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This article examines a private collector's bound volume of six librettos of Italian operas performed in both The Hague and London between 1752 and 1762. The source is of particular interest due to a pair of its enclosed titles— L'Arcadia in Brenta and Il filosofo convinto in amore —neither of which has ever been registered in any bibliographical catalogue of reference. Cet article examine un volume relié appartenant à un collectionneur privé contenant six livrets d'opéras italiens, interprétés à La Haye et à Londres entre 1752 et 1762. La source est d'un intérêt particulier en raison de deux titres contenus dans le volume– L'Arcadia in Brenta et Il filosofo convinto in amore –Aucun de ces livrets n'a jamais été répertorié dans aucun catalogue bibliographique de référence. Dieser Beitrag untersucht sechs aus einer Privatsammlung stammende und in einem Band zusammengebundene Libretti italienischer Opern, die in Den Haag bzw. London zwischen 1752 und 1762 aufgeführt wurden. Die Quelle ist besonders interessant, weil zwei der enthaltenen Titel– L'Arcadia in Brenta und Il filosofo convinto in amore –bisher in keinerlei bibliografischer Publikation nachgewiesen wurden. [ABSTRACT FROM AUTHOR]

Copyright of Buca Faculty of Education Journal / Buca Egitim Fakültesi Dergisi is the property of Buca Faculty of Education Journal and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

We present stego-texture, a unique texture synthesis method that allows users to deliver personalized messages with beautiful, decorative textures. Our approach was inspired by the success of recent work generating marbling textures using mathematical functions. We were able to transform an input image or a text message into an intricate texture by combining the seven basic, reversible functions provided in the system. Later, the input image or message could be recovered by reversing the process of these functions. During the design process, the parameters of operations were automatically recorded, encrypted and invisibly embedded into the final pattern to create a stego-texture. In this way, the receiver could extract the hidden message from the stego-texture without the need for extra information from the sender. To ensure that the delivered message is unnoticeably covered by the texture, we propose a new technique for automatically creating a background that is harmonious with the message based on a set of visual perception cues. [ABSTRACT FROM AUTHOR]

Copyright of Electronic Turkish Studies is the property of Electronic Turkish Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

We present a new real-time image marbleization method that converts an image into a marble-like appearance automatically. The approach models the marbleization process as a two-dimensional fluid dynamics problem, whereby color advection of an input image results in a marbleized image. During the fluid dynamics simulation, we add a pixel-level external force field which is tangent to salient features in the image. The forces are computed from the image characteristics without user intervention. A stylized image with marble-like appearance is easily created that maintains the basic shape of objects in the input image. The entire modeling framework is implemented on a graphics processing unit, thus enabling real-time visual feedback. This approach provides a new tool to design figurative marbling textures without mixing of colors, which are almost impossible with previous computer-generated marbling methods. [ABSTRACT FROM AUTHOR]

Marbling creates stone-like or intricate abstract decorations from inks floating on water or gel. Instead of using fluid dynamics to simulate marbling, a proposed method takes a mathematical approach with closed-form expressions. This method improves control, ease of implementation, parallelism, and speed, enabling real-time visual feedback and creation of vivid flowing animations. Users can start designs from a blank sheet, raster images, or videos. When starting with a blank sheet, this method can produce compact resolution-independent vector output. The transforms for the marbling operations all have inverse transforms. Forward application generates compact resolution-independent vector-based output; inverse application generates pixel-based output. In both cases, the closed-form expressions preserve the designs' quality and sharpness. Extensive comparisons with other digital marbling methods demonstrates this method's efficiency and effectiveness. Applications of this method include surface detail rendering for 3D objects, interactive video processing, and scene decoration. The video at http://youtu.be/ZgVbIaKhC_4 shows the application of simulated marbling to a video stream. [ABSTRACT FROM PUBLISHER]

Abstract  We present AtelierM++, a new interactive marbling image rendering system which allows artists to create marbling textures with real-time visual feedback on mega-pixel sized images. Marbling is a method of aqueous surface design, which can produce patterns similar to marble or other stone, hence the name. The system is based on the physical model of the traditional marbling process. We simulate real marbling by solving the Navier-Stokes equations on the graphics processing unit. We employ a third-order accurate but fast Unsplit semi-Lagragian Constrained Interpolation Profile method to reduce the numerical dissipation while retaining the stability. To simulate very sharp interface lines among different paints, a simple yet effective transformation function is applied to the paint concentrations. Several intuitive interfaces are implemented to provide flexible control for users. Extensive experimental results are shown to demonstrate both the effectiveness and efficiency of the proposed approach. [ABSTRACT FROM AUTHOR]

The article provides information on the traditional marbling design and the GPU-based method which allow users to generate marbling patterns following the same procedure as real marbling and to solve the Navier-Stokes equations. Paper marbling is a mysterious art from Turkistan. It requires operations of accurate balances and strict rule of application because mistakes cannot be corrected. Because of these dilemmas, researchers came up with a real-time marbling system which uses a modern GPU in order to create marble textures. With the use of GPU, the marbling texture design is being processed as a 2D fluid-dynamics problem. Pictures showing the step-by-step process in the creation of traditional marbling design are also presented in the article.

The author has studied natural patterns both by drawing them and by finding analogs for them in crafts materials and processes, including batik, shibori, wrinkled paper painting, paper marbling, moir é, painting and engraving on Plexiglas. She discusses the generation of patterns in nature and how scientists' understanding of them has expanded during the period of her own explorations. She recommends this study for enhancing one's connection to the natural world and the cosmos. The author also explains how she has found patterns useful as metaphors for philosophical ideas. [ABSTRACT FROM AUTHOR]

The author describes his development of a computer-based paper-marbling tool, based on a traditional Turkish art form in which marbled-paper figures and patterns are created on the surface of a liquid bath. Similar works can be obtained by simulating fluid flows on a computer, using the Navier-Stokes equations as the physical model of the fluid flows. The author has created an application program that includes marbling tools. Such a program must run in real time, so that hand-eye coordination is required of the user. Real-time simulation of fluid flows requires much processor power. The author has attempted to adapt this technique for use with a personal computer. To decrease the processing power required, the image size may be decreased, but the results may not be as satisfactory. [ABSTRACT FROM AUTHOR]

The article offers information on binding of book by artist Paul Delrue which is bound in sheepskin to a design by Thomas Schmitz with modern marbled endpapers and the design was inspired by Rimbaud's friend Paul Verlaine.

Presents several colorful photographs and their interpretations. Description of a figure showing a digital sky; Information on a photograph of an altar bearing flax fabric rolls with Earth Music notations; Details of a digital marbled paper.

Presents abstracts of several articles on art and technology. "Planet Earth in Contemporary Electronic Artworks," by Julien Knebusch; "Heart Rate Sonification: A New Approach to Medical Diagnosis," by Mark Ballora; "The Digital Art of Marbled Paper," by B. Tevfik Akgun.

Suggests a possibility of loss of the mystical meaning of the marbled page in Laurence Sterne's 'Tristram Shandy,' to succeeding generations along with the description of the process by which the marbled-paper is produced. Reasons for the uniqueness of every 18th century edition of 'Tristram'; Symbolization of the readers imagination and the book's anarchic nature by the paper; Features of Sterne's book.