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layering

H. Ez-zahraouy, L. Bahmad, A. Benyoussef · 2004

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Layering

Anderson, Kenneth John · VTechWorks (Virginia Tech) · 2014

The understanding of a space is a diverse and limitless endeavor. My investigations leading up to this design proposal addressed three(3), admittedly broad, notions of spatial adjacency and relation:path, threshold, and layering.

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Layering

Alain Marciano, Alain Marciano, Alain Marciano et al. · 2025

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Layering

Kenneth John Anderson · VTechWorks (Virginia Tech) · 1995

The understanding of a space is a diverse and limitless endeavor. My investigations leading up to this design proposal addressed three(3), admittedly broad, notions of spatial adjacency and relation:path, threshold, and layering.

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Layering

Pickett, Aimee · RIT Scholar Works (Rochester Institute of Technology) · 2009

It is my belief that furniture has the potential to store worlds. It can protect the china inherited from a grandmother. It can display porcelain bowls collected on a trip through Asia. It can bear the scratches from a pet, or carry the hallmarks of its previous owner. These are merely a few examples of how furniture can store personal history. In the same vein, I believe that a piece of furniture has the potential to become a metaphor of oneself through daily interaction. Ideally what is chosen for a home reflects one self, and as a result each home should maintain a unique and personal touch. In order for this individuality to exist and thrive there is the need for the talent, imagination, and craftsmanship of furniture makers. It is through their vision and content, their ability and craftsmanship to translate emotions and experiences that three-dimensional objects come alive. These objects provide people, whom have other talents, with the ability to express themselves. I believe that by making these objects, furniture makers make environments healthier and richer places to live in. They help others connect with and express themselves.

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Layering

eScholarship (California Digital Library) · 2002

Cited by 0Open access

Layering

Pickett, Aimee · RIT Scholar Works (Rochester Institute of Technology) · 2009

It is my belief that furniture has the potential to store worlds. It can protect the china inherited from a grandmother. It can display porcelain bowls collected on a trip through Asia. It can bear the scratches from a pet, or carry the hallmarks of its previous owner. These are merely a few examples of how furniture can store personal history. In the same vein, I believe that a piece of furniture has the potential to become a metaphor of oneself through daily interaction. Ideally what is chosen for a home reflects one self, and as a result each home should maintain a unique and personal touch. In order for this individuality to exist and thrive there is the need for the talent, imagination, and craftsmanship of furniture makers. It is through their vision and content, their ability and craftsmanship to translate emotions and experiences that three-dimensional objects come alive. These objects provide people, whom have other talents, with the ability to express themselves. I believe that by making these objects, furniture makers make environments healthier and richer places to live in. They help others connect with and express themselves.

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Layering

eScholarship (California Digital Library) · 2002

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LAYERING

Nicola Bradbury · Essays in Criticism · 1990

Journal Article LAYERING Get access Jane Austen's Art of Memory By JOCELYN HARRIS. Cambridge University Press 1989 £30.00. NICOLA BRADBURY NICOLA BRADBURY University of Reading Search for other works by this author on: Oxford Academic Google Scholar Essays in Criticism, Volume XL, Issue 3, July 1990, Pages 250–256, https://doi.org/10.1093/eic/XL.3.250 Published: 01 July 1990

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Layering

S Un · 2016

dia ce o of th Com lass served for glass beads of same geometry (i.e. spheres) and density but of two differ-m flow articula food en authors have reported, for instance, a complete separation of the differ- either glass beads or coriander seeds as the larger grains: while the two ed in a quasi-2D cell antitative information echniques using grains indeed to observe si-

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Layering

Sarah Cooper · Edinburgh University Press eBooks · 2019

This chapter focuses on how films get spectators to perform the feat of creating imagined images and layering them over those that are on screen. Gary Tarn’s <italic>Black Sun</italic> (2005) provides the opening example in which the blind French artist Hugues De Montalembert recounts in voice-over his strong memory of a striking scene that he witnessed prior to going blind and which contrasts markedly with the images that appear on screen for the length of time that he tells his tale. This example serves to explain how and why mental images can appear just as vividly in spectators’ minds as onscreen images do. The ground of imagining is formed before spectators are guided on how to take flight from it across sections that introduce further examples, from Laurie Anderson’s <italic>Heart of a Dog</italic> (2015) through Patrick Keiller’s Robinson trilogy (1994-2010) to Agnès Varda’s <italic>Jane B. by Agnès V.</italic> (1988). In addition to an on-going dialogue with the work of Elaine Scarry, this chapter interweaves references to cognitive psychology and philosophy that inform other chapters too. Layering is just one of the processes at work in the formation of imagined images while watching films, and subsequent chapters outline others.

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Hybrid Layering

Daniel Gorín · 2008

Abstract. Many modal-like logics (including some temporal logics, description logics, hybrid logics, etc.) can be seen as fragments of first order logic. As such, a possible approach to automated deduction in these languages would be to implement satisfaction preserving translations and employ state-of-the-art first order theorem provers. As discussed in (Hustadt, Schmidt, and Weidenbach 1998; Areces, Gennari, Heguiabere, and de Rijke 2000) such approaches do not work if naive translations are used. We propose optimized translations for hybrid languages and report on some interesting behavior we encountered during our empirical testing. 1

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Layering Loss

Keely Jobe · 2023

Tasmanian artist Lucienne Rickard discusses her ongoing exhibition Extinction Studies, in which she draws and erases recently listed extinct species sourced from the IUCN Red List. Rickard offers her thoughts on the changing face of memorial culture in western institutions in response to decolonising pressures, and explains the significance of performing her project within a museum context (in this case, the Tasmanian Museum and Art Gallery). Rickard considers the role of public emotion in memorial culture, including the material effects that cumulative emotion can have on sites of public remembrance, and reveals the kind of affective response she is aiming to evoke in an audience. Finally, she discusses the project’s recent shift from globally extinct to locally endangered subjects.

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Light Layering

Randall Whitehead, Clifton Stanley Lemon · 2021

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Erasure layering

Jhupsee, Sneha · Open University of Cape Town (University of Cape Town) · 2018

This dissertation developed from an interest around sustainability and the current housing crisis within the inner-city of Cape Town. The evolution of the city has played a role in developing a layered but fragmented space that lacks a favourable density. New housing developments within the city are developer-led and market driven schemes that more often than not do not consider the rich urban and social contexts provided by the city. These schemes remove vast portions of rich urban fabric to profit from maximising bulk. While these developments do indeed add density, they lack diversity and equity. This dissertation challenges the contradiction of the positive addition of density and the negative impact of inequitable and unsustainable architecture. From a sustainable point of view the idea of continued reuse and transformation of vacant existing buildings is explored. Many existing buildings within the inner-city are not fit for their intended purpose and seen as impediments that generate unsafe spaces. These buildings have become targets for inequitable developer-led schemes as they are located on prime positioned land. This dissertation explores layering the existing by providing different layers of public and private function. The sustainability of retaining an existing building is interrogated through the lens of the value of its structure. Essentially, there is an immense amount of building stock that is underutilised and underdeveloped within the inner-city that may provide an opportunity to layer the urban fabric. This dissertation endeavours to explore a new typology that embraces density for an inclusive city through sustainable practices. The ideas of reuse, density of the city and expanding its capacity in a sensitive manner and adding to the character and rich existing urban fabric of the city are pertinent to the dissertation design. Realistic ideals such as bulk and parking as well as idealistic ideas such as how to create an equitable building in a market driven era, and everything in between, will be explored.

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Air Layering

R. O. Miller · The Knowledge Bank (The Ohio State University) · 1959

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Layering wool

Issa, Noori · The British Museum · 2025

Khalaf Darwesh is layering wool in a plastic basin to make a felt hat before adding water and soap.

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Currency (Layering)

Annelieke Mooij · SpringerBriefs in law · 2023

Abstract This chapter discusses the second phase of MLFT, namely layering. Layering is the process of concealing the origins of the funds before integrating them into the legal economy. As stated in the introduction it is not possible to draw clear lines between the phases. Layering is conducted through a combination of anonymous wallets and unregulated currencies. The previous chapter has focused on virtual wallets, this chapter will therefore focus on the currencies themselves. Currencies used in the Metaverse form an alternative to the regulated banking industry. There is therefore the risk that these currencies are not or underregulated. This chapter therefore starts in Sect. 6.2 by discussing cryptocurrencies. This section also includes a discussion on mixing services and decentralized cryptoexchanges (DEX). Section 6.3 continues by discussing the centralized currencies without the status of legal tender. These currencies include gaming currencies and currencies provided by platforms. Section 6.4 then continues by analyzing the currencies with the status of legal tender. These include the central bank digital currencies and cryptocurrencies that are recognized as legal tender such as Bitcoin. The chapter finishes in Sect. 6.5 with the conclusions and recommendations.

Cited by 3Open access

Cultural Layering

Rodriguez-Torres, Paloma · Syracuse University Libraries (Syracuse University) · 2010

Architecture, history, and identity in Mexico City "Even though different pieces of architecture that range from the Ancient to the Contemporary era can be found sharing the same physical space, they have not yet created any source of interaction, causing a lack of understanding in the region. These pieces are the key players to what one sees or identifies as the identity of the pace and by it not having an common thread that linkg them together, it creates a false sense of identity."

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Local layering

James McCann, Nancy S. Pollard · ACM Transactions on Graphics · 2009

In a conventional 2d painting or compositing program, graphical objects are stacked in a user-specified global order, as if each were printed on an image-sized sheet of transparent film. In this paper we show how to relax this restriction so that users can make stacking decisions on a per-overlap basis, as if the layers were pictures cut from a magazine. This allows for complex and visually exciting overlapping patterns, without painstaking layer-splitting, depth-value painting, region coloring, or mask-drawing. Instead, users are presented with a layers dialog which acts locally. Behind the scenes, we divide the image into overlap regions and track the ordering of layers in each region. We formalize this structure as a graph of stacking lists, define the set of orderings where layers do not interpenetrate as consistent, and prove that our local stacking operators are both correct and sufficient to reach any consistent stacking. We also provide a method for updating the local stacking when objects change shape or position due to user editing - this scheme prevents layer updates from producing undesired intersections. Our method extends trivially to both animation compositing and local visibility adjustment in depth-peeled 3d scenes; the latter of which allows for the creation of impossible figures which can be viewed and manipulated in real-time.

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