Preschool children have been proven to possess nonsymbolic approximate arithmetic skills before learning how to manipulate symbolic math and thus before any formal math instruction. It has been assumed that nonsymbolic approximate math tasks necessitate the allocation of Working Memory (WM) resources. WM has been consistently shown to be an important predictor of children's math development and achievement. The aim of our study was to uncover the specific role of WM in nonsymbolic approximate math. For this purpose, we conducted a (...) dual-task study with preschoolers with active phonological, visual, spatial, and central executive interference during the completion of a nonsymbolic approximate addition dot task. With regard to the role of WM, we found a clear performance breakdown in the central executive interference condition. Our findings provide insight into the underlying cognitive processes involved in storing and manipulating nonsymbolic approximate numerosities during early arithmetic. (shrink)

This article investigates the hypothesis of creating non-linear audio-visual narratives, through an unanticipated use of traditional print-based games, enriched with videos, via augmented reality (AR) possibilities. A ludic system has been created and presented. Based on a traditional card game, a non-linear cinematic narrative occurs. We attempt to examine the following questions: in which way can we bring together different forms of visual communication, such as graphic design and video? Can the above forms create a complex narrative whole and what (...) kind of rules will be needed for this? How can we enrich traditional forms of gaming with the potentials of AR? Gaming itself demands a set of rules. Can these rules play the role of algorithms in the combined universe that we have designed and created? In which way can the designer on the one hand and the user on the other influence the overall output of the system? What will the user experience be like? The printed card system chosen for this is Tarot and more precisely the Great Arcana, which makes use of the 22 fundamental Tarot figures. (shrink)

In Hybrid artwork, whereby the digital and the real are mixed, the artist/creator has to additionally manage interaction. Interaction is seen as an added dimension to narration: the art piece turns from being a means towards a narration (or an understanding) to a path towards an experience. It is argued that strong metaphysical concepts give place to new more fragmented ones. This nihilism and fragmentation can be seen as a cause of concern but also as an opportunity.

This article documents a project that deals with the application of a generative approach for creating audio-visual narration. The project investigates the possibility of producing spatio-temporal montage, offering a kaleidoscopic view of pre-recorded events. Fragmented narratives synthesize a complex whole, which evolve in space and time according to the viewer's behaviour in space. Thus, the viewer becomes the player of a live, constantly changing puzzle. The aim is to create new experiences derived from the synthesis is being pre-recorded memories, according (...) to kinetic commands. A kaleidoscopic narrative is being created according to users' placement, to their movement in space, and to interaction between them. The system's narratives are different if a single observer is interacting with it via his displacement, or if many observers are moving independently towards different directions or as a group. Two kinds of interaction are being developed: humanmachine interaction and humanhuman interaction. Condensings and rarefactions are perceived by the system as different stimuli, and thus they lead to different audio-visual narratives. The environment created by the system is planned to be both procedural and participatory. It is led by rules and by people at the same time. It reacts to the users' acts and is offered for multiple simultaneous personal readings. When interactive environments are offered for simultaneous readings by a number of users, they are altered in a way that depasses the sum of individual interactions, creating an emergent narrative and a collective memory. Video as a means of projecting recorded memories is being edited by the system in order to provoke new experiences and connotations, through semantic montage. (shrink)

日本古来の神々の色、陰陽五行説の色、武将たちに愛された色、雅な平安の色、粋な大江戸の色彩から、昭和の流行色まで、ビジュアルで辿る日本の色を探る旅。.

This article treats the verbal and physical altercation between the disguised Odysseus and the local beggar Iros at the start of Odyssey 18 and explores the overlapping ritual and generic aspects of the encounter so as to account for many of its otherwise puzzling features. Beginning with the detailed characterization of Iros at the book's start, I demonstrate how the poet assigns to the parasite properties and modes of behavior that have close analogues in later descriptions of pharmakoi and of (...) famine demons expelled from communities in rites that are documented from different parts of the Greek world from the archaic period on; so too the account of Iros' ejection from the house and of his subsequent fate conforms to the patterns observable in these rituals. The second part of the discussion examines the ways in which the beggars' quarrel anticipates the enmities that the Ionian iambographers would construct with those whom they cast as their echthroi and rivals, and suggests that we see in the Homeric scene an early instance of an iambic-style confrontation presented in poetic form for performance at the symposium. The iambographers' own deployment of the scapegoat and famine demon paradigms for the vilification of their targets promotes the overlap between the epic and iambic material. In both portions of the argument, the discussion observes how the several frames informing the episode in Book 18 coincide with and promote the Odyssey's larger themes. (shrink)

This paper examines the relationships between corporate governance and corporate sustainability by focusing on two main components of companies’ governance structure: boards of directors and investor relations officers. We propose an original empirical strategy based on the 120 biggest French capitalizations for the year 2013, allowing us to measure boards of directors’ independence and expertise, as well as investor relations officers’ convictions and communication on corporate sustainability. Our results show that corporate governance has an ambiguous impact on corporate sustainability because (...) of opposing forces: internal, external and intermediate forces. On the one hand, the higher the proportion of inside directors, the higher the company’s environmental and governance performance, while the higher the proportion of general experts in the board room, the lower the company’s governance performance. On the other hand, investor relations officers’ beliefs that corporate sustainability is primarily driven by investors’ ethical values appear negatively related to companies’ governance performance. In sum, corporate sustainability appears positively related to internal forces and negatively related to external forces. The results of this study demonstrate the need to carry out efforts to train BoDs and IROs to respond to corporate sustainability and to take more of a leadership role in this area. (shrink)

Close le 6 janvier 2014, cette exposition a donné lieu à deux publications : un livre collectif codirigé par Denis Chevallier, Michel Bozon, Michelle Perrot, Florence Rochefort et un petit catalogue à destination des visiteurs, illustrés tous les deux par une femme « torera » en costume de toréador chaussée de talons aiguilles de couleur rouge et tenant avec le bras gauche une cocotte-minute et de la main droite une épée : il s’agit d’un autoportrait de Pilar Albarracin qui veut (...) souligner iro... (shrink)

In lieu of an abstract, here is a brief excerpt of the content: The Portrait of a Miniature Giant PAUL BAROLSKY There was a time when the art of the sixteenth -century Florentine painter Agnolo Bronzino was reviled for its aesthetic excesses. Writing in his classic “The Cicerone: An Art Guide to Painting in Italy,” the great nineteenth -century scholar Jacob Burckhardt wrote that “as an historical painter,” Bronzino must “be placed among the Mannerists,” a judgement equivalent to placing him (...) in an art historical hell. But, Burckhardt added, “as a portrait painter, he is inferior to none of his contemporaries, not even the Venetians.” Given the fact that among the Venetians, Titian is one of the great portrait painters, this is astonishingly high praise. Nowadays, it is not uncommon for art historians, appreciating Mannerism, to celebrate the elegance and preciosity of Bronzino’s exquisite portraits. Of all Bronzino’s portraits, that of the dwarf Morgante is one of the most beguiling. It is distinctive in so many ways. This picture is the subject of a remarkable book by the Israeli art historian Sefy Hendler, Gracious and Beautiful Monster : The Literary Universe of Bronzino’s Nano Morgante, which is an exceptional piece of scholarship. Different aspects of his book have influenced various scholars who have written about the picture and who have fruitfully exploited its various details. What needs to be appreciated, however, is the way in which this book brings out the extraordinary synthetic character of Bronzino’s strange painting and the diarion 28.3 winter 2021 Sefy Hendler, Gracious and Beautiful Monster: The Literary Universe of Bronzino’s Nano Morgante, Maschietto Editore, 2016. 158 the portrait of a miniature giant versity of ways in which it belongs to the courtly culture in which it was painted. The beauty of Hendler’s seemingly all-encompassing book is that it tells a fascinating and highly entertaining story with admirable brevity in just over seventy pages. Hendler, who packs a great deal of deeply absorbing information and insight into his slim and learned volume, is sensitive to the sentiment of Peter Whiffle’s well-known dictum: “You cannot begin not to tell until you know more than you are willing to impart.” Hendler’s exquisitely concise story concerns a favorite dwarf of Duke Cosimo de’ Medici, one Braccio di Bartolo in Poggio di Fornione, who flourished at the ducal court in the middle years of the sixteenth-century. Bronzino painted the dwarf for the Duke in 1552. His sometime rival, Giorgio Vasari, painter, architect, and biographer, described the picture as “beautiful and marvelous” in his Lives of the artists. The painting is double-sided, featuring a frontal view of the naked dwarf on the recto of the canvas (fig. 1) and a rear view of the dwarf, similarly exposed on the verso (fig. 2), where the dwarf’s backside dominates the composition. (We might well observe here that Bronzino specialized lasciviously in painting the culo (witness the coy Cupid in his famous Venus, Cupid, Folly, and Time). It is therefore not surprising that the anatomical backside rendered over and over again in Italian Renaissance art, with all its connotations, sexual and otherwise, has recently been the subject of a considerable body of scholarship. Hendler, himself writing on various writers of the period, offers little hints into the psycho-sexual dimension of Bronzino’s picture. Its depiction of so many birds leads inevitably to a consideration of the word “bird” in its sexual dimension. Enough said. If Morgante’s posterior is manifest on the verso, the recto of the painting has its own special interest. A butterfly flies by the dwarf directly and conveniently in front of his genitals—a coy if not teasing gesture of decorum. The portrait once hung in the Palazzo Vecchio, which had become a ducal residence. In recent years it has moved around quite a bit, settling in the Galleria Palatina of the Palazzo Pitti, once a ducal residence. Vasari’s description of the picture is not without a certain iro- Paul Barolsky 159 ny, since the beautiful form of the painting as painting stands in opposition to the less than beautiful dwarf. The writer Anton Francesco Grazzini captured this paradox in his poem on the occasion of the death... (shrink)

Historiker haben den weitreichenden Einfluß eines schottischen Common-Sense-Realismus auf die amerikanische Theologie häufig festgestellt. Und mit Sicherheit konnte man diesen Einfluß kaum irgendwo eher mit Händen greifen als am Old-Princeton-Seminary: Kontinentale Theologie und Bibelkritik geriet mit Princetons realistischem Ansatz und einer der Tradition verhafteten calvinistischen Theologie in Konflikt. Das trat insbesondere 1893 im Zuge des kirchlichen Untersuchungsverfahrens gegen Charles August Briggs zu Tage: Die Ereignisse und Diskussionen regten in Princeton dazu an, noch hinter die iro-schottischen Wurzeln zurückzugreifen und sich um (...) eine Fundierung einer von konfessionellem Bewußtsein geprägten calvinistischen Theologie zu bemühen. Ein Ergebnis war, daß Geerhardus Vos erster professor biblicus der Fakultät wurde. Vos war von der Neo-Calvinistischen Bewegung Abraham Kuypers in den Niederlanden geprägt, die wiederum selbst wesentliche Elemente dem Romantizismus verdankte. Der vorliegende Beitrag berücksichtigt gerade diese besonderen, auf der niederländischen Prägung beruhenden Charakteristika der Vosschen Methode, insbesondere bezogen auf seine Epistemologie, sein Wissenschaftsverständnis, das Geschichtsbild und seinen Organizismus; sie lassen manche Anfrage an seine Föderaltheologie zu. Freilich kopierte Vos Kuyper nicht einfach, sondern erkannte die besonderen Anforderungen, die die Situation in Amerika an ihn stellte. Darum berücksichtigt der vorliegende Beitrag auch, in welcher Weise Vos die in den Niederlanden gewonnenen Erkenntnisse in seine Lehre in Princeton integrierte. Während Kuyper die Biblische Theologie etwa gleichgültig blieb, eröffnete der Lehrstuhl in Princeton Vos die Möglichkeit, diese sich zunehmend etablierende Disziplin weiterzuentwickeln. So wurde Vos' Position zu einem tertium zwischen den Calvinisten in Princeton einerseits und denen in Amsterdam auf der anderen Seite. (shrink)