Relevant bibliographies by topics / Pictoriality

Contents

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

Academic literature on the topic 'Pictoriality'

Author: Grafiati
Published: 4 June 2021
Last updated: 18 February 2022

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Journal articles on the topic "Pictoriality"

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Davis, Whitney. "Visuality and Pictoriality." Res: Anthropology and aesthetics 46 (September 2004): 9–31. http://dx.doi.org/10.1086/resv46n1ms20167637.

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Picart, Caroline Joan ("Kay") S. "Memory, Pictoriality, and Mystery." Philosophy Today 41, no. 9999 (1997): 118–26. http://dx.doi.org/10.5840/philtoday199741supplement69.

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Gottschling, Verena. "Functional versus real space: Is pictorialism hopeless?" Behavioral and Brain Sciences 25, no. 2 (April 2002): 193–94. http://dx.doi.org/10.1017/s0140525x02340044.

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Pylyshyn raises hot topics like the number and kinds of pictorialist theories there are and their explanatory power. Pylyshyn states that pictorialists have only two possibilities – they can posit either “only functional” images or “really spatial” images – and that neither of these possibilities is convincing or sufficient in explanatory power for empirical and theoretical reasons. Is pictorialism, in principle, untenable?
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Davis, Whitney. "Scale and Pictoriality in Ancient Egyptian Painting and Sculpture." Art History 38, no. 2 (March 22, 2015): 268–85. http://dx.doi.org/10.1111/1467-8365.12149.

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Sonesson, Göran. "From mimicry to mime by way of mimesis: Reflections on a general theory of iconicity." Sign Systems Studies 38, no. 1/4 (December 1, 2010): 18–66. http://dx.doi.org/10.12697/sss.2010.38.1-4.02.

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Practically all theories of iconicity are denunciations of its subject matter (for example, those of Goodman, Bierman and the early Eco). My own theory of iconicity was developed in order to save a particular kind of iconicity, pictoriality, from such criticism. In this interest, I distinguished pure iconicity, iconic ground, and iconic sign, on one hand, and primary and secondary iconic signs, on the other hand. Since then, however, several things have happened. The conceptual tools that I created to explain pictoriality have been shown by others to be relevant to linguistic iconicity. On the other hand, semioticians with points of departure different from mine have identified mimicry as it is commonly found in the animal world as a species of iconicity. In the evolutionary semiotics of Deacon, iconicity is referred to in such a general way that it seems to be emptied of all content, while in the variety invented by Donald the term mimesis is used for a particular phase in the evolution of iconic meaning. The aim of this article is to consider to what extent the extension of iconicity theory to new domains will necessitate the development of new models.
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Ha, Joon Soo. "Study on Pictoriality in the Mise-en-Scène of Andrei Tarkovsky's Film." Journal of Basic Design & Art 19, no. 1 (February 28, 2018): 579–92. http://dx.doi.org/10.47294/ksbda.19.1.44.

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Perica, Blaženka. "Slika i antislika – Julije Knifer i problem prezentacije." Ars Adriatica 7, no. 1 (December 19, 2017): 379. http://dx.doi.org/10.15291/ars.1386.

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The collection of texts Image and Anti-Image – Julije Knifer and the Problem of Representation is based on multi- and transdisciplinary research conducted by Croatian and international critics and theoreticians. They have investigated the contemporary sensibility for the questions of image and pictoriality by referring to a common starting point: the oeuvre of one of the most important Croatian artists – Julije Knifer. In their analysis of Knifer’s paintings since the early 1960s, which revolve around a single motif – the “meander” – which the artist has repeated and varied throughout his artistic career, the authors have followed the changing reception of his work from the supremacy of the high modernist image concept, such as postulated in Greenberg’s formalistic theory, until today, when theoretical proposals have become essentially different. In his introduction to the project, editor Krešimir Purgar has stressed the importance of new perspectives that Knifer’s work may offer if viewed in the context of new disciplines such as visual studies and image science. The 21 articles, grouped into five thematic sections, aim at clarifying and expanding the references of Knifer’s “meander” by taking diverse informative and original approaches that have this recent image theory as their starting point. In the context of Croatian scholarly output, this publication is notable for having accomplished a rare blend between monographic material and a series of interdisciplinary, scholarly-theoretical studies based on extremely varied perspectives, resulting in a valuable comparative miscellany, a contribution both to the actualisation and new positioning of Knifer’s art and to our insight into various analytic and interpretative approaches related to the present state of art theory. Such an approach assigns a special place to the image, to pictoriality and visuality. The theoretical perspectives of image science and the heterogeneous, plural strategies of research developed within the new image studies (image science, visual studies) assimilate and expand rather than replace the previously accepted methods, common in traditional theoretical approaches to the discipline of art history.
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Wierzbowska, Ewa M. "« Elle peint comme elle chante... »." Quêtes littéraires, no. 5 (December 30, 2015): 79–87. http://dx.doi.org/10.31743/ql.240.

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The large part of Marie Krysinska’s poetry is pictorial in the intrinsic way. The range of the references to painting, both explicit and implicit, is not less significant than the musical references. Being a musician, Krysinska is as well sensitive to the colours and lines, she makes one hear and see her poetic images. This ability lets her create “images en l’air” whose pictorial intensity is varying, from the impression to the ekphrasis. Through different painting references Krysinska reveals her rooting in the culture, enters into the continuum of aesthetic reflection, involves herself in a dialogue between arts – which incessantly lasts throughout the ages – on the synchronic and diachronic level. Consciousness which diffuses through the poetic-pictorial work of art is consequently complex and heterogenic, both individual and collective. Pictoriality becomes a code, cultural and emotional, which reinforces the work of imagination and lets one feel a twofold aesthetic satisfaction.
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Bobylev, B. G. ""He is still waiting – when will the native steppe..." ("Vsyo zhdet on – skoro l’ step’ rodnaya…"): the poem "Emshan" by A. N. Maikov (to the 200th anniversary of the poet’s birth)." Russian language at school 82, no. 3 (May 21, 2021): 44–52. http://dx.doi.org/10.30515/0131-6141-2021-82-3-44-52.

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This article provides a philological analysis of A. N. Maykov’s poem "Emshan". The purpose of this work includes demonstrating the poet’s stylistic and diverse craftsmanship, revealing the semantic, sonic, and rhythm-melodic refrains in the poem’s text, and a deeper understanding of its content. This has required using the methods of slow reading, historical and linguistic commenting, as well as the line-by-line, rhythmic-semantic, and immanent analysis. The results show that Apollon Maykov’s poetry is distinguished by a harmonious combination of pictoriality and expressiveness, the recreation of personal external and internal worlds in their unity and interpenetration, and the masterful use of the entire rhythmic-melodic palette of a Russian verse. The author of this article emphasizes the need to acknowledge this great Russian poet and his achievements, to popularize his creative heritage, and to conduct a more thorough and extensive study of his work at schools.
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Morselli, Elisa. "The affective notes of represented space as motors of emotional and sensorial response." SHS Web of Conferences 64 (2019): 01013. http://dx.doi.org/10.1051/shsconf/20196401013.

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The following essay proposes to investigate the perceptual and emotional aspects related to the visualization of architectural images. The field of research is limited to a well-defined category: figurative representations as the photographic and digital images of contemporary architecture. In particular, two types will be analysed: the un-built architecture produced by Studio MIR and Bloomimages compared with the photographed built architecture. Using figurative images as a tool of reading, the aim of this work is to identify and classify three types of affective spaces capable of generating a specific kind of perception, producing a sensorial classification of atmosphere for architecture. The study of the Psychology of Art, as well as Aesthetics and Neuroaesthetics can be a valuable tool in understanding the phenomena of the present, considering the marked pictoriality of these images. The application of the analytic methodology, developed in these disciplines, can suggest a new way of "looking" at the project, paying attention to the representation of the atmospheres, which characterizes the experience of felt space. Keywords: Affective Space, Perception, Representation, Aesthetics, Atmospheres, Design Research, Generators.
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Dissertations / Theses on the topic "Pictoriality"

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Habib, Azzeddine. "Peindre et dépeindre la peinture : d'une phénoménologie de la peinture et d'une représentation par mise en abîme." Thesis, Strasbourg, 2016. http://www.theses.fr/2016STRAC041/document.

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Ce travail de thèse porte sur la question de la représentation picturale (l’aspect iconique de la peinture) et celle de la représentation de la peinture (l’aspect pictural de la peinture) dans le contexte contemporain. C’est un travail sur la peinture, avec la peinture et de la peinture. Un travail sur la peinture puisque l'acte de peindre n'a de finalité que celle de feindre la représentation et afin de permettre à la peinture de défendre un espace pictural. Un travail avec la peinture car il est question de partage lors d'une représentation, c'est à dire : tenir compte d'une libération de la peinture à travers la figure. Et enfin, un travail de la peinture qui est mise en exergue de la réalité matérielle de la peinture (la picturalité). Ma démarche a pour appui l'exercice d'une dialectique (acte de peindre et acte de peinture) et l'articulation d'un principe de la transfiguration (d’une figuration à une peinture figurée). De ce fait, j'opte pour une représentation qui s'élabore par dripping et jets de la peinture sur toile
This thesis deals with the issue of pictorial representation (iconic aspect of the painting) and the representation of painting (pictorial aspect of the painting) in the contemporary context. It is a work on painting, with painting and painting. Work on the painting since the act of painting has finality than pretend representation and to allow the paint to defend a pictorial space. Work with the paint as it is about sharing during a performance, that is to say, reflect a release of painting through the figure. And finally, a paint job that is highlighted in the material reality of the painting (the pictoriality). My approach is to support the exercise of a dialectic (act of painting and action painting) and the articulation of a principle of transfiguration (in a figurative to a figurative painting). Therefore, I opt for a representation that is developed by dripping and throwing paint on canvas
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Poivert, Michel. "Recherches sur la photographie pictorialiste en France /." [Paris] : [M. Poivert], 1989. http://catalogue.bnf.fr/ark:/12148/cb40379357d.

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Poivert, Michel. "La photographie pictorialiste en France, 1892-1914." Paris 1, 1993. http://www.theses.fr/1992PA01A571.

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Young, W. Russell. "The soft-focus lens and Anglo-American pictorialism /." St Andrews, 2008. http://hdl.handle.net/10023/505.

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Young, William Russell. "The soft-focus lens and Anglo-American pictorialism." Thesis, University of St Andrews, 2008. http://hdl.handle.net/10023/505.

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The history, practice and aesthetic of the soft focus lens in photography is elucidated and developed from its earliest statements of need to the current time with a particular emphasis on its role in the development of the Pictorialist movement. Using William Crawford's concept of photographic 'syntax', the use of the soft focus lens is explored as an example of how technology shapes style. A detailed study of the soft focus lenses from the earliest forms to the present is presented, enumerating the core properties of pinhole, early experimental and commercial soft focus lenses. This was researched via published texts in period journals, advertising, private correspondence, interviews, and the lenses themselves. The author conducted a wide range of in-studio experiments with both period and contemporary soft focus lenses to evaluate their character and distinct features, as well as to validate source material. Nodal points of this history and development are explored in the critical debate between the diffuse and sharp photographic image, beginning with the competition between the calotype and daguerreotype. The role of George Davison's The Old Farmstead is presented as well as the invention of the first modern soft focus lens, the Dallmeyer-Bergheim, and its function in the development of the popular Pictorialist lens, the Pinkham & Smith Semi-Achromatic. The trajectory of the soft focus lens is plotted against the Pictorialist movement, noting the correlation betwixt them, and the modern renaissance of soft focus lenses and the diffuse aesthetic. This thesis presents a unique history of photography modeled around the determining character of technology and the interdependency of syntax, style and art.
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Hudek, Antony Geoffrey. "Invisible painting : mimetic pictorialism in post-modern New York." Thesis, Courtauld Institute of Art (University of London), 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.428492.

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Laue, Ingrid Elizabeth. "Pictorialism in the fictional miniatures of Albert Paris Gütersloh." Thesis, University of British Columbia, 1987. http://hdl.handle.net/2429/27367.

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The purpose of this study has been to investigate and analyze the "fictional miniatures," i.e., the short prose works, of Albert Paris Gütersloh. The assumption was that a marked interrelationship exists between these and Gütersloh's painted miniatures. Given the fact that Gütersloh was both writer and painter, and since many of the questions which logically arise out of this duality either have not been addressed at all in the scholarly literature on Gütersloh, or dealt with only superficially, it was felt that the approach used in the present study had to focus, to some extent, on the artist's dual talent. The study attempts to illustrate Gütersloh's artistic nature in conjunction with an investigation of one area of artistic expression, namely the short fictional works. The method was one of proceeding from the general to the particular, i.e., by first examining the complex phenomenon of the "painting writer," or "writing painter," as well as the widely discussed notion of "reciprocal illumination" of the arts. This, together with the detailed analysis of scholarly works on Gütersloh as well as his own theoretical writings on art was seen as part of the necessary "anatomy" of the study. Although the narrational quality of the painted miniatures has been alluded to by several other critics, the inherent similarity between Gütersloh's painted and "literary miniatures" (i.e., his short prose works) is being analyzed for the first time in this study. It aims at proving the claim that the former's overriding characteristic is their distinctly narrational quality. As such the paintings are permeated with a writer's imagination, a feature which makes their narrative component as important as the pictorial. Each of these small-scale paintings depicts some crucial point in a "story," thereby forcing the viewer to imagine a "before" as well as an "after" of each specific scene — in other words, to see these paintings in epic terms. By isolating such elements as delineation, framing, staging, setting, and colour (both descriptive and metaphorical) among others, it could be shown that the fictional miniatures give evidence of Gütersloh's persistent inclination to think, and write, in "pictures," hence to work from a largely pictorial conception: the story-line frequently is developed as a series of static "pictures" which are given as much compositional weight as the chronologically progressing plot. It could also be demonstrated that the general phenomenon of Fantastic Realism is a pronounced feature not only of the painted but also of the literary miniatures. The conclusion the study reaches is that Gütersloh's artistic expression, whether as writer or painter, is of a much more unified nature than has previously been argued; that both forms of artistic expression are of a complementary nature, and that this phenomenon is exemplified most succinctly in his fictional miniatures.
Arts, Faculty of
Central Eastern Northern European Studies, Department of
Graduate
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Preston, Claire E. "Emblematic pictorialism and narrative structure in New Arcadia and Pericles." Thesis, University of Oxford, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.293441.

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Ruan, Wei. "Topic Segmentation and Medical Named Entities Recognition for Pictorially Visualizing Health Record Summary System." Thesis, Université d'Ottawa / University of Ottawa, 2019. http://hdl.handle.net/10393/39023.

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Medical Information Visualization makes optimized use of digitized data of medical records, e.g. Electronic Medical Record. This thesis is an extended work of Pictorial Information Visualization System (PIVS) developed by Yongji Jin (Jin, 2016) Jiaren Suo (Suo, 2017) which is a graphical visualization system by picturizing patient’s medical history summary depicting patients’ medical information in order to help patients and doctors to easily capture patients’ past and present conditions. The summary information has been manually entered into the interface where the information can be taken from clinical notes. This study proposes a methodology of automatically extracting medical information from patients’ clinical notes by using the techniques of Natural Language Processing in order to produce medical history summarization from past medical records. We develop a Named Entities Recognition system to extract the information of the medical imaging procedure (performance date, human body location, imaging results and so on) and medications (medication names, frequency and quantities) by applying the model of conditional random fields with three main features and others: word-based, part-of-speech, Metamap semantic features. Adding Metamap semantic features is a novel idea which raised the accuracy compared to previous studies. Our evaluation shows that our model has higher accuracy than others on medication extraction as a case study. For enhancing the accuracy of entities extraction, we also propose a methodology of Topic Segmentation to clinical notes using boundary detection by determining the difference of classification probabilities of subsequence sequences, which is different from the traditional Topic Segmentation approaches such as TextTiling, TopicTiling and Beeferman Statistical Model. With Topic Segmentation combined for Named Entities Extraction, we observed higher accuracy for medication extraction compared to the case without the segmentation. Finally, we also present a prototype of integrating our information extraction system with PIVS by simply building the database of interface coordinates and the terms of human body parts.
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Ek, Anton, and Alexander Sperring. "En jämförelse mellan ljus baserat i naturalism och pictorialism : En studie om ljussättning i spel." Thesis, Södertörns högskola, Institutionen för naturvetenskap, miljö och teknik, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-26307.

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In this study, we investigate various lighting applications in a virtual environment, where we compare between light based in naturalism (natural light) and pictorialism (artistic light). The purpose of this study is to gain further knowledge in lighting, which is increasingly important for game graphics. Theory are examined to gather information and recommendations on how to use various light settings that convey different emotions. We then use this information to illuminate the environment that we have built. The environment is presented in Unreal 4 for respondents who are allowed to move around freely in the environment. Then we carry out qualitative, semi-structured interviews at the respondents to find out what they thought of the light. The result showed that natural light did not give the same narrative effect as unnatural light.
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Books on the topic "Pictoriality"

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Robert Demachy, pictorialist. Paris: Bookking International, 1990.

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Manuel, Estebaranz José, ed. Jesús Unturbe: Fotógrafo pictorialista segoviano. [Valladolid?]: Junta de Castilla y León, Consejería de Educación y Cultura, 2009.

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Wilson, Michael G. Pictorialism in California: Photographs, 1900-1940. Malibu, Calif: J. Paul Getty Museum, 1994.

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1906-1970, Bodine A. Aubrey, ed. A. Aubrey Bodine, Baltimore pictorialist, 1906-1970. Baltimore: Johns Hopkins University Press, 1985.

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Mello, Maria Teresa Bandeira de. Arte e fotografia: O movimento pictorialista no Brasil. Rio de Janeiro: FUNARTE, 1998.

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Riccardo, Peretti-Griva Domenico, ed. Domenico Riccardo Peretti Griva e il pittorialismo in Italia. Modena: Franco Cosimo Panini, 2012.

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Gysegem, Marc van. Désiré Declercq, pictorialist-documentarist: Notaris-fotograaf, Geraardsbergen 1842-1923. Geraardsbergen: Stadsbestuur, 2000.

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Pictorialism in the fictional miniatures of Albert Paris Gütersloh. New York: P. Lang, 1996.

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Brewster, Ben. Theatre to cinema: Stage pictorialism and the early feature film. Oxford: Oxford University Press, 1997.

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Peterson, Christian A. The modern pictorialism of D.J. Ruzicka = Moderní piktorialismus D.J. Růžičky. Minneapolis, Minn: Minneapolis Institute of Arts, 1990.

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Book chapters on the topic "Pictoriality"

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de Hulster, Izaak J. "Religion, Pictoriality and Materiality: A Hebrew Bible Perspective." In Religion and Material Culture: Studying Religion and Religious Elements on the Basis of Objects, Architecture, and Space, 281–318. Turnhout: Brepols Publishers, 2018. http://dx.doi.org/10.1484/m.ash-eb.5.114435.

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Pinion, F. B. "Psychological Pictorialism." In Hardy the Writer, 24–40. London: Palgrave Macmillan UK, 1990. http://dx.doi.org/10.1057/9780230389458_3.

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von Xylander, Cheryce. "Pictorialism (Prelude and Fugue)." In Aesthetics of Universal Knowledge, 77–113. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-42595-5_5.

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Tye, Michael. "Representation in Pictorialism and Connectionism." In Connectionism and the Philosophy of Mind, 309–30. Dordrecht: Springer Netherlands, 1991. http://dx.doi.org/10.1007/978-94-011-3524-5_14.

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Hye-ri, Oh. "Modernity and Authenticity in Korean Pictorialism." In Interpreting Modernism in Korean Art, 71–78. New York: Routledge, 2021. http://dx.doi.org/10.4324/9780429351112-11.

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Bertini, M., R. Cucchiara, A. Del Bimbo, and C. Torniai. "Domain Knowledge Extension with Pictorially Enriched Ontologies." In Computer Analysis of Images and Patterns, 652–60. Berlin, Heidelberg: Springer Berlin Heidelberg, 2005. http://dx.doi.org/10.1007/11556121_80.

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Chapman, Wayne K. "Yeats and Spenser: Form, Philosophy, and Pictorialism, 1881–1902." In Yeats and English Renaissance Literature, 68–101. London: Palgrave Macmillan UK, 1991. http://dx.doi.org/10.1007/978-1-349-21402-0_3.

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Harth, Manfred. "Quotation and Pictoriality." In Understanding Quotation, edited by Elke Brendel, Jörg Meibauer, and Markus Steinbach. Berlin, New York: DE GRUYTER MOUTON, 2011. http://dx.doi.org/10.1515/9783110240085.195.

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Nardelli, Matilde. "Impure Pictoriality: The Matter of Painting." In Antonioni and the Aesthetics of Impurity, 19–51. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474444040.003.0002.

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This chapter considers how the trope of cinematic purity attached to Antonioni’s 1960s films is intertwined with another persistent critical trope: that he approaches cinema like a painter. Yet, this chapter argue that despite still dominant paradigms of pictorial purity, Antonioni approached painting not only as a concrete, material activity in which he himself was engaged, but also as a category that, around the mid-twentieth century, was itself in profound transformation and often ostentatiously ‘impure’. Impure pictoriality provided Antonioni with the conceptual means to renew, rather than purify, cinema, through an exchange with a form already contaminated by cinema and other forms of mass media culture.
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Fredericks, Brenda Ellis. "King Daniel Ganaway." In Roots of the Black Chicago Renaissance, 205–21. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043055.003.0011.

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This essay explores the nexus between King Daniel Ganaway's religiosity and his goal of creating photographic images demonstrating the inherent worth and spirit of both inanimate objects and human beings. He aimed at a sympathetic interpretation and presentation of every subject. His methods alligned him with the Pictorialist School of 1920s photographers although he never formally affiliated with any group. Pictorialists sought to exploit the balance and beauty found in presenting light, shadow, and darkness as aesthetically stimulating and worthy of being considered part of the fine arts. No doubt Ganaway's upbringing and continued adult commitment to Christianity sustained him against the odds as this self-taught photographer won the coveted Wanamaker Prize in 1921 over nine hundred competitors.
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Conference papers on the topic "Pictoriality"

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Chavez, Ina Conradi, and Yoon Wai Cheong Davier. "Visual Resonance: Fine Art and 3D Stereo Pictoriality." In 2011 Eighth International Conference on Computer Graphics, Imaging and Visualization (CGIV). IEEE, 2011. http://dx.doi.org/10.1109/cgiv.2011.30.

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Guan, Bin. "A Study on Oriental Aesthetics in Pictorialism." In 2nd International Conference on Contemporary Education, Social Sciences and Humanities (ICCESSH 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/iccessh-17.2017.113.

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Srinivasan, Karthik, Soumyik K. Bhaumik, and Lakshmanan Valliappan. "Towards Visualisation of Capacity, Bearing Thrust Load and Reaction Variation With Aerofoil Skew in a Gas Turbine." In ASME 2019 Gas Turbine India Conference. American Society of Mechanical Engineers, 2019. http://dx.doi.org/10.1115/gtindia2019-2441.

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Abstract The requirements in the design of aerofoils for gas turbines are not limited to only meeting the aerothermal performance. A typical scenario for a turbine is to understand the impact of aerofoil skew on capacity, reaction and bearing thrust load. A means to achieve the target capacity could be by skewing the aerofoil. This, however, changes the stage reaction which in turn impacts the bearing thrust load. In the case of a multi stage turbine, the work split between the stages impacts the ratio of pressure drops and hence the contribution of the individual aerofoil rows to the overall capacity and bearing thrust load variation. This paper deals with a generic approach to visualise the variation of capacity and bearing thrust load with aerofoil skew for a stage of interest along with the Constraints that could be potentially imposed on the stage. This methodology provides a useful mapping between parameters which are directly under the aerodynamicist’s control (i.e. aerofoil skew) to module- and system-level behaviours (i.e. capacity, bearing thrust load). It thereby allows informed choices to be made throughout the design process which deliver the turbine aerodynamic performance targets whilst respecting wider system-level constraints. Suitable optimisation within this design space will yield a design that is fundamentally robust to small deviations in skew angle. Additionally, qualitative variation of the gas path static pressure and reaction based on aerofoil skews are explained pictorially to facilitate the understanding.
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Khosrowjerdi, M., Robert C. Azar, Ali Salehi, and G. H. Nazari. "Computer-Aided Design of Bicycles." In ASME 1991 International Computers in Engineering Conference and Exposition. American Society of Mechanical Engineers, 1991. http://dx.doi.org/10.1115/cie1991-0132.

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Abstract:
Abstract Traditional manual designing of bicycles often relies on prototype building and testing and since structural deficiencies often are not obvious until a prototype fails, several build-and-test iterations are usually required before a satisfactory design is obtained. Also, the final design may be less than optimal because of quick fixes inserted at the last minute. However, by utilizing computer-aided design, better bicycles can be designed at smaller investments of time and money. The development and utilization of a DI-3000 based (graphics subroutines developed by Precision Visual), user-friendly, self contained computer aided design package for the analysis and design of bicycle frames and forks are presented. The software, written in Fortran 77 and executable on most passive and active graphics devices, creates the necessary analysis input files for the ANSYS finite element program (developed and marketed by Swanson Analysis System Inc.). These pre and post processing files in conjunction with the ANSYS program are used to determine deflections and stress components. The graphics user interface module of the software allows users to enter bicycle geometry, loading and other pertinent data quickly and efficiently. Tubing configuration and specifications are selected from a data base through the use of cursor-controlled menus. The loading menu presents users with seven different types of realistic and self-consistent loading conditions from which to choose. Computer graphics is also used extensively wherever appropriate to enhance user-computer interaction. Contrasting color and text size are used to explain pictorially as well as visually unfamiliar terminology and to clarify vague sign or orientation conventions, thus, leading to more accurate input. While this package has been designed for instructional purposes, it can also be used by design engineers involved in the design of bicycles to facilitate the creation of ANSYS pre and post processing files.
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