The Effect of Icon Prediction on College Students' Recall of Icon Codes
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The influence of icon prediction and length of icon sequence on college students' recall of 24 ironically encoded messages was investigated. Findings indicated that using an icon prediction feature resulted in increased recall. The length of the icon sequence also had a significant effect on recall. Three-icon sequences were more easily recalled than two-icon sequences.Keywords:
Icon
Sequence (biology)
Feature (linguistics)
The influence of icon prediction and length of icon sequence on college students' recall of 24 ironically encoded messages was investigated. Findings indicated that using an icon prediction feature resulted in increased recall. The length of the icon sequence also had a significant effect on recall. Three-icon sequences were more easily recalled than two-icon sequences.
Icon
Sequence (biology)
Feature (linguistics)
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Статья посвящена итогам реставрации иконы XVII в. «Преподобных Сергия, Никона и Саввы» из Троицкого собора Свято-Троицкой Сергиевой Лавры. Рассматривается история происхождения иконы, приводятся сведения о предыдущих поновлениях и реставрациях. Кратко описывается ход последних реставрационных работ, результаты технико-технологических исследований и особенности иконографии. Долгое время сильно потемневший образ, находившийся под несколькими слоями записи, не обращал на себя внимание. Открытие этой иконы может послужить поводом для дальнейших искусствоведческих исследований. The article is devoted to the results of the restoration of the seventeenth century icon «St. Sergius, Nikon and Savva» from the Trinity Cathedral of the Holy Trinity Sergius Lavra. The history of the icon's origin is considered, and information about previous renewals and restorations is provided. The article briefly describes the course of recent restoration works and the results of the research on the technique and manufacturing, as well as the features of iconography. For a long time, the darkened icon, which was under several layers of recording, did not attract attention. The discovery of this icon can serve as a subject for new works on art history.
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Abstract The Orthodox Christian experience with sacred art-icons-serves as a guide to the present consideration of the potential and challenges of the icon and iconic in our visual age. This article considers contemporary understandings of the icon in light of a millennium of living with icons in the Orthodox tradition. Three basic questions are asked and discussed: 1) What does an icon depict? 2) How do icons form us? 3) What are the dangers of icons?
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The article examines the main issues faced by artists who want to do icon painting, who undertake writing icons and restoring temples. A brief overview of the activities of Irkutsk artists represents the directions by which iconography is developing in our region. It is emphasized that the canonicity of icon painting does not contradict the creative character of modern artistic culture and is a necessary condition for the work of Irkutsk icon painters.
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Статья посвящена исследованию иконы «Суд иудеев над Иисусом Христом» из собрания русских икон при поддержке Фонда апостола Андрея Первозванного. Наличие палеосных святых свидетельствует о частном заказе данного образа, хотя крупный размер иконы явно указывает на её бытование в храме. Выбор столь оригинального сюжета, носящего «историко-дидактический» характер, привлек внимание исследователя той нетрадиционностью, которая выбивалась из привычного иконографического репертуара вкладных икон. В статье рассмотрены особенности стилистики и иконографии иконы. Выявлены стилистические аналоги, обоснована атрибуция и происхождение иконы из Стародубско-Ветcкого региона (Ветка). Показаны иконографические источники образа и их связь с народной гравюрой. Объяснено бытование иконы в старообрядческой среде. The article is devoted to the study of the icon «The Judgment of the Jews over Jesus Christ». Stylistic and iconographic features of the icon are considered. There were also revealed some stylistic analogues, as well as the attribution and the origin of the icon from the Starodubsk-Vetka region (Vetka). Iconographic sources of the image and their connection with folk engravingsare shown. The existence of the icon in the Old Believer environment is explained.
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Статья посвящена иконе «Покров Пресвятой Богородицы», которая поступила в собрание Вятского художественного музея по результатам экспедиции в п. Лальск в 1976 году. Состояние сохранности памятника вызывало серьезное беспокойство. После плановой реставрации удалось получить один из замечательных образцов иконописного искусства. Кроме того, была открыта подпись, позволяющая датировать икону 1734 годом, а также были открыты имена династии иконописцев — Стефан Артемиевич Кузнецов (1707–?), Иван Григорьевич Кузнецов (1707–?), Борис Григорьевич Кузнецов (1687–?). Исследовательский интерес вызывает выбранная авторами иконография праздника Покрова Пресвятой Богородицы и отражение в ней традиций ведущих иконописных школ России и местных традиций. В статье представлены результаты реставрационных работ и искусствоведческо-стилистического анализа иконы. Она является одним из редких произведений древнерусского искусства с выявленным авторством и датированным памятником вятского иконописания первой половины XVIII столетия. The article is devoted to the icon “The Intercession of the Theotokos (the Protection of Our Most Holy Lady Theotokos and Ever-Virgin Mary)” from the collection of the Vyatka Art Museum. The researchers discovered the icon of the expedition to Lalsk in 1976. The state of preservation of the monument caused serious concern. As a result of the planned restoration, it was possible to obtain one of the remarkable examples of icon painting art. In addition, a signature was discovered, allowing the icon to be dated 1734, and the names of the Kuznetsov dynasty of icon painters were also discovered. The iconography of the Feast of the Intercession of the Theotokos chosen by the authors is of research interest. As well as the reflection in it of the traditions of the leading iconographic schools of Russia and local customs. The icon is another newly discovered signed and dated monument of Vyatka icon painting of the first half of the 18th century.
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Whenconsidering Byzantine theology, even of the earliest period, one cannot fail to observe that the word ‘icon’ was used by theologians in a much broader sense than is the custom today. These early theologians called the entire cosmos God's icon—it was God's creation. During the celebration of the liturgy the Bishop or Priest was referred to as Christ's icon. The Gospels too were referred to as an icon; the Gospels represented the icon of Christ in written form, as Maximus the Confessor had written as early as the 7th century.1 Therefore icons were not just visual or decorative; they were also verbal and of a literary nature. 1 Максим Исповедник, прп. . Т. 1. М.:Мартис, 1993. С. 175. [Maximus the Confessor, in Works, Vol. I. (Moscow: Martis, 1993), p. 175.] What, then, is a verbal icon? A verbal icon must fulfill three main conditions....
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Born at the height of World War II, Wonder Woman fought against the axis powers and misogyny! She was (and continues to be) a beacon of female empowerment and queer identities. As her creator William Moulton Marston proclaimed, Wonder Woman is inspiration "for the new type of woman who, I believe, should rule the world." Yet while Wonder Woman has been both a feminist as well as queer icon, inspiring many, she was later--as fate would have it--marketed primarily to young boys in the comics world. A look at Wonder Woman through the ages captures the evolution of her message about gender, war, identity and the many audiences she has in one life inspired, and in another endured. In this essay, I consider the many lives of Wonder Woman both within comics and without. We will herald the new incarnation of Wonder Woman who not only reflects female power, but inspires it in female as well as male readers.
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The Icon programming language, which was conceived in 1977, was strongly influenced by the earlier SNOBOL languages and the subsequent SL5. This paper concentrates primarily on the early development of Icon, but also discusses subsequent versions. The motivation, design philosophy, and environmental factors that shaped Icon are emphasized in this paper.
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The nationally-recognized Susquehanna
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