Academic literature on the topic 'Nude in art'
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Journal articles on the topic "Nude in art"
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Scheid, Kirsten. "NECESSARY NUDES: ḤADĀTHA AND MUʿĀṢIRA IN THE LIVES OF MODERN LEBANESE." International Journal of Middle East Studies 42, no. 2 (April 13, 2010): 230a. http://dx.doi.org/10.1017/s0020743810000334.
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In Beirut between 1920 and 1940, the fine-art nude was a necessary genre. Exhibitions of these pictures put audiences on display as much as nudes. Thus, these events enable probing the role of art at intercultural junctures and understanding the experience of self-modernizing subjects outside metropolitan locales. Al-ḥadātha and al-muʿāṣira are analyzed as complementary but noninterchangeable aspects of the modernizing project, to argue that viewing art and appreciating nudes were necessary components of an urban, modern identity for Mandate-era Beirutis. The concept of dislocation is introduced to explore why artists such as Moustapha Farroukh employed academic art formulae to intervene in representational conventions and, in doing so, dislocated common ways of seeing and relating to “Easterners.” Nude paintings evince the importance of intellectuals’ physical and aesthetic experiences in the production of modernity. Moreover, they complicate the common idea that “authenticity” opposed “modernity” in Arab and colonial settings.
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Samu, Margaret. "The Nude in Eighteenth- and Nineteenth-Century Russian Sculpture." Experiment 18, no. 1 (2012): 33–60. http://dx.doi.org/10.1163/221173012x643044.
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Abstract This article analyzes Russian attitudes toward nudity in art in the eighteenth and nineteenth centuries, from the importation of Italian nudes by Peter the Great to the continued study of the nude model by Socialist Realist artists. Questions addressed include the reception of nude sculpture in Russia and its change over time; the role of life models; and the subject matter sculptors chose.
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Hsu, Chi-Wei. "Alice Neels Female Nudes: Society, Feminism and Art." Communications in Humanities Research 3, no. 1 (May 17, 2023): 648–62. http://dx.doi.org/10.54254/2753-7064/3/20220547.
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Alice Neel is one of the most prolific contemporary American artists, a realist in an age of abstraction. Her tenacity in portraying the people, the world and the issues that come with them led her portraits to carry not just a likeness to the subject, but also the subjects social, political, economic baggage. With that, Neels candor in portraying her subjects also allowed for representation of women of all circumstances, something historically lacking. Specifically, in her ground-breaking nude portraits of women, she breaks down previous conception of female nudes by incorporating the status quo of the woman as a key element; not just an escapist object of the male gaze but a person. This paper aims to reveal the tangled interconnectivity of the relationships between Neel herself, with feminism, society and her art through the analysis of her female nude artworks.
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Minns, Frank. "Art: Egon Schiele: the Radical Nude." British Journal of General Practice 65, no. 630 (December 29, 2014): 33. http://dx.doi.org/10.3399/bjgp15x683233.
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Waldrep, Shelton. "The Body of Art." Corpus Mundi 1, no. 2 (July 13, 2020): 62–87. http://dx.doi.org/10.46539/cmj.v1i2.21.
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As part of a larger study on the mainstreaming of pornography in contemporary film and television, this essay attempts to examine and extend our vocabulary for discussing visual representations of the human body by revisiting Kenneth Clark’s important study The Nude from 1972. Clark’s book provides a history of the male and female nude in two- and three-dimensional art from Ancient Egypt and Greece to the Renaissance and beyond. This essay focuses on places within his analysis that are especially generative for understanding pornography such as the importance of placing the nude form within a narrative (Venus is emerging from her bath, for example) or attempts by artists to suggest movement within static forms. The essay places Clark’s rich typology in conversation with other thinkers, such as Fredric Jameson, Erwin Panofsky, E. H. Gombrich, and Michel Foucault. The piece ends with a discussion of androgyny and hermaphroditism as they relate to the expression of gender in plastic art, especially the notion that all representations of the body necessarily include a gender spectrum within one figure. Artists whose work is looked at in some detail include Da Vinci, Michelangelo, and Donatello.
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Juzefovič, Agnieška. "CREATIVE TRANSFORMATIONS IN VISUAL ARTS OF EARLY FRENCH MODERNISM: TREATMENT OF NUDE BODY." Creativity Studies 9, no. 1 (June 2, 2016): 25–41. http://dx.doi.org/10.3846/23450479.2015.1112854.
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Resent paper is focused on the early modern culture, particularly on the topic of visual art and its confrontation with traditional, pre-modern culture and aesthetic. The author unveils how and why painters of early French modernism had rejected traditional representation of eroticism, typical for pre-modern art, especially for the art of academicism. Thus from their artworks disappeared sublimated, exalted nudity, withdrew nudes modestly hidden under mythological or religious context. In the works of impressionists and postimpressionists naked body was depicted frankly, openly, without any excuse of what was supposed to be decent. Such were the nude women of paintings of Auguste Manet and Amedeo Modigliani who present merely their femininity and sexuality, while symbolizing the liberation from moral norms and heralding sexual revolution of the 20th century. Relaxed, healthy, pink-cheeked girls in Pierre-Auguste Renoir’s paintings spread subtle eroticism and the mood of joyful life. Life of Parisian cabarets and brothels come alive through naked or semi-naked female figures which on Henri de Toulouse-Lautrec and Edgar Degas canvases seem as if they are unaware of being watched. Nude bodies in the paintings of such French post-impressionists like Henri Matisse and Paul Gauguin were depicted in exotic, oriental ambience and referred to the philosophical background of romanticism. Paul Cézanne’s nudes particularly his famous scenes with bathers disclose essential aims of this painter – to reach the essence of the very thing. Transformations of the treatment of nude body by early French modernists help to understand general context of creative changes in visual arts on the edge of the 19th and 20th centuries.
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Markowitz, Sally, and Lynda Nead. "The Female Nude: Art, Obscenity, and Sexuality." Journal of Aesthetics and Art Criticism 53, no. 2 (1995): 216. http://dx.doi.org/10.2307/431556.
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Albano, Ninotchka Mumtaj. "OBJECTIFYING NUDE ART THROUGH SARTRE’S “THE IMAGINARY”." Philosophia: International Journal of Philosophy 20, no. 1 (January 2019): 80–96. http://dx.doi.org/10.46992/pijp.20.1.a.5.
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Rosen, David. "The Lost Art of Nude Fan Dancing." Sexuality & Culture 23, no. 3 (May 22, 2019): 1019–24. http://dx.doi.org/10.1007/s12119-019-09612-8.
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Nead, Lynda. "The Female Nude: Pornography, Art, and Sexuality." Signs: Journal of Women in Culture and Society 15, no. 2 (January 1990): 323–35. http://dx.doi.org/10.1086/494586.
Full textDissertations / Theses on the topic "Nude in art"
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McCusker, Nicole Catherine. "Performance, Art and the Female Nude at Dr Sketchy's Anti-Art School." Thesis, University of Canterbury. Social and Political Sciences, 2012. http://hdl.handle.net/10092/7656.
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My thesis examines the event of Dr Sketchy's Anti-Art School, which has branches in over 120 cities worldwide. Dr Sketchy's combines the format of a life drawing class with burlesque performance, creating an event that focuses on both the performance and the creation of art by the attendees. Dr Sketchy's was begun in New York in 2005 by its creator Molly Crabapple, now an internationally recognized artist and popular alternative celebrity. I focus my study on the Christchurch branch of Dr Sketchy's Anti-Art School, founded in June 2010 by Audrey Baldwin, a performance artist and Fine Arts graduate of the University of Canterbury.
In my thesis I discuss the way Dr Sketchy's Anti-Art School combines and compromises between the life drawing format and the burlesque performance, despite the differences and seeming incompatibilities between these two forms. I investigate Dr Sketchy's as a contemporary cultural performance which combines and to some degree inverts established genres of performance. I give a detailed history of burlesque performance and of life drawing within art education to allow a comprehensive comparison of the two traditions, particularly the way each has conceptualized the nude female body. I argue that the combination of the two forms allows Dr Sketchy's Anti-Art School to transgress the traditional boundaries of each format and introduce influences that would otherwise endanger the status of life drawing and burlesque performance within their respective contexts. I also argue that the nude within Dr Sketchy's Anti-Art School transgresses the traditional conception of the nude within life drawing by using burlesque as an acceptable reference for the transgressive elements of the show.
The arguments put forward in this thesis are the product of extensive participant observation, interviews and literature reviews on the relevant art and performance traditions.
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Missia, Frano G. "Painting the nude by male artists in Western art /." Access Digital Full Text version, 1993. http://pocketknowledge.tc.columbia.edu/home.php/bybib/11396210.
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Thesis (Ed.D.)--Teachers College, Columbia University, 1993.Typescript; issued also on microfilm. Sponsor: Justin Schorr. Dissertation Committee: Rene Arcilla. Includes bibliographical references (leaves 112-113).
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Smither, Devon. "Identity crisis : the nude in 1930s modern Canadian art." Thesis, University of British Columbia, 2010. http://hdl.handle.net/2429/27693.
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In their unwillingness to fully assimilate or relate the human body to its surroundings, many artists who painted nudes in the 1930s in Canada found their works the subject of censure and moral debate. Rather than becoming the site of praise for a new Canadian sensibility in the visual arts, the nudes painted in this period would not come to be associated with a uniquely Canadian artistic practice, and the genre failed to assume a pivotal place within the canon of Canadian art history. Viewers could not imagine themselves as heroic pioneers in front of a painting like Lilias Torrance Newton’s Nude (1933), or could they see anything distinctly modern and revolutionary in its execution that would allow them to hold up such an image as an example of an inherently Canadian art. The nude in Canada did not incite the admiration of an art-going public who instead came to associate a national art movement with the landscape paintings of the Group of Seven. Censored, debated, praised, and criticized, the nude genre ultimately failed to have the same impact as landscape painting on the visual arts in Canada.
Landscape painting was able to mediate the relationship between the natural world and its human inhabitants in a way not offered by the nude or figurative painting. In 1916, Saturday Night magazine published an article jocularly recounting how the typical Canadian artist was a “husky beggar” who pulled on a pair of Strathcona boots and set off into the woods with a rifle, a paddle, and enough baked beans for three months. Such assertions would lead a critic like Barker Fairley to complain later that, “[N]ot one Canadian in a hundred goes into an art gallery looking for anything but hills and trees and lakes and clouds and flowers and fruit.” Ultimately, the nude was not able to provide a collective viewing position that could embody a national sentiment. It was unable to penetrate the Canadian consciousness in a way that would win it a place alongside the rolling topography and pristine lakes of the Group of Seven.
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Pennings, Mark W. "Charles Wheeler and the nude in Australia." Connect to thesis, 1991. http://repository.unimelb.edu.au/10187/1432.
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The place for Charles Wheeler’s nudes in Australian art history has not been adequately gauged by art historians. He was one of Australia’s most notable painters of the nude, not perhaps because his vision was particularly inventive or original, but rather because he was an important, conservative conduit of that European tradition. Wheeler was very popular with the buying public over many decades, but success with his nudes was fundamentally a critical one. The positive response to Wheeler’s nudes, paintings which combined elements of the academic tradition and more fashionable conventions, presents an intriguing reflection on the nature of art criticism in Australia. The style of Wheeler’s discourse is indebted not only to late nineteenth century British models, as it was represented in the writings of critics such as R.A.M. Stevenson, who was primarily concerned with technique, but also to current debates about art and morality. One of the determining characteristics of this discourse was an interest in defining the limits between naked and nude. Critics were particularly concerned to protect the nude as a genre against moral attack by refusing to engage in a discussion of its sensual aspects. While the public was keen to debate the moral problems associated with the nude, the critics were anxious to avoid these issues. They felt that questions of morality were not central to artistic merit, and sensed that by engaging in discussion of this kind, the nude was on danger of being brought into disrepute.
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McEwin, Florence Rebecca. "American women artists and the female nude image (1969-1983)." Thesis, North Texas State University, 1986. http://catalog.hathitrust.org/api/volumes/oclc/23638110.html.
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Thesis (Ph. D.)--North Texas State University, 1986.Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (p. 367-404).
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Winthrop, Emily. "Allegories of the Modern: The Female Nude in Art Nouveau." VCU Scholars Compass, 2016. http://scholarscompass.vcu.edu/etd/4203.
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Modernism is a plurality, not a singular concept. This project explores examples of Art Nouveau nudes to describe the particular expressions of the modern through varied and complicated allegorical bodies. The female nude as a nexus for ideals of gender, art, and beauty, is informed by and constructs the understanding of these ideals within society. Art Nouveau thus employed the nude to represent complex manifestations of modernity. Three diverse cases provide the subjects of each chapter. All explore modernism through objects and interiors, in public and private environments, and each connects the decorative arts with accounts of European modernism in the late nineteenth and early twentieth century. The modernist movement, in these decades, is still predominantly understood through painting.
This project draws its case studies from Paris, Glasgow, and Vienna, each a distinct cultural arena during the 1890s and 1900s: the sculptural furniture of François Rupert Carabin (1862-1932); the metalwork of Margaret Macdonald (1865-1933) and her sister Frances Macdonald (1873-1921); and the graphic motifs of Ver Sacrum, created by the artists of the first Vienna Secession (1897-1905). In conception and expression, these nudes articulated the diverse representational practices of different modernisms. They each embody drastically different histories, aesthetics, and social expressions. Their varied modernisms expose the prominent nationalism of Art Nouveau. Examination of these three very different cases expands and complicates current understandings of the nude, allegory, and the modern.
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Blount, Jennifer Lynn. "The black male nude a study of John Singer Sargent's Thomas McKeller nude within the context of nineteenth-century art and culture /." Birmingham, Ala. : University of Alabama at Birmingham, 2009. https://www.mhsl.uab.edu/dt/2009m/blount.pdf.
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Thesis (M.A.)--University of Alabama at Birmingham, 2009.Title from PDF title page (viewed Sept. 2, 2009). Degree earned with the cooperation of additional faculty from the University of Alabama. Includes bibliographical references (p. 88-91).
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Wyatt, Malinda. "William Rimmer's Concept of the Heroic Male Nude." VCU Scholars Compass, 1986. http://hdl.handle.net/10156/1443.
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Rizzo, Nicolo' <1995>. "NUDE "IS A VERB": Conversazione con Tatiana Brodatch Studio della riscoperta del nudo scultoreo negli ultimi decenni, fino al caso di Tatiana Brodatch." Master's Degree Thesis, Università Ca' Foscari Venezia, 2020. http://hdl.handle.net/10579/17008.
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L'intervista con l'artista Tatiana Brodatch permette di aprire uno studio attorno al nudo scultoreo. Lo scopo è quello di capire se il suo caso è isolato, oppure se altri artisti nei decenni precedenti hanno sperimentato con il nudo in scultura.
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Birch, Hannah L. "A study of the figure in intaglio." Virtual Press, 2005. http://liblink.bsu.edu/uhtbin/catkey/1318608.
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This project chronicles my explorations of the human figure in intaglio and relief printmaking and in the medium of artists' books. I had very little experience in the field of printmaking prior to my acceptance into the Masters program at Ball State University. I found intaglio, or etching into a metal plate, stimulating and exciting because there are very few limitations in terms of what I can do with this medium. I received a Bachelors of Fine Arts in drawing from SUNY Fredonia. Creating artwork in the printmaking medium has allowed my drawing skills to continue to grow and provided a variety of new technical possibilities. I choose to work with the figure because it is an important subject for an artist to study in order to learn to draw. Since all humans share the same basic structure, it is something that everyone should relate to. It is also something that translates into every possible medium, from cave drawings to fashion design. Many of the artists I have studied, such as Albrecht Durer, and Francisco Goya, worked with the figure in printmaking. Their work provided inspiration while I pursued my own work in this field.Department of Art
Books on the topic "Nude in art"
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Productions, Seventh Art, Ambrose Video Publishing, and Channel Five (Great Britain), eds. The nude in art. New York: Ambrose Video, 2002.
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Aldrich Museum of Contemporary Art (Ridgefield, Conn.), ed. The Nude in contemporary art. Ridgefield, Conn: Aldrich Museum of Contemporary Art, 1999.
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Aldrich Museum of Contemporary Art., ed. The nude in contemporary art. Ridgefield, Conn: Aldrich Museum of Contemporary Art, 1999.
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1962-, Smith Alison, Upstone Robert, and Tate Britain (Gallery), eds. Exposed: The Victorian nude. London: Tate Publishing, 2001.
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Pierre, Remords, and Mascheroni Anna Maria, eds. The nude in impressionism. London: Park Lane, 1993.
Find full textBook chapters on the topic "Nude in art"
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Leppert, Richard. "Art, Aesthetics, and Male Genitalia." In On the Nude, 187–202. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003049968-18.
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Maes, Hans. "Erotic Art and the Nude." In The Routledge Companion to the Philosophies of Painting and Sculpture, 39–48. New York: Routledge, 2023. http://dx.doi.org/10.4324/9781003312727-6.
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Martin, Thomas. "The Nude Figure in Renaissance Art." In A Companion to Renaissance and Baroque Art, 402–21. Oxford: John Wiley & Sons, 2013. http://dx.doi.org/10.1002/9781118391488.ch19.
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Watanabe, Toshio. "Nude art, censorship and modernity in Japan." In The Persistence of Taste, 206–21. 1 [edition]. | New York : Routledge, 2018. | Series: Culture, economy, and the social: Routledge, 2018. http://dx.doi.org/10.4324/9781315617299-17.
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Miller, Ann. "The Nude and the Naked: From Fine Art to Comics." In Spaces Between, 63–78. Wiesbaden: Springer Fachmedien Wiesbaden, 2020. http://dx.doi.org/10.1007/978-3-658-30116-3_5.
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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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Méndez Baiges, Maite. "Other Criteria. Problematic Nudes." In Les Demoiselles d'Avignon and Modernism, 37–48. Florence: Firenze University Press, 2022. http://dx.doi.org/10.36253/978-88-5518-656-8.05.
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In the 1960s and 1970s this formalist version seen in the previous chapter began to show signs of fatigue. Some critics and art historians began to show interest in the personages on stage in Les Demoiselles. Early on John Nash linked the damsel squatting at lower right of the canvas with the myth of Medusa. Leo Steinberg immediately formulated a series of questions that constituted a direct attack against the formalist version. Why should we examine a painting that presented five naked prostitutes, all gazing fixedly at the viewer, merely from the formalist perspective? The time had come to take into account the content of the painting and consequently all of modern art which had been restricted by the prevailing formalism. This chapter tells how the formalist arguments were refuted and cleared the way for the iconological studies that placed the powerful sexual content in the foreground. The person mainly responsible for this was Leo Steinberg who sparked off an authentic revolution on the way to deal with this work and Modernism as a whole.
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Mayer, Pascal. "The kavatzas of Gavdos: heterotopias apart from modern societies." In Issues and cases of degrowth in tourism, 124–44. Wallingford: CABI, 2021. http://dx.doi.org/10.1079/9781789245073.0007.
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Abstract This chapter presents the results of in-depth observations and interviews of locals and tourists in the Greek island of Gavdos during 2018 and 2019 in an attempt to advance the study on antinomian travellers. The study analysed the way that tourists, the majority being regulars, used to live nude under cedar trees scattered on the beaches, the so-called kavatzas. The study remarks that the profiles of Gavdos travellers are varied but most of them share a certain rejection of modern society, and the spaces they occupy correspond to what the French philosopher Michel Foucault called heterotopias, i.e. spaces adopting behaviours which are at odds with social rules, and everyone can feel free and in harmony with nature. It is suggested that this profile goes beyond degrowth inspired travelling tourism; it is about the meaning of life.
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Mayer, Pascal. "The kavatzas of Gavdos: heterotopias apart from modern societies." In Issues and cases of degrowth in tourism, 124–44. Wallingford: CABI, 2021. http://dx.doi.org/10.1079/9781789245073.0124.
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Abstract This chapter presents the results of in-depth observations and interviews of locals and tourists in the Greek island of Gavdos during 2018 and 2019 in an attempt to advance the study on antinomian travellers. The study analysed the way that tourists, the majority being regulars, used to live nude under cedar trees scattered on the beaches, the so-called kavatzas. The study remarks that the profiles of Gavdos travellers are varied but most of them share a certain rejection of modern society, and the spaces they occupy correspond to what the French philosopher Michel Foucault called heterotopias, i.e. spaces adopting behaviours which are at odds with social rules, and everyone can feel free and in harmony with nature. It is suggested that this profile goes beyond degrowth inspired travelling tourism; it is about the meaning of life.
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Méndez Baiges, Maite. "“We are all Demoiselles d’Avignon” or the Breaching of the Dominant Gaze." In Les Demoiselles d'Avignon and Modernism, 67–101. Florence: Firenze University Press, 2022. http://dx.doi.org/10.36253/978-88-5518-656-8.07.
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In his thesis on Les Demoiselles d'Avignon, Steinberg postulated the fundamental role of the spectator (object of the appealing gazes of the five young nudes in the painting) as the catalyst of the meanings in the painting. From then on new critical perspectives would speculate about this subject, targeted by the personages in the painting, who bears so much responsibility in articulating the interpretation of the scene. Doubts were raised about the universal character of the gaze, the universal character of the receptor of the work of art and of Modern Art. From the end of the 20th century and activated by the most recent methodological approaches such as feminism and post-colonialism, new critical voices provoked the breaching of the dominating gaze. This chapter broaches the interpretations of this paradigmatic work of Modern Art made by feminist and post-colonial and subaltern theories, questioning the very proposals of Modernism. Feminism shows how gender conditioning affects the reception of a work of art. And allied with this, post-colonialism and subaltern theory begin to seriously question the way historiography has considered, or not, the relevance of Art négre in the avant-guard eclosion.
Conference papers on the topic "Nude in art"
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Knowlton, Ken. "Nude (studying in perception), 1996." In ACM SIGGRAPH 98 Electronic art and animation catalog. New York, New York, USA: ACM Press, 1998. http://dx.doi.org/10.1145/281388.281647.
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Marian, Ana. "Anatomical constructions in the making of the nude moldovan sculpture. Approaches in the realm of realism." In Patrimoniul cultural: cercetare, valorificare, promovare. Institute of Cultural Heritage, Republic of Moldova, 2021. http://dx.doi.org/10.52603/9789975351379.07.
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In Moldovan sculpture, there are two types of the introduction of anatomical structures in the creation of sculptural nudity: based on realism and stylized ones. The pioneer in the study of sculptural nudity was Alexander Plamadeala. Although his studies at the Imperial Academy of Art, Sculpture and Architecture allowed him to comprehensively approach the depiction of sculptural nude, the sculptor still continued to experiment and seek new ways in the description of nude. “Nude” in Yuri Kanashin’s interpretation is an integral part of thematic compositions and has a separate logic, subordinated to the author’s sensitivity. Anatomical interpretation in Ion Zderciuk’s works is the starting point for realistic forms which transform into stylized ones, where metaphor takes the leading place and the solutions are innovative. Interpretations of sculptural nudity involve long-term training, knowledge of the anatomy of the skeleton and musculature, the proportions of the human body. Based on this, the sculptors practiced stylization, always different in artistic manners, but which represented a new vision of the interpretation of sculptural nudity in Moldovan plastic art.
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Marian, Ana. "Th e Interdependence of Modeling Techniques and Plastic Procedures in the Making of Moldovan Sculptural Nudes." In Conferința științifică internațională Patrimoniul cultural: cercetare, valorificare, promovare. Ediția XIV. Institute of Cultural Heritage, Republic of Moldova, 2022. http://dx.doi.org/10.52603/pc22.04.
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Th ere are many various materials suitable for the creation of sculptural nudes, but they are almost identical to those which used to create a sculptural portrait. Among them there are clay, stone (from limestone and granite to marble and some semi-precious stones), metals (bronze, aluminum, silver, gold), wood (of various types), wax (as a preliminary material), plasticine (which is also used for sketches) and gypsum (intended for casting works). J.J. Winckelmann wrote: “Visual arts begin with modeling in clay; then there was modeling in wood, then it was in ivory, and fi nally stone and metal were processed.” Th e interdependence of modeling and plastic techniques in creating nudity makes it more expressive. Th us, the choice of material for creating “nude” is not accidental. Th e modeling technique or, in other words, the quality of the rendering of the external surface, helps to reveal the artistic message of the work.
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Wilson, Annah J., Panagiotis Kosmas, and Maya Thanou. "Ex-vivo Dielectric Properties of Tissues in Athymic Nude Mice." In 2022 3rd URSI Atlantic and Asia Pacific Radio Science Meeting (AT-AP-RASC). IEEE, 2022. http://dx.doi.org/10.23919/at-ap-rasc54737.2022.9814269.
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Галина, Анастасия Владимировна, Татьяна Валерьевна Аушева, Сарижат Сурхаевна Алиханова, and Владимир Эдуардович Росторгуев. "STUDY THE GROWTH OF HUMAN SOFT TISSUE SARCOMA XENOGFAFT IN IMMUNODEFICIENCY MICE BALB/C NUDE." In Современные методы и инновации в науке: сборник статей XXII международной научной конференции (Санкт-Петербург, Октябрь 2023). Crossref, 2023. http://dx.doi.org/10.37539/231006.2023.80.54.003.
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Саркома мягких тканей - редкое мезенхимальное злокачественное новообразование, которое составляет менее 1% всех опухолей. Важным инструментом изучения данного заболевания являются животные модели. В нашей работе была разработана перевиваемая модель саркомы мягких тканей человека на иммунодефицитных мышах Balb/c Nude и изучены особенности ее роста. Soft tissue sarcoma is a rare mesenchymal malignancy that accounts for less then 1% of all tumors. Animal models are an important tool for studying this disease. In our work, a transplantable model of human soft tissue sarcoma was developed using immunodeficient Balb/c Nude mice and growth characteristics were studied.
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Salloum, M., N. Ghaddar, and K. Ghali. "A New Transient Bio-Heat Model of the Human Body." In ASME 2005 Summer Heat Transfer Conference collocated with the ASME 2005 Pacific Rim Technical Conference and Exhibition on Integration and Packaging of MEMS, NEMS, and Electronic Systems. ASMEDC, 2005. http://dx.doi.org/10.1115/ht2005-72303.
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A new mathematical multi-segmented model based on an improved Stolwijk model is developed for predicting nude human thermal and regulatory responses within body segments and the environment. The passive model segments the body into the 15 cylindrical parts. Each body part is divided into four nodes of core, skin, artery blood, and vein blood. The body nodes interact with each other through convection, perfusion and conduction. In any body element, the blood exiting the arteries and flowing into the capillaries is divided into blood flowing in the core (exchanges heat by perfusion in the core) and blood flowing into the skin layer (exchanges heat by perfusion in the skin). The model calculates the blood circulation flow rates based on exact physiological data of Avolio [1], real dimensions, and anatomic positions of the arteries in the body. The circulatory system model takes into consideration the pulsatile blood flow in the macro arteries with its effect on the convective heat transport. The inclusion of calculated blood perfusion in both the tissue and the skin, based on the arterial system model and the heart rate is unique for the current model. The bio-heat human model is capable of predicting accurately nude human transient physiological responses such as the body’s skin, tympanic, and core temperatures, sweat rates, and the dry and latent heat losses from each body segment. The nude body model predictions are compared with published theoretical and experimental data at a variety of ambient conditions and activity. The current model agrees well with experimental data during transient hot exposures. The nude human model has an accuracy of less than 8% for the whole-body heat gains or losses and ±0.48°C for skin temperature values.
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Novadvorski Scheeren, Bruno Alcione, and Alexandre Sá. "A nudez nas artes visuais: perspectivas contrassexuais." In 42° Colóquio do Comitê Brasileiro de História da Arte. Comitê Brasileiro de História da Arte, 2023. http://dx.doi.org/10.54575/cbha.42.082.
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URSACHI, Rodica. "Art as an end and means of education." In Ştiință și educație: noi abordări și perspective. "Ion Creanga" State Pedagogical University, 2023. http://dx.doi.org/10.46727/c.v3.24-25-03-2023.p172-177.
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One of contemporary society’s acute problem is moral state of its members, which needs a perfecting through permanent education of ethic standards. Art, as other domain, tackles this problem, but from its own view point. It reflects different moral ethic ideals during its development stages, which influence conscience of respective epoch people. In this way, art presents it self in double hypostasis – to reproduce the moral state of human society in a certain historical moment, and to help the speading of ethic ideas that will contribute to its spiritual education and development. The work of art becomes an object of study for the general viewer and requires him to mobilize his intellectual faculty to understand the proposed „message”. Art is the privileged way to remove man from the conflict zone of life, caused by various historical and social factors. Existential drama, expressed through moral suffering, is present in various genres of art with an emphasis on historical, religious composition, etc., but it is also avoided by artists who paint static natures, landscapes, nudes. Artists of the contemporary period, captivated by plastic and non-figurative technological effects, avoid analyzing the current social impact, rediscovering moral and ethical values and reflecting them in his work.
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Knauss, Paulo. "A arte da nudez de Antonio Parreiras: o retrato de Arariboia e o nu masculino como tema da pintura." In Colóquio do Comitê Brasileiro de História da Arte. Comitê Brasileiro de História da Arte, 2021. http://dx.doi.org/10.54575/cbha.40.28.
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O trabalho tem como objetivo contribuir para a discussão sobre os sentidos da pintura do nu como gênero artístico no Brasil do início do século XX a partir da história do retrato de Arariboia, datado de 1909, pintado por Antonio Parreira. A obra de arte foi encomendada pela Prefeitura Municipal de Niterói para criar uma representação do líder indígena considerado fundador da cidade e foi envolvida em forte polêmica historiográfica suscitada pela representação do nu masculino. Assim, a análise enfatiza a discussão sobre a nudez masculina e a identidade de gênero como questão artística.
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MARIAN, Ana. "Modeling and plastic techniques in the creation of the Moldovan sculptural animal genre." In Probleme ale ştiinţelor socioumanistice şi ale modernizării învăţământului. "Ion Creanga" State Pedagogical University, 2022. http://dx.doi.org/10.46728/c.v3.25-03-2022.p268-271.
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Modeling techniques, together with plastic ones, play a decisive role in the creation of a sculptural work. The sculptural animalistic genre uses the same materials as the sculptural portrait and nude: ceramics, wood, chamotte, bronze, to which are added the techniques of coloring and toning. Thus, modeling and plastic techniques are a single whole, tightly connected, which contributes to the manifestation of the idea of work, which is intuitively foreseen by the author from the very beginning and takes on contours more clearly in the modeling process in the material.
Reports on the topic "Nude in art"
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Koomar, Saalim. What is 'Nudging' and How Does it Change Behaviour in Education? EdTech Hub, January 2024. http://dx.doi.org/10.53832/edtechhub.1011.
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This Learning Brief is part of the EdTech Hub Learning Brief Series, providing practical resources for people working to improve the use of technology in education. In this brief, we look at the behaviour change strategy of leveraging concise messages at strategic decision points (i.e., ‘nudging’) to influence the behaviour of a recipient towards a desired outcome. We focus on EdTech Hub’s work concerning nudge messaging. It builds on work from messaging interventions in Ghana and Kenya, linking these to the broader literature on the topic. It emphasises that although there is a strong and growing evidence base for nudge technologies, effective implementation remains dependent upon context-specific adaptation. It is not inevitable that nudge messaging interventions will lead to positive outcomes — indeed, outcomes are often mixed. It is therefore vital to understand the specific impacts of interventions on particular groups of recipients. We present findings and recommendations that should inform how nudging technologies in education are approached and what decision-makers need to consider in order to ensure uptake and minimise risks. Lastly, we explore areas that require further research, namely, the changing nature of nudging due to artificial intelligence, the safeguarding risks of nudging, persisting questions about cost-effectiveness, and how nudging can more specifically target learning. Keywords: Behavioural psychology; EdTech; education; messaging; nudging; participation An output of the EdTech Hub, https://edtechhub.org/
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Emmerson, Carl, and Jonathan Cribb. What happens when employers are obliged to nudge? Automatic enrolment and pension saving in the UK. The IFS, November 2016. http://dx.doi.org/10.1920/wp.ifs.2016.1619.
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Archibong, Belinda, Tom Moerenhout, and Evans Osabuohien. Protest Matters: The Effects of Protests on Economic Redistribution. Institute of Development Studies, November 2023. http://dx.doi.org/10.19088/ictd.2023.003.
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Can citizen-led protests lead to meaningful economic redistribution and nudge governments to increase their efforts to redistribute fiscal resources? We study the effects of protests on fiscal redistribution using evidence from Nigeria. We digitised 26 years of public finance data from 1988 to 2016 to examine the effects of protests on intergovernmental transfers. We find that protests increase transfers to protesting regions, but only in areas that are politically aligned with disbursing governments. Protesters also face increased police violence. Non-protest conflicts do not affect transfers and protests do not affect non-transfer revenue. The results show that protests can influence fiscal redistribution.
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Bolton, Laura. WASH in Schools for Student Return During the COVID-19 Pandemic. Institute of Development Studies (IDS), February 2021. http://dx.doi.org/10.19088/k4d.2021.024.
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The literature on WASH and school re-opening during the COVID-19 pandemic is dominated by guidelines with little in the way of recent evidence or lessons learned. Analysis of data from school re-openings at the end of 2020 suggests that with mitigation measures in place community infection rates should not be affected by children returning to school. Although children carry a lower risk of infection, they do have large numbers of contact in the school environment, so hygiene and distancing measures are important. The key guidelines for WASH in schools during the COVID-19 pandemic include: children and all school staff must be educated with regards to hand hygiene; hand hygiene stations must be provided at entrances and exits; hand washing must be frequent and requires sufficient water and soap; school buses should have hand hygiene measures in place; and the school environment must be disinfected daily. Environmental, or nudge-based, cues are recommended to support behaviour change in children based on pre-COVID-19 evidence. Examples include colourful footprints leading to a handwashing facility, images of eyes above handwashing facilities, embedding toys in soap, and putting pictures of germs on surfaces.
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Ajzenman, Nicolás, Gregory Elacqua, Diana Hincapié, Analia Jaimovich, Florencia López Bóo, Diana Paredes, and Alonso Román. Do You Want to Become a Teacher?: Career Choice Motivation Using Behavioral Strategies. Inter-American Development Bank, May 2021. http://dx.doi.org/10.18235/0003325.
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Qualified teachers are a fundamental input for any education system. Yet, many countries struggle to attract highly skilled applicants to the teaching profession. This paper presents the results of a large-scale intervention to attract high performing high-school students into the teaching profession in Chile. The intervention was a three-arm email campaign which made salient three types of motivations typically associated with the teaching profession: intrinsic/altruistic, extrinsic, and prestige-related. The objective was to identify which type of message better appealed to high performing students to nudge them to choose a teaching major. The “intrinsic” and “prestige” arms reduced applications to teaching majors among high performers, while the “extrinsic” arm increased applications among low performers. A plausible interpretation could be that the “intrinsic” and “prestige” messages made more salient an issue that could otherwise be overlooked by high performing students (typically from more advantaged households), negatively impacting their program choice: that while the social value of the teaching profession has improved, it still lags behind other professions that are valued more by their families and social circles. In turn, the “extrinsic” arm made salient the recent improvements in the economic conditions of the teaching profession in Chile, thus appealing to low performing students who in general come from disadvantaged families and for whom monetary incentives are potentially more relevant. These results emphasize the importance of having a clear picture of the inherent motivations that could influence individuals career choice. Making salient certain types of motivations to the wrong target group could lead to undesired results.
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Robson, Jennifer. The Canada Learning Bond, financial capability and tax-filing: Results from an online survey of low and modest income parents. SEED Winnipeg/Carleton University Arthur Kroeger College of Public Affairs, March 2022. http://dx.doi.org/10.22215/clb20220301.
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Previous research has identified several likely causes of eligible non-participation in the Canada Learning Bond (CLB), including awareness, financial exclusion, and administrative barriers. This study expands on that research, with a particular focus on the role of tax-filing as an administrative obstacle to accessing the CLB. I present results from an online survey of low and modest income parents (n=466) conducted in 2021. We find that, even among parents reporting they have received the CLB (46%), a majority (51%) report low confidence in their familiarity with the program, and more than one in six (17%) are unaware of the need to file tax returns to maintain eligibility for annual CLB payments. Self-reported regular tax-filing is associated with a 59% increase in the probability of accessing the CLB, even when controlling for a range of parental characteristics. This study confirms previous work by Harding and colleagues (2019) that non-filing may explain some share of eligible non-participation in education savings incentives. Tax-filing services may be an important pathway to improve CLB access. Low and modest income parents show substantial diversity in their preferred filing methods and outreach efforts cannot be concentrated in only one avenue if they are to be successful. The study also tests a small ‘nudge’ to address gaps in awareness and finds that information-only approaches to outreach are likely to have limited success, even with motivated populations.
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Reimer, David, Astrid Olsen, Bent Sortkær, and Rie Thomsen. Reducing inequality in access to Higher Education in Denmark: Technical report for Nextstep 1.0 intervention and data collection. Aarhus University, January 2024. http://dx.doi.org/10.7146/aul.511.
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The aim of the project Reducing Inequality in Access to Higher Education1 was to raise the university application rate for upper secondary students whose parents did not them-selves have a university degree. The project implemented an information intervention, and his technical report outlines the procedures involved in designing that the interven-tion called NextStep 1.0. It includes the selection and recruitment of schools, as well as the development of a survey for both students and counsellors and the creation of role model videos which was implemented in the intervention. The project Reducing Inequality in Access to Higher Education also included a NextStep 2.0 and a nudge experiment, which are not included in this technical report. To smoothen the readability of the report, we call the project NextStep throughout this report. The NextStep study is funded by Independent Research Fund Denmark, Grant No. 8019-00100B in a project running from 2019 to 2024. The target group for the intervention was upper secondary students in the spring of 2020, when they were just three-five month from graduation. In this report, we will address the following topics: • The design of the intervention • Randomization • Recruitment of schools • Data management including data to register data • Intervention videos and home page activity • Nudges • Appendix with transcripts of intervention material including the survey
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Mateo Díaz, Mercedes, Laura Becerra Luna, Juan Manuel Hernández-Agramonte, Florencia López, Marcelo Pérez Alfaro, and Alejandro Vasquez Echeverria. Nudging Parents to Improve Preschool Attendance in Uruguay. Inter-American Development Bank, November 2020. http://dx.doi.org/10.18235/0002901.
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Uruguay has increased it preschool enrollment, reaching almost universal coverage among four- and five-year-olds. However, more than a third of children enrolled in preschool programs have insufficient attendance, with absenteeism higher in schools in lower socioeconomic areas and among younger preschool children. This paper presents the results of a behavioral intervention to increase preschool attendance nationwide. Most previous experiments using behavioral sciences have looked at the impact of nudging parents on attendance and learning for school-age children; this is the first experiment looking at both attendance and child development for preschool children. It is also the first behavioral intervention to use a government mobile app to send messages to parents of preschool children. The intervention had no average treatment effect on attendance, but results ranged widely across groups. Attendance by children in the 25th 75th percentiles of absenteeism rose by 0.320.68 days over the course of the 13-week intervention, and attendance among children in remote areas increased by 1.48 days. Among all children in the study, the intervention also increased language development by 0.10 standard deviations, an impact similar to that of very labor-intensive programs, such as home visits. The intervention had stronger effects on children in the remote provinces of Uruguay, increasing various domains of child development by about 0.33 to 0.37 standard deviations. Behavioral interventions seeking to reduce absenteeism and raise test scores usually nudge parents on both the importance of attendance and ways to improve child development. In this experiment, the nudges focused only on absenteeism but had an effect on both.
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Hansson, David, and Sven-Erik Svensson. Effekten av rad- och plantavstånd på skörd och ogräskonkurrens vid ekologisk odling av vårkornsorterna Irina och Planet. Fakulteten för landskapsarkitektur, trädgårds- och växtproduktionsvetenskap, Sveriges lantbruksuniversitet, 2024. http://dx.doi.org/10.54612/a.3ca6ftc9d5.
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Denna rapport är slutredovisningen av SLU Partnerskap Alnarp projekt 1433, ”Effekten av sådensitet och såmönster på skörd och ogräskonkurrens hos vårkorn”, med motfinansiering från Statens Jordbruksverk via projektet ”Effekten av sådensitet och såmönster på stråsäds ogräskonkurrerande egenskaper i ekologisk produktion” samt Väderstad AB. Projektet med finansiering från Jordbruksverket var inriktat på att studera hur olika radavstånd på såmaskinen och olika plantavstånd i såraden, vid varierande utsädesmängder, påverkar skördens storlek och kvalitet samt grödans och dess plantbestånds förmåga att undertrycka fröogräs i ekologisk odling av vårkornssorterna Irina och Planet. I projektet tillämpades fördröjd sådd samt mekanisk ogräsbekämpning, i form av falska såbäddar före sådden samt blindharvning före uppkomst och selektiv ogräsharvning efter uppkomst av vårkornet. Bland de två vårkornsorterna som studeras anses Planet ha en relativt bra ogräskonkurrerande förmåga och Irina anses ha en något sämre ogräskonkurrerande förmåga. Parallellt med studierna av rad- och plantavståndens påverkan på fröogräsen, så utvärderades även hur dessa parametrar påverkade vårkornens bladyteindex (LAI), skördens storlek och kvalitet samt kväveeffektiviteten (nitrogen use efficiency = NUE). Skörden av vårkorn ökade generellt vid en jämnare rumslig fördelning av utsädet. Den ökade skörden uppnåddes vid ett tätare radavstånd på såmaskinen och en ökad planttäthet (ökat antal plantor per m²). Skörderesultaten för Irina och Planet tyder på att en jämnare rumslig fördelning av utsädet, över hela markytan, genom att så vårkorn på 6,25 cm med Väderstad Turf Rapid eller via ”3-radsbandsådd” med Väderstad 300 C, ger högre kornskörd jämfört med sådd på 25 cm. Skörden vid försöken utförda 2022 i ekologiskt vårkorn som såddes på 6,25 cm i jämförelse med 12,5 cm radavstånd, var 8-15 % större (0,5-1,0 ton/ha) för det tätare radavståndet, vid utsädesmängden 500 kärnor per m². Även vid utsädesmängden 300 kärnor per m², så var skörden något större, 2-7 % (0,1-0,4 ton/ha), för det tätare radavståndet. Detta resultat ansluter mycket väl till litteraturgenomgången, samt vår hypotes om att en jämnare rumslig fördelning av utsädet över markytan, genom ett tätare radavstånd och en något ökad utsädesmängd bör resultera i högre skörd. Skörden under 2023, med den mycket torra försommaren, resulterade precis som för 2022 i Irina, med ökad skörd vid ett tätare radavstånd och ökad utsädesmängd, på en ganska vatten-hållande jord (Campus Alnarp). Dock fick vi ett avvikande skörderesultat för Planet under 2023. Här var skörden opåverkad av radavstånden 6,25 och 12,5 cm. Skörden minskade vid en ökad utsädesmängd för de båda radavstånden, på en jord som hade sämre vattenhållande förmåga (Lönnstorp). Detta avvikande skörderesultat för Planet kan ha berott på den mycket torra försommaren 2023, då konkurrensen om tillgängligt vatten var större i de tätare bestånden, med högre utsädesmängder än 300 kärnor per m². Den mekaniska ogräsbekämpningen, med blindharvning före uppkomst och selektiv ogräsharvning efter uppkomst, resulterade i en lägre skörd jämfört med om den mekaniska ogräsbekämpningen inte utförts. Detta resultat betyder att plantbeståndets ogräskon-kurrerande förmåga var tillräcklig för att ge en hög skörd av vårkornet, och utan insats av någon ogräsbekämpning utöver två falska såbäddar före sådden och fördröjd sådd med 3-7 dagar. Skördesänkningen, efter den mekaniska ogräsbekämpningen, var lägre vid höga utsädesmängder jämfört med låga. Under 2023, då två extra försöksled med integrerad ogräskontroll genomfördes i vårkornet Planet, med finansiering från SLU Partnerskap Alnarp, så resulterade den kemiska ogräsbekämpningen i en sänkt skörd med ca 9 % och kombinationen av mekanisk och kemisk ogräsbekämpning sänkte skörden med ca 12 %, jämfört med leden där endast plantbeståndet konkurrerade mot fröogräsen. I studien av grödornas ogräsbekämpningseffekt så resulterade ett högre bladyteindex (LAI) hos grödan, genom högre utsädesmängd och bättre rumslig fördelning av utsädet, i en lägre marktäckningsgrad och lägre vikt hos ogräset. När ogräsbekämpningseffekten studerades i försöken under 2022 var den bättre vid 6,25 cm radavstånd jämfört med 12,5 cm radavstånd, vid utsädesmängder över ca 230 kärnor per m² för Planet och ca 300 kärnor per m² för Irina. Vid en mycket låg utsädesmängd, 200 kärnor per m², blev ogräseffekten bättre vid ett radavstånd på 12,5 cm jämfört med 6,25 cm. Vid en mer normal utsädesmängd, på 400 kärnor per m², så var ogräseffekten bättre vid 6,25 cm radavstånd jämfört med 12,5 cm. Vid bedömning av ogrässituationen i försöken har vi tillämpat en avläsningsmetodik där ogrässituationen avläses på markytan i direkt anslutning, och längs försöksparcellerna för att fastställa ogrästrycket på fältet (med eller utan falska såbäddar). Ogrästrycket på markytan mellan försöksrutorna med vårkornet Planet var högt. Ogräsvikten var ca 24 gånger högre (ca 330 g TS/m²) på markytan mellan försöksrutorna jämfört med endast grödans ogräskon-kurrens under 2022. Med denna avläsningsmetodik som är beskriven i Hansson & Ascard (2002) kan man på ett vetenskapligt sätt beskriva hur insatta bekämpningsåtgärder alternativt plantbeståndet hos grödan påverkar ogräset, jämfört med en kontroll. Utan denna metodik får man lätt en skenbar uppfattning om att ogrässituationen på fältet är mycket bra och utan några stora problem med fröogräs. Denna datainsamlingsmetodik är speciellt viktig att tillämpa i ogräsförsök med konkurrenskraftiga huvudgrödor som vårkorn. När vi bedömde proteinhalten i försöken 2022 visade det sig att en ökad skörd, som förväntat, resulterade i en lägre proteinhalt, både i Planet och i Irina. Odlingsåret 2023 med försommar-torka resulterade i ett avvikande resultat för Planet rörande proteinhalt odlad på en jord med en något sämre vattenhållande förmåga. Beroende på ogräsbekämpningsstrategi i Planet så gav en ökad skörd högre proteinhalt alternativt en oförändrad proteinhalt. I försöken var proteinhalten generellt hög under 2022 och 2023 (>12 %), med undantag för Planet under 2022 där proteinhalten var<12 %. I detta fall var skörden högre, ca 5,6 ton/ha i leden med mekanisk ogräsbekämpning (blindharvning och selektiv harvning) och ca 6 ton/ha i leden med enbart grödans och dess plantbestånds ogräskonkurrens. När vi bedömde kväveeffektiviteten (NUE) för vårkornsorterna Irina och Planet låg den generellt på samma nivå, när utsädesmängden ändras från låg till hög, 200 till 600 kärnor per m². Kväveeffektiviteten har dock en tendens till att vara högre vid tätare radavstånd. Tätare radavstånd möjliggör ett ökat plantavstånd i raden, när utsädesmängden är konstant. Det innebär att plantorna har lägre inbördes konkurrens om tillgängligt kväve. I försöken hade kväveeffektiviteten en tendens till att vara något högre när sådd utförs på 6,25 cm, jämfört med 12,5 cm radavstånd. Det vill säga kväveeffektiviteten verkar öka när plantavståndet i raden dubbleras, vid samma utsädesmängd. Vidare blev NUE betydligt lägre när radavståndet ökade från 12,5 cm till 25 cm, troligtvis beroende på en större planttäthet i raden, vid 25 cm, jämfört med 12,5 cm radavstånd.
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Bonfil, David J., Daniel S. Long, and Yafit Cohen. Remote Sensing of Crop Physiological Parameters for Improved Nitrogen Management in Semi-Arid Wheat Production Systems. United States Department of Agriculture, January 2008. http://dx.doi.org/10.32747/2008.7696531.bard.
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To reduce financial risk and N losses to the environment, fertilization methods are needed that improve NUE and increase the quality of wheat. In the literature, ample attention is given to grid-based and zone-based soil testing to determine the soil N available early in the growing season. Plus, information is available on in-season N topdressing applications as a means of improving GPC. However, the vast majority of research has focused on wheat that is grown under N limiting conditions in sub-humid regions and irrigated fields. Less attention has been given to wheat in dryland that is water limited. The objectives of this study were to: (1) determine accuracy in determining GPC of HRSW in Israel and SWWW in Oregon using on-combine optical sensors under field conditions; (2) develop a quantitative relationship between image spectral reflectance and effective crop physiological parameters; (3) develop an operational precision N management procedure that combines variable-rate N recommendations at planting as derived from maps of grain yield, GPC, and test weight; and at mid-season as derived from quantitative relationships, remote sensing, and the DSS; and (4) address the economic and technology-transfer aspects of producers’ needs. Results from the research suggest that optical sensing and the DSS can be used for estimating the N status of dryland wheat and deciding whether additional N is needed to improve GPC. Significant findings include: 1. In-line NIR reflectance spectroscopy can be used to rapidly and accurately (SEP <5.0 mg g⁻¹) measure GPC of a grain stream conveyed by an auger. 2. On-combine NIR spectroscopy can be used to accurately estimate (R² < 0.88) grain test weight across fields. 3. Precision N management based on N removal increases GPC, grain yield, and profitability in rainfed wheat. 4. Hyperspectral SI and partial least squares (PLS) models have excellent potential for estimation of biomass, and water and N contents of wheat. 5. A novel heading index can be used to monitor spike emergence of wheat with classification accuracy between 53 and 83%. 6. Index MCARI/MTVI2 promises to improve remote sensing of wheat N status where water- not soil N fertility, is the main driver of plant growth. Important features include: (a) computable from commercial aerospace imagery that include the red edge waveband, (b) sensitive to Chl and resistant to variation in crop biomass, and (c) accommodates variation in soil reflectance. Findings #1 and #2 above enable growers to further implement an efficient, low cost PNM approach using commercially available on-combine optical sensors. Finding #3 suggests that profit opportunities may exist from PNM based on information from on-combine sensing and aerospace remote sensing. Finding #4, with its emphasis on data retrieval and accuracy, enhances the potential usefulness of a DSS as a tool for field crop management. Finding #5 enables land managers to use a DSS to ascertain at mid-season whether a wheat crop should be harvested for grain or forage. Finding #6a expands potential commercial opportunities of MS imagery and thus has special importance to a majority of aerospace imaging firms specializing in the acquisition and utilization of these data. Finding #6b on index MCARI/MVTI2 has great potential to expand use of ground-based sensing and in-season N management to millions of hectares of land in semiarid environments where water- not N, is the main determinant of grain yield. Finding #6c demonstrates that MCARI/MTVI2 may alleviate the requirement of multiple N-rich reference strips to account for soil differences within farm fields. This simplicity will be less demanding of grower resources, promising substantially greater acceptance of sensing technologies for in-season N management.