This article draws lessons from four classical sculptural techniques-casting, carving, modeling, and assemblage-to illustrate questions and challenges for the modern artist of strategy. Michelangelo’s tools were hammer, chisel, and paintbrush, and the tools of the strategist are language and logic. Just as Michelangelo Buonarroti worked in marble and fresco, the strategist shapes orders, concepts, memos, white papers, budgets, and strategies. Sculpture moves the intellect and the senses strategic sculpture moves armies. As opposed to a painting that can only be viewed from a single plane, sculpture can be seen and experienced from infinite points of view. Sculpture, like strategy, is a three-dimensional art form that relies on spatial relations and perspective to alter and reflect its environment. Given that strategy is as much art as it is science, how is the art of strategy trained? Furthermore, what can critique of art reveal about strategy? Yet, as Bernard Brodie stated in his lecture to the Naval War College in 1958, but for a few exceptions “both art and science have generally been lacking in what is presumed to be strategic studies.” A great deal of attention has been paid to the scientific aspects of strategy, and processes abound to steer strategists through stepwise methodologies to calculate capabilities and answer strategic problems. Complete oeuvres on the art of war litter military reading lists, and a professional education would be inadequate without a military science component. The book brings together and targets researchers from the domains of computing, engineering, archaeology and the arts, and aims at underscoring the potential for cross-fertilization and collaboration among these communities.Strategy is often described as both an art and a science. dance and performing arts, folklore, theatrical performances) cultural heritage preservation, documentation, protection and promotion are covered, including rendering and procedural modelling of cultural heritage assets, keyword spotting in old documents, drone mapping and airborne photogrammetry, underwater recording and reconstruction, gamification, visitor engagement, animated storytelling, analysis of choreographic patterns, and many more. It aims at covering the emergent approaches for digitization and preservation of Cultural Heritage, both in its tangible and intangible facets.Īdvancements in Digital Cultural Heritage research have been abundant in recent years covering a wide assortment of topics, ranging from visual data acquisition, pre-processing, classification, analysis and synthesis, 3D modelling and reconstruction, semantics and symbolic representation, metadata description, repository and archiving, to new forms of interactive and personalized presentation, visualization and immersive experience provision via advanced computer graphics, interactive virtual and augmented environments, serious games and digital storytelling.ĭifferent aspects pertaining to visual computing with regard to tangible (books, images, paintings, manuscripts, uniforms, maps, artefacts, archaeological sites, monuments) and intangible (e.g. This book provides insights into the state of the art of digital cultural heritage using computer graphics, image processing, computer vision, visualization and reconstruction, virtual and augmented reality and serious games.
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