State of the Art on Stylized Fabrication

© 2018 The Authors Computer Graphics Forum © 2018 The Eurographics Association and John Wiley & Sons Ltd. Digital fabrication devices are powerful tools for creating tangible reproductions of 3D digital models. Most available printing technologies aim at producing an accurate copy of a tridimensional shape. However, fabrication technologies can also be used to create a stylistic representation of a digital shape. We refer to this class of methods as ‘stylized fabrication methods’. These methods abstract geometric and physical features of a given shape to create an unconventional representation, to produce an optical illusion or to devise a particular interaction with the fabricated model. In this state-of-the-art report, we classify and overview this broad and emerging class of approaches and also propose possible directions for future research

State of the art on stylized fabrication

© 2019 Copyright held by the owner/author(s). Digital fabrication devices are powerful tools for creating tangible reproductions of 3D digital models. Most available printing technologies aim at producing an accurate copy of a tridimensional shape. However, fabrication technologies can also be used to create a stylistic representation of a digital shape. We refer to this class of methods as stylized fabrication methods. These methods abstract geometric and physical features of a given shape to create an unconventional representation, to produce an optical illusion, or to devise a particular interaction with the fabricated model. In this course, we classify and overview this broad and emerging class of approaches and also propose possible directions for future research

Patriotism and new-classicism: the 'historical revival' in French and English painting and sculpture, 1746-1800

The aim of this thesis is to 'explore the links between historicism and patriotism in French and English painting and sculpture From 1748 to 1800. It argues that the reaction to Rococo hedonism took the Form of an 'historical revival' to rejuvenate European culture and society by a return to an heroic morality for the individual and the community. While artists generally Followed historians and poets in their choice of themes, they managed to produce images that defined and diffused the exemplary heroic virtues, and to endow different periods of history with tangibility and verisimilitude. While patriotic sentiments antedated the artistic 'historical revival', the latter was important in enlarging and deepening that patriotism to include an historical ethnic nationalism. Part I of the thesis uses a quantitative approach to analyse the numbers,types, themes and dates of 'history' paintings and sculptures exhibited at the Paris Salons and London Academies until 1800, revealing that, though 'history' works are in a clear minority in relation to 'non-public' genres of art, they, and their heroic cults, Form an influential and distinguished segment of French and English art of the period. Part II analyses in depth the main historical themes within some basic moral categories of the period to reveal both the common moral framework, and the vital stylistic and iconographical differences, ofFrench and English art. Part III charts the emergence of different styles for different historical periods, and some of the differences between a more literary English medievalism and a more historical French classicism. Finally, the role of key art critics and theorists reveals that while the French sought to revive an earlier era of national and artistic grandeur, their English counterparts, riding the crest of a wave of national glory, sought to enhance it by founding a native school of history painting and sculpture; but both encouraged artists to pursue the ideal of moral historicism avant Winckelmann, backed by their respective states and Academies, and so give deeper historical and ethnic content to a swelling civic patriotism

Narratives Crossing Boundaries: Storytelling in a Transmedial and Transdisciplinary Context

As the dominant narrative forms in the age of media convergence, films and games call for a transmedial perspective in narratology. Games allow a participatory reception of the story, bringing the transgression of the ontological boundary between the narrated world and the world of the recipient into focus. These diverse transgressions - medial and ontological - are the subject of this transdisciplinary compendium, which covers the subject in an interdisciplinary way from various perspectives: game studies and media studies, but also sociology and psychology, to take into account the great influence of storytelling on social discourses and human behavior

Shaping their own Contemporary Art ‎World: Iranian Ceramic Artists and the ‎Biennials of Contemporary Ceramics ‎1988-2020‎

For over thirty years, from 1988 to 2020, the Iranian National Biennials of Contemporary ‎Ceramics were the country’s most important showcase for ceramic art. The body of work ‎which emerged from Iranian national ceramics biennials offers a fascinating record of ‎artistic response to a unique set of political, cultural, and social influences, in which ‎opportunities for ceramic art expanded in alignment with international trends and even ‎foreshadowed the rejection of the art/craft divide happening elsewhere at the time. ‎Participation in the biennials would eventually grow to include more than five hundred ‎people and provide the impetus for the establishment of an independent professional ‎association for ceramic artists. Although they have largely been overlooked in the ‎institutional collections and academic histories of Islamic art, contemporary Iranian art, ‎and studio ceramics, they gave Iranian ceramicists a platform on which to help renegotiate ‎their identity as artists and the position of ceramics in Iranian life. This thesis details ‎events leading to the establishment of the biennials, their integration into the field of ‎contemporary art after the 1979 Iranian revolution, characteristics which emerged to ‎distinguish contemporary pottery from other types of ceramics, and the evolving ‎relationship between utilitarian form and abstract sculpture. It also covers the ‎professionalisation of the field and the influence of the biennial exhibitions on ‎contemporary studio ceramics practice. The ceramics biennials are significant events in ‎contemporary craft culture which have implications for building a more inclusive narrative ‎of global art history. It builds an interdisciplinary social and artistic history, drawing from ‎contemporary art, Islamic art, and studio ceramics, to establish a new and cohesive ‎narrative for an underrepresented aspect of global art history.

Jacques Le Moyne De Morgues (c. 1533-1588) and the Origins of Seventeenth-Century Netherlandish Flower Still Lifes

This dissertation examines the contribution of the French artist Jacques le Moyne de Morgues to the development of seventeenth–century Netherlandish flower still lifes, a heretofore understudied subject. Le Moyne has mostly been discussed as a cartographer and as the official artist for the French expedition to Florida from 1564 to 1565, and his impact on the origin of seventeenth–century Netherlandish flower still lifes has been largely overlooked because he was from abroad and active in England. Le Moyne was a botanical artist who gained his early training in the French manuscript tradition and continued to develop his career as flower painter in a world fascinated with collecting rare and exotic plants. Le Moyne's experiences of collecting and recording plants during the Florida exploration encouraged him to portray botanical specimens as living plants after his return to France. Soon after, his accurately and delicately illustrated floral images were known to seventeenth–century Netherlandish flower artists, including the printmaker Crispijn de Passe the Elder and the painter Jacques de Gheyn. At the core of this study is the conclusion that the collaboration between botanists, artists and publishers was a crucial component in the development of independent flower paintings. Botanists and publishers were at the center of a network of flower collectors, gardeners and artists, focusing on collecting and exchanging rare and exotic plants as well as illustrations of them. In particular, the renowned botanist Carolus Clusius and the publisher Hans Woutneel were important links between Le Moyne and seventeenth–century Netherlandish flower artists, involving a young generation of flower painters with projects that incorporated floral illustrations. In circulating botanical illustrations, Clusius and Woutneel supplied precisely colored drawings by Le Moyne to early Netherlandish flower artists, including Jacques de Gheyn and Crispijn de Passe the Elder, encouraging them to expand on Le Moyne's approach in their own floral images. Clusius engaged Jacques de Gheyn to illustrate flowers and small creatures in an album containing twenty–two watercolors (1600–1604, Paris: Institut Néerlandais), and Woutneel encouraged De Passe to base many of the images in hisCognosite Lilia on Le Moyne's delicately rendered watercolors

The artistic patronage Of Gil De Albornoz (1302-1367), a cardinal in context

This thesis examines the artistic patronage of Gil de Albornoz (d. 1367), Archbishop of Toledo (1338-1350), Cardinal priest of S. Clemente (1350-1366) and Cardinal bishop of Sabina (1356-1367). The first chapter delineates his early career in Spain until he left for Avignon in 1350. The analysis of documentary and archaeological evidence re-defines his input in the cathedral of Toledo, and the importance of his Augustinian foundation in Villaviciosa del Tajuña. The second chapter concentrates on the legations of Albornoz in Italy, and the fortified palaces and castles he commissioned along the Lands of St. Peter as he achieved success in his mission. This thesis focuses on a limited number of the most representative fortresses and palaces. The third chapter analyses Albornoz’s artistic patronage on a private basis, and concentrates on his burial chapel of St. Catherine in the Lower Church of San Francesco in Assisi and the Collegio di Spagna in Bologna. The fourth chapter dissects his will and the surviving objects in Toledo. Comparison with the testamentary donations of contemporary cardinals provides a parameter within which to measure his relevance as an artistic patron. Finally, the fifth chapter concentrates on the important sepulchre in the chapel of St. Ildefonso in the Cathedral of Toledo and its context

Books and codices. Transculturation, language dissemination and education in the works of friar Pedro de Gante

The present study analyses the work of Flemish Franciscan missionary fray Pedro de Gante (1480-1572) against the background of the early stages of the evangelization in New Spain, modern-day Mexico. By means of his works the Catecismo en Pictogramas [ca.1527], the Doctrina Christiana en Lengua Mexicana [1547] and the Cartilla para enseñar a leer [1569] Gante played a fundamental role in the processes of transculturation playing out between European missionaries and the Nahua populations of the Valley of Mexico. The role of Gante as a transcendental figure of cultural contact has been often neglected; previous studies on the subject have only focused on general aspects of Gante’s biography. A thorough, comparative study of Gante’s works that ingrains them in the wider context of the early years of the evangelization (1524-1572) has never been done before. The present work aims to fill this void. The important role Gante and his works played in the process of transculturation is demonstrated through an interdisciplinary contextual framework that employs agency theory, New Philology, Colonial semiosis and annales theory. This study shows that Gante’s works represent the initial stages of a translation process in which Christian doctrine was converted into Nahuatl. This process was by no means straightforward and involved the translation of an entire set of cultural and cosmological referents from one system of beliefs to another. Gante’s works are at the forefront of this development and this research demonstrates clearly how Gante developed, drawing on his unique cultural and social background, novel evangelical strategies which involved the active participation of both missionaries and the Nahuas themselves. The significance of this, cannot be overlooked, with the translation Gante started an open-dialogue with the Nahuas. Showing that the evangelization of Mexico was not a simple process of imposition, but a complex process in which the different elements of society had a voice and accommodated and negated the influence of the other while constructing new cultural categories

Creating Through Mind and Emotions

The texts presented in Proportion Harmonies and Identities (PHI) Creating Through Mind and Emotions were compiled to establish a multidisciplinary platform for presenting, interacting, and disseminating research. This platform also aims to foster the awareness and discussion on Creating Through Mind and Emotions, focusing on different visions relevant to Architecture, Arts and Humanities, Design and Social Sciences, and its importance and benefits for the sense of identity, both individual and communal. The idea of Creating Through Mind and Emotions has been a powerful motor for development since the Western Early Modern Age. Its theoretical and practical foundations have become the working tools of scientists, philosophers, and artists, who seek strategies and policies to accelerate the development process in different contexts