Artículos de revistas: "Cleaning of works of art"

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Bonini, Massimo, Sebastian Lenz, Rodorico Giorgi y Piero Baglioni. "Nanomagnetic Sponges for the Cleaning of Works of Art". Langmuir 23, n.º 17 (agosto de 2007): 8681–85. http://dx.doi.org/10.1021/la701292d.

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Chelazzi, David, Romain Bordes, Rodorico Giorgi, Krister Holmberg y Piero Baglioni. "The use of surfactants in the cleaning of works of art". Current Opinion in Colloid & Interface Science 45 (febrero de 2020): 108–23. http://dx.doi.org/10.1016/j.cocis.2019.12.007.

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Dei, L., P. Baglioni, G. Sarti y E. Ferroni. "Aging Effects on Ammonium Carbonate/Acetone Solutions and Cleaning of Works of Art". Studies in Conservation 41, n.º 1 (1996): 9. http://dx.doi.org/10.2307/1506549.

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Dei, L., P. Baglioni, G. Sarti y E. Ferroni. "Aging effects on ammonium carbonate/acetone solutions and cleaning of works of art". Studies in Conservation 41, n.º 1 (enero de 1996): 9–18. http://dx.doi.org/10.1179/sic.1996.41.1.9.

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Baglioni, Michele, Yareli Jàidar Benavides, Debora Berti, Rodorico Giorgi, Uwe Keiderling y Piero Baglioni. "An amine-oxide surfactant-based microemulsion for the cleaning of works of art". Journal of Colloid and Interface Science 440 (febrero de 2015): 204–10. http://dx.doi.org/10.1016/j.jcis.2014.10.003.

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Prati, Silvia, Francesca Volpi, Raffaella Fontana, Paola Galletti, Loris Giorgini, Rocco Mazzeo, Laura Mazzocchetti, Chiara Samorì, Giorgia Sciutto y Emilio Tagliavini. "Sustainability in art conservation: a novel bio-based organogel for the cleaning of water sensitive works of art". Pure and Applied Chemistry 90, n.º 2 (23 de febrero de 2018): 239–51. http://dx.doi.org/10.1515/pac-2017-0507.

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Abstract Organo- and hydrogels have been proposed in the restoration field to treat different types of surfaces. The possibility to retain solvents and to have a controlled and superficial action allowed to use these materials for the removal of very thin layers applied on ancient historical objects, when the under paint layers are particularly delicate and water sensitive. In the last years, an increased attention has been devoted to the proposal of more healthy products to guarantee the safeguard of the operators. Few attention has been devoted to the development of green methods which foresee the use of renewable and biodegradable materials. The aim of this paper is to test a green organo-gel for the cleaning of water sensitive surfaces like varnished egg tempera paintings. The gel has been tested experimented on mock ups varnished with natural and synthetic materials and has been validated on a small portion of a Cimabue painting for the removal of two varnishes applied on two different test areas of the painting.

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Li, Haomiao, Leonardo Severini, Mattia Titubante, Decai Gong, Laura Micheli, Claudia Mazzuca y Yuxuan Gong. "Gellan Gum Hydrogel as an Aqueous Treatment Method for Xuan Paper". Restaurator. International Journal for the Preservation of Library and Archival Material 42, n.º 1 (1 de marzo de 2021): 37–54. http://dx.doi.org/10.1515/res-2020-0010.

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Abstract Aqueous cleaning of works of art on paper is one of the most important and delicate steps in a conservation process. It allows the removal of inorganic (metals) and organic substances, such as degradation products and other contaminants. These substances are responsible for yellowing, weakening, and loss of mechanical properties of paper. In this article, the cleaning effect of gellan gum was assessed on xuan paper, a traditional Chinese paper different in composition and papermaking technology compared to many Western papers. To assess the effect of gellan gum on xuan paper, its characteristics were studied before and after cleaning utilizing non-invasive and micro-invasive techniques. Results were compared to those obtained when treating Western papers and indicated that gellan gum can be applied effectively for aqueous cleaning of xuan paper.

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De Cruz, A., A. Andreotti, A. Ceccarini y M. P. Colombini. "Laser cleaning of works of art: evaluation of the thermal stress induced by Er:YAG laser". Applied Physics B 117, n.º 2 (10 de junio de 2014): 533–41. http://dx.doi.org/10.1007/s00340-014-5865-3.

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Melo, Maria J., Austin Nevin y Piero Baglioni. "Chemistry and Cultural Heritage*". Chemistry International 40, n.º 2 (1 de abril de 2018): 20–25. http://dx.doi.org/10.1515/ci-2018-0205.

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Abstract The conservation of works of art makes them accessible, and will ensure the transfer of cultural heritage to future generations,. For long term preservation, the development of effective and sustainable conservation materials is of fundamental importance. Although in the past traditional approaches in restoration have used highly effective natural materials for cleaning, modern research has focused on the systematic design of materials and methodologies. For instance, during the nineteenth century conservators reported the use of materials such as vinegar, wine, lemon juice, and today saliva is still used in cleaning applications. Although it is now recognized that these materials contain components that are effective cleaning agents, until recently there has been a lack of systematic studies regarding the control of their structure and reactivity.

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Carretti, Emiliano, Emiliano Fratini, Debora Berti, Luigi Dei y Piero Baglioni. "Nanoscience for Art Conservation: Oil-in-Water Microemulsions Embedded in a Polymeric Network for the Cleaning of Works of Art". Angewandte Chemie International Edition 48, n.º 47 (9 de noviembre de 2009): 8966–69. http://dx.doi.org/10.1002/anie.200904244.

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Carretti, Emiliano, Emiliano Fratini, Debora Berti, Luigi Dei y Piero Baglioni. "Nanoscience for Art Conservation: Oil-in-Water Microemulsions Embedded in a Polymeric Network for the Cleaning of Works of Art". Angewandte Chemie 121, n.º 47 (9 de noviembre de 2009): 9128–31. http://dx.doi.org/10.1002/ange.200904244.

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Baglioni, Michele, Giovanna Poggi, David Chelazzi y Piero Baglioni. "Advanced Materials in Cultural Heritage Conservation". Molecules 26, n.º 13 (29 de junio de 2021): 3967. http://dx.doi.org/10.3390/molecules26133967.

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Cultural Heritage is a crucial socioeconomic resource; yet, recurring degradation processes endanger its preservation. Serendipitous approaches in restoration practice need to be replaced by systematically addressing conservation issues through the development of advanced materials for the preservation of the artifacts. In the last few decades, materials and colloid science have provided valid solutions to counteract degradation, and we report here the main highlights in the formulation and application of materials and methodologies for the cleaning, protection and consolidation of works of art. Several types of artifacts are addressed, from murals to canvas paintings, metal objects, and paper artworks, comprising both classic and modern/contemporary art. Systems, such as nanoparticles, gels, nanostructured cleaning fluids, composites, and other functional materials, are reviewed. Future perspectives are also commented, outlining open issues and trends in this challenging and exciting field.

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Juarranz, Angela. "Mundane beauty in art and architecture". Ge-conservacion 11 (2 de julio de 2017): 196–201. http://dx.doi.org/10.37558/gec.v11i0.476.

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In the twentieth century a specific kind of beauty emerged from art: the increased value of the mundane. Contemporary art shows that common situations have an aesthetic significance. But architecture does not pay any attention to this scope. What is more, it tries to deny it. Nor the design process nor the architectural photography show the presence of mundane things. Fortunately, we have some works to go in depth into this day-to-day issue. Let’s analyze the photograph Morning Cleaning, Mies van der Rohe Foundation, Barcelona, (Jeff Wall, 1999), the intervention Phantom, Mies as Rendered Society (Andrés Jaque, 2012) and the film Koolhaas Houselife (Ila Bêka and Louise Lemoine, 2008). By considering the visual and spatial value of these cases, we reconsider them as an experimental space. What if architecture starts looking at its surroundings?

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Baglioni, M., M. Raudino, D. Berti, U. Keiderling, R. Bordes, K. Holmberg y P. Baglioni. "Nanostructured fluids from degradable nonionic surfactants for the cleaning of works of art from polymer contaminants". Soft Matter 10, n.º 35 (27 de junio de 2014): 6798. http://dx.doi.org/10.1039/c4sm01084a.

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Mastrangelo, Rosangela, David Chelazzi, Giovanna Poggi, Emiliano Fratini, Luciano Pensabene Buemi, Maria Laura Petruzzellis y Piero Baglioni. "Twin-chain polymer hydrogels based on poly(vinyl alcohol) as new advanced tool for the cleaning of modern and contemporary art". Proceedings of the National Academy of Sciences 117, n.º 13 (9 de marzo de 2020): 7011–20. http://dx.doi.org/10.1073/pnas.1911811117.

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Conservation of our cultural heritage is fundamental for conveying to future generations our culture, traditions, and ways of thinking and behaving. Cleaning art, in particular modern/contemporary paintings, with traditional tools could be risky and impractical, particularly on large collections of important works to be transferred to future generations. We report on advanced cleaning systems, based on twin-chain polymer networks made of poly(vinyl alcohol) (PVA) chains, semiinterpenetrated (semi-IPN) with PVA of lower molecular weight (L-PVA). Interpenetrating L-PVA causes a change from gels with oriented channels to sponge-like semi-IPNs with disordered interconnected pores, conferring different gel (and solvent) dynamics. These features grant residue-free, time efficient cleaning capacity and effective dirt capture, defeating risks for the artifact, making possible a safer treatment of important collections, unconceivable with conventional methods. We report as an example the conservation of Jackson Pollock’s masterpieces, cleaned in a controlled way, safety and selectivity with unprecedented performance.

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Carretti, Emiliano, Rodorico Giorgi, Debora Berti y Piero Baglioni. "Oil-in-Water Nanocontainers as Low Environmental Impact Cleaning Tools for Works of Art: Two Case Studies". Langmuir 23, n.º 11 (mayo de 2007): 6396–403. http://dx.doi.org/10.1021/la700487s.

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Frost, Francis. "A Hybrid Approach to the Digital Restoration of Large or Damaged Works of Art". Preservation, Digital Technology & Culture 51, n.º 3 (1 de octubre de 2022): 81–90. http://dx.doi.org/10.1515/pdtc-2022-0015.

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Abstract This paper will discuss the issues faced by the Rhode Island Historical Society (RIHS) in deciding how to handle the conservation and restoration needs of a very large and damaged work in their collection, and describe the innovative solution they came up with. The RIHS faced the decision of how to approach possible restoration of an 1812 painted drop scene or theater curtain, which had been conserved in the 1980s but was by now in need of cleaning and perhaps further restoration, to help celebrate the organization’s bicentennial in 2022. They had to decide what the limits of traditional restoration were for their object, if this restoration might significantly affect the integrity of the work, and whether the considerable cost of traditional restoration was too prohibitive for a smaller institution. In considering these questions the RIHS came to the conclusion that an alternative method of restoring a work such as theirs was needed, a method that would allow an institution to create a digital file of the work, and to “restore” it using a combination of photo-editing tools and traditional painting methods. Digital photo-editing on its own would not have been sufficient to produce an organic, realistic restoration of the work, and using this hybrid digital approach, which did not alter the original object in any way, was the ideal solution.

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Kholodova, S. I., D. A. Goryachkin, L. V. Koval'chuk y S. A. Smirnov. "The cleaning of works of art made from metal with laser radiation at wavelengths of 106 and 106μm". Journal of Optical Technology 77, n.º 5 (1 de mayo de 2010): 303. http://dx.doi.org/10.1364/jot.77.000303.

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Kholodova, S. I., D. A. Goryachkin y L. V. Koval'chuk. "The cleaning of works of art made from stone with laser radiation at wavelengths of 106 and 106μm". Journal of Optical Technology 77, n.º 5 (1 de mayo de 2010): 309. http://dx.doi.org/10.1364/jot.77.000309.

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Riedo, Chiara, Giulia Rollo, Oscar Chiantore y Dominique Scalarone. "Detection and Identification of Possible Gel Residues on the Surface of Paintings after Cleaning Treatments". Heritage 4, n.º 1 (7 de febrero de 2021): 304–15. http://dx.doi.org/10.3390/heritage4010019.

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Important features required for gels used for the cleaning of paintings are viscoelastic properties ensuring good adaptability to the morphology of the surfaces and complete gel removal after application. Poly (vinyl alcohol) (PVA)-borax gels containing different liquid phases are often used as cleaning materials, but still little is known about their ability to leave no residues. This study reports the development of an analytical method based on attenuated total reflectance–Fourier transform infrared (ATR-FTIR) spectroscopy and pyrolysis–gas chromatography/mass spectrometry (Py-GC/MS) for the identification of PVA-borax gel residues on mock-ups and on works of art after cleaning treatments. The effect of additives in the formulation (i.e., poly (ethylene oxide)) and of clearing treatments with organic solvents after the gel removal was assessed both with respect to the effectiveness of the cleaning and the presence of residues on the painted surfaces. The results obtained show that clearing the surfaces with cotton swabs and organic solvents after the application of the gel is necessary to ensure a good removal of gel residues. Moreover, Py-GC/MS analyses in single-ion-monitoring (SIM) mode are more sensitive and selective, allowing the detection of gel residues even on surfaces where no residue is detected by ATR-FTIR.

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Baglioni, Michele, Teresa Guaragnone, Rosangela Mastrangelo, Felipe Hidetomo Sekine, Taku Ogura y Piero Baglioni. "Nonionic Surfactants for the Cleaning of Works of Art: Insights on Acrylic Polymer Films Dewetting and Artificial Soil Removal". ACS Applied Materials & Interfaces 12, n.º 23 (12 de mayo de 2020): 26704–16. http://dx.doi.org/10.1021/acsami.0c06425.

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Cardeira, Liliana Querido, Frederico Henriques, Ana Bailão, Alexandre Gonçalves, António Candeias y Fernando António Pereira. "Implementation of a documentation system for the tecnical study of the Adriano de Sousa Lopes Academic paintings at the Faculty of Fine Arts of the University of Lisbon (Fbaul)". Ge-conservacion 12 (19 de diciembre de 2017): 159–71. http://dx.doi.org/10.37558/gec.v12i0.555.

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The present article intends to present a model for the documentation and registry used in the diagnosis and intervention stages in conservation and restoration (C&R) of a set of twelve works by Adriano de Sousa Lopes, from the collection of the Faculty of Fine Arts, University of Lisbon (FBAUL). To this end, a free and open access geographic information system (GIS) software called QGIS® was used. During the analysis, several vector maps were produced, both for diagnosis and for conservation and restoration treatments (CR), namely the microcracks network, areas of loss, consolidation areas, textile microsurgery and chemical cleaning. The quantitative results obtained from the spatial analyses of the pictorial surfaces were recorded in the GIS database. Finally, it was verified that the technical study of works with the QGIS(R) program contemplates a spatial perception of the works of art for evidencing, in a systematic and integrated way, the phenomena of alteration of the pieces under analysis.

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Tarnowska, Magdalena. "Zagłada i odrodzenie w twórczości ocalonej – łódzkiej malarki Sary Gliksman-Fajtlowicz (1909–2005)". Studia Judaica, n.º 2 (48) (2021): 437–71. http://dx.doi.org/10.4467/24500100stj.21.018.15073.

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The Holocaust and Rebirth in the Works of Sara Gliksman-Fajtlowicz, a Painter From Łódź, 1909–2005 Sara Gliksman-Fajtlowicz, a painter, came from a well-off family of Majerowiczs, the owners of opticians’ shops in Łódź. She studied at private painting and drawing schools in Łódźand Warsaw. Before the outbreak of World War II, she was active in the Polish art milieu. In 1933, she became a member of the Trade Union of Polish Artists (Związek Zawodowy Polskich Artystów Plastyków, ZZPAP) and participated in its exhibitions in Łódź, Warsaw, Kraków,and Lviv. She painted mainly landscapes, still lifes, and—less frequently—portraits. She published her works in the union magazine Forma. In 1940, she was displaced to the Łódźghetto where she worked as a graphic artist at the Statistics Department. Thanks to this she could obtain art materials. Her clandestine activity was documenting life in the ghetto in paintings and drawings. She survived the liquidation of the ghetto and then was forced to work on cleaning that area. Liberated on 19 January 1945, she returned to her house where some of her prewar works had survived. After 1945 she continued her artistic career and exhibited with the ZZPAP, as well as with the Jewish Society for the Encouragement of Fine Arts. In 1957, she emigrated to Israel. Gliksman died in Tel Aviv in 2005. The aim of this article is to verify and describe Sara Gliksman’s biography, to present her activities in the Polish-Jewish artistic community of postwar Poland, as well as to place her works in the context of issues concerning survivors’ memory and artistic attitudes toward the Holocaust, and art as a manifestation of hope for the rebirth of Jewish life and culture in postwar Poland in the second half of the 1940s and the beginning of the 1950s.

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Sandu, Irina Crina Anca, Stephan Schäfer, Donata Magrini, Susanna Bracci y Cecilia A. Roque. "Cross-Section and Staining-Based Techniques for Investigating Organic Materials in Painted and Polychrome Works of Art: A Review". Microscopy and Microanalysis 18, n.º 4 (31 de julio de 2012): 860–75. http://dx.doi.org/10.1017/s1431927612000554.

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AbstractThe article presents a review of the use of cross-section and staining techniques for investigating natural organic materials (mainly proteinaceous and oil-based binders/varnishes) in painted and polychrome artworks, considering the requirements of conservation practice and routine diagnostics. The reviewed literature calls attention to the importance of using cross sections to prepare samples for optical microscopy and to different properties of embedding resins; the most appropriate instrumental conditions for optical microscopy; and the advantages and disadvantages of the most common staining techniques. A few case studies were selected to illustrate the use of autofluorescence (intrinsic fluorescence) and induced fluorescence (using specific staining tests and fluorophore-labeled antibodies) for mapping and identifying organic paint materials in cross sections. New directions of research in cross-section analyses and fluorescence-based techniques for the identification and mapping of artistic materials are presented. The complementary use of different stains on the same cross section, further exploration of intrinsic and induced fluorescence of aged versus fresh materials, and applicability of cross-section observation and staining as complementary methods for assessing the effectiveness of restoration treatments, such as cleaning and consolidation, are discussed in the last section of the article.

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Oppong, Christopher Effah, Dickson Adom y Alex Kwasi Azaglo. "It’s in the blood: An artistic inquiry into the concept, materials, and works of Samuel Baah Kortey". Journal of African History, Culture and Arts 2, n.º 1 (28 de febrero de 2022): 15–28. http://dx.doi.org/10.57040/jahca.v2i1.119.

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Contemporary art transcends a lot of areas of interest and also highlights a lot of artistic narratives. There is an enthralling array of potential expanding conversations on how every aspect of art production and distribution is marked by diversity. It comes from everywhere and strives to conceive the world as a distinct yet inextricably linked totality and the variety of modern art is its defining feature. This qualitative biographic study that craftily utilizes Feldman’s method of art criticism and Panofsky’s iconography in art historical writing sought to explore the concept, materials, and works themed ‘It's in the Blood’ by the Ghanaian contemporary artist, Samuel Baah Kortey. The study investigated the philosophical ideologies, materiality, and artistic narratives that his works evoke. His creative works reveal the dichotomies within the scope of the contemporary Ghanaian art scene and their twists and turn on religion, spirituality, and popular culture. The uniqueness about Kortey is how he deliberately works on projects that are provocative, testing boundaries of art and its ethics. The study revealed that Kortey theorise blood as synonymous with life; giving life to and spiritually cleansing every cell in the human body. His art concept and practice reveal that although humans have been oriented to conceive blood in biological terms, blood has immense spiritual importance. His art practice interrogates sacredness in human thoughts, religious concerns, folklore, and explores issues about animal cruelty. Kortey’s art practice is a revelation of the apparent commercialization or cheapening of religious iconographies in contemporary culture.

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Pereira, Catarina, Tito Busani, Luis C. Branco, Ineke Joosten y Irina Crina Anca Sandu. "Nondestructive Characterization and Enzyme Cleaning of Painted Surfaces: Assessment from the Macro to Nano Level". Microscopy and Microanalysis 19, n.º 6 (14 de agosto de 2013): 1632–44. http://dx.doi.org/10.1017/s1431927613013196.

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AbstractThis work establishes a multiscale and multitechnique nondestructive approach as valid methodology for monitoring surface properties and evaluating the effectiveness of enzymatic removal of varnishes from paintings/polychrome artefacts.Mock-up samples (documented reconstructions of oil, tempera, and gilded layers on canvas and wooden supports) were covered with different proteinaceous varnishes (egg white, animal and fish glue, casein) and then characterized before and after the removal of these coatings with enzyme-based solutions. The varnish was cleaned in several steps (two dry swabs and two wet swabs) with a clearance step for removing the residues from proteinaceous varnish or from enzyme solution.Microscopy [stereomicroscopy (SM), optical microscopy (OM), atomic force microscopy (AFM), and scanning electron microscopy (SEM)] and colorimetric (CIE L*a*b* system) techniques were used for characterization of the reconstruction surfaces at different scales (macro-scale by SM and OM; micro-scale by SEM and nano-scale by AFM). These techniques were also used to monitor the cleaning treatment.Although results presented in this work were obtained for the specific treatment of enzyme removal, the methodology could be extended to other types of materials and cleaning. Further experiments on real works of art are needed for a complete validation of the methodology.

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Otero, E. y J. M. Bastidas. "Cleaning of two hundred year-old copper works of art using citric acid with and without benzotriazole and 2-amino-5-mercapto-1,3,4-thiadiazole". Materials and Corrosion/Werkstoffe und Korrosion 47, n.º 3 (marzo de 1996): 133–38. http://dx.doi.org/10.1002/maco.19960470303.

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Kulhavets, Andrii y Oleh Rybchynskyi. "RESTORATION OF THE WHITE STONE SCULPTURE OF THE IMMACULATE CONCEPTION OF THE MOTHER OF GOD FROM THE VILLAGE OF TETEVCHYTSI OF CHERVONOHRAD DISTRICT, LVIV REGION". Current Issues in Research, Conservation and Restoration of Historic Fortifications 16, n.º 2022 (2022): 75–82. http://dx.doi.org/10.23939/fortifications2022.16.075.

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The article analyzes the history of creation, stylistics and plastic solution and development of the technology of restoration of the white stone sculpture of The Immaculate Conception of the Mother of God in the village of Tetevchytsi of Chervonohrad district, Lviv region. Remarkable works of limestone were created of limestone in Galicia during the XII – XX centuries. Unfortunately, monuments of sacral art suffered major damage in the second half of the XX century due to acts of vandalism committed by followers of the communist regime ideology in Russia. They are responsible for the destruction of churches, cathedrals and synagogues. The monuments of sculptural art were destroyed as well. The rethinking of the sacral heritage and activation of restoration processes began only after the restoration of Ukraine's independence. Hence, the issue of restoration of the sculpture of The Immaculate Conception of the Mother of God in the village of Tetevchytsi is currently of great interest and complex scientific research is the basis for the success of the planned work. The sculpture was placed on the pediment over the entrance of the parish church in the village of Tetevchytsi. Before the restoration the monument was in poor condition and the head of Holy Mother was missing. Older residents of the village say that an unknown soldier intentionally shot it off during the Second World War. The bullet, which was found in the wall of the church behind the Virgin, is the evidence that this story is true. After studying the general concept of restoration the program was developed and approved: to carry out photo fixation of the state of the monument before restoration, to conduct the analysis and processing of the cartogram of losses, to determine the sequence of stone conservation works, to carry out cleaning of stone using dry method with the help of brushes, to carry out cleaning of the sculpture using the method of sandblasting, to clean it from cement layering, to perform extraction of salts, to perform structural strengthening of stone with silicon-organic matter, to restore the lost elements of the folds of clothing with mineral restoration solution, to make a head out of plasticine on the basis of analogues and make a plaster form, to reconstruct it from artificial stone, to glue the head with epoxy resins and anchor made of stainless wire, to strengthen the structure of the stone with silicon-organic matter; to cover the sculpture with a biocidal solution of long-term action; to perform glazing of the sculpture, to perform hydrophobization of the sculpture with silicon-organic solution, to make recommendations on storage conditions and compliance with the protection of the monument. The significant role in the restoration of the head played the use of analogues of sculptures from the cemeteries of the surrounding villages. As a result of comparative analysis, it was found that the stylistic solution of the sculpture corresponds to the techniques typical of the 1930s. This is confirmed by the preserved sculptural compositions in Tetevchytsi and surrounding villages. Most likely, the author of the restored monument was a representative of a craft school of this region. Compatible materials of Ukrainian and German production are used in the restoration works, which meet the principles of reversibility. It is recommended to return the monument to its place after the restoration.

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Srećković, Milesa, Suzana Polić, Milivoje Ivković, Zoran Karastojković, Milica Vinić, Aleksander Kovačević y Slobodan Bojanić. "Contemporary laser techniques, general application in heritology and case of building in 7 Balkanska street, Belgrade". Zastita materijala 61, n.º 4 (2020): 275–85. http://dx.doi.org/10.5937/zasmat2004275s.

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It seems that the role of lasers in heritology and art has grown more and more since the end of the 20h century; the early attempts of cleaning artistic objects, old monuments / artifacts during the times of Hedy Lamarr and the first unsuccessful nuclear tests as well as of thinking of holographic records. After the first series of circumstances linked to laser applications in restoration and conservation, it seems the coupling of words serendipity-zemblanity-bahramdipity has been activated. A long time has passed since the first works linked to the Porta della carte of the Palazzo Ducale (Doge's Palace) in Venice (marble relief and ruby laser). Nowadays, this type of work can be treated as standardized and it is implemented in great number of countries [1, 2]. In the case of Florence Cathedral, the conservation of artworks was proposed by J. F. Fonatello, panels of the Giotto's tower of the Florence Cathedral by Andrea Pisano. The unique roles of quantum generators - lasers - exist both in restoration and diagnostics. Besides that, the question of source existence - a source that provides completely new artistic impression with respect to its ideal characteristic of coherency - introduced new tools and techniques and could be (and was) implemented in many new processes and effects. New artistic directions were performed, where the source of the coherence became a part of a new artistic object, a hologram slide provokes the impression of the train entering the crowd, etc. [1-5] the laser role by using LIBS method in diagnostics in the case of the building in 7 Balkanska street, Belgrade, was presented in this paper.

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Nazarova, Vera. "HISTORICAL AND CULTURAL IMPORTANCE OF GRAVESTONES OF THE JEWISH CEMETERY OF GLUKHOV TOWN". Journal of Ukrainian History, n.º 40 (2019): 135–41. http://dx.doi.org/10.17721/2522-4611.2019.40.17.

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In 2018 the author of this article carried out field works at the Jewish cemetery of Glukhov town which consisted of searching of the remained gravestones, including basis fragments and also the whole monuments or their parts which went deeply to the ground and grassed. Cleaning and photofixing of all found objects were made. On the basis of these field works, the author of the article revealed 1040 objects that are in varying degrees of preservation. From them 438 objects are completely preserved gravestoness, which are among the historical burials and date from the beginning of the XIX century - 1930 year. Based on a number of works on the history of Glukhov town and the local Jewish community, as well as Jewish necropolis, ethnography, linguistics and epigraphy, the author of the article conducted (based on general scientific methods and a special method - identification) a comprehensive study of the Jewish cemetery of Glukhov and its gravestones as objects of cultural heritage. The purpose of this publication is to present the results of this research. Absolutely all these monuments of Glukhow Jewish cemetery can serve as a source of genealogical information and are of interest to genealogical researchers and descendants searching for the graves of their ancestors, and also, due to their concentration, can serve as invaluable material for various studies in the field of necropolis, socio-demographic and sanitary - municipal history. At the same time, the epitaphs of the surviving ancient Jewish gravstones are the specific literary phenomenon, occupying an intermediate position between traditional rabbinic and folk literature and culture. During this research, 2 monuments which epitaphs have literary value were revealed. These are the gravestones of the Jewish writer, publicist and the teacher Lazar Davidovich Tsveyfel and the merchant of the 2nd guild, the public official of Glukhov City Council, the juror of Glukhov district Zalman Ariev Esmansky. In addition, the gravestone inscriptions of these monuments have value in terms of the totality of the personalities of the deceased and the epitaphs on their gravestones. The carved decor of the gravestones of Glukhov Jewish cemetery is an example of original folk decorative and applied art, it has a peculiar style, figurative language and has artistic value. Of the total number of tombstones of Glukhov Jewish cemetery, 46 steles have ornaments that are distinguished by a complex, time-consuming development of carving and artistic taste.These monuments are of interest for various art criticism studies and have significance as exhibits demonstrating the most interesting elements of the art of decorative carving of gravestones, its connection with the culture and religion of the Jewish people and the influence of local factors on this type of decorative and applied art. As a historical source, the gravestones of Glukhov Jewish cemetery are confirmed by the well-known historical events of that time - the Jewish riots in Glukhov and the influx of refugees in the period 1914-1916. Of particular interest for researches are data on a concrete personnel. At the Jewish cemetery of Glukhov town, many prominent personalities who made a great contribution to the culture, economy and other spheres of the town’s life are buried. Among them are the Jewish writer, publicist and teacher Lazar Davidovich Tsveyfel, Abram Isaakovich Rusakov - the grandfather of the outstanding Soviet painter and graphic artist Alexander Isaakovich Rusakov and many others.At the time of the end of this research, at least 30 gravestones, due to the historical and cultural significance of the persons buried under them, are of interest to researchers of regional history and can be used for various genealogical, local history and historical studies, as well as in the development and conduct of lecture and sexursion programs on the Jewish places of Glukhov town and specifically on the Jewish cemetery. From the total number of surviving ancient gravestones, a group of monuments which are of interest were identified by one or by a set of criteria. Three types of criteria were taken into account: the value of an epitaph as a historical source or literary phenomenon; art value of carved decor; historical or cultural significance of buried. According to the results of the study, 76 gravestones were included in this group. The article provides a list of gravestones that can be fully considered as objects of cultural heritage and should take the appropriate place in the memorial protection activities of Ukraine.

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Albrile, Ezio. "Tingere l’anima". ARYS: Antigüedad, Religiones y Sociedades, n.º 13 (5 de octubre de 2017): 189. http://dx.doi.org/10.20318/arys.2017.3846.

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Resumen: Una piccola chiesa nell’Italia del nord (a Valdurna-Durnholz, nei pressi di Bolzano) esibisce dei dipinti risalenti al XV secolo in cui si ripresentano antichi motivi gnostico-alchemici. In essi un angelo lava l’anima e le impartisce un battesimo celeste, una immagine che troviamo anche in un testo della biblioteca di Nag Hammadi, il Vangelo di Filippo, in cui la purificazione dell’anima e descritta nei termini di un lavaggio e di una immersione in una sostanza detergente; un lessico che trae origine dalle operazioni di lavaggio e di tintura dei tessuti, in particolare dalle manipolazioni di natura alchimica. Ermetismo alchemico, gnosticismo e cristianesimo condividono infatti un comune intento soteriológico che si e trasmesso all’Occidente in forme spesso difficili da decifrare.Abstract: In a little church of northern Italy (in Valdurna-Durnholz, near Bolzano) we can find paintings from the fifteenth century where we have ancient Gnostic-Alchemical themes, again. These works, show an angel washing a soul and gives it the heavenly baptism, something that we find also in a Nag Hammadi text as the Gospel of Philip. In this text, the soul’s purification is described as an act of washing and dipping in a cleansing substance; this is a lexicon coming from the washing and the dying of clothes, and particularly from the Alchemical manipulations. Alchemical Hermeticism, Gnosticism and Christianity share a common soteriological view which has been passed to the West in ways often difficult to understand.Parole chiave: Arte cristiana, Gnosticismo, Testi di Nag Hammadi, Alchimia, ErmetismoKey words: Christian Art, Gnosticism, Nag Hammadi texts, Alchemy, Hermeticism

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Krasnoshchok, Kateryna. "Cycle of Poems by G. Apollinaire "Bestiary: Or the Parade of Orpheus" in Composer Interpretations by L. Durey and F. Poulenc". Часопис Національної музичної академії України ім.П.І.Чайковського, n.º 3-4(52-53) (14 de diciembre de 2021): 80–98. http://dx.doi.org/10.31318/2414-052x.3-4(52-53).2021.251807.

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Understanding the aesthetic ideals of the French art of the first half of the 20th century in their artistic embodiment is an actual task of modern musical science. The bases of modernism influenced on all periods of its development. The author of the article compares two works of two representatives of "Group of Six" L. Durey and F. Poulenc. Such research is new in our Art History. L. Durey and F. Poulenc created two own works using the "Bestiary: Or the Parade of Orpheus" by G. Apollinaire. Their works are identical in terms of genre. The articles intended to study the poetics of literary original source. Special attention must be given to the comparison of conceptions, dramaturgy and composers’ writing style and composer's interpretations. Scholars' attention has been drawn to the fact that L. Durey and F. Poulenc appealed not to all poems of poetic text by G. Apollinaire, the article throws lights only on those poems which both composers used. Main goal of this research is to do the comparative analyze of L. Durey and F. Poulenc composer's interpretations of "Bestiary: Or the Parade of Orpheus" by G. Apollinaire by highlighting commonalities and divergences. The author used such methods as historical ad contextual, comparative, semantic, analysis of music dramaturgy. In the process of research by using the comparative methods of two self-titled chamber-vocal cycles special features of the composer's writing by L. Durey and F. Poulenc were revealed. Among these features are the laconicism and aphorism of the statement, the pictorial method. Both cycles are characterized as cycles with systems of leyintonemes and musical symbols and the vocal part of the cycles is characterized by the features of melodic declamation. A number of differences were also revealed in the volume of the whole, in the concept, in the interpretation of the same poetic texts. Thus the F. Poulenc's cycle is a "response" to a friend and colleague in the "Group of Six" and was created a little later (as evidenced by the dedication of the cycle L. Durey), F. Poulenc's concept has even greater minimalism. The composer, using the method of playing, brings the elements of the grotesque in those works which are deep and serious both by G. Apollinaire and by L. Durey (method of playing). We find out that the "Bestiary" by L. Durey, and in the cycle of the same name by F. Poulenc, the interaction of the semantic image with the form is revealed. The parts are leyintonemes, rhythmic formulas, lines of the score. They interact with each other and are subordinated to one task which is to reveal the deep poetic meaning. Thus, despite the type of composition, the difference in scale and choice of poems from the poem by G. Apollinaire both composer interpretations of the cycle "Bestiary: Or the Parade of Orpheus" aimed at cleansing art from artistic excesses in achieving a "new simplicity", elegance and aphoristic expression. Studying the work of the composers of the Group of Six during the 1920s to the 20th century will allow not only to expand the range of comprehension of artistic and aesthetic tendencies of the period of formation of modernism in music, but to more deeply and objectively comprehend and evaluate the cultural heritage that influenced the development of the art of everything in the 20th century.

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Coetzee, Carli. "Home, family and intimacy in recent writings on and from South Africa". Africa 87, n.º 2 (11 de abril de 2017): 407–18. http://dx.doi.org/10.1017/s0001972016001030.

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In recent works on intimacy and home in South Africa, scholars question the assumptions about where ‘home’ ends, and who counts as ‘family’. In calls for curriculum change and the transformation of the university (discourses that were about access for both black studentsandblack faculty), these questions of affiliation and ‘home’ have played a prominent role. In the student protest movement of 2015 and 2016, for example, a recurring discourse was to invoke ‘our mothers, the domestic workers’. This was partly an attempt to forge links between the students’ demands and those of casualized cleaning and catering staff on campus, but the invocation of ‘our mothers, the domestic workers’ also underlined the lineage of the university as one associated with ‘the big house’ and many black students’ feelings of being tolerated, at best, in spaces that historically did not imagine them as full citizens, but instead as marginal to the home that is South Africa.

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Fadeeva, N. V., N. N. Orekhova y O. E. Gorlova. "Experience of graphite-containing dust of metallurgical plants processing". Ferrous Metallurgy. Bulletin of Scientific , Technical and Economic Information 75, n.º 5 (20 de junio de 2019): 632–39. http://dx.doi.org/10.32339/0135-5910-2019-5-632-639.

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Graphite is a component of graphite-containing dust – one of wastes, formed at metallurgical plants. From the other side, it is a scare resource for the Russian industry. Involvement of graphite-containing wastes into processing can contribute to solving actual problems of resource, economic and ecological significance. Study of the graphite wastes utilization possibility showed an absence of constant practice of their processing at domestic metallurgical plants. The work of graphite department of Magnitogorsk steel-works (MMK) can be one of not numerous examples of the graphite dust processing at the same plant. At the department the processing of graphite-containing dust of accomplished, the dust being collected from 90 kg/h productivity gas cleaning systems of BOF shop. As a result of processing graphite concentrate obtained after flotation and iron powder – after magnetic separation. At the Department “Minerals enrichment” of the Magnitogorsk State Technical University after G.I. Nosov, the theory of graphite flotation is being elaborated under the direction of Professor V.B. Chizhevsky for many years. Besides study of graphite ores washability, which are difficult to be enriched is also carried out. Based on the gained extensive experience on perfection of reagent flotation modes for the graphite ores, it was recommended to use first VKP reagent at the MMK graphite department, and next – RAS foam formation agent, which is a refined sodium alkylartile-sulfonate. At the industrial tests, the RAS foam formation agent consumption was two times as lower comparing with industrial reagent mode, resulting in obtaining higher technological flotation indices. The experience of metallurgical plant graphite-containing dust processing can be used at both the MMK graphite department re-operation and at other plants of the industry for obtaining marketable products of high quality, that can meet requirements not only metallurgical plants, but also used for production of state-of-the-art carbon materials.

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Ha, Bong Soo. "A Study on the Utilization of Cubic Unit Modelling: Mainly on the basis of producing & demonstrating FDP pilot product". Korea Institute of Design Research Society 7, n.º 3 (30 de septiembre de 2022): 267–76. http://dx.doi.org/10.46248/kidrs.2022.3.267.

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This paper examines development of Flexible Design Pattern pilot product & possibility of commercialization through demonstration. Above all, it concentrated on developing pilot product of ceramic, architectural materials for universal use & concrete for commercialization and grasped merit & demerit with product through demonstration. Above all, the process of developing pilot product is producing mold through selecting FDP unit type and modelling & 3D printing. In case of mold(output of PLA materials) which was to form clay for pottery that was attempted in the 1st place, it failed, because materials could not be detached from mold. Then, mold was changed and improved to silicon mold. In the subsequent forming process, the problem & know how for producing concrete FDP was acquired through 4 formings which used molds in 5 kinds. Afterwards, 18 sets of pilot products were completed by using mold in type (1-2), (2-3). Finally, listening to the merit & demerit of product through demonstration for which 3 professors related to design cooperated, pilot products were inevitably subject to sensory projection in the process of operating regular & irregular units. As a result, the complete works were satisfactory. More opinion was that once color is added, individual sensory projection would be further promoted, thereby making the products more satisfactory. After all, this opinion could be the representation of products attribute borne by FDP, the following interpretation is possible, namely, they may be competitive as decorative cubic tile & art kit products. Meanwhile, further opinion is that FDP has many technical tasks besides cubic shape or composition method and problems in use like cleaning or maintenance. Although technical part is excluded in this paper, technical part needs to be additionally examined including segmentation of shape design in order to complete products for sale or construction. This is to be studied in cooperation later.

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Abdelfattah, Mohamed Fawzy, Mohamed Waleed Fakhr y Mohamed Abo Rizka. "ArSentBERT: fine-tuned bidirectional encoder representations from transformers model for Arabic sentiment classification". Bulletin of Electrical Engineering and Informatics 12, n.º 2 (1 de abril de 2023): 1196–202. http://dx.doi.org/10.11591/eei.v12i2.3914.

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Sentiment analysis in the Arabic language is challenging because of its linguistic complexity. Arabic is complex in words, paragraphs, and sentence structure. Moreover, most Arabic documents contain multiple dialects, writing alphabets, and styles (e.g., Franco-Arab). Nevertheless, fine-tuned bidirectional encoder representations from transformers (BERT) models can provide a reasonable prediction accuracy for Arabic sentiment classification tasks. This paper presents a fine-tuning approach for BERT models for classifying Arabic sentiments. It uses Arabic BERT pre-trained models and tokenizers and includes three stages. The first stage is text preprocessing and data cleaning. The second stage uses transfer-learning of the pre-trained models’ weights and trains all encoder layers. The third stage uses a fully connected layer and a drop-out layer for classification. We tested our fine-tuned models on five different datasets that contain reviews in Arabic with different dialects and compared the results to 11 state-of-the-art models. The experiment results show that our models provide better prediction accuracy than our competitors. We show that the choice of the pre-trained BERT model and the tokenizer type improves the accuracy of Arabic sentiment classification.

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J., Balaniuk. "FREDERICK KIESLER IMPACT ON FORMATION OF CONTEMPORARY PLASTIC ARTS WORLDVIEW". Vìsnik Nacìonalʹnogo unìversitetu "Lʹvìvsʹka polìtehnìka". Serìâ Arhìtektura 2, n.º 2 (noviembre de 2020): 1–7. http://dx.doi.org/10.23939/sa2020.02.001.

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The main idea of the article is the research of Frederick Kiesler impact on formation of contemporary plastic arts instead of ideas of “clear architecture” which were common at that time. Kiesler hadn’t been satisfied with the modern functional architecture of his time – the white painted box. In his extreme architectural vision, Kiesler hoped to perform this same ultimate cleansing – to regenerate and liberate humanity to start all over, free again. His main idea in arts was the cooperation between parts of different arts, Kiesler used his own term “correalizm” to show the continuing collaboration between human and surrounding both technical and nature. Reconsideration of traditional ways by Frederick Kiesler gave a new life to formulation of new spatial art. Twentieth-century art are filled with contradictions and still is not researched enough. But those art was a crucial point for birth the new genres, which impressed by diversity and paradoxes. This new genres of arts first of all were based on synthesis of their forms. That period was also formed a new generation of artists, who affected on development of all sphere of arts by their works, and Kiesler was among them. Despite the word famous, the genius of Frederick Kiesler and his creation isn’t researched enough in foreign and domestic publishing. Among published works about Kiesler in Ukraine belong to Kyiv and Lviv architecture schools: Proskuriakov V., Proskuriakov O., Bilenkova S., Korotun I., Nykyrsa M. and others. Also the last interesting research works were demonstrated during the International architecture online conference “The influence of futuristic ideas of F. Kiesler on the development of architectural practice and theory in Ukraine and the world”. The initiators of this conference were Chernivtsy National University and National University “Lviv polytechnic”. The aim of this article is demonstrate some of Kiesler’s periods of life and creation, which are characterized by innovation approaches and synthesis of arts, correalizm and influenced on creation of contemporary spatial art. Kiesler also fell short in his own ambitions to educate students to think about the work they were producing. His work marks a prescient moment in the history of modern design. His laboratory research engaged scientific study of dynamic bodily habits and sensorial affects to support shifting biopolitical structures aimed at advancing capitalist markets and evolving control societies. Although Kiesler’s body of work would later suggest alternative and more-resistive liberatory applications, his efforts to produce responsive systems designed to modulate to the qualities and intensities of dynamic bodies-in-motion most often seemed to facilitate and promote a society of unconsciously motivated actions. In a contemporary context where architecture research laboratories are continuing to emerge internationally - with ever-greater claims toward innovative study of continuous forms, responsive systems, and sensational affects - Kiesler’s challenges and failures as an educator are even more poignant today. Regardless of one’s own values or institutional biases, to teach students to unwittingly speculate, experiment, and produce is simply not enough. As educators, we are also responsible for teaching students to think about what they are learning to do.

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Putu Paristha, Prakasih, Yudarta I Gede y Santosa Hendra. "Tirtha Campuhan: Sebuah Karya Komposisi Baru dengan Media Gamelan Smar Pagulingan". Resital: Jurnal Seni Pertunjukan 19, n.º 3 (5 de diciembre de 2018): 113–21. http://dx.doi.org/10.24821/resital.v19i3.2452.

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Proses penciptaan karya seni, khususnya seni karawitan sudah mulai berkembang mengikuti kemajuan jaman. Perkembangan tersebut terdapat pada proses kreativitas dalam penciptaan karya seni karawitan, hal itu dapat dilihat dari unsur musik dalam seni karawitan. Dalam seni karawitan sangat penting dalam proses penciptaan karya seni yang kuat untuk sebuah pembaharuan terhadap tradisi sehingga bisa dikatakan sebagai musik kreasi. Penata tertarik menganggkat sebuah tempat suci di Pantai Sari Kuta tepatnya di Pura Tirtha Campuhan yang memiliki keunikan. Keunikan tersebut adalah fenomena alam tentang aliran sungai yang di dalamnya terdapat campuran dari dua aliran sungai dengan air laut sehingga terbentuk sungai baru yang bernama sungai campuhan. Sesuai dengan namanya Pura Tirtha Campuhan memiliki campuran aliran sungai dari muara sungai mati (tukad mati, tukad ening) dan sungai yang berada di Badung, sehingga aliran sungai di Pura tersebut membentuk sebuah aliran sungai baru (peteluan tukad, tukad mati, tukad ening). Selain terjadinya campuran dari aliran sungai, masyarakat juga memanfaatkan dan menggunakan air sungai ini sebagai tirtha untuk pengelukatan atau pembersihan dan juga digunakan sebagai obat. Dari cerita tersebut akhirnya penata menemukan ide untuk menjadikan Tirtha Campuhan sebagai sumber inspirasi. Penata merealisasikannya ke dalam bentuk garapan komposisi musik kreasi dengan menggunakan media ungkap Smar Pagulingan. Dalam media ungkap Smar Pagulingan penata mengaplikasikan tirtha dan campuhan atau campuran dalam membuat tirtha tersebut dengan menggabungkan beberapa patet dalam gamelan Smar Pagulingan. Hal tersebut sesuai dengan tujuan penata yang membangun suasana harmonis dalam olahan melodi menggunakan pencampuran patet.Tirtha Campuhan: A New Composition Work by Using Semar Pagulingan Gamelan as Media. In Karawitan, the process of creating works of art is essential to produce a renewal of tradition so that the process of creating these works of art can be said to be musical creation. For creating the musical creation, the author was inspired by the uniqueness of the holy place in Pata Sari Kuta precisely in Tirtha Campuhan Temple, which was used as the idea of creation. The uniqueness in Tirtha Campuhan Temple is a natural phenomenon of river flow in which there is a mixture of two river streams with seawater to form a new river called Campuhan river. As the name implies, Tirtha Campuhan Temple has a mixture of river flow from dead river mouths (tukad mati, tukad ening) and rivers in Badung, so that the river flow in the temple forms a new river flow (tukad pateluan, tukad mati, and tukad ening). The local community often uses the river water in the temple as tirtha for pengelukatan or cleaning and also used as medicine. From this information, the authors found the idea of making Tirtha Campuhan as a source of inspiration. The author realized the idea of creation in the form of the creation of musical compositions using the media revealed Semar Pagulingan. In this media, Semar Pagulingan applied tirtha and campuhan or mixture in making the tirtha by combining several patets in the Semar Pagulingan gamelan. The purpose of creating this creative music is to build a harmonious atmosphere in the preparation of melodies using patet mixing.Keywords: tirtha campuhan; semar pagulingan; creation music

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Girdžiuvienė, Gražina y Aušrelė Gesevičienė. "PROJECT‘S „GROW A FLOWER – BEAUTIFY HOMELAND“ PRACTICAL ASPECTS OF REALIZATION". Natural Science Education in a Comprehensive School (NSECS) 20, n.º 1 (20 de abril de 2014): 36–40. http://dx.doi.org/10.48127/gu/14.20.36.

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Primary school pupils are interested in new things very much. They are willing to get acquainted with them smoothly. New information is always accepted in a positive way, as well as new knowledge and experiences. Leading ideas of this project are as follows: civilized and responsible usage of natural goods, attitude towards cleaning and beautifying nature without making harm, learning to feel responsibility for one’s actions. Project consisted of the following activities: observing, categorizing and summarizing information from various sources, collecting natural goods, taking photos of flowerbeds, creating cards, drawing flowers, creating illustrations for flower related poems and riddles, making flowers from colored paper and domestic waste, planting, taking care of and observing flowers. This project consisted of various activities. The main idea was to deepen pupils’ knowledge in science, mathematics, Lithuanian language, art and technologies. Pupils could see that computer can be used for data collection and summarization, not just games. This project also helped to learn communicating and collaborating, improve good manners outside school. All the work was concluded realizing that flowers are not just for beauty but they also clear the air while excreting oxygen. It was found out that scientists have proved facts about importance of flowers’ role in neutralizing bad energy and cheering up one’s mood. Key words: educational activities, project work, planting.

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Kenzhebayeva, Zh y M. Koishibayeva. "TRAGEDY OF A TALENT". BULLETIN Series of Philological Sciences 72, n.º 2 (30 de junio de 2020): 421–27. http://dx.doi.org/10.51889/2020-2.1728-7804.68.

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The article explores one of the most famous works of outstanding Kazakh writer A.Kekilbayev - the story "Well" - which combines in-depth psychological analysis and philosophical thinking of human being. The representatives of different types of art like theatre and cinema, appealed to this story, stress the depth and importance of this work. The aim of the work is to analyze the image of the main character of the story Ensep, who is the well digger. The well is a metaphor: digging the land in the depth is immersion in the hidden corners of the soul, understanding of his own essence. However, this reflection did not lead him to moral cleansing, as he discovered destructive chases of envy, greed, vanity and pride. It is noted that readers’ perception of the main character, as well as the artistic skill of the writer, who recreated the complex dialectic of life, is ambiguous. It is stated, on the example of complex Ensep 's image, that the talent given to man by the nature should be directed to higher values, service to people, creativity. Otherwise, human life is meaningless, and talent – is not a reward, but a great ordeal.

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Cogato, Alessia, Marta Brščić, Hao Guo, Francesco Marinello y Andrea Pezzuolo. "Challenges and Tendencies of Automatic Milking Systems (AMS): A 20-Years Systematic Review of Literature and Patents". Animals 11, n.º 2 (31 de enero de 2021): 356. http://dx.doi.org/10.3390/ani11020356.

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Over the last two decades, the dairy industry has adopted the use of Automatic Milking Systems (AMS). AMS have the potential to increase the effectiveness of the milking process and sustain animal welfare. This study assessed the state of the art of research activities on AMS through a systematic review of scientific and industrial research. The papers and patents of the last 20 years (2000–2019) were analysed to assess the research tendencies. The words appearing in title, abstract and keywords of a total of 802 documents were processed with the text mining tool. Four clusters were identified (Components, Technology, Process and Animal). For each cluster, the words frequency analysis enabled us to identify the research tendencies and gaps. The results showed that focuses of the scientific and industrial research areas complementary, with scientific papers mainly dealing with topics related to animal and process, and patents giving priority to technology and components. Both scientific and industrial research converged on some crucial objectives, such as animal welfare, process sustainability and technological development. Despite the increasing interest in animal welfare, this review highlighted that further progress is needed to meet the consumers’ demand. Moreover, milk yield is still regarded as more valuable compared to milk quality. Therefore, additional effort is necessary on the latter. At the process level, some gaps have been found related to cleaning operations, necessary to improve milk quality and animal health. The use of farm data and their incorporation on herd decision support systems (DSS) appeared optimal. The results presented in this review may be used as an overall assessment useful to address future research.

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Gola, Marco, Gaetano Settimo y Stefano Capolongo. "Indoor Air Quality in Inpatient Environments: A Systematic Review on Factors that Influence Chemical Pollution in Inpatient Wards". Journal of Healthcare Engineering 2019 (27 de febrero de 2019): 1–20. http://dx.doi.org/10.1155/2019/8358306.

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Introduction. Indoor air quality is one the main issues in which governments are focusing. In healing spaces, several research studies are reporting a growing number of data analysis and research works in order to guarantee and prevent health of users and workers. Currently the main investigations are about biological and physical risks; otherwise chemical ones are less investigated. Several countries are carrying out indoor air quality monitoring in those professional workplaces in which chemicals are used but also in some typically indoor (generic) spaces for the building hygiene assessment. The indoor air is affected by several factors that currently are analyzed punctually, without a whole scenario of all the variable performances. The authors have done a systematic review on the current state of the art and knowledge related to chemical pollution in healing spaces and the emerging strategies, supported by scientific literature, for healthy inpatient rooms and their indoor air.Methodology. The systematic review has been done through the analysis of papers from SCOPUS, DOAJ, and PubMed databases. The survey sample considered 483 scientific articles, between 1989 and 2017, and starting the systematic reading and analysis of the abstracts, only 187 scientific papers were selected, and only 96 were accessible.Discussion. Since scientific literature reports very different outputs and results, the resulting work from the survey is divided into specific fields of interest related to construction and finishing materials, installations, components, ventilation systems, processes, etc. Starting from the systematic reading, the paper classifies the factors of indoor air in four macroareas: outdoor air and microclimatic factors (temperature, relative humidity, air velocity, air change, etc.); management activities (management and maintenance activities, ventilation systems, HVAC, cleaning and disinfectant activities, etc.); design factors (room dimensions, furniture, finishing materials, etc.); and human presence and medical activities (users’ presence, their health status, and medical activities carried out in inpatient rooms).Conclusion. The systematic review gives rise to a broad scenario on the existing knowledge regarding the indoor air pollution, design, and management strategies for healthy spaces and several emerging topics. Although the aim of the investigation is strictly related to chemical pollution, several considerations from the biological point of view have been listed. The systematic review, supported by the existing scientific literature, becomes a starting point for considering the importance of the topic and to stimulate the knowledge around this field of interest for improving studies, analysis, and simulations.

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Kerwin, Donald y Robert Warren. "DREAM Act-Eligible Poised to Build on the Investments Made in Them". Journal on Migration and Human Security 6, n.º 1 (enero de 2018): 61–73. http://dx.doi.org/10.1177/233150241800600103.

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This paper presents the results of a study by the Center for Migration Studies (CMS) on potential beneficiaries of the DREAM Act of 2017 (the “DREAM Act” or “Act”). The study reveals a long-term, highly productive population, with deep ties to the United States. In particular, it finds that: • More than 2.2 million US residents would qualify for conditional residence under the DREAM Act. • An additional 929,000 — who are now age 18 and over — arrived when they were under 18, but have not graduated from high school and are not enrolled in school and, thus, would not currently qualify for status under the Act. • The DREAM Act-eligible can be found in large numbers (5,000 or more) in 41 states and more than 30 counties, metropolitan areas, and cities. • Potential DREAM Act recipients have lived in the United States for an average of 14 years. • Sixty-five percent (age 16 and above) participate in the labor force, with far higher rates in Wisconsin, Massachusetts, Utah, Arkansas, Illinois, Tennessee, and Oregon. • This population works heavily in sales and related occupations; food preparation and serving; construction and extracting; office and administrative support; production; transportation and material moving; and building/grounds cleaning and maintenance. • Many of the DREAM Act-eligible are highly skilled and credentialed. • 70,500 are self-employed. • Eighty-eight percent speaks English exclusively, very well, or well. • 392,500 have US-citizen children, and more than 100,000 are married to a US citizen or lawful permanent resident. • Twenty-nine percent has attended college or received a college degree. • The DREAM Act-eligible include 50,700 Temporary Protected Status (TPS) recipients from El Salvador, Haiti, and Honduras, 45 percent of whom live in the Miami metro area, Los Angeles County, the Washington, DC area, Houston, New York City, the San Francisco metro area, and the City of Dallas. The study also underscores the immense investment — $150 billion — that states and localities have already made in educating these young Americans. It argues that over time and with a path to citizenship the return on this investment will increase by virtually every indicia of integration — education levels, employment rates, self-employment numbers, US family members, and English language proficiency.

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Cowan, Sandra. "ART WORKS: MONEY (Art Works). Katy Siegel , Paul MattickART WORKS: AUTOBIOGRAPHY (Art Works). Barbara Steiner , Jun Yang". Art Documentation: Journal of the Art Libraries Society of North America 24, n.º 1 (abril de 2005): 57. http://dx.doi.org/10.1086/adx.24.1.27949360.

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Gobernado-Mitre, I., J. Medina, B. Calvo, A. C. Prieto, L. A. Leal, B. Pe´rez, F. Marcos y A. M. de Frutos. "Laser cleaning in art restoration". Applied Surface Science 96-98 (abril de 1996): 474–78. http://dx.doi.org/10.1016/0169-4332(95)00461-0.

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Bonaventura, Paul. "ART WORKS - PLACE". Art Book 12, n.º 3 (agosto de 2005): 41–42. http://dx.doi.org/10.1111/j.1467-8357.2005.00575.x.

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Kurz, Terri L. y Barbara Bartholomew. "Works of Art". Mathematics Teaching in the Middle School 18, n.º 9 (mayo de 2013): 559a—559b. http://dx.doi.org/10.5951/mtms.18.9.559a.

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Baynes-Cope, A. B. "Works of art". Journal of Applied Chemistry and Biotechnology 24, n.º 4-5 (25 de abril de 2007): 297. http://dx.doi.org/10.1002/jctb.2720240418.

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Camp, Julie Van. "Creating Works of Art from Works of Art: The Problem of Derivative Works". Journal of Arts Management, Law, and Society 24, n.º 3 (septiembre de 1994): 209–22. http://dx.doi.org/10.1080/10632921.1994.9941769.

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O’Donoghue, Dónal. "Works of Art and Works of Scholarship in Art Education". Studies in Art Education 62, n.º 2 (3 de abril de 2021): 107–13. http://dx.doi.org/10.1080/00393541.2021.1917265.

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