Journal articles on the topic 'FLAG Art Foundation'

This study re-examined the expression characteristics and aesthetic consciousness of Yusaku Kamekura, Ikko Tanaka, Shikeo Fukuda, Tadanori Yokoo, and Hara Kenya, representative Japanese graphic designers who have attracted the attention of the world's design industry from the 1960s to the present. In particular, the first-generation designer after World War II, Yusaku Kamekura has received worldwide attention by expressing the sun of the Japanese flag in a simple circle for the 1964 Tokyo Olympics poster, and Ikko Tanaka expressed the traditional theme simply and clearly at Nihonbuyo. While the posters of Kamekura and Tanaka expressed traditional materials in a simple and clear way from a modern perspective, Shigeo Fukuda's posters showed a modern expression trend that maximized the effect of optical illusions. Tadanori Yokoo used traditional Japanese materials in poster design and simultaneously expressed pop art and psychedelic expressions that deviated from Western modernism. Finally, Hara Kenya is actively realizing the design of blank space with the aesthetics of emptiness. The source of such modern graphic design in Japan can be ideologically pointed out as the Buddhist ideology of emptiness and Zen, Wabi & Sabi, Shutaku, Reductionism, and in terms of style, Ukiyoe, Linpa, Western modernism. Modern Japanese graphic design, which forms the mainstream with simple forms, abstract shapes, and simple colors, sought to harmonize and balance its unique cultural identity and global universality, and designers reflected their own formative language in their work. It can be said that it is a tendency of Japanese designers to express the harmony of Japanese traditional culture and Western modernism amid the trend of modernism. This aspect can be seen as a reflection of the perception of the design world to visualize Japan's modern image as an economic and a cultural power at the same time. In particular, the poster of 5 people reflected cultural traditions and aesthetic consciousness, while re-examining the glocal Hwahonyangjae of Japanese modern graphic design that aims for universal design at the same time. In particular, in the area of graphic design, where alphabetic culture design is the mainstream, Japanese design uses Chinese characters, hirakana, and katakana, forming a unique Japanese style graphic design foundation that is highly recognized worldwide. It is expected to contribute to the spread of K-Design's external awareness along with an opportunity to examine the universality and differences inherent in Korean, Chinese, and Japanese philosophies and aesthetics through a study on the expression characteristics and aesthetic consciousness of Japanese modern graphic design.

De naam van heimatauteur Omer Wattez refereert meestal aan het door hem gecreëerde geografische begrip 'Vlaamsche Ardennen'. Literair-historisch gezien viel hij echter door de mazen van het net. Vandaag zou de literatuurwetenschap hem als een middlebrow-schrijver typeren: een exponent van het middenveld waarin de literatuur sterke democratiserende doelen dient. De breuklijn in Wattez' leven en werk is die tussen de Germaanse en Romaanse cultuur. De auteur verdiepte zich in de Duitse en Oud-Germaanse cultuur en zou talloze publicaties over het thema leveren, veeleer van pedagogische aard en met de bedoeling de contemporaine verfransing van het Vlaamse cultuurleven te counteren. De schrijver besteedde op nogal eenzijdige wijze aandacht aan de Germaanse kant van de Vlaamse cultuur, iets waar zijn lidmaatschap van het Brusselse kunstgenootschap De Distel niet vreemd was. Meteen na de oprichting in 1881 was daar al een germanofiele instroom merkbaar. Het genootschap viel op door verscheidene Duitsgezinde acties die geleidelijk overgingen in een politiek pangermanisme, de droom om Germaanse volkeren onder één vlag te verzamelen. Omstreeks 1900 trad Wattez opt als een van de leidinggevende figuren van het tijdschrift Germania (1898-1905), een initiatief van Alduitse oorsprong. Eerder had hij zich bij voorkeur als dichter en novellist gemanifesteerd. Hoe dan ook zal vooral zijn boekwerk De Vlaamsche Ardennen blijven de tand des tijds doorstaan. Het koppelen van uiteenlopende toeristische facetten en oden aan het onbezoedelde landschap van zijn jeugd enerzijds en literaire cultuur anderzijds lijkt typisch te zijn aan een flink deel van Wattez' oeuvre.________The legacy of a literary centipede. About the regional author Omer Wattez (1857-1935)The name of regional author Omer Wattez is usually mentioned in reference to the geographical concept of the ‘Flemish Ardennes’ that he created. However, it is difficult to pinpoint him from a literary historical point of view. At present the history of modern literature would characterise him as a middlebrow-author: an exponent of the mainstream in which literature serves strong democratising objectives. The fault line in Wattez' life and work lies between German and Romanic culture. The author delved into the German and Old-German culture and was to produce numerous publications on that topic, which were of a rather pedagogical nature and intended to strike back at the contemporary Frenchification of Flemish cultural life. The author paid attention to the German side of Flemish literature from a rather one-sided point of view, which might well be explained by his membership of the Brussels art society De Distel. Immediately after its foundation in 1881, a Germanophile influx was already noticeable. The society attracted attention by engaging in several pro-German actions, which gradually turned into a political Pan-Germanism, the dream to unit all German nations under one flag. Circa 1900 Wattez acted as one of the protagonists of the periodical Germania (1898-1905), an initiative of All-German origin. Previous to this, he had manifested himself preferably as a poet and novelist. At any rate, it will be in particular his book The Flemish Ardennes that will stand the test of time. The linking of a variety of tourist aspects and odes to the untarnished landscape of his youth on the one hand and literary culture on the other hand appears to characterise a large part of the works of Wattez.

The works of P. Picasso in ceramics in the collection of the State Art Museum of Uzbekistan are among the masterpieces of the museum and are kept as priceless works. These works are one of the periods when the artist P. Picasso worked on clay.The Spanish artist, sculptor, graphic artist, ceramist and designer Pablo Picasso made a worthy contribution to the development of world art. He laid the foundations for Cubism by dividing objects into handicrafts and creating works of art from pieces, carved and three-dimensional on a flat surface. From the second half of the 1930s, the social status of Picasso came to the fore. The article is significant in that it provides comments on his rare works.

Abstract. Origami is the art of folding paper. In the context of engineering, orimimetics is the application of folding to solve problems. Kinetic origami behavior can be modeled with the pseudo-rigid-body model since the origami are compliant mechanisms. These compliant mechanisms, when having a flat initial state and motion emerging out of the fabrication plane, are classified as lamina emergent mechanisms (LEMs). To demonstrate the feasibility of identifying links between origami and compliant mechanism analysis and design methods, four flat folding paper mechanisms are presented with their corresponding kinematic and graph models. Principles from graph theory are used to abstract the mechanisms to show them as coupled, or inter-connected, mechanisms. It is anticipated that this work lays a foundation for exploring methods for LEM synthesis based on the analogy between flat-folding origami models and linkage assembly.

Origami, an ancient art of paperfolding, has evolved beyond its traditional use for cultural and entertainment purposes and has found its way into artistic, scientific, and engineering realms. This research paper explores the mathematical foundations of origami, and later focuses on a specific application in biomedical engineering. This study is intended to illustrate several aspects of origami that are relevant to engineering structures, namely: geometry, pattern generation, flat-foldability, and the ability of origami tessellations to fit specific target shapes. This review further examines DNA Origami Nano-structures (DONs) which provide numerous benefits, including lower biotoxicity, increased stability, and superior adaptability, making them an excellent choice for Drug Delivery Systems.

There is, among many students of Australian law, a tendency to regard the establishment of constitutional government in Australia in positivistic terms: as a result of the passage of the New South Wales Act in 1823, or of the Australian Courts Act in 1828, or of the Australian Constitution Acts of 1842 and 1850, or even of the Commonwealth of Australia Constitution Act in 1900. This is understandable, for, as Sir Victor Windeyer once put it, there was in the foundation of European society on these islands no element whatever of a social contract. Rather, the move to populate the Australian territories was a consequence entirely of a prospectively looking determination made by the government in London. And, as Windeyer went on to note, the formal establishment of local government was effected by ceremonies that were by their very essence positivistic in nature. On 26 January 1788, there was first a formal ceremony in which the Union flag was raised and a salute fired. Then, on 7 February, the whole population of the colony was assembled and the royal letters patent were read, which formally instructed Captain Phillip to go about the duty of creating a penal establishment.

The Song and Yuan Dynasties are considered a period when art theory and practice reached a very high level. Among them, painting, as an important category, has great potential. Guo Xi, a painter and theorist of the Song Dynasty, proposed “The San Yuan Method” (means three artistic principles: high, far-reaching and flat), which was compiled into a collection by his son and included in Lin Quan Gao Zhi (the elegance of the bamboo and spring), becoming an important theoretical work in the history of Chinese painting. This article will start from the theoretical foundations of "high", "far-reaching", and "flat" and use specific text analysis and theoretical exposition methods to analyze the painting characteristics of Chinese landscape painting influenced by the " San Yuan Method". The aim is to analyze the creative purpose of landscape painting and appreciate Lin Quan’s heart (Lin Quan's heart is the view put forward by Guoxi, a landscape painter in the Song Dynasty; that is, landscape painters should have an aesthetic mind when observing and painting).

Penelitian tentang pembentukan Qanun Aceh ini bertujuan untuk mengetahui dan menganalisis proses evaluasi Qanun Aceh Nomor 3 Tahun 2013 tentang Bendera dan Lambang Aceh. Qanun Aceh Nomor 3 Tahun 2013 tentang Bendera dan Lambang Aceh telah mendapat pengesahan oleh Gubernur dan DPRA. Hasil evaluasi Pemeritah Pusat dalam hal ini Kementerian Dalam Negeri Republik Indonesia menolak pemberlakukan Qanun Aceh Nomor 3 Tahun 2013 tentang Bendera dan Lambang Aceh. Penelitian ini merupakan penelitian hukum normatif. Pengumpulan data menggunakan metode penelitian kepustakaan (literature research) yang dilakukan untuk memperoleh data sekunder di bidang hukum. Penelitian ini bersifat deskriptif analisis yaitu penelitian yang bertujuan untuk mendeskripsikan atau memberikan gambaran secara sistematis, faktual dan akurat terhadap suatu daerah tertentu, mengenai sifat-sifat atau faktor-faktor tertentu. Hasil penelitian ini adalah, (1) Qanun Aceh Nomor 3 Tahun 2013 tentang Bendera dan Lambang Aceh merupakan simbol masyarakat Aceh sendiri. Hal ini dikarenakan ada sejarah yang kuat terhadap bendera dan lambang Aceh, (2) peraturan perundang-undangan memberikan legitimasi terhadap qanun bendera dan lambang Aceh, (3) peneliti juga menemukan di dalam Undang-Undang Nomor 11 Tahun 2006 tentang Pemerintah Aceh yang menjelaskan dasar terbentuknya qanun tersebut. Dalam hal proses evaluasi oleh Kementerian Dalam Negeri terkait qanun tersebut, masih belum ada titik temu antara Pemerintah Pusat dan Pemerintah Aceh. Hal ini dikarenakan qanun bendera dan lambang Aceh tidak bisa dibatalkan oleh Pemerintah Pusat karena terhalang oleh pengaturan Undang-Undang Nomor 11 Tahun 2006 tentang Pemerintah Aceh.The research on Aceh Qanun (local regulation) establishment was conducted to analyze the evaluation process of Aceh Qanun Number 3 of 2013 on Aceh Flag and Symbol. Aceh Qanun Number 3 of 2013 on Aceh Flag and Symbol was ratified by Governor and Aceh House of Representative (DPRA). The result of government evaluation in this case Ministry of Home Affairs of the Republic of Indonesia refused the enactment of Aceh Qanun Number 3 of 2013 on Aceh Flag and Symbol. This research was a normative legal research. The data collection was library research methods to get secondary data in law matters. The research, a descriptive analysis research, aims to describe or provide a systematic, factual and accurate description of a particular area, about certain traits or factors. The research result were as follows, (1) Aceh Qanun Number 3 of 2013 on Aceh Flag and Symbol was Aceh people own symbol. It has a stong history behind the Flag and Symbol, (2) the regulations gives legitimation on Aceh Flag and Symbol Qanun,(3) the researcher also found that there was an Act no.11 year 2006 on Aceh Government that stated the foundation of that Qanun.In relation with the evaluation process by Ministry of Home Affairs, there was no common ground between Central Government and Aceh Government. Aceh Qanun on Aceh Flag and Symbol can not be canceled by Central Government because it is hindered by Act no.11 year 2006 on Aceh Government.

In this essay I explore the nature, role, and significance of intensive agriculture in the ancient state of Tiwanaku, which was centered in the high plateau of southern Peru and northwestern Bolivia. Significant primary evidence that the state of Tiwanaku systematically reclaimed immense tracts of now abandoned agricultural land around the borders of Lake Titicaca is adduced and evaluated.I conclude that Tiwanaku was a dynamic, expansive state based squarely on an effective, surplus-producing system of intensive agriculture, that the intensification agricultural production through large scale reclamation of flat, seasonally inundated land along the margins of Lake Titicaca was a prime economic strategy of the Tiwanaku state, and that this strategy was devised and managed by a hierarchically organized, central government.

The present article focuses on the transformation of style and sense of Ukrainian art in the 1930s, in the context of the “Zhovten” Association designers’ creativity. Ideological pressure became determinant in the work of Ukrainian artists. Period of repressions led to decay of art in general, and dramatic reduction in style directions. Industrialization in the USSR, carried out in the 1930s, and measures to accelerate the development of industry were the main themes imposed on artists. Ideologically biased theoretical foundations of the new artistic style typical for the 1930s were clearly manifested in the declaration of the “Zhovten” Association. The ranks of this association, founded in 1930, included some former members of the Association of Revolutionary Art of Ukraine and the Association of Contemporary Artists of Ukraine. The theory spelled out in the declaration of unification was significantly ahead of its practical implementation, the artists themselves gradually switched to new forms and content in their works, without breaking ties with the national and European school. The “Zhovten” Association became a true litmus test of those phenomena that dominated in the art of the Stalin era. At the same time, it crossed out all the achievements of the associations-predecessors, creating a version of the all-Union ideologically engaged associations in Ukraine. A sharp change took place in the artistic environment when the question of form ceased to be a vital topic. The attention was focused on the content of artworks. The ostentatious elated mood of works of art hid the realities of the time like a screen. It camouflaged serious constraint in artistic statements, offering the only “correct” chartered way forward that made it impossible for any artist to make their own graphic statements. A tangible ideological pressure prompted the artists to abandon their creative originality, and strive for maximum realism. They added cliché images to their works: portraits of ideologists, workers, flags, Soviet symbols, and the like. At the same time, the authors lost their creative identities, and their artworks were deprived of any artistic value.

Abstract Historians and literary critics have described the Argentinean Pampa as a space predominantly connected to the foundational acts and discourses of the Argentinean nation. At the same time at which Argentina emerged as a nation, foundational discourses modeled the sparsely populated region lying beyond the capital Buenos Aires as a flat, unstructured landscape, as the allegedly empty space of a “desert”. The article analyzes how these geopolitical discourses are rewritten in two Argentinean novels from the last decade of the 20th century, César Aira’s La liebre (The Hare, 1991) and Juan José Saer’s Las nubes (The Clouds, 1997), which both perform an act of un-founding by creating alternative literary environments. In doing so, both novels also enact a narrative transculturation of spatial concepts drawn from European cultural theory by reterritorializing them on the territory of the Pampa.

Sound power measurements are of interest in numerous applications, and several methods are available for obtaining the sound power of a system. A recent method that has been developed, referred to as the Vibration-Based Sound Power (VBSP) method, utilizes vibration measurements obtained from a Scanning Laser Doppler Vibrometer (SLDV). The VBSP method has previously been used to obtain the sound power radiated from flat plates, cylindrical shells and curved plates. This paper will present further developments to extend VBSP measurements to multiple coupled structures and investigate the acoustic coupling effects that may exist. Two coplanar flat plates separated by a distance d were modeled using the boundary element method. The sound power was determined within the boundary element software and the structural velocities were also exported and processed using the VBSP method. Computational and experimental results will be shown to demonstrate abilities and limitations for the VBSP method to accurately determine the radiated sound power for coupled structures. [Funding for this work was provided by the National Science Foundation (NSF).]

AbstractThe Egyptian playwright Tawfīq al-Hakīm assumes the philosophy of Equilibrium/equivalency (al-Ta'āduliyya) as a lifestyle and center of art. He looks at the phenomena of nature and life through this philosophy in an attempt to point out its importance and intervention in the details of people's life, behavior, primary needs, and the essence of their existence. From al-Hakīm's writing about this philosophy, we see that he is fully persuaded that this philosophy is the best logical explanation of all the existing pheno-mena. In his view, it controls the aspects of this universe and imposes itself as the best integrated theory that introduces an interpretation to all phenomena of human life. However, this apparent conviction is discovered to be not fully established and its foundations collapse if we investigate al-Hakīm's theatrical works and compare them with his theorizations in this field. Researcher Mahmūd Amīn al-'Ālim hints at the existence of a flaw and contradiction in al-Hakīm's concepts of equilibrium, but he does not elaborate or discuss his argument profoundly or analyze this aspect thoroughly in al-Hakīm's plays.This modest study attempts to trace al-Hakīm's theory as he introduces it. It surveys some of his major plays in an attempt to reveal the flaws in this equilibrium, and discusses their reasons and results. Finally, I will point out the paradoxical aspects between al-Hakīm's art and his theorization. The study deals with and refers to the plays that are most representative of al-Hakīm's theory of equilibrium with a specific focus on his play Pygmalion.

AbstractBackground:Sir Harold Gillies, born in New Zealand, is widely considered a British icon and the father of modern plastic surgery.Objective:This article provides an overview of his life and the circumstances which led to him laying the foundations of plastic surgery in Britain in the early twentieth century.Methods:A hand search and review of case notes from the Gillies Archives at Queen Mary's Hospital in Sidcup, UK, where he made history, was conducted.Results and conclusion:Gillies' ongoing legacy was found to also include his influence on the development of his cousin Sir Archibald McIndoe's work. Gillies was a talented sportsman who engaged in charitable activities. Additionally, he was a gifted teacher, with his hospital attracting many young surgeons from around the world. He was found to have expressed genius in both the design and execution of the art and science of surgery. He incepted reconstructive techniques ranging from the world's first gender reassignment operation to facial reanimation procedures for the treatment of facial paralysis. His operative work on ex-servicemen in need of complex rhinoplasty and in particular the inception of the tubed pedicle flap are depicted.

Islam is a universal religion that encourages science and considers it obligatory for every Muslim, and has never been the cause of retardation. Any science is acceptable unless it is a flag that contradicts Islamic law and its rules. Islam honors scientists and makes them inheritors of the prophets and orders knowledge from birth to death. Civilization meaning: "living and staying in urban area and civilization of the city, which is unlike Badia, cities, villages and countryside, so named because the people attended the places and houses of homes that have a decision, remember civilization in the language it means what is the opposite of the Bedouin, means, the inhabitants of cities and villages. A manifestation of Islamic civilization: - Foundations of the system of governance in Islamic civilization, including the method of choosing the ruler and the way of governance "Koran and Sunnah, Shura and justice and guarantee freedom of the Muslim and other freedom of choice for his religion. - Islamic civilization and economic life: - Islam built an integrated economic system and organized the methods of collecting money and methods of spending as well. - Islamic civilization and its influence on education through the Quran and Sunnah encouragement to acquire science. - Islamic civilization and social impact on life: The signs of Islamic social life and organization from the first moment of the Prophet's founding in the establishment of the mosque and the organization of relations of immigrants and supporters and the conclusion of treaties with non-Muslims in society. - Science: There was a special interest in Islam with science and its types and details such as translation, medicine, mathematics, agriculture and chemistry. - Science and the Arts: It is clear that the great impact of Islamic art in all fields and during the successive Islamic eras and Islamic controversies that continue to the present time on all other civilizations and until now Western societies are affected by Islamic science and art. Key words: Islamic Civilization, Teaching Skills

Based on the collection of graphic works stored in the funds of the Lviv National Gallery of Art named after Borys Voznytskyi, the article examines the creative work of Mykhailo Boichuk's pupils, artists Antonina Ivanova and Mykhailo Lezviev. In addition to graphic works, photographs from the gallery's archive are used to trace Ivanova's participation in the creation of monumental murals in Odesa together with Mykhailo Boychuk and other artists, and to reveal the participation of Lezviev and Ivanova, together with Leonid Molodozhanyn (the future Leo Mol), in the creation of frescoes and sculptures of monumental buildings in Nalchik in the 1930s. Analysing the artists' graphics, the author draws parallels in the formation of the artists' creative method, focuses on the continuation of the conceptual foundations defined by Mykhailo Boichuk in their work – an appeal to folk art, archaic forms, and national traditions. The author emphasises the holistic and generalised nature of compositional solutions in the works of both artists, which are considered in the context of general socio-cultural trends of the first half of the twentieth century. The difference between the artists' creative style and the programmatic officialdom of the 1930s is pointed out, which affected the life of these artists: they suffered from political repression. Drawing a comparison between the graphic works of A. Ivanova and M. Lezviev, the author emphasises the commonality of expressive means, which are characterised by laconicism, poster-like, flat images, and a tendency to monumentality. Sacred motifs are present in the symbolism and semantics of some of the works, and elements of Christian iconography can be found in the compositional schemes. The themes of love and family harmony acquire a deep generalisation in the artists' works. The introduction of the works of Antonina Ivanova and Mykhailo Lezviyev as a creative tandem into scientific circulation allows us to present Boichukism as a phenomenon in Ukrainian fine art and the significant influence of this artistic movement outside Ukraine.

Mat-Eater with Pennants, a rarely exhibited sculpture in Alexander Calder’s oeuvre, was commissioned by The Museum of Modern Art (MoMA) and installed in 1945. To exhibit the large standing mobile in Alexander Calder: Modern from the Start (2021), the derelict sculpture had to be remediated; this initiated a collaborative investigation with conservation scientists, conservators, curators, and the Calder Foundation into the original paint colors hidden beneath layers of repaint. XRF analysis was carried out to elucidate the paints’ composition, followed by sampling for analysis to assess the paint stratigraphy and binders. Scrapings were analyzed by µ-FTIR and Raman spectroscopies; cross sections were examined with optical microscopy and analyzed with SEM-EDS. Analysis differentiated between the original paints, which contain Prussian blue, parachlor red, chrome yellow, and the many layers of overpaint, which contain titanium white, molybdate orange, a variety of β-Naphthol reds, red lead, and ultramarine. A model for Man-Eater, Mobile with 14 Flags, is also part of the museum’s collection, and was first considered as a point of reference for the original colors. Similar analysis, however, indicates that the maquette was painted after the Man-Eater was first installed, therefore is not representative of the original colors. In addition to investigating an early primary palette for Calder’s outdoor sculptures, this study helped develop the plan for the restoration of the original color scheme of Man-Eater.

Mustafa Jawad was one of the flags of Iraq’s renaissance in the modern era. His name became known and spread in Arab scientific and linguistic academies, and literary and intellectual forums. He was a proven historian, an unquestionable investigator, and a linguist who surrounded the kingdom of the vast and sprawling language because Arabic is to him: (a grave, great, orthodox language for a nation). Generous, great, ancient language, noble descent, arithmetic, rich in words, abundant in grammar, ever-increasing, steadily increasing, derivation, musical pronunciation, poetic letters, abundant literature, abundant in substance. He heard the poems of praise and lamentation in the family of the Messenger (may Allah's prayers and peace be upon him and his family), he accepted to plow it, study it and read the books written in its art, and his love for her grew, and he fell in love with her, traces the stray and the one coming from it, digging into its secrets and subtleties, defending it, correcting this, criticizing that. He searches for a common way that facilitates the ways of knowing her, and raises her status, after the tribulations of time coincided with her, then collectively expresses her tongue, and collectively raises her foundations and structure.

The purpose of this paper is to characterise some aspects of housing policy applicable in the People’s Republic of Poland with particular consideration of new legal regulations concerning the housing market in the post-Stalinist period. Also, to present a more complete picture (of the situation), key aspects of the housing policy in the Stalinist period are presented/discussed. The article also presents the actual condition of the housing economy using the examples of selected towns. Sources included subject matter literature, legal acts, and archival documents linked with the social and economic history of selected towns/cities. In the beginnings of communist Poland, the decree of 7 September 1944 and of 21 December 1945 from strictly political and even ideological perspective as they constituted the frame for the actual control over the making over an important sphere of life such as housing management, of great significance in cities and towns. The political thaw of the mid-1950s created better prospects. The state was now able to finance the constructions sector on a much broader scale. The culminating point of the changes introduced by the postOctober team with respect to the legal foundations of the housing policy was the Act of 30 January 1959, the Tenant Law. The Landlord and Tenant Law repealed the following: Decree of 21 December 1945 on Public Flat Management, Decree of 28 July 1948 on Flat Rental and Decree of 18 February 1955 on Authorities and Their Jurisdictions with Respect to Public Flat Management.

Significant progress has been made to develop a vibration-based sound power (VBSP) method as an alternative means to determine the radiated acoustic energy from structures. This method has been validated for flat plates, cylindrical-shells, simple curved plates, and arbitrarily curved panels. However, many acoustic sources, such as a blender or motor, have sound power contributions that are enclosed within the structure and therefore cannot be scanned properly using a vibrometer. A rigid enclosure with a single mylar face for one side of the enclosure was fabricated to enclose the acoustic source, such as an “acoustic tent” around the structure of interest, so that the VBSP method could be applied to and obtain the radiated sound power. Due to the nature of the sources, this application of the VBSP method will have limitations that are not present in the aforementioned work. A calibration curve was developed to account for the effects that the tent had on the sources used for testing and used to correct the experimental VBSP sound power measurements from the acoustic tent. Results will be shown comparing the sound power obtained from the VBSP method with the sound power of the source in a reverberation chamber using ISO 3741. Funding for this work was provided by the National Science Foundation (NSF). [Funding for this work was provided by the National Science Foundation (NSF).]

Abstract: After the usage of loads of health apps on a day after day foundation we started to become pissed off with all the litter and inappropriate capabilities protected with them. Some of those apps are too complicated and might do away with from the apps most important purpose. Simplicity ought to move a protracted manner in a health/health application. This is one in every of the motives we believed constructing a less complicated health app might be an excellent concept. We are very lively person who takes element in sports activities in addition to attending the fitness center regularly. There have been matters we observed myself doing on a day after day foundation which we felt ought to be protected in an app. There are such a lot of complicated and indulgent apps out there for nearly each thing of health/health and to be sincere there truly isn’t much that hasn’t already been carried out on this market. But we had the concept that we desired to create an app that might put into effect every of those factors simply, with a purpose to be hassle loose and now no longer do away with from the intention which the person set out withinside the first place. There is the hike in the technology where people are attracted to the health equipment such as smart watches, fitness applications and many other techs. Fitness trackers software, which works in conjunction with a wearable Fitness trackers watch that records your steps and displays your pulmonary heart rate on a video display. But, despite being in the kingdom of the art, all of those apps have one flaw in common: they're crammed with unnecessary features that detract from the initial concept and distract the user. we for one while running out need a hassle-unfastened interplay with an application, we need to get in there and get it done

Статья посвящена наследию народного художника РСФСР Гаря Рокчинского (1923–1993). В быстротечном потоке Времени творчество, одухотворенное традициями предков, органично впитывает ускользающее, живет настоящим и явственно прозревает будущее. Исследование призвано выявить в живописи дух Времени, концентрируемого в Пространстве мировидения художника. На основе произведений живописи второй половины XX в. реконструированы этапы становления и формирования творческой Личности. Произрастая на почве любви к родине, духовный мир художника воплощается в разнообразии жанров живописи и графики (пейзажа и портрета, тематической композиции), а также самобытной малой пластики. В анализе творческих поисков Г. О. Рокчинского, обозначенных циклами «Земля и люди», «Джангариада – образная память предков» и «Буддизм как философия Жизни», раскрыта глубина постижения этнической Вселенной. В произведениях, составляющих наследие художника, воплощен код национальной культуры, сохраняющий образную память народа. The study aims at understanding the creative activities of the Kalmyk artist Garri Rokchinsky (1923–1993) through the disclosure of features that make it possible to present his heritage in the space and time of traditional culture. The material included Rokchinsky’s paintings created in Shiroklag and Kazakhstan, where the artist received an art education while in deportation, as well as his canvases painted later in Kalmykia; the results of art history and cultural studies were also used. The research process in the study is a reconstruction that synthesizes the methodological foundations of history, art history, cultural studies and philosophy. The formation of the artist’s personality took place under the influence of the traditional worldview of his ancestors, which was reflected in a consistent appeal to the history of the Kalmyk people. Love for his homeland inspired Rokchinsky to understand himself and his ethnic heritage in various genres of painting, graphics and original small plastic arts. The idea that it is in fruitful activities that a person acquires ethnic identity, formed in a deeply meaningful connection of the concepts “clan”, “people” and “homeland”, was embodied in Rokchinsky’s extensive pictorial cycle Land and People. The artist’s picture of the world was further expressed through the traditions of Mongol zurag flat painting in the epic cycle Jangariada. Rokchinsky deeply understands the connection with the culture of Mongolia, the ethnic ancestral home of the Kalmyks. At this point a philosophical doctrine was introduced; the artist develops its ethical foundations in his works, which allowed him to assimilate the spiritual essence of Buddhism. In the author’s opinion, the artist’s turn to non-objective painting, which embodies the truths of existence, was a natural facet of comprehending world culture. The paintings of Rokchinsky, born in the harmony and contradictions of Existence, express the originality of the fine arts of Kalmykia as part of the artistic culture of Russia. At the same time, the universe created by the artist is one of the ethnic facets of the world artistic heritage. The space and time of Rokchinsky’s works embody the “genetic code” of national culture, preserving the figurative memory of the people. The methodology implemented in the study made it possible to reconstruct the process of formation, preservation and continuity of traditions in the art of Kalmykia, clearly represented by the works of Garri Rokchinsky, a People’s Artist of the RSFSR, whose 100th anniversary is celebrated in the Republic of Kalmykia in 2023.

This paper addresses the intricate challenges of coastal management, particularly in rapidly forming tidal flats, emphasizing the need for innovative monitoring strategies. The dynamic coastal topography, exemplified by a newly formed tidal flat in Shanghai, underscores the urgency of advancements in coastal risk recognition. By utilizing a digital twin framework integrated with state-of-the-art unmanned aerial vehicles (UAVs), we systematically evaluate three configurations and identify the optimal setup incorporating real-time kinematics (RTK) and light detection and ranging (LiDAR). This UAV configuration excels in efficiently mapping the 3D coastal terrain. It has an error of less than 0.1 m when mapping mudflats at an altitude of 100 m. The integration of UAV data with a precise numerical ocean model forms the foundation of our dynamic risk assessment framework. The results showcase the transformative potential of the digital twin framework, providing unparalleled accuracy and efficiency in coastal risk recognition. Visualization through Unity Engine or Unreal Engine enhances accessibility, fostering community engagement and awareness. By predicting and simulating potential risks in real-time, this study offers a forward-thinking strategy for mitigating coastal dangers. This research not only contributes a comprehensive strategy for coastal risk management but also sets a precedent for the integration of cutting-edge technologies in safeguarding coastal ecosystems. The findings are significant in paving the way for a more resilient and sustainable approach to coastal management, addressing the evolving environmental pressures on our coastlines.

The case of Emil Schwyzer, a.k.a. the ‘Solar-Phallus Man’, was foundational in giving shape to Jung’s early reflections on the concept of the collective unconscious. In 1906 Schwyzer identified a tail of light coming off the sun as a phallus, which Jung interpreted as a particularly important example of ‘the fantasies or delusions of…patients…[being] paralleled in mythological material of which they knew nothing’ (Bennet 1985:69). This was because it represented not only a single mythological symbol or idea that Schwyzer could not have known but an entire passage from an ancient document known as the Mithras Liturgy. According to Jung, Schwyzer’s ‘vision’ also paralleled a rare theme in Medieval art. Jung’s student J.J. Honegger gave a paper on the Schwyzer case at the March 1910 Second Psychoanalytic Congress in Nuremberg. In it he again discussed Schwyzer’s description of the light tail on the sun but especially his concept of a Ptolemaic flat earth. Relying largely on archival material not previously discussed, the present article provides a history of the Schwyzer case along with a thoroughgoing evaluation of what Jung and Honegger made of it. KEYWORDS J.J. Honegger, Emil Schwyzer, ‘Solar-Phallus Man’, Mithras Liturgy, Collective unconscious, Inherited ideas, Hortus Conclusus.

The author of this article interprets the surrealist narratives of Saulius Tomas Kondrotas and Šarūnas Sauka as signs of both a crumbling empire and the rebirth of human dignity in late Soviet-era literature and art. A sense of epochal shift provides a common background of allegorical narration in both Kondrotas’s and Saukas’s narratives, protecting them from flat politicising and encouraging us to read their work as an encounter between the human and the eternal.Countering Soviet values, Kondrotas and Sauka place the universal rebellion of the artist against an ideology that imprisons the individual at the core of their work, making it possible to draw a connection to the imagination of the medieval alchemist, as they too concentrate their attention on the search for God and the resulting visions-projections.Kondrotas’s and Saukas’s works are characterised by oniric, surrealist stylistics, an understanding of the world as a dangerous place, and the human-godlike-animal matrix. The end of the world, the collapse of foundational hierarchies of values, and a feeling of moral ambivalence are common to both, leading them to search for solutions in response to human moral decline. Kondrotas and Sauka both speak about human rebirth, one of the oldest of human archetypes and one central to the alchemical imagination.

AbstractThe final books of The Old Arcadia rewrite two episodes from Livy's History: the rape of Lucrece and the execution of Brutus's sons. These episodes, which dominate Livy's account of the birth of the Roman republic, provide early modern republicanism with its foundational narrative, one that associates monarchy with aristocratic sexual license, and republicanism with the impartial rule of law. Sidney's plot hinges on this conflict between "unbridled desire" and "never-changing justice," and yet in flat contrast to both ancient and Renaissance republicanism, the work seems to privilege equity over law, clemency over justice, noble natures over impersonal codes. In what follows, I have tried to recover the unfamiliar politics - not republican and yet scarcely absolutist - structuring The Old Arcadia.

For this issue of New Book Chronicle, we don lifejackets and head out on, and under, the high seas to review recent volumes on aspects of maritime and underwater archaeology. Along the way are tales of pirates and the odd Sherman tank, but we set sail withSite formation processes of submerged shipwrecks, edited byMatthew Keith. The Introduction, by Oxley and Keith, outlines the development of site formation theory in maritime archaeology, and flags the foundational work of Keith Muckelroy, as summarised through his flow diagram of the sequence of cultural and environmental processes at work between a wrecking event and archaeological investigation. This model features strongly not only in the following chapters, but in every one of the volumes considered below.

Light detection and ranging (LiDAR) technology, a cutting-edge advancement in mobile applications, presents a myriad of compelling use cases, including enhancing low-light photography, capturing and sharing 3D images of fascinating objects, and elevating the overall augmented reality (AR) experience. However, its widespread adoption has been hindered by the prohibitive costs and substantial power consumption associated with its implementation in mobile devices. To surmount these obstacles, this paper proposes a low-power, low-cost, single-photon avalanche detector (SPAD)-based system-on-chip (SoC) which packages the microlens arrays (MLAs) and a lightweight RGB-guided sparse depth imaging completion neural network for 3D LiDAR imaging. The proposed SoC integrates an 8 × 8 SPAD macropixel array with time-to-digital converters (TDCs) and a charge pump, fabricated using a 180 nm bipolar-CMOS-DMOS (BCD) process. Initially, the primary function of this SoC was limited to serving as a ranging sensor. A random MLA-based homogenizing diffuser efficiently transforms Gaussian beams into flat-topped beams with a 45° field of view (FOV), enabling flash projection at the transmitter. To further enhance resolution and broaden application possibilities, a lightweight neural network employing RGB-guided sparse depth complementation is proposed, enabling a substantial expansion of image resolution from 8 × 8 to quarter video graphics array level (QVGA; 256 × 256). Experimental results demonstrate the effectiveness and stability of the hardware encompassing the SoC and optical system, as well as the lightweight features and accuracy of the algorithmic neural network. The state-of-the-art SoC-neural network solution offers a promising and inspiring foundation for developing consumer-level 3D imaging applications on mobile devices.

The main features of the philosophy and genesis of the judicial and the oath of office are considered in the article. An oath is a conventional conditional-symbolic act based on an appeal to a person’s conscience in his conscious intention to identify and adhere to certain accepted values, as well as to a certain institution, a defined community or a specific representative of power. Judicial oath and oaths of office have both religious and legal origins, as they belong to the universal foundations of the formation of social institutions. The deep-rooted perception of the need to take and keep the oath in the performance of functional duties and the rule of law is traced in the article on selected examples from the history of Europe. There is a common feature of religious and modern judicial oaths and oaths of office. All of them are based on the inner moral imperative of man, on the awareness of one’s own responsibility and human dignity. The modern acceptance of some oaths with respect to a certain subject (Bible, crucifix, constitution, code, flag) has prehistoric roots, which indicates the precedence of symbolic gestures and movements of verbal texts in primitive rituals. In the Middle Ages, judicial oaths and oaths of office already used references to elements inherent in modern European tradition, in particular, justice and impartiality. The obligation to strictly reproduce the formula when taking a certain judicial oath or oath of office has an ancient Roman basis. In Rome to swear (iurare) meant to proclaim the formula “ius iurandum” (“oath”, literally – “the formula that must be formulated”). The oath of judicial lawyers (judges, prosecutors, lawyers) is a mandatory element of the beginning of the professional activity in the area of Justice. It appears as a ceremonial act, which publicly certifies a person’s readiness to perform the important duties assigned to him. In modern Ukraine, the oath is taken by judges and other officials at the beginning of their professional activity.

Vibration-based sound power (VBSP) measurement methods are of interest due to their potential versatility in application compared to methods based on sound-pressure or sound-intensity. The VBSP method is based on the elementary radiator approach that relies on the acoustic radiation resistance matrix. Previous work has validated the form of the radiation resistance matrix for flat plates, cylindrical- and spherical-shells, and simple-curved plates. A form specific to arbitrarily curved structures has not been developed. Experimental VBSP measurements of two arbitrarily curved panels are shown to have excellent agreement with results from the ISO 3741 method. The VBSP method was applied by using the simple-curved plate form of the radiation resistance matrix and mapping each arbitrarily curved panel with a constant-radius curve fit. Numerical boundary element models, that inherently use the true form of the radiation resistance matrix, were also used to compute the sound power from the same curved panels. Surface velocity data from the numerical models were used to also compute sound power using the VBSP method with the simple-curved plate form of the radiation resistance matrix. Sound power results show excellent agreement between the numerical model and VBSP method. [Work supported by the National Science Foundation.]

Multiband peaky speech is a new method that uses narrated stories to evoke frequency-specific auditory brainstem responses (ABRs). However, testing times are not clinically feasible; thus, new efforts focus on maximizing response amplitude to facilitate faster testing. Recent work suggests that narrator f0, as well as chirp rather than zero phases, evoke larger ABRs. This study aimed to identify the optimal f0–phase combination for evoking large ABRs with multiband peaky speech. Using 11 stories with original f0s ranging from 114–230 Hz, the mean f0 over 15 minutes was shifted to f0s from 70–220 Hz in 10 Hz steps and then dichotic multiband peaky speech created using zero- and chirp-phases. A validated computational model of the auditory periphery was used to simulate ABRs using a flat 0 dB HL hearing configuration. Based on the simulated wave V amplitudes across all conditions, the optimal parameters for simulated ABRs to multiband peaky speech include stories with original f0s <170 Hz that have been shifted to a 100–110 Hz mean f0 and modified with a chirp-phase profile. Next we plan to confirm these parameters with measured ABR responses from adults with normal hearing. [Work funded by Hearing Health Foundation ERG.]

Two basic mechanisms perform the frequency analysis of sounds: (i) the spectral mechanism presented by a bank of frequency-tuned filters and (ii) The temporal mechanism that uses the temporal structure of the signal. The temporal structure manifests in the autocorrelation function. The roles of the spectral and temporal mechanisms in the age-dependent hearing loss were investigated using rippled-spectrum signals. It has been shown previously that discrimination of two rippled signals with different positions of ripples at the frequency scale is mostly performed the spectral processing; for discrimination between a rippled and “flat” signal, the temporal processing dominated. In cases of hearing loss, the decrease of the acuteness of frequency-tuned cochlear filters resulted in reduction of the ripple-pattern resolution by the spectral mechanism. This effect did not influence the capabilities of the temporal mechanism. However, listeners with the age-dependenthearing loss did not perceive high sound frequencies. High frequencies were more favorable for temporal processing, so the inability to perceive these frequencies negatively influenced the ripple resolution. Thus, resolution of rippled signals may reduce at any discrimination task; however, the mechanisms of the reduction differed depending on the task. [Work supported by The Russian Science Foundation, Grant 23-25-00148.]

Critics are increasingly calling for Congress to remove charity regulation from the IRS. The critics are wrong. Congress should maintain charity regulation in the IRS. What is at stake is balancing power between the state, charity as civil society, and the economic order. In a well-balanced democracy, civil society maintains its independence from the state and the economic order. Removing charitable jurisdiction from the IRS would blind the IRS to dollars placed in the charitable sector increasing tax and political shelters and wealthy dominance of charities as civil society. A new agency without understanding of, or jurisdiction over, tax cannot act as the bulwark as can the IRS. The critics are right that both the states and the IRS are failing at charitable regulation. Ideally, Congress would allocate sufficient resources to the IRS. However, the long history of charity regulation shows that they are unwilling to allocate the resources to this endeavor. This, in fact, is a flaw of the proposals for a quasi-federal charitable regulatory agency. These proposals will not generate new funds but will instead spread scarce resources even thinner. Instead, Congress should acknowledge its unwillingness to adequately fund charity regulation and shrink the tax-exempt sector by removing the parts that have limited justification for charitable benefits, such as hospitals and private foundations.

In this article, the author contemplates how section 94.1 of the Income Tax Act (Canada), the offshore investment fund property (OIFP) rule, might be reimagined considering its inefficacy in the face of unique non-resident investment funds. By tracing the anti-avoidance origins of the rule, the author shows that the source of this inadequacy is an expectation overload rather than legislative failure. While the OIFP rule was introduced as a stop-gap designed only to tackle a certain kind of basic intermediation strategy, it is now tasked with the much grander objective of creating a level playing field with respect to the tax treatment of domestic and offshore investment funds. The author shows how this mismatch of aspiration and reality has created the opportunity for savvy investors to manipulate the "motive" test within the rule, and avoid its application, simply by proving themselves to have a sufficiently credible and pervasive alternative reason for investing in an offshore fund (for example, the unique expertise of its manager). The author postulates that this flaw is likely to become more frequently tested as funds specializing in novel asset classes (such as cryptocurrency funds) proliferate and grow. The article closes with the proposition that if the test at the centre of the rule is recast as a purely objective analysis, and certain other changes are made, section 94.1 can be transformed to apply a transaction-cost model that will deter undesirable intermediation attempts and ensure that Canada's revenue authorities get a cut of any profits from superreturn investment opportunities. The author draws on key elements of the ultimately abandoned foreign investment entity rules and certain anti-avoidance provisions from elsewhere in the Act to provide a conceptual foundation for the proposed amendments. He also seeks to demonstrate how revising the OIFP rule in this way will achieve a greater degree of capital export neutrality—a policy thread that runs through the Canadian approach to international taxation—by creating a more (though not wholly) level tax playing field, but without the crippling administrative burden and incomplete tax coverage that may accompany a more capital export neutrality-driven approach.

AimsTo embed the use of reasonable adjustments for adults with autism within in mental health services.ObjectivesThe objectives of the project are as follows: To identify how many service users with a diagnosis of autism are under care of local mental health servicesIs there evidence that reasonable adjustments were considered for these service usersIf identified as needing reasonable adjusments is there evidence of such adjustments being madeMethodWe looked at service users with an established diagnosis of autism under care of Leeds and York NHS foundation trust to ascertain if reasonable adjustments have been considered. The audit is based on guidelines provided by Think Autism-department of health statutory guidance 2014. This is based on autism act 2009.Data were collected for 30 cases in mainstream mental health services undr care of various teams including inpatient and community.ResultIt was identified that in only 2/30 cases reasonable adjustments were considered and agreed upon. Only 1/30 service users had a disability status updated on electronic patient records. None of the service users had a hospital passport or reasonable adjustment care plan completed.None of the records had “good evidence” of reasonable adjustments.These findings point to a wider issue for the trust as well as natioanlly as it indicates that autism is not being adequately taken into account for patients accessing our services. Due to the lack of reasonable adjustments adults with autism are potentially at increased risk to disengage leading to deterioration in their mental state and increase in risks.ConclusionThese findings point to a wider issue for the trust as it indicates that autism is not being adequately taken into account for patients accessing our services. Due to the lack of reasonable adjustments adults with autism are potentially at increased risk to disengage leading to deterioration in their mental state and increase in risks.We recommend training in autism for all healthcare professionals in the trust to improve their understanding of autism, including making reasonable adjustments.We also recommend review trust procedure about recording diagnoses and disability status on electronic patient records. We recommend that the reasonable adjustments section on care director is more prominent and easily accessible.We recommend that an ‘autism flag’ is prominent on patient records to alert staff to the presence of autism

Pull quote was originally published in CBA #56&57: Uncomics, a collection of works guest-edited by Allen Haverholm meant to ‘unmake’ comics. This unusual prompt challenged me to almost entirely drop text, representational imagery, and narrative and embrace abstraction instead. My goal was to create a sequence of pages with echoes of comics structures like panels and gutters and that can still be ‘read’ even without a strict left-to-right and up-to-down format. I began this comic by lightly tracing the underlying shapes in magazines called page architecture – pictures, headers, articles, ads, etc. – and used them as a foundation for coloured pencil and marker abstractions. This led to unexpected images that shook me out of my usual style. This interestingly abstract ‘readability’ allows readers to drift through Pull quote taking in the soft, melting forms on the pages in their own ways – maybe as physical spaces, tangible objects or simply flat colours. The title comes from the term for short quotes that editors pluck from an article and feature as attention-grabbing headers or graphics. Print magazines have a certain visual architecture that is unique to the medium, and tailored to different genres and purposes and that language has been proliferated through ‘western’ graphic design in general. But all these design choices are usually invisible to the reader, existing to move us smoothly through an article from beginning to end (including the ads). Although I took these unseen shapes and let them take centre stage, my process does not result in neat, legible graphic design. Instead, it produces chaotic tangles of organic and angular forms that cannot be easily organized by the eye. Even if the reader does not know about the tracing process I used or the meaning of the title, I think it resulted in abstractions with a nagging sense of familiarity and that evoke some of the information overload of contemporary life.

Mr Aeschlimann tells the story of the establishment of the International Committee of the Red Cross and its main activities. He notes that the Committee was founded by Henri Dunant from Switzerland. The symbol of Red Cross was not a coincidence; Henri Dunant associated it with health protection. It is also noteworthy that the symbol resembles the flag of Switzerland. Since the very inception, the primary responsibility of the organisation was taking care of injured soldiers and captives; later on, it started to help abused people. Soon enough, the organisation began to provide food to the people in need. Mr Aeschlimann also emphasises that the International Committee of the Red Cross has worked in line with the principles of international humanitarian law and cooperated with states for its improvement since its foundation and adoption of the First Geneva Convention. The legal aspect is also an important part of the organisation’s work. In general, the Committee has a broad range of activities, totally depending on the state of a conflict or domestic violence. The International Committee of the Red Cross launched aggressive activities in 2014, following the outbreak of the military conflict in the east of Ukraine. The organisation pays much attention to the following aspects related to its operation in Ukraine: the conflict was unleashed between nations with similar mentality and is of highly politicised and polarised character. Representatives of the organisation act not only in the territory under Ukrainian control but also in the occupied territory. Mr Aeschlimann mentions that the most challenging aspect of working in Ukraine is to adjust to the fast pace of drastic changes in the country due to sweeping reforms and transition economy. Moreover, the organisation faced certain difficulties in providing humanitarian assistance, but currently all the subtleties have been settled and the ICRC is operating in favourable conditions. Among the priority tasks of the International Committee of the Red Cross, the following can be singled out: expansion of activities, namely measures on the search for missing persons, expansion of a program of support of psychosocial and psychological health. Special attention is drawn to provision of first aid to people near to the collision line. Mr Aeschlimann also tells how he chose this profession, his free time taking into account a busy working schedule, and his favourite places in Ukraine. Keywords: the International Committee of the Red Cross, the ICRC mission, the First Geneva Convention, humanitarian assistance, conflict.

Background Intensive therapy with fludarabine, cytarabine, granulocyte-colony stimulating factor, and idarubicin (FLAG-IDA) is effective in young, fit AML patients with composite complete response (CRc) rates of 85% in de novo AML. FLAG-IDA is also commonly utilized in secondary AML (sAML) or relapsed/refractory (R/R) AML, where expected CRc rates are approximately 63% and 21%. Addition of the BCL-2 inhibitor venetoclax (VEN) to chemotherapy increases apoptosis priming, inferring improved responses may be possible when used in combination with FLAG-IDA. Aim The dual primary objectives were assessment of the safety and tolerability, and determination of dose limiting toxicities and the maximal tolerated dose of FLAG-IDA with VEN (FLAG-IDA-VEN). Secondary objectives included assessment of overall response rate (ORR: CR+CRi+CRh+MLFS+PR), CRc (CR+ CRh+CRi), OS, event free survival (EFS), duration of response (DOR), and biomarkers predictive of response or resistance to FLAG-IDA-VEN. Methods Patients age > 18 with treatment naïve/newly diagnosed (ND) or R/R AML were eligible. The phase Ib (P1b) dose escalation occurred as previously described in a cohort of patients with R/R AML (Abou Dalle ASH 2019). The phase II dose expansion included two arms: Arm A (P2A): ND AML, and Arm B (P2B): R/R AML, at the recommended phase 2 dosing. Results 62 patients completed at least 1 cycle of therapy prior to analysis. Median age across cohorts was 51, 44, and 47 years. 18% of patients had sAML or therapy-related AML. ELN risk was favorable, intermediate, and adverse risk in 27%, 29%, and 44% of patients. R/R patients received a median of 2 (P1b; range 1-6) and 1 (P2B; range 1-2) prior lines of induction therapy. 50% of P1b and 32% of P2B patients underwent prior allogeneic stem cell transplantation (HSCT). 66% (N=41) of patients received 1-2 cycles of therapy; 34% (N=21) received ≥ 3 cycles. The most common reason for study discontinuation was transition to HSCT (N=31, 50%). Grade 3/4 adverse events occurring at a frequency ≥ 10% included febrile neutropenia (37%), bacteremia (29%), hypophosphatemia (24%), pneumonia (21%), hypokalemia (18%), skin/soft tissue infections (16%), and increased ALT (11%). 30 and 60-day mortality were 0 and 4.8%. Deaths on study have occurred only in R/R AML patients to date, secondary to sepsis (N=3), pneumonia (N=1), pulmonary hemorrhage (N=1), and the hemophagocytic syndrome (N=1). The ORR was 84%, with 89% (N= 24) of ND and 66% of R/R (N=23) patients achieving a CRc. 83% of patients (ND: 96%; R/R: 70%) achieved MRD negative CRc (MRD-) as assessed by flow cytometry. 100%, 85%, and 89% of ND and 83%, 60%, and 55% of R/R patients with ELN favorable, intermediate, and adverse risk disease achieved a CRc, respectively. 100% of patients with KMT2A rearrangements (N=7), and 50% of patients with extra-medullary AML (N=4) achieved a CRc. In R/R AML, mutations in tumor suppressor (TS) genes (TP53, WT1, PHF6) were more frequently identified in patients without response (66% vs. 19%, p-value: 0.014) while 100% of R/R patients with NPM1 mutated AML achieved CRc. 74% (N=17) of R/R patients in 1st salvage achieved CRc, with 53% proceeding to HSCT. After a median follow up of 11 mo., median OS and EFS for the study cohort was not reached (NR) and 16 months, respectively. 1-year OS was 92% in ND, and 52% in R/R patients in salvage #1. Median DOR was 6 months in P1b and NR in P2A and P2B. OS was increased in patients achieving a MRD- CRc (OS: MRD- vs. MRD+: NR vs. 13 months, p-value: 0.038). 52% of patients (N=32) were successfully bridged to HSCT, including 5 patients receiving a second HSCT. 30 and 60-day post-HSCT mortality were both 0% and 1-year post-HSCT OS was 90% in ND, and 75% in R/R AML. Median OS was NR in ND de novo and sAML, and 11 months in R/R AML. Inferior OS was observed in R/R patients with TS (6 vs 14 mo. p-value: 0.01) and active signaling (RAS, FLT3, PTPN11, KIT) (6 vs 16 mo. p-value: 0.018) mutations. Median OS was NR in patients with KMT2A rearrangements (N=7) or extra-medullary AML (N=4). Conclusions The addition of VEN to FLAG-IDA demonstrated robust efficacy across AML subgroups with an acceptable safety profile, an ORR of 84%, and 76% of subjects achieving a CRc (ND: 89%, R/R: 66%). FLAG-IDA-VEN resulted in deep responses as indicated by MRD- CRs in 83% of patients achieving a CR (ND: 96%, R/R: 70%). FLAG-IDA-VEN represents an effective regimen, particularly in adverse risk ND and R/R AML patients and as an effective bridge to HSCT. Disclosures Konopleva: Cellectis: Research Funding; Stemline Therapeutics: Consultancy, Research Funding; Ablynx: Research Funding; Forty-Seven: Consultancy, Research Funding; Genentech: Consultancy, Research Funding; Rafael Pharmaceutical: Research Funding; Agios: Research Funding; Kisoji: Consultancy; AstraZeneca: Research Funding; Calithera: Research Funding; Reata Pharmaceutical Inc.;: Patents & Royalties: patents and royalties with patent US 7,795,305 B2 on CDDO-compounds and combination therapies, licensed to Reata Pharmaceutical; Ascentage: Research Funding; AbbVie: Consultancy, Research Funding; Sanofi: Research Funding; Amgen: Consultancy; Eli Lilly: Research Funding; F. Hoffmann La-Roche: Consultancy, Research Funding. Kadia:Abbvie: Honoraria, Research Funding; BMS: Honoraria, Research Funding; Astra Zeneca: Research Funding; Cellenkos: Research Funding; Pfizer: Honoraria, Research Funding; Astellas: Research Funding; Ascentage: Research Funding; Pulmotec: Research Funding; Amgen: Research Funding; Novartis: Honoraria; Genentech: Honoraria, Research Funding; Celgene: Research Funding; Incyte: Research Funding; JAZZ: Honoraria, Research Funding; Cyclacel: Research Funding. Daver:Bristol-Myers Squibb: Consultancy, Membership on an entity's Board of Directors or advisory committees, Research Funding; Pfizer: Consultancy, Membership on an entity's Board of Directors or advisory committees, Research Funding; Karyopharm: Research Funding; Servier: Research Funding; Genentech: Research Funding; AbbVie: Consultancy, Membership on an entity's Board of Directors or advisory committees, Research Funding; Astellas: Consultancy, Membership on an entity's Board of Directors or advisory committees, Research Funding; Novimmune: Research Funding; Gilead: Consultancy, Membership on an entity's Board of Directors or advisory committees, Research Funding; Amgen: Consultancy, Membership on an entity's Board of Directors or advisory committees, Research Funding; Trovagene: Research Funding; Fate Therapeutics: Research Funding; ImmunoGen: Research Funding; Novartis: Consultancy, Membership on an entity's Board of Directors or advisory committees; Celgene: Consultancy, Membership on an entity's Board of Directors or advisory committees; Jazz: Consultancy, Membership on an entity's Board of Directors or advisory committees; Trillium: Consultancy, Membership on an entity's Board of Directors or advisory committees; Syndax: Consultancy, Membership on an entity's Board of Directors or advisory committees; Amgen: Consultancy, Membership on an entity's Board of Directors or advisory committees; KITE: Consultancy, Membership on an entity's Board of Directors or advisory committees; Agios: Consultancy, Membership on an entity's Board of Directors or advisory committees; Daiichi Sankyo: Consultancy, Membership on an entity's Board of Directors or advisory committees, Research Funding. Short:Takeda Oncology: Consultancy, Honoraria, Research Funding; AstraZeneca: Consultancy; Amgen: Honoraria; Astellas: Research Funding. Sasaki:Novartis: Consultancy, Research Funding; Daiichi Sankyo: Consultancy; Otsuka: Honoraria; Pfizer Japan: Consultancy. Borthakur:AstraZeneca: Research Funding; PTC Therapeutics: Consultancy; GSK: Research Funding; BMS: Research Funding; Nkarta Therapeutics: Consultancy; Treadwell Therapeutics: Consultancy; Abbvie: Research Funding; Novartis: Research Funding; Incyte: Research Funding; BioTherix: Consultancy; Polaris: Research Funding; Xbiotech USA: Research Funding; Oncoceutics: Research Funding; Curio Science LLC: Consultancy; FTC Therapeutics: Consultancy; Argenx: Consultancy; PTC Therapeutics: Research Funding; BioLine Rx: Consultancy; Jannsen: Research Funding; BioLine Rx: Research Funding; Cyclacel: Research Funding. Issa:Novartis: Membership on an entity's Board of Directors or advisory committees; Syndax: Research Funding; Celegene: Research Funding. Pemmaraju:Affymetrix: Other: Grant Support, Research Funding; Pacylex Pharmaceuticals: Consultancy; Stemline Therapeutics: Honoraria, Research Funding; LFB Biotechnologies: Honoraria; AbbVie: Honoraria, Research Funding; MustangBio: Honoraria; Daiichi Sankyo: Research Funding; Plexxikon: Research Funding; SagerStrong Foundation: Other: Grant Support; Incyte Corporation: Honoraria; Cellectis: Research Funding; Celgene: Honoraria; DAVA Oncology: Honoraria; Blueprint Medicines: Honoraria; Novartis: Honoraria, Research Funding; Roche Diagnostics: Honoraria; Samus Therapeutics: Research Funding. Jain:Pfizer: Research Funding; ADC Therapeutics: Research Funding; Incyte: Research Funding; Servier: Honoraria, Membership on an entity's Board of Directors or advisory committees, Research Funding; AstraZeneca: Honoraria, Membership on an entity's Board of Directors or advisory committees, Research Funding; Genentech: Honoraria, Membership on an entity's Board of Directors or advisory committees, Research Funding; AbbVie: Honoraria, Membership on an entity's Board of Directors or advisory committees, Research Funding; BeiGene: Honoraria, Membership on an entity's Board of Directors or advisory committees; TG Therapeutics: Honoraria, Membership on an entity's Board of Directors or advisory committees; Janssen: Honoraria, Membership on an entity's Board of Directors or advisory committees; Aprea Therapeutics: Research Funding; Fate Therapeutics: Research Funding; Precision Bioscienes: Honoraria, Membership on an entity's Board of Directors or advisory committees, Research Funding; Adaptive Biotechnologies: Honoraria, Membership on an entity's Board of Directors or advisory committees, Research Funding; Verastem: Honoraria, Membership on an entity's Board of Directors or advisory committees, Research Funding; Cellectis: Research Funding; Pharmacyclics: Honoraria, Membership on an entity's Board of Directors or advisory committees, Research Funding; BMS: Research Funding. Yilmaz:Pfizer: Research Funding; Pint Pharma: Honoraria; Daicho Sankyo: Research Funding. Jabbour:Amgen: Other: Advisory role, Research Funding; Adaptive Biotechnologies: Other: Advisory role, Research Funding; AbbVie: Other: Advisory role, Research Funding; Pfizer: Other: Advisory role, Research Funding; Takeda: Other: Advisory role, Research Funding; BMS: Other: Advisory role, Research Funding; Genentech: Other: Advisory role, Research Funding. Garcia-Manero:Celgene: Consultancy, Honoraria, Research Funding; Genentech: Consultancy, Membership on an entity's Board of Directors or advisory committees, Research Funding; Novartis: Research Funding; Merck: Research Funding; Bristol-Myers Squibb: Consultancy, Research Funding; Acceleron Pharmaceuticals: Consultancy, Honoraria; AbbVie: Honoraria, Research Funding; Helsinn Therapeutics: Consultancy, Honoraria, Research Funding; H3 Biomedicine: Research Funding; Amphivena Therapeutics: Research Funding; Onconova: Research Funding; Astex Pharmaceuticals: Consultancy, Honoraria, Research Funding; Jazz Pharmaceuticals: Consultancy. Ravandi:Orsenix: Consultancy, Honoraria, Research Funding; Jazz Pharmaceuticals: Consultancy, Honoraria, Research Funding; Abbvie: Consultancy, Honoraria, Research Funding; AstraZeneca: Consultancy, Honoraria; Xencor: Consultancy, Honoraria, Research Funding; Macrogenics: Research Funding; BMS: Consultancy, Honoraria, Research Funding; Celgene: Consultancy, Honoraria; Amgen: Consultancy, Honoraria, Research Funding; Astellas: Consultancy, Honoraria, Research Funding. Kantarjian:Aptitute Health: Honoraria; Janssen: Honoraria; Abbvie: Honoraria, Research Funding; BioAscend: Honoraria; Delta Fly: Honoraria; Amgen: Honoraria, Research Funding; Jazz: Research Funding; Daiichi-Sankyo: Honoraria, Research Funding; BMS: Research Funding; Ascentage: Research Funding; Immunogen: Research Funding; Adaptive biotechnologies: Honoraria; Oxford Biomedical: Honoraria; Novartis: Honoraria, Research Funding; Actinium: Honoraria, Membership on an entity's Board of Directors or advisory committees; Pfizer: Honoraria, Research Funding; Sanofi: Research Funding. Dinardo:Takeda: Honoraria; Daiichi Sankyo: Consultancy, Research Funding; ImmuneOnc: Honoraria; Novartis: Consultancy; Notable Labs: Membership on an entity's Board of Directors or advisory committees; AbbVie: Consultancy, Research Funding; Calithera: Research Funding; Agios: Consultancy, Research Funding; Celgene: Research Funding. OffLabel Disclosure: The BCL-2 inhibitor venetoclax will be combined with intensive chemotherapy (FLAG-IDA)

Enhancer of zeste homolog 2 (EZH2), the catalytic subunit of the polycomb repressive complex 2 (PRC2), is a highly conserved histone methyltransferase that targets lysine-27 of histone H3. EZH2 is one of the key determinants of cellular sensitivity to DNA damage, and therefore an abnormal accumulation of EZH2 represses tumor suppressors, including genes related to cell cycle inhibition, apoptosis, senescence, and differentiation. Similar to EZH2, EZH1 is part of the PRC2 complex and shares target genes. Acute myeloid leukemia (AML) is a heterogeneous disease associated with high mortality, dependent on molecular subtype and therapy. Bcl-2 family proteins have been established as key mediators of apoptosis in AML with venetoclax, a small molecule BH3 mimetic, selectively inhibiting Bcl-2. Combinatorial therapy of venetoclax and hypomethylating agents (Ven/HMA) has revolutionized the treatment of elderly patients with AML, yielding response rates over 70%, but overall survival remains short. Since PRC2 is required for AML cell survival (Basheer et al., 2019; Neff et al., 2012), targeting both EZH1 and EZH2 (EZH1/2) concomitantly could be efficient in disrupting oncogenic signals. A recent study using a murine AML model demonstrated that genetic deletion of EZH1/2 depleted quiescent leukemic stem cell (LSC) and prolonged survival of leukemia bearing mice (Fujita at al., 2018). AML LSC are located in BM niches and are mainly non-cycling. Thus, overcoming LSC dormancy as well as LSC mobilization from the BM may be critical steps that improve long-term survival of patients with AML. Here, we hypothesized that EZH1/2 is required to regulate LSC dormancy and increase efficacy of Ven/HMA therapy in AML. To test this hypothesis, we utilized pharmacological inhibition of EZH1/2 by a potent and selective EZH1/2 dual inhibitor, DS-3201 (valemetostat; Daiichi Sankyo, Inc.). Granulocyte colony-stimulating factor (G-SCF) has been shown to not only recruit leukemia cells into cell cycle (Andreeff et al, 1990), but also disrupt AML-stromal interactions for stem cell mobilization. Clinically, G-CSF is a critical component of the FLAG-Ida protocol (Petti et al, 1997). Therefore, we hypothesized that G-CSF will also recruit quiescent LSC into cycle, and the alternative mechanism may act synergistically with EZH1/2 inhibition. To assess if inhibition of EZH1/2 results in recruitment of LSC into the cell cycle and subsequently improves efficacy of Ven/HMA in AML in vitro, we first confirmed the nuclear expression of EZH1/2 in human AML cell lines. All cell lines expressed EZH1/2, although at different levels. These cell lines with various genetic backgrounds were treated with DS-3201 or G-CSF 24 hours prior to their exposure of Ven/HMA. A dual inhibitor of EZH1/2, or G-CSF, in combination with Ven/HMA significantly amplified AML cell death compared to Ven/HMA alone treated counterparts. In a clinical phase 1 trial of DS-3201 in AML, EZH1/2 inhibition promoted cell cycle progression. The proliferative fraction of leukemic cells was assessed by measuring Ki67/DNA in sequential samples obtained from DS-3201 treated patients. Baseline Ki67 positivity of LSC was 11.20%, and the maximized average increased to 59.3% and to over 90% in one patient (Fig 1), validating the concept that EZH1/2 inhibition can indeed recruit leukemia stem cells effectively into cell cycle. Further, a primary sample from a R/R AML patient (resistant to DNR/Ara-C 7+3, Ven/HMA, and Ipilimumab/nivolumab) was ex vivo primed for 5 days with combination of DS-3201 and G-CSF, then exposed to AraC/DNR based treatment. Concomitant treatment of G-CSF and EZH1/2 inhibition increased LSC proliferation and subsequently enhanced AraC/DNR induced apoptosis. Conclusion: we here demonstrate that pharmacological inhibition of EZH1/2 in a clinical trial with DS-3201 resulted in massive recruitment of quiescent AML LSC into the cell cycle. In vitro, EZH1/2 inhibition and G-CSF both enhanced Ven/HMA-induced leukemia cell apoptosis. Experiments are ongoing to test the hypothesis that EZH1/2 inhibition combined with G-CSF receptor activation may sensitize resistant primary AML LSC to apoptosis induction by chemotherapy and/or Bcl-2 inhibition. If successful, this concept could further enhance the activity of FLAG-Ida chemotherapy, which was developed a generation ago along the same concept, and of BH-3 mimetic, apoptosis targeting therapies. Disclosures Dos Santos: Daiichi Sankyo, Inc.: Current Employment. Slosberg:Daiichi Sankyo, Inc.: Current Employment. Daver:Bristol-Myers Squibb: Consultancy, Membership on an entity's Board of Directors or advisory committees, Research Funding; Pfizer: Consultancy, Membership on an entity's Board of Directors or advisory committees, Research Funding; Karyopharm: Research Funding; Servier: Research Funding; Genentech: Research Funding; AbbVie: Consultancy, Membership on an entity's Board of Directors or advisory committees, Research Funding; Astellas: Consultancy, Membership on an entity's Board of Directors or advisory committees, Research Funding; Novimmune: Research Funding; Gilead: Consultancy, Membership on an entity's Board of Directors or advisory committees, Research Funding; Amgen: Consultancy, Membership on an entity's Board of Directors or advisory committees, Research Funding; Trovagene: Research Funding; Fate Therapeutics: Research Funding; ImmunoGen: Research Funding; Novartis: Consultancy, Membership on an entity's Board of Directors or advisory committees; Celgene: Consultancy, Membership on an entity's Board of Directors or advisory committees; Jazz: Consultancy, Membership on an entity's Board of Directors or advisory committees; Trillium: Consultancy, Membership on an entity's Board of Directors or advisory committees; Syndax: Consultancy, Membership on an entity's Board of Directors or advisory committees; Amgen: Consultancy, Membership on an entity's Board of Directors or advisory committees; KITE: Consultancy, Membership on an entity's Board of Directors or advisory committees; Agios: Consultancy, Membership on an entity's Board of Directors or advisory committees; Daiichi Sankyo: Consultancy, Membership on an entity's Board of Directors or advisory committees, Research Funding. Andreeff:Daiichi-Sankyo; Jazz Pharmaceuticals; Celgene; Amgen; AstraZeneca; 6 Dimensions Capital: Consultancy; Daiichi-Sankyo; Breast Cancer Research Foundation; CPRIT; NIH/NCI; Amgen; AstraZeneca: Research Funding; Centre for Drug Research & Development; Cancer UK; NCI-CTEP; German Research Council; Leukemia Lymphoma Foundation (LLS); NCI-RDCRN (Rare Disease Clin Network); CLL Founcdation; BioLineRx; SentiBio; Aptose Biosciences, Inc: Membership on an entity's Board of Directors or advisory committees; Amgen: Research Funding.

The fundamental language skills acquired during early childhood play a pivotal role in a child's developmental progress in kindergarten and the initial stages of primary education. This study aimed to improve the foundational language proficiency in Standard Arabic among early childhood children by implementing a language immersion-based learning approach enriched with art activities. The experimental approach was used through a quasi-experimental design based on one group, with pre- and post-measurements. The study sample consisted of 30 first-grade primary school children aged 6-7 years. A comprehensive list of foundational linguistic skills in Standard Arabic essential for the study sample was compiled, the list included the skills of: phonological awareness, listening, standard speaking skills, and linguistic vocabulary. Educational content for art activities, including puppet theatre, dough modeling, and flat expression drawing, was suggested across 15 sessions. An oral test was administered to assess the children's foundational language skills in Standard Arabic. The results demonstrated statistically significant effectiveness in utilizing language immersion-based learning enhanced by art activities, the differences between the average scores of the children in the study sample in the pre- and post-measurements on the oral test of foundational language skills were in favor of the post-measurement. The study recommends integrating identified foundational language skills into early childhood art activities and underscores the importance of immersive learning in language skill instruction at this developmental stage.

Abstract Introduction To assess confidence and knowledge of managing free flaps in foundation doctors’, who, whilst working on a general surgery rota, are expected to intermittently manage plastic surgery patients, and introduce a simple tool to support them. Method A single-centre closed-loop quality improvement project, using the ‘Plan, Do, Study, Act’ methodology, was conducted. Initially, a prospective, baseline audit assessing foundation doctors’ confidence and knowledge was carried out. This utilised images and clinical scenarios to assess understanding of complications. Results were analysed, and a simple poster was designed and distributed for reference. Two months later the questionnaire was repeated to reassess confidence and knowledge. Results Pre- and post- intervention surveys were completed by all general surgery foundation doctors (n = 11). Mean confidence was significantly improved following intervention (p = <0.0001). Baseline ability to spot a healthy flap and venous congestion was good. Ability to identify arterial occlusion and a healthy muscle flap, with concurrent split-thickness skin graft, significantly improved (p = <0.0001 and p = 0.0091, respectively) Conclusions Foundation doctors lack confidence and knowledge of managing free flaps, despite some being expected to do so whilst on a general surgery rota. This can be improved through a simple, informative resource to refer to when dealing with these patients.

AbstractThe dorsal root ganglia (DRG) project spinal afferent axons to the stomach. However, the distribution and morphology of spinal afferent axons in the stomach have not been well characterized. In this study, we used a combination of state-of-the-art techniques, including anterograde tracer injection into the left DRG T7-T11, avidin–biotin and Cuprolinic Blue labeling, Zeiss M2 Imager, and Neurolucida to characterize spinal afferent axons in flat-mounts of the whole rat stomach muscular wall. We found that spinal afferent axons innervated all regions with a variety of distinct terminal structures innervating different gastric targets: (1) The ganglionic type: some axons formed varicose contacts with individual neurons within myenteric ganglia. (2) The muscle type: most axons ran in parallel with the longitudinal and circular muscles and expressed spherical varicosities. Complex terminal structures were observed within the circular muscle layer. (3) The ganglia-muscle mixed type: some individual varicose axons innervated both myenteric neurons and the circular muscle, exhibiting polymorphic terminal structures. (4) The vascular type: individual varicose axons ran along the blood vessels and occasionally traversed the vessel wall. This work provides a foundation for future topographical anatomical and functional mapping of spinal afferent axon innervation of the stomach under normal and pathophysiological conditions.

The purpose of the article is to highlight the main stylistic features of modern Ukrainian fine arts of the war period in relation to the art of Ukraine of the twentieth century. The research methodology is based on the comparative analysis of the visual-plastic language of contemporary Ukrainian art, as well as the comparative-historical method, which allows us to analyze the artistic temporal parallels of the development of Ukrainian fine arts. The scientific novelty consists in the first attempt to create a holistic picture of the development of modern Ukrainian fine arts of the war period and to determine the main artistic trends in the formation. Conclusions. The war period for Ukrainian art became a milestone that separated the artistic trends of the early XXI century and stylistic features of 2022, which introduced new artistic priorities and requirements. As a result of the analysis, it is established that the main trends in the development of modern Ukrainian wartime painting can already be identified. Generally speaking, this is primarily a tendency to posterity, generalization, monumentality. Heroization of the images of the victorious pages of the past in Ukrainian history, as well as glorification of the image of Ukraine-woman, suffering, but unshakable in the fight against the enemy. The use of Ukrainian symbols in works of art - flag, coat of arms, Ukrainian ornament, etc. - acquires a new sound. An attempt was also made to structure works of modern painting in the following areas: features of graphics and posters; tendencies of folk art and neo-primitivism; signs of heroic and epic style, neorealism. Of course, this process of forming a new plastic trend in Ukrainian painting has only just begun; it develops, moves, pulsates, changes. It is happening here and now. However, despite the terrible catastrophe and its destructive action, which we are witnessing and the name of which is the war, today we can see how radical changes are taking place not only in the national context of Ukraine, but around the world. And the destiny of art is not only to reflect these global changes that we have witnessed, but also to lead society, consolidate, affirm the eternal values and ideals of humanity, national foundations and lead to victory. Key words: modern painting, poster, national style, neorealism, neo-primitivism, avant-garde, national symbols.

Abstract Clarifying the aesthetic differences between Guangxi folk dance and ASEAN dance can promote the in-depth exchange of dance art and culture between the two. In this paper, the aesthetic characteristics of Guangxi folk dance and ASEAN dance are discussed, and the HRNet network is used as the basis, combined with the sequence multi-scale feature fusion and the PCA action gesture segmentation model for the action gesture estimation. The dataset was constructed according to different kinds of Guangxi folk dance and ASEAN dance, and the aesthetic differences between Guangxi folk dance and ASEAN dance in terms of intrinsic culture and extrinsic performance were analyzed using the dataset. The results show that on the inner culture, Guangxi folk dance is mainly based on traditional culture and folk customs. ASEAN dance is more influenced by religious culture, although it has differences, but the correlation coefficients of emotional expression and national custom are 0.963 and 0.954, respectively. On the outer manifestation, Guangxi folk dance has as many as 11 kinds of action dance forms, while ASEAN dance emphasizes more on The ASEAN dance emphasizes more on the “flat, taut, straight and standing” forms. The aesthetic differences between Guangxi folk dance and ASEAN dance can promote the exchange and integration of dance art and culture between the two and provide a good artistic foundation for the in-depth promotion of the Belt and Road.

Background: High-severity fires are serious anthropogenic threats to forests, as they can cause forest degradation on unrecoverable scales. Therefore, understanding the patterns and drivers of post-fire regeneration is essential to designing restoration proposals. Hypotheses: After a high-severity fire, we expected greater species richness and abundance of individuals in flat sites than in hillside sites since seeds, nutrients, and organic matter accumulate in flat landforms. Compared to some Pinus species, Quercus species are more drought-tolerant after a forest fire and, therefore, they are expected to dominate post-fire chronosequences. Study site: The study was conducted in the “La Primavera” Flora and Fauna Protection Area. Methods: We sampled vegetation and microenvironmental variables from 2021 to 2022 at 18 sites located on flat and hillside areas, at 3, 9, and ≥ 20 years since the last high-severity forest fires (TSF). Results: The richness of woody and herbaceous species was higher at 3 TSF and 9 TSF. The topographic condition did not significantly drive the richness and abundance of woody species, but richness and abundance of herbaceous species were significantly greater in flat sites. The oak tree Quercus resinosa Liebm. was the dominant species throughout the chronosequence. Conclusions: Quercus resinosa represents a foundational species for recovering forest structure and composition. Flat sites may act as regeneration nuclei, but hillside sites require greater restoration efforts.

Abstract Main conclusion Circular RNAs (circRNAs) identification, expression profiles, and construction of circRNA-parental gene relationships and circRNA-miRNA-mRNA ceRNA networks indicate that circRNAs are involved in flag leaf senescence of rice. Abstract Circular RNAs (circRNAs) are a class of 3′-5′ head-to-tail covalently closed non-coding RNAs which have been proved to play important roles in various biological processes. However, no systematic identification of circRNAs associated with leaf senescence in rice has been studied. In this study, a genome-wide high-throughput sequencing analysis was performed using rice flag leaves developing from normal to senescence. Here, a total of 6612 circRNAs were identified, among which, 113 circRNAs were differentially expressed (DE) during the leaf senescence process. Moreover, 4601 (69.59%) circRNAs were derived from the exons or introns of their parental genes, while 2110 (71%) of the parental genes produced only one circRNA. The sequence alignment analysis showed that hundreds of rice circRNAs were conserved among different plant species. Gene Ontology (GO) enrichment analysis revealed that parental genes of DE circRNAs were enriched in many biological processes closely related to leaf senescence. Through weighted gene co-expression network analysis (WGCNA), six continuously down-expressed circRNAs, 18 continuously up-expressed circRNAs and 15 turn-point high-expressed circRNAs were considered to be highly associated with leaf senescence. Additionally, a total of 17 senescence-associated circRNAs were predicted to have parental genes, in which, regulations of three circRNAs to their parental genes were validated by qRT-PCR. The competing endogenous RNA (ceRNA) networks were also constructed. And a total of 11 senescence-associated circRNAs were predicted to act as miRNA sponges to regulate mRNAs, in which, regulation of two circRNAs to eight mRNAs was validated by qRT-PCR. It is discussed that senescence-associated circRNAs were involved in flag leaf senescence probably through mediating their parental genes and ceRNA networks, to participate in several well-studied senescence-associated processes, mainly including the processes of transcription, translation, and posttranslational modification (especially protein glycosylation), oxidation–reduction process, involvement of senescence-associated genes, hormone signaling pathway, proteolysis, and DNA damage repair. This study not only showed the systematic identification of circRNAs involved in leaf senescence of rice, but also laid a foundation for functional research on candidate circRNAs.

Introduction This article is concerned with the recent rise in popularity of crypto art, the term given to digital artworks whose ownership and provenance are confirmed with a non-fungible token (NFT), making it possible to sell these works within decentralised cryptocurrency art markets. The goal of this analysis is to trace a genealogy of crypto art to Dada, an avant-garde movement that originated in the early twentieth century. My claim is that Dadaism in crypto art appears in its exhausted form that is a result of its revival in the 1950s and 1960s by the Neo Dada that reached the current age through Pop Art. Dada’s anti-art project of rejecting beauty and aesthetics has transformed into commercial success in the Neo Dada Pop Art movement. In turn, Pop Art produced its crypto version that explores not only the question of what art is and is not, but also when art becomes money. In what follows, I will provide a brief overview of NFT art and its three categories that could generally be found within crypto marketplaces: native crypto art, non-digital art, and digital distributed-creativity art. Throughout, I will foreground the presence of Dadaism in these artworks and provide art historical context. NFTs: Brief Overview A major technological component that made NFTs possible was developed in 1991, when cryptographers Stuart Haber and W. Scott Stornetta proposed a method for time-stamping data contained in digital documents shared within a distributed network of users (99). This work laid the foundation for what became known as blockchain and was further implemented in the development of Bitcoin, a digital currency invented by Satoshi Nakamoto in 2008. The original non-fungible tokens, Coloured Coins, were created in 2012. By “colouring” or differentiating bitcoins, Coloured Coins were assigned special properties and had a value independent of the underlying Bitcoin, allowing their use as commodity certificates, alternative currencies, and other financial instruments (Assia et al.). In 2014, fuelled by a motivation to protect digital artists from unsanctioned distribution of their work while also enabling digital art sales, media artist Kevin McCoy and tech entrepreneur Anil Dash saw the potential of blockchain to satisfy their goals and developed what became to be known as NFTs. This overnight invention was a result of McCoy and Dash’s participation in the Seven on Seven annual New York City event, a one-day creative collaboration that challenged seven pairs of artists and engineers to “make something” (Rhizome). McCoy and Dash did not patent their invention, nor were they able to popularise it, mentally archiving it as a “footnote in internet history”. Ironically, just a couple of years later NFTs exploded into a billion-dollar market, living up to an ironic name of “monetized graphics” that the pair gave to their invention. Crypto art became an international sensation in March 2021, when a digital artist Mike Winklemann, known as Beeple, sold his digital collage titled Everydays: The First 5000 Days for US$69.3 million, prompting Noah Davis, a curator who assisted with the sale at the Christie’s auction house, to proclaim: “he showed us this collage, and that was my eureka moment when I knew this was going to be extremely important. It was just so monumental and so indicative of what NFTs can do” (Kastrenakes). As a technology, a non-fungible token can create digital scarcity in an otherwise infinitely replicable digital space. Contrary to fungible tokens, which are easily interchangeable due to having an equal value, non-fungible tokens represent unique items for which one cannot find an equivalent. That is why we rely on the fungibility of money to exchange non-fungible unique goods, such as art. Employing non-fungible tokens allows owning and exchanging digital items outside of the context in which they originated. Now, one can prove one’s possession of a digital skin from a videogame, for example, and sell it on digital markets using crypto currency (“Bible”). Behind the technology of NFTs lies the use of a cryptographic hash function, which converts a digital artwork of any file size into a fixed-length hash, called message digest (Dooley 179). It is impossible to revert the process and arrive at the original image, a quality of non-reversibility that makes the hash function a perfect tool for creating a digital representation of an artwork proofed from data tampering. The issued or minted NFT enters a blockchain, a distributed database that too relies on cryptographic properties to guarantee fidelity and security of data stored. Once the NFT becomes a part of the blockchain, its transaction history is permanently recorded and publicly available. Thus, the NFT simultaneously serves as a unique representation of the artwork and a digital proof of ownership. NFTs are traded in digital marketplaces, such as SuperRare, KnownOrigin, OpenSea, and Rarible, which rely on a blockchain to sustain their operations. An analysis of these markets’ inventory can be summarised by the following list of roughly grouped types of artistic works available for purchase: native crypto art, non-digital art, distributed creativity art. Native Crypto Art In this category, I include projects that motivated the creation of NFT protocols. Among these projects are the aforementioned Colored Coins, created in 2012. These were followed by issuing other visual creations native to the crypto-world, such as LarvaLabs’s CryptoPunks, a series of 10,000 algorithmically generated 8-bit-style pixelated digital avatars originally available for free to anyone with an Ethereum blockchain account, gaining a cult status among the collectors when they became rare sought-after items. On 13 February 2022, CryptoPunk #5822 was sold for roughly $24 million in Ethereum, beating the previous record for such an NFT, CryptoPunk #3100, sold for $7.58 million. CryptoPunks laid the foundation for other collectible personal profile projects, such Bored Ape Yacht Club and Cool Cats. One of the ultimate collections of crypto art that demonstrates the exhaustion of original Dada motivations is titled Monas, an NFT project made up of 5,000 programmatically generated versions of a pixelated Mona Lisa by Leonardo da Vinci (c. 1503-1506). Each Monas, according to the creators, is “a mix of Art, history, and references from iconic NFTs” (“Monas”). Monas are a potpourri of meme and pop culture, infused with inside jokes and utmost silliness. Monas invariably bring to mind the historic Dadaist gesture of challenging bourgeois tastes through defacing iconic art historical works, such as Marcel Duchamp’s treatment of Mona Lisa in L.H.O.O.Q. In 1919, Duchamp drew a moustache and a goatee on a reproduction of La Joconde, as the French called the painting, and inscribed “L.H.O.O.Q.” that when pronounced sounds like “Elle a chaud au cul”, a vulgar expression indicating sexual arousal of the subject. At the time of its creation, this Dada act was met with the utmost public contempt, as Mona Lisa was considered a sacred work of art and a patron of the arts, an almost religious symbol (Elger and Grosenick 82). Needless to say, the effect of Monas on public consciousness is far from causing disgust and, on the contrary, brings childish joy and giggles. As an NFT artist, Mankind, explains in his YouTube video on personal profile projects: “PFPs are built around what people enjoy. People enjoy memes, people enjoy status, people enjoy being a part of something bigger than themselves, the basic primary desire to mix digital with social and belong to a community”. Somehow, “being bigger than themselves” has come to involve collecting defaced images of Mona Lisa. Turning our attention to historical analysis will help trace this transformation of the Dada insult into a collectible NFT object. Dada and Its Legacy in Crypto Art Dada was founded in 1916 in Zurich, by Hugo Ball, Tristan Tzara, Hans Richter, and other artists who fled their homelands during the First World War (Hapgood and Rittner 63). One of Dada’s primary aspirations was to challenge the dominance of reason that brought about the tragedy of the First World War through attacking the postulates of culture this form of reason produced. Already in 1921, such artists as André Breton, Louis Aragon, and Max Ernst were becoming exhausted by Dada’s nihilist tendencies and rejection of all programmes for the arts, except for the one that called for the total freedom of expression. The movement was pronounced dead about May 1921, leaving no sense of regret since, in the words of Breton, “its omnipotence and its tyranny had made it intolerable” (205). An important event associated with Dada’s revival and the birth of the Neo Dada movement was the publication of The Dada Painters and Poets in 1951. This volume, the first collection of Dada writings in English and the most comprehensive anthology in any language, was introduced to the young artists at the New School by John Cage, who revived Tristan Tzara’s concept that “life is far more interesting” than art (Hapgood and Rittner 64). The 1950s were marked by a renewed interest in Dadaism that can also be evidenced in galleries and museums organising numerous exhibitions on the movement, such as Dada 1916 –1923 curated by Marcel Duchamp at the Sidney Janis Gallery in 1953. By the end of the decade, such artists as Jasper Johns and Robert Rauschenberg began exploring materials and techniques that can be attributed to Dadaism, which prompted the title of Neo Dada to describe this thematic return (Hapgood and Rittner 64). Among the artistic approaches that Neo Dada borrowed from Dada are Duchampian readymades that question the status of the art object, Kurt Schwitters’s collage technique of incorporating often banal scraps and pieces of the everyday, and the use of chance operations as a compositional device (Hapgood and Rittner 63–64). These approaches comprise the toolbox of crypto artists as well. Monas, CryptoPunks, and Bored Ape Yacht Club are digital collages made of scraps of pop culture and the everyday Internet life assembled into compositional configurations through chance operation made possible by the application of algorithmic generation of the images in each series. Art historian Helen Molesworth sees the strategies of montage, the readymade, and chance not only as “mechanisms for making art objects” but also as “abdications of traditional forms of artistic labor” (178). Molesworth argues that Duchamp’s invention of the readymade “substituted the act of (artistic) production with consumption” and “profoundly questioned the role, stability, nature, and necessity of the artist’s labor” (179). Together with questioning the need for artistic labour, Neo Dadaists inherited what an American art historian Jack D. Flam terms the “anything goes” attitude: Dada’s liberating destruction of rules and derision of art historical canon allowed anything and everything to be considered art (xii). The “anything goes” approach can also be traced to the contemporary crypto artists, such as Beeple, whose Everydays: The First 5000 Days was a result of assembling into a collage the first 5,000 of his daily training sketches created while teaching himself new digital tools (Kastrenakes). When asked whether he genuinely liked any of his images, Beeple explained that most digital art was created by teams of people working over the course of days or even weeks. When he “is pooping something out in 45 minutes”, it “is probably not gonna look that great comparatively” (Cieplak-Mayr von Baldegg). At the core of Dada was a spirit of absurdism that drove an attack on the social, political, artistic, and philosophical norms, constituting a radical movement against the Establishment (Flam xii). In Dada Art and Anti-Art, Hans Richter’s personal historical account of the Dada movement, the artist describes the basic principle of Dada as guided by a motivation “to outrage public opinion” (66). Richter’s writings also point out a desensitisation towards Dada provocations that the public experienced as a result of Dada’s repetitive assaults, demanding an invention of new methods to disgrace the public taste. Richter recounts: our exhibitions were not enough. Not everyone in Zurich came to look at our pictures, attending our meetings, read our poems and manifestos. The devising and raising of public hell was an essential function of any Dada movement, whether its goal was pro-art, non-art or anti-art. And the public (like insects or bacteria) had developed immunity to one of kind poison, we had to think of another. (66) Richter’s account paints a cultural environment in which new artistic provocations mutate into accepted norms in a quick succession, forming a public body that is immune to anti-art “poisons”. In the foreword to Dada Painters and Poets, Flam outlines a trajectory of acceptance and subjugation of the Dadaist spirit by the subsequent revival of the movement’s core values in the Neo Dada of the 1950s and 1960s. When Dadaism was rediscovered by the writers and artists in the 1950s, the Dada spirit characterised by absurdist irony, self-parody, and deadpan realism was becoming a part of everyday life, as if art entered life and transformed it in its own image. The Neo Dada artists, such as Jasper Johns, Robert Rauschenberg, Claes Oldenburg, Roy Lichtenstein, and Andy Warhol, existed in a culturally pluralistic space where the project of a rejection of the Establishment was quickly absorbed into the mainstream, mutating into the high culture it was supposedly criticising and bringing commercial success of which the original Dada artists would have been deeply ashamed (Flam xiii). Raoul Hausmann states: “Dada fell like a raindrop from heaven. The Neo-Dadaists have learnt to imitate the fall, but not the raindrop” (as quoted in Craft 129). With a similar sentiment, Richard Huelsenbeck writes: “Neo-Dada has turned the weapons used by Dada, and later by Surrealism, into popular ploughshares with which to till the fertile soil of sensation-hungry galleries eager for business” (as quoted in Craft 130). Marcel Duchamp, the forefather of the avant-garde, comments on the loss of Dada’s original intent: this Neo-Dada, which they call New Realism, Pop Art, Assemblage, etc., is an easy way out, and lives on what Dada did. When I discovered ready-mades I thought to discourage aesthetics. In Neo-Dada they have taken my ready-mades and found aesthetic beauty in them. I threw the bottle-rack and the urinal into their faces as a challenge and now they admire them for their aesthetic beauty. (Flam xiii) In Neo Dada, the original anti-art impulse of Dadaism was converted into its opposite, becoming an artistic stance and a form of aesthetics. Flam notes that these gradual transformations resulted in the shifts in public consciousness, which it was becoming more difficult to insult. Artists, among them Roy Lichtenstein, complained that it was becoming impossible to make anything despicable: even a dirty rug could be admired (Flam xiii). The audience lost their ability to understand when they were being mocked, attacked, or challenged. Writing in 1981, Flam proclaimed that “Dada spirit has become an inescapable condition of modern life” (xiv). I contend that the current crypto art thrives on the Dada spirit of absurdism, irony, and self-parody and continues to question the border between art and non-art, while fully subscribing to the “anything goes” approach. In the current iteration of Dada in the crypto world, the original subversive narrative can be mostly found in the liberating rhetoric promoted by the proponents of the decentralised economic system. While Neo Dada understood the futility of shocking the public and questioning their tastes, crypto art is ignorant of the original Dada as a form of outrage, a revolutionary movement ignited by a social passion. In crypto art, the ambiguous relationship that Pop Art, one of the Neo Dada movements, had with commercial success is transformed into the content of the artworks. As Tristan Tzara laconically explained, the Dada project was to “assassinate beauty” and with it all the infrastructure of the art market (as quoted in Danto 39). Ironically, crypto artists, the descendants of Dada, erected the monument to Value artificially created through scarcity made possible by blockchain technology in place of the denigrated Venus demolished by the Dadaists. After all, it is the astronomical prices for crypto art that are lauded the most. If in the pre-NFT age, artistic works were evaluated based on their creative merit that included considering the prominence of the artist within art historical canon, current crypto art is evaluated based on its rareness, to which the titles of the crypto art markets SuperRare and Rarible unambiguously refer (Finucane 28–29). In crypto art, the anti-art and anti-commercialism of Dada has fully transformed into its opposite. Another evidence for considering crypto art to be a descendant of Dada is the NFT artists’ concern for the question of what art is and is not, brought to the table by the original Dada artists. This concern is expressed in the manifesto-like mission statement of the first Museum of Crypto Art: at its core, the Museum of Crypto Art (M○C△) challenges, creates conflict, provokes. M○C△ puts forward a broad representation of perspectives meant to upend our sense of who we are. It poses two questions: “what is art?” and “who decides?” We aim to resolve these questions through a multi-stakeholder decentralized platform of art curation and exhibition. (The Museum of Crypto Art) In the past, the question regarding the definition of art was overtaken by the proponent of the institutional approach to art definition, George Dickie, who besides excluding aesthetics from playing a part in differentiating art from non-art famously pronounced that an artwork created by a monkey is art if it is displayed in an art institution, and non-art if it is displayed elsewhere (Dickie 256). This development might explain why decentralisation of the art market achieved through the use of blockchain technology still relies on the endorsing of the art being sold by the widely acclaimed art auction houses: with their stamp of approval, the work is christened as legitimate art, resulting in astronomical sales. Non-Digital Art It is not surprising that an NFT marketplace is an inviting arena for the investigation of questions of commercialisation tackled in the works of Neo Dada Pop artists, who made their names in the traditional art world. This brings us to a discussion of the second type of artworks found in NFT marketplaces: non-digital art sold as NFT and created by trained visual artists, such as Damien Hirst. In his recent NFT project titled Currency, Hirst explores “the boundaries of art and currency—when art changes and becomes a currency, and when currency becomes art” (“The Currency”). The project consists of 10,000 artworks on A4 paper covered in small, coloured dots, a continuation of the so-called “spot-paintings” series that Hirst and his assistants have been producing since the 1980s. Each artwork is painted on a hand-made paper that bears the watermark of the artist’s bust, adorned with a microdot that serves as a unique identification, and is made to look very similar to the others—visual devices used to highlight the ambiguous state of these artworks that simultaneously function as Hirst-issued currency. For Hirst, this project is an experiment: after the purchase of NFTs, buyers are given an opportunity to exchange the NFT for the original art, safely stored in a UK vault; the unexchanged artworks will be burned. Is art going to fully transform into currency? Will you save it? In Hirst’s project, the transformation of physical art into crypto value becomes the ultimate act of Dada nihilism, except for one big difference: if Dada wanted to destroy art as a way to invent it anew, Hirst destroys art to affirm its death and dissolution in currency. In an ironic gesture, the gif NFT artist Nino Arteiro, as if in agreement with Hirst, attempts to sell his work titled Art Is Not Synonymous of Profit, which contains a crudely written text “ART ≠ PROFIT!” for 0.13 Ether or US$350. Buying this art will negate its own statement and affirm its analogy with money. Distributed-Creativity Art When browsing through crypto art advertised in the crypto markets, one inevitably encounters works that stand out in their emphasis on aesthetic and formal qualities. More often than not, these works are created with the use of Artificial Intelligence (AI). To a viewer bombarded with creations unconcerned with the concept of beauty, these AI works may serve as a sensory aesthetic refuge. Among the most prominent artists working in this realm is Refik Anadol, whose Synthetic Dreams series at a first glance may appear as carefully composed works of a landscape painter. However, at a closer look nodal connections between points in rendered space provide a hint at the use of algorithmic processes. These attractive landscapes are quantum AI data paintings created from a data set consisting of 200 million raw images of landscapes from around the world, with each image having been computed with a unique quantum bit string (“Synthetic Dreams”). Upon further contemplation, Anadol’s work begins to remind of the sublime Romantic landscapes, revamped through the application of AI that turned fascination with nature’s unboundedness into awe in the face of the unfathomable amounts of data used in creation of Anadol’s works. These creations can be seen as a reaction against the crypto art I call exhausted Dada, or a marketing approach that targets a different audience. In either case, Anadol revives aesthetic concern and aligns himself with the history of sublimity in art that dates back to the writings of Longinus, becoming of prime importance in the nineteenth-century Romantic painting, and finding new expressions in what is considered the technological sublime, which, according to David E. Nye. concentrates “on the triumph of machines… over space and time” (as quoted in Butler et al. 8). In relation to his Nature Dreams project, Anadol writes: “the exhibition’s eponymous, sublime AI Data Sculpture, Nature Dreams utilizes over 300 million publicly available photographs of nature collected between 2018- 2021 at Refik Anadol Studio” (“Machine Hallucinations Nature Dreams”). From this short description it is evident that Anadol’s primary focus is on the sublimity of large sets of data. There is an issue with that approach: since experiencing the sublime involves loss of rational thinking (Longinus 1.4), these artworks cease the viewer’s ability to interrogate cultural adaptation of AI technology and stay within the realm of decorative ornamentations, demanding an intervention akin to that brought about by the historical avant-garde. Conclusions I hope that this brief analysis demonstrates the mechanisms by which the strains of Dada entered the vocabulary of crypto artists. It is probably also noticeable that I equate the nihilist project of the exhausted Dada found in such works as Hirst’s Cryptocurrency with a dead end similar to so many other dead ends in art history—one only needs to remember that the death of painting was announced a myriad of times, and yet it is still alive. Each announcement of its death was followed by its radiant return. It could be that using art as a visual package for monetary value, a death statement to art’s capacity to affect human lives, will ignite artists to affirm art’s power to challenge, inspire, and enrich. References Assia, Yoni et al. “Colored Coins Whitepaper.” 2012-13. <https://docs.google.com/document/d/1AnkP_cVZTCMLIzw4DvsW6M8Q2JC0lIzrTLuoWu2z1BE/edit>. Breton, André. “Three Dada Manifestoes, before 1924.” The Dada Painters and Poets: An Anthology, Ed. Robert Motherwell, Cambridge, Mass: Belknap Press of Harvard UP, 1989. 197–206. Butler, Rebecca P., and Benjamin J. Butler. “Examples of the American Technological Sublime.” TechTrends 57.1 (2013): 9–10. Craft, Catherine Anne. Constellations of Past and Present: (Neo-) Dada, the Avant- Garde, and the New York Art World, 1951-1965. 1996. PhD dissertation. University of Texas at Austin. Cieplak-Mayr von Baldegg, Kasia. “Creativity Is Hustle: Make Something Every Day.” The Atlantic, 7 Oct. 2011. 12 July 2021 <https://www.theatlantic.com/video/archive/2011/10/creativity-is-hustle-make-something-every-day/246377/#slide15>. Danto, Arthur Coleman. The Abuse of Beauty: Aesthetics and the Concept of Art. Chicago, Ill: Open Court, 2006. Dash, Anil. “NFTs Weren’t Supposed to End like This.” The Atlantic, 2 Apr. 2021. 16 Apr. 2022 <https://www.theatlantic.com/ideas/archive/2021/04/nfts-werent-supposed-end-like/618488/>. Dickie, George. “Defining Art.” American Philosophical Quarterly 6.3 (1969): 253–256. Dooley, John F. History of Cryptography and Cryptanalysis: Codes, Ciphers, and Their Algorithms. 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As binding contracts among sovereigns, treaties between Indigenous and Western Nations set parameters for and guide policies that recognize Indigenous Peoples’ rights and that harmonize those rights with non-Indigenous interests. Because treaties engage specific terms, parties, and geographies, detailed analyses of treaty texts and historical contexts are required foundations for understanding Treaty Rights and for proposing policy reforms. The litigious “Save Oak Flat” battle over the Resolution Copper mine proposed for Apache Nation Treaty Territory in present day Arizona prompts close scrutiny of the 1852 Treaty between the United States and the Apache Nation. Because the 1852 Treaty guarantees rights to both parties, it provides mandates and suggests co-management mechanisms to safeguard Apache Nation Treaty Territory and Apache rights to religious practice free from threats of sacred site destruction.

Information Extraction (IE) focuses on transforming unstructured data into structured knowledge, of which Named Entity Recognition (NER) is a fundamental component. In the realm of Information Retrieval (IR), effectively recognizing entities can substantially enhance the precision of search and recommendation systems. Existing methods frame NER as a sequence labeling task, which requires extra data and, therefore may be limited in terms of sustainability. One promising solution is to employ a Machine Reading Comprehension (MRC) approach for NER tasks, thereby eliminating the dependence on additional data. This process encounters key challenges, including: 1) Unconventional predictions; 2) Inefficient multi-stream processing; 3) Absence of a proficient reasoning strategy. To this end, we present the Single-Stream Reasoner (SSR), a solution utilizing a reasoning strategy and standardized inputs. This yields a type-agnostic solution for both flat and nested NER tasks, without the need for additional data. On ten NER benchmarks, SSR achieved state-of-the-art results, highlighting its robustness. Furthermore, we illustrated its efficiency through convergence, inference speed, and low-resource scenario performance comparisons. Our architecture displays adaptability and can effortlessly merge with various foundational models and reasoning strategies, fostering advancements in both IR and IE fields.

The purpose of this study is to examine the tuğra form, an important element of Ottoman calligraphy, in terms of its place in Turkish calligraphy, historical development, usage areas, and design features. In this context, it is emphasized that the significance of the tuğra goes beyond its function in official documents, serving as an art piece reflecting the artistic sensibilities of its era. Tughras are typically designed in a curved form consisting of the sere, beyze, tuğ, and hançer parts, including the name of the sultan, his father's name, and the phrase "el muzaffer daima." The composition and ornamentation of this text depend on the skills of the artisans of the era and the opulence of the reign. The earliest curved tughra examples that can be found are seen in documents of the Great Seljuk Empire. Later, the use of tughras continued in the Anatolian Seljuks and the Ottoman Empire. Officially, the use of tughras ended on November 1, 1922, with the abolition of the monarchy. The tughra served as a title in official correspondence in the Ottoman state and represented the sultan's signature and the seal of the state. As such, tughras appeared on official documents such as orders, decrees, land deeds, diplomas, as well as on coins, stamps, registration books, dynastic emblems, flags, and official architectural monuments. Additionally, calligraphy works in the form of tughras were created with verses from the Quran, prayers, the Basmala, hadiths, aphorisms, and personal names. The tughra of Ottoman Sultan Orhan Bey, which included the names of "Orhan and his father Osman," laid the foundation for all Ottoman tughra designs. In this study, the tughra of Sultan Suleiman the Magnificent, produced in the Istanbul Palace Workshop during the 16th century, which is considered the brightest period of the Ottoman Empire, was examined. This tughra, currently on display at the New York Metropolitan Museum of Art, was analyzed in terms of its text, calligraphy design, composition features, and illumination patterns. The tughra's design features prominently include the use of gold and navy blue. Illumination patterns feature saz-style dagger leaves, double tahrir-style hatayi designs, stylized carnations, and cloud motifs. Due to these design characteristics, it is believed that the tughra was created in the style of Kara Memi, the chief illuminator of the era.As a result of the research, it was concluded that tughras were not limited to being merely official documents but also represented significant art pieces that reflected the artistic sensibilities of their time.