Статті в журналах з теми "LCI stone cutting technologies"

The dimension stone sector is more and more active in developing new solutions to improve the sustainability of its supply chain, partly as a consequence of the current EU policies on Circular Economy and Raw Materials. The Life Cycle Assessment (LCA) is a recognized scientific tool for evaluating environmental impacts of the processes. Nevertheless, in the stone sector, LCA is hindered by the scarce availability of Life Cycle Inventory (LCI) datasets for the specific processes of the stone supply chain. This paper provides LCI datasets of the most common and widespread techniques and related technologies for quarrying, cutting and finishing soft-weak stones. To this aim primary data were collected in Italian marble quarries and processing plants and in companies producing cutting tools. When necessary, industry data were complemented with secondary data from literature. High replicability and flexibility of the datasets is obtained through the provision of Unit process inventories for each technology/technique and through the set of parameters. In addition, the uncertainty of the resulting LCI datasets has been evaluated with the well-established procedure of Ecoinvent pedigree matrix. The availability of these datasets contributes to the population of Life Cycle databases and is expected to boost the measurement and enhancement of the key aspects of sustainability in the stone sector.

Brazil is one of the main producers and exporters of natural stones in the world. Aiming to contribute to environmental improvements, the life cycle inventory of Brazilian natural stones – LCI Stones was elaborated. This paper presents the results obtained along the LCI Stones project. The project was carried out according to the Brazilian methodology for the elaboration of inventories and to the 14040 and 14044 ISO standards. The study consists of two product systems: quarrying and processing (which is divided in two other subsystems: sawing and polishing), being the last one the main system of this study. The product considered is the polished slab. The data were collected within producing companies, comprising a representative time period for the inventory validation. All inputs and outputs of mass, water and energy as well as products and emissions, within the boundaries, were identified and quantified. The main difficulty found in the data collection was the lack of data control by the companies, mainly the water and energy consumption and polishing inputs. The results of the study showed that, among the stone production processes, gang saw cutting was the one with the most relevant impacts. On account of the rapid technological improvements during the last years, the LCI-Stones is being updated by CETEM.

Precision agriculture is a concept that encompasses various technologies aimed at optimizing the management of agricultural activities. The main aim of this investigation is to evaluate the environmental and economic performance of precision agriculture practices on the production of a stone fruit crop (nectarine) using a life cycle approach and to consider a cradle-to-farm gate scope. The results have been compared against the traditional uniform application (UA). The analysis considers five impact categories, including climate change, photochemical ozone formation, acidification, eutrophication, and water use. The foreground inventory data was provided by a local producer in Southern Spain, and the background information was sourced from commercial Life Cycle Inventory (LCI) databases. The results show that the manufacturing of crop inputs (mainly fertilizers, but also crop management inputs) is responsible for most of the damage generated in all the impact categories, except for water use. The reduced input requirements associated with the application of VA techniques resulted in significantly lower economic costs and environmental savings throughout the life cycle of the production system, which ranged on average between 12–26%.

Oldowan lithic assemblages are often portrayed as a product of the need to obtain sharp flakes for cutting into animal carcases. However, ethnographic and experimental research indicates that the optimal way to produce flakes for such butchering purposes is via bipolar reduction of small cryptocrystalline pebbles rather than from larger crystalline cores resembling choppers. Ethnographic observations of stone tool-using hunter-gatherers in environments comparable with early hominins indicate that most stone tools (particularly chopper forms and flake tools) were used for making simple shaft tools including spears, digging sticks and throwing sticks. These tools bear strong resemblances to Oldowan stone tools. Bipolar reduction for butchering probably preceded chopper-like core reduction and provides a key link between primate nut-cracking technologies and the emergence of more sophisticated lithic technologies leading to the Oldowan.

Early stone tools, and in particular sharp stone tools, arguably represent one of the most important technological milestones in human evolution. The production and use of sharp stone tools significantly widened the ecological niche of our ancestors, allowing them to exploit novel food resources. However, despite their importance, it is still unclear how these early lithic technologies emerged and which behaviours served as stepping-stones for the development of systematic lithic production in our lineage. One approach to answer this question is to collect comparative data on the stone tool making and using abilities of our closest living relatives, the great apes, to reconstruct the potential stone-related behaviours of early hominins. To this end, we tested both the individual and the social learning abilities of five orangutans to make and use stone tools. Although the orangutans did not make sharp stone tools initially, three individuals spontaneously engaged in lithic percussion, and sharp stone pieces were produced under later experimental conditions. Furthermore, when provided with a human-made sharp stone, one orangutan spontaneously used it as a cutting tool. Contrary to previous experiments, social demonstrations did not considerably improve the stone tool making and using abilities of orangutans. Our study is the first to systematically investigate the stone tool making and using abilities of untrained, unenculturated orangutans showing that two proposed pre-requisites for the emergence of early lithic technologies–lithic percussion and the recognition of sharp-edged stones as cutting tools–are present in this species. We discuss the implications that ours and previous great ape stone tool experiments have for understanding the initial stages of lithic technologies in our lineage.

The advantages and the need to improve the safety of work when using modern diamond technologies for cutting concrete and reinforced concrete structures which are common during the dismantling and reconstruction of civil objects are shown. Improved organizational, structural and technological schemes of cutting these structures with diamond disc and wire saws with remote control are reasonably proposed. Preliminary fastening of cut elements on independent spatial scaffolding with screw jacks is a distinctive feature of the proposed schemes. In case of reconstruction by means of a device or an increase of the size of openings in load-bearing reinforced concrete and stone walls, a preliminary installation and commissioning of reinforcement steel frames provided for by the project are proposed, on them – guides of diamond disc, chain or wire saws and only then – cutting of reinforced concrete with its forced canting outside the working area for recycling.

STEP-NC (Standard for the Exchange of Product Model Data–Numerical Control) for metal milling and turning is not implemented by industrial computer numerical controllers. Solutions reported are prototypes based on post-processing in G-code. Moreover, minority machining processes, such as stone cutting, have not yet been contemplated in the STEP-NC standard. This article takes that sector as a use case. An extended STEP-NC model for circular saw stone-cutting operations is proposed, and a prototype automation implementation is developed to work with this extended model. This article shows how modern technological resources for coordinated axes control provided by many industrial controllers for the automation of general-purpose machines can speed up the processes of implementing STEP-NC numerical controllers. This article proposes a mixed and flexible approach for STEP-NC-based machine automation, where different strategies can coexist when it comes to executing STEP-NC machining files, so controllers do not need to implement the standard in an exhaustive way for all the possible features, but only at selected ones when convenient. This is demonstrated in a prototype implementation which is able to process STEP-NC product files with mixed-feature types: standard milling and non-standard sawblade features for stone processing.

Through this study, equipment was developed which could work large size stones into linear and curve shaped cutting planes and cut polygonal shaped stones during the lapping and semi-finishing works which are pre-tasks to manufacture the large size building column or large size stone statue which is installed in the temple. The best is to read these instructions and follow the outline of this text. Safety of equipment could be secured using design program and structure interpreting program and productivity could be improved by reducing the required manpower and working time for rough grinding and semi-finishing works through positioning control module. This technology is expected to be utilized in manufacturing various stone equipments by applying the working path generation and oil pressure technologies as the type of NC work equipments as well as in future working area.

Water jet cutting is an unconventional technology used for materials processing. It is known to be one of the most versatile and rapid cutting methods that can be applied to process a greater variety of materials such: metallic materials, non-metallic materials, stone, glass etc. By comparing with the classical technologies, the water jet cutting presents the following advantages: very low side forces during the machining; it is rapid; it is silent; no thermal distortion, high flexibility and has a good cutting accuracy and minimal burrs. In this paper the influence of the high pressures on the surface quality of the workpieces processed by water jet abrasive cutting is presented. The studied parameters were as follows: width of the processed surface at the jet inlet (Li), width of the processed surface at the jet outlet (Lo), deviation from perpendicularity (u), inclination angle (α) and roughness (Ra).

Water jet cutting is an unconventional technology used for materials processing. Abrasive water jet cutting has become a highly developed industry technology. Its development has been favored by the fact that abrasive water jet cutting can be used in practically all areas in which solids are processed stone, glass, plastics, composite materials and metals. It is known to be one of the most versatile and rapid cutting methods that can be applied to process a greater variety of materials such: metallic materials, non-metallic materials. By comparing with the classical technologies, the water jet cutting presents the following advantages: very low side forces during the machining; it is rapid; it is silent; no thermal distortion, high flexibility and has a good cutting accuracy and minimal burrs. The aim of the present paper is to present the results of the study regarding the influence of the distance between the cutting head and working sample processed by abrasive water jet cutting on the surface roughness and dimensional accuracy of the processed part.

The article explores English stone-cutting products of the 18th century from Blue John fluorite. The objects of research are items from the Mining Museum collection. The authors have identified a wide range of analogues from various collections of Russian and European museums, auction houses. The article considers the history of the development of stone-cutting production from Blue John fluorite; possible stone-cutting workshops have been identified. In the study determined the technical and technological features of the manufacture of fluorite products in England at the end of the 18th century. The article deals with issues of attribution and reconstruction of museum items using 3D-visualization. The technical and technological features of fluorite processing and the technology for producing art objects was clarified thanks to the involvement of the laboratory base of the Center for Collective Use of the Mining University. A chemical study was carried out on samples of the substance used to stabilize the stone material of objects. On the basis a wide visual range the appearance of the destroyed vases was restored using 3D-technologies and the places of loss in objects from the Mining Museum were supplemented. The use of modern technological innovations made it possible to restore the appearance of monuments with unsatisfactory preservation and include objects of the 18th century. into scientific circulation. A significant corpus of archival documents has been revealed, giving an idea of the sources and methods of entry of items from English fluorite into the collection of the Mining Museum. The results obtained allowed us to change the idea of the formation of the collection of the Mining Museum; to supplement previously known information about the production of fluorite objects of arts and crafts in England.

The dimension stone polishing consists of eliminating the surface roughness of the slabs with the use of fickerts. The main tools used for this activity are composed of epoxy resin, derived from petroleum, which contains chemical elements with harmful potential to the environment and human health. To overcome this problem, it is necessary to develop new technologies with the lowest environmental impact in the life cycle, from the raw material acquisition to the waste disposal. This study aims to contribute to the improvement of an ecological fickert developed by the Centre for Mineral Technology (CETEM). The fickerts presented here are composed of castor oil resin, silicon carbide and silica from rice hull ash. Two different compositional formulas were used for the preparation of the pieces that were tested in an industrial polishing machine. The results showed that the formula with higher percentage of fillers showed better performance, expressed by the relation between the loss of mass of the pieces and the increase of gloss on the surface of the slab. Other particularities of the product, as the high abrasion resistance of the matrix that reduced the cutting function, could be solved by choosing a filler with a lower hardness. This fact allows to infer that this line of research presents great potential of applicability in the dimension stones market.

Powder metallurgy-based technologies of saw blades production for stone cutting normally uses cobalt as binder agent. Cobalt was chosen for that purpose because it provides improved properties, high wettability and good adhesion between dispersed diamond particles. In addition to its excellent physical properties, cobalt also shows a positive behavior associated with the control of diamond graphitization at temperatures up to 1000°C. In this work, an experimental planning method supported by a mathematical algorithm was used to study the influence of doping agents incorporated into cobalt-based binders. The consequences on the wear resistance of saw blades, as well as on other physical and mechanical properties of the “diamond-cobalt-doping agent” composites were investigated. Cr3C2, Si, Ni and Fe were used as doping agents. Experimental tests were carried out using granite as a base material for wear and cutting operations.

Although true blade technologies were virtually unknown throughout the entire Archaic period of the American Midwest, they blossomed briefly during the Middle Woodland, but died out and were absent again during the rest of prehistory. Despite their temporal specificity, we have no idea why this technology developed. In the most intensive attempt so far to derive an answer to this question, Yerkes, at the Murphy site in Ohio, was able to conclude only that blades were used for a variety of tasks, just like bifaces or retouched flakes.My own research sheds light on this problem, at least in the lower Illinois Valley of Illinois. I have applied intensive use-wear analyses to three Middle Woodland components: the Smiling Dan settlement and two different kinds of ceremonial manifestations from the Napoleon Hollow site. Bladelets were used very differently in these three situations. At the habitation they were relatively unimportant and were used for a variety of tasks, just as at the Murphy site. But in mortuary contexts they were numerically very significant and were employed for a restricted range of tasks—primarily for cutting and scraping soft materials. This conclusion suggests that the blade was an integral part of Hopewell ceremonialism.

The use of natural stone has historical and environmental value that makes it strategically valuable for landscape conservation in Europe. Marble, among others, is widely spread on Earth, and it offers high-performance features in architectural applications. However, the complexity of these formations and the rock variability in different ore bodies require detailed studies of the natural and induced stress state, the fracturing degree, and the influence of external factor (such as temperature and/or chemical agents) on the mechanical properties in order to optimize the exploitation processes by reducing extractive waste. This article shows a series of studies conducted by the authors over the last 20 years aimed at making the exploitation of marble blocks in the Carrara basin safer, more efficient, and, therefore, more sustainable. In particular, studies for increasing our knowledge of the natural and the induced stress state through on-site measurements and numerical modeling, studies to improve the quality of the exploited material through improvements of cutting technologies, studies to improve the knowledge of the mechanical behavior of the material under varying loads and temperature conditions, and studies to improve the reuse of water materials and their reduction are reported.

Operation of mining equipment has been analyzed at coal, diamond mining and other min-ing enterprises in conditions of cryolithic zones. Hydraulic breakers, dynamic buckets on ex-cavators, rippers on bulldozers, bar cutters, continuous mining machines, and in some cases, rotary mechanical shovel are used in blast-free mining. It is noted that the hydraulic shovels are characterized with high excavation forces, can be used in selective mining, can clean the foot wall without using a bulldozer, and can reduce or sometimes completely eliminate drill-ing and blasting operations. Boundary values of the face slope angle depending on the ambi-ent temperatures were established during the tests of RS-5500 at the Neryungrinsky open pit mine. Its value is equal to 46º in positive temperature; while during the interseasonal pe-riods the value stands at 60º, and in conditions of extremely low temperatures this value reaches 72º. Experience of using the LIEBHERR hydraulic shovels in building stone quarries shows that the uniaxial compressive strength of the rocks developed without blast pre-conditioning can reach 20-150 MPa. The Caterpillar company proposed a technology for ripping and excavating rocks (up to hard rocks) with quickly replaceable attachment tools. Based on analyzing physical and mechanical properties of the overburden rocks and coal at the deposit with account of cutting forces of the working tool, Mining Institute of the North of Siberian Branch of the Russian Academy of Sciences justified the possibility of using and es-tablished estimated performance parameters of the KCM-2000P Continuous Miner for the rocks and coals of the Elga deposit. Taking into account mining and geological conditions and rock properties of the Elga deposit, specialists of Wirtgen International GmbH calculated the technical and economic parameters of coal and overburden excavation using the Wirtgen 4200SM Surface Miners with loading into the 130-ton dump trucks.

Layer II of Kostenki 17 has yielded one of the earliest Upper Palaeolithic assemblages in Eastern Europe. In addition to lithic and bone implements, the collection includes numerous ornaments with perforated holes made from fox teeth, petrified remains and soft stones. This collection of ornaments is unique in both the variety of raw materials and the peculiarity of manufacturing technologies. The paper presents the results of a use-wear study of these ornaments, designed to answer the questions about how the raw materials were selected and processed, how the finished adornments were used and what could have been the ways of their getting into the cultural layer. All petrified remains as well as pebbles and faunal materials come from local sources. The processing of belemnite rostras involved a rather complex sequence of different techniques from drilling and engraving to termo-chemical surface treatment. Cutting and abrasion were used to produce some pendants made of soft stone. It is shown that the set of techniques used to make stripes of fox teeth was more diverse than previously thought.

To finance their empire, the Inka empire mobilized and expropriated both staple and sumptuary goods. This paper examines the manufacture and use of wealth-associated objects in the Calchaquí Valley, located on the empire's southern periphery. Recent excavations at the imperial settlement of Potrero de Payogasta and at the local Santamariana settlement of Valdéz recovered extensive manufacturing debris. Craft industries included copper, silver, and gold metallurgy; marine and land-snail shell-, stone-, and bone-bead manufacture; and mica disk cutting. At Potrero de Payogasta, the concentration of production debris in the households of the Inka elite and associated personnel represents attached specialization. Because evidence for several craft industries occurs together in individual households, related technologies were probably performed jointly. The inhabitants of the indigenous settlement, Valdéz, manufactured decorative items using primarily locally available land-snail shell. At Valdéz, the high frequency of ceramic molds, used in the casting of pure (unalloyed) copper, documents only initial stages of manufacture. The scarcity of finished wealth from both sites is noteworthy; although Calchaqui settlements were heavily involved in manufacture, wealth was expropriated for circulation in the Inka wealth-finance system.

Abstract Production plants wishing to become competitive on the local and global market should offer their products at the lowest possible price and, at the same time, in the highest possible quality. One of the key tasks for the engineering and technical staff working on them is improving the organization of work and the degree of use of means of production, allowing to increase work efficiency. The latest technological achievements focused on the concept of the Industry 4.0 create new opportunities for further improvement of production processes, their optimization, reduction of costs, or reduction of the nuisance of physical work and mental effort of employees. Many industries use both renewable and nonrenewable natural resources available on earth. Acquiring some of them requires considerable resources and is very burdensome for people. Especially regarding resources deep underground. In the near future, we will also use material resources obtained from outside the Earth, which is an additional challenge. Therefore, the integration of the latest technologies, especially in the field of automation and autonomous robots, IoT and Big data is becoming an essential research area. The paper presents an overview of technological methods and solutions of material identification that can be used in the processes of automated sourcing of materials on an industrial scale. Particular attention was paid to techniques that can be used by specialized, autonomous robots working in conditions that are hard and unsafe for humans. Discussed recognition systems can use advanced methods and the latest technologies. They are most often implemented using special sensors installed on or close to the executive element of a machine. The differences in rocks hardness and compressive strength allowed for the development of methods using acoustic waves and also methods using the measurement of vibration of the cutting tools and machine parts on which they are installed. Another method uses the natural features of rocks adjacent to the seam being extracted - it measures differences in the level of radioactivity. On this basis, a method was developed based on the recognition of low gamma radiation activity. Methods based on the use of radars or thermal imaging cameras testing the temperature of cutting knives installed on the cutting body were also proposed. Another interesting solution is the optical touch sensor that recognizes different types of rock layers. Difficult working conditions, also for machines, in which there is a high concentration of stone dust limiting visibility, the presence of water, and high noise generated by working devices, reveals a number of advantages and disadvantages in the above methods to use them in autonomous, robotic solutions.

One of the plots of the portable art forms of Eastern Europe is abstract, geometric, symbolic images that cannot be deciphered directly. Most of the currently known such geometric images from the archaeological sites of the Upper Paleolithic and Mesolithic of Eastern Europe were applied to finished bone products — tools, weapons, household and non-utilitarian items, as well as bones of various animals without traces of processing using various cutting techniques. The bone is well preserved in the cultural layers of the sites of the late Pleistocene — early Holocene of the Russian Plain, which makes objects from this material an important source for the study of geometric images. However, despite the richness of the source base, the problem of classification and systematization of geometric images in the art of small forms remains poorly developed. The purpose of the article is to consider the issues of practical application of three-dimensional 3D modeling in the study of art objects of small forms of the Upper Paleolithic and Mesolithic. The authors describe the practice of photographing such objects and the peculiarities of the lighting schemes and camera positioning, developed taking into account the specifics of the geometry and material of the documented objects. The minimal technical requirements for the resolution of the models have been determined, which provide the possibility of using visualization algorithms to study fine engravings on bone and stone. The practical application of mathematical visualization algorithms both directly on polygonal models and on height maps built on their basis is described. A method for visualizing and systematizing research results and providing remote access to them using modern web technologies is proposed.

Purpose The purpose of this paper is to propose a novel framework and a systematic group of methodologies for constructing a computer-based design system that could support homebuyers’ participation in the design of their dwellings in the UAE housing market. Design/methodology/approach In order to construct the framework, the paper first presents an overview of current applications of mass customization in the realm of architecture, with focus on successful models in North America. Second, the authors analyze the housing market in the UAE, focusing on challenges and opportunities. This leads to structuring the proposed advanced configuration system based on ideas of technology transfer from other industries. Finally, the profile matching model emerges as a logical consequence of the proposed advanced configuration model. Findings The analysis of the UAE real estate market reveals interesting growth that encourages application of cutting-edge technologies not just in construction methods, but also in new modes of integrating homebuyers in a participatory dialogue for a sustainable outcome. Within the study, the authors call for new roles, digital design and information management technologies can play to enable participatory design. Additionally, the authors propose a new business model that requires extensive studies of the market, and buyers/developers behavior. Research limitations/implications The framework proposed in this paper is considered generic and flexible. It raises various issues regarding its applicability, specifically with regard to market readiness. One of the first challenges is possibility of gathering precise data about the housing market in UAE to measure its size and readiness. Additionally, there are also challenges in finding focused developers and builders that are ready to engage in a dialog toward adopting mass customization as a business model. Practical implications Mass customization implies adopting a flexible, technology-oriented business model. This raises multiple implications: developing configuration systems, the number of design alternatives has to be limited to three or four options in order to avoid additional overhead cost; implementing a digital platform for customization requires investment in tools, systems, and accordingly operators. Higher cost associated with mass customization occur both in sales and customer interaction as well as in manufacturing; and conducting a financial framework for implementing the proposed system requires intensive market studies which is considered challenging. Originality/value The proposed framework derives its novelty by analyzing mass customization theories, technological enablers, various research endeavors in housing, and currently adopted online marketing and sales strategies in the UAE housing market. The implementation of the proposed system would represent a mile stone in the UAE housing market, being capable of redefining the process through which homebuyers, architect, and housing and developers communicate.

Ever since we started air transportation, we have found new ways of traveling more safely everyday with technologies that push the limits of our imagination. Air transport has been connecting the continents with each other. Increased the volume of trade and made it easier to trade with the HUB concept. Airline companies are in the advertising competition while the safety of the flight is at the forefront. Each is more aimed at flying to the region and more often operating. At this point, the limits of competition have been so difficult that our lives have entered different levels of service, including low-cost and traditional. Low-cost airline companies aimed to reduce their costs by cutting some services in the airplane. such as the right to baggage being offered as a separate entitlement other than the ticket price. this service does not mean to cut off safety precautions regularly. Airlines continue to keep all security systems as strong as ever. The purpose of these discontinuities is to make as much of the costs of course as possible and to offer cheaper tickets to passengers. On the other hand, traditional airlines aim to keep passengers 'journeys as comfortable as possible by keeping passengers' services at a nearly luxurious level. Whichever is chosen depends on the needs of the traveller at the moment. Of course, it is no surprise that air travel in the world is so popular. Despite the fact that it is the most expensive transportation vehicle compared to land, sea and railway transportation, İt has always been the first preferred transportation facility by making the travel speed and the intercontinental passage very easy. This intensive preference certainly ensured the formation of HUB centers. HUB is a transfer center built on the world we mean. There are various transfer centers in the world. The most important feature for a HUB is the fact that it is the center of the transfer points. This ensures that the traveler or objects reach the point where they need to reach it strategically in the fastest and safest way without making too many transfers. When we examine in this context as a HUB HUB is a natural Ataturk Airport in Turkey. Ataturk Airport is located on an area of 11,776,961 m2. The terminal with a capacity of 27.5 million passengers per annum has an area of 330.500 m2, 62,500 m2 domestic lines terminal and 268,000 m2 international lines terminal. Ataturk Airport has three pists. Two concrete paved runways is 3000x45 meters. The other is 2600x60 meters and it is covered with Asphalt (Stone Mastic). The right of intention is owned by DHMİ (State Airports Authority) and the terminal operator is TAV Holding. Ataturk Airport is a 60-year-old city that serves the nearest million passengers and is an important hub. Ataturk Airport, shortly growing today, Europe is the fourth largest, the world's 13th airport has become. Ataturk Airport serves more than 160 passengers daily giving. Ataturk Airport has a great advantage due to its location which connects Asia and Europe. which Ataturk Airport is the 6th airport with the highest hub connection worldwide. Today, 128 airline companies from the Ataturk Airport make an entrance to and depart from Ataturk Airport with 276 destinations in 110 countries of the world. Among them airline companies internationally among the world's greatest; Lutfhansa, Air France, KLM and more. When we look at domestic airline companies, we see that HUB carrier is Turkish Airlines with a market share of 75%. Onur Air, Atlas Global and Pegasus Airlines are other stakeholders. When we look at low-cost airline companies that operate at Ataturk Airport, we can say that there are few at the level that can be tried compared to the traditional airlines and domestic airlines. We can see that the biggest traditional local airline company is Turkish Airlines. Pegasus Airlines is the local airline company that has taken the lead in terms of low-cost service. Market share for service type, the result is as follows; Traditional airline companies are the ones that make the most flights to Ataturk airport with a rate of 98.4%. Low cost carriers are operating at 0.9% at Ataturk Airport, including Onur Air and Pegasus Airlines.

This article presents a review of the leading jewellery companies in Yekaterinburg. We present a comparative analysis of the range of products, focussing on the new stylistic design techniques and technological features of the jewellery collections and stone-cutting works produced by the leading jewellery houses. Examples of the most significant works in the premium class segment are discussed. We demonstrate how modern Russian jewellery art creatively combines and develops Russian and European historical jewellery tradition while striving to absorb and utilize cutting-edge techniques, materials and technologies. The wide range of resulting artworks and approaches to modern jewellery-making highlights the successful combination of historical and modern approaches. More sophisticated technology allows the jewellery artists to implement new ideas while creating increasingly technically complex works. We analyse the works by the leading Yekaterinburg jewellery houses: MOISEIKIN, CHAMOVSKIKH, Natasha Libelle, Ringo, Maxim Demidov, Jewellers of Ural. Keywords: jewellery collection, design, translation method, quatation method, transformation

PurposeIn recent years, the People's Republic of China has made remarkable progress in science and technology. The Chinese industry is competing for leadership in cutting-edge technologies such as 5G, robotics, artificial intelligence, aerospace and green energy. This article aims to analyze: What role do industrial parks, especially Suzhou Industrial Park, play in upgrading technology to encourage independent innovation and economic development? How SIP is related to the Belt and Road Initiative?Design/methodology/approachThis research summarizes China's most important scientific and technological reforms and policies and in particular the Torch Program. In addition, it develops a case study of the Suzhou Industrial Park (SIP) by analyzing documents, bibliography and presenting data. It ends with a case study of the role of SIP in the Belt and Road Initiative analyzing the Great Stone Park in Belarus.FindingsThis article highlights that: China's experience clearly shows that the "visible hand" of the State plays a very important role in economic development and technological catch-up. All of them are implemented from a strategy linking the national objectives with the local ones, this is done from a top-down perspective. As an important aspect of economic and social development, China's experience in promoting indigenous innovation in science and technology provides a relevant example for developing countries.Research limitations/implicationsThere are few academic literature on Great Stone Industrial Park.Practical implicationsThe international cooperation of the SIP with the technology parks throughout the BRI-countries provides relevant information to deepen collaboration in this field and could contribute to closing the technological gap in developing countries.Originality/valueThe role of the SIP in the Belt and Road initiative is an under research topic. There is few bibliography discussing the impacts of the cooperation in science and technology in the framework of the BRI.

The ‘Clovis Point’—an enabling prehistoric gain-of-function in stone-age tool technologies which empowered the Paleoindian-Americans to hunt, to strike-deep, and to kill designated target megafauna more efficiently—was created biochemically by molecular-genetic bio-engineering. This Biomedical “Clovis Point” was crafted by adapting a broad-spectrum Pan-Collagen Binding Domain (Pan-Coll/CBD) found within the immature pre-pro-peptide segment of Von Willebrand Factor into a constructive series of advanced medical applications. Developed experimentally, preclinically, and clinically into a cutting-edge Biotechnology Platform, the Clovis Point is suitable for 1) solid-state binding of growth factors on collagenous scaffolds for improved orthopedic wound healing, 2) promoting regeneration of injured/diseased tissues; and 3) autologous stem cell capture, expansion, and gene-based therapies. Subsequent adaptations of the high-affinity Pan-Coll/CBD (exposed-collagen-seeking/surveillance function) for intravenous administration in humans, enabled the physiological delivery, aka Pathotropic Targeting to diseased tissues via the modified envelopes of gene vectors; enabling 4) precision tumor-targeting for cancer gene therapy and 5) adoptive/localized immunotherapies, demonstrating improved long-term survival value—thus pioneering a proximal and accessible cell cycle control point for cancer management—empowering modern medical oncologists to address persistent problems of chemotherapy resistance, recurrence, and occult progression of metastatic disease. Recent engineering adaptations have advanced the clinical utility to include the targeted delivery of small molecule APIs: including taxanes, mAbs, and RNA-based therapeutics.

Время заселения человеком Русской равнины и культурные особенности ее первых поселенцев остаются предметом дискуссий. В статье анализируются материалы древнейшей на юго-востоке Русской равнины стратифицированной ашельской стоянки Хрящи на Нижнем Дону. Суммируются сведения о стоянке, приводятся предварительные результаты новых исследований. Анализ остатков мелких млекопитающих, малакофауны и палинологические данные показывают, что стоянка существовала во время лихвинского климатического ритма («большой лихвин», MIS 11-9, ~ 420–270 тыс. л. н.). Культуросодержащий слой стоянки, залегающий стратиграфически ниже слоя с теплолюбивой лихвинской малакофауной, сформировался в отно­сительно засушливую фазу этого интервала. Это тонкий (10–30 см) слой базального галечника III надпойменной террасы р. Северский Донец (IV надпойменной террасы р. Дон?), залегающий под почти 30-метровой толщей отложений различного генези­са, включающей не менее трех ископаемых почв. Культурные остатки представлены главным образом каменными изделиями. Кости крупных млекопитающих малочисленны, это остатки копытных, обычных для среднего и позднего плейстоцена Европы (бизон, благородный олень). Окатанность некоторых изделий позволяет предполагать, что деятельность людей происходила на пляже реки, место стоянки посещалось ими неоднократно. О кратковременном характере стоянки свидетельствует отсутствие нуклеусов и использование в ряде случаев приносного сырья. Каменная индустрия стоянки, по-видимому, не леваллуазская. В ней хорошо выражены оформленные орудия: крупные режущие орудия и более мелкие орудия из отщепов и обломков сырья. Наличие бифасов и широкий спектр крупных режущих орудий указывают на принадлежность ее к индустриям с ашельской технологией (ашелю). Индустрия стоянки своеобразна. Прямые аналогии каменной индустрии Хрящей пока не выявлены, но некоторые признаки ее технологии и типологии орудий прослеживаются в ашельских индустриях Центральной Европы и Западного Кавказа. The period when humans settled in the Russian plain and cultural traits of its first settlers remain a matter of debate. This paper analyzes materials from a stratified site known as Kryashchi located in the Lower Don region which is the earliest Acheulean site in the southeastern part of the Russian plain. The paper summarizes data on the site, and provides preliminary results of recent excavations. The analysis of remains of small mammals, malakofauna and palinological data demonstrate that the site was occupied during the Likhvin Interglacial (‘Big Likhvin’, MIS 11-9, ~ 420–270,000 years ago). The occupation layer located stratigraphically beneath the layer with thermophilic Likhvin malakofauna was formed during a relatively dry phase of this interval. It is a thin (10–30 cm) layer of basalt pebble stone of the 3rd terrace above the flood-plain of the Severskiy Donets (the 4th terrace of the Don River?) underlying rock masses almost 30 m thick, these masses have different genesis of accumulation and include at least three buried soils. Remains from the occupation layer are represented mainly by stone items. Bones of large mammals are few and include remnants of the ungulates typical for the Middle and the Late Pleistocene of Europe (bison and red deer). Roundness of the items from the occupation layer suggests that humans were engaged in various activities on the river beach and that they visited the site repeatedly. A lack of cores and the use of materials brought from other places imply that the site was occupied for a short period of time. Its lithic industry does not appear to be Levallois and is well represented by trimmed tools such as large cutting tools and implements and smaller tools made on flakes and stone fragments. Presence of bifaces and a wide range of large cutting tools suggest that this industry belongs to those with Acheulean technologies. The industry of the site has some distinguishing traits. Direct analogies to the Khryashchi lithic industry have not yet been found; however, some technological characteristics and tool typology can be identified in Acheulean industries of Central Europe and the Western Caucasus.

Currently, the transportation component in the cost of production in Russia is high and exceeds 40% in the logging industry. Among the most important trends in the development of forest transport in the country is a continuous increase in the share of timber hauling by forest hauling vehicles and an increase in the distance of timber transportation by truck-hauler trucks. At the same time, one of the main reasons hindering the development of timber industry complexes in the northern regions of Russia is the low degree of provision of forest infrastructure for transportation of business and energy wood. Therefore, considerable attention should be paid to improving the processes of forest road transport by solving the problems of developing a network of forest roads. A significant development of the network of forest roads is necessary to increase the economic accessibility of forests for clear and selective logging, thinning, and reforestation. It is also necessary to increase the economic efficiency of the operation of timber-carrying trucks during forest removal, to increase the level of development of the calculated cutting area, to increase the level of forest fire safety of forests, to prevent and extinguish forest fires. This led to the formation of a knowledge base for improving forest road transport processes by developing new technical solutions for the development of a network of forest roads. The formation of a knowledge base was made on the basis of an extended scientific, technical and patent search. Based on the knowledge base, recommendations for the development of a network of forest roads have been developed; new technologies have been proposed for involving local rocks in the processing of crushed stone for the construction of rocks, as well as the construction of temporary forest roads using logging waste.

IntroductionCirque du Soleil, the largest live entertainment company in the world, has eight standing shows in Las Vegas alone, KÀ, Love, Mystère, Zumanity, Believe, Michael Jackson ONE, Zarkana and O. Close to 150 million spectators have seen Cirque du Soleil shows since the company’s beginnings in 1984 and it is estimated that over 15 million spectators will see a Cirque du Soleil show in 2014 (Cirque du Soleil). The Cirque du Soleil concept of circus as a form of theatre, with simple, often archetypal, narrative arcs conveyed without words, virtuoso physicality with the circus artists presented as characters in a fictional world, cutting-edge lighting and visuals, extraordinary innovative staging, and the uptake of new technology for special effects can all be linked back to an early form of circus which is sometimes termed illegitimate circus. In the late 18th century and early 19th century, in the age of Romanticism, only two theatres in London, Covent Garden and Drury Lane, plus the summer theatre in the Haymarket, had royal patents allowing them to produce plays or text-based productions, and these were considered legitimate theatres. (These theatres retained this monopoly until the Theatre Regulation Act of 1843; Saxon 301.) Other circuses and theatres such as Astley’s Amphitheatre, which were precluded from performing text-based works by the terms of their licenses, have been termed illegitimate (Moody 1). Perversely, the effect of licensing venues in this way, instead of having the desired effect of enshrining some particular forms of expression and “casting all others beyond the cultural pale,” served instead to help to cultivate a different kind of theatrical landscape, “a theatrical terrain with a new, rich and varied dramatic ecology” (Reed 255). A fundamental change to the theatrical culture of London took place, and pivotal to “that transformation was the emergence of an illegitimate theatrical culture” (Moody 1) with circus at its heart. An innovative and different form of performance, a theatre of the body, featuring spectacle and athleticism emerged, with “a sensuous, spectacular aesthetic largely wordless except for the lyrics of songs” (Bratton 117).This writing sets out to explore some of the strong parallels between the aesthetic that emerged in this early illegitimate circus and the aesthetic of the Montreal-based, multi-billion dollar entertainment empire of Cirque du Soleil. Although it is not fighting against legal restrictions and can in no way be considered illegitimate, the circus of Cirque du Soleil can be seen to be the descendant of the early circus entrepreneurs and their illegitimate aesthetic which arose out of the desire to find ways to continue to attract audiences to their shows in spite of the restrictions of the licenses granted to them. BackgroundCircus has served as an inspiration for many innovatory theatre productions including Peter Brook’s Midsummer Night’s Dream (1970) and Tom Stoppard’s Jumpers (1972) as well as the earlier experiments of Meyerhold, Eisenstein, Mayakovsky and other Soviet directors of the 1920’s (Saxon 299). A. H. Saxon points out, however, that the relationship between circus and theatre is a long-standing one that begins in the late 18th century and the early 19th century, when circus itself was theatre (Saxon 299).Modern circus was founded in London in 1768 by an ex-cavalryman and his wife, Philip and Patty Astley, and consisted of spectacular stunt horse riding taking place in a ring, with acts from traditional fairs such as juggling, acrobatics, clowning and wire-walking inserted to cover the changeovers between riding acts. From the very first shows entry was by paid ticket only and the early history of circus was driven by innovative, risk-taking entrepreneurs such as Philip Astley, who indeed built so many new amphitheatres for his productions that he became known as Amphi-Philip (Jando). After years of legal tussles with the authorities concerning the legal status of this new entertainment, a limited license was finally granted in 1783 for Astley’s Amphitheatre. This license precluded the performing of plays, anything text-based, or anything which had a script that resembled a play. Instead the annual license granted allowed only for “public dancing and music” and “other public entertainments of like kind” (St. Leon 9).Corporeal Dramaturgy and TextIn the face of the ban on scripted text, illegitimate circus turned to the human body and privileged it as a means of dramatic expression. A resultant dramaturgy focusing on the expressive capabilities of the performers’ bodies emerged. “The primacy of rhetoric and the spoken word in legitimate drama gave way […] to a corporeal dramaturgy which privileged the galvanic, affective capacity of the human body as a vehicle of dramatic expression” (Moody 83). Moody proposes that the “iconography of illegitimacy participated in a broader cultural and scientific transformation in which the human body began to be understood as an eloquent compendium of visible signs” (83). Even though the company has the use of text and dramatic dialogue freely available to it, Cirque du Soleil, shares this investment in the bodies of the performers and their “galvanic, affective capacity” (83) to communicate with the audience directly without the use of a scripted text, and this remains a constant between the two forms of circus. Robert Lepage, the director of two Cirque du Soleil shows, KÀ (2004) and more recently Totem (2010), speaking about KÀ in 2004, said, “We wanted it to be an epic story told not with the use of words, but with the universal language of body movement” (Lepage cited in Fink).In accordance with David Graver’s system of classifying performers’ bodies, Cirque du Soleil’s productions most usually present performers’ ‘character bodies’ in which the performers are understood by spectators to be playing fictional roles or characters (Hurley n/p) and this was also the case with illegitimate circus which right from its very beginnings presented its performers within narratives in which the performers are understood to be playing characters. In Cirque du Soleil’s shows, as with illegitimate circus, this presentation of the performers’ character bodies is interspersed with acts “that emphasize the extraordinary training and physical skill of the performers, that is which draw attention to the ‘performer body’ but always within the context of an overall narrative” (Fricker n.p.).Insertion of Vital TextAfter audience feedback, text was eventually added into KÀ (2004) in the form of a pre-recorded prologue inserted to enable people to follow the narrative arc, and in the show Wintuk (2007) there are tales that are sung by Jim Comcoran (Leroux 126). Interestingly early illegitimate circus creators, in their efforts to circumvent the ban on using dramatic dialogue, often inserted text into their performances in similar ways to the methods Cirque du Soleil chose for KÀ and Wintuk. Illegitimate circus included dramatic recitatives accompanied by music to facilitate the following of the storyline (Moody 28) in the same way that Cirque du Soleil inserted a pre-recorded prologue to KÀ to enable audience members to understand the narrative. Performers in illegitimate circus often conveyed essential information to the audience as lyrics of songs (Bratton 117) in the same way that Jim Comcoran does in Wintuk. Dramaturgical StructuresAstley from his very first circus show in 1768 began to set his equestrian stunts within a narrative. Billy Button’s Ride to Brentford (1768), showed a tailor, a novice rider, mounting backwards, losing his belongings and being thrown off the horse when it bucks. The act ends with the tailor being chased around the ring by his horse (Schlicke 161). Early circus innovators, searching for dramaturgy for their shows drew on contemporary warfare, creating vivid physical enactments of contemporary battles. They also created a new dramatic form known as Hippodramas (literally ‘horse dramas’ from hippos the Attic Greek for Horse), a hybridization of melodrama and circus featuring the trick riding skills of the early circus pioneers. The narrative arcs chosen were often archetypal or sourced from well-known contemporary books or poems. As Moody writes, at the heart of many of these shows “lay an archetypal narrative of the villainous usurper finally defeated” (Moody 30).One of the first hippodramas, The Blood Red Knight, opened at Astley’s Amphitheatre in 1810.Presented in dumbshow, and interspersed with grand chivalric processions, the show featured Alphonso’s rescue of his wife Isabella from her imprisonment and forced marriage to the evil knight Sir Rowland and concluded with the spectacular, fiery destruction of the castle and Sir Rowland’s death. (Moody 69)Another later hippodrama, The Spectre Monarch and his Phantom Steed, or the Genii Horseman of the Air (1830) was set in China where the rightful prince was ousted by a Tartar usurper who entered into a pact with the Spectre Monarch and received,a magic ring, by aid of which his unlawful desires were instantly gratified. Virtue, predictably won out in the end, and the discomforted villain, in a final settling of accounts with his dread master was borne off through the air in a car of fire pursued by Daemon Horsemen above THE GREAT WALL OF CHINA. (Saxon 303)Karen Fricker writes of early Cirque du Soleil shows that “while plot is doubtless too strong a word, each of Cirque’s recent shows has a distinct concept or theme, that is urbanity for Saltimbanco; nomadism in Varekai (2002) and humanity’s clownish spirit for Corteo (2005), and tend to follow the same very basic storyline, which is not narrated in words but suggested by the staging that connects the individual acts” (Fricker n/p). Leroux describes the early Cirque du Soleil shows as following a “proverbial and well-worn ‘collective transformation trope’” (Leroux 122) whilst Peta Tait points out that the narrative arc of Cirque du Soleil “ might be summarized as an innocent protagonist, often female, helped by an older identity, seemingly male, to face a challenging journey or search for identity; more generally, old versus young” (Tait 128). However Leroux discerns an increasing interest in narrative devices such as action and plot in Cirque du Soleil’s Las Vegas productions (Leroux 122). Fricker points out that “with KÀ, what Cirque sought – and indeed found in Lepage’s staging – was to push this storytelling tendency further into full-fledged plot and character” (Fricker n/p). Telling a story without words, apart from the inserted prologue, means that the narrative arc of Kà is, however, very simple. A young prince and princess, twins in a mythical Far Eastern kingdom, are separated when a ceremonial occasion is interrupted by an attack by a tribe of enemy warriors. A variety of adventures follow, most involving perilous escapes from bad guys with flaming arrows and fierce-looking body tattoos. After many trials, a happy reunion arrives. (Isherwood)This increasing emphasis on developing a plot and a narrative arc positions Cirque as moving closer in dramaturgical aesthetic to illegitimate circus.Visual TechnologiesTo increase the visual excitement of its shows and compensate for the absence of spoken dialogue, illegitimate circus in the late 18th and early 19th century drew on contemporaneous and emerging visual technologies. Some of the new visual technologies that Astley’s used have been termed pre-cinematic, including the panorama (or diorama as it is sometimes called) and “the phantasmagoria and other visual machines… [which] expanded the means through which an audience could be addressed” (O’Quinn, Governance 312). The panorama or diorama ran in the same way that a film runs in an analogue camera, rolling between vertical rollers on either side of the stage. In Astley’s production The Siege and Storming of Seringapatam (1800) he used another effect almost equivalent to a modern day camera zoom-in by showing scenic back drops which, as they moved through time, progressively moved geographically closer to the battle. This meant that “the increasing enlargement of scale-each successive scene has a smaller geographic space-has a telescopic event. Although the size of the performance space remains constant, the spatial parameters of the spectacle become increasingly magnified” (O’Quinn, Governance 345). In KÀ, Robert Lepage experiments with “cinematographic stage storytelling on a very grand scale” (Fricker n.p.). A KÀ press release (2005) from Cirque du Soleil describes the show “as a cinematic journey of aerial adventure” (Cirque du Soleil). Cirque du Soleil worked with ground-breaking visual technologies in KÀ, developing an interactive projected set. This involves the performers controlling what happens to the projected environment in real time, with the projected scenery responding to their movements. The performers’ movements are tracked by an infra-red sensitive camera above the stage, and by computer software written by Interactive Production Designer Olger Förterer. “In essence, what we have is an intelligent set,” says Förterer. “And everything the audience sees is created by the computer” (Cirque du Soleil).Contemporary Technology Cutting edge technologies, many of which came directly from contemporaneous warfare, were introduced into the illegitimate circus performance space by Astley and his competitors. These included explosions using redfire, a new military explosive that combined “strontia, shellac and chlorate of potash, [which] produced […] spectacular flame effects” (Moody 28). Redfire was used for ‘blow-ups,’ the spectacular explosions often occurring at the end of the performance when the villain’s castle or hideout was destroyed. Cirque du Soleil is also drawing on contemporary military technology for performance projects. Sparked: A Live interaction between Humans and Quadcopters (2014) is a recent short film released by Cirque du Soleil, which features the theatrical use of drones. The new collaboration between Cirque du Soleil, ETH Zurich and Verity Studios uses 10 quadcopters disguised as animated lampshades which take to the air, “carrying out the kinds of complex synchronized dance manoeuvres we usually see from the circus' famed acrobats” (Huffington Post). This shows, as with early illegitimate circus, the quick theatrical uptake of contemporary technology originally developed for use in warfare.Innovative StagingArrighi writes that the performance space that Astley developed was a “completely new theatrical configuration that had not been seen in Western culture before… [and] included a circular ring (primarily for equestrian performance) and a raised theatre stage (for pantomime and burletta)” (177) joined together by ramps that were large enough and strong enough to allow horses to be ridden over them during performances. The stage at Astley’s Amphitheatre was said to be the largest in Europe measuring over 130 feet across. A proscenium arch was installed in 1818 which could be adjusted in full view of the audience with the stage opening changing anywhere in size from forty to sixty feet (Saxon 300). The staging evolved so that it had the capacity to be multi-level, involving “immense [moveable] platforms or floors, rising above each other, and extending the whole width of the stage” (Meisel 214). The ability to transform the stage by the use of draped and masked platforms which could be moved mechanically, proved central to the creation of the “new hybrid genre of swashbuckling melodramas on horseback, or ‘hippodramas’” (Kwint, Leisure 46). Foot soldiers and mounted cavalry would fight their way across the elaborate sets and the production would culminate with a big finale that usually featured a burning castle (Kwint, Legitimization 95). Cirque du Soleil’s investment in high-tech staging can be clearly seen in KÀ. Mark Swed writes that KÀ is, “the most lavish production in the history of Western theatre. It is surely the most technologically advanced” (Swed). With a production budget of $165 million (Swed), theatre designer Michael Fisher has replaced the conventional stage floor with two huge moveable performance platforms and five smaller platforms that appear to float above a gigantic pit descending 51 feet below floor level. One of the larger platforms is a tatami floor that moves backwards and forwards, the other platform is described by the New York Times as being the most thrilling performer in the show.The most consistently thrilling performer, perhaps appropriately, isn't even human: It's the giant slab of machinery that serves as one of the two stages designed by Mark Fisher. Here Mr. Lepage's ability to use a single emblem or image for a variety of dramatic purposes is magnified to epic proportions. Rising and falling with amazing speed and ease, spinning and tilting to a full vertical position, this huge, hydraulically powered game board is a sandy beach in one segment, a sheer cliff wall in another and a battleground, viewed from above, for the evening's exuberantly cinematic climax. (Isherwood)In the climax a vertical battle is fought by aerialists fighting up and down the surface of the sand stone cliff with defeated fighters portrayed as tumbling down the surface of the cliff into the depths of the pit below. Cirque du Soleil’s production entitled O, which phonetically is the French word eau meaning water, is a collaboration with director Franco Dragone that has been running at Las Vegas’ Bellagio Hotel since 1998. O has grossed over a billion dollars since it opened in 1998 (Sylt and Reid). It is an aquatic circus or an aquadrama. In 1804, Charles Dibdin, one of Astley’s rivals, taking advantage of the nearby New River, “added to the accoutrements of the Sadler’s Wells Theatre a tank three feet deep, ninety feet long and as wide as twenty-four feet which could be filled with water from the New River” (Hays and Nickolopoulou 171) Sadler’s Wells presented aquadramas depicting many reconstructions of famous naval battles. One of the first of these was The Siege of Gibraltar (1804) that used “117 ships designed by the Woolwich Dockyard shipwrights and capable of firing their guns” (Hays and Nickolopoulou 5). To represent the drowning Spanish sailors saved by the British, “Dibdin used children, ‘who were seen swimming and affecting to struggle with the waves’”(5).O (1998) is the first Cirque production to be performed in a proscenium arch theatre, with the pool installed behind the proscenium arch. “To light the water in the pool, a majority of the front lighting comes from a subterranean light tunnel (at the same level as the pool) which has eleven 4" thick Plexiglas windows that open along the downstage perimeter of the pool” (Lampert-Greaux). Accompanied by a live orchestra, performers dive into the 53 x 90 foot pool from on high, they swim underwater lit by lights installed in the subterranean light tunnel and they also perform on perforated platforms that rise up out of the water and turn the pool into a solid stage floor. In many respects, Cirque du Soleil can be seen to be the inheritors of the spectacular illegitimate circus of the 18th and 19th Century. The inheritance can be seen in Cirque du Soleil’s entrepreneurial daring, the corporeal dramaturgy privileging the affective power of the body over the use of words, in the performers presented primarily as character bodies, and in the delivering of essential text either as a prologue or as lyrics to songs. It can also be seen in Cirque du Soleil’s innovative staging design, the uptake of military based technology and the experimentation with cutting edge visual effects. Although re-invigorating the tradition and creating spectacular shows that in many respects are entirely of the moment, Cirque du Soleil’s aesthetic roots can be clearly seen to draw deeply on the inheritance of illegitimate circus.ReferencesBratton, Jacky. “Romantic Melodrama.” The Cambridge Companion to British Theatre 1730-1830. Eds. Jane Moody and Daniel O'Quinn. Cambridge: Cambridge University, 2007. 115-27. Bratton, Jacky. “What Is a Play? Drama and the Victorian Circus in the Performing Century.” Nineteenth-Century Theatre’s History. Eds. Tracey C. Davis and Peter Holland. Hampshire, UK: Palgrave Macmillan, 2007. 250-62.Cavendish, Richard. “Death of Madame Tussaud.” History Today 50.4 (2000). 15 Aug. 2014 ‹http://www.historytoday.com/richard-cavendish/death-madame-tussaud›.Cirque du Soleil. 2014. 10 Sep. 2014 ‹http://www.cirquedusoleil.com/en/home/about-us/at-a-glance.aspx›.Davis, Janet M. The Circus Age: Culture and Society under the American Big Top. Chapel Hill and London: University of North Carolina Press, 2002. Hays, Michael, and Anastasia Nikolopoulou. Melodrama: The Cultural Emergence of a Genre. New York: Palgrave Macmillan, 1999.House of Dancing Water. 2014. 17 Aug. 2014 ‹http://thehouseofdancingwater.com/en/›.Isherwood, Charles. “Fire, Acrobatics and Most of All Hydraulics.” New York Times 5 Feb. 2005. 12 Sep. 2014 ‹http://www.nytimes.com/2005/02/05/theater/reviews/05cirq.html?_r=0›.Fink, Jerry. “Cirque du Soleil Spares No Cost with Kà.” Las Vegas Sun 2004. 17 Sep. 2014 ‹http://www.lasvegassun.com/news/2004/sep/16/cirque-du-soleil-spares-no-cost-with-ka/›.Fricker, Karen. “Le Goût du Risque: Kà de Robert Lepage et du Cirque du Soleil.” (“Risky Business: Robert Lepage and the Cirque du Soleil’s Kà.”) L’Annuaire théâtral 45 (2010) 45-68. Trans. Isabelle Savoie. (Original English Version not paginated.)Hurley, Erin. "Les Corps Multiples du Cirque du Soleil." Globe: Revue Internationale d’Études Quebecoise. Les Arts de la Scene au Quebec, 11.2 (2008). (Original English n.p.)Jacob, Pascal. The Circus Artist Today: Analysis of the Key Competences. 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