Showing papers on "Mural published in 1992"

A VDM case study in mural

Abstract: The application of an interactive theorem-proving assistant and specification support tool called mural in the specification and verification of a small Vienna development method (VDM) development is described. It is the authors' intention to give a feel for how mural works and of mural's applicability as a tool in specifying and verifying software. >

Electron microscopy studies of the chronological sequences of Teotihuacan plaster technique

Abstract: Over 108 samples of mural paintings from Teotihuacan, Mexico, were studied by scanning electon microscopy, optical microscopy and X-ray diffractometry. The results show a sequence in the techniques employed to produce the mural painting's supporting plasters made of lime and different sands. The technical stages found can be used as archaeological data to help understand the continuous evolution of 800-year mural paintings. The consequences of our study are discussed in detail. -- CAL

The Place of Narrative: Mural Decoration in Italian Churches, 431–1600 by Marilyn Aronberg Lavin (review)

Abstract: an analysis of ancient and modern myths about mothers and daughters by Ellen Handler Spitz. This volume corrects a surprising lacuna in the journal's history since these articles represent its first articles published from a feminist perspective. Joseph Margolis argues that his philosophy is compatible with the feminist position. He argues for a position ofopen-ended inquiry (which allows for many interpretations of a work of art) balanced by a minimal tie to narrative continuity of the history of interpretations of works. One suspects, given the current battles over academic curricula and the opposition to 'political correctness', that the traditional aesthetic will not incorporate the feminist agenda in such a graceful fashion. And where does Leonardo stand institutionally? The facts are: 40% of Leonardo's co-editors are women, as are 33% of the editorial advisors but only 2% of the honorary editors. In 1990,17% of the manuscript reviewers were women. During the last 3 years at Leonardo, 15% of the manuscripts received and 19% of the articles published were written by women authors. 60% of Leonardo/ISAST staff are women. None of the decisions leading to acceptance of a manuscript are carried out with any explicit gender bias; however, once accepted we consciously give priority to women authors, as well as to manuscripts that come from outside of the United States. For a recent article ofinterest, which discusses computers and computer art within a feminist perspective, see Sally Pryor, 'Thinking of Myself as a Computer, in Leonardo 24, No.5, 585-590 (1991).

The Ambivalence of John Steuart Curry's Justice Defeating Mob Violence

Abstract: John Steuart Curry's mural Justice Defeating Mob control such disorder and the agents appointed Violence (Fig 1), painted in 1936-37 for the to enforce that control But in doing so he took United States Department of Justice, offers the unusual step of adopting the visual idiom viewers a revealing perspective on the cultural of American regionalism, in the process cre values inherent in then-current notions of law ating a mural that juxtaposes negatively charged and order In approaching his mural, Curry asimages of rural and western American life with sumed the traditional role of the history painter seemingly positive images of a more ordered and as it had been known in post-Renaissance Euinstitutionally sanctioned component of Amer rope, especially in the eighteenth century; he ican society The mural incorporates some of undertook to present for public approbation and the features that made regionalist art popular public edification a moralistic allegorical stateamong broad segments of the general public: ment about the relations between societal disdistinctively American subject matter, a dra order and both the institutions designed to matic narrative presentation, and a clearly de finable moral basis reflective of both American nationalism and traditional American values Despite its apparently clear programmatic basis, however, Curry's mural elicits from the contem porary, late twentieth-century viewer some