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Marlana Dugger
Dugger 1 East Texas Baptist University School of Humanities Department of English Infinite Perception: William Blake‟s Marriage of Heaven and Hell By Marlana K. Dugger Dugger 2 Introduction William Blake is often referred to as the first of the British Romantics. The Romantic period was relatively short (1785-1830) and was fueled in part by two of the most important movements for independence in history, the French and American revolutions. The self-assertion that provided the foundation for the Romantic period led to the questioning and eventual rejection of long-established social hierarchies, political institutions, and religious traditions and organizations. The Romantic artists, too, rejected the established literary forms and thematic concerns of their predecessors and sought new ways of expressing themselves. These artists emphasized the nobility and importance of common experiences and, to a certain extent, a common language accessible to all, not just the educated classes. By extension, they championed the imagination as the higher faculty and believed the natural world more moral, spiritual, and ordered than the world of men. William Blake was this movement‟s English pioneer. He was born in London, England in 1757 and was reared in a middle-class family. Blake did not receive a formal academic education although he did attend the royal Academy of Arts and made a fairly good living as an engraver. It is also important to note that from the age of four, Blake experienced visions, most of which were religious in nature. These visions inspired most, if not all, of Blake‟s literary and artistic pieces. -
THIAGO JOSÉ CÓSER Possibilidades Da Produção Artística Via
THIAGO JOSÉ CÓSER Possibilidades da produção artística via prototipagem rápida: processos CAD/CAM na elaboração e confecção de obras de arte e o vislumbre de um percurso poético individualizado neste ensaio. Dissertação apresentada ao Instituto de Artes da Universidade Estadual de Campinas, para a obtenção do título de mestre em Artes. Área de concentração: Artes Visuais Orientador: Prof. Dr. Marco Antonio Alves do Valle Campinas 2010 3 FICHA CATALOGRÁFICA ELABORADA PELA BIBLIOTECA DO INSTITUTO DE ARTES DA UNICAMP Cóser, Thiago José. C89p Possibilidades da produção artística via Prototipagem Rápida: Processos CAD/CAM na elaboração e confecção de obras de arte e o vislumbre de um percurso poético individualizado neste ensaio. : Thiago José Cóser. – Campinas, SP: [s.n.], 2010. Orientador: Prof. Dr. Marco Antonio Alves do Valle. Dissertação(mestrado) - Universidade Estadual de Campinas, Instituto de Artes. 1. Prototipagem rápida. 2. Arte. 3. Sistema CAD/CAM. 4. Modelagem 3D. 5. escultura. I. Valle, Marco Antonio Alves do. II. Universidade Estadual de Campinas. Instituto de Artes. III. Título. (em/ia) Título em inglês: “Possibilities of Art via Rapid Prototyping: using CAD / CAM systems to create art works and a glimpse of a poetic route individualized essay.” Palavras-chave em inglês (Keywords): Rapid prototyping ; Art ; CAD/CAM systems. ; 3D modelling ; Sculpture. Titulação: Mestre em Artes. Banca examinadora: Prof. Dr. Marco Antonio Alves do Valle. Profª. Drª. Sylvia Helena Furegatti. Prof. Dr. Francisco Borges Filho. Prof. Dr. Carlos Roberto Fernandes. (suplente) Prof. Dr. José Mario De Martino. (suplente) Data da Defesa: 26-02-2010 Programa de Pós-Graduação: Artes. 4 5 Agradecimentos Ao meu orientador, profº Dr. -
Fictional Illustration Language with Reference to MC Escher and Istvan
New Trends and Issues Proceedings on Humanities and Social Sciences Volume 4, Issue 11, (2017) 156-163 ISSN : 2547-881 www.prosoc.eu Selected Paper of 6th World Conference on Design and Arts (WCDA 2017), 29 June – 01 July 2017, University of Zagreb, Zagreb – Croatia Fictional Illustration Language with Reference to M. C. Escher and Istvan Orosz Examples Banu Bulduk Turkmen a*, Faculty of Fine Arts, Department of Graphics, Hacettepe University, Ankara 06800, Turkey Suggested Citation: Turkmen, B. B. (2017). Fictional illustration language with reference to M. C. Escher and Istvan Orosz examples. New Trends and Issues Proceedings on Humanities and Social Sciences. [Online]. 4(11), 156-163. Available from: www.prosoc.eu Selection and peer review under responsibility of Prof. Dr. Ayse Cakır Ilhan, Ankara University, Turkey. ©2017 SciencePark Research, Organization & Counseling. All rights reserved. Abstract Alternative approaches in illustration language have constantly been developing in terms of material and technical aspects. Illustration languages also differ in terms of semantics and form. Differences in formal expressions for increasing the effect of the subject on the audience lead to diversity in the illustrations. M. C. Escher’s three-dimensional images to be perceived in a two-dimensional environment, together with mathematical and symmetry-oriented studies and the systematic formed by a numerical structure in its background, are associated with the notion of illustration in terms of fictional meaning. Istvan Orosz used the technique of anamorphosis and made it possible for people to see their perception abilities and visual perception sensitivities in different environments created by him. This study identifies new approaches and illustration languages based on the works of both artists, bringing an alternative proposition to illustration languages in terms of systematic sub-structure and fictional idea sketches. -
Momath's Intersection of Math And
Bridges 2020 Conference Proceedings Composite: MoMath’s Intersection of Math and Art Cindy Lawrence1 and Tim Nissen2 1Cindy Lawrence, National Museum of Mathematics, NYC; [email protected] 2Tim Nissen, National Museum of Mathematics, NYC; [email protected] Abstract That there are meaningful connections between art and mathematics is intuitively clear to mathematicians and mathematically-inspired visual artists, but the connection is often less clear to others, especially to those whose negative associations with mathematics during school-age years trigger emotions counter to feelings inspired by beautiful artworks. At the National Museum of Mathematics, the Composite gallery has been a laboratory of temporary art exhibitions. The introduction of tactile interactivity as a bridge between art and geometric forms in Solid Math, and the presentation of origami art through its often-overlooked mathematical makeup in Math Unfolded, highlighted these interconnections for visitors of all ages. New in Composite Since 2014, Composite, the gallery at the National Museum of Mathematics (MoMath) [2], has housed a series of temporary exhibitions of the work of mathematically-inclined artists including Antal Kelle ArtFormer, Miguel Berrocal, Matthew Brand, and Trevor and Ryan Oakes. In 2019, two exhibitions explored the connections between mathematics and art through multi-artist curated shows and physical interactives. Characteristic of the Museum proper, the collection of works and interactives encourages visitors to engage deeply with the content, integrating an array of models and artworks.. Solid Math, which ran from April through July of 2019, explored the geometry of regular polyhedra and showcased art based on these forms. Platonic, Archimedean, and Catalan polyhedra provided the formal constraints as well as the rhythmic underpinnings for the artists’ pieces presented in the show. -
Bathsheba Grossman
gallery: bathsheba grossman “The universe is orderly and friendly and beautiful. Structure is this lovely, versatile thing.” “It’s either right or it’s wrong. It’s either elegant or not elegant. In math, those are actual properties. Everyone agrees.” 24 Based on mathematical structures, Bathsheba Grossman’s metal artworks are an example of digital sculpture given form. by Raven Hanna Bathsheba Grossman carries around her art wher- grasp. As you attempt to trace the labyrinthine for- ever she goes. She shows strangers her two- mations, you are drawn in, mesmerized. inch metal sculptures, the babies of her collection. Although her sculptures look mathematical, the People hold them, stare at them, love them, and quantitatively-challenged are not put off. “A lot buy them. In this way, she has sold on the spot to of people who don’t know anything about math or barmaids, secretaries, bus drivers, and mail deliverers. science buy these things,” she says. “There’s a The sculptures themselves are their own best lot of raw appeal. People approach them in different marketing. After selling a sculpture to Microsoft’s ways, but almost everybody sees that they are Mark Zbikowski, famous to computer geeks and of interest.” business buffs for developing MS-DOS software, Grossman grew up in a middle-class neighbor- she watched requests from other Microsoft employ- hood in Massachusetts with English professor ees roll in. Grossman makes art people want. parents. At Yale University, she shirked the family “I think they say something important about the tradition by pursuing a degree in mathematics. -
The George-Anne Student Media
Georgia Southern University Digital Commons@Georgia Southern The George-Anne Student Media 10-27-2003 The George-Anne Georgia Southern University Follow this and additional works at: https://digitalcommons.georgiasouthern.edu/george-anne Part of the Higher Education Commons Recommended Citation Georgia Southern University, "The George-Anne" (2003). The George-Anne. 3032. https://digitalcommons.georgiasouthern.edu/george-anne/3032 This newspaper is brought to you for free and open access by the Student Media at Digital Commons@Georgia Southern. It has been accepted for inclusion in The George-Anne by an authorized administrator of Digital Commons@Georgia Southern. For more information, please contact [email protected]. ^^H ■■■^^■■i ^^^mm HB^^BHHH 1 •.siannsnc Covering the campus like a swarm of gnats I he (Mficial Student Newspaper of Georgi iniversit Volleyball wins trio of matches to stay perfect at home SPORTS ^ Page 6 NEWS More on the events www.stp.georgiasouthern.edu that shaped Homecoming 2003 Page 9 or * or et THE END 11- 4 ■ J OF AN ERA By Eli Boorstein [email protected] Iff s the old adage says, "All good things must come I to an end." 7 The only problem is, that phrase is not supposed > » i to apply to Georgia Southern. The No. 19 Eagle football team, after storming back to take the lead, saw The Citadel respond late to win 28-24, spoiling Homecoming festivities at Paul- son Stadium Saturday afternoon. :ss With the loss, their fourth of the season, the Ea- • gles' streak of six straight postseason berths will likely :ss be coming to an end. -
Galerije Antuna Augustin^I]A Original U Skulpturi
28–29 ANALI ANALI GALERIJE ANTUNA AUGUSTIN^I]A GOD. XXVIII–XXIX (2008.–2009.) • BR. 28–29 • STR. 1–472 • KLANJEC 2010. Simpozij ORIGINAL U SKULPTURI Klanjec, 4. – 6. lipnja 2008. ZBORNIK RADOVA 28 29 ISSN-0352-1826 UDK 71/77(058) ANALI GALERIJE ANTUNA AUGUSTIN^I]A GOD. XXVIII–XXIX (2008.–2009.) • BR. 28–29 • STR. 1–472 • Klanjec 2010. ISSN-0352-1826 UDK 71/77(058) CONTENTS SADR@AJ Editor’s Word Riječ urednika 5 5 LAVINIA BELUŠIĆ LAVINIA BELUŠIĆ The Concept of Originality in Pojam izvornosti u traktatima Rennaisance Italy Treatises (1435–1568) renesansne Italije (1435.–1568.) 35 9 IGOR FISKOVIĆ IGOR FISKOVIĆ The Case of the Renaissance Sculpture Slučaj renesansnog kipa Sv. Petra u of St. Peter in Vrboska Vrboskoj 51 37 VEDRANA GJUKIĆ-BENDER VEDRANA GJUKIĆ-BENDER Sculptor Innocenzo Spinazzi, Creator Innocenzo Spinazzi – kipar stvaratelj and Copyist i kopist 64 53 VESNA LOVRIĆ PLANTIĆ VESNA LOVRIĆ PLANTIĆ »The Montgolfier Brothers’ Balloon« »Balon braće Montgolfier« Luxurious Clock-Sculpture: Problems of Raskošan sat-skulptura: problemi Attribution and Dating atribucije i datacije 84 67 DR. JOSIP KOROŠEC JOSIP KOROŠEC The Role of Sculpture and the Uloga skulpture i značaj njezine Importance of Its Originality izvornosti 96 85 CONTENTS SADR@AJ MARTINA OŽANIĆ MARTINA OŽANIĆ Sculptural Group of The Holy Family – Skulpturalna grupa Svete Obitelji – Sharing Ideas and Authorship in pitanje udjela autorske invencije u Studies and Prints odnosu na grafički predložak 113 97 ANICA RIBIČIĆ-ŽUPANIĆ ANICA RIBIČIĆ-ŽUPANIĆ Francisco Pallas y Puig Francisco -
Some Common Themes in Visual Mathematical Art
BRIDGES Mathematical Connections in Art, Music, and Science Some Common Themes in Visual Mathematical Art Robert W. Fathauer Tessellations Company Tempe, AZ 85281, USA E-mail: [email protected] Abstract Mathematics and art are two seemingly disparate fields according to contemporary views, but there are a number of visual artists who make mathematics a focus of their work. There are several themes that have been widely used by mathematical artists. These include polyhedra, tessellations, impossible figures, MObius bands, distorted or unusual perspective systems, and fractals. Descriptions and examples are provided in this paper, which is intended to some degree as an fntroduction to the Exhibit of Visual Mathematical Art held as part of Bridges 2001. 1. Introduction Historically, mathematics has played an important role in visual art, particularly in perspective drawing; i.e., the means by which a three-dimensional scene is rendered convincingly on a flat canvas or piece of paper. Mathematics and art are two seemingly disparate fields according to contemporary views, the first often considered analytical and the second emotional. Mathematics does not play an overt role in most contemporary art, and in fact, many artists seldom or never employ even -perspective drawing. However, there are a number of contemporary visual artists who make mathematics a focus of their work. Several notable figures in history paved the way for these individuals. There are obviously no rules or limits on themes and ideas in mathematical art. However, there are a number of themes that have been widely used by mathematical artists. Some of these are described here, with examples. -
Bruce Beasley Oakland, California, USA
Brown Symposium XXXVII at Southwestern University What Things May Come: The Third International 3D Print Sculpture exhibition Artists’ Biographies and Statements Bruce Beasley Oakland, California, USA Biography: Bruce Beasley is one of the United States most prominent sculptors. In 1962 The Museum of Modern Art in New York acquired one of Beasley’s sculptures making him the youngest artist ever to be included in their permanent collection. In 1963, he won the purchase prize in the Paris Biennale, the world’s most prestigious international exhibition. Since that time Beasley has had his sculptures included in the permanent collection of 33 art museums around the world. He has had over 55 solo exhibitions in the US and abroad and has been included in hundreds of important group exhibitions. He has represented the United States in numerous international Biennale exhibitions and world fairs. Beasley has done 35 monumental sculpture commissions in the United States and abroad. Including sculptures for the Beijing Olympic Games and the Shanghai world expo. He has just completed a large granite sculpture for the city of Palo Alto, and he currently has a solo exhibition of 5 large sculptures on the campus of the University of California at Berkeley. www.BruceBeasley.com Artist Statement: I began working with 3D computer modeling in 1987. The issue that drew me to computer modeling was the desire to be able to manipulate and intersect shapes easily and spontaneously, free of the constraints of real material. My background is the direct metal working tradition of sculpture, where the esthetic composition and physical making of the sculpture are one and the same. -
Tesis Margarita Rodríguez Ibáñez
UNIVERSIDAD COMPLUTENSE DE MADRID FACULTAD DE CIENCIAS DE LA INFORMACIÓN Departamento de Comunicación Audiovisual y Publicidad II TESIS DOCTORAL Cambios producidos en al arte por su inclusión en el sistema-red MEMORIA PARA OPTAR AL GRADO DE DOCTOR PRESENTADA POR Margarita Rodríguez Ibáñez Directora Pilar Aumente Rivas Madrid, 2017 © Margarita Rodríguez Ibáñez, 2010 CAMBIOS PRODUCIDOS EN EL ARTE POR SU INCLUSIÓN EN EL SISTEMA-RED TESIS DOCTORAL Margarita Rodríguez Ibáñez Dirigida por Dª. Pilar Aumente Rivas Departamento CAVP II Facultad de Ciencias de la Información UNIVERSIDAD COMPLUTENSE DE MADRID Hechos futuros son todos aquellos que habrán de tener lugar y, por consiguiente, habrán de ser enteramente determinados y sus representaciones o, lo que es lo mismo, sus adivinaciones, singulares y, por tanto, altamente poéticas. Alex Gottilieb Baumgarten Reflexiones filosóficas en torno al poema , 1735, § LXI 2 ÍNDICE ASPECTOS METODOLÓGICOS I. INTRODUCCIÓN Pág. 9 II. OBJETO DE LA INVESTIGACIÓN Pág. 10 III. OBJETIVOS DE LA INVESTIGACIÓN Pág. 11 IV. PREGUNTAS Pág. 11 V. ESTADO DE LA CUESTIÓN Pág. 12 VI. METODOLOGÍA Pág. 21 VII. VALIDEZ Pág. 23 VIII. RESUMEN Pág. 26 INTRODUCCIÓN 1. INTRODUCCIÓN: Pág. 28 PARADIGMA SISTEMA RED 2. CANAL INTERNET: Pág. 41 2.1. Internet y la Web. Pág. 41 2.2. Alcance y progresión. Pág. 42 2.3. Cambios paradigmáticos comunicacionales Pág. 44 2.4. La sociedad informacional Pág. 50 3. EL CIBERESPACIO. Pág. 54 3.1. Las interfaces y programas Pág. 64 3.2. El hipertexto Pág. 65 3.3. Multimedia e Hipermedia Pág. 68 3.4. La interactividad Pág. 70 3.5. Lo virtual Pág. 74 3 3.6. -
Capturing Infinity Reed Mathematics Professor Thomas Wieting Explores the Hyperbolic Geometry of M.C
‰march 2010 Capturing Infinity Reed mathematics professor Thomas Wieting explores the hyperbolic geometry of M.C. Escher’s Angels and Devils. Capturing Infinity The Circle Limit Series of M.C. Escher BY THOMAS WIETING In July 1960, shortly after his 62nd birthday, the graphic artist M.C. Escher completed Angels and Devils, the fourth (and final) woodcut in his Circle Limit Series. I have a vivid memory of my first view of a print of this astonishing work. Following sensations of surprise and delight, two questions rose in my mind. What is the underlying design? What is the purpose? Of course, within the world of Art, narrowly interpreted, one might regard such questions as irrelevant, even impertinent. However, for this particular work of Escher, it seemed to me that such questions were precisely what the artist intended to excite in my mind. In this essay, I will present answers to the foregoing questions, based upon Escher’s articles and letters and upon his workshop drawings. For the mathematical aspects of the essay, I will require nothing more but certainly nothing less than thoughtful applications of straightedge and compass. The Dutch artist Maurits C. Escher (1898–1972) Escher completed CLIV, also known as Angels and Devils, in 1960. 22 Reed magazine March 2010 Regular Division III (1957) demonstrates Escher’s mastery of tessellation. At the same time, he was dissatisfied with the way the pattern was arbitrarily interrupted at the edges. Day and Night (1938) is the most popular of Escher’s works. Capturing Infinity would not permit what the real materials of In 1959, Escher described, in retrospect, a his work shop required: a finite boundary. -
Drawing Hands. the Themes of Representation in Steinberg and Escher's Images †
Proceedings Drawing Hands. The Themes of Representation in Steinberg and Escher’s Images † Edoardo Dotto Università di Catania, Struttura Didattica Speciale di Architettura, 96100 Siracusa, Italy; [email protected] † Presented at the International and Interdisciplinary Conference IMMAGINI? Image and Imagination between Representation, Communication, Education and Psychology, Brixen, Italy, 27–28 November 2017. Published: 24 November 2017 Abstract: Despite the obvious differences between the work of Dutch graphic artist M.C. Escher and that of Romanian draftsman S. Steinberg, with a closer look is possible to trace strong affinities between some of their works and many of the themes they handled, such as the drawing of metamorphoses, the figure-background relationship, and the intercourse between reality and representation space. In spite of a general mood difference between their respective graphic narrations, the work of the two authors appears to be based on the same kind of anxieties that have crossed the twentieth century, involving different fields of knowledge. Keywords: impossible figures; incompleteness theorems; Escher; Steinberg 1. Introduction Few draftsmen, among the graphic artists of the twentieth century, may appear as distant as Maurits Cornelis Escher (Figure 1) and Saul Steinberg (Figure 2). Steinberg has built his own career as a humorist, developing, since years of collaboration with the Milanese magazine Il Bertoldo, to the mature works on New Yorker’s pages, a caustic, fulminant, sometimes even moving spirit. Escher, devoted to a lonely and coherent search work on certain precise themes—from the regular division of the plane to the anamorphosis–, was perceived as “the absurd draftsmen”, appreciated by mathematicians and crystallographers for the precision with which, by applying complex geometric principles, has managed to shape the images that are often described paradoxically and imaginatively.