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1
Brinza, Serghei, i Vitalie Stati. "Errors in the qualification of offenses in which bank cards appear as a material object (product) or as a committing mean". Journal of the National Institute of Justice, nr 3(62) (październik 2022): 9–15. http://dx.doi.org/10.52277/1857-2405.2022.3(62).01.
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The analysis of judicial practice shows that the qualification of offenses, in which bank cards appear as a material object (product) or as a commiting mean, does not always comply with the principle of legality. In the present study, by analyzing the errors of qualification of such offenses, the aim is to reduce the number of those errors. In concrete terms, the errors analyzed refer to: participation in one of the offenses provided in art. 237 CC RM; qualification of the act of purchasing (and keeping) some false bank cards; application of art. 237 CC RM for obtaining material benefits by illegally accessing card accounts, in the absence of production for the purpose of putting into circulation false bank cards; application of art. 186 CC RM for the illegal obtaining, with the help of false bank cards, of money related to card accounts.
2
Gilderdale, Peter. "“Messages of Love from Maoriland”: A. D. Willis’s New Zealand Christmas Cards and Booklets 1883-1893". Back Story Journal of New Zealand Art, Media & Design History, nr 7 (1.12.2019): 25–71. http://dx.doi.org/10.24135/backstory.vi7.49.
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I have previously explored the beginnings of the New Zealand Christmas card prior to 1883, and the ways that the designers of these cards negotiated the colonial experience of a summer Christmas.1 This paper examines the development, over the decade following 1883, of the chromolithographic work of A. D. Willis, whose production not only continued the work of creating a niche for New Zealand Christmas cards, but also tried to compete with the large overseas ‘art publishers’ who were flooding the New Zealand market with northern hemisphere iconography. Willis’s Christmas cards are frequently used to illustrate books looking at the 1880s, but there has been no detailed study done of them. The paper therefore documents the cards, their production and reception, explores how they record Willis’s understanding of the art publishing business and the market he was working into, and situates them in relation to broader print culture. Understanding this overlooked chapter in ‘commercial art’ provides useful evidence of the murky interplay between the local, national and transnational identities that marked New Zealand cultural production when artists and designers sought to capture the public’s Yuletide sentiments. Willis’s work also displays two very distinct conceptions of how to represent what was increasingly known as ‘Maoriland’ to an overseas market – one focused on the land, and the other on Māori. As such, these cards act as a weathervane for what the New Zealand public accepted as New Zealand, artistic and appropriate as a Christmas gift.
3
Hart, Karen. "Snap! Use clip art to make your own cards". Primary Teacher Update 2015, nr 49 (2.10.2015): 27–28. http://dx.doi.org/10.12968/prtu.2015.49.27.
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KA, Bugaevsky. "Human Anatomy and its History in the Reflection of Philocarty and Philately". Journal of Human Anatomy 7, nr 1 (20.02.2023): 1–19. http://dx.doi.org/10.23880/jhua-16000164.
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This article presents the results of a study devoted to the reflection of information on the history of anatomy in philocard and philately. As illustrative materials, postal and art cards (philocation), postage stamps, blocks and envelopes (philately) are presented, to which the accompanying information is given. Due to the fact that the reflection of anatomy, as a medical science, its heroes, and its history on postage and art cards is very rare, the criterion for selection was to find all possible and available copies devoted to anatomy and its history on professional websites of collectors of philatelic and philocartistic materials. Many of the postal and art cards, where possible, are presented on both sides, obverse and reverse, which confirms the authenticity of the copies presented. All of the illustrative materials in the article, presented as screenshots, are properly referenced, in order to respect all copyrights, with the obligatory indication of where they were taken from. Almost all illustrative materials and references to historical data and events presented are taken, with the active use of Internet resources.
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Quaranta, Domenico. "Life documentation". Maska 30, nr 172 (1.07.2015): 68–75. http://dx.doi.org/10.1386/maska.30.172-174.68_1.
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In the summer of 2007, three artists from Slovenia legally changed their names to “Janez Janša”. This life event introduced a break in their artistic practice, which evolved into one of the most radical explorations of life in the age of biopolitics. This essay discusses their recent work, a continuum that is sometimes produced by companies and institutions as a reaction to their life, sometimes by isolating and documenting specific moments in their life. ID cards, passports, and bank cards become the means of a research that undermines the very concepts of “art” and “artwork”, and that challenges the economic system, the legal system, and the art system while actively seeking for their complicity in order to exist.
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Atwood, Craig D. "Little Side Holes: Moravian Devotional Cards of the Mid-Eighteenth Century". Journal of Moravian History 6, nr 1 (2009): 61–75. http://dx.doi.org/10.2307/41179848.
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Abstract One of the more intriguing types of eighteenth-century Moravian art were small devotional cards. These side-hole cards (Seitenhöhlchenkarten) offer a distinctly Moravian reworking of a medieval iconographic tradition. Most of these cards have verses about the side wound of Jesus written in beautiful calligraphy, sometimes in red and green ink. The most intriguing cards have images of the side wound, sometimes with scenes painted into the wound. Aaron Fogleman offered these pictures as evidence for his thesis that the Moravians viewed Jesus as female and considers them as part of their eroticized devotion to Christ. The author of this essay argues that this is a misinterpretation. These cards were probably used by both children and adults in private devotions and are hardly erotic. Rather, they are visual representations of key elements of Moravian wounds mysticism, especially the concept that all aspects of daily life, even eating and sleeping, should be done in the awareness that one is in the body of Christ.
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Shriver, Janet, Teri Willard i Mandy McDaniel. "Do-It-Yourself Fractal Functions". Mathematics Teacher 110, nr 9 (maj 2017): 694–701. http://dx.doi.org/10.5951/mathteacher.110.9.0694.
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Zahner, Mary, i D. Fehr. "Dogs Playing Cards: Powerbrokers of Prejudice in Education, Art and Culture". Studies in Art Education 39, nr 2 (1998): 190. http://dx.doi.org/10.2307/1320470.
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Rtayli, Naoufal. "An Efficient Deep Learning Classification Model for Predicting Credit Card Fraud on Skewed Data". Journal of Information Security and Cybercrimes Research 5, nr 1 (30.06.2022): 57–71. http://dx.doi.org/10.26735/tlyg7256.
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Due to fast-evolving technology, the world is moving to the use of credit cards rather than money in their daily lives, giving rise to many new opportunities for fraudsters to use credit cards maliciously. Based on the Nilson report, losses related to global cards were estimated to be over $35 billion by 2020. In order to maintain the security of users of these cards, the credit card company must develop a service to ensure that users are protected from any risks they may be exposed to. For this reason, we introduce a fraud detection model, denoted ST-BPNN, which is based on machine and deep learning approaches to identify fraudulent transactions. ST-BPNN was applied on real fraud detection data provided by the European bank. Comparing the obtained results from ST-BPNN with a recent state-of-the-art approach shows that our proposed model demonstrates high predictive performance for detecting fraudulent transactions.
10
Adams, Gavin. "Duchamp's Erotic Stereoscopic Exercises". Anais do Museu Paulista: História e Cultura Material 23, nr 2 (grudzień 2015): 165–85. http://dx.doi.org/10.1590/1982-02672015v23n0206.
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ABSTRACT: This article explores certain links between medicine and art, with regard to their use of stereoscopy. I highlight a work by the artist Marcel Duchamp (the ready-made Stéréoscopie a la Main) and stereoscopic cards used in ophthalmic medicine. Both instances involve the drawing of graphic marks over previously existing stereoscopic cards. This similarity between Stéréoscopie a la Main and stereoscopic cards is echoed in the form of "stereoscopic exercises." Stereoscopic exercises were prescribed by doctors to be performed with the stereoscope as early as 1864. Stereoscopic cards were widely diffused in the 19th century, often promoted as "stay-at-home travel." It was over such kinds of materials that both Marcel Duchamp and doctors of ophthalmic medicine drew their graphic marks. I explore Duchamp's Stéréoscopie a la Main as a hypothetical basis for stereoscopic exercises of different types, proposing that this rectified ready-made is the locus for erotic stereoscopic exercises.
11
George, Diana, i Mariolina Rizzi Salvatori. "Holy Cards/Immaginette: The Extraordinary Literacy of Vernacular Religion". College Composition & Communication 60, nr 2 (1.12.2008): 250–84. http://dx.doi.org/10.58680/ccc20086867.
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Like other seemingly ordinary materials (cookbooks, street art, scrapbooks, etc.) the subject of our investigation “holy cards or (in Italian) immaginette” often function as rich repositories of personal and cultural memory as well as indicators of popular literacy practices. But to relegate them to the category of ephemera, as is customary with materials of this sort, diverts attention from their significant cultural and pedagogical value.
12
Kozlova, Maria A., Aleksey V. Kozlov i Alexander V. Tarasov. "USING METAPHORICAL ASSOCIATIVE CARDS FOR NORMALIZATION OF ANXIETY AND DEPRESSION IN STUDENTS". Russian Journal of Education and Psychology 13, nr 6 (20.12.2022): 181–95. http://dx.doi.org/10.12731/2658-4034-2022-13-6-181-195.
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In modern scientific and methodological literature, the results of studies with metaphorical comparisons of punishments and applications are not fully presented, especially since there are no promising experimental studies proving their effectiveness in normalizing and preventing anxious and depressive consequences. The conducted research allows eliminating this gap and reveals the need to study the practical application of metaphorical cards and materials as a useful and convenient art therapy tool. The study involved 60 students who had problems with increased anxiety. The students were divided into control and experimental groups of 30 people each. In the control group, the following methods were used: art therapy, sand therapy, therapeutic metaphor, success modeling, and breathing relaxation exercises. The experimental group used the same methods, but with the addition of metaphorical mind cards and aids. The use of metaphorical associative. The experimental group used the same methods, but with the addition of metaphorical mind cards and materials, as part of therapy, had a positive effect on the negative emotional states of students, and gave higher results. Along with this, it should be noted that other therapeutic methods also gave a positive result in 3 sessions, most of the participants in the experiment went beyond the negative values, and positive changes were observed in all. However, the use of MAC had the best effect in the framework of short therapy and gave more positive dynamics in stabilizing the emotional background.
Purpose. Experimentally test and apply metaphorical associative cards during individual consultations to reduce anxiety, anxiety and prevent depressive states.
Methodology. In accordance with the intended purpose and the studied scientific literature, we have identified and used a standardized diagnostic technique - psychological testing, in addition, the study included a survey.
Results. As a result of the study, the effectiveness of the use of metaphorical associative cards to stabilize the emotional states of students has been scientifically substantiated and experimentally proven.
Practical implications. The study will help expand the range of use of metaphorical associative cards and materials in the work of psychologists and teachers to establish contacts, relieve anxiety and depression in older adolescents. The practical application of metaphorical cards and materials can be of great interest to specialists in general education institutions, organizations of secondary vocational education, universities, psychological and social centers.
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Pratiwi, Desak Putu Eka, I. Komang Sulatra i I. Wayan Juniarta. "The Art of Symbolism: Decoding Balinese Silence Day Greeting Cards Through Semiotics". Journal of Education Research 4, nr 1 (26.03.2023): 350–61. http://dx.doi.org/10.37985/jer.v4i1.169.
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Studi ini menggunakan analisis semiotik untuk mengungkapkan simbol dan makna yang terkandung dalam kartu ucapan Hari Raya Nyepi di Bali. Hari Raya Nyepi adalah peristiwa budaya besar di Bali, Indonesia, yang ditandai dengan hari refleksi diri, meditasi, dan puasa. Penggunaan kartu ucapan selama acara ini telah menjadi praktik umum, dan kartu-kartu tersebut seringkali menampilkan simbolisme visual yang kaya makna budaya yang lebih dalam, disamping penggunaan bahasa verbal. Studi ini menggunakan metode penelitian kualitatif, khususnya analisis semiotik, untuk mengeksplorasi nilai-nilai budaya dan kepercayaan yang disampaikan melalui bahasa visual dan verbal dari kartu-kartu ucapan. Dengan menerapkan Semiotik sebagai kerangka teoritis, studi ini bertujuan untuk menguji penanda dan petanda yang hadir dalam kartu ucapan yang berkontribusi pada identitas budaya yang lebih luas di Bali. Temuan menunjukkan pentingnya berbagai simbol dan tanda, seperti penggunaan warna dan pola tertentu, serta peran bahasa dan tipografi dalam menyampaikan pesan budaya. Studi ini menyoroti pentingnya memahami konteks budaya dan simbolisme di balik kartu ucapan Hari Raya Nyepi di Bali dan bagaimana mereka berkontribusi pada identitas budaya yang lebih luas di Bali.
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Hyunh, Matt, Leah Lakshmi Piepzna-Samarasinha i curated by Mimi Khúc. "The Crip Tarot Card". South Atlantic Quarterly 120, nr 2 (1.04.2021): 389–91. http://dx.doi.org/10.1215/00382876-8916130.
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The Crip is one of thirty cards in the Asian American Tarot, an original deck of tarot cards I curated as part of my hybrid book arts project on mental health, Open in Emergency (first published in 2016 and then in an expanded second edition in 2019/2020). Each card names an archetype that structures the psychic and material life of Asian Americans, and draws upon knowledge production in Asian American studies and Asian American communities to theorize that archetype’s shape and reach. Each features original art and text, a collaboration between a visual artist and a scholar or literary writer. Each ends with guidance, a gentle directive to the reader for what to do now that they have drawn this card in a tarot reading. The Asian American Tarot is art-meets-scholarship-meets-wellness-practice-equals-magic-for-our-times. The Crip is the twenty-sixth card in the major arcana, and it is here welcoming us all on our disability journeys.
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Park, Jeong Kee. "A Study on the Teaching and Learning Method of Art Appreciation of Elementary School Students Subject to Learning Support Based on Positive Psychology". Korea Institute of Design Research Society 7, nr 4 (31.12.2022): 78–87. http://dx.doi.org/10.46248/kidrs.2022.4.78.
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This study sought to find out the characteristics of students subject to learning support and to prepare an art appreciation learning plan based on positive psychology to improve basic education in the speaking, listening, and writing areas of elementary school students. Through literature research, we found the meaning of art appreciation education, starting with the understanding of students subject to learning support, and eventually, based on Seligman's positive psychology, we designed an art appreciation teaching and learning process using emotion cards that can explain his thoughts and feelings. In conclusion, art appreciation learning using the strengths of positive psychology is meaningful in encouraging individual and self-directed learning for students, and it is also meaningful in art appreciation education activities that provide positive emotions as an alternative to enhancing basic communication opportunities.
16
Gasperini, Antonella, Daniele Galli i Laura Nenzi. "The worldwide impact of Donati's comet on art and society in the mid-19th century". Proceedings of the International Astronomical Union 5, S260 (styczeń 2009): 340–45. http://dx.doi.org/10.1017/s174392131100250x.
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AbstractDonati's comet was one of the most spectacular astronomical events of the nineteenth century. Its extended sword-like tail was a spectacular sight that inspired several literary and artistic representations. Traces of Donati's comet are found in popular magazines, children's books, collection cards, and household objects through the beginning of the twentieth century.
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A i 박진희. "The development of Korean Tarot Cards that introduced the concept of art therapy". Study of Culture & Art 9, nr ll (czerwiec 2017): 172–208. http://dx.doi.org/10.35413/culart.2017.9..008.
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Aksyutina, Zul'fiya Abdullovna. "Methodological and theoretical foundations of therapy with metaphorical associative cards". Психология и Психотехника, nr 3 (marzec 2023): 199–210. http://dx.doi.org/10.7256/2454-0722.2023.3.38002.
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Metaphorical associative cards have become a popular tool in art therapy for children and adults, which is the reason and the need for their careful study. The subject of the analysis is the methodological and theoretical foundations of the use of metaphorical associative maps. The purpose of the article is to identify methodological and theoretical grounds for the use of metaphorical associative maps. The research methods used are the analysis of scientific publications and methods of categorical-system methodology (universal scheme of interaction and the method of categorical pendulum). The article substantiates the place of metaphorical associative maps in psychotherapy, searches for theoretical grounds for the implementation of psychotherapeutic procedures related to metaphorical associative maps. Based on the idea expressed by N. V. Dmitrieva, Yu. M. Perevozkina, L. V. Levina and N. V. Buravtsova, an evidence-based analysis of the characteristic features of attributing metaphorical associative maps to the section of expressive psychotherapy, a subclass of creative therapy and a class of art therapy is carried out. The methodological components of its qualitative states (object, subject and goal) in system, process and activity variations are revealed in the theoretical justification of MAC therapy based on the reliance on system and activity approaches. The study of MAC therapy as a dynamic system allowed us to conclude that the result of interaction depends on the creative potential of the client, which indicates possible limitations in the use of metaphorical associative maps. The construction of a system model of MAC therapy allowed us to identify the basic conceptual apparatus of this field of psychotherapy. The obtained results of the theoretical study will be useful in the practice of providing assistance during psychotherapeutic procedures using metaphorical associative maps.
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Ramasamy, Tharunbalaaje. "Analysis on the Customers Usage of Gift Cards and Gift Vouchers through Online Payment in Coimbatore". INTERANTIONAL JOURNAL OF SCIENTIFIC RESEARCH IN ENGINEERING AND MANAGEMENT 08, nr 06 (9.06.2024): 1–5. http://dx.doi.org/10.55041/ijsrem35590.
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In the dynamic landscape of contemporary consumer culture, the concept of gift-giving has undergone a profound transformation. Gone are the days when selecting the perfect gift involved hours of browsing crowded malls and meticulous consideration of personal preferences. Enter the era of Online Gift Cards—a revolution in the art of gifting that has not only streamlined the process but has also added a new layer of versatility and personalization to the age-old tradition of exchanging presents. A Online Gift Card, in its simplest form, is a prepaid card that carries a monetary value and is typically issued by retailers or businesses. These cards have transcended traditional gifting norms, offering recipients the freedom to choose their desired items from a vast array of products or services. The evolution of Online Gift Cards has been a fascinating journey, marked by technological advancements, shifting consumer behaviors, and a redefinition of the emotional and social aspects associated with gift-giving. The origins of Online Gift Cards can be traced back to the mid-20th century when retailers began experimenting with the idea of providing customers with a convenient alternative to traditional gift certificates. However, it wasn't until the late 20th century and the early 21st century that Online Gift Cards truly gained widespread popularity, becoming a ubiquitous and preferred choice for both gift-givers and receivers. The transition from tangible, paper-based gift certificates to sleek, plastic cards with magnetic strips or electronic chips marked a pivotal moment in the evolution of gift-giving. One of the primary reasons behind the meteoric rise of Online Gift Cards is their unparalleled convenience. Unlike traditional gifts, which may require exhaustive deliberation and might still miss the mark, Online Gift Cards empower both givers and recipients with flexibility. Givers no longer need to navigate the labyrinth of individual preferences, sizes, or colors, and recipients no longer have to feign enthusiasm for ill-fitting sweaters or mismatched kitchen appliances. Instead, the Online Gift Card offers a passport to a retail wonderland or a digital marketplace where the possibilities are as diverse as the personalities of the recipients.
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Zeller, Christoph. "Moment and Permanence in Wolf Vostell’s Performance Art". Poetica 51, nr 1-2 (22.09.2020): 170–94. http://dx.doi.org/10.30965/25890530-05101005.
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Abstract Scholars hold that performance art wants to seize the moment, cannot be preserved or put on display, and necessarily remains outside the cultural archive. In contrast, this essay stresses the medial and material aspect of performance art and highlights the temporal opposition of presence and permanence as a feature of written documents. The linguistic origins of performance art and its temporal nature are a key to understanding Wolf Vostell’s artworks. His relationship to poetry and language has only recently received attention. Vostell’s drafts, notes, invitations, manifestos, score cards, correspondences, and books form the basis of a vast collection that create permanence beyond the fleetingness of the happening. Central to the following investigation is the temporal flux of Vostell’s concept of “dé-coll/age,” the way in which language informs his aesthetics, and the role that the museum plays in his artistic considerations.
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Trouvé, Analía. "Brilliant grey: the color of documentary resources at the Fundación Espigas in Buenos Aires". Art Libraries Journal 30, nr 3 (2005): 8–13. http://dx.doi.org/10.1017/s0307472200014024.
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Grey literature, documentation published outside traditional commercial channels, is not very often taken into account by art librarians in Argentina, judging by searches on online databases. However, experience with grey literature at the Fundación Espigas, the highly specialized Argentinian art information center in Buenos Aires, is changing this point of view. The Center’s database offers access to a great corpus of such publications, especially to ephemera such as private view cards, pamphlets, auction catalogues, catalogues of solo and group exhibitions and posters. This ‘minimal documentary information’ has an important place as a resource, and would prove invaluable for any research project on Argentine art in the future. Indeed this material is not grey but unexpectedly brilliant at providing rich and hidden information.
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Makombe, Simon D., Anthony D. Harries, Joseph Kwong-Leung Yu, Mindy Hochgesang, Eustice Mhango, Ralf Weigel, Olesi Pasulani, Margaret Fitzgerald, Erik J. Schouten i Edwin Libamba. "Outcomes of patients with Kaposi's sarcoma who start antiretroviral therapy under routine programme conditions in Malawi". Tropical Doctor 38, nr 1 (styczeń 2008): 5–7. http://dx.doi.org/10.1258/td.2007.060023.
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AIDS-associated Kaposi's sarcoma (KS) is the most common AIDS-related malignancy in sub-Saharan Africa, with a generally unfavourable prognosis. We report on six-month and 12-month cohort treatment outcomes of human immunodeficiency virus (HIV)-positive KS patients and HIV-positive non-KS patients treated with antiretroviral therapy (ART) in public sector facilities in Malawi. Data were collected from standardized antiretroviral (ARV) patient master cards and ARV patient registers. Between July and September 2005, 7905 patients started ART-488 (6%) with a diagnosis of KS and 7417 with a non-KS diagnosis. Between January and March 2005, 4580 patients started ART-326 (7%) with a diagnosis of KS and 4254 with a non-KS diagnosis. At six-months and 12-months, significantly fewer KS patients were alive and significantly more had died or defaulted compared to non-KS patients. HIV-positive KS patients on ART in Malawi have worse outcomes than other patients on ART. Methods designed to improve these outcomes must be found.
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Bdil, Bracha. "Thomas Bernhard: Seeming Volatility, Innovation in Purity". Itamar. Revista de investigación musical: territorios para el arte, nr 9 (4.07.2023): 274. http://dx.doi.org/10.7203/itamar.9.27012.
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Why doesn't Rudolf manage to start his musicological work on Mendelssohn-Bertoldi? Who is Anna Hertel? What floating card game is the protagonist running throughout Concrete? And what is so revolutionary about the misanthropic-musical writing of Thomas Bernhard in this novel? The following article seeks to answer these questions while examining the act of art re the technical and content aspects, while examining Bernhard's unique use of the "System of Gaps", the "Showing" against "Telling", and the reliability of the protagonist. These and other means are used by the author to lay out the cards of human existence in front of the reader with courage and true honesty. Along with a comparison between prose and music and visual art, the article aims to discover the secret of the novella's musical, poetic, and ethical grand pause.
Keywords. Thomas Bernhard, Concrete novella, Seeming Volatility-Innovation in Purity, System of Gaps, Showing-Telling, Grand Pause, Felix Mendelssohn-Bartholdy, Ethics, Imperfection.
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Simmons, Anne H. "FOMO case studies: loss, discovery and inspiration among relics". Art Libraries Journal 41, nr 2 (kwiecień 2016): 72–76. http://dx.doi.org/10.1017/alj.2016.3.
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In 2009, I was two years into my tenure as a museum employee, managing a collection of small exhibition brochures, pamphlets and gallery announcements at the National Gallery of Art Library. That summer, New York Times art critic Roberta Smith reported on a phenomenon I had also observed in my capacity as Reference Librarian for Vertical Files: the decline of the printed gallery post card. Smith's ArtsBeat blog post, ‘Gallery Card as Relic,’ is a breezy elegy surveying recent “final notice” cards mailed from commercial galleries that were “going green” by eliminating paper mailings. I, however, was feeling less light-hearted about the demise of what Smith describes as a “useful bit of art-world indicator…[and] an indispensable constant creatively deployed by artists, avidly cherished by the ephemera-obsessed and devotedly archived by museums.”
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Roberts, Lynda. "Pattern Interrupt". Art & the Public Sphere 8, nr 2 (1.12.2019): 195–200. http://dx.doi.org/10.1386/aps_00020_7.
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Operating in contested fields often requires agile and lateral actions to keep a project moving. Pattern Interrupt was an autonomous, discursive mobile artwork, located outside and between the institutional surroundings of RMIT University. It speculated on the tactical actions needed to work creatively within Melbourne’s public realm via a playful discussion series, augmented through a card game that stimulated the sharing of experiences between AAANZ Conference delegates, drawing on their various roles in the field. The cards distilled my accumulated insights from provisional experiments, workarounds and shortfalls as a transdisciplinary practitioner working in public art. They harnessed the language and format of artist instructions such as Oblique Strategies (1975) by Brian Eno and Peter Schmidt and early management games, such as Distant Early Warning (1969) by Marshall McLuhan. Operating at the intersection of publication and game, the deck of cards specifically challenged the linear format of a book or presentation as a way to distil findings from the field. Instead, it was a dynamic set of chance operations that could be reapplied within practice while remaining open to multiple interpretations. As a live laboratory, it articulated and activated knowledge/s drawn from the public realm. It offered participants an opportunity to find play in bureaucratic systems, and to work around intractable public art predicaments together.
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Colgan, Lynda E. C. "It's Friezing in Here: Tessellations through Art, Architecture, and Cultural Artifacts". Mathematics Teaching in the Middle School 9, nr 6 (luty 2004): 334–38. http://dx.doi.org/10.5951/mtms.9.6.0334.
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IN CANADA, AS IN THE UNITED STATES, there are large-scale reform movements aimed at making the mathematics that is taught in school simultaneously more rigorous and accountable. The reforms are usually accomplished by the publication of districtwide curriculum documents that carefully delineate long lists of grade-by-grade learning expectations that are then matched to large-scale assessments, standardized achievement expectations, and common report cards. The explicit articulation of specific curriculum expectations was originally intended to add breadth to the mathematics programs in our classrooms by reinforcing the notion that there are many branches on the tree of mathematics: data management, probability, algebra, patterning, spatial sense, geometry, measurement, and number sense and numeration.
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Hope, Sophie, i Henry Mulhall. "Cards on the Table: Critical reflections on a participatory research method". Conjunctions 11, nr 1 (1.03.2024): 1–14. http://dx.doi.org/10.2478/tjcp-2023-0008.
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Abstract This article critically reflects on the limitations and challenges of using Cards on the Table (COTT), a participatory research method used to evaluate experiences of participation in art projects. The focus of this article is on the application of COTT as part of our evaluation of BE PART, a four-year Creative Europe Program of the European Union that ran from 2019 to 2023. The COTT method is informed by community research and participation action research, but here we highlight the ambiguous and messy nature of researching with such a broad and varied network of communities. We illustrate the tension between our desire to research in a co-productive, community-led, and action-oriented way and the realities of conducting research with a vast network of participants and limited time and budget.
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Hope, Sophie, i Henry Mulhall. "Cards on the Table: Critical reflections on a participatory research method". Conjunctions 11, nr 1 (1.03.2024): 1–14. http://dx.doi.org/10.2478/tjcp-2024-0008.
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Abstract This article critically reflects on the limitations and challenges of using Cards on the Table (COTT), a participatory research method used to evaluate experiences of participation in art projects. The focus of this article is on the application of COTT as part of our evaluation of BE PART, a four-year Creative Europe Program of the European Union that ran from 2019 to 2023. The COTT method is informed by community research and participation action research, but here we highlight the ambiguous and messy nature of researching with such a broad and varied network of communities. We illustrate the tension between our desire to research in a co-productive, community-led, and action-oriented way and the realities of conducting research with a vast network of participants and limited time and budget.
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Chan, A. K., E. Singogo, R. Changamire, Y. E. C. Ratsma, J.-M. Tassie i A. D. Harries. "Simplified methods of determining treatment retention in Malawi: ART cohort reports vs. pharmacy stock cards". Public Health Action 2, nr 2 (21.06.2012): 32–37. http://dx.doi.org/10.5588/pha.11.0028.
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Bolotova, Alexandra I. "The Tretyakov Gallery Library". Art Libraries Journal 17, nr 2 (1992): 24–26. http://dx.doi.org/10.1017/s0307472200007781.
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The Library of the Tretyakov Gallery in Moscow contains over 50,000 books on Russian and foreign art. The collections date back to the gift, in 1899, of the library of P. M. Tretyakov. From 1918, the Library and the Gallery received the benefit of State support; the Library gained books from private collections and as a result of the closure of other museums, and it continued to receive donations. From 1931, copies of Russian publications on art were received on legal deposit, and many publications are additionally acquired in exchange for copies of the Gallery’s own publications. As well as books, the Library contains collections of manuscripts, of press-cuttings, and of exhibition invitation cards and posters. The Library maintains several card indexes, on Soviet art and the participation of Soviet artists in exhibitions, and of journal articles, illustrations, illustrators, and exhibition catalogues. The Library has itself published several reference books.
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Tayebi, Mohammed, i Said El Kafhali. "Credit Card Fraud Detection Based on Hyperparameters Optimization Using the Differential Evolution". International Journal of Information Security and Privacy 16, nr 1 (1.01.2022): 1–21. http://dx.doi.org/10.4018/ijisp.314156.
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Due to the emigration of world business to the internet, credit cards have become a tool for payments for both online and outline purchases. However, fraudsters try to attack those systems using various techniques, and credit card fraud has become dangerous. To secure credit cards, different methods are proposed in the academic paper based on artificial intelligence. The proposed solution in this paper aims at combining the robustness of three methods: the differential evolution algorithm (DE) for selecting the best hyperparameters, a resampling technique for handling imbalanced data issues, and the XGBoost technique for classification. Finally, the fraudulent transactions are classified using the optimized XGBoost algorithm. The proposed solution is evaluated using two real-world datasets: the European dataset and the UCI dataset. The evaluation in terms of accuracy, sensitivity, specificity, precision, and F-measure shows the ability and the superiority of the proposed approach in comparison with the state-of-the-art machine learning models.
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Lauwers, D., Ph Brondeel, L. Moens i P. Vandenabeele. "In situ Raman mapping of art objects". Philosophical Transactions of the Royal Society A: Mathematical, Physical and Engineering Sciences 374, nr 2082 (13.12.2016): 20160039. http://dx.doi.org/10.1098/rsta.2016.0039.
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Raman spectroscopy has grown to be one of the techniques of interest for the investigation of art objects. The approach has several advantageous properties, and the non-destructive character of the technique allowed it to be used for in situ investigations. However, compared with laboratory approaches, it would be useful to take advantage of the small spectral footprint of the technique, and use Raman spectroscopy to study the spatial distribution of different compounds. In this work, an in situ Raman mapping system is developed to be able to relate chemical information with its spatial distribution. Challenges for the development are discussed, including the need for stable positioning and proper data treatment. To avoid focusing problems, nineteenth century porcelain cards are used to test the system. This work focuses mainly on the post-processing of the large dataset which consists of four steps: (i) importing the data into the software; (ii) visualization of the dataset; (iii) extraction of the variables; and (iv) creation of a Raman image. It is shown that despite the challenging task of the development of the full in situ Raman mapping system, the first steps are very promising. This article is part of the themed issue ‘Raman spectroscopy in art and archaeology’.
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Senelick, Laurence. "Double Vision: Second Empire Theatre in Stereographs". Theatre Research International 24, nr 1 (1999): 83–88. http://dx.doi.org/10.1017/s0307883300020289.
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Of cherry-wood or pressed tin, lined with red plush or gutta-percha, hand-held or mounted in a self-standing case, the stereoscope was, by the mid-1850s, ubiquitous in the Victorian parlor, where the viewing device and its attendant cards provided an inoffensive and instructive amusement. ‘The stereoscope is now seen in every drawing-room’, reported the Art Journal of 1856, ‘philosophers talk learnedly upon it; ladies are delighted with its magic representations; and children play with it.’
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Mao, Zilan, Tianlun Ni i Haoyu Yin. "The State-Of-Art Applications of Conventional Probability Issues". Highlights in Science, Engineering and Technology 68 (9.10.2023): 1–10. http://dx.doi.org/10.54097/hset.v68i.11917.
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Contemporarily, the applications of conventional statistics to state-of-art problems become increasingly ingenious and complicated. Specifically, poker games, secretary puzzles, and the newsvendor theory will be fully discussed and elaborated in this paper. First, we discuss how to select the initial hand poker cards with the same card power research. The experiment proves that the method of equal card power generation is effective and feasible. In addition, we discuss the secretary puzzle, based on the optimal stopping theory, with the basic condition discussed by using different methods, probability, and calculus. Finally, we elaborate on the application of the newsvendor theory to the hotel overbooking problem. The theory is suitable for helping make decisions in manufacturing and service industries. When resolving the hotel overbooking problem, we successfully decide the number of rooms that the hotel reservations need to overbook in order to maximize the profit through the newsvendor model and the probabilistic approach, whose results turn out to be the same. Overall, these results shed light on guiding further exploration of statistics and probability.
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Rocha, Ana Isabel Serra de Magalhães. "Cardography as a research method through writing and drawing in higher education workshops". Journal of Writing in Creative Practice 14, nr 2 (1.09.2021): 193–207. http://dx.doi.org/10.1386/jwcp_00022_1.
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This article is supported by the author’s experience through a methodology created during her Ph.D. thesis ‘The experience of book’s place at the university’, also during COVID-19 restrictions. The student transformed public presentations into collaborative research workshops, where new interrelations and concepts occurred rooted in arts-based research methodologies, exploring art and education, in its scope. Cardography is an invented designation based on a/r/tography, as a creative living research methodology that uses cards as a device for a visual inquiry, considering that each book’s page is a card to be written or drawn (digital or paper), documenting the dialogic process during each research workshop. The research result contemplates an artistic object, which is displayed afterwards in university and art exhibitions. The reader is invited to follow a fil rouge alignment, inspired by a book structure, reflecting upon concepts and research methods not yet implemented at the art education doctoral course.
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Kaminskaya, Yuliya V. "Writing on cards in Lev Rubinstein's aesthetics and poetics: Origin, biography, social and cultural context". Vestnik Tomskogo gosudarstvennogo universiteta, nr 482 (2023): 67–80. http://dx.doi.org/10.17223/15617793/482/7.
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The article raises the problem of Lev Rubinstein's historical poetics of writing on cards, the biographical and social reasons for his appeal to the forms of “card-file book” and catalogues. On the example of the works and public self-presentation of Rubinstein, one of the leaders of Moscow conceptualism, the author analyses the correlation of his positioning as a “deconstructor” of the repressive Soviet discourse, on the one hand, and the poetics of his works, on the other. The methodological basis of the research is works by S.N. Broitman, V.N. Toporov and V.Ya. Propp on cumulation as a principle of plot construction; by A. Yurchak and K.A. Bogdanov on the features of Soviet cultural discourse; by V.I. Tyupa on the types of artistic consciousness in the poetry of the twentieth century; by B. Dubin on the sociology of literature, etc. In the course of the study, the author determines the reasons for the writer's use of the form of a catalogue, describes Rubinstein's principles for creating a system alternative to the Soviet cultural project. Rubinstein chooses a card file as a horizontally organized space without hierarchy: at the subjective level of the poetics of the text, according to him, the roles of the writer and the reader are equalized; at the content level, the line between art and non-art is erased. The article analyses in detail the “card” poetry of the conceptualist, including texts from the archives of the Perm Museum of Contemporary Art “PERMM”, and also examines two prose books - A Whole Year. My Calendar and Cemetery with Wi-Fi. The article concludes that the position of absolute freedom declared by Rubinstein within the framework of the catalogue is not fully implemented. As the article shows, Rubinstein's texts incline towards deindividualizing consciousness, neosyncretism, cumulation and creation of structures, whose parts are subject to equalization. The levelling of differences between the roles of the reader and the writer is largely illusory: it is the the writer that sets the rules for determining the functions of the participants in the process. The role of the writer, standing outside the cards, consistently eliminating aesthetic differences between the classical and unknown writers, establishing the principles of systematization of elements, is comparable to the role of a leader in Soviet culture, and the poetics of the catalogue is typologically close to Varlam Shalamov's prose.
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Reichmann, Brunilda Tempel. "“Tá dificil competir": Adaptação da trilogia de Michael Dobbs, House of Cards, pela BBC e pela Netflix". Ilha do Desterro A Journal of English Language, Literatures in English and Cultural Studies 72, nr 1 (1.02.2019): 213–34. http://dx.doi.org/10.5007/2175-8026.2019v72n1p213.
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This paper presents a reading of the political trilogy House of Cards, To Play the King e The Final Cut, by Michael Dobbs, an English writer; and their adaptation by the BBC and Netflix series. I try to demonstrate how novelists, script writers and directors of series celebrate the unparalleled art of Shakespeare by reworking themes, updating contexts and rebuilding personality traits of his unforgettable characters. In short, this text aims to analyze the series and to recover some of the genetic characteristics of Shakespeare’s plays in contemporary artistic/mediatic production.
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Dobrescu, Lidia, Silviu Stanciu i Armand Ropot. "Radiation Safety of the Patients Investigated by Radiological Imaging Methods". International Journal of Monitoring and Surveillance Technologies Research 1, nr 4 (październik 2013): 34–47. http://dx.doi.org/10.4018/ijmstr.2013100104.
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Imaging methods such as radiographies, computed tomographies or scintigraphies expose the patients to a cumulative effective dose of radiation that could often exceed the maximum allowed dose. A three months medical study in a Romanian hospital showed, despite the great concern of radiation exposure, the skyrocketing volume of imaging investigations with radiation risk that lack monitoring and tracking the cumulative radiation doses of the patients. In order to solve this problem, in this paper the authors propose an integrated system that ensures the radiation safety and security of the patients investigated by radiological imaging methods such as radiographies, computed tomographies or scintigraphies. The system uses state of the art technologies such as smart cards, digital signature and Public Key Infrastructure. The proposed system provides a couple of secure services like electronic patient record of radiological investigations, assistance in prescription of future radiological investigations based on the patient history, different reports and statistics and even the control access of persons to areas with risk of radiation exposure based on information stored on their smart cards.
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Li, Jiafang, i Zhiguang Liu. "Focused-ion-beam-based nano-kirigami: from art to photonics". Nanophotonics 7, nr 10 (19.09.2018): 1637–50. http://dx.doi.org/10.1515/nanoph-2018-0117.
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AbstractKirigami, i.e. the cutting and folding of flat objects to create versatile shapes, is one of the most traditional Chinese arts that has been widely used in window decorations, gift cards, festivals, and various ceremonies, and has recently found intriguing applications in modern sciences and technologies. In this article, we review the newly developed focused-ion-beam-based nanoscale kirigami, named nano-kirigami, as a powerful three-dimensional (3D) nanofabrication technique. By utilizing the topography-guided stress equilibrium induced by ion-beam irradiation on a free-standing gold nanofilm, versatile 3D shape transformations such as upward buckling, downward bending, complex rotation, and twisting of nanostructures are precisely achieved. It is shown that the generated 3D nanostructures possess exceptional geometries and promising photonic functionalities, including strongly interacting multiple Fano resonances, giant optical chirality, clear photonic spin Hall effects, and diffractive phase/polarization effects. The studies of such structures can build up novel platforms for versatile manufacturing techniques and be helpful to establish new areas in plasmonics, nanophotonics, optomechanics, MEMS/NEMS, etc., with the generation of exotic but functional nanostructures.
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Keyser, James D. "Cheval Bonnet: A Crow Calling Card in the Blackfeet Homeland". Ethnohistory 65, nr 1 (1.01.2018): 129–56. http://dx.doi.org/10.1215/00141801-4260683.
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Abstract Cheval Bonnet, a small petroglyph site located along Cut Bank Creek in northern Montana, contains coup-counting and horse-raiding narratives from the early 1800s. By careful comparison to known Crow-style rock art and robe art imagery, most of the petroglyphs at the site can be identified as Crow drawings, begging the question of why they are located here, so far from Crow country and in the heart of Historic Blackfeet tribal territory. Detailed ethnohistoric research shows that one aspect of Historic Plains Indian warfare was the leaving of such drawings as “calling cards” by war parties who entered enemy territory and wished to taunt their adversaries by illustrating deeds that they had executed against them. Understanding this site as such a calling card enables us to identify other similar ones elsewhere on the northern Plains.
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Onuigbo, H. N. "Impact of 1 Year of Large-Scale Antiretroviral Drug Treatment on the Anthropometric Profiles and Treatment Outcomes of HIV-Adult Patients in the Rural District Hospital of Eastern Nigeria". Asian Journal of Research in Biochemistry 14, nr 2 (13.03.2024): 23–27. http://dx.doi.org/10.9734/ajrb/2024/v14i2280.
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The study aimed at assessing the evolution of body mass index of (BMI) and treatment outcome of Human immunodeficiency virus (HIV) adult-patients who were on antiretroviral therapy (ART) over a period of one year in a community district hospital with high prevalence of HIV attendance. One year retrospective follow-up study of the recruited patients was carried out using data collected from their treatment cards. One hundred and fifty-one patients were recruited for the study but eleven patients dropped as a result of clinical emergencies and breach of study protocol. Ninety-two (66%) were females and the rest adult males. Study patients were on four different World Health Organization (WHO) clinical stages at various numerical strengths. There were significant (p>0.05) synchronized linear increment of BMI and positive treatment outcomes following treatment with antiretroviral therapy (ART).
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Haiven, Max. "Art and money: Three aesthetic strategies in an age of financialisation". Finance and Society 1, nr 1 (6.07.2015): 38–60. http://dx.doi.org/10.2218/finsoc.v1i1.1370.
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Recent decades of financialisation have seen a significant growth in art that mobilises various forms of money as artistic media. These range from the integration of material money (coins, bills, credit cards) into aesthetic processes, such as sculpture, painting, performance, and so on, to a preoccupation with more ephemeral thematics including debt, economics, and the dynamics of the art market. This article explores three (and a half) strategies that artists use to engage with money: crass opportunism; a stark revelation of money’s power; a coy play with art’s subjugation to money; and a more profound attempt to reveal the shared labour at the heart of both money and art’s aesthetic-political power. Money’s perennial appeal to artists stems from the irony of its tantalising capacity to almost represent capitalist totality. At their core, both money and art are animated by a certain creative labour, a suspension of disbelief, and a politics of representation. Artistic practices that use money can provide critical resources for studying, understanding, and seeing beyond the rule of speculative capital.
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Tikhomirov, Boris. "St. Petersburg Addresses of Nikolai Strakhov". Неизвестный Достоевский 10, nr 4 (grudzień 2023): 155–75. http://dx.doi.org/10.15393/j10.art.2023.6961.
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The article provides an overview of the St. Petersburg addresses of the philosopher, literary critic and publicist Nikolai Nikolaevich Strakhov (1828-1896), one of the closest people to Dostoevsky in the 1860s and 1870s, the author of the first posthumous biography of the writer. Based on memoir literature, correspondence, official documents based on address books, report cards of houses, atlases of St. Petersburg, other reference literature of the XIX century. The article describes the residence addresses of the thinker since September 1844, when he arrived in the Northern capital from Kostroma, until the day of his death on January 24, 1896. In addition to the places of residence, the addresses of educational institutions (St. Petersburg Imperial University, the Main Pedagogical Institute) and Strakhov's places of service (the 2nd St. Petersburg Men's Gymnasium, the Imperial Public Library, the Scientific Committee of the Ministry of National Education, the Committee of Foreign Censorship) are taken into account; addresses where editorial circles of “Svetoch” magazines gathered with the active participation of Strakhov, "Vremya", "Epokha", "Zarya". In all cases, both historical addresses (including the names of the homeowners) and their location on the map of modern St. Petersburg are indicated.
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Hananto, Brian Alvin, i Jennifer Audiah. "ANALISA VISUAL DARI ELEMEN PERMAINAN KARTU ‘THE ART OF BATIK’". Jurnal Bahasa Rupa 2, nr 2 (21.04.2019): 136–45. http://dx.doi.org/10.31598/bahasarupa.v2i2.367.
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Card games have become a common object that is used not only for playing but also to inform and teach several things through its gameplay. ‘The Art of Batik’ was a card game designed by Adhit WP, illustrated by M. Bahroen and published by Hompimpa! Games. The card game wanted to teach its players about a simplified process and steps of producing Batik with its gameplay. Unfortunately, the game is considered hard to understand and it fails to inform the intended messages to its players. The author tries to study more about the issue and the game’s element and rules, the author also examines the visuals and interface of the game. The author concludes that the main issue is found on the visual of ‘The Art of Batik’ card game. The cards have poor information arrangement and hierarchy, which can be properly addressed by reconsidering the layout of the pieces of information. From this conclusion, the author suggests that a redesign of ‘The Art of Batik’ can be executed based on the author's foundings so that the game can be more effectively played and easier to understand.
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Falconer, Vicky. "Printed exhibition ephemera: here to stay? A survey of UK and international art galleries and organisations undertaken at Chelsea College of Arts Library". Art Libraries Journal 41, nr 2 (kwiecień 2016): 97–105. http://dx.doi.org/10.1017/alj.2016.8.
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A survey was carried out at Chelsea College of Arts Library in 2015 to investigate the currency of printed art ephemera, and to inform the development of its collection. The questions were: 1. Does your institution produce printed exhibition ephemera (i.e. exhibition announcements, private view cards, posters, etc.)?; 2. If yes, does your institution distribute these items by post?; 3. Is your policy on the above likely to change in the foreseeable future? Do you have any comments about this or about anything else to do with exhibition ephemera? Distributed to 250 organisations, this article analyses the data gathered from the replies received.
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Raverty, Dennis. "Marketing Modernism: Promotional Strategy in the Armory Show". Prospects 27 (październik 2002): 359–74. http://dx.doi.org/10.1017/s0361233300001241.
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It is generally acknowledged that the International Exhibition of Modern Art of 1913, often called the Armory Show, was a masterpiece of public relations. In New York City, where it first opened, the newspapers were filled with articles on the exhibition, the elevated train stations were plastered with posters announcing it, uniformed attendants were stationed outside the Armory with megaphones to summon automobiles and taxis, thousands of lapel pins were handed out to the visitors, catalogues, pamphlets, magazines, and post cards were available for purchase, and a temporary U.S. Post Office was even provided on the premises from which to mail them.
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Sutton, Anne F., i Livia Visser Fuchs. "Richard III and the Knave of Cards: An Illuminator's Model in Manuscript and Print, 1440s to 1990s". Antiquaries Journal 79 (wrzesień 1999): 257–99. http://dx.doi.org/10.1017/s0003581500044541.
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For over two hundred years certain historians and art historians have been asserting that a portrait of Richard III can be found in the presentation miniature of one of Edward IV's manuscripts. This ‘portrait’ was the starting point of this investigation. The history of this myth has been traced, and that of the picture itself, its component parts and the book in which it appears, and it was the second phase of this research which revealed another complex trail of copies and imitations by illuminators and other artists.
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Compton, Kate, i Michael Mateas. "A Generative Framework of Generativity". Proceedings of the AAAI Conference on Artificial Intelligence and Interactive Digital Entertainment 13, nr 2 (25.06.2021): 41–48. http://dx.doi.org/10.1609/aiide.v13i2.12974.
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Several frameworks exist to describe how procedural content can be understood, or how it can be used in games. In this paper, we present a framework that considers generativity as a pipeline of successive data transformations, with each transformation either generating, transforming, or pruning away information. This framework has been iterated through repeated engagement and education interactions with the game development and generative art communities. In its most recent refinement, it has been physically instantiated into a deck of cards, which can be used to analyze existing examples of generativity or design new generative systems. This Generative Framework of Generativity aims to constructively define the design space of generative pipelines.
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Abe, Yuta, Yu-ichi Hayashi, Takaaki Mizuki i Hideaki Sone. "Five-Card AND Computations in Committed Format Using Only Uniform Cyclic Shuffles". New Generation Computing 39, nr 1 (18.01.2021): 97–114. http://dx.doi.org/10.1007/s00354-020-00110-2.
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AbstractIn card-based cryptography, designing AND protocols in committed format is a major research topic. The state-of-the-art AND protocol proposed by Koch, Walzer, and Härtel in ASIACRYPT 2015 uses only four cards, which is the minimum permissible number. The minimality of their protocol relies on somewhat complicated shuffles having non-uniform probabilities of possible outcomes. Restricting the allowed shuffles to uniform closed ones entails that, to the best of our knowledge, six cards are sufficient: the six-card AND protocol proposed by Mizuki and Sone in 2009 utilizes the random bisection cut, which is a uniform and cyclic (and hence, closed) shuffle. Thus, a question has arisen: “Can we improve upon this six-card protocol using only uniform closed shuffles?” In other words, the existence or otherwise of a five-card AND protocol in committed format using only uniform closed shuffles has been one of the most important open questions in this field. In this paper, we answer the question affirmatively by designing five-card committed-format AND protocols using only uniform cyclic shuffles. The shuffles that our protocols use are the random cut and random bisection cut, both of which are uniform cyclic shuffles and can be easily implemented by humans.
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Budiawan, Raden Yusuf Sidiq. "Integration of the use of “Nasi Tumpeng” in the teaching of BIPA as one of Indonesian local cultural wisdom". Hortatori : Jurnal Pendidikan Bahasa dan Sastra Indonesia 1, nr 1 (25.07.2019): 01–07. http://dx.doi.org/10.30998/jh.v1i1.28.
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This study aimed to describe the potential of teaching BIPA integrated with rice cone as a philosophical and cultural wisdom Indonesia. Integrating learning with cultural language is intended to provide an understanding of culture that refers to the ability to choose the form of the language according to the sociocultural context in communication Indonesian. This qualitative descriptive study begins with the collection of data with the literature search techniques and in-depth interviews. Data analysis stage starts with observation data to identify the values of local wisdom in rice cone and the potential for BIPA learning that can be integrated with one of the traditional Indonesian cuisine. Presentation of the results of the data analysis described formally and informally. This study shows that rice cone store various life values of form and composition, such as a character close to nature, surrender to God, tolerance, respect, love art, prudence, togetherness, harmony helpful to others, religious, self-controlled , surrender, simple, stoic, strong, and resilient. Rice cone can also be integrated in a cultural learning, speaking, listening, writing, reading, and vocabulary with a variety of activities, such as cooking demonstrations, mini-paper, or a game with the flash cards, cue cards, jumbled paragraphs, jumbled sentences, jumbled words, etc.