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non-objective painting</title> <meta name="description" content="Search results for: non-objective painting"> <meta name="keywords" content="non-objective painting"> <meta name="viewport" content="width=device-width, initial-scale=1, minimum-scale=1, maximum-scale=1, user-scalable=no"> <meta charset="utf-8"> <link href="https://cdn.waset.org/favicon.ico" type="image/x-icon" rel="shortcut icon"> <link href="https://cdn.waset.org/static/plugins/bootstrap-4.2.1/css/bootstrap.min.css" rel="stylesheet"> <link href="https://cdn.waset.org/static/plugins/fontawesome/css/all.min.css" rel="stylesheet"> <link href="https://cdn.waset.org/static/css/site.css?v=150220211555" rel="stylesheet"> </head> <body> <header> <div class="container"> <nav class="navbar navbar-expand-lg navbar-light"> <a class="navbar-brand" href="https://waset.org"> <img src="https://cdn.waset.org/static/images/wasetc.png" alt="Open Science Research Excellence" title="Open Science Research Excellence" /> </a> <button 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action="https://publications.waset.org/abstracts/search"> <div id="custom-search-input"> <div class="input-group"> <i class="fas fa-search"></i> <input type="text" class="search-query" name="q" placeholder="Author, Title, Abstract, Keywords" value="non-objective painting"> <input type="submit" class="btn_search" value="Search"> </div> </div> </form> </div> </div> <div class="row mt-3"> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Commenced</strong> in January 2007</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Frequency:</strong> Monthly</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Edition:</strong> International</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Paper Count:</strong> 106</div> </div> </div> </div> <h1 class="mt-3 mb-3 text-center" style="font-size:1.6rem;">Search results for: non-objective painting</h1> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">106</span> Mixed Model Sequencing in Painting Production Line</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Unchalee%20Inkampa">Unchalee Inkampa</a>, <a href="https://publications.waset.org/abstracts/search?q=Tuanjai%20Somboonwiwat"> Tuanjai Somboonwiwat </a> </p> <p class="card-text"><strong>Abstract:</strong></p> Painting process of automobiles and automobile parts, which is a continuous process based on EDP (Electrode position paint, EDP). Through EDP, all work pieces will be continuously sent to the painting process. Work process can be divided into 2 groups based on the running time: Painting Room 1 and Painting Room 2. This leads to continuous operation. The problem that arises is waiting for workloads onto Painting Room. The grading process EDP to Painting Room is a major problem. Therefore, this paper aim to develop production sequencing method by applying EDP to painting process. It also applied fixed rate launching for painting room and earliest due date (EDD) for EDP process and swap pairwise interchange for waiting time to a minimum of machine. The result found that the developed method could improve painting reduced waiting time, on time delivery, meeting customers wants and improved productivity of painting unit. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=sequencing" title="sequencing">sequencing</a>, <a href="https://publications.waset.org/abstracts/search?q=mixed%20model%20lines" title=" mixed model lines"> mixed model lines</a>, <a href="https://publications.waset.org/abstracts/search?q=painting%20process" title=" painting process"> painting process</a>, <a href="https://publications.waset.org/abstracts/search?q=electrode%20position%20paint" title=" electrode position paint"> electrode position paint</a> </p> <a href="https://publications.waset.org/abstracts/34291/mixed-model-sequencing-in-painting-production-line" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/34291.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">420</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">105</span> The Quality Improvement of Painting Assignments for Grade 4-6 Students by Using PDCA Cycle</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Pawinee%20Sorawech">Pawinee Sorawech</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The purpose of this study was to investigate the quality improvement of painting assignments for grade 4-6 students by using PDCA cycle. This study employed a qualitative technique. Suan Sunandha Rajabhat University and its demonstration school were selected as the area of study. An in-depth interview was utilized. The findings revealed that model of PDCA cycle was a proper model to increase the quality of painting assignments for grade 4-6 students. The six steps of improvement included: studying the PDCA model, setting up a plan, determining the scope of work, creating a strategy, developing a quality for painting assignment, and coming up with a handbook for a quality improvement of painting assignment. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=quality" title="quality">quality</a>, <a href="https://publications.waset.org/abstracts/search?q=painting%20assignments" title=" painting assignments"> painting assignments</a>, <a href="https://publications.waset.org/abstracts/search?q=PDCA%20cycle" title=" PDCA cycle"> PDCA cycle</a>, <a href="https://publications.waset.org/abstracts/search?q=grade%204-6%20students" title=" grade 4-6 students"> grade 4-6 students</a> </p> <a href="https://publications.waset.org/abstracts/14688/the-quality-improvement-of-painting-assignments-for-grade-4-6-students-by-using-pdca-cycle" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/14688.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">482</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">104</span> Material Analysis for Temple Painting Conservation in Taiwan</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Chen-Fu%20Wang">Chen-Fu Wang</a>, <a href="https://publications.waset.org/abstracts/search?q=Lin-Ya%20Kung"> Lin-Ya Kung</a> </p> <p class="card-text"><strong>Abstract:</strong></p> For traditional painting materials, the artisan used to combine the pigments with different binders to create colors. As time goes by, the materials used for painting evolved from natural to chemical materials. The vast variety of ingredients used in chemical materials has complicated restoration work; it makes conservation work more difficult. Conservation work also becomes harder when the materials cannot be easily identified; therefore, it is essential that we take a more scientific approach to assist in conservation work. Paintings materials are high molecular weight polymer, and their analysis is very complicated as well other contamination such as smoke and dirt can also interfere with the analysis of the material. The current methods of composition analysis of painting materials include Fourier transform infrared spectroscopy (FT-IR), mass spectrometer, Raman spectroscopy, X-ray diffraction spectroscopy (XRD), each of which has its own limitation. In this study, FT-IR was used to analyze the components of the paint coating. We have taken the most commonly seen materials as samples and deteriorated it. The aged information was then used for the database to exam the temple painting materials. By observing the FT-IR changes over time, we can tell all of the painting materials will be deteriorated by the UV light, but only the speed of its degradation had some difference. From the deterioration experiment, the acrylic resin resists better than the others. After collecting the painting materials aging information on FT-IR, we performed some test on the paintings on the temples. It was found that most of the artisan used tune-oil for painting materials, and some other paintings used chemical materials. This method is now working successfully on identifying the painting materials. However, the method is destructive and high cost. In the future, we will work on the how to know the painting materials more efficiently. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=temple%20painting" title="temple painting">temple painting</a>, <a href="https://publications.waset.org/abstracts/search?q=painting%20material" title=" painting material"> painting material</a>, <a href="https://publications.waset.org/abstracts/search?q=conservation" title=" conservation"> conservation</a>, <a href="https://publications.waset.org/abstracts/search?q=FT-IR" title=" FT-IR"> FT-IR</a> </p> <a href="https://publications.waset.org/abstracts/61781/material-analysis-for-temple-painting-conservation-in-taiwan" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/61781.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">188</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">103</span> Robotic Arm-Automated Spray Painting with One-Shot Object Detection and Region-Based Path Optimization</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Iqraq%20Kamal">Iqraq Kamal</a>, <a href="https://publications.waset.org/abstracts/search?q=Akmal%20Razif"> Akmal Razif</a>, <a href="https://publications.waset.org/abstracts/search?q=Sivadas%20Chandra%20Sekaran"> Sivadas Chandra Sekaran</a>, <a href="https://publications.waset.org/abstracts/search?q=Ahmad%20Syazwan%20Hisaburi"> Ahmad Syazwan Hisaburi</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Painting plays a crucial role in the aerospace manufacturing industry, serving both protective and cosmetic purposes for components. However, the traditional manual painting method is time-consuming and labor-intensive, posing challenges for the sector in achieving higher efficiency. Additionally, the current automated robot path planning has been a bottleneck for spray painting processes, as typical manual teaching methods are time-consuming, error-prone, and skill-dependent. Therefore, it is essential to develop automated tool path planning methods to replace manual ones, reducing costs and improving product quality. Focusing on flat panel painting in aerospace manufacturing, this study aims to address issues related to unreliable part identification techniques caused by the high-mixture, low-volume nature of the industry. The proposed solution involves using a spray gun and a UR10 robotic arm with a vision system that utilizes one-shot object detection (OS2D) to identify parts accurately. Additionally, the research optimizes path planning by concentrating on the region of interest—specifically, the identified part, rather than uniformly covering the entire painting tray. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=aerospace%20manufacturing" title="aerospace manufacturing">aerospace manufacturing</a>, <a href="https://publications.waset.org/abstracts/search?q=one-shot%20object%20detection" title=" one-shot object detection"> one-shot object detection</a>, <a href="https://publications.waset.org/abstracts/search?q=automated%20spray%20painting" title=" automated spray painting"> automated spray painting</a>, <a href="https://publications.waset.org/abstracts/search?q=vision-based%20path%20optimization" title=" vision-based path optimization"> vision-based path optimization</a>, <a href="https://publications.waset.org/abstracts/search?q=deep%20learning" title=" deep learning"> deep learning</a>, <a href="https://publications.waset.org/abstracts/search?q=automation" title=" automation"> automation</a>, <a href="https://publications.waset.org/abstracts/search?q=robotic%20arm" title=" robotic arm"> robotic arm</a> </p> <a href="https://publications.waset.org/abstracts/176471/robotic-arm-automated-spray-painting-with-one-shot-object-detection-and-region-based-path-optimization" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/176471.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">82</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">102</span> Examining the Functional and Practical Aspects of Iranian Painting as a Visual-Identity Language in Iranian Graphics</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Arezoo%20Seifollahi">Arezoo Seifollahi</a> </p> <p class="card-text"><strong>Abstract:</strong></p> One of the topics that is receiving a lot of attention in artistic circles and among Iran today and has been the subject of many conversations is the issue of Iranian graphics. In this research, the functional and practical aspects of Iranian painting as a visual-identity language in Iranian graphics have been investigated by relying on Iranian cultural and social posters in order to gain an understanding of the trend of contemporary graphic art in Iran and to help us reach the identity of graphics. In order to arrive at Iranian graphics, first, the issue of identity and what it is has been examined, and then this category has been addressed in Iran and throughout the history of this country in order to reveal the characteristics of the identity that has come to us today under the name of Iranian identity cognition. In the following, the search for Iranian identity in the art of this land, especially the art of painting, and then the art of contemporary painting and the search for identity in it have been discussed. After that, Iranian identity has been investigated in Iranian graphics. To understand Iranian graphics, after a brief description of its contemporary history, this art is examined at the considered time point. By using the inductive method of examining the posters of each course and taking into account the related cultural and social conditions, we tried to get a general and comprehensive understanding of the graphic features of each course. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Iranian%20painting" title="Iranian painting">Iranian painting</a>, <a href="https://publications.waset.org/abstracts/search?q=graphic%20visual%20language" title=" graphic visual language"> graphic visual language</a>, <a href="https://publications.waset.org/abstracts/search?q=Iranian%20identity" title=" Iranian identity"> Iranian identity</a>, <a href="https://publications.waset.org/abstracts/search?q=social%20cultural%20poster" title=" social cultural poster"> social cultural poster</a> </p> <a href="https://publications.waset.org/abstracts/185508/examining-the-functional-and-practical-aspects-of-iranian-painting-as-a-visual-identity-language-in-iranian-graphics" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/185508.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">51</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">101</span> Conserving History: Evaluating and Selecting Effective Restoration Methods for a Fragment Mural Painting from Amarna</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Kholod%20Khairy%20Salama">Kholod Khairy Salama</a>, <a href="https://publications.waset.org/abstracts/search?q=Shabban%20Hassan%20Thabet"> Shabban Hassan Thabet</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In the present study, a comprehensive investigation has been undertaken into an Egyptian mural painting with feet wear slippers approach to choose the most successful restoration methods. The mural painting under examination dates back to the Amarna period; it was detached from a wall of an unknown tomb in Egypt, and currently, it is initially displayed in a showcase at the Egyptian Museum – Tahrir Square – Cairo, Egypt. The main objectives of this research were to (a) reveal the pigment used in the mural painting, (b) reveal the medium used with colours, (c) determine the technique of manufacturing, (e) determine the ground support, and (f) reveal the main deterioration aspects. The analytical techniques used for investigation were Optical Microscopy, Raman, X-ray Florescence, X-ray diffraction, and Fourier transform infrared coupled with attenuated total reflectance “FTIR-ATR”. The investigation revealed that the vital deterioration factors affecting the object. This research aims to examine and analyze the mural painting to choose the suitable method for the restoration process (a) define the colours through comparative analysis to choose the suitable material for cleaning, (b) define the natural structure of the ground support layer, which appeared as mud layer (c) determine the medium used with colours (d) diagnosis the presence of the white wash layer, and (e) choose the suitable restoration methods according to the results. Conclusion: This study focused mainly on the physical and chemical properties of the mural painting compound and the main changes that happened to the mural painting material, which caused deterioration and fall down of the painting parts, so we can find the best and optimum restoration ways for this object. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=mural%20paintings" title="mural paintings">mural paintings</a>, <a href="https://publications.waset.org/abstracts/search?q=Tal%20Al-Amarna" title=" Tal Al-Amarna"> Tal Al-Amarna</a>, <a href="https://publications.waset.org/abstracts/search?q=digital%20microscope" title=" digital microscope"> digital microscope</a>, <a href="https://publications.waset.org/abstracts/search?q=Raman" title=" Raman"> Raman</a>, <a href="https://publications.waset.org/abstracts/search?q=XRF" title=" XRF"> XRF</a>, <a href="https://publications.waset.org/abstracts/search?q=XRD" title=" XRD"> XRD</a>, <a href="https://publications.waset.org/abstracts/search?q=FTIR" title=" FTIR"> FTIR</a> </p> <a href="https://publications.waset.org/abstracts/174944/conserving-history-evaluating-and-selecting-effective-restoration-methods-for-a-fragment-mural-painting-from-amarna" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/174944.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">76</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">100</span> Misconception of the Idea ‘Oshinowoism’ and the Later Development in the ‘Yaba Painting School'</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Irokanulo%20I.%20Emmanuel">Irokanulo I. Emmanuel</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The idea of ‘Oshinowoism’ is a representational school, which is a concept based on pure and rustic energy in painting. It is described as any painting that depicts the actions of significant through simple illusions. The idea is never to replicate a photographic resemblance with paint but to create an affinity between what one sees and what one artistically intends to create as a representation of that which one beholds in society as an illusion of reality, not as a reality in itself, but as subjective analysis of reality. The disciples of ‘Oshinowoism’ pursue their art from a representational point of view, creating material realities within feels of colours, forms and space, not trying to confuse the art as a substitute for reality nor reality as a substitute for art, but giving each its space and materialism to exist. The depictions of Oshinowo are the constant reminders or perhaps interpretations of those developments that emerged in contemporary African societies because of neocolonialism. This essay has three objectives. First, it examines the misconception around the development of this thought. Secondly, it contextualizes the later contemporary development of painting as art and craft in present-day Lagos, and third, it constructs the misconception and misconstruction of the concept of ‘Oshinowoism’ and offers a correct ideology of this thought with the body of Oshinowo’s work to give the existence to this philosophy. This study looks at the students of Kolade Oshinowo, especially those students who share similar elements and an affinity with the master painting skills, as a way of reconstructing and addressing the misconception in his style. The early works of Olaku, Edosa, and Lara Ige Jacks are plausible evidence of the existential essence of Oshinowo’s artistic philosophy. To this end, therefore, this study would explore the quality of their pictorial techniques and skills in painting as a way of preserving their master’s philosophy. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Oshinowoism" title="Oshinowoism">Oshinowoism</a>, <a href="https://publications.waset.org/abstracts/search?q=colour%20scheme" title=" colour scheme"> colour scheme</a>, <a href="https://publications.waset.org/abstracts/search?q=drawing" title=" drawing"> drawing</a>, <a href="https://publications.waset.org/abstracts/search?q=philosophy" title=" philosophy"> philosophy</a>, <a href="https://publications.waset.org/abstracts/search?q=representations" title=" representations"> representations</a> </p> <a href="https://publications.waset.org/abstracts/186616/misconception-of-the-idea-oshinowoism-and-the-later-development-in-the-yaba-painting-school" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/186616.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">41</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">99</span> Meditation Based Brain Painting Promotes Foreign Language Memory through Establishing a Brain-Computer Interface</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Zhepeng%20Rui">Zhepeng Rui</a>, <a href="https://publications.waset.org/abstracts/search?q=Zhenyu%20Gu"> Zhenyu Gu</a>, <a href="https://publications.waset.org/abstracts/search?q=Caitilin%20de%20B%C3%A9rigny"> Caitilin de Bérigny</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In the current study, we designed an interactive meditation and brain painting application to cultivate users’ creativity, promote meditation, reduce stress, and improve cognition while attempting to learn a foreign language. User tests and data analyses were conducted on 42 male and 42 female participants to better understand sex-associated psychological and aesthetic differences. Our method utilized brain-computer interfaces to import meditation and attention data to create artwork in meditation-based applications. Female participants showed statistically significantly different language learning outcomes following three meditation paradigms. The art style of brain painting helped females with language memory. Our results suggest that the most ideal methods for promoting memory attention were meditation methods and brain painting exercises contributing to language learning, memory concentration promotion, and foreign word memorization. We conclude that a short period of meditation practice can help in learning a foreign language. These findings provide new insights into meditation, creative language education, brain-computer interface, and human-computer interactions. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=brain-computer%20interface" title="brain-computer interface">brain-computer interface</a>, <a href="https://publications.waset.org/abstracts/search?q=creative%20thinking" title=" creative thinking"> creative thinking</a>, <a href="https://publications.waset.org/abstracts/search?q=meditation" title=" meditation"> meditation</a>, <a href="https://publications.waset.org/abstracts/search?q=mental%20health" title=" mental health"> mental health</a> </p> <a href="https://publications.waset.org/abstracts/147651/meditation-based-brain-painting-promotes-foreign-language-memory-through-establishing-a-brain-computer-interface" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/147651.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">127</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">98</span> Painting in Neolithic of Northwest Iberia: Archaeometrical Studies Applied to Megalithic Monuments</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=C%C3%A9sar%20Oliveira">César Oliveira</a>, <a href="https://publications.waset.org/abstracts/search?q=Ana%20M.%20S.%20Bettencourt"> Ana M. S. Bettencourt</a>, <a href="https://publications.waset.org/abstracts/search?q=Luciano%20Vilas%20Boas"> Luciano Vilas Boas</a>, <a href="https://publications.waset.org/abstracts/search?q=Lu%C3%ADs%20Gon%C3%A7alves"> Luís Gonçalves</a>, <a href="https://publications.waset.org/abstracts/search?q=Carlo%20Bottaini"> Carlo Bottaini</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Funerary megalithic monuments are probably under the most remarkable remains of the Neolithic period of western Europe. Some monuments are well known for their paintings, sometimes associated with engraved motifs, giving the funerary crypts a character of great symbolic value. The engraved and painted motifs, the colors used in the paintings, and the offerings associated with the deposited corpses are archaeological data that, being part of the funeral rites, also reveal the ideological world of these communities and their way of interacting with the world. In this sense, the choice of colors to be used in the paintings, the pigments collected, and the proceeds for making the paints would also be significant performances. The present study will focus on the characterization of painted art from megalithic monuments located in different areas of North-Western Portugal (coastal and inland). The colorant composition of megalithic barrows decorated with rock art motifs was studied using a multi-analytical approach (XRD, SEM-EDS, FTIR, and GC-MS), allowing the characterization of the painting techniques, pigments, and the organic compounds used as binders. Some analyses revealed that the pigments used for painting were produced using a collection of mined or quarried organic and inorganic substances. The results will be analyzed from the perspective of contingencies and regularity among the different case studies in order to interpret more or less standardized behaviors. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=funerary%20megalithic%20monuments" title="funerary megalithic monuments">funerary megalithic monuments</a>, <a href="https://publications.waset.org/abstracts/search?q=painting%20motifs" title=" painting motifs"> painting motifs</a>, <a href="https://publications.waset.org/abstracts/search?q=archaeometrical%20studies" title=" archaeometrical studies"> archaeometrical studies</a>, <a href="https://publications.waset.org/abstracts/search?q=Northwest%20Iberia" title=" Northwest Iberia"> Northwest Iberia</a>, <a href="https://publications.waset.org/abstracts/search?q=behaviors" title=" behaviors"> behaviors</a> </p> <a href="https://publications.waset.org/abstracts/159912/painting-in-neolithic-of-northwest-iberia-archaeometrical-studies-applied-to-megalithic-monuments" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/159912.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">110</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">97</span> Automated Weight Painting: Using Deep Neural Networks to Adjust 3D Mesh Skeletal Weights</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=John%20Gibbs">John Gibbs</a>, <a href="https://publications.waset.org/abstracts/search?q=Benjamin%20Flanders"> Benjamin Flanders</a>, <a href="https://publications.waset.org/abstracts/search?q=Dylan%20Pozorski"> Dylan Pozorski</a>, <a href="https://publications.waset.org/abstracts/search?q=Weixuan%20Liu"> Weixuan Liu</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Weight Painting–adjusting the influence a skeletal joint has on a given vertex in a character mesh–is an arduous and time con- suming part of the 3D animation pipeline. This process generally requires a trained technical animator and many hours of work to complete. Our skiNNer plug-in, which works within Autodesk’s Maya 3D animation software, uses Machine Learning and data pro- cessing techniques to create a deep neural network model that can accomplish the weight painting task in seconds rather than hours for bipedal quasi-humanoid character meshes. In order to create a properly trained network, a number of challenges were overcome, including curating an appropriately large data library, managing an arbitrary 3D mesh size, handling arbitrary skeletal architectures, accounting for extreme numeric values (most data points are near 0 or 1 for weight maps), and constructing an appropriate neural network model that can properly capture the high frequency alter- ation between high weight values (near 1.0) and low weight values (near 0.0). The arrived at neural network model is a cross between a traditional CNN, deep residual network, and fully dense network. The resultant network captures the unusually hard-edged features of a weight map matrix, and produces excellent results on many bipedal models. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=3d%20animation" title="3d animation">3d animation</a>, <a href="https://publications.waset.org/abstracts/search?q=animation" title=" animation"> animation</a>, <a href="https://publications.waset.org/abstracts/search?q=character" title=" character"> character</a>, <a href="https://publications.waset.org/abstracts/search?q=rigging" title=" rigging"> rigging</a>, <a href="https://publications.waset.org/abstracts/search?q=skinning" title="skinning">skinning</a>, <a href="https://publications.waset.org/abstracts/search?q=weight%20painting" title=" weight painting"> weight painting</a>, <a href="https://publications.waset.org/abstracts/search?q=machine%20learning" title=" machine learning"> machine learning</a>, <a href="https://publications.waset.org/abstracts/search?q=artificial%20intelligence" title=" artificial intelligence"> artificial intelligence</a>, <a href="https://publications.waset.org/abstracts/search?q=neural%20network" title=" neural network"> neural network</a>, <a href="https://publications.waset.org/abstracts/search?q=deep%20neural%20network" title=" deep neural network"> deep neural network</a> </p> <a href="https://publications.waset.org/abstracts/148327/automated-weight-painting-using-deep-neural-networks-to-adjust-3d-mesh-skeletal-weights" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/148327.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">273</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">96</span> Virtual Reality Tilt Brush for Creativity: An Experimental Study among Architecture Students</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Christena%20Stephen">Christena Stephen</a>, <a href="https://publications.waset.org/abstracts/search?q=Biju%20Kunnumpurath"> Biju Kunnumpurath</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This study intends to comprehend the effect of the Tilt Brush (TB) Virtual Reality 3D Painting application on creativity among final year architecture students. The research was done over the course of 30 hours and evaluated the performance of a group of 20 university students. Using a Structured Observation Form (SOF), the researcher assessed the research's progress. Four recently graduated artists, educators, and researchers used a Rubric to assess student designs. During the training, the study group was instructed in the fundamentals of virtual Reality, design principles, and TB. The design process, which began with the construction of a 3D design, progressed with the addition of texture, color, and script to items and culminated in the creation of a finished project. The group in the design process is rated as "Good" by the researcher based on feedback from SOF. The creativity evaluation rubric used by the experts rates their work as "Accomplished." According to the researcher's assessment, the group received a "Good" rating. Based on these findings, it can be said that including virtual reality 3D painting in the curriculum for art and design classes will help students improve their imagination and creativity as well as their 21st-century skills in education. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=creativity" title="creativity">creativity</a>, <a href="https://publications.waset.org/abstracts/search?q=virtual%20reality" title=" virtual reality"> virtual reality</a>, <a href="https://publications.waset.org/abstracts/search?q=3D%20painting" title=" 3D painting"> 3D painting</a>, <a href="https://publications.waset.org/abstracts/search?q=tilt%20brush" title=" tilt brush"> tilt brush</a>, <a href="https://publications.waset.org/abstracts/search?q=education" title=" education"> education</a> </p> <a href="https://publications.waset.org/abstracts/163059/virtual-reality-tilt-brush-for-creativity-an-experimental-study-among-architecture-students" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/163059.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">88</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">95</span> The Discovery and Application of Perspective Representation in Modern Italy</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Matthias%20Stange">Matthias Stange</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In the early modern period, a different image of man began to prevail in Europe. The focus was on the self-determined human being and his abilities. At first, these developments could be seen in Italian painting and architecture, which again oriented itself to the concepts and forms of antiquity. For example, through the discovery of perspective representation by Brunelleschi or later the orthogonal projection by Alberti, after the ancient knowledge of optics had been forgotten in the Middle Ages. The understanding of reality in the Middle Ages was not focused on the sensually perceptible world but was determined by ecclesiastical dogmas. The empirical part of this study examines the rediscovery and development of perspective. With the paradigm of antiquity, the figure of the architect was also recognised again - the cultural man trained theoretically and practically in numerous subjects, as Vitruvius describes him. In this context, the role of the architect, the influence on the painting of the Quattrocento as well as the influence on architectural representation in the Baroque period are examined. Baroque is commonly associated with the idea of illusionistic appearance as opposed to the tangible reality presented in the Renaissance. The study has shown that the central perspective projection developed by Filippo Brunelleschi enabled another understanding of seeing and the dissemination of painted images. Brunelleschi's development made it possible to understand the sight of nature as a reflection of what is presented to the viewer's eye. Alberti later shortened Brunelleschi's central perspective representation for practical use in painting. In early modern Italian architecture and painting, these developments apparently supported each other. The pictorial representation of architecture initially served the development of an art form before it became established in building practice itself. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Alberti" title="Alberti">Alberti</a>, <a href="https://publications.waset.org/abstracts/search?q=Brunelleschi" title=" Brunelleschi"> Brunelleschi</a>, <a href="https://publications.waset.org/abstracts/search?q=central%20perspective%20projection" title=" central perspective projection"> central perspective projection</a>, <a href="https://publications.waset.org/abstracts/search?q=orthogonal%20projection" title=" orthogonal projection"> orthogonal projection</a>, <a href="https://publications.waset.org/abstracts/search?q=quattrocento" title=" quattrocento"> quattrocento</a>, <a href="https://publications.waset.org/abstracts/search?q=baroque" title=" baroque"> baroque</a> </p> <a href="https://publications.waset.org/abstracts/161857/the-discovery-and-application-of-perspective-representation-in-modern-italy" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/161857.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">85</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">94</span> A Reflection of the Contemporary Life of Urban People Through Mixed Media Art</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Van%20Huong%20Mai">Van Huong Mai</a>, <a href="https://publications.waset.org/abstracts/search?q=Kanokwan%20Nithiratphat"> Kanokwan Nithiratphat</a>, <a href="https://publications.waset.org/abstracts/search?q=Adool%20Booncham"> Adool Booncham</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The Movement of Contemporary Life consisted of two purposes, which were to study the movement and development of the modern life and to create the visual arts, which were paintings expressed via the form of apartment buildings was used from mixed media (digital printing and acrylic painting on canvas) which conveyed the rapid pace of modern life leading to diverse movements in viewer’s feeling. The operation of this creation was collected field data, documentary data, and influence from creative work. The data analysis was analyzed in order to theme, form, technique, and process to satisfy of concept and special character of the pieces. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=movement" title="movement">movement</a>, <a href="https://publications.waset.org/abstracts/search?q=contemporary%20life" title=" contemporary life"> contemporary life</a>, <a href="https://publications.waset.org/abstracts/search?q=visual%20art" title=" visual art"> visual art</a>, <a href="https://publications.waset.org/abstracts/search?q=acrylic%20painting" title=" acrylic painting"> acrylic painting</a>, <a href="https://publications.waset.org/abstracts/search?q=digital%20art" title=" digital art"> digital art</a>, <a href="https://publications.waset.org/abstracts/search?q=urban%20space" title=" urban space"> urban space</a> </p> <a href="https://publications.waset.org/abstracts/151895/a-reflection-of-the-contemporary-life-of-urban-people-through-mixed-media-art" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/151895.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">98</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">93</span> Simulation and Study of the Effect of Paint Mineral Coating on Energy Saving </h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=A.%20A.%20Azemati">A. A. Azemati</a>, <a href="https://publications.waset.org/abstracts/search?q=H.%20Hosseini"> H. Hosseini</a> </p> <p class="card-text"><strong>Abstract:</strong></p> By using an adequate paint in buildings, energy consumption can be decreased. In this research, a range of wall paints in different climatic conditions has been investigated to observe its effect on energy consumption. In the current study, the researchers have investigated the effect of different parameters including climatic condition, absorption coefficient, and thermal loads on paint coating. In order to study these effects, heating and cooling loads of a typical building with different color paints have been calculated. The effect of building paint in different climatic condition was studied and a comparison was drawn between paints and painting coats with inorganic micro particles in temperate climate to obtain optimized energy consumption. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=climate" title="climate">climate</a>, <a href="https://publications.waset.org/abstracts/search?q=energy%20consumption" title=" energy consumption"> energy consumption</a>, <a href="https://publications.waset.org/abstracts/search?q=inorganic" title=" inorganic"> inorganic</a>, <a href="https://publications.waset.org/abstracts/search?q=painting%20coats" title=" painting coats"> painting coats</a> </p> <a href="https://publications.waset.org/abstracts/34125/simulation-and-study-of-the-effect-of-paint-mineral-coating-on-energy-saving" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/34125.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">290</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">92</span> Pictorial Multimodal Analysis of Selected Paintings of Salvador Dali</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Shaza%20Melies">Shaza Melies</a>, <a href="https://publications.waset.org/abstracts/search?q=Abeer%20Refky"> Abeer Refky</a>, <a href="https://publications.waset.org/abstracts/search?q=Nihad%20Mansoor"> Nihad Mansoor</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Multimodality involves the communication between verbal and visual components in various discourses. A painting represents a form of communication between the artist and the viewer in terms of colors, shades, objects, and the title. This paper aims to present how multimodality can be used to decode the verbal and visual dimensions a painting holds. For that purpose, this study uses Kress and van Leeuwen’s theoretical framework of visual grammar for the analysis of the multimodal semiotic resources of selected paintings of Salvador Dali. This study investigates the visual decoding of the selected paintings of Salvador Dali and analyzing their social and political meanings using Kress and van Leeuwen’s framework of visual grammar. The paper attempts to answer the following questions: 1. How far can multimodality decode the verbal and non-verbal meanings of surrealistic art? 2. How can Kress and van Leeuwen’s theoretical framework of visual grammar be applied to analyze Dali’s paintings? 3. To what extent is Kress and van Leeuwen’s theoretical framework of visual grammar apt to deliver political and social messages of Dali? The paper reached the following findings: the framework’s descriptive tools (representational, interactive, and compositional meanings) can be used to analyze the paintings’ title and their visual elements. Social and political messages were delivered by appropriate usage of color, gesture, vectors, modality, and the way social actors were represented. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=multimodal%20analysis" title="multimodal analysis">multimodal analysis</a>, <a href="https://publications.waset.org/abstracts/search?q=painting%20analysis" title=" painting analysis"> painting analysis</a>, <a href="https://publications.waset.org/abstracts/search?q=Salvador%20Dali" title=" Salvador Dali"> Salvador Dali</a>, <a href="https://publications.waset.org/abstracts/search?q=visual%20grammar" title=" visual grammar"> visual grammar</a> </p> <a href="https://publications.waset.org/abstracts/131544/pictorial-multimodal-analysis-of-selected-paintings-of-salvador-dali" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/131544.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">122</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">91</span> Cognitivism in Classical Japanese Art and Literature: The Cognitive Value of Haiku and Zen Painting</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Benito%20Garcia-Valero">Benito Garcia-Valero</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper analyses the cognitivist value of traditional Japanese theories about aesthetics, art, and literature. These reflections were developed several centuries before actual Cognitive Studies, which started in the seventies of the last century. A comparative methodology is employed to shed light on the similarities between traditional Japanese conceptions about art and current cognitivist principles. The Japanese texts to be compared are Zeami’s treatise on noh art, Okura Toraaki’s Waranbe-gusa on kabuki theatre, and several Buddhist canonical texts about wisdom and knowledge, like the Prajnaparamitahrdaya or Heart Sutra. Japanese contemporary critical sources on these works are also referred, like Nishida Kitaro’s reflections on Zen painting or Ichikawa Hiroshi’s analysis of body/mind dualism in Japanese physical practices. Their ideas are compared with cognitivist authors like George Lakoff, Mark Johnson, Mark Turner and Margaret Freeman. This comparative review reveals the anticipatory ideas of Japanese thinking on body/mind interrelationship, which agrees with cognitivist criticism against dualism, since both elucidate the physical grounds acting upon the formation of concepts and schemes during the production of knowledge. It also highlights the necessity of recovering ancient Japanese treatises on cognition to continue enlightening current research on art and literature. The artistic examples used to illustrate the theory are Sesshu’s Zen paintings and Basho’s classical haiku poetry. Zen painting is an excellent field to demonstrate how monk artists conceived human perception and guessed the active role of beholders during the contemplation of art. On the other hand, some haikus by Matsuo Basho aim at factoring subjectivity out from artistic praxis, which constitutes an ideal of illumination that cannot be achieved using art, due to the embodied nature of perception; a constraint consciously explored by the poet himself. These ideas consolidate the conclusions drawn today by cognitivism about the interrelation between subject and object and the concept of intersubjectivity. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=cognitivism" title="cognitivism">cognitivism</a>, <a href="https://publications.waset.org/abstracts/search?q=dualism" title=" dualism"> dualism</a>, <a href="https://publications.waset.org/abstracts/search?q=haiku" title=" haiku"> haiku</a>, <a href="https://publications.waset.org/abstracts/search?q=Zen%20painting" title=" Zen painting"> Zen painting</a> </p> <a href="https://publications.waset.org/abstracts/111834/cognitivism-in-classical-japanese-art-and-literature-the-cognitive-value-of-haiku-and-zen-painting" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/111834.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">143</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">90</span> The Aesthetic Manifestations of Nothingness in Contemporary Visual Arts Practice</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Robyn%20Therese%20Munnick">Robyn Therese Munnick</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper aims to report on a qualitative practice-based research study which explores the notion of nothingness and how it (nothingness) is the conceptual and theoretical foundation for artistic practice. Furthermore, this study explicates how the artist used their mother’s battle with cancer and the subsequent void it created as source material for the artistic expression of nothingness. The diagnosis which was followed by a physical and emotional absence of the matriarch of the artist family led to an emotional trauma that triggered a feeling of nothingness within the artist. The overarching problem in the study is thus: how this ‘nothingness’ could be expressed in visual art? Nothingness, as a product of expectation, is a notion which refers to where something used to be, should be or isn’t anymore, which attempts to grasp what is there by not being there. In attempting to express nothingness, the research aims to build on an exploration of various materials and modes utilized in order to underpin the research objectives. The primary mode of delivery for the art-making process is painting. However, through strengthening the messages and meaning of the hypothesis of nothingness within the art and research, the use of further modes and materials became pivotal. This involves the use of unconventional contrasting modes within a painting such as the cloth doily, thread, tubing, ceramics, food colour, spray paint, polyvinyl acetate paint, plaster, wooden boxes and fragments thereof. These materials and modes were vital in visualising and aestheticising the conceptual underpinnings of the research. As a result, this strengthened and emancipated the art from the traditional bounds of pure painting. Methods of data gathering took the form of artefacts, document analysis, and field notes in the form of photographic journaling. Ultimately the body of work and research validates that the idea of nothingness can be artistically explored. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=conceptual" title="conceptual">conceptual</a>, <a href="https://publications.waset.org/abstracts/search?q=nothingness" title=" nothingness"> nothingness</a>, <a href="https://publications.waset.org/abstracts/search?q=modes" title=" modes"> modes</a>, <a href="https://publications.waset.org/abstracts/search?q=unconventional" title=" unconventional"> unconventional</a> </p> <a href="https://publications.waset.org/abstracts/109447/the-aesthetic-manifestations-of-nothingness-in-contemporary-visual-arts-practice" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/109447.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">140</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">89</span> Study of the Behavior of an Organic Coating Applied on Algerian Oil Tanker in Seawater</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=N.%20Hammouda">N. Hammouda</a>, <a href="https://publications.waset.org/abstracts/search?q=K.%20Belmokre"> K. Belmokre</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The paints are used extensively today in the industry to protect the metallic structures of the aggressive environments. This work is devoted to the study of corrosion resistance and aging behavior of a paint coating providing external protection for oil tankers. To avoid problems related to corrosion of these vessels, two protection modes are provided: An electro chemical active protection (cathodic protection of the hull). A passive protection by external painting. Investigations are conducted using stationary and non-stationary electro chemical tools such as electro chemical impedance spectroscopy has allowed us to characterize the protective qualities of these films. The application of the EIS on our damaged in-situ painting shows the existence of several capacitive loops which is an indicator of the failure of our tested paint. Microscopic analysis (micrograph) helped bring essential elements in understanding the degradation of our paint condition and immersion training corrosion products. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=epoxy%20paints" title="epoxy paints">epoxy paints</a>, <a href="https://publications.waset.org/abstracts/search?q=electrochemical%20impedance%20spectroscopy" title=" electrochemical impedance spectroscopy"> electrochemical impedance spectroscopy</a>, <a href="https://publications.waset.org/abstracts/search?q=corrosion%20mechanisms" title=" corrosion mechanisms"> corrosion mechanisms</a>, <a href="https://publications.waset.org/abstracts/search?q=seawater" title=" seawater"> seawater</a> </p> <a href="https://publications.waset.org/abstracts/19432/study-of-the-behavior-of-an-organic-coating-applied-on-algerian-oil-tanker-in-seawater" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/19432.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">391</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">88</span> Concepts of Modern Design: A Study of Art and Architecture Synergies in Early 20ᵗʰ Century Europe </h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Stanley%20Russell">Stanley Russell</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Until the end of the 19th century, European painting dealt almost exclusively with the realistic representation of objects and landscapes, as can be seen in the work of realist artists like Gustav Courbet. Architects of the day typically made reference to and recreated historical precedents in their designs. The curriculum of the first architecture school in Europe, The Ecole des Beaux Artes, based on the study of classical buildings, had a profound effect on the profession. Painting exhibited an increasing level of abstraction from the late 19th century, with impressionism, and the trend continued into the early 20th century when Cubism had an explosive effect sending shock waves through the art world that also extended into the realm of architectural design. Architect /painter Le Corbusier with “Purism” was one of the first to integrate abstract painting and building design theory in works that were equally shocking to the architecture world. The interrelationship of the arts, including architecture, was institutionalized in the Bauhaus curriculum that sought to find commonality between diverse art disciplines. Renowned painter and Bauhaus instructor Vassily Kandinsky was one of the first artists to make a semi-scientific analysis of the elements in “non-objective” painting while also drawing parallels between painting and architecture in his book Point and Line to plane. Russian constructivists made abstract compositions with simple geometric forms, and like the De Stijl group of the Netherlands, they also experimented with full-scale constructions and spatial explorations. Based on the study of historical accounts and original artworks, of Impressionism, Cubism, the Bauhaus, De Stijl, and Russian Constructivism, this paper begins with a thorough explanation of the art theory and several key works from these important art movements of the late 19th and early 20th century. Similarly, based on written histories and first-hand experience of built and drawn works, the author continues with an analysis of the theories and architectural works generated by the same groups, all of which actively pursued continuity between their art and architectural concepts. With images of specific works, the author shows how the trend toward abstraction and geometric purity in painting coincided with a similar trend in architecture that favored simple unornamented geometries. Using examples like the Villa Savoye, The Schroeder House, the Dessau Bauhaus, and unbuilt designs by Russian architect Chernikov, the author gives detailed examples of how the intersection of trends in Art and Architecture led to a unique and fruitful period of creative synergy when the same concepts that were used by artists to generate paintings were also used by architects in the making of objects, space, and buildings. In Conclusion, this article examines the extremely pivotal period in art and architecture history from the late 19th to early 20th century when the confluence of art and architectural theory led to many painted, drawn, and built works that continue to inspire architects and artists to this day. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=modern%20art" title="modern art">modern art</a>, <a href="https://publications.waset.org/abstracts/search?q=architecture" title=" architecture"> architecture</a>, <a href="https://publications.waset.org/abstracts/search?q=design%20methodologies" title=" design methodologies"> design methodologies</a>, <a href="https://publications.waset.org/abstracts/search?q=modern%20architecture" title=" modern architecture "> modern architecture </a> </p> <a href="https://publications.waset.org/abstracts/124056/concepts-of-modern-design-a-study-of-art-and-architecture-synergies-in-early-20-century-europe" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/124056.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">127</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">87</span> Assessment of Water Reuse Potential in a Metal Finishing Factory</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Efe%20Gumuslu">Efe Gumuslu</a>, <a href="https://publications.waset.org/abstracts/search?q=Guclu%20Insel"> Guclu Insel</a>, <a href="https://publications.waset.org/abstracts/search?q=G%C3%BClten%20Yuksek"> Gülten Yuksek</a>, <a href="https://publications.waset.org/abstracts/search?q=Nilay%20Sayi%20Ucar"> Nilay Sayi Ucar</a>, <a href="https://publications.waset.org/abstracts/search?q=Emine%20Ubay%20Cokgor"> Emine Ubay Cokgor</a>, <a href="https://publications.waset.org/abstracts/search?q=Tu%C4%9Fba%20Olmez%20Hanci"> Tuğba Olmez Hanci</a>, <a href="https://publications.waset.org/abstracts/search?q=Didem%20Okutman%20Tas"> Didem Okutman Tas</a>, <a href="https://publications.waset.org/abstracts/search?q=Fato%C5%9F%20Germirli%20Babuna"> Fatoş Germirli Babuna</a>, <a href="https://publications.waset.org/abstracts/search?q=Derya%20Firat%20Ertem"> Derya Firat Ertem</a>, <a href="https://publications.waset.org/abstracts/search?q=%C3%96kmen%20Yildirim"> Ökmen Yildirim</a>, <a href="https://publications.waset.org/abstracts/search?q=%C3%96zge%20Erturan"> Özge Erturan</a>, <a href="https://publications.waset.org/abstracts/search?q=Bet%C3%BCl%20Kirci"> Betül Kirci</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Although water reclamation and reuse are inseparable parts of sustainable production concept all around the world, current levels of reuse constitute only a small fraction of the total volume of industrial effluents. Nowadays, within the perspective of serious climate change, wastewater reclamation and reuse practices should be considered as a requirement. Industrial sector is one of the largest users of water sources. The OECD Environmental Outlook to 2050 predicts that global water demand for manufacturing will increase by 400% from 2000 to 2050 which is much larger than any other sector. Metal finishing industry is one of the industries that requires high amount of water during the manufacturing. Therefore, actions regarding the improvement of wastewater treatment and reuse should be undertaken on both economic and environmental sustainability grounds. Process wastewater can be reused for more purposes if the appropriate treatment systems are installed to treat the wastewater to the required quality level. Recent studies showed that membrane separation techniques may help in solving the problem of attaining a suitable quality of water that allows being recycled back to the process. The metal finishing factory where this study is conducted is one of the biggest white-goods manufacturers in Turkey. The sheet metal parts used in the cookers production have to be exposed to surface pre-treatment processes composed of degreasing, rinsing, nanoceramics coating and deionization rinsing processes, consecutively. The wastewater generating processes in the factory are enamel coating, painting and styrofoam processes. In the factory, the main source of water is the well water. While some part of the well water is directly used in the processes after passing through resin treatment, some portion of it is directed to the reverse osmosis treatment to obtain required water quality for enamel coating and painting processes. In addition to these processes another important source of water that can be considered as a potential water source is rainwater (3660 tons/year). In this study, process profiles as well as pollution profiles were assessed by a detailed quantitative and qualitative characterization of the wastewater sources generated in the factory. Based on the preliminary results the main water sources that can be considered for reuse in the processes were determined as painting and styrofoam processes. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=enamel%20coating" title="enamel coating">enamel coating</a>, <a href="https://publications.waset.org/abstracts/search?q=painting" title=" painting"> painting</a>, <a href="https://publications.waset.org/abstracts/search?q=reuse" title=" reuse"> reuse</a>, <a href="https://publications.waset.org/abstracts/search?q=wastewater" title=" wastewater"> wastewater</a> </p> <a href="https://publications.waset.org/abstracts/44838/assessment-of-water-reuse-potential-in-a-metal-finishing-factory" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/44838.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">379</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">86</span> The Artist and the Opera: An Analysis of Gaze, Spatiality, and Women’s Labor in Degas’s The Rehearsal of the Ballet Onstage, 1874</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Moses%20Abrahamson">Moses Abrahamson</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper examines Edgar Degas’s The Rehearsal of the Ballet Onstage (1874) through the lens of gaze, spatiality, and women’s labor within the context of 19th-century Parisian modernity. Degas’s depiction of ballet dancers, who were often subject to sexual exploitation by wealthy patrons of the Paris Opera, extends beyond a mere aesthetic rendering of performance. Instead, the painting highlights the Opera’s backstage dynamics, where class and gender intersect through power imbalances. By analyzing the gazes of the Opera’s male patrons and ballet masters, the paper explores the implicit commodification of the dancers, drawing on Mulvey’s theory of the male gaze and its manifestation in the portrayal of working-class women. Degas’s positioning of these figures, coupled with his perspective as both artist and patron, reveals his engagement with the spatial layout of the Opera and the modern social hierarchies it embodies. The painting serves as a microcosm of broader sociocultural transformations, where Degas reflects on the labor of ballet dancers as both private toil and public spectacle, connecting his artistic process to the gendered and classed politics of modern Parisian society. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=class%20dynamics" title="class dynamics">class dynamics</a>, <a href="https://publications.waset.org/abstracts/search?q=male%20gaze" title=" male gaze"> male gaze</a>, <a href="https://publications.waset.org/abstracts/search?q=spatiality" title=" spatiality"> spatiality</a>, <a href="https://publications.waset.org/abstracts/search?q=modernity" title=" modernity"> modernity</a> </p> <a href="https://publications.waset.org/abstracts/192664/the-artist-and-the-opera-an-analysis-of-gaze-spatiality-and-womens-labor-in-degass-the-rehearsal-of-the-ballet-onstage-1874" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/192664.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">26</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">85</span> Exploring the Birth of Modern Art in Borneo, Post-War Era 1945 to 1970 </h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Rahah%20Hasan">Rahah Hasan</a>, <a href="https://publications.waset.org/abstracts/search?q=Faridah%20Sahari"> Faridah Sahari</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper describes the development of modern art in Borneo, particularly in Sarawak, Sabah, and Brunei, after the Second World War until the 1970s. This was the period when the British Colonial government dictated the education system, which consequentially inculcated visual art through art and craft subjects imposed on all vernacular schools in Borneo. British influence within the state governance, social, and education system designed with Western ideology created not only a westernized society and mindset but at the same time generated artistic opportunities for emerging local painters to be involved in the initiation of Modern Art in Borneo. Through the historical method and analysis of primary and secondary data, it was obvious that the existence of colonial government departments and institutions such as museums and teaching colleges, and other social organizations in Borneo at that time contributed significantly to the artistic movement. The similar structure and motivation of development in other areas of Borneo confirmed that artistic affirmation of modern art advanced homogenously. Their understanding of easel painting as well as a unique interpretation of culture once distanced from traditional art, resulting in a new visual image that transcended their ethnicity and identity through new mediums and tools. These meticulous interventions modestly visualized in each painting, as discussed in this paper, hopefully, will give a deeper understanding and appreciation of the history of modern art in Borneo. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=art%20history" title="art history">art history</a>, <a href="https://publications.waset.org/abstracts/search?q=Borneo%20art" title=" Borneo art"> Borneo art</a>, <a href="https://publications.waset.org/abstracts/search?q=fine%20art" title=" fine art"> fine art</a>, <a href="https://publications.waset.org/abstracts/search?q=modern%20art" title=" modern art"> modern art</a> </p> <a href="https://publications.waset.org/abstracts/132039/exploring-the-birth-of-modern-art-in-borneo-post-war-era-1945-to-1970" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/132039.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">143</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">84</span> Anti-Bubble Painting Booth for Wood Coating Resins</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Abasali%20Masoumi">Abasali Masoumi</a>, <a href="https://publications.waset.org/abstracts/search?q=Amir%20Gholamian%20Bozorgi"> Amir Gholamian Bozorgi</a> </p> <p class="card-text"><strong>Abstract:</strong></p> To have the best quality in wood products such as tabletops and inlay-woods, applying two principles are required: aesthetic and protection against the destructive agent. Artists spent a lot of time creating a masterwork project and also for better demonstrating beautiful appearance and preserving it for hundred years. So they need good material and appropriate method to finish it. As usual, wood painters use polyester or epoxy resins. These finishes need a special skill to use and then give a fantastic paint film and clearness. If we let resins dry in exposure to environmental agents such as unstable temperature, dust and etc., no doubt it becomes cloudy, crack, blister and much wood dust and air bubbles in it. We have designed a special wood coating booth (IR-Patent No: 70429) for wood-coating resins (polyester and epoxy), and this booth provides an adjustable space to control factors that is necessary to have a good finish in the end. Anti-bubble painting booth has the ability to remove bubbles from resin, precludes the cracking process and causes the resin to be the best. With this booth drying time of resin is reduced from 24 hours to 6 hours by fixing the optimum temperature, and it is very good for saving time. This booth is environment-friendly and never lets the poisonous vapors and other VOC (Volatile organic components) enter to workplace atmosphere because they are very harmful to humans. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=wood%20coating" title="wood coating">wood coating</a>, <a href="https://publications.waset.org/abstracts/search?q=epoxy%20resin" title=" epoxy resin"> epoxy resin</a>, <a href="https://publications.waset.org/abstracts/search?q=polyester%20resin" title=" polyester resin"> polyester resin</a>, <a href="https://publications.waset.org/abstracts/search?q=wood%20finishes" title=" wood finishes"> wood finishes</a> </p> <a href="https://publications.waset.org/abstracts/140733/anti-bubble-painting-booth-for-wood-coating-resins" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/140733.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">229</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">83</span> Early Screening of Risk Ergonomics among Workers at Madura's Batik Industrial: Rapid Entire Body Assessment and Quick Exposure Checklist</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Abdul%20Kadir">Abdul Kadir</a>, <a href="https://publications.waset.org/abstracts/search?q=L.%20Meily%20Kurniawidjaja"> L. Meily Kurniawidjaja</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Batik Madura workers are exposed to many Musculoskeletal Disorders risk factors, particularly Low Back Pain (LBP). This study was conducted as an early detection of ergonomic risk level on Workers Industrial Sentra Batik Madura in Dusun Banyumas, Klampar Subdistrict, Proppo Pamekasan, Madura, East Java. This study includes 12 workers who 11 workers had pain in the upper and lower part of the neck, back, wrist right hand, also 10 workers had pain in the right shoulder. This is a descriptive observational study with cross-sectional approach. Qualitative research by observing workers activity such as draw and putting the wax motif, fabric dyeing, fabric painting, discoloration, washing, and drying. The results are workers have identified ergonomic hazards such as awkward postures, twisting movements, repetitive, and static work postures. Using the method of REBA and QEC, the results get a very high-risk level of activity in each of Madura batik making process is the draw and putting the wax motif, coloring, painting, discoloration, washing, and drying. The level of risk can be reduced by improvement of work equipment include the provision of seats, strut fabric, high settings furnaces, drums, coloring basin, and washing tub. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=activities%20of%20Madura%27s%20batik" title="activities of Madura's batik">activities of Madura's batik</a>, <a href="https://publications.waset.org/abstracts/search?q=ergonomic%20risk%20level" title=" ergonomic risk level"> ergonomic risk level</a>, <a href="https://publications.waset.org/abstracts/search?q=equipment" title=" equipment"> equipment</a>, <a href="https://publications.waset.org/abstracts/search?q=QEC%20%28Quick%20Exposure%20Checklist%29" title=" QEC (Quick Exposure Checklist)"> QEC (Quick Exposure Checklist)</a>, <a href="https://publications.waset.org/abstracts/search?q=REBA%20%28Rapid%20Entire%20Body%20Assessment%29" title=" REBA (Rapid Entire Body Assessment)"> REBA (Rapid Entire Body Assessment)</a> </p> <a href="https://publications.waset.org/abstracts/82409/early-screening-of-risk-ergonomics-among-workers-at-maduras-batik-industrial-rapid-entire-body-assessment-and-quick-exposure-checklist" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/82409.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">194</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">82</span> Numerical and Experimental Investigation of Fracture Mechanism in Paintings on Wood</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Mohammad%20Jamalabadi">Mohammad Jamalabadi</a>, <a href="https://publications.waset.org/abstracts/search?q=Noemi%20Zabari"> Noemi Zabari</a>, <a href="https://publications.waset.org/abstracts/search?q=Lukasz%20%20Bratasz"> Lukasz Bratasz</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Panel paintings -complex multi-layer structures consisting of wood support and a paint layer composed of a preparatory layer of gesso, paints, and varnishes- are among the category of cultural objects most vulnerable to relative humidity fluctuations and frequently found in museum collections. The current environmental specifications in museums have been derived using the criterion of crack initiation in an undamaged, usually new gesso layer laid on wood. In reality, historical paintings exhibit complex crack patterns called craquelures. The present paper analyses the structural response of a paint layer with a virtual network of rectangular cracks under environmental loadings using a three-dimensional model of a panel painting. Two modes of loading are considered -one induced by one-dimensional moisture response of wood support, termed the tangential loading, and the other isotropic induced by drying shrinkage of the gesso layer. The superposition of the two modes is also analysed. The modelling showed that minimum distances between cracks parallel to the wood grain depended on the gesso stiffness under the tangential loading. In spite of a non-zero Poisson’s ratio, gesso cracks perpendicular to the wood grain could not be generated by the moisture response of wood support. The isotropic drying shrinkage of gesso produced cracks that were almost evenly spaced in both directions. The modelling results were cross-checked with crack patterns obtained on a mock-up of a panel painting exposed to a number of extreme environmental variations in an environmental chamber. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=fracture%20saturation" title="fracture saturation">fracture saturation</a>, <a href="https://publications.waset.org/abstracts/search?q=surface%20cracking" title=" surface cracking"> surface cracking</a>, <a href="https://publications.waset.org/abstracts/search?q=paintings%20on%20wood" title=" paintings on wood"> paintings on wood</a>, <a href="https://publications.waset.org/abstracts/search?q=wood%20panels" title=" wood panels"> wood panels</a> </p> <a href="https://publications.waset.org/abstracts/138220/numerical-and-experimental-investigation-of-fracture-mechanism-in-paintings-on-wood" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/138220.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">267</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">81</span> Effect of Fire Retardant Painting Product on Smoke Optical Density of Burning Natural Wood Samples</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Abdullah%20N.%20Olimat">Abdullah N. Olimat</a>, <a href="https://publications.waset.org/abstracts/search?q=Ahmad%20S.%20Awad"> Ahmad S. Awad</a>, <a href="https://publications.waset.org/abstracts/search?q=Faisal%20M.%20AL-Ghathian"> Faisal M. AL-Ghathian</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Natural wood is used in many applications in Jordan such as furniture, partitions constructions, and cupboards. Experimental work for smoke produced by the combustion of certain wood samples was studied. Smoke generated from burning of natural wood, is considered as a major cause of death in furniture fires. The critical parameter for life safety in fires is the available time for escape, so the visual obscuration due to smoke release during fire is taken into consideration. The effect of smoke, produced by burning of wood, depends on the amount of smoke released in case of fire. The amount of smoke production, apparently, affects the time available for the occupants to escape. To achieve the protection of life of building occupants during fire growth, fire retardant painting products are tested. The tested samples of natural wood include Beech, Ash, Beech Pine, and white Beech Pine. A smoke density chamber manufactured by fire testing technology has been used to perform measurement of smoke properties. The procedure of test was carried out according to the ISO-5659. A nonflammable vertical radiant heat flux of 25 kW/m<sup>2</sup> is exposed to the wood samples in a horizontal orientation. The main objective of the current study is to carry out the experimental tests for samples of natural woods to evaluate the capability to escape in case of fire and the fire safety requirements. Specific optical density, transmittance, thermal conductivity, and mass loss are main measured parameters. Also, comparisons between samples with paint and with no paint are carried out between the selected samples of woods. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=extinction%20coefficient" title="extinction coefficient">extinction coefficient</a>, <a href="https://publications.waset.org/abstracts/search?q=optical%20density" title=" optical density"> optical density</a>, <a href="https://publications.waset.org/abstracts/search?q=transmittance" title=" transmittance"> transmittance</a>, <a href="https://publications.waset.org/abstracts/search?q=visibility" title=" visibility"> visibility</a> </p> <a href="https://publications.waset.org/abstracts/74414/effect-of-fire-retardant-painting-product-on-smoke-optical-density-of-burning-natural-wood-samples" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/74414.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">237</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">80</span> Non-Invasive Techniques of Analysis of Painting in Forensic Fields</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Radka%20Sefcu">Radka Sefcu</a>, <a href="https://publications.waset.org/abstracts/search?q=Vaclava%20Antuskova"> Vaclava Antuskova</a>, <a href="https://publications.waset.org/abstracts/search?q=Ivana%20Turkova"> Ivana Turkova</a> </p> <p class="card-text"><strong>Abstract:</strong></p> A growing market with modern artworks of a high price leads to the creation and selling of artwork counterfeits. Material analysis is an important part of the process of assessment of authenticity. Knowledge of materials and techniques used by original authors is also necessary. The contribution presents possibilities of non-invasive methods of structural analysis in research on paintings. It was proved that unambiguous identification of many art materials is feasible without sampling. The combination of Raman spectroscopy with FTIR-external reflection enabled the identification of pigments and binders on selected artworks of prominent Czech painters from the first half of the 20th century – Josef Čapek, Emil Filla, Václav Špála and Jan Zrzavý. Raman spectroscopy confirmed the presence of a wide range of white pigments - lead white, zinc white, titanium white, barium white and also Freeman's white as a special white pigment of painting. Good results were obtained for red, blue and most of the yellow areas. Identification of green pigments was often impossible due to strong fluorescence. Oil was confirmed as a binding medium on most of the analyzed artworks via FTIR - external reflection. Collected data present the valuable background for the determination of art materials characteristic for each painter (his palette) and its development over time. Obtained results will further serve as comparative material for the authentication of artworks. This work has been financially supported by the project of the Ministry of the Interior of the Czech Republic: The Development of a Strategic Cluster for Effective Instrumental Technological Methods of Forensic Authentication of Modern Artworks (VJ01010004). <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=non-invasive%20analysis" title="non-invasive analysis">non-invasive analysis</a>, <a href="https://publications.waset.org/abstracts/search?q=Raman%20spectroscopy" title=" Raman spectroscopy"> Raman spectroscopy</a>, <a href="https://publications.waset.org/abstracts/search?q=FTIR-external%20reflection" title=" FTIR-external reflection"> FTIR-external reflection</a>, <a href="https://publications.waset.org/abstracts/search?q=forgeries" title=" forgeries"> forgeries</a> </p> <a href="https://publications.waset.org/abstracts/138712/non-invasive-techniques-of-analysis-of-painting-in-forensic-fields" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/138712.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">172</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">79</span> Using True Life Situations in a Systems Theory Perspective as Sources of Creativity: A Case Study of how to use Everyday Happenings to produce Creative Outcomes in Novel and Screenplay Writing</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Rune%20Bjerke">Rune Bjerke</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Psychologists incline to see creativity as a mental and psychological process. However, creativity is as well results of cultural and social interactions. Therefore, creativity is not a product of individuals in isolation, but of social systems. Creative people get ideas from the influence of others and the immediate cultural environment – a space of knowledge, situations, and practices. Therefore, in this study we apply the systems theory in practice to activate creativity processes in the production of our novel and screenplay writing. We, as storytellers actively seek to get into situations in our everyday lives, our systems, to generate ideas. Within our personal systems, we have the potential to induce situations to realise ideas to our texts, which may be accepted by our gate-keepers and can become socially validated. This is our method of writing – get into situations, get ideas to texts, and test them with family and friends in our social systems. Example of novel text as an outcome of our method is as follows: “Is it a matter of obviousness or had I read it somewhere, that the one who increases his knowledge increases his pain? And also, the other way around, with increased pain, knowledge increases, I thought. Perhaps such a chain of effects explains why the rebel August Strindberg wrote seven plays in ten months after the divorce with Siri von Essen. Shortly after, he tried painting. Neither the seven theatre plays were shown, nor the paintings were exhibited. I was standing in front of Munch's painting Women in Three Stages with chaotic mental images of myself crumpled in a church and a laughing x-girlfriend watching my suffering. My stomach was turning at unpredictable intervals and the subsequent vomiting almost suffocated me. Love grief at the worst. Was it this pain Strindberg felt? Despite the failure of his first plays, the pain must have triggered a form of creative energy that turned pain into ideas. Suffering, thoughts, feelings, words, text, and then, the reader experience. Maybe this negative force can be transformed into something positive, I asked myself. The question eased my pain. At that moment, I forgot the damp, humid air in the Munch Museum. Is it the similar type of Strindberg-pain that could explain the recurring, depressive themes in Munch's paintings? Illness, death, love and jealousy. As a beginning art student at the master's level, I had decided to find the answer. Was it the same with Munch's pain, as with Strindberg - a woman behind? There had to be women in the case of Munch - therefore, the painting “Women in Three Stages”? Who are they, what personality types are they – the women in red, black and white dresses from left to the right?” We, the writers, are using persons, situations and elements in our systems, in a systems theory perspective, to prompt creative ideas. A conceptual model is provided to advance creativity theory. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=creativity%20theory" title="creativity theory">creativity theory</a>, <a href="https://publications.waset.org/abstracts/search?q=systems%20theory" title=" systems theory"> systems theory</a>, <a href="https://publications.waset.org/abstracts/search?q=novel%20writing" title=" novel writing"> novel writing</a>, <a href="https://publications.waset.org/abstracts/search?q=screenplay%20writing" title=" screenplay writing"> screenplay writing</a>, <a href="https://publications.waset.org/abstracts/search?q=sources%20of%20creativity%20in%20social%20systems" title=" sources of creativity in social systems"> sources of creativity in social systems</a> </p> <a href="https://publications.waset.org/abstracts/128407/using-true-life-situations-in-a-systems-theory-perspective-as-sources-of-creativity-a-case-study-of-how-to-use-everyday-happenings-to-produce-creative-outcomes-in-novel-and-screenplay-writing" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/128407.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">120</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">78</span> The Meaningful Pixel and Texture: Exploring Digital Vision and Art Practice Based on Chinese Cosmotechnics</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Xingdu%20Wang">Xingdu Wang</a>, <a href="https://publications.waset.org/abstracts/search?q=Charlie%20Gere"> Charlie Gere</a>, <a href="https://publications.waset.org/abstracts/search?q=Emma%20Rose"> Emma Rose</a>, <a href="https://publications.waset.org/abstracts/search?q=Yuxuan%20Zhao"> Yuxuan Zhao</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The study introduces a fresh perspective on the digital realm through an examination of the Chinese concept of Xiang, elucidating how it can build an understanding of pixels and textures on screens as digital trigrams. This concept attempts to offer an outlook on the intersection of digital technology and the natural world, thereby contributing to discussions about the harmonious relationship between humans and technology. The study looks for the ancient Chinese theory of Xiang as a key to establishing the theories and practices to respond to the problem of Contemporary Chinese technics. Xiang is a Chinese method of understanding the essentials of things through appearances, which differs from the method of science in the Westen. Xiang, the basement of Chinese visual art, is rooted in ancient Chinese philosophy and connected to the eight trigrams. The discussion of Xiang connects art, philosophy, and technology. This paper connects the meaning of Xiang with the 'truth appearing' philosophically through the analysis of the concepts of phenomenon and noumenon and the unique Chinese way of observing. Hereafter, the historical interconnection between ancient painting and writing in China emphasizes their relationship between technical craftsmanship and artistic expression. In digital, the paper blurs the traditional boundaries between images and text on digital screens in theory. Lastly, this study identified an ensemble concept relating to pixels and textures in computer vision, drawing inspiration from AI image recognition in Chinese paintings. In art practice, by presenting a fluid visual experience in the form of pixels, which mimics the flow of lines in traditional calligraphy and painting, it is hoped that the viewer will be brought back to the process of the truth appearing as defined by the 'Xiang’. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Chinese%20cosmotechnics" title="Chinese cosmotechnics">Chinese cosmotechnics</a>, <a href="https://publications.waset.org/abstracts/search?q=computer%20vision" title=" computer vision"> computer vision</a>, <a href="https://publications.waset.org/abstracts/search?q=contemporary%20Neo-Confucianism" title=" contemporary Neo-Confucianism"> contemporary Neo-Confucianism</a>, <a href="https://publications.waset.org/abstracts/search?q=texture%20and%20pixel" title=" texture and pixel"> texture and pixel</a>, <a href="https://publications.waset.org/abstracts/search?q=Xiang" title=" Xiang"> Xiang</a> </p> <a href="https://publications.waset.org/abstracts/174685/the-meaningful-pixel-and-texture-exploring-digital-vision-and-art-practice-based-on-chinese-cosmotechnics" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/174685.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">64</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">77</span> Valorization and Conservation of Rock Painting and Engravings of Kabylia Region (Algeria)</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Samia%20Ait%20Ali%20Yahia">Samia Ait Ali Yahia</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In Algeria, the most impressive and most known prehistoric art is the painted or engraved rock art which is present with abundance in several regions. The existence of rock art in Great Kabylia region has been known for over sixty years. The main purpose of this research is to show the dangers facing these rock paintings and engravings and what are the arrangements for their protection and recovery. As every vestige destroyed is a part of the world's memory which disappears, some steps have to be taken in order to protect these historical and archaeological heritages. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=rock%20paintings%20and%20engravings" title="rock paintings and engravings">rock paintings and engravings</a>, <a href="https://publications.waset.org/abstracts/search?q=preservation" title=" preservation"> preservation</a>, <a href="https://publications.waset.org/abstracts/search?q=valorization" title=" valorization"> valorization</a>, <a href="https://publications.waset.org/abstracts/search?q=Kabylia" title=" Kabylia"> Kabylia</a> </p> <a href="https://publications.waset.org/abstracts/35537/valorization-and-conservation-of-rock-painting-and-engravings-of-kabylia-region-algeria" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/35537.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">456</span> </span> </div> </div> <ul class="pagination"> <li class="page-item disabled"><span class="page-link">&lsaquo;</span></li> <li class="page-item active"><span class="page-link">1</span></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=non-objective%20painting&page=2">2</a></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=non-objective%20painting&page=3">3</a></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=non-objective%20painting&page=4">4</a></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=non-objective%20painting&page=2" rel="next">&rsaquo;</a></li> </ul> </div> </main> <footer> <div id="infolinks" class="pt-3 pb-2"> <div 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