Brush Strokes Research Articles

Hierarchical robot learning method for industrial fluorescent penetrant inspection

Fluorescent Penetrant Inspection (FPI) is a Non-Destructive Testing (NDT) method, extensively used to evaluate components for identifying defects across a broad range of industries. FPI process remains a manual visual inspection, where the operator by means of fluorescent dye, that penetrates discontinuities on the component, aims to distinguish between indications that are relevant (i.e., can be associated with surface defects) and non-relevant (i.e., can be associated to insufficient wash-off, dust or other non-relevant factors). The FPI process can be decomposed into the following steps: (a) thorough visual examination of the component, (b) executing manual wiping-off of the fluorescent dye with a brush, of all areas that require interrogation for potential indications, and (c) disposition of the inspected components. The number of those areas on the component that require interrogation and hence to be wiped-off is unknown a priori of the inspection and varies depending on the condition of the part. As a result, replacing this manual wipe-off step by a robot requires tedious manual programming of an excessive number of robot paths to assure reach of the robot to the entire surface of the part as well as safe robot motion. In addition, these robot motions are part specific and thus not transferrable to other geometries of components, making scaling of this technology across manufacturing industry not possible. In this paper, we propose a hierarchical robot learning method to address the challenge of reducing manual robot programming and enable the scaling of this automated NDT technology. The proposed method integrates and fuses Deep Reinforcement Learning (DRL), Screw Linear Interpolation (ScLERP) and Learning from Demonstration (LfD), enabling an autonomous generation of brushing strokes with a six-degrees of freedom (DoF) industrial manipulator, and automating the wipe-off step of the FPI process. Using this approach, a robot learning policy is generated for the wipe-off motion in a simulated industrial robotic cell at first and then the policy is transferred to the real system for validation.

The Aesthetic Expression of Abstract Calligraphy: Emotion and Form between Brush and Ink

Calligraphy is one of the most important visual art forms inherited from China for thousands of years. The visual formal resources contributed by the dots and structures of Chinese calligraphy are one of the wonders in the world art history. Among them, abstract calligraphy, as a unique art form, contains rich emotional expression and formal aesthetic exploration between brush and ink. This study adopts a qualitative research paradigm, through in-depth interviews with senior abstract calligraphers, art critics and scholars, combined with on-site observation of the creative process of calligraphy, literature analysis and interpretation of works, in order to comprehensively analyze the emotional connotation and formal vocabulary of abstract calligraphy, and to clarify the intrinsic connection and tension between the two. The results of the study show that in abstract calligraphy, the subject's emotional experience is the root power of modeling. Through the refinement and sublimation of life experience, the calligrapher injects the vibration of individual consciousness and philosophical thoughts into the brush and ink with the help of visual elements such as brush strokes, lines, and compositions. The brush and ink become the direct speech of the mind, and the viewer can feel the rhythm and bitterness of life, the struggle and emptiness of desire, the pursuit of tranquility and other rich emotional experiences in the works. At the same time, the careful construction of formal language is also the core of abstract calligraphy exploration. Through the mastery of brush and ink materials and writing momentum, the use of wet and dry contrast, white space, texture and other techniques, to create a shocking visual tension, giving people a strong experience of formal aesthetics. The study emphasizes that abstract calligraphy realizes a high degree of unity between emotion and form. On the one hand, the form itself carries the spiritual experience and inner emotion of the calligrapher; on the other hand, the emotion gives life and inner tension to the form. The two integrate and echo each other, forming an organic whole. It is this perfect combination of mind and form that makes abstract calligraphy become the visualization of human emotion and spiritual world, and triggers endless thoughts and resonance in the viewers. The researcher comprehensively analyzes the emotional core and formal qualities of abstract calligraphy from both theoretical and empirical levels, providing a new perspective for a deeper understanding of the unique aesthetic value of this art form.

Threatening an Illusory Limb: An Event-related Potential Study of the Rubber Hand Illusion.

The rubber hand illusion (RHI) is a well-established method for studying body ownership: Given adequate concordance of visual, sensory, and proprioceptive stimuli, the individual experiences a rubber hand as his or her own. To study the effects of a threat to the rubber hand. We created a typical RHI paradigm but added threatening pain: Both the real hand of an individual and the rubber hand were stroked with a brush, either synchronously (RHI-inducing condition) or asynchronously (control condition), but only the rubber hand was then pricked with a needle to create a threatening pain condition. Event-related potentials (ERPs) were recorded in a group of 23 typically-developed individuals. ERP effects were source-localized using low-resolution electromagnetic tomography. The individuals consistently reported experience of the RHI during the experiment when the brush strokes were applied synchronously to both the real hand and the rubber hand. ERP analysis revealed that synchronous brush stroking gave rise to higher amplitude of frontal ERPs in the 100-200 ms range than asynchronous brush stroking, which was interpreted as reflecting the RHI. In the threatening pain condition, ERPs showed a greater positivity at frontocentral electrodes, source localized in the supplementary motor area (SMA). SMA activation could reflect a control mechanism over reflexive motor activity, facilitating a possible threat-related response. Further studies should address ERP effects and the extent of the RHI to standard and threat stimuli in a correlative fashion to further elucidate the functional significance of the neurophysiological findings.

Effect of transcutaneous electrical nerve stimulation on neuro-sensory disturbance after orthognathic surgery: a randomized clinical trial.

The present study aims to determine the effect of Transcutaneous Electrical Nerve Stimulation (TENS) on neuro-sensory disturbance after orthognathic surgery. In a randomized clinical trial, the participants via split-mouth sampling were randomly divided into two intervention (n=27) and control (n=27) groups. In the intervention group, participants received TENS physiotherapy. TENS physiotherapy was performed on the day after surgery, 1, 2, 3, and 4 weeks after surgery, along with prescriptions for the use of painkillers. On the control group, no physical therapy was performed and the patients only used painkillers (immediately after the operation). Paresthesia was evaluated using the 2-point discrimination (TPD) test and the semi-quantitative sensory-neural disorders test called brush stroke 6 months after the surgical procedures. Self-reported sensory-neural disorders were measured and reported for each patient before and 6 months after surgery using the visual analog scale (VAS). A total of 54 patients participated in this study. The mean TPD score in the TENS group and the control group 6 months after the operation were 5.76 (SD=0.73) and 6.14 (SD=0.54), respectively (P=0.003). The mean VAS score in the TENS group and the control group 6 months after the operation was 6.48 (SD=0.50) and 5.80 (SD=0.63), respectively (P=0.005). Also, 66.7 and 38.9% in the TENS and control groups, respectively, performed the brush stroke test correctly (P=0.007). In sum, the benefits of TENS physiotherapy can be effective in reducing complications such as pain in dental surgery treatments or orthognathic surgeries.

Painterly Style Transfer With Learned Brush Strokes.

Real-world paintings are made, by artists, using brush strokes as the rendering primitive to depict semantic content. The bulk of the Neural Style Transfer (NST) is known transferring style using texture patches, not strokes. The output looks like the content image, but some are traced over using the style texture: it does not look painterly. We adopt a very different approach that uses strokes. Our contribution is to analyse paintings to learn stroke families-that is, distributions of strokes based on their shape (a dot, straight lines, curved arcs, etc.). When synthesising a new output, these distributions are sampled to ensure the output is painted with the correct style of stroke. Consequently, our output looks more "painterly" than NST output based on texture. Furthermore, where strokes are placed is an important contributing factor in determining output quality, and we have also addressed this aspect. Humans place strokes to emphasize salient semantically meaningful image content. Conventional NST uses a content loss premised on filter responses that is agnostic to salience. We show that replacing that loss with one based on the language-image model benefits the output through greater emphasis of salient content.

Evaluation of microhardness, degree of conversion, and abrasion resistance of nanoglass and multiwalled carbon nanotubes reinforced three-dimensionally printed denture base resins.

To assess the effect of nanoglass (NG) particles and multiwalled carbon nanotubes' (MWCNTs) addition on Vickers hardness (VH), degree of conversion (DC), and abrasion resistance of 3D-printed denture base resin. 3D-printed denture base resin was reinforced using silanized NG and MWCNTs to obtain four groups: Control, 0.25 wt% NG reinforced resin, 0.25 wt% MWCNTs reinforced resin, and a combination group of 0.25 wt% of both fillers. All specimens (N = 176) were tested before and after thermal aging (600 cycles) for VH (n = 22), DC, and abrasion resistance (n = 22). Abrasion resistance specimens were subjected to 60,000 brushing strokes, and then assessed for surface roughness (Ra) and weight loss. Specimens were then scanned with a benchtop scanner before and after abrasion to produce a color map of topographical changes from superimposed images. Data were analyzed using ANOVA tests followed by Tukey post hoc test. Kruskal-Wallis test was used to compare percent change among groups, followed by Dunn post hoc test (α = 0.05). The interaction between nanofiller content and thermal cycling displayed a significant effect on VH and DC. The 0.25% NG expressed the highest VH before aging but revealed the highest percent decrease after aging. Nanofiller content, thermal aging, and brushing displayed a significant interaction impact on the Ra values. The addition of nanofillers resulted in an overall improvement in resin microhardness and abrasion resistance. The 0.25% MWCNTs group revealed the lowest Ra with the least percent change in VH and DC, while the combination one displayed the least change in weight.

Stylizing Ribbons: Computing Surface Contours With Temporally Coherent Orientations.

Line work is a core element for the stylization of computer animations used by recent shows. However, existing stylization techniques are limited to edge treatments based on brush strokes or textures applied solely on top of curves. In this work, we propose new stylization effects by offering artists direct control over the inside and outside of surface contours. To this end, we introduce a method that creates ribbons, geometry strips of possibly varying width, that extrude from each side of the surface contour with temporally coherent orientations. Our contributions include the generation of spatially and temporally consistent normal orientations along visible contours and a trimming routine that converts arrangements of offset curves into ribbons free of intersections. We demonstrate the expressiveness and versatility of stylized ribbons by applying various effects on both character and shadow edges from animation sequences.

Creation of Contemporary Batik with Brush Stroke Motifs Using Layering Technique

Creation of Contemporary Batik with Brush Stroke Motifs Using Layering Technique

Poster Design Research Based on Deep Learning Automatic Image Generation Algorithm

Although this research has made significant progress in image generation models, they still face issues such as insufficient diversity of generated images, poor quality of high-resolution images, and the need for a large amount of training data for model optimization. This paper studies poster design based on deep learning automatic image generation algorithm, using a recursive supervised image generation algorithm framework of generative adversarial networks for multi-view image generation and super-resolution generation tasks of small sample digital poster images. Various improvements have been proposed to enhance the performance of the GAN network model for poster design image generation tasks. Based on experimental research, this paper’s model uses generative adversarial networks to distinguish randomly cropped low resolution and high-resolution poster blocks, ensuring that high-resolution posters maintain their original resolution canvas texture and brush strokes, effectively improving the automatic generation effect of poster images. The evaluation results show that the quantitative evaluation of the proposed algorithm model in knowledge management is distributed in a reasonable range, which indicates that the proposed algorithm model has good performance in knowledge management. The poster design model based on deep learning automatic image generation algorithm proposed in this paper has certain effects. In subsequent practice, the automatic image generation algorithm can be combined with practical needs to improve the efficiency and design effect of poster design.

A STUDY ON THE ARTISTIC EXPRESSION OF INK ART OF CHINESE ANIMATION

As a treasure of Chinese traditional art, ink art has a unique aesthetic charm and artistic expression. Chinese animation has gradually incorporated ink and wash art, infusing it with distinctive Chinese aesthetic elements. The paper delves into the significance and progression of the integration between ink art and Chinese animation, examining the stages of growth and maturity. It also scrutinizes the artistic expression methods of ink art in Chinese animation, such as the use of white space, compositional techniques, the use of five inks and six colors, and a variety of brush strokes. Finally, it explores the artistic aesthetics of ink art in Chinese animation, emphasizing the beauty of meaning and mood. - We study the artistic aesthetics of ink and wash art in Chinese animation, which encompass the beauty of mood existing between reality and reality, the beauty of chiaroscuro existing between form and spirit, and the beauty of metaphor-implied content.

B-BSMG: Bézier Brush Stroke Model-Based Generator for Robotic Chinese Calligraphy

In robotic Chinese calligraphy, the brush stroke training models for Chinese hairy brushes play a crucial role in stroke generation. The method of combining end-to-end techniques and physical models requires further study, however, it is difficult to obtain large amounts of brush strokes for deep learning and training. To overcome this, we propose using a simulated brush model to train a generator based on the Bézier brush stroke model generator (B-BSMG), which was formed by two symmetric cubic Bézier curves according to the physical characteristics and writing posture of the brush. The B-BSMG can generate images for deep learning and training using a dataset simulated by the Bézier brush stroke model. Our renderer is based on parameterized brush strokes, providing a better foundation for deep learning or robotic writing. The results of several experiments prove that the proposed B-BSMG can generate stroke graphics well and outperforms other advanced stroke models.

한국서예사에서 왕희지 집자비의 출현과 전개

This paper is to look into the appearance and development of the stele written in the characters of Wang Xizhi(王羲之 集字碑, Wang Xizhi jipjabi), the famous calligrapher of the Eastern Jin in China. I compared the characters of Wang Xizhi jipjabi of the Unified Silla(統一新羅) and Goryeo(高麗) dynasties in Korea with those of the T’ang(唐) dynasty in China. As a result, I found out the characteristics of the writing of Wang Xizhi jipjabi of Korean through the similarity and difference.
 Wang Xizhi jipjabi was first built in the late 7th century in T’ang dynasty. To that effect, it was first built in the 8th century in the Unified Silla dynasty. The first of the Unified Silla is Hwangboksa Stele(皇福寺碑), the second Mujangsa Stele(鍪藏寺碑) built in 801, the last Sarimsa Stele(沙林寺碑) built in 886. Of the three, the last is the only one identified by the writing of the stele. Wang Xizhi jipjabi of Goryeo in existence is Ingaksa Stele(麟角寺碑) built in 1295.
 In China, most emperors since Taizong(太宗) were fond of Wang Xizhi’s calligraphy. Accordingly, Wang Xizhi jipjabi was mostly built by the imperial order, and collecting characters was mainly performed by the Buddhist monk. The typical ones are Jizi Shengjiaoxu(集字聖敎序) in the reign of Gaojong(高宗), Xingfusi Stele(興福寺碑) in the period of Xuanjong(玄宗), and Diamond Sutra(金剛經) in the time of Wenjong(文宗). Following the tradition of China, in Korea, monk collected Wang’s characters by the king’s order as well.
 The characters of Hwangboksa Stele of the Unified Silla resemble those of Jizi Shengjiaoxu of T’ang. The characters and description form of the head sentence of Mujangsa Stele are similar to those of Jizi Shengjiaoxu, so Mujangsa Stele can be considered as Wang Xizhi jipjabi. There is a strong possibility that a monk collected the characters of Mujangsa Stele like Jizi Shengjiaoxu and Xingfusi Stele. Especially, he would be the monk of Hwangryongsa(皇龍寺) because the character ‘皇龍寺’ was engraved on the end of the first line. The name of compiler Kim Yukjin(金陸珍) is written above ‘皇龍寺’.
 In general, the first the name of compiler and next that of writer were recorded in the sentence on the stele. As Wen Fanggang(翁方綱) of Qing(淸) mentioned in the record of Kim Jeonghi on the left side of Mujangsa Stele, the three strokes on the upper part of the character ‘崇’ on the stele is identical to those of Lantingxu(蘭亭序) Wang wrote in 353. It is one of the evidences that Mujangsa Stele is Wang Xizhi jipjabi.
 And the point that the space between character is regular although only vertical lines were drawn, that the writing includes the bush stroke of the regular script, and that the characters carry personal characteristics rather resemble to those of Ingaksa Stele of Goryeo. Therefore, it is highly possible that monk Jukje(竹虛) who collected Wang’s characters for the writing of Ingaksa Stele copied the writing of Mujangsa Stele.
 The form of characters is similar to that of T’ang stelae because Wang Xizhi jipjabi of Korea is based on those of China. But the the style of writing is different each other. The writings of T’ang are flowing due to the brush strokes of the running script, but those of the Unified Silla and Goryeo is stiff due to those of the regular script. In addition, a few characteristic characters on the stelae of the Unified Silla and Goryeo resemble each other. It means that monk Jukhe would see the writing of Wang Xizhi jipjabi of the Unified Silla, following those of T’ang. Therefore, it can be said that Wang Xizhi jipjabi of the Unified Silla influenced on that of Goryeo.
 Meanwhile, the writing of Wang Xizhi jipjabi of Goryeo influenced by the Unified Silla is better than that of the Unified Silla that influenced on Goryeo. The reason is that the running and grass scripts were prevalent in the Goryeo society due to

한국서예사에서 왕희지 집자비의 출현과 전개

This paper is to look into the appearance and development of the stele written in the characters of Wang Xizhi(王羲之 集字碑, Wang Xizhi jipjabi), the famous calligrapher of the Eastern Jin in China. I compared the characters of Wang Xizhi jipjabi of the Unified Silla(統一新羅) and Goryeo(高麗) dynasties in Korea with those of the T’ang(唐) dynasty in China. As a result, I found out the characteristics of the writing of Wang Xizhi jipjabi of Korean through the similarity and difference.
 Wang Xizhi jipjabi was first built in the late 7th century in T’ang dynasty. To that effect, it was first built in the 8th century in the Unified Silla dynasty. The first of the Unified Silla is Hwangboksa Stele(皇福寺碑), the second Mujangsa Stele(鍪藏寺碑) built in 801, the last Sarimsa Stele(沙林寺碑) built in 886. Of the three, the last is the only one identified by the writing of the stele. Wang Xizhi jipjabi of Goryeo in existence is Ingaksa Stele(麟角寺碑) built in 1295.
 In China, most emperors since Taizong(太宗) were fond of Wang Xizhi’s calligraphy. Accordingly, Wang Xizhi jipjabi was mostly built by the imperial order, and collecting characters was mainly performed by the Buddhist monk. The typical ones are Jizi Shengjiaoxu(集字聖敎序) in the reign of Gaojong(高宗), Xingfusi Stele(興福寺碑) in the period of Xuanjong(玄宗), and Diamond Sutra(金剛經) in the time of Wenjong(文宗). Following the tradition of China, in Korea, monk collected Wang’s characters by the king’s order as well.
 The characters of Hwangboksa Stele of the Unified Silla resemble those of Jizi Shengjiaoxu of T’ang. The characters and description form of the head sentence of Mujangsa Stele are similar to those of Jizi Shengjiaoxu, so Mujangsa Stele can be considered as Wang Xizhi jipjabi. There is a strong possibility that a monk collected the characters of Mujangsa Stele like Jizi Shengjiaoxu and Xingfusi Stele. Especially, he would be the monk of Hwangryongsa(皇龍寺) because the character ‘皇龍寺’ was engraved on the end of the first line. The name of compiler Kim Yukjin(金陸珍) is written above ‘皇龍寺’.
 In general, the first the name of compiler and next that of writer were recorded in the sentence on the stele. As Wen Fanggang(翁方綱) of Qing(淸) mentioned in the record of Kim Jeonghi on the left side of Mujangsa Stele, the three strokes on the upper part of the character ‘崇’ on the stele is identical to those of Lantingxu(蘭亭序) Wang wrote in 353. It is one of the evidences that Mujangsa Stele is Wang Xizhi jipjabi.
 And the point that the space between character is regular although only vertical lines were drawn, that the writing includes the bush stroke of the regular script, and that the characters carry personal characteristics rather resemble to those of Ingaksa Stele of Goryeo. Therefore, it is highly possible that monk Jukje(竹虛) who collected Wang’s characters for the writing of Ingaksa Stele copied the writing of Mujangsa Stele.
 The form of characters is similar to that of T’ang stelae because Wang Xizhi jipjabi of Korea is based on those of China. But the the style of writing is different each other. The writings of T’ang are flowing due to the brush strokes of the running script, but those of the Unified Silla and Goryeo is stiff due to those of the regular script. In addition, a few characteristic characters on the stelae of the Unified Silla and Goryeo resemble each other. It means that monk Jukhe would see the writing of Wang Xizhi jipjabi of the Unified Silla, following those of T’ang. Therefore, it can be said that Wang Xizhi jipjabi of the Unified Silla influenced on that of Goryeo.
 Meanwhile, the writing of Wang Xizhi jipjabi of Goryeo influenced by the Unified Silla is better than that of the Unified Silla that influenced on Goryeo. The reason is that the running and grass scripts were prevalent in the Goryeo society due to

Paint-CUT: A Generative Model for Chinese Landscape Painting Based on Shuffle Attentional Residual Block and Edge Enhancement

As one of the precious cultural heritages, Chinese landscape painting has developed unique styles and techniques. Researching the intelligent generation of Chinese landscape paintings from photos can benefit the inheritance of traditional Chinese culture. To address detail loss, blurred outlines, and poor style transfer in present generated results, a model for generating Chinese landscape paintings from photos named Paint-CUT is proposed. In order to solve the problem of detail loss, the SA-ResBlock module is proposed by combining shuffle attention with the resblocks in the generator, which is used to enhance the generator’s ability to extract the main scene information and texture features. In order to solve the problem of poor style transfer, perceptual loss is introduced to constrain the model in terms of content and style. The pre-trained VGG is used to extract the content and style features to calculate the perceptual loss and, then, the loss can guide the model to generate landscape paintings with similar content to landscape photos and a similar style to target landscape paintings. In order to solve the problem of blurred outlines in generated landscape paintings, edge loss is proposed to the model. The Canny edge detection is used to generate edge maps and, then, the edge loss between edge maps of landscape photos and generated landscape paintings is calculated. The generated landscape paintings have clear outlines and details by adding edge loss. Comparison experiments and ablation experiments are performed on the proposed model. Experiments show that the proposed model can generate Chinese landscape paintings with clear outlines, rich details, and realistic style. Generated paintings not only retain the details of landscape photos, such as texture and outlines of mountains, but also have similar styles to the target paintings, such as colors and brush strokes. So, the generation quality of Chinese landscape paintings has improved.

P424 Analysis of the intestinal microbiome using an Endoscopic Brush in Ulcerative colitis

Abstract Background The precise pathogenesis of the Ulcerative colitis is still yet unknown, but one of its cause is known to be microbial dysbiosis. The mucosa-associated microbiota are more deeply involved in the pathogenesis of UC. However, the optimal sampling of mucosa-associated microbiome has yet to be investigated. In this study, we investigated the mucosa-associated microbiome in patients with ulcerative colitis, using endoscopic brush samples. We hypothesized that endoscopic brushing is precise and noninvasive method to get sample of mucosa-associated microbiome. Methods Patients with UC who visited the gastroenterology department of Korea University Anam hospital were screened for this study. Clinical data such as medical records, colonoscopy and fecal samples were reviewed. Using a stool and saliva sample collector kit respectively, the subjects provided stool and saliva samples. Brushing samples were collected during the sigmoidoscopy procedure with 3-4 brush strokes on the colon mucosa using the cytology brush. The samples were analyzed for microbiome in the Korea University Medical Center. Results From July 2022 to January 2023, we prospectively enrolled 19 patients with UC. Firmicutes, Bacteroidetes, Proteobacteria, and Actinobacteria were the most common species in microbiota of brush, stool and saliva.(Fig.1-1) The microbiome between stool and brush was no significant difference in alpha and beta diversities.(Fig.1-2) However, Oral microbiome was different from stool and brush in beta diversities.(Fig.1-3) Patients were categorized into to analyze the oral microbiome. A trend was observed where increased disease severity was associated with an increase in Firmicutes.(Fig.1-4) Conclusion The microbiome of stool and brush was no significantly different. However, the novel sampling of mucosa-associated microbiome, endoscopic brush, is not inferior compared to currently used sampling of stool. Also the analysis of the oral microbiome suggested that Firmicutes could be considered a useful biomarker for assessing disease severity. Therefore, it is necessary to conduct followup research by increasing the number of subjects.

Импрессионизм в творчестве А. П. Чехова: история термина

The article explores the history of the term “impressionism” in reviews of Chekhov’s prose and drama, which were written by his contemporaries, and in modern research of Chekhov’s creativity (the meaning of this word in historical context). Nowadays the term “impressionism” is popular with researchers of Chekhov’s prose and drama, but there is no strict and generally accepted meaning of it. Researchers suppose various features of impressionism in literature: the impressionistic writer depicts moments of a usual daily life, uses bright and light “paints” in descriptions of nature, prefers short stories and “sketches” instead of voluminous novels and the works of such a writer resemble the “unfinished” and “slipshod” pictures of impressionists created by inconsistent brush strokes, etc. The author of the article does not deny these conceptions of impressionism but believes that the understandings of impressionism should be studied firstly in the historical way. This article studies the uses of the term “impressionism” for more than 150 years: from first readers of Chekhov’s prose and viewers of his dramas to latest researchers. The analysis of the critical articles and research papers about Chekhov created in 1890–2020 showed that the definition “an impressionist” for Chekhov’s contemporaries meant “the author who wants to impress the reader/viewer of the work by creating a certain atmosphere and does not wish to examine ethical and social issues like previous writers/artists did”; and for researches of the 20th century this word meant “the author who belongs to impressionism as a style in art”. Nowadays the term “impressionism” is ambiguous: modern researchers often use this term unsystematically in both its meanings, so it is necessary to specify what a researcher means in a particular paper.

Analysis of the Evolution of Calligraphy Creation Style Combined with Numerical Analysis Methods

Abstract The combination of computer technology and calligraphy art is better applied to people’s daily lives while promoting the popularization and development of calligraphy art. In this paper, the mechanical model of the brush tip is constructed on the basis of the spring-vibrator model according to the relationship between the force and the deformation of the brush tip in the real calligraphy creation and drawing. The projection plane is constructed by the method of mapping, and the two-dimensional brush strokes generated on the projection plane are mapped onto the surface of the three-dimensional model in real-time, and the method of minimally enclosing the sphere of the brush tip is used to solve the normal vector direction of the plane. Finally, the orthographic projection of the contact area between the brush and the plane is taken as the brush stroke, and the real brush stroke is simplified to be fitted by two symmetric B-spline curves. The results show that the maximum value of the relevant parameter of the sine equation in the four simulations of the regular script style is 1.5075, which has the best-fitting effect. After 300 iterations of calligraphic creation style evolution, the style recognizability reaches 24.8. The method feeds back the process of recreating calligraphic style and increases the interactivity of calligraphic creation.

INTERPRETATIONS OF SYLVESTER JUSSEM PAINTING THROUGH ORGANIC UNITY APPROACHES

Painting is a fine artwork used in conveying the message to art enthusiasts. In this context, the abstract expressionism painting by Sylvester Jussem, a Sarawakian-born child has produced iconic images of the state of Sarawak. In this writing debates the image of nature that is the source of the painter's inspiration and explains the use of the Organic Unity approach in identifying the message highlighted by the painter. The components discussed are the subject, form and meaning in an effort to give understanding to the painting. The artistic process is discussed so that the reader can identify the techniques used such as impasto, scrapping and rough brush strokes. Sylvester Jussem painting gives a more dynamic perspective of beauty with bold and confident colours.

A novel drug‐free intervention to improve cognitive performance in unimpaired older participants: the power of affective touch

AbstractBackgroundAffective and emotional symptoms (i.e., anxiety, depressions) are common neuropsychiatric symptoms in pre‐clinical dementia. Affective touch (AT),—a pleasant interoceptive stimulus which is signalled by the C‐Tactile system, has been shown to regulate stress responses, physical pain, and negative affect. However, to date, no study has examined if AT also may improve cognitive performance. Here,we investigated whether AT affected inhibitory control (IC; i.e., the ability to inhibit irrelevant information and select more appropriate behaviours)in unimpaired older adults.MethodThirty‐six unimpaired older adults (Mean age = 68.12, SD = 5.90) performed two computerised Stroop tasks (classic and emotional version). Before performing each task, participants in the experimental group received brush stroking on the forearm at CT‐optimalvelocity(3 cm/s) while participants in the control group did not receive any touch stimulation (No Touch). To estimate changes in the affective state we used a self‐rating questionnaire (PANAS) and physiological measures (Heart Rate variability‐HRV). To estimate cognitive performance we analysed response time and interference in both tasks. For analyses of HRVsignals, three‐time windows were examined: resting state pre‐task and, before each cognitive task. A repeated measure design was used at baseline and follow‐up.ResultParticipants in the AT group displayed improved response time in the Stroop tasks and greater physiological arousal (i.e., HRV) before performing both tasks compared to controls.ConclusionTo the best of our knowledge, this is the first study highlighting the role of the touch‐induced physiological arousal in inhibitory control. Beyond regulating emotion and arousal, gentle touch appears to enhance the cognitive processes underlying the suppression of goal‐irrelevant stimuli. Overall, current data seem to suggest that a multi‐modal affective‐cognitive intervention integrating AT may be a promising tool for delaying the natural effects of aging on cognition. Future research should extend this paradigm to individuals with impaired cognition and dementia.

BiPR-RL: Portrait relighting via bi-directional consistent deep reinforcement learning

Portrait relighting via deep reinforcement learning could conduct portrait relighting by sequentially predicting local light editing strokes, simulating image editing by artists using brush strokes. It is a locally effective, scale-invariant and interpretable method, which yields state-of-the-art results in relighting wild portrait images. However, it still has problems due to the lack of supervision information on intermediate processes, which makes the reinforcement learning agent not receive sufficient feedback during the exploration process. This will cause incorrect strokes in the relighting. To further optimize the relighting effect, we take advantage of the fact that the light editing actions are invertible and the inverse actions can generate a backward sequence of states. The backward state sequence also provide useful supervision signals as they convey information about the future states given the action choices. Therefore, we propose to combine the forward and the backward state sequence predictions to improve the learning efficiency for portrait relighting. Using the bi-directional state sequences, we design corresponding bi-directional consistent rewards to guide the model to explore the actions with higher accuracy to maximize the performance of the proposed method. The proposed approach is used for portrait relighting tasks based on both SH-lighting and reference images. The results show that our method has further improved the performance by avoiding wrong strokes. Meanwhile, our method performs better than SOTA methods in producing locally effective relighting images for wild portrait images.