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Relevant bibliographies by topics / Modern sculptures

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Academic literature on the topic 'Modern sculptures'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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Journal articles on the topic "Modern sculptures"

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Bzinkowski, Michał, and Rita Winiarska. "Images of Sculptures in the Poetry of Giorgis Manousakis." Classica Cracoviensia 19 (December 31, 2016): 5–14. http://dx.doi.org/10.12797/cc.19.2016.01.

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The imagery of fragmentary sculptures, statues and stones appears often in Modern Greek Poetry in connection with the question of Modern Greeks’ relation to ancient Greek past and legacy. Many famous poets such as the first Nobel Prize winner in literature, George Seferis (1900-1971), as well as Yannis Ritsos (1909-1990) frequently use sculptural imagery in order to allude to, among other things, though in different approaches, the classical past and its existence in modern conscience as a part of cultural identity. In the present paper we focus on some selected poems by a well-known Cretan poet Giorgis Manousakis (1933-2008) from his collection “Broken Sculptures and Bitter Plants” (Σπασμένα αγάλματα και πικροβότανα, 2005), trying to shed some light on his very peculiar usage of sculpture imagery in comparison with the earlier Greek poets. We attempt to categorize Manousakis’ metaphors and allusions regarding the symbolism of sculptures in correlation with existential motives of his poetry and the poet’s attitude to the classical legacy.

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Curtis, Penelope. "The Modern eye-catcher: Mies van der Rohe and sculpture." Architectural Research Quarterly 7, no. 3-4 (September 2003): 361–70. http://dx.doi.org/10.1017/s135913550300229x.

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There are many striking examples of Modernist buildings that house sculptures that are much more traditional than the architecture that surrounds them. To some extent these disparities can be explained by the uncontrolled installation of sculpture, the result either of a lack of concern on the part of the architect or of ignorance of what was to come. Of more interest here, however, is the deliberate positioning of ‘non-Modernist’ sculpture in Modernist buildings. To some extent such juxtapositions require that we reconsider our definition of Modern sculpture. Beyond this, we can ask what figurative sculpture gave abstract architects, and why they used it.

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Wang, He. "The Status, Causes, Problems and Prospects of Application of Stainless Steel Materials in Chinese Urban Sculptures." Applied Mechanics and Materials 357-360 (August 2013): 641–45. http://dx.doi.org/10.4028/www.scientific.net/amm.357-360.641.

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From 1980s, stainless steel has been widely used as a kind of sculpture material in China, because there is a large need of quickly constructed, huge-sized modern sculptures during rapid urbanization. But the problems of excessive popularization of art crafts and disappreciation of art emerged. Only through the comprehensive function of improving supervision, promoting art and technique level as well as popularizing social art education, will stainless steel development be ensured in future Chinese urban sculptures.

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Pereira, Diana. "Healing Touch: Clothed Images of the Virgin in Early Modern Portugal." Ikonotheka, no. 29 (September 16, 2020): 51–78. http://dx.doi.org/10.31338/2657-6015ik.29.7.

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Over the last decades there was a growing interest in religious materiality, miraculous images, votive practices, and how the faithful engaged with devotional art, as well as a renewed impetus to discuss the long-recognized association between sculpture and touch, after the predominance of the visuality approach. Additionally, the neglected phenomenon of clothing statues has also been increasingly explored. Based on the reading of Santuario Mariano (1707–1723), written by Friar Agostinho de Santa Maria (1642–1728), this paper will closely examine those topics. Besides producing a monumental catalogue of Marian shrines and pilgrimage sites, this source offers a unique insight into the religious experience and the reciprocal relationship between image and devotee in Early Modern Portugal, and is a particularly rich source when describing the believers’ pursuit of physical contact with sculptures. This yearning for proximity is partly explained by the belief in the healing power of Marian sculptures, which in turn seemed to be conveniently transferred to a myriad of objects. When contact with the images themselves was not possible, devotees sought out their clothes, crowns, rosary beads, metric relics, and so forth. Items of clothing such as mantles and veils were particularly used and so it seems obvious they were not mere adornments or donations, but also mediums and extensions of the sculptures’ presence and power. By focusing on the thaumaturgic role of the statues’ clothes and jewels, I will argue how the practice of dressing sculptures was due to much more than stylistic desires or processional needs and draw attention to the many ways believers engaged with religious art in Early Modern Portugal.

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Шипицин, Антон, and Anton Shipitsin. "Urban sculpture and cultural code of Volgograd in the context of branding the territory." Universities for Tourism and Service Association Bulletin 10, no. 4 (December 19, 2016): 89–97. http://dx.doi.org/10.12737/23656.

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The sculpture and monuments of Volgograd are discussed in the article as cultural and symbolic objects expressing the local identity and the defining image of the city, and also as resources for branding areas. Field studies and analysis of publications in print and electronic media showed that in the period from 2006 to 2016. in Volgograd, it was installed about 50 different sculptural forms and art objects – sculptures, memorials, monuments, small architectural forms. The author carried out a content analysis of the sculptural text and made the classification of monuments installed over the last 10 years. There were identified dominant themes and motifs, proving the irreducibility of the identity of Volgograd to a common denominator with a predominance of heroic discourse of the Soviet past. Specific examples show that the development of object environment of Volgograd clarifies three main trends: the assertion of the identity of the city-hero, stream professional-corporate symbols, representation of the images of the pre-Soviet past, first of all, an appeal to the history and culture of Tsaritsyn. The empirical material of Volgograd highlights the key functions of modern urban sculptures and monuments: monumental, memorial, axiological, aesthetic, social, advertising, entertainment, cultural and educational. It’s stated that creation and promotion of a positive image of Volgograd as a modern city of cultural innovations is difficult in the absence of a developed strategy of cultural policy aimed at the use of intelligent, creative, real assets and the search for alterna- tive symbolic models.

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Zaluhi, Nor Zafharina, Ramlan Abdullah, and Khairi Shamsudin. "Reflection of the Mystical Element through the Form of Sape’ Using Metal in Modern Sculpture." Environment-Behaviour Proceedings Journal 6, SI5 (September 1, 2021): 131–35. http://dx.doi.org/10.21834/ebpj.v6isi5.2938.

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The work of art construes the state of the pontoon during the semester to be adjusted by the Sape. He created Sape's current state after awaking from his rest in the vessel. As a result, the arrangement and standing model were created, as well as the Sape' theme. Porpion and engkerabang blossom themes enhance Pua Kumbu. Aims of the study: So that the guidelines and goals are met, they must be stated. They are incorporating a mystical element into Sape's instrument through free-standing sculptures. Create a sculpture using plate metal and a plasma cut machine—a series of free-standing sculptures reflecting mystical elements. Keywords: Forms, Mystical, Sculpture, Sape’ eISSN: 2398-4287 © 2021. The Authors. Published for AMER ABRA cE-Bs by e-International Publishing House, Ltd., UK. This is an open access article under the CC BY-NC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/). Peer–review under responsibility of AMER (Association of Malaysian Environment-Behaviour Researchers), ABRA (Association of Behavioural Researchers on Asians) and cE-Bs (Centre for Environment-Behaviour Studies), Faculty of Architecture, Planning & Surveying, Universiti Teknologi MARA, Malaysia. DOI: https://doi.org/10.21834/ebpj.v6iSI5.2938

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Bonfante, Larissa. "Ancient Sculptures in a Modern Setting." Etruscan Studies 6, no. 1 (January 1999): 1. http://dx.doi.org/10.1515/etst.1999.6.1.1.

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Yi, Boyoun. "‘Citizens’ and Sculptures of Modern China : Focusing on Monumental and Propaganda Sculptures." Art History Forum 51 (December 31, 2020): 183–216. http://dx.doi.org/10.14380/ahf.2020.51.183.

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Comas, Carlos Eduardo. "Parallel Lives: Transparent Sculptures, Porous Architectures." Art and Architecture, no. 42 (2010): 56–65. http://dx.doi.org/10.52200/42.a.tf7z3lre.

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The text registers and discusses the affinities between the transparency of a branch of modern sculpture and the characteristic porosity of Brazilian modern architecture, placed in the broader context of the exchange between architecture, painting, sculpture and construction in the twentieth century.

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Sakhno, Irina. "Alexander Burganov’s Alternative Worlds and Visual Ideograms." Scientific and analytical journal Burganov House. The space of culture 16, no. 1 (March 10, 2020): 38–55. http://dx.doi.org/10.36340/2071-6818-2020-16-1-38-55.

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Summary: The creative work of famous Russian sculptor Alexander Nikolayevich Burganov in the context of a system of copyright signs and conventional symbols, the artist’s relationship with the world and himself from the standpoint of symbolic valency which combines two forms of sculptural expressiveness – figurative and abstract art, are analyzed in the article. Considering hidden comparisons in Burganov’s work, the author analyzes the mythological and metaphorical thinking of the artist who appeals to invariable ancient images and surreal poetics that ultimately form an organic constellation of images and their harmonious completeness. Alexander Burganov’s sculptures are a productive space for an ambivalent play of many meanings and visual tautologies. The artist’s original reflections involve visual patterns that the sculptor articulates in his works: tradition and antiquity, cultural memory and modern philosophical contexts, semiotics of drapery/folds, a cage as a special sign, a symbol. The sculptor’s image paradigm also develops at the intersection of visual and verbal contexts, although the word as such is absent; however, the narrative discourse is obvious. The use of diverse semantics of sculpture-gestures plays an important role. Alexander Burganov’s sculptures, establishing a movable border between tradition and the historical avant-garde, reduce and reproduce new cultural meanings. Overcoming the boundaries of artistic optics and recreating new polystylism, he models a special lightness of sculpture and mobility of images in his sculptural works. The author draws attention to the sculptor’s ability to combine the most diverse layers of culture thus translating the artist’s original semantics based on allusions and allegories giving the viewer the right to independently navigate through the mazes of visual memory. The author emphasizes that the dialogue between the artist and the audience through symbolically abstract signs begins to model new forms of artistic matter and affect the human ordering of the world. Burganov’s artistic practice recreates the space of another reality – the world behind the looking glass of everyday life. The sculptor’s alchemy is such that the viewer immerses into the space of spiritual worlds, comprehends the sculptural plasticity and its expressiveness using the language of allegories and symbols. The observer establishes the inner essence of things, hidden conceptual impulses, tries to discover the spiritual in the material.

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Dissertations / Theses on the topic "Modern sculptures"

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Chan, King Lun Kisslan. "IGolf : contemporary sculptures exhibition 2009 /." Diss., CLICK HERE for online access, 2010. http://contentdm.lib.byu.edu/ETD/image/etd3508.pdf.

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Lamb, Jacquelyn R. "The Patsy and Raymond Nasher Collection of Twentieth-Century Sculpture, 1967 to 1987." Thesis, University of North Texas, 1990. https://digital.library.unt.edu/ark:/67531/metadc501252/.

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Over a period of two decades, Raymond D. Nasher, a Dallas-based real estate developer, and his late wife Patsy amassed a collection of significant modern sculptures. For years, pieces from the private collection--numbering over 300 as of 1990--were on display in various museums and civic institutions, and they were installed on a rotating basis at Northpark Center, a Dallas shopping mall developed by Nasher. Since the 1987 Dallas Museum of Art exhibition, the collection has been shown in several major international museums. This study documents the formative period of the collection, the Nashers' collecting and exhibiting philosophies, and four early exhibitions of the sculptures. It includes a chronology of the Nashers and major acquisitions of sculpture.

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Kühn, Carol. "Digital sculpture : conceptually motivated sculptural models through the application of three-dimensional computer-aided design and additive fabrication technologies." Thesis, [Bloemfontein] : Central University of Technology, Free State, 2009. http://hdl.handle.net/11462/50.

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Burstow, Robert. "Modern public sculpture in 'New Britain', 1945-1953." Thesis, University of Leeds, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.369070.

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Lee, Hyewon. "The cult of Rodin words, photographs, and colonial history in the spread of Auguste Rodin's reputation in northeast Asia /." Diss., Columbia, Mo. : University of Missouri-Columbia, 2006. http://hdl.handle.net/10355/4417.

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Thesis (Ph. D.) University of Missouri-Columbia, 2006.
The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on August 31, 2007) Vita. Leaves 196-242 are blank. No reproduction of photographs available due to copyright issues. Includes bibliographical references.

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Keobandith, Pick. "La sculpture moderne à Paris, 1900-1914." Rennes 2, 2001. http://www.theses.fr/2001REN20049.

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Consacrée à l'étude de la sculpture moderne à Paris de 1900 à 1914, cette thèse débute par une description du milieu de l'art à Paris au début du siècle : quartiers de Montmartre et de Montparnasse, académies et ateliers libres, musées, marchands, collectionneurs, critiques d'art et galeries. Dans ce contexte unique au monde, de jeunes artistes, dont certains venus de l'étranger (Archipenko, Boccioni, Brancusi, Csaky, Epstein, Lehmbruck, Lipchitz, Nadelman, Zadkine), tentent d'inventer une nouvelle sculpture en s'affranchissant de Rodin, référence incontournable. Certains (Bernard, Clara, Casanova, Manolo, Nadelman) prennent la voie d'une "modernité teintée de classicisme", s'inspirant de l'art antique. Maillol est un des initiateurs. D'autres (Archipenko, Duchamp-Villon, Gaudier-Brzeska, Epstein, Matisse, Modigliani, Picasso) suivent un chemin plus radical qui les amène vers une sculpture cubiste et primitiviste. Tous contribuent à faire entrer la sculpture dans la modernité. Moins connue que les révolutions du cubisme et de l'abstraction dans la peinture, cette mutation de la sculpture n'en est pas moins majeure
Dedicated to a study of modern sculpture in Paris 1900-1914, this Ph. D dissertation starts with a description of Parisian art world at the turn of the century : districts of Montmartre and Montparnasse, academies and independant school, museums, art dealers, collectors, art critics and art galleries. In this unique place in the world, emerging artists, some of them coming from abroad (Archipenko, Boccioni, Brancusi, Csaky, Epstein, Lehmbruck, Lipchitz, Nadelman, Zadkine), try to invent new sculpture in freeding themself from Rodin, the inevitable reference. Some of them (Bernard, Clara, Casanova, Manolo, Nadelman) take the route "modernity tinted with classicism" inspired by antique art. Maillol is one of the initiators. Others (Archipenko, Duchamp-Villon, Gaudier-Brzeska, Epstein, Matisse, Modigliani, Picasso) follow more radical way which lead them towards cubist and primitivist sculpture. All these artists contribute to drive sculpture into modernity. Less known as cubism and abstract revolution in painting, this transformation in sculpture is though a major event in art

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Giannakopoulou, Aglaia. "Ancient Greek sculpture in modern Greek poetry, 1860-1960." Thesis, King's College London (University of London), 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.322258.

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Quin, Jack. "W.B. Yeats, modern poetry, and the language of sculpture." Thesis, University of York, 2017. http://etheses.whiterose.ac.uk/19146/.

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This thesis explores the relationship between poetry and sculpture in the work of W.B. Yeats (1865-1939). I focus on Yeats’s poetical and critical engagement with Celtic Revival statuary, public monuments in Dublin, the coin designs of the Irish Free State, abstract sculpture by the Vorticists and the modernists, and a variety of objets d’art. The thesis shows that beyond constructing vague analogies between sculptural form and poetic form, Yeats’s lifelong engagement with a range of sculptors and sculpture movements led to more nuanced pairings of poetics and sculptural aesthetics. Drawing on archives, letters, contemporary articles and debates, this thesis foregrounds the poet’s engagement with sculptors and art writing on sculpture that have received only partial and fragmentary attention to date. Chapter one traces Yeats’s art school education, where he studied with George Russell and the sculptors Oliver Sheppard and John Hughes, and his imagining of an inter-arts Celtic Revival from 1884 to 1901. Chapter two examines his responses to Dublin public monuments and political readings of sculpture from 1898 to 1925. In chapter three I consider his role in redesigning the Free State coinage and his interest in Carl Milles and Ivan Meštrović, from 1926 to 1928. Chapter four examines Yeats in conversation with the sculpture writing of Henri Gaudier-Brzerska and Ezra Pound that proliferated the modernist ‘little magazines’ of early-twentieth century London, and the poet’s subsequent fascination with Constantin Brancusi. The fifth and final chapter surveys Yeats’s late poetry on sculpture and some of the profounder sculptural-poetic pairings borne from a lifelong interest in the art of sculpture. This project contributes to the intersecting fields of Yeats studies, Irish literary and visual culture studies, and new modernist studies.

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Currie, Morgan. "Sanctified Presence: Sculpture and Sainthood in Early Modern Italy." Thesis, Harvard University, 2015. http://nrs.harvard.edu/urn-3:HUL.InstRepos:14226067.

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This dissertation examines the memorialization of dramatic action in seventeenth-century sculpture, and its implications for the representation of sanctity. Illusions of transformation and animation enhanced the human tendency to respond to three-dimensional images in interpersonal terms, vivifying the commemorative connotations that predominate in contemporary writing on the medium. The first chapter introduces the concept of seeming actuality, a juxtaposition of the affective appeal of real presence and the ideality of the classical statua that appeared in the work of Stefano Maderno, and was enlivened by Gianlorenzo Bernini into paradoxes of permanent instantaneity. This new mystical sculpture was mimetic, not because it depicted events narrated elsewhere, but imitated mutable, time-bound, spiritual activity with arresting immediacy in the here and now. No other form of image could so fully evoke the mingling of human immanence and divine transcendence that was the fundamental basis of sanctity. Chapters Two through Four closely analyze the sculptural construction hagiographic identities for Ludovica Albertoni, Alessandro Sauli, and John of the Cross, and their interplay with political, social, and religious factors. The discovery of connections between marble and wooden statuary further broadens our understanding of the expressive range of the medium. The homology between saintly and sculptural exemplarity reveals a far more dynamic, interactive, and rhetorical conception of the medium than is portrayed in early modern theoretical writings.

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Matthews, Melissa Lee. "If I had one--it would be huge /." Online version of thesis, 1992. http://hdl.handle.net/1850/11616.

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Books on the topic "Modern sculptures"

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Dupré, Michel. Sculptures, sculpture: Rodin, Giacometti, Picasso. Campagnan: EC, 2006.

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Sculptures, sculpture: Rodin, Giacometti, Picasso. Campagnan: EC Editions, 2006.

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Gallery, Lisson, ed. Richard Wentworth: Sculptures. London: Lisson Gallery, 1986.

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Lydia, Harambourg, ed. 41 sculptures: Première Biennale de sculpture : propriété Caillebotte, Yerres. Paris: Somogy, 2007.

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Raboud, André. Raboud: Sculptures, 1969-1999. Monthey: Montfort, 1999.

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Whybrow, Marion. Forms and faces. (St Ives, Cornwall: (St Ives), 1986.

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diffusion, Musée des beaux-arts de Montréal Service de. Sculptures européennes du 20e siècle. Montréal: Le Musée = The Museum, 1985.

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Mistry, Dhruva. Dhruva Mistry: Sculptures and drawings. Cambridge (England): Kettle's Yard Gallery, 1985.

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Johns, Jasper. Jasper Johns: The sculptures. Leeds: Centre for the Study of Sculpture, Henry Moore Institute, 1996.

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Matisse, Henri. Paintings and sculptures in Soviet museums. [Moscow?]: Aurora Art Publishers, 1986.

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Book chapters on the topic "Modern sculptures"

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Faltermeier, Robert B. "Modern Materials and Sculptures." In An Easy Guide to Care for Sculpture and Antique Art Collections, 73–81. Cham: Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-08897-6_9.

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Rislow, Madeline. "Sacred Signs: Genoese Portal Sculptures in the Dominican Church of Santa Maria di Castello." In Mendicant Cultures in the Medieval and Early Modern World, 183–222. Turnhout: Brepols Publishers, 2016. http://dx.doi.org/10.1484/m.es-eb.5.108260.

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Dillon, Lorna. "Surrealism, Pop Art and Modern Aesthetics in Violeta Parra’s Papier-Mâché Sculptures, Paintings and Embroideries." In Violeta Parra’s Visual Art, 81–114. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-38407-4_3.

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Maxwell, Robert A. "Modern Origins of Romanesque Sculpture." In A Companion to Medieval Art, 439–62. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2019. http://dx.doi.org/10.1002/9781119077756.ch19.

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Lozier, Claire. "Samuel Beckett’s Funerary Sculpture." In Questions of Influence in Modern French Literature, 99–110. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137309143_8.

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Flach, Sabine. "Moving is in Every Direction." In Bewegungsszenarien der Moderne, 165–76. Heidelberg, Germany: Universitätsverlag WINTER, 2021. http://dx.doi.org/10.33675/2021-82537264-10.

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Traditionally, art history divided the arts into four genres: painting and sculpture, poetry and music. Hence the art-historical canon was dominated by a strict division into the arts of space and those of time. Movement (both of an internal and externalized kind) did not find a place within this classificatory corset. In 1766, Gotthold Ephraim Lessing framed the classical art-theoretical approach through his famous text ‚Laocoon: An Essay on the Limits of Painting and Poetry‘, in which he splits the arts into those unfolding in time and those unfolding in space. Lessing’s ‚Laocoon‘ is the founding text defining poetry and music as time-based, sculpture and painting as space-orientated. By 1900, this strict system of classification and hierarchization began to dissolve, giving way to cross-border experiments in the arts of the twentieth century up to the present day. This overturning of classical genre divisions between the static and the dynamic arts, between sculpture, installation, and performance enables us to examine artworks as variations of movement in terms of ‚constellations between scene and scenario‘. Furthermore, the development of movement as an artform implies the activation of the audience in participatory arts practice.

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Chappey, Frédéric. "Sculpture XVIe-XIXe siècles." In Historiographie de l'histoire de l'art religieux en France à l'époque moderne et contemporaine, 29–34. Turnhout: Brepols Publishers, 2005. http://dx.doi.org/10.1484/m.behe-eb.4.00815.

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Noh, Liza Marziana Mohammad, Hamdzun Haron, Abdul Latiff Samian, and Ahmad Rashidi Hasan. "The Malay Cultural Symbol in Malaysian Modern Sculpture." In Proceedings of the 2nd International Colloquium of Art and Design Education Research (i-CADER 2015), 261–71. Singapore: Springer Singapore, 2016. http://dx.doi.org/10.1007/978-981-10-0237-3_27.

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Ingersoll, Catharine. "Emblems and Hybridity in a Southern German Epitaph Sculpture." In Hybridity in Early Modern Art, 45–63. New York: Routledge, 2021. http://dx.doi.org/10.4324/9780429345203-5.

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Ma, Weiyin, J. P. Kruth, and P. Vanherck. "CAD Modelling of Sculptured Workpieces from Physical Models." In Proceedings of the Thirtieth International MATADOR Conference, 511–18. London: Macmillan Education UK, 1993. http://dx.doi.org/10.1007/978-1-349-13255-3_65.

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Conference papers on the topic "Modern sculptures"

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Xu, Fangyan. "Innovation of Traditional Clay Sculptures under the Modern Environment." In 4th International Symposium on Social Science (ISSS 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/isss-18.2018.69.

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"The New different solution of Qin terracotta warriors and horses of ancient Greek sculptures." In 2020 Conference on Social Science and Modern Science. Scholar Publishing Group, 2020. http://dx.doi.org/10.38007/proceedings.0000772.

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Deng, Xijun. "Sculpture Bearing “Meanings”: Tradition of French Classical Sculpture and Modern Sculpture of Sichuan Province." In 4th International Conference on Art Studies: Science, Experience, Education (ICASSEE 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200907.108.

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Cohen, Elaine, Tom Thompson, Don Nelson, and David Johnson. "Haptic rendering of sculptured models." In ACM SIGGRAPH 2005 Courses. New York, New York, USA: ACM Press, 2005. http://dx.doi.org/10.1145/1198555.1198627.

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Yang, Xujing, and Zezhong C. Chen. "A New High Precision Fitting Approach for NURBS Tool Paths Generation." In ASME 2005 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. ASMEDC, 2005. http://dx.doi.org/10.1115/detc2005-84611.

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In new models of CNC machines, NURBS interpolation function can process tool paths represented in NURBS form (called NURBS tool paths) so that cutters can conduct NURBS motions, which can machine sculptured surfaces with high surface accuracy and finish. However, most CAM systems could not convert the tool paths with discrete cutter locations into NURBS tool paths, and the conventional data fitting methods can not calculate a NURBS curve to represent the given cutter locations in high precision. In this work, a new high precision fitting approach is proposed for generating NURBS tool paths. The main contribution of this work is to propose NURBS tool paths and fit the tool paths through the cutter locations more precisely with fewer control points. Since NURBS tool paths can make accurate and smooth sculpture surfaces, this approach can promote the usage of NURBS tool paths in manufacturing industry.

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Liu, Xiaofei. "Research on Chinese Traditional Sculpture and Modern Sculpture of Ceramic Pottery of Artistic Expression." In 2016 International Conference on Economy, Management and Education Technology. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/icemet-16.2016.400.

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Liu, Maomao. "Application of Ceramic Materials in Modern Urban Sculpture." In 2017 3rd International Conference on Economics, Social Science, Arts, Education and Management Engineering (ESSAEME 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/essaeme-17.2017.348.

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Luo, Jin. "Latest Application of Mixed Media in Modern Sculpture." In 2016 International Conference on Social Science, Humanities and Modern Education (SSHME 2016). Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/sshme-16.2016.45.

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Thompson, Thomas V., David E. Johnson, and Elaine Cohen. "Direct haptic rendering of sculptured models." In the 1997 symposium. New York, New York, USA: ACM Press, 1997. http://dx.doi.org/10.1145/253284.253336.

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Qin, Bo. "The Importance of Copying in Basic Teaching of Sculpture." In 4th International Conference on Culture, Education and Economic Development of Modern Society (ICCESE 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200316.175.

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Reports on the topic "Modern sculptures"

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Yatsymirska, Mariya. SOCIAL EXPRESSION IN MULTIMEDIA TEXTS. Ivan Franko National University of Lviv, February 2021. http://dx.doi.org/10.30970/vjo.2021.49.11072.

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Abstract:

The article investigates functional techniques of extralinguistic expression in multimedia texts; the effectiveness of figurative expressions as a reaction to modern events in Ukraine and their influence on the formation of public opinion is shown. Publications of journalists, broadcasts of media resonators, experts, public figures, politicians, readers are analyzed. The language of the media plays a key role in shaping the worldview of the young political elite in the first place. The essence of each statement is a focused thought that reacts to events in the world or in one’s own country. The most popular platform for mass information and social interaction is, first of all, network journalism, which is characterized by mobility and unlimited time and space. Authors have complete freedom to express their views in direct language, including their own word formation. Phonetic, lexical, phraseological and stylistic means of speech create expression of the text. A figurative word, a good aphorism or proverb, a paraphrased expression, etc. enhance the effectiveness of a multimedia text. This is especially important for headlines that simultaneously inform and influence the views of millions of readers. Given the wide range of issues raised by the Internet as a medium, research in this area is interdisciplinary. The science of information, combining language and social communication, is at the forefront of global interactions. The Internet is an effective source of knowledge and a forum for free thought. Nonlinear texts (hypertexts) – «branching texts or texts that perform actions on request», multimedia texts change the principles of information collection, storage and dissemination, involving billions of readers in the discussion of global issues. Mastering the word is not an easy task if the author of the publication is not well-read, is not deep in the topic, does not know the psychology of the audience for which he writes. Therefore, the study of media broadcasting is an important component of the professional training of future journalists. The functions of the language of the media require the authors to make the right statements and convincing arguments in the text. Journalism education is not only knowledge of imperative and dispositive norms, but also apodictic ones. In practice, this means that there are rules in media creativity that are based on logical necessity. Apodicticity is the first sign of impressive language on the platform of print or electronic media. Social expression is a combination of creative abilities and linguistic competencies that a journalist realizes in his activity. Creative self-expression is realized in a set of many important factors in the media: the choice of topic, convincing arguments, logical presentation of ideas and deep philological education. Linguistic art, in contrast to painting, music, sculpture, accumulates all visual, auditory, tactile and empathic sensations in a universal sign – the word. The choice of the word for the reproduction of sensory and semantic meanings, its competent use in the appropriate context distinguishes the journalist-intellectual from other participants in forums, round tables, analytical or entertainment programs. Expressive speech in the media is a product of the intellect (ability to think) of all those who write on socio-political or economic topics. In the same plane with him – intelligence (awareness, prudence), the first sign of which (according to Ivan Ogienko) is a good knowledge of the language. Intellectual language is an important means of organizing a journalistic text. It, on the one hand, logically conveys the author’s thoughts, and on the other – encourages the reader to reflect and comprehend what is read. The richness of language is accumulated through continuous self-education and interesting communication. Studies of social expression as an important factor influencing the formation of public consciousness should open up new facets of rational and emotional media broadcasting; to trace physical and psychological reactions to communicative mimicry in the media. Speech mimicry as one of the methods of disguise is increasingly becoming a dangerous factor in manipulating the media. Mimicry is an unprincipled adaptation to the surrounding social conditions; one of the most famous examples of an animal characterized by mimicry (change of protective color and shape) is a chameleon. In a figurative sense, chameleons are called adaptive journalists. Observations show that mimicry in politics is to some extent a kind of game that, like every game, is always conditional and artificial.

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