Academic literature on the topic 'Cheese Touch'

<p>Construction of new road network ring, was actually giving an indirect impact on the socio-economic to the surrounding population. The existence of Ambarawa Ring Road is alleged to give effect to the business group pancake merchants who are members of the UKM Mekar Sari.</p><p>The method used in this research is qualitative method with phenomenological approach. Researchers describe the research subjects are traders pancake incorporated in one business group SME Ngampin Ambarawa village called Mekar Sari totaling 40 people as actors who are the target of observation or informants in a study conducted by the researchers. In this study, the types and sources of data used are primary data and secondary data.</p><p>Negative impacts to the ring road is a decrease in turnover of each of the traders pancake that is because the users prefer to go straight through the roundabout Ambarawa while the positive impact that arises in the presence of a ring road, traders are more willing to be creative that is willing to innovate products with try flavors and display products such as jackfruit, banana and sow meses cheese. It is intended to draw back buyers. This area actually has the potential and the need to touch or redirection location lots crossed by vehicles. They just need a lot of people know that they are still there, and what they contributed still feasible to provide a sensation with their typical food when passing on the street Ambarawa.</p>

The perception of tactile stimuli on the face is modulated when subjects concurrently observe a face being touched; this effect is termed ‘Visual Remapping of Touch’, or the VRT effect, and might represent a visually evoked somatosensory activity. VRT effect is modulated by specific key information processed in face-to-face interactions: facial emotional expression. Indeed, tactile perception in healthy subjects is enhanced when viewing touch towards a fearful face compared to viewing touch towards neutral, happy or angry expressions. The fear-specific modulation of the VRT effect might be interpreted as an adaptive preferential enhancement of the somatosensory cortices in presence of fearful stimuli. The present experiment was designed to test whether the amygdala, a crucial neural site in fear perception, might contribute to this effect. Six epileptic patients (mean age: 20 years) with lesions to the amygdala due to temporal lobe resection received tactile stimuli near the perceptual threshold, either on their right, left or both cheeks. Concurrently, they watched several blocks of movies depicting a face with a neutral, happy or fearful expression that was touched or just approached by human fingers. Participants were asked to distinguish between felt unilateral and bilateral tactile stimulation. Tactile perception was enhanced when viewing touch only towards a neutral face, while no effect was found when patients viewed touch towards fearful or happy faces. Results of the present experiment suggest that the amygdala modulates the activity of the somatosensory cortices, playing a crucial role in mediating the fear-specific enhancement in the VRT effect.

The perception of tactile stimuli on the face is modulated if subjects concurrently observe a face being touched; this effect, termed visual remapping of touch (VRT), is maximum for observing one's own face. In the present fMRI study, we investigated the neural basis of the VRT effect. Participants in the scanner received tactile stimuli, near the perceptual threshold, on their right, left, or both cheeks. Concurrently, they watched movies depicting their own face, another person's face, or a ball that could be touched or only approached by human fingers. Participants were requested to distinguish between unilateral and bilateral tactile stimulation. Behaviorally, perception of tactile stimuli was modulated by viewing a tactile stimulation, with a stronger effect when viewing one's own face being touched. In terms of brain activity, viewing touch was related with an enhanced activity in the ventral intraparietal area. The specific effect of viewing touch on oneself was instead related with a reduced activity in both the ventral premotor cortex and the somatosensory cortex. The present findings suggest that VRT is supported by a network of fronto-parietal areas. The ventral intraparietal area might remap visual information about touch onto tactile processing. Ventral premotor cortex might specifically modulate multisensory interaction when sensory information is related to one's own body. Then this activity might back project to the somatosensory cortices, thus affecting tactile perception.

Current methods of measuring heart rate (HR) and oxygen levels (SPO2) require physical contact, are individualised, and for accurate oxygen levels may also require a blood test. No-touch or non-invasive technologies are not currently commercially available for use in healthcare settings. To date, there has been no assessment of a system that measures HR and SPO2 using commercial off-the-shelf camera technology that utilises R, G, B, and IR data. Moreover, no formal remote photoplethysmography studies have been performed in real-life scenarios with participants at home with different demographic characteristics. This novel study addresses all these objectives by developing, optimising, and evaluating a system that measures the HR and SPO2 of 40 participants. HR and SPO2 are determined by measuring the frequencies from different wavelength band regions using FFT and radiometric measurements after pre-processing face regions of interest (forehead, lips, and cheeks) from colour, IR, and depth data. Detrending, interpolating, hamming, and normalising the signal with FastICA produced the lowest RMSE of 7.8 for HR with the r-correlation value of 0.85 and RMSE 2.3 for SPO2. This novel system could be used in several critical care settings, including in care homes and in hospitals and prompt clinical intervention as required.

Pentalonia nigronervosa Coquerel (Hemiptera; Aphididae) is the main vector of banana bunchy top disease caused by Banana Bunchy Top Virus (BBTV). The disease is an important and most damaging disease to the crop because infected bananas fail to produce fruits. As the vector of BBTV, P. nigronervosa is able to lives not only on banana plants but also on others plants, especially those belong to Family Zingiberaceae. The objective of this research was to reveal the biology of P. nigronervosa on banana and other plant species belong to Family Zingiberaceae commonly found around banana cultivation areas. The research was conducted in the Laboratory of Entomology, Department of Plant Protection, Faculty of Agriculture, Sriwijaya University from June to December 2021. The research was an experimental research arranged in a Completely Randomized Design using plant species as treatment and was replicated 10 times of replications. Young suckers of banana and zingiberaceous plants were used to rear the banana aphid where all biological aspects of the aphid were observed. P. nigronervosa and the young suckers were placed in a transparent pot covered with transparent plastic with a window made from cheese cloth to facilitate air movement. Room temperature was set to approximately 25oC since the aphid grow and reproduce well under such temperature. The results showed that P. nigronervosa are able to live and reproduce not only on banana but also on seven species of Zingiberaceous plants with little variation of some morphological and biological parameters. The significant different was found between biological characteristics of the aphid lived on torch ginger and cardamom which had longer life cycle but smaller fecundity compared to other experimental hosts used in the research.

Media reports as well as existing (albeit limited) research suggest abusive work practices are common in restaurant kitchens. Kitchen abuse is explored in this case study, as ten experienced Swedish chefs were interviewed. Organisational culture theory is used to conceptualise the occupational culture of chefs, which is hypothesised to be of explanatory significance. The issue of abusive work practices is contrasted with workplace bullying literature. Results suggest abusive work practices do occur, but that certain rough jargon and authoritative management, that might be considered illegitimate in other workplace contexts, generally is expected and accepted among restaurant chefs. Contextual factors and the conditions of work, especially during intense service-periods, are thought to create certain demands on chefs, and particularly head chefs, that has formed various aspects of kitchen work. Chef culture seems adapted to these circumstances. A potential blind spot of the study is aspiring chefs that quit the profession shortly after entering. Not yet fully trained or accustomed to chef culture, this group faces an increased risk of ill-treatment, and they typically elude research. Overall, results suggest academic bullying concepts are problematic to apply on this case, and underscore the significance of contextual factors for understanding workplace abuse phenomena.

L’analyse du vocabulaire grec du visage dans l’ensemble des romans de Chariton, de Xénophon, de Longus, d’Héliodore et d’Achille Tatius a pour dessein de montrer l’intérêt certain, à la fois esthétique et sensoriel, porté à cette partie souveraine du corps. Quelle est donc l’importance accordée au visage du héros ou de l’héroïne ? Et de quelle manière le discours rend-il compte de son incarnation, de sa réalité organique ? Comment les visages des personnages interagissent-ils ? Parce que le visage se révèle une interface entre l’intime et le social, entre l’intériorité et l’expressivité, on peut se demander en quoi ce lieu privilégié du corps, à travers la description de l’aspect physique des personnages, caractérise leur éthos permanent ou communique au lecteur leurs émotions fugitives. Le visage s’offre aux regards et interpelle. Ses traits sont autant de signes à interpréter pour celui ou celle qui le regarde et dont il mobilise le système de reconnaissance et de représentation. Certes, la description physique des héroïnes comme celle des jeunes hommes ne se limite pas au visage. Mais, seul le visage, qui n’a rien d’incertain, d’irrégulier, de disharmonieux, est appelé à refléter les vertus des personnages mais aussi ses plus grandes souffrances. La mise en icônes de traits représentatifs des personnages s’inscrit dans la logique des procédures de description physique qui caractérise la culture romanesque. Le roman aime ainsi à représenter la beauté, en alliant aux manifestations physiques les émotions de l’âme. Les visages des héros romanesques grecs sont dévoilés dans une sorte de mosaïque à la fois anatomique et littéraire, évoquant les éléments fondamentaux qui les constituent. Ainsi, sans confondre visage et portrait, nous avons déconstruit le visage romanesque pour en montrer les diverses facettes, la palette des couleurs, les références littéraires intertextuelles et mythologiques mais aussi certains invariants, pour enfin mieux le reconstruire. Nous avons donc procédé à l’étude et à l’analyse du visage, non seulement comme entité mais en tant que visage morcelé, voire éclaté. L’étude approfondie des sens s’est attachée à souligner la passion, ses effets et les émotions du corps, entre plaisir et souffrance, entre affection et violence. Cette recherche a permis de souligner les éléments communs aux différents romanciers, mais aussi leur originalité d'écriture. L'importance accordée au visage et plus généralement au corps dans la narratologie laisse apparaître le reflet des valeurs de la société grecque de leur temps
The analysis of Greek vocabulary about the face in Chariton, Xenophon, Longus, Heliodorus and Achilles Tatius’s novels as a whole plans to show the definite interest, both aesthetic and sensory focused on this sovereign part of the body. So what is the importance attached to the hero or heroine’s faces? And how does the discourse explain its incarnation and organical reality? The face proves to be an interface between the private and social world, between interiority and expressiveness. So we can wonder how this privileged part of the body characterizes their permanent ethos ; we can wonder how it transmits their fleeting emotions to the reader, through the description of the physical look of the characters. The face catches attention. Its features mobilize the system of recognition and representation. Indeed the physical description of heroines as well as heroes is not limited to the face. But only the face, with nothing uncertain, irregular, disharmonious, is assigned to reflect the characters’ virtues but also their greatest suffering. « La mise en icônes »of characters’ representative features is part of the procedures of physical description that characterize the culture of the novel. Thus the novel likes to represent beauty by combining physical expressions with soul feeling. The faces of Greek novelistic heroes are revealed in a kind of mosaic at once anatomical and literary, evoking the basic elements that constitute them. Thus, without mixing up face and portrait, we have deconstructed the novelistic face to show its various facets, colour palette, intertextual literary and mythological references ; but also to show some invariants to, at last, rebuild it in a better way. We have therefore conducted a thorough study and analysis of the face not only as an entity but as a fragmented even blown up face. The detailed study of senses has endeavoured to emphasize passion and its effects, and show the emotions of the body between pleasure and suffering, affection and violence. On the one hand this research has permitted to highlight the elements common to the different novelists, their original writing and the importance granted to face and more generally to body in narratology. On the other hand it has led us to analyze the reflection of the values of the Greek society of their days

In a wine tasting, as soon as the wine touches our lips and mouth our brain creates the illusion that all the ensuing wine sensations are due to “taste” in the mouth. The wine touching the mouth gives rise to the sensations of “mouth feel”, due to a variety of sensory receptors in the tongue and cheeks. One of the most important is “astringency”, due to tannins which bind proteins and precipitate them, contributing to the “body” of the wine. Instruments are being developed that measure precipitation quantitatively, perhaps giving a glimpse of the future when many sensory qualities can also be measured instrumentally.

Chapter Five follows the halting, inspiring, and ultimately heartbreaking campaign of Robert F. Kennedy. Especially among poor minorities, he had a particular magnetism – at once shy, boyish, and tough. As part of his own evolution, he found himself most comfortable in black inner cities, on Indian reservations, or among striking Chicano workers. Yet the former Attorney General also preached “law-and-order,” winning cheers from white working class audiences. His assassination in the immediate aftermath of his California primary victory stained an already-marred year, with deep effects on the electorate’s moods and the candidates’ fortunes.

Abstract When things break down, they tend to do so spectacularly. I don’t just mean that bridges fall down, that ships sink, that cities are levelled by earthquakes. I mean that we may be left with stunningly rich patterns, sometimes on an awesome scale (Fig. 6.2). Cracks are amongst the most familiar of branching patterns. They are also amongst the least well understood. It is only very recently, in fact, that scientists have begun to understand why it is that cracks form at all. For a long time, the science of fracture and failure of materials limped along with just a handful of basic concepts, most of which failed to provide any predictive power for what was seen in the real world. This was much more than an academic embarrassment: society wanted strong, tough materials, but scientists still had no clear concept of what it was that made a material tough. They would earnestly apply what seemed to be sensible criteria, only to end up with substances ‘about as strong as stale hard cheese’. On the other hand, their experience with materials that were genuinely strong sometimes flew so much in the face of what seemed like common sense that they had some persuading to do. The materials scientist James Gordon, to whom I owe the acerbic quote above, recalls the response of a British Air Marshall in 1943 to the idea that Lancaster bombers were to have glass-fibre domes: ‘Glass!-Glass! I won’t have you putting glass on any of my bloody aeroplanes, blast you!’.

The world changed on January 9, 2007. It was the Macworld trade show in San Francisco, an annual showcase for Apple products, and founder Steve Jobs was about to introduce a new gadget. “Every once in a while, a revolutionary product comes along that changes everything,” announced Jobs. The Macworld audience had a Pavlovian expectation for something game-changing that day. In 1984 Apple introduced the Macintosh, which went on to transform computing and make the mouse a mainstream accessory. Then in 2001, the iPod arrived. “It didn’t just change the way we all listened to music. It changed the entire music industry,” Jobs reminded his audience. (This was no exaggeration. When Apple began offering individual songs for ninety-nine cents on its iTunes store, the era of record companies selling entire albums was shattered.) “Today, we’re introducing three revolutionary products. The first one is a wide-screen iPod with touch controls.” Jobs paused for dramatic effect. On cue, the audience broke into hearty applause. “The second,” continued Jobs, “is a revolutionary mobile phone.” This time, before he could pause, cheers rang out—with a louder, prolonged burst of clapping. Apple had never manufactured a phone before. “And the third,” he went on, as a big screen behind him mirrored his words, “is a breakthrough internet communications device.” A whoop, followed by a polite round of clapping; by now the audience was a bit confused at the deluge of new products. Jobs let his words hang in the air, teasing the crowd as it waited in anticipation. “So, three things,” he recapped, as the screen behind him showed three Apple icons representing an iPod, a phone, and the internet. “A wide-screen iPod with touch controls, a revolutionary mobile phone, and a breakthrough internet communications device.” Silence. “An iPod, a phone, and an internet communicator,” Jobs repeated, as the screen displayed each of those icons in the center, flipping to reveal the next one. The animations behind Jobs had been carefully choreographed to match his words.