3,580 research outputs found
Embodying Bhakti Rasa in Bharata Natyam: An Indian-Christian Interpretation of Gayatri Mantra through Dance
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
Designing for continuous interaction requires
designers to consider the way in which human users can
perceive and evaluate an artefactβs 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
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 Kunderaβs innovative aesthetics
COHERENCE
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
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 βRegistrationβ, I situate my practice in correlation to the land on which I work and live. My βFirst impressionsβ 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, βPressureβ, 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 βThe Revealβ that the diverse potentialities of mediums and materials, as well as the occasionally unexpected variations in the process, display their meaningful impact. βThe Proofβ is the unique print in all its various states and inclusivity. Inevitably, there are many βFuture Editionsβ 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
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
ΠΠΎΡΠ»Π΅Π΄ΠΈΡΠ΅ "Π·Π°ΠΎΠΊΡΠ΅ΡΠ° ΠΊΠ° Π°ΡΠ΅ΠΊΡΡ": ΠΈΡΡΡΠ°ΠΆΠΈΠ²Π°ΡΠ΅ ΠΌΡΠ·ΠΈΡΠΊΠΈΡ ΠΏΡΠ°ΠΊΡΠΈ ΠΈΠ·Π½ΡΡΡΠ° ΠΈ ΡΠΏΠΎΡΠ°
In this paper I explore the challenges of the βaffective turnβ 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 βclose readingβ and for the ability of the researcher to grasp the performative
contextΠ£ ΠΎΠ²ΠΎΠΌ ΡΠ°Π΄Ρ ΠΈΡΡΡΠ°ΠΆΡΡΠ΅ΠΌ ΠΈΠ·Π°Π·ΠΎΠ²Π΅ ΠΊΠΎΡΠ΅ ΡΠ°ΠΊΠΎΠ·Π²Π°Π½ΠΈ βΠ·Π°ΠΎΠΊΡΠ΅Ρ ΠΊΠ° Π°ΡΠ΅ΠΊΡΡβ Ρ
ΠΊΡΠ»ΡΡΡΠ°Π»Π½ΠΈΠΌ ΡΡΡΠ΄ΠΈΡΠ°ΠΌΠ° ΠΏΠΎΡΡΠ°Π²ΡΠ° ΠΏΡΠ΅Π΄ ΠΏΠΎΡΡΠΎΡΠ΅ΡΠ΅ ΠΌΠΎΠ΄Π΅Π»Π΅ ΠΈΡΡΡΠ°ΠΆΠΈΠ²Π°ΡΠ° ΠΌΡΠ·ΠΈΡΠΊΠΈΡ
ΠΏΡΠ°ΠΊΡΠΈ ΠΈ ΠΌΠ°ΠΏΠΈΡΠ°ΠΌ ΠΌΠΎΠ³ΡΡΠ½ΠΎΡΡΠΈ ΡΠ΅Π³ΠΎΠ²Π΅ ΠΏΡΠΈΠΌΠ΅Π½Π΅ Ρ ΠΌΡΠ·ΠΈΠΊΠΎΠ»ΠΎΠ³ΠΈΡΠΈ. ΠΡΠΈ ΡΠΎΠΌΠ΅
ΠΏΠΎΠ»Π°Π·ΠΈΠΌ ΠΎΠ΄ ΡΡΠ°Π½ΠΎΠ²ΠΈΡΡΠ° Π΄Π° ΡΠ΅ βΠ·Π°ΠΎΠΊΡΠ΅Ρ ΠΊΠ° Π°ΡΠ΅ΠΊΡΡβ ΠΌΠΎΠΆΠ΅ ΡΡΠΌΠ°ΡΠΈΡΠΈ Ρ ΠΎΠΏΠΎΠ·ΠΈΡΠΈΡΠΈ
ΠΏΡΠ΅ΠΌΠ° ΠΎΠ½ΠΎΠΌΠ΅ ΡΡΠΎ ΡΠ΅ ΠΌΠΎΠΆΠ΅ ΠΎΠ·Π½Π°ΡΠΈΡΠΈ ΠΊΠ°ΠΎ ΡΡΠ°Π½Π΄Π°ΡΠ΄Π½ΠΈ (ΠΈΠ»ΠΈ ΡΡΠ°Π½ΡΡΠ΅Π½Π΄Π΅Π½ΡΠ°Π»Π½ΠΈ)
βΡΠ΅ΠΌΠΈΠΎΡΠΈΡΠΊΠΈ ΠΌΠΎΠ΄Π΅Π»β, Π° ΠΊΠΎΡΠΈ ΡΠ΅, ΠΎΡΠ²ΠΎΡΠ΅Π½ΠΎ ΠΈΠ»ΠΈ ΠΏΡΠ΅ΡΡΡΠ½ΠΎ, ΠΏΡΠΈΡ
Π²Π°ΡΠ΅Π½ ΠΊΠ°ΠΎ
ΠΎΠΏΡΡΠ΅ ΠΌΡΠ΅ΡΠ΅ Ρ ΡΡΠ΅ΡΠΈ ΡΡΡΠ΄ΠΈΡΠ° ΠΌΡΠ·ΠΈΠΊΠ΅ ΠΈ ΠΊΡΠ»ΡΡΡΠ°Π»Π½ΠΈΡ
ΡΡΡΠ΄ΠΈΡΠ° ΡΠΎΠΏΡΡΠ΅ ΠΈ ΠΊΠΎΡΠΈ ΡΠ΅
ΠΏΡΠ΅ΠΎΠ±ΡΠ°Π·ΠΈΠΎ Ρ ΡΠ²ΠΎΡΠ΅Π²ΡΡΠ½Ρ βΠ·ΠΎΠ½Ρ ΠΊΠΎΠΌΡΠΎΡΠ°β ΡΠ°Π²ΡΠ΅ΠΌΠ΅Π½ΠΈΡ
ΠΈΡΡΡΠ°ΠΆΠΈΠ²Π°ΡΠ°. ΠΠ°ΠΊΠΎ Π±ΠΈΡ
ΡΠΎΡΠΌΡΠ»ΠΈΡΠ°ΠΎ ΠΊΡΠΈΡΠΈΠΊΡ ΡΠ΅ΠΌΠΈΠΎΡΠΈΡΠΊΠΈΡ
ΠΌΠΎΠ΄Π΅Π»Π° ΠΈΡΡΡΠ°ΠΆΠΈΠ²Π°ΡΠ°, ΠΏΠΎΠ·ΠΈΠ²Π°ΠΌ ΡΠ΅ Π½Π° ΡΠΏΠΈΡΠ΅
ΡΠ΅ΠΎΡΠ΅ΡΠΈΡΠ°ΡΠ° ΠΊΠΎΡΠΈ ΡΡ Π±ΠΈΠ»ΠΈ Π°ΠΊΡΠΈΠ²Π½ΠΈ ΡΠΎΠΊΠΎΠΌ ΡΠ΅Π΄Π°ΠΌΠ΄Π΅ΡΠ΅ΡΠΈΡ
Π³ΠΎΠ΄ΠΈΠ½Π° XX Π²Π΅ΠΊΠ° β ΠΠ½ΡΠΈΡΠ°
ΠΠ΅ΡΠ΅Π²ΡΠ° (Henri Lefebvre), ΠΠΈΠ»a ΠΠ΅Π»Π΅Π·Π° (Gilles Deleuze) ΠΈ Π€Π΅Π»ΠΈΠΊΡΠ° ΠΠ°ΡΠ°ΡΠΈΡΠ°
(FΓ©lix Guattari) Π° ΠΊΠΎΡΠΈ ΡΡ Π±ΠΈΠ»ΠΈ ΠΈΠ·ΡΠ°ΠΆΠ΅Π½ΠΎ ΠΊΡΠΈΡΠΈΡΠ½ΠΈ ΠΏΡΠ΅ΠΌΠ° ΡΠ΅ΠΌΠΈΠΎΡΠΈΡΠΈ Π²Π΅Ρ
Ρ ΡΠ΅Π½ΠΎΡ ΠΊΠΎΠ½ΡΡΠΈΡΡΡΠΈΠ²Π½ΠΎΡ ΡΠ°Π·ΠΈ. Π‘Π°Π³Π»Π΅Π΄Π°Π²Π°ΡΡΡΠΈ ΠΏΠΎΡΠ΅ ΡΡΡΠ΄ΠΈΡΠ° Π°ΡΠ΅ΠΊΡΠ° ΡΠΊΠ°Π·ΡΡΠ΅ΠΌ Π½Π°
ΠΏΡΠ΅Π΄Π½ΠΎΡΡΠΈ ΠΎΠ½Π΅ Π³ΡΠ°Π½Π΅ ΠΎΠ²ΠΈΡ
ΡΡΡΠ΄ΠΈΡΠ° ΠΊΠΎΡΠ΅ Π°ΡΠ΅ΠΊΡ Π²ΠΈΠ΄Π΅ ΠΊΠ°ΠΎ Π½Π΅ΠΎΠ·Π½Π°ΡΠ΅Π½ΠΈ ΠΈΠ½ΡΠ΅Π½Π·ΠΈΡΠ΅Ρ,
ΠΏΠΎΡΡΠ°Π²ΡΠ΅Π½ Ρ ΠΊΠΎΠΎΡΠ΄ΠΈΠ½Π°ΡΠ°ΠΌΠ° ΠΎΠ½ΡΠΎΠ»ΠΎΡΠΊΠΎΠ³ ΡΠΈΡΡΠ΅ΠΌΠ° ΠΠΈΠ»Π° ΠΠ΅Π»Π΅Π·Π°. ΠΠ²ΠΎ Π½Π°Ρ Π²ΠΎΠ΄ΠΈ
ΠΊ ΡΠ°Π·ΡΠΌΠ΅Π²Π°ΡΡ ΠΏΡΠΎΡΠ΅ΡΠ° ΠΏΡΠΎΠΈΠ·Π²ΠΎΡΠ΅ΡΠ° Π·Π½Π°ΡΠ΅ΡΠ° ΠΊΠ°ΠΎ ΠΏΡΠΎΡΠ΅ΡΡ ΠΊΠΎΡΠΈ ΡΠ΅ ΠΎΠ΄Π²Π°ΡΠ° Π½Π°
ΡΠ°Π·ΠΈΠ½ΠΈ ΠΈΠΌΠ°Π½Π΅Π½ΡΠΈΡΠ΅, Ρ ΠΊΠΎΡΠΎΡ ΠΎΠΏΠ΅ΡΠΈΡΡ ΠΊΠ°ΠΊΠΎ ΠΌΠ°ΡΠ΅ΡΠΈΡΠ°Π»Π½ΠΎΡΡΠΈ ΠΎΠ·Π½Π°ΡΠΈΡΠ΅ΡΠ°, ΡΠ°ΠΊΠΎ ΠΈ
ΡΠΎΠΊΠΎΠ²ΠΈ Π°ΡΠ΅ΠΊΡΠ°. ΠΠ°ΠΊΠΎ ΠΏΠΎΡΠ΅Π½ΡΠΈΡΠ°Π»Π½Π΅ ΠΏΠΎΡΠ»Π΅Π΄ΠΈΡΠ΅ ΡΠ΅ΠΎΡΠΈΡΠ΅ Π°ΡΠ΅ΠΊΡΠ° ΡΠ΅ΡΡΠΎ ΠΎΡΡΠ°ΡΡ Π½Π΅ΡΠ°Π·ΡΠ°ΡΡΠ΅Π½Π΅,
Π²Π΅ΡΡΡΠ΅ΠΌ Π΄Π° Π±ΠΈ Π±ΠΈΠ»ΠΎ ΠΏΠΎΡΠ΅Π±Π½ΠΎ ΠΏΠ»ΠΎΠ΄Π½ΠΎ ΡΠ°Π·ΠΌΠΎΡΡΠΈΡΠΈ ΡΠ΅ΡΠΈΡΠΈ ΡΡΠΌΠ΅ΡΠ΅ΡΠ°
ΠΈΡΡΡΠ°ΠΆΠΈΠ²Π°ΡΠ° ΠΊΠΎΡΠ° ΡΠ΅ ΡΠΎΠΌΠ΅ ΠΎΡΠ²Π°ΡΠ°ΡΡ, Π° ΠΊΠΎΡΠ° ΠΎΠ΄ΡΡΡΠΏΠ°ΡΡ ΠΎΠ΄ ΡΡΠ°Π½Π΄Π°ΡΠ΄Π½ΠΎΠ³ ΠΌΠΎΠ΄Π΅Π»Π°
ΡΠ΅ΠΌΠΈΠΎΡΠΈΡΠΊΠΈΡ
Π°Π½Π°Π»ΠΈΠ·Π°: ΠΎΡΠΊΡΠΈΡΠ΅ Π½Π΅ΠΎΠ·Π½Π°ΡΠ΅Π½Π΅ ΠΌΠ°ΡΠ΅ΡΠΈΡΠ°Π»Π½ΠΎΡΡΠΈ ΠΈ ΡΠ΅Π½ΠΎΠ³ ΠΏΠΎΡΠ΅Π½ΡΠΈΡΠ°Π»Π°
Π΄Π° Π³Π΅Π½Π΅ΡΠΈΡΠ΅ Π°ΡΠ΅ΠΊΡΠ΅, ΠΏΠΎΡΠ΅Π½ΡΠΈΡΠ°Π» ΠΏΡΠ΅ΠΊΠΎΠΌΠ΅ΡΠ½ΠΎΠ³ Π°ΡΠ΅ΠΊΠ°ΡΠ° Π΄Π° ΡΠ°Π·ΠΎΠ·Π½Π°ΡΠ°Π²Π°,
ΡΠΏΠΎΡΠΎΠ±Π½ΠΎΡΡ Π·Π½Π°ΠΊΠΎΠ²Π½ΠΈΡ
Π΄ΡΡΡΡΠ²Π΅Π½ΠΈΡ
ΠΌΠ°ΡΠΈΠ½Π° Π΄Π° Ρ ΡΠ²ΠΎΡΠΎΡ ΠΏΡΠ½ΠΎΡ ΠΌΠ°ΡΠ΅ΡΠΈΡΠ°Π»Π½ΠΎΡΡΠΈ
Π΄Π΅Π»ΡΡΡ ΠΊΠ°ΠΎ ΠΊΠ°ΡΠ°Π»ΠΈΠ·Π°ΡΠΎΡ Ρ ΠΏΡΠΎΠΈΠ·Π²ΠΎΠ΄ΡΠΈ ΠΈΠ½ΡΠ΅Π½Π·ΠΈΡΠ΅ΡΠ°, ΠΈ, ΠΊΠΎΠ½Π°ΡΠ½ΠΎ, ΠΏΠΎΡΠ΅Π½ΡΠΈΡΠ°Π»
Π΄ΡΡΡΡΠ²Π΅Π½ΠΈΡ
ΠΌΠ°ΡΠΈΠ½Π° Π΄Π° Π½Π°ΡΠΊΠΎΠ΄ΠΈΡΠ°ΡΡ ΠΏΡΠΎΠΈΠ·Π²Π΅Π΄Π΅Π½Π΅ Π°ΡΠ΅ΠΊΡΠ΅ ΠΊΡΠΎΠ· ΠΌΠ΅Ρ
Π°Π½ΠΈΠ·ΠΌΠ΅ ΠΊΠΎΡΠΈ Π½ΠΈΡΡ Π½ΠΈ Π»ΠΈΠ½Π³Π²ΠΈΡΡΠΈΡΠΊΠΈ Π½ΠΈ ΡΠ΅ΠΏΡΠ΅Π·Π΅Π½ΡΠ°ΡΠΈΠΎΠ½ΠΈ. ΠΠ° ΠΎΡΠ½ΠΎΠ²Ρ ΠΎΠ²ΠΎΠ³Π° ΠΈΠ·Π²ΠΎΠ΄ΠΈΠΌ ΡΠ²ΡΠ΄ΡΡ
Π΄Π° Π·Π°ΠΎΠΊΡΠ΅Ρ ΠΊΠ° Π°ΡΠ΅ΠΊΡΡ Ρ ΡΡΡΠ΄ΠΈΡΠ°ΠΌΠ° ΠΌΡΠ·ΠΈΠΊΠ΅ ΠΌΠΎΠΆΠ΅ ΠΏΡΡΠΆΠΈΡΠΈ Π΄ΡΡΠ³Π°ΡΠΈΡΠ΅ ΠΌΠΎΠ΄Π΅Π»ΠΈΡΠ°ΡΠ΅
ΠΊΠ°ΠΊΠΎ ΠΏΠΎΠ³Π»Π΅Π΄Π° ΠΈΠ·Π½ΡΡΡΠ°, ΡΠ°ΠΊΠΎ ΠΈ ΠΏΠΎΠ³Π»Π΅Π΄Π° ΡΠΏΠΎΡΠ°. ΠΠ°ΠΈΠΌΠ΅, Π΄Π° Π±ΠΈ ΡΠ΅ ΡΠΏΡΠΎΠ²Π΅Π»Π° Π½Π°Π²Π΅Π΄Π΅Π½Π°
ΠΈΡΡΡΠ°ΠΆΠΈΠ²Π°ΡΠΊΠ° ΠΏΠΈΡΠ°ΡΠ°, Ρ ΡΠ΅Π΄Π½Π΅ ΡΡΡΠ°Π½Π΅ ΡΡ Π½Π΅ΠΎΠΏΡ
ΠΎΠ΄Π½ΠΈ ΡΠΏΠ΅ΡΠΈΡΠΈΡΠ½ΠΎ ΡΠ°Π·ΡΠ°ΡΠ΅Π½ΠΈ
ΠΌΠΎΠ΄Π΅Π»ΠΈ βΠ±Π»ΠΈΡΠΊΠΎΠ³ ΡΠΈΡΠ°ΡΠ°β ΠΌΡΠ·ΠΈΡΠΊΠΎΠ³ ΠΈ Π·Π²ΡΡΠ½ΠΎΠ³ Π΄ΠΎΠ³Π°ΡΠ°ΡΠ°, Π° Ρ Π΄ΡΡΠ³Π΅ ΡΠ°Π·ΡΠΌΠ΅Π²Π°ΡΠ΅
ΡΠΈΡΠ΅Π³ ΠΏΠ΅ΡΡΠΎΡΠΌΠ°ΡΠΈΠ²Π½ΠΎΠ³ ΠΈ Π΄ΡΡΡΡΠ²Π΅Π½ΠΎΠ³ ΠΊΠΎΠ½ΡΠ΅ΠΊΡΡΠ°.The paper was written as a part of the project Serbian Musical Identities within Local and Global Frameworks: Traditions, Changes, Challenges (no. 177004 /2011β2014/)funded by the Ministry of Education and Science of the Republic of Serbia
How to write silence
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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