Journal articles on the topic 'Scenic presence'
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1
Larsen, Janike Kampevold. "Geologic Presence in a Twenty-First-Century Scenic Garden." Studies in the History of Gardens & Designed Landscapes 34, no. 1 (January 2, 2014): 85–100. http://dx.doi.org/10.1080/14601176.2013.850296.
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Kim, Kyujin. "A Study on Actor's Habits Disturbing Actor's Scenic Presence." Journal of Korean Theatre Education 30 (June 30, 2017): 5–33. http://dx.doi.org/10.46262/kte.30.1.1.
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Fiaschini, Fabrizio. "Creativity and Scenic Presence: The Secrets of Disabled Actors." Dramatherapy 34, no. 1 (March 2012): 22–28. http://dx.doi.org/10.1080/02630672.2012.658207.
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Lisandru, Tabita Teodora, Viorel Mitre, Adelina Dumitras, Monica Pal, and Andreea Tripon. "Assessing the Visual Quality of Urban Landscapes Influenced by the Presence of Fruit Trees." Bulletin of University of Agricultural Sciences and Veterinary Medicine Cluj-Napoca. Horticulture 73, no. 2 (November 30, 2016): 163. http://dx.doi.org/10.15835/buasvmcn-hort:11956.
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The study was carried out to investigate the visual impact of using fruit trees in urban landscapes by applying the Scenic Beauty Estimation Method (SBE). Thirty students from the Faculty of Horticulture were asked to assign scenic beauty values to different landscapes with and without the presence of fruit trees in urban areas. The results show that fruit trees have positive influences on the aesthetic value of perceived landscape scenery.
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Nurmi, Väinö, Athanasios Votsis, Adriaan Perrels, and Susanna Lehvävirta. "Green Roof Cost-Benefit Analysis: Special Emphasis on Scenic Benefits." Journal of Benefit-Cost Analysis 7, no. 3 (2016): 488–522. http://dx.doi.org/10.1017/bca.2016.18.
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This article presents a green roof cost-benefit analysis (CBA). Green roofs are roofs which are partially or completely covered by vegetation. We discuss the benefits and costs of light self-sustaining vegetated roofs. The benefits of the ecosystem services (ES) provided by green roofs can be classified into private and public benefits. We apply the selected valuation methods first in Helsinki, Finland and subsequently explain how results can be transferred to other urban locations. Past research and this study show that private benefits are usually not high enough to justify the expensive investment for a private decision maker. However, when the public benefits are added to the private benefits, social benefits are higher than the costs of green roofs in most cases.Past research quantified most types of the benefits, excluding scenic and biodiversity benefits. Scenic benefits denote the intangible benefits that people derive from the presence of green space, including at least aesthetic and psychological ones. In this article, special emphasis is placed on the valuation of the scenic benefits; these are among the most challenging benefits to valuate in monetary terms. We employ hedonic pricing theory, implemented via spatial regression models, and green roof implementation scenarios in order to estimate the aggregate willingness to pay for a “unit” of green roof. The results show that the scenic benefits can be a significant attribute in cost-benefit calculations. Yet, the amount of benefits strongly depends on the green roof design.
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Hamburger, Andreas. "Refracted Attunement, Affective Resonance: Scenic-Narrative Microanalysis of Entangled Presence in a Holocaust Survivor's Testimony." Contemporary Psychoanalysis 51, no. 2 (April 3, 2015): 239–57. http://dx.doi.org/10.1080/00107530.2015.1037234.
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Ruban, Dmitry A., Emad S. Sallam, Vladimir A. Ermolaev, and Natalia N. Yashalova. "Aesthetic Value of Colluvial Blocks in Geosite-Based Tourist Destinations: Evidence from SW Russia." Geosciences 10, no. 2 (January 28, 2020): 51. http://dx.doi.org/10.3390/geosciences10020051.
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Nature-based tourism is stimulated by the aesthetic properties of landscapes, and particular elements of the latter determine the overall scenic beauty. Big stones on forested mountain slopes are among such elements. The Partisan Glade geosite-based tourist destination ofthe Western Caucasus in southwestern Russia is distinguished by the occurrence of such stones. Their field investigation (measurements of physical parameters and interpretation of the common criteria of tourist-meaningful beauty) shows that these are essentially blocks (clasts with the size of 1–10 m) of all grades (fine, medium, and coarse blocks) and colluvial origin. The blocks influence on such parameters of scenic beauty as scale, condition, balance, diversity, shape, and uniqueness, and, therefore, these blocks are of aesthetic value. The most important is color and size. Apparently, the presence of these big stones stimulates tourists’ positive emotions. It is recommended to avoid block removal or breaking in the course of road maintenance.
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Cozma, Diana. "Towards a Universal Language of Theatre." Theatrical Colloquia 11, no. 2 (November 26, 2021): 32–49. http://dx.doi.org/10.2478/tco-2021-0018.
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Abstract The ways of approaching, treating and interpreting the theatre underwent major changes in the second half of the twentieth century. As Peter Brook’s research contributes decisively to changing the perspective of understanding the nature and the meanings of theatre, the present paper aims to highlight and briefly analyze the most relevant stages of his research. His studies focused on identifying a universal language of theatre reveal key concepts and notions such as the empty space, the visible and the invisible, the holy and the rough in the immediate, the diversity, the homogeneous group, the storyteller with many heads in which still nowadays theatre scholars and practitioners are interested. At the same time, certain results of his research are exploited in his performances in which the emphasis is placed on the scenic presence of the actor, and which denote both a continuous experimentation of scenic forms and a personal way of speaking about truth in the theatre.
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Er-Ramy, Noureddine, Driss Nachite, Giorgio Anfuso, and Allan T. Williams. "Coastal Scenic Quality Assessment of Moroccan Mediterranean Beaches: A Tool for Proper Management." Water 14, no. 12 (June 7, 2022): 1837. http://dx.doi.org/10.3390/w14121837.
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This paper focuses on the study of landscape quality of Moroccan Mediterranean coastal areas, with a view to distinguishing exceptional beaches with high scenic value. The main characteristics of 50 beaches along the studied coast were assessed using a coastal scenic evaluation system based on a set of 26 selected parameters, including physical (18) and human (8) parameters. Each parameter was examined via a five-point rating scale, ranging from presence/absence or poor quality (1) to excellent quality (5). A decision index (D) is afterward obtained and used to classify sites into five classes: Class I: D ≥ 0.85, which included 9 sites (18%); Class II: 0.85 > D ≥ 0.65, 10 sites (20%); Class III: 0.65 > D ≥ 0.40, 8 sites (16%); Class IV: 0.40 > D ≥ 0.00, 16 sites (32%); and Class V: D < 0.00, 7 sites (14%). The sites of Belyounech 2, Maresdar, El Hwad, and Dalya are the best examples of Class I and represent extremely attractive coastal landscapes. The sites of Ghandouri, Tangier Municipal, M’Diq, Martil, and Tangier Malabata are examples of degraded urban sites that are very unattractive due to high human pressures. Management efforts in Moroccan coastal landscapes can strengthen the control of human activities and improve the scenic value of the sites. Class II beaches, such as Mrisat, Souani, Taourirt, and Sfiha, could improve and upgrade to Class I through litter cleaning and a regular maintenance program. Using the same principle, Class III sites, such as Sidi Amer O Moussa and Sidi Driss, could improve and upgrade to Class II. Indeed, litter and sewage appear as the main factors of degradation of Moroccan coasts, and many excellent beaches are strongly affected by them. This should be a wakeup call to the Moroccan authorities to take urgent and appropriate management measures.
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Gontijo Rosa, Carlos. "Vicente, autoficção de Jorge Andrade." Catedral Tomada. Revista de crítica literaria latinoamericana 8, no. 14 (August 7, 2020): 283–306. http://dx.doi.org/10.5195/ct/2020.438.
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This paper concentrates on the autofiction in drama, which is a very peculiar procedure much distinct of the autofiction in the novel. This is due to the scenic representation, the actor’s presence, and other intrinsic characteristics of the dramatic genre, making that the reader or the spectator views the border between fiction and reality in a very particular way. Regarding the character Vicente, present on three plays of the Brazilian playwright Jorge Andrade and who we focus on our discussion, we propose to consider it as an autofictional character, despite its status of autobiographical by the criticism and by the author himself.
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Chen, Dan, Xuewen Long, Zhigang Li, Chuan Liao, Changkun Xie, and Shengquan Che. "Exploring the Determinants of Urban Green Space Utilization Based on Microblog Check-In Data in Shanghai, China." Forests 12, no. 12 (December 16, 2021): 1783. http://dx.doi.org/10.3390/f12121783.
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Urban green space has significant social, ecological, cultural and economic value. This study uses social media data to examine the spatiotemporal utilization of major parks in Shanghai and explore the determinants of their recreational attraction. Methods: Based on microblog check-in data between 2012 and 2018 across 17 parks in Shanghai, we investigated the patterns at different temporal scales (weekly, seasonal and annual) and across workdays and weekends by using log-linear regression models. Results: Our findings indicate that both internal and external factors affect park utilization. In particular, the presence of sports facilities significantly contributes to higher visit frequency. Factors such as the number of subway stations nearby, scenic quality and popularity have a positive impact on check-in numbers, while negative factors affecting park use are number of roads, ticket price and average surrounding housing price. Across different temporal scales, the use patterns of visitors have obvious seasonal and monthly tendencies, and the differences of workday and weekend models lie in external factors’ impacts. Conclusions: In order to achieve the goal of better serving the visitors, renewal of urban green spaces in megacities should consider these influential factors, increase sports facilities, subway stations nearby and improve scenic quality, popularity and water quality. This study on spatiotemporal utilization of urban parks can help enhance comprehensive functions of urban parks and be helpful for urban renewal strategies.
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Verstraeten, Fabienne, Eduardo De Paula, and Maurício Paroni De Castro. "É NECESSÁRIO QUE O REAL PENETRE NO ESPETÁCULO." Revista Rascunhos - Caminhos da Pesquisa em Artes Cênicas 6, no. 1 (April 1, 2019): 130–40. http://dx.doi.org/10.14393/rr-v6n1-2019-08.
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Título: É necessário que o real penetre no espetáculo
Resumo: Entrevista com Thierry Salmon que procura cercar os interesses sobre a escolha dos espaços cênicos não convencionais para a realização de seus espetáculos e, a partir disso, refletir sobre as influências na encenação e no trabalho do ator. Destaca a importância e a necessidade de os acontecimentos reais serem absorvidos pela cena, pois os considera instaladores de oportunidades verdadeiras para o ator se colocar em jogo de modo presente no presente.
Palavras-chave: Thierry Salmon, Encenação, Real, Espaço cênico, Atuação, Jogo.
Titolo: Bisogna che il reale penetri nello spettacolo
Riassunto: Intervista rilasciata da Thierry Salmon che mette a fuoco la sua attenzione e il suo interesse nella scelta di spazi scenici non convenzionali per la realizzazione degli spettacoli. Da qui si passa a riflettere sulle influenze e le conseguenze che questo porta nella messa in scena e nel lavoro dell’attore. Salmon sottolinea l’importanza e la necessità che avvenimenti reali siano assorbiti nell’azione scenica, considerandoli veri e propri attivatori di opportunità reali perchè l’attore possa mettersi in gioco nel presente.
Parole chiave: Thierry Salmon, Regia, Reale, Spazio scenico, Rappresentazione, Gioco.
Title: It is necessary that the real enter the spectacle
Abstract: Interview with Thierry Salmon in which it seeks to surround the interests on the choice of the unconventional scenic spaces for the production of his spectacles and, from this, to reflect on its influences in the performance and the work of the actor. Highlighting the importance and the necessity of real events being absorbed by the scene, as he considered them to be installers of real opportunities for the actors to put themselves at the present time in the game, in a present way.
Keywords: Thierry Salmon, Performance, Real, Scenic space, Acting, Game.
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Shoemaker, David. "Report from Holstebro: Odin Teatret's ‘Talabot’." New Theatre Quarterly 6, no. 24 (November 1990): 307–17. http://dx.doi.org/10.1017/s0266464x00004875.
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In previous issues, NTQ has paid close attention to the theoretical work of Odin Teatret founder and director Eugenio Barba, publishing several of his articles relating to the actor's scenic presence and the manipulation of his or her performing energies. Indeed, as a result of his work with ISTA, the International School of Theatre Anthropology, Barba is perhaps better known today as a theatre scholar than as a director: but he insists that virtually all of his research originates in his work with the actors of Odin Teatret. Here, David Shoemaker, who is completing a doctoral dissertation at the University of California, Berkeley, on the relationship between Barba's work as theoretician and practitioner, describes his encounter with the Odin's most recent performance piece, entitled Talabot.
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POUTA, E., and V. OVASKAINEN. "Assessing the recreational demand for agricultural land in Finland." Agricultural and Food Science 15, no. 4 (December 4, 2008): 375. http://dx.doi.org/10.2137/145960606780061506.
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It is widely assumed that the scenic attractiveness and other public good aspects of agricultural land can be utilized as a source of livelihood in rural areas in the form of recreation and tourism. In this study we use two approaches to consider whether agricultural landscapes are preferred as a destination for recreation (day trips) and rural tourism (overnight trips). We first analyse the choice of recreation site type based on a model that aggregates sites using the presence of agricultural land as an aggregation variable. Population survey data on recreation trips reveal an association between the respondents living environment, recreational activities and visit characteristics and the probability of choosing a destination with agricultural land. Second, we also estimate the demand functions for trips to agricultural sites and other destination types to consider whether the presence of agricultural land, as opposed to other land use categories, increases the number of trips and the benefits of recreation. The results suggest that agricultural landscapes are inferior to alternative site types in terms of per-trip benefits. However, agricultural landscapes are associated with high annual benefits because of the high rate of visitation.;
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Mikhailova, Tatyana. "The Irish Saga: Limits of the “Genre” (a Formal Approach)." Izvestiia Rossiiskoi akademii nauk. Seriia literatury i iazyka 81, no. 4 (2022): 60. http://dx.doi.org/10.31857/s160578800021457-8.
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The work considers traditional use of the term “saga” meaning the quantum of the Old Irish epic narrative, in Russian and European research. The correlation of the Russian term’s saga semantics with the English and French (saga) as well as German (die Sage) usages of the notion in scholarly texts describing the same denotates is also analyzed. The comparison with the semantic field of the original term scél, having “story, tale” as one of its meanings, is conducted. The work also attempts at singling out certain formal features making it possible to relate some Old Irish prose narrative to “saga” (in contrast with historical tales, prose texts on legal subjects et al.). As a working hypothesis the author suggests to single out the four aspects: 1) the presence of the initial formula referring to the oral stage of the narrative tradition; 2) the presence of a character’s long descriptions of ekphrastic type; 3) the presence of unjustified use of the Present Tense (the so-called Scenic Present); 4) the presence of verse insertions marking characters’ emotional speech yet not regarded as poetry proper. It is supposed that the three latter aspects should create the described events’ epic visualization. As the time passes traditional Irish narrative prose loses those aspects, neither are they preserved in the oral folklore tradition. To sum up, the conclusion concerning the term’s “saga” relative quality as a mediaeval genre is made, and the necessity to appeal to the researcher’s intuition is pointed out.
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Huzum, Otilia. "From Intellect to Feeling." Theatrical Colloquia 8, no. 1 (May 1, 2018): 269–75. http://dx.doi.org/10.2478/tco-2018-0007.
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Abstract The basis of the progressive functioning of the human beings lays in these two fundamental components: the intellect and the affective part. They cannot be separated, but they converge towards the same goal, although they are not in absolute mutual subordination. Extrapolating on the idea of the actor, we can say that the starting point for the artistic creation is represented by thought, imagination and improvisation; all of them accomplished in a systematically designed organization, with the aim of alterity appearing. The character is brought to life through the body of the actor, without being able to tell exactly how much of this is the artist’s emotion and how much the character’s. Also, the character’s emotions cannot guarantee purity, unless we consider the representation of the presence a moment of scenic, but not life-like truth. If we think of Peter Brook’s words, “a play is play”, the comments will remain open to many possible responses.
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Karamitti, M. "ENNOE IZMERENIE BUMAZHNOJ VOLSHEBNOJ SHKATULKI, ILI KAK STAVIT' PRIGOVSKIJ TEATR." Siberian Philological Forum 10, no. 2 (April 30, 2020): 67–77. http://dx.doi.org/10.25146/2587-7844-2020-10-2-43.
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The article traces the role of dramatic texts in the literary and artistic works of Dmitry Alexandrovich Prigov, and also analyzes the reasons for the non-embodiment of these works by specific theatre productions. It is established that there is a close connection between Prigov’s vision of the theater space and his ‘phantom’ installations, between the general performative project “DAP – a living classic” and the presence in the plays of a number of authorial hypostases. As a result, a set of techniques is described (chaotic polyphony, mingling with side note remarks, involving the public in action), defining a separate casket semiotic space in which the plot, logic, identity are strained to the limit and decompose in their very essence, which leads to the collapse of the space through which, by the power of the theatrical word and the performative beginning, a new not only aesthetic, but also physical dimension is being revived: transcendence is saturated with an amazing “scenic” palpability.
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Mortimer, Michael J., Lauren Stull, Stephen Prisley, and David Slack. "Forest-Related Ordinances in Virginia: A Case Study in Regulatory De-evolution." Southern Journal of Applied Forestry 30, no. 4 (November 1, 2006): 196–205. http://dx.doi.org/10.1093/sjaf/30.4.196.
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Abstract An inventory of Virginia's counties and incorporated cities was conducted in 2005 to detect the presence of forest-related ordinances. Comparative inventory results suggest that the number of ordinances appears to have increased from 44 in 1992 to 377 in 2005. Local governments in Virginiahave enacted forest-related ordinances addressing erosion and sediment control, the use of prescribed fire, forestry in floodplains and wetlands, scenic limitations, timber harvesting, and the use of pesticides. Nearly all (97%) local governments have been involved in the regulationof forestry to some extent. Study observations include inconsistent regulatory standards among municipalities, potential conflicts with state mandates, and concern for the uncertain effects on the management of private forestland. Policy implications might include state action to provide greateruniformity in local standards, clarification of the relationship between state-level requirements and local implementation, refining the definition of terms such as “silviculture,” and state reaction by amending Virginia's Right to Practice Forestry statute. South. J. Appl. For. 30(4):182–187.
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Varley, Julia. "‘Subscore’: a Word that is Useful – but Wrong." New Theatre Quarterly 11, no. 42 (May 1995): 166–74. http://dx.doi.org/10.1017/s0266464x00001184.
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In 1992, during the session of ISTA (the International School of Theatre Anthropology) in Brecon, the word ‘subtext’ was replaced by ‘subscore’ – a term felt to be more appropriate for the not necessarily literary theatre, in which actors build their scenic presence with a vocal and physical form of behaviour called ‘score’. Yet, as Odin actress Julia Varley here argues, the actor's body remembers and his or her actions contain a far greater quantity of information than consciousness can ever master – while, more practically, each actor has to go through various phases of utilizing such ‘information’ if work is to be kept alive and interesting, for herself as much as for her audience. Here, Julia Varley argues for an approach to ‘precision’ in acting which is less concerned with the analysis of what is internal or external, but closer to the contemporary scientific perception – that ‘all is matter in communication without borders, a continuous flow and interchange’.
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Carlomagno, Nadia, Francesco Maria Cordella, Valeria Minghelli, and Pier Cesare Rivoltella. "Performative Didactics in a Technological Environment." Research on Education and Media 13, no. 1 (June 1, 2021): 7–16. http://dx.doi.org/10.2478/rem-2021-0003.
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Abstract The didactic-performative experience at a distance, centred on the body in action of the training laboratories activated at the University of Study Cattolica del Sacro Cuore of Milan and the University of Study Suor Orsola Benincasa of Naples, encouraged, through the exercise of ‘simplex property’ of the separation of functions, the crossing of borders of ‘presence/distance’, using Didactics at Distance (DAD) as an opportunity to search in everyone the potential patrimony of the action, able to go beyond the classical meanings of interaction, relationship, experience, emotion, through an effort of imagination and simulation, which even interaction with the machine can stimulate. The research work recalls the ambivalence and the plurality of interpretative keys of the teaching experience and includes its analogies with the performing arts. Starting from the ‘stage presence’, as a scenic ‘bios’ and source of energy, a third energetic space has been investigated, which can amplify the relational dimension. A space which the biologist Sheldrake defines as ‘morphogenetic field’ is the one in which it is possible, through the activation of an empathic climate, to make all the processes of emotional sharing, expressive rediscovery and acquisition of awareness sprout, making the experience of DAD a formative and transformative one.
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Lopez, Lucrezia, Enrico Nicosia, and Rubén Camilo Lois González. "Sustainable Tourism: A Hidden Theory of the Cinematic Image? A Theoretical and Visual Analysis of the Way of St. James." Sustainability 10, no. 10 (October 11, 2018): 3649. http://dx.doi.org/10.3390/su10103649.
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The attractiveness of a tourist destination is derived from multiple material and immaterial elements. Cinema is both a tourist communication channel and provides a target market for a destination. Many regions offer a great variety of potential locations desirable for their scenic beauty and artistic and monumental heritage. The main aim of this paper is to analyze the concept of sustainable tourism as a pillar of the contemporary cinematic discourse on pilgrimage routes, combining theoretical and empirical methodologies. It begins by analyzing how, given their power, images are narrative instruments that assume a true performative value of geographical reality. The research then focuses on the cinematographic space and visual cinematographic discourse. The case study is sustainable tourism along the Way of St. James (Spain). The material is a corpus of two documentary films. Their moviescapes highlight the presence of a sustainable filmic theorem within a potential cinematic genre—pilgrimage movies. Thus, this study contributes to the investigation of how sustainable pilgrimage tourism practices are used in cinematic production as a possible movie theorem. It presents a conclusive critical evaluation of the role and message of these moviescapes.
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Massey, C. "Corridor Health Survey, of the Upper Lachlan Catchment, Central West, New South Wales." Australian Mammalogy 20, no. 2 (1998): 309. http://dx.doi.org/10.1071/am98333.
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A major survey of stream corridor health was undertaken in the upper Lachlan Catchment. The survey provides a benchmark assessment of the riverine environment condition. The following attributes were examined: reach environments, channel habitat, cross-section analysis, bank condition and composition, bed and bar condition, riparian vegetation (presence and structure), aquatic habitat analysis, scenic, recreational and conservation values. This paper outlines some of the prelimin~ results related to the assessment of riverine vegetation in this catchment an area of approximately 35 000 km. The survey found that 77% of the riparian vegetation was highly degraded, 10% in poor condition, 4% moderate and 3% in good condition. Six percent of the upper catchment's riparian vegetation was in pristine condition, mostly confined to tributaries of the Abercrombie River. The average width of the riparian zone in the Upper Lachlan Catchment is 12.2 m. This approximates to one or possibly two mature tree widths (species dependant). Trees are generally confined to the banks of water courses and there is very little diversity, structural or species, in the shrub and ground cover understorey. Some implications for platypus conservation are discussed.
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Davis, Janae. "Black faces, black spaces: Rethinking African American underrepresentation in wildland spaces and outdoor recreation." Environment and Planning E: Nature and Space 2, no. 1 (December 14, 2018): 89–109. http://dx.doi.org/10.1177/2514848618817480.
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The Wilderness Act of 1964 defines wilderness as “an area where the earth and its community of life are untrammeled by man, where man himself is a visitor who does not remain”. It goes on to limit acceptable activities in designated wilderness areas to those associated with leisure, scenic viewing, education, and scientific inquiry. These precepts are the basis for federal wilderness management in national parks, national forests, national wildlife refuges, and lands administered by the Bureau of Land Management. They are derived from the interests and values held by the early environmental movement's predominantly white middle and upper class patrons, and imposed on diverse groups who may not hold the same views. This study examined how the imposition of wilderness management at Congaree National Park greatly restricted local African Americans' traditional fishing practices and how fishers made meaning of their displacement. Participants' experience of alienation is a result of their perceptions of racial discrimination in the park's preferential treatment of white visitors. This study argues that African American presence in the Great Outdoors is erased both materially and symbolically by racial bias in the Wilderness Act, a general lack of attention to black outdoor spaces, and the use of white outdoor values and pursuits as the criterion for which to assess African American outdoor ethos.
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Fesenko, S. Ya. "Features of the education of the actor-puppeteer." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, no. 51 (October 3, 2018): 192–208. http://dx.doi.org/10.34064/khnum1-51.11.
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Background, objectives of the research. The article reveals the method of improving the professional skills of the actor of the puppet theater, aimed at the organic connection of the puppet technique with the actor’s internal psycho-techniques. The peculiarity of creating a stage image in the puppet theater is that the functions of the puppeteer actor in the creating of a role “on the inside line” coincide with the functions of the drama theatre actor. However, the process of making the stage character in the puppet show is built according to other laws: “vitalizing” through the puppet – the main instrument of the puppeteer. Based on the methods of teaching professional subjects in high schools of puppeteers of Kiev and St.-Petersburg, the author develops and complements the teaching methods of the puppet theater actor’s skills, concentrating on the puppet-master’s technique and the process of gradually “reviving” a puppet by virtue of an actor training. Results of the study. Mastering professional skills and abilities takes place based on of working with puppets of various systems in training exercises and sketches, which gradually fills with elements of acting; continues and improves on the stage of the educational theater and ends with the creation of a stage image with a puppet in a diploma performance. The training provides such an external technique, with which the actor-puppeteer correctly performs all kinds of puppet’s moves. For this purpose, it is necessary to learn the possibilities of the puppet in the process of physical incarnation of a role, it is necessary to understand the laws of its convincing plastic living. This can be achieved through training, resulting in skills that will become semi-automatic. The wonder of the puppetry lies in the fact that the viewer, even in the “open manner”, does not notice the puppeteer and directs all his attention to the puppet, watching her “process of living”. However, the skills and abilities themselves will not become expressive means until they are will be connected with the internal psychology of the actor. The purpose of educating the puppet theater actor is to teach him the organic, natural playing with a puppet. The training involves visual control over the puppet, coordination of the self-own body with the puppet’s body and gradual introduction to the training process the elements of actor psychophysics. Because an actor creates an inner image, and the puppet becomes an external plastic expression, a manifestation of this image. The puppet mastering consists in the fact, that the puppet in the hands of the puppeteer reproduces meaningfully and consistently a series of sculptural finished poses, characteristic for a particular role. The construction of sculptural mise-en-scenes and plastic dialogues requires the possession of skills of “microscopic” hand plastics. “Micro-plastics” convinces viewers in presence of an internal monologue and permanent “life” a puppet on a stage. Alternation of movement and expressive postures is the component of the stage action of a puppet. Gradually, through regular training, students in practice study the technical possibilities of the “body” of the puppet – its torso, head, hands, “legs”, beginning to use them freely in stage action. It is advisable to start the development of puppeteer’ technique from the cane puppet, because its construction is closer to the “human”. The observation of the plasticity of the human body takes place in rhythmic lessons. Imaginative thinking of a student and his fantasy help to acquire the ability to analyze, control, choose moves of a puppet, and mutually co-ordinate them in space. Teaching the profession of puppet actor begins with the lessons aimed at the development of plastics of hands and fingers, their professional position. Work of hands is the first and necessary link in the creativity of the actors of the puppet theater. The degree of their training depends on accuracy of working with a puppet. Therefore, it is so important, before giving the student a puppet, to draw his attention to the constant training of dexterity, ductility and expressiveness of hands. In exactly owning gymnastics of the puppet actor’s hands, performing different imaginative and musical-plastic exercises and etudes, a student acquires the vocational specificities and develops his own internal abilities. Such a technique is necessary for the gradual transition from the technique of movement to the ability to use independently this technique for the embodiment of creative ideas in etudes. Creation of etudes is a continuation of training exercises and based on the inventing of the proposed circumstances requiring certain effective actions in these conditions. Motivation for action arises from familiar, understandable, vital for the student of the proposed circumstances. The student gradually, from the rehearsal to the rehearsal, clarifies the plot of the sketch, enriches and clears the proposed circumstances, based on which the storyline unfolds, that forces him to select and fixe the behavior of the actors. Etudes develop a student’s fantasy; they promote the assimilation of the laws of stage action. In etudes, students make their first steps in scenic communication with a partner – a puppet. In etudes, the student first encounters the need to create a scenic character and his behavior logic in the proposed circumstances. All stages of creating a stage etude a student takes on individual classes with a teacher. Conclusions. The process of forming the future actor-puppeteer has a complex character including as well as the mastering the techniques of driving puppets of different systems, from traditional to modern, and the actor’s mastership – the art of stage – reincarnation. This process continues on the stage of the training theater, where the student receives his first scenic practice – in the main and occasional roles, in mass scenes, in partner interaction. The image created in the diploma performance must carry all the signs of the actor-puppeteer profession: temperament, humor, actor mastership and the perfect possession of puppet technique, in any system of theatrical dolls. The Higher Theater Schools of Ukraine basing on the traditions and the latest achievements of stage art, forms the actors-puppeteers who professionally own all of major puppet systems and have the necessary skills to create a scenic image with a puppet. Such an actor will be able to enter in a creative team of a professional theater and continue searching for new expressive possibilities of a puppet at the theatrical stage.
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Setyabudi, Irawan, and Deril Aria Permana. "EVALUASI KUALITAS VISUAL LANSKAP DI KAWASAN HUTAN MANGROVE SUKADANA KABUPATEN KAYONG UTARA." AKSEN 4, no. 2 (May 27, 2020): 19–30. http://dx.doi.org/10.37715/aksen.v4i2.1312.
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Mangrove forests are specific vegetation structures and grow along coastlines in the tropics, river mouths, and are affected by tides. Its existence supports many ecosystems such as nutrient cycling and fisheries production. This condition is supported by high visual potential and natural resources that make mangrove forests a tourist destination. In the Sukadana Mangrove forest, visitors have different preferences regarding interesting spots. This is evidenced by the accumulation of the number of visitors at a certain point. According to preliminary data obtained, there has been a decrease in the number of visitors since the opening of the tourist sites in 2017, approximately 50% per year. The contributing factor is the lack of development, so the visual impression tends to be monotonous. The problem in this study is the need for evaluation efforts in the form of an assessment of the visual quality of the Sukadana Mangrove Forest landscape. The purpose of this study is the presence of visual quality values can facilitate efforts to preserve certain areas in order to achieve sustainable ecotourism. The analytical method used Scenic Beauty Estimation (SBE), is a quantitative method for assessing the aesthetics of the landscape based on visitors’ perceptions by comparing one point to another. The results obtained are that visitors prefer landscapes with natural ambience and boardwalk facilities for taking selfies, while dirty, dry and damaged facilities will be avoided. The conclusion of this study is that the Sukadana mangrove forest has a certain area of interest to visitors, as evidenced by the values in the SBE analysis.
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Vartan, I. A., A. M. Prokashev, A. A. Skvortsov, and L. I. Skvortsova. "SPECIALLY PROTECTED NATURAL AND TECHNOGENIC TERRITORIES OF THE KIROV REGION." Bulletin of Udmurt University. Series Biology. Earth Sciences 29, no. 3 (September 25, 2019): 362–73. http://dx.doi.org/10.35634/2412-9518-2019-29-3-362-373.
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The article presents comprehensive data on one of the nature monuments of the Kirov region under the name “Zhukovlyansky sandstone spherical concretions”. The status of a specially protected natural area of local importance was granted to it in 2017 due to the presence of clusters of spherical geological bodies of human size, which give the area a very scenic view. They were discovered during the quarrying of gravel and sand materials in the early 80-s of the last century and soon became a reason to put forward various hypotheses regarding the time and methods of their formation. The latter was the motivation for this publication, which is based on field and laboratory geological and soil-geochemical studies carried out by the authors in 2014-18. The results below give an idea of the peculiarities of the spatial structure, component composition and properties of local geosystems, the time of formation of their lithogenic basis, scientific and cognitive, tourist-recreational importance and problems of preservation of the original natural heritage of the region under consideration. From the genetic point of view, the spherical sandstone concretions located within the paleolacial province of the Vyatka Territory are treated by the authors as native Permian formations, not affected or slightly affected by fluvioglacial processes at the Pleistocene stage of geological development. They serve as a basis for the designation of a special category of protected areas on Vyatka land - natural and man-made monuments - as an example of spontaneous creation of nature and man.
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Dias, Rodrigo Francisco. "A PRESENÇA DE ANTONIO FAGUNDES NA CENA TEATRAL BRASILEIRA." Fênix - Revista de História e Estudos Culturais 16, no. 1 (June 30, 2019): 1–10. http://dx.doi.org/10.35355/0000019.
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Badea, Gelu. "Embracing The Phantom Or The Imaginary Show." Theatrical Colloquia 11, no. 2 (November 26, 2021): 21–31. http://dx.doi.org/10.2478/tco-2021-0017.
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Abstract Hundreds or maybe thousands of ghosts haunt our theatre. When I say ours, I do not want to refer to the Romanian one, but neither to the territory proposed and researched by Monique Borie in her already famous book dedicated to spectres. All my shows, and here we talk about more than seventy performances, now appear like ghosts to me. They were played sometime and constitute, not only for me, but for thousands, or tens of thousands of spectators, memories, true glimpses of moments, sometimes beautiful, sometimes sad, relics that begin to fade into a mnemonic mechanism of decomposition of the sensations once arisen by the scenic action and the image proposed through the presence of the actor. Thus, the spirit places the theatre under the protective wing of the document-memory, remaking, for those who were not in the position of witnesses, the way of late understanding for the one who can only imagine. The Romanian theatre does not have too many moments, perhaps astral, that could elucidate us on a certain artistic approach or against another. Too often the document-memory is activated by chronicles that bear far too many subjective opinions or timid analyzes on the work of a profession that deserves more in this regard. A very important director of the end of the last century, a student of Professor Radu Penciulescu, defined his own phantasma through the imaginary shows he left us. Blessed is he. Aureliu Manea’s writing allows us to imagine more than the chronicles of his shows played on Romanian stages could do. The document-memory of these documents concerns me and holds me in an embrace that I feel violently present.
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Capotorto, Salvatore, Maria Lepore, and Antonietta Varasano. "A Virtual Space Built on a Canvas Painting for an “Augmented” Experience to Catch the Artist’s Message." ISPRS International Journal of Geo-Information 10, no. 10 (September 25, 2021): 641. http://dx.doi.org/10.3390/ijgi10100641.
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“Entering” a canvas to examine and learn about the work from unexplored points of view is an experiential “journey” in an environment reconstructed through the use and integration of innovative technologies, such as descriptive geometry and digital photogrammetry, solid modeling and immersive photography. Generating a “sense of presence” in the viewer means connecting it with immediacy to the artist’s message and grasping even the most subtle elements of the painting that are difficult to understand, such as architectural inconsistencies or the play of perspectives that, very often, bring out the situations scripted, characterized by discoveries that prelude to the aesthetic pleasure as the multiplicity of meanings and the “stylistic overcoding” of the work is revealed. The research hypotheses were applied to a case study, or to the splendid “Last Supper” by the Flemish artist Gaspar Hovic, a canvas painted in oil (late 15th century AD) and kept in the Matrice SM Veterana Church di Triggiano (BA), where the representation of the suggestive moment of Jesus with the Apostles is carried out through numerous symbols, in an evocative architectural context rich in details. The pictorial subject provides a series of very interesting ideas suitable for research of the role of perspective. The inverse method of linear perspective was used to reveal the plants and sections corresponding to the perspective space of the painting, used as the basis for the reconstruction of the 3D model of the entire scenic composition. Although the painting represents the apparently rigorous application of the perspective technique, by “entering” the canvas it is possible to observe some exceptions to the geometric rules deliberately introduced by the artist, thus making the perspective restitution process an effective interpretative act of the work.
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Aryal, Chandramani, and Kishor Kumar Maharjan. "Assessment of Ecotourism Potential of Koshi Tappu Wildlife Reserve, Eastern Nepal." Journal of Tourism & Adventure 1, no. 1 (December 3, 2018): 48–67. http://dx.doi.org/10.3126/jota.v1i1.22750.
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Tourism is forefront of many economy but come with negative externalities resulting in diminished environmental quality. In place of these mass tourism practices, different alternative forms of tourism are practiced with aim of enhancing positive externalities while keeping check and balance to negative externalities. Ecotourism is one such approach which is often highlighted as one of the most effective tool to reconcile the conservation and development aspiration. Ecotourism in its
different localized version and their impacts on environment are studied in Nepal. Despite this, ecotourism potential of protected areas is less explored dimension in ecotourism studies. This holds true for the eastern region of the lowland Nepal. Location of destination, features of that destination along with the facilities and uniqueness offered by the place is different which are vital in defining the ecotourism potential of different locations. The study forms the basis for promotion of ecotourism in an area. This paper aims to explore the ecotourism potential of Koshi Tappu Wildlife Reserve. There are different tools and approach used to assess the ecotourism potential. This paper contains information collected from field observation, scheduled interview and key informant interview. Wild Water Buffalo, migratory birds along with the presence of other wildlife species make a place attractive destination for ecotourism. Satisfaction shown by the respondents for food, accommodation and hospitality offered adds value to the ecotourism potential. Areas with high scenic and cultural attraction in the vicinity of the park can be considered as positive additionally to attract tourist with diverse interest. As it is considered mandatory to include the component of education and interpretation to qualify as ecotourism, development and execution of the curriculum are essential. Beside this, exploration and marketing of other potential destination and enabling the local communities are equally vital.
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Leske, Kevin. "Both Sides of the Rock: Justice Gorsuch and the Seminole Rock Deference Doctrine." Michigan Journal of Environmental & Administrative Law, no. 7.2 (2018): 281. http://dx.doi.org/10.36640/mjeal.7.2.both.
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Despite being early in his tenure on the U.S. Supreme Court, Justice Neil Gorsuch has already made his presence known. His October 16, 2017 statement respecting the denial of certiorari in Scenic America, Inc. v. Department of Transportation garnered significant attention within the legal community. Joined by Chief Justice John Roberts and Justice Samuel Alito, Justice Gorsuch questioned whether the Court’s bedrock 2-part test from Chevron, U.S.A. v. NRDC—whereby courts must defer to an agency’s reasonable interpretation of an ambiguous statutory term—should apply in the case. Justice Gorsuch’s criticism of the Chevron doctrine was not a surprise. In the months leading up to his confirmation hearing, legal scholars pored over his opinions while he was a judge on the U.S. Court of Appeals for the Tenth Circuit, and they had already unearthed his discomfort with the Chevron doctrine. Similarly, through an analysis of his originalism ideology and textualist approach to judicial decision-making, they have attempted to predict how Justice Gorsuch will decide future cases in other important areas of the law. To date, however, Justice Gorsuch’s view on the Seminole Rock deference doctrine has gone unexamined by scholars. Known as Chevron’s “doctrinal cousin,” the Seminole Rock doctrine directs federal courts to defer to an administrative agency’s interpretation of its own regulation unless such interpretation “is plainly erroneous or inconsistent with the regulation.” Especially given the profound practical importance of the doctrine in our administrative state and the Court’s recent interest in it, an assessment of Justice Gorsuch’s view is not merely academic. This essay provides that assessment. First, the essay examines the Seminole Rock deference doctrine and explores the Court’s recent interest in the doctrine. Part II analyzes Justice Gorsuch’s likely view on the Seminole Rock doctrine by examining key Tenth Circuit opinions that will influence his view on Seminole Rock while on the Supreme Court. The essay concludes that although Justice Gorsusch would likely be very skeptical of Seminole Rock, he should ultimately choose to retain the doctrine provided that the Court continues to provide safeguards that would mitigate or even mute any perceived over-reach that the application of Seminole Rock allows in our administrative state.
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Sgibnіeva, S. S. "The role of the person-centered approach in the vocal art of a dramatic actor." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, no. 51 (October 3, 2018): 241–57. http://dx.doi.org/10.34064/khnum1-51.14.
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Background. In recent years, there has been an increasing interest in studying the processes of the development of the creative personality of the drama actor, amongst other things, the modern methods of vocal training, focused on his future activity in nowadays-scenic conditions. Therefore, there is a need to renew the traditional system of the vocal training of drama actors in accordance with the trends of contemporary theatrical art, namely, the introduction of the principles of person-centered pedagogy. Objectives, methodology. The research is an attempt to provide an overview of the principles of person-centered pedagogy in the making of the creative personality of the singing actor. The purpose of the article is to characterize the system of vocal training of the dramatic theater actor and new “technologies” of education aimed at developing the personality of a singing actor, which are based on the principle of person-centered pedagogy. On based of interdisciplinary approach the following methods are used in this paper: empirical (observation, discussion, retrospective analysis of vocal-performing and pedagogical experience of the author) and theoretical (analysis, synthesis, comparison, generalization of theoretical and research data). The results of the study. The history of the development of vocal performing, acting and pedagogy shows that for many years the attempts carried out to determine the principles of vocal education of the actor of the drama theater, implement their testing, introduce into the system of training of acting skills for improvement the process of onstage singing. The contemporary study of this problem requires a comprehensive multidisciplinary approach, extensive contacts of art historians, musicologists, theater critics, vocalists, actors, and teachers. The constant development of theatrical art dictates new methods of educating the actor’s creative personality, including approaches to his vocal training, focused on his future activities on the modern stage. In the making of scenic image, an actor-singer needs to be constantly improved in a personal and professional way. The basis of continuous work on a vocal creative product is a worked out system of reflection regarding a person himself with all psycho-physiological features, and the image, which an actor creates onstage. The basis of the author’s developed program of the complex and personal development of the singing actor is the factor of individual diagnostics. The author of the article offers a method of individual diagnosis of the creative state of the singing actor in the educational process, by which this state can be divided into three psychological and pedagogical zones: the area of the mainstream development; the area of the highest potential development; the area of the nearest self-development. For these parameters and criteria, the author has developed a scheme of a diagnostic characteristic map for each actor’s student, which contains: ● analysis of the peculiarities of the actor’s psyche; ● descriptions of his voice and external data; ● information about language and vocal defects of sound; ● information on the shortcomings of the voice of the actor and ways to overcome them; ● repertoire list of works; ● analysis of the technical part of the actor’s vocal training at the beginning of training and at the end of it; ● analysis of performances on the drama scene. Thus, the introduction of a person-centered approach makes it possible to outline the optimal trajectory of the formation of the creative personality of a singing student-actor. On an optimal path to forming a creative personality of a singing actor student, the main task of the vocal teacher is to ensure his development, taking into account his psychological and physiological abilities, as well as updating of incentives for self-development and self-realization. To solve this problem, first, it is necessary to organize a psychologically rich “counter activity” of a student, taking care of updating and forming his internal personal motivation to developing. This kind of education focuses not so much on the amount of knowledge that is acquired, but on the feelings and experiences that are associated with them, the personal interests and features of the subject of the educational process. In contemporary theatrical and vocal pedagogy, there is a vicious regularity: on the one hand, all (both teachers and students-actors) know about the existence of the above-mentioned issue, discuss it, declare it, and on the other – because of imperfection elaboration of these issues, lack of research and others difficulties, it is simply not taken into account. The author has analyzed the apparatus necessary for the study of the category of the worldview and psychological aspects of education: the structure of the personality of the actor, his socio-biological patterns, needs, motivation, etc. Conclusions. The most important mean of the vocal up-bringing of an drama theater actor as a component of his professional development is a person-centered approach to a student. This approach involves two complementary moments: the true understanding by a teacher of the individuality of a singing actor, his personality traits and features; the presence of a student’s desire for self-development within his abilities to vocal stage activity. In the process of development of the creative person of a singing drama actor, the new technologies of education arise aimed at the vocal-scenic activity in a today theatre, which are based on the principle of person-centered pedagogy. In part, the study of the processes of reflection allowed us to develop the program for complex individual development of a student-actor. Within its framework, the author proposed a diagnostic characteristic map, revealing the features of the singing student-actor’s abilities.
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Caddigan, E., B. Giesbrecht, and M. Eckstein. "Finding people in scenes: neural decoding target presence during search of dynamic scenes." Journal of Vision 14, no. 10 (August 22, 2014): 219. http://dx.doi.org/10.1167/14.10.219.
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Korajkic, Asja, Brian McMinn, and Valerie Harwood. "Relationships between Microbial Indicators and Pathogens in Recreational Water Settings." International Journal of Environmental Research and Public Health 15, no. 12 (December 13, 2018): 2842. http://dx.doi.org/10.3390/ijerph15122842.
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Fecal pollution of recreational waters can cause scenic blight and pose a threat to public health, resulting in beach advisories and closures. Fecal indicator bacteria (total and fecal coliforms, Escherichia coli, and enterococci), and alternative indicators of fecal pollution (Clostridium perfringens and bacteriophages) are routinely used in the assessment of sanitary quality of recreational waters. However, fecal indicator bacteria (FIB), and alternative indicators are found in the gastrointestinal tract of humans, and many other animals and therefore are considered general indicators of fecal pollution. As such, there is room for improvement in terms of their use for informing risk assessment and remediation strategies. Microbial source tracking (MST) genetic markers are closely associated with animal hosts and are used to identify fecal pollution sources. In this review, we examine 73 papers generated over 40 years that reported the relationship between at least one indicator and one pathogen group or species. Nearly half of the reports did not include statistical analysis, while the remainder were almost equally split between those that observed statistically significant relationships and those that did not. Statistical significance was reported less frequently in marine and brackish waters compared to freshwater, and the number of statistically significant relationships was considerably higher in freshwater (p < 0.0001). Overall, significant relationships were more commonly reported between FIB and pathogenic bacteria or protozoa, compared to pathogenic viruses (p: 0.0022–0.0005), and this was more pronounced in freshwater compared to marine. Statistically significant relationships were typically noted following wet weather events and at sites known to be impacted by recent fecal pollution. Among the studies that reported frequency of detection, FIB were detected most consistently, followed by alternative indicators. MST markers and the three pathogen groups were detected least frequently. This trend was mirrored by reported concentrations for each group of organisms (FIB > alternative indicators > MST markers > pathogens). Thus, while FIB, alternative indicators, and MST markers continue to be suitable indicators of fecal pollution, their relationship with waterborne pathogens, particularly viruses, is tenuous at best and influenced by many different factors such as frequency of detection, variable shedding rates, differential fate and transport characteristics, as well as a broad range of site-specific factors such as the potential for the presence of a complex mixture of multiple sources of fecal contamination and pathogens.
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Lee, San Ho, Chankyu Lee, Gi-Eun Lee, and Jang-Han Lee. "Visual Attentional Pattern of the Eyewitness in a Mock Crime with Weapon Presence." Korean Data Analysis Society 24, no. 5 (October 31, 2022): 1639–53. http://dx.doi.org/10.37727/jkdas.2022.24.5.1639.
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The weapon focus effect is defined as eyewitnesses focus more on weapons than other details(e.g., perpetrator) of the crime scene which cause memory bias. The present study investigated how the presence of a weapon affects the visual attention and memory of the eyewitness. Participants were randomized within two groups: the weapon focus effect condition(WC) and the novelty condition(NC). The participants' visual attention pattern(dwell time) was measured while participants were observing the interaction between the two individuals(clerk and customer) at the mock crime slide show. At the end of the experiment, the participants were asked about what they saw on the slide show. As a result, it was confirmed that the weapon condition showed a different attention pattern from those in the non-weapon condition. Overall, both groups were found to spend more time on target objects(knife/cashier's check), but WC participants spent longer time on clerks when weapons were presented than NC participants. On the other hand, in both groups, there was no difference in memory. This study provided evidence for the visual attention patterns of eyewitnesses at simulated crime scenes with weapons.
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Prothero, Jerrold D., Hunter G. Hoffman, Donald E. Parker, Thomas A. Furness, and Maxwell J. Wells. "Foreground/Background Manipulations Affect Presence." Proceedings of the Human Factors and Ergonomics Society Annual Meeting 39, no. 21 (October 1995): 1410–14. http://dx.doi.org/10.1177/154193129503902111.
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A possible relation between vection and presence is discussed. Two experiments examined the hypothesis that “presence” is enhanced by manipulations which facilitate interpreting visual scenes as “background.” A total of 39 participants in two experiments engaged in a pursuit game while in a virtual visual environment generated by an HMD and rated their experience of “presence” on 5 questions. Experiment 1 compared two viewing conditions: visual scene masking at the eye and a paper mask mounted on the screen with the same 60° FOV, and showed that presence was enhanced by eye masking relative to screen masking. Experiment 2 replicated these findings with a double-blind experimental design.
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Gan, Xu-Sheng, and Yi Wang. "Visual Multi-Object Tracking in the Presence of Cluttered Scenes." Research Journal of Applied Sciences, Engineering and Technology 6, no. 12 (July 30, 2013): 2131–35. http://dx.doi.org/10.19026/rjaset.6.3836.
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Zamir, S. "Fugitive Poses: Native American Indian Scenes of Absence and Presence." Modern Language Quarterly 61, no. 2 (June 1, 2000): 419–21. http://dx.doi.org/10.1215/00267929-61-2-419.
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Stripes, James, and Gerald Vizenor. "Fugitive Poses: Native American Indian Scenes of Absence and Presence." American Indian Quarterly 22, no. 3 (1998): 393. http://dx.doi.org/10.2307/1184820.
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Serrano-Montes, José L., Emilio Martínez-Ibarra, and Jonatan Arias-García. "How Does the Presence of Livestock Influence Landscape Preferences? An Image-Based Approach." Landscape Online 71 (July 1, 2019): 1–18. http://dx.doi.org/10.3097/lo.201971.
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The European Landscape Convention (ELC) emphasises that the public should be extensively involved in the processes of landscape protection, planning and management. In spite of the emerging interest in the relationship between animals and landscapes in the study of animal geography, little is known about the influence of the landscape-animal component on public aspirations and the values attributed to landscape. We conducted a survey in the form of an image-based questionnaire in order to evaluate the influence of certain animal species, in this case livestock, on landscape preferences. The results show that all grazing animals have a positive impact on landscape preferences, although some species seem more popular than others. The preference for scenes with animals decreases, however, when compared with scenes with other landscape features (vegetation, traditional buildings or water). Significant differences in preferences for scenes with animals were observed according to certain sociodemographic variables such as gender, familiarity with the landscape and direct involvement in livestock farming. Of the groups surveyed, livestock farmers showed the strongest preferences for the scenes with animals. The findings of this study can be applied within the citizen participation policies encouraged by the ELC, as well as in the protection, management and planning of rural landscapes in which livestock is an appreciable feature.
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Liu, K., and Y. Jiang. "Visual working memory for briefly presented scenes." Journal of Vision 5, no. 7 (September 1, 2005): 5. http://dx.doi.org/10.1167/5.7.5.
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Konkle, T., E. McDaniel, M. R. Greene, and A. Oliva. "Constructing depth information in briefly presented scenes." Journal of Vision 6, no. 6 (March 19, 2010): 466. http://dx.doi.org/10.1167/6.6.466.
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Trupia, Agustina. "TEATRO LIMINAL Y GÉNERO: SOBRE LOS PROCEDIMIENTOS ESCÉNICOS UTILIZADOS EN LAS PRÁCTICAS DRAG KING EN BUENOS AIRES." Acotaciones. Revista de Investigación y Creación Teatral 44 (June 10, 2020): 167–88. http://dx.doi.org/10.32621/acotaciones.2020.44.05.
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El artículo propone, como principal objetivo, estudiar las indagaciones artísticas en torno a las masculinidades femeninas. Para esto, se parte de la filosofía del teatro para analizar dos espacios escénicos diferentes en los que se dan estas búsquedas. Por un lado, se trabaja con la Carrera de reyes, espacio de competencias de drag kings en Buenos Aires, y con dos artistas transformistas en particular. Por otro lado, se analizarán los procedimientos de travestismo escénico en Petróleo, obra del grupo Piel de lava, estrenada en 2018. Se busca ampliar las nociones de tradicionales de teatro al incluir las prácticas artísticas de transformistas y también se revisa la presencia escénica de las mujeres que exploran las masculinidades. Asimismo, se plantea dimensionar las consecuencias que tienen estas prácticas en la historia del teatro y en las identidades de género de les espectadores.
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Koźbiał, Krzysztof. "Znaczenie eurosceptycyzmu na scenie politycznej Republiki Czeskiej." Politeja 17, no. 3(66) (June 25, 2020): 261–76. http://dx.doi.org/10.12797/politeja.17.2020.66.18.
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The Importance of Euroscepticism on the Political Scene of the Czech Republic. Conditions and Consequences
Czech society is one of the most eurosceptic in the European Union. One of the reasons is a low degree of trust in authority (government, parliament) in general, also at the supranational level. Consequently, Czech political parties have eurosceptic slogans in their programs that do not prevent voters from supporting them, both in the elections to the Czech and European Parliaments. The political system is dominated by parties presenting the so‑ called „soft euroscepticism” (according to Taggart’s and Szczerbiak’s approach), such as: Action of Dissatisfied Citizens (ANO 2011), Civic Democratic Party (ODS) or Communist Party of Bohemia and Moravia (KSČM). In the 2017 election, they received a total of almost 50% of the vote. However, euroscepticism is not a threat to the Czech presence in the EU. Extremely eurosceptic parties do not enjoy great public support.
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Leslie, Kathryn Joan. "Scenes from the Margins." Departures in Critical Qualitative Research 9, no. 2 (2020): 133–36. http://dx.doi.org/10.1525/dcqr.2020.9.2.133.
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The scenes in this reflection explore the ways my white, queer, nonbinary body navigates a professional association from the margins under the influence of white supremacy. I confess to shadow feelings of self-importance that continuously creep up as I engage in anti-racist work and consider how this presence of white righteousness must be relentlessly undermined and destabilized as we work to consider new and alternative futures for (organizational) communication studies.
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Villamil Montero, Daniel Antonio, Natalia Naranjo, and Mario Andres Van Strahlen. "Efecto insecticida del extracto de semillas de Neem (Azadirachta indica) sobre Collaria scenica, Stal (Hemiptera: Miridae)." EntomoBrasilis 5, no. 2 (July 23, 2012): 125–29. http://dx.doi.org/10.12741/ebrasilis.v5i2.224.
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El presente trabajo se desarrollo con el objetivo de evaluar o efeito insecticida del extracto etanólico de semillas de Neem (Azadirachta indica A. Juss) sobre ninfas de la chinche de los pastos Collaria scenica Stal. Para eso, se elaboró un extracto a partir de frutos inmaduros de Neem mediante rotaevaporación. El extracto fue diluido en tres concentraciones de ppm que corresponden a los tratamientos. Por medio de cromatografías en capa delgada se determinó la presencia de Azaridactina. Se realizó un experimento DCA de 4 tratamientos y 5 repeticiones que incluyó las tres concentraciones del extracto y un control. En cada repeticion se usaron 15 ninfas, colocadas aleatoriamente en cajas plásticas herméticas con alimento y la concentración correspondiente. Diariamente se realizó una aplicación del extracto y se registró porcentaje de mortalidad, número de exuvia y número de individuos que llegaron al estado adulto en cada tratamiento. Los resultados fueron analizados con prueba Kruskal-wallis y Games-Howell para cada variable. Las tres concentraciones del extracto de semillas de Neem presentaron un efecto negativo sobre el desarrollo de las chinches. El tratamiento más concentrado (250ppm) fue el más eficaz presentando una mortalidad del 97%, menor número de exubias y menor número adultos al final del ensayo.
Insecticide Effect of Neem (Azadirachta indica A. Juss) Seed Extract against Collaria scenica Stal (Hemiptera: Miridae)
Abstract. This work was developed with the objetive to evaluate the insecticidal effect of the Neem (Azadirachta indica A. Juss) seeds against grass bug nymphs Collaria scenica Stal. For that, an extract was prepared from green fruits of Neem by rotaevaporación. The extract was diluted in three ppm concentrations corresponding to treatments. Using thin-layer chromatography we identified the presence of Azaridactina. DCA essay was carried out with 4 treatments and 5 repetitions that included the three extract concentrations and a control. In each repetition were used 15 nymphs, randomly placed in plastic boxes with food and the corresponding concentration. Every day an extract application was made and recorded mortality percentage, number of exuviae and number of individuals who came to adulthood in each treatment. The results were analyzed using Kruskal-Wallis and Games-Howell for each variable. The three concentrations of Neem seed extract had a negative effect on the development of the bugs. The more concentrated treatment (250 ppm) was the most effective, showing a 97% mortality, fewer exuvias and and fewer adults in the end of the experiment.
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Rubrecht, Penthes, Anand Vaid, Donna Woloshyn, Hilary Craig, Estelle Anthony, Mary Heit, and Bernice Dowhaniuk. "SCENES Brief Presented to The Task Force on Multiculturalism." TESL Canada Journal 7, no. 2 (June 26, 1990): 95. http://dx.doi.org/10.18806/tesl.v7i2.572.
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SCENES, a professional organization for educators in English as a Second language/ Dialect (ESLlD) appreciates the adoption of the Act on Multiculturalism. The provisions therein, if consistently implemented, will make it possible for immigrant children and adults as well as Indian and Metis people to take an active part in the evolution and shaping of our Canadian society. At last people whose mother tongue is not English or French will have equal access to education and employment. The fundamental concern that we wish to bring to the attention of this Task Force is the lack of involvement of the provincial government in the provision of language training. Consequently we are lagging far behind Quebec and Manitoba in the services we can offer. Even though immigration and settlement are federal responsibilities, the Province of Saskatchewan has a mandate for education, health and social services. The provincial government must take these mandates seriously and play an active role in the co-ordination of existing ESL programmes and initiate new, more specialized programmes. It must be responsible for the development of curricula and materials and monitor and evaluate the programmes delivered in our province. As far as the English language provision for Indian and Metis children and adults is concerned the provincial government must accept its share of the responsibility for the development of a policy on bilingual education; a policy which promotes the retention of the Indian languages and strengthens the provisions for English as a Second Language/Dialect programmes.
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Anderson, Allison P., Michael D. Mayer, Abigail M. Fellows, Devin R. Cowan, Mark T. Hegel, and Jay C. Buckey. "Relaxation with Immersive Natural Scenes Presented Using Virtual Reality." Aerospace Medicine and Human Performance 88, no. 6 (June 1, 2017): 520–26. http://dx.doi.org/10.3357/amhp.4747.2017.
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Drewes, Jan. "Oscillations in behavioral performance for rapidly presented natural scenes." Journal of Vision 15, no. 12 (September 1, 2015): 1402. http://dx.doi.org/10.1167/15.12.1402.
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Travassos, Luiz Eduardo Panisset. "Associação entre valor cênico, turismo, religião e cultura na paisagem do Quadrilátero Ferrífero, Minas Gerais / Association between scenic value, tourism, religion and culture on the landscape (...)." Caderno de Geografia 24, no. 42 (July 18, 2014): 198–218. http://dx.doi.org/10.5752/p.2318-2962.2014v24n42p198.
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A ideia para elaboração do presente trabalho surgiu a partir do convite da Sociedade Brasileira de Espeleologia para elaboração de um capítulo sobre o valor cênico, turismo e religião em regiões que apresentam cavernas desenvolvidas em formações ferríferas. A partir da ideia inicial, decidiu-se ampliar o tema para que pudéssemos incluir, também, aspectos culturais da paisagem em uma região específica como a do Quadrilátero Ferrífero (QF), em Minas Gerais. Assim, tem-se como objetivo principal da pesquisa demonstrar a possibilidade de associação entre o valor cênico, turismo, religião e cultura no QF por meio da indicação de exemplos selecionados. Palavras-chave: Valor cênico, turismo, religião, cultura, Quadrilátero Ferrífero ABSTRACTThe idea of this paper emerged after the invitation by the Brazilian Society of Speleology for preparation of a chapter on the scenic value, tourism and religion in regions with caves developed in banded iron formations. From the initial idea, the author decided to expand the theme here so one could include the cultural aspects of the landscape in a specific region such as the Iron Quadrangle (Quadrilátero Ferrífero), in Minas Gerais. Thus, the main objective of this study is to demonstrate the possible association between the scenic value of a landscape together with tourism, religion and culture by indicating selected examples, especially in the QF. Keywords: scenic value, tourism, religion, culture, Quadrilátero Ferrífero