Virgil's fourth Eclogue and the visual arts

Virgil's poetry has frequently appeared in illustrated editions, and has regularly provided subjects for other works of art, including some of the most celebrated masterpieces of the western tradition. In view of its constant appropriation in literary contexts over the course of the centuries, we might expect the famous fourth Eclogue (the so-called ���messianic��� eclogue) to have exerted more of an impact on visual culture than it appears to have done. This paper considers some of the possible reasons for the apparent scarcity of engagement with Virgil's poem beyond the literary sphere, and examines the uses to which the poet's text is put when it does make an appearance in visual media ��� perhaps more often than has sometimes been supposed.

Rotational aesthetics: Michael Bay and contemporary cinema���s machine movement

Digital imaging technologies enable a mastery of the visual that in recent mainstream cinema frequently manifests as certain kinds of spatial reach, orientation and motion. In such a context Michael Bay���s Transformers franchise can be framed as a digital re-tooling of a familiar fantasy of vehicular propulsion, US car culture writ large in digitally crafted spectacles of diegetic speed, the vehicular chase film ���2.0���. Movement is central to these films, calling up Scott Bukatman���s observation that in spectacular visual media ���movement has become more than a tool of bodily knowledge; it has become an end in itself��� (2003: 125). Not all movements and not all instances of vehicular propulsion are the same however. How might we evaluate what is at stake in a film���s assertion of movement as an end in itself, and the form that assertion takes, its articulations of diegetic velocity, corporeality, and spatial penetration? Deploying an attentiveness towards the specificity of aesthetic detail and affective impact in Bay���s delineation of movement, this essay suggests that the franchise poses questions about the relationship of human movement to machine movement that exceed their narrative basis. Identifying a persistent rotational trope in the franchise that in its audio-visual articulation combines oddly anachronistic elements (evoking the mechanical rather than the digital), the article argues that the films prioritise certain fantasies of transformation and spatial penetration, and certain modes of corporeality, as one response to contemporary debates about digital technologisation, sustainable energy, and cinematic spectacle. In this way the franchise also represents a particular moment in a more widely discernible preoccupation in contemporary cinema with what we might call a ���rotational aesthetics��� of action, a machine movement made possible by the digital, but which invokes earlier histories and fantasies of animation, propulsion, mechanization and mechanization to particular ends.

The new Hollywood, 1981���1999: special/visual effects

The emergence and development of digital imaging technologies and their impact on mainstream filmmaking is perhaps the most familiar special effects narrative associated with the years 1981-1999. This is in part because some of the questions raised by the rise of the digital still concern us now, but also because key milestone films showcasing advancements in digital imaging technologies appear in this period, including Tron (1982) and its computer generated image elements, the digital morphing in The Abyss (1989) and Terminator 2: Judgment Day (1991), computer animation in Jurassic Park (1993) and Toy Story (1995), digital extras in Titanic (1997), and ���bullet time��� in The Matrix (1999). As a result it is tempting to characterize 1981-1999 as a ���transitional period��� in which digital imaging processes grow in prominence and technical sophistication, and what we might call ���analogue��� special effects processes correspondingly become less common. But such a narrative risks eliding the other practices that also shape effects sequences in this period. Indeed, the 1980s and 1990s are striking for the diverse range of effects practices in evidence in both big budget films and lower budget productions, and for the extent to which analogue practices persist independently of or alongside digital effects work in a range of production and genre contexts. The chapter seeks to document and celebrate this diversity and plurality, this sustaining of earlier traditions of effects practice alongside newer processes, this experimentation with materials and technologies old and new in the service of aesthetic aspirations alongside budgetary and technical constraints. The common characterization of the period as a series of rapid transformations in production workflows, practices and technologies will be interrogated in relation to the persistence of certain key figures as Douglas Trumbull, John Dykstra, and James Cameron, but also through a consideration of the contexts for and influences on creative decision-making. Comparative analyses of the processes used to articulate bodies, space and scale in effects sequences drawn from different generic sites of special effects work, including science fiction, fantasy, and horror, will provide a further frame for the chapter���s mapping of the commonalities and specificities, continuities and variations in effects practices across the period. In the process, the chapter seeks to reclaim analogue processes��� contribution both to moments of explicit spectacle, and to diegetic verisimilitude, in the decades most often associated with the digital���s ���arrival���.

The history of the practice of strategy from Antiquity to Napoleon

This chapter outlines the history of the practice of strategy, predating the introduction of the term. It homes in on episodes of European history since Antiquity for which historians claim to have found evidence of the practice of strategy, defined by Kimberly Kagan as ���the setting of a state���s objectives and of priorities among those objectives��� in order to allocate resources and choose the best means. While focusing only on Europe, this chapter covers case studies over nearly 2500 ranging from the wars of Ancient Greece, of the Romans to Medieval warfare (here with a focus on English history), the warfare of Philip II of Spain, Louis XIV of France, Frederick II of Prussia, the French Revolutionaries and Napoleon.

Anticipatory governance for social-ecological resilience

Anticipation is increasingly central to urgent contemporary debates, from climate change to the global economic crisis. Anticipatory practices are coming to the forefront of political, organizational, and citizens��� society. Research into anticipation, however, has not kept pace with public demand for insights into anticipatory practices, their risks and uses. Where research exists, it is deeply fragmented. This paper seeks to identify how anticipation is defined and understood in the literature and to explore the role of anticipatory practice to address individual, social, and global challenges. We use a resilience lens to examine these questions. We illustrate how varying forms of anticipatory governance are enhanced by multi-scale regional networks and technologies and by the agency of individuals, drawing from an empirical case study on regional water governance of M��laren, Sweden. Finally, we discuss how an anticipatory approach can inform adaptive institutions, decision making, strategy formation, and societal resilience.

Making: the invisible visible

In this book essay I argue that modern and contemporary works of art (i.e. paintings, photographs, films, and videos) really ought to retrieve something of their auratic-character, which turns the physical toward the metaphysical, the material toward the immaterial, the visible toward the invisible - making artworks, ���things among things, something other than [a] thing��� (Theodor W. Adorno,��Aesthetic Theory,��86). There is, perhaps, an aura to art or art is a medium or a conduit or a technology for rediscovering and reproducing aura, which makes it something other than a mere thing. Such works of art are constitutively enigmatic, a certain form of magic making: they (re-)distribute the visible and the invisible, they (re-)configure appearance and disappearance. Such works of art may become visual events, which begin an education in and through (dis-)appearances. To achieve this end, I detail Theodor W. Adorno���s and Walter Benjamin���s respective theories of (art���s) aura in the age of technological reproducibility, which I relate to Jacques Ranci��re���s more recent discussion of the ���pensive image,��� and I focus my reading on a number of works by Susan Hiller (photographs), John Constable (paintings), Alfred Stieglitz (photographs), and Tacita Dean (photograph and 16mm film).

Convergence accommodation in orthoptic practice

Aims. Orthoptists are familiar with AC/A ratios and the concept that accommodation drives convergence, but the reverse relationship, that of the accommodation associated with convergence, is rarely considered. Methods. This article reviews published evidence from our laboratory which has investigated the drives to both vergence and accommodation. All studies involved a method by which accommodation and vergence were measured concurrently and objectively to a range of visual stimuli which manipulate blur, disparity and proximal/looming cues in different combinations. Results Results are summarised for both typical and atypical participants, and over development between birth and adulthood. Conclusions For the majority of typical children and adults, as well as patients with most heterophorias and intermittent exotropia, disparity is the main cue to both vergence and accommodation. Thus the convergence���accommodation relationship is more influential than that of accommodative vergence. Differences in ���style��� of near cue use may be a more useful way to think about responses to stimuli moving in depth, and their consequences for orthoptic patients, than either AC/A or CA/C ratios. The implications of a strong role for vergence accommodation in orthoptic practice are considered.

Image indexing and retrieval using an ART-2A neural network architecture

Traditional content-based image retrieval (CBIR) systems use low-level features such as colors, shapes, and textures of images. Although, users make queries based on semantics, which are not easily related to such low-level characteristics. Recent works on CBIR confirm that researchers have been trying to map visual low-level characteristics and high-level semantics. The relation between low-level characteristics and image textual information has motivated this article which proposes a model for automatic classification and categorization of words associated to images. This proposal considers a self-organizing neural network architecture, which classifies textual information without previous learning. Experimental results compare the performance results of the text-based approach to an image retrieval system based on low-level features. (c) 2008 Wiley Periodicals, Inc.

3D face computational photography using PCA spaces

In this paper, we present a 3D face photography system based on a facial expression training dataset, composed of both facial range images (3D geometry) and facial texture (2D photography). The proposed system allows one to obtain a 3D geometry representation of a given face provided as a 2D photography, which undergoes a series of transformations through the texture and geometry spaces estimated. In the training phase of the system, the facial landmarks are obtained by an active shape model (ASM) extracted from the 2D gray-level photography. Principal components analysis (PCA) is then used to represent the face dataset, thus defining an orthonormal basis of texture and another of geometry. In the reconstruction phase, an input is given by a face image to which the ASM is matched. The extracted facial landmarks and the face image are fed to the PCA basis transform, and a 3D version of the 2D input image is built. Experimental tests using a new dataset of 70 facial expressions belonging to ten subjects as training set show rapid reconstructed 3D faces which maintain spatial coherence similar to the human perception, thus corroborating the efficiency and the applicability of the proposed system.

Fakalakalaka : The impact of a Tongan notion of development in a contemporary transnational world

This paper aims to explore a Tongan notion of development ���'fakalakalaka' ��� in light of Western notions of development. Two case studies of international development aid schemes illustrate the impact of Tongan development ideas in practice. Drawing on a number of ethnographers' work on Tonga, 'fakalakalaka' appears broader than the Western notion of development. The latter is characterised by influential ideals of controllability and industrialisation. The notion of development among Tongans, on the other hand, tends to be directed by an underlying persistence that, for instance, reflects Tongan core values regarding social organisation. The production of textile 'koloa', controlled by women, emerges as central to the accomplishment of this three-dimensional development notion of intertwined physical, mental and spiritual aspects. The importance attributed to this specific kind of textile has increased in recent years and found two additional roles, or development strategies, in Tongans' contemporary transnational world.

Understanding eParticipation : Contemporary PhD eParticipation Research in Europe

This book presents contemporary European research on eParticipation by means of a 13 chapters each describing a PhD research project as well as analyses of this research. The book both reflects the field and contributes to shaping it by discussing both long-standing and emerging issues. Contributions include three chapters on issues of DEVELOPMENT, including communities of practice, user-centred development, and safety & privacy issues, four chapters on IMPLEMENTATION, including spatial planning, participatory budgeting, and transformation processes, and five chapters on issues of USE, focusing on local government, developing countries, EU, civil society and NGO.

Dynamic whole system testing of combined renewable heating systems : the current state of the art

Objective: For the evaluation of the energetic performance of combined renewable heating systems that supply space heat and domestic hot water for single family houses, dynamic behaviour, component interactions, and control of the system play a crucial role and should be included in test methods. Methods: New dynamic whole system test methods were developed based on ���hardware in the loop��� concepts. Three similar approaches are described and their differences are discussed. The methods were applied for testing solar thermal systems in combination with fossil fuel boilers (heating oil and natural gas), biomass boilers, and/or heat pumps. Results: All three methods were able to show the performance of combined heating systems under transient operating conditions. The methods often detected unexpected behaviour of the tested system that cannot be detected based on steady state performance tests that are usually applied to single components. Conclusion: Further work will be needed to harmonize the different test methods in order to reach comparable results between the different laboratories. Practice implications: A harmonized approach for whole system tests may lead to new test standards and improve the accuracy of performance prediction as well as reduce the need for field tests.

Catalog of Paintings Exhibited in the Colby College Art Museum May 8 -22- 1974

This catalog describes paintings by the author, completed as his Senior Scholar Project in art and exhibited in the Colby College Art Museum. Images of the paintings are not available.

Art of Goya as a significant reflection of his time

This thesis examines the story of how Goya came to be the artist he was and of the times which made him what he was, and which he so well mirrored. Francisco Goya y Lucientes is a remarkable figure in the history of art. Rarely has an artist arisen from such a cultural vacuum; rarely has an artist done so much to establish a cultural reputation for his country; rarely has an artist reflected so accurately the spirit of his time; and rare is the artist who has such an important influence on all the significant art of the future.