Topic
Mural
About: Mural is a research topic. Over the lifetime, 1144 publications have been published within this topic receiving 5050 citations.
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TL;DR: 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 to give a feel for how mural works and of mural's applicability as a tool in specifying and verifying software.
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. >
16 citations
16 citations
TL;DR: The Untitled series of graffiti-painted walls along a quarter-mile stretch of retaining walls on Sunset Boulevard in the Echo Park and Silver Lake neighbor hoods of Los Angeles as discussed by the authors depicts cartoonish chickens riding bicycles and small, masked Zapatista characters raising their fists in playful defiance.
Abstract: Los Angeles: Untitled is a series of murals running along a quarter- mile stretch of retaining walls on Sunset Boulevard in the Echo Park and Silver Lake neighbor hoods of Los Angeles. Painted by graffiti writers Cache and Eye One, the murals depict cartoonish chickens riding bicycles and small, masked Zapatista characters raising their fists in playful defiance. Various incarnations of the central mural have depicted smaller chickens playing ball and reading books, Zapatistas gleefully stopping the wheels of industrial production, the LA skyline, the Hollywood Sign, and cat characters painted by recent collaborator Atlas from the CBS (City Bomb Squad) graffiti crew. Visually arresting, they are also, in the words of Department of Cultural Affairs (DCA) Murals Manager Pat Gomez, “technically vandalism.” 1 However, since no one has complained about the murals to Gomez’s office or to the Department of Building and Safety that oversees the public walls on which they are painted, no action has been taken to paint over the murals or criminalize the artists who painted them. Given their large size and placement on a busy stretch of Sunset Boulevard, these unsanctioned “graffiti- murals” appear to be legally produced.2 And because they are a welcomed alternative to the “tagging” that had previously covered the walls, they have been tacitly tolerated, if not outright welcomed, by law enforce
16 citations
TL;DR: In this article, an in-depth analysis of an important mural painting discovered within Structure 10K2 of the Los Sabios Group at the Classic Maya site of Xultun, Guatemala is presented.
Abstract: This article presents an in-depth analysis of an important mural painting discovered within Structure 10K2 of the Los Sabios Group at the Classic Maya site of Xultun, Guatemala. We first discuss the composition of the mural scene and its central protagonist, a Late Classic period (a.d. 550–900) ruler of Xultun named Yax We'nel Chan K'inich, suggesting that it presents a ritual performance associated with an ancient New Year ceremony. Several attendant figures in the mural are labeled as members of a specialist order or category called Taaj, “obsidian,” and are marked by an unusual shared appearance. This “obsidian order” exhibits internal hierarchical ranking and is attested at other Classic Maya centers. In addition to discussing the overall content of the Xultun mural scene, we conduct a focused inquiry into these various Taaj individuals by presenting associated archaeological evidence and considering related epigraphic data. Through this analysis of the Taaj, we shed light on a previously unknown aspect of Maya courtly life and organization that is relevant to models of sovereignty, governance, and ritual performance in the Classic Maya world.
15 citations
TL;DR: The Pantheon of the Kings, the mausoleum of the rulers of Leon-Castile in the eleventh and twelfth centuries, is attached as a kind of narthex to the west facade of the Collegiate Church of San Isidoro in Leon as discussed by the authors.
Abstract: In the summer of 1969 I directed a campaign which produced plans, sections and drawings of the older parts of the Collegiate Church of San Isidoro in Leon for a history of that monument.1 The work centered on the Pantheon of the Kings, the mausoleum of the rulers of Leon-Castile in the eleventh and twelfth centuries, which is attached as a kind of narthex to the west facade of the church. It is traditionally attributed to 1063, and the assured handling of architectural space and mass one encounters there has been seen as an auspicious introduction of the Romanesque style in northwest Spain. At the same time the walls and vaults of the Pantheon display the major surviving cycle of Spanish Romanesque mural painting outside Catalonia. During the six weeks of the campaign it was possible to become intimately acquainted with the complex (Fig. 1), and to complete a plan of the Pantheon and its adjacent tower and gallery, together with a plan of the tribune and tower on the next level (Figs. 2a and b). Of the lo...
15 citations