Celtic Knots Colorization based on Color Harmony Principles

This paper proposes two simple and powerful algorithms to automatically paint Celtic knots with aesthetic colors. The shape of the knot is generated from its dual graph as presented in [KC03]. The first technique uses rules derived from two-colors harmony studies in a Color Order System to select harmonious color pairs. We show that it can efficiently reproduce color combinations utilized in ancient and modern Celtic design. The second technique aims at creating knots with a rainbow type colorization that can be seen in modern Celtic art. The user controls a few parameters like the number of desired different hues, or the average brightness and saturation expected, by defining an ellipse in the color space. The program then accordingly selects a series of colors. In both cases, we apply rules issued from prior Color Science studies. Categories and Subject Descriptors (according to ACM CCS): I.3.7 [Computer Graphics]: Color, shading, shadowing, and textur

Sounding Together

Sounding Together: Collaborative Perspectives on U.S. Music in the Twenty-21st Century is a multi-authored, collaboratively conceived book of essays that tackles key challenges facing scholars studying music of the United States in the early twenty-first century. This book encourages scholars in music circles and beyond to explore the intersections between social responsibility, community engagement, and academic practices through the simple act of working together. The book’s essays—written by a diverse and cross-generational group of scholars, performers, and practitioners—demonstrate how collaboration can harness complementary skills and nourish comparative boundary-crossing through interdisciplinary research. The chapters of the volume address issues of race, nationalism, mobility, cultural domination, and identity; as well as the crisis of the Trump era and the political power of music. Each contribution to the volume is written collaboratively by two scholars, bringing together contributors who represent a mix of career stages and positions. Through the practice of and reflection on collaboration, Sounding Together breaks out of long-established paradigms of solitude in humanities scholarship and works toward social justice in the study of music

Granite and Rainbow: Queer Authority and Authorship in T. S. Eliot, W. B. Yeats, and Virginia Woolf

“Granite and Rainbow” argues that queerness is an essential condition for normative creativity to properly function in literary Modernism. Specifically, for the three modernist authors I explore in this project, queerness is at the heart of their literary performances: the private, bawdy, scintillatingly homoerotic Eliot feigning an impersonal, cerebral voice in public; the wounded, traumatized, feminine Yeats desiring for a compelling, masculine mask; and the scared and unsatisfiable Woolf whose strong desire for the maternal and a female tradition of writing is almost always cut short by her simultaneously antithetical craving for a male tradition of writing. This dissertation approaches this issue by attending to how queerness is figured and operative in their individual texts along the temporal or (and) spatial axis. Two chapters are allotted to each author in the order of Eliot, Yeats, and Woolf. The chapters on Eliot explain the private and public Eliot respectively. The Yeats chapters deal respectively with the poet’s early and later poems in terms of the plethora of ways his changing gender performances relate to the questions of queer temporality. The chapters on Woolf each focus on Mrs. Dalloway and Orlando, novels written around the same time, to trace how the novelist’s vacillation along the gender continuum comes across as issues with gender space and queer spatiality. Ultimately, this dissertation aims to show the similarities between what I see as queer in these modernist writers’ authority and authorship and the textual manifestations of queerness or queer time and space