Books on the topic 'Dual scale'

The book takes on a systematic treatment of dynamic decision making and performance measurement. The analytical foundations of the dynamic production technology are introduced and developed in detail for several primal representations of the technology with an emphasis on dynamic directional distance functions. Dynamic cost minimization and dynamic profit maximization are developed for primal and dual representations of the dynamic technology. A dynamic production environment can be characterized as one where current production decisions impact future production possibilities. Consequently, the dynamic perspective of production relationships necessarily involves the close interplay between stock and flow elements in the transformation process and how current decisions impact the changes in future stocks. Stock elements in the production transformation process can involve physical elements that can be effectively employed in the transformation process, which can include the stock of technical knowledge and expertise available to the decision maker during the decision period. The dynamic generalization of concepts measuring the production structure (e.g., economies of scale, economies of scope, capacity utilization) and performance (e.g., allocative, scale and technical inefficiency, productivity) are developed from primal and dual perspectives. As an important source of productivity growth, production efficiency analysis is the subject of countless studies. Yet, theoretical and empirical studies focusing on production efficiency have ignored typically the time interdependence of production decisions and the adjustment paths of the firm over time. The empirical implementation of these production and performance measures is developed at length for both nonparametric and econometric approaches.

Chapter 4 focuses on the dual-use phenomenon of comparison with an indeterminate pronoun in Japanese (and other languages) and considers the similarities and differences between at-issue comparative meaning (i.e. individual comparison) and a CI comparative meaning (i.e. noteworthy comparison). Although an individual comparison and a noteworthy comparison are compositionally and dimensionally different, there is a striking parallelism in terms of the scale structure. The chapter explains the similarities and differences between the two kinds of comparison in a systematic way. It also considers the role of scalarity and comparison in a discourse context and argues that they provide a way of signaling to what extent an at-issue utterance contributes to the goal of the conversation. The timing of signaling information on noteworthiness in a discourse and its pragmatic effect are also discussed.

This chapter comprises three subchapters, and each subchapter offers a brief introduction to 1 of 3 healing modalities: (1) aromatherapy, (2) equine therapy, and (3) creative arts therapies. All 3 healing processes are considered to be well regarded in the field of addiction treatment. Yet the credibility of each one could benefit from more well-designed, large-scale, randomized controlled trials. Even so, there is significant research supporting the efficacy of each of the 3 treatment modalities. Safety is especially important with impulsive patient populations, such as those with dual diagnoses, addiction and trauma. All three modalities are able to be powerful, and at times transformative, when practiced by qualified health practitioners. For patients who struggle with substance abuse, co-occurring disorders and adverse childhood experiences, especially those who have felt as if they were failed by traditional treatment programs, a non-traditional treatment modality may provide just the right intervention.

Running a Small Flock of Sheep uses a step-by-step approach and has been written for small-scale sheep farmers and inexperienced people considering a rural life-style change. It will prepare the reader for each procedure and event on a sheep farm. The book begins with an introduction to the basic principles and procedures of sheep farming and the economics and required farm infrastructure for different sheep enterprises. There are chapters on handling techniques, the obligations of owners, and laws and regulations covering the welfare of sheep. The remainder of the text deals with sheep husbandry including health and nutrition, condition scoring, breeding, lamb care and weaner management. There are separate chapters on wool production and prime lamb production. The final chapter covers the diagnosis, control and prevention of sheep diseases. This reliable and understandable guide provides all the information anyone needs to make the right choices in successfully managing a small flock of sheep, whether you're running a single pet or several hundred sheep for prime lamb, wool or dual purpose.

Testing Hearing: The Making of Modern Aurality argues that the modern cultural practices of hearing and testing have emerged from a long interrelationship. Since the early nineteenth century, auditory test tools (whether organ pipes or electronic tone generators) and the results of hearing tests have fed back into instrument calibration, human training, architecture, and the creation of new musical sounds. Hearing tests received a further boost around 1900 as a result of injury compensation laws and state and professional demands for aptitude testing in schools, conservatories, the military, and other fields. Applied on a large scale, tests of seemingly small measure—of auditory acuity, of hearing range—helped redefine the modern concept of hearing as such. During the twentieth and twenty-first centuries, the epistemic function of hearing expanded. Hearing took on the dual role of test object and test instrument; in the latter case, human hearing became a gauge by which to evaluate or regulate materials, nonhuman organisms, equipment, and technological systems. This book considers both the testing of hearing and testing with hearing to explore the co-creation of modern epistemic and auditory cultures. The book’s twelve contributors trace the design of ever more specific tests for the arts, education and communication, colonial and military applications, and sociopolitical and industrial endeavors. Together, they demonstrate that testing as such became an enduring and wide-ranging cultural technique in the modern period, one that is situated between histories of scientific experimentation and many fields of application.

It has long been assumed that England lay outside the Western European tradition of castle-building until after the Norman Conquest of 1066. It is now becoming apparent that Anglo-Saxon lords were constructing free-standing towers at their residences all across England during the tenth and eleventh centuries. Initially these towers were exclusively of timber, and quite modest in scale. There followed the ‘tower-nave’ churches, towers with only a tiny chapel located inside, which appear to have had a dual function as buildings of elite worship and symbols of secular power and authority. This book gathers together the evidence for these remarkable buildings, many of which still stand incorporated into the fabric of Norman and later parish churches and castles. It traces their origin in monasteries, where kings and bishops drew upon Continental European practice to construct centrally planned, tower-like chapels for private worship and burial, and to mark gates and important entrances, particularly within the context of the tenth-century Monastic Reform. Adopted by the secular aristocracy to adorn their own manorial sites, many of the known examples would have provided strategic advantage as watchtowers over roads, rivers, and beacon systems, and acted as focal points for the mustering of troops. The tower-nave form persisted into early Norman England, where it may have influenced a variety of high-status building types. The aim of this book is to establish the tower-nave as an important Anglo-Saxon building type, and to explore the social, architectural, and landscape contexts in which they operated.

Everyday Zionism in East-Central Europe examines Zionist activism during the years of war, occupation, revolution, the collapse of empires and the formation of nation states in the years 1914 to 1920. Before the background of the Great War, its brutal aftermath and consequent violence, the day-to-day encounters between Zionist activists and the Jewish communities in the region gave the movement credibility, allowed it to win support, and to establish itself as a leading force in Jewish political and social life for decades to come. Through activists’ efforts, Zionism came to mean something new. Rather than being concerned with debates over Jewish nationhood and pioneering efforts in Palestine, it came to be about aiding starving populations, organizing soup-kitchens, establishing orphanages, schools, kindergartens, and hospitals, negotiating with the authorities, and organizing self-defence against violence. It was in this context that the Zionist movement evolved from often marginalized, predominantly bourgeois groups into a mass movement that attracted and inspired tens of thousands of Jews throughout the region. The book approaches the major European events of the period from the dual perspectives of Jewish communities and the Zionist activists on the ground, demonstrating how war, revolution, empire and nation held very different meanings to people, depending on their local circumstances. During the war and its aftermath, the territories of the Habsburg Empire and formerly Russian-ruled regions conquered by the German army saw a large-scale nation-building project by Zionist activists who fought to lead their communities and shape for them a national future.

This chapter introduces magnetoencephalography (MEG), a tool to study brain dynamics in basic and clinical neuroscience. MEG picks up brain signals with millisecond resolution, as does electroencephalography, but without distortion by skull and scalp. The chapter describes current instrumentation based on superconducting quantum interference devices (SQUIDs). It delineates basic characteristics of measured signals: (1) brain rhythms and their reactivity during sensory processing and various tasks and (2) evoked responses elicited by sensory stimuli, and the dependence of these responses on various stimulus characteristics. Signals are described from healthy and diseased brains. The chapter presents studies of the brain basis of cognition and social interaction studied in dual-MEG setups and describes how MEG applications can be broadened by innovative setups, including frequency tagging. Progress in the field is predicted regarding sensor technology, data analysis, and multimodal brain imaging, all of which could strengthen MEG’s role in the study of brain dynamics.

The Classical Guitar Companion is an anthology of exercises, études, and pieces organized according to technique or musical texture. Students are encouraged to work in multiple chapters, simultaneously depending on advice from a teacher or their own assessment of what they need. The author’s dual perspective, as an active performing artist and as a teacher who has trained hundreds of guitarists, results in a combination of pedagogical thoroughness and artistic insight. The book opens with a large section devoted to establishing a thorough knowledge of the guitar fingerboard through a systematic and rigorous study of scales and fingerboard harmony, which will lead to ease and fluency in sight-reading and reduce the time needed to learn a repertoire piece. The chapters cover scales exercises and studies, repeated notes, slurs, harmony, arpeggios, melody with accompaniment, counterpoint, and florid/virtuoso studies. Each section contains text and examples that connect material to fingering practices of composers and practice strategies to open a path to interpretive freedom in performance. Exploring advice found in the standard pedagogical literature for guitar that effectively places constraints on a student’s long-term development, the book offers information designed to help students recognize and overcome these constraints. When the book presents the simple version of a technique, it does so through consideration of the technique’s advanced version. Many guitar composers are represented but there are also transcriptions of relevant lute music that expand the scope of the book. The book is designed to serve as a companion for years of guitar study.

In Shakespeare’s England, credit was synonymous with reputation, and reputation developed in the interplay of language, conduct, and social interpretation. As a consequence, artful language and social hermeneutics became practical, profitable skills. Since most people both used credit and extended it, the dual strategies of implication and inference—of producing and reading evidence—were everywhere. Like poetry or drama, credit was constructed: fashioned out of the interplay of artifice and interpretation. The rhetorical dimension of economic relations produced social fictions on a range of scales: from transitory performances facilitating local transactions to the long-term project of maintaining creditworthiness to the generalized social indeterminacy that arose from the interplay of performance and interpretation. Fictions of Credit in the Age of Shakespeare examines how Shakespeare and his contemporaries represented credit-driven artifice and interpretation on the early modern stage. It also analyses a range of practical texts—including commercial arithmetics, letter-writing manuals, legal formularies, and tables of interest—which offered strategies for generating credit and managing debt. Looking at plays and practical texts together, Fictions of Credit argues that both types of writing constitute “equipment for living”: practical texts by offering concrete strategies for navigating England’s culture of credit, and plays by exploring the limits of credit’s dangers and possibilities. In their representations of a world rewritten by debt relations, dramatic texts in particular articulate a phenomenology of economic life, telling us what it feels like to live in credit culture: to live, that is, inside a fiction.

Os contextos pandémico e pós-pandémico vêm impondo às cidades outras dinâmicas, outros sons, outros ecos, outros percursos, outros visitantes humanos e não humanos. Durante o confinamento, o encerramento de espaços teatrais e expositivos – bem como, durante o desconfinamento, as limitações para a sua utilização - têm tido consequências penosas nas programações artísticas e efeitos dramáticos nos quotidianos dos seus agentes (artistas, técnicos, programadores, curadores, etc.). Ao mesmo tempo, a desaceleração da vida da cidade (do trânsito, do ritmo nas ruas, do frenesim produtivo e de consumo, etc.) veio contribuir beneficamente para uma diminuição das emissões de CO2. Neste quadro, a cidade - mais concretamente as suas zonas públicas a céu aberto – surgem mais nitidamente como espaços de circulação e de interferência (ou de suspensão de interferência) entre pessoas. O que aprendemos com a experiência de confinamento e desconfinamento? Em primeiro lugar, que a cidade tem uma densidade flutuante, na medida em que as concentrações populacionais se esvaem quando nos encerramos em casa. Em segundo lugar, que o encontro com o outro (uma das prerrogativas da cidade) pode acontecer em outras escalas que não apenas a dimensão cultural. Em terceiro lugar, que o medo pode ser um sentimento público capaz de fazer implodir as próprias cidades, se não for transformado numa força para a vida. Como é que, neste processo, os artistas se organizam e se constituem como agentes na cidade? Como é que a cidade passou a ser representada? Que cidade é aquela que desejamos? Este congresso surge assim da necessidade de intensificar o diálogo entre a cidade e a arte, em particular as artes performativas. Este encontro efoi o culminar de dois anos de investigação consistente e consolidada no âmbito do projecto TEPe (Technologically Expanded Performance). Ao longo destes dois anos, desenvolvemos atividades com a comunidade com o intuito de promover um diálogo intercultural e transdisciplinar, e proporcionar o encontro com vivências urbanas variadas. Através das diferentes propostas de percursos pela cidade, mapeámos acontecimentos, hoje invisíveis, mas ainda assim presentes: desde “memórias soterradas” a “caminhadas sensoriais”, passando por registos íntimos de confinamento. O encontro visou partilhar as experiências realizadas com a contribuição de duas equipas: a portuguesa, em Lisboa, e a brasileira, em Fortaleza. Para além de apresentarmos as conclusões das pesquisas realizadas, lançamos esta chamada para apresentações, especialmente destinada a artistas e estudiosos de performance art, historiadores das cidades, antropólogos, urbanistas, geógrafos, estudiosos da escuta e do som e a todxs aquelxs a quem interessa pensar (e projectar) a vida na cidade. -------------------------------------------------------------------------------------------------------------- The pandemic and post-pandemic contexts have imposed on cities other dynamics, other sounds, other echoes, other routes, other human and non-human visitors. During the lockdown, the closure of theatrical and exhibition spaces - as well as, during lockdown unlocking, the limitations for their use - have had painful consequences in artistic programming and dramatic effects in the daily lives of its agents (artists, technicians, programmers, curators, etc.). At the same time, the slowing down of city life (traffic, the pace of the streets, the frenzy of production and consumption, etc.) has made a beneficial contribution to a reduction in CO2 emissions. In this context, the city - and more specifically its open-air public areas - emerge more clearly as spaces for circulation and interference (or suspension of interference) between people. What have we learned from the experience of national lockdown and unlocking? Firstly, that the city has a fluctuating density, insofar as population concentrations fade when we shut ourselves indoors. Secondly, the encounter with the other (one of the prerogatives of the city) can take place on other scales than the cultural dimension alone. Thirdly, fear can be a public sentiment capable of imploding cities themselves if it is not transformed into a force for life. How, in this process, are artists organised and constituted as agents in the city? How did the city come to be represented? What kind of city do we want? This congress thus arises from the need to intensify the dialogue between the city and art, particularly the performing arts. This international meeting is the culmination of two years of consistent and consolidated research within the TEPe (Technologically Expanded Performance) project. Throughout these two years, we have developed activities with the community to promote intercultural and transdisciplinary dialogue and provide an encounter with varied urban experiences. Through the different proposals of walks through the city, we have mapped events, today invisible, but still present: from "buried memories" to "sensorial walks", passing through intimate records of confinement. The meeting aims to share the experiences carried out with the contribution of two teams: the Portuguese, in Lisbon, and the Brazilian, in Fortaleza. Besides presenting the conclusions of the researches carried out, we launch this call for presentations, especially addressed to artists and scholars of performance art, historians of cities, anthropologists, urban planners, geographers, scholars of listening and sound and to all those who are interested in thinking (and projecting) life in the city.