Academic literature on the topic 'Sign painter'

Media hora jugando a los dados was written by Agustín Espinosa as a contribution to the life, sign and work of the painter José Jorge Oramas (Las Palmas de Gran Canaria, 1911-1935), from the Luján Pérez School. It is one of the avant-garde texts in the Spanish language par excellence, in which the scope and significance of the work of the painter from Gran Canaria is celebrated.

“Every portrait that is painted with feeling is a portrait of the artist, not of the sitter…It is not he who is revealed by the painter; it is rather the painter who, on the coloured canvas, reveals himself,” explains the painter who created the evolving portrait of Dorian Gray. Guillaume de Lorris, the author of the medieval poem Roman de la Rose, also presents his soul through the character of the ideal lover, so Amans is a kind of self-portrait. But unlike an ordinary self-portrait, this one does not present the author’s personality. It is painted with words, and such an ekphrastic image is universal or influences the reader in ways that can be explained by the Iser’s reader-response theory. The poem enables the reader to feel love, and transforms him into the ideal courtly lover. As distinct from a painting, the invisible ekphrastic image in this text surpasses appearances and presents the reader with a hidden side of his soul. The object represented by ekphrasis does not exist in the outer world, therefore in the example examined here the reader’s other self is brought into existence. In contrast to a painted self-portrait, which represents the identity of the author, since the picture and the pictured are identical, a word is a sign which refers to something else. A verbal self-portrait which expresses the author’s feelings opens itself up to the reader, who has to complete the image with his imagination. This imaginary image then differs from the external appearance, because it reveals the associated feelings, enables the reader to feel what the author feels, and presents the reader with his other self. The imaginary self-portrait thus does not represent the actual self, but the self that is transformed or improved by the art of love.

“Every portrait that is painted with feeling is a portrait of the artist, not of the sitter…It is not he who is revealed by the painter; it is rather the painter who, on the coloured canvas, reveals himself,” explains the painter who created the evolving portrait of Dorian Gray. Guillaume de Lorris, the author of the medieval poem Roman de la Rose, also presents his soul through the character of the ideal lover, so Amans is a kind of self-portrait. But unlike an ordinary self-portrait, this one does not present the author’s personality. It is painted with words, and such an ekphrastic image is universal or influences the reader in ways that can be explained by the Iser’s reader-response theory. The poem enables the reader to feel love, and transforms him into the ideal courtly lover. As distinct from a painting, the invisible ekphrastic image in this text surpasses appearances and presents the reader with a hidden side of his soul. The object represented by ekphrasis does not exist in the outer world, therefore in the example examined here the reader’s other self is brought into existence. In contrast to a painted self-portrait, which represents the identity of the author, since the picture and the pictured are identical, a word is a sign which refers to something else. A verbal self-portrait which expresses the author’s feelings opens itself up to the reader, who has to complete the image with his imagination. This imaginary image then differs from the external appearance, because it reveals the associated feelings, enables the reader to feel what the author feels, and presents the reader with his other self. The imaginary self-portrait thus does not represent the actual self, but the self that is transformed or improved by the art of love.

The meaning-without-sign: For an ethics of creationThe following article is the result of a collaboration between a painter and a woman philosopher. They worked previously on an experimental documentary film about objects and art objects, which was realized at Palais de Tokyo. The painter had illustrated in black and white fictions of philosophy, written during a festival on lost films organized by UNdocumenta in South Korea, and then he made photographs of oil paintings of the English translation. This article about painting and philosophical ethics is their first common text. It aims to show that there is no interdiscipline or passage known between the philosophical work and the painting. The philosopher can not imitate the recognition of the painter nor the painter to repair the philosophical non-encounter. The question then is: What can ethics in this non-symmetrical space? Rather than being a product of philosophy, it is what organizes this space between recognition and non-encounter. It is an ethics for philosophy, rather than the other way around. Ethics force to greet the other philosophers without the grudge of the loss necessary to the invention and allows the painter to know the distances that make him feel the recognition. This ethical space is unknown and can not be covered by the artist's philosophy of access or pre-nomination by indexes. Ethics is this unknown, i.e. it is a sense-without-sign, it is without rules-said but process of indexation and acceptance of the loss.

Igor Rončević has been painting for a very long time with the consciousness that his painterly signature can be constructed from a series of disparate fragments, and so his collage paintings are composed of elements or stylistic details thanks to which his canvas has become a place where ambivalent worlds meet - an ntersection of their paths. Rončević is therefore, a painter of ludic individualism, but, at the same time, painter with wide erudition and above all, a curious pirit, who, in a unique way - in different clusters of itations - applies and joins together experiences from he entire history of art. In his works we have for some ime observed the meetings of some of at first sight rreconcilable contrasts - the experiences of Pop art, European and American abstraction, experiences of gestural and lyrical provenance, different traces and tyles of figuration... All this heterogeneous material has been relativized in his interpretation, often even in blasphemous combinations; in a conspicuously easy and organic way, these combinations merge into a unique whole consisting of forms and meanings which are difficult to decipher. Analysis of Rončević’s paintings reveals the absence of a specific rational system that accumulates the building blocks of a painting - a mental landscape - but not the absence of a peculiar talent for creating compositional balance in a painting.The basic building block in the cycle Dulčić’s fragments is the line - stripes, that is linear, ribbon-like shapes, curved lines which meander on the surface of the canvas, and in the painted area, lines freely applied with a finger in fresh paint. The basic ludic element is colour, and the cartography of the canvas is a road with innumerable directions. The painter, treating the surface of the canvas as a field of total action, creates networks of interlacing multicoloured verticals, lively blue, blue-green and brown hues, coloured without an apparent system or principle, and also of varying width but, despite the seemingly limited starting points of his painting, he creates situations rich in interesting shifts and intriguing pictorial and colouristic happenings. The painter’s main preoccupation is the interaction of ‘neon’ colours (obviously a reference to the twentieth-century’s ‘neon’ enthusiasts), which has been achieved with a simple composition consisting of a knot of interwoven ribbons of intense colours which belong to a different chromatic register in each painting. Streams of complementary or contrasting colours, which spread out across the painted field like the tributaries of a river, subject to confluence, adopting features of the neighbouring colour, sharing the light and darkness of a ‘neon’. Although the impression implies the opposite, the application of colours, their touching and eventual interaction are strictly controlled by the skill of a great colourist. Dulčić’s fragments display Rončević’s fascinating power of unexpected associative perception. The painter now reaches for the excess of colour remaining on his palette from the work on previous paintings. He applies the colour to the canvas with a spatula in a relief impasto, and he revives the dried background with a lazure glaze of a chosen colour. On a saturated but still obviously ‘neon’ grid, the painter - evenly, like a collage detail - applies islands of open colour on the surface of the painting, which he finally paints with a brush, applying vertical white lines over the colour. These shapes of an associative and metaphorical nature are an integral part of the semantic scaffolding of composition but, without particular declarative frameworks and associative attributes, we can never precisely say what they actually represent although they are reminiscent of many things, such as seeds, bacteria, cellular microcosm, unstable primitive forms of life, the macrocosm of the universe, the structures of crystals, technical graphs, calligraphy, secret codes... The linear clarity of the drawing makes motifs concrete and palpable, possessing volume, in fact, possessing bulging physicality. In new paintings, the personal sign of the artist, which arrived in the painting from the activity of the conscious and the unconscious, has been replaced with small shapes, most similar to an oval, which look like separate pieces attached to the surface of the painting and which are reminiscent of specific painterly and artistic tendencies. Their monochrome surfaces are filled with verticals which are particles of the rational or, to put it better, from the constructivist stylistic repertoire, reminiscent, for example, of Daniel Buren’s verticals. Two divergent components - the abstract and the rational - stylistically and typologically separate, but chronologically parallel - pour into an evocative encounter which reveals a nostalgia towards two-dimensional painting. Experiences of posters and graphic design, gestural abstraction, abstract expressionism, lyrical abstraction and everything else that can be observed in this cycle of paintings are a homage to global modern painting, while the islands on the paintings pay tribute to the constructivist section of the twentieth-century avant-garde. The contents of Rončević’s paintings are also reminiscent of the rhythmicality of human figures in Dulčić’s representations of the events on Stradun, town squares, beaches, dances... In addition, to Rončević, as a Mediterranean man - in his formative years - Dulčić was an important painter and, if we persist in searching for formal similarities in their ‘handwritings’, we will find them in the hedonism of painterly matter and the sensuality of colour, luxuriant layers, the saturation of impasto painting, gestural vitality, but mostly in the Mediterranean sensibility, the Mediterranean sonority of colour, their solarity, the southern light and virtuosity of their metiérs. Like Dulčić, Rončević is also re-confirmed as a painter of impulses, of lush, luscious and extremely personalized matter, of layers of pigments, of vehement and moveable gestures, of fluid pictorialism…* * *Let us also say in conclusion that Rončević does not want to state, establish or interpret anything but to incessantly reveal possibilities, their fundamental interchangeability and arbitrariness, and following that, a general insecurity. With the skill of an experienced master painter, he also questions relationships with eclecticism and the aesthetics of kitsch; for example, he explores how far a painter can go into ornamentalization, decorativeness and coquetry without falling into the trap of kitsch but to maintain regularly the classy independence of a multilayered artifact and to question the very stamina of painting. He persistently reveals loyalty to the traditional medium of painting, the virtuosity of his métier and a strong individual stamp, strengthening his own position as a peculiar and outstandingly cultivated painter, but he also exhibits the inventiveness which makes him both different and recognizable in a series of similar painting adventures.

This article considers the work of the late Swedish painter Dick Bengtsson. It is conceived in an attempt to locate Bengtsson’s complex use of surface beyond the discourse of ‘sign games’ that has largely surrounded his practice to date. In addressing the limitations of a postmodern agenda concerned with Bengtsson’s prowess as a particular type of conceptual artist, this article explores his use of materials within individual artworks to elucidate less developed dimensions within his production.

Next to his signature, Viennese painter Johann Ignaz Cimbal often added a peculiar sign in his frescoes and oils. It is a combination of letters, appearing in a different form in each of the studied cases (Zalaegerszeg, Oberlaa, Zwettl, Peremarton, Tornyiszentmiklós, Nagykároly [ Carei]), which – and the poor state of the works – make the identification of the letters difficult. In most cases the sign reads VSG, so it is not the initials of the painter.In some Cimbal works the three letters also appear with iconographic meaning. On the picture of the King Saint Stephen side altar in the parish church of Tornyiszentmiklós the letters shining in the halo around the Holy Cross were identified as VSG earlier and decoded as “Vera Sacra Crux”. However, it is more likely that this abbreviation hides the same meaning as the monograms next to Cimbal’s signatures.Guidance to the elucidation of the monogram was provided by the ceiling fresco in the southern vestry-room of Székesfehérvár cathedral. The clearly readable VSG abbreviation appears in the corners of the triangle symbolizing the Holy Trinity, which leaves no doubt that it is in connection of the Holy Trinity. The most obvious explanation is the letters being the initials of the German words for the three divine entities, Vater, Sohn and [Heiliger] Geist.The attribution of the picture (Maria Immaculata) on the high altar of the parish church of Sárospatak to Cimbal was suggested on the basis of this motif, here in three corners of a triangular aureole around the Ark of Covenant. The attribution is also confirmed by style critical analyses. (Analogous are Cimbal’s Immaculata figures in Zalaeregszeg, Tornyiszentmiklós and Székesfehérvár.)The abbreviation alluding to the Holy Trinity, which is perfectly embedded in the iconographic fabric of some paintings, was also used by Cimbal independently of the theme, attached to his name. Inserting a sign referring to the Holy Trinity above his name must have been a religious gesture. Having completed a picture, the painter crossed himself, as it were, offering his work to God. He sealed his offering with the mysterious sign of God “in the name of the Father, the Son and the Holy Ghost”. (A similar religious gesture must underlie the signature 70 of an early Cimbal work, the Saint Anne altar picture in Vienna’s Barmherzigenkirche. The abbreviation “Zimbal i. VR” is traditionally interpreted as “In veneratione” with the explanation that the painter made the picture as a votive offering.) Cimbal always created a new composition out of the three letters, so it cannot have been his aim to make a recognizable constant “trade-mark”. (For this purpose he used his name with the customary addition “invenit et pinxit”.) The linking of the three letters is not just a customary formal solution as in monograms, but it has a meaning: it symbolizes the unity of the three divine persons, just as the circle in the triangle in Székesfehérvár.An extremely expressive iconographic solution needs special mention, applied almost to each of his depictions of the Holy Trinity in Hungary. It is the sceptre held by the three coeternal persons (hence it has extreme length). As it occurs so frequently, it cannot be part of an occasional client’s wish but much rather it is the painter’s invention. Perhaps a comprehensive examination of the entire oeuvre will discover further examples in support of the author’s hypothesis that the Holy Trinity was a particularly favourite theme of Cimbal. It was again his personal devotion that led him to use the Holy Trinity monogram.The motivation behind commissions for religious art works in the period was first of all the client’s personal religiosity. The religious motifs of the artists can usually only be inferred from indirect data and in connection with few works. One such sign is that for the duration of painting the frescoes Franz Anton Maulbertsch joined the Scapular Confraternity of Székesfehérvár, while the group portrait on the organ loft of Sümeg permits the assumption that he took part in the devotions of the Angelic Society founded by bishop Márton Padányi Biró. His pupil Johannes Pöckel who settled in Sümeg was a member of the local Confraternity of the Cord. Unfortunately, no information to this effect is known about Cimbal.His signature and Holy Trinity monogram testify that not only the client but also the painter offered his work to God.

Next to his signature, Viennese painter Johann Ignaz Cimbal often added a peculiar sign in his frescoes and oils. It is a combination of letters, appearing in a different form in each of the studied cases (Zalaegerszeg, Oberlaa, Zwettl, Peremarton, Tornyiszentmiklós, Nagykároly [ Carei]), which – and the poor state of the works – make the identification of the letters difficult. In most cases the sign reads VSG, so it is not the initials of the painter.In some Cimbal works the three letters also appear with iconographic meaning. On the picture of the King Saint Stephen side altar in the parish church of Tornyiszentmiklós the letters shining in the halo around the Holy Cross were identified as VSG earlier and decoded as “Vera Sacra Crux”. However, it is more likely that this abbreviation hides the same meaning as the monograms next to Cimbal’s signatures.Guidance to the elucidation of the monogram was provided by the ceiling fresco in the southern vestry-room of Székesfehérvár cathedral. The clearly readable VSG abbreviation appears in the corners of the triangle symbolizing the Holy Trinity, which leaves no doubt that it is in connection of the Holy Trinity. The most obvious explanation is the letters being the initials of the German words for the three divine entities, Vater, Sohn and [Heiliger] Geist.The attribution of the picture (Maria Immaculata) on the high altar of the parish church of Sárospatak to Cimbal was suggested on the basis of this motif, here in three corners of a triangular aureole around the Ark of Covenant. The attribution is also confirmed by style critical analyses. (Analogous are Cimbal’s Immaculata figures in Zalaeregszeg, Tornyiszentmiklós and Székesfehérvár.)The abbreviation alluding to the Holy Trinity, which is perfectly embedded in the iconographic fabric of some paintings, was also used by Cimbal independently of the theme, attached to his name. Inserting a sign referring to the Holy Trinity above his name must have been a religious gesture. Having completed a picture, the painter crossed himself, as it were, offering his work to God. He sealed his offering with the mysterious sign of God “in the name of the Father, the Son and the Holy Ghost”. (A similar religious gesture must underlie the signature 70 of an early Cimbal work, the Saint Anne altar picture in Vienna’s Barmherzigenkirche. The abbreviation “Zimbal i. VR” is traditionally interpreted as “In veneratione” with the explanation that the painter made the picture as a votive offering.) Cimbal always created a new composition out of the three letters, so it cannot have been his aim to make a recognizable constant “trade-mark”. (For this purpose he used his name with the customary addition “invenit et pinxit”.) The linking of the three letters is not just a customary formal solution as in monograms, but it has a meaning: it symbolizes the unity of the three divine persons, just as the circle in the triangle in Székesfehérvár.An extremely expressive iconographic solution needs special mention, applied almost to each of his depictions of the Holy Trinity in Hungary. It is the sceptre held by the three coeternal persons (hence it has extreme length). As it occurs so frequently, it cannot be part of an occasional client’s wish but much rather it is the painter’s invention. Perhaps a comprehensive examination of the entire oeuvre will discover further examples in support of the author’s hypothesis that the Holy Trinity was a particularly favourite theme of Cimbal. It was again his personal devotion that led him to use the Holy Trinity monogram.The motivation behind commissions for religious art works in the period was first of all the client’s personal religiosity. The religious motifs of the artists can usually only be inferred from indirect data and in connection with few works. One such sign is that for the duration of painting the frescoes Franz Anton Maulbertsch joined the Scapular Confraternity of Székesfehérvár, while the group portrait on the organ loft of Sümeg permits the assumption that he took part in the devotions of the Angelic Society founded by bishop Márton Padányi Biró. His pupil Johannes Pöckel who settled in Sümeg was a member of the local Confraternity of the Cord. Unfortunately, no information to this effect is known about Cimbal.His signature and Holy Trinity monogram testify that not only the client but also the painter offered his work to God.

In “Ridiculously Modern Marsden”, Tyrus Miller (University of California, Santa Cruz) explores the peculiar comic register of ‘the ridiculous’ and its modernity through the self-directed laughter of modernist painter and poet Marsden Hartley. A marginal figure of the Stieglitz circle, Hartley found his homosexuality too often the butt of the joke amongst his friends, and so chose to turn himself into an object of comedy. Tracing the play of this ostentatious self-ridicule, Miller shows how Hartley twins comedy and tragedy, turning laughter into a sign of ridiculous authenticity, a strange mode of gay affirmation.

The motif of three women sharing the same mantle is pictured on about a dozen vases dating from the first half of the sixth century BCE. Among these vases, the so-called “François Vase” and a dinos signed by Sophilos (now in London, British Museum) are of particular interest. The wedding of Thetis and Peleus is pictured on both vases. This theme is well-adapted to the representation of a procession of deities in which the Charites, Horai, Moirai, and Muses take part. The main feature of these deities is a shared mantle, which covers and assembles them, emphasizing that these deities are plural by definition. The main study on this iconographical theme remains that by Buchholz, who documented most of the depictions of the “shared-mantle” in ancient Greek vase-painting and small terracottas. The shared-mantle motif has been interpreted successively as a reference to the sacred peplos (in relation to the wedding), a simplification from the painter to avoid painting all the mantles, a sign of emotional/sexual union, a religious gesture, and a depiction of choruses. The present study aims to consider in more detail the “shared-mantle” as an iconographic sign that involves the idea of community, shared identity, and emotional bond.

Submitted by Fabio Sobreira Campos da Costa (fabio.sobreira@ufpe.br) on 2016-07-14T13:40:53Z No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) Tese_COMPLETA_Finizola_BC.pdf: 15017973 bytes, checksum: ec16e9c5e202e4748ef88679ad0dbd31 (MD5)<br>Made available in DSpace on 2016-07-14T13:40:53Z (GMT). No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) Tese_COMPLETA_Finizola_BC.pdf: 15017973 bytes, checksum: ec16e9c5e202e4748ef88679ad0dbd31 (MD5) Previous issue date: 2015-02-27<br>Manifestações espontâneas provenientes do design informal caminham lado a lado com a produção do design formal e por vezes se perdem na sua efemeridade por falta de registro ou por falta de reconhecimento pela academia e pelo mercado. Os letreiramentos populares podem ser incluídos neste universo e se caracterizam como artefatos de comunicação que figuram na paisagem urbana de inúmeras cidades, desde o centro à periferia. Elaborados por meio de processos manuais, são executados em sua grande maioria por artífices anônimos, caracterizando-se como interferências tipográficas urbanas. Assim, esta pesquisa tem como objetivo geral o estudo da tradição do letreiramento popular no Estado de Pernambuco, a partir da análise de seus aspectos formais e de sua prática, bem como da investigação inicial de suas origens, buscando traçar um perfil da produção destes artefatos nesta região, com ênfase em seus aspectos tipográficos. Para isso, foi desenvolvido um mapeamento dos letreiramentos e de seus originadores — os pintores de letras — em seis cidades de Pernambuco: Recife, Gravatá, Caruaru, Arcoverde, Salgueiro e Petrolina. Portanto, este projeto se propôs a dar continuidade à pesquisa de mestrado Panorama Tipográfico dos Letreiramentos Populares – Um estudo de caso na cidade do Recife, parte integrante do projeto de pesquisa Memória Gráfica Brasileira: Uma análise comparativa das cidades do Rio de Janeiro, São Paulo e Recife (PROCAD/CAPES), ampliando, desta forma, o seu corpus analítico e aperfeiçoando seus instrumentos de análise, a fim de validar, em outros territórios, as hipóteses e conclusões da pesquisa anterior, bem como reunir novas informações a respeito deste tema. Ao longo da extensa pesquisa de campo realizada, foram registradas mais de mil imagens e entrevistados doze pintores de letras da região. Também foram visitados alguns acervos de livros e imagens da Fundação Joaquim Nabuco, do Instituto Ricardo Brennand e do Museu da Cidade do Recife. Ao final da pesquisa, os dados coletados nos permitiram: (1) Investigar a presença e características dos letreiramentos na paisagem urbana do Estado entre o final do século XIX até a década de 1950; (2) Validar os aspectos tipográficos dos letreiramentos populares, bem como a classificação elaborada por Finizola em 2010 para os letreiramentos populares do Recife, abordando um corpus analítico mais amplo; (3) Entender a prática do ofício do pintor de letras no Estado de Pernambuco, suas inspirações, processo de aprendizado, materiais e técnicas empregadas, entre outros aspectos.<br>Spontaneous manifestations from the universe of informal design go hand in hand with the production of formal design, and very often become lost within their own ephemerality because either they remain unrecorded or they receive no academic or market recognition. Vernacular lettering and graphics may be included within this universe and are characterized as communication artefacts that figure across the urban landscape of many cities, extending from the city centers out to the suburbs. Developed through the use of manual processes, they are mostly undertaken by anonymous craftsmen, and categorized as typographical urban interference. The main aim of this research has been to study the tradition of vernacular lettering in the state of Pernambuco, analyzing both the formal and practical aspects, as well as an initial investigation into its origins, seeking to trace a profile of the production of these artifacts within this region, emphasizing their typographic aspects. In order to do this, we have mapped out the lettering, together with the originators - the sign painters – across six cities/towns within the state of Pernambuco: Recife, Gravatá, Caruaru, Arcoverde, Salgueiro and Petrolina. Thus, this project proposes a continuation of the master’s research entitled A typographic panorama of vernacular lettering - a case study in Recife, which was an integral part of the research project The Brazilian graphic memory: a comparative analysis of the cities of Rio de Janeiro, Sao Paulo and Recife (PROCAD/CAPES). Hence, we have broadened the analysis and improved the analytical tools in order to validate the hypotheses and conclusions of previous studies in other territories, as well as gathering fresh information regarding this theme. Throughout the extensive field research, we collected more than 1000 photographic records and interviewed 12 craftsmen. We also visited several book and image collections at the Joaquim Nabuco Foundation, the Ricardo Brennand Institute and the Museum of Recife. On conclusion of our research, the collected data has permitted us: (1) to investigate the presence and characteristics of vernacular lettering within the urban landscape of the state between the end of the 19th century and the 1950s; (2) to validate, within a broader analytical sense, the typographical aspects of vernacular lettering and the classification developed by Finizola in 2010 for vernacular lettering in Recife, and (3) to understand, amongst other items, the craft of lettering in the state of Pernambuco, its inspirations, the learning process and the materials and techniques employed.

In my essay I am looking at the common heritage of written signs and images through my own experience of attention deficiency and mental illness. Through this lens of experience in which words and images are vividly transformed and merged, I am reflecting on language and art and their overlapping. Throughout the text I reference early written entirely pictorial languages, the painterly terms of thought disorders, as well as how the images that gave name to the characters in the phonetic alphabet is still lurking in the very letters themselves. I also exemplify how attention deficiency can evoke new image/text hybrids in a chapter I call ADHD poetry. In my own artistic practice I am drawn towards a melting point of language, written sign, image, high and low, illusion-representation-materiality, intellect and intuition. The surface as a physical object and idea – that there is a two-dimensional space where we project fantasies and fiction. Through prose, play, rhythm, rant, word salad, crumble of meaning etc. sandwiched, I am observing the swelling of words.

This introductory chapter analyses the April fresco depicting the three Graces of classical tradition in the Salone dei mesi (Room of the months) of Ferrara's Palazzo Schifanoia. The Allegory of April transforms the abstract qualities of grace into an eloquent verbal language that is read from top to bottom by following the line of their spiritual passage from the heavens to deserving mortals below. Close allies of beauty and faithful escorts to Love, these qualities inspire the arts of love, poetry, and music. Through the sign of Taurus, they infuse the powers of liberality into the hearts of the elect. An ideal rather than a realistic portrait of universal grace and sociability, though, the fresco also conveys the real-world dearth of its qualities. For although the fresco's painter, Francesco del Cossa, paints grace with grace, he fails to receive grace in return. He shares in a problem that fifteenth-century poets, artists, male courtiers, and court ladies knew well: the problem of what happens when the grace personified and idealized in the figure of the three Graces meets with nothing but ingratitude.

In this chapter, we explore the variety of ways that people react to yard signs. First, we examine how citizens perceive signs and the act of displaying a sign in general, testing common beliefs about signs, such as the idea that people find signs informative, aesthetically displeasing, and indicative of political division. Second, we examine how citizens perceive norms favoring or opposing campaign signs—or rules prohibiting them—to paint a picture of neighborhood environments across the country. Third, we examine emotional reactions to yard signs, noting that a sizable number of people react to signs with pride, anxiety, and anger. Finally, we address whether citizens share the skepticism of many pundits about the impact of signs, viewing signs through the lens of political efficacy. Throughout the chapter we find substantial differences in attitudes between sign displayers and non-displayers, but also differences across social contexts.

Cardinals’ portraits were not only intended for private residences and painted by famous artists, but were also produced in multiple copies of variable quality that still can be found on the art market. In these paintings, often based on portrait prints, likeness or artistic merit were not the most important criteria. Inventories show that most of these copies were actually made for religious institutions, such as orders and confraternities, of which these cardinals were appointed protector. This essay deals with the question of how and when these portraits were obtained and where they were displayed; by means of this spatial contextualization, it explains the legal function of these portraits within these institutions.

Across the two wide windows, carefully drawn calico curtains filtered the white light of early dawn into the room. It was a very big room with a high ceiling, furnished with antique Louis XV furniture of painted white wood, and decorated with red flowers...

A Linguistic Landscape (LL) analysis of the symbolic presence of Arabic in public spaces presents a picture of a language in distress. While Arabic appears second to Hebrew on most road signs, and this is generally followed by English, one can note the following: (1) the Arabic script is mostly a transliteration of the Hebrew name of a place, and not the Arabic name, (2) Arabic is generally written carelessly, with mistakes in spelling, grammar and/or lexical choice, (3) many signs in Jerusalem appear with the Arabic crossed out with dark paint, (4) in spite of the municipal regulation of signage in a city like Jerusalem, subtle acts of resistance which escape the regulator, can still be noticed, such as in the Saladin’s sign in East Jerusalem’s main commercial street, (5) in Nazareth there are signs in Arabic letters, but with Hebrew and English structures given Hebrew syntax. Lastly, this chapter follows the narrow streets of the Old City of Jerusalem from Hebron Gate to Jaffa Gate. While the distance is short between these two major gates, the different signs and their organisation, along with the choice and order of languages, tell the story of a city where Arabic and Hebrew are present. The representation of Arabic and Hebrew reveals a divided city where speakers of these languages live separate lives as they share this very sacred sliver of space.

In our days we face a fundamental issue concerning road signs. We may display contents in vertical and horizontal format (static signs, variable message signs, road markings), either on a post, a gantry or a dashboard. And we foresee a coming age where the excellent matrix resolution of painted signs will be truly approached by the resolution of full matrix displays. But we also risk a babel context threatening the universal approach encouraged by international catalogues as the 1968 Convention (ECE/TRANS/196, 2007). And the fundamental risk comes from our decisions regarding how the transition from the contents and formats displayed on static message signs to the ones displayed on electronic signs (in gantries or dashboards) should be. Our work explores this issue specifically, considering the transition from Advance Direction Signs (static message signs, class G, 1 in the 1968 Convention) to what could be termed Advance Location Signs (signs concerning the location of variable events with regards to certain landmarks) developed as an adaptation of the G, 1 class to electronic traffic signs.DOI: http://dx.doi.org/10.4995/CIT2016.2016.3217

Immediate mechanical revascularization forlarge population of acute myocardial infarction (AMI) patients, is logistically impractical. Effectiveness of early intravenous rt-PA,and feasibility of delaying the coronary angioplasty were studied. 57 AMI patients were enrolled since October 1986; 30 via Emergency ward, and 27 via mobile intensive care unit. The mean time interval from onset of ischemic pain to rt-PA bolus was 115+52 min.The protocol included an initial 10 mg rt-PA bolus followed by continuous infusion of 110 mg over 6 hr, concomitant continuous heparin and lidocain infusion, and aspirin 250 mg/day; coronary catheterization after 72 hr. and angioplasty of suitable infarct-related artery (IRA). 49 patients (86%) had clinical signs of reperfusion (disappearance of chest pain with resolution of ST elevation) within 60 min. The 8 "non-responders" were treated earlier (shorter time interval from onset of painto rt-PA bolus) than the "responders"(87+37 and 120+53 min respectively,p=0.01). Of "responding" patients, 5 had intermittant reocclusion-reperfu-sion cycles, and an additional 4 reoccluded silently before coronary catheterization (7 to 72 hr).29 PTCA successful procedures(53% of pats) of the infarct-related artery (IRA) were performed: 25 during the protocol catheterizationat 72 hr, and 4 which were performed as an emergency procedure of high grade stenosis (1),or totally occluded IRA (3), in 4 of the 8 "non-responders".There were 3 emergency and 8 elective bypass operations (20%). While in the 25 patients with anterior wallinfarction the admission Lt. ventricular ejection fraction (LVEF) (37+12%) improved (46+17%) at discharge, in the 30 patients with inferior wall infarction the admission and discharge LVEF were both normal.Two patients expired; one within minutes after treatment initiation, and the other following no response to the thrombolytic therapy and reocclusions of repeat coronary dilatations. These results indicate that rt-PA thrombolysis is a safe treatment modality enabling planning of deferred mechanical revascularization under more optimal conditions.

Slot film cooling is a popular choice for trailing edge cooling in high pressure (HP) turbine blades because it can provide more uniform film coverage compared to discrete film cooling holes. The slot geometry consists of a cut back in the blade pressure side connected through rectangular openings to the internal coolant feed passage. The numerical simulation of this kind of film cooling flows is challenging due to the presence of flow interactions like step flow separation, coolant-mainstream mixing and heat transfer. The geometry under consideration is a cutback surface at the trailing edge of a constant cross-section aerofoil. The cutback surface is divided into three sections separated by narrow lands. The experiments are conducted in a high speed cascade in Oxford Osney Thermo-Fluids Laboratory at Reynolds and Mach number distributions representative of engine conditions. The capability of CFD methods to capture these flow phenomena is investigated in this paper. The isentropic Mach number and film effectiveness are compared between CFD and pressure sensitive paint (PSP) data. Compared to steady k–ω SST method, Scale Adaptive Simulation (SAS) can agree better with the measurement. Furthermore, the profiles of kinetic energy, production and shear stress obtained by the steady and SAS methods are compared to identify the main source of inaccuracy in RANS simulations. The SAS method is better to capture the unsteady coolant-hot gas mixing and vortex shedding at the slot lip. The cross flow is found to affect the film significantly as it triggers flow separation near the lands and reduces the effectiveness. The film is non-symmetric with respect to the half-span plane and different flow features are present in each slot. The effect of mass flow ratio (MFR) on flow pattern and coolant distribution is also studied. The profiles of velocity, kinetic energy and production of turbulent energy are compared among the slots in detail. The MFR not only affects the magnitude but also changes the sign of production.

The Auto-Reference Creep Management and Control (ARCMAC) system is being developed as a technique to evaluate the remaining life of power plant components. The system consists of a pair of Inconel plates with a configuration of silicon nitride (SiN) spheres on them, and a camera system used to take images of the gauge during the component’s deformation. The purpose of the system is to measure the creep strain accumulated by a component at regular intervals, tracking the relative motion of the spheres in order to measure a point-to-point value of strain. The system is currently used to capture images of gauges already installed on power plants in the UK as part of scheduled maintenance during plant outages. It is also possible to use the ARCMAC system to capture speckle paint pattern data used in digital image correlation (DIC) in order to visualise the strain field across the heat affected zones (HAZ) in welds and around other strain concentration features. A newer version of the system: the Digital Single Lens Reflex (DSLR) ARCMAC is being developed specifically to capture this kind of data in order to complement the point-to-point strain measurements obtained. This article presents results of experiments performed at room temperature with the purpose of establishing the basic accuracy of the conventional ARCMAC and the DSLR ARCMAC in order to compare their performance. It also intends to evaluate the performance of the latter when used for digital image correlation. The results showcase the accuracy of the technique at high strains using the DSLR camera, showing its usefulness as a tool to measure creep strain.

The effect of fan-shaped, laid-back compound angled cooling holes placed along the span of a fully-cooled high pressure turbine blade in a 5-blade linear cascade on film cooling effectiveness is studied using the Pressure Sensitive Paint (PSP) technique. Four rows of shaped film cooling holes are provided on the pressure side while two such rows are provided on the suction side of the blade. Three rows of cylindrical holes are drilled at 30° to the surface on the leading edge to capture the effect of showerhead film coolant injection. The coolant is injected at four different average blowing ratios of 0.3, 0.6, 0.9 and 1.2. Presence of wake due to upstream vanes is studied by placing a periodic set of rods upstream of the test blade. The wake is generated using 4.8mm diameter rods. The wake rods can be clocked by changing their stationary positions in front of the test blade to simulate a progressing wake. Effect of wake is recorded at four phase locations with equal intervals. The free stream Reynolds number, based on the axial chord length and the exit velocity, is 750,000 and the inlet and the exit Mach numbers are 0.27 and 0.44, respectively resulting in a blade pressure ratio of 1.14. Turbulence intensity level at the cascade inlet is 6% with an integral length scale of around 5cm. Results show that the fan-shaped, laid-back compound angled holes produce uniform and wide coolant coverage on the suction side except for those regions affected by the passage and tip leakage vortices. The advantage of compound shaped hole design is seen from the higher effectiveness values on the suction side compared to that of the compound cylindrical holes. The presence of a stationary upstream wake can result in lower film cooling effectiveness on the blade surface. Variation of blowing ratio from 0.3 to 1.2 show more or less uniform increment in effectiveness increase on the pressure side, whereas on the suction side, the increment shows signs of saturation beyond M = 0.6.