3,580 research outputs found

    Embodying Bhakti Rasa in Bharata Natyam: An Indian-Christian Interpretation of Gayatri Mantra through Dance

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    As the five female dancers from the Indian-Christian fine art college of Kalai Kaviri encircle the South Indian brass lamp, or vilakku, awakening it to life with the flames from their own individual votives, the beginning melody of a song cues the women to stretch out their arms in preparation to rise from their seated positions and dance. As they raise their arms in unison, the light glinting off their bangles and gold threaded costumes, the Sanskrit words Om Bhur Bhuvah Svah signal the invocatory phrase of the popular Gayatri mantra chanted daily by many Hindus all over the world. By the time the second repetition of the mantra is completed, the bodies of the dancers are fanned out from behind a single dancer, creating the visual image of the sun with its rays beaming outwards to all directions of the universe

    Continuity in cognition

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    Designing for continuous interaction requires designers to consider the way in which human users can perceive and evaluate an artefact’s observable behaviour, in order to make inferences about its state and plan, and execute their own continuous behaviour. Understanding the human point of view in continuous interaction requires an understanding of human causal reasoning, of the way in which humans perceive and structure the world, and of human cognition. We present a framework for representing human cognition, and show briefly how it relates to the analysis of structure in continuous interaction, and the ways in which it may be applied in design

    Baring the Brain as well as the Soul: Milan Kundera\u27s The Joke

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    In what follows, I will argue that two current theories about how our minds ascribe intentional psychological states to other people (so-called Theory of Mind) as well as to non-personal events that happen to us (a proposed Existential Theory of Mind) provide a rich interpretive framework for understanding the social and historical context of Kundera’s innovative aesthetics

    COHERENCE

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    COHERENCE is a series of oil paintings and pen drawings that explores open narratives, or different ways to read artwork. The paintings and drawings showcase harmony, or tension, between ambiguous and representational forms. The visual experience requires the viewer to create their own narrative and decipher forms to do so. COHERENCE is a psychological and aesthetic exhibition fueled from human experienceβ€” one of fragility, uncertainty, imperfection, beauty, faith and memories

    Pressing Matter

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    This thesis document is divided into eight chapters, each one representative of a step and/or necessary component within traditional printmaking processes. Serving as both didactic terms and metaphoric interpretations, the steps are essential parts of my explorative and reactionary print process, methodically formed through intuition and response. Shedding light on the under workings of my research based practice, influences, and inspirations, each section adopts the traditional vocabulary of print as a strategy to validate the historically under-appreciated single impression (monotype) print and its ability to decelerate viewership. Using the method of β€œRegistration”, I situate my practice in correlation to the land on which I work and live. My β€œFirst impressions” on the unique print are aligned with its infinitely distinctive and mysterious characteristics, which support the formulation of the core questions that drive my creative process. The most vital element of my practice, β€œPressure”, is an entry point to write more specifically about the (physical) work, which shifts from the outside world to my body, and to the printing press. Chance is unavoidable: It is through β€œThe Reveal” that the diverse potentialities of mediums and materials, as well as the occasionally unexpected variations in the process, display their meaningful impact. β€œThe Proof” is the unique print in all its various states and inclusivity. Inevitably, there are many β€œFuture Editions” to come. Their dissemination and display are dependent on the cyclical elements that enkindle their creation: when one series of work ends, new understandings, gestures and formations unearth, informing the next state. Lastly, the mirroring that occurs when a plate is printed and is revealed in reverse, acts as a reflection. While not knowing exactly how events and decisions during the making process will eventuate, the resolution comes to light by rumination

    Enhancing Sign Language Recognition through Fusion of CNN Models

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    This study introduces a pioneering hybrid model designed for the recognition of sign language, with a specific focus on American Sign Language (ASL) and Indian Sign Language (ISL). Departing from traditional machine learning methods, the model ingeniously blends hand-crafted techniques with deep learning approaches to surmount inherent limitations. Notably, the hybrid model achieves an exceptional accuracy rate of 96% for ASL and 97% for ISL, surpassing the typical 90-93% accuracy rates of previous models. This breakthrough underscores the efficacy of combining predefined features and rules with neural networks. What sets this hybrid model apart is its versatility in recognizing both ASL and ISL signs, addressing the global variations in sign languages. The elevated accuracy levels make it a practical and accessible tool for the hearing-impaired community. This has significant implications for real-world applications, particularly in education, healthcare, and various contexts where improved communication between hearing-impaired individuals and others is paramount. The study represents a noteworthy stride in sign language recognition, presenting a hybrid model that excels in accurately identifying ASL and ISL signs, thereby contributing to the advancement of communication and inclusivity

    ΠŸΠΎΡΠ»Π΅Π΄ΠΈΡ†Π΅ "Π·Π°ΠΎΠΊΡ€Π΅Ρ‚Π° ΠΊΠ° Π°Ρ„Π΅ΠΊΡ‚Ρƒ": ΠΈΡΡ‚Ρ€Π°ΠΆΠΈΠ²Π°ΡšΠ΅ ΠΌΡƒΠ·ΠΈΡ‡ΠΊΠΈΡ… пракси ΠΈΠ·Π½ΡƒΡ‚Ρ€Π° ΠΈ споља

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    In this paper I explore the challenges of the β€œaffective turn” and map new avenues of music research in this direction. I discuss four paths of enquiry, in deviation from the semiotic models: the discovery of the non-signified materiality and its potentiality to generate affects, the potentiality of affect to de-signify, the ability of sign machines to catalyse the production of intensities and, finally, the power of social machines to overcode the produced affect through non-discursive mechanisms. I argue that the affective turn in musicology can provide a different structuring of a view from without and a view from within, calling both for finely tuned β€œclose reading” and for the ability of the researcher to grasp the performative contextΠ£ ΠΎΠ²ΠΎΠΌ Ρ€Π°Π΄Ρƒ ΠΈΡΡ‚Ρ€Π°ΠΆΡƒΡ˜Π΅ΠΌ ΠΈΠ·Π°Π·ΠΎΠ²Π΅ којС Ρ‚Π°ΠΊΠΎΠ·Π²Π°Π½ΠΈ β€žΠ·Π°ΠΎΠΊΡ€Π΅Ρ‚ ΠΊΠ° афСкту” Ρƒ ΠΊΡƒΠ»Ρ‚ΡƒΡ€Π°Π»Π½ΠΈΠΌ ΡΡ‚ΡƒΠ΄ΠΈΡ˜Π°ΠΌΠ° поставља ΠΏΡ€Π΅Π΄ ΠΏΠΎΡΡ‚ΠΎΡ˜Π΅Ρ›Π΅ ΠΌΠΎΠ΄Π΅Π»Π΅ ΠΈΡΡ‚Ρ€Π°ΠΆΠΈΠ²Π°ΡšΠ° ΠΌΡƒΠ·ΠΈΡ‡ΠΊΠΈΡ… пракси ΠΈ ΠΌΠ°ΠΏΠΈΡ€Π°ΠΌ могућности њСговС ΠΏΡ€ΠΈΠΌΠ΅Π½Π΅ Ρƒ ΠΌΡƒΠ·ΠΈΠΊΠΎΠ»ΠΎΠ³ΠΈΡ˜ΠΈ. ΠŸΡ€ΠΈ Ρ‚ΠΎΠΌΠ΅ ΠΏΠΎΠ»Π°Π·ΠΈΠΌ ΠΎΠ΄ ΡΡ‚Π°Π½ΠΎΠ²ΠΈΡˆΡ‚Π° Π΄Π° сС β€žΠ·Π°ΠΎΠΊΡ€Π΅Ρ‚ ΠΊΠ° афСкту” ΠΌΠΎΠΆΠ΅ Ρ‚ΡƒΠΌΠ°Ρ‡ΠΈΡ‚ΠΈ Ρƒ ΠΎΠΏΠΎΠ·ΠΈΡ†ΠΈΡ˜ΠΈ ΠΏΡ€Π΅ΠΌΠ° ΠΎΠ½ΠΎΠΌΠ΅ ΡˆΡ‚ΠΎ сС ΠΌΠΎΠΆΠ΅ ΠΎΠ·Π½Π°Ρ‡ΠΈΡ‚ΠΈ ΠΊΠ°ΠΎ стандардни (ΠΈΠ»ΠΈ трансцСндСнтални) β€žΡΠ΅ΠΌΠΈΠΎΡ‚ΠΈΡ‡ΠΊΠΈ модСл”, Π° који јС, ΠΎΡ‚Π²ΠΎΡ€Π΅Π½ΠΎ ΠΈΠ»ΠΈ ΠΏΡ€Π΅Ρ›ΡƒΡ‚Π½ΠΎ, ΠΏΡ€ΠΈΡ…Π²Π°Ρ›Π΅Π½ ΠΊΠ°ΠΎ ΠΎΠΏΡˆΡ‚Π΅ мњСњС Ρƒ сфСри ΡΡ‚ΡƒΠ΄ΠΈΡ˜Π° ΠΌΡƒΠ·ΠΈΠΊΠ΅ ΠΈ ΠΊΡƒΠ»Ρ‚ΡƒΡ€Π°Π»Π½ΠΈΡ… ΡΡ‚ΡƒΠ΄ΠΈΡ˜Π° ΡƒΠΎΠΏΡˆΡ‚Π΅ ΠΈ који сС ΠΏΡ€Π΅ΠΎΠ±Ρ€Π°Π·ΠΈΠΎ Ρƒ ΡΠ²ΠΎΡ˜Π΅Π²Ρ€ΡΠ½Ρƒ β€žΠ·ΠΎΠ½Ρƒ комфора” саврСмСних истраТивача. Како Π±ΠΈΡ… формулисао ΠΊΡ€ΠΈΡ‚ΠΈΠΊΡƒ сСмиотичких ΠΌΠΎΠ΄Π΅Π»Π° ΠΈΡΡ‚Ρ€Π°ΠΆΠΈΠ²Π°ΡšΠ°, ΠΏΠΎΠ·ΠΈΠ²Π°ΠΌ сС Π½Π° списС Ρ‚Π΅ΠΎΡ€Π΅Ρ‚ΠΈΡ‡Π°Ρ€Π° који су Π±ΠΈΠ»ΠΈ Π°ΠΊΡ‚ΠΈΠ²Π½ΠΈ Ρ‚ΠΎΠΊΠΎΠΌ сСдамдСсСтих Π³ΠΎΠ΄ΠΈΠ½Π° XX Π²Π΅ΠΊΠ° – ΠΠ½Ρ€ΠΈΡ˜Π° Π›Π΅Ρ„Π΅Π²Ρ€Π° (Henri Lefebvre), Π–ΠΈΠ»a Π”Π΅Π»Π΅Π·Π° (Gilles Deleuze) ΠΈ ЀСликса Π“Π°Ρ‚Π°Ρ€ΠΈΡ˜Π° (FΓ©lix Guattari) Π° који су Π±ΠΈΠ»ΠΈ ΠΈΠ·Ρ€Π°ΠΆΠ΅Π½ΠΎ ΠΊΡ€ΠΈΡ‚ΠΈΡ‡Π½ΠΈ ΠΏΡ€Π΅ΠΌΠ° сСмиотици Π²Π΅Ρ› Ρƒ њСној ΠΊΠΎΠ½ΡΡ‚ΠΈΡ‚ΡƒΡ‚ΠΈΠ²Π½ΠΎΡ˜ Ρ„Π°Π·ΠΈ. Π‘Π°Π³Π»Π΅Π΄Π°Π²Π°Ρ˜ΡƒΡ›ΠΈ ΠΏΠΎΡ™Π΅ ΡΡ‚ΡƒΠ΄ΠΈΡ˜Π° Π°Ρ„Π΅ΠΊΡ‚Π° ΡƒΠΊΠ°Π·ΡƒΡ˜Π΅ΠΌ Π½Π° прСдности ΠΎΠ½Π΅ Π³Ρ€Π°Π½Π΅ ΠΎΠ²ΠΈΡ… ΡΡ‚ΡƒΠ΄ΠΈΡ˜Π° којС Π°Ρ„Π΅ΠΊΡ‚ Π²ΠΈΠ΄Π΅ ΠΊΠ°ΠΎ Π½Π΅ΠΎΠ·Π½Π°Ρ‡Π΅Π½ΠΈ ΠΈΠ½Ρ‚Π΅Π½Π·ΠΈΡ‚Π΅Ρ‚, постављСн Ρƒ ΠΊΠΎΠΎΡ€Π΄ΠΈΠ½Π°Ρ‚Π°ΠΌΠ° ΠΎΠ½Ρ‚ΠΎΠ»ΠΎΡˆΠΊΠΎΠ³ систСма Π–ΠΈΠ»Π° Π”Π΅Π»Π΅Π·Π°. Ово нас Π²ΠΎΠ΄ΠΈ ΠΊ Ρ€Π°Π·ΡƒΠΌΠ΅Π²Π°ΡšΡƒ процСса ΠΏΡ€ΠΎΠΈΠ·Π²ΠΎΡ’Π΅ΡšΠ° Π·Π½Π°Ρ‡Π΅ΡšΠ° ΠΊΠ°ΠΎ процСсу који сС одваја Π½Π° Ρ€Π°Π·ΠΈΠ½ΠΈ ΠΈΠΌΠ°Π½Π΅Π½Ρ†ΠΈΡ˜Π΅, Ρƒ којој ΠΎΠΏΠ΅Ρ€ΠΈΡˆΡƒ ΠΊΠ°ΠΊΠΎ ΠΌΠ°Ρ‚Π΅Ρ€ΠΈΡ˜Π°Π»Π½ΠΎΡΡ‚ΠΈ ΠΎΠ·Π½Π°Ρ‡ΠΈΡ‚Π΅Ρ™Π°, Ρ‚Π°ΠΊΠΎ ΠΈ Ρ‚ΠΎΠΊΠΎΠ²ΠΈ Π°Ρ„Π΅ΠΊΡ‚Π°. Како ΠΏΠΎΡ‚Π΅Π½Ρ†ΠΈΡ˜Π°Π»Π½Π΅ послСдицС Ρ‚Π΅ΠΎΡ€ΠΈΡ˜Π΅ Π°Ρ„Π΅ΠΊΡ‚Π° чСсто ΠΎΡΡ‚Π°Ρ˜Ρƒ Π½Π΅Ρ€Π°Π·Ρ˜Π°ΡˆΡšΠ΅Π½Π΅, Π²Π΅Ρ€ΡƒΡ˜Π΅ΠΌ Π΄Π° Π±ΠΈ Π±ΠΈΠ»ΠΎ посСбно ΠΏΠ»ΠΎΠ΄Π½ΠΎ Ρ€Π°Π·ΠΌΠΎΡ‚Ρ€ΠΈΡ‚ΠΈ Ρ‡Π΅Ρ‚ΠΈΡ€ΠΈ ΡƒΡΠΌΠ΅Ρ€Π΅ΡšΠ° ΠΈΡΡ‚Ρ€Π°ΠΆΠΈΠ²Π°ΡšΠ° која сС њомС ΠΎΡ‚Π²Π°Ρ€Π°Ρ˜Ρƒ, Π° која ΠΎΠ΄ΡΡ‚ΡƒΠΏΠ°Ρ˜Ρƒ ΠΎΠ΄ стандардног ΠΌΠΎΠ΄Π΅Π»Π° сСмиотичких Π°Π½Π°Π»ΠΈΠ·Π°: ΠΎΡ‚ΠΊΡ€ΠΈΡ›Π΅ Π½Π΅ΠΎΠ·Π½Π°Ρ‡Π΅Π½Π΅ ΠΌΠ°Ρ‚Π΅Ρ€ΠΈΡ˜Π°Π»Π½ΠΎΡΡ‚ΠΈ ΠΈ њСног ΠΏΠΎΡ‚Π΅Π½Ρ†ΠΈΡ˜Π°Π»Π° Π΄Π° Π³Π΅Π½Π΅Ρ€ΠΈΡˆΠ΅ Π°Ρ„Π΅ΠΊΡ‚Π΅, ΠΏΠΎΡ‚Π΅Π½Ρ†ΠΈΡ˜Π°Π» ΠΏΡ€Π΅ΠΊΠΎΠΌΠ΅Ρ€Π½ΠΎΠ³ Π°Ρ„Π΅ΠΊΠ°Ρ‚Π° Π΄Π° Ρ€Π°Π·ΠΎΠ·Π½Π°Ρ‡Π°Π²Π°, способност Π·Π½Π°ΠΊΠΎΠ²Π½ΠΈΡ… Π΄Ρ€ΡƒΡˆΡ‚Π²Π΅Π½ΠΈΡ… машина Π΄Π° Ρƒ својој ΠΏΡƒΠ½ΠΎΡ˜ ΠΌΠ°Ρ‚Π΅Ρ€ΠΈΡ˜Π°Π»Π½ΠΎΡΡ‚ΠΈ Π΄Π΅Π»ΡƒΡ˜Ρƒ ΠΊΠ°ΠΎ ΠΊΠ°Ρ‚Π°Π»ΠΈΠ·Π°Ρ‚ΠΎΡ€ Ρƒ ΠΏΡ€ΠΎΠΈΠ·Π²ΠΎΠ΄ΡšΠΈ ΠΈΠ½Ρ‚Π΅Π½Π·ΠΈΡ‚Π΅Ρ‚Π°, ΠΈ, ΠΊΠΎΠ½Π°Ρ‡Π½ΠΎ, ΠΏΠΎΡ‚Π΅Π½Ρ†ΠΈΡ˜Π°Π» Π΄Ρ€ΡƒΡˆΡ‚Π²Π΅Π½ΠΈΡ… машина Π΄Π° Π½Π°Ρ‚ΠΊΠΎΠ΄ΠΈΡ€Π°Ρ˜Ρƒ ΠΏΡ€ΠΎΠΈΠ·Π²Π΅Π΄Π΅Π½Π΅ Π°Ρ„Π΅ΠΊΡ‚Π΅ ΠΊΡ€ΠΎΠ· ΠΌΠ΅Ρ…Π°Π½ΠΈΠ·ΠΌΠ΅ који нису Π½ΠΈ лингвистички Π½ΠΈ Ρ€Π΅ΠΏΡ€Π΅Π·Π΅Π½Ρ‚Π°Ρ†ΠΈΠΎΠ½ΠΈ. На основу ΠΎΠ²ΠΎΠ³Π° ΠΈΠ·Π²ΠΎΠ΄ΠΈΠΌ Ρ‚Π²Ρ€Π΄ΡšΡƒ Π΄Π° Π·Π°ΠΎΠΊΡ€Π΅Ρ‚ ΠΊΠ° Π°Ρ„Π΅ΠΊΡ‚Ρƒ Ρƒ ΡΡ‚ΡƒΠ΄ΠΈΡ˜Π°ΠΌΠ° ΠΌΡƒΠ·ΠΈΠΊΠ΅ ΠΌΠΎΠΆΠ΅ ΠΏΡ€ΡƒΠΆΠΈΡ‚ΠΈ Π΄Ρ€ΡƒΠ³Π°Ρ‡ΠΈΡ˜Π΅ ΠΌΠΎΠ΄Π΅Π»ΠΈΡ€Π°ΡšΠ΅ ΠΊΠ°ΠΊΠΎ ΠΏΠΎΠ³Π»Π΅Π΄Π° ΠΈΠ·Π½ΡƒΡ‚Ρ€Π°, Ρ‚Π°ΠΊΠΎ ΠΈ ΠΏΠΎΠ³Π»Π΅Π΄Π° споља. НаимС, Π΄Π° Π±ΠΈ сС спровСла Π½Π°Π²Π΅Π΄Π΅Π½Π° истраТивачка ΠΏΠΈΡ‚Π°ΡšΠ°, с јСднС странС су Π½Π΅ΠΎΠΏΡ…ΠΎΠ΄Π½ΠΈ спСцифично Ρ€Π°Π·Ρ€Π°Ρ’Π΅Π½ΠΈ ΠΌΠΎΠ΄Π΅Π»ΠΈ β€žΠ±Π»ΠΈΡΠΊΠΎΠ³ Ρ‡ΠΈΡ‚Π°ΡšΠ°β€ ΠΌΡƒΠ·ΠΈΡ‡ΠΊΠΎΠ³ ΠΈ Π·Π²ΡƒΡ‡Π½ΠΎΠ³ Π΄ΠΎΠ³Π°Ρ’Π°Ρ˜Π°, Π° с Π΄Ρ€ΡƒΠ³Π΅ Ρ€Π°Π·ΡƒΠΌΠ΅Π²Π°ΡšΠ΅ ΡˆΠΈΡ€Π΅Π³ ΠΏΠ΅Ρ€Ρ„ΠΎΡ€ΠΌΠ°Ρ‚ΠΈΠ²Π½ΠΎΠ³ ΠΈ Π΄Ρ€ΡƒΡˆΡ‚Π²Π΅Π½ΠΎΠ³ контСкста.The paper was written as a part of the project Serbian Musical Identities within Local and Global Frameworks: Traditions, Changes, Challenges (no. 177004 /2011–2014/)funded by the Ministry of Education and Science of the Republic of Serbia

    How to write silence

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    This paper will trace the development of a notation research experiment aimed at developing a scoring system for silence. Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation. But how can we score something not present, yet also not absent? Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score? The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages. In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience
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