Pourquoi ce travail est dans la base
Une base qui oublie comment elle a trouvé un travail ne peut pas être vérifiée. Voici les voies qui ont admis celui-ci.
Notice bibliographique
Résumé
Language Culture Type International Type Design in Age of Unicode John D. Berry, editor New York: Association Typographique Internationale (AtypI), 2002 Hardbound, 374 pages extensively illustrated, some signatures in color, $60 Designed by Maxim Zhukov ISBN 1-932026-01-0 Initiated by a desire to promote cultural pluralism, this handsome book is ATypI's first large scale foray into publishing. Based on a type design competition, titled 'bukva:raz! ('letter:one!' in Russian), it coincided with the United Nation's Year of Dialogue among Civilizations in 2001. The book contains two large sections: the first is a series of articles about various aspects of type design and its use; the second is the result of the competition. The book is best examined in reverse order. The competition celebrates the best typefaces designed over five years from 1996 to 2001. Over one hundred typefaces featuring fourteen different alphabets and writing systems are represented in five categories: text designs, display designs, text/display type systems, type superfamilies and pi fonts. Winning entries are presented as a spread with the typeface, a brief biography of its designer, the typeface as used in a setting and a brief reflection on the development of the font, which includes historical references, descriptions of the experimental context for letterform development or calligraphic origins as appropriate. The end result is a feast for the eyes. Two entries in particular characterize the spirit of this enterprise. DenHaag, designed by Alexander Tarbeev and Marwel Shmavonyan, is a multilingual sans serif typeface supporting Armenian, Cyrillic, Greek, Hebrew and Latin scripts. Pigiarniq, designed by Wm. Ross Mills and commissioned by the Canadian Territorial Government of Nunavut, is a family of multiscript fonts used for Latin and syllabic scripts. The fonts are simplified sans serifs to support combined settings of these scripts. Yet another cross-writing system entry is Really, a serif font family designed by Gary Munch, for Cyrillic, Greek and Latin systems. The quality of 'bukva:raz!' is exceptional. Given the linguistic limitations of most individuals (judges included), examining and judging the fonts submitted for language systems others than one's own or one closely associated with the norms of one's writing system, must have been a serious challenge. Appreciating the visual rhythm of the written language, its peculiarities whether positive or negative in regard to both form and space from an aesthetic point of view, must have engendered some interesting discussion among the judges. The judges included: Matthew Garter, Yuri Gherchuk, Akira Kobayashi, Lyubov Kuznetsova, Gerry Leonidas, Fiona Ross and Vladimir Yefimov. Maxim Zhukov, who has focused years of attention and much experience on multilingual typography, chaired the judging. Switching now to the first half of the book, there are eleven essays. Robert Bringhurst's essay, Voices, languages and scripts around the globe, observes that the most prominent alphabets are Latin, Greek and Cyrillic. But their distribution and use among language families is not systematic based on sound systems or similarity across languages. For example, Latin script is used beyond English or the romance languages for such diverse tongues as Finnish, Turkish, Basque, Vietnamese and Native American languages to name a few. This essay provides a global context in which to appreciate the contents of the book. Bringhurst applauds and criticizes the 'official' nature of The World's Writing Systems (Daniels & Bright, 1996) and proposes a classification system based on the work of both Peter Daniels and his teacher I. …
Récupéré en direct depuis OpenAlex et désinversé. Les résumés ne sont pas conservés dans cette base de données : les index inversés représentent 8,6 Go des 9,3 Go de texte de la base, et le serveur dispose de 13 Go libres.
Prédiction distillée sur la base complète
Imitation des enseignantsNi prévalence calibrée, ni vérité terrain. Validation humaine à venir. Apprise à partir de 10 348 étiquettes directes de Codex et de 10 348 étiquettes directes de Gemma. Le mode candidate est l'union des têtes enseignantes seuillées; le consensus est leur intersection. Ces sorties portent le statut machine_predicted_unvalidated et ne sont ni des étiquettes humaines ni des étiquettes directes de modèles de pointe.
Scores Codex et Gemma par catégorie
| Catégorie | Codex | Gemma |
|---|---|---|
| Métarecherche | 0,000 | 0,000 |
| Méta-épidémiologie (sens strict) | 0,000 | 0,000 |
| Méta-épidémiologie (sens large) | 0,000 | 0,000 |
| Bibliométrie | 0,000 | 0,001 |
| Études des sciences et des technologies | 0,000 | 0,000 |
| Communication savante | 0,000 | 0,001 |
| Science ouverte | 0,000 | 0,000 |
| Intégrité de la recherche | 0,000 | 0,000 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,002 | 0,002 |
Scores machine (provisoires)
Les deux têtes enseignantes du modèle étudiant, lues sur ce travail. Un score ordonne la base pour la relecture; il n'affirme jamais une catégorie, et le statut de validation accompagne chaque rangée tel quel.
Scores de référence d'un modèle non mature (critères de maturité non atteints, 7 itérations). Un score ordonne; il n'affirme jamais une catégorie.
score_only:v0-immature-baseline · tel quel depuis la passe de notation : score_only signifie que le nombre peut ordonner les travaux, et qu'aucune étiquette de catégorie n'en découle