Journal articles: 'String in art'

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Quenell, Gregory. "Envelopes and String Art." Mathematics Magazine 82, no. 3 (June 2009): 174–85. http://dx.doi.org/10.1080/0025570x.2009.11953616.

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Quenell, Gregory. "Envelopes and String Art." Mathematics Magazine 82, no. 3 (June 1, 2009): 174–85. http://dx.doi.org/10.4169/193009809x468779.

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Birsak, Michael, Florian Rist, Peter Wonka, and Przemyslaw Musialski. "String Art: Towards Computational Fabrication of String Images." Computer Graphics Forum 37, no. 2 (May 2018): 263–74. http://dx.doi.org/10.1111/cgf.13359.

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Schwartz, Richard Evan. "Circle quotients and string art." Topology 41, no. 3 (May 2002): 495–523. http://dx.doi.org/10.1016/s0040-9383(01)00017-9.

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Yan, Yu-Song, Hui-Li Cai, and Bin Yan. "Data Hiding in Symmetric Circular String Art." Symmetry 12, no. 8 (July 26, 2020): 1227. http://dx.doi.org/10.3390/sym12081227.

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Creative digital artwork is usually the outcome of a long period of intellectual creation and labor of an artist. Similarly, computer-created digital artwork is an outcome of a large amount of machine time and computational resources. However, such intellectual properties can be easily copied by illegal users. Copyright protection of digital art is increasingly more important than before. Recently, using a computational approach to generate string art tends to be popular and attractive. To protect the illegal usage of the digital form of string art, we propose a data hiding algorithm specifically designed for string art. A digital string art image consists of a sequence of string lines, each specified by two nails fixed at the two ends of that line. The encrypted secret data (the watermark) is embedded into the list of line segments by odd–even modulation, where a bit ‘1’ is embedded by forcing the next node to be an odd node, and a bit ‘0’ is embedded by forcing the next node to be an even node. To minimize the impact of data embedding on the quality of the original string art image, a local optimization algorithm is developed to select the nodes that produce minimal distortion. To quantify the embedding distortion, we introduce a smoothing filter model for the human vision system (HVS) specifically tailored to string art image. Experimental results show that using the proposed algorithm, the distortion between the original string art image and the watermarked string art image is unnoticeable. The modified string art image is statistically indistinguishable from the original string art, and hence is secure under steganalysis. To our best knowledge, this is the first work towards data hiding and copyright protection of digital string art.

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von Renesse, Christine, and Volker Ecke. "Discovering The Art of Mathematics: Using String Art to Investigate Calculus." PRIMUS 26, no. 4 (April 21, 2016): 283–96. http://dx.doi.org/10.1080/10511970.2015.1124160.

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Williams, Trevor. "Serving Art: Career Paths for String Players." American String Teacher 39, no. 2 (May 1989): 55–56. http://dx.doi.org/10.1177/000313138903900217.

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Fanelli, Michael. "The Art of String Teaching and Performance." American String Teacher 58, no. 1 (February 2008): 44–45. http://dx.doi.org/10.1177/000313130805800108.

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Fox, Christopher, and Ellen Fallowfield. "EDITORIAL: THE ART OF THE STRING MULTIPHONIC." Tempo 74, no. 291 (December 19, 2019): 3–5. http://dx.doi.org/10.1017/s0040298219000949.

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Haye, Roberta La. "String Art in a First Calculus Course." PRIMUS 26, no. 4 (April 21, 2016): 274–82. http://dx.doi.org/10.1080/10511970.2015.1124302.

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Proulx, Mikhel. "Vera Frenkel’s String Games: Improvisations for Inter-City Video." Virtual Creativity 13, no. 2 (October 1, 2023): 123–30. http://dx.doi.org/10.1386/vcr_00079_1.

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In the autumn of 1974, the Canadian artist Vera Frenkel staged String Games: Improvisations for Inter-City Video. Two groups of participants – five each in Toronto and Montreal – engaged in a remote version of the classic string game cat’s cradle. String Games is the first piece of telematic art. However, art historical attention to the artwork has been insufficient. String Games emerged from a watershed moment for network technologies, specifically within a context of telecommunications development in the Canadian nation state. Telecommunications-based art has a long legacy in Canada, the country that exactly a century before Frenkel’s artwork saw Alexander Graham Bell’s patent for the telephone in 1874. His namesake company launched the Bell Canada Conference TV System in the early 1970s. In its day, the System was one of only four organizations worldwide that provided conferencing technology that engaged video, audio and computer networks. Decades before studies alerted us to the cognitive overload of Zoom fatigue, the effects of ‘continuous partial attention’ and to the importance of non-verbal, bodily signals in digital media, Frenkel and her collaborators used telematics to consider new ways of being together with and through embodying new communications tools. This article provides a historical analysis of String Games, situates its role within the history of networked art, and explores the artwork’s co-operative realization of live connection and a feeling of co-presence in the context of technological development in the Canadian nation state. Within the context of early interactive video work, String Games was a notable innovator.

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Plowright, Poh Sim. "The Desacralization of Puppetry: a Case History from Rajasthan." New Theatre Quarterly 21, no. 3 (July 18, 2005): 273–98. http://dx.doi.org/10.1017/s0266464x05000163.

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In the autumn of 2003, Poh Sim Plowright went to Rajasthan—the cradle of string puppetry, where the Creator is perceived as the Arch Puppeteer controlling humans through strings—in search of the provenance of its famed string-puppet tradition (kathputli). She found an ancient collection of thirty-two stories—Sinhasan Battisi—(hitherto unknown in the West), focusing on a golden throne and female puppet power, which provides eloquent testimony to the original importance of the puppet art in that part of India. Yet in the streets of Udaipur today, that art seems to have been reduced to gaudy souvenirs and variety acts aimed at the foreign tourist. The old stories with their nourishing narrative frameworks are gone, and the town of Bassi, once famous for its wood-carvers and specialist puppet-makers, has abandoned its traditional rituals and techniques in the face of commercialism. In this article, the author considers the current state of string puppetry in Rajasthan in the absence of these rituals and stories, and looks at the possible future of the art. Poh Sim Plowright is Senior Lecturer in Oriental Drama and the Director of the Noh Centre at Royal Holloway, University of London.

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Sorkin, Jenni. "String, Felt, Thread: The Hierarchy of Art and Craft in American Art Elissa Auther." Journal of Modern Craft 3, no. 3 (November 2010): 381–83. http://dx.doi.org/10.2752/174967810x12868890612646.

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Dormor, Catherine. "String, Felt, Thread: the Hierarchy of Art and Craft in American Art, Elissa Auther." TEXTILE 9, no. 2 (July 2011): 269–71. http://dx.doi.org/10.2752/175183511x13055600095905.

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Chen, Yu-Fang, David Chocholatý, Vojtěch Havlena, Lukáš Holík, Ondřej Lengál, and Juraj Síč. "Solving String Constraints with Lengths by Stabilization." Proceedings of the ACM on Programming Languages 7, OOPSLA2 (October 16, 2023): 2112–41. http://dx.doi.org/10.1145/3622872.

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We present a new algorithm for solving string constraints. The algorithm builds upon a recent method for solving word equations and regular constraints that interprets string variables as languages rather than strings and, consequently, mitigates the combinatorial explosion that plagues other approaches. We extend the approach to handle linear integer arithmetic length constraints by combination with a known principle of equation alignment and splitting, and by extension to other common types of string constraints, yielding a fully-fledged string solver. The ability of the framework to handle unrestricted disequalities even extends one of the largest decidable classes of string constraints, the chain-free fragment. We integrate our algorithm into a DPLL-based SMT solver. The performance of our implementation is competitive and even significantly better than state-of-the-art string solvers on several established benchmarks obtained from applications in verification of string programs.

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Shen, Libin, Jinxi Xu, and Ralph Weischedel. "String-to-Dependency Statistical Machine Translation." Computational Linguistics 36, no. 4 (December 2010): 649–71. http://dx.doi.org/10.1162/coli_a_00015.

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We propose a novel string-to-dependency algorithm for statistical machine translation. This algorithm employs a target dependency language model during decoding to exploit long distance word relations, which cannot be modeled with a traditional n-gram language model. Experiments show that the algorithm achieves significant improvement in MT performance over a state-of-the-art hierarchical string-to-string system on NIST MT06 and MT08 newswire evaluation sets.

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Mitrović, Milana. "INTEGRISANI PRISTUP DIZAJNIRANJU STRING ARTA VELIKIH DIMENZIJA." Zbornik radova Fakulteta tehničkih nauka u Novom Sadu 35, no. 07 (July 1, 2020): 1330–32. http://dx.doi.org/10.24867/08fa23mitrovic.

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Istraživanje se bazira na analizama dvaju prethodno izvedenih string art radova velikih dimenzija te uočavanju njihovih problema i ograničenja. Cilj istraživanja postavlja se, kako na otklanjanje tih problema, tako i na pronalaženje novog integrisanog pristupa dizajniranju string arta velikih dimenzija implementiranjem novog vida segmentacije u dizajn rada.

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Wandelt, Sebastian, Dong Deng, Stefan Gerdjikov, Shashwat Mishra, Petar Mitankin, Manish Patil, Enrico Siragusa, et al. "State-of-the-art in string similarity search and join." ACM SIGMOD Record 43, no. 1 (May 13, 2014): 64–76. http://dx.doi.org/10.1145/2627692.2627706.

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Küchler, Susanne. "The String in Art and Science: Rediscovering the Material Mind." TEXTILE 5, no. 2 (August 2007): 124–39. http://dx.doi.org/10.2752/175183507x219416.

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Muller, Stephanus. "MICHAEL BLAKE'S STRING QUARTETS AND THE IDEA OF AFRICAN ART MUSIC." Tempo 76, no. 300 (April 2022): 6–17. http://dx.doi.org/10.1017/s0040298221000887.

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AbstractThis article considers if and how the five string quartets of the South African composer Michael Blake, written between 2001 and 2014, could be considered as contributing to the compositional and discursive construct that is ‘African art music’. ‘African art music’ has often been evoked in connection with the compositional practices of West African composers especially but has received little consideration and scrutiny of its possible applications to South African composition. The political and artistic isolation of South Africa from the rest of Africa during much of the twentieth century is an obvious reason why this has been the case. But there is also the possibility that white South African composers during and after apartheid have engaged in composition from different intellectual and aesthetic starting points, compared to their African counterparts, due to the specific kind of coloniality they inhabit. The five string quartets afford a perspective on how Michael Blake negotiated the continuities of compositional authority and universalised commitment to a traditional Western sound ideal in the string quartet, with the self-awareness that white composition in post-apartheid South Africa arguably requires.

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Ciofu, Anca. "Beautiful, Truth, Imaginary in the art of puppet theater - THE INSECT CIRCUS by String Theater." Theatrical Colloquia 11, no. 2 (November 26, 2021): 180–87. http://dx.doi.org/10.2478/tco-2021-0029.

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Abstract One of the shows invited to attend the 14th Edition of the Iaşi International Theater Festival for Young Audiences (FITPTI), outstanding performance with classic short string puppetry, was performed at the Small Hall of the Luceafărul Theater by String Theater from Great Britain. The London Company relies on the charm of the long strings animating techniques for puppets, maneuvered (manipulated) from a height. The Company started the activity in London, 2011, the founders are Soledad Zarate and Stan Middleton, descendants of several generations of artists specializing in the management and promotion of this type of theater, with Elizabethan roots and fresh puppet infusions. The Insect Circus is a gem show, a demonstration of mastery in the art of puppet handling. A performance that overturns prejudices related to this type of theater, but also a sample of good practice, an example of how the tenderness and clumsiness of these irresistible actors on strings can be enhanced.

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Ionescu, Radu Tudor, Marius Popescu, and Aoife Cahill. "String Kernels for Native Language Identification: Insights from Behind the Curtains." Computational Linguistics 42, no. 3 (September 2016): 491–525. http://dx.doi.org/10.1162/coli_a_00256.

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The most common approach in text mining classification tasks is to rely on features like words, part-of-speech tags, stems, or some other high-level linguistic features. Recently, an approach that uses only character p-grams as features has been proposed for the task of native language identification (NLI). The approach obtained state-of-the-art results by combining several string kernels using multiple kernel learning. Despite the fact that the approach based on string kernels performs so well, several questions about this method remain unanswered. First, it is not clear why such a simple approach can compete with far more complex approaches that take words, lemmas, syntactic information, or even semantics into account. Second, although the approach is designed to be language independent, all experiments to date have been on English. This work is an extensive study that aims to systematically present the string kernel approach and to clarify the open questions mentioned above. A broad set of native language identification experiments were conducted to compare the string kernels approach with other state-of-the-art methods. The empirical results obtained in all of the experiments conducted in this work indicate that the proposed approach achieves state-of-the-art performance in NLI, reaching an accuracy that is 1.7% above the top scoring system of the 2013 NLI Shared Task. Furthermore, the results obtained on both the Arabic and the Norwegian corpora demonstrate that the proposed approach is language independent. In the Arabic native language identification task, string kernels show an increase of more than 17% over the best accuracy reported so far. The results of string kernels on Norwegian native language identification are also significantly better than the state-of-the-art approach. In addition, in a cross-corpus experiment, the proposed approach shows that it can also be topic independent, improving the state-of-the-art system by 32.3%. To gain additional insights about the string kernels approach, the features selected by the classifier as being more discriminating are analyzed in this work. The analysis also offers information about localized language transfer effects, since the features used by the proposed model are p-grams of various lengths. The features captured by the model typically include stems, function words, and word prefixes and suffixes, which have the potential to generalize over purely word-based features. By analyzing the discriminating features, this article offers insights into two kinds of language transfer effects, namely, word choice (lexical transfer) and morphological differences. The goal of the current study is to give a full view of the string kernels approach and shed some light on why this approach works so well.

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Goretsky, Andrey P. "The Art of Composing a Fugue for a Melodic Instrument." Contemporary Musicology, no. 2 (2022): 172–86. http://dx.doi.org/10.56620/2587-9731-2022-2-172-186.

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The article explores the structure of polyphonic compositions for melodic instruments. The study found that the use of bowed string and wind instruments impacts a composer’s polyphonic technique. Fugues for melodic instruments employ either of the two options: the use of wind instruments, which, as is the case with the human voice, produce only one sound, or the use of bowed string instruments with incomparably greater possibilities. Therefore, polyphonic “kunstücks” for strings are much more common, since the possibility of performing two or more sounds gives way for polyphonic texture. Composing a fugue for a melodic instrument, composers sometimes resort to a special technique that creates the illusion of full-fledged polyphony—the so-called branching of the voice. Branching means that themes and counterpoint are written for different registers rather than for different voices (basically impossible for winds). This leads to the appearance of independent lines within the branched voice. Composing a fugue in such a rigid framework requires compliance with a number of requirements in relation to each of its components: from the theme and counter-theme to interludes and stretches. The analytical part of the report shows typical modifications of the established form and provides examples of the combination of polyphonic and instrumental performing techniques.

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Araújo, Evando Santos, Renato de Brito Mota, and Carlos Yure Barbosa Oliveira. "Teaching Math through Art: a didactic sequence proposal with scripts for the construction of conics by the string art technique." Ensino da Matemática em Debate 10, no. 2 (October 11, 2023): 87–108. http://dx.doi.org/10.23925/2358-4122.2023v10i258993.

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The interdisciplinary studies in the teaching of mathematics through art makes this articulation a source that generates comprehensive and significant knowledge for both areas, with the possibility of exploring playfulness and creativity for educational purposes. In this context, the string art technique (which consists of building different figures as a result of the orderly manipulation of strings on points fixed on a solid surface) is shown as a potential didactic resource for the development of methodologies that can improve aspects of teaching and learning of geometric figures and their properties, such as conical sections (little explored in relation to other geometric shapes). The exploration of the technique can help the teacher in the teaching process of Analytical Geometry, through dynamic classes using manipulative materials, with the possibility of obtaining better learning results. In this sense, the present work explores the context of interdisciplinary between Mathematics and Arts and proposes a didactic sequence directed to the teaching of conic sections in High School, with string art. The didactic sequence evidences a methodology oriented to the participation of students as active in the construction of their own knowledge, based on the guidelines for the construction of geometric figures by the mediator teacher. In the professional perspective, the objective of the didactic sequence (product of this work) is to help the teacher in the construction of new teaching methodologies that contribute to improve the student's knowledge about conics, in order to obtain satisfactory results in the teaching of Geometry and overcome difficulties observed in classroom practice.

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PROSPERI, MATTIA C. F., LUCIANO PROSPERI, REBECCA R. GRAY, and MARCO SALEMI. "ON COUNTING THE FREQUENCY DISTRIBUTION OF STRING MOTIFS IN MOLECULAR SEQUENCES." International Journal of Biomathematics 05, no. 06 (August 22, 2012): 1250055. http://dx.doi.org/10.1142/s1793524512500556.

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This work investigates frequency distributions of strings within a text. The mathematical derivation accounts for variable alphabet size, character probabilities, and string/text lengths, under both the Bernoullian and the Markovian model for string generation. The analysis is limited to the set of non-clumpable strings, that cannot overlap with themselves. Two formulae (exact and approximated) are derived, calculating the frequency distribution of a string of length m found inside a text of length n (with m < n). The approximated formula has a constant complexity (in contrast to an exponential complexity of the exact) and makes it applicable to very long texts. The proposed formulae were applied to analyze string frequencies in a portion of the human genome, and to recalculate frequencies of known repeated motif within genes, associated to genetic diseases. A comparison with state-of-the-art methods was provided. The formulae presented here can be of use in the statistical evaluation of specific motif frequencies within very long texts (e.g. genes or genomes) and help in characterizing motifs in pathologic conditions.

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AASLID, VILDE. "The Poetic Mingus and the Politics of Genre in String Quartet No. 1." Journal of the Society for American Music 9, no. 1 (February 2015): 1–25. http://dx.doi.org/10.1017/s1752196314000522.

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AbstractIn 1972, the Whitney Museum of American Art commissioned new musical settings of poems by Frank O'Hara for a concert honoring the late poet. Among pieces by Virgil Thomson and Ned Rorem, the program featured a new work by Charles Mingus: his String Quartet No. 1. Mingus's piece was performed only once, at that concert, and was never recorded. It survives only in manuscript form.String Quartet No. 1 thwarts nearly all expectations of a piece by Mingus. Scored for strings and voice, the work's modernist approach to rhythm and pitch is unprecedented for the composer. Mingus chafed at being categorized as a “jazz” composer, and String Quartet No. 1's style is both a bid for and an undermining of the prestige of the high art world. Faced with primitivist discourses that characterized jazz musicians as unschooled and nonverbal, Mingus deployed poetry as a mode of resistance. He worked with poetic texts throughout his life, often writing the poetry himself. Mingus's sensitive setting of O'Hara's text in String Quartet No. 1 points to the centrality of poetry to Mingus's artistic and political project, and suggests that the piece's anomalous style can be partially understood as his response to O'Hara's text.

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Sobaskie, James William. "The ‘Problem’ of Schubert's String Quintet." Nineteenth-Century Music Review 2, no. 1 (June 2005): 57–92. http://dx.doi.org/10.1017/s1479409800001567.

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Eschewing the polemic surrounding Franz Schubert's private life, as well as the habit of judging his art by Beethovenian criteria, many musicians now have chosen to focus on unique aspects of the composer's œuvre in order to illuminate its distinctive aesthetic values. In particular, some have sought to isolate and explain contextual processes responsible for compelling perceptions of drama and unity in Schubert's later instrumental works. The objects of their inquiries consist of progressive sequences of internally defined musical elements, relations and events that confer effects of internal momentum and comprehensive coherence on Schubert's music. These contextual processes complement tonal, formal and thematic procedures in Schubert's compositions and reveal an ingenious artist engaged in a restless search for new ways of organizing music.

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Pătraş, Andra Daniela. "Expression of the Romanian Folk Style in Béla Bartók’s String Quartet No. 1." Studia Universitatis Babeş-Bolyai Musica 67, no. 1 (June 30, 2022): 305–19. http://dx.doi.org/10.24193/subbmusica.2022.1.19.

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"Bartók’s string quartets play an important role in his overall output, as they represent a stylistic universe encompassing almost his entire oeuvre. In his String Quartet No. 1, Bartók aimed at reworking and expanding the folk elements as well as at developing his own personal expression. Despite being deeply rooted in folklore, this is not a folkloric work, but an expression that goes beyond folklore, which the composer placed in a new relationship to art-music. The aim of this research paper is to explore the aspects of language, the content conforming to the preoccupations of the modern era and the types of writing used, with a focus on the use of the melodic and rhythmic elements of folk music. The musical stylistics of this work is based precisely on the intertwinement and fusion of the two great creative principles: folk and art. Keywords: Béla Bartók, string quartet, folk elements. "

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bin Ismail, Md Jais, and Tazul Izan Tajuddin. "Compositional Techniques of Mediasi Ukiran – Tenunan VIII For String Quartet: A Study of Arabesque IV." ASIAN-EUROPEAN MUSIC RESEARCH JOURNAL 12 (December 13, 2023): 43–56. http://dx.doi.org/10.30819/aemr.12-4.

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This study focuses on a contemporary art work called Mediasi Ukiran – Tenunan VIII for String Quartet composed by Tazul Izan Tajuddin. The researcher highlights the concept of Islamic art, technique in the content, technique in the form, and the meaning of an ‘arabesque’. Compositional techniques were discussed in terms of: (1) pattern-based technique; (2) weaving as the concept of combining pitch and rhythm; and (3) a non-pitch-based concept of sound. The discussion includes the concept of geometrical design, which is reflected in the compositional structure. TTazul J.he weaving concept used in the music piece regards pitch and rhythm, and the concept of sound integrates pitches and non-pitches in the work. There are two main sources of contemporary art music in this study, which are Indo-Malay in ethnic essence and Islamic architectural and geometrical art. Mediasi Ukiran – Tenunan VIII is written for classical instruments, namely for a string quartet, though the concept of sound, composition, or better, the organization of materials, and the notation are made from combinations of some Eastern and Western ideas jointly creating a rather rarely appearing effect.

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Jackson, Philip W. "Dewey's 1906 Definition of Art." Teachers College Record: The Voice of Scholarship in Education 104, no. 2 (March 2002): 167–77. http://dx.doi.org/10.1177/016146810210400201.

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This paper contains an appreciative exegesis of a single sentence extracted from a speech that John Dewey delivered to an audience of teachers in 1906. The sentence was selected for analysis because of the extraordinarily concise manner in which it tacitly connects to a wide variety of Deweyan doctrines, particularly those having to do with Dewey's vision of human flourishing. The overall goal of the analysis is simply to bring the sentence to the attention of a wider audience. By displaying the hidden richness of this small string of words, delivered almost nonchalantly, one suspects, and on such a relatively inauspicious occasion, my hope is to prevent a tiny gem from remaining lost and forgotten within the vastness of Dewey's published works.

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Winter, Felix, Nysret Musliu, and Peter Stuckey. "Explaining Propagators for String Edit Distance Constraints." Proceedings of the AAAI Conference on Artificial Intelligence 34, no. 02 (April 3, 2020): 1676–83. http://dx.doi.org/10.1609/aaai.v34i02.5530.

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The computation of string similarity measures has been thoroughly studied in the scientific literature and has applications in a wide variety of different areas. One of the most widely used measures is the so called string edit distance which captures the number of required edit operations to transform a string into another given string. Although polynomial time algorithms are known for calculating the edit distance between two strings, there also exist NP-hard problems from practical applications like scheduling or computational biology that constrain the minimum edit distance between arrays of decision variables. In this work, we propose a novel global constraint to formulate restrictions on the minimum edit distance for such problems. Furthermore, we describe a propagation algorithm and investigate an explanation strategy for an edit distance constraint propagator that can be incorporated into state of the art lazy clause generation solvers. Experimental results show that the proposed propagator is able to significantly improve the performance of existing exact methods regarding solution quality and computation speed for benchmark problems from the literature.

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مدین, فاطمة. "الاستفادة من فن الفیلوغرافیا (String Art) لإثراء القیمة الجمالیة للمکملات الملبسیة المعاصرة." مجلة البحوث فی مجالات التربیة النوعیة 8, no. 42 (September 1, 2022): 947–85. http://dx.doi.org/10.21608/jedu.2022.115980.1578.

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Tomić, Stefan. "DIGITALNA FABRIKACIJA MONOHROMATSKIH SLIKA OD NITI KORIŠĆENJEM INDUSTRIJSKOG ROBOTA." Zbornik radova Fakulteta tehničkih nauka u Novom Sadu 34, no. 08 (July 27, 2019): 1339–42. http://dx.doi.org/10.24867/03fa02tomic.

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Ovaj rad se bavi algoritamskom problematikom jedne vrste kompjuterske umetnosti. To je iscrtavanje pomoću tankih niti, i dobijanje interesantne slike. Ovakva umetnost se naziva String art. String art predstavlja malo umetničko delo koje se kreira od konca, vune ili meke žice u boji. Posebna pažnja posvećena je algoritmu koji izbacuje pravila po kojima se povlače niti i iscrtava slika ili nečiji portret. Algoritam sadrži velik broj parametara, čija je promena potrebna za dobijanje kvalitetnog finalnog prikaza. Na većinu ovih parametara utiču rasporedi i nijanse piksela odabrane slike. Konačno, fabrikacija ovako dobijene slike pomoću industrijskog robota koji koncem za šivenje izvodi ovo umetničko delo, znatno olakšava i ubrzava naporan proces izvođenja koji dans umesto robota radi čovek.

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Hawkes, Dean. "Aarhus Town Hall and the ‘other’ environmental tradition." Architectural Research Quarterly 18, no. 3 (September 2014): 273–82. http://dx.doi.org/10.1017/s1359135514000621.

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The first chapter of Nikolaus Pevsner's The Englishness of English Art is entitled ‘The Geography of Art’. In this he presents a reflection on the validity of geography as a means of interpreting art and architecture and in it he proposes that, ‘there is a whole string of facts from art and literature [that are] tentatively derived from climate’. The instrumental connection of architecture and climate is widely accepted in the literature of socalled ‘architectural science’. But the influence of geography and the specific conditions of climate may be shown to have a more fundamental influence on architecture than simple pragmatism.

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Simanjuntak, Mardohar B. B. "Fondasi Kritik Karya Seni dari Perspektif Estetika Analitis Emansipatoris Noël Carroll." MELINTAS 32, no. 2 (August 31, 2017): 148. http://dx.doi.org/10.26593/mel.v32i2.2676.148-170.

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Defining what an artwork is has been a recurrent theme in aesthetics, or to be more specific, in the philosophy of art. Yet this is proven to be no simple matter. Thus finding the definition of art has proven to be an elusive undertaking as works of art have always kept on eluding one definition after another. A strong definition might have proven to be illusory. An analytic aesthetician, Noël Carroll has undertaken a complex, if not ambitious, project opting to refute this conundrum in aesthetics by proposing another perspective that stems not from metaphysics but an epistemological one. He managed to show analytically that the epistemological approach is far less problematic and even offers a string of advantages at the praxis level. Carroll completed his proposal by revising two of the most powerful definition of art, that is, the Kantian aesthetic experience and the Levinsonian historical definition of art in those he emancipated the most essential foundation disinterestedness coined by Immanuel Kant, and set the modified definition in a trail of historical correctness. The mix between these two strong elements has amalgamated in a new breed proposed by Carroll in that he labels it historical narrative. This, for Carroll, is a better option over endless disputes over the speculated essence of an artwork and its criticism.

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Zheng, Tianqi, Zhibin Zhang, and Xueqi Cheng. "SAHA: A String Adaptive Hash Table for Analytical Databases." Applied Sciences 10, no. 6 (March 11, 2020): 1915. http://dx.doi.org/10.3390/app10061915.

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Hash tables are the fundamental data structure for analytical database workloads, such as aggregation, joining, set filtering and records deduplication. The performance aspects of hash tables differ drastically with respect to what kind of data are being processed or how many inserts, lookups and deletes are constructed. In this paper, we address some common use cases of hash tables: aggregating and joining over arbitrary string data. We designed a new hash table, SAHA, which is tightly integrated with modern analytical databases and optimized for string data with the following advantages: (1) it inlines short strings and saves hash values for long strings only; (2) it uses special memory loading techniques to do quick dispatching and hashing computations; and (3) it utilizes vectorized processing to batch hashing operations. Our evaluation results reveal that SAHA outperforms state-of-the-art hash tables by one to five times in analytical workloads, including Google’s SwissTable and Facebook’s F14Table. It has been merged into the ClickHouse database and shows promising results in production.

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Li, Tianchang. "Analysis of Electric Guitar Improvisation Techniques." Journal of Contemporary Educational Research 7, no. 9 (September 26, 2023): 86–90. http://dx.doi.org/10.26689/jcer.v7i9.5350.

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As an important form of modern fusion music performance, electric guitar improvisation is widely praised and welcomed for its unique performance style. The main points and difficulties of its performance lie in tone switching, speed playing skills, and grasping the title, mood, and style of the music. Therefore, it is necessary to integrate the conventional techniques of string sweeping, pizzicato, and dotted strings with improvisation, applying differentiated rhythmic rhythms, timbre modulation, and special playing techniques to deepen the distinctive art-rock music characteristics.

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Pohl, Victoria. "Producing Curved Surfaces in the Octahedron: Enrichment for Junior High School Students." Arithmetic Teacher 34, no. 3 (November 1986): 30–33. http://dx.doi.org/10.5951/at.34.3.0030.

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String art on an octahedron provides a viable way to teach and illustrate geometric concepts to junior high school students. This learning experience also furnihes an opportunity to correlate mathematics and art. Furthermore, artistic geometric constructions often stimulate junior high school students, particularly those who do not fare well in other areas of mathematics. After completing the following construction, students and teache rs should agree that learning can be fun.

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PLAGA, R. "EMPIRICAL CONSTRAINTS ON VACUUM DECAY IN THE STRINGY LANDSCAPE." International Journal of Modern Physics A 22, no. 14n15 (June 20, 2007): 2661–72. http://dx.doi.org/10.1142/s0217751x07036737.

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It is generally considered as self evident that the lifetime of our vacuum in the landscape of string theory cannot be much shorter than the current age of the universe. Here I show why this lower limit is invalid. A certain type of "parallel universes" is a necessary consequence of the string-landscape dynamics and might well allow us to "survive" vacuum decay. As a consequence our stringy vacuum's lifetime is empirically unconstrained and could be very short. Based on this counterintuitive insight I propose a novel type of laboratory experiment that searches for an apparent violation of the quantum-mechanical Born rule by gravitational effects on vacuum decay. If the lifetime of our vacuum should turn out to be shorter than 6 ×10-13 seconds such an experiment is sufficiently sensitive to determine its value with state-of-the-art equipment.

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Thormäählen, Wiebke. "Playing with Art: Musical Arrangements as Educational Tools in van Swieten's Vienna." Journal of Musicology 27, no. 3 (2010): 342–76. http://dx.doi.org/10.1525/jm.2010.27.3.342.

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Art played a significant part in the educational ideal promoted by German intellectuals in the late eighteenth century. Gottfried van Swieten, President of the Court Commission for Education in Vienna and librettist for The Creation, was instrumental in developing and promoting the role of art in the moral education of the individual. His encouragement of active engagement with art sheds new light on the common practice of arranging musical "classics"——in particular large-scale vocal works——for smaller instrumental forces around 1800. Van Swieten's writings suggest that such arrangements may be understood not merely as entertaining trifles but as the product of the sociopolitical mores of the Enlightenment. Inviting the direct, interactive experience of art, the arrangement of Joseph Haydn's Creation for string quintet was particularly suited to the moral and social education of the individual. Grounded at least in part in archaic compositional practices, it demonstrated an artwork's adaptability to different circumstances of performance and to the different levels of education of its performers. Moreover, the act of playing the arrangement, one to a part, allowed for the honing of an individual's inner sociable sentiment through collaboration with fellow performers.

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Polianska, Kateryna. "The stages of formation of the department of bowed string instruments of the Ukrainian National Tchaikovsky Academy of Music." Art Research of Ukraine, no. 22 (November 29, 2022): 42–53. http://dx.doi.org/10.31500/2309-8155.22.2022.270883.

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The paper analyzes the stages of formation of the department of bowed string instruments of the Ukrainian National Tchaikovsky Academy of Music. The importance of the continuity of generations, of artistic and educational achievements is emphasised. The main milestones in the evolution of different schools of play on bowed string instruments, which during the 20th century were formed at the department, are given. Particular attention is paid to the work of prominent Ukrainian bowed string performers, the evolution of their art and scientific and methodological concepts. Today, the department actively works on the development of scientific and methodological manuals, educational, as well as professional, which deal with the performance on bowed string instruments in the context of higher professional education. At the same time, the systematic concert and performance activities of students and professors of the department gain wide popularity.

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Hamburger, Peter, and Edit Hepp. "Symmetric Venn Diagrams in the Plane: The Art of Assigning a Binary Bit String Code to Planar Regions Using Curves." Leonardo 38, no. 2 (April 2005): 125–32. http://dx.doi.org/10.1162/0024094053722426.

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The authors discuss artwork created by assigning a binary string code with length 11 to each of 211 = 2,048 planar regions formed intersection of 11 rotations of a single simple closed curve over 360/11 degrees. The goal of this process is to create the maximum number of connected regions, exactly one for each of the 2,048 different binary strings with length 11. The difficulty in this process lies in finding a suitable curve. The authors briefly describe the methods of finding these complicated curves and show how colors can be assigned to regions representing orbits of shifts of binary strings, thus creating unusual images.

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Kim, BeomSeok. "Developing Program of Mathematical Experiment Using String Art and Satisfaction for Expanding Mathematical Knowledge." Korean Association For Learner-Centered Curriculum And Instruction 20, no. 2 (February 1, 2020): 1055–70. http://dx.doi.org/10.22251/jlcci.2020.20.2.1055.

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Ostanin, Igor. "“String art” approach to the design and manufacturing of optimal composite materials and structures." Composite Structures 246 (August 2020): 112396. http://dx.doi.org/10.1016/j.compstruct.2020.112396.

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Chave, Anna C. "String, Felt, Thread: The Hierarchy of Art and Craft in American Art. By Elissa Auther. Minneapolis: University of Minnesota Press, 2010." Signs: Journal of Women in Culture and Society 36, no. 3 (March 2011): 762–64. http://dx.doi.org/10.1086/657511.

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CLARKSON, CHRIS, and ROY MAARTENS. "GRAVITY-WAVE DETECTORS AS PROBES OF EXTRA DIMENSIONS." International Journal of Modern Physics D 14, no. 12 (December 2005): 2347–53. http://dx.doi.org/10.1142/s0218271805007905.

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If string theory is correct, then our observable universe may be a three-dimensional "brane" embedded in a higher-dimensional spacetime. This theoretical scenario should be tested via the state-of-the-art in gravitational experiments — the current and upcoming gravity-wave detectors. Indeed, the existence of extra dimensions leads to oscillations that leave a spectroscopic signature in the gravity-wave signal from black holes. The detectors that have been designed to confirm Einstein's prediction of gravity waves, can in principle also provide tests and constraints on string theory.

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Lippe, Klaus. "MEDIUM/FORM RELATIONS IN BRIAN FERNEYHOUGH'S FOURTH STRING QUARTET." Tempo 66, no. 261 (July 2012): 37–50. http://dx.doi.org/10.1017/s0040298212000253.

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AbstractThe aim of this paper is to re-describe Brian Ferneyhough's compositional practice as an arrangement of medium/form relations in the sense of system theorist Niklas Luhmann. The production process of an artwork is understood as a procedure by which ‘a form is changed for another’, or rather: by which a form becomes a medium for further form distinctions, such that the contingency of the beginning is transformed into the necessity of the final work of art. Based on the preliminary ‘large-scale form’, the fundamental steps in the composition of the first movement of the Fourth String Quartet are observed as recursive operations in a self-referentially closed process of gaining form. Despite its formal closure, the final score's potentiality becomes a medium for further performative and perceptive actualizations. The artwork establishes itself on the level of second order observations, as a difference between the possible and the actual: between medium and form.

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DONALDSON, JAMES. "Second‐Order Topics and Prokofiev's String Quartets." Music Analysis 42, no. 2 (July 2023): 227–61. http://dx.doi.org/10.1111/musa.12218.

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ABSTRACTIn his 1957 Mythologies, Roland Barthes proposes a second‐order semiological system, in which a familiar sign is repurposed to become a new signifier and in the process mythologises the previous sign system. This article adapts this principle to musical topics in twentieth‐century music, using the case study of the eighteenth‐century topical universe as it appears in Sergey Prokofiev's two String Quartets.I approach this from two directions, exploring in turn the mechanics of internal relationships and wider historical‐political implications. First, drawing upon William Caplin's concept of formal functions and their various possible associations with topics (Caplin 2005), I propose that topics with formal associations can express formal functions without the requirement for clarity in the primary parameters of harmony, tonality, grouping and cadence. Accordingly, they signify on a second‐order plane. The recurring Mannheim rocket in the first movement of Prokofiev's String Quartet No. 1 (1931) provides a case study. Second, I demonstrate the parallels between a second‐order system and key tenets of socialist realism. Concepts such as dostupnost′ (making the work understandable to everyone) and opora na klassiku (based on past Classical models) echo Barthes's model, as meaning is drawn from reference to Enlightenment‐associated art as a whole, rather than the individual topics. I demonstrate these principles in practice with reference to Prokofiev's Quartet No. 2 (1941). Together, these second‐order perspectives show the deeply rooted reliance on eighteenth‐century semantics in Prokofiev's music and their wider aesthetic implications.

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Saponara, Sergio, Tommaso Baldetti, and Luca Fanucci. "A Cost-Effective 10-Bit D/A Converter for Digital-Input MOEMS Micromirror Actuation." VLSI Design 2010 (January 20, 2010): 1–7. http://dx.doi.org/10.1155/2010/169079.

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The design of a 10-bit resistor-string digital-to-analog converter (DAC) for MOEMS micromirror interfacing is addressed in this paper. The proposed DAC, realized in a 0.18-μm BCD technology, features a folded resistor-string stage with a switch matrix and address decoders plus an output voltage buffer stage. The proposed DAC and buffer circuitry are key elements of an innovative scanning micromirror actuator, characterized by direct digital input, full differential driving, and linear response. With respect to the the state-of-the-art resistor-string converters in similar technologies, the proposed DAC has comparable nonlinearity (INL, DNL) performances while it has the advantage of a smaller area occupation, 0.17 mm2, including output buffer, and relatively low-power consumption, 200 μW at 500 kSPS and few μW in idle mode.

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ACHAWANANTAKUN, RUJIRA, YANNI SUN, and SEYEDEH SHOHREH TAKYAR. "ncRNA CONSENSUS SECONDARY STRUCTURE DERIVATION USING GRAMMAR STRINGS." Journal of Bioinformatics and Computational Biology 09, no. 02 (April 2011): 317–37. http://dx.doi.org/10.1142/s0219720011005501.

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Many noncoding RNAs (ncRNAs) function through both their sequences and secondary structures. Thus, secondary structure derivation is an important issue in today's RNA research. The state-of-the-art structure annotation tools are based on comparative analysis, which derives consensus structure of homologous ncRNAs. Despite promising results from existing ncRNA aligning and consensus structure derivation tools, there is a need for more efficient and accurate ncRNA secondary structure modeling and alignment methods. In this work, we introduce a consensus structure derivation approach based on grammar string, a novel ncRNA secondary structure representation that encodes an ncRNA's sequence and secondary structure in the parameter space of a context-free grammar (CFG) and a full RNA grammar including pseudoknots. Being a string defined on a special alphabet constructed from a grammar, grammar string converts ncRNA alignment into sequence alignment. We derive consensus secondary structures from hundreds of ncRNA families from BraliBase 2.1 and 25 families containing pseudoknots using grammar string alignment. Our experiments have shown that grammar string–based structure derivation competes favorably in consensus structure quality with Murlet and RNASampler. Source code and experimental data are available at .

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Journal articles on the topic 'String in art'

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