Прагматика экологии: поэзия Вс. Н. Некрасова и концептуализм

This chapter focuses on systems and interfaces for multimodal analysis of expressive gesture as a key element of music performance. Research on expressive gesture became particularly relevant in recent years. Psychological studies have been a fundamental source for automatic analysis of expressive gesture since their contribution in identifying the most significant features to be analysed. A further relevant source has been research in the humanistic tradition, in particular choreography. As a major example, in his Theory of Effort, choreographer Rudolf Laban describes the most significant qualities of movement. Starting from these sources, several models, systems, and techniques for analysis of expressive gesture were developed. This chapter presents an overview of methods for the analysis, modelling, and understanding of expressive gesture in musical performance. It introduces techniques resulted from the research developed over the years by the authors: from early experiments of human-robot interaction in the context of music performance up to recent set-ups of innovative interfaces and systems for active experience of sound and music content. The chapter ends with an overview of possible future research challenges.

Values of exclusive leadership characterize the administration of the neoliberal university, but are incongruous with values of inclusive leadership often enacted in the work of teaching, learning, and research. This article explores how an action research project to advance inclusive leadership at Royal Roads University adapted a visual data elicitation method and used metaphor analysis to reveal opportunities to align espoused, communicated, and enacted values. Images evoke metaphors (Mumby & Spitzack, 1983; Vakkayil, 2008) that enable researchers engaged in their own organizational development to elicit creative possibilities that are “covered up by the familiarity of everyday experience” (Koch & Deetz, 1981, p. 13). By eliciting desired qualities associated with inclusive leadership (Rayner, 2009), we have been able to make visible and model inclusive messages, structures, behaviours, strategies, and actions as the building blocks of a culture built on the value of inclusivity and collaboration, and the principles of diversity and interdependence. One key insight of the research is that arts-based action research effectively equips academic and administrative leaders to transcend deficit-based problem solving and the reductionism associated with neoliberal university management and to approach organizational development with the creative energy that arts-based research inspires.

Repetitive practice is one of the most important factors in improving the performance of motor skills. This paper focuses on the analysis and classification of forearm gestures in the context of violin playing. We recorded five experts and three students performing eight traditional classical violin bow-strokes: martelé, staccato, detaché, ricochet, legato, trémolo, collé, and col legno. To record inertial motion information, we utilized the Myo sensor, which reports a multidimensional time-series signal. We synchronized inertial motion recordings with audio data to extract the spatiotemporal dynamics of each gesture. Applying state-of-the-art deep neural networks, we implemented and compared different architectures where convolutional neural networks (CNN) models demonstrated recognition rates of 97.147%, 3DMultiHeaded_CNN models showed rates of 98.553%, and rates of 99.234% were demonstrated by CNN_LSTM models. The collected data (quaternion of the bowing arm of a violinist) contained sufficient information to distinguish the bowing techniques studied, and deep learning methods were capable of learning the movement patterns that distinguish these techniques. Each of the learning algorithms investigated (CNN, 3DMultiHeaded_CNN, and CNN_LSTM) produced high classification accuracies which supported the feasibility of training classifiers. The resulting classifiers may provide the foundation of a digital assistant to enhance musicians' time spent practicing alone, providing real-time feedback on the accuracy and consistency of their musical gestures in performance.

This paper examines the new presence of “culture” within politics in Northern Ireland and attempts by cultural policymakers and community activists to constructively shift the meanings of “identity”, “tradition” and “heritage”. It focuses on the work of the Community Relations Council and the strategic development of its three principles of equity, diversity and interdependence, in relation to specific controversies about culture in Northern Ireland and wider debates about pluralism and multiculturalism. The distinctive configuration of questions of pluralism and culture in Northern Ireland highlights the ways in which multicultural theory is shaped by its geographies of development and circulation and how ideas of culture and multiculture work in different places and travel with sometimes ambiguous effects. At the same time, the pragmatic combination of optimism, realism, encouragement and critique in cultural policy in a context of continued division and political instability complicates familiar accounts of the geographies and politics of multiculture.

Supramolecular Structure of the Casein Micelle

The liver in painting: a case of abstraction

Hindustani classical singing, a tradition practiced in Northern India, includes a prevalent pitch-modulating vocal gesture called “taan.” This chapter explores the performance and pedagogical basics of taan gestures as practiced by an elite singer and teacher. The aim of this study is to determine the physiological and acoustic characteristics of this gesture and create a platform for future research. The results of this study will also further the understanding of human voice production. The study found that the pedagogical taan gestures were slower with longer superior surface durations compared to the faster performance taan gestures. The voluntary control of the taan gesture seems to be facilitated by glottal adduction. When the artist voluntarily altered pitch, loudness, rate, or the subjective obstruction of the taan gestures, significant differences were seen in the fundamental frequency as well as in aerodynamic and kinematic measures across the different levels of each condition. In general, increasing pitch level, loudness level, rate of the taan gesture, and subjective obstruction levels resulted in steeper slopes to the F0 fall and rise within the taan gesture and significant changes in the laryngeal flow waveform, suggesting greater adduction levels. This study can be enhanced with further analysis of taan gestures related to different raagas, the basis of Indian classical music. These results not only add to the basic understanding of the multicultural aspects of singing but also advance the basic knowledge about human voice production.

The paper describes the way in which tools developed for the performance and analysis of musical gesture can be used in environmental control systems. A conclusion arising from the work suggests that a gestural facility developed by disabled clients for the performance of music, and strengthened through music therapy, can be utilised directly in the interaction with the wider environment, contributing to enhanced quality of life for this group of people.

The issue of communicative interaction of future social pedagogues is one of the crucial problems of higher education as it is the basic condition for effective realization of their professional activity in the social sphere.The aim of the article is to describe the methods of using a piece of art with its information content in order to form future social pedagogues’ personal qualities and skills of their communication. Thissubject was on the focus in the second half of the last century and then the scientific interest in the problem almost disappeared. But it has been proposed in the article that information system of art can be usedas a means of forming communication skills by developing students’ abilities to solve psychological problems of the client and their own ones through the analysis and forecasting of complex social and psychological situations depicted in the works. Artistic and aesthetic information is presented in the pocess of future specialists’ training as didactic material to develop the skillsof active listeningand abilities to penetrate into client’s inner world, stimulate his/her emotional state through certain types of information in the piece of art.This methodology was implemented in the educational process of Zaporizhzhya National University and its content and results have been presented in the article.

Adapting Femininities

The music of Tōru Takemitsu’s Rain Tree Sketch II (1994) entails a procession of discrete gestures that are delineated by moments of repose. The performer’s grasp of the piece lies in its physicality of movement: each gesture and in-between stillness are both heard and felt as an aggregate of velocities, directions, and intentions of the body. Drawing upon Carrie Noland’s concept of “vitality affects,” I take the performative gesture, encompassing both visually accessible movement and inwardly felt kinesthesia, as a starting point for the analysis of Rain Tree Sketch II. Concepts of effort and shape taken from Rudolf Laban’s dance theory provide a framework for creating a new methodology of enhanced trace-forms to analyze gesture and kinesthesia. The analysis of gestures reveals the coexistence of opposite effort qualities and shapes in an expanded corporeal space, resonating with Takemitsu’s ideal of reconciling contradictory sounds, as noted in his collection of essays Confronting Silence (1995). Husserl’s notions of retention and protention, viewed through the lens of embodiment, and Laban’s concepts of effort states and effort recovery are brought to bear on the still moments, showing the piece to have a throbbing, embodied rhythmic structural arc. This new methodology centering on gestural-kinesthetic details provides the tools to articulate structural sensations that are often overlooked but lie at the center of musical experience.

The study is focused on a bronze sculpture of small forms (okimono) of the Meiji era, in particular, art pieces that came to Europe under the Miyao brand, from the collections of the Bohdan and Varvara Khanenko Museum of Art, Lviv National Art Gallery, Feldman Family Museum (Kharkiv). The article highlights the historiographical and terminological aspects of the research topic, outlines the principles of formation of the source base, attribution, and examination of the works; the positions of prominent scientists on the artistic assessment of bronze okimono are determined. The results of the study are a reconstructed context of the formation of a new type of bronze sculpture, highlighting the transformations that took place during the Meiji reforms in the organization of the artist’s work and aesthetic landmarks; the typology of bronze sculpture and the range of main plots are determined (characters of Shinto and Buddhist mythology, Taoist hermits, heroes of folk tales, plots from the life of peasants, aristocrats, bureaucrats). In the process of studying the collections, the attribution of a group of works, the analysis of their figurative and content structure and stylistic and technological component, the typology of signatures have been carried out. Miyao’s products have been found to be the result of the loss of the domestic market and reorientation of exports: the special role of metal products in international exhibitions, the influence of the European art system, and its organic combination with traditional Japanese crafts have been emphasized. It is shown that on such grounds as increased decorativeness, the use of elements of clothing and other details identified as Chinese, a significant part of Miyao art pieces can be considered as a modern (oriental) version of Chinoiserie, or a model of Oriental Orientalism. It is proved that bronze sculpture of small forms in artistic and technological senses is worthily represented in museum collections of Ukraine, demonstrates a variety of approaches and models, typologically can relate to both applied art and decorative sculpture of small forms. The fact of preservation of the tendency to imitate Miyao’s style among the masters of the late 19th century and early 21st century has been revealed.

Contemporarily, there are many games as follow a storyline in the game industry. On this basis, NPCs are acting under a setup. In this paper, several machine learning systems are creating games and art pieces by themselves. Readers can see how different machine learning system works to form different games. Based on the procedure and evaluations, it will help a lot of game developers to create a full AI system for creating different levels, NPC, monsters, and missions. Therefore, it will create a world that is even more freedom for players to play. ANGELINA system and those two art systems based on machine learning they are creating some random production by themselves, and all the works are high quality. The purpose of this paper is to demonstrate the functions machine learning works in the field of game creation. These results shed light on guiding further exploration of game developing in terms of machine learning scenarios.

Introduction.The paper attempts to clarify the relation between ideas and concepts in philosophy seen as science and worldview. The author analyzes these forms of philosophical thought and reveals their epistemological similarities, as well as their essential and notional differences.Materials and Methods.The paper draws upon monographs and papers by Russian and foreign scholars focusing on issues connected with the analysis of philosophical ideas and notions. The methods implemented are comparative analysis, historico-philosophical synthesis, generalization, idealization, abstraction, and interpretation.Results.The central issue explored in the paper concerns similarities and differences between philosophical ideas and concepts. Philosophers do not have serious disagreements over the notion of a concept, but there is no consensus on what an idea is. While many thinkers seem to reduce ideas to representations, a philosophical idea is clearly different from a common opinion. Most notably, it must be expressed in form of a concept – the fact that characterizes it as an act of thinking. Analyzing these forms of thinking, the author arrives at the following conclusions: 1. Concepts reflect essence, ideas reflect aim (an ideal). 2. Concepts are a form of knowledge and are limited to the cognitive sphere; ideas pertain to understanding and are impactful. 3. Concepts are value-neutral, ideas are value-oriented. 4. Concepts are more static, ideas are more dynamic. 5. Philosophical concepts are usually anonymous, ideas are authorial. Ideas endow concepts with their original essence, while concepts endow ideas with their theoretical form. Without the creative power of ideas concepts degrade into banal epigonic thoughts. Thus, ideas and concepts are forms of thinking that have different purposes, but are still deeply connected and interchangeable.Discussion and Conclusions.The understanding of ideas proposed in the paper goes against the currently dominant epistemological tradition which regards ideas as opinions, views, or representations and in doing so renders the term conceptually indeterminable. The heuristic and creative potential possessed by ideas that influence and stimulate the development of philosophy should be adequately evaluated. The essential role that ideas play in history should not be ignored as well. While ideas express interests of different social groups, they should not be equated with interests, as philosophical ideas are meant to express fundamental issues of human essence and existence.

Gestures have been called the leaky source of emotional information. Also gestures are easy to retrieve from a distance by ordinary cameras. Thus as many would agree gestures become an important clue to the emotional state of a person. In this paper we have worked on recognizing emotions of a person by analyzing only gestural information. Subjects are initially trained to perform emotionally expressive gestures by a professional actor. The same actor trained the system to recognize the emotional context of gestures. Finally the gestural performances of the subjects are evaluated by the system to identify the class of emotion indicated. Our system yields an accuracy of 94.4% with a training set of only one gesture per emotion. Apart from this our system is also computationally efficient. Our work analyses emotions from only gestures, which is a significant step towards reducing the cost efficiency of emotion recognition. It may be noted here that this system may also be used for the purpose of general gesture recognition. We have proposed new features and a new classifying approach using fuzzy sets. We have achieved state of art accuracy with minimal complexity as each motion trajectory along each axis generates only 4 displacement features. Each axis generates a trajectory and only 6 joint trajectories among all joint trajectories are compared. The 6 motion trajectories are selected based on maximum motion, as maximum moving regions give more information on gestures. The experiments have been performed on data obtained from Microsoft Kinect sensors. Training and Testing were subject gender independent.KeywordsType-1 Fuzzy SetsGesture RecognitionOne-shot LearningEmotion Recognition