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Journal articles on the topic 'Flashmob'

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1

Albacan, Aristita Ioana. "Flashmobs as Performance and the Re-emergence of Creative Communities." Revista Brasileira de Estudos da Presença 4, no. 1 (2014): 8–27. http://dx.doi.org/10.1590/2237-266041789.

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ABSTRACT In spite of their very brief history - the first modern flashmob took place at Macy's in NY, on the evening of 17th of June 2003 - flashmobs have rapidly spread throughout the Western world, developing in recent years into a particularly novel mode of performance that stimulates the re-emergence - even if temporary and fleeting - of creative communities, whilst responding to a range of topics of societal currency: political, cultural, artistic, everyday life etc. Flashmobs become visible within the public sphere via short, exciting performative acts perceived as playful and liberating
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2

Aripova, Feruza, and Janet Elise Johnson. "The Ukrainian-Russian Virtual Flashmob against Sexual Assault." Journal of Social Policy Studies 16, no. 3 (2018): 487–500. http://dx.doi.org/10.17323/727-0634-2018-16-3-487-500.

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Feruza Aripova – PhD Candidate in World History, Northeastern University; Center Associate, Davis Center for Russian and Eurasian Studies, Harvard University; Visiting Scholar, Jordan Center for the Advanced Study of Russia, New York University, USA. Email: aripova.f@husky.neu.edu
 Janet Elise Johnson – Professor of Political Science and Women’s & Gender Studies, Brooklyn College, City University of New York; Visiting Scholar, Center for European and Mediterranean Studies at New York University, New York, USA. Email: Johnson@brooklyn.cuny.edu
 This article examines the 2016 Ukrai
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3

Roquet, Christine. "Une expérience vivante. Approche esthésique de la flashmob « Danser encore »." Communications N° 115, no. 2 (2024): 199–206. https://doi.org/10.3917/commu.115.0199.

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En France, lors de la crise de l’année 2020 due au Covid-19, la flashmob « Danser encore » de HK et les Saltimbanks s’est offerte comme un agir politique qui a pu paraître de faible intensité. Mais la musique et le chant, aussi bien que la marche et la danse mises en œuvre lors des multiples occurrences de cette flashmob, ont permis aux participant·es de partager une expérience esthésique réellement vivante, et dont les enjeux nous ont semblé dignes d’être relevés ici.
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4

Bellec, François. "Vertus et perversité du flashmob." La Géographie N° 1571, no. 4 (2018): 68. http://dx.doi.org/10.3917/geo.1571.0068.

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5

Hernández Torres, Analy, and Manuela Camacho Gómez. "FLASHMOB COMO ESTRATEGIA DE MARKETING EN TABASCO, MÉXICO." Hitos de Ciencias Económico Administrativas 23, no. 67 (2017): 311–25. http://dx.doi.org/10.19136/hitos.a0n67.2188.

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OBJETIVO: Analizar el estado del arte del flashmob como estrategia del marketing, sus características, tipología y categorización. La de tipo corporativa ha sido aplicada en España, Asia, Norteamérica y México. En este contexto, se revisan las primeras aproximaciones de organizaciones del Estado de Tabasco que han utilizado esta estrategia.
 
 MATERIAL Y MÉTODO: Este documento es el resultado de una investigación cualitativa con un enfoque inductivo, desarrollada con las técnicas de literaria y análisis de contenido. 
 
 RESULTADOS: Las tendencias en el uso del flashmob han
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6

Kyrylenko, Kateryna. "Flashmob as an Innovative Way of Protecting Ukraine's Information Space in Times of War." Issues in Cultural Studies, no. 41 (March 31, 2023): 100–111. https://doi.org/10.31866/2410-1311.41.2023.276697.

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<em>The aim of the article&nbsp;</em>is to highlight the experience gained at the Kyiv National University of Culture and Arts in conducting flashmobs with the goal of forming Ukrainian national identity among students and protecting the information space of Ukraine in war conditions.&nbsp;<em>The results&nbsp;</em>of the study show that the real motive of russia in relations with Ukraine and the basis of the russian-Ukrainian war, the full-scale phase of which began on 24 February 2022, is the absorption of Ukrainian identity in order to completely destroy the Ukrainian State. The confrontati
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7

Petrov, A. P., and S. A. Lebedev. "Online Political Flashmob: the Case of 632305222316434." Computational Mathematics and Information Technologies 1, no. 1 (2019): 17–28. http://dx.doi.org/10.23947/2587-8999-2019-1-1-17-28.

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8

Djumrianti, Desloehal. "Strategi Pengembangan Tarian Tradisional Bedana Palembang sebagai Peningkatan Minat Khusus Daya Tarik Wisata dan Budaya." Buletin Poltanesa 23, no. 2 (2022): 906–12. http://dx.doi.org/10.51967/tanesa.v23i2.2055.

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Tari Bedana Palembang adalah salah satu tarian tradisional yang ditarikan secara berpasangan, tarian ini menarik perhatian dengan irama yang bit dan gerakkan yang lincah menunjukkan rasa gembira para remaja ketika mereka bertemu dengan teman-temannya. Sehingga studi ini bertujuan untuk menganalisis potensi Tari Bedana menjadi flashmob dance sebagai atraksi wisata di Sumatera Selatan. Penelitian ini menggunakan pendekatan deskriptif kualitatif, dengan teknik pengumpulan data melalui kuesioner, wawancara, dan dokumentasi. Wawancara ditujukan kepada tiga orang informan kunci dan menggunakan sampe
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Trianggorowati, Erna, and Ridho Al-Hamdi. "STRATEGI KAMPANYE PARTAI ISLAM: KASUS PARTAI KEADILAN SEJAHTERA PADA PEMILU 2019." Jurnal Tapis: Jurnal Teropong Aspirasi Politik Islam 16, no. 1 (2020): 65–82. http://dx.doi.org/10.24042/tps.v16i1.6814.

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Abstract: This article examines the campaign strategy of the Islamist party, namely PKS in the 2019 legislative election. It is fascinating to be investigated further because this party can ward a lot of predictions and surveys which stated that PKS could not exceed the parliamentary threshold of four percent. PKS has an outstanding performance and can reach 8.62 percent. Methodologically, this study is a qualitative research by applying the case study approach. For data-gathering, this study collects data and information through social media such as news channels and social networking sites.
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10

Dedulina, M.A. "Adhocracy in the modern society." Society and Power, no. 1 (June 5, 2009): 35–41. https://doi.org/10.5281/zenodo.13284779.

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In the article adhocratic aspects in high technologies are considered. New technologies today are developing with little attention to its impact upon human values. In a modern society adhocratic organization realized in the two technologies flashmob and smartmob.
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11

Ivanyan, Ruzanna G. "Flashmob as a Form of Solidarity in Journalism." Humanitarian Vector 17, no. 1 (2022): 116–25. http://dx.doi.org/10.21209/1996-7853-2022-17-1-116-125.

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The article is devoted to the values and practices of solidarity in Russian journalism related to the law on foreign agents in the second half of 2021. Its significance lies in the need to analyze the contemporary value spectrum of Russian journalism with its discreteness. The aim of the survey is to analyze new formats for expressing solidarity on an ambiguous point for the media community (the law on foreign agents), using the example of the flash mob #banned profession (August 2021). Through more than 50 Facebook posts with the hashtag #bannedprofession and user comments, the author explore
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12

Leontyeva, E. V. "‘My Roman Empire’: From Flashmob to Idiomatic Expression." Nauchnyi dialog 13, no. 3 (2024): 31–53. http://dx.doi.org/10.24224/2227-1295-2024-13-3-31-53.

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The semantic and historical analysis of the expression ‘moya Rimskaya imperiya’ [‘my Roman Empire’] is relevant in the context of neologism studies. The novelty of the research lies in the unique opportunity to observe the real-time formation of a linguistic unit in live communication. It is reported that in 2023, expressions formatted as elaborate sentences containing the stable construction ‘moya Rimskaya imperiya’ [‘my Roman Empire’] gained popularity in the Russian-speaking segment of youth internet communication, signifying ‘the subject of my constant memories, reflections, experiences, a
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13

Chapman, Andrew. "The Digital Queue: Flashmobs in Line, Online and the New Aesthetics of Community Building." Digital Icons: Studies in Russian, Eurasian and Central European New Media, no. 17 (June 7, 2017): 19–32. https://doi.org/10.5281/zenodo.14716238.

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In 2004 an online group Flash Mob Latvia (FM Latvia) staged a gathering in in the Old City of Riga, forming a mock queue in the middle of Livu Square. The performance, titled &lsquo;The Queue to Nowhere&rsquo;, featured fifty people and was joined by witnessing outsiders. The line started and ended in the middle of the square, where there are noticeably no businesses, no products and no servers. The video was uploaded onto YouTube, where it garnered 26,000 views. This is one example of many flashmob queues that have appeared across postsocialist cities in the Czech Republic, Latvia, Moldova, K
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14

Rustad, Hilde, and Tonje Fjogstad Langens. "Flashmob i lærerutdanninger – studenters erfaringer med å skape dans sammen." Journal for Research in Arts and Sports Education 3, no. 2 (2019): 46–61. http://dx.doi.org/10.23865/jased.v3.1448.

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Denne artikkelen handler om lærerstudenter og deres erfaringer knyttet til gjennomføring av flashmob som studentdrevet danseprosjekt. Artikkelen undersøker sammenhenger mellom flashmobprosjektet og utviklingen av lærerstudentenes profesjonspersonlige kompetanse. Forskningsmaterialet utgjøres av studenttekster fra to kroppsøvingslærerutdanninger: årsstudium i kroppsøving ved OsloMet – storbyuniversitetet og faglærerutdanningen i kroppsøving og idrettsfag ved Norges idrettshøgskole. Forskningsprosjektet er kvalitativt og har en hermeneutisk-fenomenologisk tilnærming. Gjennom analyse av studenten
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15

Rial Rebullido, Tamara, and Camilo Villanueva Lameiro. "El Flashmob como propuesta de innovación educativa en expresión corporal y danza (Flashmob as a proposal for educational innovation in body expression and dance)." Retos, no. 29 (December 18, 2015): 126–28. http://dx.doi.org/10.47197/retos.v0i29.35394.

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El presente artículo tiene como objetivo describir una propuesta de innovación educativa de la asignatura Expresión Corporal y Danza del Grado en Ciencias de la Actividad Física y del Deporte de la Universidad de Vigo, basada en el Método de Proyectos de una danza multitudinaria sorpresa conocida como Flashmob. Se presenta la propuesta y experiencia práctica para adquirir los contenidos de danzas popularizadas y proceso de creación coreográfica. La implementación del programa ha obtenido resultados satisfactorios en la interacción profesorado-alumnado y favoreció la motivación hacia los conten
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16

Meier, Anton. "Im Spannungsfeld von Beschäftigung und Unsicherheit: Flashmob als Instrument des Arbeitskampfes." POLIS 21, no. 4 (2017): 23–25. http://dx.doi.org/10.46499/1754.1396.

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17

Lee, Gay. "Join our singing flashmob choir in protest at cuts to NHS services." Nursing Standard 27, no. 23 (2013): 33. http://dx.doi.org/10.7748/ns2013.02.27.23.33.s21.

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18

Pasquier, Vincent, Thibault Daudigeos, and Marcos Barros. "Towards a New Flashmob Unionism: The Case of the Fight for 15 Movement." British Journal of Industrial Relations 58, no. 2 (2019): 336–63. http://dx.doi.org/10.1111/bjir.12507.

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19

Santana, Helena, and Maria Santana. "BRU(A)T(U)ALIDADE(S): O FLASHMOB INDUTOR DE UMA CIDADANIA ATUANTE." Egitania Sciencia 2, no. 31 (2023): 75–86. http://dx.doi.org/10.46691/es.v2i31.20.

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A expressão Flashmob remonta ao século XIX. Presentemente, consiste numa aglomeração repentina de pessoas num espaço público com o intuito de atuar de forma artística e interventiva. Essa intervenção acontece preferencialmente num não-lugar, expressão que designa, segundo Marc Augé (1994), uma instalação necessária à circulação acelerada de pessoas e bens, tais que vias e estações rodoviárias e ferroviárias, aeroportos, centros comerciais, praças e jardins públicos, etc. A organização destes eventos faz-se por convocatória que segue via internet e que tem duas fases. Na primeira, quem mobiliza
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20

Miron, Ioana-Mădălina. "Russia’s Other War: Patriarchal culture and domestic violence. The #ЯНеБоюсьСказать (#IAmNotAfraidToSpeak) July 2016 Campaign on Vkontakte". Studia Universitatis Babeș-Bolyai Studia Europaea 69, № 1 (2024): 233–48. http://dx.doi.org/10.24193/subbeuropaea.2024.1.13.

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This article is dedicated to a controversial topic for Russian society, namely the campaign #ЯнеБоюсьСказать (#IamNotAfraidToSpeak) that took place in VKontakte’s Russian speaking community in July 2016. First the article is based on a theoretical framework that draws attention to the concept of contentious politics and feminist movement. Second, I analysed the messages associated with #IamNotAfraidToSpeak, and argue that the campaign raised the visibility of the problem of domestic violence and patriarchal culture in the post-Soviet Russia, and this helped increase the significance of women’s
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21

Zyuz, V. N., T. M. Babich, and V. V. Balukhtina. "Flashmob as an effective means of formation of motor culture of students in physical education." Scientific Journal of National Pedagogical Dragomanov University. Series 15. Scientific and pedagogical problems of physical culture (physical culture and sports), no. 5(125) (September 27, 2020): 80–84. http://dx.doi.org/10.31392/npu-nc.series15.2020.5(125).14.

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Socio-economic transformations that have occurred in society over the last decades, radically changed not only the lives of people, but the educational situation. Physical education students represents an integral constituent part of higher humanitarian education. It stands for quality and the resulting comprehensive measure of the impact of various forms, means and methods on the personality of the future specialist in the process of formation of professional competence.&#x0D; Health of students and their socio–psychological adaptation in the society, the normal growth and development is larg
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22

Marach, T. M., and O. M. Marach. "FLASHMOB AS AN INTERACTIVE FORM OF NATIONAL EDUCATION OF UKRAINIAN YOUTH IN A HIGHER EDUCATIONAL INSTITUTION." Innovate Pedagogy 1, no. 80 (2025): 130–34. https://doi.org/10.32782/2663-6085/2025/80.1.26.

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23

Bredikhina, Olga. "Gallicisms in Legal English." Legal Linguistics, no. 33 (44) (October 1, 2024): 92–94. https://doi.org/10.14258/leglin(2024)3316.

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The article discusses the research of French terms in Legal English. English has been influenced by French since the Norman Conquest in 1066. Although the Normans were fewer, they removed locals from governmental positions and introduced Old French as a language of the ruling class in England. Courts started to use so-called Law French in their pleadings and hearings – many terms of it are still in use in common law jurisdictions. Law French introduced a huge number of words into English – fee simple, voir dire, fine, warranty, replevin, - just to name a few. It also influenced grammar (word o
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Costa de Lima, Fátima, and Stephan Arnulf Baumgärtel. "O flashmob e o rolezinho: considerações sobre a construção estética de um corpo político coletivo num espaço de ostentação capitalista." Urdimento 1, no. 26 (2016): 128–43. http://dx.doi.org/10.5965/1414573101262016128.

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Bowo, Tri Arie, Didit Kurniadi, and Donal Fernado Lubis. "Metaphors and Similes in Peter Lerangis' Novel The Curse of the King." Pioneer: Journal of Language and Literature 14, no. 1 (2022): 15. http://dx.doi.org/10.36841/pioneer.v14i1.1274.

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This study aims to reveal the writing style in the novel The Curse of the King by Peter Lerangis, especially in its figurative speech namely metaphor and simile. The classification of metaphors analyzed uses Newmark's classification and the simile classification used in this study is the classification described by Fromilhague. A qualitative method was used to answer the problem of the study. The research showed that there were thirteen metaphors and fifty-two similes. The metaphor compositions found were one Dead Metaphor, two Recent Metaphors, Three Stock metaphors, seven Original Metaphors,
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Kadek Shanti Gitaswari Prabhawita, Kadek. "Aplikasi Ngayah Dalam Karya Seni Mari Menari." Mudra Jurnal Seni Budaya 34, no. 2 (2019): 199–204. http://dx.doi.org/10.31091/mudra.v34i2.701.

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Masyarakat Bali percaya jika setiap tindakan yang dilandasi ketulus-ikhlasan (ngayah) akan mendatangkan hal positif, baik bagi individu maupun kehidupan sosial bermasyarakat. Ngayah bukan sebuah kegiatan wajib, mengikat individu seperti yang selama ini berkembang di masyarakat Bali. Ngayah merupakan wujud kesadaran tertinggi manusia sebagai ciptaan Tuhan yang diberkati. Bukan hanya kesadaran dan keikhlasan memberi, tapi kesadaran untuk menerima segalanya dengan ikhlas. Karya ini menginterpretasikan ngayah dengan produk teknologi sebagai medianya. Hal ini merupakan upaya kreatif dalam merespon
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Biano, Ilaria W. "Coping mechanisms for being alive in the anthropocene. L’ecofemminismo spirituale intersezionale di Brit Marling: testi, contesti e attivismo." Altre Modernità, no. 31 (June 1, 2024): 89–102. http://dx.doi.org/10.54103/2035-7680/23072.

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Focalizzandosi sull’analisi dei film e della serie creati da Brit Marling con alcuni collaboratori ricorrenti (Sound of my Voice [2011], Another Earth [2011], The East [2013], The OA [2016-2019]), il contributo propone una lettura dell’opera dell’autrice nel contesto di un ecofemminismo spirituale intersezionale rintracciabile nella sua poetica, facendone emergere il legame con alcuni dei movimenti più rilevanti degli anni Dieci – femministi, ecologisti e contro ogni forma di violenza sistemica. Se le storie narrate da Marling ruotano costantemente intorno a imminenti cataclismi, a forme di vi
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Rohmawati, Tatik. "Aspects of Political Campaign in Political Communication Partai Keadilan Sejahtera (PKS) At The 2019 Legislative Election." Proceeding of International Conference on Business, Economics, Social Sciences, and Humanities 3 (December 1, 2022): 45–50. http://dx.doi.org/10.34010/icobest.v3i.117.

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The purpose of this study is to determine aspects of the Prosperous Justice Party (PKS) political campaign in the 2019 Legislative general election. Political communication is one of the ongoing problems of the Prosperous Justice Party because it is still not optimally implementing forms of political communication to support the party with the community. The focus in this paper is on aspects of political campaigns in the political communication of the Prosperous Justice Party. This paper is the result of research using a descriptive qualitative approach. Data collection methods used include ob
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Bozhenkova, N., and A. Negushina. "COMMUNICATIVE TOOLS IN MODERN FEMINIST CYBERACTIVISM: STATEMENT OF THE PROBLEM." Scientific Research and Development. Modern Communication Studies 11, no. 3 (2022): 58–65. http://dx.doi.org/10.12737/2587-9103-2022-11-3-58-65.

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Modern Russian feminist discourse, being a poorly described area of communicative interaction, turns out to be one of the most important factors in the formation of the axiological determinants of Russian society today. In this regard, the article presents an analysis of new forms of social and linguocultural interactions - feminist cyberactivism, broadcast in the network environment for political activities and representing a significant part of today's online content. The authors focus on the description of specific linguistic features of different semiotic text units (online flashmob, infor
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Olivier, Pierre, Jalil Boukhobza, and Eric Senn. "Flashmon V2." ACM SIGBED Review 11, no. 1 (2014): 38–43. http://dx.doi.org/10.1145/2597457.2597462.

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Kyrylenko, Kateryna. "Implementing a Flashmob Method for the Specialists Teaching and Training in the Field of Culture and Arts (The Case of the Kyiv National University of Culture and Arts)." Issues in Cultural Studies, no. 36 (December 28, 2022): 239–49. https://doi.org/10.31866/2410-1311.36.2020.221071.

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The purpose of the article is to find out the didactic possibilities of flash mobs in the process of teaching of general humanities at higher educational establishments of cultural and artistic direction and to get acquainted with the educational experience of the Kyiv National University of Culture and Arts as to the introduction of flash mobs into the educational process. The article highlights the long-term experience of the approbation of flash mobs at lectures on the discipline of the &ldquo;Philosophy&rdquo; at the National University of Culture and Arts and presents the results of its i
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Хабарова, Н. "ЛІНГВІСТИЧНІ АСПЕКТИ ВИВЧЕННЯ НЕОЛОГІЗМІВ У РЕКЛАМНИХ ІНТЕЛЕКТУАЛЬНИХ ТЕКСТАХ". Journal “Ukrainian sense”, № 2 (1 грудня 2023): 118–26. http://dx.doi.org/10.15421/462223.

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Постановка проблеми. Лексичне наповнення рекламних текстів має свої особливості. Серед лексики, яка привертає увагу, дослідники виділяють новомодні слова, тобто неологізми. Адресати рекламних текстів (журналісти, копірайтери, ведучі) мимоволі або навмисно стають творцями нової лексики, яку визначено як вербальний складник під час утворення прагматичного потенціалу текстів анотацій до художніх текстів. &#x0D; Мета статті полягає в дослідженні структури та функціонування неологізмів у текстах рекламно-інформаційного жанру. &#x0D; Методи дослідження. Під час дослідження використано описовий, порі
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Zyryanov, Bogdan. "Strategies of Personal Account Promotion on Instagram." Theoretical and Practical Issues of Journalism 7, no. 3 (2018): 539–56. http://dx.doi.org/10.17150/2308-6203.2018.7(3).539-556.

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In the article, an Instagram page is considered as part of mass communications which brings money and other benefits to its holder. Deep interviews with Russian Instagram bloggers confirmed our hypothesis: each account represents a separate medium with its own information and advertising policy. The article explores such parameters as content planning, interaction with subscribers, advertisers and other bloggers, as well as ROI assessment via the Statistics tool. Promotion in Instagram is achieved through the observance of aesthetic norms and thematic and stylistic unity. In-depth interviews w
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34

Johnson, Gene. "The DOP 21 flashmobs Trafalgar Square." OP Matters 1, no. 5 (2009): 1–3. http://dx.doi.org/10.53841/bpsopm.2009.1.5.1.

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Pilo, Baptiste, Marion Brachet, Cécile Prévost-Thomas, et al. "Les flashmobs « Danser encore », entre spontanéité orchestrée et mobilisations hétérogènes." Communications N° 115, no. 2 (2024): 185–97. https://doi.org/10.3917/commu.115.0185.

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Dans un contexte pandémique, la chanson Danser encore a été reprise au sein de milliers de rassemblements dans l’espace public en France ou à l’international. L’analyse de captations vidéo de ces flashmobs ainsi que celle d’entretiens avec des musiciennes nous renseigne tant sur la plasticité et la performance des formes musicales et dansées que sur les luttes disparates au sein d’un mouvement apparemment spontané, mais qui dépend d’organisations complexes.
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Glon, Marie, Peggy Lecaudé, and Bianca Maurmayr. "Twerker dans l’espace public." Communications N° 115, no. 2 (2024): 207–14. https://doi.org/10.3917/commu.115.0207.

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Décrivant la préparation, le déroulement et la réception de flashmobs féministes, Peggy Lecaudé questionne le droit de twerker dans la rue : les attaques qui visent régulièrement cette pratique témoignent des contraintes qui pèsent sur l’usage que les femmes font de leur corps. Exercer le droit de danser dans l’espace public apparaît alors comme une pratique d’émancipation et de réflexion collective, impliquant des questions concrètes sur les normes et les désirs, le regard de l’autre et les rapports de pouvoir.
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37

Schatzberg, Laurie. "RESQ for FLASHMEM, Inc.: An IS Teaching Case." Informing Science: The International Journal of an Emerging Transdiscipline 1 (1998): 075–84. http://dx.doi.org/10.28945/617.

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Elze, T. "FlashDot -- A platform independent experiment generator for visual psychophysics." Journal of Vision 9, no. 14 (2009): 58. http://dx.doi.org/10.1167/9.14.58.

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Huang, Jian, Anirudh Badam, Moinuddin K. Qureshi, and Karsten Schwan. "Unified address translation for memory-mapped SSDs with FlashMap." ACM SIGARCH Computer Architecture News 43, no. 3S (2016): 580–91. http://dx.doi.org/10.1145/2872887.2750420.

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Womack, James. "Georgian Flashman. Kvachi by Mikheil Javakhishvili (Translated by Donald Rayfield)." Kadmos 8 (2016): 442–45. https://doi.org/10.32859/kadmos/8/442-445.

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Sandi, Supriyadi. "PEMANFAATAN FILM ANIMASI SEBAGAI MEDIA PEMBELAJARAN ANAK BERBASIS FLASHMX." Jurnal Komunikasi 12, no. 2 (2021): 144–51. http://dx.doi.org/10.31294/jkom.v12i2.11239.

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Entertainment-based education can be done by teachers and parents to design learning materials about soft skills in children such as helping children. The usefulness of this animated film, has a function as an entertainment tool and as a learning medium for children so that children do not feel bored and are able to provide freshness because of the entertainment element. Of the many animated films that are shown, not many teach about something that contains the meaning of goodness, for example the attitude of helping each other. After making this film, it shows that this film has an interestin
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Sanoeva, Gulbar. "USE OF EDUCATIONAL FLASHMOBS IN PREPARING FUTURE ENGLISH LANGUAGE TEACHERS FOR PROFESSIONAL AND PEDAGOGICAL ACTIVITY." INTERNATIONAL BULLETIN OF APPLIED SCIENCE AND TECHNOLOGY 2, no. 9 (2022): 68–72. https://doi.org/10.5281/zenodo.7123567.

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Amirkhanyan, Z., N. Aftab, G. Adhikari, et al. "Comparison of measurements and simulation results of dose for the flash radiation therapy beamline at PITZ." Journal of Physics: Conference Series 2687, no. 9 (2024): 092015. http://dx.doi.org/10.1088/1742-6596/2687/9/092015.

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Abstract The high-brightness electron beam at the Photo Injector Test facility at DESY in Zeuthen (PITZ) is now also used for FLASHlab@PITZ: an R.&amp;D platform for studying radiation biology and the FLASH effect in radiation therapy. The available parameter space of the electron beam with a momentum of 22 MeV/c allows bunch charges from 1 pC up to 5 nC, bunch durations of 0.160 ps and bunch train lengths up to 1 ms. The number of bunches in the single train can currently be varied between 1 and 1000 bunches, with an upgrade to 4500 foreseen in 2023. Radiation biology studies require accurate
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Li, X. K., Z. Amirkhanyan, N. Aftab, et al. "Overview of FLASHlab@PITZ: the new R&D platform for FLASH radiation therapy and radiation biology." Journal of Physics: Conference Series 2687, no. 9 (2024): 092006. http://dx.doi.org/10.1088/1742-6596/2687/9/092006.

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Abstract An R&amp;D platform for electron FLASH radiation therapy and radiation biology is being prepared at the Photo Injector Test facility at DESY in Zeuthen (FLASHlab@PITZ). This platform is based on the unique beam parameters available at PITZ: ps scale electron bunches of up to 22 MeV with up to 5 nC bunch charge at MHz bunch repetition rate in bunch trains of up to 1 ms in length repeating at 1 to 10 Hz. It works together with the Technical University of Applied Sciences Wildau (TH Wildau) as partner in close vicinity for the biological resources. A startup beamline has been installed t
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Udomthanaporn, Borisorn, Passiri Nisalak, and Pornrachanee Sawaengkit. "Shear Bond Strength of Orthodontic Bonding Materials Polymerized by High-Intensity LEDs at Different Intensities and Curing Times." Key Engineering Materials 723 (December 2016): 376–81. http://dx.doi.org/10.4028/www.scientific.net/kem.723.376.

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To evaluate and compare shear bond strength (SBS) and Adhesive Remnant Index (ARI) of orthodontic brackets polymerized by high-intensity light-emitting diode (LED) curing units at different intensities and curing times. Sixty extracted human upper premolar teeth were divided into 3 groups of 20 each. The tooth surfaces were prepared and the brackets were bonded on the teeth with light-cured adhesive and cured with 3 different light-curing units and conditions; Group 1 (Bluephase, 1,200 mW/cm2, 20 seconds), Group 2 (VALO, 3,200 mW/cm2, 6 seconds), Group 3 (FlashMax P3, 4,000-6,000 mW/cm2, 3 sec
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Villani, D., P. Korysko, W. Farabolini, et al. "PS07.31 COMMISSIONING OF THE C-ROBOT AT THE FLASHlab@PITZ EXPERIMENTAL AREA." Physica Medica 125 (September 2024): 104183. http://dx.doi.org/10.1016/j.ejmp.2024.104183.

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García Faet, Berta. "Mi juventud unida (2022) de Mariano Blatt: la “poética del flasheo”." Revista Letral, no. 30 (January 31, 2023): 51–73. http://dx.doi.org/10.30827/rl.vi30.26669.

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En este artículo estudio Mi juventud unida (2022), la poesía reunida de Mariano Blatt, que recoge textos desde 2006. El sujeto lírico se construye al ritmo de la deconstrucción de la masculinidad dominante: no se erige como “hombre” sino como “pibe” amante y amigo de otros “pibes”, en relaciones horizontales que reproducen y eternizan las intensidades afectivas de una edad imaginaria fronteriza entre la infancia, la adolescencia y una adultez que nunca llega a consolidarse como tal. Al mismo tiempo, su voz poética juega a disfrazarse de no-poética y, simultáneamente, hiper-poética. El movimien
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Puri, Aakansha, M. S. Prathap, K. Jayaprakash, Sreegowri, and Jeslee A. Jose. "Comparative evaluation of third-generation LED-light curing units and their effect on bulk-fill composites—An in vitro study." Journal of International Oral Health 16, no. 2 (2024): 166–73. http://dx.doi.org/10.4103/jioh.jioh_235_23.

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Abstract Aim: Comparing the effectiveness of third-generation light-emitting diode light-curing devices and their impact on bulk-fill composites is the primary purpose of this study. Materials and Methods: In vitro investigation was carried out on a total of 32 samples of two bulk-fill composites. Four groups (n = 8) were formed. Half of the specimens of Tetric® N-Ceram Bulk Fill and Palfique Bulk Flow composites were randomly selected and cured from top with Bluephase® N LED light curing unit (LCU), and the remaining half with FlashMax P3 WS 4W LED LCU, following instructions provided by the
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Tumminia, Andrea, Agostino Milluzzo, Camilla Festa, et al. "Efficacy of flash glucose monitoring in pregnant women with poorly controlled pregestational diabetes (FlashMom): A randomized pilot study." Nutrition, Metabolism and Cardiovascular Diseases 31, no. 6 (2021): 1851–59. http://dx.doi.org/10.1016/j.numecd.2021.03.013.

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Sting, Wolfgang. "Performance und Theater als anderes Sprechen." Scenario: A Journal of Performative Teaching, Learning, Research VI, no. 1 (2012): 56–65. http://dx.doi.org/10.33178/scenario.6.1.4.

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Die aktuellen performativen Spiel- und Inszenierungsformen der szenischen Künste halten innovative Impulse für die Konzeption und Praxis des Sprachenlernens bereit. Das zeigen die Kategorien des Performativen, die am Beispiel des Flashmobs in diesem Beitrag herausgearbeitet werden wie z.B. Aktion, Körperlichkeit, Bewegung, Intensität, Gemeinschaft, Spielfreude, Ereignischarakter, also Improvisieren, Inszenieren, Präsentieren und soziale Interaktion im öffentlichen Raum. Diese körperlichen, sozialen und ästhetischen Handlungs- und Erfahrungskategorien markieren wesentliche Elemente jugendlicher
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