Gotowa bibliografia na temat „Non-linear aesthetics”

Visualization is currently used as a data analysis tool and considered a way of communicating knowledge and ideas in many areas of life such as science, education, medicine, marketing, and advertisement. The chapter contains complex interdisciplinary material and attempts to construct a general framework of visualization roles in learning. The structure of this content is presented on Figure 1 as a kind of mind map. Authors emphasize that visualization mechanisms are designed taking into account analytical and content-related potential, timeliness, online availability, and aesthetics. But classical (tabular) forms still remain dominant in information presentation. A good portion of the discussion is dedicated to the alternative solution – non-linear layout, such as network or fractals. Several visualization maps with specifically designed architecture are demonstrated as important elements of contemporary education. Authors consider the potential and implementation of these tools in e-learning platforms. Parallely, they underline the role of interdisciplinary collaboration in map making processes. Researchers in different fields can apply contemporary trends in visualization including natural shape perception, 3D representation problems, as well as the aspects of neuroaesthetics.

Visualization is currently used as a data analysis tool and considered a way of communicating knowledge and ideas in many areas of life such as science, education, medicine, marketing, and advertisement. The chapter contains complex interdisciplinary material and attempts to construct a general framework of visualization roles in learning. The structure of this content is presented on Figure 1 as a kind of mind map. Authors emphasize that visualization mechanisms are designed taking into account analytical and content-related potential, timeliness, online availability, and aesthetics. But classical (tabular) forms still remain dominant in information presentation. A good portion of the discussion is dedicated to the alternative solution – non-linear layout, such as network or fractals. Several visualization maps with specifically designed architecture are demonstrated as important elements of contemporary education. Authors consider the potential and implementation of these tools in e-learning platforms. Parallely, they underline the role of interdisciplinary collaboration in map making processes. Researchers in different fields can apply contemporary trends in visualization including natural shape perception, 3D representation problems, as well as the aspects of neuroaesthetics.

The writers that are the subject of this book have begun to assume increasing importance, gaining in readership, scholarly attention, and critical significance. Yet it has not so far been possible to understand their tonal and formal particularity in its full relation to late modernism, which has recently been defined less as a periodizing hypothesis and more as a distinctive set of aesthetic and philosophical concerns of its own. In this introductory chapter, Oblique Strategies proposes a new reading of these writers, as not merely defined by certain formal effects, including the self-consciously opaque or abstruse, the non-linear, jump-cut, or typographically virtuosic, but arguing that this particular strain of late modernism is best understood as constituted by their thematic and philosophical concern with accident and indeterminacy. Here the book makes the case for these writers’ collective sense of themselves as writing modernist fiction after modernism, with all the belatedness, uncertainty, and paradoxical urgency—aesthetic, philosophical, and stylistic—that obtains.

This chapter addresses the ontological concerns in John Carpenter's In the Mouth of Madness (1995) by focusing on its radical aesthetic and philosophical disorientations: the non-linear presentation of time, cyclical narratives and visual repetition, and the fundamental distrust of perception. Parallels between the existential preoccupations of In the Mouth of Madness and The Matrix (1999) have already been drawn. Both The Matrix and In the Mouth of Madness work with the exciting dramatic potential of the idea that reality is not an absolute that can be reliably perceived, it is something we agree upon collectively, adding in a dash of malevolence to Cartesian scepticism — what if some external, evil force were constructing the veil of reality upon which duped masses then agreed upon? Crucially, though, Carpenter does not create a crusading action film that re-installs a sense of stable, authentic reality once this veil has been lifted, as the Wachowskis did. Instead, he crafts a more obtuse, surreal cinematic vision of what might be called Cartesian paranoia — crucially, a horror film.

The Edinburgh-based poet Ian Hamilton Finlay was both the first publisher of concrete poetry and the first published concrete poet in Britain. But his interaction with the movement was relatively brief, beginning in the spring of 1962 when he discovered the international style through Edwin Morgan, and coming to an end by the late 1960s. Finlay initially seized on concrete poetry as a means of extending the dimensions of poetry beyond linear verse. He utilised concrete poetry’s capacity to combine linguistic and non-linguistic composition to establish or enrich metaphorical links between disparate objects, phenomena, and cultural contexts. This approach, indebted to classical concrete, reflected both his opposition to the restrictions of Scottish literary culture during the 1960s, and a sense of the value of aesthetic order which had ideological and biographical connotations. But his interaction with the concrete movement quickly became fraught, reflecting both the inbuilt constraints of the style and his opposition to its perceived co-option by the sixties counter-culture. Through his production of card and booklet-poems, followed by poems in glass, wood and stone, and finally, three-dimensional poems set in the landscape around his home at Little Sparta, Finlay moved gradually but decisively away from concrete practice.

The subject of the study is the relationship between the methodology of teaching the Ukrainian language as a foreign language and phraseological material, which activates the various levels involved in mastering the linguistic base, namely motivation, memory, cognition and others. The article deals with the problem of bilingualism in Ukraine, considers the problems of teaching foreign students the Ukrainian language in terms of partial bilingual everyday communication, suggests ways to solve these problems. The classification of modern strategies used in language learning is considered. We also considered the advantages of the communicative-cognitive approach to learning the Ukrainian language. The research methodology consists of theoretical and practical principles of observation, recording and evaluation of activities in the system of teacher – students, taking into account the different conditions of linguistic and non-linguistic reality. The purpose of the study is to clarify the peculiarities of the use of phraseological units in the framework of work with foreign students, taking into account the bilingual situation in some parts of Ukraine. The article deals too with linguistic and methodological aspects of the study of phraseological units concerning with the work at the lessons of Russian as a foreign language. Phraseological units possess aesthetic value, so it is often included to the training material. The interpretation of them occurs on pretextual work level. The actual material of the article has about 50 different levels of language units, the selection of idioms was carried out in the presence of words with temporal meaning. An idiom is a linear sequence, representing the aesthetic value thanks to the meaning hidden in it. Words, in idiomatic expressions, creating a special sense, come in a variety of relationships – synonymic, antonymic, of kind and type ones etc. Inside the words can occur shifts of meanings such as metaphorical, metonymic. The syntax structure of idioms can be different from a phrase to sentences with different punctuation. Learning understanding and practical usage of Russian phraseological units lead to the development of students not only objective semantic and associative evaluation of the various acts or objects, but also to the ability to implement the same idea through units of different levels of language and speech formulas, which are composed of elements with imagery. The conclusion of the study. We have considered the classification of modern strategies used in the study of Ukrainian as a foreign language. The advantages of communicative-cognitive approach to learning the Ukrainian language are described. Practice shows that motivation and mnemonic techniques are important in learning. The phraseological layer of vocabulary is a very important culturological factor in the process of learning a foreign language. We can see further prospects of our research in a detailed consideration of all the tools of communicative-cognitive approach to the study of language as a foreign language.

In this paper, I offer a perspective into a creative research practice I have come to term as Ecological Performativity. This practice has evolved from a number of non-linear audiovisual installations that are intrinsically linked to geographical and everyday phenomena. The project is situated in ecological discourse that seeks to explore conditions and methods of co-creative processes derived from an intensive data-gathering procedure and immersion within the respective environments. Through research the techniques explored include computer vision, data sonification, live convolution and impr

<p>Research on low-damage systems has been significant in the past decade. These systems combine post- tensioning, which provides self-centring; and typically use replaceable devices, which give energy dissipation. WSP has used recent research, carried out at the University of Canterbury, on low-damage bridge piers and applied this into a real structure – the Wigram-Magdala Link Bridge. This is believed to be the first bridge in New Zealand and possibly worldwide to adopt such a system. Given this was the first application of the system to a real structure, there were some valuable learn