Relevant bibliographies by topics / Mermaids in art

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

Academic literature on the topic 'Mermaids in art'

Author: Grafiati
Published: 4 June 2021
Last updated: 30 July 2024

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Journal articles on the topic "Mermaids in art"

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Sévère, Richard. "Why Can't Mermaids Be Ethnically Diverse?: Legends and Legend-Making in Arthurian Studies." Arthuriana 33, no. 3 (2023): 3–9. http://dx.doi.org/10.1353/art.2023.a910868.

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Minelli, Alessandro. "Constraints on Animal (and Plant) Form in Nature and Art." Art & Perception 3, no. 3 (2015): 265–81. http://dx.doi.org/10.1163/22134913-00002038.

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The forms of all extant animals and plants agree with a small number of main architectural schemes emerged through the history of life, which function as largely invariant patterns of body syntax. To a considerable extent, these ‘rules of forms’ are obeyed by the products of imagination developed in myth and represented in art, such as chimeras, centaurs, mermaids, angels and dragons. The main exception to this rule is the frequent occurrence of additional sets of paired appendages, such as two wings added onto a human figure or a four-legged beast. However, Turpin’s Urpflanze is totally at variance with respect to the body syntax of existing plants. Generalized familiarity with animals’ body syntax provides a scope for perceptual manipulations experienced by humans but also by other animals.
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Booker, M. Keith. "Robert Eggers’s The Lighthouse: Art horror, alienated labour and capitalist routinization." Horror Studies 15, no. 1 (2024): 41–54. http://dx.doi.org/10.1386/host_00079_1.

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Horror films often feature lone individuals stranded in strange, remote locations, threatened both by mysterious, unknown forces and by the reactions of their own minds. On the other hand, Robert Eggers’s The Lighthouse (2019) suggests that it might be even more terrifying to be stranded with someone else, who might be a source, less of companionship and support, than of additional threat. Moreover, The Lighthouse is a horror film in which the principal danger might not come from spectacular, supernatural monsters so much as from sheer, mind-numbing tedium, exacerbated by growing tensions between the two central characters. While this film might (or might not) involve such things as mermaids or animals inhabited by the spirits of dead sailors, it is probably ultimately best read as a film about the horror of gruelling, repetitive, menial labour performed without any hope of genuine accomplishment, reward or appreciation.
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Pietrini, Sandra. "The Parody of Musical Instruments in Medieval Iconography." Revista de Poética Medieval 31 (December 14, 2018): 87–107. http://dx.doi.org/10.37536/rpm.2017.31.0.58895.

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The vast field of musical iconography during the Middle Ages must necessarily deal with the rich and surprising imagery of western manuscripts, showing a fanciful proliferation of playing creatures and bizarre deformations, sometimes inspired by exotic suggestions. In marginal miniatures of 14th century we can discover an interesting and puzzling topic: the parody of entertainers, with hybrid men playing a vielle with tongs, mermaids or apes playing jawbones and so on. The spreading of this topic in medieval iconography is linked to a satirical purpose aimed at professional entertainers, harshly condemned by Christian writers. Strange instruments made out of everyday objects like grills and distaffs, or ‘exotic’ animals like peacocks, mingle in the grotesque underworld of marginal miniatures, in which the noble art of music is often replaced by the cacophonous noises suggested by the devil.
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Jefferies, Daze. "Fish Trade Futures: Counter-Archives and Sex Worker Worlds at the Margins of St. John's Harbour." Journal of Folklore Research 60, no. 2-3 (2023): 67–94. http://dx.doi.org/10.2979/jfr.2023.a912089.

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Abstract: This article imagines the sociohistorical lives of trans women (and) sex workers in Ktaqmkuk (Newfoundland) as deeply entangled with ecological relations of so-called Canada's Atlantic coast—particularly the cultural and economic politics of fish trade at St. John's Harbour. Feeling fishy, a trace of transfeminine sex worker expressive culture and vernacular performance, comes to signify an evocative autoethnographic approach to trans sex worker research-creation at the water's edge. Poetic, illustrative, and sculptural play as both counter-archival worldmaking and critical address here emphasize power in creative approaches to trans and sex worker history and folkloristics. Building on art and scholarship immersed in transness and Newfoundland folklore, with mermaids and oceanic beings as guides, I explore trans and sex worker embodiments, desires, and subjectivities in marginal geographic zones. With/holding becomes a way to question the legitimacy of White settler colonial gestures toward extraction, curation, and preservation practices.
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Jefferies, Daze. "Fish Trade Futures: Counter-Archives and Sex Worker Worlds at the Margins of St. John's Harbour." Journal of Folklore Research 60, no. 2-3 (2023): 67–94. http://dx.doi.org/10.2979/jfolkrese.60.2_3.04.

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Abstract: This article imagines the sociohistorical lives of trans women (and) sex workers in Ktaqmkuk (Newfoundland) as deeply entangled with ecological relations of so-called Canada's Atlantic coast—particularly the cultural and economic politics of fish trade at St. John's Harbour. Feeling fishy, a trace of transfeminine sex worker expressive culture and vernacular performance, comes to signify an evocative autoethnographic approach to trans sex worker research-creation at the water's edge. Poetic, illustrative, and sculptural play as both counter-archival worldmaking and critical address here emphasize power in creative approaches to trans and sex worker history and folkloristics. Building on art and scholarship immersed in transness and Newfoundland folklore, with mermaids and oceanic beings as guides, I explore trans and sex worker embodiments, desires, and subjectivities in marginal geographic zones. With/holding becomes a way to question the legitimacy of White settler colonial gestures toward extraction, curation, and preservation practices.
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Davis, Tracy C., and Sara Malou Strandvad. "Aquarium Mermaids: Multiskilled Entrepreneurs in the Creative Economy." TDR/The Drama Review 64, no. 1 (2020): 119–44. http://dx.doi.org/10.1162/dram_a_00899.

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Since 2011, multiskilled “entreployees” have navigated the creative economy and forged employment for themselves in aquariums around the world. These mermaid performers plunge into tanks and portray chimerical “belonging” in the aquatic environment. While mermaid shows can easily be debunked as gimmicky commercial entertainment that exploits female sexuality, performers display exceptional skills and not only instill belief in mermaids in young visitors, but also raise awareness about ecological issues.
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Classen, Albrecht. "Sherry C. M. Lindquist and Asa Simon Mittman. With a Preface by China Miéville, Medieval Monsters: Terrors, Aliens, Wonders. New York: The Morgan Library & Museum, 2018, 175 pp., more than 90 colored ill." Mediaevistik 31, no. 1 (2018): 284. http://dx.doi.org/10.3726/med012018_284.

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This wonderfully illustrated book accompanied an exhibition that took place at the Morgan Library & Museum, New York, from June 8 to September 23, 2018, authored by two well established and respected art historian*s, who provide us with a sweeping view of the world of monsters and many other related creatures in medieval fantasy. While previous research mostly focused on monsters in the narrow sense of the word, i.e., grotesque and oversized human-like creatures normally threatening ordinary people in their existence, Lindquist and Mittman pursue a much broader perspective and incorporate also many other features in human imagination, including wonders, aliens, Jews, Muslims, strangers in general, the femme fatale, sirens, undines, mermaids (but there is no reference to the Melusine figure, though she would fit much better into the general framework), devils, and evil spirits. However, I do not understand why ‘gargoyles’ have been left out here. This vast approach allows them also to address the beasts from the Physiologus tradition, then natural wonders, giants, and then, quite surprisingly, religious scenes in psalters (148), depictions of nobles playing chess (150; where are the wild men alleged surrounding the players?), the whore of Babylon (153), figures from the Apocalypse, and anything else that smacks of wonder.
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Vorobiov, Serhii. "Implementation of art Project "May Night" by M. Lysenko in Author's Directing Design." Часопис Національної музичної академії України ім.П.І.Чайковського, no. 1(54) (March 21, 2022): 119–35. http://dx.doi.org/10.31318/2414-052x.1(54).2022.255432.

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The author explores the process of embodiment of the Ukrainian classic work "May Night" by M. Lysenko in the author's director's project in the realities of today. The relevance of the study is to begin the process of optimizing the cosmopolitan and national components in the education of the Ukrainian audience. The purpose of the study is to determine the director's concept of the art project "May Night" by M. Lysenko in the context of national specifics of artistic images. It was possible to carry out an artistic reconstruction of the rites of divination on wreaths and mermaids in the context of revealing the idea of musical drama of the work. The research methodology is determined by the need for an integrated approach, which harmoniously combines the following methods: genrestylistic (ideological and thematic content of the director's embodiment), experimental modeling (compositional-architectural construction of the play), interpretive (author's directorial approaches to national characters). Scientific novelty lies in the historically reliable director's interpretation of national images of Ukrainians in accordance with their cultural traditions, mentalities and psychology of different social groups. The author substantiated the genre affiliation of the author's project "May Night" by M. Lysenko as a lyrical-comic domestic opera with elements of mysticism. The realization of the ideological and thematic idea of the project is carried out in accordance with the main archetypes of the Ukrainian mentality, which substantiate the logic of the actions of the characters. The compositional construction of the project consists of two acts and four scenes embodying the real and fantasy world. The Architectonics of the project is substantiated in accordance with the iconic scenes in the dramatic solution of the director's concept, closely related to folk traditions and rituals. Their own directorial approaches in the project implementation, their manifestations in the authentic solution of spring rituals, in the visualization of real and fantastic worlds by synthesizing traditional scenographic design with video projection and special effects are outlined. Prospects for further research of various genres of interpretations of M. Lysenko's work "May Night, or Drowned" in the theatrical aesthetics of dramatic, musical-dramatic, musical theaters are predicted.
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Myasnikova, S. A. "Belarusian summer rituals and songs recorded in the Omsk Priirtyshye. Characterization of archival materials." LANGUAGES AND FOLKLORE OF INDIGENOUS PEOPLES OF SIBERIA 49 (2024): 105–16. http://dx.doi.org/10.25205/2312-6337-2024-1-105-116.

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The article focuses on analyzing archival materials from Omsk that pertain to the summer period of the Belarusian resettlement calendar. The analysis covers various sources, including the folklore and ethnographic funds of Omsk, such as the Omsk State Pedagogical University Folklore Archive, the regional Fund of Folklore and Ethnographic Materials of the State Folk Art Center, the Museum of Archaeology and Ethnography of Omsk State University, and personal archives of traditional culture researchers and regional publications. The author meticulously reviewed and considered all the available records, encompassing the period from 1951 to the most recent expedition materials of 2010–2021. The specific regions in the Omsk Priirtyshye, where recording and living traditions are found, have been determined. Additionally, the areas where Belarusian settlers came from (Chernigov, Vitebsk, Mogilev, Minsk, and Vilna provinces) have also been identified. The study presents numerical indicators of the documented Priirtysh fixations, including seasonally scheduled summer customs and songs (Trinity, Ivan Kupala, and Petrov Day), occasional rituals, mythological tales (featuring fortune-tellers and witches during Ivan Kupala, the legend of the fern flower, mermaids, beliefs about the cuckoo, and summer divination). The Omsk archival material is evaluated in terms of its content quality, representativeness, and potential for in-depth analysis using textual, musical-typological, dialectological, and areal criteria. Previously unreleased archival texts that illustrate the described tradition are being introduced into scholarly circulation. This article is an introduction to a series of extensive studies on the summer calendar of Belarus, which were documented in the Omsk Priirtyshye region.
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Dissertations / Theses on the topic "Mermaids in art"

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Leclercq-Marx, Jacqueline. "La sirène dans la pensée et dans l'art chrétien, 2e - 12e siècles: antécédents culturels et réalités nouvelles." Doctoral thesis, Universite Libre de Bruxelles, 1987. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/213418.

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Trigg, Susan Elizabeth, and mikewood@deakin edu au. "Mermaids and sirens as myth fragments in contemporary literature." Deakin University. School of Communication and Creative Arts, 2002. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20051125.104438.

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This thesis examines three works: Margaret Atwood's The Robber Bride and Alias Grace, and Angela Carter's Nights at the Circus. All three novels feature female characters that contain elements or myth fragments of mermaids and sirens. The thesis asserts that the images of the mermaid and siren have undergone a gradual process of change, from literal mythical figures, to metaphorical images, and then to figures or myth fragments that reference the original mythical figures. The persistence of these female half-human images points to an underlying rationale that is independent of historical and cultural factors. Using feminist psychoanalytic theoretical frameworks, the thesis identifies the existence of the siren/mermaid myth fragments that are used as a means to construct the category of the 'bad' woman. It then identifies the function that these references serve in the narrative and in the broader context of both Victorian and contemporary societies. The thesis postulates the origin of the mermaid and siren myths as stemming from the ambivalent relationship that the male infant forms with the mother as he develops an identity as an individual. Finally, the thesis discusses the manner in which Atwood and Carter build on this foundation to deconstruct the binary oppositions that disadvantage women and to expand the category of female.
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Polanco, Raquel. ""He's a Human, You're a Mermaid": Narrative Performance in Disney's The Little Mermaid." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc30429/.

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Disney animation represents a powerful source of economic and cultural production. However, following the death of Walt Disney, the animation division found itself struggling to survive. It was not until the 1989 release of the hugely successful animated film The Little Mermaid that Disney would reclaim its domination among children's cultural producers. Additionally, The Little Mermaid inaugurated a shift in Disney's portrayals of gender as the company replaced the docile passive princess characteristic of its previous animated films with a physically active and strong willed ambitious heroine. Grounded in an understanding of Disney's cultural significance as dominant storyteller, the present study explores gender in The Little Mermaid by means of narrative performativity. Specifically, I analyze the film's songs "Part of Your World," "Under the Sea," and "Poor Unfortunate Souls" as metonymic narrative performances of gender that are (1) embodied, (2) materially situated, (3) discursively embedded and (4) capable of legitimating and critiquing existing power relations.
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Mostert, Linda Ann. "Feminist appropriations of Hans Christian Andersen's "The little mermaid" and the ways in which stereotypes of women are subverted or sustained in selected works." Thesis, Nelson Mandela Metropolitan University, 2011. http://hdl.handle.net/10948/1371.

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According to Lewis Seifert, “Fairy tales are obsessed with femininity … These narratives are concerned above all else with defining what makes women different from men and, more precisely, what is and is not acceptable feminine behaviour” (1996: 175). This study, then, will demonstrate how certain patriarchal ideas associated with fairy tales are disseminated when fairy tale elements are reworked in film, visual art and the novel. The aim of this project, more specifically, is to show how certain stereotypical representations of women endure in works that could be read as feminist appropriations of Hans Christian Andersen’s ‘The Little Mermaid’. Stereotypical representations of women are numerous and may include: depicting females as fitting neatly into what is often called the virgin/whore or Madonna/whore binary opposition; depicting women as being caring and kind, but also passive, submissive and weak; and depicting older women as being sexually unattractive and evil (Goodwin and Fiske 2001:358; Sullivan 2010: 4). It must be said that the list of stereotypes relating to women given here is far from exhaustive.
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Stewart, Sally. "Contemporary Kitsch: An examination through creative practice." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2015. https://ro.ecu.edu.au/theses/1717.

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This exegesis examines the theoretical concept of contemporary kitsch within a creative practice that incorporates sculptural and installation art. Kitsch is a distinct aesthetic style. Once designated to the rubbish bin of culture, kitsch was considered to be low class, bad taste cheap fakes and copies (Greenberg, 1961; Adorno & Horkheimer, 1991; Calinescu, 1987; Dorfles, 1969). I argue, however, that this is no longer the case. This research critically examines the way in which contemporary kitsch now plays a vital and positive role in social and individual aesthetic life. Although there are conflicting points of view and distinct variations between recent cultural commentators (Olalquiaga, 1992; Binkley, 2000; Attfield, 2006) on what kitsch is, there is a common sentiment that “the repetitive qualities of kitsch address . . . a general problem of modernity” (Binkley, p. 131). The research aligns the repetitive qualities to what sociologist Anthony Giddens (1991) refers to as “dissembeddedness” (1991) or “the undermining of personal horizons of social and cosmic security” (Binkley, 1991, p.131). The research investigates: how the sensory affect of sentimentality imbued in the kitsch experiences, possessions and material objects people covet and collect, offer a way of the individual moving from disembeddedness to a state of being re-embedded; and locates the ways in which the artist can facilitate the re-embedding experience. Through this lens it is demonstrated that kitsch has become firmly rooted in our “lifeworlds” (Habermas, 1971), as an aesthetic that reveals “how people make sense of the world through artefacts” (Attfield, 2006, p. 201) and everyday objects; that the sensory affect of sentimentality on connections to possessions and material objects that contemporary kitsch offers is shared across cultures and societies
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Books on the topic "Mermaids in art"

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Beery, Barbara. Mermaids cookbook. Gibbs Smith, Publisher, 2009.

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Beery, Barbara. Mermaids cookbook. Gibbs Smith, Publisher, 2009.

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Beery, Barbara. Mermaids cookbook. Gibbs Smith, Publisher, 2009.

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Mallett, Renee. Fairies, mermaids & other mystical creatures. Schiffer Pub., 2008.

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Santillan, Jorge. Fairies, mermaids, and unicorns. Wayland, 2015.

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Bergin, Mark. Fairies and mermaids. Windmill Books, 2012.

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Franco-Lao, Méri. Las sirenas: Historia de un símbolo. Ediciones Era, 1995.

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Vogel, Matthias. "Melusin. das lässt aber tief blicken": Studien zur Gestalt der Wasserfrau in dichterischen und künstlerischen Zeugnissen des 19. Jahrhunderts. Lang, 1989.

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Pepe, Carlo. Sirene: Atti del VI ciclo di conferenze "Piano di Sorrento, una storia di terra e di mare," Sezione Sirene, 2013. Scienze e lettere, 2016.

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Hans Christian Andersen and Denise Sarrecchia. Andersen e La sirenetta: Iconografia di una fiaba, 1873-2013. Arbor sapientiae, 2014.

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Book chapters on the topic "Mermaids in art"

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Pearson, Terry. "The Mermaid in the Church." In Profane Arts of the Middle Ages. Brepols Publishers, 2009. http://dx.doi.org/10.1484/m.pama-eb.3.850.

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Wesseling, Elisabeth. "Chapter 2. Transcorporeality in 21st-century mermaid tales." In Children’s Literature, Culture, and Cognition. John Benjamins Publishing Company, 2023. http://dx.doi.org/10.1075/clcc.16.02wes.

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This chapter takes its cue from the dominant presence of the mermaid trope in 21st-century media culture. It opens with a sampling of contemporary mermaid figurations, which are driven by the desire to break out of the Romantic paradigm as shaped by Hans Christian Andersen’s The Little Mermaid and its various Disney adaptations. This paradigm is premised on a heteronormative love plot, with a rigid gender binary and a persistent emphasis on the superiority of humans over more-than-humans. In 21st-century adaptations, it is the other way around, but a mere reversal of a hierarchy does not suffice for breaking out of a binary system. The chapter concludes with a close textual analysis of Lampje by Annet Schaap, a Dutch children’s novel that projects a world in which humans, animals, and things intra-act with each other on an equal footing, moving beyond human exceptionalism.
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Ferreccio, Giuliana. "1 ‘Mermaids, that Carving’: Ezra Pound and Italian Art." In The Edinburgh Companion to Ezra Pound and the Arts. Edinburgh University Press, 2019. http://dx.doi.org/10.1515/9781474429184-004.

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Muscogiuri, Patrizia A. "Reconfiguring the Mermaid: H.D., Virginia Woolf, and the Radical Ethics of Writing as Marine Practice." In Virginia Woolf and Her Female Contemporaries. Liverpool University Press, 2016. http://dx.doi.org/10.5949/liverpool/9781942954088.003.0013.

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Since its appearance in Homer’s Odyssey, the myth of the Sirens has been variously handled. Its treatment by modern writers including Kafka, Brecht, Foucault, Adorno and Horkheimer, testifies to its still relevant import. Uncommonly, Virginia Woolf and H.D. consider the implications of the myth of sirens and mermaids not for men, traditionally cautioned against their lure, but for those women identified, or identifying themselves, with it. Taking into account Woolf’s and H.D.’s lifelong engagement with sea metaphors in their writings, and drawing also on later versions of the siren like Fouqué’s Undine and Andersen’s “The Little Mermaid”, this paper will analyse two interrelated aspects of crucial significance in H.D. and Woolf: their ingenious reconfiguration of the mermaid – instrumental in terms of gender formation, gender politics, notions of alterity and creativity – and their resultant conception of a marine writing as radical ethics. Set against the narcissistic notion of art propounded by masculinist modernism, this is a writing which follows instead the moral imperative of going toward the other, redefining the writer as messenger of hope and originator of alternative politics.
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Jarillo de la Torre, Sergio. "Chapter 5. Of Dragons and Mermaids: The Art of Mimesis in the Trobriand Islands." In Mimesis and Pacific Transcultural Encounters. Berghahn Books, 2022. http://dx.doi.org/10.1515/9781785336256-009.

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Pernicano, Pat. "The Mermaid Who Forgot." In Using Stories, Art, and Play in Trauma-Informed Treatment. Routledge, 2018. http://dx.doi.org/10.4324/9781351005302-21.

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Mavolwane, Mandhla A. "THE DANCING MERMAID." In Zimbolicious Anthology. An Anthology of Zimbabwean Literature and Arts. Volumen 6. Mwanaka Media and Publishing Pvt Ltd, 2022. http://dx.doi.org/10.2307/jj.9165170.47.

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Hassan, Waïl S. "Feline Mermaid." In Arab Brazil. Oxford University PressNew York, 2024. http://dx.doi.org/10.1093/oso/9780197688762.003.0007.

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Abstract Until today, there continues to be a noticeable dearth of Arab Brazilian women writers, in contrast to the United States, where women are a majority among contemporary Arab American poets and novelists. This dearth explains the surprising fact that it was not until Ana Miranda (b. 1951) published her sixth novel Amrik (1997, America) that a woman of Arab descent figured as narrator or protagonist of a Brazilian novel. Formally and stylistically innovative in its portrayal of the Arab community in São Paulo at the turn of the twentieth century, the novel features a Christian Lebanese belly dancer as narrator and protagonist. The novel also explicitly invokes the authority of British and French Orientalist texts in its portrayal of Arab women in the stereotypical role of belly dancer. As such, Brazilian feminism seems incapable of conceiving Arab womanhood beyond the confines of colonial Orientalism’s masculinist imaginary.
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Gillain, Anne. "Mississippi Mermaid (1969)." In Totally Truffaut. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197536308.003.0010.

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This film marks Truffaut’s encounter with Catherine Deneuve and the beginning of a relationship that will be imprinted in most of the subsequent films. The different components of this idealized feminine figure are reviewed in this chapter as well as the coded inscription of sexuality in the narrative. Shot-by-shot analysis: The long dialogue by the fire where the hero played by Jean-Paul Belmondo declares his passionate love to the star.
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Pickover, Clifford A. "The Dream-Worms of Atlantis." In Wonders of Numbers. Oxford University PressNew York, NY, 2001. http://dx.doi.org/10.1093/oso/9780195133424.003.0025.

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Abstract On the Pacific Ocean floor lives a group of mathematician mermaids who spend their days in contemplation of the following game called Ocean Dreams. The mermaids use bits of coral and trained marine worms, but we dry-landers can play with a pencil and paper on graph paper. First make a 10-by-10 array of dots (Figure 25.1). Each worm consists of 5 connected lines that stretch over 6 dots. One of the dots at the end of the worm’s body is circled to indicate its head. The worms can contort their bodies at right angles to form different shapes, but they can’t reuse a grid point through which another part of their body passes. The allowed movements are up, down, right, and left. Figure 25.2 shows some, but not all, worm contortion patterns. The Zombies have a |_ at one end. The Peasants have a |_ | at one end. The Lords have a at one end. (Hint: There is 1 worm missing from the Zombies collection and 1 worm missing from the Peasants collection. Can you complete these sets in Figure 25.2?)
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Conference papers on the topic "Mermaids in art"

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Nimmo, Lauren, Ashley Ridge, and Jodie Thomson. "PW 0717 Mermaid tails, are they safe?" In Safety 2018 abstracts. BMJ Publishing Group Ltd, 2018. http://dx.doi.org/10.1136/injuryprevention-2018-safety.413.

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Terao, Yutaka. "Wave Devouring Propulsion System: From Concept to Trans-Pacific Voyage." In ASME 2009 28th International Conference on Ocean, Offshore and Arctic Engineering. ASMEDC, 2009. http://dx.doi.org/10.1115/omae2009-79223.

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In the spring of 2008, the Mermaid II began her historic voyage from Hawaii to Japan. According to the log of the vessel, the journey took 110 days and covered about 7800 km. The successful conclusion of the voyage demonstrated the possibility that Wave Devouring Propulsion System (WDPS) could be adapted to practical use. In order to capitalize on the success of this voyage, the author intended to design and tested a new WDPS hull within a year to build it. A WDPS is a thrust generator for a vessel that converts wave forces directly into forward thrust. Additionally it efficiently reduces hull pitch and roll motion, while also performing as a motion stabilizer. The Mermaid II, which is equipped with a WDPS, incorporates a specially designed catamaran hull form and twin hydrofoil system. A solid hydrofoil system that captures wave forces is set on the underside of the bow of the vessel. Those hydrofoils are connected to the hull with pin joints and are supported by soft springs that provide foil pitch restoring force.
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Chen, Chao-Ting, and Hen-Hsen Huang. "Integrating LLM, VLM, and Text-to-Image Models for Enhanced Information Graphics: A Methodology for Accurate and Visually Engaging Visualizations." In Thirty-Third International Joint Conference on Artificial Intelligence {IJCAI-24}. International Joint Conferences on Artificial Intelligence Organization, 2024. http://dx.doi.org/10.24963/ijcai.2024/995.

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Abstract:
This study presents an innovative approach to the creation of information graphics, where the accuracy of content and aesthetic appeal are of paramount importance. Traditional methods often struggle to balance these two aspects, particularly in complex visualizations like phylogenetic trees. Our methodology integrates the strengths of Large Language Models (LLMs), Vision Language Models (VLMs), and advanced text-to-image models to address this challenge. Initially, an LLM plans the layout and structure, employing Mermaid—a JavaScript-based tool that uses Markdown-like scripts for diagramming—to establish a precise and structured foundation. This structured script is crucial for ensuring data accuracy in the graphical representation. Following this, text-to-image models are employed to enhance the vector graphic generated by Mermaid, adding rich visual elements and enhancing overall aesthetic appeal. The integration of text-to-image models is a key innovation, enabling the creation of graphics that are not only informative but also visually captivating. Finally, a VLM performs quality control, ensuring that the visual enhancements align with the informational accuracy. This comprehensive approach effectively combines the accuracy of structured data representation, the creative potential of text-to-image models, and the validation capabilities of VLMs. The result is a new standard in information graphic creation, suitable for diverse applications ranging from education to scientific communication, where both information integrity and visual engagement are essential.
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Terao, Yutaka, and Shunji Sunahara. "Application of a Wave Devouring Propulsion System to Ocean Engineering." In ASME 2012 31st International Conference on Ocean, Offshore and Arctic Engineering. American Society of Mechanical Engineers, 2012. http://dx.doi.org/10.1115/omae2012-83122.

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A WDPS (wave devouring propulsion system) is a device that generates thrust directly from wave power and, at the same time, generates large damping forces. This phenomena is same as the thrust generation by the oscillating hydrofoil which are commonly used as the animal propulsion system such as the sea mammals or birds or fish propulsion. Relative flow acting on the hydrofoil generates thrust and damping force respectively. It is quite simple and consists of hydrofoils positioned in front of the bow. If the WDPS is installed in a ship hull, it can drive the hull (even against waves). One example is shown in Photo 1-1, the small WDPS vessel named Mermaid II, which succeeded in a historical trans-Pacific voyage from Hawaii to Japan (about 7800 km) in 2008 using only wave power. It proves that the WDPS may have some potential in the field of ocean engineering. In this paper we will propose two WDPS applications. One potential application is a midsized floating-type ocean wind turbine generator, which is composed of a single wind turbine on a catamaran hull with a set one-point mooring system. For this application, a new hull form and WDPS are developed based on Mermaid II. The hull needs to be stabilized because the ocean wind energy absorption efficiency is affected by the hull’s motion. Additionally, the mooring forces acting on the hull need to be reduced to keep the construction and power generation costs down. Therefore, the WDPS is installed in front of the hull to reduce/overcome the wave drifting force and the wind drag force. Another anticipated function of the WDPS is motion stabilization, particularly for pitch and roll motions. A suitable hull form is determined from wave tank experiments and is discussed herein. The other proposal is a multi-function WDPS that functions as both a wave energy absorption device and a wave thruster. Many hydrofoil-type wave energy conversion systems with forward propulsion have been proposed, but no advanced speed-type systems with a multi-function WDPS. A newly designed forced heave-pitch oscillator is also introduced, and tests are performed in the wave tank. The optimum hydrofoil control method in waves is discussed, and the thrust control is also tested and discussed.
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