Littérature scientifique sur le sujet « Hybrid latent cla »

The effect of developing hybrid resources on the management outcomes of micro-hydropower plants in remote areas has been studied and analyzed. The hybrid resource is a combination of two energy sources, such as water and solar energy, that operate together in meeting the needs of electrical power in Ambava Village, Tinondo Sub-district, East-Kolaka Regency, Southeast Sulawesi Province. This study has used a management model describing the relationship and influence of latent variables and their manifestation variables. Here, Confirmatory Factor Analysis (CFA) based Common-Pool-Resources (CPR) is the proper method of testing the structural model used. The results show that the Critics-Ratio (CR) and Standard Loading Factor (SLF) have fulfilled the expected value. The direct influence of the variable exogenous hybrid resources to the endogenous variable outcome of 0.213 has fulfilled the Gold of Fit criteria. Then, the direct impact of the most dominant latent variable is the operating dimension of the resource. At the same time, the indirect effect on the manifest variable is the increase in electricity reserve. Furthermore, the most dominant indirect impact of the hybrid resources latent variable is the benefit and cost dimensions, while the most dominant manifest variable is people's welfare savings.

This study uses a hybrid scale to identify the factors contributing to the services delivered by the suppliers working with SME units in Indian setting. Application of EFA, CFA followed by GTA brings out a numerical measure of service quality index. 120 executives working at top/middle management levels in different SMEs of northern India responded to a questionnaire survey related to the assessment of services being delivered by their suppliers. The executives evaluated performance of their suppliers on the 1-5 Likert scale. Application of EFA followed by CFA revealed an interpretable latent structure comprising of five factors viz., Credibility, Relationship, Understanding, Alignment, and Dependability with 17 indicator items. Further, application of GTA resulted in an index value of Supplier Service Quality. This paper thus provides a framework for the measurement of SSQ in a previously less explored manufacturing sector. The proposed scale can be used as a benchmark by SME units for evaluation of supplier service quality. This methodology used may be applied in more such situations so that generalizations can be contemplated.

This study aims to obtain an instrument of teacher beliefs about learning and teaching in hybrid learning in the post-COVID-19 (New Normal) era. In addition to producing a questionnaire instrument, this study looks for the relationship of belief to learning and learning with Confirmatory Factor Analysis (CFA). The research subjects were selected through a random sampling technique (through a lottery) by several teachers/prospective teachers of physics education at schools and in higher education institutions. Structural equation modeling (SEM) analysis was performed using AMOSS v26 using a strong categorical data estimator. The SEM results show the teaching and learning conceptions questionnaire in the marginal fit category (RMSEA) poor fit (NFI, RFI, IFI, TLI, and CGI), in addition, it is shown that the indicators have good internal consistency but lack formation in the latent variance variable. Meanwhile, the results of the SEM Epistemological Beliefs Questionnaire are in the poor fit category, both seen from the RMSEA and NFI, RFI, IFI, TLI, and CGI. Indicators of Fixed ability, learning effort, Authority, and Certainty Knowledge have good internal consistency, while Authority internal consistency is not good. The variance on the Epistemological belief questionnaire extracted from the indicators is greater for the formation of latent variables.

The study of evacuation behavior in response to disaster is necessary for emergency traffic management. As decision-making is not exclusively dependent on observable variables, in this research, it is attempted to study the evacuation choice behavior pattern in emergency response to earthquake disaster by considering both physical and behavioral factors. Personality traits are measured as behavioral latent factors by confirmatory factor analysis (CFA) of the short form of NEO-Five-Factor Inventory (NEO-FFI). A revealed preference survey with more than 700 samples was conducted in Qazvin city (Iran) which was based on real-life earthquake experience and the stated preference survey was conducted for six designated scenarios with different severities and times of earthquakes. Analysis of evacuation behavior is conducted by 3 types of discrete choice models (traditional binary logit model (TBLM), hybrid binary logit model (HBLM), and random parameters/mixed binary logit model (MBLM)). First, TBLM is estimated to study the effect of observable variables on response of people to earthquake disaster. Then, by adding the personality traits to modeling structure and constructing HBLM, the correct prediction percentage of the model increased. This study also considers heterogeneous mixtures of population in terms of income, family size, and five factors of personality traits by MBLM. The MBLM captures the heterogeneous responses of the respondent. By considering these variables as random parameters, the Log Likelihood function and pseudo square (ρ2) of the model increased.

Abstract Background Internet gaming Disorder (IGD) constitutes a recently proposed clinical disorder (American Psychiatric Association, Diagnostic and statistical manual of mental disorders, 2013). The present study examined if IGD is best conceptualized as categorical (present/absent), or dimensional (severity ranging from low to high), or both (i.e., hybrid of categorical/dimensional). Methods Ratings of the nine DSM-5 IGD symptoms, as presented in the Internet Gaming Disorder Scale 9-Short Form (Pontes & Griffiths, Comput Hum Behav 45:137-143, 2015), from 738 gamers, aged 17 to 72 years, were collected. Confirmatory factor analysis (CFA), latent class analysis (LCA), and factor mixture modelling analysis (FMMA) procedures were applied to determine the optimum IGD model. Results Although the findings showed most support for a FFMA model with two classes and one factor, there was also good statistical and substantive support for the one-factor CFA model, and the LCA model with three classes. Conclusion It was concluded that while the optimum structure of IGD is most likely to be a hybrid model (i.e., concurrently categorical and dimensional), a uni-dimensional model and/or a three-class categorical model are also plausible.

We (I, Robert Lawrence and, in a rare display of unity, all my online avatars and agents)hereby render and proclaim thisMANIFESTO OF PIECES AND BITS IN SERVICE OF CONTRADICTIONAL AESTHETICSWe start with the simple premise that art has the job of telling us who we are, and that through the modern age doing this job while KEEPING UP with accelerating cultural change has necessitated the invention of something we might call the avant-garde. Along the way there has been an on-again-off-again affair between said avant-garde and technology. We are now in a new phase of the new and the technology under consideration is the Internet.The recent hyperventilating about the term postInternet reflects the artworld’s overdue recognition of the effect of the Internet on the culture at large, and on art as a cultural practice, a market, and a historical process.I propose that we cannot fully understand what the Internet is doing to us through a consideration of what happens on the screen, nor by considering what happens in the physical space we occupy either before or behind the screen. Rather we must critically and creatively fathom the flow of cultural practice between and across these realms. This requires Hybrid art combining both physical and Internet forms.I do not mean to imply that single discipline-based art cannot communicate complexity, but I believe that Internet culture introduces complexities that can only be approached through hybrid practices. And this is especially critical for an art that, in doing the job of “telling us who we are”, wants to address the contradictory ways we now form and promote, or conceal and revise, our multiple identities through online social media profiles inconsistent with our fleshly selves.We need a different way of talking about identity. A history of identity:In the ancient world, individual identity as we understand it did not exist.The renaissance invented the individual.Modernism prioritized and alienated him (sic).Post-Modernism fragmented him/her.The Internet hyper-circulates and amplifies all these modalities, exploding the possibilities of identity.While reducing us to demographic market targets, the Web facilitates mass indulgence in perversely individual interests. The now common act of creating an “online profile” is a regular reiteration of the simple fact that identity is an open-ended hypothesis. We can now live double, or extravagantly multiple, virtual lives. The “me meme” is a ceaseless morph. This is a profound change in how identity was understood just a decade ago. Other historical transformations of identity happened over centuries. This latest and most radical change has occurred in the click of a mouse. Selfhood is now imbued with new complexity, fluidity and amplified contradictions.To fully understand what is actually happening to us, we need an art that engages the variant contracts of the physical and the virtual. We need a Hybrid art that addresses variant temporal and spatial modes of the physical and virtual. We need an art that offers articulations through the ubiquitous web in concert with the distinct perspectives that a physical gallery experience uniquely offers: engagement and removal, reflection and transference. Art that tells us who we are today calls for an aesthetics of contradiction. — Ro Lawrence (and all avatars) 2011, revised 2013, 2015, 2018. The manifesto above grew from an artistic practice beginning in 1998 as I started producing a website for every project that I made in traditional media. The Internet work does not just document or promote the project, nor is it “Netart” in the common sense of creative work restricted to a browser window. All of my efforts with the Internet are directly linked to my projects in traditional media and the web components offer parallel aesthetic voices that augment or overtly contradict the reading suggested by the traditional visual components of each project.This hybrid work grew out of a previous decade of transmedia work in video installation and sculpture, where I would create physical contexts for silent video as a way to remove the video image from the seamless flow of broadcast culture. A video image can signify very differently in a physical context that separates it from the flow of mass media and rather reconnects it to lived physical culture. A significant part of the aesthetic pleasure of this kind of work comes from nuances of dissonance arising from contradictory ways viewers had learned to read the object world and the ways we were then still learning to read the electronic image world. This video installation work was about “relocating” the electronic image, but I was also “locating” the electronic image in another sense, within the boundaries of geographic and cultural location. Linking all my projects to specific geographic locations set up contrasts with the spatial ubiquity of electronic media. In 1998 I amplified this contrast with my addition of extensive Internet components with each installation I made.The Way Things Grow (1998) began as an installation of sculptures combining video with segments of birch trees. Each piece in the gallery was linked to a specific geographic location within driving distance of the gallery exhibiting the work. In the years just before this piece I had moved from a practice of text-augmented video installations to the point where I had reduced the text to small printed handouts that featured absurd Scripts for Performance. These text handouts that viewers could take with them suggested that the work was to be completed by the viewer later outside the gallery. This to-be-continued dynamic was the genesis of a serial form in work going forward from then on. Thematic and narrative elements in the work were serialized via possible actions viewers would perform after leaving the gallery. In the installation for The Way Things Grow, there was no text in the gallery at all to suggest interpretations of this series of video sculptures. Even the titles offered no direct textual help. Rather than telling the viewers something about the work before them in the gallery, the title of each piece led the viewer away from the gallery toward serial actions in the specific geographic locations the works referred to. Each piece was titled with an Internet address.Figure 1: Lawrence, Robert, The Way Things Grow, video Installation with web components at http://www.h-e-r-e.com/grow.html, 1998.When people went to the web site for each piece they found only a black page referencing a physical horizon with a long line of text that they could scroll to right for meters. Unlike the determinedly embodied work in the gallery, the web components were disembodied texts floating in a black void, but texts about very specific physical locations.Figure 2: Lawrence, Robert, The Way Things Grow, partial view of webpage at http://www.h-e-r-e.com/growth_variant4.html, 1998.The texts began with the exact longitude and latitude of a geographical site in some way related to birch trees. ... A particularly old or large tree... a factory that turned birch trees into popsicle sticks and medical tongue depressors... etc. The website texts included directions to the site, and absurd scripts for performance. In this way the Internet component transformed the suite of sculptures in the gallery to a series of virtual, and possibly actual, events beyond the gallery. These potential narratives that viewers were invited into comprised an open-ended serial structure. The gallery work was formal, minimal, essentialist. On the web it was social, locative, deconstructive. In both locations, it was located. Here follows an excerpt from the website. GROWTH VARIANT #25: North 44:57:58 by West 93:15:56. On the south side of the Hennepin County Government Center is a park with 9 birch trees. These are urban birches, and they display random scratchings, as well as proclamations of affection expressed with pairs of initials and a “+” –both with and without encircling heart symbols. RECOMMENDED PERFORMANCE: Visit these urban birches once each month. Photograph all changes in their bark made by humans. After 20 years compile a document entitled, "Human Mark Making on Urban Birches, a Visual Study of Specific Universalities". Bring it into the Hennepin County Government Center and ask that it be placed in the archives.An Acre of Art (2000) was a collaborative project with sculptor Mark Knierim. Like The Way Things Grow, this new work, commissioned by the Minneapolis Art Institute, played out in the gallery, in a specific geographic location, and online. In the Art Institute was a gallery installation combining sculptures with absurd combinations of physical rural culture fitting contradictorily into an urban "high art" context. One of the pieces, entitled Landscape (2000), was an 18’ chicken coop faced with a gold picture frame. Inside were two bard rock hens and an iMac. The computer was programmed to stream to the Internet live video from the coop, the world’s first video chicken cam. As a work unfolding across a long stretch of time, the web cam video was a serial narrative without determined division into episodes. The gallery works also referenced a specific acre of agricultural land an hour from the Institute. Here we planted a row of dwarf corn at a diagonal to the mid-western American rural geometric grid of farmland. Visitors to the rural site could sit on “rural art furniture,” contemplate the corn growing, and occasionally witness absurd performances. The third stream of the piece was an extensive website, which playfully theorized the rural/urban/art trialectic. Each of the three locations of the work was exploited to provide a richer transmedia interpretation of the project’s themes than any one venue or medium could. Location Sequence is a serial installation begun in 1999. Each installation has completely different physical elements. The only consistent physical element is 72 segments of a 72” collapsible carpenter's ruler evenly spaced to wrap around the gallery walls. Each of the 72 segments of the ruler displays an Internet web address. Reversing the notion of the Internet as a place of rapid change compared to a more enduring physical world, in this case the Internet components do not change with each new episode of the work, while the physical components transform with each new installation. Thematically, all aspects of the work deal with various shades of meaning of the term "location." Beginning/Middle/End is a 30-year conceptual serial begun in 2002, presenting a series of site-specific actions, objects, or interventions combined with corresponding web pages that collectively negotiate concepts related to time, location, and narrative. Realizing a 30-year project via the web in this manner is a self-conscious contradiction of the culture of the instantaneous that the Internet manifests and propagates.The installation documented here was completed for a one-night event in 2002 with Szilage Gallery in St Petersburg, Florida. Bricks moulded with the URLs for three web sites were placed in a historic brick road with the intention that they would remain there through a historical time frame. The URLs were also projected in light on a creek parallel to the brick road and seen only for several hours. The corresponding web site components speculate on temporal/narrative structures crossing with geographic features, natural and manufactured.Figure 3: Lawrence, Robert, Beginning/Middle/End, site-specific installation with website in conjunction with 30-year series, http://www.h-e-r-e.com/beginning.html, 2002-32.The most recent instalment was done as part of Conflux Festival in 2014 in collaboration with painter Ld Lawrence. White shapes appeared in various public spaces in downtown Manhattan. Upon closer inspection people realized that they were not painted tags or stickers, but magnetic sheets that could be moved or removed. An optical scan tag hidden on the back of each shape directed to a website which encouraged people to move the objects to other locations and send a geo-located photo to the web site to trace the shape's motion through the world. The work online could trace the serial narrative of the physical installation components following the installation during Conflux Festival. Figure 4: Lawrence, Robert w/Lawrence, Ld, Gravity Ace on the Move, site-specific installation with geo-tracking website at http://www.h-e-r-e.com/gravityace/. Completed for Conflux Festival NYC, 2014, as part of Beginning/Middle/End.Dad's Boots (2003) was a multi-sited sculpture/performance. Three different physical manifestations of the work were installed at the same time in three locations: Shirakawa-go Art Festival in Japan; the Phipps Art Center in Hudson, Wisconsin; and at the Tampa Museum of Art in Florida. Physical components of the work included silent video projection, digital photography, computer key caps, and my father's boots. Each of these three different installations referred back to one web site. Because all these shows were up at the same time, the work was a distributed synchronous serial. In each installation space the title of the work was displayed as an Internet address. At the website was a series of popup texts suggesting performances focused, however absurdly, on reassessing paternal relationships.Figure 5: Lawrence, Robert, Dad’s Boots, simultaneous gallery installation in Florida, Wisconsin and Japan, with website, 2003. Coincidently, beginning the same time as my transmedia physical/Internet art practice, since 1998 I have had a secret other-life as a tango dancer. I came to this practice drawn by the music and the attraction of an after-dark subculture that ran by different rules than the rest of life. While my life as a tanguero was most certainly an escape strategy, I quickly began to see that although tango was different from the rest of the world, it was indeed a part of this world. It had a place and a time and a history. Further, it was a fascinating history about the interplays of power, class, wealth, race, and desire. Figure 6: Lawrence, Robert, Tango Intervention, site-specific dance interventions with extensive web components, 2007-12.As Marta Savigliano points out in Tango and the Political Economy of Passion, “Tango is a practice already ready for struggle. It knows about taking sides, positions, risks. It has the experience of domination/resistance from within. …Tango is a language of decolonization. So pick and choose. Improvise... let your feet do the thinking. Be comfortable in your restlessness. Tango” (17). The realization that tango, my sensual escape from critical thought, was actually political came just about the time I was beginning to understand the essential dynamic of contradiction between the physical and Internet streams of my work. Tango Intervention began in 2007. I have now, as of 2018, done tango interventions in over 40 cities. Overall, the project can be seen as a serial performance of contradictions. In each case the physical dance interventions are manifestations of sensual fantasy in public space, and the Internet components recontextualize the public actions as site-specific performances with a political edge, revealing a hidden history or current social situation related to the political economy of tango. These themes are further developed in a series of related digital prints and videos shown here in various formats and contexts.In Tango Panopticon (2009), a “spin off” from the Tango Intervention series, the hidden social issue was the growing video surveillance of public space. The first Tango Panopticon production was Mayday 2009 with people dancing tango under public video surveillance in 15 cities. Mayday 2010 was Tango Panopticon 2.0, with tangointervention.org streaming live cell phone video from 16 simultaneous dance interventions on 4 continents. The public encountered the interventions as a sensual reclaiming of public space. Contradictorily, on the web Tango Panopticon 2.0 became a distributed worldwide action against the growing spectre of video surveillance and the increasing control of public commons. Each intervention team was automatically located on an online map when they started streaming video. Visitors to the website could choose an action from the list of cities or click on the map pins to choose which live video to load into the grid of 6 streaming signals. Visitors to the physical intervention sites could download our free open source software and stream their own videos to tangointervention.org.Figure 7: Lawrence, Robert, Tango Panopticon 2.0, worldwide synchronous dance intervention with live streaming video and extensive web components, 2010.Tango Panopticon also has a life as a serial installation, initially installed as part of the annual conference of “Digital Resources for Humanities and the Arts” at Brunel University, London. All shots in the grid of videos are swish pans from close-ups of surveillance cameras to tango interveners dancing under their gaze. Each ongoing installation in the series physically adapts to the site, and with each installation more lines of video frames are added until the images become too small to read.Figure 8: Lawrence, Robert, Tango Panopticon 2.0 (For Osvaldo), video installation based on worldwide dance intervention series with live streaming video, 2011.My new work Equivalence (in development) is quite didactic in its contradictions between the online and gallery components. A series of square prints of clouds in a gallery are titled with web addresses that open with other cloud images and then fade into randomly loading excerpts from the CIA torture manual used at Guantanamo Bay Detention Center.Figure 9: Lawrence, Robert, Eauivalence, digital prints, excerpts from CIA Guantanamo Detention Center torture manual, work-in-progress.The gallery images recall Stieglitz’s Equivalents photographs from the early 20th century. Made in the 1920s to 30s, the Equivalents comprise a pivotal change in photographic history, from the early pictorial movement in which photography tried to imitate painting, and a new artistic approach that embraced features distinct to the photographic medium. Stieglitz’s Equivalents merged photographic realism with abstraction and symbolist undertones of transcendent spirituality. Many of the 20th century masters of photography, from Ansel Adams to Minor White, acknowledged the profound influence these photographs had on them. Several images from the Equivalents series were the first photographic art to be acquired by a major art museum in the US, the Boston Museum of Fine Arts.My series Equivalence serves as the latest episode in a serial art history narrative. Since the “Pictures Generation” movement in the 1970s, photography has cannibalized its history, but perhaps no photographic body of work has been as quoted as Stieglitz’s Equivalents. A partial list includes: John Baldessari’s series Blowing Cigar Smoke to Match Clouds That Are the Same(1973), William Eggleston’s series Wedgwood Blue (1979), John Pfahl’s smoke stack series (1982-89), George Legrady’s Equivalents II(1993), Vik Muniz’sEquivalents(1997), Lisa Oppenheim (2012), and most recently, Berndnaut Smilde’s Nimbus Series, begun in 2012. Over the course of more than four decades each of these series has presented a unique vision, but all rest on Stieglitz’s shoulders. From that position they make choices about how to operate relative the original Equivalents, ranging from Baldessari and Muniz’s phenomenological playfulness to Eggleston and Smilde’s neo-essentialist approach.My series Equivalence follows along in this serial modernist image franchise. What distinguishes it is that it does not take a single position relative to other Equivalents tribute works. Rather, it exploits its gallery/Internet transmediality to simultaneously assume two contradictory positions. The dissonance of this positioning is one of my main points with the work, and it is in some ways resonant with the contradictions concerning photographic abstraction and representation that Stieglitz engaged in the original Equivalents series almost a century ago.While hanging on the walls of a gallery, Equivalence suggests the same metaphysical intentions as Stieglitz’s Equivalents. Simultaneously, in its manifestation on the Internet, my Equivalence series transcends its implied transcendence and claims a very specific time and place –a small brutal encampment on the island of Cuba where the United States abandoned any remaining claim to moral authority. In this illegal prison, forgotten lives drag on invisibly, outside of time, like untold serial narratives without resolution and without justice.Partially to balance the political insistence of Equivalence, I am also working on another series that operates with very different modalities. Following up on the live streaming technology that I developed for my Tango Panopticon public intervention series, I have started Horizon (In Development).Figure 10: Lawrence, Robert, Horizon, worldwide synchronous horizon interventions with live streaming video to Internet, work-in-progress.In Horizon I again use live cell phone video, this time streamed to an infinitely wide web page from live actions around the world done in direct engagement with the horizon line. The performances will begin and automatically come online live at noon in their respective time zone, each added to the growing horizontal line of moving images. As the actions complete, the streamed footage will begin endlessly looping. The project will also stream live during the event to galleries, and then HD footage from the events will be edited and incorporated into video installations. Leading up to this major event day, I will have a series of smaller instalments of the piece, with either live or recorded video. The first of these preliminary versions was completed during the Live Performers Workshop in Rome. Horizon continues to develop, leading to the worldwide synchronous event in 2020.Certainly, artists have always worked in series. However, exploiting the unique temporal dimensions of the Internet, a series of works can develop episodically as a serial work. If that work unfolds with contradictory thematics in its embodied and online forms, it reaches further toward an understanding of the complexities of postInternet culture and identity. ReferencesSaviligliano, Marta. Tango and the Political Economy of Passion. Boulder: Westview Press, 1995.

Property as both an idea and a practice has been interpreted through the prism of a liberal, law and economics paradigm since at least the 18th century. This dominant (and domineering) perspective stresses the primacy of individualism, the power of exclusion, and the values of private commodity. By contrast, concepts of property that evolved out of the counterculture of the 1960s and early 1970s challenged this hegemony. Countercultural, or Aquarian, ideas of property stressed pre-liberal, long forgotten property norms such as sociability, community, inclusion and personhood, and contested a private uniformity that seemed “totalizing and universalizing” (Blomley, Unsettling 102). This paper situates what it terms “Aquarian property” in the context of emergent property theory in the 1960s and 1970s, and the propertied practices these new theories engendered. Importantly, this paper also grounds Aquarian ideas of property to location. As legal geographers observe, the law inexorably occurs in place as well as time. “Nearly every aspect of law is located, takes place, is in motion, or has some spatial frame of reference” (Braverman et al. 1). Property’s radical yet simultaneously ancient alter-narrative found fertile soil where the countercultural experiment flourished. In Australia, one such place was the green, sub-tropical landscape of the New South Wales Northern Rivers, home of the 1973 Australian Union of Student’s Aquarius Festival at Nimbin. The Counterculture and Property Theory Well before the “Age of Aquarius” entered western youth consciousness (Munro-Clark 56), and 19 years before the Nimbin Aquarius Festival, US legal scholar Felix Cohen defined property in seminally private and exclusionary terms. To the world: Keep off X unless you have my permission, which I may grant or withhold.Signed: Private citizenEndorsed: The state. (374) Cohen’s formula was private property at its 1950s apogee, an unambiguous expression of its centrality to post-war materialism. William Blackstone’s famous trope of property as “that sole and despotic dominion” had become self-fulfilling (Rose, Canons). Why had this occurred? What had made property so narrow and instrumentalist to a private end? Several property theorists identify the enclosure period in the 17th and 18th centuries as seminal to this change (Blomley, Law; Graham). The enclosures, and their discourse of improvement and modernity, saw ancient common rights swept away in favour of the liberal private right. Property diversity was supplanted by monotony, group rights by the individual, and inclusion by exclusion. Common property rights were rights of shared use, traditionally agrarian incidents enjoyed through community membership. However, for the proponents of enclosure, common rights stood in the way of progress. Thus, what was once a vested right (such as the common right to glean) became a “mere practice”, condemned by its “universal promiscuity” and perceptions of vagrancy (Buck 17-8). What was once sited to context, to village and parish, evolved into abstraction. And what had meaning for person and place, “a sense of self; […] a part of a tribe’ (Neeson 180), became a tradable commodity, detached and indifferent to the consequences of its adverse use (Leopold). These were the transformed ideas of property exported to so-called “settler” societies, where colonialists demanded the secure property rights denied to them at home. In the common law tradition, a very modern yet selective amnesia took hold, a collective forgetting of property’s shared and sociable past (McLaren). Yet, property as commodity proved to be a narrow, one-sided account of property, an unsatisfactory “half right” explanation (Alexander 2) that omits inconvenient links between ownership on the one hand, and self and place on the other. Pioneering US conservationist Aldo Leopold detected as much a few years before Felix Cohen’s defining statement of private dominance. In Leopold’s iconic A Sand County Almanac, he wrote presciently of the curious phenomenon of hardheaded farmers replanting selected paddocks with native wildflowers. As if foreseeing what the next few decades may bring, Leopold describes a growing resistance to the dominant property paradigm: I call it Revolt – revolt against the tedium of the merely economic attitude towards land. We assume that because we had to subjugate the land to live on it, the best farm is therefore the one most completely tamed. These […] farmers have learned from experience that the wholly tamed farm offers not only a slender livelihood but a constricted life. (188)By the early 1960s, frustrations over the constrictions of post-war life were given voice in dissenting property literature. Affirming that property is a social institution, emerging ideas of property conformed to the contours of changing values (Singer), and the countercultural zeitgeist sweeping America’s universities (Miller). Thus, in 1964, Charles Reich saw property as the vanguard for a new civic compact, an ambitious “New Property” that would transform “government largess” into a property right to address social inequity. For Joseph Sax, property scholar and author of a groundbreaking citizen’s manifesto, the assertion of public property rights were critical to the protection of the environment (174). And in 1972, to Christopher Stone, it seemed a natural property incident that trees should enjoy equivalent standing to legal persons. In an age when “progress” was measured by the installation of plastic trees in Los Angeles median strips (Tribe), jurists aspired to new ideas of property with social justice and environmental resonance. Theirs was a scholarly “Revolt” against the tedium of property as commodity, an act of resistance to the centuries-old conformity of the enclosures (Blomley, Law). Aquarian Theory in Propertied Practice Imagining new property ideas in theory yielded in practice a diverse Aquarian tenure. In the emerging communes and intentional communities of the late 1960s and early 1970s, common property norms were unwittingly absorbed into their ethos and legal structure (Zablocki; Page). As a “way out of a dead-end future” (Smith and Crossley), a generation of young, mostly university-educated people sought new ways to relate to land. Yet, as Benjamin Zablocki observed at the time, “there is surprisingly little awareness among present-day communitarians of their historical forebears” (43). The alchemy that was property and the counterculture was given form and substance by place, time, geography, climate, culture, and social history. Unlike the dominant private paradigm that was placeless and universal, the tenurial experiments of the counter-culture were contextual and diverse. Hence, to generalise is to invite the problematic. Nonetheless, three broad themes of Aquarian property are discernible. First, property ceased being a vehicle for the acquisition of private wealth; rather it invested self-meaning within a communitarian context, “a sense of self [as] a part of a tribe.” Second, the “back to the land” movement signified a return to the country, an interregnum in the otherwise unidirectional post-enclosure drift to the city. Third, Aquarian property was premised on obligation, recognising that ownership was more than a bundle of autonomous rights, but rights imbricated with a corresponding duty to land health. Like common property and its practices of sustained yield, Aquarian owners were environmental stewards, with inter-connected responsibilities to others and the earth (Page). The counterculture was a journey in self-fulfillment, a search for personal identity amidst the empowerment of community. Property’s role in the counterculture was to affirm the under-regarded notion of property as propriety; where ownership fostered well lived and capacious lives in flourishing communities (Alexander). As Margaret Munro-Clark observed of the early 1970s, “the enrichment of individual identity or selfhood [is] the distinguishing mark of the current wave of communitarianism” (33). Or, as another 1970s settler remarked twenty years later, “our ownership means that we can’t liquefy our assets and move on with any appreciable amount of capital. This arrangement has many advantages; we don’t waste time wondering if we would be better off living somewhere else, so we have commitment to place and community” (Metcalf 52). In personhood terms, property became “who we are, how we live” (Lismore Regional Gallery), not a measure of commoditised worth. Personhood also took legal form, manifested in early title-holding structures, where consensus-based co-operatives (in which capital gain was precluded) were favoured ideologically over the capitalist, majority-rules corporation (Munro-Clark). As noted, Aquarian property was also predominantly rural. For many communitarians, the way out of a soulless urban life was to abandon its difficulties for the yearnings of a simpler rural idyll (Smith and Crossley). The 1970s saw an extraordinary return to the physicality of land, measured by a willingness to get “earth under the nails” (Farran). In Australia, communities proliferated on the NSW Northern Rivers, in Western Australia’s southwest, and in the rural hinterlands behind Queensland’s Sunshine Coast and Cairns. In New Zealand, intentional communities appeared on the rural Coromandel Peninsula, east of Auckland, and in the Golden Bay region on the remote northwestern tip of the South Island. In all these localities, land was plentiful, the climate seemed sunny, and the landscape soulful. Aquarians “bought cheap land in beautiful places in which to opt out and live a simpler life [...] in remote backwaters, up mountains, in steep valleys, or on the shorelines of wild coastal districts” (Sargisson and Sargent 117). Their “hard won freedom” was to escape from city life, suffused by a belief that “the city is hardly needed, life should spring out of the country” (Jones and Baker 5). Aquarian property likewise instilled environmental ethics into the notion of land ownership. Michael Metzger, writing in 1975 in the barely minted Ecology Law Quarterly, observed that humankind had forgotten three basic ecological laws, that “everything is connected to everything else”, that “everything must go somewhere”, and that “nature knows best” (797). With an ever-increasing focus on abstraction, the language of private property: enabled us to create separate realities, and to remove ourselves from the natural world in which we live to a cerebral world of our own creation. When we act in accord with our artificial world, the disastrous impact of our fantasies upon the natural world in which we live is ignored. (796)By contrast, Aquarian property was intrinsically contextual. It revolved around the owner as environmental steward, whose duty it was “to repair the ravages of previous land use battles, and to live in accord with the natural environment” (Aquarian Archives). Reflecting ancient common rights, Aquarian property rights internalised norms of prudence, proportionality and moderation of resource use (Rose, Futures). Simply, an ecological view of land ownership was necessary for survival. As Dr. Moss Cass, the Federal environment minister wrote in the preface to The Way Out: Radical Alternatives in Australia, ‘”there is a common conviction that something is rotten at the core of conventional human existence.” Across the Tasman, the sense of latent environmental crisis was equally palpable, “we are surrounded by glistening surfaces and rotten centres” (Jones and Baker 5). Property and Countercultural Place and Time In the emerging discipline of legal geography, the law and its institutions (such as property) are explained through the prism of spatiotemporal context. What even more recent law and geography scholarship argues is that space is privileged as “theoretically interesting” while “temporality is reduced to empirical history” (Braverman et al. 53). This part seeks to consider the intersection of property, the counterculture, and time and place without privileging either the spatial or temporal dimensions. It considers simply the place of Nimbin, New South Wales, in early May 1973, and how property conformed to the exigencies of both. Legal geographers also see property through the theory of performance. Through this view, property is a “relational effect, not a prior ground, that is brought into being by the very act of performance” (Blomley, Performing 13). In other words, doing does not merely describe or represent property, but it enacts, such that property becomes a reality through its performance. In short, property is because it does. Performance theory is liberating (Page et al) because it concentrates not on property’s arcane rules and doctrines, nor on the legal geographer’s alleged privileging of place over time, but on its simple doing. Thus, Nicholas Blomley sees private property as a series of constant and reiterative performances: paying rates, building fences, registering titles, and so on. Adopting this approach, Aquarian property is described as a series of performances, seen through the prism of the legal practitioner, and its countercultural participants. The intersection of counterculture and property law implicated my family in its performative narrative. My father had been a solicitor in Nimbin since 1948; his modest legal practice was conducted from the side annexe of the School of Arts. Equipped with a battered leather briefcase and a trusty portable typewriter, like clockwork, he drove the 20 miles from Lismore to Nimbin every Saturday morning. I often accompanied him on his weekly visits. Forty-one years ago, in early May 1973, we drove into town to an extraordinary sight. Seen through ten-year old eyes, surreal scenes of energy, colour, and longhaired, bare-footed young people remain vivid. At almost the exact halfway point in my father’s legal career, new ways of thinking about property rushed headlong and irrevocably into his working life. After May 1973, dinnertime conversations became very different. Gone was the mundane monopoly of mortgages, subdivisions, and cottage conveyancing. The topics now ranged to hippies, communes, co-operatives and shared ownerships. Property was no longer a dull transactional monochrome, a lifeless file bound in pink legal tape. It became an idea replete with diversity and innovation, a concept populated with interesting characters and entertaining, often quirky stories. If property is a narrative (Rose, Persuasion), then the micro-story of property on the NSW Northern Rivers became infinitely more compelling and interesting in the years after Aquarius. For the practitioner, Aquarian property involved new practices and skills: the registration of co-operatives, the drafting of shareholder deeds that regulated the use of common lands, the settling of idealistic trusts, and the ever-increasing frequency of visits to the Nimbin School of Arts every working Saturday. For the 1970s settler in Nimbin, performing Aquarian property took more direct and lived forms. It may have started by reading the open letter that festival co-organiser Graeme Dunstan wrote to the Federal Minister for Urban Affairs, Tom Uren, inviting him to Nimbin as a “holiday rather than a political duty”, and seeking his support for “a community group of 100-200 people to hold a lease dedicated to building a self-sufficient community [...] whose central design principles are creative living and ecological survival” (1). It lay in the performances at the Festival’s Learning Exchange, where ideas of philosophy, organic farming, alternative technology, and law reform were debated in free and unstructured form, the key topics of the latter being abortion and land. And as the Festival came to its conclusion, it was the gathering at the showground, titled “After Nimbin What?—How will the social and environmental experiment at Nimbin effect the setting up of alternative communities, not only in the North Coast, but generally in Australia” (Richmond River Historical Society). In the days and months after Aquarius, it was the founding of new communities such as Co-ordination Co-operative at Tuntable Creek, described by co-founder Terry McGee in 1973 as “a radical experiment in a new way of life. The people who join us […] have to be prepared to jump off the cliff with the certainty that when they get to the bottom, they will be all right” (Munro-Clark 126; Cock 121). The image of jumping off a cliff is a metaphorical performance that supposes a leap into the unknown. While orthodox concepts of property in land were left behind, discarded at the top, the Aquarian leap was not so much into the unknown, but the long forgotten. The success of those communities that survived lay in the innovative and adaptive ways in which common forms of property fitted into registered land title, a system otherwise premised on individual ownership. Achieved through the use of outside private shells—title-holding co-operatives or companies (Page)—inside the shell, the norms and practices of common property were inclusively facilitated and performed (McLaren; Rose, Futures). In 2014, the performance of Aquarian property endures, in the dozens of intentional communities in the Nimbin environs that remain a witness to the zeal and spirit of the times and its countercultural ideals. Conclusion The Aquarian idea of property had profound meaning for self, community, and the environment. It was simultaneously new and old, radical as well as ancient. It re-invented a pre-liberal, pre-enclosure idea of property. For property theory, its legacy is its imaginings of diversity, the idea that property can take pluralistic forms and assert multiple values, a defiant challenge to the dominant paradigm. Aquarian property offers rich pickings compared to the pauperised private monotone. Over 41 years ago, in the legal geography that was Nimbin, New South Wales, the imaginings of property escaped the conformity of enclosure. The Aquarian age represented a moment in “thickened time” (Braverman et al 53), when dissenting theory became practice, and the idea of property indelibly changed for a handful of serendipitous actors, the unscripted performers of a countercultural narrative faithful to its time and place. References Alexander, Gregory. Commodity & Propriety: Competing Visions of Property in American Legal Thought 1776-1970. Chicago: U of Chicago P, 1999. Aquarian Archives. "Report into Facilitation of a Rural Intentional Community." Lismore, NSW: Southern Cross University. Blomley, Nicholas. Law, Space, and the Geographies of Power. New York: Guildford Press, 1994. Blomley, Nicholas. Unsettling the City: Urban Land and the Politics of Property. New York: Routledge, 2004. Blomley, Nicholas. “Performing Property, Making the World.” Social Studies Research Network 2053656. 5 Aug. 2013 ‹http://ssrn.com/abstract=2053656›. Braverman, Irus, Nicholas Blomley, David Delaney, and Sandy Kedar. The Expanding Spaces of Law: A Timely Legal Geography. Stanford: Stanford UP, 2014. Buck, Andrew. The Making of Australian Property Law. Sydney: Federation Press, 2006. Cock, Peter. Alternative Australia: Communities of the Future. London: Quartet Books, 1979. Cohen, Felix. “Dialogue on Private Property.” Rutgers Law Review 9 (1954): 357-387. Dunstan, Graeme. “A Beginning Rather than an End.” The Nimbin Good Times 27 Mar. 1973: 1. Farran, Sue. “Earth under the Nails: The Extraordinary Return to the Land.” Modern Studies in Property Law. Ed. Nicholas Hopkins. 7th edition. Oxford: Hart, 2013. 173-191. Graham, Nicole. Lawscape: Property, Environment, Law. Abingdon: Routledge, 2011. Jones, Tim, and Ian Baker. A Hard Won Freedom: Alternative Communities in New Zealand. Auckland: Hodder & Staughton, 1975. Leopold, Aldo. A Sand County Almanac with Other Essays on Conservation from Round River. New York: Ballantine Books, 1966. Lismore Regional Gallery. “Not Quite Square: The Story of Northern Rivers Architecture.” Exhibition, 13 Apr. to 2 June 2013. McLaren, John. “The Canadian Doukhobors and the Land Question: Religious Communalists in a Fee Simple World.” Land and Freedom: Law Property Rights and the British Diaspora. Eds. Andrew Buck, John McLaren and Nancy Wright. Farnham: Ashgate Publishing, 2001. 135-168. Metcalf, Bill. Co-operative Lifestyles in Australia: From Utopian Dreaming to Communal Reality. Sydney: UNSW Press, 1995. Miller, Timothy. The 60s Communes: Hippies and Beyond. Syracuse: Syracuse UP, 1999. Munro-Clark, Margaret. Communes in Rural Australia: The Movement since 1970. Sydney: Hale & Iremonger, 1986. Neeson, Jeanette M. Commoners: Common Right, Enclosure and Social Change in England, 1700-1820. Cambridge: Cambridge UP, 1996. Page, John. “Common Property and the Age of Aquarius.” Griffith Law Review 19 (2010): 172-196. Page, John, Ann Brower, and Johannes Welsh. “The Curious Untidiness of Property and Ecosystem Services: A Hybrid Method of Measuring Place.” Pace Environmental Law Rev. 32 (2015): forthcoming. Reich, Charles. “The New Property.” Yale Law Journal 73 (1964): 733-787. Richmond River Historical Society Archives. “After Nimbin What?” Nimbin Aquarius file, flyer. Lismore, NSW. Rose, Carol M. Property and Persuasion Essays on the History, Theory, and Rhetoric of Ownership. Boulder: Westview, 1994. Rose, Carol M. “The Several Futures of Property: Of Cyberspace and Folk Tales, Emission Trades and Ecosystems.” Minnesota Law Rev. 83 (1998-1999): 129-182. Rose, Carol M. “Canons of Property Talk, or Blackstone’s Anxiety.” Yale Law Journal 108 (1998): 601-632. Sargisson, Lucy, and Lyman Tower Sargent. Living in Utopia: New Zealand’s Intentional Communities. Aldershot: Ashgate Publishing, 2004. Sax, Joseph L. Defending the Environment: A Strategy for Citizen Action. New York: Alfred A. Knopf, 1971. Singer, Joseph. “No Right to Exclude: Public Accommodations and Private Property.” Nw. U.L.Rev. 90 (1995): 1283-1481. Smith, Margaret, and David Crossley, eds. The Way Out: Radical Alternatives in Australia. Melbourne: Lansdowne Press, 1975. Stone, Christopher. “Should Trees Have Standing? Toward Legal Rights for Natural Objects.” Southern Cal. L. Rev. 45 (1972): 450-501. Tribe, Laurence H. “Ways Not to Think about Plastic Trees: New Foundations for Environmental Law.” Yale Law Journal 83 (1973-1974): 1315-1348. Zablocki, Benjamin. Alienation and Charisma: A Study of Contemporary American Communes. New York: Free Press, 1980.

Materiais nanocompósitos híbridos polímero-argila nos quais lamelas nanométricas de argila montmorilonita são encapsuladas e dispersas em matriz polimérica são em geral mais rígidas, tenazes e resistentes do que os materiais poliméricos convencionais e tem o potencial de aplicações em revestimentos e filmes com propriedades de barreira. Dentre as várias técnicas de preparação de nanocompósitos poliméricos, as técnicas de polimerização \"in-situ\" em emulsão e mini-emulsão vem sendo empregada na síntese de látices híbridos com lamelas de argilas encapsuladas pelo polímero. Neste trabalho foram preparados látices híbridos de poliestireno e argila montmorilonita esfoliada através de dois métodos: no primeiro, a polimerização em emulsão e miniemulsão convencional na presença de argila modificada com sal quaternário de amônio é realizada com surfatante catiônico; no segundo método, um surfatante aniônico reativo foi usado para modificar uma argila natural sódica e empregada na polimerização em emulsão. Os resultados obtidos tanto para a polimerização em emulsão como em miniemulsão empregando idênticos reagentes (argila organofílica modificada e surfatante catiônico) mostraram boa conversão, aumento na velocidade de polimerização com aumento da concentração de surfatante e de argila, aumento na temperatura de pico na máxima velocidade de decomposição (TG), aumento no módulo de armazenamento no patamar vítreo e no patamar borrachoso (DMTA) com aumento da concentração de argila, encontrando um valor mínimo em ambos a 5% de argila. Apesar dessas características positivas, não foi obtida a encapsulação das lamelas da argila que era o objetivo principal do trabalho. Por outro lado, o método de polimerização em emulsão não convencional com surfatante reativo mostrou baixa eficiência na conversão mas que se mostrou eficaz na encapsulação das lamelas da argila para os látices com baixa conversão e elevado diâmetro de partícula.
Polymer-clay nanocomposite materials, in which nanometer-thick layers of clay dispersed in polymers, are generally stiffer, stronger, and tougher than normal polymeric materials and can be potentially useful in a variety of applications. These polymer-clay nanocomposites can be prepared in several ways, namely by emulsion \"in-situ\" polymerisation where polymer chains are coagulated on silicate layers producing capped silicate layers are more or less uniformly dispersed in aqueous medium. The objective of this work is to prepare polymer-clay hybrid latexes with exfoliated clay platelets encapsulated inside latex particles in order to improve the exfoliation of the clay platelets in the final polymeric film. To achieve this objective two separate approaches have been investigated, first by conventional emulsion polymerization and miniemulsion polymerization in the presence of montmorillonite clay modified by cationic surfactant and in the other approach a reactive anionic surfactant was used to modify the natural montmorillonite clay layers by emulsion polymerization. The results for both the emulsion polymerization as in miniemulsion using identical reagents (organoclay modified and cationic surfactant) showed good conversion, polymerization rate increased with increasing concentration of surfactant and clay, increased peak temperature at maximum speed decomposition (TG), an increase in storage modulus in the glassy plateau and the rubbery plateau (DMTA) with increasing concentration of clay, finding a minimum value in both the 5% clay. Despite these positive characteristics, encapsulation was not obtained from lamellar clay that was the main objective. Moreover, the method of emulsion polymerization with non-conventional reactive surfactant showed low conversion efficiency but has proved effective in the encapsulation of the lamellae of the clay for the lattices with low conversion and high particle diameter.

The agri-food supply chain is currently far from being sustainable due to its negative contribution to environmental degradation, climate change, public health and social equity. Individuals as consumers play a key role in favouring the transition towards a sustainable food system. Switching towards more sustainable food consumption patterns can trigger changes on the supply side and contribute to policy efforts aimed at pursuing sustainable development. In this context, the aspects such as the drivers and barriers to sustainable consumption, consumer behaviour towards sustainable choices and how to effectively tackle unsustainable food habits have become paramount. Therefore, to fill the research gaps in the existing literature, this thesis aims to provide a better understanding of the effect of environmental and social sustainability attributes on food choices and investigate the decision-making process adopted by food consumers when choosing sustainable products.

Bones are multifunctional passive organs of movement that supports soft tissue and directly attached muscles. They also protect internal organs and are a reserve of calcium, phosphorus and magnesium. Each bone is covered with periosteum, and the adjacent bone surfaces are covered by articular cartilage. Histologically, the bone is an organ composed of many different tissues. The main component is bone tissue (cortical and spongy) composed of a set of bone cells and intercellular substance (mineral and organic), it also contains fat, hematopoietic (bone marrow) and cartilaginous tissue. Bones are a tissue that even in adult life retains the ability to change shape and structure depending on changes in their mechanical and hormonal environment, as well as self-renewal and repair capabilities. This process is called bone turnover. The basic processes of bone turnover are: • bone modeling (incessantly changes in bone shape during individual growth) following resorption and tissue formation at various locations (e.g. bone marrow formation) to increase mass and skeletal morphology. This process occurs in the bones of growing individuals and stops after reaching puberty • bone remodeling (processes involve in maintaining bone tissue by resorbing and replacing old bone tissue with new tissue in the same place, e.g. repairing micro fractures). It is a process involving the removal and internal remodeling of existing bone and is responsible for maintaining tissue mass and architecture of mature bones. Bone turnover is regulated by two types of transformation: • osteoclastogenesis, i.e. formation of cells responsible for bone resorption • osteoblastogenesis, i.e. formation of cells responsible for bone formation (bone matrix synthesis and mineralization) Bone maturity can be defined as the completion of basic structural development and mineralization leading to maximum mass and optimal mechanical strength. The highest rate of increase in pig bone mass is observed in the first twelve weeks after birth. This period of growth is considered crucial for optimizing the growth of the skeleton of pigs, because the degree of bone mineralization in later life stages (adulthood) depends largely on the amount of bone minerals accumulated in the early stages of their growth. The development of the technique allows to determine the condition of the skeletal system (or individual bones) in living animals by methods used in human medicine, or after their slaughter. For in vivo determination of bone properties, Abstract 10 double energy X-ray absorptiometry or computed tomography scanning techniques are used. Both methods allow the quantification of mineral content and bone mineral density. The most important property from a practical point of view is the bone’s bending strength, which is directly determined by the maximum bending force. The most important factors affecting bone strength are: • age (growth period), • gender and the associated hormonal balance, • genotype and modification of genes responsible for bone growth • chemical composition of the body (protein and fat content, and the proportion between these components), • physical activity and related bone load, • nutritional factors: – protein intake influencing synthesis of organic matrix of bone, – content of minerals in the feed (CA, P, Zn, Ca/P, Mg, Mn, Na, Cl, K, Cu ratio) influencing synthesis of the inorganic matrix of bone, – mineral/protein ratio in the diet (Ca/protein, P/protein, Zn/protein) – feed energy concentration, – energy source (content of saturated fatty acids - SFA, content of polyun saturated fatty acids - PUFA, in particular ALA, EPA, DPA, DHA), – feed additives, in particular: enzymes (e.g. phytase releasing of minerals bounded in phytin complexes), probiotics and prebiotics (e.g. inulin improving the function of the digestive tract by increasing absorption of nutrients), – vitamin content that regulate metabolism and biochemical changes occurring in bone tissue (e.g. vitamin D3, B6, C and K). This study was based on the results of research experiments from available literature, and studies on growing pigs carried out at the Kielanowski Institute of Animal Physiology and Nutrition, Polish Academy of Sciences. The tests were performed in total on 300 pigs of Duroc, Pietrain, Puławska breeds, line 990 and hybrids (Great White × Duroc, Great White × Landrace), PIC pigs, slaughtered at different body weight during the growth period from 15 to 130 kg. Bones for biomechanical tests were collected after slaughter from each pig. Their length, mass and volume were determined. Based on these measurements, the specific weight (density, g/cm3) was calculated. Then each bone was cut in the middle of the shaft and the outer and inner diameters were measured both horizontally and vertically. Based on these measurements, the following indicators were calculated: • cortical thickness, • cortical surface, • cortical index. Abstract 11 Bone strength was tested by a three-point bending test. The obtained data enabled the determination of: • bending force (the magnitude of the maximum force at which disintegration and disruption of bone structure occurs), • strength (the amount of maximum force needed to break/crack of bone), • stiffness (quotient of the force acting on the bone and the amount of displacement occurring under the influence of this force). Investigation of changes in physical and biomechanical features of bones during growth was performed on pigs of the synthetic 990 line growing from 15 to 130 kg body weight. The animals were slaughtered successively at a body weight of 15, 30, 40, 50, 70, 90, 110 and 130 kg. After slaughter, the following bones were separated from the right half-carcass: humerus, 3rd and 4th metatarsal bone, femur, tibia and fibula as well as 3rd and 4th metatarsal bone. The features of bones were determined using methods described in the methodology. Describing bone growth with the Gompertz equation, it was found that the earliest slowdown of bone growth curve was observed for metacarpal and metatarsal bones. This means that these bones matured the most quickly. The established data also indicate that the rib is the slowest maturing bone. The femur, humerus, tibia and fibula were between the values of these features for the metatarsal, metacarpal and rib bones. The rate of increase in bone mass and length differed significantly between the examined bones, but in all cases it was lower (coefficient b <1) than the growth rate of the whole body of the animal. The fastest growth rate was estimated for the rib mass (coefficient b = 0.93). Among the long bones, the humerus (coefficient b = 0.81) was characterized by the fastest rate of weight gain, however femur the smallest (coefficient b = 0.71). The lowest rate of bone mass increase was observed in the foot bones, with the metacarpal bones having a slightly higher value of coefficient b than the metatarsal bones (0.67 vs 0.62). The third bone had a lower growth rate than the fourth bone, regardless of whether they were metatarsal or metacarpal. The value of the bending force increased as the animals grew. Regardless of the growth point tested, the highest values were observed for the humerus, tibia and femur, smaller for the metatarsal and metacarpal bone, and the lowest for the fibula and rib. The rate of change in the value of this indicator increased at a similar rate as the body weight changes of the animals in the case of the fibula and the fourth metacarpal bone (b value = 0.98), and more slowly in the case of the metatarsal bone, the third metacarpal bone, and the tibia bone (values of the b ratio 0.81–0.85), and the slowest femur, humerus and rib (value of b = 0.60–0.66). Bone stiffness increased as animals grew. Regardless of the growth point tested, the highest values were observed for the humerus, tibia and femur, smaller for the metatarsal and metacarpal bone, and the lowest for the fibula and rib. Abstract 12 The rate of change in the value of this indicator changed at a faster rate than the increase in weight of pigs in the case of metacarpal and metatarsal bones (coefficient b = 1.01–1.22), slightly slower in the case of fibula (coefficient b = 0.92), definitely slower in the case of the tibia (b = 0.73), ribs (b = 0.66), femur (b = 0.59) and humerus (b = 0.50). Bone strength increased as animals grew. Regardless of the growth point tested, bone strength was as follows femur > tibia > humerus > 4 metacarpal> 3 metacarpal> 3 metatarsal > 4 metatarsal > rib> fibula. The rate of increase in strength of all examined bones was greater than the rate of weight gain of pigs (value of the coefficient b = 2.04–3.26). As the animals grew, the bone density increased. However, the growth rate of this indicator for the majority of bones was slower than the rate of weight gain (the value of the coefficient b ranged from 0.37 – humerus to 0.84 – fibula). The exception was the rib, whose density increased at a similar pace increasing the body weight of animals (value of the coefficient b = 0.97). The study on the influence of the breed and the feeding intensity on bone characteristics (physical and biomechanical) was performed on pigs of the breeds Duroc, Pietrain, and synthetic 990 during a growth period of 15 to 70 kg body weight. Animals were fed ad libitum or dosed system. After slaughter at a body weight of 70 kg, three bones were taken from the right half-carcass: femur, three metatarsal, and three metacarpal and subjected to the determinations described in the methodology. The weight of bones of animals fed aa libitum was significantly lower than in pigs fed restrictively All bones of Duroc breed were significantly heavier and longer than Pietrain and 990 pig bones. The average values of bending force for the examined bones took the following order: III metatarsal bone (63.5 kg) <III metacarpal bone (77.9 kg) <femur (271.5 kg). The feeding system and breed of pigs had no significant effect on the value of this indicator. The average values of the bones strength took the following order: III metatarsal bone (92.6 kg) <III metacarpal (107.2 kg) <femur (353.1 kg). Feeding intensity and breed of animals had no significant effect on the value of this feature of the bones tested. The average bone density took the following order: femur (1.23 g/cm3) <III metatarsal bone (1.26 g/cm3) <III metacarpal bone (1.34 g / cm3). The density of bones of animals fed aa libitum was higher (P<0.01) than in animals fed with a dosing system. The density of examined bones within the breeds took the following order: Pietrain race> line 990> Duroc race. The differences between the “extreme” breeds were: 7.2% (III metatarsal bone), 8.3% (III metacarpal bone), 8.4% (femur). Abstract 13 The average bone stiffness took the following order: III metatarsal bone (35.1 kg/mm) <III metacarpus (41.5 kg/mm) <femur (60.5 kg/mm). This indicator did not differ between the groups of pigs fed at different intensity, except for the metacarpal bone, which was more stiffer in pigs fed aa libitum (P<0.05). The femur of animals fed ad libitum showed a tendency (P<0.09) to be more stiffer and a force of 4.5 kg required for its displacement by 1 mm. Breed differences in stiffness were found for the femur (P <0.05) and III metacarpal bone (P <0.05). For femur, the highest value of this indicator was found in Pietrain pigs (64.5 kg/mm), lower in pigs of 990 line (61.6 kg/mm) and the lowest in Duroc pigs (55.3 kg/mm). In turn, the 3rd metacarpal bone of Duroc and Pietrain pigs had similar stiffness (39.0 and 40.0 kg/mm respectively) and was smaller than that of line 990 pigs (45.4 kg/mm). The thickness of the cortical bone layer took the following order: III metatarsal bone (2.25 mm) <III metacarpal bone (2.41 mm) <femur (5.12 mm). The feeding system did not affect this indicator. Breed differences (P <0.05) for this trait were found only for the femur bone: Duroc (5.42 mm)> line 990 (5.13 mm)> Pietrain (4.81 mm). The cross sectional area of the examined bones was arranged in the following order: III metatarsal bone (84 mm2) <III metacarpal bone (90 mm2) <femur (286 mm2). The feeding system had no effect on the value of this bone trait, with the exception of the femur, which in animals fed the dosing system was 4.7% higher (P<0.05) than in pigs fed ad libitum. Breed differences (P<0.01) in the coross sectional area were found only in femur and III metatarsal bone. The value of this indicator was the highest in Duroc pigs, lower in 990 animals and the lowest in Pietrain pigs. The cortical index of individual bones was in the following order: III metatarsal bone (31.86) <III metacarpal bone (33.86) <femur (44.75). However, its value did not significantly depend on the intensity of feeding or the breed of pigs.

This chapter describes previous and recent archaeological investigations at the Audrey-North site (11Ge20) in the Lower Illinois River Valley. The Center for American Archaeology excavated from 1975 to 1983, exposing both Late Woodland and Cahokia-style structures, a circular sweatlodge, pit features, and a palisade segment. In 2000, Colleen Delaney-Rivera analyzed the ceramic artifacts recovered, identifying Woodland- and Mississippian-period pottery in addition to hybrid pots and non-local vessels. A magnetic gradiometry survey of the site in 2014 revealed two areas of interest for excavation: one Mississippian house and one unidentified anomaly. The house area was exposed with a backhoe, revealing a Stirling-phase (AD 1100–1200) wall trench house and associated pit features. Excavations over the other anomaly revealed a small early Mississippian wall trench structure, the floor of which was lined with yellow clay.

Arising from a period of intense social upheaval and technological innovation, late 20^th-century writers and artists challenge inherited notions of subjectivity and experiment with new hybrid forms of autobiographies composed of both image and text. The introduction provides an overview of how disciplinary boundaries have become more porous, leading to a variety of transdisciplinary visual-verbal self-narrations. The chapter reviews key concerns from Autobiography Studies and Visual Studies and how they redefine image-text relations as a matrix or a network with many surfaces and axes of interaction. The introduction also explains the organization of the book: the work of eight writers-artists–Peter Najarian, Leslie Marmon Silko, Art Spiegelman, Julie Chen, Theresa Hak Kyung Cha, Carrie Mae Weems, Faith Ringgold, and Edgar Heap of Birds, moving from the most literature-based to the most art-based. In dialogue with historical trauma and its consequences, each author asks crucial questions about American identity.

Since the last glacial maximum, some 22,000 years ago, the North Sea basin has undergone many transformational changes. Largely covered by ice at the beginning of the period, it became successively an arctic-like tundra, a ‘park-like’ landscape of extended grassland with shrubs and trees, a tundra again, and a plain with light woodland cover that was submerged eventually by the expanding North Sea (Coles 1998: 69–75). As the North Sea rose, over the last 5,000 years, to within a few metres of its current level, the interior of the sea did not alter significantly apart from changes in tidal patterns and depth. But on the periphery of the North Sea basin, the slighter sea-level changes added to the effects of marine and alluvial sedimentation and erosion and produced, regionally, periods of marine transgression—when the influence of the sea moved landwards—and marine regression, resulting in the opposite effect. The North Sea, throughout its history, has been the dynamic landscape par excellence. The history of research into the North Sea basin goes back to the 19th century, and will be discussed further below, but it was Bryony Coles’ article ‘Doggerland: a speculative survey’ (1998), which first raised the profile of the Late-glacial and early Holocene archaeology of the North Sea and inspired many of the current research activities, especially those relating to the southern North Sea basin. The renewed interest in the Mesolithic and Neolithic archaeology of the North Sea has made some significant advances, and holds the promise of even greater returns once the high-resolution reconstructions of the North Sea Plain are integrated with the archaeological finds. A series of publications has recently presented new archaeological sites. New finds from trawler fishing along the various banks in the North Sea, and from the margins (e.g. Flemming 2004; Waddington and Pedersen 2007), as well as the use of SCUBA technology (e.g. in Fisher 1995), will be discussed below. This chapter offers brief overviews of the history of North Sea research, the creation of the North Sea, and the archaeological evidence of human activity in the period from about 10,000 to 2000 cal bc.

By the late sixties, television was America’s medium and, just as it had with stage and film musicals in the decades prior, it embraced the increasingly legitimized musical style of Vegas. Whether through Mitzi Gaynor’s string of television specials; the repackaging of Sonny and Cher’s Vegas shtick, glitz, and musical tributes; or The Carol Burnett Show’s Bob Mackie–clad musical extravaganzas, Vegas/Broadway hybrids filled the small screen. This fusion of old-school and, to a lesser degree, contemporary musicals with the popularized pizzazz and glamour of Vegas brought the television musical comfortably in line with the cheeky sexiness of 1970s network programming. Highlighting the ongoing symbiosis among various musical platforms, this chapter explores the rise of a hybridized Broadway-Vegas style on television, or what the author terms “BroadVegas,” in the context of changing generic norms across stages and screens, heightened inter-network competition and branding, and emergent visual, generic, and promotional styles.

Aerodynamic noise prediction is a major challenge in computational aeroacoustics due to the complexity of phenomena involved such as turbulence and laminar to turbulent transition. Accurate numerical methodologies, capable to provide reliable predictions in a reasonable computational time, are of large interest for the industrial design of Heating, Ventilation and Air-Conditioning (HVAC) systems. The objective of the present research work is to benchmark different CFD/CAA simulation setup (i.e. mesh topologies, boundary conditions) for predicting the broadband noise generated by low speed axial fans to develop guidelines for reliable and computationally affordable simulation. In previous works the authors investigated the capabilities of the Zonal LES technique coupled with the Ffowcs Williams-Hawkings acoustic analogy for the prediction of the noise generated by an unducted low speed axial fan. The results showed a good agreement with aerodynamic and aeroacoustic experimental data. Despite the achievements obtained so far, the high physical and numerical complexity of the problem calls for further investigations. The latest developments, presented here, focus on the impact of the mesh topology and the inflow turbulence on the far field noise prediction. Two computational meshes with different topology are investigated: an unstructured-hybrid mesh, which can be generated with fast and highly automated methods, and a structured-hybrid mesh, which allows better control of the volume mesh around the blade. Both meshes are designed to adequately resolve the boundary layer, providing LES driven values of y+, x+ and z+ on the blade surface for the operating condition considered. Two different levels of inflow turbulence are studied, one representing an ideal turbulence-free unbounded environment, and one mimicking the experimental measurements environment. All the aerodynamic and aeroacoustic simulation results presented are benchmarked with experimental data acquired by the authors.

<p>The use of mass timber as a structural element is not a new phenomenon. For example, within almost every major city in the world, there are upscale enclaves centered around the adaptive reuse of factories and warehouses from the late 19th and early 20th centuries. These former industrial structures are almost always constructed from masonry and mass timber.</p><p>Within the past decade, the building industry has seen a renewed interest in mass timber structures. This resurgence has been fueled by several trends, including the mass production of Cross Laminated Timber (CLT) and a growing awareness of mass timber’s sustainable advantages. A number of high-profile heavy timber structures have found commercial success in the United States and abroad. Leading architectural practices such as Skidmore Owings &amp; Merrill (SOM) have used research initiatives like the Timber Tower Research Project to jump-start a fertile debate within the design industry. On the demand side, building owners have pushed the design community to find innovative ways to incorporate mass timber into their projects.</p><p>This interest has often driven designers and builders to aggressively distinguish their projects from predecessors, pushing for pure mass timber structures while giving less consideration to hybrid structures (mass timber and masonry/concrete structures). This bias towards material purity risks ignoring important lessons from the past and may in some cases lead to inefficient structural choices and structures with less durability and sustainability than their hypothetical hybrid counterparts.</p><p>This paper posits that some of the energy generated by a resurgence in mass timber construction would be well spent on understanding, celebrating, and rediscovering the elegance and importance of hybrid structures.</p>

Abstract Fluid invasion into permeable formations can lead to a host of undesirable effects during well construction. These effects which include formation instability, formation damage, and differential sticking, can result in reduced wellbore productivity or increased non-productive time (NPT). These issues are particularly acute in water-based drilling fluids which tend to have worse fluid loss control than non-aqueous fluids. A variety of additives, including clay minerals and polymers, have been used extensively to mitigate fluid loss in water-based fluids. Often additional materials, such as latex polymer dispersions, are added to act as sealing agents to further reduce fluid loss. The primary role of these sealing agents is to reduce spurt loss, which is the fluid lost prior to the construction of an adequate filter cake and establishment of steady-state fluid loss behavior. Despite application of these combinations of products, there remains a need for improved offerings particularly at higher temperatures and in more permeable formations. In this paper, we report a new hybrid organic/inorganic nanoparticle fluid loss control additive that substantially reduces fluid loss volumes and remarkably affords fluids with no spurt loss. The new hybrid nanoparticle additive was evaluated in several concentrations in a variety of water-based drilling fluid formulations, including both freshwater and brine-based fluids. Standard rheological properties were measured using a rotational viscometer, both before and after aging at elevated temperature. The critical fluid loss measurements were conducted using both high temperature/high pressure (HTHP) filtration and particle plugging tests (PPT). For PPT, various pore throat sizes and differential pressures were evaluated. These results were compared to parallel trials conducted with the same water-based mud formulations containing alternative fluid loss or sealing agents. Water-based drilling fluids containing the new nanoparticle were shown to outperform conventional additives. In some formulations filtrate volumes in both PPT and HTHP tests were reduced significantly. In others, a considerably lower loading of the nanoparticle additive yielded filtrate volumes that were comparable to higher loadings of existing additives. In both cases the rheological impact of the nanoparticle was not substantially different than the alternatives evaluated. The nanoparticle solution was shown to be robust, providing fluid and spurt loss reduction across a range of formulations, pore throat sizes, temperatures, and differential pressures. Nanotechnology remains an exciting frontier in the development of efficient, high-performance additives for drilling fluids. The ability of these innovative nanoparticles to reduce filtrate volumes and provide zero spurt loss represents a step-change in filtration control in water-based fluids. Application of these nanoparticles in well construction can allow for improved wellbore stability, reduced formation damage due to fluid invasion, and reduced NPT.