Journal articles on the topic 'Book design – netherlands – catalogs'

Purpose – The purpose of this paper is to investigate fiction readers’ interest criteria when selecting novels in library catalogs for various search tasks. Design/methodology/approach – The data of the book selection behavior from 80 genuine fiction readers were collected using recorded interviews and conversations. The data were qualitatively analyzed. Reuter’s categorization of the components of aesthetic relevance has contributed to the construction of interest dimensions. Findings – A five-dimension categorization of interest criteria is presented based on fiction readers’ interpretations of the influential factors in fiction book selection in different search tasks. The findings revealed that readers apply the identified interest criteria in a flexible and multiphase way depending to the search task and the system used. The findings showed a context-related pattern in readers’ fiction book selections. A combination of readers’ search capacities, “behind the eyes” knowledge, affective factors and a well-functioning interaction with a system used results in a successful book selection. Originality/value – A five-dimension categorization of adult fiction readers’ interest criteria was created based on their search behaviors in library catalogs. The results provide a systematic step toward a comprehensive understanding of readers’ fiction book selection in digital environments.

One of the major tasks library patrons are faced with is searching for a good book to read, particularly when they have no specific book in mind. As such, people faced with this task search in places such as online catalogs, looking at existing book reviews and descriptions, and they also ask librarians and other readers’ advisors for assistance in finding book recommendations. This paper attempts to review the research on how people conduct searches for pleasure reading, as well as research for online catalog design in order to inform the search process, leading to recommendations for future work in catalog design and readers’ advisory driven by the application of human factors principles in the search process.

Purpose This paper aims to present an augmented reality (AR) application to aid the elderly in library reference search. The application supports the elderly in searching books and videos in a large library when librarians have insufficient time to meet their needs. The elderly searching in a large library could be difficult for them due to the vast area, complicated online library catalogs and their physical deterioration, such as failing eyesight, tendinitis and memory problems. Our system, SearchAR, fully supports the 3D images of object content based on books and videos in Ling Tung University (LTU) library catalogs. Using the latest AR technology, users can use mobile phone to scan the quick response (QR) code in front of the LTU library, and then the elderly can experience LTU library map labeled by different colors in real-time and understand the locations of the video areas and book shelves areas. Later, they can use SearchAR to scan the QR codes on bookshelves, books or videos to view the 3D graphics without reading complicated catalogs and content. The results show that among the images, the elderly recognition of the “3 D images” was the highest, and the experimental group using AR technology as a searching aid shows a higher searching effectiveness than the control group; 60 per cent of the elderly felt they saved more time for searching books and videos with the help of SearchAR, and it was easy to arouse their association; the elderly indicated that combined image of the library map and the labels with different colors are clear and simple; the content of books and videos are easy associated with the 3D images; the elderly mentioned that using SearchAR is a great experience without any reading complicated online catalogs. Finally, this study concludes that AR technology does enhance the elderly searching ability in LTU large library. Design/methodology/approach The SearchAR application was an integrating library catalog, which provides AR and 3D graphics. The elderly can also use SearchAR to see a library map and every library element via 3D graphics before they start searching in a wide area. Findings This makes it easier for elderly to navigate a library without using complicated online catalogs, and it reduces time spent on reading and searching. Originality/value AR has been used for a variety of guiding and educational purposes. However, AR has been rarely applied to supplement traditional library services for elderly.

Rubber stamps have traditionally been used in business to deliver visual or concise verbal messages. That tradition has changed as rubber stamps have also become an art form. Stamps are now available in virtually any horticultural design, including flowers, vegetables, fruits, trees, cacti, turf and as landscape design forms. Stamps can be purchased at specialty stores, craft stores, book stores, kiosks at shopping malls, and from catalogs or they can be easily crafted from gum or rubber erasers. Two periodicals are available that describe stamping techniques and provide catalog sources: Rubberstampmadness (Corvallis, Oregon) and Rubber Stampers World (Placerville, California). Using rubber stamps is fun and promotes creativity! Stamps can be used in a wide range of colors and they allow versatility in positioning, whether on paper or fabric. They are cost effective because they can be reused. Some suggested uses include enhancement of visual displays, personalization of mailings, and application for 4-H projects. A list of selected references will be available.

AbstractThe implementation of choice for patients over where and when they are seen by specialists in hospital outpatient clinics has been supported by electronic referral systems in England and the Netherlands. This paper compares the implementation of ‘Choose and Book’ in England and ‘ZorgDomein’ in a region of the Netherlands. For England the analysis draws on national data and published studies on ‘Choose and Book’, national patient surveys, and qualitative data based on general practitioner (GP) focus groups. For the Netherlands the analysis draws on qualitative data collected during observational study as well as survey data among patients, GPs and medical specialists. We find that despite significant differences in the genesis and design of the policy, similar challenges have been faced. The electronic referral systems have forced changes to the process of care at the interface between primary and secondary care and standardisation between practices. Although these changes have the potential to generate improvements and benefits, for example, convenience, certainty and choice for patients and efficiency gains through for example reduced do not attend rates, repeat consultations and duplicative diagnostic tests; they have also generated problems during implementation including GP resistance. Policy ambitions for patient choice may not be realised if the implementation of the booking system is not carefully designed and evaluated.

Purpose This paper aims to determine if the digital humanities technique of topic modeling would reveal interesting patterns in a corpus of library-themed literature focused on the future of libraries and pioneer a collaboration model in librarian-led digital humanities projects. By developing the project, librarians learned how to better support digital humanities by actually doing digital humanities, as well as gaining insight on the variety of approaches taken by researchers and commenters to the idea of the future of libraries. Design/methodology/approach The researchers collected a corpus of over 150 texts (articles, blog posts, book chapters, websites, etc.) that all addressed the future of the library. They ran several instances of latent Dirichlet allocation style topic modeling on the corpus using the programming language R. Once they produced a run in which the topics were cohesive and discrete, they produced word-clouds of the words associated with each topic, visualized topics through time and examined in detail the top five documents associated with each topic. Findings The research project provided an effective way for librarians to gain practical experience in digital humanities and develop a greater understanding of collaborative workflows in digital humanities. By examining a corpus of library-themed literature, the researchers gained new insight into how the profession grapples with the idea of the future and an appreciation for topic modeling as a form of literature review. Originality/value Topic modeling a future-themed corpus of library literature is a unique research project and provides a way to support collaboration between library faculty and researchers from outside the library.

Karen A. Schriver is the author of dynamics in document design: creating texts for readers, an extensive, multidimensional portrait of what readers need from documents and of ways to integrate word and image in order to better meet those needs. She is the former codirector of the graduate program in technical communication and document design at Carnegie Mellon University (Pittsburgh, Pennsylvania). She has been a visiting professor at the University of Utrecht in the Netherlands and at the University of Washington in Seattle. A popular speaker, she has presented her ideas in Japan, the United Kingdom, Canada, and across the United States. Winner of five awards for her research, she now heads her own company, KSA Document Design & Research. She helps organizations improve the quality of their paper and electronic communications through strategies based on research and best practices. She is now working on a book about the nature of expertise in information design. When she is not writing, working with clients, or running to catch a plane, she spends time playing with her two crazy dogs: Cody (a Bearded Collie) and Tika (a little Muttley). She can be contacted via e-mail at schriver@cmu.edu

The article is devoted to the history of Antwerp printed books, which, in the first half of the 17th century, underwent a profound transformation caused by the influence of the Baroque style emerging in the Netherlands, with its characteristic contrast, dynamism and intensity of images, and combination of reality and illusion. The author demonstrates the Baroque book development by the example of the sources that she first introduces into scientific circulation: books stored in the Research Department of Rare Books (Book Museum) of the Russian State Library (RSL). The article gives examples of the formation of a new allegorical thinking of the Baroque, in which allegory became the norm of artistic vocabulary. The new allegorical imagery is noted in the title pages and illustrations of books that characterize the printing of that period. The Antwerp printer Balthazar Moretus (1574—1641) was an excellent master of this new Baroque book. By using leading artists to design his books, he took an important step in the development of book design. There are well known publications by B. Moretus featuring beautiful title pages designed by his friend Peter Paul Rubens (1577—1640). The typical appearance of text sheets is also the result of the use of elegant fonts, rich design and abundance of decorative elements. The article analyzes the influence of Rubens on the Baroque book formation in Antwerp.

Purpose This study is part of a larger research project which aims to investigate whether sentiments in online reviews on children’s books would represent significant factors which are useful for selecting the right books for children. This paper aims to examine whether positive, negative or neutral attitude would be directly associated with the overall ratings of books. Design/methodology/approach The study investigates subjectivity and polarity of online reviews on children’s books such as neutral, positive or negative sentiment. For the investigation of a statistical association between the sentiment values and the rating scores, this study performs correlation analysis. For a clear explanation of the factors affecting the relationships between the sentiment value and the rating score, this study uses the concept-level sentiment analysis of online reviews. Findings The findings of this study demonstrate that there is a weak or low correlation between the sentiment value and the rating score of a book and they are hardly related for most books. The results of this study also uncover key contributing factors that affected the correlations between two variables and made the relationship weak. Research limitations/implications This study increases awareness of the implications of online reviews as user-generated contents for complementing the existing controlled vocabulary. Practical implications This study contributes to improving library catalogs by using latent topics extracted from online reviews which provide additional access points for assisting in the selection of books. Originality/value Although several studies have conducted on online reviews in the domain of business, no research appears to exist on the sentiment analysis of online reviews about children’s books. This study attempts to address the potential and challenges associated with using online reviews to help find the right books for children.

AbstractThis paper discusses the procedure for managing the retirement decision file archive at the Regional Personnel Agency in West Sumatra Province. The purpose of this study is to find out how the procedures for managing the retirement decision archive in the Regional Civil Service Agency of West Sumatra Province. This research method uses qualitative methods. Data is collected by interviews and collecting data directly from the original source with employees at the Regional Civil Service Agency of West Sumatra Province. Based on the discussion it can be concluded: 1) recording all data in the archive, all incoming data recorded to the ledger in accordance with the type, after recording the archive is divided into their respective processes; 2) data is transferred to the catalog, if the employee moves / retires, it will affect the number of catalogs used; 3) Removing files (from active to passive files), files whose files are still active, the data is first entered into the ledger and new stored in groups in a static storage area; 4) stored to a static storage area. The design process of making the book procedure for managing employee retirement SK records is as follows: 1) compiling the writing framework; 2) making book covers; 3) making introductory words; 4) making a table of contents; 5) making an introduction; 6) making the main contents of the book, the main elements contained in the book procedure for managing the employee retirement decree archive are a brief discussion of the profile of the West Sumatra Regional Personnel Agency, vision and organizational structure, then proceed to a discussion on the employee retirement decree archive procedure.Keywords: Management, Archives, Procedures

The Rijksmuseum project in Amsterdam began in 1999 with a government plan to celebrate the millennium in the Netherlands with a series of grand cultural projects. It was recognized that the museum building had been neglected, and urgently needed modernizing. Following a European search, the Spanish architects of Cruz y Ortiz Arquitectos won the competition in 2001. The renovation would also focus on new spaces for the entrance hall and a pavilion for Asian art. The main art gallery and the library were selected as places to receive an especially thorough renovation and restauration. The Cuypers Library Hall is the one of the very few 19th-century library spaces that have survived in the Netherlands. The library is very close to the architect's original conception of the space and how it would be used. The reception is an impressive 20-meter high rectangular book hall, elaborately decorated and composed as a Gesamtkunstwerk. This article will draw attention to the design and the historic functions of the library hall.

The article attempts to analyze in a chronological dimension (1991–2021) the history of creation and functioning of the International Triennial of Ecological Poster “4th Block”, the largest artistic and environmental action in Ukraine, aimed at drawing attention to environmental problems in the world and the spiritual and moral foundations of life. The features of each triennial are consistently reflected, the changes in time of the pictorial component of the modern poster as they move away from Chernobyl tragedy are traced, its artistic and communicative features and innovations used by designers to promote important universal human aspirations are identified. The basis of the study was the materials of albums-catalogs of eleven triennials held, the collection of graphics and posters itself, the book of memoirs of the founder of the triennial. Attention is focused on the natural process of transforming the collection of posters and graphics into a museum that can become the center of modern design culture. A special role of the Kharkiv State Academy of Design and Arts in the organization and support of the “4th Block – Museum, Archive, Laboratory” was noted. An institution of higher education with a powerful creative and scientific potential, its own traditions and original teaching methods, KSADА constantly organizes the educational process in such a way as to acquaint students with history and new trends in contemporary art, including graphic design. This approach attracts new generations of the artistic elite of Ukraine to participate in a dialogue between representatives of different cultural regions and broadcast their own artistic experience to the world space in order to spread the best ideas of mankind. The article presents the conclusions from this study and the prospects for further research in this direction.

This review is devoted to the monograph by Yu.Yu.Yumasheva, published in DirectMedia publishing house in 2020. The monograph is the result of a comprehensive study, within the framework of which the author carried out a source and historiographical analysis of the problems of audiovisual documentation and its digital transformation based on open data sets over the past 15 years. The 600-page book was announced as a textbook for students, employees of government bodies and specialists in the field of archival affairs. A detailed acquaintance with the text makes it possible to come to a conclusion as to how fully the claimed research has been completed, and whether the proposed form corresponds to its purpose. Starting with the formal characteristics of the book: the cover design, the quality of the illustrations and the structure of the publication, the reviewer proceeds to discuss the content of the published materials. The monograph is devoted to the problems of digital transformation of traditional audiovisual archives, the translation of audio, photo, and film documents into digital form, the creation of electronic resources based on created copies and their presentation on the Internet. The author has accumulated a knowledge bank, which presents information resources available on the world Wide Web, based on digitized bibliographic catalogs, scientific reference apparatus of archives and museum records, as well as electronic copies of objects of historical and cultural heritage. In total, the monograph mentions more than 2.5 thousand such resources created by 29 international organizations and 68 countries. The issues of traditional source criticism of audiovisual sources, methods of their digitization and description of the received electronic copies are analyzed by the author along with computer methods of studying audiovisual documentation converted into digital format. Despite the limited circulation, the monograph should be recommended not as a textbook, but as a reference guide and to a wider range of specialties.

The symposium 'Public graphics: visual information for everyday use' (at Lunteren, The Netherlands, 26-30 September 1994 ) was organized by Harm Zwaga and Henriëtte . Hoonhout of Utrecht University's Department of Psychonomics, and Theo Boersema and Wim Nijhuis of the Delft University of Technology's Faculty of Industrial Design Engineering. Talks were in seven sessions: User instructions, Warnings; Forms; Practical and theoretical approaches to information presentation; Maps and plans; Wayfinding, signs, and sign systems; and Graphic symbols. The symposium's Proceedings are now out of print, but the editors plan a book, and abstracts of the 26 talks appear on pages 72-82. So these notes arise mainly from the discussions which weaved between the speakers' talks. Some participants later sent me their informal reflections and answered questions; for letting me quote from these, my thanks to Austin Adams, Theo Boersema, Fred Brigham, Bob Dewar, Janice Leong, Romedi Passini, Peter Simlinger, and Pat Wright (whose observations appear separately on page 82).

The article is devoted to the study of a particular aspect of the dialogue between Ivan Turgenev and the literature of the United States of America. The piece of research focuses on the Russian writer’s book collection, namely that part of it, which contains the works of American authors in English and French. According to the existing catalogs and inventories all the surviving copies of Turgenev’s library have been identified with maximum details. As a result, the “American Foundation” today consists of four representatives of romanticism: J. Cooper, W. Irving, N. Hawthorne and E. Poe. All discovered books of American literature are carefully described. The object of the description is the publication history of the book, the features of its external design and, which is especially important, the traces left by the reader on the pages, i. e. nail marks and underlines and notes made by a pencil. Thus, the earliest by the date of publication in Turgenev’s library is the novel by J. Cooper “The Pioneers”, published in French as part of the fourth volume of the massive series of Cooper’s works. Several nail marks were left on the pages of the novel, which certainly belong to Turgenev’s reading style. In addition, in the process of studying Turgenev’s library, it was possible to establish that the collection of fantastic fiction stories by E. Poe, translated by S. Baudelaire, which stands farthest in the chronology of publication, did not really belong to a Russian writer and could not be the subject of his reading. As a result, the works of American authors preserved in Turgenev’s library make it possible to reproduce a picture of the direct acquaintance of the Russian writer with the literature of the United States, and the marks and notes on particular books open up the prospect of setting and solving new problems (“I. Turgenev and N. Hawthorne”, “I. Turgenev and J. Cooper”) in the aspects of both the reader’s acquaintance and subsequent creative reflection.

Abstrak Kurangnya efektivitas pada media promosi Unit Bisnis dan Training Center Politeknik Negeri Jakarta (PNJ), membuat kehadirannya kurang dikenal masyarakat. Karena media promosi yang belum terkonsep dengan baik, sehingga isi konten hanya berupa tulisan yang disusun seperti surat formal. Untuk meningkatkan efektivitas media promosi, dirancanglah sebuah company profile berbentuk buku katalog pelatihan interaktif yang dapat meningkatkan interaksi penggunanya. Pada penelitian sebelumnya, belum adanya penggunaan fitur interaktif pada company profile atau katalog lembaga penyedia Jasa pelatihan. Tujuan penelitian ini adalah untuk menghasilkan katalog Unit Bisnis dan Training Center PNJ yang dapat meningkatkan value serta menambah nilai jual dan mitra kerja sama. Metode penelitian yang digunakan adalah penelitian kualitatif serta kuantitatif dengan analisis SWOT serta STP yang dilakukan dengan tahapan design thinking. Dengan demikian, dihasilkan Katalog Pelatihan Interaktif Unit Bisnis dan Training center PNJ yang disajikan dengan warna kontras dan layout berfokus pada foto yang diberi penjelasan sesuai dengan kebutuhan dari Unit Bisnis dan Training Center PNJ serta para penggunanya, sehingga dapat meningkatkan value Unit bisnis dan Training Center PNJ. Kata Kunci: buku interaktif, katalog, media promosi Abstract The lack of effectiveness in the PNJ Business Unit and Training Center promotional media made its presence less well-known to the public. Due to the promotional media not being well conceptualized, the content is only in the form of writing, arranged like a formal letter. To increase the effectiveness of promotional media, a company profile was designed in the form of an interactive training catalog book that can increase user interaction. The research that has been conducted in the previous times, did not use interactive features on company profiles or catalogs of institutions providing training services. This research aims to produce a PNJ Business Unit and Training Center catalog that can increase its value, sales value, and cooperation partners. The method that is being used in this research is qualitative and quantitative research with SWOT analysis and STP that is carried out with design thinking stages. Thus, a PNJ Business Unit and PNJ Training Center Interactive Training Catalog is produced with colors that have good contrast and photo as main content that suits the needs of the PNJ Business Units and Training Centers and their users, so that they can increase the value of the PNJ Business Units and Training Centers. Keywords: catalogue, interactive book, promotional media

Abstrak - Operasi transaksi perpustakaan UPT Negeri 56 Gresik diidentifikasi menggunakan data dari aplikasi website ini. Tata cara keanggotaan, peminjaman, dan pengembalian buku merupakan bagian dari operasional perpustakaan. Website ini dapat menangani tata cara tersebut serta perhitungan halus, pemeliharaan data induk untuk membantu pengelolaan koleksi buku perpustakaan, penggunaan katalog untuk pencarian buku, dan tampilan laporan buku.Website ini dibuat dengan menggunakan proses pembuatan sistem waterfall, pengumpulan informasi melalui wawancara, observasi, dan penelitian literatur, analisis pengguna, teknologi, kebutuhan, data, sistem, informasi, dan kinerja, serta analisis desain sistem flowcharting. Bahasa pemrograman PHP, basis data MySQL, situs web server lokal Apache, dan Sublime sebagai editor situs web semuanya digunakan dalam pembuatan web. Pengujian kotak hitam dan pengujian beta adalah metode yang digunakan untuk menguji data web.Banyak manfaat yang akan diperoleh dari pembuatan aplikasi website perpustakaan di UPT Negeri 56 Gresik ini, yaitu dapat membantu pustakawan dalam pekerjaannya dengan meningkatkan kinerja dan efisiensi, mempercepat pelayanan petugas untuk transaksi peminjaman, pengembalian buku, dan menghitung denda, serta pembuatannya. memudahkan pengguna perpustakaan untuk mencari informasi tentang perpustakaan.Kata kunci: : Aplikasi web, Perpustakaan, Upt 56 gresik Abstract - UPT Negeri 56 Gresik library transaction operations are identified using data from this website application. Procedures for membership, borrowing, and returning books are part of library operations. This website can handle these procedures such as smooth calculations, maintenance of master data to help manage library book collections, use of catalogs to search books, and view book reports.This website was created using processes for creating a waterfall system, for information gathering through interviews, observation, and literature research, for analyzing users, technology, needs, data, systems, information, and performance, and for flowcharting system design analysis. The PHP programming language, MySQL data base, Apache local server website, and Sublime as the website editor are all used in web building. Black-box testing and beta testing are methods used to test web data.There will be many advantages from the creation of the library website application at UPT Negeri 56 Gresik, which can assist librarians in their work by improving performance and efficiency, speeding up officer services for borrowing transactions, returning books, and calculating fines, and making it easier for library users to find information about the library. Keywords: Technology, Company, Computer, PHL, Payslip

This study is devoted to Jacob Pieter Den Hartog’s views about Stephen Prokopovych Timoshenko. Both were outstanding contributors to the mechanics-based design of structures and machines. Additionally, both were refugees, who were running from hardships in their own countries. Den Hartog ran away from economic hardships that befell the Netherlands after World War I. Timoshenko escaped two Russian revolutions that took place in 1917, in addition to the takeover of Kiev by several armies, including foreign ones, and imminent Soviet rule in Ukraine. Their destinies led them to meet at the Westinghouse Electric Corporation in the USA. This study reviews two prime documents associated with their interaction. The first document is the newly discovered letter sent by Den Hartog to Timoshenko half a century ago, specifically, on the occasion of the latter’s 90th birthday in 1968. The second document is the review of the book As I Remember by SP Timoshenko that Den Hartog published in Science magazine, also in 1968. A complex interrelationship emerges between these two scientists. On the one hand, there is a tremendous appreciation felt by Den Hartog toward Timoshenko; on the other hand, one clearly observes Den Hartog’s disapproval of Timoshenko’s ingratitude to the USA, as expressed in Timoshenko’s autobiography, in numerous passages.

It is with deep regret that we record the death of John Anthony Chaldecott on 2 May 1998 at the age of 82. He was a founder member of the BSHS and served as Honorary Secretary and as President.After graduating in physics at London University, John took up teaching and lecturing, but this was interrupted by war service in the RAF Meteorological Branch. In the fighting in the Netherlands, he was mentioned in despatches. In 1949, he joined the Science Museum as Assistant Keeper in the Physics Department. There, he was in charge of the Optics Collection and also the Heat and the George III Collections, for which he produced catalogues. For some years, he acted as Secretary to the Museum's Advisory Council.In 1961, John became Keeper of the Science Museum Library, a post he held until his retirement in 1976. His time there was active and eventful. First, the transfer of the Library's nation-wide loans service, together with many of its periodicals, to the National Lending Library of Science and Technology in 1962 entailed a redirection of the Library's resources and services. Then, he was closely involved in the planning of the present Library building on the Imperial College campus in South Kensington, opened in 1969. He made a thorough study of the latest library design and equipment, so as to incorporate as many modern features as possible within a very tight budget. The success of the building owed much to his untiring and meticulous attention to detail.While building was in progress, his attention was assailed from a fresh quarter, this time from the National Libraries Committee. Their conclusions disconcerted the Science Museum and the fact that the Library remained under the Museum's wing, with a redefined role, owed much to John's skill and determination in negotiation. The Library was to specialize in the history of science and he did much to turn the Library towards the new direction. It was his decision to assemble the Library's scattered books and periodicals in this field and house them in a special history of science reading room. All this chimed in with his own interest in this subject. He had gained an M.Sc. in the history and philosophy of science at University College London in 1949, followed up later with a Ph.D. He was active in the BSHS from the beginning and he was Honorary Secretary during 1963–68. He was elected President for the year 1972–73; his presidential address was entitled ‘Josiah Wedgwood (1730–1795), scientist’. He published a number of papers on historical subjects, but his abiding interest lay in scientific instrument makers; he formed a massive record of information about those active in London from 1750 to 1840, now deposited in the Science Museum Library Archives Collection. Soon after his retirement, he was responsible for a major exhibition at the Science Museum illustrating Wedgwood's life and work and he published an accompanying monograph.Throughout his life, John preserved that calm and even-tempered manner which made him such a pleasant colleague and genial, good-humoured friend. He was always fair and even-handed in his dealings with others.

AbstractAs was the case with silversmiths (Note 3), many more cabinet-makers were wcrking in Amsterdam during the second half of the 18th century than in any other city in the Dutch Republic, the names of 195 of them being now known as opposed to 57 in The Hague and 32 in Rotterdam (Note 2). Most of those 195 names have been culled from the few surviving documents of the Guild of St. Joseph in Amsterdam, to which the cabinet-makers belonged (Note 4), supplemented by other sources, such as printed registers of craftsmen and shopkeepers (Note 6). Another important source is the newspaper the Amsterdamsche Courant with its advertisements placed by craftsmen themselves, with notices of sales, bankruptcies, lotteries and annual fairs and with advertisements concerning subsidiary or related trades. Since these advertisements were directed at the consumer, they often contain stylistic descriptions such as are not found elsewhere. Moreover, they aford valuable clues to archival material. Hence an investigation of all the advertisements from the years 1751-1800 has formed the basis for a study of Amsterdam cabinet-making, some results of which are presented here. Such a study is doomed largely to remain theoretical. The records can hardly ever be linked with surviving pieces, as these are virtually always anonymous since Amsterdam cabinet-makers were not required to stamp or sign their work. Moreover, only a few pieces of Dutch 18th-century furniture have a known provenance, so that it is only rarely possible to link a piece with a bill or another document and identify its maker. Thus it is not yet possible to form a reliable picture of a local Amsterdam style, let alone embark on attributions to individual makers (Note 8). In this light special importance may be attached to two commodes of the third quarter of the century which are exceptional in that they bear a signature, that of Andries Bongen (Figs. 1, 2, Notes 10, 11). These commodes, being entirely French-inspired, illustrate a specific and little-known aspect of Amsterdam cabinet-making. French furniture was so sought after in Amsterdam at that period that in 1771 a strict ban was imposed on its importation in order to protect local cabinet-makers (Note 12). It had begun to be imitated even before that and the commodes by Bongen exemplify this development. Andries Bongen, who was probably born in Geldern, south of Cleves and just east of the border of the Dutch Republic, is first recorded in Amsterdam in May 1763 on his marriage to Willemina, daughter of the smith Lambert van der Beek. He registered as a citizen on 5 July 1763 and became a master cabinet-maker some time between March 1763 and March 1764 (Note 19), so that, accordirtg to the Guild regulations, he must previously have trained for two years under an Amsterdam master (Note 20). At the time of his marriage he was living in St. Jorisstraat, but by the end of 1766 he had moved to Spui and between 1769 and 1771 he moved again, to Muiderpleinlje. When he and his wife made their will in 1772, their possessions were worth something under 8000 guilders (Note 23). This suggests that the business was quite flourishing, which seems to be confirmed by the fact that Bongen received a commission from the city of Amsterdam in 1771. Two more pieces were made for the city in 1786 and 1789, but in the latter year Bongen was declared bankrupt. The inventory of his possessions drawn up then (see Appeytdix) shows how parlous his conditions had become, his goods being valued at only 300 guilders. The reference to a shop indicates that Bongen sold his own furniture, although he had no stock to speak of at that point. The mention of eight work-benches, however, sugests that his output had previously been quite large. This is confirmed by the extent of his debts, notably that to the timber merchant Jan van Mekeren (Note 27). Other creditors included 'Rudolfeus Eyk', who probably supplied iron trelliszvork for bookcases and the like (Note 28), and the glass merchants Boswel en Zonen (Note 29) No debtors are listed and the only customer who can tentatively be identified is a 'Heer Hasselaar' who might be Pieter Cornelis Hasselaer (1720-95), several times burgomaster of Amsterdam between 1773 and 1794 (Note 30). Bongen died three years after his bankruptcy, at which time he was living in Nieuwe Looiersstraat. He appears to have continued working as a cabiytet-maker up to his death and his widow probably carried on the business until her own death in 1808, but nothing is known of this later period. The clearest insight into the character of part of Bongen's output is aforded by the advertisement he placed in the Amsterdamsehe Courant of 4 December 1766, describing three pieces of furniture 'in the French manner'. This is the first announcement by an 18th-century Amsterdam cabinet-maker of work in the French style. Bongen mentions two commodes decorated with floral marquetry, a technique which had flourished in Amsterdam in the late 17th and early 18th centuries (Note 34), but which had largely fallen into disuse on the advent around 1715 of a more sober type of furniture with plain walnut veneers on the English model (Note 36). In France a form of floral marquetry reappeared in the 1740s, being further developed in the following decade under the influence of Jean-François Oeben (1721-63). From the late 1750s there are indications of the presence of pieces of French marquetry furniture in the new style in Amsterdam (Notes 42, 43). The earliest explicit description of floral marquetry appears in a sale catalogue of 5 June 1765 (Note 44), while in another of 25 March 1766 (Note 46) many French pieces are detailed. Obviously, then, Bongen was endeavouring to capture a share, of this new market. The reappearance of elaborate marquetry on Amsterdam-made furniture was the result of a desire to emulate the French examples. The two commodes described in Bongen's advertisement can be identified with the one now in Amsterdam (Fig.2) and the one sold in London in 1947 (Fig.1). The latter still had more of its original mounts at the time nf the sale (Fig. 4) and the two probably formed a pair originally. The unusual fact that they are signed indicates that Bongen intended them to serve as show-pieces to demonstrate his skill at the beginning of his career (cf. Note 51, for another craftsman from abroad who began his career in Amsterdam by similarly advertising a spectacular piece). The commode in Amsterdam, with all its original mounts, demonstrates most clearly how close Bongen came to French prototypes, although his work has many personal traits nonetheless. In the marquetry the vase on a plinth on the front and the composition of the bouquets on the sides are notable (Fig.5), as are the large, full-blown blooms. The carcase, made entirely of oak, is remarkably well constructed and has a heavy, solid character. The commodes are outstanding for the complete integration of the marquetry and the mounts, in the manner of the finesl French furniture. The mounts presenl a problem, as it is not clear where they were made. They do not appear to be French or English, but one hesitates to attribute them to Amsterdam, as it is clear from documentary material that ornamental furniture-mounts were hardly ever made there in the second half of the 18th century. The mounts advertised by Ernst Meyrink in 1752 (Note 53) were probably still of the plain variety of the early part of the century and there is no further mention of mounts made in Amsterdam in the Amsterdamsche Courant. Once, in 1768, the silversmith J. H. Strixner placed an advertisement which refers to their gilding (Note 55). There is virtually no indication either of French mounts being imported and there is little Dutch furniture of this period that bears mounts which are indisputably French. In contrast to this, a large number of advertisements from as early as 1735 show that many mounts were imported from England, while among English manufacturers who came to sell their wares in Amsterdam were Robert Marshall of London (Note 60), James Scott (Note 61), William Tottie of Rotterdam (Note 62), whose business was continued after his death by Klaas Pieter Sent (Note 64), and H. Jelloly, again of Rotterdam (Notes 66, 67). It seems surprising that in a period when the French style reigned supreme so many mounts were imported from England, but the English manufacturers, mainly working in Birmingham, produced many mounts in the French style, probably often directed expressly at foreign markets. On the two commodes by Bongen only the corner mounts and the handles are of types found in the trade-catalogues of the English manufacturers (Figs. 7, 8, Notes 65, 70). The corner mounts are of a common type also found on French furniture (Note 71), so they doubtless copy a French model. The remaining mounts, however, are the ones which are so well integrated with the marquetry and these are not found elsewhere. Recently a third commode signed by Bongen has come to light, of similar character to the first two (Fig.3). Here all the mounts are of types found in the catalogues (Figs.7-10, Note 72). Apparently Bongen could not, or did not choose to, obtain the special mounts any more, although he clearly wanted to follow the same design (Fig. 6). This third commode was undoubtedly made somewhal later than the other two. The marquetry on it is the best preserved and it is possible to see how Bongen enlivened it with fine engraving. Because this piece is less exceptional, it also allows us to attribute some unsigned pieces to Bongen on the basis of their closeness to it, namely a commode sold in London in 1962 (Fig.11, Note 73) and two smaller, simpler commodes, which may originally have formed a pair, one sold in London in 1967 (Fig.12, Nole 74) and the other in a Dutch private collection (Figs.13, 14). The first one has a highly original marquetry decoration of a basket of flowers falling down. On the sides of this piece, and on the front of the two smaller ones, are bouquets tied with ribbons. These were doubtless influenced by contemporary engravings, but no direct models have been identified. The construction of the commode in the Netherlands tallies completely with tltat of the signed example in Amsterdam. The mounts are probably all English, although they have not all been found in English catalogues (Fig.15, Note 76). A seventh commode attributable to Bongen was sold in Switzerland in 1956 (Fig.16, Note 77). It is unusual in that walnut is employed as the background for the floral marquetry, something virtually unknown in Paris, but not uncommon on German work of French inspiration (Note 78). That commodes constitute the largest group among the furniture in the French style attributable to Bongen should cause no surprise, for the commode was the most sought after of all the pieces produced by the ébénistes not only in France, but all over Europe. Two other pieces which reveal Bongen's hand are two tables which look like side-tables, but which have fold-out tops to transform them into card-tables, a type seldom found in France, but common in England and the Netherlands (Note 80). One is at Bowhill in Scotland (Figs.17, 19, 20), the other was sold in London in 1972 (Fig.18, Note 79). The corner mounts on the Bowhill table, which probably also graced the other one originally, are the same as those on the two small commodes, while the handles are again to be found in an English catalogue (Fig.21, Note 81). What sounds like a similar card-table was sold at auction in Amsterdam in 1772 (Note 82). In Bongen's advertisement of 1766 mention is also made of a secretaire, this being the first appearance of this term in the Amsterdamsche Courant and Bongen finding it necessary to define it. No secretaire is known that can be attributed to him. A medal-cabinet in the form of a secretaire in Leiden (Figs.22, 23) hasfloral marquetry somewhat reminiscent of his work, but lacking its elegance, liveliness and equilibrium. Here the floral marquetry is combined with trompe l'oeil cubes and an interlaced border, early Neo-Classical elements which were first employed in France in the 1750s, so that this piece represents a later stage than those attributable to Bongen, which are all in a pure Louis xvstyle. Virtually identical in form to the medal-cabinet is a secretaire decorated solely with floral marquetry (Fig. 24, Note 87). This also appears not to be by Bongen, but both pieces may have been made under his influence. The picture we can form of Bongen's work on the basis of the signed commodes is clearly incomplete. His secretaire was decorated with '4 Children representing Trade', an exceptionally modern and original idea in 1766 even by French standards (Note 88). His ambitions in marquetry obviously wentfar beyondflowers, but no piece has yet beenfound which evinces this, nor is anything known of the Neo-Classical work which he may have produced after this style was introduced in Amsterdam around 1770. Bongen may perhaps have been the first Amsterdam cabinet-maker to produce marquetry furniture in the French style, but he was not to remain the only one. In 1771 and 1772 furniture in both the Dutch and French mode was advertised for sale at the Kistenmakerspand in Kalverstraat, where all furniture-makers belonging to the Guild of St. Joseph could sell their wares (Note 89). The 'French' pieces were probably decorated with marquetry. Only a small number of cabinet-makers are known to have worked in this style, however. They include Arnoldus Gerritsen of Rheestraat, who became a master in 1769 and sold his stock, including a 'small French inlaid Commode', in 1772, and Johan Jobst Swenebart (c.1747 - active up to 1806 or later), who became a master in 1774 and advertised in 1775 that he made 'all sorts of choice Cabinet- and Flower-works', the last term referring to furniture decorated with floral marquetry. Not only French types of furniture, but also traditional Dutch pieces were now decorated with French-inspired marquetry,for example a collector's cabinet advertised in 1775 by Johan Jacob Breytspraak (c.1739-95), who had become a master in 1769-70; a bureau-bookcase, a form introduced in the first half of the century probably under English influence (Note 100), exhibited in 1772 (Note 99); and a display cabinet for porcelain supplied, though not necessarily made, by Pieter Uylenburg en Zoon in 1775 (Notes 101, 102). Even long-case clocks were enriched with marquetry, witness the one advertised by the clock-maker J. H. Kühn in 1775 and another by him which was sold by auction in Edam in 1777 (Note 104). The latter was, like the bureau-bookcase exhibited in 1772, decorated with musical instruments, again a motif borrowed from France, where it was used increasingly from the 1760s onwards (Note 105). A clock signed by the Amsterdam clock-maker J. George Grüning also has a case with marquetry of musical instruments. This must date from about 1775-80, but its maker is unknown (Fig. 25, Notes 106, 107). All four of the Amsterdam cabinet-makers known to have done marquetry around 1770 came from Germany and all were then only recently established in Amsterdam. In fact half of the 144 Amsterdam cabinet-makers working in the second half of the 18th century whose origins it has been possible to trace came from Germany, so the German element was even stronger there than in Paris, where Germans comprised about a third of the ébénistes (Note 108) and where they had again played an important role in the revival of marquetry. None qf the four in Amsterdam was exclusively concerned with marquetry. Indeed, for some of them it may only have been a secondary aspect of their work. This was not true of Bongen, but he too made plain pieces, witness the four mahogany gueridons he made for the city of Amsterdam in 1771 or the two cupboards also made for the city in 1786 and 1789 (Notes 111, 112).No marquetry is listed in his inventory either. Perhaps fashions had changed by the time of his bankruptcy. Such scant knowledge as we have of Amsterdam cabinet-making between 1775 and 1785 certainly seems to suggest this. In the descriptions of the prizes for furraiture-lotteries, such as took place regularly from 1773 onwards (Note 114), marquetry is mentioned in 1773 and 1775 (Notes 115, 116), but after that there is no reference to itfor about tenyears. Nor is there any mention of marquetry in the very few cabinet-makers' advertisements of this period. When the clock-maker Kühn again advertised long-case clocks in 1777 and 1785, the cases were of carved mahogany (Notes 121, 122). Certainly in France the popularity of marquetry began to wane shortly before 1780 and developments in the Netherlands were probably influenced by this. Towards the end of the 1780s, however, pieces described as French and others decorated with 'inlaid work' again appear as prizes in lotteries, such as those organized by Johan Frederik Reinbregt (active 1785-95 or later), who came from Hanover (Note 128), and Swenebart. The latter advertised an inlaid mahogany secretaire in 1793 (Note 132) and similar pieces are listed in the announcement of the sale of the stock of Jean-Matthijs Chaisneux (c.1734-92), one of a small group of French upholsterers first mentioned in Amsterdam in the 1760s, who played an important part in the spread of French influence there (Note 134). In this later period, however, reference is only made to French furniture when English pieces are also mentioned, so a new juxtaposition is implied and 'French' need not mean richly decorated with marquetry as it did in the 1760s. In fact the marquetry of this period was probably of a much more modest character. A large number of pieces of Dutch furniture in the late Neo-Classical style are known, generally veneered with rosewood or mahogany, where the marquetry is confined to trophies, medallions on ribbons, geometric borders and suchlike. A sideboard in the Rijksmuseum is an exceptionally fine and elaborately decorated example of this light and elegant style (Fig. 26) None of this furniture is known for certain to have been made in Amsterdam, but two tobacco boxes with restrained marquetry decoration (Fig.27, Note 136) were made in Haarlem in 1789 by Johan Gottfried Fremming (c.1753-1832) of Leipzig, who had probably trained in Amsterdam and whose style will not have differed much from that current in the capital. Boxes of this type are mentioned in the 1789 inventory of the Amsterdam cabinet-maker Johan Christiaan Molle (c.1748-89) as the only pieces decorated with inlay (Note 138). In the 1792 inventory of Jacob Keesinger (active 1764-92) from Ziegenhain there are larger pieces of marquetry furniture as well (Note 139), but they are greatly in the minority, as is also the case with a sale of cabinet-makers' wares held in 1794 (Note 141), which included a book-case of the type in Fig.28 (Note 142). Similarly the 1795 inventory of Johan Jacob Breytspraak, one of the most important and prosperous cabinet-makers of the day, contains only a few marquetry pieces (Note 144). The 1793 inventory of Hendrik Melters (1720-93) lists tools and patterns for marquetry, but no pieces decorated with it (Note 145). Melters seems to have specialized in cases for long-case clocks, the Amsterdam clock-maker Rutgerus van Meurs (1738-1800) being one of his clients (Note 146). The cases of clocks signed by Van Meurs bear only simple marquetry motifs (Note 147). The Dutch late Neo-Classical furniture with restrained marquetry decoration has no equivalent in France; it is more reminiscent of English work (Note 148). The pattern-books of Hepplewhite and Sheraton undoubtedly found their way to the Dutch Republic and the 'English' furniture mentioned in Amsterdam sources from 1787 probably reflected their influence. However, the introduction of the late, restrained Neo-Classical style in furniture was not the result of English influence alone. Rather, the two countries witnessed a parallel development. In England, too, marquetry was re-introduced under French influence around 1760 and it gradually became much simpler during the last quarter of the century, French influences being amalgamated into a national style (Notes 150, 151). On the whole, the Frertch models were followed more closely in the Netherlands than in England. Even at the end of the century French proportions still very much influenced Dutch cabinet-making. Thus the typically Dutch late Neo-Classical style sprang from a combirtation of French and English influences. This makes it difficult to understand what exactly was meant by the distinction made between ;French' and 'English' furniture at this time. The sources offer few clues here and this is even true of the description of the sale of the stock of the only English cabinet-maker working in Amsterdam at this period, Joseph Bull of London, who was active between 1787 and 1792, when his goods were sold (Notes 155, 156).

Preserving rare collections is very important, considering the historical value in them, through digitalization and website development as the digital heritage preservation. The Google analytics data showed that the performance of UGM Library's rare collection website was still not significant, in terms of the number of users, visits, duration of visits, and repeat visits are still far from expectations. The purpose of this research was to find out the performance and use of the website, to find out the site that the user wants, and to formulate the development formula. The study used a combination of methods, through survey data collection with closed and open questionnaires plus interviews to deepen the problem: quantitative and qualitative analyses were performed, plus documentary analysis. The results showed that the website's performance was not yet encouraging; users wanted changes to 5 elements, namely appearance, visual appeal, information content, timely information, and ease of interaction. Expected developments include new historical nuances; installation of flipping book viewers and infographics; link addition; indexes, annotations, and recommended search; addition of reviews and social media columns. Google analytic data shows the need to reduce loading times by compressing PDF files and improving design according to mobile devices. Qualitative analysis succeeded in capturing the desire to access digital versions of Indonesian manuscripts in the Netherlands and the United Kingdom, and the need for additional graphic designer staff to improve the appearance and visual appeal.

Abstract Rahayu Printing is a business entity that provides merchandising services such as wedding invitations, circumcision invitations, business cards, notes, letterhead, yasin and others. Based on sales that have been achieved so far, Rahayu Printing felt not satisfied with the results obtained and trying to increase sales and service through online sales system. Sales that go so far encounter obstacles in the process of marketing from consumers to consumers, the sale of goods still use a system of sales in the form of book-shaped catalogs, very tight competition, locations adjacent to other printing, and constraints from distance and time to obtain information on shopping in printing . It makes the sale less cost saving, energy and time because the system used still manually. The method used in the design of information systems sales of goods is waterfall method. From the manufacture of web-based goods sales system, is expected to solve the existing constraints, simplify, accelerate the sales system and hopefully can increase profits on the sale of goods Rahayu Bekasi Printing. Keywords: Goods, Information, Sales, Printing, Waterfall. Abstrak Percetakan Rahayu merupakan sebuah badan usaha yang menyediakan jasa penjualan barang seperti undangan pernikahan, undangan khitanan, kartu nama, nota, kop surat, yasin dan lain-lain. Berdasarkan hasil penjualan yang telah dicapai selama ini, Percetakan Rahayu merasa belum puas dengan hasil yang didapat dan berupaya ingin meningkatkan penjualan serta pelayanan melalui sistem penjualan secara online. Penjualan yang berlangsung selama ini menemui kendala dalam proses pemasaran dari konsumen ke konsumen, penjualan barang masih menggunakan sistem penjualan berupa katalog berbentuk buku, persaingan yang sangat ketat, lokasi yang berdekatan dengan percetakan lainnya, serta kendala dari jarak dan waktu untuk mendapatkan informasi belanja di percetakan. Hal tersebut membuat penjualan kurang menghemat biaya, tenaga dan waktu karena sistem yang digunakan masih secara manual. Metode yang digunakan pada perancangan sistem informasi penjualan barang tersebut adalah metode waterfall. Dari pembuatan sistem penjualan barang berbasis web, diharapkan dapat memecahkan kendala yang ada, mempermudah, mempercepat sistem penjualan dan semoga dapat meningkatkan keuntungan penjualan barang pada Percetakan Rahayu Bekasi. Kata kunci: Barang, Informasi, Penjualan, Percetakan, Waterfall.

Studying physical science and then teaching it to children, as is known from decades of science education research, creates a huge problem of unknown origin. This study aims to develop a media and determine its effectiveness in increasing knowledge of physics for children. This research is a research and development with the stages of the ADDIE model to develop Roll Book media with the roll technique containing physical science material for early childhood. Data collection techniques were carried out through expert validation tests and field trial data. Analysis of effectiveness test data using a paired sample T-test statistical test. The results of the media effectiveness test showed an increase in knowledge of physics in the pre-test and pots-test. The summary of all the test results of the developed media shows that Roll Book products are effectively used to increase children's knowledge of physics. The concept of storybook media that has been developed in various interesting forms is expected to be an alternative solution for the scientific development of early childhood education studies. Keywords: Early childhood, Physical science, Roll book References: Angelica Torres, & Vitti, D. (2007). A Kinder Science Fair. Science and Children. Arsyad, A. (2013). Media Pembelajaran [Learning Media]. PT Raja Grafindo Persada. Branch, R. M. (2009). Instructional Design: The ADDIE Approach. Springer Science Business Media. California Department of Education. (2012). California Preschool Learning Foundations (Vol. 3). Sacramento. Charlesworth, R., & Lind, K. K. (2012). Math and Science for Young Children. Cengage Learning. https://books.google.co.id/books?id=p5x-3ir8mz4C Citra, A., Hapidin, D., & Akbar, Z. (2019). Pengaruh Model Pembelajaran dan Kemampuan Berpikir Kritis terhadap Pemahaman Sains Fisik. 3(1), 18–29. https://doi.org/10.31004/obsesi.v3i1.136 Dewi, T. H. S., Gunarhadi, & Riyadi. (2018). The Important of Learning Media Based on Illustrated Storybook for Primary School. Proceeding of International Conference on Child-Friendly Education, 233–236. Eshach, H., & Fried, M. N. (2005). Should Science Be Taught in Early Childhood? Journal of Science Education and Technology, 14(3), 315–336. Featherstone, S. (2003). The Little Book of Investigations: Little Books with Big Ideas. Featherstone Education Ltd. Fleer, M. (2015). How Preschools Environments Afford Science Learning. In M. Fleer & N. Pramling (Eds.), A Cultural-Historical Study of Children Learning Science: Foregrounding Affective Imagination in Play-based Settings(pp. 23–37). Springer Netherlands. https://doi.org/10.1007/978-94-017-9370-4_2 Fridberg, M., Jonsson, A., Redfors, A., Thulin, S., Fridberg, M., Jonsson, A., Redfors, A., Thulin, S., Jonsson, A., Redfors, A., & Thulin, S. (2019). Teaching chemistry and physics in preschool: A matter of establishing intersubjectivity establishing intersubjectivity. 0693. https://doi.org/10.1080/09500693.2019.1689585 Gitomer, D. H., & Zisk, R. C. (2015). Knowing What Teachers Know. Review of Research in Education, 39(1), 1–53. https://doi.org/10.3102/0091732X14557001 Greenfield, D. B., Jirout, J., Greenberg, A., Maier, M., & Fuccillo, J. (2009). Early Education and Development Science in the Preschool Classroom: A Programmatic Research Agenda to Improve Science Readiness. October 2014, 37–41. https://doi.org/10.1080/10409280802595441 Gur, C. (2011). Physics in preschool. International Journal of Physical Sciences, 6(4), 939–943. https://doi.org/10.5897/IJPS10.653 Hsiao, C.-Y., & Chang, Y.-M. (2015). A Study of the Use of Picture Books by Preschool Educators in Outlying Islands of Taiwan. International Education Studies, 9(1), 1. https://doi.org/10.5539/ies.v9n1p1 Kalogiannakis, M., Nirgianaki, G. M., & Papadakis, S. (2018). Teaching Magnetism to Preschool Children: The Effectiveness of Picture Story Reading. Early Childhood Education Journal, 46(5), 535–546. https://doi.org/10.1007/s10643-017-0884-4 Kamii, C., & Vries, R. De. (1993). Physical Knowledge in Preschool Education: Implications of Piaget’s Theory. Teachers College Press. Kelemen, D., Emmons, N. A., Seston Schillaci, R., & Ganea, P. A. (2014). Young Children Can Be Taught Basic Natural Selection Using a Picture-Storybook Intervention. Psychological Science, 25(4), 893–902. https://doi.org/10.1177/0956797613516009 Larasati, A., & Yulianti, D. (2014). Pengembangan Bahan Ajar Sains (Fisika) Tema Alam Semesta Terintegrasi Karakter dan berwawasan Konservasi [Development of Teaching Materials for Science (Physics) Themes of the Universe Integrated Character and Conservation insight]. Unnes Physic Education Journal, 3(2), 26–33. Lind, K. K. (2005). Exploring Science in Early Childhood Education. Thomson Delmar Learning. Lorente, L. M. (2017). Implementation of early childhood physical activity curriculum (SPARK) in the Central Valley of California ( USA ). Procedia - Social and Behavioral Sciences, 237(June 2016), 319–325. https://doi.org/10.1016/j.sbspro.2017.02.097 Marton, F. (2014). Necessary conditions of learning. Routledge. Mutmainnah, M., Nessa, R., Bukhari, B., Farhana Mohd Radzif, N., & Kurniawati, R. (2021). Development of Learning Media for Acehnese Culture Picture Books to Get to Know Local Culture in Early Childhood. Al-Athfal: Jurnal Pendidikan Anak, 7(1), 53–72. https://doi.org/10.14421/al-athfal.2021.71-05 Oppliger, P. A., & Davis, A. (2016). Portrayals of Bullying: A Content Analysis of Picture Books for Preschoolers. Early Childhood Education Journal, 44(5), 515–526. https://doi.org/10.1007/s10643-015-0734-1 Oskarsson, M., & Karlsson, K.-G. (1970). Health care or Atom bombs? Interest profiles connected to a science career in Sweden. Nordic Studies in Science Education, 7(2), 190–201. https://doi.org/10.5617/nordina.242 Phillips, E. C., & Sturm, B. W. (2013). Do Picture Books About Starting Kindergarten Portray the Kindergarten Experience in Developmentally Appropriate Ways? Early Childhood Education Journal, 41(6), 465–475. https://doi.org/10.1007/s10643-012-0560-7 Pramitasari, Muktia., Yetti, Elindra., & Hapidin. (2018). Pengembangan Media Sliding Book untuk Pengenalan Sains Kehidupan (Life Science) Kelautan untuk Anak Usia Dini [Development of Sliding Book Media for Introduction to Marine Life Science for Early Childhood]. 12(November), 221–230. https://doi.org/10.21009/JPUD.122.09 Saçkes, M., Akman, B., & Trundle, K. C. (2012). A Science Methods Course for Early Childhood Teachers: A Model for Undergraduate Pre-Service Teacher Education. Necatibey Faculty of Education Electronic Journal of Science and Mathematics Education, 6(2), 1–26. Sari, N. E., & Suryana, D. (2019). Thematic Pop-Up Book as a Learning Media for Early Childhood Language Development. JPUD - Jurnal Pendidikan Usia Dini, 13(1), 43–57. https://doi.org/10.21009/10.21009/jpud.131.04 Sjøberg, S., & Schreiner, C. (2010). The ROSE project—Overview and key findings. March 1–31. Skibbe, L. E., Thompson, J. L., & Plavnick, J. B. (2018). Preschoolers’ Visual Attention during Electronic Storybook Reading as Related to Different Types of Textual Supports. Early Childhood Education Journal, 46(4), 419–426. https://doi.org/10.1007/s10643-017-0876-4 Solfiah, Y. S., Risma, D., Hukmi, & Kurnia, R. (2020). Early Childhood Disaster Management Media Through Picture Story Books. JPUD - Jurnal Pendidikan Usia Dini, 14(1), 141–155. https://doi.org/10.21009/141.10 Thorson, R. M. (2017). Physical Science Teacher’s Guide. Henry David Thoreau In Context.https://doi.org/Https"//Doi.Org/10.1017/9781316569214.025 Thulin, S., & Jonsson, A. (2014). Child Perspectives and Children’ s Perspectives – a Concern for Teachers in Preschool. Educare, 2, 13–37. Thulin, S., & Redfors, A. (2017). Student Preschool Teachers’ Experiences of Science and Its Role in Preschool. Early Childhood Education Journal, 45(4), 509–520. https://doi.org/10.1007/s10643-016-0783-0 Woodard, C., & Davitt, R. (1987). Physical Science in Early Childhood. Thomas Publications.

Since the approval of the first high-strength bolt specifications by the Research Council on Riveted and Bolted Structural Joints (RCRBSJ) in 1949 there have been concerns of ensuring that the bolts are properly tightened. In certain applications, such as slip critical and direct tension, current practice requires that all bolts be tightened to reach or exceed a minimum specified preload. Considerable research has been invested on high-strength bolts and the techniques used to tighten them. Most testing on bolt behavior during tightening has been performed using smaller diameter bolts, such as 7/8-in. For larger diameter bolts, the results of these tests have been extrapolated to develop criteria used in establishing the RCSC Specification for Structural Joints Using ASTM A325 or A490 Bolts,2 hereafter referred to as the RCSC Specification. An extensive study at Delft University in the Netherlands explored many different tightening methods including the turn-of-nut as well as load indicating washers. This study detailed the advantages and disadvantages of the different techniques. The significant influence of lubrication on the bolt threads was revealed by Eaves in 1978. Notch showed that hardened washers were needed for the proper tightening of large diameter bolts, and to attain a uniform "snug"ť condition. Early testing of load indicating washers with bolts in the vertical position was performed in 1973 by Struik, Oyeledun, and Fisher. This testing provided a basis for the validity of the washers as load indicators. In 1987, Kulak, Fisher, and Struik published the second edition of the Guide to Design Criteria for Bolted and Riveted Joints and included much of the previous research performed on bolts and bolt tightening techniques. The information on bolt properties and installation contained in this book was extensively used in the course of this investigation.

Purpose – Professor Slawomir Magala is a full professor of Cross-Management at the Department of Organization and Personnel Management in Rotterdam School of Management (RSM), Erasmus University (RSM, 2015). His education stems from Poland, Germany and the USA, and has taught and conducted research in China, Egypt, Kazakhstan, Croatia, Estonia, the United Kingdom and Namibia. He is a former Chair for Cross-Cultural Management at RSM and has achieved many things, from being editor-in-chief of the Journal of Organizational Change Management (JOCM), to receiving the Erasmus Research Institute in Management (ERIM) Book Award (2010), for The Management of Meaning in Organizations (Routledge, 2009). It has received honors for being the best book in one of the domains of management research. It was selected by an academic committee, consisting of the Scientific Directors of CentER (Tilburg University), METEOR (University of Maastricht) and SOM (University of Groningen). All these research schools are accredited by the Royal Netherlands Academy of Arts and Sciences (KNAW). The paper aims to discuss this issue. Design/methodology/approach – This is a review of Professor Slawomir Magala’s contributions as editor of Journal of Organizational Change Management. Findings – Slawomir (Slawek) Magala will be known for many contributions to social, organizational, managerial research, and it will be remembered that he has created a great legacy in the field of cross-cultural competence and communication on processes of sense making in professional bureaucracies. He has authored and co-authored many publications including articles, books, professional publications, book contributions and other outputs, and is an established professor of cross-cultural management at the Department of Organization and Personnel Management in RSM, Erasmus University. He will be known for his work as editor of Qualitative Sociology Review, and one of the founding members of the Association for Cross-Cultural Competence in Management, not to mention the Journal of Organizational Change Management. Many of his articles have appeared regularly in leading refereed journals, such as the European Journal of International Management, Public Policy, Critical Perspectives on International Business and Human Resources Development International. His greatest legacy is in the field of cross-cultural management, but branches out to many other management studies. Research limitations/implications – The research is limited to his work in capacity of editor of Journal of Organizational Change Management. Practical implications – This review provides a guide for positive role model of an excellent editorship of a journal. Social implications – Magala’s legacy acknowledges this research and its power to create numerous papers and attract a lot of attention (Flory and Magala, 2014). Because of these conferences, these empirical findings have led to disseminating the conference findings with JOCM (Flory and Magala, 2014). According to them, narrative research has become a respectable research method, but they also feel that it is still burdened with a lot of controversies on with difficulties linked to applying it across different disciplines (Flory and Magala, 2014). Originality/value – The review covers the creative accomplishment of Professor Magala as editor.

This research investigated the factors that influence the marketing strategies of herbal cosmetic products in Thailand by comparison between Thai and imported product where the imported products are manufactured from Australia and U.S.A. This study is both quantitative and qualitative research. The facial herbal cosmetics products in this study were moisturizer, whitening lotion, cream, power, toner, make up cleansing mask, cleansing oil, soap bar, and anti-aging lotions. Finding from the study found that the marketing strategy of Thai herbal cosmetic products have the 4Ps;Product strategy by improving the quality of products, research and development for launching the new products to the market, creating beauty packaging and new product launch attracts the market’s attention. Price strategy using cash discount to increase consumer’s purchase motive. Place strategy using department stores as the main distribution channels, distribution channels are direct sales with catalogs, counter sales in department store and beauty showrooms. Promotion strategy using integrated marketing communication for maintaining brand image, television advertisement, radio advertisement, cabal advertisement, booth exhibition, beauty school, website, face to face marketing and male beauty instructor to attract the women customers. Marketing strategy of imported products; Products strategies are concerned with the odor, color, physical appearance of products and the penetration characteristic of products. The strategies promote the imported products by introducing the product e.g. the product is a blend of herbs, the most effective skin care for healthy, revitalized skin and natural extract that contains active ingredients with high technology to manufacture the cosmetic product that performs a specific action to penetrate deep into the skin. The smooth odor and color of the imported products are the important purchasing decision factor. Physical appearance of products; non greasy, non oily helps absorbs quickly into skin and help smooth the skin surface texture and packaging design, color, size and shape, play a role in purchasing decisions. Packaging has to possess the strength to make eye-catching packaging that helps make the most window of opportunity in pristine conditions, brand, logo/slogan as a way to facilitate their purchasing decision; the image of the brand has all the criteria value, quality reliability trust, intangible and delivers benefits to the consumers. Price strategy is heavily differentiated due to the branding then imported herbal cosmetic products offering lower priced luxury products. The lower prices could also boost sales e.g. smaller sizes of some products, such as 50 ml and 30 ml bottles of products, which is normally sold in 100 ml bottles then smaller bottles are selling better than regular size ones, Place strategy; purchasing convenience from the Internet to virtual presence e.g. Website, direct mail, social media enhancing the brand’s image. The site also uses Face book page by constantly updating content photos, videos, information about events, YouTube, twitter as platforms to keep customers up to date on new episodes and development. Promotion strategies using advertisement, television advertisement

Indonesia is a country that has a high potential for natural disasters. Picture story book is a form of disaster management learning that can help children from an early age to prepare for a natural disaster. The aims of this study to develop story books as a disaster management learning media, to improve knowledge and skills of children and teacher about the understanding, principles, and actions of rescue when facing the natural disasters, to increase the teacher’s learning quality in disaster management. Developmental research approach is used to execute the study. A total of 48 children aged 5-6 years have to carry out pre-test and post-test. Pre-test data shows that children's knowledge about disaster management with an average of 47.92% and its improved at post-test with 76,88%. Five theme of story books involves floods, landslides, earthquakes, tsunamis, lands and forest fires is the product. Dissemination of five story books are proper for children and improve their understanding of disaster management. Keywords: Early Childhood Education, Management Disaster, Storybooks Reference: Abulnour, A. H. (2013). Towards efficient disaster management in Egypt. Housing and Building National Research Center. https://doi.org/10.1016/j.hbrcj.2013.07.004 Adiyoyoso, W. (2018). Manajemen Bencana. Jakarta: Bumi Aksara. Anderson, T., & Shattuck, J. (2012). Design-based research: A decade of progress in education research? Educational Researcher, 41(1), 16–25. https://doi.org/10.3102/0013189X11428813 Batič, J. (2019). Reading Picture Books in Preschool and Lower Grades of Primary School. Center for Educational Policy Studies Journal, (November), 1–18. https://doi.org/10.26529/cepsj.554 Bosschaart, A., van der Schee, J., Kuiper, W., & Schoonenboom, J. (2016). Evaluating a flood- risk education program in the Netherlands. 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Short communication: Patterns of chronic and acute diseases after natural disasters - A study from the International Committee of the Red Cross field hospital in Banda Aceh after the 2004 Indian Ocean tsunami. Tropical Medicine and International Health, 12(11), 1338–1341. https://doi.org/10.1111/j.1365- 3156.2007.01932.x Haggstrom, M. (2020). The art of read-aloud, body language and identity construction: A multimodal interactional analysis of interaction between parent, child and picture book. International Journal of Language Studies, 14(1), 117–140. Halim, L., Abd Rahman, N., Zamri, R., & Mohtar, L. (2018). The roles of parents in cultivating children’s interest towards science learning and careers. Kasetsart Journal of Social Sciences, 39(2), 190–196. https://doi.org/10.1016/j.kjss.2017.05.001 Hamele, M., Gist, R. E., & Kissoon, N. (2019). P ro v i s i o n o f C a re f o r C r i t i c a l l y I l l C h i l d ren i n Disasters. 35, 659–675. https://doi.org/10.1016/j.ccc.2019.06.003 Justice, L. M., & Piasta, S. (2011). Developing children’s print knowledge through adult-child storybook reading interactions: Print referencing as an instructional practice. In Handbook of early literacy research (In S. B. N). Kitagawa, K. (2016). Situating preparedness education within public pedagogy. Pedagogy, Culture & Society, 1366(November), 1–13. https://doi.org/10.1080/14681366.2016.1200660 Kousky, C. (2016). Impacts of natural disasters on children. Future of Children, 26(1), 73–92. https://doi.org/10.1353/foc.2016.0004 Latif, M., Zukhairina, Zubaidah, R., & Afandi, M. (2013). Orientasi Baru Pendidikan Anak Usia Dini (Teori dan Aplikasi). Jakarta: Kencana Prenada Media Group. Lin, R. (2012). A Study of Curriculum Innovation Teaching and Creative Thinking for Picture Book Creation. IERI Procedia, Vol. 2, pp. 30–35. https://doi.org/10.1016/j.ieri.2012.06.047 Lopez, Y., Hayden, J., Cologon, K., & Hadley, F. (2012). Child participation and disaster risk reduction. International Journal of Early Years Education, 20(3), 300–308. https://doi.org/10.1080/09669760.2012.716712 Manjale, N. B., & Abel, C. (2017). Significance and adequacy of instructional media as perceived by primary school pupils and teachers in. 4(6), 151–157. Masuda, K., & Yamauchi, C. (2017). The effects of female education on adolescent pregnancy and child health: evidence from Uganda’s Universal Primary Education for fully treated cohorts. GRIPS Discussion Paper - National Graduate Institute for Policy Studies, (17/01), 49-pp. Retrieved from https://pdfs.semanticscholar.org/07f5/ebe91e3ac20179daae7d885ea50f8154f94e.pdf Mateo, R. M. (2015). Contrastive Multimodal Analysis of two Spanish translations of a picture book. 212, 230–236. https://doi.org/10.1016/j.sbspro.2015.11.338 McKenney, S., & Reeves, T. (2012). Conducting educational design research. London: Routledge. Meng, L., & Muñoz, M. (2016). Teachers’ perceptions of effective teaching: a comparative study of elementary school teachers from China and the USA. Educational Assessment, Evaluation and Accountability. Mudavanhu, Chipo Muzenda Manyena, B., & Collins, A. E. (2016). Disaster risk reduction knowledge among children in Muzarabani District, Zimbabwe. Natural Hazards, 84(2), 911–931. https://doi.org/10.1007/s11069-016-2465-z Mutch, C. (2014). International Journal of Educational Development The role of schools in disaster settings : Learning from the 2010 – 2011 New Zealand earthquakes. International Journal of Educational Development. https://doi.org/10.1016/j.ijedudev.2014.06.008 Ozturk, M. B., Sendogdu, M. C., Seker, E., & Tekinsen, H. K. (2011). Parents with children in preschool children ’ s picture book review elections. 15, 1906–1910. https://doi.org/10.1016/j.sbspro.2011.04.025 Peek, L. (2008). Children and Disasters: Understanding Vulnerability, Developing Capacities, and Promoting Resilience - An Introduction. Children, Youth and Environments, 18(1), 1– 29. Plomp, T., & Nieveen, N. (2007). An introduction to educational design research. Enschede: The Netherlands: SLO. Pramitasari, M., Yetti, E., & Hapidin. (2018). Pengembangan Media Sliding Book Untuk Media Pengenalan Sains Kehidupan (Life Science) Kelautan untuk Anak Usia Dini. Jurnal Pendidikan Usia Dini, 12(November), 281–290. Proulx, K., & Aboud, F. (2019). Disaster risk reduction in early childhood education: Effects on preschool quality and child outcomes. International Journal of Educational Development, 66(October 2017), 1–7. https://doi.org/10.1016/j.ijedudev.2019.01.007 Pyle, A., & Danniels, E. (2016). Using a picture book to gain assent in research with young children. 4430(March). https://doi.org/10.1080/03004430.2015.1100175 Raj, A., & Kasi, S. (2015). International Journal of Disaster Risk Reduction Psychosocial disaster preparedness for school children by teachers. International Journal of Disaster Risk Reduction, 12, 119–124. https://doi.org/10.1016/j.ijdrr.2014.12.007 Raynaudo, G., & Peralta, O. (2019). Children learning a concept with a book and an e-book: a comparison with matched instruction. European Journal of Psychology of Education, 34(1), 87–99. https://doi.org/10.1007/s10212-018-0370-4 Sawyer, B., Atkins-burnett, S., Sandilos, L., Hammer, C. S., Lopez, L., Blair, C., ... Hammer, C. S. (2018). Variations in Classroom Language Environments of Preschool Children Who Are Low Income and Linguistically Diverse. Early Education and Development, 29(3), 398– 416. https://doi.org/10.1080/10409289.2017.1408373 Simcock, G., & Heron-delaney, M. (2016). Infant Behavior and Development Brief report Reality check : Prior exposure facilitates picture book imitation by 15-month-old infants. Infant Behavior and Development, 45, 140–143. https://doi.org/10.1016/j.infbeh.2016.09.003 Solfiah, Y., Risma, D., & Kurnia, R. (2019). The Knowledge Of Early Childhood Education Teachers About Natural Disaster Management. 2(1), 159–166. Sugiyono. (2017). Metode Penelitian dan pengembangan, untuk bidang pendidikan,manegement sosial. Bandung: alfabeta. Sumantri, M. S. (2015). Strategi Pembelajaran. Jakarta: Raja Grafindo Persada.Suryaningsih, E., & Fatmawati, L. (2017). Pengembangan BUku Cerita Bergambar Tentang Mitigasi Bencana Erupsi Gunung Api Untuk Siswa SD. Profesi Pendidikan Dasar. Tatebe, J., & Mutch, C. (2015). International Journal of Disaster Risk Reduction Perspectives on education , children and young people in disaster risk reduction. 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E-Commerce is a way of shopping and trading online that utilizes internet facilities where there is a website that provides buying and selling services between sellers and buyers. In this final project, a website will be created for product sales cases, especially clothing, bags and key chains. This E-Commerce based book selling application is designed using PHP and MySQL programming languages as databases and Joomla Virtuemart for website design. This application has three main levels. The first is for general users, namely every website visitor who can view product catalogs, use website services, but cannot place product orders. The second is a member or members who have registered who can order products. The third is the administrator, namely the person who has the right to be able to manage product data, order data and make reports for the store.

Peter Debaere of Darden Business School, University of Virginia reviews “Water Pricing Experiences and Innovations”, by Ariel Dinar, Victor Pochat, and Jose Albiac-Murillo. The Econlit abstract of this book begins: “Twenty-two papers examine water pricing experiences in various countries from 2000 to 2015. Papers discuss water pricing in Australia—unbundled politics, accounting, and water pricing; water pricing in Brazil—successes, failures, and new approaches; water pricing in Canada—recent developments; water pricing in Chile—decentralization and market reforms; water pricing in China— the impact of socioeconomic development; water pricing in Colombia—the transition from bankruptcy to full-cost recovery; water pricing in France—moving toward more incentives to conserve water; water pricing experiences in India—emerging issues; water pricing in Israel—various waters, various neighbors; water pricing in Italy—beyond full-cost recovery; water pricing in Mexico—pricing structures and implications; water pricing in the Netherlands; New Zealand water pricing; water pricing—the case of South Africa; water pricing in Spain—following the footsteps of somber climate change projections; introducing new mechanisms into water pricing reforms in China; how to integrate social objectives into water pricing; sustainable water rate design at the Western Municipal Water District—the art of revenue recovery, water use efficiency, and customer equity; pricing urban water services in the developing world—the case of Guayaquil, Ecuador; the price for domestic water supply—an innovative method developed for the Tucano aquifer in the state of Bahia, Brazil; pricing for reclaimed water in Valencia, Spain—externalities and cost recovery; and pricing municipal water and wastewater services in developing countries—whether utilities are making progress toward sustainability. Dinar is a professor of environmental economics and policy with the School of Public Policy at the University of California, Riverside. Pochat is a professor at the National University of Litoral. Albiac-Murillo is a researcher at the Agrifood Research and Technology Center and a professor at the University of Zaragoza.”

AbstractThis second annual edition of MycoNews starts with a message from IMA President Wieland Meyer regarding the steps being taken to legally incorporate the Association in Switzerland. News is provided on progress in the arrangements for IMC12 (Amsterdam 2022), release of the State of World’s Plants and Fungi report, mycology under the Coronavirus pandemic, and two new biodiversity initiatives in The Netherlands. Reports are presented from the: 1st International Symposium on Tropical African Mycology (Benin 2019); Recent Advances in the Biodiversity, Biology, and Biotechnology of Fungi (Pondicherry 2019); the 4th International Malassezia Workshop (virtual 2020); Dutch Design Week (2020), and UK Fungus Day (2020). An honour awarded to Francis Martin is recorded. Birthday greetings from IMA go to John Walker, José Dianese, Richard Harris, Tomasz Majewski, David Malloch, and John Sheard. Tributes are paid to the passing of John Peberdy, Anthony Trinci, and Balamuri Vittal. This contribution continues with news of 10 new mycological books published in 2019 or 2020 and concludes with a letter on the appropriateness of adopting the term ‘Funga’.

AbstractUrbanites increasingly turn to digital mobility platforms to make use of means of transportation and to plan and book journeys. While these platforms can contribute to making urban travel more sustainable and efficient, they can also lead to governance challenges and have negative external effects, raising questions about how public values can best be safeguarded. In this article, public values are defined as normative concepts that describe both the impact on and democratic control of an affected public. This article aims to initiate a more structured discussion about platform urbanism, specifically how and to what extent public values are incorporated in platform design and operation in the realm of mobility. It introduces an assessment framework for mobility platforms that was developed as part of a transdisciplinary research project in the Netherlands. This framework is grounded in two academic debates regarding 1) the rise of platform urbanism and 2) new forms of mobility that accompany the densification of cities. The paper refers to the mobility pilots Kutsuplus, UbiGo and Whim to illustrate how the safeguarding of public values can be evaluated. In the concluding section, the paper discusses some ways in which the assessment framework can be used for future research, for instance through scenarios.

To design for the purpose of planning was not new when regional design emerged as a distinguished discipline in the 1980s in the Netherlands. On the contrary, to imagine solutions for particular areas and to discuss these for the purpose of planning has been a long-standing tradition that can be traced back to the emergence of urban planning in the early 20th century. However, when spatial planning emerged as a new, more collaborative and anticipatory planning approach in the last decades, expectations concerning performances of design in planning decision-making increased. Design came to be seen as a practice that not only improves the spatial and technical quality of plans, but also enhances planning innovation, clarifies political agendas, forges societal alliances and raises the efficiency of planning through timely consideration of conflicts that planning may cause in societal and political domains. Since the 1990s, regional design underwent a process of institutionalisation in Dutch national planning. The practice became repetitively used and was formally embedded in planning procedures. Despite more varied expectations and institutionalisation, interrelations between regional design and spatial planning are not well understood. As a result, the performances of regional design are difficult to predict and consequently, often disappointing. Therefore, this research has sought to conceptualize interrelations between regional design and spatial planning. It aimed at an enhanced explanation and prediction of performances. The main research question was: how do the interrelations between regional design and spatial planning influence the performances of regional design? Answers to this question were sought through case-study research. During two consecutive rounds of exploration, two perspectives were taken. During a first in-depth case-study, key performances of regional design were analysed. During a second multiple case-studies analysis, the contextual determinants of these performances were investigated. Detailed results of this dissertation are embodied in Chapter 3 to 7 of this publication. Below, these outcomes are summarised in order to form one coherent line of argument. Theoretical notions, which were considered during the research but were not mentioned in earlier publications of the chapters in the form of journal articles and book chapters, are added. The chapter also contains a critical reflection on the research approaches that were used. A dedicated section summarises the implications of findings for future research.

To design for the purpose of planning was not new when regional design emerged as a distinguished discipline in the 1980s in the Netherlands. On the contrary, to imagine solutions for particular areas and to discuss these for the purpose of planning has been a long-standing tradition that can be traced back to the emergence of urban planning in the early 20th century. However, when spatial planning emerged as a new, more collaborative and anticipatory planning approach in the last decades, expectations concerning performances of design in planning decision-making increased. Design came to be seen as a practice that not only improves the spatial and technical quality of plans, but also enhances planning innovation, clarifies political agendas, forges societal alliances and raises the efficiency of planning through timely consideration of conflicts that planning may cause in societal and political domains. Since the 1990s, regional design underwent a process of institutionalisation in Dutch national planning. The practice became repetitively used and was formally embedded in planning procedures. Despite more varied expectations and institutionalisation, interrelations between regional design and spatial planning are not well understood. As a result, the performances of regional design are difficult to predict and consequently, often disappointing. Therefore, this research has sought to conceptualise interrelations between regional design and spatial planning. It aimed at an enhanced explanation and prediction of performances. The main research question was: how do the interrelations between regional design and spatial planning influence the performances of regional design? Answers to this question were sought through case-study research. During two consecutive rounds of exploration, two perspectives were taken. During a first in-depth case-study, key performances of regional design were analysed. During a second multiple case-studies analysis, the contextual determinants of these performances were investigated. Detailed results of this dissertation are embodied in Chapter 3 to 7 of this publication. Below, these outcomes are summarised in order to form one coherent line of argument. Theoretical notions, which were considered during the research but were not mentioned in earlier publications of the chapters in the form of journal articles and book chapters, are added. The chapter also contains a critical reflection on the research approaches that were used. A dedicated section summarises the implications of findings for future research.

AbstractAustralia II became the first foreign yacht to win the America's Cup in 1983. The boat had a revolutionary wing keel and a better underwater hull form. In official documents, Ben Lexcen is credited with the design. He is also listed as the sole inventor of the wing keel in a patent application submitted on February 5, 1982. However, as reported in New York Times, Sydney Morning Herald, and Professional Boatbuilder, the wing keel was in fact designed by engineer Peter van Oossanen at the Netherlands Ship Model Basin in Wageningen, assisted by Dr. Joop Slooff at the National Aerospace Laboratory in Amsterdam. Based on telexes, letters, drawings, and other documents preserved in his personal archive, this paper presents van Oossanen’s account of how the revolutionary wing keel was designed. This is followed by an ethical analysis by Martin Peterson, in which he applies the American NSPE and Dutch KIVI codes of ethics to the information provided by van Oossanen. The NSPE and KIVI codes give conflicting advice about the case, and it is not obvious which document is most relevant. This impasse is resolved by applying a method of applied ethics in which similarity-based reasoning is extended to cases that are not fully similar. The key idea, presented in Peterson’s book The Ethics of Technology (Peterson, The ethics of technology: A geometric analysis of five moral principles, Oxford University Press, 2017), is to use moral paradigm cases as reference points for constructing a “moral map”.

Introduction: The main challenge of modern hospitals is purchasing medical technologies. Hospital-based health technology assessments (HB-HTAs) are used in healthcare facilities around the world to support management boards in providing relevant technologies for patients.Aim: This study was undertaken to update the existing body of knowledge on the characteristics of HB-HTA systems/models in the selected European countries. Insights gained from this study were used to provide an optimal approach for implementing HB-HTA in Poland.Materials and methods: Firstly, we carried out a systematic review in PubMed and embase. Secondly, we searched for gray literature via the AdHopHTA online handbook and the design book of the AdHopHTA project, as well as literature describing healthcare systems provided by the WHO. Then, we conducted in-depth interviews with HB-HTA experts from four countries. Finally, we selected ten countries from Europe and prepared frameworks for data collection and analyses.Results: The selected countries (Switzerland, Spain, France, Italy, Denmark, Finland, Sweden, the Netherlands, and Austria) are examples of decentralized or deconcentrated healthcare systems. In terms of HB-HTA, differences in organisational models (independent group, stand-alone, integrated-essential, integrated-specialised), type of financing (internally vs. externally), collaboration with an HTA National Agency and other stakeholders (e.g., Patients’ Associations) were identified. HB-HTA engages multi-skilled staff with various academic backgrounds and operates mainly on a voluntary basis.Conclusion: Strengths and weaknesses associated with various organisational models must be carefully considered in the context of support for decentralized or centralized models of implementation while embarking on HTA activities in Polish hospitals.

03—285 Ahmed, Mehreen (U. of Queensland, Australia). A note on phrase structure analysis and design implication for ICALL. Computer Assisted Language Learning (Lisse, The Netherlands), 15, 4 (2002), 423—33.03—286 Argaman, Osnat and Abu-Rabia, Salim (U. of Haifa, Israel). The influence of language anxiety on English reading and writing tasks among native Hebrew speakers. Language, Culture and Curriculum (Clevedon, UK), 15, 2 (2002), 143—60.03—287 Bielinska, Monika (Schlesische Universität, Katowice, Poland). Zu Semantischen Aspekten der Wortkombinatorik. [On semantic aspects of word combination.] Glottodidactica (Poznań, Poland), 28 (2002), 19—27.03—288 Bonci, Angelica (Royal Holloway, U. of London, UK). Collocational restrictions in Italian as a second language: A case control study. Tuttitalia (Rugby, UK), 26 (2002), 3—14.03—289 Brown, Charles Grant (U. of Northern British Columbia, Canada; Email: brownc@unbc.ca). Inferring and maintaining the learner model. 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SAMUEL C. COLLINS AWARD 2023 Prof. Dr. Ir. H.J.M (Marcel) ter Brake University of Twente, Faculty of Science and Technology The Netherlands In 1965 the Cryogenic Engineering Conference (CEC) established an award in honor of the late Samuel C. Collins, Professor of Mechanical Engineering at the Massachusetts Institute of Technology. One of Professor Collins’ most notable works is his invention of the modern helium liquefier. The Collins Award is awarded to an individual who has made outstanding contributions to the identification and solution of cryogenic engineering problems and has additionally demonstrated a concern for the cryogenic community through service and leadership. The award is open to persons regardless of national origin. The CEC Awards Committee reviewed multiple nomination packages for highly qualified individuals and selected Marcel ter Brake as the recipient of the 2023 Samuel C. Collins Award. Marcel ter Brake received his PhD in 1986 at the University of Twente (UT) for his work on a SQUID-based horizontal-access rock magnetometer. Following his PhD, he became member of the Low Temperature Division at UT. Focus of his work was the realization of a Biomagnetic Center equipped with a magnetically shielded room and home-made multichannel SQUID-based neuromagnetometers. These magnetometers were all liquid-helium cooled. The advent of high-temperature superconductivity in 1986 allowed the use of small cryocoolers that were available on the market. The interfacing of these coolers to ultra-sensitive devices such as SQUIDs became an important field of ter Brake’s research. In this ongoing research, MEMS technologies were applied to fabricate cryocooler components. In addition to microcooling he also researched sorption-based compressors combined with Joule-Thomson coolers. These sorption coolers are essentially vibration free and are of interest specifically for optical instruments in scientific space missions but can also be beneficial in terrestrial applications. Marcel ter Brake was appointed Associate Professor at UT in 2000, and Full Professor and chair holder of Energy, Materials and Systems at UT since January 1st, 2010. Next to cryogenic technologies, this research chair investigates the use of superconductivity in high-current applications, focusing on systems to be applied in future energy chains. Marcel’s recent work is on ejectors to achieve lower temperatures and higher system efficiency in JT coolers. His work on the fundamental understanding of counter flow heat exchangers (CFHXs) and the associated mechanisms of flow maldistribution for two-phase flow in JT microcoolers. He has done excellent work on the heat-triggered switching of two-phase flow maldistribution in the heat exchanger of JT microcoolers by using both microscopic and temperature measurements that led to solutions to the challenge. Marcel ter Brake had a 10% Professor appointment at the Technological University of Eindhoven (TUE) from September 2004 to September 2010. He founded the Cryogenics Society of Europe in 2015 and until present he chairs the Board of that Society. Furthermore, he is lifetime member of the Cryogenic Society of America, chairs the International Cryogenic Engineering Committee and is board member of the International Cryocooler Conference. He has supervised and (co)-promoted 19 PhD students, has published more than 200 papers, of which 115 in refereed journals, and written 5 book chapters. Based on Marcel ter Brake’s impact in terms of technical achievement, leadership, and service to the cryogenics community, in the opinion of the awards committee, Marcel is a perfect example of what the Sam Collins Award is meant to recognize. THE RUSSELL B. SCOTT MEMORIAL AWARDS The Russell B. Scott Memorial Awards honor the first head of the Cryogenic Engineering Laboratory of the Boulder Laboratories of the National Bureau of Standards, now the National Institute of Standards and Technology. Mr. Scott was the founder of the Cryogenic Engineering Conference (CEC), the first of which was held in 1954 in Boulder, Colorado. He is the author of the book Cryogenic Engineering, published by the Princeton press in 1959. Mr. Scott retired in 1965 after 37 years at NBS and died in 1967. The Scott Memorial Awards provide an incentive for the production and presentation of high-quality papers at the Cryogenic Engineering Conferences, and recognition of authors who, in the judgment of the CEC Board of Directors, presented the best papers at the proceeding conference. The papers are nominated by the reviewers and editors of the conference proceedings. In 2023, two awards for the best papers delivered at the 2021 CEC Virtual Conference, and published in the IOP Conference Series: Materials Science and Engineering, Vol. 1240, 2022, were presented at the 2023 Honolulu conference to the following: Best Paper for Cryogenic Engineering Research A Anand, A S Gour, T S Datta and V V Rao for their paper “50 kJ SMES magnet design optimization using real coded genetic algorithm” IOP Conference Series: Materials Science and Engineering, Vol. 1240, 2022; 012137 Best Paper for Cryogenic Engineering Applications I Wells, J Bussey, N Swets, L Reising, C Butikofer, G Wallace, S Kulsa and J Leachman for their paper “Liquid nitrogen removal of lunar regolith simulant from spacesuit simulants” IOP Conference Series: Materials Science and Engineering, Vol. 1240, 2022; 012003

Abstract STUDY QUESTION How should endometriosis be diagnosed and managed based on the best available evidence from published literature? SUMMARY ANSWER The current guideline provides 109 recommendations on diagnosis, treatments for pain and infertility, management of disease recurrence, asymptomatic or extrapelvic disease, endometriosis in adolescents and postmenopausal women, prevention and the association with cancer. WHAT IS KNOWN ALREADY Endometriosis is a chronic condition with a plethora of presentations in terms of not only the occurrence of lesions, but also the presence of signs and symptoms. The most important symptoms include pain and infertility. STUDY DESIGN, SIZE, DURATION The guideline was developed according to the structured methodology for development of ESHRE guidelines. After formulation of key questions by a group of experts, literature searches and assessments were performed. Papers published up to 1 December 2020 and written in English were included in the literature review. PARTICIPANTS/MATERIALS, SETTING, METHODS Based on the collected evidence, recommendations were formulated and discussed within specialist subgroups and then presented to the core guideline development group (GDG) until consensus was reached. A stakeholder review was organized after finalization of the draft. The final version was approved by the GDG and the ESHRE Executive Committee. MAIN RESULTS AND THE ROLE OF CHANCE This guideline aims to help clinicians to apply best care for women with endometriosis. Although studies mostly focus on women of reproductive age, the guideline also addresses endometriosis in adolescents and postmenopausal women. The guideline outlines the diagnostic process for endometriosis, which challenges laparoscopy and histology as gold standard diagnostic tests. The options for treatment of endometriosis-associated pain symptoms include analgesics, medical treatments and surgery. Non-pharmacological treatments are also discussed. For management of endometriosis-associated infertility, surgical treatment and/or medically assisted reproduction are feasible. While most of the more recent studies confirm previous ESHRE recommendations, there are five topics in which significant changes to recommendations were required and changes in clinical practice are to be expected. LIMITATIONS, REASONS FOR CAUTION The guideline describes different management options but, based on existing evidence, no firm recommendations could be formulated on the most appropriate treatments. Also, for specific clinical issues, such as asymptomatic endometriosis or extrapelvic endometriosis, the evidence is too scarce to make evidence-based recommendations. WIDER IMPLICATIONS OF THE FINDINGS The guideline provides clinicians with clear advice on best practice in endometriosis care, based on the best evidence currently available. In addition, a list of research recommendations is provided to stimulate further studies in endometriosis. STUDY FUNDING/COMPETING INTEREST(S) The guideline was developed and funded by ESHRE, covering expenses associated with the guideline meetings, with the literature searches and with the dissemination of the guideline. The guideline group members did not receive payments. C.M.B. reports grants from Bayer Healthcare and the European Commission; Participation on a Data Safety Monitoring Board or Advisory Board with ObsEva (Data Safety Monitoring Group) and Myovant (Scientific Advisory Group). A.B. reports grants from FEMaLE executive board member and European Commission Horizon 2020 grant; consulting fees from Ethicon Endo Surgery, Medtronic; honoraria for lectures from Ethicon; and support for meeting attendance from Gedeon Richter; A.H. reports grants from MRC, NIHR, CSO, Roche Diagnostics, Astra Zeneca, Ferring; Consulting fees from Roche Diagnostics, Nordic Pharma, Chugai and Benevolent Al Bio Limited all paid to the institution; a pending patent on Serum endometriosis biomarker; he is also Chair of TSC for STOP-OHSS and CERM trials. O.H. reports consulting fees and speaker’s fees from Gedeon Richter and Bayer AG; support for attending meetings from Gedeon-Richter, and leadership roles at the Finnish Society for Obstetrics and Gynecology and the Nordic federation of the societies of obstetrics and gynecology. L.K. reports consulting fees from Gedeon Richter, AstraZeneca, Novartis, Dr KADE/Besins, Palleos Healthcare, Roche, Mithra; honoraria for lectures from Gedeon Richter, AstraZeneca, Novartis, Dr KADE/Besins, Palleos Healthcare, Roche, Mithra; support for attending meetings from Gedeon Richter, AstraZeneca, Novartis, Dr KADE/Besins, Palleos Healthcare, Roche, Mithra; he also has a leadership role in the German Society of Gynecological Endocrinology (DGGEF). M.K. reports grants from French Foundation for Medical Research (FRM), Australian Ministry of Health, Medical Research Future Fund and French National Cancer Institute; support for meeting attendance from European Society for Gynaecological Endoscopy (ESGE), European Congress on Endometriosis (EEC) and ESHRE; She is an advisory Board Member, FEMaLe Project (Finding Endometriosis Using Machine Learning), Scientific Committee Chair for the French Foundation for Research on Endometriosis and Scientific Committee Chair for the ComPaRe-Endometriosis cohort. A.N. reports grants from Merck SA and Ferring; speaker fees from Merck SA and Ferring; support for meeting attendance from Merck SA; Participation on a Data Safety Monitoring Board or Advisory Board with Nordic Pharma and Merck SA; she also is a board member of medical advisory board, Endometriosis Society, the Netherlands (patients advocacy group) and an executive board member of the World Endometriosis Society. E.S. reports grants from National Institute for Health Research UK, Rosetrees Trust, Barts and the London Charity; Royalties from De Gruyter (book editor); consulting fees from Hologic; speakers fees from Hologic, Johnson & Johnson, Medtronic, Intuitive, Olympus and Karl Storz; Participation in the Medicines for Women’s Health Expert Advisory Group with Medicines and Healthcare Products Regulatory Agency (MHRA); he is also Ambassador for the World Endometriosis Society. C.T. reports grants from Merck SA; Consulting fees from Gedeon Richter, Nordic Pharma and Merck SA; speaker fees from Merck SA, all paid to the institution; and support for meeting attendance from Ferring, Gedeon Richter and Merck SA. The other authors have no conflicts of interest to declare. DISCLAIMER This guideline represents the views of ESHRE, which were achieved after careful consideration of the scientific evidence available at the time of preparation. In the absence of scientific evidence on certain aspects, a consensus between the relevant ESHRE stakeholders has been obtained. Adherence to these clinical practice guidelines does not guarantee a successful or specific outcome, nor does it establish a standard of care. Clinical practice guidelines do not replace the need for application of clinical judgement to each individual presentation, nor variations based on locality and facility type. ESHRE makes no warranty, express or implied, regarding the clinical practice guidelines and specifically excludes any warranties of merchantability and fitness for a particular use or purpose (Full disclaimer available at www.eshre.eu/guidelines.).

IntroductionFirmly located within the discourse of visible culture as the lofty preserve of art exhibitions and museum artefacts, the noun “curate” has gradually transformed into the verb “to curate”. Williams writes that “curate” has become a fashionable code word among the aesthetically minded to describe a creative activity. Designers no longer simply sell clothes; they “curate” merchandise. Chefs no longer only make food; they also “curate” meals. Chosen for their keen eye for a particular style or a precise shade, it is their knowledge of their craft, their reputation, and their sheer ability to choose among countless objects which make the creative process a creative activity in itself. Writing from within the framework of “curate” as a creative process, this article discusses how the state banquet for Queen Elizabeth II, hosted by Irish President Mary McAleese at Dublin Castle in May 2011, was carefully curated to represent Ireland’s diplomatic, cultural, and culinary identity. The paper will focus in particular on how the menu for the banquet was created and how the banquet’s brief, “Ireland on a Plate”, was fulfilled.History and BackgroundFood has been used by nations for centuries to display wealth, cement alliances, and impress foreign visitors. Since the feasts of the Numidian kings (circa 340 BC), culinary staging and presentation has belonged to “a long, multifaceted and multicultural history of diplomatic practices” (IEHCA 5). According to the works of Baughman, Young, and Albala, food has defined the social, cultural, and political position of a nation’s leaders throughout history.In early 2011, Ross Lewis, Chef Patron of Chapter One Restaurant in Dublin, was asked by the Irish Food Board, Bord Bía, if he would be available to create a menu for a high-profile banquet (Mahon 112). The name of the guest of honour was divulged several weeks later after vetting by the protocol and security divisions of the Department of the Taoiseach (Prime Minister) and the Department of Foreign Affairs and Trade. Lewis was informed that the menu was for the state banquet to be hosted by President Mary McAleese at Dublin Castle in honour of Queen Elizabeth II’s visit to Ireland the following May.Hosting a formal banquet for a visiting head of state is a key feature in the statecraft of international and diplomatic relations. Food is the societal common denominator that links all human beings, regardless of culture (Pliner and Rozin 19). When world leaders publicly share a meal, that meal is laden with symbolism, illuminating each diner’s position “in social networks and social systems” (Sobal, Bove, and Rauschenbach 378). The public nature of the meal signifies status and symbolic kinship and that “guest and host are on par in terms of their personal or official attributes” (Morgan 149). While the field of academic scholarship on diplomatic dining might be young, there is little doubt of the value ascribed to the semiotics of diplomatic gastronomy in modern power structures (Morgan 150; De Vooght and Scholliers 12; Chapple-Sokol 162), for, as Firth explains, symbols are malleable and perfectly suited to exploitation by all parties (427).Political DiplomacyWhen Ireland gained independence in December 1921, it marked the end of eight centuries of British rule. The outbreak of “The Troubles” in 1969 in Northern Ireland upset the gradually improving environment of British–Irish relations, and it would be some time before a state visit became a possibility. Beginning with the peace process in the 1990s, the IRA ceasefire of 1994, and the Good Friday Agreement in 1998, a state visit was firmly set in motion by the visit of Irish President Mary Robinson to Buckingham Palace in 1993, followed by the unofficial visit of the Prince of Wales to Ireland in 1995, and the visit of Irish President Mary McAleese to Buckingham Palace in 1999. An official invitation to Queen Elizabeth from President Mary McAleese in March 2011 was accepted, and the visit was scheduled for mid-May of the same year.The visit was a highly performative occasion, orchestrated and ordained in great detail, displaying all the necessary protocol associated with the state visit of one head of state to another: inspection of the military, a courtesy visit to the nation’s head of state on arrival, the laying of a wreath at the nation’s war memorial, and a state banquet.These aspects of protocol between Britain and Ireland were particularly symbolic. By inspecting the military on arrival, the existence of which is a key indicator of independence, Queen Elizabeth effectively demonstrated her recognition of Ireland’s national sovereignty. On making the customary courtesy call to the head of state, the Queen was received by President McAleese at her official residence Áras an Uachtaráin (The President’s House), which had formerly been the residence of the British monarch’s representative in Ireland (Robbins 66). The state banquet was held in Dublin Castle, once the headquarters of British rule where the Viceroy, the representative of Britain’s Court of St James, had maintained court (McDowell 1).Cultural DiplomacyThe state banquet provided an exceptional showcase of Irish culture and design and generated a level of preparation previously unseen among Dublin Castle staff, who described it as “the most stage managed state event” they had ever witnessed (Mahon 129).The castle was cleaned from top to bottom, and inventories were taken of the furniture and fittings. The Waterford Crystal chandeliers were painstakingly taken down, cleaned, and reassembled; the Killybegs carpets and rugs of Irish lamb’s wool were cleaned and repaired. A special edition Newbridge Silverware pen was commissioned for Queen Elizabeth and Prince Philip to sign the newly ordered Irish leather-bound visitors’ book. A new set of state tableware was ordered for the President’s table. Irish manufacturers of household goods necessary for the guest rooms, such as towels and soaps, hand creams and body lotions, candle holders and scent diffusers, were sought. Members of Her Majesty’s staff conducted a “walk-through” several weeks in advance of the visit to ensure that the Queen’s wardrobe would not clash with the surroundings (Mahon 129–32).The promotion of Irish manufacture is a constant thread throughout history. Irish linen, writes Kane, enjoyed a reputation as far afield as the Netherlands and Italy in the 15th century, and archival documents from the Vaucluse attest to the purchase of Irish cloth in Avignon in 1432 (249–50). Support for Irish-made goods was raised in 1720 by Jonathan Swift, and by the 18th century, writes Foster, Dublin had become an important centre for luxury goods (44–51).It has been Irish government policy since the late 1940s to use Irish-manufactured goods for state entertaining, so the material culture of the banquet was distinctly Irish: Arklow Pottery plates, Newbridge Silverware cutlery, Waterford Crystal glassware, and Irish linen tablecloths. In order to decide upon the table setting for the banquet, four tables were laid in the King’s Bedroom in Dublin Castle. The Executive Chef responsible for the banquet menu, and certain key personnel, helped determine which setting would facilitate serving the food within the time schedule allowed (Mahon 128–29). The style of service would be service à la russe, so widespread in restaurants today as to seem unremarkable. Each plate is prepared in the kitchen by the chef and then served to each individual guest at table. In the mid-19th century, this style of service replaced service à la française, in which guests typically entered the dining room after the first course had been laid on the table and selected food from the choice of dishes displayed around them (Kaufman 126).The guest list was compiled by government and embassy officials on both sides and was a roll call of Irish and British life. At the President’s table, 10 guests would be served by a team of 10 staff in Dorchester livery. The remaining tables would each seat 12 guests, served by 12 liveried staff. The staff practiced for several days prior to the banquet to make sure that service would proceed smoothly within the time frame allowed. The team of waiters, each carrying a plate, would emerge from the kitchen in single file. They would then take up positions around the table, each waiter standing to the left of the guest they would serve. On receipt of a discreet signal, each plate would be laid in front of each guest at precisely the same moment, after which the waiters would then about foot and return to the kitchen in single file (Mahon 130).Post-prandial entertainment featured distinctive styles of performance and instruments associated with Irish traditional music. These included reels, hornpipes, and slipjigs, voice and harp, sean-nόs (old style) singing, and performances by established Irish artists on the fiddle, bouzouki, flute, and uilleann pipes (Office of Public Works).Culinary Diplomacy: Ireland on a PlateLewis was given the following brief: the menu had to be Irish, the main course must be beef, and the meal should represent the very best of Irish ingredients. There were no restrictions on menu design. There were no dietary requirements or specific requests from the Queen’s representatives, although Lewis was informed that shellfish is excluded de facto from Irish state banquets as a precautionary measure. The meal was to be four courses long and had to be served to 170 diners within exactly 1 hour and 10 minutes (Mahon 112). A small army of 16 chefs and 4 kitchen porters would prepare the food in the kitchen of Dublin Castle under tight security. The dishes would be served on state tableware by 40 waiters, 6 restaurant managers, a banqueting manager and a sommélier. Lewis would be at the helm of the operation as Executive Chef (Mahon 112–13).Lewis started by drawing up “a patchwork quilt” of the products he most wanted to use and built the menu around it. The choice of suppliers was based on experience but also on a supplier’s ability to deliver perfectly ripe goods in mid-May, a typically black spot in the Irish fruit and vegetable growing calendar as it sits between the end of one season and the beginning of another. Lewis consulted the Queen’s itinerary and the menus to be served so as to avoid repetitions. He had to discard his initial plan to feature lobster in the starter and rhubarb in the dessert—the former for the precautionary reasons mentioned above, and the latter because it featured on the Queen’s lunch menu on the day of the banquet (Mahon 112–13).Once the ingredients had been selected, the menu design focused on creating tastes, flavours and textures. Several draft menus were drawn up and myriad dishes were tasted and discussed in the kitchen of Lewis’s own restaurant. Various wines were paired and tasted with the different courses, the final choice being a Château Lynch-Bages 1998 red and a Château de Fieuzal 2005 white, both from French Bordeaux estates with an Irish connection (Kellaghan 3). Two months and two menu sittings later, the final menu was confirmed and signed off by state and embassy officials (Mahon 112–16).The StarterThe banquet’s starter featured organic Clare Island salmon cured in a sweet brine, laid on top of a salmon cream combining wild smoked salmon from the Burren and Cork’s Glenilen Farm crème fraîche, set over a lemon balm jelly from the Tannery Cookery School Gardens, Waterford. Garnished with horseradish cream, wild watercress, and chive flowers from Wicklow, the dish was finished with rapeseed oil from Kilkenny and a little sea salt from West Cork (Mahon 114). Main CourseA main course of Irish beef featured as the pièce de résistance of the menu. A rib of beef from Wexford’s Slaney Valley was provided by Kettyle Irish Foods in Fermanagh and served with ox cheek and tongue from Rathcoole, County Dublin. From along the eastern coastline came the ingredients for the traditional Irish dish of smoked champ: cabbage from Wicklow combined with potatoes and spring onions grown in Dublin. The new season’s broad beans and carrots were served with wild garlic leaf, which adorned the dish (Mahon 113). Cheese CourseThe cheese course was made up of Knockdrinna, a Tomme style goat’s milk cheese from Kilkenny; Milleens, a Munster style cow’s milk cheese produced in Cork; Cashel Blue, a cow’s milk blue cheese from Tipperary; and Glebe Brethan, a Comté style cheese from raw cow’s milk from Louth. Ditty’s Oatmeal Biscuits from Belfast accompanied the course.DessertLewis chose to feature Irish strawberries in the dessert. Pat Clarke guaranteed delivery of ripe strawberries on the day of the banquet. They married perfectly with cream and yoghurt from Glenilen Farm in Cork. The cream was set with Irish Carrageen moss, overlaid with strawberry jelly and sauce, and garnished with meringues made with Irish apple balsamic vinegar from Lusk in North Dublin, yoghurt mousse, and Irish soda bread tuiles made with wholemeal flour from the Mosse family mill in Kilkenny (Mahon 113).The following day, President McAleese telephoned Lewis, saying of the banquet “Ní hé go raibh sé go maith, ach go raibh sé míle uair níos fearr ná sin” (“It’s not that it was good but that it was a thousand times better”). The President observed that the menu was not only delicious but that it was “amazingly articulate in terms of the story that it told about Ireland and Irish food.” The Queen had particularly enjoyed the stuffed cabbage leaf of tongue, cheek and smoked colcannon (a traditional Irish dish of mashed potatoes with curly kale or green cabbage) and had noted the diverse selection of Irish ingredients from Irish artisans (Mahon 116). Irish CuisineWhen the topic of food is explored in Irish historiography, the focus tends to be on the consequences of the Great Famine (1845–49) which left the country “socially and emotionally scarred for well over a century” (Mac Con Iomaire and Gallagher 161). Some commentators consider the term “Irish cuisine” oxymoronic, according to Mac Con Iomaire and Maher (3). As Goldstein observes, Ireland has suffered twice—once from its food deprivation and second because these deprivations present an obstacle for the exploration of Irish foodways (xii). Writing about Italian, Irish, and Jewish migration to America, Diner states that the Irish did not have a food culture to speak of and that Irish writers “rarely included the details of food in describing daily life” (85). Mac Con Iomaire and Maher note that Diner’s methodology overlooks a centuries-long tradition of hospitality in Ireland such as that described by Simms (68) and shows an unfamiliarity with the wealth of food related sources in the Irish language, as highlighted by Mac Con Iomaire (“Exploring” 1–23).Recent scholarship on Ireland’s culinary past is unearthing a fascinating story of a much more nuanced culinary heritage than has been previously understood. This is clearly demonstrated in the research of Cullen, Cashman, Deleuze, Kellaghan, Kelly, Kennedy, Legg, Mac Con Iomaire, Mahon, O’Sullivan, Richman Kenneally, Sexton, and Stanley, Danaher, and Eogan.In 1996 Ireland was described by McKenna as having the most dynamic cuisine in any European country, a place where in the last decade “a vibrant almost unlikely style of cooking has emerged” (qtd. in Mac Con Iomaire “Jammet’s” 136). By 2014, there were nine restaurants in Dublin which had been awarded Michelin stars or Red Ms (Mac Con Iomaire “Jammet’s” 137). Ross Lewis, Chef Patron of Chapter One Restaurant, who would be chosen to create the menu for the state banquet for Queen Elizabeth II, has maintained a Michelin star since 2008 (Mac Con Iomaire, “Jammet’s” 138). Most recently the current strength of Irish gastronomy is globally apparent in Mark Moriarty’s award as San Pellegrino Young Chef 2015 (McQuillan). As Deleuze succinctly states: “Ireland has gone mad about food” (143).This article is part of a research project into Irish diplomatic dining, and the author is part of a research cluster into Ireland’s culinary heritage within the Dublin Institute of Technology. The aim of the research is to add to the growing body of scholarship on Irish gastronomic history and, ultimately, to contribute to the discourse on the existence of a national cuisine. If, as Zubaida says, “a nation’s cuisine is its court’s cuisine,” then it is time for Ireland to “research the feasts as well as the famines” (Mac Con Iomaire and Cashman 97).ConclusionThe Irish state banquet for Queen Elizabeth II in May 2011 was a highly orchestrated and formalised process. From the menu, material culture, entertainment, and level of consultation in the creative content, it is evident that the banquet was carefully curated to represent Ireland’s diplomatic, cultural, and culinary identity.The effects of the visit appear to have been felt in the years which have followed. Hennessy wrote in the Irish Times newspaper that Queen Elizabeth is privately said to regard her visit to Ireland as the most significant of the trips she has made during her 60-year reign. British Prime Minister David Cameron is noted to mention the visit before every Irish audience he encounters, and British Foreign Secretary William Hague has spoken in particular of the impact the state banquet in Dublin Castle made upon him. Hennessy points out that one of the most significant indicators of the peaceful relationship which exists between the two countries nowadays was the subsequent state visit by Irish President Michael D. Higgins to Britain in 2013. This was the first state visit to the United Kingdom by a President of Ireland and would have been unimaginable 25 years ago. The fact that the President and his wife stayed at Windsor Castle and that the attendant state banquet was held there instead of Buckingham Palace were both deemed to be marks of special favour and directly attributed to the success of Her Majesty’s 2011 visit to Ireland.As the research demonstrates, eating together unites rather than separates, gathers rather than divides, diffuses political tensions, and confirms alliances. It might be said then that the 2011 state banquet hosted by President Mary McAleese in honour of Queen Elizabeth II, curated by Ross Lewis, gives particular meaning to the axiom “to eat together is to eat in peace” (Taliano des Garets 160).AcknowledgementsSupervisors: Dr Máirtín Mac Con Iomaire (Dublin Institute of Technology) and Dr Michael Kennedy (Royal Irish Academy)Fáilte IrelandPhotos of the banquet dishes supplied and permission to reproduce them for this article kindly granted by Ross Lewis, Chef Patron, Chapter One Restaurant ‹http://www.chapteronerestaurant.com/›.Illustration ‘Ireland on a Plate’ © Jesse Campbell BrownRemerciementsThe author would like to thank the anonymous reviewers for their feedback and suggestions on an earlier draft of this article.ReferencesAlbala, Ken. The Banquet: Dining in the Great Courts of Late Renaissance Europe. 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Introduction A 2021 listicle pronouncing “10 Things That Are Bisexual Culture” concludes that “claiming that random things are ‘bi culture’ is the most bi-culture thing of all” (Wilber n.p.). While posed as tongue-in-cheek, the assignment of status as a signifier of bisexuality to seemingly arbitrary actions and items reinforces the notion that bi people seek a distinct visual and cultural identity and struggle to make one. We consider how creators on the algorithmically driven social media platform TikTok responded to an open-ended 2019 prompt (“ayo, bisexual check”) to show off styles and accessories that project a bisexual display, and how these videos, understood collectively, contribute to the cohesion of a prototype for a bisexual social uniform. By social uniform, we refer to informally standardised clothing that identifies members of a group but lacks the bureaucratic regulation of an institutional uniform (Joseph). This lens is productive for interpreting subcultural dress norms, including those of queer identities at various scopes (e.g. Nelson, “Here”; Stines). The development of these social uniforms can allow for stronger group coherence and provide individuals with “self-esteem through conformity” with one’s group and “self-regard by conflict” with other groups (Joseph 74). There is added utility to this signalling for queer people as a means to seek community and partnership against a societal backdrop of stigmatisation (Brennan). Being able to identify who is like oneself at a glance lets one know when and where one is safe to outwardly present an authentic version of oneself (Huxley and Hayfield; Rostosky et al.; Wang and Feinstein). Bisexual communities notably lack such a uniform (Hayfield, Bisexual; Hayfield, “Invisibility”; Hayfield, “Never”; Hayfield and Wood; Huxley et al.). While bi people have expressed interest in having a distinct, coherent aesthetic or set of visual markers to express their bisexuality and recognise others as specifically bisexual, they have encountered obstacles towards the establishment of such a bi uniform (Madison, “Representing”; Nelson, “What”). The conception of homosexuality and heterosexuality as a binary leaves little room for the notion of bisexuality at all (Nelson, “Here”). In instances when people do attempt to stake a claim to a specifically bisexual visual identity, the result tends to be read binaristically nonetheless (Daly et al.; Hartman; Hayfield, Bisexual; Morgan and Davis-Delano; Nelson, “What”). Attempts to visually “split the middle” of established gay and straight styles have thus historically failed, with onlookers (even bisexual onlookers) either assuming the bi person in question is gay or straight (Hartman). Rosie Nelson goes so far as to contend that “the body of the bisexual is incapable of declaring itself outwardly bisexual to a monosexist society” (“Here” 87). In other words, Nelson argues that a distinctly bi visual identity—a bi social uniform—may be impossible so long as bisexuality remains invisible in broader discourses of sexual orientation and that only improved or increased representations of bisexuality in media, law, research, and culture can foment the conditions for bisexual visibility in the most literal sense (“Here”). TikTok’s Bisexual Displays Within this context of binary assumptions of gender and sexual orientation, Julie Hartman-Linck conceived the “bisexual display” (Hartman 39). By analogy with gender display as theorised by Lorber and building on Goffman’s construction of identity performance, the bisexual display refers to attempts to project a bisexual identity “using the accoutrements of gender, as well as more direct visual and verbal cues” (Hartman 43). Bisexuality is discursively erased, and even seemingly straightforward attempts to make bi identities known are often misconstrued by observers, either through ignorance (e.g., unfamiliarity with the significance of the bi pride flag) or through willful disbelief (e.g., doubt in the authenticity of bisexuality / the bisexual; see Alarie and Gaudet). Therefore, analysis of bisexual display focusses on the intended effect of the performer rather than on the actual understandings of their audiences: bisexual display offers a productive theoretical lens through which to consider how a bisexual identity is intentionally fashioned, even if attempts to fashion the bisexual identity may be misunderstood or ignored. Emiel Maliepaard, in his research on bisexual geographies, argues that bisexual spaces are “temporal, local and (often) unplanned” (47). We identified one such space on TikTok, an algorithmically driven video-centric social media platform. TikTok affords creators a great deal of power to respond to and remix other creators’ content, most prominently with the “use this sound” function which lets creators incorporate audio either originating from or used in another video (colloquially a TikTok) into their own (Abidin and Kaye). The memetic process of (re)using a sound with some amount of variation generates a constituency of creators and other users whose participation in the video creation and engagement process aligns with what Zulli and Zulli theorised as TikTok’s imitation publics: “a collection of people whose digital connectivity is constituted through the shared ritual of content imitation and replication” (1882). These imitation publics in turn may spawn these temporal, local, and unplanned spaces, including virtual bisexual spaces. Here, we conducted a content analysis of 50 short videos posted in 2019 with over 1,000 likes using the “ayo, bisexual check” (“ABC”) sound, which was first uploaded in late March 2019. The originator of the sound posted a video of themselves saying “ayo, bisexual check” and then showing off certain elements of clothing and reifying or countering certain stereotypes about bi identity. When other creators subsequently began to use the sound and associated format to do the same, they constituted the “ABC” sound’s imitation public. While there are multiple possible ways creators might have understood the prompt of a “bisexual check” (e.g., as encouraging them to dress in a way that projects their own bisexuality; to dress in a way that projects bisexuality most legibly to other bisexual or nonbisexual people; to dress in a way that feels most comfortable to them, as a bisexual; etc.), the intention behind these videos can be understood broadly to display some bisexual identity. The simple and direct nature of the prompt (“bisexual check”) generates the virtual “bisexual space”, both “highly temporal and specific” (Maliepaard 59). This space both offers an open-ended venue for creators to engage with a culture of visual identity, and maximises the potential for audiences to read what transpires in the videos as demonstrative (if not constitutive) of bisexual identity. By creating these TikToks, users are not waiting for more or better bisexual representation on TikTok but instead are actively embodying it, responding to the need identified by Nelson. Elements of the Bisexual Check At the broadest level, creators in the 50 sampled videos primarily showcased discrete fashion elements or accessories, rather than entire outfits. The structure of “ABC” TikToks allowed creators to draw attention to specific pieces of clothing, jewelry, haircuts and styles, makeup looks, and ways of fashioning clothes (see fig. 1 for an example). This mode of engaging with the “bisexual check” challenge differs from the mode of engagement we saw in videos using the “ABC” sound posted after 2019; while onscreen text, closed captions, and video descriptions in TikToks posted in 2019 were primarily in English, text in videos posted in 2020 and later was mostly in Tagalog. This suggested that 2019 and post-2019 TikToks emerged from distinct and separate cultural contexts; despite using the same “ABC” sound, they represented different imitation publics. The post-2019 videos tended to show their creators posing for one or several shots without focussing on particular elements of their outfits, instead displaying their looks as a whole. The later videos offer a useful variation in memetic content and stance (Shifman), a contrast which permits us to understand the 2019 “ABC” videos as attempts to display bisexuality chiefly through discrete visual markers (e.g., fashion elements). Fig. 1: A screencap from the authors’ mocked-up “ABC” TikTok in which the creator uses a fingergun to showcase their cuffed jeans. Studies of bi people in the past two decades (almost all of which have been about bi women; see Clarke et al., though see Rogers for a recent exception) have identified several ways bi subjects attempt to make their bisexuality known in the face of overwhelming invisibility. Hayfield summarised research about bi women’s fashion, documenting styles that are “funky, flamboyant, or associated with alternative looks and looking (e.g., hippie, Goth, punk, and so on) including through piercings and tattoos” (“Invisibility” 180). Hartman-Linck recorded bi women using bumper stickers, pride flags and pride flag iconography, pins, and jewelry using the pink-purple-blue bi pride flag design, as well as a general playfulness with specific gendered markers (Hartman). Madison likewise found bi people using the bi pride flag design and colours on clothes and jewelry, as well as bi-specific iconography like the biangles (overlapping pink and blue triangles that generate a smaller purple triangle between them), interlocking Mars and Venus signs (⚤), and pun-based symbols like the “bisexuwhale” (“Representing” 151–3). More recently, the Internet has been a fruitful venue for discussions among bisexuals about a visual culture (Madison, “Bisexual”); discourse among bisexual people on social media sites like Twitter and Tumblr has generated some seemingly novel styles and fashions that have been highlighted as specifically bi looks. A 2017 tweet about jeans cuffed at the ankles (see fig. 1) and baggy shirts tucked in at the waist being “bisexual culture” has been mentioned in numerous popular news articles and blogs (e.g., Cao; Wilber). A Tumblr post from around the same time with images of three fictional characters sporting neck-length hairstyles cut straight at the bottoms appears to have been the genesis of the “bisexual bob”, a bob haircut worn by a bi person (usually a woman) that received similar coverage and discussion to the cuffed jeans and tucked-in shirts tweet (e.g., Locke; Vandervalk; Wilber). Other items identified in listicles as constituting “bi culture” include: being unable to sit in chairs “correctly”, dyed pink hair, puns, Converse brand shoes, plaid shirts, outer space, (excessive) use of the bi pride flag and colours, and anxiety disorders. Within our sample, we identified an uptake of these nascent bi fashions, with 62% of videos featuring clothing being cuffed (most frequently jeans), 36% of videos highlighting shirts tucked into pants, and 20% of videos demonstrating bi bobs. More explicit iconography like bi pride flags and colours (what Hartman-Linck referred to as “sign equipment” in her conceptualisation of bisexual display) appeared in 16% of videos, compared to more general rainbow iconography, which showed up in 20% of them (Hartman). Button-down shirts appeared in 34% of videos, and both floral print shirts and Converse shoes appeared in 18% of the total corpus. Nose piercings actively contributed to the “bisexual check” in 12% of sampled TikToks, while a full-body dress appeared in just one video (2%). We identified no instances of biangles, interlocking Mars and Venus signs, or punny sign equipment. Display Becoming Prototype, Prototype Becoming Uniform Interpreting “ABC” videos as bisexual displays on the individual level and conceptualising the community of “ABC” creators and engagers as an imitation public allows us to understand the process taking place as social identity work, “the construction of identities for groups of people” (Eschler and Menking 2). Eschler and Menking (drawing upon Donath as well as Schwalbe and Mason-Schrock) argued that for social identities (like bisexuality), certain memes can offer prototypes: “a set of minimal social cues that a person can use to infer other information about an individual’s social world” (9). Similarly, Joseph argued that for any complex of sartorial meaning, there is a minimal symbol: “the least symbol necessary to suggest a uniform” (24). By their nature, prototypes (or minimal symbols) will be limited to the fewest key elements required to demarcate a social identity. TikTok creators have the capacity to share their own “bisexual checks” with the “use this sound” feature or duet other creators’ videos to mirror or counter elements of the original creators’ checks in their own lives. Further, even if not posting their own “ABC” content, users have the ability to share, comment on, and like TikToks to engage with a creator’s bisexual display. Each new “ABC” video accomplishes what Rogers identified in his research on images of bi men on Instagram: they “add to a discourse and visual culture of bisexuality that both describes and prescribes the visual forms in which bisexuality appears” (366). Each contribution introduces a new, or more likely reifies an existing (if nascent) indicator of a bisexual identity. It is no surprise, then, that visual indicators that had already garnered some popular support within online bisexual spaces (bi bobs, cuffed jeans, tucked-in shirts) were among the most common in our sample. Still, a fashion choice having already entered the bisexual public consciousness does not solely explain why it recurred in our sample while other choices and items mentioned in listicles did not. The userbase of creators who tend to achieve virality on TikTok skews young, white, wealthy, and female (Boffone; Kennedy), so styles favoured by bi people who share at least some of these identities (e.g., white teen or twentysomething girls and women with personal or familial wealth) are likely to recur more frequently and receive increased engagement from the broader TikTok userbase, which also skews young and female (Cyca). Anecdotally, this demographic picture of TikTok mirrored our sample, suggesting that markers posited by creators and received by users were most likely to reflect the tastes and norms of young, white, and female creators. Indeed, one of the few nonwhite “ABC” creators was the only person in our sample to use the sound to argue against the core premise of the videos, contending that all one needed to be bisexual was attraction to people of multiple genders rather than any of the specific visual markers posed by others in the sample. While a universal “bisexual check” is suggested by the sparse wording of the challenge, the resulting videos nonetheless demonstrate a specific racially, temporally, and culturally positioned understanding of bi identity. Just because anyone has the capacity to contribute their own vision of the “bisexual check” does not mean that all “ABC” videos will land with equal frequency on users’ For You Page feeds (TikTok’s “homepage” where videos are algorithmically delivered to users; see Simpson and Semaan), nor enjoy the same volume of attention from TikTok’s userbase. Eschler and Menking consider the prototype to be “the least common denominator” (9), meaning that users will take the few most common elements shared amongst the “ABC” videos as symbols of a bisexual style. That the top “ABC” videos (those we sampled) heavily skew young, white, and female means that a bi uniform emerges from elements favoured by users sharing those demographics. Our mode of investigating this sound’s videos (moving systematically through all the videos using the “ABC” sound from most liked to less liked) does not contravene the affordances of TikTok’s platform but is somewhat outside of the app’s environment of expected use (Light et al.), which we understand to be either scrolling through the user’s For You Page or receiving and viewing TikToks messaged privately by friends. Still, users in these settings served two or more “ABC” videos are likely to consciously or unconsciously begin to identify the prototypical elements of a bisexual look as being those shared across multiple videos: the most frequently recurring markers creators choose to share as part of their bisexual displays reify existing styles already identified as “bi looks” or introduce new ones to the viewer. Through the continuous and repeated proposal of bisexual looks, the prototype emerges for a bisexual uniform. These accoutrements (cuffed sleeves and pantlegs, especially on jeans, bi bob haircuts, tucked-in shirts) point towards a bi uniform that is put-together and favours clothes like jeans and button-down shirts that are commonly worn across genders. That a bisexual uniform that may be comfortably worn by members of any gender follows logically from the necessity for a bi look that is both shaped by and liable to be worn by bisexuals, who may be of any gender. Further, this bi uniform emphasises alterations that may be undertaken on items commonly already held rather than distinct new pieces that must first be acquired. This may be one reason that creators favoured these styles, rather than more blatant sign equipment like pins or shirts with bi iconography on them: they were simply more likely to have jeans in their closet than a biangles T-shirt. The creators in our sample, regardless of the specific accoutrements displayed, answered Nelson’s call for increased and better bisexual representation, building one of many possible images for how bi people can fashion themselves (“Here”). The “ABC” imitation public’s collagic vision of a bisexual uniform may, in the future, be adapted, rejected, or serve as inspiration for others in the endlessly cyclical process of identity formation and reinforcement. Conclusion We have sought to understand what TikTok users have accomplished through the creation of and engagement with “ABC” videos, both specifically (i.e., what are the predominant visual indicators across the most popular videos) and generally (i.e., what processes are taking place and how they contribute towards the establishment of a bisexual social uniform). Creators are unlikely to have set out with a larger project of developing a bi uniform in mind when posting their 15-second “ayo, bisexual check” videos, but as part of one of TikTok’s innumerable imitation publics, their personal bisexual displays nonetheless offer prototypes for what a bisexual uniform could be. Any single “ABC” video is an example of a creator using TikTok’s affordances to respond individually to an open-ended prompt, but taken collectively, a consensus about the least common denominators for a bisexual uniform begins to emerge. Whether this online effort to cohere bisexual style results in bi people being able to identify one another (and/or be identified by nonbisexuals) remains to be seen, but we hope this article provides both a useful record of styles favoured by bisexuals on TikTok in 2019 and a productive explanation of the way individual posts in TikTok’s ecosystem of imitation publics may begin to constitute a social uniform for a community whose members have historically lacked one. Acknowledgments Thanks to Elizabeth Fetterolf, Amy Giacomucci, Trevor Harty, and the editors and reviewers for helpful comments on earlier drafts of this article. All online sources have been archived via Archive.org. References Abidin, Crystal, and D. Bondy Valdovinos Kaye. “Audio Memes, Earworms, and Templatability: The ‘Aural Turn’ of Memes on TikTok.” Critical Meme Reader: Global Mutations of the Viral Image. Eds. Chloë Arkenbout, Jack Wilson, and Daniel de Zeeuw. 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