Bibliografías temáticas / Synthesis of arts

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Literatura académica sobre el tema "Synthesis of arts"

Autor: Grafiati
Publicado: 4 de junio de 2021
Última modificación: 28 de mayo de 2022

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Artículos de revistas sobre el tema "Synthesis of arts"

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Jeschke, Claudia. "Massine's synthesis of the arts". Dance Chronicle 20, n.º 3 (enero de 1997): 343–46. http://dx.doi.org/10.1080/01472529708569291.

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Lisunova, Lyudmila, Inna Prokopchuk, Tetiana Tanko, Nataliia Tararak y Oleksandr Tararak. "The Synthesis of the Arts: from romanticism to postmodernism". LAPLAGE EM REVISTA 7, n.º 3B (19 de septiembre de 2021): 145–57. http://dx.doi.org/10.24115/s2446-6220202173b1525p.145-157.

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The article devoted to the genesis of the synthesis of the arts. The main research method is the cultural-historical approach, which allows considering this phenomenon in a historical perspective. Four stages were identified in the development of the arts: the primary syncretism of arts in primitive cultures; the separation of certain types of art and their acquisition of independence; the synthesis of the arts; the postmodern synesthesia of arts. The main ways of interaction of arts are determined: dominance, fusion, inclusion and juxtaposition. The authors of the article concluded that globalization, the development of technology, new types of communication contribute to the further complication and transformation of the synthesis of the arts, and such concepts close to it as “pluralism”, “interaction of arts”, “synesthesia” and “intermediality”. Broad prospects are opening up for the study of intermediality and multimedia as new heterogeneous semiotic systems.
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Rusevych, Tetiana y Hanna Zavadska. "MEDIA ART IN MODERN SYNTHESIS OF ARTS IN ARCHITECTURE". Architectural Bulletin of KNUCA, n.º 22-23 (12 de diciembre de 2021): 26–32. http://dx.doi.org/10.32347/2519-8661.2021.22-23.26-32.

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The article substantiates the problem of synthesis of media art in the modern synthesis of arts in architecture, provides a definition of the term " Media Art" as a higher form of artistic development. Attention is paid to the analysis of recent research and publications devoted to the study of the artistic component of interactive design in the synthesis of the arts of architectural space, the influence of media technologies on the formation of the architectural image of art centers, describing trends in media technology in architecture. The purpose of the article is to consider the forms of media art, their role in the synthesis of arts in architecture. The article emphasizes the objects created and embodied in Ukraine, describes the synthesis of arts from the angle of influence of media art on human perception and outlines the prospects for development. The history of the synthesis of arts in architecture from ancient times, the development of the synthesis of arts in the Art Nouveau style, the preconditions for the emergence of media art are briefly described. The synthesis of media art and architecture, interaction with other arts, namely painting, sculpture, music and others is considered on the example of the multimedia center Atelier des Lumières – "Workshop of the World" in Paris, which specializes in digital art exhibitions; Ukraine WOW exhibition in Kyiv, which is equipped with various forms of media art; media facades in Kyiv; media cube on the facade of Chicago Central House, which is the first media sculpture in Europe. The definition of "media facades" is also given and the influence of media technologies on the emotional and psychological state of a person is considered. Examples of interaction of various forms of media art with architecture are given. The conclusions determine the role of media art in architecture, the impact of media technology on human psychology, outline the prospects for the development of media art in the modern synthesis of arts in architecture.
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Meekums, Bonnie y Jennifer Daniel. "Arts with offenders: A literature synthesis". Arts in Psychotherapy 38, n.º 4 (septiembre de 2011): 229–38. http://dx.doi.org/10.1016/j.aip.2011.06.003.

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Manco, Giuseppe, Giuseppina Lacerra, Elena Porzio y Giuliana Catara. "ADP-Ribosylation Post-Translational Modification: An Overview with a Focus on RNA Biology and New Pharmacological Perspectives". Biomolecules 12, n.º 3 (13 de marzo de 2022): 443. http://dx.doi.org/10.3390/biom12030443.

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Cellular functions are regulated through the gene expression program by the transcription of new messenger RNAs (mRNAs), alternative RNA splicing, and protein synthesis. To this end, the post-translational modifications (PTMs) of proteins add another layer of complexity, creating a continuously fine-tuned regulatory network. ADP-ribosylation (ADPr) is an ancient reversible modification of cellular macromolecules, regulating a multitude of key functional processes as diverse as DNA damage repair (DDR), transcriptional regulation, intracellular transport, immune and stress responses, and cell survival. Additionally, due to the emerging role of ADP-ribosylation in pathological processes, ADP-ribosyltransferases (ARTs), the enzymes involved in ADPr, are attracting growing interest as new drug targets. In this review, an overview of human ARTs and their related biological functions is provided, mainly focusing on the regulation of ADP-ribosyltransferase Diphtheria toxin-like enzymes (ARTD)-dependent RNA functions. Finally, in order to unravel novel gene functional relationships, we propose the analysis of an inventory of human gene clusters, including ARTDs, which share conserved sequences at 3′ untranslated regions (UTRs).
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Changzhi, Wu. "FORMS OF SYNTHESIS OF ARTS OF CHINESE ARCHITECTURE". Municipal economy of cities 4, n.º 164 (1 de octubre de 2021): 58–64. http://dx.doi.org/10.33042/2522-1809-2021-4-164-58-64.

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The article examines the synthesis of arts on the example of Chinese architecture. General historical questions of the development of Chinese culture and various arts during historical evolution are raising. Philosophical and religious positions of culture are distinguishing, which are identifying with the development of art. The question arises of the lack of a full analysis of ancient Chinese art for all types of artistic creativity that were developing during cultural development and formation: architecture, painting, calligraphy, music, sculpture, dance, and so on. A number of scholars who have developed methods of approaches to the systematization and study of the synthesis of the arts of ancient Chinese culture throughout its development are presenting. A number of techniques in painting and calligraphy that have a direct impact on the formation of the Chinese architectural environment are analyzing. These methodical conclusions can be useful in planning the activities of various organizational departments of architectural education and science. Problem statement: it became necessary to analyze and describe the methods and principles of organizing forms of art synthesis in Chinese architecture. Objective of the article: analyze the impact of forms of art synthesis in Chinese architecture. There is describing that the most important art form in China is painting. It is thanks to its compositional, color and harmonic laws that the general cultural world of ancient China is building. Color relationships, combinations with nature - all this through painting builds the canonical laws of architecture, music, dance, calligraphy, etc., taking into account national authenticity. It becomes the central core of the synthesis of Chinese art, generating its various forms for individual regions. In architecture, the action of forms of synthesis of Chinese arts is embodying through the organization of plasticity of the building, interior and exterior space, the ratio of small and large forms, and the location of accents. Experienced predecessors should be a role model for modern architects and artists. The combination of long-standing traditions of "synthesis of arts" with modern production technologies, as well as creative ideas of architects and artists of the XXI century can give new vectors of development of Chinese architecture and art science.
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Bergdoll, Barry. "The Synthesis of the Arts and MoMa". Art and Architecture, n.º 42 (2010): 110–13. http://dx.doi.org/10.52200/42.a.tlvmhucy.

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1948-49 were key years for the reaction of the Museum of Modern Art’s newly amalgamated Department of Architecture and Design to respond to the rising discourse on the “Synthesis of the Arts.” The response was indirect and took the form of MoMA assessing the progress of modern architecture that it had been describing and forecasting for fifteen years. The exhibition “From Le Corbusier to Niemeyer, 1929–1949” was part of a larger assessment of the fate of the international style and of the interaction between abstraction in painting and sculpture and in architectural design, a theme laid out by Alfred Barr and Hitchcock in the 1948 book Painting Toward Architecture. Niemeyer’s unbuilt Treamine House, designed with Roberto Burle Marx, was upheld as a synthesis not only of the arts but of the movements coalescing towards a postwar abstract consensus.
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Wilson, Stephen, Manfred Esenbeis y Heide Hagenbolling. "Synthesis: Visual Arts in the Electronic Culture". Leonardo 24, n.º 2 (1991): 241. http://dx.doi.org/10.2307/1575312.

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Fidler, Geoffrey. "A spinozist synthesis of the liberal arts". Academic Questions 16, n.º 1 (diciembre de 2002): 81–86. http://dx.doi.org/10.1007/s12129-002-1063-6.

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Novikova, L. V. y I. N. Sizova. "Synthesis of Arts in Formation of Professional Competences of Cultural Figures and Arts". Uchenye Zapiski RGSU 18, n.º 1 (2019): 51–59. http://dx.doi.org/10.17922/2071-5323-2019-1-51-59.

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Tesis sobre el tema "Synthesis of arts"

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Grainger, Roger. "A synthesis of dramatherapy research". Thesis, Leeds Beckett University, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.327695.

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Lövgren, Håkan. "Eisenstein's labyrinth : aspects of a cinematic synthesis of the arts". Doctoral thesis, Stockholms universitet, Slaviska institutionen, 1996. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-69526.

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Kong, David Sun 1979. "Microfluidic gene synthesis". Thesis, Massachusetts Institute of Technology, 2008. http://hdl.handle.net/1721.1/45755.

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Thesis (Ph. D.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2008.
"June 2008."
Includes bibliographical references.
The ability to synthesize custom de novo DNA constructs rapidly, accurately, and inexpensively is highly desired by researchers, as synthetic genes and longer DNA constructs are enabling to numerous powerful applications in both traditional molecular biology and the emerging field of synthetic biology, from the synthesis of large sets of novel proteins to the complete re-writing of bacterial genomes. However, the current cost of de novo synthesis--driven largely by reagent and handling costs-is a significant barrier to the widespread availability of such technology. The use of microfluidic technology greatly reduces reaction volumes and corresponding reagent and handling costs. Additionally, microfluidic technology enables large numbers of complex reactions to be performed in parallel, while facilitating the automation and integration of multiple processes in a single device. While microfluidic devices have been used to miniaturize a variety of chemical and biological processes, the benefits of such devices have yet to be realized in the area of de novo DNA synthesis. This thesis reports the first demonstration of gene synthesis in a microfluidic environment. A variety of DNA constructs with sizes as large as 1 kb were fabricated in parallel in a multi-chamber microfluidic device at volumes one to two orders of magnitude lower than those utilized in conventional bench top techniques. This thesis also reports on progress toward the direct synthesis of genes from hybrid microfluidic-DNA microarray devices, the integration of microfluidic gene synthesis with on-chip protein synthesis, and the microfluidic hierarchical synthesis of long DNA molecules.
by David Sun Kong.
Ph.D.
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Kim, Youngmoo E. "Singing voice analysis/synthesis". Thesis, Massachusetts Institute of Technology, 2003. http://hdl.handle.net/1721.1/62044.

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Thesis (Ph. D.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2003.
Includes bibliographical references (p. 109-115).
The singing voice is the oldest and most variable of musical instruments. By combining music, lyrics, and expression, the voice is able to affect us in ways that no other instrument can. As listeners, we are innately drawn to the sound of the human voice, and when present it is almost always the focal point of a musical piece. But the acoustic flexibility of the voice in intimating words, shaping phrases, and conveying emotion also makes it the most difficult instrument to model computationally. Moreover, while all voices are capable of producing the common sounds necessary for language understanding and communication, each voice possesses distinctive features independent of phonemes and words. These unique acoustic qualities are the result of a combination of innate physical factors and expressive characteristics of performance, reflecting an individual's vocal identity. A great deal of prior research has focused on speech recognition and speaker identification, but relatively little work has been performed specifically on singing. There are significant differences between speech and singing in terms of both production and perception. Traditional computational models of speech have focused on the intelligibility of language, often sacrificing sound quality for model simplicity. Such models, however, are detrimental to the goal of singing, which relies on acoustic authenticity for the non-linguistic communication of expression and emotion. These differences between speech and singing dictate that a different and specialized representation is needed to capture the sound quality and musicality most valued in singing.
(cont.) This dissertation proposes an analysis/synthesis framework specifically for the singing voice that models the time-varying physical and expressive characteristics unique to an individual voice. The system operates by jointly estimating source-filter voice model parameters, representing vocal physiology, and modeling the dynamic behavior of these features over time to represent aspects of expression. This framework is demonstrated to be useful for several applications, such as singing voice coding, automatic singer identification, and voice transformation.
by Youngmoo Edmund Kim.
Ph.D.
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Payne, Andrew C. (Andrew Colin). "Towards sequencing by synthesis In Situ". Thesis, Massachusetts Institute of Technology, 2017. http://hdl.handle.net/1721.1/113770.

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Thesis: S.M., Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2017.
Cataloged from PDF version of thesis.
Includes bibliographical references (pages 53-55).
The development of fluorescence in situ nucleic acid sequencing (FISSEQ) will permit investigators to answer scientific questions in which the spatial context of gene expression rather than just identity and abundance - must be taken into account; recent progress in biological sample engineering, including physical expansion of tissue (i.e. Expansion Microscopy), will radically empower this technology (ExSEQ). However, in situ sequencing is technically difficult to implement, requiring an investigator to be familiar with a wide variety of techniques in molecular biology, microfluidics, fluorescence microscopy, image processing, and bioinformatics, and improvements are still needed before it is widely practicable. In this work, we investigate the use of sequencing by synthesis - as opposed to the currently practiced method of sequencing by ligation - in order to realize improvements in usability and performance. We demonstrate the viability of sequencing by synthesis reactions in situ, characterize their performance, and describe a route from demonstration to practice.
by Andrew C. Payne.
S.M.
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Vigliensoni, Martin Augusto. "Touchless gestural control of concatenative sound synthesis". Thesis, McGill University, 2011. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=104846.

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This thesis presents research on three-dimensional position tracking technologies used to control concatenative sound synthesis and applies the achieved research results to the design of a new immersive interface for musical expression. The underlying concepts and characteristics of position tracking technologies are reviewed and musical applications using these technologies are surveyed to exemplify their use. Four position tracking systems based on different technologies are empirically compared according to their performance parameters, technical specifications, and practical considerations of use. Concatenative sound synthesis, a corpus-based synthesis technique grounded on the segmentation, analysis and concatenation of sound units, is discussed. Three implementations of this technique are compared according to the characteristics of the main components involved in the architecture of these systems. Finally, this thesis introduces SoundCloud, an implementation that extends the interaction possibilities of one of the concatenative synthesis systems reviewed, providing a novel visualisation application. SoundCloud allows a musician to perform with a database of sounds distributed in a three-dimensional descriptor space by exploring a performance space with her hands.
Ce mémoire de thèse présente une nouvelle interface pour l'expression musicale combinant la synthèse sonore par concaténation et les technologies de captation de mouvements dans l'espace. Ce travail commence par une présentation des dispositifs de capture de position de type main-libre, en étudiant leur principes de fonctionnement et leur caractéristiques. Des exemples de leur application dans les contextes musicaux sont aussi étudiés. Une attention toute particulière est accordée à quatre systèmes: leurs spécifications techniques ainsi que leurs performances (évaluées par des métriques quantitatives) sont comparées expérimentalement. Ensuite, la synthèse concaténative est décrite. Cette technique de synthèse sonore consiste à synthéthiser une séquence musicale cible à partir de sons pré-enregistrés, sélectionnés et concaténés en fonction de leur adéquation avec la cible. Trois implémentations de cette technique sont comparées, permettant ainsi d'en choisir une pour notre application. Enfin, nous décrivons SoundCloud, une nouvelle interface qui, en ajoutant une interface visuelle à la méthode de synthèse concaténative, permet d'en étendre les possibilités de contrôle. SoundCloud permet en effet de contrôler la synthése de sons en utilisant des gestes libres des mains pour naviguer au sein d'un espace tridimensionnel de descripteurs des sons d'une base de données.
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García, Ricardo A. (Ricardo Antonio) 1974. "Automatic generation of sound synthesis techniques". Thesis, Massachusetts Institute of Technology, 2001. http://hdl.handle.net/1721.1/61542.

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Thesis (S.M.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2001.
Includes bibliographical references (p. 97-98).
Digital sound synthesizers, ubiquitous today in sound cards, software and dedicated hardware, use algorithms (Sound Synthesis Techniques, SSTs) capable of generating sounds similar to those of acoustic instruments and even totally novel sounds. The design of SSTs is a very hard problem. It is usually assumed that it requires human ingenuity to design an algorithm suitable for synthesizing a sound with certain characteristics. Many of the SSTs commonly used are the fruit of experimentation and a long refinement processes. A SST is determined by its "functional form" and "internal parameters". Design of SSTs is usually done by selecting a fixed functional form from a handful of commonly used SSTs, and performing a parameter estimation technique to find a set of internal parameters that will best emulate the target sound. A new approach for automating the design of SSTs is proposed. It uses a set of examples of the desired behavior of the SST in the form of "inputs + target sound". The approach is capable of suggesting novel functional forms and their internal parameters, suited to follow closely the given examples. Design of a SST is stated as a search problem in the SST space (the space spanned by all the possible valid functional forms and internal parameters, within certain limits to make it practical). This search is done using evolutionary methods; specifically, Genetic Programming (GP). A custom language for representing and manipulating SSTs as topology graphs and expression trees is proposed, as well as the mapping rules between both representations. Fitness functions that use analytical and perceptual distance metrics between the target and produced sounds are discussed. The AGeSS system (Automatic Generation of Sound Synthesizers) developed in the Media Lab is outlined, and some SSTs and their evolution are shown.
by Ricardo A. García.
S.M.
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Essa, Irfan A. (Irfan Aziz). "Analysis, interpretation and synthesis of facial expressions". Thesis, Massachusetts Institute of Technology, 1995. http://hdl.handle.net/1721.1/29086.

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Chow, Brian 1978. "Photoelectromechanical synthesis of low-cost DNA microarrays". Thesis, Massachusetts Institute of Technology, 2008. http://hdl.handle.net/1721.1/42405.

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Thesis (Ph. D.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2008.
Includes bibliographical references.
Recent advances in de novo gene synthesis, library construction, and genomic selection for target sequencing using DNA from custom microarrays have demonstrated that microarrays can effectively be used as the world's cheapest sources of complex oligonucleotide pools. Unfortunately, commercial custom microarrays are expensive and not easily accessible to academic researchers, and technical challenges still exist for dealing with the small amount of DNA synthesized on a chip. Genomic research would certainly benefit from the creation of cheaper custom microarrays with larger oligonucleotide concentrations per spot. This thesis presents the development of a novel DNA microarray synthesis platform based on semiconductor photoelectrochemistry (PEC) designed with these needs in mind. An amorphous silicon photoconductor is activated by an optical projection system to create "virtual electrodes" that electrochemically generate protons in a site-selective manner, thereby cleaving acid-labile dimethoxytrityl protecting groups with the spatial selectivity that is required for in-situ DNA synthesis. This platform has the potential to be particularly low-cost since it employs standard phosphoramidite reagents, visible wavelength optics, and a cheaply microfabricated and reusable substrate. By incorporating a porous thin-film glass that dramatically increases the DNA quantity produced by over an order of magnitude per chip, this platform may also simplify the handling of DNA cleaved from chip and drive down the cost per base synthesized. The hybridization detection of single-base errors was successfully demonstrated on PEC synthesized microarrays. This thesis also reports a suite of new surface chemistries and high-resolution techniques for patterning biological molecules.
by Brian Yichiun Chow.
Ph.D.
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Nouar, Farid. "Design, Synthesis and Post-Synthetic Modifications of Functional Metal-Organic Materials". Scholar Commons, 2010. https://scholarcommons.usf.edu/etd/1725.

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Porous solids are a class of materials of high scientific and technological significance. Indeed, they have the ability to interact with atoms, ions or molecules not only at their surface but also throughout the bulk of the solid. This ability places these materials as a major class involved in many applications such as gas storage and separation, catalysis, drug delivery and sensor technology. Metal-Organic Materials (MOMs) or coordination polymers (CPs) are crystalline compounds constructed from metal ions or clusters and organic components that are linked via coordination bonds to form zero-, one-, two or three-periodic structures. Porous Metal-Organic Materials (MOMs) or Metal-Organic Frameworks (MOFs) are a relatively new class of nanoporous materials that typically possess regular micropores stable upon removal of guests. An extraordinary academic and industrial interests was witnessed over the past two decades and is evidenced by a fantastic grow of these new materials. Indeed, due to a self-assembly process and readily available metals and organic linkers, an almost infinite number of materials can, in principle, be synthesized. However, a rational design is very challenging but not impossible. In theory, MOMs could be designed and synthesized with tuned functionalities toward specific properties that will determine their potential applications. The present research involves the design and synthesis of functional porous Metal-Organic Materials that can be used as platforms for specific studies related to many applications such as for example gas storage and particularly hydrogen storage. In this manuscript, I will discuss the studies performed on existing major Metal-Organic Frameworks, namely Zeolite-like Metal-Organic Frameworks (ZMOFs) that were designed and synthesized in my research group. My research was also focused on the design and the synthesis of new highly porous isoreticular materials based on Metal-Organic Polyhedra (MOP) where desirable functionality and unique features can be introduced in the final material prior and/or after the assembly process. The use of hetero-functional ligands for a rational design toward binary or ternary net will also be discussed in this dissertation.
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Libros sobre el tema "Synthesis of arts"

1

Steiner, Rudolf. Architecture as a synthesis of the arts. London: Rudolf Steiner Press, 1999.

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Lövgren, Håkan. Eisenstein's labyrinth: Aspects of a cinematic synthesis of the arts. Stockholm, Sweden: Almqvist & Wiksell International, 1996.

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Wendy, Holmes, ed. Speech synthesis and recognition. 2a ed. London: Taylor & Francis, 2002.

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Speech Synthesis and Recognition. London: Taylor & Francis Inc, 2002.

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Holmes, J. N. Speech synthesis and recognition. 2a ed. New York: Taylor & Francis, 2001.

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Speech synthesis and recognition. Wokingham, Eng: Van Nostrand Reinhold, 1987.

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1943-, Angeles Jorge, ed. Cam synthesis. Dordrecht: Kluwer Academic Publishers, 1993.

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1941-, Noever Peter y Österreichisches Museum für Angewandte Kunst., eds. Granular Synthesis: NoiseGate-M6. Ostfildern: Cantz, 1998.

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1929-, Culbertson B. M. y McGrath James E, eds. Advances in polymer synthesis. New York: Plenum Press, 1985.

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McCrory, David L. Technology education : industrial arts in transition: A review and synthesis of the research. 4a ed. Columbus, OH: ERIC Clearinghouse on Adult, Career, and Vocational Education, 1987.

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Capítulos de libros sobre el tema "Synthesis of arts"

1

Solimano, Andrés. "Synthesis and public policy issues". En The Evolution of Contemporary Arts Markets, 85–90. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003215127-8.

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Root-Bernstein, Robert S. "The Sciences and Arts Share a Common Creative Aesthetic". En The Elusive Synthesis: Aesthetics and Science, 49–82. Dordrecht: Springer Netherlands, 1996. http://dx.doi.org/10.1007/978-94-009-1786-6_3.

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Amałowicz, Paweł. "The Synthesis of the Arts and Its Influence on Modern Theatre Architecture". En Lecture Notes in Networks and Systems, 3–10. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-80710-8_1.

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Marenbon, John. "Logic at the Turn of the Twelfth Century: a synthesis". En Arts du langage et théologie aux confins des XIe et XIIe siècles, 181–217. Turnhout: Brepols Publishers, 2011. http://dx.doi.org/10.1484/m.sa-eb.3.4866.

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Antonova, Clemena. "The organic unity of the icon and the Church ritual as a synthesis of the arts". En Visual Thought in Russian Religious Philosophy, 66–79. New York, New York: Routledge, 2019. | Series: Routledge focus on religion: Routledge, 2019. http://dx.doi.org/10.4324/9780429262890-5.

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Li, Judy Zixin y Aven Le Zhou. "The Museum of Dreams: Exploring a “Dreaming” Visual Experience via Machine Vision and Visual Synthesis". En Cross-Cultural Design. Applications in Arts, Learning, Well-being, and Social Development, 31–39. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-77077-8_3.

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Zelikin, M. I. y V. F. Borosov. "Optimal Synthesis Containing Chattering Arcs and Singular Arcs of the Second Order". En Nonlinear Synthesis, 283–96. Boston, MA: Birkhäuser Boston, 1991. http://dx.doi.org/10.1007/978-1-4757-2135-5_22.

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Ding, Xuru, T. J. Tarn y A. K. Bejczy. "Nonlinear Feedback Control for Flexible Robot Arms". En Nonlinear Synthesis, 99–111. Boston, MA: Birkhäuser Boston, 1991. http://dx.doi.org/10.1007/978-1-4757-2135-5_7.

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Amram, Gal, Suguman Bansal, Dror Fried, Lucas Martinelli Tabajara, Moshe Y. Vardi y Gera Weiss. "Adapting Behaviors via Reactive Synthesis". En Computer Aided Verification, 870–93. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-81685-8_41.

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AbstractIn the Adapter Design Pattern, a programmer implements a Target interface by constructing an Adapter that accesses an existing Adaptee code. In this work, we present a reactive synthesis interpretation to the adapter design pattern, wherein an algorithm takes an Adaptee and a Target transducers, and the aim is to synthesize an Adapter transducer that, when composed with the Adaptee, generates a behavior that is equivalent to the behavior of the Target. One use of such an algorithm is to synthesize controllers that achieve similar goals on different hardware platforms. While this problem can be solved with existing synthesis algorithms, current state-of-the-art tools fail to scale. To cope with the computational complexity of the problem, we introduce a special form of specification format, called Separated GR(k), which can be solved with a scalable synthesis algorithm but still allows for a large set of realistic specifications. We solve the realizability and the synthesis problems for Separated GR(k), and show how to exploit the separated nature of our specification to construct better algorithms, in terms of time complexity, than known algorithms for GR(k) synthesis. We then describe a tool, called SGR(k), that we have implemented based on the above approach and show, by experimental evaluation, how our tool outperforms current state-of-the-art tools on various benchmarks and test-cases.
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Andriushchenko, Roman, Milan Češka, Sebastian Junges, Joost-Pieter Katoen y Šimon Stupinský. "PAYNT: A Tool for Inductive Synthesis of Probabilistic Programs". En Computer Aided Verification, 856–69. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-81685-8_40.

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AbstractThis paper presents PAYNT, a tool to automatically synthesise probabilistic programs. PAYNT enables the synthesis of finite-state probabilistic programs from a program sketch representing a finite family of program candidates. A tight interaction between inductive oracle-guided methods with state-of-the-art probabilistic model checking is at the heart of PAYNT. These oracle-guided methods effectively reason about all possible candidates and synthesise programs that meet a given specification formulated as a conjunction of temporal logic constraints and possibly including an optimising objective. We demonstrate the performance and usefulness of PAYNT using several case studies from different application domains; e.g., we find the optimal randomized protocol for network stabilisation among 3M potential programs within minutes, whereas alternative approaches would need days to do so.
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Actas de conferencias sobre el tema "Synthesis of arts"

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Sardarov, Armen S. "Genesis of Architecture and Synthesis of Arts". En The 2nd International Conference on Architecture: Heritage, Traditions and Innovations (AHTI 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200923.009.

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Mamedova, L. A. k. "Synthesis problems of visual arts in architecture". En Scientific achievements of the third millennium. SPC "LJournal", 2021. http://dx.doi.org/10.18411/scienceconf-03-2021-56.

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Wichmann, Brian y Tony S. Lee. "Analysis and Synthesis of Islamic Geometric Designs". En Electronic Visualisation and the Arts (EVA 2013). BCS Learning & Development, 2013. http://dx.doi.org/10.14236/ewic/eva2013.54.

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Rodrigues dos Santos, Cecilia. "Le Corbusier et le Brésil : une Synthèse des Arts Majeurs, et aussi des Arts Mineurs". En LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.880.

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Resumé: Ce travail examine les discours des architectes Lucio Costa et Le Corbusier sur la Synthèse des Arts, et les analyses faites à partir de l’application de ces idées dans les projets d’Architecture Moderne Brésilienne des années 1940, en particulier le projet du siège du Ministère de l’Éducation et de la Santé à Rio de Janeiro. L’objectif du présent travail est alors de révéler et de mettre l’accent sur la collaboration entre Le Corbusier et les architectes brésiliens ainsi que sur les Arts mineurs, représentés ici par l’art de l’azulejo, dans le processus de Synthèse des arts, comme supports et véhicules des expressions artistiques des Arts majeurs ou Beaux-arts. Abstract: The objective of this work is, mainly through the speeches of Lucio Costa and of Le Corbusier on the "Synthèse des Arts" and the analysis of the application of these ideas to the works of the Modern Architecture in the years 1940 in Brazil, to reveal and to emphasize the important role of the Arts Mineurs and the Industrial Design in the process of the Synthesis of the Arts, as "vehicles" of the biggest expressions of the art intended to be integrated to the architecture, considering elements like ceramic tiles. Mots-clés: Synthèse des Arts; Arts Majeurs et Arts Mineurs; Architecture Moderne Brésilienne. Keywords: Synthesis of the Arts; Major Arts and Mineurs Arts; Modern Brazilian Architecture. DOI: http://dx.doi.org/10.4995/LC2015.2015.880
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Pankiv, Hanna. "THEORETICAL ASPECTS OF THE PROBLEM OF SYNTHESIS IN THE PLASTIC ARTS". En Modern Global Trends in the Development of Innovative Scientific Researches. Publishing House “Baltija Publishing”, 2020. http://dx.doi.org/10.30525/978-9934-588-39-6-22.

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Chacón, José Luis. "El lugar del arte en arquitectura. Los “lieux porte-voix, porte-paroles, haut-parleurs” de Le Corbusier en su discurso del Convegno Volta, 1936". En LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.810.

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Resumen: En 1936 se celebró en Roma el Convegno Volta dedicado a la relación entre arquitectura y las artes figurativas. Entre los participantes estaba Le Corbusier quien presentó una ponencia donde claramente explica los fundamentos del lugar del arte en arquitectura, aspecto clave de su posterior Synthèse des arts. Luego de un manifiesto sobre la Arquitectura Moderna, Le Corbusier afirma que en ocasiones excepcionales puede darse la “colaboración” entre arquitectura y arte con el fin de “aumentar el placer de los hombres”. Dirige su atención a la pintura, la escultura y el diseño; y plantea como respuesta la policromía y los puntos “precisos y matemáticos” donde el artista “fuerte y digno” puede hablar y hacer sentir su discurso. Estos lugares del arte son comunicantes: “lieux porte-voix, porteparoles, haut-parleurs”; aun inexistentes entonces pero que se verán realizados años después, en la idea de la Synthèse des arts. Abstract: In 1936 the Convegno Volta took place in Rome and it was dedicated to discuss the relationship between architecture and the figurative arts. Among the participants there was Le Corbusier, who presented a speech where he clearly establishes the fundamentals of the place of art in architecture, a key point in his later Synthèse des arts. After a manifesto of Modern Architecture, Le Corbusier states that in certain exceptional cases there can be “collaboration” between architecture and art, with the scope of “increasing human pleasure”. His attention is placed upon painting, sculpture and design; and as a response he proposes polychromy and “precise and mathematic points” where a “strong and worthy” artist can speak and let his discourse be felt. These places are communicative: “lieux porte-voix, porte-paroles, haut-parleurs”. Although inexistent then, they will be materialized years later in the way of the idea of the Synthèse des arts. Palabras clave: Arte, Arquitectura, Convegno Volta, Le Corbusier, Síntesis de las artes. Keywords: Art, architecture, Convego Volta, Le Corbusier, Synthesis of the arts. DOI: http://dx.doi.org/10.4995/LC2015.2015.810
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Rovenko, Elena. "FRACTAL AS DEBUSSYS PRINCIPLE OF FORM-BUILDING CONSIDERED THROUGH THE SYNTHESIS OF ITS PROCEDURAL AND ARCHITECTONICAL ASPECTS". En SGEM 2014 Scientific SubConference on ARTS, PERFORMING ARTS, ARCHITECTURE AND DESIGN. Stef92 Technology, 2014. http://dx.doi.org/10.5593/sgemsocial2014/b41/s12.002.

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Fernandes da Silva, Fernanda. "Le Corbusier y Lúcio Costa. Diálogos sobre la síntesis de las artes". En LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.783.

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Resumen: En la poética de Le Corbusier, el arte comparece como presencia continua y articulada propuesta en los diálogos entre pintura, escultura y arquitectura, procedimiento que confluye posteriormente en la noción de síntesis de las artes. Es en ese aspecto de su producción que nos detenemos en este trabajo con los textos del arquitecto que se refieren al tema y analizando la interlocución que establece con el teórico brasileño Lúcio Costa. Damos relieve a dos momentos importantes del análisis del tema de los dos arquitectos: primero durante la segunda visita de Le Corbusier a Brasil en 1936, cuando presenta La Arquitectura y las Bellas Artes, texto en el que incorpora a sus ya conocidos postulados arquitectónicos la noción de síntesis de las artes, considerada como forma de ofrecer a la arquitectura recursos expresivos que van más allá del lenguaje abstracto y técnico del funcionalismo. La segunda ocasión de diálogo entre Le Corbusier y Lúcio Costa tiene lugar durante el Congreso Internacional de Artistas, organizado por la UNESCO en Venecia, cuando desenvuelven consideraciones sobre la relación entre arte y arquitectura. Abstract: In the poetics of Le Corbusier, art appears as a continuous and articulate presence, as proposed in the dialogs between painting, sculpture and architecture, a process that converges, later, in the notion of the synthesis of the arts. It is on this aspect of his work that we focus exploring texts written by the architect on the theme. The proposed collaboration between the major arts—architecture, painting and sculpting—is recorded in a paper that the architect presented during his second visit to Brazil, in 1936, when he met Lúcio Costa, the Brazilian architect and theoretician, who was attuned to the poetics of Le Corbusier concerning the relationship between architecture and visual arts. The paper by Le Corbusier A Arquitetura e as Belas Artes [Architecture and Fine Arts], from 1936, emphasizes the idea of modern architecture in dialogue with the machine age, and to this well-known formula, a new topic is added: the collaboration between architecture and the major arts of painting and sculpting. In this way, Le Corbusier in 1952, participates in the International Conference of Artists, organized by Unesco in Venice, this conference was another opportunity for dialog between Lúcio Costa and Le Corbusier, emphasizing the poetic dimension of the architecture. Palabras clave: síntesis de las artes; Le Corbusier; Lúcio Costa; arquitectura moderna. Keywords: synthesis of the arts; Le Corbusier; Lúcio Costa; modern architecture. DOI: http://dx.doi.org/10.4995/LC2015.2015.783
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Mamontova, Tatyana. "Synthesis of Artistic Forms in Park and Garden Design". En 2015 International Conference on Arts, Design and Contemporary Education. Paris, France: Atlantis Press, 2015. http://dx.doi.org/10.2991/icadce-15.2015.62.

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Dalgleish, Mat, Chris Payne y Richard Burn. "Uchronie: Revisiting Analogue Computing to Expand the Language of A/V Synthesis". En Electronic Visualisation and the Arts (EVA 2015). BCS Learning & Development, 2015. http://dx.doi.org/10.14236/ewic/eva2015.21.

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Informes sobre el tema "Synthesis of arts"

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Nitz, Paul H. SDI, Arms Control, and Stability: Toward a New Synthesis. Fort Belvoir, VA: Defense Technical Information Center, junio de 1989. http://dx.doi.org/10.21236/ada344721.

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Yang, Zhaoxia, Jerald S. Bradshaw, Paul B. Savage, Krzysztof E. Krakowiak y Reed M. Izatt. Synthesis of Tetraazacrown Ethers Containing Two 8-Hydroxyquinoline Side Arms. Fort Belvoir, VA: Defense Technical Information Center, abril de 1999. http://dx.doi.org/10.21236/ada361693.

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Song, H. C., J. S. Bradshaw, Y. W. Chen, G. P. Xue y J. A. Chiara. Syntheses of Diazadithiacrown Ethers Containing Two 8-Hydroxyquinoline Side Arms. Fort Belvoir, VA: Defense Technical Information Center, abril de 2001. http://dx.doi.org/10.21236/ada389900.

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Abbadini, Jeffrey J. Operational Design that Synthesizes Art and Science. Fort Belvoir, VA: Defense Technical Information Center, mayo de 2011. http://dx.doi.org/10.21236/ada545959.

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Shell-Duncan, Bettina, Reshma Naik y Charlotte Feldman-Jacobs. A state-of-the-art synthesis on female genital mutilation/cutting: What do we know now? Population Council, 2016. http://dx.doi.org/10.31899/rh8.1002.

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Su, Ning, Jerald S. Bradshaw, Guoping Xue, N. K. Dalley y Paul B. Savage. Syntheses and Crystal Structures of Novel Diaza-18-Crown-6 Ligands Containing Aromatic Thiol-Derived Side Arms. Fort Belvoir, VA: Defense Technical Information Center, mayo de 1999. http://dx.doi.org/10.21236/ada362936.

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Frykman, Judith. A series of paintings, drawings, and compositions, oriented toward a fine arts direction in the use of synthetic and mixed media. Portland State University Library, enero de 2000. http://dx.doi.org/10.15760/etd.224.

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McDonald, Geral I., Philip D. Tanimoto, Thomas M. Rice, David E. Hall, Jane E. Stewart, Paul J. Zambino, Jonalea R. Tonn, Ned B. Klopfenstein y Mee-Sook Kim. Fuels planning: science synthesis and integration; environmental consequences fact sheet 13: Root Disease Analyzer-Armillaria Response Tool (ART). Ft. Collins, CO: U.S. Department of Agriculture, Forest Service, Rocky Mountain Research Station, 2005. http://dx.doi.org/10.2737/rmrs-rn-23-v13.

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Guidati, Gianfranco y Domenico Giardini. Joint synthesis “Geothermal Energy” of the NRP “Energy”. Swiss National Science Foundation (SNSF), febrero de 2020. http://dx.doi.org/10.46446/publication_nrp70_nrp71.2020.4.en.

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Near-to-surface geothermal energy with heat pumps is state of the art and is already widespread in Switzerland. In the future energy system, medium-deep to deep geothermal energy (1 to 6 kilometres) will, in addition, play an important role. To the forefront is the supply of heat for buildings and industrial processes. This form of geothermal energy utilisation requires a highly permeable underground area that allows a fluid – usually water – to absorb the naturally existing rock heat and then transport it to the surface. Sedimentary rocks are usually permeable by nature, whereas for granites and gneisses permeability must be artificially induced by injecting water. The heat gained in this way increases in line with the drilling depth: at a depth of 1 kilometre, the underground temperature is approximately 40°C, while at a depth of 3 kilometres it is around 100°C. To drive a steam turbine for the production of electricity, temperatures of over 100°C are required. As this requires greater depths of 3 to 6 kilometres, the risk of seismicity induced by the drilling also increases. Underground zones are also suitable for storing heat and gases, such as hydrogen or methane, and for the definitive storage of CO2. For this purpose, such zones need to fulfil similar requirements to those applicable to heat generation. In addition, however, a dense top layer is required above the reservoir so that the gas cannot escape. The joint project “Hydropower and geo-energy” of the NRP “Energy” focused on the question of where suitable ground layers can be found in Switzerland that optimally meet the requirements for the various uses. A second research priority concerned measures to reduce seismicity induced by deep drilling and the resulting damage to buildings. Models and simulations were also developed which contribute to a better understanding of the underground processes involved in the development and use of geothermal resources. In summary, the research results show that there are good conditions in Switzerland for the use of medium-deep geothermal energy (1 to 3 kilometres) – both for the building stock and for industrial processes. There are also grounds for optimism concerning the seasonal storage of heat and gases. In contrast, the potential for the definitive storage of CO2 in relevant quantities is rather limited. With respect to electricity production using deep geothermal energy (> 3 kilometres), the extent to which there is potential to exploit the underground economically is still not absolutely certain. In this regard, industrially operated demonstration plants are urgently needed in order to boost acceptance among the population and investors.
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DMITRIENKO, B. Ch, O. A. KOVALEVA y E. A. RUBETS. VR TECHNOLOGIES AS A MEANS OF VIRTUAL MUSEUM PEDAGOGY. Science and Innovation Center Publishing House, abril de 2022. http://dx.doi.org/10.12731/2658-4034-2022-13-1-2-63-70.

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Currently, museum pedagogy is a very promising area, covering all types of interactions between the museum and its audience. Museum pedagogy is an interdisciplinary field of scientific knowledge, “formed at the intersection of pedagogy, psychology, museology and the relevant discipline of the museum and built on its basis specific practical activities focused on the transfer of cultural (artistic) experience in a museum environment”. The rapid development of technology has led to the so-called modification of this scientific field, we mean a new branch of pedagogical knowledge is emerging - virtual museum pedagogy. VR technologies are beginning to occupy leading positions, but it is important to note that today in art pedagogy there is no idea how to build the educational process in such a context. Thus, this area of pedagogy today requires a deep and comprehensive study. This has determined the purpose of this study. The objectives of the study follow from the goal: 1) To reveal the specifics of virtual museum pedagogy 2) To develop basic pedagogical recommendations for conducting virtual excursions using VR technologies Materials and methods. The methods of this study were analysis and synthesis. Results and discussion. The results of the study consist in the VR technologies usage in art pedagogy features identification.
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