Tactile colour pictogram to improve artwork appreciation of people with visual impairments

A recent development in tactile technology enables an improvement in the appreciation of the visual arts for people with visual impairment (PVI). The tactile sense, in conjunction with, or a possibly as an alternative to, the auditory sense, would allow PVIs to approach artwork in a more self‐driven and engaging way that would be difficult to achieve with just an auditory stimulus. Tactile colour pictograms (TCPs), which are raised geometric patterns, are ideographic characters that are designed to enable PVIs to identify colours and interpret information by touch. In this article, three TCPs are introduced to code colours in the Munsell colour system. Each colour pattern consists of a basic cell size of 10 mm × 10 mm to represent the patterns consistently in terms of regular shape. Each TCP consists of basic geometric patterns that are combined to create primary, secondary, and tertiary colour pictograms of shapes indicating colour hue, intensity and lightness. Each TCP represents 29 colours including six hues; they were then further expanded to represent 53 colours. Two of them did not increase the cell size, the other increased the cell size 1.5 times for some colours, such as yellow‐orange, yellow, blue, and blue‐purple. Our proposed TCPs use a slightly larger cell size compared to most tactile patterns currently used to indicate colour, but code for more colours. With user experience and identification tests, conducted with 23 visually impaired adults, the effectiveness of the TCPs suggests that they were helpful for the participants.     

基于心流理论的民艺体验产品设计要素研究

目的 探索民艺体验产品的设计方法，帮助用户实现沉浸式体验，提高用户对民艺产品的认同感，促进民艺的活态传承。方法 以竹编体验产品为例，通过用户观察、访谈并以用户体验地图的方式提取出“乌镇竹编”民艺产品在用户体验上的优点和痛点，结合心流理论，提出民艺体验产品的设计策略，同时优化“乌镇竹编”民艺体验产品。结论 经用户测试验证，最优的民艺体验产品除了要具备符合现代审美、工艺流程简化以及材料工具模块化等特征之外，还应具备以下设计要素:产品选择层次化、目标设置精细化、学习形式交互化、背景知识通俗化、作品分享社区化。     

关于COVID-19、膜脂质与公众健康（网络首发、推荐阅读）

冠状病毒具有一层脂质膜。虽然复制需要劫持宿主的RNA工具来合成病毒体蛋白，但必须将其包裹在脂质膜中，促其萌生以扩展感染。最近研究表明，某些必需脂肪酸可以抑制其复制活性。脂质膜通常被认为是水溶物的脂肪屏障，但它对细胞和亚细胞的功能是高度有序和组分特异性的，其对病毒外壳可能也有最佳的特异性。虽然复制中DNA、RNA和蛋白质组成不受饮食影响，但脂质膜受其影响。此外，自1960年代以来，人们就知道男性对这些必需脂肪酸和膜完整性不足的敏感性高于女性。有证据表明，花生四烯酸和二十二碳六烯酸具有抗病毒、免疫、抗炎、控制血压和消退素活性，因此，迫切需要考察它们在Covid-19预防和治疗中的地位，也需重新评估现行的膳食指导。当前，有关脑、神经、血管和免疫系统等富含膜系统对脂质需求还尚未被详细认识。毫无疑问，这些脂质在几百万年来塑造人类基因组方面具有重要意义，因此，如果这些膜脂质失衡将会使人类面临机体紊乱和感染风险，且男性比女性风险更大。     

温州某公轨共建高架车站结构设计

为了解决城市廊道资源的紧张和公共交通发展需求的矛盾,出现了轨道交通和快速路的共建型式,即公轨共建的复合型交通模式,以温州市域铁路S2线一期工程的人民路站为例,研究公轨共建高架车站的结构设计要点。首先,为降低浅层气体对桩基的承载力及沉降影响,对遇到局部浅层气体发育的基础设计提供了合理的解决方案。然后针对公轨共建一体化车站分别进行了多遇和罕遇地震作用分析,研究表明构件及整体指标满足规范要求。最后针对工程的一些关键技术,如快速路桥面体系的选型、超长结构温度应力的控制措施、轨道梁挠度及应力的控制、快速路桥面振动对车站的影响等进行了分析,并给出了具体的解决方案和指导意见。     

A general framework to study the price‐color relationship in paintings with an application to Mark Rothko rectangular series

We propose a general framework to study the relationship between the price of a painting and its color‐related attributes. To this end we focus on four key aspects: dominant colors, features of the color palette, color harmony, and color emotions. We demonstrate the usefulness of this approach with an example based on Mark Rothko's post‐1950 paintings (the “rectangular” series), and auction data from the 1994 to 2018 period. We identify two distinct price‐color regimes in Rothko's market: (a) [1994‐2005], a period in which prices are explained mainly by the growing popularity of the artist regardless of the color attributes of the paintings sold; and (b) [2006‐2018], a period in which color‐related attributes explain most of the prices. Furthermore, we find that in this second period, the dominant colors and the diversity of the color palette, are by far the most relevant attributes that influence the price; color harmony and color emotions hold almost no explanatory power during this period. Finally, we propose a new metric based on the Herfindahl Index to describe color diversity; this metric seems to be promising at characterizing the effect of the color palette on the price of a painting.     

The digital public humanities: giving new arguments and new ways to argue

ABSTRACT

In response to the latest “crisis” in the humanities, advocates have marched, rallied, fundraised, and—especially—argued. This essay contends that communication scholars can support the growing “case for the humanities” by analyzing argumentative strategies, and more specifically, by offering ethical argumentative strategies that avoid replicating structures of domination. In particular, we look to Mari Lee Mifsud's theorization of rhetoric as gift, which follows Henry W. Johnstone in conceptualizing argument as something other than winning over an adversary. We place Mifsud's theorization of the gift in conversation with the methods of the digital public humanities (DPH), which acknowledge and offer abundant resources for meaning-making. Through the methods of DPH, we offer a response to the humanities “crisis” that activates the humanities’ already broad constituencies by giving resources for humanistic inquiry rather than seeking to capture adversaries. Our case study is Photogrammar, a DPH project for organizing, searching, and visualizing the New Deal and World War II era photographs funded by the U.S. federal government. The project forefronts visual, nonlinear, and interactive argumentation in order to engage publics in generative humanistic inquiry. By enlisting participants and sharing expertise, Photogrammar shows how humanities advocates can deepen attachments to the humanities and build broad constituencies of collaborators and allies.     

一种标准模型下无证书签名方案的安全性分析与改进

无证书签名具有基于身份密码体制和传统公钥密码体制的优点，可解决复杂的公钥证书管理和密钥托管问题.Wu和Jing提出了一种强不可伪造的无证书签名方案，其安全性不依赖于理想的随机预言机.针对该方案的安全性，提出了两类伪造攻击.分析结果表明，该方案无法实现强不可伪造性，并在"malicious-but-passive"的密钥生成中心攻击下也是不安全的.为了提升该方案的安全性，设计了一个改进的无证书签名方案.在标准模型中证明了改进的方案对于适应性选择消息攻击是强不可伪造的，还能抵抗恶意的密钥生成中心攻击.此外，改进的方案具有较低的计算开销和较短的私钥长度，可应用于区块链、车联网、无线体域网等领域.     

Photomontage in the Present Perfect Continuous

In its first instance as art practice among the historical avant-garde, photomontage was considered indispensable for its claim to intervene in perceptual processes, stimulating a critical mode of apprehension that would redirect the viewer away from conventions of aesthetic experience and towards a lived reception of art with pronounced relevance to the sociopolitical landscape. The effect was understood as structural, that is, activated not so much by direct political content, but by the stark and shocking effects of juxtaposition. By this measure, one challenge to contemporary photomontage is clear: in a postindustrial and postdigital visual landscape dominated by the structural fragmentation of the attention economy, the ‘simultaneity of the radically disparate’ (as Peter Bürger put it) might no longer present as heterodoxy but rather threaten to sink into invisibility. Yet with the migration off-screen of the effects of electronic media, a new urgency around moving photomontage structures into physical, public space is rising in contemporary practices. Shannon Ebner’s multi-part project A Hudson Yard (2014–15) is emblematic of the new ways in which artists are manipulating photomontage as a form of fully sensory experience that gives the medium room to play critically in both virtual and material space. By constructing subtle interruptions of naturalised commercial space, A Hudson Yard activates a détournement of instrumentalised language, using structures of juxtaposition to divert the discursive surfaces of public space away from consumption and towards what could be called a public poesis.     

“Laboratorio Q”, Seville: creative production of collective spaces before and after austerity

The creative city approach is going through a redefinition after the 2008 global financial crisis. In the specific case of South-European cities, in the context of austerity and cuts in public investment, creativity is becoming a strategy for achieving maximum social benefit and improvement of the built environment with minimum economic expenditure. This paper looks at this redefinition of creativity through the case study of Seville, in southern Spain. Through research methods that include video-recorded testimonies of the actors involved, mapping at the online platform “Laboratorio Q”, and public engagement activities, this paper explores how the civic society, professional, and public authorities have reinvented how to produce collective spaces. The paper concludes that bottom-up creative processes for producing collective spaces have become more visible since the 2008 crisis, when architects, planners, public authorities and policy-makers have been “learning” from them.     

Developing social impact assessment guidelines in a pre-existing policy context

Few jurisdictions have translated internationally agreed social impact assessment (SIA) principles into statutory provisions. Governments and regulatory bodies tend to provide developers with high-level frameworks, or require that social impacts be ‘considered’, without specifying how this is to be done. In Australia, this lack of clarity leaves all parties uncertain about requirements for SIA. The New South Wales (NSW) Government’s 2017 release of the SIA guideline for State-significant mining, petroleum and extractive industry development represents an attempt to clarify requirements and provide guidance. In this paper, we describe the process of bringing this guideline to fruition from the perspective of being directly involved in its development, and highlight the challenges involved in integrating leading-practice principles into the state’s pre-existing policy framework. While the guideline represents a significant advance in policy-based SIA guidance, some aspects leave room for improvement. The real test of the guideline’s impact will lie in its influence on SIA practice in NSW, and ultimately in social outcomes for communities affected by resources projects.