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Статті в журналах з теми "Relic-object":
1
Scribner, Charity. "Object, Relic, Fetish, Thing: Joseph Beuys and the Museum." Critical Inquiry 29, no. 4 (June 2003): 634–49. http://dx.doi.org/10.1086/377723.
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Septianto, Tri, Endang Setyati, and Joan Santoso. "Model CNN LeNet dalam Rekognisi Angka Tahun pada Prasasti Peninggalan Kerajaan Majapahit." Jurnal Teknologi dan Sistem Komputer 6, no. 3 (July 31, 2018): 106–9. http://dx.doi.org/10.14710/jtsiskom.6.3.2018.106-109.
Анотація:
The object of the inscription has a feature that is difficult to recognize because it is generally eroded and faded. This study analyzed the performance of CNN using LeNet model to recognize the object of year digit found on the relic inscriptions of Majapahit Kingdom. Object recognition with LeNet model had a maximum accuracy of 85.08% at 10 epoch in 6069 seconds. This LeNet's performance was better than the VGG as the comparison model with a maximum accuracy of 11.39% at 10 epoch in 40223 seconds.
3
Harris, A. Katie. "Gift, Sale, and Theft: Juan de Ribera and the Sacred Economy of Relics in the Early Modern Mediterranean." Journal of Early Modern History 18, no. 3 (March 21, 2014): 193–226. http://dx.doi.org/10.1163/15700658-12342412.
Анотація:
Abstract In 1599 Valencia celebrated the arrival of an ancient Christian martyr whose remains were the latest addition to the collection of the city’s archbishop, Juan de Ribera (1532-1611). Through an examination of some of Archbishop Ribera’s relic acquisitions, I explore the inner workings of the early modern sacred economy of relics. Ribera’s collection strategies blended distinct modes of exchange and linked him to a clandestine economy of relic theft. These transactions reflected the relic’s own uncertain ontological status as both person and object. This ambivalence became a factor that fostered an atmosphere of anxiety around the early modern relic economy, as did Protestant reformers’ critiques and their upending of the traditional Christian symbolic order. The reaffirmations of the cult of relics by the Tridentine Church stabilized the value of the sacred commodities. The economy of relics illustrates how the sacred constitutes a heretofore underexamined area of inquiry for commodity studies.
4
Wang, Y., C. Hu, G. Xia, and H. Xue. "THE ONE TO MULTIPLE AUTOMATIC HIGH ACCURACY REGISTRATION OF TERRESTRIAL LIDAR AND OPTICAL IMAGES." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLII-3 (April 30, 2018): 1827–33. http://dx.doi.org/10.5194/isprs-archives-xlii-3-1827-2018.
Анотація:
The registration of ground laser point cloud and close-range image is the key content of high-precision 3D reconstruction of cultural relic object. In view of the requirement of high texture resolution in the field of cultural relic at present, The registration of point cloud and image data in object reconstruction will result in the problem of point cloud to multiple images. In the current commercial software, the two pairs of registration of the two kinds of data are realized by manually dividing point cloud data, manual matching point cloud and image data, manually selecting a two – dimensional point of the same name of the image and the point cloud, and the process not only greatly reduces the working efficiency, but also affects the precision of the registration of the two, and causes the problem of the color point cloud texture joint. In order to solve the above problems, this paper takes the whole object image as the intermediate data, and uses the matching technology to realize the automatic one-to-one correspondence between the point cloud and multiple images. The matching of point cloud center projection reflection intensity image and optical image is applied to realize the automatic matching of the same name feature points, and the Rodrigo matrix spatial similarity transformation model and weight selection iteration are used to realize the automatic registration of the two kinds of data with high accuracy. This method is expected to serve for the high precision and high efficiency automatic 3D reconstruction of cultural relic objects, which has certain scientific research value and practical significance.
5
Huo, Xin, Hong Chen, YuHao Ma, and Qing Wang. "Design and realization of relic augmented reality system of integration positioning and posture sensing technology." MATEC Web of Conferences 246 (2018): 03014. http://dx.doi.org/10.1051/matecconf/201824603014.
Анотація:
On the purpose of presenting the old appearance of the relics through digitalization, and overlapping the virtual scenes with the actual scenes at the relic site, in this paper, we introduced the positioning technology, posture sensing technology and system development technology, put forward constructing cultural relic tourism platform based on integration positioning and posture sensing technology, we conducted detailed research and analysis on the users’ experienced process of cultural tourism, designed a relic augmented reality system of integration positioning and posture sensing technology. This augmented reality system mainly utilizes positioning technology to guide the users to the correct location of the relic on the corresponding map, and then overlaps the virtual object with the real relic, achieveing a 360-degree view of the overlapping effect, and the presentation effect of near-small, far-big. The system mainly employs Unity to develop the system and realize the above system on mobile terminal. It is no longer limited to a fixed point experience environment, and is suitable for outdoor natural scenes, it makes a breakthrough on the traditional overlapping of virtual scenes and real scenes, realizes the precise overlap of virtual 3D scenes with actual images, and enables the users to feel the vicissitudes of history along the movement of the mobile device in outdoor natural scenes, so as to inherit the history and culture, enrich the information and add some fun to the displayed scene, it has the advantages of bringing people more immersive feelings compared with the traditional virtual display platform.
6
Andernach, H., O. B. Slee, A. L. Roy, and M. Ehle. "Extreme Relic Radio Sources in Four Southern Clusters." Symposium - International Astronomical Union 199 (2002): 153–56. http://dx.doi.org/10.1017/s0074180900168767.
Анотація:
We describe the highest-resolution radio observations yet made of relic radio sources. These relics have extremely steep (α ≤ −2.5) spectra and are located in four southern Abell clusters (A 13, A 85, A133, A 4038). VLA images at 1.4 GHz and ∼4″ resolution show a remarkable variety of fine structure like arcs, wisps, plumes, and loops. Integrated polarization fractions range from 2.3% to 16.8%. Deep red CCD images do not reveal any optical object with a brightness and/or position typical of a radio host galaxy. The X-ray centroids in ROSAT images tend to be displaced from the cluster potential wells in the direction of the relics in A85, A133 and A4038, suggesting that some of the X-rays may be inverse Compton or excess thermal emission from the relic itself.
7
Marzela, Francesco. "‘In me porto crucem’: a new light on the lost St Margaret’s crux nigra." Anglo-Saxon England 47 (December 2018): 351–64. http://dx.doi.org/10.1017/s0263675119000103.
Анотація:
AbstractSt Margaret of Scotland owned a reliquary containing a relic of the True Cross known as crux nigra. Both Turgot, Margaret’s biographer, and Aelred of Rievaulx, who spent some years at the court of Margaret’s son, King David, mention the reliquary without offering sufficient information on its origin. The Black Rood was probably lost or destroyed in the sixteenth century. Some lines written on the margins of a twelfth-century manuscript containing Aelred’s Genealogia regum Anglorum can now shed a new light on this sacred object. The mysterious lines, originally written on the Black Rood or more probably on the casket in which it was contained, claim that the relic once belonged to an Anglo-Saxon king, and at the same time they seem to convey a significant political message.
8
Zhou, Guangchao. "Study on the Origin of Phoenix Painting of Fengyang." Barnard Literature & Art Review 1, no. 1 (September 2020): 1–3. http://dx.doi.org/10.47744/blar.v1n1.2020.09.01.
Анотація:
This paper takes the origin of Fengyang phoenix painting as the object of study, and analyzes from the event itself, place, genealogy and cultural relic. It proves that phoenix painting originated from the historical “immigration” in which Zhu Yuanzhang, the Emperor of Hongwu during Ming dynasty in China, mobilized a large number of artisans from the south of the Yangtze River of China to build the imperial city of Zhongdu.
9
Kulagina-Stadnichenko, Hanna. "Syncretic character of the domestic religiosity of Orthodox Ukrainians." Ukrainian Religious Studies, no. 11 (September 21, 1999): 34–43. http://dx.doi.org/10.32420/1999.11.1016.
Анотація:
The problem of religious syncretism and household syncretised religiosity are two aspects of the analysis of religion. The main object and subject of our study is the second aspect - the functioning of Orthodoxy at the household level.Objectively, there was no form of religion that would act "in its pure form", that is, at its orthodox-canonical level. Thus, even world religions are the heirs of relic beliefs, the product of their further transformation in specific socio-economic and historical conditions.
10
Bonnassieux, Etienne, Evangelia Tremou, Julien N. Girard, Alan Loh, Valentina Vacca, Stéphane Corbel, Baptiste Cecconi, et al. "Pilot Study and Early Results of the Cosmic Filaments and Magnetism Survey with Nenufar: The Coma Cluster Field." Galaxies 9, no. 4 (November 16, 2021): 105. http://dx.doi.org/10.3390/galaxies9040105.
Анотація:
NenuFAR, the New Extension in Nancay Upgrading LOFAR, is currently in its early science phase. It is in this context that the Cosmic Filaments and Magnetism Pilot Survey is observing sources with the array as it is still under construction—with 57 (56 core, 1 distant) out of a total planned 102 (96 core, 6 distant) mini-arrays online at the time of observation—to get a first look at the low-frequency sky with NenuFAR. One of its targets is the Coma galaxy cluster: a well-known object, host of the prototype radio halo. It also hosts other features of scientific import, including a radio relic, along with a bridge of emission connecting it with the halo. It is thus a well-studied object.In this paper, we show the first confirmed NenuFAR detection of the radio halo and radio relic of the Coma cluster at 34.4 MHz, with associated intrinsic flux density estimates: we find an integrated flux value of 106.3 ± 3.5 Jy for the radio halo, and 102.0 ± 7.4 Jy for the radio relic. These are upper bound values, as they do not include point-source subtraction. We also give an explanation of the technical difficulties encountered in reducing the data, along with steps taken to resolve them. This will be helpful for other scientific projects which will aim to make use of standalone NenuFAR imaging observations in the future.
Дисертації з теми "Relic-object":
1
Lavieille, Jean Clément. "Relique, objet-relique et créativité reliquaire : les devenirs de l’objet conservé dans la clinique du deuil." Thesis, Rennes 2, 2022. http://www.theses.fr/2022REN20009.
Анотація:
Dans la clinique du deuil, certains endeuillés conservent des restes de leur proche décédé avec lesquels ils prolongent une relation au-delà de la mort. Nous croisons cette pratique de conservation avec un objet de la religion catholique : la relique. La relique est un reste du corps d’un saint, considéré comme objet sacré. Elle est un objet de croyance, de catalyse, d'intercession et ouvre sur l'éternité. L'étude anthropologique de la relique nous présente le caractère exceptionnel de ce morceau de corps et l'exception de son inscription dans le rituel funéraire. A un niveau psychopathologique, l'objet-relique peut être l'entame nécessaire pour supporter la perte. L'expérience de deuil est une résurgence de l'objet perdu de la relation à l'Autre Primordial. Face à la détresse de la perte, l'objet-relique est le lieu d'un compromis illusoire et une surface hallucinatoire. Ainsi, nous présentons l'objet-relique comme un objet extérieur, orne-mental et para-mélancolique. La seconde partie de cette recherche traite les devenirs de l'objet. Généralement, il est abandonné : la résolution de deuil passe par l'acceptation du verdict de la réalité et un nouvel investissement libidinal. A l'inverse, son arrêt produit une fétichisation de l'objet. L'objet se charge d'autre chose et traite avant tout du manque imaginaire de l'Autre. Enfin, nous appelons créativité reliquaire, l'enchâssement et l'exposition du vide laissé à la suite de la disparition d'un proche. La sublimation reliquaire est à entendre comme l'expression commune des effets de deuil sur la vie du survivant. La création reliquaire est l'expression plus rare, potentielle émergence d'un signifiant et d'un lien social nouveauIn the bereavement clinic, we met patients who kept the remains of their deceased loved one and with whom they continued a relationship beyond death. We crossed this conservation practice with a religious object : relics. The relics are the remains, after death, of the body of a saint considered also as sacred objects. The relic is an object of belief, catalysis and intercession. The anthropological study of the relic allows us to present the exceptional character of this piece of body and the exception of its inscription in the funeral ritual. At a psychopathological level, the relic object is for some bereaved the start necessary to endure the loss. The experience of mourning is above all the resurgence of the lost object of the relationship to « l'Autre Primordial ». Thus, we will present the relic-object as a promise of openness and reminder of castration : an external, orne-mental and para-melancholic object. We will open the second part to the fate of this preserved object. Gradually, the object is called to be abandoned: the resolution of mourning passes by the acceptance of the verdict of reality and new libidinal investments. Its undefined stop opens towards a fetishization of the object. The object takes care of the chosen other and deals above all with the lack of the Other. Finally, we call reliquary creativity, the movement of embedding and exposure of the void left following the disappearance of a loved one. The reliquary sublimation is to be understood as the common expression of the effects of mourning on the life of the survivor. The reliquary creation is the rarer expression that can bring about the emergence of a « signifiant nouveau » and social réalité
Книги з теми "Relic-object":
1
Fogel, Joshua A. Japanese Historiography and the Gold Seal of 57 C. E.: Relic, Text, Object, Fake. BRILL, 2013.
2
Hickey, Helen M. Capturing Christ’s Tears. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198802648.003.0005.
Анотація:
This chapter investigates the historiography of the cult of the Holy Tear of Christ, La Sainte Larme, and explores the materiality and affective life of the relic. The apocryphal narrative tells that an angel caught the tears Christ shed on hearing about Lazarus’ death and gave them to Mary Magdalene for safekeeping. Around 1040, Geoffrey Martel received the relic of the Holy Tear as a reward for his military efforts. Enshrined at the Abbey of La Trinité, Vendôme, France, the Holy Tear enjoyed a robust devotion during the Middle Ages, attracting pilgrims from all over Europe. The end point for La Sainte Larme’s fame is the French Revolution, when the relic disappears. Christ’s Tear provides an exemplary case for emotion studies and material culture because it encapsulates religious piety and feeling, but, as an ephemeral bodily excretion, it presents interpretive challenges as an object.
3
Morgan, David. The Ecology of Images. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190272111.003.0005.
Анотація:
The focal object is a key concept throughout this book, and it has its primary exposition in this chapter, which describes the space in which images function. Building on the idea of an image as a device, this chapter discusses how images operate before viewers and within visual fields that encompass them. The cult image, the relic, the place where Our Lady appeared, the site of the miraculous spring, oracle, or vision—such objects and places are where one meets the supernatural by forgetting the complex ecology and history in which the image or object is embedded. This masking of the manifold aspects of the network enables the ascription of agency to the focal object rather than to the extended assemblage of diverse actors forming the network.
Частини книг з теми "Relic-object":
1
Brown, Katherine T. "The Sudarium Relic as Material Object in the West." In The Legend of Veronica in Early Modern Art, 28–44. New York : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780429242922-2.
2
"The Relic and Its Witness." In Islam and the Devotional Object, 119–47. Cambridge University Press, 2020. http://dx.doi.org/10.1017/9781108594233.005.
3
"Religious Topography and the Relic." In Islam and the Devotional Object, 148–71. Cambridge University Press, 2020. http://dx.doi.org/10.1017/9781108594233.006.
4
Bommarito, Nicolas. "Relics and Veneration." In Seeing Clearly, 142–54. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190887506.003.0020.
Анотація:
This chapter addresses the role of relics and veneration in Buddhism. Words like “relic” and “veneration” can often feel too religious and too supernatural. For many with a modern outlook, practices involving the veneration of relics can seem archaic and irrelevant. As a result, they are too often overshadowed by philosophy and meditation in many contemporary discussions of Buddhism. Nevertheless, these practices can not only be deeply meaningful and transformative but are among the most widespread and popular in the Buddhist world today. Indeed, for the vast majority of practicing Buddhists in the world, the veneration of relics and important places is absolutely central to what Buddhism means to them. Most generally, these practices are ways of expressing respect and admiration, but they also bring about changes in one's outlook. They typically involve an especially important object or place, and there are, as one might expect, many variations. Since they often involve magical or supernatural elements, they are sometimes ignored or downplayed in modern forms of Buddhism. They are, however, important in the Buddhist world and offer important lessons, even for those who do not accept the supernatural aspects.
5
"Relic or Icon? The Place and Function of Imperial Regalia*." In The Nomadic Object, 430–47. BRILL, 2018. http://dx.doi.org/10.1163/9789004354500_016.
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Snead, James E. "“These places know him no more”: Surveys, Panoramas, and the Landscape of Ancient America." In Relic Hunters. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198736271.003.0008.
Анотація:
Around 1850 an image of a mysterious cavern in the western country was painted on a vast stretch of canvas. It depicts an elaborate, subterranean realm with colorful stalactites, exotic mineral formations, and an enigmatic hieroglyphic inscription. The darkness is illumined by the flaming brands of a party of explorers, who move about in active curiosity. In the shadows beyond the torchlight a trio of mummies can be seen, propped up against the rocks. The Kentucky Mummy—and a few of her peers—patiently await the attention of Investigators. The description attached to the painting, however, suggests that its object is not Mammoth Cave, but another western grotto, located in a bluff alongside the Ohio known as Cave-in-Rock. In actuality there were no stalactites at this particular location, and no evidence for antiquities either. Early in the era of western exploration the cavern had been used as shelter by travelers: the walls were indeed inscribed, but—like the trees that had once risen atop the Grave Creek Mound—with the signatures of those passing through rather than with those of the ancient inhabitants. More infamously, the cave had been used by river pirates as a base for attacks on flatboat passengers. Eastern newspapers had carried accounts of the banditti of Cave-in-Rock. Thomas Ashe included the cave among his bone-filled catacombs, and a newspaper article of a few years later described the place as a “dark mansion of the murdered.” John Egan’s romanticized depiction of Cave-in-Rock—executed on behalf of Montroville Dickeson—illustrates the complex accretion of historicized landscapes in the American West in the era prior to the Civil War. For the mid-nineteenth-century audience such palimpests were relatively commonplace, representing the increasing time depth of settlement and the progressive integration of different types of historical experience. That the painter had apparently never seen the place itself was irrelevant: his canvas artfully joined the ancient dead with the casualties of more recent times, connecting past and present in equal degree, within a mythicized western setting. The nature of Egan’s work itself indicated that visual imagery was a potentially powerful strategy for engaging the material past in the antebellum United States.
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Brint, Steven, and Jerome Karabel. "Community Colleges and the American Social Order." In The Diverted Dream. Oxford University Press, 1989. http://dx.doi.org/10.1093/oso/9780195048155.003.0004.
Анотація:
From the earliest days of the Republic, Americans have possessed an abiding faith that theirs is a land of opportunity. For unlike the class-bound societies of Europe, America was seen as a place of limitless opportunities, a place where hard work and ability would receive their just reward. From Thomas Jefferson’s “natural aristocracy of talent” to Ronald Reagan’s “opportunity society,” the belief that America was—and should remain—a land where individuals of ambition and talent could rise as far as their capacities would take them has been central to the national identity. Abraham Lincoln expressed this deeply rooted national commitment to equality of opportunity succinctly when, in a special message to Congress shortly after the onset of the Civil War, he described as a “leading object of the government for whose existence we contend” to “afford all an unfettered start, and a fair chance in the race of life.” Throughout much of the nineteenth century, the belief that the United States was a nation blessed with unique opportunities for individual advancement was widespread among Americans and Europeans alike. The cornerstone of this belief was a relatively wide distribution of property (generally limited, to be sure, to adult white males) and apparently abundant opportunities in commerce and agriculture to accumulate more. But with the rise of mammoth corporations and the closing of the frontier in the decades after the Civil War, the fate of the “selfmade man”—that heroic figure who, though of modest origins, triumphed in the competitive marketplace through sheer skill and determination—came to be questioned. In particular, the fundamental changes then occurring in the American economy—the growth of huge industrial enterprises, the concentration of property less workers in the nation’s cities, and the emergence of monopolies—made the image of the hardworking stockboy who rose to the top seem more and more like a relic of a vanished era. The unprecedented spate of success books that appeared between 1880 and 1885 (books bearing such titles as The Law of Success, The Art of Money Getting, The Royal Road to Wealth, and The Secret of Success in Life) provide eloquent, if indirect, testimony to the depth of the ideological crisis then facing the nation.