Artistic Touch Research Articles

Penetapan Kadar Antosianin Dan Formulasi Sediaan Blush On Compact Powder Ekstrak Beras Merah (Oryza Rufipogon Griff.)

Blush or rouge is one of the decorative cosmetic preparations in beauty products that is widely used by presenting various colors as coloring the cheeks with an artistic touch so as to enhance aesthetics in the nuances of make-up on the face, giving a thinner and fresher accent to the face. One of the natural ingredients that can be used as a dye is Red Rice (Oryza rufipogon Griff.) Red Rice (Oryza rufipogon Griff.) is rice that contains anthocyanin compounds which function to give red color to red rice. This study aims to determine whether brown rice can be used as a coloring agent for blush on compact powder form and to determine the physical evaluation of blush preparations. The formulation of the blush preparation was made using dyes from red rice extract with a concentration of 0%, 5%, 10% and 15%. This research method was carried out experimentally, including: sample preparation, simplicia characterization, extract preparation, phytochemical screening, determination of anthocyanin levels, preparation of preparations. extraction was carried out by maceration and remaceration, using 96% ethanol solvent, then concentrated with a rotary vacuum evaporator. Tests carried out on the physical evaluation of blush on preparations included organoleptic tests, homogeneity tests, pH tests, irritation tests, adhesion / spread tests, crack tests, hedonic (preferability) tests and stability tests. The results of organoleptic testing, homogeneity, pH test, irritation test showed that all formulas were good. In the fracture test results of the 4 formulas it was observed that they were not cracked, cracked, and broken. The results of the hedonic (preference) test for blush with brown rice extract show that on average the ease of use of blush is preferred. The stability test results at room temperature (20-25oC) did not change, the stability test results at refrigerator temperature (5oC), oven temperature (40oC), and temperature to electric light (30oC) underwent changes.

Mechanism of Resistance to British Imperialism in the Literature of Kazi Nazrul Islam

Literature has always been an effective medium of presentation. Whenever the groaning sound of people with the increasing tyranny of colonial rule raised high, literature played a pivotal role to draw it in a pragmatically artistic touch. The Bidrohi Kabi Kazi Nazrul Islam, National Poet of Bangladesh, made a unique place in the journey of Bengali literature resistance of the early twentieth century. He inextricably applied diverse literary genres and thematic mechanisms of resistance in his literature which undoubtedly bore the motive-inciting words of love and fire against any form of injustice whether of British Empire or societal customs and continued the thread of awakening in the Bengal Renaissance. The Rebel Poet was the figurehead of the allied Hindu-Muslim struggle of undivided India against the imperialistic British rule. However, miserably the discourse on Nazrul Resistance Literature is limited only in Bengali corridors with mere poetic contributions. With this viewpoint, the research delves into exploring the dimensional works of the poet and tries to establish him as a versatile writer of prose and poetry. In addition, the work makes a sincere effort to elucidate various thematic decorations of his literary outcomes and their universal acceptability. Ultimately, Nazrul Studies are yet to be expounded further ahead to bring out more research works on this Bengali poet of love and resistance overlooking the cross-country borders.

Touching Watelet: L'art de peindre and the Performance of Philosophical Materialism

This article examines the 1760 treatise L'art de peindre by amateur Claude-Henri Watelet in relation to eighteenth-century conceptions of the artist's touch, "original" prints, and genius. The work's illustrations and poems, as well as Jean-Baptiste Greuze's Portrait of Monsieur Watelet (1765), represent a performance of contemporaneous theories of combinatory imagination and sensory knowledge, particularly those by Étienne Bonnot de Condillac. Watelet's treatise, as a material object, exemplifies Condillac's theory of sensorial knowledge—most notably, the double experience of touch—through its representation of both self and external world, Watelet, and the art of painting.

Pappasang dalam Komunikasi Budaya Masyarakat Lokal Suku Mandar

This study aims to determine the meaning of Pappasang in the cultural communication of the local Mandar tribe and to find out the value of the local community pappasang in the artistic touch of the Mandar tribe. The research method uses a descriptive qualitative approach. The number of informants was three people were selected using a purposive sampling technique. Data were obtained from questions to the informants, then analyzed and then made an abstraction of all the results of the interviews. The study results show that Pappasang has various meanings, such as Pap Pairs Puang_Allah Ta-Ala, Pappasang To Mawuwen, Paissangan, Pattirioloang and Pepasang, depending on the need. Pappasang of local communities in the Cultural Communication of the Mandar tribe, there is a determination of behaviour and values. Two Pap Pairs, first, determine the various types of Pap Pairs before the research is done. The value of Pap Pairs in the Kakkangan community pays attention to the criteria for exposure to information obtained from the Kakkangan community, which is the reference material for the emergence of the Pap Pair idea as cultural communication.

The Artistic Creation of the Narrative in the Heavenly Books: Yusuf Sura as a Model

In a noticeable artistic-based structure, stories in heavenly books assume fine narrative pieces. The literary construction and various devices employed in the narrative exhibit a fairly noticeable piece of art. In general, the heavenly books follow an allegoric art to emphasize ethical and typical behavioural ends. However, the intended message in the heavenly books have moulded this end in a fine artistic methods. To explore this scope, this paper examines the distinctive narrative form delineated generally in the heavenly books with particular focus on the Holy Quran. The researcher applies the aspects of narrative including form, technique on the text to identify the artistic creation on the basis of the narrative approaches. The chosen sura "Yusuf" is taken from the Holy Quran, which noticeably and artistically traces the development of its protagonist early from childhood up to maturity. It sheds the light on the ups and downs of the central character, in relation to the surrounding characters and circumstances; and their influences on the ultimate outcome. The narrative in Yusuf sura text interweaves various psychological, sociological, familial constrains which ultimately result into a fine literary portrayal. With a fine artistic touch, the narrator follows the allknowing mode whose narration includes the multitude aspects of the characters –the internal and external world. The text, further, gives a panoramic view of the entire world of the narrative which is arranged in an episodic plot with the employment of the cinematic technique of scene shifting. It is observed that the plot-organization, characters and struggle are dynamically presented away from the boredom of the historiography.

John Leech and "Punch" - Tattooing the Story of an Age in a 'Newspaperized World'

As tattoos are both drawing and text that imprint the epidermis in inky arabesques of Delphic symbolism, Punch or The London Charivari acted, for more than one-hundred and sixty-one years (1841-2002) as the sharply witty, bitterly satirical chronicle of its own time. With a weekly circulation of approximately 50,000 – 60,000 issues in the mid-Victorian period, Punch became one of the most influential journalistic witnesses in mid-Victorian Britain, renowned for its unique sense of humour, audacious approach to current social and political matters and, most of all, for an unprecedented mastery of caustic illustrations, in a fresh approach to capture and caricaturise the spirit of the epoch, equally unprecedented in its dynamism and expansion. Although throughout the 1840s the magazine built its popularity more on political analysis than on satirical drawing, ”Punch's Pencillings” would turn the magazine into a vivid fresco, whose inimitable touch and magnetism have come to be osmotically associated with John Leech (1817-1864). With his undeniably remarkable artistic touch he managed not only to define the overall architecture of the magazine, but also to create a new understanding of humorous drawings, introducing the world to the concept of 'cartoon' as we all know it today. This article examines a selection of his three-thousand drawings published in Punch, in an attempt to recompose, through curved charcoal lines, the jigsaw of what Henry James coined as “newspaperized world,” at times when, as Lucy Brown argues, Britain was forging the modern concept of news. It is not only the social, cultural and political milieu that interests us, but also the extratextual implications of a visual appearance and narrative that pervaded the literary scene, as nineteenth-century journalism shared its boundaries with the realm of literary fiction.

Pengembangan Usaha Pada Kelompok Pengrajin Ukiran Batok Kelapa di Desa Tampaksiring Kabupaten Gianyar

The handicraft industry in Bali has enormous potential as a driving force for the community economy. One of the small handicraft industries in Bali which is famous for its artistic touch is coconut shell crafts in Tampaksiring Village which is located in the north of Gianyar Regency. Mr. Made Sarjana and Mr. Wayan Supuma are service partners as well as owners of the Coconut Shell handicraft business in Tampaksiring Village. The problems faced by coconut shell handicraft business owners in Tampaksiring Village are lack of understanding of strategies to improve their business, how to market their products online and do not have the ability to process good financial transaction recording. Through socialization related to marketing mix strategies, it is carried out to overcome obstacles related to limited marketing coverage areas, through assistance related to the use of websites, it is hoped that it can help partners in marketing their products online and through providing knowledge related to simple financial records, it is hoped that it can help partners in knowing the flow of funds out and in. that happened.

FORMULASI BLUSH ON STICK DENGAN ZAT PEWARNA ALAMI EKSTRAK KERING BUAH NAGA MERAH (HYLOCEREUS POLYRHIZUS L.)

Blush On is a cosmetic preparation that applies color to the cheek with an artistic touch so that it it can enhance the aesthetics of Make up. One of the natural ingridients that can used as a dye is Red Dragon fruit (Hylocereus polyrhizus L.) because they contain the pigments betasianin that function as a color pigment. The Purpose of this study was to determine wheter the dry extract of red dragon fruit can be use as dye in blush on stick form and to evaluate the blush on form.The Blush on formula made using dyes from the dry extract of red dragon fruit with different concentration of 0%, 10%, 15% and 20% with additional ingridients of glycerin, zinc oxide, lanolin, isopropyl myristate, sodium metabisulfite, carnauba wax, talc and oleum rosae. The evaluation of product included organoleptic test, homogeneity test, pigment stability test, sotarge stability test, pH test, polish test, crack test, hedonic test and irritation test. All formulas have met the requirements of the homogeneity test, pH test, polish test and crack test. Organoleptic test showed the blush preparation has the specific odor of oleum rosae and the the blush has a solid stick. The blush with a concentration of 0% is white, the blush with a concentration of 10% is pink, the blush with a concentration of 15% is light purplish red, the blush with a concentration of 20% is dark purplish red. For F1 (10%), F2 (15%) and F3 (20%) preparations were only stable until week 5 and were unstable to light. The result of the irritation test showed that the blush preparation did not show any irritation reactions. The result of the hedonic test showed that F3 (20%) was the most preferred by the panelists

PERBANDINGAN FORMULASI EKSTRAK E PERBANDINGAN FORMULASI EKSTRAK ETANOL BUAH TERONG BELANDA SEBAGAI PEWARNA PADA BLUSH ON DALAM BENTUK SEDIAAN COMPACT

Blush on is a cosmetic preparation for coloring the cheeks with an artistic touch so that it can increase the attractive impression in makeup (Nurhayati, 2016). Many blush-on preparations come from chemicals, which can cause spotty, black spots and can trigger skin cancer. One alternative that can be used is by making a blush on natural ingredients, namely Tree Tomato. The purpose of this study was to find out the Ethanol Extract of the Tree Tomato Fruit was made as a blush on coloring in compact preparations.The sample used in this study was Tree Tomato, red and had a soft texture taken from the cultivation of Tree tomato in the village of Brastagi, Karo District, North Sumatra Province. Making extracts is done by maceration and the process of making blush. After that evaluation of blush on preparation is carried out. Evaluation test results of blush on ethanol extract of tree tomato fruit include. The results of homogeneity tests are declared homogeneous, pH test averages 6.4, irritation test results stated not to irritate, the test results of the three formulations can be concluded that the three most preferred form of blush on panelists are formulations with a concentration of 15%, because they have a comfortable level of application, clear colors and very soft.Ethanol extract of Tree Tomato fruit can be made as a dye in compact preparations.

PEMANFAATAN EKSTRAK BIJI KESUMBA KELING ( Bixa orellana L) SEBAGAI PEWARNA ALAMI PADA SEDIAN LIPSTIK

Lipstick (Lipstick) is a cosmetic sedan that is used to color the lips with an artistic touch so as to enhance aesthetics in facial makeup. One of the plants that can be used as natural dyes is kelumba keling (Bixa orellana L). Kesumba rivet contains bixsin and nonbixin compounds, which can be used as natural dyes that have the potential as antioxidants. The aim of this study is to utilize kelumba keling as a natural coloring agent in lipstick sedans.Making Keeling keumba seed extract by maceration using 70% ethanol as a solvent. The formulation was made by means of a lipstick base added with variations in the concentration of kesumba keling seed extract 18%, 20%, 22%. Tests carried out on a lipstick sedan made include organoleptic test, irritation test, PH test, melting point test, lipstick sediment test , during storage for 30 days.The results of the test of the lipstick extract of the kesumba rivet seed in the stable orange color organoleptic test can be seen in the irritation test of the non-irritating lipstick sedan, at the melting point test at 51oC for 15 minutes formulation F0, F1, F2, F3 the lipstick made can melt, at Sedian rub test was carried out 5 times basting. In this study it can be concluded that the kesumba keling seed extract can be used as a natural coloring agent in lipstick sedans. Kata Kunci : Biji Kesumba Keling, Lipstik, Evaluasi lipstik

Modern designs inspired by Sonia Delaunay`s art

Abstract This study is an analytical Study of the sensational visual artist and designer Sonia Delaunay ,who was able to interlace the art of design with the prevalent fine art at that era, and it's an analysis for her artworks in favor to be inspired and influenced by her artistic touch to make trendy fashion designs. One of the main objectives of this study is to determine theartist's artistic print and build on that, modern and unique designs for women and also to know their level of acceptance and satisfaction harmoniously with the specialists. Arabic library is deficient in resources that major in the fine art and its relation with the art of fashion design. As subsequent this study has the potential to be a source in the Arabic library. In fact, the researcher has chosen a descriptive and analysis methodology design for her study because of her extensive study of Sonia Delaunay's artworks in order to present modern illustration designs influenced by Sonia Delaunay style. The outcome of this study has shown mixed views for the suggested illustration designs from the colors and Designs perspective and the consumer's opinion about wearing them out in public. These following designs (number 2 ,6,8,9,11,13, and 15) show the highest rate of acceptance. On the other hand, designs (number 1,3,5,10, and 12) scored the lowest. Lastly, each of these designs (number 4, 7, and 14) reveal an equal acceptance. The researcher recommends more studies about the modern arts and their connection with the art of fashion designs. Also, she recommends to extend the researches on Sonia Delaunay personal and professional lives. The future researchers can include different aspects in their studies since Sonia Delaunay's artworks are very motivational and applicable in various forms like designs, fabrics, and furniture designs, Many references were used that feed the research and enhance information, the most important of them SONIA DELAUNAY: THE COLORS OF ABSTRACTION by Butterfield-Rosen 2014 and color move:art & fashion by soina delaunay by matilda mcquaid ,susan brown 2011, Many museums were also used to document various artworks, the most important of them is Art Moderne de la Ville de Pari’Museed Sonia Delaune 3D Museum in Paris .

Swearwords in Subtitling: A Case Study on Students’ Translation Project

<p><em>Despite their consideration as impolite remarks in communication, swearwords play an inseparable part from linguistics repertoire. As defined by Aijmer (2002:12), swearwords “[express] the speaker’s attitude towards the situation spoken about, his assumptions, his intentions, his emotions”. Carrying ‘negative’ label makes swearwords the centre of attention. Interestingly, movies that have turned into public entertainment sphere blooms the use of swearwords. The statement is supported by Azzaro (2005:1) who states that “television is often blamed for the circulation of once forbidden expression, and films in particular get the blame.” To add fuel to the fire, Cressman et al (2009) has also noted a rising frequency of swearwords usages in Hollywood movies. With the increasing number of Hollywood movies in Indonesia, English swearwords phenomena cannot be neglected. However, deleting or even softening swearwords will put the artistic touch of cinematography at stake. In this context, translators, especially subtitle translators, play an important role in dealing with swearwords phenomenon. As to introduce translation students to this complex matter, the writer gave them a subtitling task of swearwords. Twenty students consisting of twelve males and eight females were involved in this project and ‘8 Miles’ movie was used as the translation task. Surprisingly, both male and female students did not try to soften or delete the use of swearwords. Most of the English swearwords were adopted into Indonesian swearwords.</em></p>

Reflections on Covers

Look at this month’s cover, the leftmost image in Figure 1Figure 1. Can you figure out what it means? Five months ago, the Cell Systems editorial team revised our guidelines for authors who are interested in submitting cover images. Now, with a full hand of covers to reflect on, I’d like to highlight these new guidelines and their broader significance.Figure 1Left to Right: Volume 5 Issue 5, November 22, 2017; Volume 5 Issue 4, October 25, 2017; Volume 5 Issue 3, September 27, 2017; Volume 5 Issue 1, July 26, 2017; Volume 2 Issue 1, January 27, 2016 (copyright William Rainey).View Large Image | View Hi-Res Image | Download PowerPoint SlideThe inset white diamond on the November cover is a radar chart. The purple and grey quadrilaterals drawn on the chart each plot four parameters of an oscillating waveform: its period (top vertex), amplitude (bottom vertex), rise time (left vertex), and decay time (right vertex). The purple shape is squashed on the bottom because that waveform oscillates with a much shorter amplitude. The gray shape doesn’t extend as high as the purple because it has a shorter period.Now, let’s layer on more information. The gray quadrilateral represents the behavior of a synthetic gene circuit containing a single branch of negative feedback. The purple quadrilateral represents the circuit with two parallel feedback branches. So the differences in shapes tell us that the oscillatory behavior of the circuit changes—predictably, as it turns out—when the circuit’s components are modified. This captures the essence of the work by Ping Wei, Wendell Lim, and Chao Tang on page 445 of this issue.Our new cover guidelines request images based on data and photos instead of original artwork. The previous guidelines specified, “Although submissions featuring original artwork will be considered, editors will look more favorably toward submissions that feature actual scientific data.” The new guidelines read, “The ideal cover image will either feature actual scientific data from the paper or high-quality photographs that convey the paper’s message.”So why the shift? Simply put, we believe in powerful stories told through data, clearly presented and set center stage. The use of visual design principles and an artistic touch can enhance the visual appeal of a piece of data. But beneath this surface appeal, we are looking for images that shine a spotlight on a crucial idea or piece of data central to a paper.Three recent covers provide examples of different approaches to featuring data. In some cases, a single figure panel showing a central result of the paper is visually striking and can be used on its own, as in the case of our October 2017 cover (second image from left; dark brown lines show the accumulation of metabolites secreted by yeast and then consumed by lactic acid bacteria). In other cases, an image can be rearranged, rotated, or repositioned to create an attractive composition (middle image; an initial oval-shaped group of cells was shifted down and left, and some cells were “wrapped around” to the top right corner). Alternatively, the strong use of color and background can accentuate an interesting shape (the silhouette of a tomato plant on the July 2017 cover; second image from right). For the inspiration behind this cover, see Henri Matisse's “Algue blanche sur fond orange et rouge.”Photos can also often be used to effectively create an enticing visual puzzle, and it is relatively easy to achieve polished results using them. For instance, for the cover of our January 2016 issue, which highlights engineering in biology, we chose a cover of a beaver—nature’s engineer—drinking at water’s edge.In contrast to photos, it can be more challenging to generate a scientifically meaningful and aesthetically appealing cover in which original artwork is used. We have used original artwork in the past, but going forward, we now request that authors use either original data or photos, which provide, in our experience, the most straightforward route to produce a compelling cover.To facilitate the creation of a cover image, we provide a template that shows the placement of the journal title and that indicates what parts of the image will be lost when the cover is trimmed to generate an online image (hint: make sure the important parts of the image are contained within the box labeled “trim”).I hope that exposing our approach to thinking about cover images will help those of you creating your own image for our covers. Going forward, we aim to further expose how we think about other aspects of running the journal, ranging from nuts-and-bolts decisions (such as how we choose the cover) to deeper issues (such as editorial decision-making criteria). Please write with any comments or suggestions for other aspects of our thinking that you would like to hear about (systems@cell.com).

Savage Theories by Roy Kesey

Palo Oloixarac. Savage Theories. Trans. Roy Kesey. New York. Soho Press. 2017. 291 pages. In Savage Theories, Palo Oloixarac addresses the conflict of being both an individual with ideas and a social animal with libido. Theory and sexuality are woven together in the work, but only through an endless, brutal process, which the narrator depicts with uncompromising wit and arrogance. Oloixarac gives her narrator freedom to comment on anything by the tonal illusion of disinterestedly commenting on everything . Her style grants a feeling of resolution to each issue raised—be it an analysis of 1980s Argentine pop culture or the effects of early psychoanalysis on political philosophy. The reader feels learned and rushed along to the next exciting revelation . And they are exciting—Oloixarac explores hushed-away and ignored culture in broad daylight as well as that part of a person we would rather forget about, though it churns and wails. Situated in the dark corners of Argentine academia and counterculture, the narrator invests the reader in her fierce ambitions while relaying, entwining the intelligent passion of Kamtchowsky and the haughty genius of Pabst. If there is love in Savage Theories, it is first sensual, then intellectual. Emotion, in this world, is an oft-ignored chemical byproduct. And yet each character is full of yearning, more or less silent, which compels and completes them. But completion, or self-realization, is not their ultimate goal. Each character strives to enable or force others to see the world through their perspective; in order to realize this goal, Kamtchowsky employs her camera, Pabst relies on his blog, and the narrator turns herself over to her obsessively grand philosophical theory. The language of Savage Theories is dense but fluid. At times the erudite references and ideas, so casually intermingled, border on the solipsistic. It is then that the reader may grow frustrated; pulled along by the author’s artful current, one may find oneself finishing a section and surprised at how little has been understood. Occasional endnotes and footnotes do much to repair this experience, and the pleasure of puzzling over Oloixarac’s complexity is very real. While remarkably intelligent and uncompromising, Oloixarac’s artistic touch is her principal means of captivating readers. And, even this, she is not shy to assert. The narrator writes to her prey, “The seductive powers of syntax grow ever stronger by subjugating those gathered around the one who organizes the verbs,” and the reader blushes, compelled to continue reading. Carson Schatzman University of Oklahoma Chan Ho-Kei. The Borrowed. Trans. Jeremy Tiang. New York. Black Cat. 2017 (©2016). 490 pages. This is a remarkable book, truly brilliant, whose 490 pages is initially intimidating, but reading it is as pleasurable as bingewatching a miniseries or reading your way through another author’s novel series. Divided into six chapters, The Borrowed is really six discrete novellas with six different crime stories set in Hong Kong in six years beginning in 2013 and scattered backward to 1967. Each focuses on the relationship between mentor Kwan Chundok and his “student,” Sonny Lok. Kwan is a brilliant police detective with great powers of observation and deduction , while Sonny, sincere and honest, plays Watson to him. Kwan, of course, uses unconventional methods to trick out confessions , and the first story shows Lok has taken up the baton his mentor (on his deathbed) has been forced to drop. Some of the stories have a lot of action in them—shoot-outs, ransom drops, and bombings—while at least one is a masterpiece of the old-fashioned drawing room mysteries in which the suspects have been gathered to talk through the odd details of a crime until one of them confesses. Each story is a worthy detective story on its own, but together they make a mosaic of Hong Kong as it passes from being one of the jewels of the British Empire to political reintegration with China. The constabulary changes in the level of corruption. The bureaucracy and internal politics of the organization hinder the honest cop seeking justice, and gang leaders often have more influence than government officials. World Literature in Review 94 WLT MAY–AUGUST 2017 ...

THE INFLUENCE OF THE TRACES OF ART ON THE TEXTURE OF THE CITY

The city is a living space in which the social, political, administrative and economic spheres exist for all citizens. The concept of city; It contains all the dimensions surrounding and influenced by the urban people. By living in the formation of urban intelligence, visual learning also has an important place. The cities or parts of the city, which have been preserved and repaired and, if necessary, renovated in accordance with this urban fabric, are becoming settlements or regions that provide the identity of the city and describe the difference of urbanization. In this phase, "urban design" is also an integral part of urban protection. The integration of human settlements with new urban meeting spaces and the support of a quality new architecture enable the social tension to be reduced and to be met in common pavilions. Urban History- Urban identity-urban culture, urban texture reflects the people living in the city. Cities are defined by their cultural assets. Just as in the case of the Istanbul mosques, the Ankara Anıtkabir, the Paris Eiffel Tower, the New York Statue of Liberty, the Egyptian Pyramids, the city stands out with its unique architectural element or spatial arrangement. Living a city; it is the history, culture and art of the city. In tourism, there is also a growing interest in historical, educational, cultural, artistic and travel routes. It is necessary to identify the sources that allow tourism in the cities. While emphasizing the preservation of old tact in the declaration; how to get artistic touch and how to bring it to tourism

The Borrowed by Jeremy Tiang

Palo Oloixarac. Savage Theories. Trans. Roy Kesey. New York. Soho Press. 2017. 291 pages. In Savage Theories, Palo Oloixarac addresses the conflict of being both an individual with ideas and a social animal with libido. Theory and sexuality are woven together in the work, but only through an endless, brutal process, which the narrator depicts with uncompromising wit and arrogance. Oloixarac gives her narrator freedom to comment on anything by the tonal illusion of disinterestedly commenting on everything . Her style grants a feeling of resolution to each issue raised—be it an analysis of 1980s Argentine pop culture or the effects of early psychoanalysis on political philosophy. The reader feels learned and rushed along to the next exciting revelation . And they are exciting—Oloixarac explores hushed-away and ignored culture in broad daylight as well as that part of a person we would rather forget about, though it churns and wails. Situated in the dark corners of Argentine academia and counterculture, the narrator invests the reader in her fierce ambitions while relaying, entwining the intelligent passion of Kamtchowsky and the haughty genius of Pabst. If there is love in Savage Theories, it is first sensual, then intellectual. Emotion, in this world, is an oft-ignored chemical byproduct. And yet each character is full of yearning, more or less silent, which compels and completes them. But completion, or self-realization, is not their ultimate goal. Each character strives to enable or force others to see the world through their perspective; in order to realize this goal, Kamtchowsky employs her camera, Pabst relies on his blog, and the narrator turns herself over to her obsessively grand philosophical theory. The language of Savage Theories is dense but fluid. At times the erudite references and ideas, so casually intermingled, border on the solipsistic. It is then that the reader may grow frustrated; pulled along by the author’s artful current, one may find oneself finishing a section and surprised at how little has been understood. Occasional endnotes and footnotes do much to repair this experience, and the pleasure of puzzling over Oloixarac’s complexity is very real. While remarkably intelligent and uncompromising, Oloixarac’s artistic touch is her principal means of captivating readers. And, even this, she is not shy to assert. The narrator writes to her prey, “The seductive powers of syntax grow ever stronger by subjugating those gathered around the one who organizes the verbs,” and the reader blushes, compelled to continue reading. Carson Schatzman University of Oklahoma Chan Ho-Kei. The Borrowed. Trans. Jeremy Tiang. New York. Black Cat. 2017 (©2016). 490 pages. This is a remarkable book, truly brilliant, whose 490 pages is initially intimidating, but reading it is as pleasurable as bingewatching a miniseries or reading your way through another author’s novel series. Divided into six chapters, The Borrowed is really six discrete novellas with six different crime stories set in Hong Kong in six years beginning in 2013 and scattered backward to 1967. Each focuses on the relationship between mentor Kwan Chundok and his “student,” Sonny Lok. Kwan is a brilliant police detective with great powers of observation and deduction , while Sonny, sincere and honest, plays Watson to him. Kwan, of course, uses unconventional methods to trick out confessions , and the first story shows Lok has taken up the baton his mentor (on his deathbed) has been forced to drop. Some of the stories have a lot of action in them—shoot-outs, ransom drops, and bombings—while at least one is a masterpiece of the old-fashioned drawing room mysteries in which the suspects have been gathered to talk through the odd details of a crime until one of them confesses. Each story is a worthy detective story on its own, but together they make a mosaic of Hong Kong as it passes from being one of the jewels of the British Empire to political reintegration with China. The constabulary changes in the level of corruption. The bureaucracy and internal politics of the organization hinder the honest cop seeking justice, and gang leaders often have more influence than government officials. World Literature in Review 94 WLT MAY–AUGUST 2017 The Borrowed manages to combine the pleasures...

Fabrication of freeform objects by principal strips

Current CAD modeling techniques enable the design of objects with aesthetically pleasing smooth freeform surfaces. However, the fabrication of these freeform shapes remains challenging. Our novel method uses orthogonal principal strips to fabricate objects whose boundary consists of freeform surfaces. This approach not only lends an artistic touch to the appearance of objects, but also provides directions for reinforcement, as the surface is mostly bent along the lines of curvature. Moreover, it is unnecessary to adjust the bending of these orthogonal strips during the construction process, which automatically reforms the design shape as if it is memorized, provided the strips possess bending rigidity. Our method relies on semi-isometric mapping, which preserves the length of boundary curves, and approximates angles between boundary curves under local minimization. Applications include the fabrication of paper and sheet metal craft, and architectural models using plastic plates. We applied our technique to several freeform objects to demonstrate the effectiveness of our algorithms.

Cross Validation Of A Figure Skating Blade Instrumented To Measure Figure Skating Impact Forces.

Competitive figure skating requires a vast amount of athleticism with an artistic touch. Skaters spend hours each day on-ice mastering jumps, spins, and footwork. The high workload may be related to overuse injuries, which are very common in figure skating, especially at the elite level. To better understand the relationships between on ice training and injuries, it is important to understand the loading patterns acting on skaters. PURPOSE: To validate an instrumented figure skating blade that is designed to measure impact forces while skating. METHODS: Seven subjects (Age: 21.3±2.8 yrs, Ht: 166.9±2.5 cm, Mass: 64.7±7.9 kg) performed 20 landings each onto artificial ice while landing on the instrumented blade from heights of 17.5cm, 25cm, and 33cm. A custom instrumented blade calibrated to measure in forces in Newtons (N) was used to measure impact forces (1000Hz) during landings. These forces were compared to forces obtained while subjects landed on AMTI force plates located underneath the artificial ice surface. Boot angle (250Hz) and force plate data (1000Hz) were collected using Vicon Nexus. Custom LabVIEW programs were used to determine peak force, loading rate, impulse, and the correlation between the blade force data and the force plate data. Paired T-tests were used to compare peak force, loading rate, and impulse between the blade and force plate data. Alpha = 0.05. RESULTS: Correlations between the blade force data and force plate data were good to excellent: mean r (±SD) = .86 ± 0.08. No significant differences were found for peak force and impulse between the blade and force plate data. Peak force means (±SD) were 1353.7 ± 352.2 N for the blade and 1361.2 ± 309.7 N for the force plate (p=.86). The means (±SD) for impulse were 44.99 ± 21.2 Ns for the blade and 48.1 ± 17.7 Ns for the force plate (p=.125). Loading rate, calculated from impact to time of peak force, was significantly higher (p = 0.0004) for the blade data (28.88 ± 22.8 N/ms) as compared to the force plate data (9.77 ± 7.5 N/ms). CONCLUSION: The custom instrumented blade is a valid tool for measuring peak forces and impulse during landings. Current research is focused on increasing the gain of the instrumented blade to improve loading rate accuracy. Supported by US Figure Skating, Sports Science and Medicine Grant 2011

The aesthetic dimension of light in metal jewelry

Jewelry pieces, especially those with artistic touch are among precious things in all ages and times. The brightness of jewelry has its own character, which ascends to the world of palaces and the rich and ruling classes. The concept of brightness has changed nowadays, it is no longer confined to the reflection of light by precious raw materials and stones used in it, but also extends to include artificial light produced from electricity with its wide and enchanting world. Among all the inventions made in the twentieth century, the invention of the electric light has been the most important extending its use in jewelry as well. The relevance of this research is to highlight the importance of natural and artificial lighting in the aesthetics of jewelry from ancient times to the present day. We will also discuss the current developments resulting from changes in perception and content related to jewelry.

The Artist's touch, the craftsman's hand: three centuries of Japanese prints from the Portland Art Museum

The Artist's Touch, the Craftsman's Hand presents a selection of the most historically important and visually compelling Japanese prints from a collection of more than 2,500 works spanning the late 17th century to the present day. Many are extremely rare and almost all appear here in an English-language publication for the first time. Noteworthy areas of interest include early actor prints, dating back to the first decade of the 18th century; works by Suzuki Harunobu, the master associated with the origins of full-color printing in 1765; the deluxe, privately printed surimono of the early 19th century; painterly landscapes of the early 20th century, including a series that documents the Great Kanto Earthquake of 1923; and contemporary prints, ranging from Op Art and Abstract Expressionism to lyrical evocations of an imagined past. Essays include an overview of the illustrated works and articles on Harunobu, prints of kabuki actors and their fans, and the cultural meanings in still-life surimono.