3,606 research outputs found
VCC-LF dataset
No full textThis is readme for VCC-LF dataset.
This dataset provides light field mat files that capture by Lytro I.
The light field resolusion is [h,w,u,v,d].
If you use these data or our toolkit code, please cite our paper properly
@inproceedings{ lirsiggraphasia2019,
title={Hierarchical and View-invariant Light Field Segmentation by Maximizing Entropy Rate on 4D Ray Graphs},
author={Li, Rui and Heidrich, Wolfgang},
booktitle={ACM Transactions on Graphics (Proc. SIGGRAPH Asia)},
year={2019},
publisher={ACM}
The trombone as portrayed in Portuguese iconography during the sixteenth and early seventeenth centuries
No full textThis article studies eleven sixteenth and seventeenth century iconographical sources depicting slide brass instruments, by both Portuguese and foreign artists active in Portugal, as well as foreign artists depicting Portuguese scenes. This study addresses questions concerning aspects of trombone technique that have not previously been considered and may have implications in the way the trombone was understood elsewhere in Europe. It focuses on aspects of technique depicted that may be representative of the trombone’s contemporary design and performance and therefore the manner in which the instrument was held and indeed played. Finally, this article suggests a transitional technical period when the way of holding the single-slide trumpet may have been used to play the trombone.Publisher PD
Hierarchical and View-invariant Light Field Segmentation by Maximizing Entropy Rate on 4D Ray Graphs (Supplement)
No full textThe supplementary material for paper "Rui Li, Wolfgang Heidrich, Hierarchical and View-invariant Light Field Segmentation by Maximizing Entropy Rate on 4D Ray Graphs. In SIGGRAPH Asia, 2019
Literary Strategies in Rui Rocha
No full textInteressa a este artigo perquirir as estratégias, de hibridismo, alegoria e voz poética, usadas pelo autor, Rui Rocha, para compor alguns dos poemas de suas obras Taotologias e A oriente do silêncio, apontando o modo como as cenas imagéticas apresentam-se como arte final.
ABSTRACT
This article investigates the hybridism strategies, allegory strategies and poetic voice strategies, who Rui Rocha author uses to compose some of his poems. He wrote Taotologias and A oriente do silêncio. And also, this article wants to demonstrate the way in which scenes helps to make the final art of those books.
Keywords: Hybridism, Allegory, Poetic voice.This article investigates the hybridism strategies, allegory strategies and poetic voice strategies, which writer Rui Rocha uses to compose some of his poems. He wrote Taotologias and A oriente do silêncio . Moreover, this article demonstrates the
way in which scenes help to make the final artwork of those books
Rui Barbosa e J. J. Seabra: a Bahia na Primeira República
No full textBook review "The fox and the eagle. J. J. Seabra and Rui Barbosa in Bahian politics ofFirst Republic", by the author Silvia Noronha Sarmento.Book review "The fox and the eagle. J. J. Seabra and Rui Barbosa in Bahian politics ofFirst Republic", by the author Silvia Noronha Sarmento.Resenha do livro "A raposa e a águia. J. J. Seabra e Rui Barbosa na política baiana da Primeira República", da autora Sílvia Noronha Sarmento.
Fernández Prieto y Tumbeiro Un pequeño análisis desde el campo de la antropología
No full textEl presente trabajo tiene como objeto analizar las graves violaciones a los derechos humanos suscitadas en un contexto de violencia por parte de fuerzas de seguridad en la década de los 90s en la República Argentina.
Puntualmente, desarrollaremos la presente evaluación a la luz del fallo de la Corte Interamericana de Derechos Humanos “Fernández Prieto y Tumbeiro vs. Argentina”[1]mediante el cual se declaró la responsabilidad internacional de nuestro país por las violaciones a diversos derechos
Interview to Rui Furtado, AFA Consult foundator
No full textThis research addresses a series of projects built by the engineering company "AFA Consult" through the testimony of one of its engineers, Rui Furtado, who is also a professor of structures at the Universidade Lusófona do Porto, where the author was a student of his. The chosen projects follow the storyline of being built using a mixed structure of steel and concrete. The research presents, first, a series of case studies with mixed structural solutions for different architectural spaces. The article then focuses on the testimony of Rui Furtado through an interview that delves into the figure of Paulo Mendes da Rocha, following the thread of the Car Museum in Lisbon, one of the case studies with a mixed structure chosen. In addition, the professional relationship between Paulo and Rui is explored through the exhibition currently on view at Casa da Arquitectura (Porto), "Paulo, beyond drawing", of which Rui Furtado is the curator. Thus, the path is traced towards reconciling conclusions between the worlds of architecture and engineering, with humanism as the protagonist.La presente investigación aborda una serie de proyectos construidos por la empresa de ingeniería “AFA Consult” a través del testimonio de uno de sus ingenieros, Rui Furtado, que además es profesor de estructuras en la Universidade Lusófona do Porto, donde el autor fue alumno suyo. Los proyectos escogidos siguien la linea argumental de estar construidos mediante una estructura mixta de acero y hormigón. La investigación presenta, primeramente, una serie de casos de estudio con soluciones estructurales mixtas para diferentes espacios arquitectónicos. El artículo, posteriormente, se centra en el testimonio de Rui Furtado mediante una entrevista que profundiza en la figura de Paulo Mendes da Rocha, siguiendo el hilo del Museo de los Coches en Lisboa, uno de los casos de estudio con estructura mixta escogidos. Además, se explora la relación profesional entre Paulo y Rui mediante la exposición que actualmente puede verse en Casa da Arquitectura (Oporto), “Paulo, más allá del dibujo”, de la que Rui Furtado es comisario. Así, se traza el camino hacia unas conclusiones reconciliadoras entre los mundos de la arquitectura y la ingeniería, con el humanismo como protagonista.Peer Reviewe
A propos du sexe des fleurs : le cas des "rui"
No full textHow to translate the term rui when it appears in texts prior to the scientific knowledge of sexuality in plants? Chinese or bilingual dictionaries give only the meaning of 'pistil' or 'stamen' or 'reproductive organs' (in flowers). In order to try to find an adequate equivalent the author considers the case of European texts about plants before the scientific knowledge of sexual reproduction of plants and the creation of a detailed vocabulary for the various parts of the flower.Metailie Georges. A propos du sexe des fleurs : le cas des "rui". In: Cahiers de linguistique - Asie orientale, vol. 23, 1994. pp. 223-230
Rui Macedo e a Pintura como Instalação: Avesso da Norma no Museu Machado de Castro, em Coimbra
No full textEste artigo expõe as características gerais das instalações de pintura de Rui Macedo, desenvolvidas desde 2010. Estas exposições apropriam-se de diversas tipologias arquitectónicas que caracterizam espaços à cultura e às artes, por vezes em interacção com colecções museológicas. O assunto principal é a exposição Avesso da Norma onde se aferem todos os mecanismos utilizados em eventosanteriores e se detectam novas estratégias de relacionamento entre a exposição dos objectos de Museu e a arte contemporânea
Memory, Conflict & Commerce in Early Modern Europe
No full textThis is a solid and compelling collection of articles dedicated to the themes of conflict, memory and language in early modern English theatre and poetry. Shakespeare is the main focus of most of the papers, but there are welcome deviations from this rule, either as complements to the discussion (usually other early modern dramatists, who are dealt with in varying degrees of detail) or as independent objects of investigation (John Donne’s poetry in Margaret Edson’s Wit).
In the two essays having more directly to do with memory, “Memory of Tragedy” and “This is my play’s last scene”, memory is illuminatingly exercised from different temporal positions, in one case as the early modern memory of tragedy and in the other as the contemporary moment’s memory of early modern poetry. However, in “Memory of Tragedy”, some additional bibliographical support would be welcome. The use of the concept of memory, which is central to the article, would benefit from explicit grounding in cultural or collective memory studies. The article could also be improved by a conclusion bringing together, under the theme of the memory of tragedy, the several variants of tragedy discussed throughout the paper. “This is my play’s last scene”, which also deals, though more implicitly, with forms of memory, is an engaging and compelling essay about the central role played by John Donne’s poetry in a contemporary play, Margaret Edson’s Wit. The close attention devoted to poetic detail, which is itself a theme in Wit, neatly brings out the relations between Donne’s poetry and Edson’s play, while linking this paper to the remaining ones.
Whereas “Memory of Tragedy” discusses issues of genre, “As You (Don’t) Like It” focuses on plotting. By means of a structural analysis of central aspects of the plots of As You Like It, King Lear and Hamlet, the author proposes a convincing account of the importance of heterotopic spaces in the movement towards the restitution of order in all three plays. The shift from As You Like It, where an effective restoration does occur, to the two tragedies, where this restoration is complicated and eventually cancelled by contingency, is itself historicised as a general transition from “‘cyclical-temporal’ myth-making into ‘discrete-linear’ plot-making” (Lotman).
A common link between these papers is the attention devoted to language and form. This focus is attained not at the cost of history, but rather in close connection with it. In its attention to issues of poetic language, this collection of articles strikes a welcome note in a field which, in recent times, has frequently disparaged attention to form as mere formalism. The importance of analysing the language of these texts in detail is especially borne out in the remaining three articles of this collection. “NEW LANGUAGES” is a fascinating, and bibliographically supported, discussion of the transformations undergone in the use of rhetoric during the early modern period, as exemplified in and mapped out by a number of history plays from this time. The relations between rhetoric, truth, value and power are brought out through a persuasive discussion of specific moments from Shakespeare’s Second Tetralogy as well as from John Ford’s Perkin Warbeck. “The Insults of The Merchant of Venice”, on the other hand, makes a forceful and amply demonstrated case for understanding insults in The Merchant of Venice as profoundly and disturbingly different from other, more playful types of insults in the Shakespearean canon. This article needs some editing (especially because of incomplete references) and matters of style should occasionally be attended to, namely in the first paragraph (the phrase “I started a paper” is used several times without variation). In section 3, the paragraph containing the final sequence of words as well as their dictionary meanings may perhaps be tightened in terms of its structure. Although these words and their meanings are all motivated by the central connection which is made between insults and rating, their brief appearance in quick succession seems occasionally gratuitous. The final article in this collection, “With all my Heart”, also focuses on The Merchant of Venice. In what is an admirably pursued and amply footnoted source study, the author reconsiders the motif of the pound of flesh in The Merchant of Venice, and more specifically of Antonio’s heart, by bringing out its double-edged signification. This contextual approach moreover benefits from being carried out through a close analysis of emblem books and accounts of public executions in early modern England, while also paying attention to other, more canonically established narrative sources
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