Journal articles: 'Trace (Gallery)'

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Buckman, J. O. "An unusual new trace fossil from the Lower Carboniferous of Ireland: Intexalvichnus magnus." Journal of Paleontology 71, no. 2 (March 1997): 316–24. http://dx.doi.org/10.1017/s0022336000039226.

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Intexalvichnus magnus, new ichnogenus and ichnospecies, is erected for material from the Lower Carboniferous of northwest Ireland. This ichnogenus is characterized by a horizontal primary basal gallery, from which a series of secondary near-vertical shafts originate on either side of the gallery. Intexalvichnus magnus is typified by vertical shafts occurring in offset closely packed pairs on either side of the horizontal gallery, and by their recurved conical morphology. Such material somewhat resembles Phycodes, and in particular “Phycodes” pedum, although overall morphology and mode of construction distinguish I. magnus from Phycodes (including “P.” pedum), warranting separate ichnogeneric status. Although forming monospecific associations, I. magnus occurs within shallow-water deltaic sand-dominated facies with diverse ichnofaunal assemblages. Consideration of ichnofaunas from similar shallow-water paleoenvironments suggests that I. magnus should be globally and stratigraphically widespread. Perhaps because of its relatively large size I. magnus has been overlooked, or referred to other ichnogenera.

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Gao, Miaomiao, Cong Wei, Xianqing Lin, Yuan Liu, Fengqin Hu, and Yong Sheng Zhao. "Controlled assembly of organic whispering-gallery-mode microlasers as highly sensitive chemical vapor sensors." Chemical Communications 53, no. 21 (2017): 3102–5. http://dx.doi.org/10.1039/c6cc08094d.

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Organic whispering-gallery-mode lasers, assembled from π-conjugated polymers, can be used for highly sensitive detection of trace amounts of chemical gases by monitoring the shift of the lasing mode, paving a new way to design novel photonic sensing devices.

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Killingbeck, Keith T. "Autumnal Resorption and Accretion of Trace Metals in Gallery Forest Trees." Ecology 66, no. 1 (February 1985): 283–86. http://dx.doi.org/10.2307/1941329.

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Bruce, Joan. "Using RLIN in the Australian National Gallery Library." Art Libraries Journal 14, no. 3 (1989): 17–20. http://dx.doi.org/10.1017/s0307472200006350.

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The Australian National Gallery Library has used RLIN since January 1985. It is used primarily as an online bibliographic database, to trace publications on particular artists and as a means of verifying references supplied by library users. It is also used, but less frequently, to verify bibliographic details of items to be acquired for the Library; other more occasional use is made of RLIN as a source of catalogue records, to identify locations of items the loan of which is to be sought from overseas, to verify name headings, and as a source of information used in stock selection. Of the special files, Scipio has proved most useful as a source of information on sales catalogues. RLIN does not present insuperable problems to the remote user, although an offline print facility and extended access hours would both be helpful.

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Omwoma, Solomon. "Trace Metal Detection in Aqueous Reservoirs Using Stilbene Intercalated Layered Rare-Earth Hydroxide Tablets." Journal of Analytical Methods in Chemistry 2020 (March 30, 2020): 1–9. http://dx.doi.org/10.1155/2020/9712872.

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Contamination of aquatic reservoirs with metal ions is a slow gradual process that is not easy to detect. Consequences of the metal ions, especially the ones with high atomic numbers (heavy metals) at high concentrations, are severe and irreversible in aquatic reservoirs. As such, early detection mechanisms, especially at trace concentration, are essential for mitigation measures. In this work, a new, robust, and effective tool for trace metal detection and monitoring in aqueous solutions has been developed. Tablets (1 mm thick and similar to medicinal tablets) were manufactured from a powder comprising stilbene intercalated into gallery spaces of lanthanide-containing layered double hydroxides. The tablets were placed in a water column having different concentrations of Pb2+ and Cu2+ ions, and the water was allowed to flow for 45 minutes at a flow rate of 100 ml/s. Thereafter, the tablets were dried and made to powder, and their phosphorescence was measured. The gradual stilbene phosphorescence turnoff in the tablets from various concentrations of metal ions was correlated with sorption amounts. The tablets were able to detect effectively metal ions (up to Pb2+ 1.0 mmol/L and Cu2+ 5.0 mmol/L) in the aqueous media. As such, the concentrations of Pb2+ and Cu2+ ions at trace levels were determined in the test solutions. This method provides a real-time metal ion analysis and does not involve sampling of water samples for analysis in the laboratory.

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Levchenko, I., and U. Kukharuk. "SYMBOLS OF THE ORDER OF THE GARTER AS A MEANS OF REPRESENTATION OF THE JAMES VI & I AUTHORITY (based on the illustrative sources of the National Portrait Gallery)." Bulletin of Taras Shevchenko National University of Kyiv. History, no. 140 (2019): 30–33. http://dx.doi.org/10.17721/1728-2640.2019.140.8.

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The electronic resource of the National Portrait Gallery has 199 images of James VI & I. We turn to the king’s lifetime portraits. Numerous James’s I images that contain the attributes of the knight’s ethos (lattice, horse, sword, honors of the Order of the Garter) make it possible to form the idea of the knight’s ideal transformation, to trace the influence of ethos on the royal etiquette and the diplomatic ceremony during the reign of James VI (1566-1620) & I (1603-1625). In addition to the popularization and maintenance of knight ideals, the Order of the Garter played an important role in shaping the notions of the "English nation". Reconstruction of the image on the basis of imaginative sources makes it possible to find out how the contemporaries perceived to the king. The morality and behavior of the king as the "father" of all the British (paterfamilias) was an exemplum, authority and set the frame for the whole society, because the royal court and the family were perceived as a model. Also the gender was important in the representing of the knight’s image. A conclusion is made about the sacredness of the symbolism of the Order as a means of dialogue between a person of a monarch and his subjects (people).

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Kolbiarz, Artur. "From Świdnica to Bratislava: The sculpture of Christ the Saviour from the collection of the Slovak National Gallery." Muzeológia a kultúrne dedičstvo 8, no. 3 (September 2020): 75–93. http://dx.doi.org/10.46284/mkd.2020.8.3.4.

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Among the works that stand out in the Baroque sculpture collection of the Slovak National Gallery (SNG) is the figure of the Saviour by Georg Leonhard Weber of Świdnica. Surveys conducted in Slovak, Czech and Polish museums, combined with field studies, have made it possible to provide hitherto unexplored artistic context of the work. They have made it possible to trace the formal origins of the Bratislava Saviour as well as its later imitations. The sculpture is carved with virtuosic precision; it develops a concept derived from ancient art and is the finest example of Weber’s early oeuvre. Also, it constitutes a link between works made in his workshop over four decades. The present study demonstrates the advantages of an interdisciplinary and international analysis of museum collections. It highlights the significance of the sculpture in question to Central European cultural heritage, expanding the knowledge of museum collections in three different countries.

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Armour Smith, Elliott, Mark A. Loewen, and James I. Kirkland. "New social insect nests from the Upper Jurassic Morrison Formation of Utah." Geology of the Intermountain West 7 (August 29, 2020): 281–99. http://dx.doi.org/10.31711/giw.v7.pp281-299.

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This paper reports a new assemblage of social insect ichnofossils from the Brushy Basin Member of the Upper Jurassic Morrison Formation near Green River, Utah. At least seven distinct nests are visible in the locality horizon, identifiable at the outcrop scale by loci of anastomosing, and orthogonally connected hor-izontal burrows and vertical shafts. A boulder-sized block from the in situ horizon has eroded and rolled downhill, revealing the ventral aspect of the nest, showing a view of the overall nest architecture. Burrow and shaft clusters are organized into mega-galleries which have branching arms and ovate, bulbous cham-bers. The organization of distinct trace morphologies is consistent with ethological complexity of the social insects. A small sample was collected and analyzed by serial sectioning and petrographic thin sectioning to observe small-scale morphological features. Centimeter-scale analysis shows chamber, gallery, and burrow walls have complex topography. Pebble-sized, hollow, ellipsoid features are distributed throughout the up-permost facies of the nest and have undergone complete silicification of their outer surfaces. The ellipsoids share similarity with pellet structures made of mud or carton produced by modern termites. This trace fossil assemblage suggests it is possible that termites had acquired subterranean nesting behavior, and mud or carton utilization in nest construction in seasonally arid habitats by the Late Jurassic.

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Marignac, Christian, Michel Cuney, Michel Cathelineau, Andreï Lecomte, Eleonora Carocci, and Filipe Pinto. "The Panasqueira Rare Metal Granite Suites and Their Involvement in the Genesis of the World-Class Panasqueira W–Sn–Cu Vein Deposit: A Petrographic, Mineralogical, and Geochemical Study." Minerals 10, no. 6 (June 23, 2020): 562. http://dx.doi.org/10.3390/min10060562.

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Elucidation of time-space relationships between a given wolframite deposit and the associated granites, the nature of the latter, and their alterations, is a prerequisite to establishing a genetic model. In the case of the world-class Panasqueira deposit, the problem is complicated because the associated granites are concealed and until now poorly known. The study of samples from a recent drill hole and a new gallery allowed a new approach of the Panasqueira granite system. Detailed petrographic, mineralogical, and geochemical studies were conducted, involving bulk major and trace analyses, BSE and CL imaging, EPMA, and SEM-EDS analyses of minerals. The apical part of the Pansqueira pluton consisted of a layered sequence of separate granite pulses, strongly affected by polyphase alteration. The use of pertinent geochemical diagrams (major and trace elements) facilitated the discrimination of magmatic and alteration trends. The studied samples were representative of a magmatic suite of the high-phosphorus peraluminous rare-metal granite type. The less fractionated members were porphyritic protolithionite granites (G1), the more evolved member was an albite-Li-muscovite rare metal granite (G4). Granites showed three types of alteration processes. Early muscovitisation (Ms0) affected the protolithionite in G1. Intense silicification affected the upper G4 cupola. Late muscovitisation (Fe–Li–Ms1) was pervasive in all facies, more intense in the G4 cupola, where quartz replacement yielded quartz-muscovite (pseudo-greisen) and muscovite only (episyenite) rocks. These alterations were prone to yield rare metals to the coeval quartz-wolframite veins.

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Rogers, Sarah. "Producing the Local: The Visual Arts in Beirut." Review of Middle East Studies 42, no. 1-2 (2008): 19–25. http://dx.doi.org/10.1017/s0026318400051476.

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In a 2002 lecture at Home Works, Beirut’s contemporary art festival, writer and cultural critic Abbas Beydoun claimed that Lebanon’s internationalism had led to derivative cultural production. The well known critic’s comments evoked an angry outburst from members of his predominantly Lebanese audience of young artists and cultural workers. To varying degrees, however, this characterization of Beiruti culture repeats and prefigures descriptions of the city as a meeting point between East and West. Indeed, Beirut’s reputation as a multi-linguistic and cross-cultural Mediterranean port is traced to the latter half of the nineteenth century when the city became the capital of an Ottoman province and followed as a regional center for missionary, political, and cultural activities. Moreover, Beydoun’s characterization did not always carry such a negative connotation. This paper begins to trace the ways in which the visual arts is a field for producing, rather than reflecting, Beirut’s cosmopolitanism. To do so, I look at two historical moments pivotal in the institutionalization of the visual arts. The first is that of Daoud Corm (1852-1930), the city’s first professional easel painter whose career ran from the Ottoman period through the French Mandate (1920-1943). The second is the decades of the 1960s and 70s, the city’s heyday as a regional cultural capital when a number of artists and activists established a gallery system, further expanding the private sector’s consumption of painting and sculpture.

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Monteira, Inés. "Of Archers and Lions: The Capital of the Islamic Rider in the Cloister of Girona Cathedral." Medieval Encounters 25, no. 5-6 (November 18, 2019): 457–98. http://dx.doi.org/10.1163/15700674-12340054.

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Abstract In the south gallery of the cloister of the Cathedral of Santa María, Girona, we find one capital that is differentiated from the rest because of its formal as well as its iconographic characteristics. The four faces of capital no. 4 contain two repeated and two alternating motifs: the archer on horseback and the lion attacking a bull. Both the dress of these horsemen and their physical traits identify them as Muslim horsemen. This identification creates an interpretive context for the capital as a whole that also conditions the reading of the conquering lion. Both images will be examined within their constructive context in the light of events and legends that surrounded the cathedral of Girona in the twelfth century. Moreover, we will trace the origin of these motifs that have their parallels in ivories of the art of the caliphal and taifa periods as well as in Catalan Romanesque and Sicilian-Norman art. This overview will enable us to interpret the meaning and significance of the capital in its historical-artistic context and enrich our knowledge of the artistic transfers between Andalusian and Romanesque art.

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Dal Fovo, Alice, Jana Striova, Enrico Pampaloni, and Raffaella Fontana. "Unveiling the Invisible in Uffizi Gallery’s Drawing 8P by Leonardo with Non-Invasive Optical Techniques." Applied Sciences 11, no. 17 (August 29, 2021): 7995. http://dx.doi.org/10.3390/app11177995.

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Until recently, the study of drawings by old masters has been confined to the art history conservation field. More specifically, scientific investigations of Leonardo’s drawings are still very few, possibly due to the latter’s extreme fragility and artistic value. However, analytical data are crucial to develop a solid knowledge base of the drawing materials and techniques used by artists in the past. In this work, we report on the application of non-invasive optical techniques on a double-sided drawing by Leonardo belonging to the Uffizi Gallery (8P). We used multispectral reflectography in the visible (Vis) and near-infrared (NIR) regions to obtain a spectral mapping of the drawing materials, to be subsequently integrated with technical information provided by art historians and conservators. Morphological analysis by microprofilometry allowed for the identification of the typical wave-like texture impressed in the paper during the sheet’s manufacture, as well as of further paper-impressed traits attributable to the drawing transfer method used by Leonardo. Optical coherence tomography revealed a set of micrometric engraved details in the blank background, which lack any trace of colored material, nor display any apparent relation to the drawn landscape. The disclosure of hidden technical features allowed us to offer new insights into Leonardo’s still under-investigated graphic practices.

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O’Reilly, Chiara. "Collecting French art in the late 1800s at the Art Gallery of New South Wales." Journal of the History of Collections 32, no. 2 (March 18, 2019): 313–25. http://dx.doi.org/10.1093/jhc/fhz006.

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Abstract From the nineteenth century, Sydney’s Art Gallery of New South Wales has been a marker of cultural ambition in Australia. This paper critically considers five large French paintings purchased at the end of the nineteenth century at significant expense by the gallery. Feted by contemporaries as examples of the French academic style, they formed part of plans to develop a representative collection to further understanding of art in the colony and, over time, they have taken on a rich role in the collective cultural memory. Through close examination of these paintings, their historical reception, criticism, reproduction and traces in the gallery’s archives this article reveals a history of taste, class and the formation of the cultural value of art. Using an object-based approach, it positions these works as evidence of changing cultural ideas within the context of a state collection to offer new insight into their status, the gallery itself, and the multiple roles of public art collections.

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Jacobs, Howy. "Tenure track or shooting gallery?" EMBO reports 11, no. 6 (June 2010): 407. http://dx.doi.org/10.1038/embor.2010.73.

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Nielsen, Sabine Dahl, and Anne Ring Petersen. "Enwezor’s Model and Copenhagen’s Center for Art on Migration Politics." Nka Journal of Contemporary African Art 2021, no. 48 (May 1, 2021): 70–95. http://dx.doi.org/10.1215/10757163-8971314.

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One of the most remarkable signs of the importance and adaptability of Okwui Enwezor’s work is the way in which the transformative models for exhibition making that he developed have found their way into small-scale institutional spaces and extra-institutional contexts. Resourceful curators across the world have successfully translated his models into critical formats and inventive ways of producing social and political knowledge, carefully adjusted to local contexts and needs. The aim of this article is to trace the influential postcolonial “platforms model” that Enwezor conceptualized for Documenta11 to a small but internationally acclaimed gallery in Copenhagen: the Center for Art on Migration Politics (CAMP). The article falls into three parts. The first part introduces CAMP and the Danish context for migration, before the authors discuss core elements of Enwezor’s exemplary transformation of curating into the creation of platforms for political interventions at his Documenta11 exhibition. The second part seeks to answer three questions: What was the curatorial strategy and multisited structure that Enwezor and his team developed? How did their decolonizing approach help create inclusive, discursive, and curatorial spaces that contested the binaristic perception of the West as the center and the non-West as periphery and offer a vision of the (art) world as profoundly entangled and plurivocal? How has the organization of Documenta11 as a globally distributed network of discursively and conceptually interconnected platforms contributed to restructuring the exhibition venue and to rethinking the interrelationship between the exhibition, as it is traditionally understood as the very core of an art event, and exhibition-related events perceived as collateral, sometimes even dispensable, activities? The third part of the article returns to CAMP to explore the specific translation of Enwezor’s legacy into a small-scale, local art space.

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Fryer, T. "The Gallery: Bloohhound take to the track." Engineering & Technology 12, no. 11 (December 1, 2017): 12–13. http://dx.doi.org/10.1049/et.2017.1113.

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Sloan, Dr Rachel, and Deborah Harty. "REVIEWS." Visual Inquiry 2, no. 1 (March 1, 2013): 99–103. http://dx.doi.org/10.1386/vi.2.1.99_5.

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MANTEGNA TO MATISSE: MASTER DRAWINGS FROM THE COURTAULD GALLERY The Courtauld Gallery, London, 14 June to 9 September 2012 and The Frick Collection, New York, 2 October 2012 to 27 January 2013HYPERDRAWING: BEYOND THE LINES OF CONTEMPORARY ART, TRACEY (2012) (EDITED BY PHIL SAWDON AND RUSSELL MARSHALL) London & New York: I.B. Tauris & Co Ltd. Paperback, ISBN: 978 1 78076 254 8

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Cameron La Follette and Douglas Deur. "Views Across the Pacific: The Galleon Trade and Its Traces in Oregon." Oregon Historical Quarterly 119, no. 2 (2018): 160. http://dx.doi.org/10.5403/oregonhistq.119.2.0160.

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Hughes, Sarah Anne. "Contemporary publishing by national museums and art galleries in the UK and its future." Art Libraries Journal 39, no. 3 (2014): 34–41. http://dx.doi.org/10.1017/s0307472200018423.

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Changes in the format, design and content of museum and art gallery exhibition catalogues can be traced to the visibility and popularity of these souvenirs for the block-buster exhibitions of the 1970s. The increased museum revenue from these book sales and the need, perceived by the publishers recruited to museum staff from a trade background, to address the interests of a more diverse audience are identified as the two main instigators of these changes. The resulting exhibition catalogues play down the scholarly apparatus, offer more images particularly to enhance the reader’s contextual understanding and, in some cases, ameliorate the academic register of the writing. The uses made of exhibition books by institutions, their associated sponsors and museum visitors is commented on.

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Bernal, Abigail. "Tracey Moffatt: Spirited, Queensland Art Gallery, Gallery of Modern Art, 25 October 2014 to 8 February 2015." Queensland Review 22, no. 2 (December 2015): 204–5. http://dx.doi.org/10.1017/qre.2015.19.

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Sindbæk, Søren M. "‘Meet the Vikings’—or meet halfway? The new Viking display at the National Museum of Denmark in Copenhagen." Antiquity 93, no. 367 (February 2019): 256–59. http://dx.doi.org/10.15184/aqy.2019.1.

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How does a major European museum maintain its high profile as a cultural institution when faced with dwindling public funds? The decision of the National Museum of Denmark in Copenhagen to refurbish its Viking gallery under the direction of a celebrity designer has caused a stir far beyond Denmark. Appointed in 2017, the Museum's director, Rane Willerslev, has vowed to set this venerable institution on a more contemporary and commercially viable track. As one of his first major initiatives, he contracted the fashion designer and reality television star Jim Lyngvild to brush up the Viking Age gallery—one of the museum's most prominent international attractions, but strangely a hitherto somewhat neglected part of the display.

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Folan, Lucie. "Wisdom of the Goddess: Uncovering the Provenance of a Twelfth-Century Indian Sculpture at the National Gallery of Australia." Collections: A Journal for Museum and Archives Professionals 15, no. 1 (March 2019): 5–41. http://dx.doi.org/10.1177/1550190619832383.

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The history of Prajnaparamita, Goddess of Wisdom, a twelfth-century Indian Buddhist sculpture in the National Gallery of Australia collection, has been researched and evaluated through a dedicated Asian Art Provenance Project. This article describes how the sculpture was traced from twelfth-century Odisha, India, to museums in Depression-era Brooklyn and Philadelphia, through dealers and private collectors Earl and Irene Morse, to Canberra, Australia, where it has been since 1990. Frieda Hauswirth Das (1886–1974), previously obscured from art-collecting records, is revealed as the private collector who purchased the sculpture in India in around 1930. Incidental discoveries are then documented, extending the published provenance of objects in museum collections in the United States and Europe. Finally, consideration is given to the sculpture’s changing legal and ethical position, and the collecting rationales of its various collectors. The case study illustrates the contributions provenance research can make to archeological, art-historical, and collections knowledge, and elucidates aspects of the heterodox twentieth-century Asian art trade, as well as concomitant shifts in collecting ethics.

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Finn, Margot C. "MATERIAL TURNS IN BRITISH HISTORY: III. COLLECTING: COLONIAL BOMBAY, BASRA, BAGHDAD AND THE ENLIGHTENMENT MUSEUM." Transactions of the Royal Historical Society 30 (November 11, 2020): 1–28. http://dx.doi.org/10.1017/s0080440120000018.

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ABSTRACTThis lecture explores the history of Enlightenment-era collecting of antiquities to probe the claims to universality of Western museums. Focusing on the British Museum's Enlightenment Gallery, it underscores the imperial and familial contexts of British collecting cultures. Questioning received narratives of collecting which highlight the role played by individual elite British men, it suggests that women, servants and non-European elites played instrumental parts in knowledge production and the acquisition of antiquities. The private correspondence of the East India Company civil servant Claudius Rich – the East India Company's Resident or diplomatic representative at Baghdad 1801–1821 – and his wife Mary (née Mackintosh) Rich illuminates social histories of knowledge and material culture that challenge interpretations of the British Museum's Enlightenment Gallery which privilege trade and discovery over empire.

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Ooi, Can-Seng. "Cacophony of Voices and Emotions: Dialogic of Buying and Selling art." Culture Unbound 2, no. 3 (September 16, 2010): 347–64. http://dx.doi.org/10.3384/cu.2000.1525.10220347.

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The importance of galleries as go-betweens for artists and art buyers is acknowledged in art world research. Using a Bakhtinian dialogic approach, this article examines social encounters of three artists, two art buyers and one gallery sales executive in Singapore. Specifically, it looks into the social interactional dynamics of artists and art buyers when they trade directly. Situational ambiguities and emotional ambivalence arise during such meetings from the different expectations and demands that are imposed, which have the effect of placing the parties involved in conflicting social contexts. For instance, when art connoisseurs and artists discuss aesthetics, monetary value is not of primary concern, nonetheless when they want to trade, commercial concerns become central; this can lead to discomfort between the parties. Similarly, art buyers may want to go behind the scenes to know more about the artist and the art practice; getting away from the glitter of the commercial gallery and into the modest art studio for an authentic experience may reveal too much for visitors; such experiences may break their illusion of the glamorous artist. This article looks at the microscopic interaction between artists and art buyers and shows how the ambiguities and ambivalence that can be generated by their encounters become constraining factors in encouraging artists and art buyers to trade directly, by-passing commercial art galleries and dealers.

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croll, theodore p., and ben z. swanson. "Victorian Era Esthetic and Restorative Dentistry: An Advertising Trade Card Gallery." Journal of Esthetic and Restorative Dentistry 18, no. 5 (September 2006): 235–54. http://dx.doi.org/10.1111/j.1708-8240.2006.00031.x.

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Clarke, Stella G. Dextre. "Interoperability: Love it or Loathe it." Legal Information Management 3, no. 3-4 (2003): 185–87. http://dx.doi.org/10.1017/s1472669600002115.

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This article will be a Rogue's Gallery of some of the most off-putting jargon in our trade: unfriendly “metadata”, “taxonomy” and “thesaurus” as well as the infamous “interoperability”. We have to learn to live with these tricky characters, however. So why not learn to love them I will try to bring out what is useful about them, as well as facing up to the discomforts.

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Yang, Min, Hongru Li, Ning Li, and Shun Yang. "Influence of Utility Tunnel on the Lower Part of the Existing Double-Track Shield Tunnel in Loess Soil." Advances in Materials Science and Engineering 2021 (July 23, 2021): 1–13. http://dx.doi.org/10.1155/2021/9927245.

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The interaction between the double-track shield tunnel and the integrated pipe gallery is complex, and there is still a lack of systematic research. Based on the numerical simulation of the Xi’an case, this paper studies the influence of the construction of the integrated pipe gallery on the deformation characteristics of the existing double-line subway tunnels with different buried depths and clear distances and finds the safe buried depth and clear distance of the tunnel. The results indicated that, in the loess area, the maximum deformation of the existing subway has a linear and inverse relationship with the buried depth and spacing, respectively. Increasing the buried depth can reduce the impact of the upper construction disturbance more than increasing the clear distance ratio. Moreove, under the design conditions of constructing a utility tunnel by the open-cut method, when the buried depth of the tunnel is 4.5 D and the spacing is greater than 4.5 D, or the buried depth is 5.0 D and the spacing is greater than 2.5 D, the combination of subway tunnels can meet the deformation control standards.

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Vaselli, Orlando, Marta Lazzaroni, Barbara Nisi, Jacopo Cabassi, Franco Tassi, Daniele Rappuoli, and Federica Meloni. "Discontinuous Geochemical Monitoring of the Galleria Italia Circumneutral Waters (Former Hg-Mining Area of Abbadia San Salvatore, Tuscany, Central Italy) Feeding the Fosso Della Chiusa Creek." Environments 8, no. 2 (February 20, 2021): 15. http://dx.doi.org/10.3390/environments8020015.

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The Galleria Italia waters drain the complex tunnel system of the former Hg-mining area of Abbadia San Salvatore (Tuscany, central Italia) and feed the 2.5 km-long Fosso della Chiusa creek. The mining exploitation was active for more than one century and more than 100,000 tons of liquid mercury were produced by roasting processes of cinnabar (HgS). In this work, a discontinuous geochemical monitoring of the Galleria Italia circumneutral waters was carried out from February 2009 to October 2020, during which the main physicochemical parameters, main and minor dissolved species and trace elements (including Hg) were determined. In the observation period, significant variations in the water chemistry were recorded, particularly when flooding waves, due to intense precipitations, occurred, with the two main events being recorded in February 2009 and January 2010. The chemical composition of the Galleria Italia waters was Ca(Mg)-SO4 and related to congruent dissolution of gypsum/anhydrite at which a contribution from carbonatic and silicatic minerals and partial solubilization of CO2 and and H2S oxidation is to be added. Regarding the trace elements, Al, Mn and Fe were up to 1500, 768 and 39520 μg L−1, with these elements also showing high contents in the sediment precipitating by the Galleria Italia waters. In most cases, dissolved mercury was below the instrumental detection limit (<0.1 μg L−1), although occasionally it reached >1 μg L−1. Considering a mean flow rate of 40 L s−1 of the discharged water, the amount of dissolved mercury released from Galleria Italia was computed, although most mercury was occurring in the sediment (1.2 mg kg−1). A more realistic computation of mercury released from Galleria Italia should involve a sampling network along the Fosso della Chiusa before entering the riverine system of the Tiber basin, into which dissolved and suspended mercury are to be determined along with that occurring in the sediments.

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Sikorska, Karolina. "Against affirmation. Negation as a cognitive strategy in an art film." Tekstualia 2, no. 49 (June 12, 2017): 55–65. http://dx.doi.org/10.5604/01.3001.0013.3125.

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Using the category of negation, the article analyzes the art fi lms of Maya Deren and Teresa Hubbard & Alexander Birchler exhibited at The Inner Lives (Of Time) in the National Gallery in Prague (5.10.2016 – 19.02.2017, in the Trade Fair Palace). Negation is discussed as a cognitive strategy, which echoes the theoretical concepts of Theodor W. Adorno and Hal Foster. Elements such as the subjective treatment of time, the suspension of logical implications, or poetic-oneiric visions, have been analyzed so as to demonstrate how their meanings help to question the socio- -cultural reality.

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Hanks, Laura Hourston. "Island identities: the Pier Arts Centre, Orkney." Architectural Research Quarterly 14, no. 3 (September 2010): 222–36. http://dx.doi.org/10.1017/s1359135510000989.

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In the context of the maturation of traditional concepts of identity into ‘new forms of plurality and spatiality’, this paper aims to explore the role of genius loci, memory, and ultimately identity in a particular gallery: the Pier Arts Centre in Stromness, Orkney.Initially, it considers ways in which regional and vernacular identities have informed and enriched the architectural project, instilling it with tangible and intangible traces of place, and the past and present people of that place. Formal and material influences from the abstract but poetic idea of north, the local topography and town, and the existent buildings on site, are revealed.

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Franklin, Jonathan. "Going, going, gone: art auction catalogues from 19th-century Canada." Art Libraries Journal 24, no. 4 (1999): 44–48. http://dx.doi.org/10.1017/s0307472200019817.

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The art auction trade flourished in Canada as the 19th century progressed, pitting local artists against importers of European art; yet today there are relatively few preserved catalogues to show for all this activity. The National Gallery of Canada Library has been documenting the survivors, creating records in the SCIPIO database and arranging for microfilming. Individual lots have also been indexed (some of the idiosyncracies of auction catalogue entries are described below) and a Library Occasional Paper is to be published with a bibliographical listing and historical essay on the art auction in 19th-century Canada.

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Palma, Alexandre R. T., and Rodrigo Gurgel-Gonçalves. "Morphometric identification of small mammal footprints from ink tracking tunnels in the Brazilian Cerrado." Revista Brasileira de Zoologia 24, no. 2 (June 2007): 333–43. http://dx.doi.org/10.1590/s0101-81752007000200011.

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An alternative method for identifying and inventorying rodents and marsupials inhabiting forests and grasslands of Brazilian Cerrado is presented and discussed. Ink tracking tunnels were designed according to the size of target species and used to build a reference collection of small mammal footprints composed of 1408 footprints belonging to 251 individuals from 30 species (21 rodents and nine marsupials). Sherman traps and ink tracking tunnels were used to conduct inventories in gallery forests. Footprints obtained in ink tracking tunnels were digitalized and compared with those in reference collection using Discriminant Analysis (DFA). DFA allowed good footprint differentiation, even among congeneric species. In DFA analysis, the first two axis were related to size and arboreality. The efficiency of ink tracking tunnels was higher (track-success = 31%) than conventional trapping (trap-success = 14%) in inventories. Ink tracking tunnels gave a good description of the small mammal community of gallery forest by detecting rodents and marsupials of different habits, including trap-shy species. This paper also discusses advantages and limitations of ink tracking tunnels use in inventories and ecological studies, and concludes that this technique can be efficient in long-term studies and in rapid inventories as a complementary technique for trapping.

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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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Jones, Jonathan. "untitled (giran)." Visual Communication 19, no. 3 (June 24, 2020): 415–28. http://dx.doi.org/10.1177/1470357220916115.

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Understanding wind is an important part of understanding Country. Winds bring change, knowledge and emotions. Connected to the winds are budyaan, or the birds, who know the winds best. This visual essay traces the development of Wiradjuri dhawura gulbanha (Wiradjuri wind philosophy), a project conceived with Dr Uncle Stan Grant AM, a senior Wiradjuri elder and knowledge holder. Throughout this visual essay, Wiradjuri is used rather than Indigenous or Aboriginal, as the project is based on specific Wiradjuri culture, knowledge, and language, to which the author belongs. In order to represent the winds, the project required thousands of feathers, which were provided with a public call out. The aim of this call out, in addition to collecting feathers, was to stimulate people to show yindyamarra (respect) and engage with their local environment, to take note of the birds that inhabit parks in cities and towns, and to learn to move slowly through Country by engaging with Country. The final work, untitled (giran) 2018, is a major installation with soundscape shown at the 9th Asia Pacific Triennial of Contemporary Art at the Queensland Art Gallery/Gallery of Modern Art, Brisbane. This visual essay, in the form of photographs and an extended caption, shows how Wiradjuri gulbanha (Wiradjuri philosophy) can benefit all members of the community.

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Käser, Lorenzo. "Das Humanmedizinstudium an der Universität Zürich." Praxis 109, no. 11 (September 2020): 843–46. http://dx.doi.org/10.1024/1661-8157/a003555.

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Zusammenfassung. Wir stellen im Folgenden die wichtigsten veröffentlichten Informationen zum Humanmedizinstudium der Medizinischen Fakultät der Universität Zürich zusammen (Stand 8.6.2020), mit einer kurzen Übersicht des «Bildungsnetzwerks» (www.medunet.ch) der sechs beteiligten Standorte mit den Universitäten Zürich, Basel, St. Gallen, Luzern, der Università della Svizzera italiana und der ETH Zürich. Innerhalb des Bildungsnetzwerks bieten die Universitäten Luzern und St. Gallen für je 40 Medizinstudierende den sog. «Luzerner Track» bzw. «St. Galler Track» an als gemeinsamen Masterstudiengang mit der Universität Zürich. Die beiden Partner stellen ihr Curriculum in separaten Artikeln vor. Abschliessend folgen die Informationen zur laufenden Curriculumrevision unter dem Label ZH Med4, das für die profilierenden Schwerpunkte Digitalisierung, Forschung, Vernetzung und Grundversorgung steht.

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Otele, Olivette. "Bristol, slavery and the politics of representation: the Slave Trade Gallery in the Bristol Museum." Social Semiotics 22, no. 2 (April 2012): 155–72. http://dx.doi.org/10.1080/10350330.2012.665231.

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Paula Oliveira, Rodolfo, Gerhard Zotz, Wolfgang Wanek, and Augusto Cesar Franco. "Leaf trait co‐variation and trade‐offs in gallery forest C 3 and CAM epiphytes." Biotropica 53, no. 2 (January 10, 2021): 520–35. http://dx.doi.org/10.1111/btp.12895.

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Cummings, Sally Nikoline. "Entangled interpretations and a transnational art exhibition:The case of (…) Ketsin! Art from the Kyrgyz Republic (Shoreditch, May 2013)." Museum and Society 13, no. 3 (July 1, 2015): 336–55. http://dx.doi.org/10.29311/mas.v13i3.334.

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Through the case study of a visual arts exhibition on the Kyrgyz Revolution, (...) Ketsin! (May 2013), this article traces the complex set of factors that influence how a transnational exhibition is interpreted. Combining literatures on visual representation, the role of intentionality in authorship, and, museum and gallery studies, I propose here the notion of ‘entangled interpretations’ to convey the overlapping and muddled layers rather than discrete parts that together constitute interpretation. These layers comprise: the artworks; other works in the same genre and other works by the same artists; the exhibition design and display; the architecture of the venue; the artists’ intentions; the roles of commissioner, sponsor and curator; and, the split audience: original and intended.

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Mayfield, Alex R. "Galleons from the “Mouth of Hell”: Empire and Religion in Seventeenth Century Acapulco." Journal of Early Modern Christianity 5, no. 2 (November 27, 2018): 221–45. http://dx.doi.org/10.1515/jemc-2018-0008.

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Abstract Scholarship on the Spanish galleon trade has tended to ignore both the importance of religion and the significance of the port of Acapulco. This paper will seek to offset each shortcoming by offering a glimpse into the religious life of Acapulco during the seventeenth century. This glimpse will aim to establish the spatial linkages between religion and economy in the port by (1) identifying the sacred places, practices, and missions of the city, and (2) illustrating how they were intimately related to the galleon trade. Though Acapulco occupied a paradoxical space within the broader Spain’s imperial vision, its unique spiritual cartography continued to be dictated by the aims of that vision. The port provides a unique case study by which to understand the complex and often-contradictory relationship between urbanity, trade, and religiosity in the Spanish empire. It illustrates that the economic and religious structures needed to create heavenly spaces in Spanish colonial holdings also produced unintended byproducts, places where religion and economics merged to produce more unexpected outcomes. Acapulco never became the envisioned heavenly city; yet, throughout the seventeenth century, it continued to demonstrate that economics and religion remained integrally connected.

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Abad, Francisco. "Del latín a los romances ibéricos." Epos : Revista de filología, no. 27 (January 1, 2011): 269. http://dx.doi.org/10.5944/epos.27.2011.10682.

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Trazamos un pequeño panorama que alude al castellano en la Romania, la Península e Hispanoamérica, y al gallego y catalán.Cet article vise à tracer l’ébauche d’un panorama concernant le castillan à la Romania, la Péninsule ibérique et l’amérique hispanique, et le galicien et le catalan.

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Barros, Amândio Jorge Morais. "The Manila Galleon, Macao and international maritime and commercial relations, 1500–1700." International Journal of Maritime History 29, no. 1 (February 2017): 123–37. http://dx.doi.org/10.1177/0843871416679114.

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Formal and informal trade were key elements in the establishment of global connections. Using data collected from Portuguese and Spanish archives, as well as the secondary literature, this article examines the early modern Southeast Asian Iberian communities of Macao and Manila, their weakness and resilience. Far from the centres of political decision-making they relied on their own resources and abilities to manage maritime connections with China, Japan and Spanish America through the voyages of the ‘Macao Ship’ and the ‘Manila Galleon’. The rarely mentioned intervention of the Macanese traders in the Manila Galleon route constitutes a central part of this research.

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Iaccarino, Ubaldo. "The ‘Galleon System’ and Chinese Trade in Manila at the Turn of the 16th Century." MING QING YANJIU 16, no. 01 (February 14, 2011): 95–128. http://dx.doi.org/10.1163/24684791-01601005.

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When the mission of the Basque adelantado Miguel López de Legazpi reached Luzon – the northernmost isle of the Philippine archipelago – in 1570, the ambitious Spanish conquistadores met the ‘Sangley’ merchants for the first time. During the 1570s many Chinese junks started to connect Manila with the ports of Fujian province and transformed the Philippine capital in a crossroads of the silk to silver exchange between China, Japan and the two Americas. Following the establishment of the Manila-Acapulco-Callao triangular trade line and with the influx of the precious ‘reals of eight’ from Mexico, the so-called ‘Naos de China’ started to enrich both the Spaniards and the ‘Sangleys’, triggering an irreversible process that led to the establishment of a ‘Galleon System’ in just two decades. This paper will discuss the role of Chinese trade in the Philippines at the close of the 16th century from the founding of Manila in 1571 to the establishment of the ‘Galleon System’ by the early 1590s.

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Oliveri, Vicki, Glenn Porter, Pamela James, Jenny Wise, and Chris Davies. "Art crime: discussion on the Dancing Shiva acquisition." Journal of Criminological Research, Policy and Practice 6, no. 4 (June 6, 2020): 307–19. http://dx.doi.org/10.1108/jcrpp-03-2020-0033.

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Purpose This paper aims to explore how stolen Indian antiquities were purchased by a major Australian collecting institution, despite cultural protection policies designed to prevent such inappropriate acquisitions. Using the acquisition of the Dancing Shiva as a case study, the purpose of this paper is to examine how collecting institutions such as the National Gallery of Australia experience difficulty when determining legal title through provenance research. The impact of incautious provenance research produces significant risk to the institution including damaging its social responsibility credentials and reputation when the acquisition is discovered to be stolen. Design/methodology/approach This research applies a qualitative case study method and analysis of sourced official policy documents, personal communication with actors involved with the case, media reports and published institutional statements. Findings This work identifies four contributing factors that resulted in the National Gallery of Australia’s acquisition of stolen Indian artefacts: a misguided level of trust of the art dealer based on his professional reputation; a problematic motivation to expand the gallery’s Asian art collection; a less transparent and judicious acquisition process; and a collaboration deficiency with cultural institutions in India. Crime preventative methods would appear to be a strategic priority to counter art crime of this nature. Research limitations/implications Additional research into how collecting institutions can be effectively supported to develop and implement crime preventative methods, especially less-resourced institutions, can potentially further enhance cultural heritage protection. Practical implications Fostering a higher degree of transparency and institutional collaboration can enhance cultural heritage protection, develop a greater level of institutional ethics and social responsibility and identify any potential criminal activity. Changing the culture of “owning” to “loaning” may provide a long-term solution for cultural heritage protection, rather than incentivising a black market with lucrative sums of money paid for artefacts. Social implications Art crime involving the illegal trade of antiquities is often misinterpreted as a victimless crime with no real harm to individuals. The loss of a temple deity statue produces significant spiritual anguish for the Indian community, as the statue is representative not only of their God but also of place. Collecting institutions have a social responsibility to prioritise robust provenance policy and acquisition practices above collection priorities. Originality/value Art crime is a relatively new area within criminology. This work examines issues involving major collecting institutions acquiring stolen cultural heritage artefacts and the impact art crime has on institutions and communities. This paper unpacks how motivations for growing more prestigious collections can override cultural sensibilities and ethical frameworks established to protect cultural heritage. It highlights the liabilities associated with purchasing antiquities without significant due diligence regarding provenance research and safeguarding cultural heritage. It also emphasises the importance for collecting institutions to establish robust acquisition policies to protect the reputation of the institutions and the communities they represent.

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Tudge, Pamela Honor. "Hedonistika-Montreal." Canadian Food Studies / La Revue canadienne des études sur l'alimentation 1, no. 2 (October 6, 2014): 15. http://dx.doi.org/10.15353/cfs-rcea.v1i2.54.

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When food, art, and machines clash in a gallery you have Hedonistika. Part food and part robotic exhibition curators Simon Laroche and Jane Tingley tackle the connections between food and technology with the aesthetics of digital art. On offer was a 3D printer providing you with an edible momento mori, a screening of a human GI tract digesting processed food, and a robot that feeds willing visitors. The three installations were created across three teams composed of food scholars, artists, and roboticists.

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Nikparvar, B., A. Sadeghi-Niaraki, and P. Azari. "UBIQUITOUS INDOOR GEOLOCATION: A CASE STUDY OF JEWELLERY MANAGEMENT SYSTEM." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XL-2/W3 (October 22, 2014): 215–18. http://dx.doi.org/10.5194/isprsarchives-xl-2-w3-215-2014.

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Addressing and geolocation for indoor environments are important fields of research in the recent years. The problem of finding location of objects in indoor spaces is proposed to solve in two ways. The first, is to assign coordinates to objects and second is to divide space into cells and detect the presence or absence of objects in each cell to track them. In this paper the second approach is discussed by using Radio Frequency Identification technology to identify and track high value objects in jewellery retail industry. In Ubiquitous Sensor Networks, the reactivity or proactivity of the environment are important issues. Reactive environments wait for a request to response to it. Instead, in proactive spaces, the environment acts in advance to deal with an expected action. In this research, a geo-sensor network containing RFID readers, tags, and antennas which continuously exchange radio frequency signal streams is proposed to manage and monitor jewellery galleries ubiquitously. The system is also equipped with a GIS representation which provides a more user-friendly system to manage a jewellery gallery.

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Anggoro, Pius Dian Widi. "User position tracking system using marker-based AR for exploring VR museum galleries." Jurnal Teknologi dan Sistem Komputer 7, no. 4 (September 6, 2019): 134–40. http://dx.doi.org/10.14710/jtsiskom.7.4.2019.134-140.

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This study examines the user position tracking system using marker-based AR on smartphones camera. The tracking system uses a homographic algorithm integrated into the Galeri Museum VR application. In the test, the user performed exploration interactions by 6 degrees of freedom in ten different positions in the museum gallery. The physical space used in this study was 4 x 4 m2 and a marker attached to the wall in front of the user. This system results in errors in XYZ field (0.102 m, 0.047 m, 0.044 m). If the camera's orientation is not directing to the marker and the user is moving, jitter appears because of the untracked marker. The use of marker-based AR successfully applied to track the position of users who perform natural locomotion interactions in the VR environment.

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Glasinovic Vernon, Juan Pablo. "Revisiting the Manila Galleon, a Chilean Perspective from the XXI Century." Latin American Journal of Trade Policy 2, no. 3 (May 2, 2019): 15. http://dx.doi.org/10.5354/0719-9368.2019.53165.

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The Manila Galleon marked the beginning of globalization as we know it today, linking Asia with the Americas and Europe through trade, from the second half of the XVI century until the first decades of the XIX century. Only a few decades after its discovery and conquest by Spain, the American continent burst onto the global scene allowing quasi industrial production in China and global trade, based on the silver pattern. A combination of circumstances made possible this first wave of globalization, ignited by the Americas. Looking back at that experience, we can better understand the current status of world affairs and extract some important lessons for Latin America in order to recover prominence in the relationship with Asia.

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Lucas Alvárez, Manuel. "Paleografía gallega. Estado de la cuestión." Anuario de Estudios Medievales 21, no. 1 (April 2, 2020): 419. http://dx.doi.org/10.3989/aem.1991.v21.1119.

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À partir d'une énumération des principales sources documentaries trouvées dans les archives nationales, régionales, écclésiastiques et locales sur la Galice, et a partir de manuscrits anciens, l'auteur essaie d'établir une synthèse de la paléographie galicienne. Il insiste sur les sources documentaires qui sont les plus nombreuses et les plus variées. En suivant la ligne traditionnelle de l'évolution de l'écriture espagnole médiévale, il étudie les différentes étapes de son développement, depuis les traces que l'on peut trouver pendant la période romaine et wisigothe, jusqu'au début du XVIème siècle. Il étudie principalement l'écriture wisigothe pour le plus grand intérêt de ses sigularités, et ensuite les autres périodes paléographiques que les traités les plus traditionnels signalent. Il tente d'étudier, pour chaque période, le milieu culturel, les textes du Codex existants et la morphologie des écritures représentées afin de faire ressortir l'évolution harmonieuse de l'écriture pendant la période étudiée.

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Reyes, Raquel A. G. "Flaunting It: How the Galleon Trade Made Manila, circa 1571–1800." Early American Studies: An Interdisciplinary Journal 15, no. 4 (2017): 683–713. http://dx.doi.org/10.1353/eam.2017.0025.

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Lueder, Christoph. "Thinking between diagram and image: the ergonomics of abstraction and imitation." Architectural Research Quarterly 15, no. 1 (March 2011): 57–67. http://dx.doi.org/10.1017/s1359135511000364.

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The work of the American painter Jackson Pollock speaks to us not only through exhibitions of paintings hung on gallery walls, but also through the films and photographs [1] of Hans Namuth which exposed Pollock's phased working process to the public. In the first of two distinct phases Pollock is seen immersed in, and in intimate interaction with, a large horizontal canvas. This records traces of his movement and expressive gestures in heterogeneous media. A second phase is then triggered by a pivotal operation: the horizontal recording and working surface is transposed to a vertical viewing plane. Leo Steinberg recounts that Pollock: ‘would tack the canvas on to a wall – to get acquainted with it, he used to say; to see where it wanted to go. He lived with the painting in its uprighted state, as with a world confronting his human posture’.

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Journal articles on the topic 'Trace (Gallery)'

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