Relevant bibliographies by topics / The last instructions to a painter

Academic literature on the topic 'The last instructions to a painter'

Author: Grafiati
Published: 10 December 2022
Last updated: 28 January 2023

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Journal articles on the topic "The last instructions to a painter"

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Patterson, Annabel. "The Egalitarian Giant: Representations of Justice in History/Literature." Journal of British Studies 31, no. 2 (April 1992): 97–132. http://dx.doi.org/10.1086/386000.

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In Franz Kafka's The Trial, a horrifying fable of human alienation from human institutions, there is a central encounter between Kafka's persona K. and the painter Titorelli, whose task is to reproduce endlessly the icons of the judicial system—arbitrary, logically absurd, yet cruel and inescapable—of which K. has become the latest victim. Approaching a painting in progress, K. recognized its subject as a judge, but could not identify a large figure rising in the middle of the picture from the high back of the judicial seat:“It is Justice,” said the painter at last. “Now I can recognize it,” said K. “There's the bandage over the eyes, and here are the scales. But aren't there wings on the figure's heels, and isn't it flying?” “Yes,” said the painter, “my instructions were to paint it like that; actually it is Justice and the goddess of Victory in one.” “Not a very good combination, surely,” said K., smiling. “Justice must stand quite still, or else the scales will waver and a just verdict will become impossible.” “I had to follow my client's instructions,” said the painter. “Of course,” said K., who had not wished to give any offense by his remark. “You have painted the figure as it actually stands above the high seat.” “No,” said the painter, “I have neither seen the figure nor the high seat, that is all invention, but I am told what to paint and I paint it.”
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Seeberg, Stefanie. "Neupräsentationen und Umdeutungen des Heiligen Kreuzes von Polling vom 13. bis zum 18. Jahrhundert." Zeitschrift für Kunstgeschichte 80, no. 2 (December 30, 2017): 292–309. http://dx.doi.org/10.1515/zkg-2017-0015.

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Abstract The center of the baroque altarpiece of the Augustinian Monastery of Polling in South Germany forms the so-called Holy Cross. Its current presentation, dated from 1763, is the last of a sequence of four well-documented presentations of a Romanesque wooden cross since 1230. This cross is an excellent example for analyzing and comparing several methods of re-presenting a historic art object as well as for understanding the motivation for such re-presentations, which are grounded on changes of the spiritual function of the object. In its first reframing, the cross received a covering of gilded parchment and a painting of the crucifix on this ground coat. In a fundamental publication from 1994, this covering was compared with a reliquary holding the old venerated wooden cross. However, looking at the context of medieval instructions for painters and the material evidence of extant contemporary paintings, this interpretation becomes questionable: the covering with parchment was a common and technically motivated procedure rather than a spiritually motivated one.
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Dyachenko, S. I. "ANTIQUE TOPOS IN A STORY “AN ARTIST” BY TARAS SHEVCHENKO." Shevchenko Studies, no. 1(23) (2020): 97–112. http://dx.doi.org/10.17721/2410-4094.2020.1(23).97-112.

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The article analyzes the use of individual names, images and concepts from the great ancient heritage in the story "The Artist" by Taras Shevchenko. The tale selected for the study, as well as other prose works of the writer, testified a thorough knowledge of their author in the history of Greek and ancient Roman culture and literature, skillful use of certain plots, characters from ancient times to characterize individuals, their personal qualities, or when the master as a highly educated art historian has told readers about fine art works by world-class artists or in other similar situations. Following the wise instructions of many of his friends, particularly the outstanding classicist painter, brilliant master of ceremonial portrait K. Bryullov, T. Shevchenko thoroughly researched the works of ancient historians, philosophers and poets, studied European languages, and in most cases he used topics from Bible, ancient Greek and Roman history for his paintings and art works. The ancient topos of the Ukrainian artist were formed first in painting, and later or in parallel - in words that accompanied throughout his creative career. Realizing ancient and life phenomenon, the writer has reproduced them through the prism of his own artistic vision; it is especially masterful in the tale genre. T.Shevchenko lived the inner life of his characters, worked out and applied a whole range of feelings and experiences, through which he resorted to demonstration of new and more significant means of artistic expression. In the story "The Artist" the author employed a lot of antique images that are connected with the direct artistic function of the story of the fate of a young artist, who in a short period of life turned from an apprentice "in a shabby greasy robe" into a trendsetter. The writer depicted the young author of paintings practically from the time of his redemption from serfdom until the last days of his life. In this tale the young artist overcame various difficulties, sufferings, found the strength and cleverness to develop creativity, at the same time he expressed respect and obedience to friends, teachers, mentors. The writer was leading his young artist through a number of different situations and simultaneously was presenting the great cultural importance of the ancient world. In his story "The Artist" T. Shevchenko revealed the fascinating and unique world of Hellenic antiquity, presented to the reader a great number of the ideals that he professed.
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Brain, A. I. J. "The last resort - follow the instructions!" Anaesthesia 54, no. 11 (November 1999): 1116. http://dx.doi.org/10.1046/j.1365-2044.1999.01179.x.

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Nelson, Robert S. "A Byzantine Painter in Trecento Genoa: The Last Judgment at S. Lorenzo." Art Bulletin 67, no. 4 (December 1985): 548. http://dx.doi.org/10.2307/3050844.

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Kitts, Margo. "The Last Night: Ritualized Violence and the Last Instructions of 9/11." Journal of Religion 90, no. 3 (July 2010): 283–312. http://dx.doi.org/10.1086/651708.

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Wulandari, Anak Agung Ayu. "Membaca Simbol pada Lukisan Pertempuran Antara Sultan Agung dan Jan Pieterszoon Coen (1974) Karya S. Sudjojono." Humaniora 6, no. 2 (April 30, 2015): 249. http://dx.doi.org/10.21512/humaniora.v6i2.3337.

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Sudjojono has produced hundreds of artworks, one of them is the painting of “The Battle between Sultan Agung and Jan Pieterszoon Coen”. Sizing 3 x 10 m, not only this painting is significant in size, it also shows Sudjojono’s in-depth study from aesthetic and historical side. The painting consists of 3 panels depicting Sultan Agung’s meeting with his royals, the battle scene between Mataram and Dutch troops, and the last panel depicting the meeting between JP Coen and Kyai Rangga. Some of the message conveyed by the painter is that the painting was 70% made of historical facts and did not come from the painter imagination only, better to be in peace than war and revenge and the last message is that western and eastern people are actually equal, and as eastern people should not need to have low self-esteem. Besides those messages there are still many symbols and signs that have in-depth meaning which will be studied and examined thoroughly such as figures involved in the battle, location of battle, clothing, etc.
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Ayala, Walmir. "Lúcio pintor." Revista do Centro de Estudos Portugueses 28, no. 39 (June 30, 2008): 173. http://dx.doi.org/10.17851/2359-0076.28.39.173-174.

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<p>Este texto trata do Lúcio Cardoso pintor, trabalho a que o escritor se dedicou nos últimos seis anos de vida.</p> <p>This text treats of the Lúcio Cardoso painter, work what the writer devoted himself in the last six years of life.</p><p> </p>
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Kant, Marion. "Oscar Schlemmer's Triadic Ballet (Paris, 1932) and Dance Discourse in Germany. Three Letters with Annotation and a Commentary." Dance Research 33, no. 1 (May 2015): 16–30. http://dx.doi.org/10.3366/drs.2015.0121.

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Three letters, exchanged in 1932 between the critic Artur Michel and the painter and choreographer Oskar Schlemmer, illuminate the complicated relationship between modern dance advocates in general and attitudes to the Triadic Ballet in particular in the last years of the Weimar Republic. They inform us of the way in which the representatives of different dance aesthetics dealt with their opposing views.
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Kubies, Grzegorz. "Lust and music in The Seven Deadly Sins and the Four Last Things at the Museo Nacional del Prado in Madrid." De Arte. Revista de Historia del Arte, no. 21 (December 12, 2022): 9–28. http://dx.doi.org/10.18002/da.i21.7044.

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There are three research goals set forth in this article. The first is to show the connection of lust with music in the Prado panel, within the context of representations of the personification of impure love in Bosch's undisputed works (the Wayfarer Triptych, the Haywain Triptych). The second research objective is an attempt to indicate the basic sources of inspiration for the painter. The article closes with the interpretation of musical elements in the scene of lust. The presence of common elements (among others: suitors/ lovers, a jester, musical instruments, wine and fruit) in the analysed works proves the existence of a coherent artistic system in the Bosch workshop based on a mental-ideological foundation. Of the iconographic sources of inspiration for the painter that we have considered the most important are representations of Garden of Love and Children of Venus. In the scene of lust the figure that plays a leading role is the jester. He is not only interpreted as a musician but also as the embodiment of socially undesirable behavior.
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Dissertations / Theses on the topic "The last instructions to a painter"

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O’Brien, Fiona. "The metaphor of perspective." Thesis, 2016. http://hdl.handle.net/2440/103475.

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This thesis interprets John Dryden’s Annus Mirabilis (1667) and Andrew Marvell’s The Last Instructions to a Painter (1667) in light of recent scholarship drawing on English and Dutch visual culture traditions. These poems were written in close temporal proximity, and both provide a highly politicised account of the Second Anglo-Dutch War (1664-7). Marvell’s poem is traditionally read as a satiric response to Edmund Waller’s panegyric on the war in Instructions to a Painter (1665), thus providing the final word in the series of satiric Advice-to-a-Painter poems that Waller spawned. Dryden’s, Marvell’s and Waller’s poems explicitly draw upon visual cultural traditions, and it is the purpose of this thesis to explore the political implications of those choices. In this thesis I am not making a claim for the indiscriminate, general reference to visual cultural or scientific material in Dryden’s and Marvell’s poem; I am arguing that the choices they make quite explicitly include certain things and exclude others, which suggests a knowing attitude. Marvell employs Waller’s motif of giving instructions to a portrait painter; his poem conforms to principles of decorum long associated with “good” painting, but satirically subverts them to create a series of grotesque images of courtiers and parliamentarians in keeping with his corrupt subject matter. Dryden’s Annus Mirabilis also draws upon visual cultural material to give a more favorable account of the war, but the poem is to one side of the “painter poem” tradition. Dryden’s political argument is aligned with Waller’s, but he works to praise the English without direct reference to the Waller panegyric. Waller and Dryden both allude to perspective techniques used in Renaissance court portraiture and painting in order to celebrate Charles II and his generals and to portray a sense of national unity. Marvell alludes to English Mannerist and Dutch art traditions to create a poetic State Portrait designed to challenge Waller’s and Dryden’s Royalist interpretations of events. Marvell uses Mannerist stylisation to critique the decadence of Charles II and his court, while referring to Dutch painting techniques, characterised by a high attention to detail, to draw attention to unflattering features traditionally “painted” out. In Annus Mirabilis order is achieved by combining classical imagery with principles of Baconian science that sought to taxonomise nature, and to “reform” language, strengthening the relationship between signifier and signified, and imposing a sense of order and unity on the world. In Last Instructions the metaphor of the microscope functions as a framing device for reading Marvell’s poem. This enables Marvell to distort his subject matter in the name of “scientific” truth, with the deliberate failure to provide a unified image leaving the reader to piece together the various episodes. As a result, Marvell demonstrates that any attempt to represent the war is going to be partial and subjective. By studying the aesthetic and scientific techniques together, I argue that Dryden creates a poem in which the spatial design supports his praise for Charles II and the hierarchy in the state he wants to invoke. Conversely, Marvell creates a poetic State Portrait that alludes to Dutch painting techniques and the microscope to distort and fragment his subject matter, thereby challenging both Waller’s and Dryden’s imposition of order and unity on a war characterised by political corruption and strategic failure. Considering the aesthetic and scientific references concurrently draws attention to the use of perspectival cues that shape the political arguments of each poem. This method is important for drawing attention to Dryden’s and Marvell’s different approaches to engaging with key events of the Second Anglo Dutch war and the multi-disciplinary nature of these representations; an aspect that has, until now, been under examined in the critical tradition. Chapter one, “Panegyric and Satire in Waller’s, Dryden’s and Marvell’s poems on the Second Anglo-Dutch War” sets the context for my analysis by focusing on Marvell’s satiric Advice-to-a-Painter poems to which Last Instructions provides the final word. I ask whether there is evidence of Marvell’s knowledge of Dutch and English Mannerist painting traditions, and conclude that Marvell alludes to these traditions explicitly and systematically. In chapter two, “The Ekphrastic portraits in Waller’s, Dryden, and Marvell’s Anglo-Dutch War poems” I focus on the portraits that appear throughout Dryden’s and Marvell’s poems, and examine these in light of English, Mannerist and Dutch portraiture traditions. Chapter three, “Poetry as History Painting: Renaissance and Mannerist perspectives in Dryden’s Annus Mirabilis and Marvell’s Last Instructions to a Painter,” builds upon my analysis of Dryden’s and Marvell’s portraiture to consider the genre of the istoria or history painting for which Marvell’s poem purports to represent the “third sitting.” I argue that the composition of Annus Mirabilis adheres to principles of linear perspective, while Marvell’s Last Instructions is more usefully considered in terms of Mannerist and Dutch compositional techniques. Chapter four “Natural philosophy, optics and theatricality in Dryden’s Annus Mirabilis” focuses on Dryden’s metaphoric staging of the action in terms of a Renaissance stage set. I use Dryden’s allusions to the physical space of the theatre, where audiences were seated in relation to the King at the centre, as a governing metaphor for the civil hierarchy and perspective established in the poem. In chapter five, “Marvell’s Metaphor of the Microscope and the Partial Perspective of Dutch Visual Culture,” I focus on Marvell’s reference to the microscope in Last Instructions as a metaphor for reading the poem. In contrast to the aesthetically and politically unified structure of Dryden’s poem, the pluralism of the microscopic perspective and the overlaps with Dutch aesthetic techniques implies that any account of events will always be partial and subjective.
Thesis (Ph.D.) -- University of Adelaide, School of Humanities, 2016.
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Books on the topic "The last instructions to a painter"

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Barber, Kenneth E. A letter of last instructions. Pullman, Wash: Cooperative Extension, College of Agriculture & Home Economics, Washington State University, 1986.

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Peironnet, David R. Santa Fe's last dining car service instructions. Kansas City, Mo: D. Peironnet Books, 1999.

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Botero, Fernando. Fernando Botero: The last 15 years. Roma: De Luca Editori d'Arte, 2005.

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Beechey, G. D. S. The eighth child: George Duncan Beechey 1797 - 1852, royal portrait painter to the last four kings of Oudh. London: Excalibur, 1994.

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Admiralty, Great Britain. Arctic expeditions: Copies of instructions from the Admiralty to Captain Austin, R.N., C.B., and to any other officers, in Her Majesty's Service engaged in Arctic expeditions, since the date of the last Parliamentary return. [London: HMSO, 2001.

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Clowes, Samuel. General report to His Excellency Sir Peregrine Maitland, Knight Commander of the Most Honorable Military Order of the Bath, Lieutenant Governor of the province of Upper Canada, Major General commanding His Majesty's forces therein &c. &c. &c: In pursuance of my instructions of the 9th June last, & having obtained the aid of George Rykert, assistant engineer & surveyor, we proceeded to the survey of the River St. Lawrence and now respectfully beg leave to submit the following estimates and report. [Toronto]: Printed at the office of the Colonial Advocate, 2000.

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Leonardo. Leonardo da Vinci: The Codex Leicester : an exhibition at the Chester Beatty Library 12 June - 12 August 2007. London: Scala, 2007.

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Leonardo. Leonardo da Vinci: Maschine Mensch. Ostfildern-Ruit: Edition Völklinger Hütte im Quantum Books, 2002.

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1953-, Perissa Torrini Annalisa, and Gallerie dell'Accademia di Venezia, eds. Leonardo: L'Uomo vitruviano fra arte e scienza. Venice: Marsilio, 2009.

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Leonardo. Leonardo: Anatomia. Firenze: Giunti, 1997.

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Book chapters on the topic "The last instructions to a painter"

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Turner, James Grantham. "The Libertine Abject: The ‘Postures’ of Last Instructions to a Painter." In Marvell and Liberty, 217–48. London: Palgrave Macmillan UK, 1999. http://dx.doi.org/10.1057/9780230376991_10.

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Leonelli, Lisa. "Per un profilo di Francesco Soderini, pittore «assai ragionevole nella storia e nei paesi, in grande e più in piccolo»." In Studi e saggi, 165–86. Florence: Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-5518-181-5.10.

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Francesco Soderini (1671-1736), father of Mauro Soderini (1703-1751), was a Florentine painter who worked for the last members of the Medici dynasty, expecially for the Electress of the Palatinate Anna Maria Luisa, the only daughter of the granduke Cosimo III de’ Medici. Among the artist’s works, only the paintings for Villa La Quiete, the place where Anna Maria Luisa stayed during her last years, are well studied. This paper proposes new attributions to Soderini by recognising his style in some canvases presented on the art market and attributed to anonymous artists. These paintings contribute to a more accurate acknowledgement of the artist and of his style, which was very appreciated by his contemporaries.
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Gonneau, Pierre. "Les tableaux maudits, en France et en Russie." In Biblioteca di Studi Slavistici, 179–94. Florence: Firenze University Press, 2017. http://dx.doi.org/10.36253/978-88-6453-507-4.14.

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I. Repin’s “Ivan the Terrible and his son”, exhibited in 1885, in a very tense social and political context, sparked off fierce reactions. While the Itinerant painter Kramskoj is enthusiastic, the ge-neral-prosecutor of the Holy Synod, K. Pobedonoscev, finds the painting “simply repulsive”. In France a similar scandal was caused by Gericault’s “Raft of the Medusa” (1819). It represents the last instants of the martyrdom of the survivors of the Medusa’s shipwreck (1816). Repin’s painting, unlike that of Gericault, keeps on arousing a great hostility nowadays in conservative Russian circles.
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Leonelli, Lisa. "Ancora su Giulio Pignatti ritrattista. Il mondo dei Grand Tourists e degli eruditi a Firenze." In Studi e saggi, 205–39. Florence: Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-5518-181-5.12.

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Giulio Pignatti or Pignatta (1679-1751), a painter from Modena who specialized in portraiture, arrived in Florence in 1705 and remained there until his death. During the fourty-six years spent in the Tuscan capital, he made contact with the last members of the Medici dynasty and with Grand Tourists as attested by the Portrait of Sir Andrew Fountaine with four friends in the Tribuna of the Uffizi, dated 1715. Pignatti’s oeuvre can now be expanded by another conversation piece commissioned in 1721 by Giuseppe Aversani’s pupils in the University of Pisa on the occasion of the gift of a gold medal, and by the portraits of Ludovico Tempi and Cosimo Del Sera which testifies that Pignatti worked for numerous Florentine noble families. By focusing on these paintings, the paper intends to provide a better understanding of the artist's career and patrons.
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Dalmo, Roy Ambli, and Jarl Bøgwald. "Innate Immunity." In Principles of Fish Immunology, 31–103. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-85420-1_2.

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AbstractResearch on the innate immunity has accelerated over the last decades. The main reason for this has been the discovery of receptors recognizing danger molecules from pathogens. This has been facilitated through genome and transcriptome sequencing of different fish species. Also, endogenous host molecules from sterile physiological insults may also bind to certain receptors and induce immunological processes. The magnitude and quality of adaptive immunity are known to be dependent on the instructions the innate response gives. This chapter gives an overview of selected innate immune organs/tissues, factors, and processes that have been suggested to possess important roles during innate immune response in fish.
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Evans, Dorinda. "1. A Secret Inheritance." In William Rimmer, 1–22. Cambridge, UK: Open Book Publishers, 2022. http://dx.doi.org/10.11647/obp.0304.01.

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Chapter one gives an overall view of William Rimmer's life, how he was perceived, and the impact of family mental illness on his life and reputation. Not only was Rimmer a bipolar artist but also his father mistakenly claimed to be the heir to the French throne, the missing Dauphin. Rimmer tried to make a living as a printmaker, a painter, and a sculptor. He also became a physician and an instructor in art anatomy. This last occupation provided his chief source of income. Self-taught and a Bostonian, he strayed outside of New England only to teach in New York at the Cooper Union School of Design for Women of which he became director. Although he achieved fame internationally as a sculptor and author of two books on art anatomy, he exhibited rarely and created most of his artwork for family and friends.
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Dalle Mura, M., and G. Dini. "Augmented Reality in Assembly Systems: State of the Art and Future Perspectives." In IFIP Advances in Information and Communication Technology, 3–22. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-72632-4_1.

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AbstractAssembly represents a fundamental step in manufacturing, being a time-consuming and costly process, on which the final quality of the product mostly depends. Augmented Reality (AR) may represent a key tool to assist workers during assembly, thanks to the possibility to provide the user of real-time instructions and information superimposed on the work environment. Many implementations have been developed by industries and academic institutions for both manual and collaborative assembly. Among the most remarkable examples of the last few years are applications in guidance of complex tasks, training of personnel, quality control and inspection. This keynote paper aims to provide a useful survey by reviewing recent applications of AR in assembly systems, describing potential advantages, as well as current limitations and future perspectives.
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Simner, Ben, Shaked Flur, Christopher Pulte, Alasdair Armstrong, Jean Pichon-Pharabod, Luc Maranget, and Peter Sewell. "ARMv8-A System Semantics: Instruction Fetch in Relaxed Architectures." In Programming Languages and Systems, 626–55. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-44914-8_23.

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AbstractComputing relies on architecture specifications to decouple hardware and software development. Historically these have been prose documents, with all the problems that entails, but research over the last ten years has developed rigorous and executable-as-test-oracle specifications of mainstream architecture instruction sets and “user-mode” concurrency, clarifying architectures and bringing them into the scope of programming-language semantics and verification. However, the system semantics, of instruction-fetch and cache maintenance, exceptions and interrupts, and address translation, remains obscure, leaving us without a solid foundation for verification of security-critical systems software.In this paper we establish a robust model for one aspect of system semantics: instruction fetch and cache maintenance for ARMv8-A. Systems code relies on executing instructions that were written by data writes, e.g. in program loading, dynamic linking, JIT compilation, debugging, and OS configuration, but hardware implementations are often highly optimised, e.g. with instruction caches, linefill buffers, out-of-order fetching, branch prediction, and instruction prefetching, which can affect programmer-observable behaviour. It is essential, both for programming and verification, to abstract from such microarchitectural details as much as possible, but no more. We explore the key architecture design questions with a series of examples, discussed in detail with senior Arm staff; capture the architectural intent in operational and axiomatic semantic models, extending previous work on “user-mode” concurrency; make these models executable as test oracles for small examples; and experimentally validate them against hardware behaviour (finding a bug in one hardware device). We thereby bring these subtle issues into the mathematical domain, clarifying the architecture and enabling future work on system software verification.
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Raylor, Timothy. "Waller, Tasso, and Marvell’s Last Instructions to a Painter." In Texts and readers in the Age of Marvell, 189–205. Manchester University Press, 2018. http://dx.doi.org/10.7228/manchester/9781526113894.003.0011.

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This chapter examines a passage in Marvell’s Last Instructions to a Painter concerned with the death of Archibald Douglas. While the passage might, considered in isolation, appear to be arbitrarily dilated to allow Marvell to indulge some of his imaginative and literary preoccupations, study of its textual underpinnings suggests that it was prompted and shaped by literary and political occasions coalescing around the poetry and politics of Edmund Waller. The chapter argues that the passage revises and corrects Waller’s recasting of Tasso’s version of a Virgilian topos, erasing the romance motivations that, in earlier versions, animate the scene in favour of epic austerity. It thus illuminates the connection between literary and political antagonisms in the Restoration, making clear not only the degree to which arguments about policy were conducted through literary texts, but also the extent to which poetic genre could itself be constitutive of court ideology and national policy.
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Raylor, Timothy. "Waller, Tasso, and Marvell’s Last Instructions to a Painter." In Texts and readers in the Age of Marvell. Manchester University Press, 2018. http://dx.doi.org/10.7765/9781526113887.00020.

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Conference papers on the topic "The last instructions to a painter"

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Tanaka, Kiyofumi, and Junji Yamano. "Automatic Application of Last-Touch Instructions for Leakage Energy Reduction." In 2008 International Workshop on Innovative Architecture for Future Generation High-Performance Processors and Systems (IWIA). IEEE, 2008. http://dx.doi.org/10.1109/iwia.2008.10.

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Reide, Alise. "Pēdējās gribas rīkojumu aprobežojumi." In Latvijas Universitātes 80. starptautiskā zinātniskā konference. LU Akadēmiskais apgāds, 2022. http://dx.doi.org/10.22364/juzk.80.10.

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According to Article 600 of the Civil Law, the last will instructions may be restricted not only by conditions and terms, but also in other ways, namely, by binding directions, by restrictions on use, as well as by imposing a duty to return to another person that which has been received, or instead to perform some action. The article explores theoretical and practical differences between conditions, terms and restrictions. Even though Article 588 of the Civil Law stipulates that the conditions which restrict the personal rights of the recipients endowed may not be added to the last will instructions, it still allows to bind the recipient with the condition to enter or not to enter into marriage with a particular person. Thus, the article reveals a possible need for amendments.
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Koronis, Georgios, Hernan Casakin, Arlindo Silva, and Jing Wen William Siew. "The Use of Analogies and the Design Brief Information: Impact on Creative Outcomes." In ASME 2021 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. American Society of Mechanical Engineers, 2021. http://dx.doi.org/10.1115/detc2021-69938.

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Abstract This study is aimed at ways to assess and improve design students’ creative outcomes and assist educators in crafting design briefs for design studios. The procedure entails a controlled yet analytical experiment in a university setting intended to test the potential of using analogical thinking to enhance the Novelty and Usefulness of design solutions. The control group received a brief that contained stimuli in the form of typical examples without instructions to use analogies. A second group was provided with a brief including stimuli elicited by text representations in the form of word pairs, and instructions to use textual analogies. The last group received the same stimuli as the other groups above; however, with instructions to identify negative features before using textual analogies. One hundred and seven first-year undergraduate students took part in the study. The results demonstrated that design briefs with specific instructions to use textual-based analogies contributed to highly novel outcomes. However, when analogies were elicited by statements concerning negative issues of the design task, students were able to produce more useful outcomes. We suggest that textual-based analogies can be employed as a good in-class pedagogical tool for improving novice designers’ creative outcomes overall.
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Rasmuin. "Difficulties in mathematics education (mapping literature of international metadata in the last 10 years)." In Challenges of Science. Institute of Metallurgy and Ore Beneficiation, 2022. http://dx.doi.org/10.31643/2022.09.

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It is necessary to map the results of previous studies to conduct new research. The mapping is to obtain information about the novelty of the research to be carried out. Then, it needs a mapping of what has been done by previous researchers. This study aims to map the studies that have been carried out around the world on difficulties in learning mathematics. This research is literature review research with the type of mapping. Data consist of 1,000 research articles indexed by Google Scholar from 2013 to 2022, which were collected with Publish or Perish software using the keywords difficulties in mathematics education. Mapping analysis was carried out using VOSviewer software that images were then interpreted. Mapping is done on learning difficulties in mathematics, difficulty in learning mathematics seen from the abstract with a minimum occurrence of 15 and 10, difficulty in learning mathematics is related to mathematical learning difficulty, difficulty in learning mathematics if it is seen as a relationship if mathematics is applied in studying science, difficulty in learning mathematics is related to the application of realistic mathematics education, and difficulties in learning mathematics related to instruction. The results showed that difficulties in learning mathematics focused on mathematical concepts, applying mathematics in science, word problems, unclear instructions, limited time, and students' mathematics anxiety and ability.
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Pampel, Sanna, Samantha Jamson, Daryl Hibberd, and Yvonne Barnard. "Mental Models of Eco-Driving: Comparison of Driving Styles in a Simulator." In Applied Human Factors and Ergonomics Conference. AHFE International, 2019. http://dx.doi.org/10.54941/ahfe100236.

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Passenger cars contribute 12% of the overall carbon dioxide emissions in the EU. Eco-driving skills such as avoiding excessive braking and accelerating could reduce passenger car fuel consumption by up to 10% and consequently reduce vehicular emissions. However, educational material and the prospect of saving a considerable amount of money in the long-term do not change the behaviour of the majority of drivers. Little is known about drivers' current understanding of eco-driving, how they make decisions to put this knowledge into practice and what motivates them to do so. For this research drivers’ knowledge, behavioural rules and skill were tested in an experiment. Sixteen participants drove the University of Leeds desktop driving simulator on a varied road layout. Each participant was asked to drive four times, having had different instructions. These instructions were ‘Drive normally’ for the first and the last run; ‘Drive safely’ and ‘Drive fuel-efficiently’ in the remaining two. Each time they were presented with an urban setting with traffic lights as well as with busy traffic on a motorway. By finding out more about drivers' mental models of eco-driving and how they put them into practice, it will be possible to design more targeted and effective support systems.
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Rocchi, Elena. "”Angelus Novus” On the Utility of Applied History of Contemporary Architecture in Architectural Design." In 2019 ACSA Teachers Conference. ACSA Press, 2019. http://dx.doi.org/10.35483/acsa.teach.2019.2.

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“I must reflect on the circumstances — on the mystery of circumstances which leads the man into paths which he could never anticipate before they happen. This certainly happened to me because I was to be a painter — without questions about it — until my last year in high school when a course given on architecture just hit me so strongly as something that I wanted to be associated with.” Louis Kahn (1)While immersed in an increasingly pluralistic environment, students’ imaginary follows different tracks than the ones of an academic culture taught by teachers in classrooms. How can teachers enter the complex life cycle of students’ cultural growth? Explicitly, how can theyteach the history of contemporary architecture to a generation immersed in the debris of excessive information, with roots in motion over the wreckage of a globalized context?The course “APH 405 — Applied History of Contemporary Architecture” experiments on new ways to teach Millennials history of contemporary architecture expanding on their “experiences” of his-tory. By completing assignments as design actions instead of taking quizzes, students build awareness on the reasons why design cannot disregard its relationship with history. Most architecture students are alienated from the experience of designing architecture: seeing ways architects composed buildings in the past makes history relevant by fostering personal connections. The course’s purpose is to show how to design architecture learning from the past; the goal, to develop divergent thinking necessary in design as the ability to process ideas; and the objective, to avoid the multiple-choice quiz in favor of “designing” answers as drawings and movies.
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Capata, Roberto, and Alfonso Calabria. "Optimal Configuration Selection Through Experimental Tests on Branched Heat Exchanger With R134 Organic Fluid." In ASME 2019 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2019. http://dx.doi.org/10.1115/imece2019-10039.

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Abstract The aim of this work the analysis of compact branched heat exchangers, by measuring thermal efficiency and the pressure drop in several experimental tests. Three different heat exchanger configuration have been considered. In the first device, the constant efflux velocity, in the internal channels, was imposed. The second exchanger was realized by imposing constant the value of the Reynolds number. The last device was created according to the instructions of the constructal theory. All three exchangers are aluminum made. In addition, in order to have a more detailed knowledge of the phenomenon and to identify what are the parameters that govern heat transfer, an organic fluid has been used and tested. In our case R1234 organic fluid. It was therefore necessary to realize an appropriate test bench for the use of the organic fluid. Once realized, several tests were conducted. Finally in order to be able to indicate which configuration results the optimal one, the Prandtl and Nusselt numbers were obtained and compared.
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Cˇilli´k, Ivan, and Ja´n Procha´ska. "Bohunice Simulator Data Collection Project." In 10th International Conference on Nuclear Engineering. ASMEDC, 2002. http://dx.doi.org/10.1115/icone10-22704.

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The paper describes the way and results of human reliability data analysis collected as a part of the Bohunice Simulator Data Collection Project (BSDCP), which was performed by VUJE Trnava, Inc. with funding support from the U.S. DOE, National Nuclear Security Administration. The goal of the project was to create a methodology for simulator data collection and analysis to support activities in probabilistic safety assessment (PSA) and human reliability assessment for Jaslovske Bohunice nuclear power plant consisting of two sets of twin units: two VVER 440/V-230 (V1) and two VVER 440/V-213 (V2) reactors. During the project training of V-2 control room crews was performed at VUJE-Trnava simulator. The simulator training and the data collection were done in parallel. The main goal of BSDCP was to collect suitable data of human errors under simulated conditions requiring the use of symptom-based emergency operating procedures (SBEOPs). The subjects of the data collection were scenario progress time data, operator errors, and real-time technological parameters. The paper contains three main parts. The first part presents preparatory work and semi-automatic computer-based methods used to collect data and to check technological parameters in order to find hidden errors of operators, to be able to retrace the course of each scenario for purposes of further analysis, and to document the whole training process. The first part gives also an overview of collected data scope, human error taxonomy, and state classifications for SBEOP instructions coding. The second part describes analytical work undertaken to describe time distribution necessary for execution of various kinds of instructions performed by operators according to the classification for coding of SBEOP instructions. It also presents the methods used for determination of probability distribution for different operator errors. Results from the data evaluation are presented in the last part of the paper. An overview of observed human error probabilities (HEP) according to the developed taxonomy is given. HEP observed during training process were used as reference input data for HRA (Human Reliability Assesment) within existing PSAs performed by VUJE. Observing two different training seasons offered an opportunity to compare a progress achieved through the training process. This paper shows us how it is possible to make this kind of comparison in order to establish an objective measure of training quality and to determine training weaknesses. Results gained during the project-evoked interest of different NPPs (Nuclear Power Plant) in Slovak Republic to collect and process simulator data for further improvement of human factor safety, operational procedures, training process, etc.
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Resetnic, Elena. "Moldovan village between popular calendar and centralized planning in the second half of the twentieth century." In Ethnology Symposium "Ethnic traditions and processes", Edition II. Institute of Cultural Heritage, Republic of Moldova, 2021. http://dx.doi.org/10.52603/9789975333788.19.

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The traditional calendar had a great importance in the village’s life in the past because it indicated the optimal time for plowing and sowing, for the sheep to go to the pasture, the days favorable for collecting medical herbs, weddings, etc. But over time, it has undergone countless changes caused by various factors. First of all, it is about the role of science and its intense development since in the modern era, which had in the transformation of the traditional calendar into one of a more symbolic character. Secondly, it is about changing the political context: Bessarabia becomes the Moldovan Soviet Socialist Republic as part of U.S.S.R. and is subjected to ideological policies according to the instructions issued by Moscow, which aimed to Russify and denationalize the occupied peoples and form a new soviet consciousness. Last but not least, we must take into account the economic policy of U.S.S.R., which translated into life by applying a planned economy and, in general, a centralized planning in all spheres of life. Obviously, in such conditions, a large part of our ancestral traditions have not been passed down to us.
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Aronian, Abe, Kim Wachs, Michelle Jamieson, Karen Carriere, and Edward W. Gaughan. "Testing and Validation of Long Trains Under High Flow and Gradient Conditions." In 2012 Joint Rail Conference. American Society of Mechanical Engineers, 2012. http://dx.doi.org/10.1115/jrc2012-74036.

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The need to extend train lengths has been a primary business target of the railway industry, due to its obvious benefits. However, winter train operating conditions, excessive in-train slack action, deterioration of air brake signal propagation and the added stress on infrastructure and equipment has naturally kept the average train lengths at bay. The introduction of advanced equipment, new concepts and strategies have now enabled Canadian Pacific to change this mindset. Long Train make up is now very possible, taking into account the Distributed Power configuration. Making a very long train resemble a series of short trains coupled together, each with its own locomotives, synchronously connected to the Lead unit’s commands, makes such trains very safe and efficient. Extensive Field Testing and Train Simulation work done over the last two years at CP has shown that with the use of Multiple Remote Locomotive set-up, it is in fact very possible to safely contemplate extending the limits of today’s maximum allowed 60 CFM of total train air flow, into uncharted territory, possibly approaching a total of 90 CFM. CP has pursued to implement on a permanent basis, operating instructions that would permit Multiple Distributed Power trains to depart from a train brake test location with combined air flow of up to 90 CFM, provided the flow at each DP locomotive consist is not greater than 60 CFM and train length sections between locomotives are not exceeded. This paper investigates the operation of Distributed Power trains at higher levels of air flow and, through detail field testing and evaluation techniques, substantiates the validity of extending the safety limits of train leakage and gradient for such trains.
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