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Fishburne, James. „Newly Discovered Monetary Characteristics of Emperor Rudolf II’s Gold Portrait Medal“. Getty Research Journal 8 (Januar 2016): 209–16. http://dx.doi.org/10.1086/685924.
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Gamberini, Diletta. „A Bronze Manifesto of Petrarchism: Domenico Poggini’s Portrait Medal of Benedetto Varchi“. I Tatti Studies in the Italian Renaissance 19, Nr. 2 (September 2016): 359–83. http://dx.doi.org/10.1086/688351.
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JAMES, CAROLYN, und F. W. KENT. „MARGHERITA CANTELMO AND AGOSTINO STROZZI: FRIENDSHIP'S GIFTS AND A PORTRAIT MEDAL BY COSTANZO DA FERRARA“. I Tatti Studies in the Italian Renaissance 12 (Januar 2009): 85–115. http://dx.doi.org/10.1086/its.12.27809572.
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Grzęda, Mateusz. „Kilka uwag o medalach portretowych Zygmunta I Starego“. Artifex Novus, Nr. 4 (09.03.2021): 4–23. http://dx.doi.org/10.21697/an.7923.
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Na początku XVI w. medal portretowy był jedną z najoryginalniejszych form reprezentacji, która dzięki dużej ilości informacji na temat przedstawionej osoby, skumulowanej w niewielkim, trwałym, mobilnym i łatwym do powielenia przedmiocie, doskonale odpowiadała renesansowemu postulatowi sławy i nieśmiertelności. Możliwości, jakie oferował ten gatunek artystyczny, zostały zauważone w dworskim kręgu Zygmunta I Starego (1507–1548), co zaowocowało kilkoma seriami lanych i bitych w różnych metalach medali przedstawiających polskiego króla, powstałych na przestrzeni drugiego i trzeciego dziesięciolecia XVI w. W artykule rozwadze poddano proweniencję artystyczną tych medali, okoliczności ich powstania oraz rolę, jaką mogły one pełnić w praktyce władzy Zygmunta I.
Summary:
At the dawn of the sixteenth century portrait medals counted among the most orginal forms of representation which providing plenty of information on represented individual and accumulating it in a small, durable, mobile and easily reproducible object, met the Renaissance demand of fame and immortality. Advantages of this medium have been noticed in the courtly circle of king of Poland Sigismund I the Old (r. 1507–1548) thus leading to creation of several series of medals cast and strack in various metals in the second and third decade of the sixteenth century. The paper discusses authorship of these medals, as well as circumstances of their production and the role they could have played in the propaganda of Sigismund I’s power.
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Herman, Magdalena. „Odrowąż, smok i salamandra. Kreacja wizerunku w herbowych znakach własnościowych ksiąg Jana Ponętowskiego“. Z Badań nad Książką i Księgozbiorami Historycznymi 13 (26.12.2019): 67–94. http://dx.doi.org/10.33077/uw.25448730.zbkh.2019.158.
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The ownership marks of the books and print albums that belonged to Jan Ponętowski (c. 15401598) have already been studied extensively. Thus, this article presents hitherto unconsidered aspects of the bibliophile’s armorial marks with emphasis on written sources and the interchangeable use of the Ogończyk and Odrowąż coats of arms for his bookplates, supralibros, seals, medal with his portrait and his crosier. It investigates why Ponętowski employed the Odrowąż with the emblem of the Order of the Dragon, and by focussing on the literary sources of the relation between the dragon and salamander, which were depicted on an armorial bookplate, the article accentuates Ponętowski’s self-invention and seemingly compound heraldic usurpation.
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Einav, Liran, und Steve Tadelis. „Jonathan Levin: 2011 John Bates Clark Medalist“. Journal of Economic Perspectives 26, Nr. 2 (01.05.2012): 207–22. http://dx.doi.org/10.1257/jep.26.2.207.
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Jonathan Levin, the 2011 recipient of the American Economic Association's John Bates Clark Medal, has established himself as a leader in the fields of industrial organization and microeconomic theory. Jon has made important contributions in many areas: the economics of contracts and organizations; market design; markets with asymmetric information; and estimation methods for dynamic games. Jon's combination of breadth and depth is remarkable, ranging from important papers in very distinct areas such as economic theory and econometric methods to applied work that seamlessly integrates theory with data. In what follows, we will attempt to do justice not only to Jon's academic work, but also try to sketch a broader portrait of Jon's other contributions to economics as a gifted teacher, dedicated advisor, and selfless provider of public goods.
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Brenninkmeijer, K. A. M., A. S. Ginzburg, N. F. Elansky und I. I. Mokhov. „A Double Portrait: The Contributions G.S. Golitsyn and P.J. Crutzen Made to Studying the Physics and Chemistry of the Atmosphere“. Izvestiya, Atmospheric and Oceanic Physics 57, Nr. 1 (Januar 2021): 1–17. http://dx.doi.org/10.1134/s0001433821010035.
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AbstractThis is the introductory article for the special issue ofIzvestia, Atmospheric and Oceanic Physicsdedicated to the 2019 Lomonosov Gold Medal of the Russian Academy of Sciences awarded to Academician Georgy Golitsyn “for making an outstanding contribution to the study of atmospheric physics of the Earth and planets and the development of the theory of climate and its changes” and to foreign member of the Russian Academy of Sciences Professor Paul Joseph Crutzen “for making an outstanding contribution to the chemistry of the atmosphere and assessing the role and biogeochemical cycles in climate formation.” This issue includes an article highlighting the contributions Golitsyn and Crutzen made to the study of physics and chemistry of the atmosphere, climate, and biogeochemical cycles, as well as articles written for this special issue with the participation or recommendation of the laureates.
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Seanor, Michelle, Robert J. Schinke, Natalia B. Stambulova, Kristoffer Henriksen, Dave Ross und Cole Giffin. „Catch the Feeling of Flying: Guided Walks Through a Trampoline Olympic Development Environment“. Case Studies in Sport and Exercise Psychology 3, Nr. 1 (01.01.2019): 11–19. http://dx.doi.org/10.1123/cssep.2019-0002.
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Olympic-medal performances represent peak accomplishments in athlete development. Seanor, Schinke, Stambulova, Ross, and Kpazai identified environmental factors in a high-performance Canadian trampoline sport environment that developed decorated Olympic medalists. The current intrinsic case study was authored to further highlight the idiosyncrasies of a high-performance trampoline environment (re)presenting stories garnered from this localized Canadian sport environment. Through guided walks, a mobile method of conversational interviews, three contextual experts who are engaged in the development of Olympic athletes provided tours of their sport environment. Each contextual expert’s guided walk played out uniquely in relation to his or her ascribed role (i.e., Olympic coach, assistant coach, and Olympic champion). Three main themes were identified through interpretive thematic analysis: creating lift (subthemes: facility design, sport-culture paragons), providing a tailwind (subthemes: establishing athlete–coach partnerships, team interactions), and soaring onto the Olympic podium (subthemes: preparing athletes to be untethered, competitive collaboration). Each theme is presented through three portrait vignettes, with discrete vantages derived from each contextual expert to illuminate the context from idiosyncratic ascribed roles within the environment. These stories create a rich (re)presentation of a high-performance sport environment through the interplay of the contextual experts’ narratives, their surrounding context, and their Olympic-podium accomplishments.
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Koshkina, Olga Yu. „Visualization of Images from F.M. Dostoyevsky’s Novel “Crime and Punishment” in Works of the Book Graphic Artist I.T. Bogdesko“. Observatory of Culture 18, Nr. 2 (31.05.2021): 150–63. http://dx.doi.org/10.25281/2072-3156-2021-18-2-150-163.
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In 1970–1971, Academician of the Russian Academy of Arts, People’s Artist of the USSR Ilya Trofimovich Bogdesko (1923—2010) created a linocut series for the socio-psychological novel “Crime and Punishment” by F.M. Dostoyevsky. The illustrations were made specifically for the Leipzig Book Fair in 1971. The artist’s idea had been limited to the competition task: he created only three illustrations in the linocut technique, and their artistic solution was based on the conditional-decorative principle of composition organization. The main characters are depicted almost two-dimensionally, “purified” of everyday details, environment, entourage. Using a minimum of visual means, I.T. Bogdesko achieved a sensation of stunning drama in the illustrations. For this work, the artist was awarded a gold medal in Leipzig. At the end of 1971, “Kartya Moldovanyaske” published the book “Crime shi pedyapse” (“Crime and Punishment”) in the Moldovan language. In the design of that book, his illustrations were used — “Raskolnikov” (on the dust cover) and “The Old Pawnbroker” (on the title page). A different vision of Sonya’s image appeared on the dust cover. The preserved sketches, a number of which are presented in this article, allow recognizing the artist’s work hidden from prying eyes. In 1995, Bogdesko applied to Dostoevsky again. He created the writer’s portrait against the background of the characteristic St. Petersburg landscape. In those years, the artist was working on “Don Quixote”, inspired by Dostoevsky’s expressing about the novel by Cervantes: “There is nothing in the whole world deeper and stronger than this composition”. Bogdesko upheld this assertion with 36 illustrations (by chisel engraving) for the famous novel: a titanic work that lasted more than two decades. The artist executed the portrait of the Russian writer in the same unique technique of classical engraving as the illustrations for “Don Quixote”. Changes in graphic techniques dramatically alter the plasticity of images of the characters of “Crime and Punishment”: a quarter of a century later, the tragically flat vision of linocuts turned into a sharp, nervous, frequent movement of the chisel. Bogdesko created three illustrations for Dostoevsky’s novel in the technique of chisel engraving.
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BOWLER, P. J. „GOULD, S. J. The individual in Darwin's world. (The Second Edinburgh Medal Lecture). Edinburgh University Press, Edinburgh: 1991. Pp [iv], 42; portrait. Price: £ 3.95. ISBN: 0-7486-0227-5.“ Archives of Natural History 20, Nr. 1 (Februar 1993): 144. http://dx.doi.org/10.3366/anh.1993.20.1.144.
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Szállási, Árpád. „Doctor portrait medals by Miklós Borsos“. Orvosi Hetilap 149, Nr. 38 (01.09.2008): 1815–17. http://dx.doi.org/10.1556/oh.2008.2201.
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Bruyn, J. „Het altaar van het Antwerpse kuipersgilde en Quinten Massys'Bewening te Ottawa“. Oud Holland - Quarterly for Dutch Art History 116, Nr. 2 (2003): 65–95. http://dx.doi.org/10.1163/187501703x00206.
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AbstractThe Altar of the Antwerp Coopers' Guild and Quinten Massy In 1938 two distinguished scholars, Max J. Friedländer and Floris Prims, one a reknowned connoisseur of Early Netherlandish painting and the other an indefatigable digger in the Antwerp archives, published articles that might well have bearing on the same picture, yet have never been connected either then or later. From the evidence collected by Prims (notes 2 to 7) it appears that the Antwerp coopers, after having separated from the joiners with whom they had shared a guild until 1497, obtained an altar of their own in Our Lady's church. A picture standing on this altar is mentioned first in 1655. It is described as representing The 'Afdoening' of Our Lord from the Cross with two doors (the term 'afdoening' being used to describe a Deposition as well as a Lamentation). An inventory of 1660 gives the same description with the addition 'made by Quinten Massys'. The altar survived until about 1680, when a new marble altar with sculpture and paintings was ordered; this was completed by 1684 and the old altar-piece was hung above the entrance door of the guild room without the doors being mentioned. It was sold in 1697 when the guild had run into financial trouble. Half a century later the painter Jacob de Wit still knew of it and described it as showing 'figures smaller than life, Christ taken from the Cross with Our Lady, St Mary Magdalen and others, (....) by Quinten Massys, the second painting he did, not quite as good as the one in the Cirumcision chapel [originally on the altar of the joiners; fig. 2]; it was sold but is still in the town' (note 3,). Friedländer, for his part, concluded that the Lamentation which was to be purchased by the National Gallery of Canada in 1949 'cannot be regarded as anything but an early work by Quentin' (note I). This attribution, which had earlier been refuted by Baldass, was then disputed by Silver (note II). This author considered the Ottawa picture a somewhat later pastiche after a lost Lamentation in Massys' mature style of which a fragment in Berlin, showing s'Lamentation in Ottawa a weeping woman (wrongly called Mary Magdalen), resembles one of the mourning women in the Ottawa Lamention (fig. 7). This theory is however contradicted by the picture's quality and seems to be prompted by a mistaken reconstruction of Massys' early development (see below). Similarities between the Lamentation and other early works that can be ascribed tot Massys (figs 3 and 17) are obvious though the course of his development prior to the great altar-pieces of 1507-1511remains in many respects unclear. When attempting to bring some light to the chronology of Massys' works from about 1491 (when he left Louvain for Antwerp at the age of 25) to 1507, one may take into account three medallions that have been attributed to him, two of them being dated 1491 and one 1495 (notes 18-24). They may be loosely associated with features that recurr in the Lamentation. An Italian-style medal of William Schevez, archbishop of St. Andrews, who stayed for a few months at Louvain in 1491, raises the question of whether the same sitter may be recognised in a painted portrait, which would then be Quinten's earliest datable picture (figs 8 and 9). The portrait of the artist himself, dated 1495 (fig 10), was in great esteem and provided the prototype for a print by Jheronimus Wierix (published by Lampsonius in 1572), where the bust was extended to a half-figure; it was also copied in an oval painting that was reproduced in a work by Frans Francken II (figs. I and IIa) and it was probably that very painting which was owned by the Antwerp guild of St. Luke and was considerd an original self-portrait when it was confiscated by the French in 1794 (and subsequently disappeared). It seems likely that the medallion's date of 1495 provides a terminus post quem for the Ottawa Lamentation. A more precise date may be inferred from the obvious borrowings from the Lamentation found in a large triptych in Lisbon (figs 13 and 14). This work may be attributed to one 'Eduwart Portuga
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Baranyi, Anna. „Fülöp Ö. Beck’s Liszt Interpretation in His 1911 Series of Plaques“. Studia Musicologica 55, Nr. 1-2 (Juni 2014): 157–68. http://dx.doi.org/10.1556/6.2014.55.1-2.11.
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During his lifetime hundreds of portraits were made of Ferenc Liszt in a great diversity of genres by foreign and Hungarian artists alike. Medallists also commemorated Liszt on the centenary of his birth in 1911. Numerous one-sided medals and plaques were cast or struck but some of them, like that of Fülöp Ö. Beck, do have motives on the reverse as well. Beck had been working on a Liszt plaque for years. The starting inspiration was the Liszt mask he had personally received from the aging sculptor Alajos Stróbl. He prepared several designs for the reverse. The series of the reverse variations is significant because Beck’s aim was not to present an allegory about Liszt’s figure or create symbols for his compositions as was the custom in medal art, but to capture the essence and the infinity of music. Fülöp Ö. Beck’s Liszt plaque is an outstanding exponent not only of the Hungarian but the international medal art.
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Ritonga, Mudhita Zikkrullah, und Andhika Putra. „Prevalence of Helminthiasis in Slaughterhouse Medan“. Indonesian Journal of Agricultural Research 1, Nr. 3 (19.02.2019): 204–10. http://dx.doi.org/10.32734/injar.v1i3.316.
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Factors affecting the success of the livestock business are feed and disease control. The aim of this study to determine the prevalence of helminthiasis in Slaughterhouse Mabar Medan City. The type of this research is survey research with portrait and analysis of a condition of cattle condition that will be slaughterhoused in Slaughterhouse Mabar Medan City in a certain time. The design of this study is observation or direct observation to the field to see the existing events without intervening from the researcher. The sampling technique is determined by purposive sampling (purposive determination of respondents). Methods of data retrieval is done by observation method that is data retrieval method done by systematically record the result of observation to the events investigated during the research. The result of research in Slaughterhouse Mabar Medan city shows that the prevalence of helminthiasis is 0%. From this result shows the cows that were slaughtered by Slaughterhouse Mabar Medan City is free from the parasitic worm disease.
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Silver, Larry. „The face is familiar: German Renaissance portrait multiples in prints and medals“. Word & Image 19, Nr. 1-2 (Januar 2003): 6–21. http://dx.doi.org/10.1080/02666286.2003.10406220.
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Syniachenko, O. V., M. O. Kolesnyk, N. M. Stepanova und M. V. Iermolaieva. „History of studying the kidney pathology in the mirror of numismatics. Report 3. Development of urology“. Ukrainian Journal of Nephrology and Dialysis, Nr. 2(70) (29.05.2021): 82–88. http://dx.doi.org/10.31450/ukrjnd.2(70).2021.10.
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The branch of historical science of numismatics (from the Latin "numisma" - coin) originated in the 19th century and became closely connected with economics, politics, culture and law, it includes a thematic study of coins, medals and plaque. Best of all, the history of uronephrology is illustrated by various forms of the medalist educational art (exonum or paranumismatics), and the medal became the prototype of the memorial coin. This work presents a catalog of more than 400 numismatic materials (including some unique, first cited), reflects the stages of development of the study of the structure and function of the kidneys, methods for diagnosing and treating diseases, there are links to significant historical events, brief biographies of physicians who have made an invaluable contribution are mentioned into the formation of this scientific discipline. The development of urology over 520 years of historical epochs of the New and Modern times were presented, portraits on 60 numismatic materials of well-known specialists-urologists and kidney transplantologists were presented, scientific forums of urologists were reflected on commemorative medals.
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de Vries, Joyce. „Caterina Sforza's Portrait Medals: Power, Gender, and Representation in the Italian Renaissance Court“. Woman's Art Journal 24, Nr. 1 (2003): 23. http://dx.doi.org/10.2307/1358803.
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Helyer, Nigel, John Potts und Mark Patrick Taylor. „Heavy Metal: An Interactive Environmental Art Installation“. Leonardo Music Journal 28 (Dezember 2018): 8–12. http://dx.doi.org/10.1162/lmj_a_01032.
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This article discusses Heavy Metal, an interactive installation work by Nigel Helyer. The authors situate this work within the context of a collaboration among environmental science, art and media theory, a three-year research project entitled When Science Meets Art: An Environmental Portrait of the Shoalhaven River Valley.
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GLINSMAN, L. A., und L. C. HAYEK. „A MULTIVARLITE ANALYSIS OF RENAISSANCE PORTRAIT MEDALS: AN EXPANDED NOMENCLATURE FOR DEFINING ALLOY COMPOSITION“. Archaeometry 35, Nr. 1 (Februar 1993): 49–67. http://dx.doi.org/10.1111/j.1475-4754.1993.tb01023.x.
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Koos, Marianne. „Small Volumes, Concealed Images: Portrait Miniatures and the Body = Pequeños volúmenes, imágenes ocultas: Las miniaturas retrato y el cuerpo“. Espacio Tiempo y Forma. Serie VII, Historia del Arte, Nr. 6 (07.12.2018): 33. http://dx.doi.org/10.5944/etfvii.6.2018.22873.
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This paper examines a group of artifacts that are paradigmatic for images worn on the body: the portrait jewel. In particular the article focuses on the envelopes in which English Renaissance portrait miniatures – like human bodies – were protected. Historical sources reveal very different materials: Besides paper, silk, ivory or velvet we find jeweled metal containers that made it possible to fix the portrait on one’s own body. The article analyzes how, both in images of an official and very intimate nature, these jeweled artifacts interact with the wearer’s body. It does so by focusing on the process of handling: Portrait jewels always demanded an act of opening and closing, of turning and folding, through which they ‘unfolded’ their specific semantics – and their very agency. How exactly these tiny items could model, transform and question binary relations of object and subject is finally shown with a ‘close reading’ of the Heneage Jewel, the most complex of these artifacts. Este documento examina una serie de objetos que representan ejemplos de imágenes que se llevan sobre el cuerpo: las joyas-retrato. En particular, el artículo se centra en los envoltorios con los que las miniaturas-retrato del Renacimiento Británico - al igual que el cuerpo humano - estaban protegidas. Las fuentes históricas nos revelan materiales muy distintos: además del papel, la seda, el marfil o el terciopelo, encontramos contenedores metálicos enjoyados que permitían llevar el retrato sobre el propio cuerpo. El artículo analiza cómo, tanto en imágenes de naturaleza oficial como muy íntima, estos objetos enjoyados interaccionan con el cuerpo del usuario. Esto tiene lugar centrándose en su proceso de manipulación: las joyas-retrato siempre requerían de una acción de apertura y cierre, de giro y plegado, a través de la cual desplegaban su significado específico así como su propio cometido. El cómo exactamente estas diminutas piezas podían modelarse, transformarse y cuestionar sus relaciones binarias entre objeto y sujeto, se demuestra finalmente con una lectura pormenorizada de la joya Heneage, la más compleja de estas piezas.
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Pearn, John. „Enduring biographic heritage – Medical numismatics“. Journal of Medical Biography 27, Nr. 2 (16.01.2017): 108–15. http://dx.doi.org/10.1177/0967772016676784.
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The most enduring archive of medical biography is that composed of coins and medals. More than 20,000 commemorative and tribute medals comprise the domain of medical numismatics. Several thousand of these portray individual doctors whose lives and work are thus recorded in gold, silver, bronze and the alloys of medallic art. Such enduring records range from the names and images of the most famous and significant of doctors in international perspective, to those held in local or parochial esteem by their peers. The medical numismatic archive includes medals and coins which portray the gods of medicine; founders of the profession such as Hippocrates and Galen; and those who have been held in local esteem, all such that the record of their service to medicine might not be forgotten.
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Mazurek, Joy, Marie Svoboda und Michael Schilling. „GC/MS Characterization of Beeswax, Protein, Gum, Resin, and Oil in Romano-Egyptian Paintings“. Heritage 2, Nr. 3 (17.07.2019): 1960–85. http://dx.doi.org/10.3390/heritage2030119.
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This article presents results from a binding media survey of 61 Romano-Egyptian paintings. Most of the paintings (51) are the better-known funerary mummy portraits created using either encaustic or tempera paint medium. Samples from all the paintings (on wooden panels or linen shrouds) were analyzed with gas chromatography/mass spectrometry (GC/MS) to identify waxes, fatty acids, resins, oils, and proteins in one sample. Analytical protocols that utilized three separate derivatization techniques were developed. The first analysis identified free fatty acids, waxes, and fatty acid soaps, the second characterized oils and plant resins, and the third identified proteins. The identification of plant gums required a separate sample. Results showed that fatty acids in beeswax were present as lead soaps and dicarboxylic fatty acids in some samples was consistent with an oxidized oil. The tempera portraits were found to contain predominantly animal glue, revising the belief that egg was the primary binder used for ancient paintings. Degraded egg coatings were found on several portraits, as well as consolidation treatments using paraffin wax and animal glue. The unknown restoration history of the portraits caused uncertainty during interpretation of the findings and made the identification of ancient paint binders problematic. Also, deterioration of the wooden support, residues from mummification, biodegradation, beeswax alteration, metal soap formation, and environmental conditions before and after burial further complicated the analysis. The inherent problems encountered while characterizing ancient organic media in funerary portraits were addressed. The fourteen museums that participated in this study are members of APPEAR (Ancient Panel Paintings: Examination, Analysis, and Research), an international collaborative initiative at the J. Paul Getty Museum whose aim is to expand our understanding of ancient panel paintings through the examination of the materials and techniques used for their manufacture.
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Schraven, Minou. „Out of Sight, Yet Still in Place: On the Use of Italian Renaissance Portrait Medals as Building Deposits“. Res: Anthropology and aesthetics 55-56 (März 2009): 182–93. http://dx.doi.org/10.1086/resvn1ms25608843.
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Schäffner, Wolfgang. „Elemente architektonischer Medien“. Zeitschrift für Medien- und Kulturforschung 1, Nr. 1 (2010): 137–50. http://dx.doi.org/10.28937/1000106305.
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The article attempts to portray architecture as a spatial medium and to analyse the processing and storage of information, objects and persons. In doing so, architectural space becomes not only the effect of these medial operations, but it also forms and materializes these processes at the same time. Openings are characterized as fundamental elements of architectural media. Also, in this regard, such classic elements as doors and windows in the sense of a room perceived as a perforated membrane, acquire a new medial quality.
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Hao, Yu Xin, Wei Zhang, Jie Yang und Li Hua Chen. „Periodic and Chaotic Motions of a Simply Supported FGM Plate with Two Degrees-of-Freedom“. Advanced Materials Research 47-50 (Juni 2008): 1137–40. http://dx.doi.org/10.4028/www.scientific.net/amr.47-50.1137.
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In this paper, we use the asymptotic perturbation method to investigate the nonlinear oscillation and chaotic dynamic behavior of a simply supported rectangular plate made of functionally graded materials (FGMs). We assume that the plate is made from a mixture of ceramics and metals with continuously varying compositional profile such that the top surface of the plate is ceramic rich, whereas the bottom surface is metal rich. The equations motion of the FGM plate with two-degree-of-freedom under combined parametrical and external excitations are obtained by using Galerkin’s method. Based on the averaged equation obtained by the asymptotic perturbation method, the phase portrait and waveform are used to analyze the periodic and chaotic motions. It is found that the FGM plate exhibits chaotic motions under certain circumstances.
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Arianto, Ahmad Khoironi. „MEDAN MAKNA PEMBENTUK METAFORA DALAM SYAIR ARAB“. Widyaparwa 46, Nr. 2 (23.01.2019): 112–25. http://dx.doi.org/10.26499/wdprw.v46i2.197.
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This paper examines metaphorical figurative language in Arabic poetry books. The data used is taken from the Diwan Imam Syafi'iy book. The book contains one hundred and thirty poems. Most of them portray moral issues, advice and reflection on the community situation at that time. The poems also use a lot of figurative language, one of them is metaphor. This study uses a qualitative descriptive method that includes three stages, that are data collection, data analysis, and presentation of the results of data analysis. Data collection is conducted by recording the metaphors contained in the book of Diwan Imam Syafi’iy. Analyzing the data is conducted by classifying the type of metaphor, and presenting the data is conducted by writing metaphorical findings into the paper. The research technique is performed by describing three elements forming metaphor according to Taylor, as tenor, vehicle, and ground. The meaning field refers to a comparison as a figurative, while comparability is the object described. Comparators are classified into nine types of comparison by Haley. Based on a review of the book Diwan Imam Syafi`i, seven types of metaphor comparison are found, as being, cosmos, energy, terrestrial, object, living, and animate.Tulisan ini mengkaji gaya bahasa kiasan metafora dalam buku syair berbahasa Arab. Data yang digunakan diambil dari buku syair Diwan Imam Syafi`iy. Buku itu memuat seratus tiga puluh syair yang sebagian besar memotret soal moral dan nasihat serta refleksi dari keadaan masyarakat pada saat itu. Di dalam syair-syair tersebut banyak digunakan bahasa kiasan, metafora salah satunya. Penelitian ini menggunakan metode kualitatif deskriptif yang mencakup tiga tahapan, yaitu pengumpulan data, penganalisisan data, dan presentasi hasil analisis data. Pengumpulan data dilakukan dengan mencatat metafora yang terkandung dalam buku syair Diwan Imam Syafi`iy. Analisis dilakukan dengan mengklasifikasikan jenis metafora dan mempresentasikan temuan-temuan metafora ke dalam makalah. Teknik penelitian dilakukan dengan menguraikan tiga elemen pembentuk metafora menurut Taylor, yaitu pebanding, pembanding, dan persamaan keduanya. Medan makna mengacu pada pembanding yang menjadi kiasan, sedangkan pebanding adalah objek yang dideskripsikan. Pembanding diklasifikasi berdasarkan sembilan jenis pembanding Haley. Berdasarkan tinjauan terhadap buku syair Diwan Imam Syafi`iy, ditemukan tujuh jenis pembanding metafora, yaitu being, cosmos, energy, terrestrial, object, living, dan animate.
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de Almeida, Ana Nunes. „Industry, Family, and Class: The Working-Class Community in Barreiro“. Journal of Family History 19, Nr. 3 (September 1994): 197–212. http://dx.doi.org/10.1177/036319909401900301.
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Frequently placed on the edges of scientific debate and analyzed in relation to problems or theoretical constructs specific to other social groups, the portrait of the “working-class family” is too often the product of logical deductions and a sort of no-man's land. The research project described by the present article concerns factories, working-class groups, and family strategies in Barreiro, a Portuguese industrial town near Lisbon, the Portuguese capital. Special attention is given to reconstructing the industrial experience at a regional level and to the study of workers in the cork and heavy metallurgical industries of Barreiro. The results suggest the internal diversity of the working-class world and two different kinds of linkeage between family and workplace life—the survival strategy of cork workers in the 1920s, and the promotion strategy of the metal workers in the 1950s.
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wood, d. „Second Sight: The Art of Joan Steiner“. Gastronomica 5, Nr. 1 (2005): 9–12. http://dx.doi.org/10.1525/gfc.2005.5.1.9.
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Feast for the Eye Joan Steiner has created a series of children’s picture books, entitled Look-Alikes, based on her observations that some objects look like others. Each book consists of about 10 illustrations intended as puzzles; readers are invited to enumerate the substitutions of look-alikes for their real counterparts. A barn, for instance, is a green metal toolbox and its silo is an aerosol can with toy train tracks as its ladder. The high incidence of food and food-related items in her work flaunts our expected purpose for and context of edibles. Steiner’s inventiveness is reminiscent of the Italian mannerist painter Arcimboldo whose portraits also employ food substitutions.
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Reece, Richard. „COINS AND POLITICS IN THE LATE ROMAN WORLD“. Late Antique Archaeology 3, Nr. 1 (2006): 113–37. http://dx.doi.org/10.1163/22134522-90000041.
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Coins constitute source material: explicitly, from what is written and portrayed on them or the place and authority in which they were struck, and implicitly, from the portrait style and type. They are also objects of metal, sometimes precious, the use and control of which reflects politics. Around 294, portraiture changed very sharply from individuality to the representation of authority. Reverse types were also now much more limited and concentrated than under the Principate. The change occurred around 274 to 294, when city mints also ceased local production and were either closed or made branches of the one Imperial mint. These are signs of a move towards a heavily centralised money supply, dictated by more strongly emphasised authority. Control of metals, especially gold, followed the same path, though reforms in the mid-4th c. may suggest that silver was let out of state control and ‘privatised’.
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Stevens, Francesca. „Blackened audiotopia: Privatized listening and urban experience“. Metal Music Studies 6, Nr. 2 (01.06.2020): 161–74. http://dx.doi.org/10.1386/mms_00011_1.
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In the age of headphone culture, where privatized listening while wandering around the city is the norm, the use of headphones raises questions about the experience of the listener and their perception of their urban environment. Of particular interest is the disjunct relationship between black metal music and urban space. Black metal lyrics often portray images of nature and paganism, a concept completely removed from a modern urban landscape. This article draws from Michael Bull’s work on iPod culture as well as ethnographic research to explore the black metal fan’s experience of private listening in a public cityscape. The main focus of this study is the relationship between the ambiguously intertwined visual urban reality and sonic imaginary. The research suggests that the black metal listener can have one of four experiences of time and space resulting in what is referred to as either a split or a blend of the aural imagined experience and the visual reality of the city.
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E. Persson, Martin, und Christopher J. Napier. „The Australian accounting academic in the 1950s“. Meditari Accountancy Research 22, Nr. 1 (14.07.2014): 54–76. http://dx.doi.org/10.1108/medar-06-2013-0020.
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Purpose – The purpose of this paper is to examine the challenges faced by an Australian accounting academic, R. J. Chambers, in the 1950s, in breaking into the accounting research community, at that time, almost entirely located in the USA and the UK. For academics outside the networks of accounting research publication in these countries, there were significant, but not insurmountable obstacles to conducting and publishing accounting research. We examine how these obstacles could be overcome, using the notion of “trials of strength” to trace the efforts of Chambers in wrestling with intellectual issues arising from post-war inflation, acquiring accounting literature from abroad and publishing his endeavours. Design/methodology/approach – The article uses actor-network theory to provide an analytical structure for a “counter-narrative” history firmly grounded in the archives. Findings – Documents from the R. J. Chambers Archive at the University of Sydney form the empirical basis for a narrative that portrays accounting research as a diverse process driven as much by circumstances – such as geographical location, access to accounting literature and personal connections – as the merits of the intellectual arguments. Research limitations/implications – Although the historical details are specific to the case being studied, the article provides insights into the challenges faced by researchers on the outside of international research networks in achieving recognition and in participating in academic debates. Practical implications – The findings of this article can provide guidance and inspiration to accounting researchers attempting to participate in wider academic communities. Originality/value – The article uses documents from perhaps the most extensive archive relating to an individual accounting academic. It examines the process of academic research in accounting in terms of the material context in which such research takes place, whereas most discussions have focussed on the underlying ideas and concepts, abstracted from the context in which they emerge.
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Sims, Philip, John Moyer und Steven Gatto. „The Decay of the Andrea Doria“. Journal of Ship Production and Design 26, Nr. 03 (01.08.2010): 187–98. http://dx.doi.org/10.5957/jspd.2010.26.3.187.
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The decay of sunken ships is slow and most often unobserved, so it has never been accurately described. The sinking of the liner Andrea Doria in 1956 produced a wreck of unusual characteristics. Because of the newsreel camera planes circling overhead, the sinking is world famous. It is in water marginally accessible by normal air divers. It is near a large city so there is a population base that has people interested in ships with access to boats, and, in summer, the weather is calm (sometimes). The result of these circumstances is that the ship has been continually visited by amateur and commercial divers ever since her sinking more than 50 years ago. These divers have created a database of how a modern metal ship decays through their pictures and written records. Some of the damage to the ship has been done by the divers themselves, such as cutting a side access hole in order to remove a safe for a TV show. Snagged fishing trawler nets have ripped off exposed items as well. However, the majority of the damage is being done by the ocean itself as it oxidizes the metal hull of the ship, which is gradually collapsing on itself (and crushing any interesting artifacts left inside), plus the damage of storm swell pounding and tidal flow. This paper compiles observations of the Andrea Doria through the years into a portrait of the natural decay of a major ship in the depths.
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Pourtois, Gilles, Sophie Schwartz, Mohamed L. Seghier, François Lazeyras und Patrik Vuilleumier. „Portraits or People? Distinct Representations of Face Identity in the Human Visual Cortex“. Journal of Cognitive Neuroscience 17, Nr. 7 (Juli 2005): 1043–57. http://dx.doi.org/10.1162/0898929054475181.
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Humans can identify individual faces under different viewpoints, even after a single encounter. We determined brain regions responsible for processing face identity across view changes after variable delays with several intervening stimuli, using event-related functional magnetic resonance imaging during a long-term repetition priming paradigm. Unfamiliar faces were presented sequentially either in a frontal or three-quarter view. Each face identity was repeated once after an unpredictable lag, with either the same or another viewpoint. Behavioral data showed significant priming in response time, irrespective of view changes. Brain imaging results revealed a reduced response in the lateral occipital and fusiform cortex with face repetition. Bilateral face-selective fusiform areas showed view-sensitive repetition effects, generalizing only from three-quarter to front-views. More medial regions in the left (but not in the right) fusiform showed repetition effects across all types of viewpoint changes. These results reveal that distinct regions within the fusiform cortex hold view-sensitive or view-invariant traces of novel faces, and that face identity is represented in a view-sensitive manner in the functionally defined face-selective areas of both hemispheres. In addition, our finding of a better generalization after exposure to a 3/4-view than to a front-view demonstrates for the first time a neural substrate in the fusiform cortex for the common recognition advantage of three-quarter faces. This pattern provides new insights into the nature of face representation in the human visual system.
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Osokin, M. Y. „A philosopher nobleman among his adversaries. From the materials towards a biography of F. Dmitriev-Mamonov“. Voprosy literatury, Nr. 4 (22.08.2019): 181–210. http://dx.doi.org/10.31425/0042-8795-2019-4-181-210.
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The article is an excerpt from the biography of the Russian writer, historian and collector of curiosities F. Dmitriev-Mamonov, to be published by B.S.G.-Press. The fragment considers three hitherto undisclosed episodes of his life: the 1770 criminal investigation of Mamonov’s attempted poisoning by the writer and former lecturer of the Land Gentry Cadet Corps Johann Fonberg, who had worked as his personal librarian for two months; followed by problems with his mental health in the 1780s, when he began suspecting that his closest family were plotting to kill him and began to subject his serfs to harsh punishments; and, finally, his donations to Moscow University in May 1770, in February 1772 and, probably, in November 1779, which consisted of a collection of medals, copies of P. Lippert’s engraved gems, and the portrait of field marshal P. Saltykov. All three instances appear connected: the donations coincide with three major incidents in Mamonov’s life (the attempted poisoning, a bad wound sustained in Chudov monastery during the suppression of the Plague revolt, and official proceedings against him for cruel treatment of serfs), which forced him to contemplate his mortality and the need to plan for the future of his collection.
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Heller, Wendy. „The queen as king: Refashioning Semiramide for Seicento Venice“. Cambridge Opera Journal 5, Nr. 2 (Juli 1993): 93–114. http://dx.doi.org/10.1017/s0954586700003931.
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‘From Nino and Semiramide, rulers of Assyria, was born a son who carried the name of his father, and so resembled his mother that the people could distinguish them only by means of masculine and feminine clothing.’ Thus begins the argo-mento to the libretto La Semiramide, produced in Venice at the Teatro SS Giovanni e Paolo for the 1670–71 season. The gender ambiguity described in the argomento is evident in the portrait of Semiramide from the frontispiece of that libretto (see Fig. 1). She sits alone at her dressing table, adorning her hair with roses in anticipation of her lover's arrival. She admires herself in the mirror, eternal symbol of female vanity. Her bare breasts and navel contrast strikingly with the metal shield that girds her chest. A high-topped military sandal is displayed prominently beneath the folds of her skirt. Prior to assuming the male disguise that she will wear for much of the opera, Semiramide is already pictured in a manner that is warlike and sexually dangerous, challenging and seductive. This mixture of male and female attributes is critical to her new guise as a Venetian heroine.
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Pouyet, Emeline, Monica Ganio, Aisha Motlani, Abhinav Saboo, Francesca Casadio und Marc Walton. „Casting Light on 20th-Century Parisian Artistic Bronze: Insights from Compositional Studies of Sculptures Using Hand-Held X-ray Fluorescence Spectroscopy“. Heritage 2, Nr. 1 (21.02.2019): 732–48. http://dx.doi.org/10.3390/heritage2010047.
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In the 19th and early 20th centuries, Paris was home to scores of bronze foundries making it the primary European center for the production of artistic bronzes, or bronzes d’art. These foundries were competitive, employing different casting methods—either lost-wax or sand casting—as well as closely guarded alloy and patina recipes. Recent studies have demonstrated that accurate measurements of the metal composition of these casts can provide art historians of early 20th-century bronze sculpture with a richer understanding of an object’s biography, and help answer questions about provenance and authenticity. In this paper, data from 171 20th-century bronzes from Parisian foundries are presented revealing diachronic aspects of foundry production, such as varying compositional ranges for sand casting and lost-wax casting. This new detailed knowledge of alloy composition is most illuminating when the interpretation of the data focuses on casts by a single artist and is embedded within a specific historical context. As a case study, compositional analyses were undertaken on a group of 20th-century posthumous bronze casts of painted, unbaked clay caricature portrait busts by Honoré-Victorin Daumier (1808–1879).
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Blahnik, Vladan, und Oliver Schindelbeck. „Smartphone imaging technology and its applications“. Advanced Optical Technologies 10, Nr. 3 (01.06.2021): 145–232. http://dx.doi.org/10.1515/aot-2021-0023.
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Abstract Thanks to their portability, connectivity, and their image performance – which is constantly improving – smartphone cameras (SPCs) have been people’s loyal companions for quite a while now. In the past few years, multicamera systems have become well and truly established, alongside 3D acquisition systems such as time-of-flight (ToF) sensors. This article looks at the evolution and status of SPC imaging technology. After a brief assessment of the SPC market and supply chain, the camera system and optical image formation is described in more detail. Subsequently, the basic requirements and physical limitations of smartphone imaging are examined, and the optical design of state-of-the-art multicameras is reviewed alongside their optical technology and manufacturing process. The evolution of complementary metal oxide semiconductor (CMOS) image sensors and basic image processing is then briefly summarized. Advanced functions such as a zoom, shallow depth-of-field portrait mode, high dynamic range (HDR), and fast focusing are enabled by computational imaging. Optical image stabilization has greatly improved image performance, enabled as it is by built-in sensors such as a gyroscope and accelerometer. Finally, SPCs’ connection interface with telescopes, microscopes, and other auxiliary optical systems is reviewed.
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Griffith, Daniel A., und Yongwan Chun. „Soil Sample Assay Uncertainty and the Geographic Distribution of Contaminants: Error Impacts on Syracuse Trace Metal Soil Loading Analysis Results“. International Journal of Environmental Research and Public Health 18, Nr. 10 (13.05.2021): 5164. http://dx.doi.org/10.3390/ijerph18105164.
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A research team collected 3609 useful soil samples across the city of Syracuse, NY; this data collection fieldwork occurred during the two consecutive summers (mid-May to mid-August) of 2003 and 2004. Each soil sample had fifteen heavy metals (As, Cr, Cu, Co, Fe, Hg, Mo, Mn, Ni, Pb, Rb, Se, Sr, Zn, and Zr), measured during its assaying; errors for these measurements are analyzed in this paper, with an objective of contributing to the geography of error literature. Geochemistry measurements are in milligrams of heavy metal per kilogram of soil, or ppm, together with accompanying analytical measurement errors. The purpose of this paper is to summarize and portray the geographic distribution of these selected heavy metals measurement errors across the city of Syracuse. Doing so both illustrates the value of the SAAR software’s uncertainty mapping module and uncovers heavy metal characteristics in the geographic distribution of Syracuse’s soil. In addition to uncertainty visualization portraying and indicating reliability information about heavy metal levels and their geographic patterns, SAAR also provides optimized map classifications of heavy metal levels based upon their uncertainty (utilizing the Sun-Wong separability criterion) as well as an optimality criterion that simultaneously accounts for heavy metal levels and their affiliated uncertainty. One major outcome is a summary and portrayal of the geographic distribution of As, Cr, Cu, Co, Fe, Hg, Mo, Mn, Ni, Pb, Rb, Se, Sr, Zn, and Zr measurement error across the city of Syracuse.
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Suryadi, Muhammad. „Potret Perempuan Jawa dalam Makna Asosiatif Diakronis Peralatan Rumah Tangga Tradisional“. Nusa: Jurnal Ilmu Bahasa dan Sastra 16, Nr. 1 (28.02.2021): 50–59. http://dx.doi.org/10.14710/nusa.16.1.50-59.
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This study aims to reveal the portrait of Javanese women in Java in the past. This research was conducted using an associative-diachronic meaning approach. The disclosure of phenomena is carried out by describing each lexicon of traditional household tools based on their associative meaning. The lexicon is analyzed based on its associative meaning based on the local wisdom of Javanese culture. Diachronic studies to explore the wealth of local wisdom stored in traditional household appliances as a legacy from the past. The level of urgency of this research is the shift and replacement of the use of traditional household tools to tools made from plastic and metal. This phenomenon will lead to abandonment of traditional household appliances and being forgotten. The research location is in Kudus Regency which is part of the north coast of Central Java. The data collection methods used were in-depth interviews and document data extraction. Metode pengumpulan data yang digunakan adalah wawancara mendalam dan ekstraksi data dokumen. The data analysis method used was to sort out the semantic elements and determine the associative meaning of the lexicon of traditional household appliances. The novelty of the findings lies in the design of descriptions of associative semantic elements in traditional household appliances based on local wisdom.
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Yang, S. W., Y. X. Hao, W. Zhang und S. B. Li. „Nonlinear Dynamic Behavior of Functionally Graded Truncated Conical Shell Under Complex Loads“. International Journal of Bifurcation and Chaos 25, Nr. 02 (Februar 2015): 1550025. http://dx.doi.org/10.1142/s021812741550025x.
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Nonlinear dynamic behaviors of ceramic-metal graded truncated conical shell subjected to complex loads are investigated. The shell is modeled by first-order shear deformation theory. The nonlinear partial differential governing equation in terms of transverse displacements of the FGM truncated conical shell is derived from the Hamilton's principle. Galerkin's method is then utilized to discretize the partial governing equations to a two-degree-of-freedom nonlinear ordinary differential equation. The temperature-dependent materials properties of the constituents are graded in the radial direction in accordance with a power-law distribution. The aerodynamic pressure can be calculated by using the first-order piston theory. The temperature field is assumed to be a steady-state constant-temperature distribution. Bifurcation diagrams, the maximum Lyapunov exponents, wave forms and phase portraits are obtained by numerical simulation to demonstrate the complex nonlinear dynamics response of the FGM truncated conical shell. The influences of the semi-vertex angle, the material gradient index, in-plane and aerodynamic load on the nonlinear dynamics are studied.
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Sanjaya, Andreas Ryan. „Petisi Indonesia untuk Dunia: Potret Globalisasi Gerakan Sosial Digital“. Jurnal Komunikasi 10, Nr. 1 (31.07.2018): 17. http://dx.doi.org/10.24912/jk.v10i1.520.
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Internet technology brought out about changes in human life. The apparent changes in this study lied in two respects. First, changes in the way citizens conduct social movements. Second, the internet reinforces the impact of globalization, so the issues raised by citizens are also a global issue. This study revealed a portrait of globalization in the digital social movement in Indonesia. The selected case is an online petition addressed to international parties for genocide in Myanmar. The analytical approach in this study used social semiotics. The three components analyzed were field of discourse, tenor of discourse, and mode of discourse. The result was a petitioner used international criminal issues, as well as provocative terms to reinforce the message in the text. Teknologi Internet membawa perubahan pada kehidupan manusia. Perubahan yang tampak dalam penelitian ini terletak pada dua hal. Pertama, perubahan pada cara warga melakukan pergerakan sosial. Kedua, internet menguatkan pengaruh globalisasi, maka isu-isu yang diangkat oleh warga juga merupakan isu global. Penelitian ini mengungkap potret globalisasi dalam gerakan sosial digital di Indonesia. Kasus yang dipilih adalah petisi online yang ditujukan kepada pihak internasional atas kasus genosida di Myanmar. Pendekatan analisis dalam penelitian ini menggunakan semiotika sosial. Tiga komponen yang dianalisis adalah medan wacana, pelibat wacana, dan sarana wacana. Hasilnya adalah pembuat petisi menggunakan isu-isu kejahatan internasional, serta istilah-istilah provokatif untuk menguatkan pesan dalam teks.
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Varga, Máté, und András K. Németh. „Archaeological Traces of Rural Coin Counterfeiting in Tolna County in the 16th–17th Centuries“. Hungarian Archaeology 10, Nr. 1 (2021): 63–70. http://dx.doi.org/10.36338/ha.2021.1.6.
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“Hidden in dark forests, shifty characters with shady pasts were producing caps full of coins or Polish groschen from base metal in peasant cottages” (Komáromy 1893, 648). It is as if András Komáromy in his 1893 story for the journal Századok was describing the archaeological finds from Tolna County we will present below. The scene he portrays was of the difficult times following the Battle of Mohács, when even poor people tried their hand at the forbidden activity of counterfeiting. We can learn of the efforts of noblemen at counterfeiting from the work of Komáromy through the confession of a man (master Nicholas) accused of this activity. One of the most interesting parts of the science of numismatics is counterfeiting, because it is only a slight exaggeration that there have been fakes ever since the birth of money. Despite the distinctive nature of the topic, little is known of it even today. Knowledge is particularly scanty about so-called rural counterfeiting workshops, with few written sources – in contrast to those on counterfeiting by noblemen. In our paper we would like to provide some useful archaeological data primarily through surveys with metal detectors and field walks on a relatively small but intensively studied topic of the Ottoman Period.
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D’Arcens, Louise. „Temporal Emotions and Historical Vulnerability: Music as a Vehicle of Ideology in Cold War and Peste Noire“. Emotions: History, Culture, Society 5, Nr. 1 (13.07.2021): 87–102. http://dx.doi.org/10.1163/2208522x-02010115.
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Abstract This essay focuses on the Polish film Cold War and the oeuvre of the French nationalist black metal band Peste Noire, examining them as twenty-first-century texts that disclose music’s capacity to solicit emotion in the service of ideology. Despite their aesthetic and ideological differences, each text demonstrates the importance of temporal emotions – that is, emotions that register a heightened sense of the relationship between present, past and future. Each text portrays these emotions’ ideological significance when attached to ideas of a national past. Dwelling on Peste Noire’s racist-nationalist use of the medieval past, the essay explores music as a medium for emotional performances in which white people appear to convey vulnerability while actually reconfirming white supremacy. Peste Noire’s idiosyncratic performance of aggressive vulnerability is a temporal emotion that self-consciously lays claim to a long emotional tradition reaching back to the French Middle Ages.
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TAKEMOTO, TAKASHI, TAKASHI KOHNO und KAZUYUKI AIHARA. „CIRCUIT IMPLEMENTATION AND DYNAMICS OF A TWO-DIMENSIONAL MOSFET NEURON MODEL“. International Journal of Bifurcation and Chaos 17, Nr. 02 (Februar 2007): 459–508. http://dx.doi.org/10.1142/s0218127407017379.
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We propose a two-dimensional neuron model using metal-oxide-semiconductor field-effect-transistors (MOSFETs). It can be implemented with a compact circuitry. This is because we designed its phase portrait structure utilizing the curves native to the MOSFET circuitries. Bifurcation theory is applied to tune the characteristics of the circuitry. Biological neurons can be divided into two main classes based on their responses to sustained current stimuli: classes I and II. At the onset of firing, the firing frequency of class I neurons is asymptotically zero, while that of class II neurons is nonzero. It is generally accepted that classes I and II excitabilities are produced by a saddle-node bifurcation and a subcritical Hopf bifurcation, respectively. Class I* neurons, which belong to a subclass of class I, are characterized by a phase plane structure called a narrow channel. By changing a few circuit parameters, our circuitry can achieve class I without a narrow channel, class I*, and class II. The proposed circuitry is compatible with standard complementary metal-oxide-semiconductor (CMOS) processes. Hence, it can be easily implemented in an analog very-large-scale integrated (VLSI) circuit; further, large networks can be constructed by using this circuitry. We implemented and tested our circuitry, that was constructed using discrete components. We analyzed the responses to singlet, doublet, periodic pulses, and sustained current stimuli; further, we demonstrated that our circuitry inherited three critical properties of biological neurons: (a) the fundamental abilities of excitable cells, (b) neural excitability such as of classes I and II, and (c) an ability to generate chaotic responses to periodic pulse stimuli. We then applied the bifurcation theory to our circuitry and verified its mathematical structure using XPPAUT software. Furthermore, the simulation results on a gap junction (GJ)-coupled network comprising class I* neurons revealed the genesis of itinerant dynamics similar to that found by Fujii et al..
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Van De Wetering, Ernst. „Verdwenen tekeningen en het gebruik van afwisbare tekenplankjes en 'tafeletten'“. Oud Holland - Quarterly for Dutch Art History 105, Nr. 4 (1991): 210–27. http://dx.doi.org/10.1163/187501791x00128.
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AbstractIt is a recognized fact that the majority of the many drawings produced in the 16th and 17th centuries have been lost. It is quite likely that a great deal of these lost drawings were the work of aspiring artists, done for practice during their training. Written sources, so-called 'Tekenboeken' and pictures of studios give us some idea of what such drawing exercises looked like. Series of eyes, noses, mouths, hands and feet, etc. served as preliminary exercices. Although these were recognized as very difficult assignments, their great advantage was that a single glance, even that of the young draughtsman himself, could establish whether the task had been done well, because 'mistakes are generally evident and can be seen and judged by everybody: for who is so dull and blind as not to notice whether someone has a deformed face, a twisted hand or a crooked foot?' (note 8). One duly wonders at the total absence of such drawings in Gerard Ter Borch senior's large collection of work by his sons Gerard junior, Harmen and Mozes. Apparently Ter Borch père was more selective than assumed by Alison Kettering in her introduction to the catalogue of the Ter Borch estate. Of the earliest drawings done by the young pupils in their first years, he seems to have concentrated on preserving drawings done from life and the young artists' own invention. As for drawings after prints, only copies of complete compositions were apparently worth saving. One could surmise that such practice drawings were executed on carriers which could be erased or re-used in some other way. The making of such carriers from box or palm wood and also from parchment is described in Cennino Cennini's 'Il Libro dell'Arte' (ca. 1400). The replaceable primer that was applied to such carriers consisted of ground white bone-ash mixed with saliva. According to Cennini, parchment 'tavolette' were also used by merchants to do their calculations on. The use of such parchment tablets is moreover confirmed by an early 16th-century recipe from Bavaria. The question arises as to whether erasable carriers were only used by beginners, as Cennini's text suggests, or by fully developed artists as well. This might provide a possible explanation for the total or virtually total absence of drawings in the oeuvres of some artists. Another question is how long this type of carrier remained in use. Research was sidetracked by the frequent occurrence of young artists drawing on blocklike boards or planks, notably on title-pages of 17th-century books of drawing models. In 16th-century iconography such boards appear to indicate the term 'usus' or 'practice'. They also refer to a Pliny text according to which drawing on boxwood boards was a fixed item in the education of well-born Greek children. The depiction of young draughtsmen with such drawing boards may therefore not represent actual studio practice but allude to the aspired high status of drawing and of the art of painting in general. The very nature of erasable carriers means that traces of them are rare. Those boards that have survived (Meder had published a number) are not acknowledged as such apart from the wax tablets intended for re-use in Classical Antiquity, and in the Middle Ages too. There are sporadic references in written sources. Karel van Mander, for instance, uses the term 'Tafelet' twice, the first time in connection with Albrecht Dürer who - significantly in this context is said to have portrayed Joachim Patinier on a slate (the ideal erasable carrier) 'or a tafelet'. Van Mander subsequently mentions a 'tafelet' in his biography of Goltzius, who was asked to do a portrait on a 'tafelet' in preparation for a print. The very strong likelihood that the term 'tafelet' was used to indicate a carrier suitable for re-use is endorsed by a recipe by Theodore de Mayerne (ca. 1630), who suggests two ways of making a 'tablet à papier' for writing on with a metal stylus: strong and well glued paper is spread with a paste of ground bone-ash, not mixed with saliva this time but with a weak gum solution. To prepare the tablet for re-use it could be cleaned with a wet brush. When the paper had suffered too much from this repeated treatment, it could be varnished, according to de Mayerne, after which it could be written on again with a pen, washed off again etc. Although de Mayerne recommends this 'tablet à papier' for practising writing, no distinction was made between carriers for writing and drawing (cf. Cennini above). We shall probably never know to what extent erasable carriers were used, but the foregoing remarks may shed a fresh light on a group of works of art, drawings with silver or other metal styluses on prepared parchment or paper. Instead of resorting to one of the highly specialized and expensive drawing methods which are often cited, for example in connection with Rembrandt's portrait of Saskia in Berlin with silver stylus on prepared parchment, such drawings may have been done on tablets which were not intended to be preserved. Goltzius' portraits with metal stylus as a rule were executed as drawings which served solely as the basis for a print. From a text in P. C. Hooft's Warenar (1616) we learn, that a 'tafelet' or 'taflet' was a booklet used as a scrap book and habitually carried in the pocket. A few of such booklets have survived. One is a booklet with fourteen prepared paper pages which belonged to Adriaen van der Wcrff. In it, writing with a silver stylus, he kept a record of the number of days he spent on his paintings. The first four pages of the book were prepared for re-use. The traces of earlier inscriptions can still be vaguely discerned under the new layer of primer. A second tafelet - originally containing twelve pages - was identified in the collection of the Rijksprentenkabinet (note 41). It was used around 1590 by a young painter who practised in it by copying fragments of prints.
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Sulaiman, Shamsuddin, M. K. A. M. Ariffin, S. H. Tang und A. Saleh. „Influence of Pattern Coating Thickness on Porosity and Mechanical Properties of Lost Foam Casting of Al-Si (LM6) Alloy“. Applied Mechanics and Materials 300-301 (Februar 2013): 1281–84. http://dx.doi.org/10.4028/www.scientific.net/amm.300-301.1281.
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The combination of Aluminum alloy with lost foam casting (LFC) process is best applied in automotive industry to replace steel components in order to achieve light weight components for reducing fuel consumption and to protect the environment. The LFC process involves process parameters such as the degree of vacuum, foam degradation, expanded polystyrene (EPS) foam density, permeability of foam pattern coatings, pouring temperature, filling velocity, cooling rate, and pressure. The effect of polystyrene foam pattern coating thickness on the porosity and mechanical properties of Aluminum Al-Si LM6 alloy were evaluated experimentally. The coating thickness was controlled by slurry viscosity at range between 18sec to 20sec using Zahn viscosity cup No.5 and the foam pattern was coated up to fifth layer. Aluminum Al-Si (LM6) molten metal was poured into expandable mould and castings were examined to determine porosity distribution, mechanical properties and microscopic observation. Results from X-ray testing reveal the porosity distribution on Aluminum Al-Si LM6 castings is greater at thicker foam pattern coating sample. Meanwhile, the tensile strength of casting decreases when foam pattern coating thickness increases. Microscope observation portray the present of porosity on the casting which shows more gas defects present at thicker foam pattern coating sample. The source of porosity in LFC process is due to air entrainment or the entraining gases from polystyrene foam decomposition during pouring of molten metal. As a conclusion, mechanical strength has inverse relationship with porosity.
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Faber, Svea, Johannes Zellner, Alfred Hochrein, Gunter Spahn und Philipp Niemeyer. „Current Practice of Analysis and Treatment of underlying Varus Deformity in Patients with Cartilage Defects of the medial Femoral Condyle: Data of the German Cartilage Registry (KnorpelRegister DGOU)“. Orthopaedic Journal of Sports Medicine 7, Nr. 6_suppl4 (01.06.2019): 2325967119S0023. http://dx.doi.org/10.1177/2325967119s00236.
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Aims and Objectives: In the context of cartilage repair, identification of the underlying pathologies depends on detailed preoperative evaluation. High tibial osteotomy (HTO) for varus deformities is one of the most common concomitant treatments, though scientific evidence about efficiency of concomitant HTO is still limited. The present study was initiated to describe preoperative analysis of alignment and to analysis outcome comparing patients with combined cartilage repair and HTO with those who received cartilage repair procedures alone. Materials and Methods: The multicenter data (3855 data sets on April 15, 2018) was provided by the attending physician and a self-reported outcome analysis (KOOS). Inclusion criteria: Existence of a leg full length portrait, a single defect at the medial femoral condyle, either no accompanying surgery or a HTO and information on leg axis misalignment. For outcome evaluation patients were divided into three different groups with regard to the extent of varus deformity: MILD (0-4° varus), MODERATE (5-9° varus) and SEVERE (> 10°). Statistical Analysis was performed using SPSS (IBM) Version 23. For detection of significances between different groups one-way ANOVA test was applied. P-values < 0.05 were considered statistical significant. Results: In 55.1% (n=2125) of the patients a full leg weight-bearing radiographs has been performed preoperatively. Out of these 834 (39%) cases with isolated defects of the medial femoral condyle have been identified of which 179 received HTO in combination with the cartilage repair procedure (21.5%), while 411 cases have been treated with isolated cartilage repair (49.3%). From the remaining 385 patients, 256 patients were considered MILD (67,3%), 113 MODERATE (29.5%) and 4.2% (n=16) SEVERE. Incidence of HTO significantly depended on the degree of varus deformity for mild (19% HTO) and moderate (83% HTO) deformity, but there was no significance between the moderate and severe (81% HTO) group. Significant differences of the KOOS score could be shown preoperatively between the mild (mean: 57.3), as well as moderate (mean: 55.95), and the severe group (mean 39.53) and six months postoperatively between the mild (mean: 71.48) and the severe (mean: 52.6) group. Conclusion: The present analysis of a large patients cohort extracted from the German Cartilage Registry (KnorpelRegister DGOU) demonstrates that, against common guidelines, full-leg weigth-bearing radiographs are not conducted on a regular basis in patients assigned for cartilage repair procedures. In those cases with detailed preoperative analysis of alignment, the degree of deformity seems to influence the decision, whether a realignment procedure (HTO) is performed. For the moderate subgroup a trend towards better clinical outcome was found for combined treatment in terms of realignment and cartilage repair in comparison to cartilage repair alone. Since there was no difference in the MILD subgroup, more evidence is needed to proof, whether those patients benefit from a HTO or not.
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Bolte, Rike. „Ante la cámara lúcida de la memoria. Divisiones y uniones fotográficas entre descendientes de víctimas y victimarios de la guerra de España - y su amplio marco medial y transcultural“. Memoria y Narración. Revista de estudios sobre el pasado conflictivo de sociedades y culturas contemporáneas, Nr. 1 (06.10.2018): 76–113. http://dx.doi.org/10.5617/myn.6073.
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Este artículo propone una mirada sobre el extenso y a la vez denso entramado de trabajos por la memoria postdictatorial articulada entre Argentina y España. Partiendo de sus implicaciones conflictivas más estudiadas, vuelca su mirada sobre los novísimos aportes tanto en términos generacionales como mediales, y en distintas cohortes descendientes de víctimas y victimarios. El interés por la transferibilidad de los esfuerzos mnemónicos de las sociedades postdictatoriales lleva a un objeto medial específico: la fotografía. La pregunta que orienta entonces el ensayo es cuáles serían las posibilidades de este arte (lúcido) de participar de un narrative que busque hacer visibles aspectos de una memoria a la que se la han inscrito anatomías de la división ideológica. Así, se analiza un encuentro entre descendientes de víctimas y victimarios de la guerra de España y su registro fotográfico realizado por José Aymá, y se verifica si este trabajo puede ser comparado con una obra genuinamente transcultural del argentino Gustavo Germano. Esta puesta en relación de dos trabajos fotográficos que enfocan los estatus de unión/separación, se verá enmarcada por una serie de reflexiones referidas a las (meto-)mnemografías transculturales que se expresan en el espacio de los nuevos medios. The present essay proposes a perspective on the very complex network of post-dictatorial ‘memory work’ articulated between Argentina and Spain, including not only the most conflictive zones —that have been widely studied— but primarily the newest contributions, both with regard to generational patterns and to media communication strategies. The essay’s focus lies on photography, seeing this form of expression as a ‘lucid art’ and as an important element when it comes to creating a narrative that helps to make visible certain aspects of a memory that has been ideologically divided. In the light of this, the essay analyses an encounter between descendants of victims and victimizers of the Spanish war, portrayed by José Aymá. The intention is to determine if the work of this Spanish photographer could be compared with another, genuinely transcultural work by the argentine photographer Gustavo Germano. Beyond this ‘dialogue’ of photographic portraits that focus the status of union versus separation, the essay suggests a number of reflections on the transcultural meta-mnemographies that are to be found in the new media space.
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Sharma, R. S. K., M. K. Vidyadaran, I. Zulkifli, J. Mohd Azlan, S. Sumita, A. J. Azilah und O. K. Ho. „Ecomorphological implications of the microstructures on the tongue of the fawn roundleaf bat, Hipposideros cervinus (Chiroptera : Hipposideridae)“. Australian Journal of Zoology 47, Nr. 4 (1999): 405. http://dx.doi.org/10.1071/zo98051.
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The morphology of the lingual papillae on the tongue of the fawn round-leaf bat (Hipposideros cervinus) was studied by scanning electron microscopy to determine its functional role in feeding ecology. Both mechanical and gustatory papillae were detected on the lingual surface. Large pronged papillae at the lingual apex provide a rake-like surface that facilitates quick retrieval of insect prey that may be trapped by the wing and tail membranes. These papillae also provide additional traction and act as a barrier, preventing the insects from escaping. Additional securing and gripping structures include the crowned filiform papillae situated on the anterior half of the tongue. Conical papillae on the lateral and medial aspects of the lingual root serve as a protective barrier to the lingual mucosa, and aid in directing insect fragments towards the oesophagus. The pair of small vallate papillae at the lingual root may reflect a compromise in gustatory potential. Taste perception may be a secondary feature in food selection of this bat and fungiform papillae may resume a more important mechanical function. Collectively, the lingual papillae of H. cervinus portray an adaptation to mechanical manipulation of food, instead of taste perception, which may not be of primary importance to insect feeders.
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Kiremire, Enos Masheija Rwantale. „Carbonyl Chalcogenides Clusters Existing as Disguised Forms of Hydrocarbon Isomers“. International Journal of Chemistry 8, Nr. 3 (27.06.2016): 35. http://dx.doi.org/10.5539/ijc.v8n3p35.
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<p>The 4n Series Method has been utilized to categorize, analyze and predict structures for transition metal carbonyl, borane, hydrocarbon and Zintl ion clusters. The method is being extended to study carbonyl chalcogenide clusters. Adequate examples have been given to demonstrate the application of the 4n series method to categorize clusters and where possible predict their possible skeletal structures. In this paper, the method is being applied to the study of carbonyl chalcogenide cluster complexes. What has been found is the striking structural similarity of a wide range of carbonyl chalcogenide clusters to those of corresponding hydrocarbon clusters. It was observed that when a derived hydrocarbon from a cluster, F<sub>CH</sub> = C<sub>n</sub>H<sub>q</sub>, is such that n<q, the cluster portrays structural similarity with an equivalent hydrocarbon. On the other hand when n>q, the ‘hydrocarbon character’ becomes reduced and the typical cluster tendencies increase. When n = q, the situation becomes more or less a borderline case. When q=0, then F<sub>CH</sub> = C<sub>n</sub>. When the series becomes bi-capped or more, then the equivalent carbon cations are obtained.</p>