Maritime Organization started a review of the nonmandatory guidelines for the reduction of underwater radiated noise (URN) from ships. The characteristics of URN from ships have been studied for a long time, and quantitative variations in URN levels with ship size and speed have been reported. From the viewpoint of ship design, it is more reasonable that the effect of ship speed and draft is considered as the ratio to design speed and maximum draft, respectively. Therefore, in this study, underwater sound measurements were conducted in deep water (>300 m in depth) under a sea lane, and regression analysis was applied to the source levels of the URN from many merchant ships using ship length, ship speed ratio to design speed, and draft ratio to maximum draft. In this analysis, the source level is simplified based on the characteristics of URN due to propeller cavitation. This allows one coefficient to represent the approximate shape of the spectrum of URN level. Further, variations in the URN level for each ship type are discussed based on the results and comparisons with previous studies.
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Bolton, Gillie. "The mind's wings For eric: artist and physician." Spirituality and Health International 5, no. 3 (September 2004): 154. http://dx.doi.org/10.1002/shi.237.
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Pai, Shin Yu. "Embarkation: Reimagining a Taoist Ritual Ceremony." Genealogy 4, no. 3 (September 8, 2020): 92. http://dx.doi.org/10.3390/genealogy4030092.
Full textAbstract:
Poet and artist Shin Yu Pai shares the origins and process of creating her performance video piece Embarkation. Informed by Buddhist and Taoist rituals from Bhutan and Taiwan, Pai reflects on her efforts to reimagine a traditional Taoist ceremony in the context of a personal grief ritual performed for the stage. She discusses the process of collaborating with film, video, theater, and movement artists from both Taiwan and Seattle, including Ye Mimi, Scott Keva James, Jane Kaplan and Vanessa DeWolf, and how her vision evolved over many iterations. The roles of community, audience, and creative friendships are also explored in the context of how they can invigorate a creative work.
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Rösel, A., L. Kaleschke, and G. Birnbaum. "Melt ponds on Arctic sea ice determined from MODIS satellite data using an artificial neural network." Cryosphere 6, no. 2 (April 3, 2012): 431–46. http://dx.doi.org/10.5194/tc-6-431-2012.
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Abstract. Melt ponds on sea ice strongly reduce the surface albedo and accelerate the decay of Arctic sea ice. Due to different spectral properties of snow, ice, and water, the fractional coverage of these distinct surface types can be derived from multispectral sensors like the Moderate Resolution Image Spectroradiometer (MODIS) using a spectral unmixing algorithm. The unmixing was implemented using a multilayer perceptron to reduce computational costs. Arctic-wide melt pond fractions and sea ice concentrations are derived from the level 3 MODIS surface reflectance product. The validation of the MODIS melt pond data set was conducted with aerial photos from the MELTEX campaign 2008 in the Beaufort Sea, data sets from the National Snow and Ice Data Center (NSIDC) for 2000 and 2001 from four sites spread over the entire Arctic, and with ship observations from the trans-Arctic HOTRAX cruise in 2005. The root-mean-square errors range from 3.8 % for the comparison with HOTRAX data, over 10.7 % for the comparison with NSIDC data, to 10.3 % and 11.4 % for the comparison with MELTEX data, with coefficient of determination ranging from R2=0.28 to R2=0.45. The mean annual cycle of the melt pond fraction per grid cell for the entire Arctic shows a strong increase in June, reaching a maximum of 15 % by the end of June. The zonal mean of melt pond fractions indicates a dependence of the temporal development of melt ponds on the geographical latitude, and has its maximum in mid-July at latitudes between 80° and 88° N. Furthermore, the MODIS results are used to estimate the influence of melt ponds on retrievals of sea ice concentrations from passive microwave data. Results from a case study comparing sea ice concentrations from ARTIST Sea Ice-, NASA Team 2-, and Bootstrap-algorithms with MODIS sea ice concentrations indicate an underestimation of around 40 % for sea ice concentrations retrieved with microwave algorithms.
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Barr, William. "The Arctic voyages of Louis-Philippe-Robert, Duc d'Orléans." Polar Record 46, no. 1 (September 8, 2009): 21–43. http://dx.doi.org/10.1017/s0032247409008377.
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ABSTRACTLouis-Philippe-Robert, Duc d'Orléans (1869–1926), the Orléans claimant to the French throne, mounted four private expeditions to the Arctic, in 1904, 1905, 1907, and 1909. During the first of these, on board his private yacht, Maroussia, and accompanied by his wife, Marie Dorothée, he visited Svalbard where he hunted reindeer while his wife, an accomplished amateur artist, executed a number of delightful paintings. In 1905 he chartered the ice strengthened Belgica and employed Adrien de Gerlache de Gomery as her captain; he also recruited an impressive group of scientists. He again visited Svalbard then pushed west through the pack ice to east Greenland. He was able to penetrate further north along that coast than his predecessors, the Germans under Koldewey in Germania, had in 1869–1870, and discovered and named Île-de-France and the Belgica Bank. He shot large numbers of polar bears. In 1907, again on board Belgica, and again with de Gerlache in command of the ship, and again with a contingent of scientists on board, Orléans headed out into the Kara Sea from Matochkin Shar. Belgica soon became beset in the pack ice and drifted slowly south with the ice to emerge through Karskie Vorota after a very frustrating month. Thereafter an attempt to reach Zemlya Frantsa-Iosifa was foiled by heavy ice. Finally, in 1909, again on board Belgica under de Gerlache's command, Orléans visited Jan Mayen, east Greenland, Svalbard and Zemlya Frantsa-Iosifa, with hunting as his primary aim. From all four expeditions Orléans brought back substantial numbers of skins of birds and mammals that were mounted and displayed in his private museums. On his death they were bequeathed to the French people and exhibited in the specially built Musée du Duc d'Orléans in Paris and later in the Musée National d'Histoire Naturelle. The scientific data and specimens collected by the scientists on the 1905 and 1907 expeditions resulted in a substantial number of scientific reports in their various fields.
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Takeuchi, Melinda. "“True” Views: Taiga's Shinkeizu and the Evolution of Literati Painting Theory in Japan." Journal of Asian Studies 48, no. 1 (February 1989): 3–26. http://dx.doi.org/10.2307/2057661.
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Few cultures had as rich a vocabulary for pictures of specific places as did eighteenth-century Japan. Why then did yet another word, shinkeizu (literally “true-view pictures”), come into being in the late eighteenth century? The answer is that none of the existing terms satisfactorily articulated the ideological essence of a new kind of painting advocated by a group of artists who sought to incorporate into their work styles and concepts associated with the art of the Chinese literatus. These Japanese masters came to constitute a school known as Nanga (the Japanese interpretation of the Chinese “Southern school” of painting; it was also called bunjinga, “literati painting”). For a picture (zu) of a given scene (kei) to be profound, argued the connoisseurs of Nanga, the artist must experience the vista at first hand and then absorb and transmit its essential reality (shin). It was in the circle of the brilliant literati artist Ike Taiga (1723–76) that the concept ofshinkeizu became the integral element of the new Japanese conception of depictions of actual scenes.
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Peters, Helen. "The Once and Future Ship." Canadian Theatre Review 134 (March 2008): 43–46. http://dx.doi.org/10.3138/ctr.134.007.
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The Ship Inn, situated in the east end of St. John’s, was, from 1977 to 2003, a bastion of food for the stomach, mind and spirit of artists of every persuasion. Musicians, actors, writers, poets, filmmakers, painters, photographers and friends ate and drank and worked and talked there. For over a quarter of a century, writers wrote books, plays, poems, songs and film scripts seated at tables in the Ship. Often they launched the resulting works there. We who were there have recollections of afternoon poetry and fiction readings attended by appreciative audiences while children (many of whom have become artists of the second generation) played under tables.
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Stern, Karen B. "Jews, Ships, and Death: A Consideration of Nautical Images in Jewish Mortuary Contexts." IMAGES 11, no. 1 (December 5, 2018): 189–209. http://dx.doi.org/10.1163/18718000-12340087.
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AbstractRecurrences of ancient ship carvings and drawings in Jewish burial caves are curious phenomena, which rarely capture the attention of scholars. Few narrative Jewish texts, which might otherwise illuminate this pattern, explicitly describe any link between ships and death. The ubiquity of nautical images in graffiti and monumental art throughout the ancient Mediterranean, moreover, obscures their particular significance in any mortuary context, whether associated with Jews or their neighbors. This article suggests that consistent appearances of ship imagery in Jewish burial contexts throughout time and across distant regions, attest to the varied iconographic and ideational significances of ships to Jews within mortuary settings. Cross-cultural similarities between acts of drawing, carving, and commissioning ship images inside and around commemorative spaces, this article argues further, document corresponding continuities between the mortuary activities and beliefs of Jews and their Egyptian, Greco-Roman, and Christian neighbors throughout the ancient Mediterranean.
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Newhall, Bruce K. "Non-stationary covariance estimation for adaptive beamforming." Journal of the Acoustical Society of America 152, no. 4 (October 2022): A242. http://dx.doi.org/10.1121/10.0016144.
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Standard adaptive beamforming (ABF) assumes a quasi-stationary covariance. However, in low frequency shipping noise the covariance is not stationary, due to the relative motion of ships and receiver. A physical model was previously developed for the behavior of the covariance due to ship motion, and a technique was developed to provide improved estimation. Relatively wide filters were used previously in order to simultaneously estimate the covariance from all moving ships. It has recently been recognized the it is most important in ABF to handle the loudest ship, which is usually the closest and therefore the most non-stationary. Here we will show simulations of the results of using more narrow filters to estimate the covariance due to the loudest ship. The technique will be contrasted to a method of matched field processing with moving ships developed by Lisa Zurk, as well as with derivative-based updating, another non-stationary estimation technique. The potential to improve the estimate by using waveguide invariance across a band of frequencies will also be discussed.
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Hursky, Paul. "Correlating shipping noise on multiple beams." Journal of the Acoustical Society of America 153, no. 3_supplement (March 1, 2023): A65. http://dx.doi.org/10.1121/10.0018178.
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There has been much interest in using transiting surface ships as sources of opportunity for tomography and geo acoustic inversion. In tomography, it would be valuable to increase the ranges at which ship signatures can be processed by measuring times of arrival at the output of beamforming processes, which provide spatial processing gain. This additional gain may enable fainter multipath arrivals to be identified and exploited as additional paths to sample the ocean water column. This seems readily achievable when cross-correlating multiple vertical beams formed on a single vertical line array for example. However, cross-correlating beams from multiple arrays, vertical or horizontal, raises questions. In both cases, different beams may have different Doppler, which is manageable with a correlation process that includes Doppler compensation. But obeserving a ship from different vantage points may be problematic, if the ship signature is due to horizontally displaced noise sources distributed around the ship. We will present results of processing surface ships observed on single and multiple arrays and assess the use of such processing in ambient noise tomography.
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Yu, Daeun, and Sun-Yong Choi. "Uncovering the Impact of Local and Global Interests in Artists on Stock Prices of K-Pop Entertainment Companies: A SHAP-XGBoost Analysis." Axioms 12, no. 6 (May 30, 2023): 538. http://dx.doi.org/10.3390/axioms12060538.
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Stock price prediction is a significant area of research in finance that has been ongoing for a long time. Several mathematical models have been utilized in this field to predict stock prices. However, recently, machine learning techniques have demonstrated remarkable performance in stock price prediction. Moreover, XAI (explainable artificial intelligence) methodologies have been developed, which are models capable of interpreting the results of machine learning algorithms. This study utilizes machine learning to predict stock prices and uses XAI methodologies to investigate the factors that influence this prediction. Specifically, we investigated the relationship between the public’s interest in artists affiliated with four K-Pop entertainment companies (HYBE, SM, JYP, and YG). We used the Naver Keyword Trend and Google Trend index data for the companies and their representative artists to measure local and global interest. Furthermore, we employed the SHAP-XGBoost model to show how the local and global interest in each artist affects the companies’ stock prices. SHAP (SHapley Additive exPlanations) and XGBoost are models that show excellent results as XAI and machine learning methodologies, respectively. We found that SM, JYP, and YG are highly correlated, whereas HYBE is a major player in the industry. YG is influenced by variables from other companies, likely owing to HYBE being a major shareholder in YG’s subsidiary music distribution company. The influence of popular artists from each company was significant in predicting the companies’ stock prices. Additionally, the foreign ownership ratio of a company’s stocks affected the importance of Google Trend and Naver Trend indexes. For example, JYP and SM had relatively high foreign ownership ratios and were influenced more by Google Trend indexes, whereas HYBE and YG were influenced more by Naver Trend indexes. Finally, the trend indexes of artists in SM and HYBE had a positive correlation with stock prices, whereas those of YG and JYP had a negative correlation. This may be due to steady promotions and album releases from SM and HYBE artists, while YG and JYP suffered from negative publicity related to their artists and executives. Overall, this study suggests that public interest in K-Pop artists can have a significant impact on the financial performance of entertainment companies. Moreover, our approach offers valuable insights into the dynamics of the stock market, which makes it a promising technique for understanding and predicting the behavior of entertainment stocks.
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Webstey, Aaron, Dugald Thomson, David R. Barclay, and Jessica Topple. "Ship noise radiation characteristics observed from an Arctic acoustic array." Journal of the Acoustical Society of America 152, no. 4 (October 2022): A200. http://dx.doi.org/10.1121/10.0016023.
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A 48-hydrophone bottom-mounted array in the Arctic provides an opportunity to test a novel acoustic frequency tracker on ships of opportunity. The Arctic is is currently experiencing an historic increase in shipping traffic, resulting in an acoustic environmental that is changing rapidly. Through the ice-free study period, ship passes were observed in the multi-channel acoustic recordings, providing an opportunity to compare spectral fluctuations, directionality, and correlation with ship tracks.
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Larayedh, Rihab, George Krokos, Bruce Cornuelle, and Ibrahim Hoteit. "Numerical investigation of shipping noise in the Red Sea." Journal of the Acoustical Society of America 154, no. 4_supplement (October 1, 2023): A310. http://dx.doi.org/10.1121/10.0023631.
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Underwater noise pollution is a significant environmental issue that can have detrimental effects on marine ecosystems. One of the main sources of underwater noise pollution is ship traffic, which has been shown to negatively impact marine animals by masking communication signals and altering their behaviors. This study represents the first comprehensive analysis of underwater ship noise in the Red Sea. It aims to generate noise maps of ships sailing through the main shipping lane in the Red Sea. The Range-dependentAcoustic Model (RAM), incorporating anthropogenic and environmental inputs, was utilized to predict maps of underwater ship noises. The application of RAM yielded maps showcasing the spatial and temporal distribution of underwater ship noise in the Red Sea, providing valuable insights for policy makers and facilitating targeted mitigation efforts, with implications for future research on the impacts of underwater noise pollution on marine life.
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Bocanegra, Johan A., Davide Borelli, and Corrado Schenone. "Measurements of ship noise using an acoustic camera: A first survey." Journal of the Acoustical Society of America 153, no. 3_supplement (March 1, 2023): A111. http://dx.doi.org/10.1121/10.0018339.
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While the acoustic impact of harbours is becoming an increasingly important issue, to the point of limiting their growth, the measurement of noise from ships and port operations is still rough. Two of the main problems that are commonly encountered are source overlapping and large distance from the emitting sources. Source overlapping prevents from identifying the specific contribution coming from each acoustic source. The large distance from the emitting sources, for instance the funnel of a ship or the engine of a transtainer crane, makes the measurement inaccurate. By using the acoustic camera it is possible to tackle these two problems at the same time. Noise measurements can be made with equipment far from noise source, while distinguishing the contribution from each single source emitting within the sound field. The paper demonstrates this enhanced measurement technique through a set of surveys performed inside French and Italian ports. The ship emissions are analyzed through the acoustic camera for ship on the way, maneuvering inside the harbour, and berthed at wharf. The effectiveness of beamforming technique is discussed, investigating the measurements accuracy, their qualitative and quantitative significance, and the possibility tointroduce specific measurement standards for ships based on this methodology.
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Bocanegra, Augusto, Davide Borelli, and Corrado Schenone. "Measurements of ship noise using an acoustic camera: A first survey." Journal of the Acoustical Society of America 154, no. 4_supplement (October 1, 2023): A290—A291. http://dx.doi.org/10.1121/10.0023561.
Full textAbstract:
While the acoustic impact of harbors is becoming an increasingly important issue, to the point of limiting their growth, the measurement of noise from ships and port operations is still rough. Two of the main problems that are commonly encountered are source overlapping and large distance from the emitting sources. Source overlapping prevents from identifying the specific contribution coming from each acoustic source. The large distance from the emitting sources, for instance the funnel of a ship or the engine of a transtainer crane, makes the measurement inaccurate. By using the acoustic camera, it is possible to tackle these two problems at the same time. Noise measurements can be made with equipment far from noise source, while distinguishing the contribution from each single source emitting within the sound field. The paper demonstrates this enhanced measurement technique through a set of surveys performed inside French and Italian ports. The ship emissions are analyzed through the acoustic camera for ship on the way, maneuvering inside the harbor, and berthed at wharf. The effectiveness of beamforming technique is discussed, investigating the measurements accuracy, their qualitative and quantitative significance, and the possibility to introduce specific measurement standards for ships based on this methodology.
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Gosine, Andil. "Everything Slackens in a Wreck." Small Axe: A Caribbean Journal of Criticism 26, no. 2 (July 1, 2022): 119–43. http://dx.doi.org/10.1215/07990537-9901696.
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This is a curatorial essay in which the author explains his research and process for the conception and production of everything slackens in a wreck, a visual arts exhibition running at the Ford Foundation Gallery in New York from June to September 2022. Gosine elaborates his thinking about the title of the exhibition, which is taken from a Khal Torabully poem, and explains the relevance of and his intrigue with the four artists whose works comprise the exhibition: Wendy Nanan (Trinidad and Tobago), Margaret Chen (Jamaica/Canada), Andrea Chung (Jamaica/United States), and Kelly Sinnapah Mary (Guadeloupe). Each of the four women is a descendant of indentured workers who traveled to the Caribbean in the late nineteenth and early twentieth centuries, and for each this history is a reference point in her practice. Gosine proposes a consideration of the Americas as a consequence of three wreckages: the ship landings of European colonizers and the arriving ships of enslaved and, later, indentured peoples.
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Johnson, Mark Dean. "Shit Be Tight." Asian Diasporic Visual Cultures and the Americas 1, no. 1-2 (February 24, 2015): 15–39. http://dx.doi.org/10.1163/23523085-00101002.
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Carlos Villa was a highly original Filipino American artist and visionary organizer who has been very influential in San Francisco but is still little recognized internationally. This essay situates Villa’s achievement as an ongoing dialogue between his private studio practice and public actions. It argues for the appreciation of the interaction of Villa’s modernist aesthetic with more socially engaged inspirations and expressions as central to the artist’s significance and the transformative impact of his career.
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Fikriyati, Mirroh, Sri Katoningsih, and Sabbir Hasan. "Use of Loose Part Media With Cardboard and Sand Materials in Islamic Children's Schools." Nazhruna: Jurnal Pendidikan Islam 6, no. 1 (January 10, 2023): 60–71. http://dx.doi.org/10.31538/nzh.v6i1.2858.
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The purpose of this study is to describe the use of loose parts media made from cardboard and sand in learning at the Islamic Children's School TKIT Permata Hati Kartasura Sukoharjo. The research subjects were teachers, informants such as school leaders, and students. Data collection techniques with interviews, observation, and documentation. While the data analysis with the stages of data reduction, data presentation, drawing conclusions, and verification, namely drawing conclusions and verifying the collected data. The results showed that loose parts media designed in ships and simple musical instruments have successfully stimulated the growth of 6 aspects of child development. Aspects of Moral Religion Values with the introduction of seawater that ships pass as a creation of God. Gross motoric physical aspects such as rowing. Physical aspects of fine motor skills include feeling the smooth and rough parts of the ship. A cognitive aspect with counting the number of doors, windows, and stairs on the boat. A language aspect with mentioning the vowel letters on the ship. Aspects of Social Emotional like patiently waiting for their turn in holding the boat. An aspect of art with hearing, imitating, and singing songs about ships. It is also strengthened by playing a musical instrument from a bottle filled with sand.
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GONZALEZ, ANITA. "Maritime Migrations: Stewards of the African Grove." Theatre Research International 44, no. 1 (March 2019): 64–70. http://dx.doi.org/10.1017/s0307883318000962.
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This essay discusses how maritime migrations contribute to movements of ideas across transnational ethnic communities. It focuses on actors from the African Grove, a New York City-based African American theatre company. Actors in this company worked as stewards on transatlantic packet ships where the architecture of the ship supported intercultural exchanges.
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Kapinus, Alexander. "On the Issue of the Painting Technique of the Marine Artist V.I. Shilyaev." Bulletin of Baikal State University 30, no. 2 (June 11, 2020): 185–94. http://dx.doi.org/10.17150/2500-2759.2020.30(2).185-194.
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Seascape is a special genre of painting. To show the vivid life of the sea is not an easy task for an artist. The creative heritage of marine painters not only delights, but also encourages modern artists to look for their own style, to develop their own painting technique to achieve it. The author analyzes the genesis of the special manner of the Far Eastern marine painter V.I. Shilyaev in the representation of a live transformation of the sea wave, attempts to characterize his original painting technique to perform a frozen in time moment of life of the dynamic volume on the plane of the canvas. Maintaining the creative tradition of the great marinists of the past, V.I. Shilyaev filled his works with patriotic content of self-identification of the Russian Far East, developed the art of depicting legendary ships on an aesthetically irresistible sea wave. The author claims that the mixed improvisational technique of visualizing the constantly changing volume and color of the sea wave is V.I. Shilyaev's innovative contribution to the achievements of the Russian seascape painting school.
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Coates, John, and John Morrison. "Authenticity in the replica Athenian trieres." Antiquity 61, no. 231 (March 1987): 87–90. http://dx.doi.org/10.1017/s0003598x00072586.
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The building of a replica classical warship, the Athenian trieres, is the most ambitious project of experimental archaeology so far. The ship is building in a Piraeus yard to a design worked out from original sources and using the experience of the partial replica illustrated in ANTIQUITY in 1985 (Morrison & Coates 1985; and for the full story Morrison & Coates 1986, reviewed in this number). But how authentic is the replica? The project leaders set out here how their trireme will differ from the real thing. The result, they believe, is a craft which will faithfully copy a new and well-built ship. But it does use some modern materials; it should last much better than did the classical ships; and it will carry some wholly modern gear. It is no part of their experiment to see how fast an ancient ship rotted or how nastily an Athenian crew drowned when the rotting was complete.
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Heaney, Kevin D., Christopher M. A. Verlinden, Kerri D. Seger, and Jennifer A. Brandon. "Modeled underwater sound levels in the Pan-Arctic due to increased shipping: Analysis from 2013 to 2019." Journal of the Acoustical Society of America 155, no. 1 (January 1, 2024): 707–21. http://dx.doi.org/10.1121/10.0024354.
Full textAbstract:
The loss of Arctic sea ice is one of the most visible signs of global climate change. As Arctic sea ice has retreated, Arctic marine shipping has increased. The Pan-Arctic's unique underwater acoustic properties mean that even small increases in ship traffic can have a significant effect on the ambient soundscape. This study presents the first long-term, basin-scale model of shipping noise in the Pan-Arctic with a focus on a few select sub-regions. The Arctic Ship Traffic Database from the Protection of the Arctic Marine Environment is used in this study to model the locations and source levels from ships operating in the Pan-Arctic between 2013 and 2019. The acoustic footprint of these ships is explored temporally for the entire basin as well as for the select large maritime ecosystems of the Barents Sea, the Northern Bering-Chukchi Sea, and Baffin Bay. From 2013 to 2019, modeled shipping noise propagating underwater broadly increased between 5–20 dB across the Pan-Arctic, but more specific results in sub-regions are presented and discussed.
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Senczyszyn, Steven, Andrew Barnard, Erik Kocher, Thomas M. Evans, Lars G. Rudstam, Suresh A. Sethi, Susan E. Wells, et al. "Ship noise quantification of fisheries vessels on the Great Lakes." Journal of the Acoustical Society of America 153, no. 3_supplement (March 1, 2023): A303. http://dx.doi.org/10.1121/10.0018935.
Full textAbstract:
Prey fish abundances in the Great Lakes are a driver for several agencies’ commitments to the Council of Lake Committees to support fisheries management. These management decisions have profound economic and social impacts within the Great Lakes region. Fisheries estimates done by echosounders or trawling may be biased due to the propagated noise from large fisheries vessels. In the first two years of a four-year collaborative study, crewed fisheries vessels and uncrewed Saildrone vessels were used to compare abundance estimates between “loud” and “quiet” vessels. To quantify the effects of ship noise on prey fish abundance estimates, a mobile ship noise measurement system was designed and deployed to measure radiated acoustic signatures of several ships in the Great Lakes. This talk will discuss the deployment of a mobile underwater acoustic test range and show results of ship noise measurements from the first two years of the program. In addition, plans for future data generation, analysis, and comparison between crewed and autonomous systems will be discussed and an overview of the effects of ship noise on fish avoidance will be discussed in the proceeding talk.
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Bakhtiar, Handar Subhandi, Abbas, and Rafika Nur. "Limitation of Harbormaster Responsibility in Ship Accidents." Academic Journal of Interdisciplinary Studies 10, no. 3 (May 10, 2021): 375. http://dx.doi.org/10.36941/ajis-2021-0091.
Full textAbstract:
As the government in the port, the harbormaster has the responsibility to guarantee the safety and security of shipping. In shipping, the harbormaster, shipowner and captain are the trident of the security and safety of shipping. This research is a normative-legal research using a statute, comparative and conceptual approaches. The research results indicate that the concept of limiting the responsibility of a harbormaster in a ship accident is a ship accident not necessarily a criminal offense prior to the preliminary examination by the harbormaster and a further examination by the shipping court, if the results of the examination indicate a criminal act, the parties The police can conduct investigations into ship accident events based on the results of the examination by the harbormaster and the shipping court. In the event of a ship accident, the harbormaster has a relative or limited responsibility to the fulfillment and compliance of the implementation of maritime safety, security and safety of shipping in the form of the issuance of a sailing approval letter for ships leaving the port in accordance with applicable rules and procedures so that the harbormaster is not absolutely responsible for the circumstances that occur after the ship leaves port, but it has become the authority and responsibility of the ship commander.
Received: 17 January 2021 / Accepted: 9 April 2021 / Published: 10 May 2021
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Neilsen, Tracianne B., Michael C. Mortenson, Jacob R. Nuttall, Stephen M. Amos, Mark K. Transtrum, David P. Knobles, and William Hodgkiss. "Comparison of maximum entropy and ResNet-18 inferences of sediment sound speed using surface ship noise." Journal of the Acoustical Society of America 151, no. 4 (April 2022): A267. http://dx.doi.org/10.1121/10.0011294.
Full textAbstract:
The impact of individual seabed properties on sound propagation in the ocean depends on many factors including source-receiver range and frequency band of interest. In this talk, estimates of the sound speed ratio across the water-sediment interface are obtained using a maximum entropy approach and ResNet18, a supervised machine learning model. The input data are spectrograms of surface ship noise from shipping lanes. Synthetic spectrograms are modeled using a ship noise source spectrum and a range-independent normal mode model, ORCA, with a wide range of environments and ship parameters. Experimental data from the New England Mud Patch are used with both inverse methods. The maximum entropy approach uses data-model mismatch to obtain a posterior probability distribution for the parameters of interest. The ResNet18 is trained on the synthetic spectrograms, augmented with additive noise, and then applied to the experimental data. A comparison of the results from these two methods for a variety of ships using different frequency bands will be presented, along with a discussion of the advantages and limitations of each method.
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Barnard, Andrew, Miles Penhale, Steven Senczyszyn, Erik Kocher, Jason Swain, and Peter Esselman. "Quantifying ship noise bias in fish abundance estimates in the Great Lakes." Journal of the Acoustical Society of America 151, no. 4 (April 2022): A241. http://dx.doi.org/10.1121/10.0011192.
Full textAbstract:
Prey fish abundances in the Great Lakes are a driver for several agencies commitments to the Council of Lake Committees to support fisheries management. These management decisions have profound economic and social impacts within the Great Lakes region. Fisheries estimates done by echosounders or trawling may be biased due to the propagated noise from large fisheries vessels. In the first year of a four year collaborative study, crewed fisheries vessels and uncrewed Saildrone vessels were used to compare abundance estimates between “loud” and “quiet” vessels. In order to quantify the effects of ship noise on prey fish abundance estimates, a mobile ship noise measurement system was designed and deployed to measure radiated acoustic signatures of several ships in the Great Lakes. This talk will discuss the deployment of a mobile underwater acoustic test range, and show initial results of ship noise measurements from the first year of the program. In addition, an overview of the echosounder abundance results will be given along with plans for future data generation, analysis, and comparison between crewed and autonomous systems.
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Emanov, Aleksandr Georgievich. "Shipping Communities in a Mediaeval Thalassopolis (Caffa from the Thirteenth to Fifteenth Century)." Античная древность и средние века 51 (2023): 283–312. http://dx.doi.org/10.15826/adsv.2023.51.017.
Full textAbstract:
This article explores the phenomenon of shipping communities and the development of various forms of micro-spatial group identification among the sailors in the Pre-Modern world. The key research method is the heterotopia. From the late thirteenth century on, the port of Caffa possessed more than 100 large and medium vessels, each forming separate movable space which circulated between Caffa and the ports in the Black, Azov, Marmora, and Mediterranean Seas, and housing 12 to 200 sailors. The initial principle in the universal identity was the type of the ship. Her image was sometimes a marker of micro-group and individual identity. When the ship type was shown, there was need in clarifying descriptors. The most common form of identification covering two thirds of the vessels was attribution by the name of patron or owner who possessed the decisive share of the ship’s property. The patron’s naval jack and coat of arms were the identification markers of himself and the entire ship’s crew. The second of importance identification form that spread on one-third of the ships was vessel’s name by her patron saint. Here the identity marker was the saint’s icon on the ship altar, sometimes its duplicate on a foremast sail, and personal icons of the sailors. Finally, the third form was the naming of ship by moral and ethical values as a kind of motto.
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Attard, Matthew. "Eye (re)drawing historical ship graffiti: Tracing ex-voto drawings with eye-tracking technology." Drawing: Research, Theory, Practice 7, no. 2 (October 1, 2022): 185–98. http://dx.doi.org/10.1386/drtp_00088_1.
Full textAbstract:
This paper describes the salient features of a hybrid drawing process driven by techno-human relations. The project consists in the tracing of historical ship graffiti with my eye movements while wearing a contemporary eye-tracking headset. It forms part of my ongoing artistic practice of drawing with my eyes with an eye-tracking device, adapting and adopting an attitude of drawing-with the technology. The practice takes shape by means of an interdisciplinary approach looking at the transformative capacities of human–nonhuman relations, as the agency of off-the-shelf technology contributes to the drawing process. Eye-tracking data is developed into virtual drawings and consequently pen-plotted onto slabs of globigerina limestone. The project specifically looks at ship graffiti found on the facades of wayside chapels on the Mediterranean island of Malta, where the tradition of etching ships in stone as ex-votos can possibly date back to the 1500s. Thus, the outcome of the project bridges historical imagery with contemporary drawing, resulting in a multifaceted interpretation through a play on words while converging interdisciplinary dialogues.
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Verrips, Jojada. "Excremental Art: Small Wonder in a World Full of Shit." Journal of Extreme Anthropology 1, no. 1 (May 7, 2017): 19–46. http://dx.doi.org/10.5617/jea.4335.
Full textAbstract:
The representation of urinating and defecating people by artists is a rather old phenomenon, for they pop up in the work of, for instance, Rembrandt. For the twentieth century the same can be observed, however with this remarkable difference with past ages, that the number of artists (playwrights, painters and performance artists to mention only a few) working with shit (as well as with bodily fluids and matter) enormously increased. Especially in the second half of this century it became very popular to use shit in plays, paintings and performances. This paper deals with the question, whether the artworks of so-called shit artists working in the West generally speaking are just a kind of wild manifestations of decadence and the abject, as so many people claim, or that they are meant to bring across a particular message with regard to the society and culture in which they are produced. On the basis of the work of the German philosopher Peter Sloterdijk and others the hypothesis will be launched that one cannot understand this remarkable blossoming of shit in the arts without taking into consideration the fact that we are living in an era of neo-capitalism, which implies a horrific transformation of consumption goods bought with the help of money (this eternal companion of shit) into all kinds of waste and ordure.