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Journal articles on the topic 'Pictures of the Floating World'

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Author: Grafiati

Published: 4 June 2021

Last updated: 10 February 2022

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1

Gallois, William. "An Illumination of a Floating World." American Historical Review 126, no. 2 (June 1, 2021): 708–9. http://dx.doi.org/10.1093/ahr/rhab221.

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Abstract If a picture was not seen to be art when it was made, can we imagine that its producer may have designed the work to be read elsewhere in time or space? Or, perhaps, that the eyes that have been trained upon the work have rarely been those that were able to see and describe its value? This piece (also available on Instagram @cendrillondefes) tries to dramatize the gains that come to history through a process of learning to read a text whose significance was not seen in the moment in which it was made. It aims at a discrete form of upending, in reevaluating the work of an important artist and the culture from which they came, while aspiring to be a more of a beginning than an ending in its more general goals. These humbler aspirations depend upon seeing its subject as a teacher, rather than simply as an object of study.

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Schmidt, Wolfgang, Peter Strangfeld, Eduard Volker, and Yaraslau Sliavin. "Numerical simulation of the movement behavior of floating structures." Real estate: economics, management, no. 2 (June 24, 2021): 55–62. http://dx.doi.org/10.22337/2073-8412-2021-2-55-62.

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The sea level is rising, and floods threaten the infrastructure all over the world; therefore, we should identify the risks for envelops of buildings and settlements. The risks arise due to the new boundary conditions and a direct contact between the water flows in motion. A floating construction site requires a manifold adaptation of structures. The paper demonstrates the effect of water waves on floating houses built on abandoned open pit mines. Pictures of destroyed accessways to such properties have proven the need to study the effect of water waves on floating houses. In order to minimize the time and spending on experimental activities, some of the field studies should be replaced by numerical simulations using modern computing equipment and ANSYS FLUENT, ANSYS MECHANICAL FSI, and ANSYS AQWA software. The results can be validated using a hydraulic testing channel (15 x 5 m), a floating platform near the harbor of Lake Gro r schener See and floating houses in the Lusatian Lakeland. The results demonstrate the wave forces acting on the structures of the pontoons. New connection elements, adapted versions of materials and structures have been developed, water waves are damped, and options for the wave energy use have been analyzed.

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Atkinson, Rowland, and Sarah Blandy. "A Picture of the Floating World: Grounding the Secessionary Affluence of the Residential Cruise Liner." Antipode 41, no. 1 (January 2009): 92–110. http://dx.doi.org/10.1111/j.1467-8330.2008.00656.x.

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4

Clinton, Daniel. "Line and Lineage." Nineteenth-Century Literature 73, no. 1 (June 1, 2018): 1–29. http://dx.doi.org/10.1525/ncl.2018.73.1.1.

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Daniel Clinton, “Line and Lineage: Visual Form in Herman Melville’s Pierre and Timoleon” (pp. 1–29) This essay examines Herman Melville’s reflections on form, line, and perspective in his novel Pierre (1852) and his poems on art and architecture in Timoleon (1891), a late book of verse partly inspired by his tour of the Mediterranean during 1856–57. I argue that Melville arrives at his understanding of literary form through the language of optical perspective, particularly the terms of “foreshortening” and “outline.” I compare Melville’s figurative conception of outline with the artistic theories and practices of William Blake, George Cumberland, John Ruskin, and the artist John Flaxman, whose illustrations of Homer and Dante feature prominently in Pierre. Widely circulated as engravings by Tommaso Piroli and others, Flaxman’s clean-lined drawings fascinate Melville because they emphasize implied narrative rather than optical verisimilitude. Melville responds to a romantic discourse that positions “outline” on the conceptual boundary between sense-perception and free-floating thought, as a mediating term between competing notions of art’s truth. In both his fiction and poetry, Melville’s reflection on the materiality of pictures doubles as a reflection on the materiality of thought. The formal features of visual art suggest the workings of the mind as it flattens unconscious possibilities and disparate truths into a manageable picture of the world.

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Weltman, David, and Martin Upchurch. "The ideal of non-coherence in the World Bank’s social capital reforms." Journal of Language and Politics 9, no. 1 (April 9, 2010): 50–73. http://dx.doi.org/10.1075/jlp.9.1.03wel.

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This paper presents an analysis of a World Bank document representing a version of the new “Social Capital” approach of International Financial Institutions (IFIs). This stance involves a rhetorical reorientation away from a much criticized unilateral approach to the poor indebted countries and to a more bi-lateral and participatory attitude. Analysis suggests that this “post-ideological” posture is reflected in the text in the form of a copious rhetoric of “complex differentiation”. This consists of characterizing the world in the abstract terms of multiple independent factors which work against any more coherent picture of the historical process and its contradictions. While such formal elements appear to be conditional on and anchored in concrete content, they are shown in fact to reflect the negation of such content (and thus coherence). In this way, an apparently limitless proliferation of free-floating isolated elements substitutes for faithful representation of the underlying social cleavages. The implications of the analysis for contrasting conceptualizations of abstraction in texts, as well as for the notion of utopian discourse, are critically discussed.

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6

Ahmed, Jashim Uddin, N. M. Ashikuzzaman, and Nabila Nisha. "Understanding Operations of Floating Schools: A Case of Shidhulai Swanirvar Sangstha in Bangladesh." South Asian Journal of Business and Management Cases 5, no. 2 (December 2016): 221–33. http://dx.doi.org/10.1177/2277977916665993.

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Bangladesh is highly vulnerable to the effects of climate change since it is a delta formed by the confluence of major rivers. Making sure that schools are resilient against such natural disasters in Bangladesh should be a priority for any disaster risk reduction preparedness and planning. To address this challenge, Shidhulai Swanirvar Sangstha (SSS) found an innovative way to deliver information and primary education to residents of wetland area in Bangladesh. It operates 111-vessel fleet of floating schools, libraries, health clinics and training centres, equipped with wireless Internet access, serving over 1,00,000 families. This case captures a clear picture of this rapidly growing non-governmental organization (NGO) of Shidhulai and its extensive activities leading to the transformation of the region’s waterways into pathways for education, information and technology in Bangladesh. Although the case partly focuses upon the role of NGOs and the operational concept of floating schools across the world, an examination of SSS’s growth, challenges, current and plans ahead strategies is the main emphasis here. All these discussions ultimately pave a clear way as to which steps the NGO could take to strengthen its position, and support the development of socio-economic infrastructure of Bangladesh.

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7

Porras, Stephanie. "World Pictures." Art History 40, no. 5 (October 17, 2017): 1141–44. http://dx.doi.org/10.1111/1467-8365.12351.

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8

Canipari, Rita, Lucia De Santis, and Sandra Cecconi. "Female Fertility and Environmental Pollution." International Journal of Environmental Research and Public Health 17, no. 23 (November 26, 2020): 8802. http://dx.doi.org/10.3390/ijerph17238802.

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A realistic picture of our world shows that it is heavily polluted everywhere. Coastal regions and oceans are polluted by farm fertilizer, manure runoff, sewage and industrial discharges, and large isles of waste plastic are floating around, impacting sea life. Terrestrial ecosystems are contaminated by heavy metals and organic chemicals that can be taken up by and accumulate in crop plants, and water tables are heavily contaminated by untreated industrial discharges. As deadly particulates can drift far, poor air quality has become a significant global problem and one that is not exclusive to major industrialized cities. The consequences are a dramatic impairment of our ecosystem and biodiversity and increases in degenerative or man-made diseases. In this respect, it has been demonstrated that environmental pollution impairs fertility in all mammalian species. The worst consequences are observed for females since the number of germ cells present in the ovary is fixed during fetal life, and the cells are not renewable. This means that any pollutant affecting hormonal homeostasis and/or the reproductive apparatus inevitably harms reproductive performance. This decline will have important social and economic consequences that can no longer be overlooked.

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Baxter, Rachel. "Floating world." New Scientist 235, no. 3139 (August 2017): 26–27. http://dx.doi.org/10.1016/s0262-4079(17)31620-2.

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10

Hazleton, Lesley. "Floating World." Women's Review of Books 12, no. 10/11 (July 1995): 5. http://dx.doi.org/10.2307/4022155.

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Tresch, John. "Technological World‐Pictures." Isis 98, no. 1 (March 2007): 84–99. http://dx.doi.org/10.1086/512833.

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박정미. "Pictures from Pandoras' World." Economy and Society ll, no. 111 (September 2016): 319–24. http://dx.doi.org/10.18207/criso.2016..111.319.

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13

Perlberg, Mark. "The Floating World." Hudson Review 42, no. 1 (1989): 93. http://dx.doi.org/10.2307/3851164.

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14

Eisen, Erica X. "The Floating World." Pleiades: Literature in Context 37, no. 1 (2017): 134–39. http://dx.doi.org/10.1353/plc.2017.0042.

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15

Pascoli, Gianni. "Are the Hessdalen Lights a Reality, an Illusion, or a Mix of the Two ?" Journal of Scientific Exploration 35, no. 3 (September 26, 2021): 590–622. http://dx.doi.org/10.31275/20212171.

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The Hessdalen lights (HLs in the following) are luminous, floating, more or less spherical atmospheric phenomena, with a lifetime of a few seconds to sometimes several minutes. These phenomena are seen in the Hessdalen Valley in Norway for decades. Unfortunately a full understanding of these baffling events is still lacking in spite of solid working scientific projects intended to explain them. This paper tries to improve the situation. It raises the questions where the energy for the creation of the HLs comes from, and what was its nature : (geo) chemical, electric or still other ? We propose a new scenario for the Hessdalen lights. It exploits the recent idea of stable and traversable wormholes whose the potential existence is beginning to be recognized in physics. Even though appearing highly speculative, this hypothesis has not been so far explored elsewhere while it could supply a full description of the wholeness of the phenomenon. On the other side even if the probability that a HL could indeed be a wormhole is may be low, this question should not dismissed out of hand. These theoretical considerations could help to increase knowledge and understanding of both the HLs and the wormholes, drawing mutual enrichment. In other words HLs could betray the presence of hidden wormholes and we must not let slip through our fingers this possibility even if it is very tiny. In this framework we discuss of the stability, the energetics and the oversized dimension of the HLs. In physics the final arbiter is not the theory but the experiment. Thus some “simple” experiments are eventually suggested (high time resolution photometry and magnetic field measurements). Eventually, if the process described is real and after mastering it, there is a free and inexhaustible source of energy that would be derived, a tremendous breakthrough after which we could forget the controlled nuclear fusion. Regarding its structure, the paper is divided in four paragraphs 1, 2,3, 4 independent of each other. Illustrative pictures help to understand the text.

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16

Gibson, Tony. "PICTURES FOR THE DEVELOPING WORLD." Lancet 332, no. 8616 (October 1988): 909. http://dx.doi.org/10.1016/s0140-6736(88)92511-1.

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17

Süner, Ahmet. "Frames, World-Pictures and Representations." Idealistic Studies 49, no. 1 (2019): 65–84. http://dx.doi.org/10.5840/idstudies201971998.

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This essay analyzes key aspects of Heidegger’s critique of the picture (Bild) based on an objection to world-pictures as well as a negative understanding of two other related concepts: Gestell and Vorstellen (representation). The restrictive frames of world-pictures, Heidegger claims, must be opposed by instances of thinking and language use associated with poiesis. For him, the revelation of the world in poiesis results in a subject-less experience of things and words, akin to the experience of art and literature, and presumably outside the representational hold of pictures. I argue against Heidegger’s repudiation of the picture by underscoring the inescapability of Vorstellen. Heidegger’s world may be seen as a world-picture as well as a particular system of representation that we associate with affective uses of language, i.e., a literary system similar to the one discussed by Wolgang Iser.

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18

Ohtani, Hiroshi. "World-Pictures and Wittgensteinian Certainty." Metaphilosophy 49, no. 1-2 (January 2018): 115–36. http://dx.doi.org/10.1111/meta.12288.

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19

Marceau, Lawrence E., Donald Jenkis, Lynn Jacobsen-Katsumoto, Haruko Iwasaki, Tadashi Kobayashi, Laurence Kominz, and Henry D. Smith II. "The Floating World Revisited." Eighteenth-Century Studies 28, no. 2 (1994): 260. http://dx.doi.org/10.2307/2739204.

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20

Dursun, Nevra, Oscar Tapia Escalona, Juan Carlos Roa, Olca Basturk, Pelin Bagci, Asli Cakir, Jeanette Cheng, et al. "Mucinous Carcinomas of the Gallbladder: Clinicopathologic Analysis of 15 Cases Identified in 606 Carcinomas." Archives of Pathology & Laboratory Medicine 136, no. 11 (November 1, 2012): 1347–58. http://dx.doi.org/10.5858/arpa.2011-0447-oa.

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Context.—There are virtually no data in the literature regarding the incidence, patterns, and clinicopathologic characteristics of mucinous carcinomas (MCs) of the gallbladder (GB). Objective.—To determine the incidence of mucinous differentiation in invasive GB carcinomas and the clinicopathologic characteristics of those that qualify as MC. Design.—Primary invasive GB carcinomas (n = 606) were reviewed for mucinous differentiation. Some degree of mucin production was identified in 40 cases (6.6%); however, only 15 (2.5%) were qualified for the World Health Organization definition of MC (stromal mucin deposition constituting >50% of the tumor). Results.—The mean age was 65 years, and the female to male ratio was 1.1 (versus 3.9 for conventional pancreatobiliary-type GB adenocarcinomas; P = .04). A significant proportion of the cases (8 of 12, 67%) presented with the clinical picture and intraoperative findings that were interpreted as acute cholecystitis. Mean and median tumor sizes were larger than those of conventional adenocarcinomas (4.8 and 3.4 cm versus 2.9 and 2.5 cm, respectively; P = .01). Most (13 of 15, 87%) cases presented with pT3 tumors (versus 48% for ordinary GB carcinomas; P = .01). Two cases had almost an exclusive colloid pattern (>90% composed of well-defined stromal mucin nodules that contained scanty carcinoma cells, most of which were floating within the mucin). Eight cases were of mixed-mucinous type, showing a mixture of colloid and noncolloid patterns. Five others had prominent signet-ring cells, both floating within the mucin (which constituted >50% of the tumor by definition) and infiltrating into the stroma as individual signet-ring cells in some areas. Immunohistochemical analysis performed on the 7 cases that had available tissue revealed CK7 in 4 of 7 (57%), CK20 in 2 of 7 (29%), MUC1 in 4 of 7 (57%), MUC2 in 6 of 7 (86%), CDX2 in 1 of 7 (14%), MUC5AC in 6 of 7 (86%), MUC6 in 0 of 7 (0%), and loss of E-cadherin in 6 of 7 (86%). The MLH1 and MSH2 were retained in 6 of 7 cases (100%). Follow-up information was available for 13 cases: 11 (85%) died of disease (1–37 months) and 2 (15%) were alive (23 months and 1 month). Overall survival of MCs was significantly worse than that of conventional adenocarcinomas (13 versus 26 months; P = .01); however, that did not seem to be independent of stage. Conclusions.—Mucinous carcinomas constitute 2.5% of GB carcinomas. They present with an acute cholecystitis-type picture. Most MCs are a mixed-mucinous, not pure colloid, type. They are typically large and advanced tumors at the time of diagnosis and thus exhibit more-aggressive behavior than do ordinary GB carcinomas. Immunophenotypically, they differ from conventional GB adenocarcinomas by MUC2 positivity, from intestinal carcinomas by an often inverse CK7/20 profile, from pancreatic mucinous carcinomas by CDX2 negativity, and from mammary colloid carcinomas by a lack of MUC6. Unlike gastrointestinal MCs, they appear to be microsatellite stable.

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21

Sarvan, Charles. "Floating Signifiers and An Artist of the Floating World." Journal of Commonwealth Literature 32, no. 1 (March 1997): 93–101. http://dx.doi.org/10.1177/002198949703200108.

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22

Mitchell, W. J. T. "World pictures: Globalization and visual culture." Neohelicon 34, no. 2 (October 27, 2007): 49–59. http://dx.doi.org/10.1007/s11059-007-2005-7.

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Jian, Ma. "Citizen of the floating world." Index on Censorship 26, no. 1 (January 1997): 192. http://dx.doi.org/10.1177/030642209702600143.

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Sloan, Marisa. "Donors of the Floating World." Digital Literature Review 6 (January 15, 2019): 130–46. http://dx.doi.org/10.33043/dlr.6.0.130-146.

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The text Never Let Me Go envisions dystopianism through the eyes of a group that is simultaneouslysubjugated and compensated by class structures. Due to the synchronous glorifcation andeuphemization of their oppression, the fate of these characters ties historical threads to thelivelihoods of Yoshiwara courtesans in Edo Japan. These parallels are drawn from historicaland sociological lenses, inspired by scholars Cecilia Segawa Seigle and Kelly Rich on courtesanlife and environmental infuence.This dichotomy between perception and reality is born from thesubjective nature of what it means to be educated and cultured. The relativity of privilege is thenis weaponized by those in power, who ensure that both marginalized groups internalize their classand grow complicit in their own exploitation. In light of these parallels, the fuidity between utopianand dystopian livelihoods manifests, and therein seeps beyond the literary realm.

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25

Mark, Reet. "Endel Kõksi abstraktsetest maalidest." Baltic Journal of Art History 11 (November 30, 2016): 125. http://dx.doi.org/10.12697/bjah.2016.11.07.

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The artist Endel Kõks (1912–1983) is a member of the same generation of Estonian art classics as Elmar Kits and Lepo Mikko. After Kits’s and Kõks’s debut at the exhibition of the Administration of the Cultural Endowment’s Fine Art Foundation (KKSKV) in Tallinn in 1939, the three of them started to be spoken about as the promising Tartu trio. In 1944, Endel Kõks ended up in Germany as a wounded soldier, while Kits and Mikko remained in Estonia. The Kõks’s works that have surreptitiously arrived in his homeland are incidental and small in number. Thus, without any proof, an image developed or was developed of him in Soviet-era art history as a mediocre painter and especially as a weak abstractionist, which is somewhat prevalent even today. I would dispute this based on the conclusions that I reached when helping to organise the exhibition of exile Estonian art between 2008 and 201142 and Endel Kõks’s solo exhibition between 2011 and 201343; conclusions that I have supplemented with the opinions expressed by exile Estonian art historians and artists.In 1951 Kõks moved to Sweden. Paul Reets has highlighted the years between 1952 and 1956, and assumed that these were difficult years due to the contradictions he faced. According to Reets, one obstacle was influence of the Pallas on Kõks’s painting style, which was conservative and adhered to the trends of Late Cubism. According to both Eevi End and Paul Reets, Kõks painted his first abstract painting in 1956 Rahutus (Restlessness) according to the former and Konflikt (Conflict) according to the latter). A black-and-white photo exists of Restlessness, which is slightly reminiscent of Pollock, and this is not the same work that P. Reets refers to. They both note that this was a convincing and mature abstraction not a searching for form, and as Reets states, Kõks had severed himself from the Pallas.The abstract paintings created between 1956 and 1960 – Kompositsioon (Composition) (1958), Rõõmus silmapilk (Joyful Moment) (1959) and others – are constructed on the impact of a joyfully colourful palette and lines, and demonstrate a kinship with the abstract works of Vassili Kandinsky. There is also a similarity to Arshile Gorky, whose works he may have seen at the exhibition of modern American art in Stockholm in 1953.Kõks’s transition into a pure form of abstraction occurred in 1963. Reets has characterised this as a “the most wondrous year that one can expect to see in an artist’s life. Not an unexpected year, but one that was unexpectedly and extremely rich when it came to his works.” The artist started to create series of works, of which the best known is undoubtedly Elektroonika (Electronics), which was comprised of 36 sheets. According to Kõks, he developed the need and idea to create the series while listening to experimental music, watching experimental films and thinking about nuclear physics. Created with a glass printing technique, or vitreography, each work is unique due to the post-printing processing, paint dripping, spraying and additional brushstrokes and images. Of course, all this alludes to Jackson Pollock.In 1962, Kõks painted the abstract composition Astraalne (Astral), which depicts a red circle and bent violet rectangle next to it on an interesting yellowish-brown surface that creates a rough effect. Using only these two symbols, the artist creates a sense of floating in cosmic space. Starting in 1964–1965 this style gradually came to dominate his work, and in was in this style that Kõks created the works that express the greatness of his talent and the charm of the “shaper of nature forms” in the purest sense.The construction of these works is brilliantly simple, and comprised of symbols and images placed on a relatively uniform surface. The nervous brittleness and rapid movement have disappeared from the paintings. The mood is calm and reveling. There is a monumental feel to many of the pictures. Masterful, delicate colour combinations triumph. And as time goes on, the more abundant and interesting the texture becomes. Eevi End believes that Kõks was influenced by Ellsworth Kelly, Kenneth Noland and other representatives of the school of Hard-edge painting that other influential direction operating in American abstractionism during the 20th century. Kõks himself has defined his abstract paintings as biomorphic abstraction, characterized by a free formalism, spatiality and atmospherics (Arshile Gorky, William de Kooning, Mark Tobey, Mark Rothko, and Jackson Pollock.)Kõks’s abstraction that features intellectual and cognizant images is totally the opposite of Elmar Kits’s excellent and spontaneous colourful abstraction. Kits remains true to the Pallas colour tradition; Kõks breaks out of it. Kõks feels secure painting abstract pictures and enjoys the game, which cannot be said of the thoroughly abstract works of Lepo Mikko or Alfred Kongo. Those who doubt this statement should remember that, in order to provide an assessment of Kõks’s abstract pictures, one must have seen them in Europe, the U.S. and Canada. Conclusions cannot be drawn based exclusively on the works in Estonia. As an abstractionist, he is in no way weaker than his contemporaries, just very different and the determination of superiority is a matter of taste. Endel Kõks’s greatness lies in the fact that he was able to fit with what was happening in world art (which many exile artists could not); he experimented with new directions and finally put together something new for himself, and thereby developed Estonian art as a whole.

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Slavova, L. L. "Сonceptual and Language Pictures of the World." Science and Education a New Dimension VI(145), no. 41 (November 20, 2017): 52–54. http://dx.doi.org/10.31174/send-ph2017-145v41-12.

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Gardner, Frank. "Floating exchange rates and world inflation." International Affairs 61, no. 2 (April 1985): 301. http://dx.doi.org/10.2307/2617502.

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Shone, Ronald, and Jaleel Ahmad. "Floating Exchange Rates and World Inflation." Economic Journal 95, no. 378 (June 1985): 516. http://dx.doi.org/10.2307/2233242.

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Hobbs, Richard. "The floating world of Odilon Redon." Word & Image 12, no. 3 (July 1996): 326–29. http://dx.doi.org/10.1080/02666286.1996.10434259.

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McGeown, Kate. "An artist of the floating world." Nature 388, no. 6640 (July 1997): 333. http://dx.doi.org/10.1038/40989.

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Drozdovskyi, D. І. "An Artist of the Floating World." Visnik Nacional'noi' academii' nauk Ukrai'ni 12 (December 20, 2017): 73–76. http://dx.doi.org/10.15407/visn2017.12.073.

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Pernia, Marjorie Evasco. "Sagada Stills in a Floating World." Iowa Review 33, no. 2 (October 2003): 120. http://dx.doi.org/10.17077/0021-065x.5650.

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McKinnon, Ronald I. "Floating exchange rates and world inflation." Journal of International Economics 21, no. 1-2 (August 1986): 191–92. http://dx.doi.org/10.1016/0022-1996(86)90016-4.

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Emmett, Arielle. "Pictures of a Floating World.The Philadelphia InquirerSeeks a Community Calling in Cyberspace." Visual Communication Quarterly 17, no. 4 (November 17, 2010): 213–24. http://dx.doi.org/10.1080/15551393.2010.515441.

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Moss, Thylias. "The Small World Studies Pictures of Cadavers 1839." Callaloo 28, no. 4 (2005): 903–6. http://dx.doi.org/10.1353/cal.2006.0033.

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Ashcroft, Richard E., and Karen P. Gui. "Ethics and World Pictures in Kamm on Enhancement." American Journal of Bioethics 5, no. 3 (May 2005): 19–20. http://dx.doi.org/10.1080/15265160591002674.

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Breedlove, Byron, and Jared Friedberg. "Perspective and Surprise in the Floating World." Emerging Infectious Diseases 22, no. 6 (June 2016): 1143–44. http://dx.doi.org/10.3201/eid2206.ac2206.

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38

Gilbert, Helen. "Cultural Frictions: John Romeril's The Floating World." Theatre Research International 26, no. 1 (March 2001): 60–70. http://dx.doi.org/10.1017/s0307883301000062.

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Hailed as an ‘unruly masterpiece’, John Romeril's The Floating World is one of the few ‘new wave’ Australian plays representing Australians and their Asian ‘others’ to be restaged periodically since its première in 1974. Paying particular attention to productions of the play that have used Japanese theatre forms such as kabuki and bunraku, this article focuses primarily on the ways in which the spectacle of race has been coded performatively by different directorial approaches, and how various significations of race have been interpreted by the critical establishment. The fascinating stage history of The Floating World is treated as a barometer of Australian theatre's response to the challenge of representing cultural conflict, during a period marked by public debate about the desirability, and inevitability, of Australia's political, economic and cultural ‘enmeshment’ with Asia.

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Mullins, Justin. "Floating wires zoom in on micro-world." New Scientist 194, no. 2610 (June 2007): 28. http://dx.doi.org/10.1016/s0262-4079(07)61646-7.

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Hammer, Melanie. "A Yankees Fan in the Floating World." Missouri Review 22, no. 1 (1999): 118–23. http://dx.doi.org/10.1353/mis.1999.0029.

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Yano, Christine. "The floating world of karaoke in Japan." Popular Music and Society 20, no. 2 (June 1996): 1–17. http://dx.doi.org/10.1080/03007769608591620.

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Jóźwiak, Marek, Brian Po-Jung Chen, Bartosz Musielak, Jacek Fabiszak, and Andrzej Grzegorzewski. "Social Attitudes toward Cerebral Palsy and Potential Uses in Medical Education Based on the Analysis of Motion Pictures." Behavioural Neurology 2015 (2015): 1–8. http://dx.doi.org/10.1155/2015/341023.

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This study presents how motion pictures illustrate a person with cerebral palsy (CP), the social impact from the media, and the possibility of cerebral palsy education by using motion pictures. 937 motion pictures were reviewed in this study. With the criteria of nondocumentary movies, possibility of disability classification, and availability, the total number of motion pictures about CP was reduced to 34. The geographical distribution of movie number ever produced is as follows: North America 12, Europe 11, India 2, East Asia 6, and Australia 3. The CP incidences of different motor types in real world and in movies, respectively, are 78–86%, 65% (Spastic); 1.5–6%, 9% (Dyskinetic); 6.5–9%, 26% (Mixed); 3%, 0% (Ataxic); 3-4%, 0% (Hypotonic). The CP incidences of different Gross Motor Function Classification System (GMFCS) levels in real world and in movies, respectively, are 40–51%, 47% (Level I + II); 14–19%, 12% (Level III); 34–41%, 41% (Level IV + V). Comparisons of incidence between the real world and the movies are surprisingly matching. Motion pictures honestly reflect the general public’s point of view to CP patients in our real world. With precise selection and medical professional explanations, motion pictures can play the suitable role making CP understood more clearly.

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Jatmiko, Yudi. "Antara Selfie Dan Selfless: Sebuah Tinjauan Teologis Terhadap Tren Instagram." Manna Rafflesia 7, no. 2 (April 30, 2021): 369–94. http://dx.doi.org/10.38091/man_raf.v7i2.166.

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The emergence of Instagram has indisputably made the world full of pictures. Messages that are generally dominated by words have turned into a collection of colorful pictures on Instagram. Pictures have brought a world that is beyond words. On the other hand, many experts observe the destructive sides of Instagram. The pictures that are initially meant to reveal beauty have transformed into a means of self-fulfillment. Pictures have turned into a context where the self has become the center of the message and the world. In the Christian faith, this is fatal! A self-centered life is contradictory to the Christian nature as God’s image, which basically must center life on God. The question begs to answer: how should Christian respond to Instagram? This is the focus of the research. To answer the question above, using the methodology of phenomenology approach and literary research, I will explain the history and impacts of Instagram. After that, I will analyze it from the perspective of the Christian faith, especially those that are related to the philosophy undergirding Instagram. Finally, I believe Instagram is not evil per se. However, appropriate responses are needed to bring forth a clearer God’s image in the world that is full of pictures.

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Han, Hyun-jung. "The Role of Textbooks Pictures in the World Recognition." Korean Comparative Education Society 27, no. 3 (May 6, 2017): 213–38. http://dx.doi.org/10.20306/kces.2017.27.3.213.

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Romanova, L. V. "Value World–Pictures and Axiological Codes of Musical Genres." KnE Engineering 3, no. 8 (December 23, 2018): 40. http://dx.doi.org/10.18502/keg.v3i8.3607.

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Appleby, David P., and Lisa M. Peppercorn. "The World of Villa-Lobos in Pictures and Documents." Notes 54, no. 2 (December 1997): 493. http://dx.doi.org/10.2307/899550.

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Feldman, H. "As the World Constricts: Kader Attia's Pictures of Spacelessness." Nka Journal of Contemporary African Art 2010, no. 26 (March 1, 2010): 60–69. http://dx.doi.org/10.1215/10757163-2010-26-60.

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Sidorova, O. "KAZUO ISHIGURO. THE WRITER IN THE ‘FLOATING WORLD’." Voprosy literatury, no. 4 (October 2, 2018): 301–18. http://dx.doi.org/10.31425/0042-8795-2018-4-301-318.

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Novels by the Nobel Prize winner in literature 2017 K. Ishiguro are analyzed chronologically, from the first novel A Pale View of Hills (1982) to the latest one The Buried Giant (2015). As the article shows, the author, who represents two cultural traditions, the Japanese and the British ones, reflects this quality in his works. The writer himself states that his works were mainly formed by the European literary tradition and, consequently, his novel The Remains of the Day has become a concentrated study of Englishness, one of the most vivid in contemporary British literature. Experimenting with traditional literary forms, Ishiguro uses the stream-of-conscience technique, elements of science fiction, fantasy, detective genres, but each of his novels is unique and is characterized by deep overtones. Some constant elements of the writer’s works are discussed: unreliable narrators, the opposition of memory and history, the special role of children and of old people in his novels, the significant role of periods before and after historic events that are omitted in his novels, and recognizable language and style – compact, reserved and precise.

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Streimer, Jeffrey H. "The Floating World of Liaison: Exploring the Process." Australasian Psychiatry 6, no. 4 (August 1998): 175–77. http://dx.doi.org/10.3109/10398569809084832.

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Potter, Polyxeni. "Women Caring for Children in "the Floating World"." Emerging Infectious Diseases 12, no. 11 (2006): 1808–9. http://dx.doi.org/10.3201/eid1211.ac1211.

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