The rise of classical English criticism; a history of the canons of English literary taste and rhetorical doctrine, from the beginning of English criticism to the death of Dryden,

Two chapters appeared originally in Englische studien and the Journal of English and Germanic philology.

Compte-rendu de la Commission impériale archéologique pour l'année 1859[-1888].

Index at end of each volume; a brief summary of the Comptes rendus 1859-1881 and an index to the Supplements by Stephani have been added to the "Antiquités du Bosphore Cimmérien rééditées ... par Salomon Reinach, Paris, 1892".

A guide to classical learning, or, Polymetis abridged ... : being a work necessary not only for classical instruction, but for all those who wish to have a true taste for the beauties of poetry, sculpture and painting /

Plate engraved by P. Fourdrinier.

The mythology of Greece and Rome : with special reference to its use in art /

Includes index.

The mythology of Greece and Rome : with special reference to its use in art /

Translation of: Kleine mythologie der Griechen undRömer.

Flaxman's classical outlines /

Separate title-page for each set of plates.

Exhibition of the Kevorkian collection : including objects excavated under his supervision : exhibited at the galleries of Charles of London ... New York, March-April, 1914.

Cover title: Exhibition of Muhammedan-Persian art.

Catalogue of a loan exhibition of ancient Chinese paintings, sculptures & jade objects from the collection formed by Charles Lang Freer & given by him to the nation through the Smithsonian Institution. Exhibition November 15 to December 8, 1917.

Comp. by Frederich William Gookin.

MASHALIM PARA CONTAR - SUBSÍDIOS PARA A EDUCAÇÃO PARA A PRUDENTIA

Essa pesquisa tem por objetivo estudar o significado e o alcance educativos, por um lado da virtude da prudentia e, por outro, da arte de contar mashalim. O objetivo específico é elaborar uma coletânea que ajude a resgatar a relação prudentia / narrativas na formação de professores de ensino fundamental e médio e também dotar o docente de um material que sirva para que ele mesmo elabore o seu próprio repertório nesse campo. O material aqui apresentado é uma coletânea acompanhada de reflexões filosóficas e pedagógicas, que ajudaram a compreender os valores antropológicos das situações envolvidas. Para isso, apoiamo-nos no referencial teórico clássico de Tomás de Aquino, especialmente em seus estudos sobre essa virtude (Tomás de Aquino, 2005), e em seus intérpretes contemporâneos: Josef Pieper e Jean Lauand. Além disso, foi central a minha experiência pessoal como contadora de histórias que se baseia no psicodramatista Moreno, no biólogo Maturana e em teóricos que têm desenvolvido trabalhos referentes à leitura e escrita para ampliar o diálogo com os professores.

Fitness and novelty in evolutionary art

In this paper the effects of introducing novelty search in evolutionary art are explored. Our algorithm combines fitness and novelty metrics to frame image evolution as a multi-objective optimisation problem, promoting the creation of images that are both suitable and diverse. The method is illustrated by using two evolutionary art engines for the evolution of figurative objects and context free design grammars. The results demonstrate the ability of the algorithm to obtain a larger set of fit images compared to traditional fitness-based evolution, regardless of the engine used.

Modelling the Functionality of the Multimedia Digital Library for Fashion Objects

This paper describes a project of a multimedia digital library for fashion objects. The presented work aims to provide an environment for the National Art Academy students works, showing in front a professional and nonprofessional public the significant values of the fashion domain.

Jan Steen and The doctor’s visit: Classical Tradition in Golden Age Dutch painting (1st Part)

First one of a two-part analysis on the influence of the Classical Tradition on a favourite theme along the Dutch painters of the Golden Age, The doctor’s visit or The lovesick maiden, especially in the Leiden artist’s production, Jan Steen (1626-1679).

Macroscopic Quantum Resonators (MAQRO): 2015 update

Do the laws of quantum physics still hold for macroscopic objects - this is at the heart of Schrödinger’s cat paradox - or do gravitation or yet unknown effects set a limit for massive particles? What is the fundamental relation between quantum physics and gravity? Ground-based experiments addressing these questions may soon face limitations due to limited free-fall times and the quality of vacuum and microgravity. The proposed mission Macroscopic Quantum Resonators (MAQRO) may overcome these limitations and allow addressing such fundamental questions. MAQRO harnesses recent developments in quantum optomechanics, high-mass matter-wave interferometry as well as state-of-the-art space technology to push macroscopic quantum experiments towards their ultimate performance limits and to open new horizons for applying quantum technology in space. The main scientific goal is to probe the vastly unexplored ‘quantum-classical��� transition for increasingly massive objects, testing the predictions of quantum theory for objects in a size and mass regime unachievable in ground-based experiments. The hardware will largely be based on available space technology. Here, we present the MAQRO proposal submitted in response to the 4th Cosmic Vision call for a medium-sized mission (M4) in 2014 of the European Space Agency (ESA) with a possible launch in 2025, and we review the progress with respect to the original MAQRO proposal for the 3rd Cosmic Vision call for a medium-sized mission (M3) in 2010. In particular, the updated proposal overcomes several critical issues of the original proposal by relying on established experimental techniques from high-mass matter-wave interferometry and by introducing novel ideas for particle loading and manipulation. Moreover, the mission design was improved to better fulfill the stringent environmental requirements for macroscopic quantum experiments.

The Role of Art in Computer Game Design

Computer games are significant since they embody our youngsters’ engagement with contemporary culture, including both play and education. These games rely heavily on visuals, systems of sign and expression based on concepts and principles of Art and Architecture. We are researching a new genre of computer games, ‘Educational Immersive Environments’ (EIEs) to provide educational materials suitable for the school classroom. Close collaboration with subject teachers is necessary, but we feel a specific need to engage with the practicing artist, the art theoretician and historian. Our EIEs are loaded with multimedia (but especially visual) signs which act to direct the learner and provide the ‘game-play’ experience forming semiotic systems. We suggest the hypothesis that computer games are a space of deconstruction and reconstruction (DeRe): When players enter the game their physical world and their culture is torn apart; they move in a semiotic system which serves to reconstruct an alternate reality where disbelief is suspended. The semiotic system draws heavily on visuals which direct the players’ interactions and produce motivating gameplay. These can establish a reconstructed culture and emerging game narrative. We have recently tested our hypothesis and have used this in developing design principles for computer game designers. Yet there are outstanding issues concerning the nature of the visuals used in computer games, and so questions for contemporary artists. Currently, the computer game industry employs artists in a ‘classical��� role in production of concept sketches, storyboards and 3D content. But this is based on a specification from the client which restricts the artist in intellectual freedom. Our DeRe hypothesis places the artist at the generative centre, to inform the game designer how art may inform our DeRe semiotic spaces. This must of course begin with the artists’ understanding of DeRe in this time when our ‘identities are becoming increasingly fractured, networked, virtualized and distributed’ We hope to persuade artists to engage with the medium of computer game technology to explore these issues. In particular, we pose several questions to the artist: (i) How can particular ‘periods’ in art history be used to inform the design of computer games? (ii) How can specific artistic elements or devices be used to design ‘signs’ to guide the player through the game? (iii) How can visual material be integrated with other semiotic strata such as text and audio?