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The research explores the interoperability and information exchange between 3D photogrammetric survey software and Building Information Modelling (BIM) software. It is based on a case study of a real traditional Bulgarian house. It proposes a proven and reliable workflow for data transfer for use in the practice of digital documentation and preservation of cultural and historical heritage.
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Industrial buildings, factory buildings, production complexes ... all these facilities are most often associated negatively, еspecially in our country. These terms have a similar or identical meaning, and for a large part of the society, including a certain part of the architectural community, they are bound mainly by the complicated, even ‘scaring’ image of the production process, the huge machines and facilities, and the large, rough buildings that shelter them. Particularly strong emotions (negative or positive) cause the deserted buildings arisen as a reflection of the Industrial Revolution onto Bulgaria dating back to the late nineteenth and early twentieth century. For some people – a small community with a strange interest in abandoned buildings called ‘urban explorers’ – these empty buildings are causing the thrill of an extreme experience, for other people – a perfect action movies setting... But for the guardians of our cultural heritage and for those who are addicted to the beauty of industrial architecture these buildings are giving rise to fascination and excitement of the spaces that these large industrial shelters reveal. At the same time their pitiful state is causing anxiety.
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There is a separate segment in 3D computer graphics called product visualization. In general, product visualization includes various activities, such as modeling, animation, lighting, prototyping and shape analysis, technical drawings and sketches, as well as product documentation. This type of visualization has been used a lot lately, especially in the presentation of new electronic products, food, household goods, print advertising, billboards, websites, video networks, television. It turns out that it is much more convenient, and also more cost-effective, to recreate a product in 3D and then visualize it realistically. This gives much more freedom in recreating different, in many cases impossible in reality situations, related to the presented object - for example, levitation, morphing between different forms and other similar special effects. Three-dimensional visualization allows instant change of materials, backgrounds, use of many and varied cameras to recreate different points of view of an object. In many cases, the visualization of a particular product precedes its physical creation. This allows the manufacturer to detect possible defects in it and improve its product on time.This article aims to acquaint the reader with the methods of lighting and composition of product design visualization used in classical photography, and to compare them with the ways of reproducing reality in the three-dimensional software for realistic visualization 3D Studio MAX, as well as to give guidelines for proper sequence of actions in creating a virtual photo studio, by explanation of the main factors for quality and realistic reproduction of three-dimensional product design.
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Speaking about the phenomenon of abstract art, we often credit the merits of the first "founder" or "pioneer" in this genre to Vasily Kandinsky. Being one of the earliest artists who used the term "abstract" in the period of development of fine arts, Kandinsky is an artist - theoretician who recreated the Renaissance idea of feeling, the vital, the terrestrial and self-knowledge in his works - distinctive and innovative for the period. Noting the foundations of perception of the abstract and spatial structures, Kandinsky wrote the book "On the Spiritual in Art. Point and line to plane" It will not be a mistake to say that he was the first "pure" artist, who had entirely focused his work on cleansing and simplifying images to the plane, depriving himself of the image due to his belief that excessive specificity prevented his paintings and self-expression. In his theories, Kandinsky offered to the general public a summary of the way in which the work of art is created and put it in the frame of visual composition consisting of two basic elements - the inner - emotional and the outer - accessible element.
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In the time we live in, music is a cult. The musical style brings with it not only the worldview, but also the whole lifestyle of its listeners. Very often walking on the streets we can see girls with Rihanna's hair or boys dressed as Justin Bieber. But this is by no means a novelty or a fashion - the music that is listened to reflects on the appearance. The Beatles and the Rolling Stones, considered to be one of the symbols of the 60's and recognized as the most innovative and popular performers in the history of pop music, are considered to be one of the first major music waves to flood in and create their own style. As a period, the time in which the two bands quickly gained popularity coincided with the mass distribution of television. The performers quickly imposed their own lifestyle, behavior and dress, supporting the idea of avant-garde music of their time
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Regarding the scientific aspect of the anatomical drawing, when it does not correspond to the actual authenticity (anatomical truth), the author considers that such an illustration in itself has no didactic value. In this case, the creative (artistic) aspect is not essential. Even if the drawing has high artistic qualities, they are not able to compensate for the lack of scientific fact. To the extent that a wrong word in the text may confuse readers with insufficient experience and knowledge in plastic or medical anatomy, undoubtedly the same (even to a greater degree) applies to the wrong anatomical drawing.
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The article shows examples of paintings by Botticelli, Frans Hals and Delacroix, representatives of different eras and styles in the fine arts, in which the authors have made similar inconsistencies. Regardless of the reasons that led to these discrepancies in the spatial positioning of the longitudinal axes of the eyes, this in no way affects the aesthetic appearance, nor does it take away from the beauty of the works of the three world-famous artists.We cannot be sure of the reasons why the artist makes mistakes of this nature - and not once, but we must admit that in other cases he follows the rules of anatomically correct construction of the head.However, it turns out from art history that there are other examples of world-famous artists who make positional-spatial errors of the same nature in their works.
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Children and future generations are the reason for creating an awareness of history’s good and bad lessons. They are the meaning for the specialist’s efforts in different areas in pursuit for a better future. One of the major objectives of the sustainable design is also the care for the children and their benefit. In the children of today lies the hope that they would succeed in bringing the positive that was started from an ecological point of view by rethinking and changing to working models and tangible results.
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The article introduces the adventure videogame, it’s features and sub-genres. The focus is on the narrative and how it’s change over the years. Seven video games, published between 2000-2019, were analyzed through a single matrix. The various narrative structures and their influence on storytelling are analyzed. In the last part an object of attention are the hybrid genre of action-adventure videogames and it’s spread in various media. The text is part of a thesis successfully defended at FJMC in 2019
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The Thracian megalith sanctuary Kara kaya is located in the Western Rhodopes Mountains. It occupies a dominant peak over the surrounding terrain, ending with a natural stone pyramid. The rock cuttings are concentrated on the top of the slopes and at the foot, near the Visteritsa river. This structure, combined with the semantics of the rock cuts, make it a classic symbol of the cosmic mountain.
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The article examines the depiction of the two female trumpet players from the Kazanlak tomb’s fresco and focuses on the instruments themselves. Fol discusses the parallels in estimated size, conical bore shape and funeral rite purposes between the Kazanlak tomb’s trumpets and the Egyptian pharaoh Tutankamun’s trumpets. The author uses physical and experimental evidence from ancient and folk trumpets to support her theory for existence of detachable mouthpieces carved from organic materials in ancient trumpets. She deduces the possible make-up and sound of the Kazanlak tomb trumpets from the recordings of Tutankamun’s trumpets, and from evidence presented in the fresco. She strengthens her 2009 hypothesis about a just-intonation based Thracian mode.
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As is well known, postage stamps now have existed in Europe for about 160 years. They are a type of applied graphic (or graphic design) artifacts – small paper elements with visible prints, which are intended for wide, public use. Postage stamps were introduced in Bulgaria in 1879 – immediately after the state Liberation. Until 1980, over 3000 stamps had been issued. Following the laws of the genre, they reflect a rich register of themes, motives and images, and were created by talented Bulgarian artists. Here, we explore the images on stamps, representing the ancient material heritage of Bulgarian lands. A number of them reproduce and promote specimens of Thracian artifacts. The focus of the study is on the systematization of these images, traced in the second half of the 20th century in Bulgaria. We looked for the answers to the following questions: Who are the artists – authors of such stamp images? When (and how) do they depict motives and images from our Thracian heritage? What are the semantic and symbolic messages of these graphic artifacts? The base of our report is traditional: art samples from ancient Thrace. The chosen perspective on them however, is new: their inclusion in contemporary graphic design, and their massive circulation in stamps. Their images have an administrative (documentary, commercial, etc.) application, but also significant social functions: informative, educational, artistic, advertising. Traditionally, postage stamps also make a significant contribution to the global knowledge and culture dissemination network.
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he religious radio and television channels play an important role for every believer - they introduce to the viewers various aspects of the spiritual life, trying to help also those who, for some reason, are unable to attend the temples. In this study, an attempt will be made to follow the development of the radio and television channels of religious organizations, as well as the current challenges facing them in relation to digitalization, convergence and Internet-based media. We will also look at the religious media positioning in our country, the appearance of the first radio and TV shows dedicated to the religion, as well as the current trends and problems faced by today's native media channels of the believers.Keywords: media, religion, radio, television, Internet
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In the production and performance of pop music, one of the mechanisms to “measure” and generate statistics, ratings and conclusions, are the charts. Do we have them, in the late 80s at all? A whole new generation of musicians declared its presence and art in this period but is it recognized in the printed media, or it is ignored? In case there is any trace in the press, is it still available in Internet today? In order to be present there, these events needs to be archived in old printed media first, then they need to be transferred in the Net.
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This text was created by a photo shoot made by Rosen R. Malchev, Dr. of Sci, during the field research of the fishing community in Oryahovo in the summer of 2019. It has documented elements of urban tissue, many slabs and monuments, significant exhibits in the museum, thus describing various forms of local heritage.The Images of heritage are elements of the life of local communities; they are necessary for the building of individuality, as well as for presentation to your own and others. They fit into the local forms of identity and in the present have basic functions in communication process with the past. The elements of local heritage registered here are valorized by our respondents – places and images are most resilient part in stories, part of urban orientation, as they have established themselves as visual memory markers.
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Serbian war photography came to life only during the First Balkan War, with Risto Marjanović, who came to Belgrade from the New York Herald in Paris at the request of Dragutin Dimitrijević Apis and became an official photo reporter at the Supreme Command. The entire photographic opus of Dragiša Stojadinović can be divided into five stylistically and chronologically different units, which, however, cannot be best seen as separate. The first consists of war photographs, primarily those from the First World War, which show military activities and dead bodies; the second consists of individual and group portraits with a large number of soldiers created in the interwar or passive periods of the war; in the third, photographs of prominent civilians appear; the fourth and fifth units, which are stylistically the furthest from the others, are family photographs taken after the war, but also pre-war, war and post-war photographs of which Stojadinović is not the author, in which he is personally depicted in military uniform, with his family or immediately after his arrest in “Glavnjača” and in prison in Sremska Mitrovica. Although each unit can be a photodocument, only by connecting them is a valid photo documentation obtained that fully illuminates Dragiša's entire oeuvre, especially if we take into account the fact that they are thematically different units. The photographs of Ljubiša Valić illustrating the book “Experiences of Sergeant Miladin” (1917) are by no means just an addition to the text. Valić started from a report, more precisely a war photo report, but his photographs show the war Golgotha of Serbian soldiers and civilians during the retreat through Albania in 1915-16. years gained a new quality by connecting with the text. The artist, who is both a photographer and a writer, has a difficult task to achieve the unity of photography and text, and Valić had to adapt his photographs to the book he also wrote, but based on the story of Sergeant Miladin. In this case, the text and the photo did not come from each other, they were created in parallel in the same area. With him, as with Stojadinović, one can see sincere intentions and freedom from any kind of insinuation and pressure from the side. Both of these photographers, as well as the vast majority of Serbian photographers from the First World War, tried to create as realistic a picture as possible, as much as their abilities and knowledge allowed at that time.
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The long reception of the doll Olimpia in E. T. A. Hoffmann’s The Sandmann represents the change of the ideologies concerning androids. The paper focuses on three transformations of the Romantic creature in 20th century Avant-garde art, namely, in works by Max Ernst, Oskar Schlemmer, and Cindy Sherman. It is aimed at showing how the machine myth of the 18th and 19th centuries, closely related to Gothic Romanticism, could become an important part of 20th century art.
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The paper analyzes a recent experiment in the collaborative production of ethnographic knowledge and the use of the graphic novel form as an alternative to the conventional academic monograph. Lissa: A Story about Medical Promise, Friendship, and Revolution (2017) is discussed here as a useful tool in the age of globalization for building recognition of the need to protect the lives of people other than our immediate kin, tribe, race, or nation. The paper argues that both the collaborative research behind the story and the formal experimentation stem from the authors’ sense of accountability to their informants. By telling a story about distant others who are given names and faces, Lissa’s authors encourage readers to develop empathy across borders.
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