Academic literature on the topic 'Visible figure'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Visible figure.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Journal articles on the topic "Visible figure"
1
Wilson, Keith A. "Reid's Direct Realism and Visible Figure." Philosophical Quarterly 63, no. 253 (September 13, 2013): 783–803. http://dx.doi.org/10.1111/j.1467-9213.2013.02002.x.
Full text
2
Yaffe, Gideon. "Reid on the Perception of Visible Figure." Journal of Scottish Philosophy 1, no. 2 (September 2003): 103–15. http://dx.doi.org/10.3366/jsp.2003.1.2.103.
Full text
3
Gavronsky, Serge. "Mallarmé visible et invisible." TTR : traduction, terminologie, rédaction 12, no. 1 (February 26, 2007): 115–30. http://dx.doi.org/10.7202/037355ar.
Full textAbstract:
Résumé Mallarmé visible et invisible — Le grand poète américain Louis Zukofsky, fondateur de l'école dite Objectiviste, dans la lignée de l'épique, incorpore la totalité du vécu. Dans cette vaste entreprise, intitulée « A », Mallarmé figure brièvement mais jamais jusqu'à présent n'a-t-on relevé les nombreuses naturalisations textuelles où le poète français, « translaté » en anglais dans « A »-19 (sans attribution aucune), non seulement figure dans l'oeuvre zukofskienne mais l'inspire profondément.
4
Grandi, Giovanni B. "The extension of color sensations: Reid, Stewart, and Fearn." Canadian Journal of Philosophy 41, S1 (July 2014): 50–79. http://dx.doi.org/10.1080/00455091.2014.897475.
Full textAbstract:
According to Reid, color sensations are not extended nor are they arranged in figured patterns. Reid further claimed that ‘there is no sensation appropriated to visible figure.’ Reid justified these controversial claims by appeal to Cheselden's report of the experiences of a young man affected by severe cataracts, and by appeal to cases of perception of visible figure without color. While holding fast to the principle that sensations are not extended, Dugald Stewart (1753–1828) tried to show that ‘a variety of colour sensations is a necessary means for the perception of visible figure.’ According to John Fearn (1768–1837), two motives appear to be central to Reid's views about color sensations and extension: his commitment to the Cartesian doctrine of the immateriality of the soul, and his attempt to evade ‘Hume's dilemma’ about the existence and immateriality of the soul.
5
Ryan Nichols. "Visible Figure and Reid's Theory of Visual Perception." Hume Studies 28, no. 1 (2002): 49–82. http://dx.doi.org/10.1353/hms.2011.0196.
Full text
6
Takeichi, Hiroshige. "The Effect of Curvature on Visual Interpolation." Perception 24, no. 9 (September 1995): 1011–20. http://dx.doi.org/10.1068/p241011.
Full textAbstract:
The effect of curvature on visual interpolation in partly occluded figures was examined. In experiments 1 and 2, the shape of a visually interpolated contour was measured by using a partially occluded triangle or a partially occluded circle as the target figure. The targets were cut off at both sides, with varying width from trial to trial. In experiment 1, the peak height, which was supposed to represent the shape of the interpolated contour, was measured for each target for each size of the visible part. A significant effect of curvature, as the difference in the peak height between the targets, was found when the width of the visible part was 10 to 20 min. The effect became stronger linearly with increasing length of the visible contour (the buildup effect). The effective curvature thus appeared to be measured along the visible contour in terms of the change of orientation. In experiment 2, the scale invariance of the buildup effect was examined with varying observation distance. It was found that the effect remained the same across scale if the effect was described in terms of visual angle of the visible arc, but not in terms of the proportion of the visible part to the whole figure. This suggests that the effect is derived from the visible contour, but not from the likelihood of the estimated shape of the partly occluded figure. It has been concluded that the curvature induces curved interpolation and that the curvature of the visible contour is measured along the contour as the change of orientation.
7
Huang, Ling, Lijuan Wang, Wangming Shen, Mengsha Li, Shiyu Wang, Xiaotong Wang, Leslie G. Ungerleider, and Xilin Zhang. "A source for awareness-dependent figure–ground segregation in human prefrontal cortex." Proceedings of the National Academy of Sciences 117, no. 48 (November 16, 2020): 30836–47. http://dx.doi.org/10.1073/pnas.1922832117.
Full textAbstract:
Figure–ground modulation, i.e., the enhancement of neuronal responses evoked by the figure relative to the background, has three complementary components: edge modulation (boundary detection), center modulation (region filling), and background modulation (background suppression). However, the neuronal mechanisms mediating these three modulations and how they depend on awareness remain unclear. For each modulation, we compared both the cueing effect produced in a Posner paradigm and fMRI blood oxygen-level dependent (BOLD) signal in primary visual cortex (V1) evoked by visible relative to invisible orientation-defined figures. We found that edge modulation was independent of awareness, whereas both center and background modulations were strongly modulated by awareness, with greater modulations in the visible than the invisible condition. Effective-connectivity analysis further showed that the awareness-dependent region-filling and background-suppression processes in V1 were not derived through intracortical interactions within V1, but rather by feedback from the frontal eye field (FEF) and dorsolateral prefrontal cortex (DLPFC), respectively. These results indicate a source for an awareness-dependent figure–ground segregation in human prefrontal cortex.
8
Takashima, Midori, Teruo Fujii, and Ken Shiina. "Amodal Completion is Not Completed Only behind the Occluder." Perception 38, no. 9 (January 1, 2009): 1410–12. http://dx.doi.org/10.1068/p6478.
Full textAbstract:
We investigated amodal completion with changes in two parameters: figure orientation, and the shape of the occluding and occluded figures. First, Markovich's [2002, Visual Mathematics4(1); http://www.mi.sanu.ac.rs/vismath/fila ] figure was presented in vertical, horizontal, and diagonal orientations. The results supported Markovich's finding of amodal completion by smooth continuity and symmetry. Amodal completion was also affected by orientation: symmetrical shape tended to appear when the pattern had vertical axis whilst smooth continuity appeared in diagonal orientation. Next, the shape of the exposed side of the occluded figure was changed from straight to curved. Finally, the shape of the grey occluder was changed from a disk to a half-disk or a quarter-disk. The results then showed the influence of the visible contour on amodal completion. This shows that the contextual relation of the whole figure is significant in amodal completion.
9
Purghé, F., and A. Olivero. "Phenomenal Shrinkage and Expansion of Visual Surfaces: Is Amodal Completion a Factor?" Perception 26, no. 1_suppl (August 1997): 320. http://dx.doi.org/10.1068/v970189.
Full textAbstract:
When two figures intersect, two apparently paradoxical size effects take place (Kanizsa, 1979 Organization in Vision chapter 11): (1) the partly occluded figure looks shorter than an identical unoccluded figure, and (2) the modally visible parts of the occluded figure look larger than identical isolated parts. Kanizsa explains such effects as due to amodal completion. Three experiments were carried out by the method of adjustment to test this explanation: two were devoted to the shrinkage effect, and the third one was devoted to the expansion effect. The first experiment exploited the properties of the so-called Helmholtz - Ratoosh law (T-shaped vs Y-shaped junctions) to test whether a figural shrinkage is also present in a pattern in which amodal completion should not occur. The second experiment was aimed at checking whether stereoscopic displacement of the ‘occluded’ figure ‘behind’ or ‘in front of’ the ‘occluding’ one is capable of affecting the amount of shrinkage. In the third experiment the Helmholtz - Ratoosh law was again applied to the expansion. The results of all three experiments converge in showing that the amount of shrinkage of the whole ‘occluded’ figure as well as the ammount of expansion of the ‘modally visible’ parts are not affected by the presence or the absence of amodal completion. We conclude that both the shrinkage and the expansion effects are due to other factors, probably the same factors as those that affect classical optical-geometrical illusions, such as the Oppel - Kundt or the horizontal - vertical illusions.
10
Vasyliev, Valentyn, Encarnacion G. Villora, Masaru Nakamura, Yoshiyuki Sugahara, and Kiyoshi Shimamura. "UV-Visible Faraday Rotators Based on Rare-Earth Fluoride Single Crystals: LiREF4 (RE=Tb, Dy, Ho, Er and Yb), PrF3 and CeF3." Key Engineering Materials 582 (September 2013): 194–97. http://dx.doi.org/10.4028/www.scientific.net/kem.582.194.
Full textAbstract:
High optical quality LiREF4(RE = Tb3+, Dy3+, Ho3+, Er3+and Yb3+), PrF3and CeF3single crystals have been grown by the Czochralski technique. Their magneto-optical properties have been measured and analyzed in detail in the ultraviolet-visible wavelength region, and their figures of merit as Faraday rotators have been determined. CeF3presents superior properties above 300 nm, showing a figure of merit higher than that of the reference material, terbium-gallium-garnet, which is nowadays used in the visible-near infrared. PrF3is the best rotator for the 220-300 nm range. Towards shorter wavelength and in the vacuum ultraviolet, it is shown that the LiREF4crystals are unique rotators.
Dissertations / Theses on the topic "Visible figure"
1
Bellis, Delphine Julie. "Le visible et l’invisible dans la pensée cartésienne : figuration, imagination et vision dans la philosophie naturelle de René Descartes." Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040015.
Full textAbstract:
Le but de ce travail est de comprendre les différents aspects du processus de figuration dans la philosophie de Descartes, en particulier pour une connaissance des corps de la nature. La notion de figure revêt différentes fonctions, des premières œuvres de Descartes jusqu’aux plus tardives : fonction méthodique de représentation conventionnelle des relations entre nos notions, objet géométrique, mode de l’étendue assigné par la métaphysique à la réalité des corps, délimitation externe de corps sensibles ou de corpuscules invisibles dans la physique. Nous cherchons à rendre compte de ces dimensions dans leur ensemble pour comprendre comment la pensée de Descartes évolue des Regulae aux textes plus tardifs et s’efforce de répondre à un problème nouveau qui ne se posait pas pour la scolastique, celui de la connaissance de la figure de corps déterminés. Ce problème peut se poser parce que la métaphysique à la fois établit la figure comme mode essentiel de l’étendue des corps et refuse a priori de recourir à la sensation pour la connaissance, mais il se pose aussi en termes purement épistémologiques pour la constitution d’une physique. Nous montrons qu’une clé de ce problème réside dans la théorie de la vision présentée dans la Dioptrique, mais que ce texte appelle en partie son propre dépassement en direction d’une physique corpusculaire qui met en jeu un usage spécifique de l’imagination et de l’expérience. Ceci doit nous permettre de repenser, à partir de la notion de figure, ce qu’il a été convenu de considérer comme un aspect de la mathématisation de la nature opérée au XVIIe siècleMy aim, in this dissertation, is to explore the various aspects of the process of figuration in Descartes’ philosophy, particularly with respect to the knowledge of natural bodies. Moving from Descartes’ early to his more mature works, we find that the notion of figure (or shape) played a variety of roles: it possessed a methodological function, as a conventional representation of the relations between our notions, but also designated, respectively, a geometrical object, a mode of extension assigned by metaphysics to the reality of bodies, and an external delimitation of sensible bodies or of invisible corpuscles in physics. In analyzing these different functions, my aim is to understand how Descartes’ thought evolved from the Regulae to later texts, while trying to answer a new problem that did not exist for the scholastics, namely that of the knowledge of the shape of determined bodies. This problem arose partly because Descartes’ metaphysics had established shape as an essential mode of bodily extension, while at the time refusing a priori to appeal to sensation for knowledge, but it also emerged for purely epistemological reasons in the process of constituting a new physics. In my thesis, I argue that one key to this problem is to be found in the theory of vision, presented in the Dioptrique, a text that moves, however, towards a corpuscular physics that relies on a specific use of imagination and experience. From this analysis of the notion of figure or shape, we are able to shed a different light on what so far has been considered an integral aspect of the 17th century’s mathematisation of nature
2
Gueirard, Ninuwe. "Recherches sur la géométrie de l'espace visuel : le cas particulier de l'appréciation de la distance." Thesis, Aix-Marseille, 2017. http://www.theses.fr/2017AIXM0478.
Full textAbstract:
Cette thèse se propose d’étudier la difficulté de l’estimation de la distance dans le cadre de la géométrie de l’espace visuel. En philosophie de la perception, cette thèse est d'abord discutée au plan épistémologique : comment savoir que cette distance n'est pas connue ou connaissable, quoique perçue et discutée. Les travaux de Berkeley nous servent de point de départ et fixent un cadre spéculatif, puisque Berkeley soutient en effet que le jugement porté sur la distance résulte entièrement de l'expérience, quoique cette distance ne puisse être vue phénoménalement. La thèse se propose d'examiner une question essentielle supportée par cette alternative centrale mais au plan ontologique cette fois : comme déterminer de quel type est la distance : est-elle inconsciemment visible ? tangible ? ou visible et tangible à la fois ? Peut-elle être une entité assignable dans un espace hyperbolique, ou sphérique, un espace strictement euclidien, ou hyperbolique et sphérique en même temps qu'euclidien ? Pour appuyer notre propos et notre recherche nous mettrons à l’épreuve différents textes et expériences en passant de Berkeley à I. Rock ou de T. Reid à M. Wagner. Notre but aura été d'explorer les limites argumentatives et de montrer ce qui est impliqué par ces différentes appréciations et assignations de la distance dans tel ou tel espace déterminé. A chaque fois s'affrontent la géométrie de l’espace visuel et l’optique physiologique, mais au sein d'un même débat de fond qui consiste à savoir comment définir philosophiquement l’estimation de la distance ?This thesis examines the difficulties in estimating the geometrical distance of visual space. Submitted in the field of Philosophy of Perception, this thesis is first discussed from an epistemological standpoint: how does one know that this distance is unknown or unknowable despite being perceived and discussed. The various works of Berkeley serve as a point of depart and establish a speculative framework as Berkeley held that judgment of distance results entirely from experience despite the fact that this distance cannot be seen in a phenomenal way. This thesis examines an essential question supported by this central problem, this time from an ontological position: how is the type of distance to be determined: is it unconsciously visible?tangible? or both visible and tangible at the same time? Can it be categorized in a hyperbolic space, or spherical space, or a strictly Euclidean space, or hyperbolic and spherical at the same time as Euclidean? In support of the thesis and research, various texts and experiences have been examined and contrasted, including those of Berkeley and I. Rock as well as T. Reid and M. Wagner. The goal has been to explore the limits of argumentation and to show what is implicated by these different accounts and assignment of distance in one, versus another, determined space; additionally studying subjects including the experience of the alleys or the so-called the moon illusion, which appeared to be demonstrative examples. In each instance, geometry of visual space and physiological optics confront one another, but at the center of this same fundamental debate is the question of how to define the estimation of distance philosophically?
3
Nichols, Ryan Tate. "Reid's Philosophy of Mind." Connect to this title online, 2002. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1039111436.
Full textAbstract:
Thesis (Ph. D.)--Ohio State University, 2002.Document formatted into pages; contains vii, 369 p. Includes bibliographical references. Abstract available online via OhioLINK's ETD Center; full text release delayed at author's request until 2005 Dec. 5.
4
Moeglin, Karine. "Religion et notables : recherches sur une communauté juive entre Hesse et Thuringe, Schmalkalden, 1810-1942 : La "Mémoire allemande de l'histoire juive" ou des effets à long terme de la violence. L'histoire réinventée d'une communauté juive allemande : histoire immergée, histoire sur-visible et figure du discours historiographique sous l'impact de la Shoah." Paris, EPHE, 2003. http://www.theses.fr/2003EPHE5045.
Full textAbstract:
La communauté juive de Schmalkalden offre l’exemple d’un terrain d’enquête historiographique dont il est fondé d’analyser en même temps la fonction dans le traitement mémoriel du passé nazi dans l’Allemagne contemporaine, en particulier l’Allemagne réunifiée. « Communauté juive ordinaire » de Province, son étude historiographique offre une voie d’accès privilégiée à la tradition spécifique des juifs du monde rural et des petites villes en Allemagne entre le début du 19e siècle et sa destruction durant la période nazie. L’examen de la période suivant immédiatement la fin du nazisme, période occultée par la suite, montre la neutralisation d’une loi de restitutions individuelles de biens spoliés aux victimes des persécutions raciales pensée par ses promoteurs comme la condition nécessaire de leur réintégration dans une Allemagne démocratique. La mise au jour de cet échec conduit à s’interroger sur ses effets à long terme et à l’articuler, en liaison avec l’épisode nazi, avec le phénomène de « résurgence de l’histoire juive » dans l’Allemagne d’aujourd’hui, et sur sa fonction réelle : souvenir-écran, mémoire fantasmée ou au contraire traitement de biais de l’héritage violentThe Jewish community of Schmalkalden became an object of historical research. Why? What is the function of the “Jewish topic” and the possible meaning of research on local communities in the reunified Germany? This study of the sources concerning the Jewish community of Schmalkalden, not famous and constituted only by “ordinary” Jews, allows the focalisation on the specificity of the rural German Jewish world, which had been widely neglected in the writing of German-Jewish past. The immediate post-Nazism period in Thüringen is the time one side of emergence and on the other side of the failure of a reparation law to racial victims of the Hitler Regime. This had been sealed by the GDR government, but it is an important piece to understand the nowadays stand of the Germany-Jewish relationships, to connect with the phenomenon of a compulsive writing of the history of local Jewish communities in Germany today. This leads to the thesis of the “German memory of the Jewish History”, a risk of mix-between the respective place of history and memory and German and Jewish fields
5
Jutant, Camille. "S'ajuster, interpréter et qualifier une pratique culturelle : Approche communicationnelle de la visite muséale." Phd thesis, Université d'Avignon, 2011. http://tel.archives-ouvertes.fr/tel-00819239.
Full textAbstract:
La thèse contribue à comprendre le rapport qui peut s'établir entre expérience spécifique de la culture et relation à la culture, dans le cas particulier de la visite muséale. C'est la notion d'ajustement qui est proposée pour rendre compte de ce rapport. Celle-ci désigne un régime d'interaction au cours duquel, l'acteur social s'engage dans un corps-à-corps avec un dispositif de communication et interprète la situation en mobilisant des représentations de cette situation et de son rôle de visiteur. Aussi la première partie montre - grâce à un détour par les théories de l'ethnométhodologie, des représentations sociales et de l'interaction médiatisée - comment le cadre méthodologique de la thèse a été construit pour appréhender la pratique du visiteur en train de se déployer. Deux terrains ont été choisis pour cette analyse : une exposition temporaire, dans les salles du musée du Louvre, qui engage une situation postulée comme une expérience de visite ; et un jeu pédagogique sur téléphone portable, mené dans les salles du musée des arts et métiers, qui ébranle, précisément, ce prérequis. La deuxième partie présente ainsi une analyse qui met en regard l'étude de la préfiguration des situations de communication par les dispositifs pour chacun des terrains, et la dynamique de leur redéfinition par les visiteurs, dans un ajustement progressif. L'exemple du texte, en tant qu'il est un opérateur de médiation aux objets et aux savoirs, permet de voir comment le visiteur s'ajuste à une double anticipation (l'activité de lecture et l'activité de visite), dans une tension entre la caractérisation de ses postures de lecture, la retextualisation des propositions et la reformulation permanente du projet général de la visite. La troisième partie consiste alors à regarder comment le visiteur caractérise la situation qu'il est en train de vivre, non plus seulement à partir de son expérience de lecture, mais à partir de sa compréhension de son activité générale de visite. On observe alors que les visiteurs vivent profondément une situation d'interaction médiatisée, c'est-à-dire qu'à la fois ils postulent une forme de dialogue avec un concepteur qui leur " parle " et en même temps ils identifient en permanence le geste expographique qui consiste à mettre en scène un espace. Cette situation est vécue dans un jeu d'attention très forte aux caractéristiques sémiotiques de l'exposition et de suspension volontaire de l'incrédulité. Pour terminer, l'analyse a permis de mettre au jour trois formes d'ajustement caractéristiques : (1) la mobilisation et construction de figures de parcours et de figures de visiteurs qui médiatisent le rapport de l'acteur à sa propre pratique et qui lui permettent de juger la situation de communication qu'il est en train de vivre. (2) La prise de rôle qui s'élabore à partir de la nécessité de trouver un cadre pertinent d'interprétation pour l'activité. (3) Et enfin, le jeu entre description de l'activité et cadre général d'interprétation qui permet au visiteur de construire un rapport plus général à la culture.
6
Martin, Thérèse. "L'expérience de visite des enfants en musées de sciences dans le cadre des loisirs : logiques d'interprétation et enjeux d'un dispositif communicationnel." Phd thesis, Université Charles de Gaulle - Lille III, 2011. http://tel.archives-ouvertes.fr/tel-00783563.
Full textAbstract:
Cette recherche s'intéresse à l'interprétation des enfants dans le cadre de leur expérience muséale sur le temps des loisirs, lors de la visite en famille ; elle s'inscrit parmi les questions de la médiation de savoirs dans le contexte de deux expositions temporaires à thème, relevant d'institutions muséales de sciences. Cette recherche, descriptive et compréhensive a nécessité la mise en place d'un dispositif communicationnel méthodologique, " la mise en situation de rôle de guide " pour mettre au jour les logiques d'interprétation des enfants en tant que médiateurs entre l'exposition et un visiteur (le chercheur). Les enfants procèdent à des mises en relation avec les objets, le lieu, l'institution, et à des interactions avec le chercheur qui forment le substrat de récits de médiation soumis à notre analyse. Tout en tenant compte de la construction de la médiation en situation de guide, cette analyse a donné lieu à l'élaboration de cadres en jeu pour interpréter, selon les espaces discursifs de l'exposition de sciences (espace de la rhétorique, du jeu, de la performance) ainsi que l'espace de l'esthétique propre à la médiation des expositions retenues. Ce qui a permis d'élaborer quatre figures d'enfants-interprètes et leurs déclinaisons qui révèlent les modes d'appropriation de l'exposition par les enfants. Il s'agit de la figure de l'apprenant (selon l'approche de l'observateur, de l'expérimentateur et du perspicace), la figure du butineur explorateur, la figure du co-constructeur par le partage (selon l'approche du partage de connaissances ou du partage de la sensibilité esthétique), la figure de l'inventeur passionné (l'approche du passionné par son centre d'intérêt, par la scénographie, par le jeu). Dans le contexte muséologique, cette recherche s'inscrit plus largement dans une approche phénoménologique visant à comprendre les relations établies par les enfants avec le monde, ici avec le " monde synthétique " de l'exposition. Ce qui revient à comprendre la construction par les enfants du " monde utopique " de l'exposition lors de la visite. La médiation a permis de mettre en évidence à travers les relations, l'idée de partage lors de la visite, et de mieux connaître la culture muséale des enfants.
7
Mandia, Valérie. "Les prisonniers de l'oeil et de la conscience." Thèse, Université d'Ottawa / University of Ottawa, 2012. http://hdl.handle.net/10393/23193.
Full textAbstract:
Le premier volet de cette thèse en création littéraire, un récit, s’appuie sur une logique orientée à bâtir des passerelles là où c’est possible, et à mettre à plat les disciplines artistiques afin d’en révéler les limites. Cette difficulté particulière au coeur de la thèse met en place des stratégies d’hybridité susceptibles de renforcer l’intensité artistique inhérente à chaque discipline. Intitulé Décorps, le récit devenu ainsi hybride opère donc un rapport de synergie plastico-textuelle. Plus précisément, ce récit, à la frontière entre l’image et les mots, présente une narratrice, Valérie M., dont la voie/voix aboutit à une démarche non conventionnelle ouvrant un espace agonistique entre deux paroles artistiques, entre le même et l’autre, et entre le réel et la fiction. Le deuxième volet de cette thèse en création littéraire, une réflexion au sujet de l’entreprise artistico-littéraire, compte trois chapitres expliquant les raisons sous-jacentes au travail de création hybride. Pour ce faire, le premier chapitre examine les difficultés auxquelles doit faire face l’auteur-artiste dans un monde opaque. L’hybridité s’y découvre comme un outil herméneutique capable parfois d’introduire un minimum de sens dans un univers promis au chaos. Le deuxième chapitre explore pour sa part le métissage générique à partir de la notion d’autofiction à laquelle participe en partie Décorps. Il s’interroge sur les limites et la portée de ce type de représentation littéraire. Enfin, le troisième chapitre consiste en un retour sur Décorps en vue de comprendre ses processus d’hybridation et les tensions survenues au cours de la démarche artisticolittéraire. Ce dernier chapitre se penche sur le langage confronté à ses limites, touchant une forme de mort, de nécrose, là où il n’a plus de prise.
8
Alvarado, Alberto. "The role of interactive visualizations in the advancement of mathematics." Thesis, 2012. http://hdl.handle.net/2152/ETD-UT-2012-08-6163.
Full textAbstract:
This report explores the effect of interactive visualizations on the advancement of mathematics understanding. Not only do interactive visualizations aid mathematicians to expand the body of knowledge of mathematics but it also allows students an efficient way to process the information taught in schools. There are many concepts in mathematics that utilize interactive visualizations and examples of such concepts are illustrated within this report.text
Books on the topic "Visible figure"
1
Gervais, Bertrand, and Audrey Lemieux. Perspectives croisées sur la figure: À la rencontre du lisible et du visible. Québec, Québec: Presses de l'Université du Québec, 2012.
Find full text
3
Naked Barbies, warrior Joes, and other forms of visible gender. Urbana, IL: University of Illinois Press, 2004.
Find full text
4
Bagetto, Luca. La figura della parola: Visione e comunicazione nella Fenomenologia dello spirito. Torino: Trauben, 2000.
Find full text
5
Bagetto, Luca. La figura della parola: Visione e comunicazione nella Fenomenologia dello spirito. Torino: Trauben, 2001.
Find full text
6
Le illustrazioni in Italia tra Otto e Novecento: Libri a figure, dinamiche culturali e visive. Firenze: L.S. Olschki, 2009.
Find full text
7
Curinga, Luisa, and Marco Rapetti, eds. Skrjabin e il Suono-Luce. Florence: Firenze University Press, 2019. http://dx.doi.org/10.36253/978-88-6453-807-5.
Full textAbstract:
Skrjabin, figura eccentrica nel panorama musicale di inizio secolo, ha spesso suscitato tanto i più accesi entusiasmi quanto le critiche più feroci. Importanti ricerche effettuate negli ultimi decenni in Italia e all’estero hanno tuttavia condotto a una visione più equilibrata dell’uomo e della sua opera. I contributi ospitati nel presente volume provengono in buona parte dal convegno Svetozvuk, il ‘Suono-Luce’ (Conservatorio Cherubini di Firenze, 2015), e intendono apportare un tassello significativo agli studi skrjabiniani affrontando tematiche diverse e complementari. Lo sfaccettato caleidoscopio che ne risulta mette in luce il ruolo chiave di Skrjabin nel Novecento, non solo in quanto precursore della multimedialità, ma soprattutto come creatore di un linguaggio originalissimo destinato a influenzare generazioni di musicisti di differente formazione.
8
Bartoli, Maria Teresa, and Monica Lusoli, eds. Le teorie, le tecniche, i repertori figurativi nella prospettiva d'architettura tra il '400 e il '700. Florence: Firenze University Press, 2015. http://dx.doi.org/10.36253/978-88-6655-884-2.
Full textAbstract:
La prospettiva dell’età moderna nacque come un ponte gettato tra l’arte e la scienza. Essa dava necessità all’arte e rendeva visibile la scienza; il terreno di coltura fu quello dell’architettura, che da sempre impegnava in sinergia i cultori dell’una e dell’altra. L’ambito di pensiero in cui fu concepita si occupava degli argomenti più alti, l’universo e la terra: a partire dagli astronomi-geografi e dai topografi, si è costruita nel tempo come disciplina e metodo scientifico-artistico, derivando sistematicamente teoremi da teoremi, in un crescendo di complessità, che ha assunto forme talvolta acrobatiche, non aperte all’evidenza. Le tecniche prospettiche sviluppate nel tempo hanno accompagnato le figure dell’architettura e del figurativo nei loro mutamenti. Le attuali tecnologie informatiche ci permettono oggi di studiare i modelli di questo ambito artistico con la fiducia di poter portare alla luce una storia nuova su di esso. Questo volume raccoglie i saggi di 44 ricercatori che, all’interno di un Progetto Nazionale bandito nel 2011, coordinato da Riccardo Migliari di Roma, hanno aderito alla chiamata del gruppo fiorentino, di cui è responsabile Maria Teresa Bartoli, per illustrare il loro metodo di approccio culturale e tecnico al tema attraverso un caso-studio: fosse esso rappresentato da un dipinto o dai passi di un trattato.
9
Dolfi, Anna, ed. Stabat mater. Florence: Firenze University Press, 2018. http://dx.doi.org/10.36253/978-88-6453-688-0.
Full textAbstract:
Lo stabat mater, come pochi altri oggetti della tematologia, vede una stessa postura tradursi in linguaggi diversi, registra il modificarsi e il persistere di una gestualità che dà voce all’inaccettabilità della perdita e alla durata immobile del dolore. Dalle mères en deuil dell’antichità classica al venir meno di Maria ai piedi delle crocifissioni che hanno scandito la storia dell’arte, da Jacopone da Todi, dal Giotto degli Scrovegni ad oggi, rilievi in pietra e in marmo, pannelli lignei, affreschi, vetrate, incisioni, tempere, olii, manoscritti, scrittura, accanto alle note di Palestrina, Vivaldi, Scarlatti, Pergolesi, Boccherini, Rossini…, hanno riproposto la figura della madre dolente. In questo libro si è cercato di registrare le costanze e le alterazioni del topos, sottolineando le differenze che esistono tra espressioni verbali, musicali, visive in relazione al mutamento dei tempi, al rovesciamento del ruolo. Se la narrativa, soprattutto italiana, è presente con Manzoni, Fogazzaro, D’Annunzio, Gadda, Vittorini, Pavese, Dessí, la Morante, Calvino…; la poesia con Gatto, Jaccottet, la Szymborska, la Merini, Yves Bichet…, quanto intriga, in questo complesso volume ideato e curato da Anna Dolfi , è il tentativo di muoversi su terreni quasi di confine, facendo parlare il cinema (Pasolini), l’architettura, facendo interagire la musica con la letteratura e i libretti d’opera, intrecciando colonne sonore con film di successo, dando modelli figurativi alla fotografi a (con gli scatti di Letizia Battaglia). Testi poetici di De Signoribus e Vegliante, per l’occasione ricondotti al tema, sigillano una ricerca che si interroga su modelli e tipologie, mostrando anche l’esistenza di un ulteriore recente rovesciamento, quello, inedito, che vuole che sia la pietas del figlio a posare accanto alla madre.
10
Levinson, Marjorie, and Marjorie Levinson. Parsing the Frost. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198810315.003.0009.
Full textAbstract:
The reading of Coleridge’s “Frost at Midnight” at the center of this chapter opens up the cognitive and aesthetic stakes of seeing writing. It does so by analyzing the encounter with visible script, an experience that can be understood as a reworking of a previously unrecognized source, the scene of writing in David Hume’s A Treatise of Human Nature, Book 4. Just such an encounter is the activity in play with the figure of the window frost and with the entire poem. Broadly speaking, sentence formation is seen as analogous to frost formation. In this way, the discussion seeks to shift the sensory register of criticism of the poem from its traditional emphasis on the acoustic to a new appreciation of the visible.
Book chapters on the topic "Visible figure"
1
Kessler, Herbert L. "“Hoc Visibile Imaginatum Figurat Illud Invisibile Verum”: Imagining God in Pictures of Christ." In Seeing the Invisible in Late Antiquity and the Early Middle Ages, 291–325. Turnhout: Brepols Publishers, 2005. http://dx.doi.org/10.1484/m.usml-eb.3.2352.
Full text
2
Zanni, Raffaella. "« Medea crudele e dispietata » (Amorosa visione, IX, 26) : la figure de Médée dans l’oeuvre de Boccace." In Figures littéraires grecques en France et en Italie aux xive et xve siècles, 103–17. Turnhout, Belgium: Brepols Publishers, 2020. http://dx.doi.org/10.1484/m.rra-eb.5.118941.
Full text
3
Ouaissa, Rachid, Friederike Pannewick, and Alena Strohmaier. "Introduction." In Re-Configurations, 1–21. Wiesbaden: Springer Fachmedien Wiesbaden, 2020. http://dx.doi.org/10.1007/978-3-658-31160-5_1.
Full textAbstract:
Abstract This essay collection is the outcome of interdisciplinary research into political, societal, and cultural transformation processes in the Middle East and North Africa (MENA) region at the Philipps-Universität in Marburg, Germany. It builds on many years of collaboration between two research networks at the Center for Near and Middle Eastern Studies: the research network “Re-Configurations: History, Remembrance and Transformation Processes in the Middle East and North Africa” (2013–19), funded by the German Federal Ministry of Education and Research (BMBF), and the Leibniz-Prize research group “Figures of Thought | Turning Points: Cultural Practices and Social Change in the Arab World” (2013–20), funded by the Deutsche Forschungsgemeinschaft (DFG). Both research projects’ central interest lay in the political, social, and cultural transformation that has become especially visible since 2010–11; we conceptualize this transformation here using the term “re-configurations.” At the core of the inquiry are interpretations of visions of past and future, power relations and both political and symbolic representations.
4
"Color and visible figure." In New Essays on Thomas Reid, 66–67. Routledge, 2017. http://dx.doi.org/10.4324/9781315717296-21.
Full text
5
Schumacher, Ralph. "Berkeley on Visible Figure and Extension." In Reexamining Berkeley's Philosophy. Toronto: University of Toronto Press, 2007. http://dx.doi.org/10.3138/9781442684751-009.
Full text
6
Pierson, Ryan. "Introduction: Perception and Metamorphosis." In Figure and Force in Animation Aesthetics, 1–14. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190949754.003.0001.
Full textAbstract:
Look closely at an array of four dots, each one equidistant from and perpendicular to its two closest neighbors: . . . . Would you say that you see a square? If so, why? A square is four equal lines that make four right angles. The array above contains no visible lines. Try pointing to a line therein, and you will point to an empty space. And since the arrangement has no visible lines, it has no visible angles either....
7
Judovitz, Dalia. "The Visible and the Legible." In Georges de La Tour and the Enigma of the Visible. Fordham University Press, 2017. http://dx.doi.org/10.5422/fordham/9780823277438.003.0004.
Full textAbstract:
This chapter is focused on recurrent representations of books and acts of reading as pictorial subject matter in La Tour’s works. Several scenes of reading are examined starting with St. Jerome reading a letter, the Virgin Mary learning how to read, St. Joseph’s falling asleep while reading, and St. Alexis identified after his death on basis of a letter he holds in his hands. It presents an analysis of the ways words determine how we see and the role of reading as a figure for spiritual illumination understood as a way of seeing that challenges the realm of painterly expression. La Tour’s appeal to the word and the legible casts doubt on knowledge attained through vision in its reliance on visual signs. Indeed, reading as a figure for spiritual illumination challenges and opens up a conceptual redefinition of the visual realm of painterly expression.
8
Lee, Christine U., and James F. Glockner. "Case 9.13." In Mayo Clinic Body MRI Case Review, edited by Christine U. Lee and James F. Glockner, 444–45. Oxford University Press, 2014. http://dx.doi.org/10.1093/med/9780199915705.003.0235.
Full textAbstract:
86-year-old man with rectal bleeding; colonoscopy demonstrated a polyp in the ascending colon Axial SSFSE images (Figure 9.13.1) and coronal fat-suppressed SSFP images (Figure 9.13.2) show focal mural thickening in the distal ileum. The underlying lumen is dilated, and no proximal obstruction is visible. Axial (...
9
Lee, Christine U., and James F. Glockner. "Case 8.20." In Mayo Clinic Body MRI Case Review, edited by Christine U. Lee and James F. Glockner, 409. Oxford University Press, 2014. http://dx.doi.org/10.1093/med/9780199915705.003.0216.
Full textAbstract:
51-year-old woman with chronic UTIs Coronal SSFSE image (Figure 8.20.1) shows a cystic filling defect centrally in the bladder. A much smaller ovoid cystic structure is faintly visible on the right side of the bladder. Posterior volume-rendered image from a 3D FRFSE MR urogram (...
10
Schenck, Douglas, and Peter Wilson. "References." In Information Modeling: The EXPRESS Way. Oxford University Press, 1994. http://dx.doi.org/10.1093/oso/9780195087147.003.0020.
Full textAbstract:
Identifiers (or names) are created by a declaration. They are referenced by various statements. EXPRESS does not require declaration before reference, therefore the reference can come after or before the place where the declaration is given. The usual way of referring to a thing is to simply write its name. However, there are situations where a more elaborate reference — called a qualified reference — is needed. Some qualified names can be quite long. The Alias statement (13.2) can be used to simplify matters when the qualified name gets too clumsy to work with conveniently. A scope is a region of the source within which a name is visible. References to a name are legal in its scope but are illegal outside it. Scopes can be thought of as boxes nested within other boxes as illustrated by Figure 12.1. EXPRESS assumes that there is a giant box called the ‘universe’ which surrounds every other scope. All of the standard identifiers (Integer, Real... Abs, Usedln...) and all schemas are in the scope of the universe. As an example Figure 12.2 gives an inventory of the full names of the things shown in Figure 12.1 (but note that ‘universe’ is never specifically written). Although it may seem that some of the ‘given’ names are duplicates (AnAttribute for instance), when the full name is written out every name is unique. Name uniqueness is a requirement of EXPRESS. Peer names are visible to one another. The picture shows peer names as the ones inside the same box. The same effect is shown in the inventory by tracing common name elements from left to right until a name difference is found. Peer names are the ones at the level where the difference occurs. Visibility to other names starts at some point in the name chain. Every name along the path (reading from right to left) and their peers are visible. In the picture, start inside some box and jump outside. The names in that outer box are visible. Then jump to the next outer box, etc., until there are no more outer boxes. As an example, ASchema. AnotherEntity. AnotherAttribute (‘Universe’ will no longer be used) can ‘see’ the things shown in Figure 12.3. In fact, references can to their simple names can be used.
Conference papers on the topic "Visible figure"
1
Coppola, Giovanni. "Una rete castellare: il sistema fortificato irpino." In FORTMED2020 - Defensive Architecture of the Mediterranean. Valencia: Universitat Politàcnica de València, 2020. http://dx.doi.org/10.4995/fortmed2020.2020.11348.
Full textAbstract:
A network of castles: the Irpinian fortified systemIn Irpinia, to grasp the extent to which the multiform and varied castellated density still has today, it is necessary to look at its hilly and mountainous landscapes or read the toponyms of its villages: from the recent study carried out in the Province of Avellino, there is a list of 78 castles still visible in elevation, a very high figure if you consider that the entire provincial territory is composed of 118 municipalities, for a percentage of almost 70%. The period of study in which this research is based on Irpinia's fortification (castles, walls, towers and defensive walls) is part of the period in which the various foreign dynasties conquered the Regnum Siciliae giving rise to a military architecture which goes from the Longobard domination (568-774) to the advent of the Normans (1130-1194) and the Swabians (1194-1268), to retrace the phases of the coming first of the Angevins (1268-1435) and then of the Aragons (1442-1503).
2
Han, Li-Hsin, Tingji Tang, and Shaochen Chen. "Photo-Deformable Micro-Shells of Nanometer Thick." In ASME 4th Integrated Nanosystems Conference. ASMEDC, 2005. http://dx.doi.org/10.1115/nano2005-87059.
Full textAbstract:
Azobenzene is a chemical structure that directly transmits energy of ultraviolet (UV) light, through an isomerization between the trans and cis states of a double bond between two nitrogen atoms, to a mechanical effect that reduces its molecular length from 9.0 Å to 5.5 Å [1]. This phenomenon has been applied in the fabrication of photo-deformable polymers, where monomers containing azobenzene were polymerized to form gel-like materials [1, 2, 3]. The mechanism of photo-isomerization could be very promising for the field concerning nano/micro-electro-mechanical-system (MEMS/NEMS) [4]. Layer-by-layer (LBL) method [5, 6] is a method to form thinfilms of nanometer-scale thickness through a series of adsorptions of poly-anions and poly-cations onto a charged template. 3-dimensional (3D) hollow shells can be formed by casting the LBL film onto small particles and subsequently etching away the particles. [7–11]. This report is about a combination between the photoisomerization phenomenon and LBL method. Silica micro-spheres (6.84 μm in diameter) were used as templates. In a series of LBL procedures, poly- (1- 4- 3 carboxy- 4- hydroxyphenyl azobenzene sulfonaide-1, 2-ethanediyl, sodium salt) (PAZO) and poly-allylamine hydrochloride (PAH, a poly-cation) solutions were alternatively deposited onto the surfaces of the micro-spheres. Details of the procedures followed reference [9]. After 20 PAZO/PAH double layers were formed, we etched away the SiO2 cores by using 6:1 buffered hydrofluoride acid (BHF) and successfully formed 3-dimemsional (3D) hollow shells (Figure 1). We used a 355 nm Nd:YAG pulse-laser to irradiate the micro-shells. The microshells contracted anisotropically under the laser irradiation, and the shape of microshells changed from spherical to ellipsoidal. The long axes of the contracted microshell are parallel to the direction of the polarization of the UV laser (Figure 2). We believe that this anisotropic deformation is generated from a polarization dependence of the photo-isomerization rate of the azobenzene groups in the microshells. The deformed micro-shells were tested by irradiation of a 532nm pulse laser. The contraction, however, is not recoverable even through cis-trans isomerization was shown generated by visible-light irradiation [3]. To solve this problem, further study is needed to investigate the details of the micro-shells’ deformation. Nevertheless, we think it is quite possible that the irreversibility was resulted from the migrations and re-adhesions between the polyelectrolyte molecules during the UV irradiation. We believed that this kind of technique is very promising for the development micro and nanomachines (MEMS/NEMS). For instance, the large volumic shrinkage of the micro-shells could be applied to the field concerning nano-robots, artificial muscles, or drug delivery systems.
3
West, Jennifer L. "Near Infrared Absorbing Nanoparticles for Photothermal Cancer Therapy." In ASME 2008 Summer Bioengineering Conference. American Society of Mechanical Engineers, 2008. http://dx.doi.org/10.1115/sbc2008-192982.
Full textAbstract:
Advances in nanotechnology are expected to lead to the development of new and improved therapeutic strategies, amenable to targeting, that may ultimately revolutionize cancer treatment. For example, we have developed a nanoparticle-based photothermal cancer therapy that has shown high efficacy with virtually no damage to normal tissues (Hirsch et al., 2003, O’Neal et al., 2004, Lowery et al., 2006). This therapeutic strategy employs nanoparticles called nanoshells that are designed to strongly absorb near infrared (NIR) light. Metal nanoshells are a new type of nanoparticle composed of a dielectric (for instance, silica) core coated with an ultrathin metallic (for instance, gold) layer. Gold nanoshells possess physical properties similar to gold colloid, in particular, a strong optical absorption due to the collective electronic response of the metal to light. The optical absorption of gold colloid yields a brilliant red color that has been of considerable utility in consumer-related medical products, such as home pregnancy tests. In contrast, the optical response of gold nanoshells depends dramatically on the relative size of the nanoparticle core and the thickness of the gold shell. By varying the relative core and shell thicknesses, the color of gold nanoshells can be varied across a broad range of the optical spectrum that spans the visible and the near infrared spectral regions (Oldenburg et al., 1999). Gold nanoshells can be made to either preferentially absorb or scatter light at their plasmon resonance by varying the size of the particle relative to the wavelength of the light at their optical resonance. For cancer therapy, nanoshells are injected intravenously and allowed to accumulate in tumor sites due to the leakiness of the vasculature (EPR) and/or molecular targeting. Accumulation in the tumor sites peaks after several hours, at which time the tissue region is illuminated with NIR light for several minutes. NIR light is not absorbed to a significant extent by tissue components, but is strongly absorbed by nanoshells within the tumor. This leads to rapid heating of the tumor tissue without damage to adjacent normal tissues. In preliminary studies, complete tumor regression and 100% survival with no regrowth has been achieved. Mice with CT26 colon carcinoma tumors (4 mm diameter) were injected intravenously with NIR absorbing nanoshells that were coated with PEG-SH. 6 hr following nanoshell injection, the tumor sites were illuminated with light from a 820 nm diode laser (4 W/cm2) for 4 min. Animals in a sham group received a saline injection instead of nanoshells prior to NIR treatment, while a control group was untreated. Tumor size and animal survival were then tracked. As shown in Figure 1, all tumors treated with nanoshells had completely regressed within 10 days of treatment, while sham and control tumors had grown dramatically. Furthermore, all sham and control animals died within 20 days of treatment, while all nanoshell-treated mice continue to live (+12 months) with no tumor regrowth (Figure 2, O’Neal et al., 2004). Excellent nanoshell biocompatibility has been observed.
4
Boyano lopez villalta, Delia. "El desplazamiento del icono: estrategias de revisión y actualización de la tradición en el audiovisual contemporáneo." In IV Congreso Internacional de Investigación en Artes Visuales. ANIAV 2019. Imagen [N] Visible. Valencia: Universitat Politècnica de València, 2019. http://dx.doi.org/10.4995/aniav.2019.8980.
Full textAbstract:
La tradición cuenta que Santa Casilda de Toledo era hija de un rey musulmán del siglo XI, que tras convertirse al cristianismo comenzó a llevar pan a los presos cristianos. Cuando un día la detuvieron ante las sospechas de su traición y le pidieron que mostrara su mercancía, los panes que llevaba en su delantal se transformaron, milagrosamente, en rosas. Dentro de la Historia del arte, la hagiografía de la santa es revisada en el siglo XVII por el maestro barroco Francisco de Zurbarán, que la retrata como parte de una serie de cuadros dedicados a mártires cristianas que portan sus objetos de martirio. En la pieza performativa “But when she unfolded her apron…” parto de ambas referencias para realizar una actualización de la leyenda medieval. La pieza consiste en una mesa alargada y estrecha con una secuencia de dibujos sobre ella y un rail sobre el que se desliza un rodillo. Durante la performance, la figura de la santa se desplaza a la de la artista/performer que asume su papel dentro de la historia al tomar el rodillo entre sus manos y deslizarlo como si amasara el pan prohibido. Es esta relación cuerpo versus objeto el punto de partida de la actualización de la historia, pues como conexión entre el personaje mítico y yo misma, posibilita dicho desplazamiento. Al manipular el objeto no solo me convierto en la santa sino que además me hago partícipe de su sufrimiento. A lo largo de la ponencia analizaremos el desplazamiento de la figura de la santa a la performer/artista como estrategia de actualización del mito. Me propongo para ello relacionarla con otros desplazamientos en obras de artistas como Cindy Sherman, Coco Fusco o Pilar Albarracín, que emplean este mismo recurso de enmascarar o vestir su identidad con distintos enfoques y resultados.
5
Caro, María. "Anomalía en el libro de Kells. Dinámicas del acontecimiento." In IV Congreso Internacional de Investigación en Artes Visuales. ANIAV 2019. Imagen [N] Visible. Valencia: Universitat Politècnica de València, 2019. http://dx.doi.org/10.4995/aniav.2019.8985.
Full textAbstract:
Al igual que ocurre en un libro, una secuencia de imágenes impulsa determinados procesos de lectura propios de la estructura vermicular y de la relación causal entre los signos visuales que cohabitan o se suceden en esa secuencia. La obra fotográfica Anomalía en el libro de Kells (2018) se presenta como una serie formada por páginas sobredimensionadas en las que se incluyen y ordenan ciertas imágenes, propiciando un diálogo entre sí y entre los espacios en blanco que las separan. Como parte de la obra aparece también el llamado pie de foto el cual, adoptando determinados posicionamientos se convierte en un signo visual más . Esta investigación se centra en lo que ocurre cuando la imagen fotográfica se convierte en la figura citada en un texto, pero su relación con él no queda limitada a una mera ilustración enciclopédica, sino que subvierte su función y se desliza por las lindes de la referencia. El texto en este caso no nomina, no traduce ni enlaza de forma arbitraria a la figura que cita. ¿Cómo afecta a la lectura -ese proceso de desencriptado que se realiza de manera instantánea cuando el lector /espectador se enfrenta a la organización convencional de una página- que las conexiones entre significado y significante se materialicen en todo un campo de posibilidades? El análisis del acontecimiento narrativo desde sus estructuras fijas y pactadas hasta la observación directa de ciertas obras plásticas como las de Hamish Fulton, Victor Burgin o Duane Michals que conjugan formalmente texto e imagen; además de el análisis de los trabajos de directores de fotografía como Alberto Bianda o John Szarkowski conforman el método de investigación de este artículo y aportan las claves para desentrañar los distintos niveles formales y conceptuales en los que el suceso se desenvuelve.
6
TOLOZA HERNANDEZ, JOSE GERMAN. "Las “chicas Águila”. El uso sexista de la mujer en la publicidad colombiana." In IV Congreso Internacional de Investigación en Artes Visuales. ANIAV 2019. Imagen [N] Visible. Valencia: Universitat Politècnica de València, 2019. http://dx.doi.org/10.4995/aniav.2019.9019.
Full textAbstract:
Resumen La figura femenina erotizada y expuesta, día a día, en la publicidad parece rememorar la regla o característica del escándalo visual, en cuya psicología del consumo no pueden faltar mujeres que llamen al deseo sexual a partir de la función de implicación de la imagen con el observador, que antecede a cualquier cualidad del producto enunciado. En este sentido, el objetivo de este artículo es analizar –a partir de la campaña publicitaria Las chicas Águila, que se basa en la imagen de mujeres jóvenes en bikini y ajustadas camisetas de fútbol, hipersexualizadas y en actitudes de fiesta y celebración– cómo han sido utilizados los estereotipos sexistas sobre la mujer para vender cerveza en Colombia. En dicha campaña se observa que las mujeres son presentadas como imágenes-objetos o fetiches de belleza para ser contempladas y deseadas, hecho que es aceptado en el cotidiano y ha sido normalizado, aunque sea un mecanismo de violencia simbólica y de cosificación de la mujer. El método utilizado es el análisis de las imágenes de la campaña publicitaria a partir de algunos elementos de semiótica en la publicidad, la referencia a especialistas en el tema de los estereotipos femeninos y el análisis en el contexto sociocultural de Colombia.
7
Miranda Mas, Carlos. "Fascinaciones aplicadas: discursos artísticos de (re)colección." In IV Congreso Internacional de Investigación en Artes Visuales. ANIAV 2019. Imagen [N] Visible. Valencia: Universitat Politècnica de València, 2019. http://dx.doi.org/10.4995/aniav.2019.9504.
Full textAbstract:
Esta comunicación propone la investigación de un cruce entre campos del sistema artístico tan aparentemente alejados entre sí como interdependientes en su configuración histórica: si el artista y el coleccionista han sido tradicionalmente dos figuras casi antagónicas en sus correspondientes roles de productor y consumidor, uno como generador de discursos liminares y el otro como cosificador institucionalizante de éstos, hoy nos encontramos con toda una serie de poéticas que hacen de la recopilación de objetos culturales de una misma clase condición de operación lingüística. Así, este estudio se focaliza en dilucidar las relaciones que pueden establecerse entre los dos tipos de mirada que implican las figuras implicadas, la escrutadora de lo real en el caso del artista y la seguidora de compleción en el del coleccionista, para deducir esos modos de prácticas artísticas que las sintetizan como lectura recopiladora para resignificar materiales previos y, por tanto, constituir nuevos sentidos de acceso a la complejidad del mundo. Para ello, propongo un recorrido por diversos proyectos de otros tantos artistas que, mediante el agenciamiento de estas estrategias de colección, nos proporcionan un variado abanico de retóricas muy reveladoras de lo que entiendo como unas formas de economía política de la representación particularmente definitorias de las posibilidades críticas que hoy pueden articularse desde la producción artística. Me sirvo, pues, del análisis comparado de muy diferentes obras para establecer los intereses y modos de recolección que en ellas se emplean, de manera que pueda dilucidarse un nexo común que permita comprender esa mirada que, más allá de la mítica idea de creación romántica, y, sobre todo, mucho más acá, piensa haciendo mediante la recopilación, selección y resignificación relacional de lo ya dado, en un ejercicio político de las imágenes que opera en y ante algunas de las condiciones más determinantes de nuestra contemporaneidad.
8
López-Villar, Rebeca. "La bruja que existe pero no se ve: la invisibilidad cinematográfica como estrategia generadora de terror, desde Rebeca hasta La bruja de Blair." In IV Congreso Internacional de Investigación en Artes Visuales. ANIAV 2019. Imagen [N] Visible. Valencia: Universitat Politècnica de València, 2019. http://dx.doi.org/10.4995/aniav.2019.8965.
Full textAbstract:
En un contexto audiovisual caracterizado por el exceso y el abuso figurativo, parece que funcionan mejor aquellas películas terroríficas en las que el elemento monstruoso no se muestra ante los ojos del espectador. La finalidad de este texto será entonces comprobar si, frente a las representaciones cinematográficas normativas, la no-presentación de la figura de la bruja favorece en la contemporaneidad audiovisual a los objetivos de las películas de terror. Consideraremos además los posibles motivos que propician la asiduidad del motivo brujesco femenino (invisible o no) en las producciones cinematográficas de terror, cuestión que parece deberse al hecho de que el horror subraya lo diferente, y la bruja puede ser entendida como ese otro monstruoso y terrible. La asociación de la mujer con la otredad parece ser lo que favorece que la bruja se convierta en el estereotipo terrorífico ideal según las normas del patriarcado. Partiremos del paradigma de la invisibilidad perversa asociada a lo brujesco, la señora de Winter (Rebeca, Alfred Hitchcock, 1940), para reflexionar sobre determinados filmes recientes, como La bruja de Blair (Adam Wingard, 2016). Realizaremos un estudio basado en la confrontación, estableciendo analogías entre estas películas sin brujas palpables y aquellas otras en las que lo brujeril se vuelve exagerado y cargado de estereotipos: Hansel y Gretel: Cazadores de brujas (Tommy Wirkola, 2013), Expediente Warren: The Conjuring (James Wan, 2013), La noche de la bruja (Alex Merkin, 2017), etc. Concluiremos observando si en los casos de estudio analizados encontramos diferencias notables deducidas del modo en que se presenta el monstruo; esto es, si se generan significados distintos en función del grado de visibilidad del elemento brujesco, y si los efectos producidos en el espectador varían.
9
Méndez, Lorena López. "Un gesto una historia: proyecto artístico como herramienta de identidad y reminiscencia en personas mayores con Demencia temprana." In IV Congreso Internacional de Investigación en Artes Visuales. ANIAV 2019. Imagen [N] Visible. Valencia: Universitat Politècnica de València, 2019. http://dx.doi.org/10.4995/aniav.2019.8963.
Full textAbstract:
La presente comunicación, expone un proyecto artístico titulado “Usuario en Línea”, compuesto por un archivo configurado por una serie de fotografías de personas en actitud de trabajar en diferentes profesiones, sujetos anónimos pero reconocibles a través de objetos que configuran la imagen y dan paso a descubrir cuál es el trabajo que desarrolla la persona representada. Este proyecto posteriormente fue vinculado y dio paso a la elaboración de uno de los talleres realizados en el Centro de Referencia Estatal de Atención a Personas con Enfermedad de Alzheimer y otras Demencias (CREA) del Imserso en Salamanca. El Taller denominado “Un gesto una Historia” permitió la conexión con la historia de vida de los participantes y en concreto de sus actividades laborales, las cuales fueron descritas e incluso representadas gráficamente, con el fin de evocar recuerdos y vivencias pasadas. Las obras seleccionadas del proyecto, fueron analizadas con el objetivo de mantener activo el cerebro del usuario, es decir, invitan al espectador a un juego de percepción visual, (Arnheim, 2005), en el que se utiliza el Arte de Camuflaje (Méndez Baiges, 2007) para crear la imagen, donde las personas mayores con Demencia pueden ver objetos que en su conjunto forman una imagen de una persona desarrollando una actividad de la vida diaria (AVD) como es el trabajar. Estas obras nos permiten abrir el diálogo hacia varios caminos, permitiéndonos averiguar cuál y cuantos objetos se esconden tras el cuadro mediante el análisis de su silueta. El ejercicio precisa de atención sostenida y centrada en cada objeto que compone la figura. Este juego visual (Winnicott, 2008) ha sido utilizado con participantes en Fase leve y leve-moderada, obteniendo resultados positivos por el interés que despierta el juego visual y adivinanza entre los y las participantes, generándose episodios de humor y risas compartidas.
10
Alcino, Valeria Fabiana. "La imagen inmaterial. Visualidad, sonoridad y política en el arte contemporáneo argentino." In IV Congreso Internacional de Investigación en Artes Visuales. ANIAV 2019. Imagen [N] Visible. Valencia: Universitat Politècnica de València, 2019. http://dx.doi.org/10.4995/aniav.2019.9095.
Full textAbstract:
Este trabajo analiza la relación entre la imagen visual, la dimensión sonora y la historia política argentina en la obra Evidencias de Norberto Puzzolo y Eva. La lluvia de Nicola Costantino. La capacidad evocadora de lo sonoro como una dimensión de las emociones, de las huellas de presencias arrebatadas de un tiempo pasado, se propone como un punto de partida para la reflexión sobre el pasado de la historia reciente argentina, una historia en constante revisión y re-construcción. "Evidencias" (2010) -Museo de la Memoria de Rosario- es una instalación en proceso de Norberto Puzzolo (Rosario, 1948). Esta obra trata sobre la ardua búsqueda de las Abuelas de Plaza de Mayo y la restitución de la identidad a sus nietos, hijos de los desaparecidos por el terrorismo de Estado (1976-1983). Desde este punto, se intenta abordar la sonoridad, el movimiento de las imágenes y las múltiples temporalidades: pasado/presente; pasado/futuro; presente/futuro. Pensar el sonido como un signo de presencia/ausencia, como signo de aquello que en un tiempo venidero podrá –o no- estar presente. La instalación Eva. La lluvia (2013) de Nicola Costantino (Rosario, 1964) forma parte de la obra Rapsodia Inconclusa (2013) que a partir de una serie de video-instalaciones trabaja el aspecto íntimo de la vida de Eva Perón. Del grupo, ésta es la producción que evoca la dimensión pública de Evita, pues de una forma abstracta representa los funerales de la importante figura política de la historia argentina. Este estudio considera la desmaterialización visual -que en este caso es conceptual- producida por el aspecto sonoro de la obra como parte fundamental del proceso artístico. En conclusión, esta ponencia intentará explorar las tensiones entre visualidad y sonoridad, las formas inmateriales constitutivas de sentidos vinculadas con poéticas y reconstrucciones de la memoria histórica.