Art in three dimensional worlds

This research aimed to deseribe, explore and interpret the three dimensional (3D) art work curriculum in Turkish primary schools in terms of the gap between what was intended and what was implemented. The research addressed what caused this difference. The research sample was art teachers teaching in private and state schools in Çankaya region, Ankara. The research instrument was a self-administered structured questionnaire with some open-ended questions. To analyse the quantitative data the SPSS was used. To analyse the qualitative data, content analysis was employed. The findings reveal that there was a mismatch between the intended and implemented 3D art curriculum in both kinds of schools. The main reasons stated for this difference were the lack of time allocated to art classes and physical conditions of schools both of which prevented art teachers practising all of the 3D art curriculum in their classes.

In high voltage insulation systems, a typical defect that exists is a void cavity. It is known that voids are a common source of partial discharge (PD) activity within an insulation system. Research on PD activities within a single void in an insulation material has been widely published. However, studies of PDs within insulation containing multiple voids have not been widely reported. Thus, a simulation model has been developed in this work to attain a better insight of PD events due to multiple voids. Two- and three-dimensional model geometries, which consist of two spherical voids, arranged in different positions with respect to the applied field direction in a dielectric material have been developed using finite element analysis (FEA) software. The models have been used to study the electric field distribution in the voids and PD inception voltage for different distances between the two voids, locations in the material and their respective sizes. © 2011 IEEE.

http://ieeexplore.ieee.org/xpls/abs_all.jsp?arnumber=6232693

The purpose of tins study was to investigate the stability of kinematics responses related to stretch shortening cycle (SSC) during 10 consecutive soccer instep kicks The kicking motions of dominant legs were captured from five experienced adult male soccer players (body height 184 60 +/- 4 49 cm, body mass 80 +/- 4 24 kg, age 25 60 +/- 1 14 years) using a three-dimensional infra-red high speed camera at 200 Hz Sonic important kinematic parameters include eccentric angular velocity (AVe), concentric angular velocity (AVc), duration of eccentric (Te), and duration of concentric (Tc) at forward and impact phases selected to analyses The AVe result of the sixth kick, relative to the first kick, was significantly lower when compared to the other kicks (with p <= 0 001.) The AVc result of the fifth kick, relative to the first kick, was significantly lower when compared to the other kicks (with p <= 0 001) The Te result of the fourth kick, relative to the first kick, was significantly lower when compared to the other kicks (with p <= 0 011) The Tc result of the Nth kick, relative to the first kick, was significantly lower when compared to the other kicks (p <= 0 029) We concluded that 5 consecutive kicks arc adequate to achieve high kinematic responses related to SSC

http://versita.metapress.com/content/hg7uk19056374488/

This study aimed to investigate crack behaviour at the internal and external surfaces of the cement layer in total hip replacement. A three-dimensional model of the femur with the cemented prosthesis was developed and analysed. Cracks were placed on the internal, external and both internal and external surfaces of the cement layer. Stress intensity factors were measured during gait. Results revealed that the stress intensity factors modes I and III were the most dominant in the crack propagation in the cement layer. The domain of mode I was the medial and lateral sides of the cement layer. Meanwhile, the domain of mode III was the anterior and posterior sides of the cement layer. The stress intensity factor and distance from the distal end indicated an inverse relationship. The internal and external cracks had no significant interaction. Moreover, stress intensity factors at the external surface of the cement layer were higher than those on the internal surface. © 2013 Wiley Publishing Ltd.

http://onlinelibrary.wiley.com/doi/10.1111/ffe.12026/abstract;jsessionid=7ED0F00A6D472DFAFB48247F1C70DE28.f01t04?deniedAccessCustomisedMessage=&userIsAuthenticated=false

This study aimed to compare the biomechanical behaviour of functionally graded structured posts (FGSPs) and homogenous-type posts in simulated models of a maxillary central incisor. Two models of FGSPs consisting of a multilayer xTi-yHA composite design, where zirconia and alumina was added as the first layer for models A and B respectively were compared to homogenous zirconia post (model C) and a titanium post (model D). The amount of Ti and HA in the FGSP models was varied in gradations. 3D-FEA was performed on all models and stress distributions were investigated along the dental post. In addition, interface stresses between the posts and their surrounding structures were investigated under vertical, oblique, and horizontal loadings. Strain distribution along the post-dentine interface was also investigated. The results showed that FGSPs models, A and B demonstrated better stress distribution than models C and D, indicating that dental posts with multilayered structure dissipate localized and interfacial stress and strain more efficiently than homogenous-type posts.

http://www.ncbi.nlm.nih.gov/pubmed/22123011

This paper describes an approach to implementing technology-assisted problem solving (TAPS) package using desktop virtual reality interface that brings together a 3-D model of an engineering mechanics problem in an interactive manner. It provides the user with a self-study environment in which to solve an engineering mechanics problem in mechanical engineering course. The package guides the user to solve a problem in a step-by-step approach and graphical environment. Integrating components such as 2-D, 3-D and stereoscopic images provides dynamic learning environment and guidance so that the learner can analyze the necessary actions to be taken in the virtual environment. Preliminary evaluation indicated that the TAPS package has great potential to aid teaching and thus provide an effective learning environment.

http://ieeexplore.ieee.org/xpls/abs_all.jsp?arnumber=4568520&tag=1

This paper treats objects and their mirror images as two distinct objects (or stages of one and the same object) that are identical in every respect, except one is the mirror-reversed twin of the other.  It asks, "Can an object differ aesthetically from its mirror-reversed self?"  The greatest perceptible difference between such objects is the ostensive opposite orientation that they embody in relation to one another.  This paper focuses its attention to orientation and explores whether a change in an object's orientation under mirror-reversal can cause an aesthetic divergence between the original object and its mirror-reversed self.

"Contents:

От задника к квази-вещи и настоящему мясу: плоскость и трехмерность в кино 1900-1920

Бюсты-Цари Бауэра

Оживление вещи в 1910-е годы:
Черепки кувшина и жест спинки кресла

«Душа декорации» и диковинки Бауeра в трактовке Кулешова

Вещи в глубинном постранстве

Освобожденная вещь в монтаже

«Убрать неработающие вещи!»

Столетие вещи в кино: От «малеванных» к дигитальным задникам


"Н. Друбек-Майер (Берлин) в докладе «Вещь в немом кино» остановилась на двух подходах к вещи в кинематографе — в символизме и авангарде. Хорошо изучен­ная монтажная вещь авангарда представлена в фильме обычно как крупный план предмета, чередующийся с другими кадрами (чаще всего разных планов). Второй подход — это помещение вещи внутри мизансцены. Такого рода перспектива ха­рактерна для модерна. В символистском кино вещи являются частью эстетиче­ского мира в кадре и обладают таинственной связью с потусторонним (в этом аспекте интересны стеклянные вещи, дублирующие призматический «киноглаз» камеры и обнажающие медиальную специфику вещного мира в фильме). В каче­стве примера технологии репрезентации вещи в немом кино был приведен глу­бинный фокус в фильмах Е. Бауэра, одного из первых режиссеров, задолго до Орсона Уэллса использовавшего этот прием. Вещь здесь находится на переднем плане, что напоминает остраняющие приемы живописного маньеризма, и как бы посредничает между актерами и публикой." Илья Кукуй NLO, НОВОЕ ЛИТЕРАТУРНОЕ ОБОЗРЕНИЕ № 108 (2011) http://www.nlobooks.ru/rus/magazines/nlo/196/2297/2339/
Méliès, “Le Voyage dans la Lune” (1902), “The Starving Artist, or Realism in Art” (1907), А. Уральский / Н. Ларин: „Треxсотлетие царствования дома Романовыx“ (1913), Пудовкин, Максим Горький, Ханжонков, Бауэр, Bauer, "Сумерки женской души", «Грезы», “После смерти”, Кулешов, Kuleshov, „Проект инженера Прайта“ (R 1918), Лотман, Цивьян, объем, Pastrone "Cabiria", Gregg Toland, "Citizen Kane", Coleridge, Clarence Brown, “A Woman of Affairs” (1929), Борис Барнет, Федор Оцеп, «Мисс Менд» (1926), Родченко, Вещи: Американский / Русский графин, сосиски, перчатка, сумочки,«...die Dinge tragen meistens, wie schamhafte Frauen, einen Schleier vor dem Gesicht». (Balász)"

This paper proposes to investigate the creation of and the solo exhibition of works of art which pertain to the topic of a “A Beautiful Demise”. The exhibition included drawings, paintings, sculptures, and giclee mono-prints from computer-generated imagery. The use of new technologies was displayed alongside other works in traditional materials which included paintings in oil and drawings in graphite and pastel. Inside the gallery, the large oversized works towered over the viewer's eye level. Smaller jewel-like paintings and sculptures also shared the space. All works were intended to engage the viewer in an intimate fashion.  The works in the exhibit ranged in a variety of mark-making from prominent, pronounced and improvisational to ordered, obscure and hidden. The variety of choices of media was intended to introduce new metaphors about the relevance of the handmade marks of the artist juxtaposed beside artworks with machine-made manufactured marks.