Depiction Of Movement Research Articles

Exploring Descriptions of Movement Through Geovisual Analytics.

Sensemaking using automatically extracted information from text is a challenging problem. In this paper, we address a specific type of information extraction, namely extracting information related to descriptions of movement. Aggregating and understanding information related to descriptions of movement and lack of movement specified in text can lead to an improved understanding and sensemaking of movement phenomena of various types, e.g., migration of people and animals, impediments to travel due to COVID-19, etc. We present GeoMovement, a system that is based on combining machine learning and rule-based extraction of movement-related information with state-of-the-art visualization techniques. Along with the depiction of movement, our tool can extract and present a lack of movement. Very little prior work exists on automatically extracting descriptions of movement, especially negation and movement. Apart from addressing these, GeoMovement also provides a novel integrated framework for combining these extraction modules with visualization. We include two systematic case studies of GeoMovement that show how humans can derive meaningful geographic movement information. GeoMovement can complement precise movement data, e.g., obtained using sensors, or be used by itself when precise data is unavailable.Supplementary InformationThe online version contains supplementary material available at 10.1007/s42489-022-00098-3.

Moving Through Paris: The Discontinuous Forms of Julio Cortázar’s 'Rayuela' (1963) and Luisa Futoransky’s 'De Pe a Pa' (1986)

This essay examines the way in which two late twentieth-century Latin American novelists address movement through the city of Paris. Building on existing work by Julie Jones (1998), Jason Weiss (2003), Axel Gasquet (2007) and especially Marcy E. Schwartz (1999), this project moves beyond a genealogy of Latin American writers in Paris towards a conception of the relationship between narrative form and depictions of urban navigation. It proposes that Julio Cortázar in Rayuela (1963) and Luisa Futoransky in De Pe a Pa (1986) enact a mode of movement through the discontinuous and episodic forms of their novels, and that the contrast between their depictions of movement, and particularly their depictions of the relationship between fragmentation and continuity within this movement, can be most clearly understood along the axis of gender. That is, while for Oliveira in Rayuela movement through the city is largely uninterrupted and can preserve at least an illusion of fluidity, for Laura in De Pe a Pa the woman’s movement through Paris is always discontinuous, difficult and even dangerous. Futoransky revises that earlier male writer’s formulation of movement to draw attention to a masculine complacency which organises Rayuela and to propose a new model for female urban navigation.

“Do not touch it!” Today’s Children’s Visual Competencies in Comparison with the Pre-Digital Era in Light of their Art Educational Environment

The task of twenty-first century art education is to contribute to the blossoming of the child’s personality. In this article, I approach this challenge from two principal directions, both of which provide a window onto unfamiliar terrain. This project sought to answer the following research questions: How do plastic, spatial (3D) creative capacities develop, and how do they compare with the kindergarten’s accustomed advancement of picture-creating, planar (2D) capabilities? How do kindergartners’ skills as measured in the 1970s compare with those of kindergartners today? A follow-on project examined children’s skills in the context of built environment education, asking the questions: Where, and with whom, do children find the best conditions for creation and arts education? What kinds of environments are most favourable? The results showed a clear deterioration of children’s drawing development from 1974 until today, as well as from drawings in both studies to modelling today. However, a more promising discovery was that depictions of movement appear much sooner in the case of plastic arts works than in drawings. This opens the way to an orientation that in our increasingly urbanised world, can help our children grow into adults who responsibly shape our environment, sensitive to their own age, as self-possessed problem solvers, employing the toolkit of education through art. The study is based on ongoing, long-term research of the 3612+ Visual Skills Lab group, employing both qualitative and quantitative methods to evaluate the artistic proficiencies of nearly a thousand children, mostly aged 3–7, in dozens of kindergartens in Hungary, through hands-on exercises as well as surveys of teachers, parents and other interested parties.

Depicting Movement

ABSTRACT The paper addresses an underexplored puzzle about pictorial representation, a puzzle about how depiction of movement is possible. One aim is to clarify what the puzzle is. It might seem to concern a conflict between the nature of static surfaces and the dynamic things that they can depict. But the real conflict generating the puzzle is between the pictorial mode of presentation and what can be seen in pictures. A second aim of the paper is to solve the puzzle. While many take it that depicting movement is to make visible something that has duration, I suggest that it is to make visible something atemporal.

Cognition in Action: Goethe’s Märchen

ABSTRACTThis essay explores the role of physical movement and sensation in Goethe’s Marchen, with particular emphasis on the figure of the snake. Movement is essential to the moral resolution of the tale, and the depiction of movement to the inspiration of the reader. Cognitive approaches are deployed to tease out the symbolic significance of the depiction of embodied life in the text and, moreover, to give a more detailed understanding of the effects of the piece on the reader. The article also traces in brief the lineage of modern cognitive approaches, with a particular focus on eighteenth-century aesthetics.

Etruscan Dance Culture as Represented in Tomb Paintings from the UNESCO Heritage Site in Tarquinia (Italy)

Karen Kain, recipient of the Companion of the Order of Canada and artistic director of the National Ballet of Canada, wrote an autobiography entitled Movement Never Lies referring to a truism about professional dance. The UNESCO heritage site of Tarquinia (Italy) featuring Etruscan tomb dance imagery has never been studied through Classical scholarship from the perspective of a professional dancer nor from the perspective of analysis of depiction of movement. The author of this presentation, a former dancer with the National Ballet of Canada (1986-1992) who is a Classics Major, has endeavoured to prove that examination of movement depiction can be used as evidence to provide insight into Etruscan culture. Methodology for the study is based on the premise that Etruscan dance representations of humans Ca. 2500 years ago and the techniques of the dancer of today reflect actions by the same species; therefore, a comparative is possible for the essence of the movement communicated.
 Results of the study indicate that representation of the Etruscan dance language is realistic and stable, is organically derived, is immensely practical, and has unique features within the Mediterranean cultural milieu. This preliminary study highlights the possibility of using ancient Classical cultures as models and terms of comparison for better understanding aspects of modern societies. It is salient that in contemporary culture, woman and children are dying to dance (from eating disorders), while Etruscans seemed to be dancing to live or to become ambassadors for an afterlife indicated by the Etruscan models.

Flotando en las nubes: la vanguardia literaria en las narrativas de viaje de Salarrué

The literary output of Salarrué (1899–1975) demonstrates a close affinity with the currents of the European avant-garde, most specifically with techniques associated with Surrealism and Cubism, this despite his lack of immediate contact with Europe or European avant-garde artists. While elements of these movements may be found throughout his literary works, it is in his two travel narratives, Remotando el Uluán and La sed de Sling Bader, that these movements are most pronounced. This article maintains that Salarrué discovered through the depiction of movement and travel a means of uniting currents of the avant-garde, and its ability to present the interior reality of both subject and object, as well as their constantly changing forms, to Central American theosophy and its search for higher planes of existence that attempt to do away with the material subject. In consequence, his travel narratives depict a constant struggle over falsifiability and the potential for mutually conflicting realities, which in turn reinforce the apparent contradictions of reality within his output as fully consistent with the subject’s encounter with the exterior world.

Can movement be depicted

It is natural to describe many pictures as of movement. We might for example say that a painting is of a horse rearing up, or a dog scurry along the pavement. The topic of this paper is how this “of” should be understood. Can a static picture depict movement, or is movement merely represented by, or suggested by, pictures, in some non-pictorial way? We argue that movement can be depicted and not merely represented. We examine three different views put forward by Le Poidevin, and use his third as a basis for our own view of movement depiction, which is a version of Hopkins’s experienced resemblance theory of depiction.

Språk i rörelse


 
 
 Languages in Motion. Multilingualism and Urban Spaces in Sara Razai’s Jag har letat efter dig and Johanna Holmström’s Asfaltsänglar
 e article is a study of multilingualism, urban space and mobility/immobility in two Finland- Swedish novels, Sara Razai’s Jag har letat efter dig (”I Have Been Searching for You”, 2012) and Johanna Holmström’s Asfaltsänglar (”Asphalt Angels”, 2013) through perspectives of post-mono- lingualism (Yildiz) and literary urban studies. In Razai’s novel, a Finland-Swedish woman and a refugee forge a relationship in broken Finnish, disrupting the link between mother tongue and language of a ections. In an analogous relationship to the depiction of movement (cold) and keeping still in con ned spaces (warmth, safety), Finnish becomes a small space for the lovers to connect. In Holmström’s novel, room for manoeuvre is restricted by gender and ethnicity, although the main characters manage the tension between suburb and city center in di erent ways. In Asfaltsänglar, Arabic is a sign of parental power and rules, but the language is also associated with a white Finland-Swedish woman, a convert, the girls’ mother. ere is a discrepancy between Arabic’s function in the novel – as a local language – and how it is marked for the reader – as foreign. Trilingual Helsinki slang, on the other hand, becomes a hybrid marker of the Suburb as Heimat. Both novels renew the Finland-Swedish urban prose tradition by bringing in new languages and new kinds of language, and by associating these varieties with di erent kinds of characters.
 
 

Felicitous Failure: Hans Richter’s Malevich

The article calls attention to the animations produced around 1970 by Hans Richter and Arnold Eagle after a sketchy scenario designed in 1927 by Kazimir Malevich. It argues for an examination of this failed project as it helps to ask and to answer some crucial questions concerning Malevich’s work: Why does the unfinished film lack the appeal of suprematist painting? Does it contribute to the understanding of the artist’s views on art and on film? In a brief discussion of the visual dynamism of suprematist painting and of the animations the article shows that the appeal of the paintings lies in their strong suggestion of movement. Paradoxically, the animations do not reach that level of dynamism. From Malevich’s essays on film we can be quite sure that in his own cinema he would have preferred a suggestion of dynamism to a simple depiction of movement.

The effect of static versus dynamic depictions of actions in verb and sentence production in aphasia

ABSTRACTBackground: There is a shortage of material for the treatment of verb and sentence production in persons with aphasia (PWAs). In therapy, pictures or photographs depicting actions are often used, even though the meaning of certain verbs clearly involves movement. This aspect of movement is difficult to depict on static material. In a case study, Druks, J., & Shallice, T. (2000). Selective preservation of naming from description and the “Restricted Preverbal Message”. Brain and Language, 72, 100–128. doi:10.1006/brln.1999.2165 reported a patient who had difficulties naming actions. However, when the actions were performed, the patient was better at naming performed actions compared to naming actions depicted in still pictures.Aims: In the current study, we tested the hypothesis that PWAs are more accurate in naming verbs in isolation as well as in sentence context in a dynamic condition rather than in a static condition. In a second experiment, we examined whether the use of verbs that express specific types of movement has any influence on the production of verbs when using static and dynamic depiction. Verbs in three semantic categories were included, namely action verbs relating to arm, leg and face movements.Methods & Procedures: In the first experiment, verb production was examined in a static (photographs) condition and a dynamic (videos) condition. An action-naming task and a sentence production task of 20 items each were administered to 18 PWAs. In the second experiment, an action-naming task of 60 items was administered to 13 PWAs.Outcomes & Results: PWAs scored significantly better in the dynamic condition compared to the static condition on both the action-naming task and the sentence-production task in Experiment 1. Considering the three semantic categories that were considered in Experiment 2, PWAs only scored significantly better on the category “arm” in the dynamic condition as compared to the static condition.Conclusions: These results suggest that semantic information of an action’s specific aspects, such as movement, is activated while watching an action. We assume that PWAs profit from this depiction of movement. This study implicates that in clinical practice, dynamic material, rather than static material, should be used in diagnosis and therapy involving action naming and sentence production.

Of clocks ticking: Heterotopic space, time and motion in William Kentridge’s The Refusal of Time (2012)

ABSTRACTIn William Kentridge’s The refusal of time (2012), comment on time as both a scientific and a human entity is produced. A complex mix of the visual and nominal vocabularies of early ‘rudimentary’ technological invention, scientific experimentation and contemporary digital language characterises the artwork. Conceptually, the structural, technological and visual components of the work predominantly articulate figure tropes of space, time and motion. The work is explored through the lens of heterotopia as articulated by French philosopher michel Foucault, with special attention to the artist’s articulation of space, time and motion. the construal proceeds through the investigation of the visual metaphors implied by the organisation of space; the depiction of movement; time ticking; the allusion to human beings’ fascination with invention; science and technology; and the products thereof, especially the creation of automatons. interpreting the work as representing heterotopic temporality in space, it is argued that such heterotopic entities defy clock time as stringent ‘regular’ time. an examination is conducted of the meta-narratives on science and technology alluded to in The refusal of time, including mention of the early development of automatons; modernistic French thought; advancements in physics around 1900; and postmodern takes on science and technology.

"A star that gathers lustre from the gloom of night": wives, marriage, and gender in early-nineteenth-century American temperance reform.

This article argues that wives occupied a more central place than mothers in the early nineteenth-century American temperance movement, and that temperance literature portrayed them in two ways. First, temperance writers depicted the drunkard's wife as a pitiable example of the dire effects of male drinking on women and families. Second, they cast wives as potent moral influences on their husbands, capable of preventing the sober from faltering and reclaiming the drunkard. These portrayals coexisted with overtly misogynist views of women within the temperance movement that accused women of making men drunkards through perverted influence and blamed drunkard's wives for their own predicament. The temperance movement's depiction of wives' gender both reflected and contributed to the large ambivalence toward women in American society.