Academic literature on the topic 'He-man art'
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Journal articles on the topic "He-man art"
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Depta, Henryk. "Wychowanie w blasku sztuki." Kwartalnik Pedagogiczny 62, no. 4 (246) (February 7, 2018): 61–72. http://dx.doi.org/10.5604/01.3001.0010.8405.
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The article is an attempt to define the role that art plays – may/should play – in the education of modern man. The scope of this “great role of art in the life of modern man” was presented in the works of Irena Wojnar and Bogdan Suchodolski – the authors of the Polish theory of aesthetic education. For the author of the article, the important role of art lies in the fact that it breaks the inertia of our sensitivity, our perceptual patterns, the coldness of the heart. In our times it is art – or maybe only art! – that allows modern man, at least partially, to satisfy the hunger for meaning. Art is an attempt to overcome the insufficiency of our human existence. To overcome and enrich! By showing man not just what he is but what he would like to be, what he should be, art creates a truly human vision of the art of life. That art is great entertainment is another happy circumstance for aesthetic education. We love and choose art because it is simply amusing. Studies show that art is educationally attractive – especially for children and adolescents – because it is also an attractive entertainment. The power and the beauty of aesthetic education lie in the fact that it is an education which is also a noble entertainment.
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Bolognini, Maurizio. "Globalization, art and the art system." Ekistics and The New Habitat 73, no. 436-441 (December 1, 2006): 191–95. http://dx.doi.org/10.53910/26531313-e200673436-441115.
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The author's research interests are: art, technology and democracy. On this latter subject he has published several essays and a book entitled Democrazia elettronica (Carocci, Rome, 2001). As an artist he has worked with digital technologies since the 1980s. One of his best-known works is Computer sigillati (Sealed Computers, 1992): more than 200 machines which are programmed to produce flows of random images and then left to work indefinitely, usually without monitors. His works have been exhibited widely in Europe and the USA. He has put on shows, presentations and performances in Paris, New York , Los Angeles, San Francisco, Sydney. His latest one-man shows include: Museo Laboratorio di Arte Contemporanea (Rome, 2003), WilliamsburgArt& Historical Center (New York, 2003), Museo di Arte ContemporaneaVilla Croce (Genoa, 2005). Latest books on his work: D. Scudero (ed.),Maurizio Bolognini: Installazioni, disegni, azioni (on/off line), (Lithos,2003); and S. Solimano (ed.), Maurizio Bolognini: Infinity out of Control(Neos, 2005). The text that follows was made available to the participants of the international symposion on "Globalization and Local Identity, " organized jointly by the World Society for Ekistics and the University of Shiga Prefecture in Hikone, Japan, 19-24 September, 2005, which the author was finally unable to attend.
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Cooper, Neil. "The Art of Philosophy." Philosophy 66, no. 256 (April 1991): 169–75. http://dx.doi.org/10.1017/s0031819100053043.
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Any account of knowledge has to take account both of the contribution of the world and the contribution of man. Every human endeavour, every activity, every art, every science is a product of a unique interaction between man and the world. Where man is most passive, he merely reflects and reports the world; this is pure discovery, if it ever exists. Where man is most active, the world's contribution lies merely in the provision of the raw material; this is pure invention, if it ever exists. All the arts, all the sciences can be ordered in a continuous array or spectrum ranging from pure discovery to pure invention. That they are all at some point on this continuum gives them a common but fragile thread, justifying our thinking and talking of the unity of the arts and sciences. Philosophy is neither pure discovery nor pure invention; it bears resemblances to both a science and an art. In this paper I propose to try to give reasons why we should regard the philosopher as an artist and philosophy as an art; or, at any rate, I shall try to show that there is an Art of Philosophy.
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Smelser, Neil J. "Sociology as Science, Humanism, and Art." Tocqueville Review 15, no. 1 (January 1994): 5–18. http://dx.doi.org/10.3138/ttr.15.1.5.
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II was about 150 years ago that William Graham Sumner was born, the son of an English machinist who endowed his son with a work ethic, a sense of personal integrity, and a stubborn independence from the world – qualities that were cloned on to the son in such a way that they were never shaken. Later in his life Sumner developed a love for what he called the Forgotten Man" – the independent citizen who worked hard, paid his debts and taxes, dutifully raised his family, and perpetuated community values. One senses that, in lamenting that this man was forgotten. Sumner might have been reviving the ghost of his father.
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Black, Sam. "Science and Moral Skepticism in Hobbes." Canadian Journal of Philosophy 27, no. 2 (June 1997): 173–207. http://dx.doi.org/10.1080/00455091.1997.10717477.
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Here lyes that mighty Man of SenseWho, full of years, departed hence,To teach the other world Intelligence,This was the prodigious Man,who vanquish’ d Pope and Puritan,By the Magic of Leviathan.Had he not Controversy wanted,His deeper Thoughts had not been scanted;Therefore good Spirits him transplant:Wise as he was, he could not tellWhether he went to Heaven or Hell.Beyond the Tenth Sphere, if there be a wide place,He'll prove by his Art there's no infinite space:And all good Angels may thank him, for thatHe has prov’ d they are something, tho men know not what.Hobbes's Epitaph (Anon 1680)
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Mendus, Susan. "The Serpent and the Dove." Philosophy 63, no. 245 (July 1988): 331–43. http://dx.doi.org/10.1017/s0031819100043588.
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In his essay ‘The Simple Art of Murder’, Raymond Chandler describes the world of the American detective story as ‘a world in which gangsters can rule nations and almost rule cities, in which hotels and apartment houses and celebrated restaurants are owned by men who made their money out of brothels, in which a screen star can be the fingerman for a mob, and the nice man down the hall is a boss of the numbers racket; a world where a judge with a cellar full of bootleg liquor can send a man to jail for having a pint in his pocket, where the mayor of your town may have condoned murder as an instrument of money making, where no man can walk down a dark street in safety’. Nevertheless, ‘down these mean streets a man must go who is not himself mean, who is neither tarnished nor afraid. The detective in this kind of story must be such a man. He is the hero, he is everything. He must be a complete man and a common man and yet an unusual man. He must be, to use a rather weathered phrase, a man of honour, by instinct, by inevitability, without thought of it, and certainly without saying it. He must be the best man in his world and a good enough man for any world.’ What are the possibilities of being such a man (or woman) in the world as we know it? The hero of the American detective story (of the Hammett-Chandler genre) is not only a good man, and a man of honour, but also a man who must get things done. In Dashiel Hammett's Red Harvest he is the man who is sent in to clean up the pig-sty that is Poisonville, and in so doing he becomes poisoned himself. He has a choice between being effective and being good, but he cannot be both together. ‘Poisonville is right’, he says despairingly. ‘It's poisoned me.’
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Morrow, Avrum. "Curiosity, Passion and Learning." LEARNing Landscapes 3, no. 2 (March 2, 2010): 97–100. http://dx.doi.org/10.36510/learnland.v3i2.342.
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In this commentary, business man and philanthropist Avrum Morrow maintains that learning need not be dull. He recalls some of the passionate teachers, from primary school to university, who had a profound influence on him. Through innovative art projects and singing arias in class to attention-grabbing science demonstrations, these teachers sparked his interest in art, music and science. He believes that curiosity and a receptive mind are the keys to lifelong learning.
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Glenn, Paul F. "Nietzsche's Napoleon: The Higher Man as Political Actor." Review of Politics 63, no. 1 (2001): 129–58. http://dx.doi.org/10.1017/s0034670500030540.
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Nietzsche's concept of the higher man is often seen as vague. The article adds concreteness to the concept by studying an example of a higher man, Napoleon. Napoleon embodied power and spiritual health, and was therefore an admirable person. By looking at Nietzsche's description of Napoleon as an artist, we also gain insight into the higher man as a political actor: he uses the public arena as the medium on which he practices his art. In doing so, he presents himself as a exemplar of humanity, inspiring others to seek their own path to excellence. By studying this, we gain important insight into Nietzsche's political teaching. But Nietzsche's account of Napoleon is not one-sided: he also describes Napoleon's corruption. The fall of a higher man is both a warning of the dangers of the political realm, and a reminder that sickness and health are closely connected. Even the mightiest individual is fragile.
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Mahmood, Anser. "Human Benevolence is Innate to Man as Man Shakespeare’s Art of Characterization with reference to Macbeth." Journal of English Language and Literature 11, no. 2 (April 30, 2019): 1115–19. http://dx.doi.org/10.17722/jell.v11i2.412.
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Shakespearean tragedies stand out in the history of world’s literature for their influential language, insight into character and dramatic ingenuity. It can be safely established that all of the Shakespearean tragedies are based upon the notion that human benevolence is innate to man as man. The current study focuses upon the notion that the Shakespearean heroes are basically good and noble men whose tragic flaw leads to their obliteration. For instance in Macbeth, Lady Macbeth describes Macbeth as “too full o’ milk of human kindness”. The character of Macbeth gives the picture of dissolution within the individual. The character of Macbeth has been analyzed to assert that he seems to suffer from a variance between his head and heart, his duty and his desire, his reckoning and his emotions. A psychological insight to his character reveals that he knows from the first that he is engaged in a ridiculous act: a distressed and paradoxical struggle. With the aid of research methods including Case Study and Close Reading this Qualitative research highlights Macbeth’s lethal proceedings which not only obliterate his peace of mind but also bring turmoil to the macrocosm of the universe, and shows that along with the king he murders his sense of reasoning as well. Hence this study asserts the idea that Shakespearean heroes possess an inherent goodness corroded by the actions of fate or destiny thus resulting in their tragic downfall.
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Nazim qızı Quluzadə, Aysel. "Features of Arif Aziz's creativity in modern Azerbaijani art." SCIENTIFIC WORK 66, no. 05 (May 20, 2021): 177–80. http://dx.doi.org/10.36719/2663-4619/66/177-180.
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Arif Aziz is one of the invaluable artists of Azerbaijan.Talented master of pencil, full member of the UNESCO’s International Art Academy, goodwill ambassador, prominent man of art, professor Arif Aziz is one of the most famous, well-known persons of the modern Azerbaijan art. He travelled a rich and interesting creative career. Arif Aziz's work is rich and diverse. Decorative is typical for his works. The theme of Absheron occupies a special place in his work. He is engaged in graphics, painting and stage design. The famous artist has had solo exhibitions in many countries around the world. Key words: Absheron, graphic, art, exhibition, national traditions
Books on the topic "He-man art"
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bu, China Wen hua, Zhongguo wen xue yi shu jie lian he hui, Zhongguo mei shu jia xie hui, and Haerbin guo ji hui zhan zhong xin, eds. Di shi yi jie quan guo mei shu zuo pin zhan lan: Dong man, zong he hua zhong zuo pin ji. Beijing: Ren min mei shu chu ban she, 2009.
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Baokun, Xue, and Hou Zhen, eds. Yi hu Hou shuo: Hou Baolin zi zhuan he yi shi = The man who made it an art form. Beijing Shi: Wu zhou chuan bo chu ban she, 2007.
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Abiodun, Rowland. A young man can have the embroidered gown of an elder, but he can't have the rags of an elder: Conversations on Yoruba culture. [Bayreuth]: IWALEWA, 1991.
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Steele, Shelby. A bound man: Why we are excited about Obama and why he can't win. New York: Free Press, 2008.
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Steele, Shelby. A bound man: Why we are excited about Obama and why he can't win. New York: Free Press, 2008.
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Shusaku, Tengan. He-Man Coloring Book: Inspirational Art Books for Adults Unofficial. Independently Published, 2022.
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Bam, Stuart, and Mattel. Art of He-Man and the Masters of the Universe. Dark Horse Comics, 2022.
Find full textBook chapters on the topic "He-man art"
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Gotti, Roberto. "The Dynamic Sphere: Thesis on the Third State of the Vitruvian Man." In Martial Culture and Historical Martial Arts in Europe and Asia, 93–147. Singapore: Springer Nature Singapore, 2022. http://dx.doi.org/10.1007/978-981-19-2037-0_4.
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AbstractThe subject of this paper is the basic principles of a martial art that has been perfected over millennia of social strata, skirmishes, and settlements, and is the amalgamation of different cultures and traditions which flourished during the Renaissance. We can learn this art today thanks to the texts written and printed during that period. In his most famous drawing, Leonardo da Vinci (1452–1519) shows a man drawn inside two geometrical shapes: the square with the center at his groin and the circle with the center at his navel. But there is another possible representation that provides an anthropometric revelation with his center at the solar plexus. That is the man I define as dynamic. Many traces of him may be found in the Masters’ texts and we have magnificent examples of him in daily life: the man who, through performing perfect combat moves, is able to move and “become” a sphere, the “Palla,” or ball, as Camillo Agrippa calls it, with changing circumference and surface. He can move his center within his own body and outside of it, to the palm of his hand, to the blade of his sword, and even to inside his enemy. The dynamic man represents the development upon both the natural man, depicted in a square with his groin at the center and the speculative man, depicted in a circle with his navel at the center. This man creates a sphere around himself, with the solar plexus at its center. He has the ability to move that center to any part of his body, even to his blade and as far as the blade’s end, thus modifying the circumference of his sphere as he pleases. The findings presented here are the fruit of over twenty years of research and practice, reflecting my own progression in the theoretical and practical understanding of Italian martial arts.
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Pizzolante, Marta, and Alice Chirico. "“You Can Tell a Man by the Emotion He Feels”: How Emotions Influence Visual Inspection of Abstract Art in Immersive Virtual Reality." In Extended Reality, 341–59. Cham: Springer Nature Switzerland, 2022. http://dx.doi.org/10.1007/978-3-031-15553-6_24.
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Evans, Dorinda. "5. A Challenge to International Neoclassicism." In William Rimmer, 117–64. Cambridge, UK: Open Book Publishers, 2022. http://dx.doi.org/10.11647/obp.0304.05.
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Rimmer's major sculptural works, such as St. Stephen, Falling Gladiator, Dying Centaur, and Osirus (destroyed), were created for exhibition and in response to the international neoclassical movement. In different ways, they are actually critiques of the rage for neoclassicism. Much of what Rimmer was trying to do is conveyed in his teaching, and he used his exhibited art as an extension of this. He wanted an art based not on copying from antique casts or from life but, rather, on the artist's own imagination so that the work is self-expressive. The fact that the man in Falling Gladiator assumes an impossible position is an instance of his insistence on the imaginative. The St. Stephen and a cast of the Falling Gladiator were exhibited in Paris at the Salon des Refusés, where the Gladiator created a stir as it seemed, wrongly, to be a cast of a live person. Rimmer broke new ground in producing fragmented human figures with an antique reference, such as his Osiris, a classical-Greek-looking nude male without parts of his arms. They resembled the broken ancient sculpture of the present rather than of the revered past. Originally Osiris had the head of a hawk. As with his pictures, Rimmer also was unusual in frankly accepting and portraying abnormalities as in his Seated Man (Despair). The late Fighting Lions, showing a male and female in vicious combat is arguably an allegory of male dominance. As an original thinker, Rimmer, more than once, explored the problem of expressing the spiritual in the material, most effectively in his relatively abstract Torso, which is an attempt to show the divine awakening or creation of a human soul. Following the Bible, the plaster cast retains the effect of a man’s torso having been crudely fashioned from clay. Perhaps just as unexpected was his plan for a colossal sculpture, Tri Mountain (never executed), which amalgamated the effect of three men and three hills as a symbol of the city of Boston. His one major public statue is the over-life-size Alexander Hamilton on Commonwealth Mall in Boston.
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Jones, Gwyneth. "Year Zero Art." In Joanna Russ, 39–68. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042638.003.0003.
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“Year Zero Art” situates Second Wave feminism in the context of the “domestic revival” decreed by Cold War politics; examines historical female-ordered utopias, and provides a close reading of the polemic, idyllic, and lyric voices; the layered realities and the “many worlds” speculative-science content of Joanna’s highly personal 1975 novel, The Female Man. Essays and reviews described include radical feminist criticism of Ursula K. Le Guin’s novels; the groundbreaking “Why Women Can’t Write”; the controversial “Image of Women in Science Fiction” and “Alien Monsters,” in which Joanna defines the pernicious sf figure of the “he-man.” Stories related to The Female Man (1971-75) include “When It Changed,” the Nebula Award-winning conventional sf version of The Female Man.
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Kox, A. J., and H. F. Schatz. "Epilogue." In A Living Work of Art, 258–62. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198870500.003.0014.
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The epilogue contains an analysis of Lorentz as a giant among international physicists, but also as a man of flesh and blood. It describes him as highly intelligent, a sensible and reasonable personality, frugal, friendly by nature, not easily ruffled, but with his human weaknesses. They pale, though, in comparison with his importance for international science. As Einstein described him he was: “A living work of art.”
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Johnson, Samuel. "A dissertation on the art of flying." In The History of Rasselas, Prince of Abissinia, edited by Thomas Keymer. Oxford University Press, 2009. http://dx.doi.org/10.1093/owc/9780199229970.003.0006.
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Among the artists that had been allured into the happy valley, to labour for the accommodation and pleasure of its inhabitants, was a man eminent for his knowledge of the mechanick powers, who had contrived many engines both of use and recreation. By a wheel, which the stream turned, he forced the water into a tower, whence it was distributed to all the apartments of the palace. He erected a pavillion in the garden, around which he kept the air always cool by artificial showers. One of the groves, appropriated to the ladies, was ventilated by fans, to which the rivulet that run through it gave a constant motion; and instruments of soft musick were placed at proper distances, of which some played by the impulse of the wind, and some by the power of the stream.
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Grobe, Christopher. "Just Talk." In Art of Confession. NYU Press, 2017. http://dx.doi.org/10.18574/nyu/9781479829170.003.0007.
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This chapter focuses on the solo career of Spalding Gray, who helped popularize confessional monologue in the American theater. Received at first as someone who “talks for a living,” Spalding Gray was rebranded after his death as, in fact, a writer. This simple binary—talk vs. writing—does a disservice to Gray’s monologues, or, as he sometimes called them, his “talking novels.” Placing Gray in his context—as a member of the multimedia experimental theater ensemble the Wooster Group, as an artist poised between theater and performance art, and as a man frankly puzzled by the relationship between theatrical performance and literary authorship—this chapter argues that the tension between writing and talking (and not a choice between the two) defines confessional monologue as a form. Special attention is paid to the way Gray’s monologues have been published, as well as to Gray’s debt to the confessional poet Robert Lowell.
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Hamkins, SuEllen. "Finding Lost Stories of Love: Remembering Love and Legacy amid Loss." In The Art of Narrative Psychiatry. Oxford University Press, 2013. http://dx.doi.org/10.1093/oso/9780199982042.003.0013.
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“‘I have no son Danny,’” Daniel said, with bitterness. “That’s what my father said to me when he was near death. Thirteen years ago, I go to see him in the hospital, and he’s there in the bed with tubes coming out of him. I go up to him and he says, ‘Who’s that?’ and I say, ‘It’s your son, Danny’, and he says, ‘Danny who? I have no son Danny.’” Daniel’s face bore traces of sadness and anger. “Just before he died he denied me.” Daniel Francis O’Conner, a spirited man of sixty-seven, sat perched in the middle of the couch in my bright, airy private-practice office. He had the time and resources to engage in weekly, open-ended psychotherapy with me. With a short white beard, sparkling blue eyes, a quick smile that lit up his whole face, and a readiness to laugh at himself and the world, Daniel had an equal readiness to hold himself and the world to high standards of generosity, morality, and justice. I looked forward to our meetings, in which Daniel moved from one story of his life to another with eloquence, grit, irony and humor like a true seanachaí , an Irish storyteller. A lifelong resident of Holyoke, a tough little city in Massachusetts known for its historic mills and factories, Daniel shared the feisty passion of its Irish-immigrant residents. He was married to his beloved wife, Molly, and they had two grown children, Brigid, age 30, and James, 25. A published poet who was newly retired from thirty-two years as an awardwinning high school English teacher and long retired from boxing, Daniel was exploring a new career as a psychotherapist. He had met me at a workshop on narrative psychiatry that I had given at The Family Institute of Cambridge (the one in which I had presented my work with Elena, from chapter 5), and wanted to work with me, with hopes of taking stock of what his legacy might be as he prepared to enter his seventies.
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Collins, Larry B. "Franz Unger and plant evolution: Representations of plants through time." In The Evolution of Paleontological Art. Geological Society of America, 2022. http://dx.doi.org/10.1130/2021.1218(08).
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ABSTRACT This chapter will highlight a series of lithographs produced by Franz Unger and Josef Kuwasseg that emphasize how Unger used plants to represent different periods of earth history. While Henry De la Beche is credited with the first depiction of ancient life through art (Duria antiquior), Unger’s work was the first to illustrate how plants could be used as indicators of changes in life history. In collaboration with artist Josef Kuwasseg, he embarked on a project entitled The Primitive World in Its Different Periods of Formation that consisted of 14 lithographs that were published in 1851. The title was unique in that it combined the concepts of a “primitive world,” or the widely accepted contemporary idea of undifferentiated deep time, with our modern concept of different periods of earth history. Unger selected periods for this project based upon major strata, but his botanical roots led him to emphasize the importance of plants in each lithograph. The series begins with the “Transition Period,” or the strata that contain the most fossil evidence to develop a reconstruction, and ends with a depiction of the arrival of man in a plant-filled world. This series of lithographs offers a unique contribution to the history and philosophy of geology as Unger recognized the importance of plants to our understanding of geology and deep time in the nineteenth century.
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Winkler, Kevin. "Song and Dance Man." In Everything is Choreography, 189–216. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190090739.003.0009.
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With the back-to-back successes of Grand Hotel and The Will Rogers Follies, no one would have imagined that these would be the final Tommy Tune hits seen on Broadway. A series of flops (1994’s garish, vulgar The Best Little Whorehouse Goes Public, the antithesis of the elegant simplicity of his earlier work) and stillborn projects (1995’s Busker Alley, whose pre-Broadway tour collapsed when Tune broke his foot, and the abandoned Irving Berlin jukebox musical Easter Parade in the late 1990s) tarnished Tune’s status as a director who could rescue any show from disaster. In the years when he was one of Broadway’s most consistently inventive and successful directors of musicals, Tune had continued his performing career. Now, he increasingly spent more time on stage. His intimate, convivial “new vaudeville” act, built around Tune’s easygoing vocals and smooth tapping, featured songs by the Gershwins, Cole Porter, Irving Berlin, and other golden-age composers and underscored his affinity for music of an early time. The act proved remarkably flexible and durable, playing nightclubs and concert halls across the country and the world for more than thirty years. His enthusiasm for touring brought him a unique kind of celebrity. For many, he became the quintessential “Broadway Baby,” a man who summoned the spirit and continuity of the theater, even for those with little knowledge of the art form.
Conference papers on the topic "He-man art"
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August, Christopher. "Looking for Ishi: Insurgent Movements through the Yahi Landscape." In 2003 Informing Science + IT Education Conference. Informing Science Institute, 2003. http://dx.doi.org/10.28945/2718.
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In 1911 a Yahi man wandered out of the Northern California landscape and into the twentieth century. He was immediately collected and installed at the just opened Anthropology Museum by Alfred Kroeber at the University of California's Parnassus Heights campus. Dedication invitations came from the U.C. Regents led by Phoebe Apperson Hearst. Maintaining the discretion of his indigenous culture this man would not divulge his name. Kroeber named him Ishi, the Yahi word for man. These assembled facts introduce narrative streams that continue to unfold around us. To examine these contingent individuals, events and institutions collectively labeled Ishi myth is to examine our own position, our horizon. Looking for Ishi is a series of interventions and appropriations of Ishi myth involving video installation, looping DVD, encrypted motion images, web work, streaming video, print objects, written and spoken word, and documentation of the author's own insurgent movements through the Yahi landscape. [The following is a summary of an art, writing, and media project in progress.]
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Mi, Fei, and Boi Faltings. "Memory Augmented Neural Model for Incremental Session-based Recommendation." In Twenty-Ninth International Joint Conference on Artificial Intelligence and Seventeenth Pacific Rim International Conference on Artificial Intelligence {IJCAI-PRICAI-20}. California: International Joint Conferences on Artificial Intelligence Organization, 2020. http://dx.doi.org/10.24963/ijcai.2020/300.
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Increasing concerns with privacy have stimulated interests in Session-based Recommendation (SR) using no personal data other than what is observed in the current browser session. Existing methods are evaluated in static settings which rarely occur in real-world applications. To better address the dynamic nature of SR tasks, we study an incremental SR scenario, where new items and preferences appear continuously. We show that existing neural recommenders can be used in incremental SR scenarios with small incremental updates to alleviate computation overhead and catastrophic forgetting. More importantly, we propose a general framework called Memory Augmented Neural model (MAN). MAN augments a base neural recommender with a continuously queried and updated nonparametric memory, and the predictions from the neural and the memory components are combined through another lightweight gating network. We empirically show that MAN is well-suited for the incremental SR task, and it consistently outperforms state-oft-he-art neural and nonparametric methods. We analyze the results and demonstrate that it is particularly good at incrementally learning preferences on new and infrequent items.
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Perciun, Andrei. "The Nonhuman Character of Technology And Nature Revealed Through Photography." In 11th International Conference on “Electronics, Communications and Computing". Technical University of Moldova, 2022. http://dx.doi.org/10.52326/ic-ecco.2021/ks.05.
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Tools, like photography, are helping the man fighting nature. However, inside the essential structures of photography there is no signification function. Therefore, the objects represented in the photograph appear as they are in nature, meaningless and without human presence. The photograph, like other technical devices, does not retain the meaning of things. And so, photography is equivalent to nature, which equivantly has nothing to do with human meanings and values. Only in the field of subjectivity and human intersubjectivity the meanings given to world objects are able to survive. In addition, free of sense objects from photography or film, under the guidance of consciousness can combine in unexpected ways and, as a result, produce alternative meanings. Hereafter, the photograph circumscribes an element that corresponds to the basic function of art in general, namely the opportunity to readjust the daily life in which we live in by giving possible meanings and opening up alternative perspectives. In this context, the man is no longer formalized by abstract rationality, but returns to the rethinking of the living environment in which he cohabitates with others.
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Krštenić, Jasmina. "KORIŠĆENjE VODA REKA IZ KRIVIČNOPRAVNE PERSPEKTIVE SADA I SA PREPORUKAMA ZA BUDUĆNOST." In XVIII Majsko savetovanje. University of Kragujevac, Faculty of Law, 2022. http://dx.doi.org/10.46793/xviiimajsko.917k.
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The intention is to briefly present legal base, modus, and possibilities of usage of the part of the European continent covered with rivers according to criminal law perspective. We can see that this legal field and these areas of economic potential which are impossible to control and supervise all time, have no adequate attention. A man had always tried to discover new countries by overcoming water ways and to earn. A man had success often, but sometimes he was destroyed by water, and he was unconsciousness of possibilities that he did not use. There is need for using water surface in a way that we satisfy our human needs, but without breaching norms of Criminal Law. There is ever present challenge for humankind how to protect environment from ourselves.
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Zeng, Haijin. "INFLUENCE OF CHRISTIANITY ON THE CREATIVITY OF THE GUANGDONG POET HUANG LIHAI." In 9th International Conference ISSUES OF FAR EASTERN LITERATURES. St. Petersburg State University, 2021. http://dx.doi.org/10.21638/11701/9785288062049.25.
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Huang Lihai is one of the most active contemporary Chinese poets in the past two decades. His poems are a return to poetry, language and life. In the era of change and grand discourse dominating the aesthetic interpretation of literature, Huang Lihai’s poetry and spiritual exploration have obvious implications. His vitality in poetry creation and poetry activities has an important connection with his Christian faith and his thought resources. Huang Lihai pays close attention to individual life with heavy religious feelings, and tries to restore the relationship between man and god, the relationship between man and man, and the relationship between man and nature in the post-modern era. Backed by belief, he maintained human dignity and integrity with poetry, and opened up the divine dimension of poetry writing, which opened up a new aesthetic dimension for the Chinese contemporary poetry.
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Khovanchuk, Olga, and Tatiana Breslavets. "THE MAN IMAGE IN OKAMOTO KANOKO’S FICTION." In 9th International Conference ISSUES OF FAR EASTERN LITERATURES. St. Petersburg State University, 2021. http://dx.doi.org/10.21638/11701/9785288062049.45.
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The paper is devoted to the peculiarities of the man image in Japanese woman writer Okamoto Kanoko’s fiction. As a rule, the hero-lover (victim) has not the indispensable vitality and innate power. He is sickly or weak-minded. His fragility and passivity are contrasted with heroine’s (vampire) strength and assertiveness. The demonic motif is ubiquitous in Okamoto Kanoko’s stories. In other side, the man image is not a “lover”, but a “son”, which cult was set in her works. In certain cases heroine’s attitude to a hero leads to the erotic conflict.
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Egawa, Koichi. "An Aspect on the Definition of Smart Structures." In ASME 2001 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2001. http://dx.doi.org/10.1115/imece2001/ad-23720.
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Abstract By illustrating tiny YAMAHA helicopters, which are automatic, non-man drive and sold more than 1100, as an example, the author tries to show the difference of the ways of research and development in US and in Japan. With other three examples, he gives a suggestion for modification of the definition of smart structures, which were given by C.A. Rogers and B.K. Wada[1–2], for fitting them to these examples. In the modification he would like to call even a machine which has only one of the functions stated in the definitions as smart machine. By this modification he expects that the concept of smart structures will spread more widely and this movement will promote the intellectualization of wide variety of machines.
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Ashari, A. A., and R. C. Tucker. "Thermal Spray Coatings for Fiber Reinforced Polymer Composites." In ITSC 1998, edited by Christian Coddet. ASM International, 1998. http://dx.doi.org/10.31399/asm.cp.itsc1998p1255.
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Abstract Fiber reinforced polymer composites are an important class of structural materials. They possess high strength-to-weight ratios and high rigidities. However, for man ' applications heir wear resistance is less than desirable. Wear resistant thermal spray coatings can enhance the surface of these materials. Coatings on some composites have satisfactory adhesion without a bond coat, but others needed an appropriate bond coat. Polymer and o her bond coats have been used to enhance he adhesion of thermal spray coatings on composites. The present study was conducted to find one or more suitable bond coat materials. Materials such as polyamides, polyimides, polyether-etherketone or simply aluminum or nickel were found to be suitable bond coats for man ' different composite substrates.
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Shmidt, I. "CHERNOOZERSKY ORNAMENTAL MOTIF IN THE PERSPECTIVE OF SEMIOTIC RESEARCH." In Знаки и образы в искусстве каменного века. Международная конференция. Тезисы докладов [Электронный ресурс]. Crossref, 2019. http://dx.doi.org/10.25681/iaras.2019.978-5-94375-308-4.30-31.
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A thing made by man is a kind of coded message about him, the group which he lives in, and a thesis expression of their views on the world. According to the fair remark of Lotman, any such message is reasonable to perceive as superlingual organization (Lotman, 2004). It makes the reading of these messages a complicated process. We face texts that are not based on linguistic principles. If the archaeologist-interpreter expands the methodological horizon of the analysis to the level of semiot-ics, the objects-texts can demonstrate their linguistic specific. This is especially felt when working with paleo-ornaments. The corpus of sources characterizing the Chernoozersky ornamental tradition of the Paleolithic finale in the South of Western Siberia was formed in 19701972 (Gening, Petrin, 1985 Petrin, 1986). Attention to them declined significantly after the first presentations and further to the mid-80s. Much later attempts were made to semantic interpretation of the Chernoozersky dagger ornament in the key of paleocalendaristics (Shmidt, 2004 2005). The work in this direction had to be stopped due to the awareness of the complexity of the code and, despite the existing methods of verification, the lack of confidence in its relevance. At the moment, research is being conducted on the analysis of the collection objects, but in a broader semiotic way, focusing not on their content (which is the purpose of semantics), but on the order and features of the reading of these texts. The preliminary results of the research actualize the arguments about the intercultural (intergroup) dialogues of those distant times, the contextuality of the birth and the genesis of ornaments, to identify their territorial and local variability (Shmidt, 2017a 2017b). Lotman, Ju. M. (2004). Semiosfera. SPb.: Iskusstvo-SPB . Gening, V. F., Petrin, V. T. (1985). Pozdnepaleoliticheskaja jepoha na juge Zapadnoj Sibiri. Novosibirsk: Nauka. Petrin, V. T. (1986). Paleoliticheskie pamjatniki Zapadno-Sibirskoj ravniny. Novosibirsk: Nauka. Shmidt, I. V. (2004). Predvaritelnoe soobshhenie ob informacionnyh vozmozhnostjah ornamenta chernoozerskogo kinzhala. In Shestye istoricheskie chtenija pamjati M.P. Grjaznova. Materialy vserossijskoj nauchnoj konferencii (pp. 152156). Omsk: OmGU. Ob informacionnom haraktere Chernoozerskogo ornamentа (na primere analiza zapisej kinzhala). Izvestija OGIK muzeja, Vyp. 11, 98105. Shmidt, I. V. (2017a). The chernoozersky ornamental pattern: Reconstruction of evolution. In Program of international Workshop and Conference Great shigir idol in the context of North Eurasia stone age art. Ekaterinburg, June 1216, 2017 (pp. 4344). Ekaterinburg. Shmidt, I. V. (2017b). Paleolithic ornaments of North Asia: Notes on iconography research. Universum Humanitarium, 2, 4555.
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Esbulatova, A. Zh, and K. N. Voinov. "Original and effective teaching." In Наука России: Цели и задачи. НЦ "LJournal", 2021. http://dx.doi.org/10.18411/sr-10-04-2021-66.
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Teaching is the constant process in our life. It makes our parents, teachers/pedagogues at school or in the universities, mentors, experts, coaches, well-known academic, preachers and so on. The additional such factor maybe (and do indeed) Internat. Moreover, the common link among people is essentially exchanged as well. Many persons prefer have short conversation using SMS-communications, and it isn’t face-to-face unfortunately. In any transport (metro, bus, trolleybus) a man seeks interesting or useful information but has not noticed persons’ associates. It’s not good. We can see the next negative situation at home in a family. For example: let’s suppose that one student arrived home. Members of his family ask him about his routine business. And they usually here that everything is OK. Even during his eating, he tries to read the information which he sees in his mobile telephone or in the planetable. Besides, he sends different short communications and gives answers. There are not any friendly dialogs with his family (father, mother, grandfather, grandmother, brother or sister). That’s why in this article you can understand the new way how to exchange such negative situation in full.
Reports on the topic "He-man art"
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Murray, Chris, Keith Williams, Norrie Millar, Monty Nero, Amy O'Brien, and Damon Herd. A New Palingenesis. University of Dundee, November 2022. http://dx.doi.org/10.20933/100001273.
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Robert Duncan Milne (1844-99), from Cupar, Fife, was a pioneering author of science fiction stories, most of which appeared in San Francisco’s Argonaut magazine in the 1880s and ’90s. SF historian Sam Moskowitz credits Milne with being the first full-time SF writer, and his contribution to the genre is arguably greater than anyone else including Stevenson and Conan Doyle, yet it has all but disappeared into oblivion. Milne was fascinated by science. He drew on the work of Scottish physicists and inventors such as James Clark Maxwell and Alexander Graham Bell into the possibilities of electromagnetic forces and new communications media to overcome distances in space and time. Milne wrote about visual time-travelling long before H.G. Wells. He foresaw virtual ‘tele-presencing’, remote surveillance, mobile phones and worldwide satellite communications – not to mention climate change, scientific terrorism and drone warfare, cryogenics and molecular reengineering. Milne also wrote on alien life forms, artificial immortality, identity theft and personality exchange, lost worlds and the rediscovery of extinct species. ‘A New Palingenesis’, originally published in The Argonaut on July 7th 1883, and adapted in this comic, is a secular version of the resurrection myth. Mary Shelley was the first scientiser of the occult to rework the supernatural idea of reanimating the dead through the mysterious powers of electricity in Frankenstein (1818). In Milne’s story, in which Doctor S- dissolves his terminally ill wife’s body in order to bring her back to life in restored health, is a striking, further modernisation of Frankenstein, to reflect late-nineteenth century interest in electromagnetic science and spiritualism. In particular, it is a retelling of Shelley’s narrative strand about Frankenstein’s aborted attempt to shape a female mate for his creature, but also his misogynistic ambition to bypass the sexual principle in reproducing life altogether. By doing so, Milne interfused Shelley’s updating of the Promethean myth with others. ‘A New Palingenesis’ is also a version of Pygmalion and his male-ordered, wish-fulfilling desire to animate his idealised female sculpture, Galatea from Ovid’s Metamorphoses, perhaps giving a positive twist to Orpheus’s attempt to bring his corpse-bride Eurydice back from the underworld as well? With its basis in spiritualist ideas about the soul as a kind of electrical intelligence, detachable from the body but a material entity nonetheless, Doctor S- treats his wife as an ‘intelligent battery’. He is thus able to preserve her personality after death and renew her body simultaneously because that captured electrical intelligence also carries a DNA-like code for rebuilding the individual organism itself from its chemical constituents. The descriptions of the experiment and the body’s gradual re-materialisation are among Milne’s most visually impressive, anticipating the X-raylike anatomisation and reversal of Griffin’s disappearance process in Wells’s The Invisible Man (1897). In the context of the 1880s, it must have been a compelling scientisation of the paranormal, combining highly technical descriptions of the Doctor’s system of electrically linked glass coffins with ghostly imagery. It is both dramatic and highly visual, even cinematic in its descriptions, and is here brought to life in the form of a comic.