Brush Strokes Research Articles

Thickness mapping of organic layers applied on sterling silver by means of X-ray fluorescence scanning

The application of organic protective coatings is the most commonly used strategy to avoid tarnishing of silver artefacts. Non-invasive mapping of coating thickness is a key point to evaluate the consistency and completeness of coating application and to monitor protective effectiveness over time. This work is aimed at evaluating the feasibility of acquiring thickness maps of coated silver surfaces by means of X-ray fluorescence scanning. Experimental calibration curves were built by using organic films of known thickness made of several commonly used protective coatings, (Zapon nitrocellulose lacquer, and acrylic resins Paraloid B72 and Paraloid B44). X-ray fluorescence scans were performed on coated silver sterling coupons treated by brushing or spraying polymer solutions prepared with different solvents and concentrations. Thickness maps pointed out different average thickness values among selected polymers and highlighted that almost all the coatings were unevenly spread on the surface. Application by brush provided particularly uneven coatings and brush strokes were clearly distinguishable. The accuracy of thickness measurements was calculated by means of a semi-empirical approach, and results suggest that thickness can be predicted with an uncertainty of about ±5%.

Eco friendly pigment from tamarind seeds for painting application

Indonesia is a tropical country that has an abundance of flora. Tamarind or Tamarindus indica is one of the most famous trees and fruit in Indonesia. Now, these plant wastes are starting to be processed to be taken by the artisans to be made into powder or powdered tamarind seeds (Gutta Tamarind). Gutta tamarind becomes a substitute for wax or clay used in the batik process. Gutta tamarind is often referred to as cold batik because it does not use a heater like a process commonly found when using clay or better known as batik gutta tamarind. Gutta Tamarind’s exploration as a technique in painting aims to make technical innovations and this tamarind gutta can be used as an aesthetic element in a painting. The research method will be carried out by developing techniques in painting through an exploration of the gutta tamarind medium as a color barrier and showing various artistic breakthroughs generated by the variety of research and exploration of its constituent materials into paintings as a substitute medium for brush strokes. It is hoped that the results of this study will add insight into the use of environmentally friendly plant waste and produce paintings with aesthetic elements and new artistic breakthroughs.

Erosive Potential of Bottled Salad Dressings.

A previous clinical study showed that the prevalence of erosive toothwear in vegetarians is statistically significantly higher than in nonvegetarians, due to the consumption of vinegar and other acidic foodstuffs. To adequately inform patients, this study investigated the erosive potential of bottled salad dressings available in Switzerland and compared it with that of orange juice. Materials and Methods: One hundred enamel samples of bovine teeth were divided into ten groups. Samples were placed in 1 of 9 bottled salad dressings or orange juice (Granini) for 2 min. Afterwards, they were rinsed with Zürich tap water for 30 s, followed by abrasion with a toothbrush for 20 brush strokes and a toothpaste-saliva mixture. Erosive/abrasive enamel wear was determined with contact profilometry after 40 cycles. Results: The enamel wear (median/IQR) caused by Tradition Sauce Balsamique (9.5 µm/5.3 µm), M-Classic Dressing Italiano (10.9 µm/12.3 µm), Betty Bossi Balsamico Dressing (9.4 µm/4.5 µm) and Thomy Balsamico Vinaigrette Dressing (14.2 µm/6.5 µm) was statistically significantly higher than that caused by orange juice (2.4 µm/0.8 µm). Enamel wear caused by M-Classic Dressing French Joghurt (0.2 µm/0.2 µm) and Coop Qualité & Prix French Dressing (1.2 µm/1.0 µm) was statistically significantly lower compared to that of orange juice. Conclusions: The pure balsamico vinegar-based dressings (Italian type) showed a statistically significantly higher erosive potential than orange juice, whereas dressings containing calcium-rich products (enriched with milk and/or cream) (French-type) caused lower enamel wear than orange juice. The study shows that some bottled dressings have erosive potential even higher than orange juice and patients should be informed accordingly.

Objective assessment of simulated non-carious cervical lesion by tridimensional digital scanning.

To explore the use of 3D intraoral scanner/image analysis for the detection and monitoring of simulated non-carious cervical lesions (NCCLs) in vitro. A total of 288 NCCLs of different severities and simulated using a laboratorial model associating toothbrush stiffness (soft, medium, and hard) and toothpaste abrasivity (low, medium, high, and negative control) were analyzed. Dental impressions were taken from specimens before and after 35K and 65K brushing strokes, and then scanned with a CEREC Omnicam scanner. 3D models were analyzed for volumetric tooth loss. 3D optical profilometry was considered as the gold standard. Data were analyzed using ANOVA and Fisher's PLSD tests (alpha = 0.05), and agreement between methods by using intraclass correlation coefficient. Toothbrushes of hard and mid stiffness caused higher tooth loss than soft when associated with the highest abrasive, at 35K and 65K strokes (p< 0.001). Variation in slurry abrasivity led to differences in tooth loss (with control < low < medium < high, p< 0.0001) after both 35K and 65K strokes, regardless of the type of toothbrush used, except at 35K, wherein control = low (p= 0.55). 35K strokes caused less tooth loss than 65K for all abrasive slurries (p < 0.0001) except controls. The intraclass correlation coefficient for agreement between the test and gold standard methods was 0.85. Analysis of 3D images from intraoral scanner could detect and monitor NCCL progression, although this ability was limited on incipient lesions. Overall good agreement was found between the test method and optical profilometry. The suggested method may be applicable to detect and monitor NCCLs clinically.

Comparative Evaluation of Surface Roughness of Resin- Modified Glass Ionomer and Glass Hybrid Restorative Materials Simulated by Tooth Brushing: An in-Vitro Study

Objective: To compare the effect of tooth brushing on surface roughness of Resin-Modified Glass Ionomer Cement (RMGIC; GC Gold label 2LC Light Cured Universal Restorative) and Glass Hybrid (GH; GC EQUIA SYSTEM- EQUIA Forte™ Fil and EQUIA Forte™ Coat) restorative material at 1- and 3-months interval simulated by tooth brushing . Material and Methods: RMGIC and GH material specimens (20 each) were prepared according to manufacturer instructions in 10 mm × 2 mm dimensions using a mylar strip. A specially designed toothbrush simulator was used along with Oral B Pro 2 2000N powered toothbrush and Colgate Total dentifrice (Colgate-Palmolive India limited; Relative dentin abrasivity - RDA: 70 - Low abrasive) to perform brushing strokes. Specimens were subjected to surface roughness analysis before and after simulated tooth brushing at baseline, 1, and 3 months. Results: The intragroup comparison was done using repeated-measures ANOVA. Intergroup comparisons were done using an independent sample t-test and General Linear Model (ANCOVA). Surface roughness increased from baseline through 3 months in both RMGIC and GH groups. The mean surface roughness in RMGIC group was significantly higher than GH group at baseline 1 and 3-months, respectively (p<0.001, <0.001, and <0.001). Interaction between group and baseline surface roughness was not significant (p=0.466). The estimated marginal means were significantly higher in RMGIC than GH group (p=0.008) . Conclusion: The surface roughness of both RMGIC and GH restorative increased from baseline to 1 month and 3 months after the simulated toothbrushing protocol. GH exhibited significantly lower surface roughness than RMGIC at all the tested intervals.

Pameran Ini Saya Punya Kerja: Manifestasi Dua Seni

“Ini Saya Punya Kerja: Manifestasi Dua Seni” is a collaborative exhibition organised by Universiti Pendidikan Sultan Idris, University of Malaya, and Yayasan Usman Awang. The exhibition combines academics, painters, and poets to manifest the merger of two arts, the visual arts and the literary arts. The exhibition was officiated by Tan Sri Johan Jaaffar at the University of Malaya Art Gallery on Sunday, 13 February 2020, at 10.00 am. A total of 37 painters with 74 artworks consisting of paintings, installations, sculptures, and photographs were exhibited. All works were translations of the poems written by National Laureate Usman Awang. The most dominant style was abstract expressionism characterised by free spontaneous lines accompanied by bright colours and spontaneous brush strokes. Among the painters with this style were Suzlee Ibrahim (Pahlawan, 2009), Lily Noguchi (Jentayu, 2019), Liu Cheng Hua (Anak Jiran Tionghua, 2019), Sabri Salleh (Duri dan Api, 2019), and Mustafa Salleh (Pahlawan, 2019). There were also semi-abstract works. Among the painters who adopted this style were Haron Mokhtar (Balada Terbunuhnya Beringin Tua di Pinggir Sebuah Bandaraya, 2019), Aizat Amir (Jiwa Hamba, 2019), and Abdul Raoof Ali (Keranda 152, 2019). There were also painters that produced realistic works. Among them were Md Nasir Ibrahim (Bunga Popi 1, 2019 and Bunga Popi II, 2020), and Mohamad Hassan (Tulang-tulang Berserakan: Saksi-saksi Bisu, 2019). The exhibition has achieved the goal of translating Usman Awang’s poems into visual form. Painters were able to play with the semiotic visuals that were a priority in this study.

Dvije slike iz Zbirke starih majstora Pomorskog i povijesnog muzeja Hrvatskog primorja Rijeka nastale prema djelima Bernarda Strozzija

U ovom se članku upućuje na dva rada iz Zbirke starih majstora u Pomorskom i Povijesnom muzeju Hrvatskog primorja Rijeka što se mogu povezati s imenom Bernarda Strozzija (Genova, 1582. – Venecija, 1644.). Glava bradatog starca ističe se svojom kvalitetom i gotovo je istovjetna radu pripisanom Strozziju, odnosno njegovu imitatoru, što je tijekom posljednjih 15 godina bio ponuđen na dražbama uglednih aukcijskih kuća Christie’s i Sotheby’s. Djelo prodano u New Yorku 2010. godine najvjerojatnije je služilo kao radionički predložak, a to potvrđuje i riječka slika na kojoj se, za razliku od izvornika, u donjem dijelu kompozicije vide starčev plašt i lijeva šaka. Bez obzira na to je li aukcijska verzija u jednom trenutku bila rezana ili je riječka slika, zapravo, patchwork više Strozzijevih studija, kvaliteta potonje, njezina specifična faktura i odlučan potez upućuju na to da je riječ o kvalitetnu djelu majstorove radionice. Platno Sveti Jakov Stariji je pak kopija Strozzijeva originala što se nalazio u milanskoj privatnoj zbirci, a nedavno je ponuđen na dražbi aukcijske kuće Christie’s u New Yorku. Autor riječke slike je najvjerojatnije lombardski kopist iz 17. stoljeća. Iako je provenijencija Strozzijeva Svetog Jakova Starijeg nepoznata, činjenica da njegova riječka, likovno relativno skromna kopija iskazuje odlike lombardskog slikarstva sredine ili druge polovice 17. stoljeća, upućuje na to da se ova slika ubrzo nakon nastanka vjerojatno nalazila u privatnom vlasništvu na području Lombardije i stoga ostala potpuno nepoznata poznavateljskoj ili široj javnosti.

Fictionalising Trauma: Paratextual Analysis of Select Tamil Novels

Gerald Genette’s concept of paratext widens the horizons of literary canon in multidimensional approaches through textual materials that includes pictorial, title, author, font etc that acknowledges its key notions. In such context, innumerable modes of medium acts as a interlink to highlight the critical concept irrespective of prefixed protocols or notions embedded to the theory. On basis of such interpretation this paper attempts to relocate and redefine the projected idea through the layers of select Tamil novels and their Symbolic connectivity in conflicts of war, trauma, diasporic consciousness, photo realism, expressive images etc. Interpretation of parthenium plant with Srilankan war conflicts and its invisible political sketches through several imagery serves the primary essence of the paratextual sequence in Thamizhnadhi’s Parthenium. A thematic representation of carnatic music to project the cultural and geographical back ground of the protagonists embark on a journey to Paris and the quest for life well characterized in the novel Paris’ukku Po by Jeyakanthan. Vaikom Muhammad Basheer’s Tamil translation work of Balyakalasakhi gives the classic touch of artistic portrait through the brush strokes of certain unhappy occurrence in protagonist’s life. All the descriptions are analytically evolved and careful observations are systematically carried out in elitist view. Moreover the mere study of this paper well clarifies and serves the rich flavours of paratextual elements and traumatic factors that provides valuable and rich essence to the texts as well as clear understanding of the theory.

“Banal Apocalypse”

This interview is based on a series of email exchanges in November 2019 between Taiwanese writer and scholar Ta-wei Chi and Korean American scholar Jane Chi Hyun Park about Chi’s queer speculative novella, The Membranes. The first section provides a summary of the novella, which was recently translated into English by Ari Heinrich. The second section paints a picture in broad brush strokes of the contexts in which Chi wrote The Membranes — taking into consideration key cross-cultural influences and critical reception in Taiwan in the 1990s. It also examines the cultural and political relevance of Chi’s creative predictions about the future within the present historical moment. Finally, it explores afterlives for the novella in the form of sequels and possible cinematic adaptations.

Effects of Additional Use of Bioactive Glasses or a Hydroxyapatite Toothpaste on Remineralization of Artificial Lesions in vitro

Objectives: This in vitro study aimed to evaluate and compare the effect of two different bioactive glasses, a hydroxyapatite-containing, fluoride-free toothpaste (HTP) and a fluoride toothpaste (FTP) on the remineralization behavior of initial caries lesions. Materials and Methods: A total of 100 bovine enamel samples were randomly allocated to five groups of 20 samples each: NC = negative control group (artificial saliva); HTP = HTP group (Karex); FTP = FTP group (Elmex caries protection, 1,400 ppm); FTP + BG_nano = FTP followed by Actimins bioactive glass; FTP + BG_amorph = FTP followed by Schott bioactive glass. Radiographic documentation (advanced transversal microradiography; aTMR) was applied before and after all samples were exposed to a demineralizing gel for 10 days. Over a period of 28 days, samples were covered twice a day (every 12 h) with a toothpaste slurry of the respective test group or with artificial saliva in NC for 60 s and brushed with 15 brushing strokes. Samples in FTP + BG_nano and FTP + BG_amorph were additionally treated with the respective bioactive glass slurry for 30 s after brushing with the FTP. In the meantime, all samples were stored in artificial saliva. After 28 days, the structure of all samples was assessed again using aTMR and compared to the values measured after demineralization. The statistical evaluation of the integrated mineral loss was performed using Kruskal-Wallis test followed by a post hoc Conover test. Results: The FTP revealed the significantly highest increase of mineral content while the HTP showed the significantly lowest remineralization. Compared to artificial saliva, the use of the HTP or the combined application of FTP followed by bioactive glasses (FTP + BG_nano and FTP + BG_amorph) showed no significant remineralization. Conclusion: Under remineralizing in vitro conditions, brushing with 1,400 ppm FTP induced significantly more remineralization compared to storage in artificial saliva. The additional administration of both bioactive glasses as well as the substitutional brushing with an HTP resulted in significantly less remineralization compared to brushing with 1,400 ppm FTP.

Proprioceptive drift is affected by the intermanual distance rather than the distance from the body\u2019s midline in the rubber hand illusion

In the rubber hand illusion (RHI), simultaneous brush stroking of a subject’s hidden hand and a visible rubber hand induces a transient illusion of the latter to “feel like it’s my hand” and a proprioceptive drift of the hidden own hand toward the rubber hand. Recent accounts of the RHI have suggested that the illusion would only occur if weighting of conflicting sensory information and their subsequent integration results in a statistically plausible compromise. In three different experiments, we investigated the role of distance between the two hands as well as their proximity to the body’s midline in influencing the occurrence of the illusion. Overall, the results suggest that the illusion is abolished when placing the two hands apart, therefore increasing the mismatch between the visual and proprioceptive modality, whereas the proximity of the two hands to the body’s midline plays only a minor role on the subjective report of the illusion. This might be driven by the response properties of visuotactile bimodal cells encoding the peripersonal space around the hand.

Perceived pleasantness of gentle touch in healthy individuals is related to salivary oxytocin response and EEG markers of arousal.

Affective touch plays an important role in human social bonding, affiliative behavior, and in general emotional well-being. A system of unmyelinated low-threshold mechanosensitive C-type afferents innervating hairy skin (C-tactile or CT system) is postulated to provide the neurophysiological background of affective touch perception. C-tactile afferents respond optimally to soft and slow strokes, and this response correlates positively with pleasure ratings of tactile stimuli. As gentle touch is consistently associated with oxytocin release further promoting prosocial behavior, it has been suggested that this effect is mediated by the response of C-tactile afferents. This study assesses a possible link between CT-optimal touch, its subjective pleasantness, EEG indices of cortical arousal, and peripheral oxytocin response. EEG was recorded in 28 healthy volunteers during resting state and tactile stimulation[gentle slow brush strokes on forearm (CT-targeted touch) and palm (non-CT-targeted touch)]. Saliva samples were collected before and after the touch stimulation. Oxytocin concentration increase was significantly associated with greater subjective ratings of CT-targeted touch but not of non-CT-targeted touch, and with lower peak alpha frequency values indicating decreased cortical arousal. The findings suggest that CT-targeted stimulation triggers oxytocin release but only when the touch is perceived at an individual level as having clearly positive affective salience. This corresponds to previous studies reporting that oxytocin response to touch can be related to different personality factors, and bears important implications for planning touch-based interventions in social and medical care.

Psychological Aspects of Comics as the Paraliterary Genres

The purpose of our article is: to define the main narratological devices and inventions made by Alan Moore and represented in his milestone novel, Watchmen, which may help us to define psychological aspects of comics as the paraliterary genres. Methods of the research. As for general scientific methods the following ones are applied: the method of induction, deduction, analysis and synthesis, comparative and descriptive methods and explanatory ones. The results of the research. The psychological characteristic of comics is the fact they do not have an omniscient narrator in the same way that traditional literature does, there isn’t all-knowing all-seeing power behind the action. Comics use focalizers and narrators and point-of-view shots, which are an integral part of the narration of the graphic novel. One could argue that the omniscience of narration takes place in the visual depiction of the narrative when no focalization takes place and the images merely illustrate the actions from a clearly outside point of view. The reader is «pulled in» to the story, and only after a visible break in the narrative structure the reader once again becomes aware of the narrative structure and the discourse it applies and consequently uses different interpretational tools. Conclusions. According to the results of our research we’ve maintained psychological aspects of comics as the paraliterary genres. The visual meaning of comics as the paraliterary genres is verbalized and narrativized through the language. Comics communicate in a «language» that relies on a visual experience common both to creator and the audience. The format of the comic book presents a montage of both the word and the image, and the reader is thus required to exercise both visual and verbal interpretive skills. The regimens of art (e. g. perspective, symmetry, brush stroke) and the regimens of literature (e. g. Grammar, plot, syntax) become superimposed upon each other. Comic book experts still continue to stress the unique nature of reading abilities are required by comics, and the union of the word and the image has become even more centralized in contemporary studies of comics. Comics are seen as a language, even though the Grammar of this language is far from the completeness of the Grammar rules of a written language.The single panel has traditionally been seen as the basic component of comic book narratives, and the action traditionally takes place from panel to panel. These transitions can be temporal, which include a clear transition and usually very little closure; this is the most common one in comic book narration. The transition can also be spatial, which consists of subject-to-subject change, where the panel shifts from one subject to another while still remaining in the same scene or idea. We have to stress that at this point, a degree of reader involvement is necessary to render these transitions meaningful. This type of transition is often very powerful, because it enables the writer to leave out dramatic actions deliberately, thereby increasing the level of suspense. Also we distinguish various ways of combining words and images, from word specific (the pictures simply illustrate what the captions might say) to interdependent where only together do the words and pictures actually convey the message of a scene. Still, we’ll admit that the possibilities are virtually unlimited.

Role of desensitizing/whitening dentifrices in enamel wear

ObjectivesTo analyze the impact of desensitizing (D) and/or whitening (W) dentifrices on erosion and erosion-abrasion. MethodsEnamel specimens were allocated into 10 groups (n = 20): 1. Artificial saliva (control); 2. Sensodyne Repair&Protect (SRP–D); 3. Sensodyne Repair&Protect Whitening (SRP–W); 4. Colgate Sensitive Pro-Relief (CSPR–D); 5. Colgate Sensitive Pro-Relief Real White (CSPRR–W); 6. Colgate Total 12 (CT); 7. Colgate Total 12 Professional Whitening (CTP–W); 8. Sensodyne True White (ST–W); 9. Curaprox Black is White (CB–W); 10. Oral-B 3D White Perfection (OB3D-W). For abrasion (n = 10), 30,000 brushing strokes were performed and surface roughness (SR) was evaluated. Erosion-abrasion (n = 10) consisted of 1 % citric acid (2 min), artificial saliva (60 min); 6×/day; 5 days. Toothbrushing was carried out 2×/day (45 strokes). Surface loss (SL) was determined with an optical profilometer. Data were statistically analyzed (α = 0.05). ResultsRelative to SR, only OB3D-W had a significantly rougher surface than the control (p = 0.014). SRP-D, CSPR-D and ST-W showed no difference from the baseline. High SL was observed for ST-W, OB3D-W and CTP-W, without significant differences from the control. CT showed the lowest SL, not differing from SRP–D and SRP–W. There was a weak negative correlation between SL and concentration of free fluoride in the slurries, SL and SR, and SL and pH, all p > 0.05. ConclusionsOnly one dentifrice increased surface roughness of enamel to a higher degree than brushing with saliva. Brushing with the test dentifrices did not cause higher enamel erosive wear than brushing with saliva. Clinical significanceThis study enhances our knowledge on the effect of desensitizing and whitening dentifrices, indicating that they do not worsen enamel loss due to abrasion and they might be a safe option for individuals with erosive tooth wear.

Expressionism in European and Chinese painting (late XIX – early XXI centuries)

This article examines the impact of Chinese traditional painting upon the formation of Western expressionism, as well as interprets the influence of Western expressionism upon Chinese painting in expressionist manner of different periods. The author reveals the mutual influence, similarities and differences between Western expressionism and Chinese painting in expressionist manner, Chinese imagery oil painting, Chinese colored ink painting, and Chinese imagery painting in Western style. Based on correlation between the spiritual ideology of painting and artistic form, the author carries out a comparative analysis of spiritual and formal factors of Chinese and Western painting systems for the purpose of determination of their mutual influence, and how it affects the emergence of new concepts in painting. The structure of brush stroke of the artist defines his aesthetic spirit. The article determines the &amp;ldquo;cyclic&amp;rdquo; nature of interinfluence processes between Chinese and Western painting systems that stimulate the development of human civilization. The analysis of corresponding cultural factors allows assessing the individual artistic characteristics of painting. Both, Chinese and Western painting systems entered the period when spiritual ideology of painting interacts with the artistic forms, opening the era of &amp;ldquo;globalization&amp;rdquo; of the language of painting.

Works of the artist Zeng Fanzhi in the dialogue of traditions of Western European and Chinese painting

This article is dedicated to analysis of the works of a contemporary artist Zeng Fanzhi in the context of dialogue of traditions of Western European and Chinese painting. The author reviews the stages of formation of this original artistic manner that combines different stylistic approaches and techniques; reveals the key artistic peculiarities of his works &amp;ndash; from referring to Western expressionism to formation of an individual style. A detailed analysis is conducted on the principles of conceptual art of Zeng Fanzhi realized in the use of meaningful images and symbols, such as &amp;ldquo;masks&amp;rdquo;. The author examines the methods of abstract painting in the works of Chinese artist reflected in the technique of &amp;ldquo;chaotic brush&amp;rdquo;, which is based on the expressive linear abstractions. In the period after 2018, which marks the period of experimental painting, Zeng Fanzhi combines the artistic methods of Paul C&amp;eacute;zanne with the concept of traditional Chinese art, with the &amp;ldquo;found object&amp;rdquo; technique, offering a completely new interpretation of the works of Chinese classical painting. The article discusses the specificities of linear constructs and brush strokes in the artist&amp;rsquo;s works for determining the features common to his works of various periods. A conclusion is made that the paintings of Zeng Fanzhi represents a visual manifestation of harmonious interaction of the Western European and Chinese art tradition. Each stylistic approach used by Zeng Fanzhi demonstrates a profound understanding of painting, reveals his creative interpretation of artistic principles of Western European art that formed as a result of personal experience and high level of education. Chinese painting entered the era of non-modernism, remaining in many ways similar and simultaneously different from the art of Western modernism and postmodernism.

Eclecticism in Chinese Modern Calligraphy, Analysis on Foo Yong Kong’s Painting

Foo Yong Kong is a unique artist, in his artistic practice, he mixes the art of calligraphy with the abstract art of expressionism. Chinese calligraphy is a form of Chinese traditional art. Abstract expressionism is one of the idioms of modern art. In modern art discourse, calligraphy is not categorized as fine art. As part of the identity of the Chinese nation for centuries, the existence of Chinese calligraphy art has been experiencing various developments. One phenomenal development is about how calligraphy redefine itself within modern art discourse which has led to a renewal of Chinese modern calligraphy. This study aims to analyze Foo Yong Kong's paintings in the perspective of Chinese modern calligraphy discourse with a focus on aesthetic tendencies in his works. The results show the tendency of eclecticism in Foo Yong Kong's artwork that combines aesthetic elements in calligraphy such as black brush stroke resulting from the effects of using special brushes ( mao bi ) and solid ink ( mo ), ink stone ( yantai ) and paper ( xian zhi ), with the practice of action painting using acrylic paint with contrasting colours. Keywords: Chinese Calligraphy, Abstract Expressionism, Eclecticism, Foo Yong Kong, Modern Chinese Calligraphy DOI : 10.7176/ADS/81-05 Publication date :April 30 th 2020

Erosive/Abrasive Enamel Wear While Using a Combination of Anti-Erosive Toothbrush/-Paste.

To investigate dental enamel wear caused by erosion and abrasion while using a combination of anti-erosive toothbrush/-paste. A total of 60 enamel specimens from bovine incisors were randomly assigned into five groups of 12 specimens each (G1-5, n = 12): (G1) control group (no treatment), (G2) standard medium toothbrush Paro M43 and standard toothpaste Elmex Caries Protection, (G3) standard medium toothbrush Paro M43 and anti-erosive toothpaste Elmex Protection Erosion, (G4) anti-erosive toothbrush Elmex Erosion Soft and standard toothpaste Elmex Caries Protection, (G5) anti-erosive toothbrush Elmex Erosion Soft and anti-erosive toothpaste Elmex Protection Erosion. Initially, surface baseline profiles were recorded using profilometry. In a total of 60 cycles, all specimens were exposed to hydrochloric acid (pH = 3) for 1 min, rinsed with tap water to stop the erosive attack and brushed according to the specific protocol of each group (15 brushing strokes per run). Enamel loss was determined by comparing the surface profiles before and after 60 cycles and the results were statistically analysed using analysis of variance (ANOVA). The significantly highest loss of enamel was observed in the control group G1(1.4 ± 0.20 µm) (p < 0.001). G2 turned out to be the most abrasive toothbrush/-paste combination (1.12 ± 0.15 µm), G3 the least invasive (0.40 ± 0.04 µm) (p < 0.001, respectively). All combinations of the investigated toothbrushes/-pastes reduce erosive/abrasive enamel wear. However, the highest reduction was observed for the combination of anti-erosive toothpaste and standard toothbrush (G3).

Interpreting the Tape of Life: Ancestry-Based Analyses Provide Insights and Intuition about Evolutionary Dynamics.

Fine-scale evolutionary dynamics can be challenging to tease out when focused on the broad brush strokes of whole populations over long time spans. We propose a suite of diagnostic analysis techniques that operate on lineages and phylogenies in digital evolution experiments, with the aim of improving our capacity to quantitatively explore the nuances of evolutionary histories in digital evolution experiments. We present three types of lineage measurements: lineage length, mutation accumulation, and phenotypic volatility. Additionally, we suggest the adoption of four phylogeny measurements from biology: phylogenetic richness, phylogenetic divergence, phylogenetic regularity, and depth of the most-recent common ancestor. In addition to quantitative metrics, we also discuss several existing data visualizations that are useful for understanding lineages and phylogenies: state sequence visualizations, fitness landscape overlays, phylogenetic trees, and Muller plots. We examine the behavior of these metrics (with the aid of data visualizations) in two well-studied computational contexts: (1) a set of two-dimensional, real-valued optimization problems under a range of mutation rates and selection strengths, and (2) a set of qualitatively different environments in the Avida digital evolution platform. These results confirm our intuition about how these metrics respond to various evolutionary conditions and indicate their broad value.

Works of the artist Zhang Xiaogang in the dialogue of traditions of Western European and Chinese painting

This article examines the artworks of Zhang Xiaogang as a prominent representative of the modern Chinese painting, peculiarities of his mastery formed in different periods of his creative path under the dual influence of Chinese and Western painting. Transformation and evolution of painting concepts and formal artistic means, claimed in the painter&amp;rsquo;s &amp;ldquo;Bloodline-Big Family&amp;rdquo; series, demonstrate how the &amp;ldquo;own historical memory&amp;rdquo; forms new expressive forms of painting. The author compares the interaction of forms and languages in the Western and Chinese painting, as well as analyzes characteristics of the structure of brush strokes of the painter in different periods for showing the formation of the inner spiritual essence. It proves that the clash of concepts of the Western and Chinese painting generated new artistic phenomena, which represent a result of assimilation of painting concepts and &amp;ldquo;localization&amp;rdquo; of formal language. The mutual influence of two cultures lead to origination of multiple ideas of plasticity and artistic forms. China has entered the period of &amp;ldquo;non-modernism&amp;rdquo;.