Pattern Research Project: An Investigation of The Pattern And Printing Process - Marble

2018 Pattern Research Project Camryn Carels – Marble The Pattern Research Project involves research and analysis of contemporary patterns found in the textiles and wallcoverings of the built interior environment. Patterns use motif, repetition, color, geometry, craft, technology, and space to communicate place, time, and concept. Through this research and analysis, built environments - their designers, occupants, construction, and context - can be better understood. Camryn Carels, VCU Interior Design BFA 2021, selected the Marble pattern for the 2018 Pattern Research Project. The text below is excerpted from the student’s work: “The process of making the marble pattern is called “Marbling”. This technique started in the 1100’s in Turkey and Persia. These patterns were also used for the background of official documents and signatures. The art of marbling was then taken to Western Europe by crusaders. By the 1600’s France and the Netherlands began using this technique for bookbinding with the marble design being placed on the inside of books which is also still being used today. The marblers had their own secret society who had learned the craft and art. Only people who were born into it would be able to learn and pass on their knowledge to following generations. This is because many people would try and discover this technique and steal it for their own. To stop this from happening, marblers would often work at night in secret destinations behind closed and locked doors.”https://scholarscompass.vcu.edu/prp/1021/thumbnail.jp

Pattern Project - Inmotus

The Pattern Project explores the process of developing visual patterns, intended for the built interior environment, through both hand and digital crafts. Inspirations evolve into pattern concepts that inform message and intention. The intended message then informs motif, color, density, composition, line, repetition, hierarchy, and texture. Drawing from history, designers assess the role of pattern within the built environment and its connection to architecture and building occupants. Traditional handcrafts have evolved and are now used in contemporary processes while new digital crafts have emerged as pattern-making tools. The patterns developed through the Pattern Project were produced to scale on paper or textile measuring approximately 24 wide x 60 long.https://scholarscompass.vcu.edu/pp/1021/thumbnail.jp

Christiane Grosz: Scherben. Gedichte

Berlin and Weimar: Aufbau, 1978. (Edition Neue Texte), 99 p. 4,50 M

Classifying Coding DNA with Nucleotide Statistics

In this report, we compared the success rate of classification of coding sequences (CDS) vs. introns by Codon Structure Factor (CSF) and by a method that we called Universal Feature Method (UFM). UFM is based on the scoring of purine bias (Rrr) and stop codon frequency. We show that the success rate of CDS/intron classification by UFM is higher than by CSF. UFM classifies ORFs as coding or non-coding through a score based on (i) the stop codon distribution, (ii) the product of purine probabilities in the three positions of nucleotide triplets, (iii) the product of Cytosine (C), Guanine (G), and Adenine (A) probabilities in the 1st, 2nd, and 3rd positions of triplets, respectively, (iv) the probabilities of G in 1st and 2nd position of triplets and (v) the distance of their GC3 vs. GC2 levels to the regression line of the universal correlation. More than 80% of CDSs (true positives) of Homo sapiens (>250 bp), Drosophila melanogaster (>250 bp) and Arabidopsis thaliana (>200 bp) are successfully classified with a false positive rate lower or equal to 5%. The method releases coding sequences in their coding strand and coding frame, which allows their automatic translation into protein sequences with 95% confidence. The method is a natural consequence of the compositional bias of nucleotides in coding sequences

Universal Features for the Classification of Coding and Non-coding DNA Sequences

In this report, we revisited simple features that allow the classification of coding sequences (CDS) from non-coding DNA. The spectrum of codon usage of our sequence sample is large and suggests that these features are universal. The features that we investigated combine (i) the stop codon distribution, (ii) the product of purine probabilities in the three positions of nucleotide triplets, (iii) the product of Cytosine, Guanine, Adenine probabilities in 1st, 2nd, 3rd position of triplets, respectively, (iv) the product of G and C probabilities in 1st and 2nd position of triplets. These features are a natural consequence of the physico-chemical properties of proteins and their combination is successful in classifying CDS and non-coding DNA (introns) with a success rate >95% above 350 bp. The coding strand and coding frame are implicitly deduced when the sequences are classified as coding