171 research outputs found

    Bringing Order to Special Cases of Klee's Measure Problem

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    Klee's Measure Problem (KMP) asks for the volume of the union of n axis-aligned boxes in d-space. Omitting logarithmic factors, the best algorithm has runtime O*(n^{d/2}) [Overmars,Yap'91]. There are faster algorithms known for several special cases: Cube-KMP (where all boxes are cubes), Unitcube-KMP (where all boxes are cubes of equal side length), Hypervolume (where all boxes share a vertex), and k-Grounded (where the projection onto the first k dimensions is a Hypervolume instance). In this paper we bring some order to these special cases by providing reductions among them. In addition to the trivial inclusions, we establish Hypervolume as the easiest of these special cases, and show that the runtimes of Unitcube-KMP and Cube-KMP are polynomially related. More importantly, we show that any algorithm for one of the special cases with runtime T(n,d) implies an algorithm for the general case with runtime T(n,2d), yielding the first non-trivial relation between KMP and its special cases. This allows to transfer W[1]-hardness of KMP to all special cases, proving that no n^{o(d)} algorithm exists for any of the special cases under reasonable complexity theoretic assumptions. Furthermore, assuming that there is no improved algorithm for the general case of KMP (no algorithm with runtime O(n^{d/2 - eps})) this reduction shows that there is no algorithm with runtime O(n^{floor(d/2)/2 - eps}) for any of the special cases. Under the same assumption we show a tight lower bound for a recent algorithm for 2-Grounded [Yildiz,Suri'12].Comment: 17 page

    Psychoanalytic aesthetics: the case of Miró and the 'child-like'

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    Miró's art is regularly characterised as 'child-like' in art historical literature. That is, his work is taken visually to resemble, or as sharing some of the characteristics (freshness of vision, spontaneity, emotional expressiveness, freedom from traditional illusionistic techniques) attributed to, the artistic productions of children. This analogy with child art (exploited by Expressionists and others in the early years of the twentieth-century) dates in Miró's case to his involvement with Surrealism in the 1920s. It was understood as a more or less conscious intention to exploit the visual characteristics of the successive stages in a child's artistic development. In other words, it was one aspect of Surrealism's engagement with 'primitivist' forms of expression, in which artists appropriated the aesthetic of children's drawings, tribal and folk artifacts, and the artistic productions of the mentally ill. My discussion of Miró is supported by comparison with the work of two other artists, Klee and Chagall, who also borrowed from child art and whose production was likewise associated with childhood by critical literature. Klee's work supports my contention that although Mirós painting bears a passing resemblance to children's drawings, a more sustained analysis demonstrates that it is unlike anything that a child would actually produce. 'Child-likeness', generally a comment on form, becomes in Miró's case question of artistic content, relating to the development and constant recycling of a vocabulary of shapes largely derived from childhood memories. Comparison with Chagall, whose oeuvre was also thematically indebted to childhood memories, allows one to put forward a psychoanalytically informed explanation of the infantile origins of the content that finds expression in art. Miró's thematic 'child-like' content, from this point onwards, is used as a case study to effect the comparison between the theories of Freud (a major influence on Surrealism), and those of the Kleinian tradition within the British Object-Relations School of psychoanalysis, insofar as these have lent themselves to the discussion of art. Both approaches are developmental (Freud and Klein theorised adult psychology as a development of the thought processes of infancy and childhood), and for this reason have been preferred to the topographical and Lacanian orientation adopted in recent applied psychoanalytic literature. \Vhereas Freud's psychoanalysis of art concentrates on the unconscious processes and mechanisms by means of which the fantasy-distorted derivatives of repressed infantile material emerge into consciousness and become the material of art, the Kleinian psychoanalytic aesthetic developed by Segal and Stokes focuses on the unconscious revelations underlying creativity and the phantasy content that finds expression at the level of the medium. Winnicott provides a (poetic) description of the experiences, rooted in childhood perceptual patterns, to which the production of art and its reception give rise. Miró's own accounts of his creative procedures confirm that the unconscious infantile-derived thought processes, motivations and contents theorised by these authors are in .... [?] operative in the production of art, whilst also making clear that creativity is determined by socio-cultural, therefore conscious (and, as such, psychoanalytically unaccounted for) factors. Both the explanatory value and the principal methodological limitation of psychoanalytic aesthetics centre on these two final considerations

    The Ticker, March 31, 1987

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    The Ticker is the student newspaper of Baruch College. It has been published continuously since 1932, when the Baruch College campus was the School of Business and Civic Administration of the City College of New York

    Spartan Daily, September 11, 1984

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    Volume 83, Issue 8https://scholarworks.sjsu.edu/spartandaily/7194/thumbnail.jp

    Music and Art: Exploring Cross-Pollination.

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    As a music student who was always more attracted to the “academic” side of music rather than the performance side, I have come to hold a great respect for music history. This interest only grew when I got the opportunity to study music for a semester in Edinburgh, Scotland. Being surrounded by so much history, both musical and artistic, only fed my passion. I began to notice many similarities between the development of music and art both during lectures at the university and in my leisure time in galleries. I noticed that composers and visual artists in the same time period would hold similar beliefs or thoughts, therefore similarities could be found between the two art forms. Oftentimes, I would come across a composer whose compositional techniques were directly influenced by an artist and/or vice versa. I became interested in this type of cross-pollination in music and soon began to ask myself the question “Have the development of art and music always been influenced by each other? How many composers were inspired by art?” When it came time to begin my honors thesis, I decided to address this topic. So, I chose to explore this type of cross-pollination in music and, in conjunction with this research, create my own musical composition based on a work of visual art of my own choosing. Specifically, I wanted to look more carefully at the technique composers had used historically to connect their pieces of music with particular pieces of visual art. I therefore chose several art-influenced compositions to examine how the music expresses the art. In the first chapter of my thesis, I discuss the problem of turning spatially existing art into a temporally existing composition and explore several compositions in which the composers chose to construct a musical narrative as an approach to this challenge. In the second chapter, I revisit the problem of turning art into music but instead explore a different set of compositions that overcome this issue using a ‘snapshot’ technique. In the third chapter, I take a look at ekprasis as a technique used to translate abstract art into music and focus on how one composition in particular expresses the artwork. The fourth chapter is a journal discussing the art I have chosen, the stages in my compositional process, and how I used what I learned from my research to create my own composition. I have included the score of my composition as the fifth chapter

    ON THE NATURE OF FIELDWORK A COMPOSER'S INTERDISCIPLINARY THEORY AND PRACTICE

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    The following text serves to accompany a body of practical work in music (composing) and mark-making. The two elements, when taken together, are an illustration of the role which certain types of fieldwork developed by the author may offer the composer if adopted into the process of acoustic invention. The introduction sets forth the conditions in which such an approach to the relationship between the natural, the sonic and the visual becomes relevant and important. Ideas of interconnectivity are introduced and terms are defined. Chapter two deals with the ideas of connecting patterns and sets of relationships in more detail, exploring the concepts of implicate order and recurring natural patterns. In chapter three we enter into discussion of fieldwork as a practice, encompassing theory and practical application. Chapters four to seven concern themselves with the analysis of the compositions borne of the fieldwork in question, and enter into more detail about any fieldwork specific to the pieces themselves. The relationships between the pages of sketches and the written music is considered here from the musical point of view. Finally, chapter eight acts as a brief conclusion to the study, in which we not only consider the results of the application of the fieldwork practice but also seek to identify which paths the continuation of this practice would benefit from and where we might take this work in the future

    Boulez and expression: a Deleuzoguattarian approach

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    A study of temporal visual composition

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    Thesis (Ph. D.)--Massachusetts Institute of Technology, Dept. of Architecture, 2007.Includes bibliographical references (p. 175-182).With the rapid growth of digital art, the temporal dimension is becoming a more and more important aspect of visual creations. This thesis is an effort to contribute to the construction of a disciplined basis for the composition of visual creations along the temporal dimension. It studies new perceptual phenomena and compositional issues introduced by temporal visual composition; it proposes and develops a set theory-based composition approach; it also presents the applications of this approach in compositional experiments at different levels of abstraction. As another aspect of contributing to the temporal visual composition research, this thesis designs and develops a temporal visual composition interface and a system for color generation and manipulation based on spectral information. This interface and system serve as an indispensable support for the composition experiments in this study. They also present to artists a new level of control over both graphical materials and the composition process. Furthermore, they suggest new creative potentials in temporal art.by Xiaohua Sun.Ph.D

    The Wellesley News (11-17-1966)

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    https://repository.wellesley.edu/wcnews/1089/thumbnail.jp
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