Analysis of red pigments from the Neolithic sites of Çatalhöyük in Turkey and Sheikh-e Abad in Iran

Samples containing red pigment have been collected from two different archaeological sites dating to the Neolithic (Çatalhöyük in Turkey and Sheikh-e Abad in Iran) and have been analysed by a range of techniques. Sub-samples were examined by IR spectroscopy and X-ray diffraction, whilst thin sections were studied using optical polarising microscopy, synchrotron based IR microscopy and environmental scanning electron microscopy with energy dispersive X-ray analysis. Thin layers of red paint in a wall painting from Çatalhöyük were found to contain ochre (hematite and clay) as well as an unexpected component, grains of red and colourless obsidian, which have not been identified in any previous studies of the wall paintings at Çatalhöyük. These small grains of obsidian may have improved the reflective properties of the paint and made the artwork more vivid in the darkness of the buildings. Analysis of a roughly shaped ball of red sediment found on a possible working surface at Sheikh-e Abad revealed that the cause of the red colouring was the mineral hematite, which was probably from a source of terra rossa sediment in the local area. The results of this work suggest it is unlikely that this had been altered by the Neolithic people through mixing with other minerals.

Nowhere

Nowhere is part on the series notebook architecture. The painting works with a language of forms to construct rather than represent architectural space. What the painting seeks to construct is a dialogue on depth wherein painting is conceived as quasi phenomenological project.

Screens

Summer Saloon presented at Lion and Lamb an exhibition venue dedicated to showing current painting. My work "Screens" constructs rather than represents an existing architectural space. The painting investigates an experience of phenomenological depth distinct from the model of perspective depth.

John Wikins

My essay is an analysis of the paintings of John Wilkins that contextualizes his mode of abstract painting within the semiological turn of post eighties painting.

Terahertz analysis of stratified wall plaster at buildings of cultural importance across Europe

Terahertz (THz) radiation is being developed as a tool for the analysis of cultural heritage, and due to recent advances in technology is now available commercially in systems which can be deployed for field analysis. The radiation is capable of penetrating up to one centimetre of wall plaster and is delivered in ultrafast pulses which are reflected from layers within this region. The technique is non-contact, non-invasive and non-destructive. While sub-surface radar is able to penetrate over a metre of wall plaster, producing details of internal structures, infrared and ultraviolet techniques produce information about the surface layers of wall plaster. THz radiation is able to provide information about the interim region of up to approximately one centimetre into the wall surface. Data from Chartres Cathedral, France, Riga Dome Cathedral, Latvia, and Chartreuse du Val de Bénédiction, France is presented each with different research questions. The presence of sub-surface paint layers was expected from documentary evidence, dating to the 13th Century, at Chartres Cathedral. In contrast, at the Riga Dome Cathedral surface painting had been obscured as recently as 1941 during the Russian occupation of Latvia using white lead-based paint. In the 13th Century, wall paintings at the Chapel of the Frescos, Chartreuse du Val de Benediction in Villeneuve les Avignon were constructed using sinopia under-painting on plaster covering uneven stonework.. This paper compares and contrasts the ability of THz radiation to provide information about sub-surface features in churches and Cathedrals across Europe by analysing depth based profiles gained from the reflected signal. © (2013) COPYRIGHT Society of Photo-Optical Instrumentation Engineers (SPIE).

Monuments should not be trusted exhibition

Monuments Should Not Be Trusted brings together over 30 leading artists and groups from the “golden years” of the Socialist Federal Republic of Yugoslavia - the period between the early 1960s and the mid 1980s. Over 100 artworks and artefacts illuminate the key contradictions of this single party state – built after WWII on socialist principles, yet immersed in “utopian consumerism.” This is the first time in the UK that the art of this period, which has attracted increasing attention, has been shown in the context of the social, economic and political conditions that gave rise to it. It draws on new and innovative research on this period, and features many of its most celebrated artists. The exhibition begins with the rise of consumerism, midway through President Josip Broz Tito’s 37 year presidency, and ends a few years after his death in 1980. As well as artists’ works in moving image, collage, photography, sculpture and painting, the exhibition encompasses music, TV clips and fascinating artefacts, such as gifts made by workers for President Tito’s birthday, and relay batons which were carried across the country and ceremonially presented to him.

Aesthetical and narrative uses of the trench in the Hollywood cinema of 1918-1930

Throughout history of painting, the representation of landscape has been considered a laboratory for the human gaze on the world. The First World War and its new approach to the battlefield altered deeply the classical forms of representation, and replaced them with a mechanised and fragmentary vision, which was related with the development of photography and cinema. As Vicente J. Benet has analysed, Hollywod cinema used these deep changes in its filmic versions of the conflict, although it organised them following a narrative logic. In this text we intend to study how the battlefield and, particularly, the trench, are inserted in this logic of the history of landscape painting. We do so through some Hollywood films from the period 1918-1930. Firstly, we approach the trench as a composition value which can structure the image and guide the camera movement. In the second place, we study how it creates a dialog between its inside, melodrama scenery, and the outside, battlefield and danger. In both cases, we conclude that the trench as a form and as a narrative element plays a structuring and integrative role with the storytelling logic.

Order and disorder in fiction labyrinths: the librarians` representations in some contemporary cultural productions

This paper, first result of a larger research, proposes a query about some aspects of social representation of libraries and librarians, as they appear in literary and cinematographic productions. Little by little, this query, which arose from purposes of organizing catalogues, revealed elements that established different series, in which the narrative genre (literary or cinematographic) has no relevance to either libraries or librarians` representations. The presence of these elements seems to show some expectations and utopias in relation to the common knowledge, independently from narratives being located in the past, in the present or in the future, stimulating reflection on some medieval and baroque traditions about the library universe and its main characters, the librarians. The cinematographic material selected for research was The time machine, Farenheit 451, The day after tomorrow, Star Wars - episode II and the novels Martin Eden, The man without qualities, The time machine and La sombra del viento.

Independent fusions and recent origins of sex chromosomes in the evolution and diversification of glass knife fishes (Eigenmannia)

The genus Eigenmannia comprises several species groups that display a surprising variety of diploid chromosome numbers and sex-determining systems. In this study, hypotheses regarding phylogenetic relationships and karyotype evolution were investigated using a combination of molecular and cytogenetic methods. Phylogenetic relationships were analyzed for 11 cytotypes based on sequences from five mitochondrial DNA regions. Parsimony-based character mapping of sex chromosomes confirms previous suggestions of multiple origins of sex chromosomes. Molecular cytogenetic analyses involved chromosome painting using probes derived from whole sex chromosomes from two taxa that were hybridized to metaphases of their respective sister cytotypes. These analyses showed that a multiple XY system evolved recently (<7 mya) by fusion. Furthermore, one of the chromosomes that fused to form the neo-Y chromosome is fused independently to another chromosome in the sister cytotype. This may constitute an efficient post-mating barrier and might imply a direct function of sex chromosomes in the speciation processes in Eigenmannia. The other chromosomal sex-determination system investigated is shown to have differentiated by an accumulation of heterochromatin on the X chromosome. This has occurred in the past 0.6 my, and is the most recent chromosomal sex-determining system described to date. These results show that the evolution of sex-determining systems can proceed very rapidly. Heredity (2011) 106, 391-400; doi:10.1038/hdy.2010.82; published online 23 June 2010

A Rare Case of Trisomy 15pter-q21.2 Due to a De Novo Marker Chromosome

Supernumerary marker chromosomes (sSMC) may or may not be associated with an abnormal phenotype, depending on the presence of euchromatin, on their chromosomal origin and whether they are inherited. Over 80% of sSMCs are derived from acrocentric chromosomes and half of them include the short arm of chromosome 15. Generally, they appear as bisatellited isodicentric marker chromosomes, most of them are symmetric. These chromosomes are normally originated de novo and are associated with mild to severe intellectual disability but not with physical abnormalities. We report on a patient with an SMC studied using classical and molecular cytogenetic procedures (G and C banding, NOR staining, painting and centromeric fluorescent in situ hybridization (FISH), BAC-FISH, and SKY). The MLPA technique and DNA polymorphic markers were used in order to identify its parental origin. The marker chromosome, monosatellited and monocentric, was found to be derived from a maternal chromosome 15 and was defined as 15pter-q21.2. This is the report of the largest de novo monosatellited 15q marker chromosome ever published presenting detailed cytogenetic and clinical data. It was associated with a phenotype including cardiac defect, absence of septum pellucidum, and dysplasia of the corpus callosum. (C) 2010 Wiley-Liss, Inc.

Interactive Vector Field Feature Identification

We introduce a flexible technique for interactive exploration of vector field data through classification derived from user-specified feature templates. Our method is founded on the observation that, while similar features within the vector field may be spatially disparate, they share similar neighborhood characteristics. Users generate feature-based visualizations by interactively highlighting well-accepted and domain specific representative feature points. Feature exploration begins with the computation of attributes that describe the neighborhood of each sample within the input vector field. Compilation of these attributes forms a representation of the vector field samples in the attribute space. We project the attribute points onto the canonical 2D plane to enable interactive exploration of the vector field using a painting interface. The projection encodes the similarities between vector field points within the distances computed between their associated attribute points. The proposed method is performed at interactive rates for enhanced user experience and is completely flexible as showcased by the simultaneous identification of diverse feature types.

Piano Performance at the New York Trade School

A piano player is shown performing at the New York Trade School. He is likely playing on a piano tuned or built by students in the Piano Crafts Department at the school. Black and white photograph.

Electrical Lecture

Students fill a lecture room at the New York Trade School. The illustration on the board indicates that this is probably a lecture in the Electrical Department. Black and white photograph.

Ett rikare språk med bildmunta : Vad är ett rikt språk och kan bildskapande stimulera till ett rikare språk

A richer language when painting before speaking? – What is a rich language and can painting stimulate towards a richer language?In this work I seek to answer two questions. What may a “richer” language mean and does it become richer when the informants, as a preparation, paint what they are going to talk about in front of the class, than when they do not paint? This I try to do by studying earlyer research about how to measure the richness in languages and by analysing video recordings of speeches when the students in an sfi-class (Swedish for foreigners) painted or did not paint before the speech, and by analysing the richness in their language. The result is my own definition of what rich language is in this context, and a conclusion that painting stimulates the students to use more words and to use specific words that they need to bring the audience their message.

Metamorphic epiphany -- 3D animation

As far back as I can remember, I have always been interested in studio art. Whether it be painting, drawing, printmaking, or photography, it has consistently been a part of my life. Upon enrolling in Colby, I became interested in computers and decided to major my undergraduate college career in Computer Science. Not forgetting past interests, I continued my studio art education, taking several classes within the Art department. In due time, I began combining interests and began studying Computer Graphics and Design. With limited resources in this field at Colby, the majority of my computer graphic education and experience has been done on my own time apart from regular classroom work. As time progressed, so did my interests. Starting with simple image manipulation of digitally scanned photographs, I moved on to Web Page design, eventually leading to Desktop Publishing. Ultimately, I wanted to take a step further and expand my overall computer graphic knowledge by learning 3D modeling and animation. With even fewer resources in 3D animation at Colby, I perceived having trouble finding the information and tools I would need to gain the necessary skills for this new field. The Senior Scholars program gave me the opponunity to find and acquire the necessary tools to pursue my interest. This program also allowed me to devote the proper amount of time required for learning these new tools.