32 research outputs found
Beijing Olympic TV Transmission Tower
No full textTower summit, close view showing cross-bracing; The Ling Long Pagoda or Linglong Tower (Multifunctional Studio Tower) houses a part of the International Broadcast Center (IBC) [for the Olympic Games]. It is located near the Olympic Cauldron, on the northwest side of the Bird's Nest Stadium. "Ling Long" means delicate, and is referred to as the Delicate Tower in Chinese. The permanent structure is a three-sided tower. The tower contains 6 habitable pods with open space in between. One of the pods displays the Olympic rings. It is 128 m tall, with 7 habitable floors, each an equilateral triangle. The floors are subdivided into two levels. The glass-walled pods are held up by three supporting ribs at the three corners. After fierce competition for the project in 2007, the design work was won by Cui Kai, Fu Xiaoming, Kang Kai, Zhang Junying, architects of the Cui Kai Studio at the China Design Institute. Source: Wikipedia; http://en.wikipedia.org/wiki/Main_Page (accessed 7/16/2010
Crossing the "divide": Virtual ethnography in the "real world"
No full textThis presentation documents an aspect of my autoethnographic doctoral thesis that investigated issues of identity and community. The presentation explores the inter-connected and overlapping nature of social media sites such as Bebo, Myspace, and more recently Facebook and Twitter, with peoples’ offline experiences. Such sites are representational spaces that extend the offline self into the online world. Through the use of text, images, and
video, my participants expressed their personal and social identities online, as a way to encourage interactions with like-minded people in order to further develop identity. Through the on-going development of these sites, users develop not only representational spaces, but also interactional spaces for developing and experiencing community. These websites are interwoven into peoples’ everyday experiences and routines. People update Facebook
statuses to tell others what they had for breakfast that morning, post embarrassing photographs and comment, or attempt to relive sensual experiences of sights, sounds, and
even smells of events they have attended together or separately. The online realm is also brought into the offline one, with people scrambling for a camera, accompanied by the modern day catchphrase of “don’t pose like that or it’ll end up on Facebook” What this means
is that rather than being distinct, mutually exclusive spaces, social networking sites are but one of many physical and virtual spaces that people travel across, through, and within their everyday lives. People interact with both online and offline spaces, layering them with meaning and linking them together through social interactions
Embodying identity through tattooing: Autoethnography and the “bodyscape”
No full textFans of Heavy Metal music have a unique style of appearance and interaction through which a sub-cultural community is formed and maintained. This presentation describes aspects of Dave’s autoethnographic doctoral thesis in relation to the embodied nature of tattooing and the display of cultural symbols associated with the shared identity of Metaller. Drawing upon Dave’s interactions with one of his heavily tattooed participants, referred to affectionately in this research as “Chopper”, he will discuss the ways in which tattoos and associated descriptions can render into view community assumptions, practices, and relationships.
Chopper’s tattoos are colourful and embodied statements of membership and community. By focusing on the dialectics of tattoos and their metonymic relationship with a Heavy Metal
community, we explore how this participant’s sense of self as a member has been imprinted upon his flesh. The concepts of metonym and bodyscape are employed as a means of exploring and theorising the construction, expression, and performance of identity and community at sub-cultural events such as local gigs. Such events provide opportunities for bodyscapes to be enacted through social interactions. Our analysis moves beyond the description of specific representations to broader observations about the ways in which social relationships and community are rendered meaningful through mediated and interpersonal communication featuring these tattoos
Ontologia, realtà e conoscenza
No full textNella tradizione filosofica occidentale l’ontologia rappresenta una disciplina centrale, il cui scopo è quello di esplicitare le caratteristiche universali della realtà, i suoi fondamenti costitutivi, i suoi primi principi. In tale prospettiva,
essa è assimilabile a quella “filosofia prima” (epistéme tòn pròton arkòn kai
aitiòn theoretiké) di cui parla Aristotele e che ha assunto il classico nome di “metafisica”. Tuttavia nel corso dei secoli il concetto di metafisica ha acquisito un altro significato, cioè quello di analisi delle strutture e dei livelli ontologici
del reale che eccedono l’esperienza di ciascun individuo e che riguardano questioni
cruciali nella riflessione filosofica quali, ad esempio, l’esistenza di Dio, il problema del male, l’origine dell’Universo. Nel secolo scorso l’ontologia si è ulteriormente articolata come studio dei diversi ambiti del reale, cosicché i vari enti di cui si occupano le differenti discipline costituiscono l’ambito di ontologie
“regionali” (l’ontologia della fisica, l’ontologia della biologia, l’ontologia della matematica, ecc).
Questo volume è dedicato allo studio dei rapporti complessi e fecondi tra l’ontologia e la conoscenza secondo molteplici prospettive di analisi e di ricerca. I saggi in esso raccolti intendono contribuire sia alla riflessione critica nell’ambito
degli studi e delle ricerche sulle relazioni tra l’ontologia e la conoscenza sia all’approfondimento di alcuni temi e questioni più generali di carattere metafisico e gnoseologico
Il giurista-matematico e il lettore ideale: due prefazioni a confronto (Meciano, Assis distributio e Paolo, De gradibus et adfinibus)
No full textFra gli elementi paratestuali, la prefazione (la parte del testo designata come principium, praefatio, prooemium, exordium, insinuatio, initium,
ingressus) è l’ultimo avamposto fra l’interno e l’esterno dell’opera e questa posizione le conferisce un particolare interesse proprio per la letteratura
tecnica, in cui rientra anche quella giuridica. Il bisogno di una prefazione è ancora più sentito, quando chi scrive ha la sensazione di allontanarsi dal centro dei propri interessi o dalle aspettative dei lettori o della corporazione professionale cui appartiene. È quanto sembra sia capitato a due giuristi, e fra i maggiori, Lucio Volusio Meciano e Giulio Paolo, che nel redigere due testi di tema non giuridico li hanno corredati di una prefazione. L'articolo ne propone una lettura parallela, come prologo a uno studio complessivo sulle prefazioni nei libri dei giuristi romani. La lettura indaga gli aspetti formali, la dipendenza da convenzioni prefatorie tipiche, la corrispondenza fra prefazione e effettivo svolgimento dell'opera
Drawing as Practice: the Past as Potential
No full textThis document expresses a theoretical and practical description of my research and studio practice. I engage in mining and querying historical and political archives, specifically those documenting the North American Women’s Liberation Movement of the late 1960s to early 1970s. Images and text are collected, then re-presented through the act of hand drawing, furthered by layering and assembling the resulting images to stimulate embedded strategies of resistance and subjectively understand the affect of those positions in the present. A direct interest in themes of potentiality, possibility and the ability to visually and physically express these notions frames my practice. In short, through this work I am asking what are the capabilities of revisiting historical images as sites for latent possibilities of collective engagement? Drawing returns these images to the present, and therefore asks the viewer to reconsider the hopes and failures of the past, the ideals and goals not-yet-realized. The ultimate installation strategies of this work: fragmented, rearranged, layered and reorganized simultaneously seek to crowd the viewer in multiple drawing events, eliciting the sentiment of the crowd, the mass, and re-emphasizing the individual. Ultimately my practice engages in multiple temporalities – past, present and future, through a careful and embodied practice of observation, deliberation, and generative translation.Submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts.1960s - 1970
Point cloud classification : the case of Milan Cathedral
No full textLAUREA MAGISTRALEQuesto lavoro fa parte di una collaborazione decennale tra la Veneranda Fabbrica del Duomo di Milano e il Politecnico di Milano, 3D SurveyGroup, DABC. Le basi di questo lavoro, infatti, risalgono a molti anni fa, quando il laboratorio 3Dsurvey group del Politecnico ha iniziato a utilizzare il TLS e la fotogrammetria (oltre a varie altre tecniche): le due fonti primarie da cui si ottengono le nuvole di punti su cui si concentra questo lavoro. Pertanto, questo lavoro rappresenterà un piccolo mattone in un progetto in continuo sviluppo. (et al. Achille, C., Fassi, F., Mandelli, A., Perfetti, L., Rechichi, F., Teruggi, 2020)
L’importanza dei processi di rilievo nel campo della conservazione e del restauro del patrimonio è ben consolidata e ampiamente utilizzata in tutto il mondo. È anche chiaro che oggi le tecniche di rilievo possono risolvere quasi tutte le situazioni in termini di acquisizione ed elaborazione dei dati. La grande lacuna rimane oggi l’utilizzo dei dati a livello professionale nella pratica quotidiana, è esemplare in questi termini fatto che le nuvole di punti sono spesso utilizzate come strumento di passaggio tra il rilievo e la realizzazione manuale di modelli 3D.
La ricerca presentata in questo lavoro si inserisce negli sforzi di ricerca nazionali e internazionali affinché i prodotti grezzi delle acquisizioni 3D (nuvole di punti) possano essere facilmente utilizzati a livello professionale. In particolare, la tesi indaga, attraverso l’uso di sistemi di intelligenza artificiale (AI), le tecniche per classificare le nuvole di punti 3D da utilizzare come veri e propri modelli 3D strutturati per diversi scopi durante la pratica professionale nel mondo dei beni culturali. (et. al. Grilli, E. e Remondino, F.: “Classificazione del patrimonio digitale 3D”, Remote Sens., 11, 847, 2019. https://doi.org/10.3390/rs11070847
Oltre ai più ovvi benefici per la conservazione, una potenzialità meno nota dei dati digitali 3D è quella di consentire un’interpretazione completa dell’architettura, a partire dalla comprensione della semantica degli elementi, procedendo attraverso il loro ruolo strutturale e compositivo, fino alla considerazione delle forme dell’edificio e del suo rapporto con lo spazio, sia reale che ideale.
Il Duomo di Milano rappresenta un’opportunità unica per questo studio, sia perché è un caso di studio complesso ed esteso che si è rivelato uno dei più difficili nel campo del rilievo, sia perché richiede la classificazione delle nuvole di punti 3D di tutti gli elementi architettonici, tutti di notevole peculiarità e complessità.This work is part of a ten-year collaboration between the Veneranda Fabbrica del Duomo di Milano and the Politecnico di Milano, 3D SurveyGroup, DABC. The basis of this work dates back to several years ago, specifically when the 3D SurveyGroup of the Politecnico started to use the TLS and the photogrammetry, besides other techniques, as the two primary sources from which point clouds are obtained. Therefore, this work represents an additional contribution to the ongoing project. (et al. Achille, C., Fassi, F., Mandelli, A., Perfetti, L., Rechichi, F., Teruggi, 2020)
The importance of surveying processes in the field of heritage conservation and restoration is well established and widely used worldwide. It is evident that nowadays, surveying techniques are able to solve almost any problematic situation in terms of data acquisition and data elaboration. The major gap still concerns the use of data at a professional level in daily practice. In these terms, an example would be the fact that point clouds are often used as a transitional tool between the surveys and the manual realization of 3D models, rather than exploiting its other potential and unique features.
Consequently, this investigation may be considered as part of the contemporary national and international research effort, so that the raw products of 3D acquisitions (point clouds) can be easily used professionally. In particular, the thesis utilizes the artificial intelligence (AI) system and examines the techniques for the classification of 3D point clouds to be used as real 3D models structured for different purposes of the professional practice in the Cultural heritage’s world. (et. al. Grilli, E. and Remondino, F.: ‘Classification of 3D Digital ‘Heritage’, Remote Sens., 11, 847, 2019. https://doi.org/10.3390/rs11070847
In addition to the more obvious preservation benefits, a lesser-known potential of 3D digital data is that it permits a comprehensive interpretation of architecture, beginning with an understanding of the elements’ semantics and proceeding through an examination of their structural and compositional roles, to a consideration of the building’s forms and its relationship to space, both real and imagined.
The Milan Cathedral constitutes a unique opportunity for this study mainly because it is both a complex and extensive case study that has proven to be one of the most difficult in the field of surveying and because it necessitates the classification of 3D point clouds of all the architectural elements, which are all of remarkable peculiarity and complexity
Coming to terms with the National Socialist Past in teamWorx's TV Event Movies: 'Dresden' (2006), 'Nicht alle waren Mörder' (2006) and 'Die Flucht' (2007).
No full textThis thesis examines three made-for-television ‘Event Movies’ from the German production company teamWorx, made between 2006 and 2007 – Dresden (2006), Nicht alle waren Mörder (2006) and Die Flucht (2007) – within the context of contemporary debates of ‘Vergangenheitsbewältigung’ or ‘coming to terms with the past’ in Germany. It will deal with specific debates in memory of the National Socialist past, namely representations of Germans as victims of the Second World War and memory of the Holocaust. Although in recent years the importance of teamWorx’s television films has begun to be acknowledged by scholars in both Germany and the UK, this thesis represents the first attempt to analyse these three Event Movies as a unit and to explore in-depth the teamWorx company and its attitudes to historical film. As such, two interviews will be relied on throughout this thesis, with chairman of the board Nico Hofmann and Die Flucht’s director Kai Wessel.
In order to place the films within the context of contemporary debates on memory of the Nazi past in Germany, the thesis will undertake a filmic analysis of the Event Movies, supported by both the intentions of the filmmakers and critical responses in the contemporary press. Of primary importance for the thesis will be the twin concerns of the authenticity of teamWorx’s productions, as claimed by the filmmakers and the Event Movies’ borrowing of filmmaking devices from Hollywood genres, in particular the melodrama. Following this analysis it will be asked to what extent the Event Movies affect and reflect contemporary debates on the legacy of National Socialism and how these films contribute to the normalisation of the Nazi past in Germany
Transformation From Wax to Metal: A Symbolic Interactionism Study of Jewelry Casting Class
No full textabstract: I conducted this qualitative research including data collection, data analysis and comparison analysis in a Casting and Jewelry Techniques course at Arizona State University for a whole semester. The purpose of this research was to explore the symbolic interactive meaning of metalworking to university students in metal courses, and if they had various learning needs to improve and enhance their metal art making by seeking their responses to the relationship between technical issues and concepts of their own artworks. The study results showed that the meanings of metalworking to students were craftsmanship, and a sense of accomplishment, and it related to their daily lives in career and presentation. Most of them focused on the degree of technical completion and forms of work rather than expressive concepts, and techniques were important in their works. I compared my findings in this study with my pilot study and James's study in a sculpture studio class, and found some similarities in teacher's philosophy and students' metalwork meanings that included career aspirations, some peer interaction, technical concerns rather than concept formation, and process as serious play or the exploration of materials.Dissertation/ThesisPh.D. Art 201
Coming to terms with the National Socialist Past in teamWorx's TV Event Movies: 'Dresden' (2006), 'Nicht alle waren Mörder' (2006) and 'Die Flucht' (2007)
No full textThis thesis examines three made-for-television ‘Event Movies’ from the German production company teamWorx, made between 2006 and 2007 – Dresden (2006), Nicht alle waren Mörder (2006) and Die Flucht (2007) – within the context of contemporary debates of ‘Vergangenheitsbewältigung’ or ‘coming to terms with the past’ in Germany. It will deal with specific debates in memory of the National Socialist past, namely representations of Germans as victims of the Second World War and memory of the Holocaust. Although in recent years the importance of teamWorx’s television films has begun to be acknowledged by scholars in both Germany and the UK, this thesis represents the first attempt to analyse these three Event Movies as a unit and to explore in-depth the teamWorx company and its attitudes to historical film. As such, two interviews will be relied on throughout this thesis, with chairman of the board Nico Hofmann and Die Flucht’s director Kai Wessel. In order to place the films within the context of contemporary debates on memory of the Nazi past in Germany, the thesis will undertake a filmic analysis of the Event Movies, supported by both the intentions of the filmmakers and critical responses in the contemporary press. Of primary importance for the thesis will be the twin concerns of the authenticity of teamWorx’s productions, as claimed by the filmmakers and the Event Movies’ borrowing of filmmaking devices from Hollywood genres, in particular the melodrama. Following this analysis it will be asked to what extent the Event Movies affect and reflect contemporary debates on the legacy of National Socialism and how these films contribute to the normalisation of the Nazi past in Germany
