Use Of Sketches Research Articles

‘To Cross the Skager Rack’. Discourses, images, and tourism in early ‘European’ football: Scotland, the United Kingdom, Denmark, and Scandinavia, 1898–1914

This article examines the footballing relationship between the UK and Scandinavia during the period 1898–1914, specifically that between first-tier Scottish football clubs and the Danish Football Association (Dansk Boldspil Union, DBU) and the middle-class Copenhagen clubs which dominated it. The strictly amateur DBU and its city clubs invited British football clubs to Denmark on summer tours of the country to learn how to play the game; and, in turn, British clubs typically received a payment to come over. This article examines the common themes in both the Scottish and Danish press accounts of these tours, particularly the use of sketches, cartoons and other imagery. Then, the political context of British and Scandinavian football during the period is examined, including Scotland’s anomalous relationship with FIFA, the new governing body of world football. Finally, this article looks at the touristic accounts of Scots whilst in Denmark, ones which typically sought out the familiar.

Edgar Allan Poe's Baltimore

Edgar Allan Poe's Baltimore

Sketching sounds – Kinds of listening and their functions in designing

In this work, the use of sketching in sound design was studied. Based on Schon and Wiggins' model of how designers use sketching to see, move, and see again, we suggest that sound design evolves through a similar process requiring listening, moving, and listening again. This is facilitated by considering sounds as sketches. A case was followed in which six designers were asked to design a sound logotype. Processes and interactions were studied. The results suggest that sound design can be considered as a listen – move – listen process. Sound design is a conversation with sounding material, crucially dependent on listening. To assist in this, a computer interface was developed. Analysis of its use suggests that it supported co-designing.

A Brief Review of Ultraviolet Auroral Emissions on Giant Planets

The morphologies of the ultraviolet auroral emissions on the giant gas planets, Jupiter and Saturn, have conveniently been described with combinations of a restricted number of basic components. Although this simplified view is very handy for a gross depiction of the giant planets’ aurorae, it fails to scrutinize the diversity and the dynamics of the actual features that are regularly observed with the available ultraviolet imagers and spectrographs. In the present review, the typical morphologies of Jupiter and Saturn’s aurorae are represented with an updated and more accurate set of components. The use of sketches, rather than images, makes it possible to compile all these components in a single view and to put aside ultraviolet imaging technical issues that are blurring the emission sources, thus preventing one from disentangling the different auroral signatures. The ionospheric and magnetospheric processes to which these auroral features allude can then be more easily accounted. In addition, the use of components of the same kind for both planets may help to put forward similarities and differences between Jupiter and Saturn. The case of the ice giants Uranus and Neptune is much less compelling since their weak auroral emissions are very poorly documented and one can only speculate about their origin. This review presents a current perspective that will inevitably evolve in the future, especially with upcoming observing campaigns and forthcoming missions like Juno.

“See the jails open and the thieves arise”: Joseph Mountain's revolutionary Atlantic and consolidating early national Connecticut

The primary source for this essay is Sketches of the Life of Joseph Mountain, a Negro, Who was executed at New-Haven, on the 20th Day of October, 1790, For a Rape (1790), transcribed anonymously by a young New Haven attorney, David Daggett. It is set within the broad context of the late eighteenth-century revolutionary Atlantic and opens the inter-racial possibilities London and the Atlantic then afforded. After he departed his birth home in Philadelphia in 1775, the stern racial and social boundaries Joseph Mountain learned in Philadelphia collapsed as he entered a new world of proletarian interracial opportunities on the sea and especially in London where he embraced the tentative expansion of black freedom heralded by the Somerset decision of 1772. The essay explores in part the textual tension between Daggett's and Mountain's representation of the meaning of these Atlantic experiences and the nature of the impact they wielded upon him once he fatefully journeyed to Connecticut in 1790. Daggett argues that his supposedly corrupt English experiences with interracial license and endemic class warfare led him ineluctably to commit rape in New Haven. The essay examines this event and Mountain's conviction, concluding with near certainty that the rape never occurred. However, Daggett and his influential colleagues in the state's post-revolutionary elite were certain that it had. Nevertheless, sharp contention arose within this elite with partisans in Hartford castigating Daggett and his coterie in New Haven for a grossly self-interested use of Sketches and Mountain's execution to advance their own political ends. They indicted Sketches as a prime example of the new sensational crime literature that catered to democratic prurience and empowered its aspirations. Coming on the heels of Shays and innovations in Rhode Island, fears of democratic insurgency pervaded the state's elite. Yet the ongoing consolidation of their post-revolutionary rule was marked by internal contests over not only how to manage that insurgency, but even who constituted it. This essay highlights that elite anxiety and Mountain's relationship to it as Connecticut's elite sought to stabilize its still very young post-revolutionary rule.

Sketch Maps and Qualitative GIS: Using Cartographies of Individual Spatial Narratives in Geographic Research

Mental and sketch maps have a long tradition in modern geography. Little theoretical and methodological distinction has been made, however, between different hand mapping approaches. Mental maps emerged from behavioral geography of the spatial science tradition as a technique to understand human behaviors based on peoples’ perceptions of their spatial environment. More recently, sketch maps have been used in participatory and qualitative geographic information systems (QGIS) to develop cartographies of group and individual spatial narratives. They are a tool that helps achieve QGIS's objectives of collecting unique spatial data of individual experiences, visualizing socio-spatial processes, breaking down particular barriers of positionality in research, and developing new uses of GIS. Two case studies illustrate the use of sketch maps in research, including a project examining job accessibility among working poor individuals and a study of the experiences of fear and safety in public spaces among lesbian, gay, bisexual, and transgender community members. Sketch maps in QGIS have many methodological merits. They add an invaluable dimension to the qualitative interview process, offer countermapping perspectives, generate detailed spatial information of individuals, and facilitate data interpretation.

Sketching profiles: Awareness to individual differences in sketching as a means of enhancing design solution development

This paper focuses on the differences between interior design students' design processes as derived from an analysis of their sketching and design behavior. By implementing qualitative methodologies in the analysis of the sketches produced in the conceptual phase of the design process, the experiment allows identifying sketching characteristics and profiles. The motivation is to show that sketches can serve as a tool to differentiate between designers and recognize their personal approach and design strategies. The results point to three distinct sketching profiles that characterize designers' use of sketches as a tool for thinking and communicating ideas during their solution generation process. Awareness to differences between students' sketches and design behavior may support the development of pedagogical concepts, strategies and tools.

The benefits of sketching for knowledge management

PurposeIn this paper, the authors aim to review the benefits of sketching or ad‐hoc, collaborative hand drawings for knowledge creation, knowledge sharing, and knowledge documentation.Design/methodology/approachThe authors conducted a comprehensive literature review in the fields of design, psychology, and computer science that documents the multiple advantages of sketch‐based approaches for managing knowledge in organizations, especially on the team‐level. The authors argue for the complementary use of this “low‐tech knowledge management” approach with existing digital infrastructures and tools. The literature survey is based on a search for the title term “sketching” on the ISI Web of Knowledge online database. After topic filtering and eliminating all articles where sketching was used in the sense of a project proposal or a theoretical sketch, there were only 48 articles left related to the keyword “sketching”. Based on the authors' awareness of important contributions in the field of sketching, which did not appear in the database search, they extended their inclusion criteria to include grey or conference literature and examined the reference sections of highly cited articles. The article concludes with a set of propositions for practitioners regarding the use of sketching in different knowledge management contexts and with implications for future research in this area.FindingsKnowledge creation contexts, such as innovation management or problem solving sessions, provide participants with the opportunity to jointly devise large scale sketches in order to integrate their views and experiences on joint frameworks. Knowledge sharing situations, such as in team briefings or debriefings, in hand‐over processes, or in strategic alliances, equip all participants with pens and paper tablecloths to augment their knowledge dialogues with visible means that facilitate interaction and turn‐taking, increase vividness and memorability, and allow for an authentic and personal follow‐up documentation.Research limitations/implicationsAn implication for research is to study sketching in knowledge management through interdisciplinary research efforts. This could be done by paying attention to the way that digital and hand‐drawn sketches affect interactions differently among professionals and the way that they share, defend, and integrate their knowledge. Specifically researchers with a background in organizational psychology could work jointly with human computer interaction specialists to study differences among analogue and digital sketching activities. In this way one can learn about the respective advantages and risks of hand‐drawn versus computer‐supported sketching for knowledge‐intensive group collaboration tasks.Originality/valueThe literature review resulted in an extended list of benefits which support three relevant tasks in knowledge management, namely knowledge creation, knowledge sharing and knowledge documentation. This compilation shows simple and effective ways in which the use of hand drawings can enhance existing knowledge management practices.

Review of Gretchen Horlacher,Building Blocks: Repetition and Continuity in the Music of Stravinsky(Oxford University Press, 2011)

[1] In the field of Stravinsky studies, there has recently been a growing trend toward the use of sketches as an aid to music analysis, due in no small part to the increased availability of the composer's manuscripts and source materials.(1) Drawing upon her extensive experience with Stravinsky's compositional materials, Gretchen Horlacher has found consistencies in the composer's creative process, deftly reconstructing how he began with brief musical models (blocks) that served as points of departure for numerous methods of development and variation.(2) In Building Blocks, Horlacher presents this research, setting forth an inventive analytical method for Stravinsky's music with meticulous readings of the composer's sketches and scores.[2] Building Blocks is centered around pieces from Stravinsky's early (Russian) and middle (Neoclassical) periods, ranging from The Rite of Spring (1913) to the Symphony in Three Movements (1946). Throughout the works surveyed, Horlacher focuses on two contrasting attributes of Stravinsky's music: repetitive musical techniques that embody the qualities of discontinuity and stasis (such as ostinati, superimposition, and the assemblage of musical fragments, practices designated by the author as radical), versus the more continuous procedures that engage conventions in common-practice tonal music (such as melodic linearity and phrase syntax, traits Horlacher describes as [33]). The author argues that previous studies have focused excessively on one extreme versus the other, and as an alternative, she develops these two operational strands into a holistic and balanced approach. Termed succession, Horlacher's analytical method draws attention to the threads of continuity in Stravinsky's repetitive musical materials, a perspective that she contends is essential for understanding the many ways in which Stravinsky's music challenges traditional conceptions of temporality.[3] Building Blocks is organized into five chapters, each of which fleshes out the notion of ordered succession in a variety of musical contexts. Chapter 1 informally rehearses the book's analytical method by highlighting how the seeming repetitiveness in the first movement of Stravinsky's Three Pieces for String Quartet (1914) is nevertheless driven by an underlying progressive strategy. Horlacher borrows the chapter's subtitle, A shaking and cracking of dancing bones, from poet Amy Lowell, who was inspired by this music to imagine peasants dancing awkwardly out of sync with one another. Similarly, Horlacher tracks the playful intrusion of the second violin earlier and earlier into the musical texture, finding in Stravinsky's sketches a process of experimentation with this motive against the other contrapuntal lines. To close the chapter, Horlacher extrapolates from the two defining features of an ostinato-namely, order and repetition-to suggest that Stravinsky's music, which is so highly dependent on ostinati, is ideally suited to engaging in the interplay between connection and discontinuity.[4] Chapter 2 (Connecting the Blocks) represents the conceptual core of the book, in which Horlacher formally expounds the theory of ordered succession to track the progress of a musical fragment over the course of a piece. She considers how often a fragment is iterated, the order in which its varied reiterations occur, how it alternates with contrasting motives, and when its iterations cease. Ordered succession can also measure the relations between musical fragments, including situations where reiterations are interrupted or noncontiguous, and where boundaries are detached, overlapped, or blurred. Horlacher asserts that ordered succession derives from Stravinsky's own compositional practice, demonstrating how the composer was obsessed with the shaping, order, and assembly of musical fragments in the Rite of Spring sketches.[5] Ordered succession draws upon a long-standing convention of graphic display in Stravinsky studies, but Horlacher's model is certainly the most formalized in this tradition. …

Combining sketches and wavelet analysis for multi time-scale network anomaly detection

With the rapid development and the increasing complexity of computer and communication systems and networks, traditional security technologies and measures can not meet the demand for integrated and dynamic security solutions. In this scenario, the use of Intrusion Detection Systems has emerged as a key element in network security. In this paper we address the problem proposing a wavelet-based technique able to detect network anomalies almost in real-time. In more detail, our approach is based on the combined use of sketches and wavelet analysis to reveal the anomalies in data collected at the router level. Moreover, to improve the detection rate we propose a multi time-scale analysis. The performance analysis, presented in this paper, demonstrates the effectiveness of the proposed method.

New Methods in Design Education: The Systemic Methodology and the Use of Sketch in the Conceptual Design Stage

This study describes the application of a new product concurrent design methodologies in the context in the education of industrial design. The use of the sketch has been utilized many times as a tool of creative expression especially in the conceptual design stage, in an intuitive way and a little out of the context of the reality needs that the design should be attended. This methodology systematizes and guides the process of sketching by means of a conceptual model and a geometric model toward a feasible solution, complementing the role of the sketch in the phase of a product conceptual design. The model describes its operating principles, as well as the phases of implementation in the context of teaching the industrial design illustrated with projects carried out in the workshop of conceptual design of the University Technical College of Valencia and University of the Bio-Bio, Chile. Finally, we discuss the implementation of the systemic models, their relation with the optimisation of the sketching process in the conceptual design stage, and their implications in the educational context.

Idea Exchange and Shared Understanding: Tools Stimulating Thought and Conveying Ideas

The topic of this paper is the use of sketching when exchanging shape visions. Attaining a shared understanding in a collaborative design project is examined. The interaction acts of an industrial ...

Visualization and model formulation: an analysis of the sketches of expert modellers

We report on an exploratory study of the use of sketches by experts engaged in the formulation of operational research models. We outline a methodology to identify sketches, link them to text in an associated verbal protocol, classify them, and relate their use to the modelling process. We found that use of sketches is part of the personal modelling style of experts, that sketches are used more when the focus is on model structure or realization than on model context or assessment, that sentential sketches tend to be started sooner than diagrammatic sketches, and that sketching generally begins earlier on more difficult problems. We expect that such descriptive studies of expert behaviour will be useful in developing a science of modelling and in teaching novice modellers.

Editing the topology of 3D models by sketching

We present a method for modifying the topology of a 3D model with user control. The heart of our method is a guided topology editing algorithm. Given a source model and a user-provided target shape, the algorithm modifies the source so that the resulting model is topologically consistent with the target. Our algorithm permits removing or adding various topological features (e.g., handles, cavities and islands) in a common framework and ensures that each topological change is made by minimal modification to the source model. To create the target shape, we have also designed a convenient 2D sketching interface for drawing 3D line skeletons. As demonstrated in a suite of examples, the use of sketching allows more accurate removal of topological artifacts than previous methods, and enables creative designs with specific topological goals.

Editing the topology of 3D models by sketching

We present a method for modifying the topology of a 3D model with user control. The heart of our method is a guided topology editing algorithm. Given a source model and a user-provided target shape, the algorithm modifies the source so that the resulting model is topologically consistent with the target. Our algorithm permits removing or adding various topological features (e.g., handles, cavities and islands) in a common framework and ensures that each topological change is made by minimal modification to the source model. To create the target shape, we have also designed a convenient 2D sketching interface for drawing 3D line skeletons. As demonstrated in a suite of examples, the use of sketching allows more accurate removal of topological artifacts than previous methods, and enables creative designs with specific topological goals.

Atlas of Procedures in Gynecologic Oncology

Levine DA, Barakat RR, Hoskins WJ. Atlas of Procedures in Gynecologic Oncology. 279 pages. New York and London: Martin Dunitz, Taylor & Francis Group plc, 2003. ISBN1-84184-196-X. Hardback price: GBP 135.00. According to the preface, the purpose of this atlas is to provide a detailed overview of the major procedures performed by gynecologic oncologists, using full-color photographs. The more than 800 images presented are of high quality on glossy paper, and the overall size is appropriate. The authors are experienced authorities in gynecologic oncology working at the Memorial Sloan-Kettering Cancer Center, New York, and at the Curtis and Elisabeth Anderson Cancer Institute, Savannah, Georgia. Dr Hoskins also serves as associate editor of the journal Gynecologic Oncology. Besides the authors there are 26 contributors, two of them from outside America. For European readers the atlas would have been even more relevant if more contributions had come from, for example, France and Germany. Standard procedures including surgical cytoreduction, radical abdominal hysterectomy, pelvic exenteration and various laparoscopic procedures are demonstrated with very good photos. Vaginal trachelectomy for fertility conservation in patients with early cervical cancer is also shown. Vulvectomy and the use of the sentinel node mapping is nicely presented. I would, however, have expected some pictures on methods for reconstructive surgery of the vulva. There are also some repetitions: three different chapters show laparoscopic pelvic lymph node dissection. Various smaller procedures commonly used in oncology are also shown. It seems, however, a little exaggerated to present 15 photos illustrating paracentesis, and 17 photos on the placement of a central venous catheter, a procedure that is commonly performed by the anesthesiologist. Appendectomy is covered by 18 photos, which is far too many. Although important in gynecologic oncology, brachytherapy seems a little misplaced among all the surgical procedures. The authors stress that they have made great efforts to preclude the use of sketches. In some cases, however, it might have been more informative and easier to understand if drawings of deeply located structures had accompanied the photos and if caudal–cephal and medial–lateral directions had been indicated. The book is accompanied by a valuable DVD that covers four chapters on laparoscopic surgery, namely, laparoscopic procedures of surgical staging, radical hysterectomy, extraperitoneal lymph node dissection, and second-look laparoscopy with intraperitoneal catheter placement. The indications, instruments and main surgical steps are outlined with comments on anatomical landmarks and precautions. In summary, this atlas is well done, although it could have been more strictly edited. For residents in training it can serve as a good introduction to various surgical procedures. Experienced gynecologic oncologists will also benefit from the presentations of new technologies.

Performance, Stability, Dynamics and Control of Airplanes

Performance, Stability, Dynamics and Control of Airplanes provides a comprehensive and integrated overview of several interrelated disciplines involving airplane performance. It contains all necessary background material on aerodynamics, dynamics, and control systems, discussing the fundamental principles with the use of sketches, solved examples, and design exercises. It is an ideal text for upper level undergraduates, graduate students, and professionals. Chapters 1 through 3 present basic principles of aerodynamics, aircraft performance, and static equilibrium and control in steady flight. Chapter 4 deals with aircraft dynamics and decoupled equations for longitudinal and lateral motion, and it introduces the concept of stability derivatives. Chapter 5 discusses design of stability augmentation systems and autopilots. Chapter 6 discusses aircraft response and methods of closed-loop control of aircraft, while Chapters 7 and 8 discuss problems of inertial coupling, aircraft spin, and high angle of attack. The third edition features updates throughout along with a new chapter 9 on stability, control issues, and challenges of unmanned aerial vehicles

Sketches and computations over fields

The goal of this short paper is to describe one possible use of sketches in computer algebra. We show that sketches are a powerful tool for the description of mathematical structures and for the description of computations.

Graphics in written directions: Appreciated by readers but not writers

AbstractThis series of studies investigated the ability of literate adults to exploit communications options that are available to writers but have no counterpart in speech. Specifically it examined people's use of sketches when giving written directions to help a stranger cross town. When writing an informal letter to a friend most directions were given in prose paragraph style (Experiment 1). Almost no‐one included a sketch, even if given a street map as an aid. Yet most subjects could draw adequate sketch maps (Experiment 2), and everyone said yes when asked whether they would include a sketch in a letter. So the previous choices were not constrained either by graphic skill or by judgements concerning the appropriateness of a sketch, When people were asked to 'design' the back page of a leaflet they still did not include a sketch (Experiment 3). Experiment 4 showed that any bias in the instructions was towards rather than against the use of sketches. The need to generate the sketch was removed in Experiment 5 where subjects composed the leaflet page from pre‐formed sections that included alternative routes in both words and diagrams. Nearly all subjects now included a sketch in their directions. In case subjects previously, in haste, had not considered the possibility of including a sketch map, they were made aware of the drawing option by rating the usability of route information in a variety of communication styles immediately before writing their own directions (Experiment 6). People rated directions that included diagrams as significantly more usable, but still most subjects did not include a sketch in the directions they gave. So the communication styles that readers recognized as successful were not determining their choices as writers. It is suggested that, when giving written directions, inexperienced writers rely too heavily on how they would respond as speakers.

Het Toren van Babel-schilderij in het Mauritshuis. Een illustratie van de relatie tussen de 15 de-eeuwse miniatuur- en schilderkunst in de Nederlanden

AbstractIn the Mauritshuis at Thc Hague is the earliest extant painting on the theme of the Tower of Babel (fig. I). The panel's smal size (19.7 × 17 cm) and the min ute detail of the narrative scene suggest a relationship with the art of the miniaturc. This connection, which is demonstrable in other early representations of the theme (figs. 2-3), is confirmed by numerous motivic similarities with a number of miniatures (figs.4 6) in Les anciennes croniques et conquestes de Charlemaine, a manuscript which was illuminated by Jan de Tavernier between 1458 and c. 1465 and shortly afterwards showed up in the library of Philip, Duke of Burgundy. It is now in the Albert I Royal Library in Brussels. The anonymous painter of the panel was probably not in a position to base his work directly on the actual miniatures, but he may well have made use of sketches which served for the illumination of manuscripts in De Tavernier's studio. However, it cannot be ruled out that a Tower of Babel was painted in that studio. Neither the obvious relationship with De Tavernier's oeuvre nor corresponding motifs in paintings from the Bruges (fig. 8) and Haarlem (fig. 9) environments yield a logical hypothesis for an attribution of the panel in The Hague. The article does however draw attention, to the important but hitherto insufficiently examined relationship between 15th-century painting and the contemporary miniature (and other art techniques).