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Journal articles on the topic 'Chairs in art'
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Migas, Andrzej, Marcin Butlewski, and Maciej Sydor. "EVACUATION CHAIRS: A SURVEY TO ASSESS THE STATE OF THE ART AND DESIRABLE FEATURES FROM THE PERSPECTIVE OF DECISION MAKERS." Zeszyty Naukowe SGSP 86 (August 24, 2023): 7–18. http://dx.doi.org/10.5604/01.3001.0053.8565.
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The evacuation chair allows safe and efficient evacuation of people with disabilities or injuriesfrom buildings during emergencies. Therefore, evacuation chairs need to be effective in variousconditions of use. It is crucial to know how to choose the right evacuation chair and how tointegrate it effectively into a specific evacuation system. The article aims to identify expectations forevacuation chairs and to evaluate the level of familiarity with how they work of people organizingan evacuation system. This goal was pursued by surveying 41 people who plan and implementevacuation systems in buildings. The analysis of the research results shows a deficit in practicalknowledge concerning the operation of evacuation chairs; consequently, it justifies and suggeststhe need for further action in this area. The respondents chose the answer that seemed to be assafe as possible without having to go into details. They were unable to effectively define the rightexpectations for evacuation chairs. The training of chair use should include brake functioning,the role of the belt securing the head and a leg belt. Users have partially conflicting demands forthe chair, which shows a lack of established criteria, probably due to the lack of practical experiencein the use of emergency chairs. The decision-making model and the factors that affect purchaseshould be examined to determine their needs more precisely. The specific needs of all three groupsof users should be established, and potential antinomies between features should be recognizedand overcome. The study also suggests that future research should focus on the decision-makingprocess, ergonomic quality and measuring the impact of training on the actual effectiveness ofthe evacuation system. In addition, the study also highlights the need for in-depth research andconsideration of user needs in the design process.
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Kennedy, Kirsty, and Mae Tang. "Beyond two chairs: Why gestalt psychotherapy?" Clinical Psychology Forum 1, no. 194 (February 2009): 22–26. http://dx.doi.org/10.53841/bpscpf.2009.1.194.22.
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This article describes some key concepts in gestalt psychotherapy from the perspectives of both a clinical psychologist working in the NHS and training in gestalt and a gestalt psychotherapy trainee.[There] is no gestalt therapy cookbook. Cookbooks are for craft, and therapy is an art. And I think that doing therapy is an art that requires all of the therapist’s creativity and love – Yontef (1993).
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Wieloch, Grzegorz. "Bent chairs as poster inspiration." Annals of WULS, Forestry and Wood Technology 115 (September 26, 2021): 108–15. http://dx.doi.org/10.5604/01.3001.0015.6635.
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Bent chairs as poster inspiration. In 2020, an exhibition of posters based on seating equipment was presented at the National Museum in Poznań. The exhibition referred to the chair and the metamorphosis it underwent, that apart from the function of utility furniture, it became a part of art, Equipment basically used for sitting - to which we are used to everyday practice of its use, it is an indispensable element of the interior design of apartments, offices, waiting rooms, schools, stadiums, health clinics, shopping malls, cinemas, theatres and other public places. The posters on display showed chairs with a structure based on bent beech elements. Some of them accurately represented the types of bent chairs currently in production. A number of other chairs had bent elements in their design, e.g. backrests, legs or armrests, allowing for economical serial production of elements. The exhibition included works advertising films, theatre and opera performances, exhibition and party posters. They are mostly works by Polish designers.
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Fitzpatrick, Joyce J. "Endowed chairs in nursing: State of the art." Journal of Professional Nursing 1, no. 3 (May 1985): 145–47. http://dx.doi.org/10.1016/s8755-7223(85)80141-1.
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Barrick, Christopher. "The Art of CYA: Documentation for Department Chairs." Department Chair 28, no. 3 (January 15, 2018): 5–6. http://dx.doi.org/10.1002/dch.30170.
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Hariyanto, Eko, and Mujiyono Mujiyono. "The Ornamentation of Single Wooden Chairs in Jepara From The 17th to The 20th Century." Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni 25, no. 2 (February 21, 2024): 217. http://dx.doi.org/10.26887/ekspresi.v25i2.3882.
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The ornamentation of single chairs is a crucial aspect in furniture design, contributing to the aesthetic value and beauty. This qualitative descriptive study utilized fieldwork data collection methods to delve into the chair ornamentation in Jepara, a coastal area in Central Java renowned for its carved furniture industry. This industry reaches all societal layers, from the low to the high income groups. The study identified a design revolution that shifted the focus of chair decoration from mere ornaments to form and function. Specifically, the ornamentation in the design of single wooden chairs in Jepara includes two main motifs: flora and fauna, as well as geometric. The study also explores how innovation in the ornamentation of Jepara's single chairs contributes to the competitiveness in local and international markets, highlighting the importance of design in the furniture industry. Furthermore, this research reveals the impact of the interaction between Jepara's carving art traditions and modern design trends, creating a unique synergy that enriches both cultural heritage and contemporary aesthetics. This analysis uncovers how each chair style with its respective ornamentation reflects the distinctive cultural and social background of the region.
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Bruss, Dan R. "Boats, Chairs, Hosts, and Guests: The Art of Visualizing Molecules." American Journal of Pharmaceutical Education 54, no. 2 (1990): 190–94. http://dx.doi.org/10.1016/s0002-9459(24)08378-5.
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Fonseca Jorge, Pedro. "Joseph Kosuth and ethics as a mediator between meaning and emptiness." Convergences - Journal of Research and Arts Education 16, no. 31 (May 31, 2023): 75–83. http://dx.doi.org/10.53681/c1514225187514391s.31.142.
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Joseph Kosuth’s “One and Three Chairs” is considered the materialization of his 1969 essay “Art after Philosophy”, where he defined Conceptual Art, in which Meaning relied solely in its authors mind, expressed through a tireless repetition. Although this kind of reiteration could become means for an understanding, the fact that no effort was made (so to speak) in explaining one’s personal views, deprived the observer of the needed resources for its interpretation. Here lies a dilemma where Conceptual Art can be criticised, since, if an artist can hide behind the observer’s lack of understanding, he can, in fact, propose something that, also for him, is devoid of meaning. This is why Kosuth’s work may consist not in the materialization of Conceptual Art itself, but in the defence that at the foundation of an artist's work there must be strong ethical values, manifested precisely through a correlation between Sign, Signifier and Signified, in which “One and Three Chairs”, and his subsequent work, repeatedly dwells, defending the expression of an honesty that should guide Conceptual Art, in its own defence, but also of its authors’ and appreciators’ defence.
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Knox, Lori. "Introducing Volume 17." Mathematics Teaching in the Middle School 17, no. 1 (August 2011): 6. http://dx.doi.org/10.5951/mathteacmiddscho.17.1.0006.
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As we begin this new volume year, I am excited to begin my tenure as the chair of the MTMS Editorial Panel. In May 2011, I had the privilege of attending the NCTM Annual Leadership Summit and was amazed by the tremendous work of the members of the Board of Directors, the chairs of other committees, and the staff at NCTM–all on behalf of teachers. A true spirit of teamwork and a contagious enthusiasm for the art of teaching mathematics were much in evidence when the group met.
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De Clercq, Rafael. "The Historical Ontology of Art." Philosophical Quarterly 70, no. 279 (August 8, 2019): 268–81. http://dx.doi.org/10.1093/pq/pqz046.
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Abstract In this article, I argue that our ontology of art has undergone a major change in the course of modern history. While we currently think of artworks as parts arranged in a certain way, there was a time when artworks were thought of as metaphysically more akin to ordinary artefacts such as tables and chairs; that is, as wholes having replaceable parts. This change in our ontology of art is reflected in our approach to art restoration. But what explains the change? I will suggest that the change took place because of a change in our conception of the function of art. More specifically, I will suggest that we have started to think of artworks as parts arranged in a certain way, because we have started to think of artworks as having, primarily, an aesthetic function.
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Widayat, Rahmanu. "Redesigning the Borobudur chair to sustain local creative industries: introducing to wangun concept." International Journal of Engineering & Technology 9, no. 2 (April 28, 2020): 458. http://dx.doi.org/10.14419/ijet.v9i2.30408.
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Redesigning the already existed thing is a common practice in the world of design. This study objectively conducted to produce a fresh new look and commercially bargaining product of furniture in addition to pursue current aesthetic needs. This study focuses on reconstructing the Borobudur chair, a typical form of chair inspired from the 8th century Borobudur temple reliefs, which theoretically does not follow modern art. This proposes a traditional conceptual approach called wangun (beauty) inspired by the wisdom of local Javanese culture, which is termed as Ngowahi Rupa (the change of form). Ngowahi Rupa does not change the 'inner structure' of an object, the changes occur only at the 'outer structure' level. There were two distinctive chairs being redesigned in this study, the first type of chair can accommodate one person only, and the other accommodates three people. Both types of chairs constitute of a complete structure of chair such as the legs, seat stands, and backrests, which in the sense of wangun conceptually termed telu-teluning atunggal. The Ngowahi Rupa furniture making process not only demands visual aspects, but also the concept of the creative industry. The concept was applied in redesigning the Borobudur chair that synergically in accordance with the rapidly developed creative industries in Indonesia. The results of redesigning the old-type of chair objectively contribute to the advance of current furniture industry and trend, both in Indonesia and abroad, in addition to maintaining the excellence of the creative industry with regard to the economic concern.
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Tvedebrink, Tenna Doktor Olsen, and Nini Camilla Bagger. "The Chairs of Venice Applying Storytelling as Teaching Method to Understand Material Cultural Heritage." Res Mobilis 9, no. 11 (September 15, 2020): 124–47. http://dx.doi.org/10.17811/rm.9.11.2020.124-147.
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To understand the present and prepare for the future, we must remember our past. - And as indicated with the writings of 19th century English art critic and writer, John Ruskin; material cultural heritage holds an important lesson and plays an ethical role in establishing such a remembrance. With this paper, we discuss examples of implementing storytelling as a creative-explorative teaching method to critically reflect on- and develop the awareness and understanding of material cultural heritage among students from disciplines of Art History, Architecture, and Design. Our examples stem from a workshop held during the International Art Biennale in Venice 2019 by the Erasmus+ interdisciplinary research projectCRAFT.
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Schweitzer, Marlis. "Brian Jungen's Verfremdungseffekt: Strange Comfort at the National Museum for the American Indian." TDR/The Drama Review 55, no. 4 (December 2011): 152–56. http://dx.doi.org/10.1162/dram_a_00129.
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Canadian artist Brian Jungen has achieved international fame for taking mass-produced goods—plastic chairs, gas cans, basketball sneakers—and transforming them into intricately wrought pieces that resemble First Nations art objects. Displayed in the Smithsonian's National Museum of the American Indian, Jungen's pieces produced a Brechtian Verfremdungseffekt.
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Углева, Н. В. "Attribution of the Throne Chairs of Tsars Boris Godunov and Mikhail Romanov in the 19th–21st Centuries: Historical and Art Historical Aspects." Nasledie Vekov, no. 1(25) (April 22, 2021): 100–108. http://dx.doi.org/10.36343/sb.2021.25.1.008.
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Древние тронные кресла отечественных монархов из собрания Музеев Московского Кремля были неоднократно опубликованы на протяжении XIX — XXI вв., но и сегодня нельзя считать работу по их атрибуции законченной. Примером тому — о два древнейших артефакта — тронные кресла царей Бориса Годунова и Михаила Романова: вопрос определения времени и места их создания остается неразрешенным. Ошибка исследователей заключается в том, что их внимание сосредоточено на ювелирном декоре предметов, не был применен метод описания и анализа художественных и технических приемов изготовления артефактов в целом, а также архивная документация изучена в недостаточной степени. По мнению автора, упомянутые предметы являются образцами персидской работы XV–XVI вв., в то время как прежде кресло царя Бориса Годунова датировалось 1603-1605 гг., а атрибуция принадлежавшего царю Михаилу Романову варьировалась между второй половиной XVI — первой третью XVII вв., причисляя изделие к московской или иранской работе. The article examines two ancient throne chairs of Russian monarchs from the collection of the Moscow Kremlin Museums: the chair of Tsar Boris Godunov, which is believed to have been received at the beginning of the 17th century as part of the ambassadorial gifts from Shah Abbas I, and the chair which researchers associate with the name of Tsar Mikhail Fyodorovich. The aim of the article is a comprehensive study of these objects based not only on their external description, but also on the identification of their structure, parts hidden by metal and woven coatings. In addition, for the first time, the author considers the chairs as pieces of furniture art, trying to “embed” them into the line of the development of artistic styles. In the course of the research, the method of description and analysis of artistic and technical methods of making artifacts, methods of comparative analysis and interpretation of historical sources were applied. The materials of the study were archival documents, published sources and the results of research by Russian historians and museologists. Various historical evidence about the investigated artifacts and views on their dating, reflected in documents and research works, is analyzed. The author compiled descriptions of the throne chairs and made assumptions about the possibility of a later change in their appearance. The analysis of the form and decor made it possible to attribute the throne chair of Tsar Boris Godunov as an example of a Persian work of the 15th–16th centuries; the use of European heritage is clearly traced in the creation of its artistic image. The attribution of the chair of Tsar Mikhail Fyodorovich cannot be considered final, because today there are several versions of it (a sample of the work of the Moscow Kremlin Workshops of the 17th century, precious plates of Iranian production of, presumably, the 16th century were used in its decoration; Iran, Isfahan, second half of the 16th century (?); work of Iranian court masters of the first third of the 17th century). This throne chair presumably has a pair – the chair of Tsar Alexei Mikhailovich: outwardly these objects are remarkably similar and look like a set, in which, with the general logic of shaping, only the manner of decoration is somewhat different. The visual analysis of the monument allows classifying it as a sample of Persian work, made under the influence of the Renaissance art, which spread from Italy to Europe in the 15th–16th centuries. The need to study these rarities with the use of modern technologies and research methods is emphasized.
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Sirenko, Sneghana, and Julia Zamaraeva. "Participatory practices of contemporary art (based on the analysis of works of art by Chiharu Shiota)." Asia, America and Africa history and modernity 2, no. 2 (June 6, 2023): 56–90. http://dx.doi.org/10.31804/2782-540x-2023-2-2-56-90.
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This article reveals the conceptual content of the concept of “participatory practices” and presents the results of an analysis of selected works by contemporary Japanese artist Chiharu Shiota, known for creating large-scale installations and performances, as well as art paintings and sculptures. The main material of the artist is woolen threads, the main principle of the construction of the work is modular. The artist is often compared to a spider – from threads of black, white and red colors she spins huge labyrinth webs, into which from one to many homogeneous objects are often woven: chairs, dresses, shoes, keys, pieces of paper and so on. The authors of the article proposed a classification of works, on the basis of which a rather voluminous work of the artist is structured: by the principle of using threads, by the color of the threads, by the type of objects used, by topic, by the way the viewer interacts with the work.
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Henle, Alea, Andrea Jaquez, and Hannah Gray. "Visualizing virtual users through art: Usage statistics in outreach and marketing." College & Research Libraries News 79, no. 6 (June 5, 2018): 306. http://dx.doi.org/10.5860/crln.79.6.306.
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Most modern academic libraries have physical and virtual spaces—and patrons. Physical users can be hard to miss, but virtual users often leave only traces behind. It’s all too easy, and misleading, to assess library use based on bodies in chairs. While online resources provide statistics documenting use, these numbers may seem unreal to administrators and funding agencies. Western New Mexico University’s Miller Library designed an art installation, “A Year of Virtual Research,” as a large-scale physical data visualization project to make virtual library use more present and real to the university community.
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Marcus, Jaclyn. "Review: Who’s In and Who’s Out of Fashion (Studies)?" Fashion Studies 2, no. 2 (2020): 1–11. http://dx.doi.org/10.38055/fs020204.
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Despite its relatively recent growth, the field of fashion studies is already known for its many transformations. This year’s College Art Association of America (CAA) Annual Conference featured an exciting new panel on the interdisciplinary nature of dress, entitled Who’s In and Who’s Out of Fashion (Studies)? Chaired by Sarah Scaturro, chief conservator at the Cleveland Museum of Art, and Ann Tartsinis, doctoral student at Stanford University’s Department of Art & Art History, the session addressed the question “Is there a correct or wrong way to do fashion studies?” and aimed to explore what is traditionally defined as “fashion studies” within the discipline. This panel review includes an introduction to the development of the field of fashion and dress, an overview of the topics and case studies presented during the session, and a question and answer session with the Co-Chairs of the panel.
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Rotté, Joanna. "Questions of Life and Art: Recollecting Harold Clurman." New Theatre Quarterly 8, no. 31 (August 1992): 241–48. http://dx.doi.org/10.1017/s0266464x00006862.
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When Harold Clurman died in 1980, he was almost as old as the century, but still in harness – perhaps the most venerable as well as the most versatile polymath of the American theatre. His life in the theatre extended from acting with the Theatre Guild in the ‘twenties, through his creation and direction of the Group Theatre in the ‘thirties, to a distinguished post-war career as free-lance director, highly respected theatre critic – first for the New Republic, then since 1953 for The Nation – and also theatre historian and university teacher. It was in this last role that, as a student, Joanna Rotté met Harold Clurman in 1969, and in the article which follows she blends personal recollections of an enduring friendship with a wider-ranging assessment of the qualities that distinguished Clurman as a critic and a human being. Joanna Rotté presently chairs the Theatre Department at Villanova University, Pennsylvania.
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Linden, Tobias. "Carnival of the Monobloc – Covering, Manipulating and Masking of a Chair." Res Mobilis 9, no. 11 (September 15, 2020): 32–45. http://dx.doi.org/10.17811/rm.9.11.2020.32-45.
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Examining the concepts and ideas we have of objects and common goods such as the Monobloc chairs, or of mayor and globalized cultural events like the Art Biennale, they reveal their cultural and economic impact, especially because of their artistic and often political statements. In doing so, they expose a bit more about our contemporary society, our cultural heritage and sometimes give us advise or evoke ideas for the future. Furthermore, thinking about the artistic coverage, manipulating and masking of the Monobloc, these observations can show us our own attitudes towards everyday objects and common goods as well as helping us discover modernity. Finally, we can experience the Art Biennale in Venice more deeply, behind its vast different ranges of changing characteristics and faces throughout modern history.
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Majcherek, Kamil. "The Medieval Problem of the Productivity of Art." Philosophies 7, no. 5 (September 9, 2022): 101. http://dx.doi.org/10.3390/philosophies7050101.
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This paper is focused on one of the key questions constituting the medieval debate about the ontological status of artefacts, which has to do with the productivity of art. We ordinarily speak about artefacts, such as statues or chairs, as produced by their artificers, and Aristotle describes art in general as a productive habit. In the first part of the paper, I look at how the proponents of the realist view of artefacts argue that the productivity of art can only be explained if we endorse their view, on which by producing an artefact an artificer brings about a new thing in the world, which is distinct from the natural things used in its production. I then turn to the reductionist account of artefacts and examine how its proponents want to show that the productivity of art can be preserved without positing that an artefact must be a new thing in the world, distinct from its natural components. In the final part of the paper, I look at one of the further corollaries of this debate, which has to do with the connection between the productivity of art and natural change.
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Dunning, David G., Timothy M. Durham, Mert N. Aksu, and Brian M. Lange. "The State of the Art in Evaluating the Performance of Department Chairs and Division Heads." Journal of Dental Education 71, no. 4 (April 2007): 467–79. http://dx.doi.org/10.1002/j.0022-0337.2007.71.4.tb04298.x.
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Kim, DalHyo. "An Analysis of Middle School Students' Needs for Innovation by School Space." Korean Association For Learner-Centered Curriculum And Instruction 23, no. 12 (June 30, 2023): 439–51. http://dx.doi.org/10.22251/jlcci.2023.23.12.439.
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Objectives In this study, the needs of middle school students regarding innovation by school space were analyzed.
Methods T275 middle school students were analyzed for the demand for innovation throughout the school space such as classrooms, corridors, restaurants, toilets, special rooms, and auditoriums. As a data processing method, frequency analysis of the SPSS program was used. Frequency analysis is to understand the needs of middle school students regarding innovation by school space in many order.
Results Middle school students wanted the classroom to be innovated with marble, tiles, or soft materials, the hallway to be neatly innovated with marble or tiles, and the bathroom to be transformed into a fragrant space through air fresheners. Middle school students wanted the English room to be expanded in size, the art room to be equipped with various and abundant tools and materials, and the music room to be replaced with a larger desk and chair with an individual backrest. Middle school students wanted the library to be more spacious between desks, chairs with backrests and more fluffy chairs, and the auditorium to be expanded in size.
Conclusions In order for school space innovation projects promoted by the Ministry of Education and each metropolitan and provincial education office to be more substantial and successful, it is very important to carry out them based on reasonable grounds in the direction and method of innovation of various spaces in schools. As one of the grounds, it is necessary to consider the results of students' demands for school space innovation revealed in this study.
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Cooke, Glenn R. "Locating ‘Lady Woodcarvers of Rockhampton’." Queensland Review 7, no. 2 (October 2000): 99–106. http://dx.doi.org/10.1017/s1321816600002245.
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Glenn R. Cooke curated ‘Lady Woodcarvers of Rockhampton’, an exhibition held at the Rockhampton Art Gallery from 7 April to 28 May, 2000. The exhibition ‘Lady woodcarvers of Rockhampton’ opened at the Rockhampton Art Gallery on 8 April as that institution's major contribution to a series of events to celebrate ‘Beef 2000’. For those who attended the opening, apart from the descendants of the woodcarvers themselves, it was a revelation. Although the exhibition only included twenty-five items, most were on a scale that commanded the space of the Gallery. The display included two wardrobes, two settles, a twotiered cupboard, a kitchen dresser, chest of drawers and double bed as well as coffee tables, chairs, small tables, cupboards and a paper-rack. Until this exhibition, the history of woodcarving in Central Queensland had never been documented.
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Углева, Н. В. "The Experience of Attribution of the Throne Chair of Tsar Alexei Mikhailovich Romanov and the Ivory Throne in the 19th–21st Centuries." Nasledie Vekov, no. 2(30) (June 30, 2022): 80–92. http://dx.doi.org/10.36343/sb.2022.30.2.006.
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В статье уточняется атрибуция двух тронных кресел («алмазного трона» и «костяного трона») из собрания Оружейной палаты, датировка и происхождение которых до настоящего времени не были точно установлены. Материалами послужили сами изучаемые предметы мебели, архивные источники, опубликованная документация дворцовых приказов и Архива Оружейной Палаты, коронационные альбомы, а также результаты предшествовавших исследований. Выявлены обстоятельства появления «алмазного трона» в кремлевской сокровищнице, сделан вывод о датировке его создания XV–XVI вв. и первоначальном изготовлении работавшими в Иране европейскими мастерами. Появление «костяного трона» датируется периодом не ранее 1621 г. На основе источников первой половины XVII в. описывается подобный объект – «большой костяной стул», предполагается, что два данных предмета фактически являются одним и тем же артефактом, восходящим к XIV в. и за время своего бытования пережившим множественные реконструкции и изменения. The study aims to clarify the attribution of two throne chairs (“diamond throne” and “ivory throne”), which are part of the collection of the Kremlin Armoury, since their dating and origin are still objects of scientific discussion. The materials used were the furniture items themselves, documents from the Russian State Archive of Ancient Acts, published documents of palace orders and the Armoury Archive, coronation albums, as well as the results of previous historical, art history and museological studies conducted by various scientists during almost two hundred years. The author for the first time considers the studied artifacts as objects of furniture art, using the method of stylistic analysis, the comparative method, research methods used in source studies and specialized auxiliary scientific disciplines, as well as methods and techniques for establishing the text. The author substantiates the dating of the appearance of Alexei Mikhailovich’s throne chair in the Kremlin Treasury, reveals the name of the person who ordered the throne and the role of persons involved in donating the throne chair. The author analyzes references to the chair in the coronation albums and in later studies containing the image of the subject. The exhibit is considered from the point of view of the development of furniture art: the author examines its shape, decorations, miniatures placed on its body, and the dedicatory inscription. The author infers that the throne chair dates back to the 15th–16th centuries, its original manufacturers were European masters working in Persia, and that new elements were added to the decor in a later period. Analyzing the ivory throne, the author draws an analogy between this throne and the throne of Maximianus of Ravenna (6th century), tracing the two chairs back to the legendary throne of King Solomon. Based on the analysis of the decor details, the author argues that the ivory throne appeared no earlier than in 1621. She hypothesizes that the throne has a Russian origin. The author describes the decoration of the throne and proves the idea that it was not the only piece of furniture decorated with ivory decor in the royal treasury. Based on the sources of the first half of the 17th century, the author describes a similar object – a “large ivory chair”, indicates the details that distinguish it from the ivory throne. She assumes that these two items are actually the same artifact dating back to the 14th century, which, during its existence, survived multiple reconstructions and changes, and took its final shape in the 1830s.
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Liu, Ling Ling, and Cheng Qi Xue. "A Product Concept Method for Industrial Design Based on Basic-Element Model." Applied Mechanics and Materials 397-400 (September 2013): 798–801. http://dx.doi.org/10.4028/www.scientific.net/amm.397-400.798.
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Taking basic element model as a breakthrough perspective for Conceptual Design, ways to merge Extenics into industrial design are studied. A clear conception method was proposed in terms of divergent thinking-guided methods, constructed by three points, Special features, Special magnitude, and Special rules. The multifunction chairs were used to illustrate the Special rules application. This paper describes a new perspective for the analysis of the creative ideas. Formalized model, different from the past art theory researching, it was verified the effectiveness, practicality and innovativeness. Keywords: Conceptual Design;basic-element model;Special features; Special magnitude;Special rules
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Thukul, Wiji. "This dark night." Index on Censorship 26, no. 2 (March 1997): 64–65. http://dx.doi.org/10.1177/030642209702600219.
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A ward-winning poet Wiji Thukul is currently in hiding and being sought by the police in connection with the Jakarta riots of 27 July 1996. Thukul, who chairs the People's Art Network (an organisation under the umbrella of the People's Democratic Party), left school at the age of 11 and took a variety of jobs, including selling newspapers, working as a carpenter, and as a pedicab driver, while composing his poetry. His books include Mencari Tanah Lapang ( Looking for Open Fields), Puisi Pelo ( A Lisper's Poetry), Darman dan Lain-Lain ( Darman and Others). This poem was written while in hiding
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Noronha, Susana de. "The chairs of hereditary cancer: understanding time and illness using creative ethnographic drawing." Comunicação e Sociedade 35 (June 28, 2019): 153–71. http://dx.doi.org/10.17231/comsoc.35(2019).3136.
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Using scientific illustration, this article aims to examine how time is experienced, understood, and managed in hereditary malignancies, analysing the breast cancer story of a Portuguese woman with BRCA1/2 mutations. Blending lived experience, anthropology, and art, this text results from a transdisciplinary qualitative exercise, incorporating embodied knowledge, speech, and creative ethnographic drawing at the core of the research, using them as methodological and heuristic resources. Based on a narrative collected in an informal interview, it suggests the use of visual and creative methodologies aimed at a reinforced understanding of cancer. Combining text and images, we will analyse the multiple meanings of time that permeate this story, searching for the experiences, uses, and meanings of moments of waiting, interruption, slowness, delay, urgency, and acceleration, before, during and after illness and treatment, using and drawing chairs, as concrete objects and metaphors, to give them form. Waiting emerges as the most relevant experience to understand her hereditary cancer story, linking past, present, and future within a form of suffering that minimizes physical pain.
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Dougherty, William. "La Monte Young Trio for Strings Original Full Length Version, Dia 15 VI 13 545 West 22 Street Dream House, New York City." Tempo 70, no. 275 (December 7, 2015): 99–100. http://dx.doi.org/10.1017/s0040298215000789.
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Stepping inside the Dia Art Foundation's transformed gallery space in the heart of Chelsea is a special experience in itself. Darkly dressed ushers closely watch over your every move, preserving what is for the average audience member today a strikingly uncommon concert experience. ‘Turn off all cell phones, remove your shoes, and remain completely silent while in the Dream House’. Free of everyday noise and distractions, this unassuming venue is converted into an almost reverential space of mystical quasi-worship. The air is thick with the fragrance of incense and the floor is covered wall-to-wall with plush white carpet. Blends of deep magenta and rich blue light illuminate the space. In the centre of the room, facing the stage area, are three dark figures – the curators of this numinous sensory environment (La Monte Young, Marian Zazeela and Jung Hee Choi) – sitting silently on swivel chairs. They sit, literally elevated above the audience, which is relegated to the carpet. There are no chairs for mere onlookers, only small pillows, and not nearly enough for everyone. Most find themselves at points during the marathon-length evening lying prostrate: to rest aching backs and arms, but mostly just to take it all in.
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Kalitzky, Vitaly V. "THE DEVELOPMENT OF THE PIANIST’S CONCERTMASTER ART IN CHINA." Arts education and science 1, no. 34 (2023): 6–13. http://dx.doi.org/10.36871/hon.202301006.
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The concertmaster art of a pianist as a professional form of musical creativity is a rather young phenomenon and is currently developing intensively. The process of its formation is influenced by many factors: the development of keyboard instruments, the intensification of concert and music-theatre activities, the opening of specialized departments and chairs in higher and secondary educational institutions, scientific and methodological awareness of the specifics of concertmaster work, etc. In particular, in China, with its more than a hundred-year history of piano performance and pedagogy, concertmastering has only begun to develop in the last twenty years. The relevance of the article lies in the urgent need to generalize the available information about this type of musical creativity in China, with which Russia has established strong cultural and educational ties in recent years. The purpose of the article is to analyze the state of practice and pedagogy of the concertmaster art in China at the present stage. The article discusses the formation of accompanist activity in the PRC, the features of introducing the profile discipline into the curricula of Chinese universities, analyzes the problems arising in this regard and suggests ways to solve them. The research materials will be especially useful for Chinese and Russian teachers of concertmaster art: for Chinese colleagues to understand the goals and objectives of teaching piano students this type of activity, for Russian teachers of Chinese piano students to understand the level of their training and to form an appropriate learning strategy.
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Rozik, Eli. "Stage Metaphor: With or Without. On Rina Yerushalmi's Production of Ionesco's The Chairs." Theatre Research International 19, no. 2 (1994): 148–55. http://dx.doi.org/10.1017/s0307883300019386.
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In the last century it has become commonplace that faithfulness to the playwright, and the play, is not necessarily a commendable quality. The play is currently viewed as raw material for a production, a pre-text for a more complex and final text, which reflects the universe of the director rather than that of the playwright. The performance is a work of art in which dialogue is only one component among others, although usually of crucial importance. Similarly, the playwright is viewed as merely the designer of the verbal aspects of the final text, among other designers. The director, in contrast, is viewed as the actual sender of the message and accountable to audience and critics for the results of his decisions: whether he or she has impoverished or enriched the play, whether or not he or she succeeded in conveying some new insight. Without elaborating on a justification of this view, there is no doubt that the production of Ionesco's The Chairs, directed by Rina Yerushalmi at the Cameri Theatre, Tel Aviv, 1990, is a clear instance of such an approach.Perhaps the most striking decision of Yerushalmi was to get rid of any deviation from consistent characterization, although prescribed by the playwright in the stage directions of the play. Following Martin Esslin, with regard to plays within the style of the so-called ‘Theatre of the Absurd’, such deviations are among the features which are held responsible for the sense of absurdity and/or grotesque that such texts produce in the audience.
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Sarris, Fotios. "Fetishism in The Spoils of Poynton." Nineteenth-Century Literature 51, no. 1 (June 1, 1996): 53–83. http://dx.doi.org/10.2307/2933840.
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Henry James's The Spoils of Poynton is, as the author describes it in his preface to the novel, "a story of cabinets and chairs and tables" and, more specifically, of the conflict over their possession. The attitudes of the Brigstocks, Fleda Vetch, and Mrs. Gereth toward the "spoils" manifest different forms of fetishism thath can be interpreted in both Marxian and Freudian terms, as well as in terms of Pierre Bourdieu's more recent theory of "political fetishishm." One of the implications of the struggle for possession of the "spoils" is that value and meaning do not somehow passively and objectively inhere in art but are rather a consequence of power, strategic action, and conflict. Thus, far from transcending the flux, chaos, and contingency of the market or history or "everyday life," as James's own preface might suggest it does, art is embroiled in and shaped by these forces. The struggle for possession also parallels, in its way-and thus bears upon-the critical debate surrounding The Spoils of Poynton and around the question of what role the author's stated or apparent intentions should have in the interpretation of the novel.
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Alozie, Chukwunyere. "Legislative Violence and Underdevelopment in Nigeria’s Fourth Republic: Ontological Cousins." African Journal of Politics and Administrative Studies 16, no. 1 (June 1, 2023): 285–308. http://dx.doi.org/10.4314/ajpas.v16i1.17.
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Since the Fourth Republic, physical fights and other aggressive behaviors have remained constant features of the legislature. The lawmakers have punched, kicked and injured each other; shattered glasses, upturned tables and chairs, and torn their clothes. This condemnable act directly translates to bad governance, widespread corruption, poverty, cronyism and prebendalism across the country. But then, the big question has been what factors are responsible for legislative violence and what are the impacts in the Nigerian society? Against this background, the paper examined legislative violence and its impact on sustainable development in Nigeria. Using the survey descriptive and library research method, the paper revealed that legislative violence is a symptom of imbalance of power between the executive and the legislature. It recommended that the legislature should extricate itself from the self-imposed servants of anti-democratic political merchants whose stock-in-trade is the commercialization of politics and politicization of the legislature. It concluded that the legislature should tame the savages of man and build superb institutions and establish state-of-the-art benchmarks that will serve as touchstone and springboard to economic prosperity, political stability and descent society.
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Miyamoto, Sadaaki, and Seiji Yasunobu. "Selected Papers from SCIS & ISIS 2002." Journal of Advanced Computational Intelligence and Intelligent Informatics 7, no. 2 (June 20, 2003): 71. http://dx.doi.org/10.20965/jaciii.2003.p0071.
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Much work has been done recently in soft computing, reflecting the growing, widespread interest in the emerging theory and technological development in this field. Soft computing has also been the subject of a number of new scientific conferences and symposiums, including the Joint 1st International Conference on Soft Computing and Intelligent Systems (SCIS) and 3rd International Symposium on Advanced Intelligent Systems (ISIS) at the National Institute of Advanced Industrial Science and Technology at Tsukuba on October 21–25, 2002. The first and second ISIS were held in Korea, and the joint conference has become internationally recognized. The conference at Tsukuba featured over 200 papers and discussions and information exchange by over 250 participants interested in state–of–the–art soft computing. The 20 papers in this special issue were selected from 209 of these conference presentations. In the selection process, guest editors first requested recommendation of papers to session chairs and organizers. From the resulting list, we asked if they could submit their papers. Submitted papers were reviewed as usual for this journal based on the JACIII standard, resulting in the acceptance of these 20. Most papers have been rewritten and updated, and we are proud of their high quality–a reflection of the SCIS & ISIS conference review process. Papers come from different areas: two focus on theory, including modal logic. Several study fuzzy control. Still others deal with different aspects of robotics. They also cover data analysis, image analysis, knowledge analysis, and language studies involving soft computing. This issue thus provides a concise summary of state–of–the–art soft computing methodologies. We thank the referees for their untiring efforts to complete reviews within the limited time given. We also thank Professor Kaoru Hirota and Professor Toshio Fukuda, editors–in–chief of this journal, for their kind invitation to this special issue. Professor Hirota, who is also the International Advisory Board Chair, and Dr. Takanori Shibata, the General Chair, are largely responsible for the great success of the SCIS & ISIS 2003 conference, where Guest Editor Miyamoto served the Program Chair and Yasunobu served the Special Sessions Chair. The results of their work are thus reflected in this issue. In closing, we also thank the staff at Fuji Technology Press for its on going assistance.
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Adams, Tarn. "Secret Identities in Dwarf Fortress." Proceedings of the AAAI Conference on Artificial Intelligence and Interactive Digital Entertainment 13, no. 2 (June 25, 2021): 22–25. http://dx.doi.org/10.1609/aiide.v13i2.12963.
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Chairs’ Note: In this invited industry case study, Tarn Adams discusses recent extensions to Dwarf Fortress’s systems for character deception. A noted opus in the history of videogames, Dwarf Fortress is a roguelike set in procedurally generated fantasy universes. It has been shown at the Museum of Modern Art and has been featured in The New York Times, The New Yorker, Wired, and many other press publications. Currently, Tarn and his brother, Zach Adams, are roughly midway through its famous 30-year development cycle. As Tarn explains in this paper, an upcoming update centered around artifacts—and what characters know about them—has had the fun consequence of necessitating that a certain class of non-player characters cultivate secret identities. This major extension has brought both technical and design challenges, as this paper illustrates. —James Ryan
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Suprihatiningsih and Fajar Ardiansyah. "PERAN KOMUNITAS MAWAR MERAH DALAM PENGELOLAAN SAMPAH LIMBAH RUMAH TANGGA DI KELURAHAN TUGUREJO KECAMATAN TUGU KOTA SEMARANG." Lembaran Masyarakat: Jurnal Pengembangan Masyarakat Islam 9, no. 1 (June 28, 2023): 72–94. http://dx.doi.org/10.32678/lbrmasy.v9i1.7947.
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This study aims to find out how the participation and results of household waste management by the Mawar Merah community through the waste bank in Tugurejo Village. This study uses a qualitative method with a case study approach, the data obtained is through interviews, observation and documentation. The results of this study indicate that: (1) The role of the red rose community in waste management through waste banks is very large. This refers to 2 (two) roles, namely the role of coaching and the role of mentoring. (2) The results of waste management through the red rose community in the waste bank are organic waste (remaining vegetables, rotten fruits) with soil decomposing products (compost, MOL, and POC), then inorganic waste is made into works of art high selling value such as bags, chairs, flower vases, curtains etc.
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Turner, Bernadette. "The Portrait of James Mayne: A Short History." Queensland Review 15, no. 2 (July 2008): 81–87. http://dx.doi.org/10.1017/s1321816600004797.
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Two of the most significant donors to the University of Queensland were Mary Emelia Mayne and James Mayne, the last surviving children of Irish immigrants Patrick and Mary Mayne. They provided the funds to purchase the university's St Lucia site, donated rural land at Moggill, and left their estates to fund Chairs of Medicine and Surgery at the university. Whether the university has sufficiently acknowledged their philanthropy has been the subject of comment in recent years. Unfortunately, the work of Malcolm Thomis — which traces how and when the university acknowledged the Maynes and why it was not until 1973 that Mayne Hall was opened — is not generally known, so public misunderstanding continues. Entwined with this is a perception that the 1936 portrait of James Mayne has not been displayed in a place of honour. Although the university endeavoured to ensure that the portrait of James Mayne was displayed in the most appropriate place possible, in the earlier years the embryonic development at the St Lucia campus resulted in its being sent to the Queensland National Art Gallery (now the Queensland Art Gallery). Since 1945, it has been on display in key university buildings, and today is prominently displayed in the James and Mary Emelia Mayne Centre.
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Budiyanto, Tri, Sef Feriyansa, and M. Yusuf. "Risk Analysis of Upper Limb Musculoskeletal Disorders in Industrial Skin Measurement Workers Using the Assessment of Repetitive Task Method." American Journal of Mechanical and Industrial Engineering 9, no. 1 (February 21, 2024): 8–18. http://dx.doi.org/10.11648/j.ajmie.20240901.12.
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In the leather industry production process in the Piyungan area of Yogyakarta, Indonesia, the operators do a lot of repetitive activities with intensity and frequency of movement for a long time, for 8 hours in a sitting position. Operators measure on average 4700 pieces of leather per day. This leads to fatigue and complaints of musculoskeletal disorders (MSDs). For this reason, research was conducted to measure the level of risk of MSDs and improve them to reduce muscle complaints. This research was conducted experimentally on all skin-cutting operators at companies in the Piyungan area of Yogyakarta. Measurement of the risk level of upper limb musculoskeletal disorders using the Assessment of Repetitive Tasks (ART) method. The data was analyzed based on ART scores obtained, ranging from low, medium, and high risk level scores. The conclusion of the results showed that the risk level of upper limb musculoskeletal disorders in this skin measurement operator included medium and high risk levels on the left and right upper limb operators. Improvements that can be made to reduce the level of risk are improvements to work facilities in the form of chairs, additional short rest periods, and stretching muscles before and after doing work on all skin measurement production operators.
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Lee, Pamela L. "Lying in the Gallery." October, no. 176 (2021): 53–72. http://dx.doi.org/10.1162/octo_a_00426.
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Abstract This essay addresses a recent exhibition phenomenon associated with time-based art: the striking preponderance of beds, beanbag chairs, and other horizontal viewing platforms in the staging of such work. Indeed, in black-box galleries around the world, viewers have been increasingly solicited to go horizontal. What might these new modes of display tell us about contemporary cultures of work when compared to historical examples from the 1960s, particularly in regard to the mass phenomenon known as “burnout” in the present? Might such novel conditions of reception shed light on the shifting interactions between humans and computers in what the ethnographer Marcel Mauss called nearly one hundred years ago, the “civilization of latitude”? Departing from Niki de Saint Phalle's She (1966)—an immersive media environment presented as a recumbent female figure—the essay argues that lying in the gallery chimes with technologies of work post-Internet, our incorporation of its media platforms, and the generalization of the network as a ubiquitous and ambient resource.
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Yahya, Ahmad, Engkos Koswara, Asep Rachmat, and Eidelweis Dewi Jannati. "MODIFICATION OF THE DUST COLLECTOR TOOL ON A 3 AXIS CNC ROUTER MACHINE FOR WOOD WORKING." Journal of Mechanical and Manufacture 2, no. 2 (May 18, 2023): 86–91. http://dx.doi.org/10.31949/jmm.v2i2.5306.
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Based on the results of research in Majalengka Regency, it was found that there were 200 semi-finished wood processing secondary industries, spread over 26 sub-districts with the type of wood used being dominated by teak, mahogany, these types of wood are used for semi-finished materials in the form of frames, doors, windows, cabinets, sideboard and chairs. There is also production of wood that is native to Indonesia, namely wood carving. Wood carving has its own uniqueness because it is a human creation based on an aesthetic sense according to what the human himself wants. Wood carving works of art are usually created using sculpting techniques. The creation of works of wood carving with the arrangement of elements so that meaningful elements are formed and one must have creative sculpting skills to produce works that are good, attractive and have meaning and high aesthetic value as well as being useful in people's lives.
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SW, Hagung Kuntjara, and Muhammad Imam Tobroni. "EMPOWERING COMMUNITIES THROUGH CREATION OF MURAL ART AS AESTHETIC SUPPORT IN ‘KEDAI OMAH JLAMPRANG’ PEKALONGAN." ICCD 2, no. 1 (November 27, 2019): 220–25. http://dx.doi.org/10.33068/iccd.vol2.iss1.215.
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Krapyak Village - Pekalongan, is currently improving itself to become a tourist destination based on the carrying capacity of Geographical, Cultural, Human Resources owned, including; Slamaran Beach, Batik Industry with typical motifs of Jlamprang, Culinary specialties of Pekalongan, and community human resources who will be trained in their independence. Community Development Academic (CDA) - Binus University facilitates the transfer of knowledge from lecturers from various interdisciplinary disciplines to be applied directly to the community or community that requires capacity building in connection with the preparation to develop tourist destinations. Through a long collaboration and discussion between the campus and the government of Krapyak - Pekalongan Urban Village, it was decided to build a culinary shop where joint learning could serve typical Pekalongan meals, outlets selling batik and handicraft products of SMEs, as well as a convenient spot for community gathering to build understanding of tourist area preparation. Through training programs on the physical building architecture of the shop, Interior Design settings and selection of equipment for chairs and souveneer creation training, mapping of tourist attractions, culinary training in making menus and cooking, Management of shop and financial management. Visual Communication Design plays a role in thecreation of identity branding, starting from naming 'Kedai Omah Jlamprang' and its completeness and Mural Art to build a cozy atmosphere of a shop through the work of aesthetic elements that have meaning. All of these training programs involve discussions and practical workshops on product creation that involve lecturers and SME communities in the Krapyak - Pekalongan village, so that the objectives of the Fostering & Empowering Society can occur. It is hoped that this process will build trust and desire to grow economic independence in the community.
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Jeon, Insu, Wonkwang Lee, Myeongjang Pyeon, and Gunhee Kim. "IB-GAN: Disentangled Representation Learning with Information Bottleneck Generative Adversarial Networks." Proceedings of the AAAI Conference on Artificial Intelligence 35, no. 9 (May 18, 2021): 7926–34. http://dx.doi.org/10.1609/aaai.v35i9.16967.
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We propose a new GAN-based unsupervised model for disentangled representation learning. The new model is discovered in an attempt to utilize the Information Bottleneck (IB) framework to the optimization of GAN, thereby named IB-GAN. The architecture of IB-GAN is partially similar to that of InfoGAN but has a critical difference; an intermediate layer of the generator is leveraged to constrain the mutual information between the input and the generated output. The intermediate stochastic layer can serve as a learnable latent distribution that is trained with the generator jointly in an end-to-end fashion. As a result, the generator of IB-GAN can harness the latent space in a disentangled and interpretable manner. With the experiments on dSprites and Color-dSprites dataset, we demonstrate that IB-GAN achieves competitive disentanglement scores to those of state-of-the-art β-VAEs and outperforms InfoGAN. Moreover, the visual quality and the diversity of samples generated by IB-GAN are often better than those by β-VAEs and Info-GAN in terms of FID score on CelebA and 3D Chairs dataset.
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Oliveira, Mariana Lima de, Luiz Guilherme Meira De Souza, Raimundo Vicente Pereira Neto, and Jaciel Cardoso de Lima. "Obtaining and characterization of a composite with polymer matrix and corn cob waste filler." Research, Society and Development 9, no. 12 (December 26, 2020): e32791210849. http://dx.doi.org/10.33448/rsd-v9i12.10849.
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It was studied the feasibility of using corn cob to obtain a polymer composite. It was used of the corn cob in Three-grain sizes, and some formulations of the composite of polyester resin and powders were used, and the most appropriate formulation was chosen. For the characterization of the composite thermal and mechanical properties were determined. The main advantage of the composite was the low density, about 1.06 kg/m³ for the thick powder formulation. The composite presented an inferior mechanical behavior concerning the resin for all the studied particle sizes and formulations. The composite presented better mechanicals results for the bending strength, reaching 25.3 MPa for the thick powder formulation. The composite also proved itself to be viable for thermal applications since it has average thermal conductivity inferior to 0.21 W/m, being classified as thermal insulation and can be used to manufacture structures that do not require significant mechanical strength, such as tables, chairs, benches, panels, works of art, crafts and solar prototypes, such as ovens and stoves.
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Sofyana, Anisa, and Sonedi Sonedi. "Pemanfaatan Perpustakaan Sekolah Sebagai Penunjang Kegiatan Belajar dalam Meningkatkan Hasil Belajar Ekonomi Peserta Didik Kelas X IIS pada SMAN-3 Palangka Raya." Neraca: Jurnal Pendidikan Ekonomi 3, no. 2 (May 31, 2018): 1–6. http://dx.doi.org/10.33084/neraca.v3i2.666.
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This study aims to find out how the use of school libraries as supporting learning activities in improving economic learning outcomes. The method used in this research is qualitative methods and data collection techniques used in this study are observation, interviews, and documentation. The results of the school library research have been used by some students as well as visitors who come to read, find information, borrow books and use as a place to practice traditional music art is good enough. Students also feel comfortable when visiting the library because the condition of the room is good and clean, the books are arranged quite neatly. But the researchers found a lack of bookshelves because there are always new library materials and lack of chairs because they are often used for school purposes The book collection is quite complete, but the lack of interest of students in participating in visiting and utilizing the library. The researcher found a list of library visits and an increase in the list of economic subjects
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Chazin-Bennahum, Judith, Susan Au, Dianne L. Woodruff, David Vaughan, and George Dorris. "Tributes to Selma Jeanne Cohen." Dance Research Journal 32, no. 1 (2000): 34–38. http://dx.doi.org/10.1017/s0149767700005623.
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In 1953, we sat in a small, harshly lit room in the old High School of Performing Arts building on 46th Street and Broadway, our legs hanging, perched or straggled on chairs in front of us. We were tired from hours of technique and rehearsals, coming straight from the studio in our worn tights and warmers. A small woman with red curls and glasses spoke intensely about Louis XIV's court ballets; she evoked a world of magic, opulence, and beauty. I remember looking around me and thinking that if I had lived then, things would be very different. And I also remember thinking how kind of this woman to let us sit in such an unladylike way in her Dance History class.Selma Jeanne Cohen has always understood her purpose in the world, and she tolerated many mishaps for her goal—to create an academic discipline out of this amusing art form. Tired as we were, we were transfixed by the clarity of her detailed descriptions of the seventeenth-century ballet form. She was straightforward, substantive, and loving.
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Kotula, Paul, Mike Marko, Raynald Gauvin, Gabriel Lucas, Steven Dekanich, and Daniel Beniac. "Welcome form the Program Committee." Microscopy and Microanalysis 12, S1 (June 27, 2006): 48. http://dx.doi.org/10.1017/s1431927606160328.
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Microscopy and Microanalysis 2006 will be the premiere meeting of the year for scientists and technologists interested in learning about the latest advances in applications and techniques for the analysis of a broad range of materials in the biological and physical sciences, as well as nano- and bio-technology. M&M-2006 will again host the largest commercial exhibition of microscopy and microanalysis equipment and related accessories in the world. In addition to the usual sponsoring societies, the Microscopy Society of America (MSA), and the Microbeam Analysis Society (MAS), the International Metallographic Society (IMS) will again be a co-sponsoring society for the meeting. We are also fortunate that the Microscopical Society of Canada/Société de Microscopie du Canada (MSC/SMC) will also be co-sponsoring the meeting this year. The M&M-2006 Executive Program Committee, comprised of co-chairs from each of the sponsoring societies, has put together a comprehensive scientific program that will encompass the state-of-the art in microscopy and microanalysis in 2006, and we look forward to welcoming you to Navy Pier!
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Metals, Martins, Arturs Lesinskis, and Kristaps Turauskis. "Control of Indoor climate of Historical cult buildings." E3S Web of Conferences 246 (2021): 01005. http://dx.doi.org/10.1051/e3sconf/202124601005.
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There are 320 historical cult buildings as cultural monuments of national significance in Latvia. Cultural and historical art monuments and artifacts (paintings, organs, chairs, altars, pulpits) must be preserved and protected in these cultural buildings. Specific indoor climate is necessary to maintain in historical cult buildings to pass on to future generations, but those specific requirements often are complete opposite of the actual microclimate and what the user wants. Indoor climate measurements have been carried out in five brick wall and two wooden churches with and without heating systems. Potential condensation risks are determined using calculations. Typical air flow has been formed using building’s termography measurements. Heating systems and making use of buildings influence historical buildings and this has been determined. The main aim of the article is to determine potential indoor climate type of control in historical cult buildings avoiding humidification and dehumidification, and it is similar in the coastal climate of the Baltic Sea. Results show that: great humidity fluctuations have been observed in buildings which have been used during winter, outdoor air has a great impact to buildings, less humidity fluctuations have been observed in buildings with controlled heating systems.
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Guizzo, Giovani, and Sebastiano Panichella. "Fuzzing vs SBST." ACM SIGSOFT Software Engineering Notes 48, no. 1 (January 10, 2023): 105–7. http://dx.doi.org/10.1145/3573074.3573102.
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Search-Based Software Testing (SBST) is the application of SBSE for solving hard software testing problems. SBST has been the subject of discussion of our International SBST Workshop, colocated with the International Conference on Software Engineering (ICSE). In 2022 we hosted the 15th edition of our SBSTWorkshop, which brought together researchers and industrial practitioners to encourage the use of search-based and fuzz testing techniques and tools for addressing software engineering-specific challenges. In this 2022 edition, SBST held, among other exciting events, a discussion panel on the similarities and differences between SBST and Fuzzing. As it implies, the goal of the panel was to have a common ground for discussion on the main similarities and differences between the Fuzzing and SBST fields, focusing on how both communities can collaborate to advance the stateof- the-art on automated testing. This strong panel composed of researchers from both academia and industry was the highlight of SBST'22 and allowed the chairs of the workshop to make substantial changes for 2023. In this paper, we present the main take away messages from that seminal panel and highlight exciting new challenges in the field.
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Юдин, А. Н. "The History of the Origin and Development of the Department of Concertmaster Skills of the Saint Petersburg (Leningrad) Conservatory." OPERA MUSICOLOGICA, no. 2022 (October 10, 2022): 112–24. http://dx.doi.org/10.26156/om.2022.14.4.006.
Full textAbstract:
Появление в России 2-й половины XIX в. первых консерваторий стало важнейшей вехой в развитии русской музыки. Их почти одновременное возникновение в двух крупнейших городах нашего отечества — Санкт-Петербурге и Москве — ознаменовало собой новую историческую эпоху, коренным образом изменив отношение общества к профессии музыканта. Начался процесс «узаконивания» в правах исполнительского и композиторского творчества. Концертмейстерское искусство долгое время оставалось в тени этого движения. Потребуется еще не менее 50 лет, прежде чем в прославленных российских вузах начнется развитие внутренних механизмов, приведших к возникновению специализированных кафедр. В настоящей статье идет речь о том, как зарождался этот процесс в Санкт-Петербургской (Ленинградской) консерватории, и о преподавателях, которые стояли у истоков появления новой учебной дисциплины. Имена этих выдающихся музыкантов за редким исключением оказались преданы забвению. Рассматриваются причины этого явления, а также показана генеалогическая цепочка, помогающая глубже понять уникальность исполнительских традиций, легших в основу вновь образованной кафедры. В статье подчеркивается, что появление новой дисциплины, связанной с мастерством аккомпанемента, и последующее ее развитие имеют не только историческое значение, но и знаменуют собой коренное переосмысление концертмейстерской профессии. Исследования в данном направлении расширят представления музыкантов об истории искусства аккомпанемента в России и процессе формирования профессионального музыкального образования в нашей стране. Setting up the first conservatories in the second half of the 19th century became a major milestone in the development of Russian music. Their almost simultaneous foundation in Russia’s two most important cities, St. Petersburg and Moscow, ushered in a new historical epoch, which radically changed the society’s attitude to the music career. The process of “legitimation” of performer’s and composer’s art has started. However The art of accompaniment stayed in the shade of this movement for a long time. It will still take at least 50 years before internal mechanisms start to develop within the renowned Russian schools, which will result in creation of special chairs. This article discusses the beginnings of this process in the St. Petersburg (Leningrad) Conservatory and those teachers who stood at the origins of the new academic discipline. With a few exceptions, the names of these outstanding musicians who made a huge contribution into the history of musical education in one of Russia’ oldest higher education institutions have gone into oblivion. The author discusses the reasons for that and builds a sort of a genealogical chain helping to better understand the unique performing traditions underlying the newly-created chair. The article claims that the birth of a new discipline related to the art of accompaniment and its subsequent development is not just of a historical significance but also marks a radical reimagining of the profession of an accompanist’s. Research in this field is to expand musicians’ idea of the history of accompaniment in Russia and shed a new light on the understanding of the process of development of the professional musical education in the country.
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Schwabl, Daniel, Markus Bauer, and Markus Lehner. "Advancing Plastic Recycling by Wet-Mechanical Processing of Mixed Waste Fractions." Processes 9, no. 3 (March 9, 2021): 493. http://dx.doi.org/10.3390/pr9030493.
Full textAbstract:
In this paper, an arc was drawn over ten years of research activities from three chairs of the Montanuniversitaet Leoben, as well as industrial partners. The superior objective of this research effort was to develop a wet-mechanical process for the recovery of polyolefin concentrates (90 wt% polyolefins) from mixed waste fraction for use in chemical recycling and to advance this new technology to commercial maturity. As a bridge technology, it would close the gap between state-of-the-art dry processing of mixed plastic waste materials and chemical plastic recycling via thermo-chemical conversion. The methods used were mainly tested in a lab-scale plant with a throughput capacity of 50 to 200 kg/h depending on the bulk density of the used feedstock. Further studies for the treatment and usage of the main products and by-products, as well as chemical analyses of them, were completed during the investigation. Within these series of tests, polyolefin concentrates, which satisfied the requirements for chemical recycling, could be recovered. With these data, a concept for an industrial pilot plant was developed and evaluated from an economic point of view. According to this evaluation, the realization of such an industrial pilot plant can be recommended.
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Timoshenko, I. V. "“Technical interoperability”: ISO/TC46/SC4 annual meeting." Scientific and Technical Libraries, no. 10 (December 8, 2020): 183–92. http://dx.doi.org/10.33186/1027-3689-2020-10-183-192.
Full textAbstract:
The author reviews the key events and projects held and discussed within the framework of the ISO/TC46/SC4 plenary meeting. The meeting was held as part of the 47th annual ISO/TC46 meeting week held in London 2020. The subject scope of ISO/TC46 covers a wide range of issues related to document management, indexing and abstracting services, and information science. Due to COVID19 pandemic, all the meetings were moved to online. The committee’s annual meeting was held in this format for the first time. The subcommittees and working groups discussed issues related to international standardization and ongoing projects in this area. The author discusses in detail the presentations by the participants in the plenary meeting ISO/TC46/SC4, held on May 12, 2020. The ISO/TC46/SC4 subcommittee conducts a number of projects to ensure the technical compatibility of library information systems with information science standards in related fields, which are developed by other ISO Technical Committees, as well as other authoritative organizations, i.e. DCMI and W3C. At ISO/TC46/SC4 plenary meeting, the working groups’ chairs reported on the state of the art in corresponding projects of international standards, plans for future were discussed. Subcommittee’s internal activities as well as issues of cooperation with other organizations were also covered.