Copyright Elsevier Inc. All rights reserved. Humanities data in R exploring networks, geospatial data, images, and text. This pioneering book teaches readers to use R within four core analytical areas applicable to the Humanities: networks, text, geospatial data, and images. This book is also designed to be a bridge: between quantitative and qualitative methods, individual and collaborative work, and the humanities and social scientists. Exploring Humanities Data Types with R does not presuppose background programming experience. Early chapters take readers from R set-up to exploratory data analysis continuous and categorical data, multivariate analysis, and advanced graphics with emphasis on aesthetics and facility.
Everything is hands-on: networks are explained using U. The methodology will have wide application in classrooms and self-study for the humanities, but also for use The mysteries behind the 'Electron Cloud Effect', a dangerous electron multiplication phenomenon which could possibly limit the LHC's performance, have recently been under a detective level investigation that is yielding data that would make even the valiant Holmes balk. The electron cloud, a group of free floating electrons in the collider, is caused by electron multiplication on the vacuum chamber wall and was first observed in The cloud that develops is a serious problem because it can lead to beam growth, increased gas release from the collider surface, and a supplementary heat load to the LHC cryogenic system.
The phenomenon has been observed since in the SPS where unexpected pressure The work is divided into four chapters, each focusing and building upon a specific aspect related to this questi on. I there address the question of why it is tha The Key Lake mill was commissioned in to process the two Key Lake ore deposits. With the depletion of these ore bodies in , the plant was converted to mill the exceptionally rich Mc Arthur River deposit located seventy eight kilometers northeast of the Key Lake mine site.
This paper describes in detail the Key Lake milling process. The paper also describes process changes to handle Mc Arthur River ore, including the ore receiving station. Generating Company, L. Such philosophy explains the direction that art has taken and why that direction could not have been different. Danto never scrutinized the philosophy of history that his end-of-art thesis. Poliitilistest vastuoludest Oettingeni ja Lavrovski kirjades peegelduvatest maailmavaatelistest erinevustest. Competing recombinant technologies for environmental innovation: Extending Arthur 's model of lock-in.
This article presents a model of sequential decisions about investments in environmentally dirty and clean technologies, which extends the path-dependence framework of B. Arthur , Competing technologies, increasing returns, and lock-in by historical events, The Economic Journal, 99, pp. Competing recombinant technologies for environmental innovation : extending Arthur 's model of lock-in. This essay challenges the conventional understanding of William Bagley and Arthur Bestor, which suggests that they held similar views in curriculum and teacher education.
The author thinks this view is completely wrong and provides a radical new interpretation of Bagley and Bestor that uncovers a lost tradition within the field of education. Purpose: Board meetings. Date s :. Destination s :. Meals and. Comments: Travel Expense Reports for John. Mc Arthur , Governor. He is recognized for making outstanding contributions to achieving statutory recognition and securing insurance reimbursement, and as a pioneer in the professional school movement, having trained several generations of practitioners.
Did the waste management audit failures signal lower firm-wide audit quality at Arthur Andersen? Former Arthur Andersen partner to speak at Pamplin College's annual ethics symposium. This temporary Arthur M. Cohen responds to questions concerning the issue of excellence vs. General Douglas Mac Arthur was a towering public figure on an international stage for the first half of the 20th century. He was healthy throughout his life but developed a series of medical problems when he entered his 80s. This article reviews the General's medical care during two separate life-threatening medical crises that required surgical intervention.
The first episode occurred in when Mac Arthur presented with renal failure due to an obstructed prostate. Four years later after his 84th birthday, Mac Arthur developed bile duct obstruction from common duct stones. He underwent an uncomplicated cholecystectomy and common duct exploration but developed variceal bleeding requiring an emergent splenorenal shunt. His terminal event was precipitated by strangulated bowel in long-ignored very large inguinal hernias.
Mac Arthur died, despite state-of-the-art surgical intervention, due to renal failure and hepatic coma. Full Text Available o one is denying that Hegel had a strong influence on Marx, especially influenced by the Master-Servitude of Phenomenology of Spirit. For people like Arthur , however, it is not more than a Myth. Sartre and Hyppolite who influenced by Kojeve are the creators of this famous theory, but, they have claimed this without any evidences. His argument is that Marx never refers to this section of Phenomenology of Spirit.
Here, I argue that Marx used the keywords of this section in his other writings such as; Gauderies and Capital. Furthermore, it can be said that the meaning of very influence is not clear enough. Punnett, the codiscoverer of linkage with W. Bateson in , had the good fortune to be invited to be the first Arthur Balfour Professor of Genetics at Cambridge University, United Kingdom, in when Bateson, for whom it had been intended, declined to leave his new appointment as first Director of the John Innes Horticultural Institute.
We here celebrate the centenary of the first professorship dedicated to genetics, outlining Punnett's career and his scientific contributions, with special reference to the discovery of "partial coupling" in the sweet pea later "linkage" and to the diagram known as Punnett's square. His seeming reluctance as coauthor with Bateson to promote the reduplication hypothesis to explain the statistical evidence for linkage is stressed, as is his relationship with his successor as Arthur Balfour Professor, R. The background to the establishment of the Professorship is also described. Arthur C. Presents Arthur C.
Graesser is the perfect role model, showing how a strong scholar and intellect can shape both research and practice. His work is a mix of top-tier scholarship in psychology, education, intelligent systems, and computational linguistics. He combines cognitive science excellence with bold use of psychological knowledge and intelligent systems to design new generations of learning opportunities and to help lay the foundation for a translational science of learning. We analyse in this article the theory of knowledge by Arthur Schopenhauer included in his dissertation On the Fourfold Root of the Principle of Sufficient Reason , his essay On Vision and Colours , the two first books of The World as Will and Representation , and the appendix at this work, intitled Criticism of the Kantian Philosophy.
We have here in mind the relation of Schopenhauer with the previous philosophies especially that by Kant and the establishment of his intuition of world as Will based in an epistemology of Kantian sources. The genesis of this special issue lies in pioneering work on Macauliffe's Irish identity and personal and scholarly life undertaken by Professor Tadhg Foley Galway.
The active interest and support of members of the Sikh community in Ireland led to a conference, hosted by the Study of Religions Department at Guinea Campaign. The choice in dates argues that the campaign Simbol adalah pemaknaan terhadap sesuatu dengan bentuk lain. Rapport de frais de pour John Mc Arthur. Arthur Andersen study confirms non-U. Only one third of OGJ's 22 major companies cut spending. I highlight the author's criticisms of the mentality of the governing elite and men of letters, especially their failure to take political initiative, their penchant for imitating ideas, and their exaggerated use of pretentious rhetoric, which Neiva believed to be the main culprits behind Brazil's cultural and political backwardness.
I also analyze how Neiva addressed the race issue and the dilemma of nation building, which in the early twentieth century was considered a theme of prime importance in understanding Brazil's reality and destiny within the so-called concert of nations. The article considers the Austrian born art historian Franz Philipp, who came to Australia and made his career at the University of Melbourne in the years after the Second World War.
Like other art historians of the diaspora he became entranced with Australian art and wrote the first monograph on Arthur Boyd. His correspondence with Boyd Archiv From structuralism to neutral monism in Arthur S. Eddington's philosophy of physics. Arthur S. Eddington is remembered as one of the best astrophysicists and popularizers of physics in the twentieth century.
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Nevertheless, his stimulating speculations in philosophy produced serious disputes among philosophers of his time, his philosophy remaining linked to idealism and mysticism. This paper shows this label to be misleading and argues for the identification of Eddington's philosophy with a kind of neutral monism regained from Bertrand Russell and influenced by the Gestalt psychology. The concept of structure is fundamental to our argument for the existence of a veiled neutral monism in Eddington's ideas.
Ludwig Wittgenstein i Arthur C. Full Text Available The article is an attempt to pinpoint the areas of Ludwig Wittgenstein aesthetic thought, in which he is crossing the borders principally imposed upon the method and the language of his philosophy.
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I am directing my attention to metaphysical and mystical motifs of his reflection devoted to aesthetics, the essence of art and the essence of reality. I wish to discuss this issue based on the texts of Arthur C. Additionally in this matter I am appealing to appropriate theses of Leszek Sosnowski and Wojciech Sady, concerning above issues.
The psychotherapeutic life-work of psychiatrist Arthur Kronfeld has almost fallen into oblivion. Against the background of the th anniversary of his birth the author traces Kronfeld's psychotherapeutic career, pointing out his activity at the Berliner "Institute of Sexual Research" under Magnus Hirschfeld, and his psychotherapeutic concept--the psychagogic guidance of the patient--and its connection with the individual psychology of Alfred Adler.
Kronfeld translated his theoretical positions into activities directed towards socialization and the teachability of psychotherapy which are still worthy of note by those engaged in the field. The electrode has been fabricated from aluminum shim, but for some of the studies here, a 0. This thesis is about Text Mining. Extracting important information from literature. In the last years, the number of biomedical articles and journals is growing exponentially. Scientists might not find the information they want because of the large number of publications.
Therefore a system was. From Atom age to Conan age. This book deals with immediate collapse such as high oil prices continues, oil crisis from Saudi Arabia,and world changed with reports like disaster movie of Hollywood. It also writes uneasy truth ; who turns a blind eye to avoid? Arthur Sutherland Neill is one of the most debated personalities among the representatives of the classic reform pedagogy, due to his pedagogical concept and its practical realization, and his Summerhill School, equally.
He is often mentioned during public debates, where mostly the "three S"--"sex, swearing and smoking", are…. The first inventory assesses verbal and non verbal language in infants who are from 8 to 18 months old and it is composed of items distributed in 6 scales. This study proposes an abbreviate form of this instrument, and was tested on families and educators of Chilean children of months old. Analyses related to the items, reliability and validity of the instrument and factorial analyses of subscales were realized. The abbreviate version consider items distributed in 4 scales. The evaluation of the psychometric properties of the instrument was acceptable, demonstrating adequate reliability and validity.
Uma nova e moderna sociedade? O esporte no teatro de Arthur Azevedo. The questions I will pursue are: Why does horror change the identities or conscious motivations of these boys? Are their reactions universal or individualized? What previous notions do they project on the horror they face? A medical perspective on the adventures of Sherlock Holmes. The adventures of Sherlock Holmes, although primarily famous as stories of detection of crime, offer a considerable amount to interest the medical reader.
There are many medical references in the stories, and the influence of Conan Doyle 's medical background is clearly seen in the main characters. Aspects of the stories also reflect Conan Doyle 's medical career, and also something of his attitude towards the profession. From Holmes's sayings and accounts of his methods, parallels can be drawn between Holmesian deduction and the diagnostic process. It is concluded, however, that deduction cannot be used as a direct paradigm since medical problems are rarely soluble through a process of logic alone.
IG Statement: Arthur A. Elkins, Jr. Statement of Inspector General Arthur A. Arthur von Oettingen kuulus nende arvukate The Mac Arthur Scale of Subjective Social Status intend to measure the subjective social status using a numbered stepladder image. Three scales were employed using different references: 1 the overall socioeconomic position; 2 the socioeconomic situation of the participant's closer community; 3 the workplace as a whole. A total of of the ELSA participants from six states were involved.
They were interviewed twice by the same person within an interval of seven to fourteen days. Kappa values were 0. The ICC ranged from 0. These values differed slightly according to the participants' age, sex and education category. The three ladders showed good stability in the test-retest, except the community ladder that showed moderate stability. Because the social structure in Brazil is rapidly changing, future qualitative and longitudinal studies are needed to confirm and understand the construct underlying the Mac Arthur Scale in the country. An interview with Arthur M. Brown has more than 30 years of experience in ion channel structure-function relationships and their associations with human health.
Brown holds eight patents on ion channel methodology and application of ion channel pharmacology to therapeutics. Hurricane Arthur and its effect on the short term variation of pCO2. Seasonal changes in carbon cycling over the years have become better understood on the Scotian Shelf, however little is resolved in short term variation. Data from the deployment of the SeaHorse vertical sampling mooring at HL2 was also collected. With the shelf having carbon rich deep water, a reduction of pCO2 due to mixing went against current understanding.
It was revealed that slightly above the mixed layer there is a sustained population of phytoplankton. When wind mixing from storms occurs, this population moves to the surface allowing greater light and nutrients for short term growth. This growth then reduces pCO2 for a short period of time until wind speeds slow down reducing mixing of the water column. Challenges associated with the design of underground grinding plant at Mc Arthur River project.
Mc Arthur River is an unique high grade uranium underground mine. Ore grinding and thickening are part of the underground operation. The grinding circuit is designed to operate in conditions different from conventional plant environments. Design of the grinding plant was a collective effort of a multi-disciplinary engineering team closely cooperating with project operating personnel.
The equipment had to be selected to reflect widely varying ore properties. A user-friendly plant layout provides access to equipment inspections, services, and the delivery of necessary components. The size of the grinding chamber was limited in order to keep the rock stress levels within allowable values. All underground equipment brought to the construction site was restricted in size and weight. Plant construction faced limited storage space underground, tight erection sequencing, and schedule.
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Plant ventilation is a critical design feature. It efficiently removes radioactive dust from work areas, eliminates stagnant air pockets, and separates clean air from contaminated air areas. Radiation shielding on the equipment is designed to correspond with operational and maintenance functions. Plant operation is remotely controlled and requires little attendance.
Video cameras are used on critical equipment and in controlled access areas. An extensive program of preventive and predictive maintenance allows highly reliable plant operation. Anti-reductionism at the confluence of philosophy and science: Arthur Koestler and the biological periphery. The Hungarian-born intellectual Arthur Koestler produced a wide-ranging corpus of written work throughout the mid twentieth century.
Despite being the subject of two huge biographies in recent years, his long-standing engagement with numerous scientific disciplines remains unexplored. Waddington, Ludwig von Bertalanffy and J. The argument presented is threefold. His heroes rise to the top by being devout but not pious. They are likeable chaps with a ready quip and a vigorous sense of humour. Therefore it is only our character that seals our success or failure. This theory not only prevailed before the twentieth century, but also was a model that many people believed and created their way of living. In order to achieve this, after showing a general picture of the personal myth that has characterised a great part of the historiographic tradition according to which his philosophy would have been ignored or silenced 1, we will present the four key lines of his reception, through the analysis of the news that his contemporaries gave of his philosophy in reviews, manuals of history of philosophy, or encyclopedias.
Full Text Available The aim of this paper is, on the one hand, to make the readers acquainted with the realities of the twentieth century American family, as perceived by the two American playwrights, and, on the other hand, to underline the unusual phenomena that have been brought by the changing dynamics of the family relationships.
They stop acting like loving mothers and wives, they forget to take care of their families; instead, they lock away their hearts and assume the part of some sort of tyrant: they control everyone and everything in the house, their word being the equivalent of a rule. The female characters are endowed with masculine traits, whereas the male characters are emasculated, effeminate, deprived of any kind of power. The purpose of the paper is to demystify the myth of the ideal, perfect American family,to make the readers realize that the image that has been presented to the non-American public is, in the twentieth century, nothing but a disguise.
Our goal is to display the image of the new American family hoping that, in doing so, we will succeed in making the readers realize the fact that human relationships, especially the ones within the family, need to be re-established on a deeper and more meaningful level. With this award, scientific results with high impact on the diagnosis, therapy and pathogenetic understanding of rheumatic diseases are honored.
In cooperation with pathologists and colleagues from various clinical disciplines Prof. Veit Krenn developed several histopathologic scoring systems which contribute to the diagnosis and pathogenetic understanding of degenerative and rheumatic diseases. These scores include the synovitis score, the meniscal degeneration score, the classification of periprosthetic tissues SLIM classification , the arthrofibrosis score, the particle score and the CD15 focus score.
The first publication and an associated subsequent publication of the synovitis score has led to national and international acceptance of this score as the standard for histopathological assessment of synovitis. Arthur Roger Thatcher's contributions to longevity research: A Reflexion. He was actively engaged in demographic research until his death.
Roger signed the copyright agreement for the paper on January 24, just a few weeks before his death. Another contribution will appear in a forthcoming monograph entitled Supercentenarians Maier et al. In this note, we, the co-authors of his Demographic Research paper, will briefly review his remarkable research accomplishments. Roger Thatcher was born in Birmingham in He worked for 26 years as a statistician in several national government offices. A short description of his professional career up to his retirement can be found in Population Trends He had a long-standing affinity for the history of actuarial sciences and statistics in England, taking particular interest in the early years of the Statistical Society of London, and helping to compile extracts from its s Proceedings see Boreham et al.
He published a historical abstract of British labour-force statistics back to Thatcher was also a scientist with broad interests, publishing papers in a wide range of fields, such as archaeology, mathematics number theory, and cosmology , and There have been an increasing number of reports of postamputation pain and problems linked to phantom limbs over recent years, particularly in relation to war-related amputations.
These problems, which are often poorly understood and considered rather mysterious, are still relevant because they are difficult to treat medically. Functional neuroimaging techniques now enable us to better understand their pathophysiology and to consider new rehabilitation techniques. Phantom limbs have often been a source of inspiration to writers, particularly in the period following the First World War, which was responsible for thousands of amputees.
Some artists have suffered from postamputation complications themselves and have expressed them through their artistic works. Blaise Cendrars , one of the greatest authors of the twentieth century, suffered from stump pain and phantom limb phenomena for almost half a century following the amputation of his right arm during the First World War. He suffered from these phenomena until the end of his life and his literary work and personal correspondence are peppered with references to them. Arthur Rimbaud , one of the most famous poets in world literature, developed severe stump pain after his right leg was amputated due to a tumor.
He survived for only six months after the procedure but left behind an account of the pain he experienced in correspondence to his family. The famous pianist Paul Wittgenstein , whose right arm was amputated during the First World War, became a famous left-handed concert pianist. The phantom movements of his right hand helped him to develop the dexterity of his left hand.
The impact on the artistic life of these three men provides an original illustration of the various postamputation complications, specifically phantom limbs, stump pain, and moving phantom. Arthur Danto, Maya Lin e la bellezza interna. A fundamental law of life is variability, and It is no longer possible, as it was for Conan Doyle 's.
General Andrew Wauchope of Niddrie Marischal. A character sketch As Conan Doyle put it, Douglas, The answer lies in his character as a man which. Changes in college freshmen's perceptual organization of characters from "Othello" after three weeks of study and lecture were assessed using multidimensional scaling procedures. Sherlock Holmes experts also provided dissimilarity ratings of Conan Doyle 's characters. Discussion centers on the extent to which the lectures on…. The Landscapes of Sherlock Holmes. By critically reading Conan Doyle 's "Sherlock Holmes," geography students can learn about the major beliefs, values, and fears of late Victorian England.
The geographical scope of the work is discussed, as well as what the work tells us about beliefs concerning nature, environmental influence, and human nature of the period. Many people these days would say that quantum electrodynamics, the quantum picture of electromagnetic radiation, dates from with the work of Sin-itoro Tomonaga, Julian Schwinger and Richard Feynman. However this was the modern reformulation of a theory whose genesis was Paul Dirac's work on the quantization of radiation and was subsequently, and painfully, pieced together in the s.
Until the Second World War, the science of quantum electrodynamics advanced steadily, driven for the most part by the intellects which had produced modern quantum mechanics - notably Dirac, Heisenberg and Pauli. After Dirac's relativistic theory of the electron, Heisenberg and Pauli went on to cast an initial quantum formalism for the interaction between radiation and electrons.
During this time many intellectual hurdles had to be crossed - the negative energy states predicted by Dirac's equation and their final identification as antimatter electrons positrons , the whole problem of explaining quantum force mechanisms as particle exchanges, Fermi's explanation of beta decay, and Yukawa's explanation of the nuclear force.
Heisenberg's invention of the S-matrix and his ideas on the transmission of nuclear forces through exchange mechanisms revolutionized both our picture of the quantum world. These problems were not easy - several times during the s even these intellects almost despaired. A shadow across the subject was the continual problem of troublesome infinities in mass terms and elsewhere.
It was not until the ordered renormalization recipes of the immediate post-war period that these infinities were finally hidden from sight. Science historian Arthur Miller traces these developments in the first half of the book, and signals how these early developments were eventually to dovetail with the exciting new developments of the late s. Supplementing the survey are eleven fascinating landmark papers by Heisenberg, Dirac, Weisskopf.
In health research, socio-economic status SES is traditionally assessed using objective indicators education, occupation, income. For a couple of years, there has been a growing body of studies that additionally assess the subjective social status SSS of respondents, mostly using the Mac Arthur Scale. The aim of this study was to examine the construct validity of a German-language version of this instrument and to investigate whether SSS is associated with health over and above objective SES.
SSS was measured with the Mac Arthur scale asking respondents to place themselves on a rung "social ladder". Mc Arthur River underground exploration program: report of the joint Federal-Provincial panel on uranium mining developments in Northern Saskatchewan. A report of the joint federal-provincial panel on uranium mining developments in northern Saskatchewan, on the Mc Arthur River underground exploration program.
The proposal to construct the surface and underground facilities required for the exploration and delineation of the Mc Arthur River ore body, and any necessary additional infrastructure has been examined and public hearings have been held. The panel recommends that the underground exploration program as described by Cameco in its Environmental Impact Statement, and as clarified in its written and oral responses to the panel, be allowed to proceed under the conditions described within the report.
This paper relies on these events in the afterlife of Sherlock Holmes in order to trace an outline of the author function as it applies to the particular case of Doyle as the author of the Sherlock Holmes stories. The operations of the author function can be hard to identify in the encounter with the apparently natural unity of the individual work, but these disturbances at the edges of the function make its effects more readily apparent.
It argues that while readers willingly discard provisional readings in the face of an incompatible authorial text, the sanctioning authority of the author functions merely as a boundary for interpretation, not as a personal-biographical control over the interpretation itself. The clear separation of canon from apocrypha, with the attendant reinforced author function, may have laid the ground not only for the acceptance of contrarian reading, but also for the creation of apocryphal writings like pastiche and fan fiction.
This article is about the use of the novel A study in scarlet, by Arthur Conan Doyle such as a teaching strategy that supports the learning process of socio-educational research. First, it describes the didactical strategy and the theoretical background on which the strategy is supported, furthermore, it describes the main characteristics of the field experience in which the strategy was applied. In the second part of the article, it exposes the answers to a survey applied to students who participated in the experience.
This survey was related to the possibilities of the strategy for the teaching and learning of socio-educational research. Evidence first described in reduced animal models over years ago led to deductions about the control of locomotion through spinal locomotor central pattern generating CPG networks. These discoveries in nature were contemporaneous with another form of deductive reasoning found in popular culture-that of Arthur Conan Doyle 's detective "Sherlock Holmes".
Since the invasive methods used in reduced non-human animal preparations are not amenable to study in humans, we are left instead with deducing from other measures and observations. Using the deductive reasoning approach of Sherlock Holmes as a metaphor for framing research into human CPGs, we speculate and weigh the evidence that should be observable in humans based on knowledge from other species.
This review summarizes indirect inference to assess "observable evidence" of pattern generating activity which leads to the logical deduction of CPG contributions to arm and leg activity during locomotion in humans. The question of where a CPG may be housed in the human nervous system remains incompletely resolved at this time.
Ongoing understanding, elaboration and application of functioning locomotor CPGs in humans is important for gait rehabilitation strategies in those with neurological injuries. Quantum non-barking dogs. Quantum weak measurements with states both pre- and post-selected offer a window into a hitherto neglected sector of quantum mechanics. A class of such systems involves time dependent evolution with transitions possible.
In this paper we explore two very simple systems in this class. The first is a toy model representing the decay of an excited atom. The second is the tunneling of a particle through a barrier. The post-selection criteria are chosen as follows: at the final time, the atom remains in its initial excited state for the first example and the particle remains behind the barrier for the second.
We then ask what weak values are predicted in the physical environment of the atom to which no net energy has been transferred and in the region beyond the barrier to which the particle has not tunneled. Thus, just as the dog that didn't bark in Arthur Conan Doyle 's story Silver Blaze gave Sherlock Holmes meaningful information about the dog's non-canine environment, here we probe whether the particle that has not decayed or has not tunneled can provide measurable information about physical changes in the environment.
Previous work suggests that very large weak values might arise in these regions for long durations between pre- and post-selection times. Our calculations reveal some distinct differences between the two model systems. O mundo e os mundos da arte de Arthur C. Danto Data were collected Recent debate on mid-latitude New Zealand glaciation has focused on reconstructing paleo-climate conditions leading into the global Last Glacial Maximum and subsequent deglaciation dynamics during the last termination.
Paleo-environmental evidence coupled with reliable glacial chronologies supporting a Southern Hemisphere glacial readvance commensurate with Younger Dryas timing Many New Zealand lake and pollen records suggest a minor cooling or hiatus in warming during the period from Achieving the required sub-millennial temporal differentiation using in-situ cosmogenic exposure dating comes with numerous difficulties.
The Arthur 's Pass Moraine complex, deposited by an alpine glacier advancing out of the Otira Gorge splaying east and westward over the divide of the Southern Alps in New Zealand masl , exhibits a full post-LGM glacial chronology. The moraines consist of multiple cross-valley terminal, lobate and discontinuous latero-terminal moraines up to 3 kilometres down valley from the proximal Misery moraines at the outlet of Otira Gorge. Within the gorge towards the headwall only 1 km up-valley from the Misery sequence, no other moraines are evident.
We have determined paired Be and Al exposure ages from 58 greywacke samples taken from all major moraines, including repeat sampling from the Misery moraines. The new exposure ages show that the Arthur 's Pass moraine system spans a period of The overall timing of deglaciation after peak LGM conditions is similar to that observed at down-valley terminal positions of the larger outlet river systems of the Rakaia, Waimakariri and Rangitata Valleys.
This work assessed the concurrent and face validity of the Mac Arthur scale, which attempts to capture subjective social status in society, neighborhood and work contexts. The study population comprised a convenience sample made up of adult participants of the ELSA-Brasil cohort study conducted in Minas Gerais between and The analysis was conducted drawing on Conceptual Metaphor Theory and using corpus linguistic methods.
Face validity indicated that the Mac Arthur scale really captures subjective social status across indicators of socioeconomic position, thus confirming that it is a valuable tool for the study of social inequalities in health Brazil. Full Text Available The article scientifically proves the importance of choral genres in the works by Arthur Lourie. It is proved that the trends of symbolism and avant-garde affected the formation of the logic of intonation development , composite and harmonic solutions of the cantata.
Lurie, innovative methods of convergence of expressive possibilities of symphonic and choral scores, aimed at strengthening the capabilities of color and expressive choral sound are identified. The subject of this thesis is the ethics of German 19th century philosopher Arthur Schopenhauer. By arguing that all true morally acceptable and good actions originate from compassion, Schopenhauer distinguishes his view from the deontological ethics held by Kant.
Its purpose is to consider an ethica Feasibility study, reliability and validity calculations against to gold standard of clinical expert. Spanish version of the MacCAT-T is feasible, reliable, and valid for assessing the capacity of patients to consent treatment. Toward a Pragmatist Epistemology: Arthur O. Lovejoy's and H. Jennings's Biophilosophical Responses to Neovitalism, The sustained interdisciplinary debate about neovitalism between two Johns Hopkins University colleagues, philosopher Arthur O.
Lovejoy and experimental geneticist H. Jennings, in the period , was the basis for their theoretical reconceptualization of scientific knowledge as contingent and necessarily incomplete in its account of nature. Their response to Hans Driesch's neovitalist concept of entelechy, and his challenge to the continuity between biology and the inorganic sciences, resulted in a historically significant articulation of genetics and philosophy.
This study traces the debate's shift of problem-focus away from neovitalism's threat to the unity of science - "organic autonomy," as Lovejoy put it - and toward the potential for development of a nonmechanististic, nonrationalist theory of scientific knowledge. The result was a new pragmatist epistemology, based on Lovejoy's and Jennings's critiques of the inadequacy of pragmatism's account of scientific knowledge.
The first intellectual move, drawing on naturalism and pragmatism, was based on a reinterpretation of science as organized experience. The second, sparked by Henri Bergson's theory of creative evolution, and drawing together elements of Dewey's and James's pragmatisms, produced a new account of the contingency and necessary incompleteness of scientific knowledge. Prompted by the neovitalists' mix of a priori concepts and, in Driesch's case, and adherence to empiricism, Lovejoy's and Jennings's developing pragmatist epistemologies of science explored the interrelation between rationalism and empiricism.
In recent decades, an exciting new art movement has emerged in which artists illuminate the latest advances in science. Some of their provocative creations - a live rabbit implanted with the fluorescent gene of a jellyfish, a gigantic glass-and-chrome sculpture of the Big Bang itself - can be seen in traditional art museums and magazines, while others are being made by leading designers at Pixar, Google's Creative Lab and the MIT Media Lab. Arthur I. Miller takes readers on a wild journey to explore this new frontier.
From the movement's origins a century ago - when Einstein shaped Cubism and X-rays affected fine photography - to the latest discoveries of biotechnology, cosmology and quantum physics, Miller shows how today's artists and designers are producing work at the cutting edge of science. Tuesday, 21 October at in the Library, Bldg. This article analyses the concept of narrative empathy in illness memoirs.
These texts negotiate the narrative identity of an autobiographer as he or she recounts the disruptive experience of illness, an experience in which physical and emotional traces dramatically and definitively shape our sense of self. While narrative emotions are certainly deployed in these autobiographies in order to connect with the readers and promote social change, this empathic connection is not so much aimed at arousing compassion but rather more positive emotions on the experience of illness.
I will explore the emotional representations of cancer in Arthur Frank's At the Will of the Body and Kathlyn Conway's Ordinary Life: A Memoir of Illness , focusing on the identity strategies these authors use in order to become affirmative models of disability and illness, showing the damaging effects not of disease or impairment but, rather, of the cultural mythologies that interpret those conditions in reductive or disparaging ways. Full Text Available The use of engineered plants as biosensors has made elegant strides in the past decades, providing keen insights into the health of plants in general and particularly in the nature and cellular location of stress responses.
However, most of the analytical procedures involve laboratory examination of the biosensor plants. With the advent of the green fluorescence protein GFP as a biosensor molecule, it became at least theoretically possible for analyses of gene expression to occur telemetrically, with the gene expression information of the plant delivered to the investigator over large distances simply as properly processed fluorescence images.
Spaceflight and other extraterrestrial environments provide unique challenges to plant life, challenges that often require changes at the gene expression level to accommodate adaptation and survival. Having previously deployed transgenic plant biosensors to evaluate responses to orbital spaceflight, we wished to develop the plants and especially the imaging devices required to conduct such experiments robotically, without operator intervention, within extraterrestrial environments. This requires the development of an autonomous and remotely operated plant GFP imaging system and concomitant development of the communications infrastructure to manage dataflow from the imaging device.
Results both demonstrate the applicability of the fundamental GFP biosensor technology and highlight the difficulties in collecting and managing telemetric data from challenging deployment environments. Tonic neck reflexes were investigated by Rudolf Magnus and Adriaan de Kleijn in animals and men in and eventually by Arthur Simons, a neurologist in Berlin and coworker of Hermann Oppenheim. Simons studied these reflexes in hemiplegic patients, who were mainly victims of World War I. This work became his most important contribution and remained unsurpassed for many years.
The film Filmarchiv, Bundesarchiv [Film Archive, National Archive] Berlin with Simons as an examiner shows 11 war casualties with brain lesions that occurred between and The injuries reveal asymmetric neck reflexes with "Mitbewegungen," that is, flexion or extension on the hemiplegic side. The knowledge of the neck reflexes is important in acute neurology and in rehabilitation therapy of hemiplegics for antispastic positions. Simons' investigations were conducted in the early era of increasing use of cinematography in medical studies.
The film had been nearly forgotten until its rediscovery in Developing strategies for automated remote plant production systems: Environmental control and monitoring of the Arthur Clarke Mars Greenhouse in the Canadian High Arctic. Bamsey, M. The Arthur Clarke Mars Greenhouse is a unique research facility dedicated to the study of greenhouse engineering and autonomous functionality under extreme operational conditions, in preparation for extraterrestrial biologically-based life support systems.
The greenhouse has been operational since Over recent years the greenhouse has served as a controlled environment facility for conducting scientific and operationally relevant plant growth investigations in an extreme environment. Since the greenhouse has seen the deployment of a refined nutrient control system, an improved imaging system capable of remote assessment of basic plant health parameters, more robust communication and power systems as well as the implementation of a distributed data acquisition system.
Though several other Arctic greenhouses exist, the Arthur Clarke Mars Greenhouse is distinct in that the focus is on autonomous operation as opposed to strictly plant production. Minimizing crew time is an important goal for any space-based system. The experience gained through the remote operation of the Arthur Clarke Mars Greenhouse is providing the experience necessary to optimize future plant production systems and minimize crew time requirements. Internal greenhouse environmental data shows that the fall growth season July-September provides an average photosynthetic photon flux of The spring growth season provides an average of Protein-Rich Fraction of Cnidoscolus urens L.
Full Text Available Proteolytic enzymes are important macromolecules in the regulation of biochemical processes in living organisms. Additionally, these versatile biomolecules have numerous applications in the industrial segment. In this study we have characterized a protein-rich fraction of Cnidoscolus urens L. Arthur leaves, rich in proteolytic enzymes, and evaluated its effects on the coagulation cascade. Three protein-rich fractions were obtained from the crude extract of C. Fraction F1. The proteolytic activity of F1. Despite the fibrin ogenolytic activity, F1.
The fraction F1. The proteolytic activity was inhibited by E, EDTA and in the presence of metal ions, and increased when pretreated with reducing agents, suggesting that the observed activity was mostly due to cysteine proteases. Several bands with proteolytic activity were detected by zymography with gelatin, albumin and fibrinogen. In conclusion, these results could provide basis for the pharmacological application of C. Arthur Posnansky y su Obsesion Milenaria. Full Text Available Ponce proposes to develop an intellectual history of Posnansky, whom many view as the father of Bolivian archaeology, which he hopes will contribute to the establishment of context for the development of local prehistory.
However, for the most part, the volume serves more as a foil for Ponce to refer to his own work and publications, as they update, contradict, and improve on the earlier archaeological reconstructions of Posnansky. Arthur Posnansky was an important contributor to Bolivian culture history, being not only a pioneer in Bolivian archaeology, but also in Bolivian cinematography, in the development of the national park system, and in the introduction of the first automobile into Bolivia.
He was trained as a naval engineer in his native Vienna, a skill which he quickly parlayed into a fortune in Bolivia in the rubber boom, in terms of transporting the latex by river transport. With the loss of Arce to Brazil in , he shifted his focus to other fields. He brought the first gasoline-powered motorboat to Lake Titicaca that year, and while visiting the excavations of the French Crequi-Montfort and Senechal de La Grange Mission, under the direction of George Courty, during trips to the lake, he became very intrigued with the site of Tiwanaku and its place in Bolivian prehistory.
Posnansky shortly thereafter began his extensive collection of material artifacts from Tiwanaku, constructing the -"Palacio Tihuanacu" in to house the stela, ceramics and other materials which he collected. This structure and its collections were subsequently sold to the state, becoming the current Museo Nacional de Arqueologia. Staats' Psychological Behaviorism. Arthur , , p. Full Text Available Sherlock Holmes has long been rumored to be on the autism spectrum.
Yet the significance of the great detective's autism "diagnosis" has been largely overlooked. While it would be impossible to diagnose a fictional character with a neurological difference, it says something about the way that the public imagines autism that Holmes is consistently imagined and described as a person on the spectrum. Indeed, Conan Doyle 's character popularized the stereotype of the detective with autistic traits, thus perpetuating several common tropes about autism.
Emulating Conan Doyle 's famous tales, contemporary crime fiction frequently creates detective characters with autistic characteristics. While figures such as Spenser Reid and other crime fighters following in Holmes's shadow may seem to counteract fears of people with cognitive disabilities as deviant, criminal, or dangerous, they may actually reinforce those stereotypes.
Arthur J. Nozik NREL. Arthur Prior and 'Now'. With the aid of hybrid logic, Prior built a bridge from a two-dimensional UT calculus Integrated Solid Earth Science: the right place and time to discover the unexpected? Arthur Holmes Medal Lecture. The fascination of learning more about the way system Earth operates has driven generations of Earth scientists.
This has been the case for early pioneers such as Arthur Holmes, focusing on the geological record in continental settings, as well as for the founding fathers of plate tectonics, who built upon the results of exploring the ocean floor. Two years ago we celebrated the centenary of the discovery by Mohorovicic of the seismic discontinuity that separates the crust from the mantle, which now carries his name.
Reading the rocks and mapping the sub surface of the Earth has provided the foundation for a great deal of what we conceptually pursue today in developing and validating coupled deep Earth and surface processes. The unexpected is probably characterizing most of my scientific career. It started in when, as a student, entering the geology program of Groningen University headed by Professor Philip Kuenen, a pioneer in marine geology and sedimentology, the textbook of Arthur Holmes just happened to be my first purchase.
It was during those years that plate tectonics drastically changed everything we were learning. I was also privileged to enter a few years later as an MSc student the Utrecht geophysics school at a time where Nico Vlaar as a young professor was developing a vigorous research program with a focus on seismology, attracting and stimulating many talented students. When he and Rinus Wortel started research on Tectonophysics in Utrecht, I decided to go for a PhD research project tackling the problem of the initiation of subduction, a first order problem in geodynamics, with still many aspects to be resolved.
This research and the joint work with Rinus Wortel on modeling intraplate stresses in the Faralon, Nazca and Indo-Australian plates led quite unexpectedly to exploring, together with Kurt Lambeck, intraplate stress fluctuations in the lithosphere as possible tectonic causes for the origin of third-order cycles in relative sea. Full Text Available In the midst of increasing emphasis on the inclusion of character education in both school and out-of-school time programs, digital technologies have become ubiquitous in these settings.
First and second grade students were paired with 4th and 5th grade students, respectively, while engaging with an online interactive graphic novel IGN about a character-relevant story based on the Arthur cartoon series. Results indicated that teachers were very satisfied with the materials and reported that children were very engaged throughout. It is known that the philosophical discussion of virtue ethics is in all philosophical traditions.
We intend to show how we can act virtuously in the world of ethos and also identify what are the cardinal virtues taking as its starting point the schopenhauerianas philosophical considerations for the unique and genuine foundation of morality, compassion. The roundness of the sound patterns, in which any sense of progression or time development concept are lost, makes this musical piece by Ujino a anti-symphony performed by an automaton musical group The mechanisms of this sound sculpture, endowed with its own movements, are leading a singular execution and proclaim the autonomy of the machine.
Mass consumption and waste give the extra elements and the experimentation with the immanent combining ability of ordinary elements in order to escape from the commercially given and consumed. There is, then, a miscellany of elements clustered in non-hierarchical ways, since common and artistic, musical and non-musical objects are put on the same level. Everything is subject of combination, of incorporation.
This congregation defies and subverts the distinctions made by the erudite culture, between stratified and conventional standards of art and the objects and sounds of the world. By rescuing the poetry of the world's noise12, these artistic proposals follow the trails opened by the noise aesthetics, the sampling techniques of concrete music13, the unpredictability of random music and the programming possibilities of electronic music, intrinsically associated with the machine, hardware and software included.
The reassessment of the noise as a musical element questions and dispenses the conventions of harmony, scale and rhythm. Luigi Russolo, already in the early 20th century, held that the post Industrial Revolution technologies should be incorporated immediately to art. The urban noise caused by electrical machines and apparatus, by referring to the very experience of life, could not be dissociated from the aesthetic experience. The reappraisal of the noise as a musical element, as well as the use of extramusical elements in the composition, including sounds from any source, continued to be experienced in the concrete music of Pierre Schaeffer in the s.
In this same decade John Cage elaborates compositions using ordinary objects: scrap, cooking pots, blenders, kettle. Contemporary noise and also silence resurface as intrinsic and necessary components for sound and music experience. Silence is, for Cage, the basis upon one organizes the metric division of time, and it underlies the entire composition. Sounds of any kind could, therefore, emerge in a certain compass without any syntax, order or sense of progression. The noise would thus be part of silence. Combined randomly, the two align endless possibilities of variation and randomness.
Noise is a term used to describe some varieties of experimental music and sound art that use acoustic or electronic noise produced unexpectedly or using previous recordings. These experimentations may cause effects of atonality, repetition, cacophony, dissonance etc. The most important would be to accept the sounds erupting in emptyness and to be open to the absence of intentionality in the composition. Intention is now for Cage the only difference between the noises that spontaneously spring up in silence and those caused by the musician. This intrinsic relationship between silence and noise reappears in "" by O Grivo, a sound sculpture in honor of Cage that explicitly carries its duration in the title.
This metric duration is the required time for the gears of the small gadget built by the duo to cause a noise: the barely audible sound of a metal rod tapping a musical instrument string. At the same time, this lowermost sound that breaks the silence of our waiting ironically justifies the whole complex structure of gears.
The project connects, therefore, the visual and the sound of concrete objects. In "Hole", by the Chelpa Ferro group, a wooden box of speakers, a microphone and other audio equipment connected in series make audible a noise that is generated by association and multiple translations of the impulses between one device and another.
The self-production of electromechanical sound questions the musician's role as a sole creator of sounds and controller of the composition, suggesting a piece that is shared with the randomness of technological instruments, be analog or digital. The use of these platforms in artistic creations subverts the political-marketing field that involves technology and leads art to a political realm, discussing, as well, its own formal and conceptual characteristics within the era of ciberinformation.
Access to the internal functions of electronic devices or, as Flusser puts it, the opening of the "black box" allows for the simultaneous modification of the machine and its user, action that goes beyond the interactivity of ordinary programming. Projects found online, which are free to use and, through the access given to the source code, they can be altered and redistributed by anyone.
To the tactics of appropriation and detour employed in artistic projects, open electronic workshops concerning DIY design as a tool to promote horizontality of speech and exchange are assembled. Regarding these workshops produced by the group since , we realize the intention of creating an effective approximation of the individuals with technical objects, with an aim to increase knowledge and promote actions of manipulation and creative and inventive reinterpretations of these objects.
This practice of workshops is aligned with the "maker movement" that arises in as a way to leverage a more participatory approach to technique and technology, contributing to this approach by using DIY practices. In this context, we see the emergence of hackerspaces, which are community spaces where tools and knowledge are shared and reintroduced, after the removal of the individual from the instance of production of the industrial age, direct manufacturing, use of skills and personal involvement in maintenance, transformation and invention of multiple artifacts that involve electronics, computing, robotics, metalworking, carpentry, among other disciplines.
In so doing, learning by making, collaborative networking and knowledge sharing are emphasized. The intention in sharing and expanding technological knowledge is presented as a political tool in a global context in which influence — political, economic, social and cultural — takes place mainly through large corporations' technological domination.
The objects and facilities that are present at "Gambiologos 2. LEDs, reused electronic circuits, stickers, dolls, wooden carved pieces, among other materials, compose an aesthetics of the excess that matches the excesses of contemporaneity. It is not just about considering a certain type of artistic practice that uses low-tech and recycling of materials, but it is about identifying a creative rework that critically reconsiders the utilitarian definition of objects, the idea of technical progress and the obsolescence of tech devices.
Juliana Gontijo is a researcher, lecturer and independent curator. She is the author of the book "Technological dystopias" Ed. Circuito, , awarded with the Funarte Stimulus to Critical Production grant. Pinto do Monteiro, a repentist poet from the state of Paraiba in northeast Brazil, defines poetry as "the art of taking from where you don't have and placing it where it doesn't not fit. Poet, author and maker are synonymous with the Greek term poete1. The gambiological artists create from waste, this being a despised group, symbolically excluded but a surplus in its material sense.
They act as poets because they resignify things that have lost its sense in a system of signs and have gained the generalized meaning of garbage, disposal. In the exhibition, Sara Ramo in "On the move" introduces this universe by showing the excess of objects we possess and that identify us. Accumulation is our fate. The objects we have and that we transport with us are meaningful to us. Bispo writes with objects.
His "tackle panels" consist of phrases that are layed out in four columns. The artist structures chaos as a poet structures verses, highlighting elements in a composition of rhymes of different sounds.
Poetic construction, according to Bakhtin, has this characteristic of constant reinterpretation of everyday life, of the recognition of objects that, paradoxically, given their banality and massive presence in the world, tend to invisibility: [ Bakhtin notes that only individual praxis allows us to connect the three domains of human culture - science, art and life. In the absence of this continuous practice there is what the author calls "mechanical" actions, a set whose elements are united in space and time in an external mode, without being imbued with an internal unit of meaning; parts of the whole are contiguous, but remain far apart.
The only way to overcome mechanical actions would be.
The gambiological artist is also a collector who has a watchful eye on the picking and selection of what will be used and the endless combinations that can be proposed. In gambiological works the process defines. It is from what is found, from what is available that the result appears. It's the amount, the excess that defines poetry. Gambiological processes are old acquaintances of people from different cultures, wether there is a specific name for these practices or not. The gambiological impulse is natural born; hence the need for constant control of waste by public authorities, which in some cases punishes anyone who pick up waste, justifying it as maintainance of hygiene and safety2.
The focus of gambiarra is not the product, it is the process. The non-planning of informal constructions comes to couplings, juxtapositions that occur gradually. It is more Tetris and Lego than architecture. These solutions, therefore, become useless and extremely critical machines. The gambiarra is therefore also a contestatory act — a constant disobedience to clean design that hides its constituent processes and imposes just one use of the objects, previously determined from top to bottom.
Hence the mistake of accepting the art of gambiarra as daily production but not in the Arts, in its exclusive spaces, being it charged with accusations of "cosmetics of the precarious" OBICI, Gambiarra refers to processes that occur in a more evident way in limited economic contexts, but it transcends them. It is only when the "do it yourself" is succumbed 1.
Accessed in: February 26, Thus, the critical forces of power, especially those industrial and technological forces, appear in different but consistent ways in works of the exhibition. Soja 9 said that architects and planners were still tied to perceived and represented space, but they have difficulty in participating in the experienced space.
In this respect, the artworks exhibited allow a turning point in understanding the makeshifts in galleries, positioning it as something that goes beyond residual aesthetization, although the residual has an aesthetic, and this is quite clear in the exhibition. As Denise Scott Brown puts it, "even after the artistic fashions change, we will still be here because this is a pop city, this one, the one we have.
The gambiological artwork never realizes itself as an end, only as a range. If we agree to Perec 47 that space is a doubt and is never given to us, we have to believe, too, that the temporary designation processes that gambiological works show turns it into the science of streets, of nomadism, of movement in thought. It is a science that continually shows the role of procedural requirements in relation to the fin-ished work. What could serve as a hallmark therefore becomes a common thread, permeable to young artists working with electronics, robotics, popular and contemporary artists who use little or nothing of digital technologies.
Thus, gambiarra connects the production of popular culture to art. It is not an institutionalization of an exclusive street practice, but rather the evidence that popular artists and erudite artists have similar processes, revealing a transgressive possibility that goes beyond the works and brings critical reflections on the art scene itself.
Joseph Morris, with the "Mere things" series, brings the banality of the objects and the simplicity of machinical structure, that proposes a way to reconnect with the objects we share. He takes up the writings of Bakhtin on the importance of human presence on the connection between art, science and life. I must endorse also the very layout of the works on display, making it clear that we are not in the traditional white cube galleries, or the black cube of digital art exhibitions. The metal structures that divide and not isolate the room propose a space that refers to the workshops, which we can call gray cubes.
It is no coincidence that the Gambiologos Fred, Lucas and Ganso , among many activities, have never overlooked the workshops, which, incidentally, are part of the "Gambiologos 2. The activities cover the process of understanding the science of gambiarra as something collectively and continuously built.
The act of making is a fundamental part of the gambiolog ical science. Sennet 20 45 notes t hat t he separation created between the actions of the hand and mind are not only intellectual, but rather social. To include the handmade in this dynamic is subversive in that it replaces distance for familiarity and participation, without necessarily falling into traps of so-called interactive technologies, which largely only reproduce pre-programmed and predictable interactions of commercial interfaces. Ujino mentions that he hopes "that in the future people can connect and rearrange technologies from what they themselves want.
Jorge is an artist but also long-time workshop coordinator. In their workshops, he organizes what lies at the heart of his work. His "Toylab" is a proposal to rebuild cheap tech toys made in China with distinct functions or features. It is a method for recognizing objects, especially toys, which are produced in mass and sold worldwide.
From its original meaning4 to current usages in language, gambiarra is about connections. And if there is something typical in hacks, this is something that connections are constantly made visible. While commercial technological arrangements conceal the processes where.
As Obici notes 43 , " We can see how the parts are combined, as the structure is organized. What we see in the exhibition is not only an aesthetic connection between artists' pieces, but a very important operating mechanism. Gambiologia is thus the science of gambiarra. However, if we look beyond the common sense of what is considered science, we notice that there is a lot of hacking in the scientific process.
The act of collecting, selecting and reordering, withdrawing from an existing set what is considered interesting and structure it in new combinations, "uniting two things that belong to different worlds In the scientific method, hypotheses are confirmed or refuted, and scientists learn with experimentation.
At this point, the hacker and the scientist operate in the same manner: if you try an experiment and you require the outcome to be what you expect, this is not good science. In fact this isn't even science, it's bad science maybe, but it's not science. Good science requires that you are open to the outcome whether it's what you're expecting or not.
Science, like hacking, requires lots of failures. Before coming out with useful theories you've got to try things again and again and come out with the unexpected almost all the time. The subversion of science practices relates to creative processes in the art that appropriates science and technology and overcomes dichotomies between amateur and professional, digital and analog, or even between traditional and scientific knowledge. These practices dialogue with the proposals for open science and knowledge sharing we see today in hackerspaces and DIY science labs.
Gambiologia also proposes a science of the collective, of "do it yourself", but also the science that has to do with more traditional scientific processes, research, analysis and proposition of results that can be made more generic or broad. Likewise, there is a. More than a subversion of art and science, Gambiologia is an allegory that belongs to art and science.
While machines work in the production of perfection, the gambiologists boil imperfection down to the arrangement of objects to compose the works. As a good expert of language, he knows it must be incomplete. This is the paradox of the robot: if it appears "perfect", it is locked in a cycle in itself. And it stops communicating. Only opening, difference and incompleteness produce information. Within this perspective, we can also mention the work of Mark Porter, "Translator", which shows a kinetic sculpture that gradually alters the space where it operates.
The mechanical-drawings-turned-sculptures "portray the irregularity of human actions. Paulo Waisberg extends this sense of anguish of objects and machines with the works "Lung" and "Slaughterhouse". Again, the anthropomorphic mainly in "Slaughterhouse" is shown as incomplete, open, imperfect, but necessary for us to connect with the machines we discard.
Anderson says that maker culture announces the third industrial revolution, with the possibility of customized design and individualized production. Even with all the known social, economic and ecological problems that industrial production has generated, we still live under the spell of the possibility of building things. Within this constant worship of the object, makeshift becomes relevant as an alternative and critical view, as shown 4. According to Giuliano Obici's thesis, Houaiss points the emergence of the term gambiarra in , period synchronous to industrialization and urbanization that occur in the late nineteenth century to the twentieth.
The gambiarra appears with disorderly growth and development of cities and the emergence of slums, consisting of substandard housing shacks , lack of infrastructure gambiarra or lack of regulation that opens a field for the exercise of illegal practices. On the other, gambiological artists show us that there is much more in these practices than it may seen. There is a cognitive structure, a modus operandi that faces the excess and chaos, and pick up a way of knowledge from it.
For him, it is necessary to see code as practice and matter, even to understand how the discursive construction gave rise to the idea of invisibility and hence all social and political implications of this phenomenon. So we remove technology from purely technical environments and it is possible to understand it from its entanglements with cultural practices. Coding expresses abstract relations and formal operations between different groups. The concrete, social, economic, intellectual and even physical context where these groups are has a direct impact on code building.
Questioning "the perfect machines" also implies questioning the concepts of speed and efficiency that are inherent in tech industry. The artists present machines that subvert the speed of digital technology ones. By imposing another temporality, propose contemplation and waiting. And do not answer the complex processing demands or functions that seek the effectiveness of the machines. Guto Lacaz, in turn, is a master of useless machines. His couplings between objects and distinct functions refer to the transience of buildings in the favela slum.
Mauro Alvim, with "Father! I want to queer the cannon" builds a bull-cannon with scrap iron. The sculpture is part of a series on the historical Canudos War in Brazil and brings the utopia of a possible world to be driven horizontally, outside exclusive hierarchies. It is also interesting to think that Canudos brings us to the origin of the term favela5, the urban setting that is the most associated to gambiarra practices in Brazil, including from dictionaries, which make reference to clandestine light connections.
By reframing trash, waste, the selected artists question the cycle of planned obsolescence, the constant imposition of the practice of using and throwing away. Likewise, the materiality of technologies is clearly presented. Lucas Bambozzi, with the installation "Of broken things", brings a machine that destroys cellphones, highlighting saturation and reducing objects of massive presence which are, at the same time, objects of status but are in scrap condition. It's the technology in its actual operation, exposed circuits found in garbage piles against hidden circuits within new machines.
The gambiologia also questions the idea of technology as something global, abstract and clean. Technology, being it high or low tech, is dirty and concrete. The difference is that some objects allow us to observe these features and others hide them under the cloak of pure abstraction. Mackenzie 3 criticizes the error of a limited understanding of technology and 5. Arthur Cravan drowned in the Pacific in ; the same ocean where we have the largest area of waste worldwide, the aforementioned Great Pacific Garbage Patch. The exhibition, therefore, deals with a contemporary theme, a picture of what we live in.
If we are drown in garbage, if the anthroposcene is on the agenda of philosophical, ecological and technological discussions, if, in a not so distant future, our sea will be a Great Pacific Garbage Patch6, the gambiologia reveals the most concrete of our existence: the search for perfection and for the formula of life in the sciences on one hand, and an increasingly destroyed and trashed world, on the other. The artworks dialogue with this paradoxical context.
The gambiologos are the artists of the anthroposcene. A piece that may sum it up is "We came from the sea," by Farnese de Andrade, which shows a set of maritime pieces mixed with everyday objects that give us the idea that we are looking at our own guts. What is indeed true: the trash is our open guts, our main production, with which we cover the world.
Paul Gilroy - Oratie Definitief - Race and the Right to be Human
As poets of the excess, the gambiologos bring back the words of poet Arthur Cravan7, "I have twenty countries in my memory and trail in my soul the colors of one hundred cities". If our current life context reveals the failure of humans as demiurges, it lies in the strength of imperfect creation the poetic making that takes from where you don't have and places it where it doesn't fit. Amster-dam: Archis Foundation, She is a co-director of Tropixel festival, the Brazilian node of Pixelache Finland , a transdisciplinary platform for experimental arts, design, research and activism.
His work is informed by a deep meditative study into the nature of human consciousness, and is focused on how our relationship with the natural world can fundamentally change our ideas of what we really are. As well as making artwork and performance, he teaches workshops in movement, meditation and deepening our connection with nature. Neil is an artist and creative technologist exploring ways of breathing life into objects and spaces through the use of digital and mechanical technology.
He is a founding member of the collective is this good?. Sculptural panels, collages of objects, precarious displays. Visual intuition and sense displacement. Reordering the world through the clutter of everyday experience. These works were developed from discarded objects found at the Juliano Moreira psychiatric institution in Rio de Janeiro where the artist spent much of his life and produced most of his work. They have participated in several exhibitions, scholarships and residences as: Aesthetic Interactions - Funarte ; JA. Mobile phones are ubiquitous in today's society but often their use has unintended consequences, intruding into and changing social situations, distancing people in real life by dragging them into the digital world.
They are also a massive source of electronic waste. This installation takes cast off devices and suggests an alternate reality in which these unwanted phones and noises become something beautiful, giving them a new life by creating an experience that people can share together in person. He had a reclusive life in a psychiatric hospital for half a century. Transiting between reality and delirium, he believed to be in charge of a divine mission and used dispensed materials at the hospital to produce his pieces, which mapped his reality.
Making use of the word as a pulsing element, he manipulated signs and played with the construction and deconstruction of discourse to create his embroideries, assemblages, banners and objects that would later be consecrated as reference works of contemporary Brazilian art. He passed away in in Rio de Janeiro, being granted immediate posthumous recognition. In he represented Brazil at the 46th Venice Biennale. A wood structure supports a glass container that, in approximately every 50 seconds, releases a drop of water.
The drop touches the ceramic and is slowly absorbed. A resistance that is in contact with the ceramic releases heat by the thermostat control, preventing it to become saturated. A small motor performs the cyclical descent and ascent movement of a magnet. In turn, the magnet approaches ore grains deposited in a glass structure, which are drawn to suspension. With the removal of the magnet, the grains fall again. His works are photographs and expanded audiovisual pieces, often situated on the border between film and visual arts.
The four photos are part of an "in-progress" series, in which, with formal simplicity and great plasticity, makeshifts in various locations worldwide are recorded. In this set of images, the artist's ability to improvise gives rise to moments of weirdness that are able to reinvent our common view of ordinary objects and situations. Avoiding the idea of separating the works in tight environments - a common solution in exhibitions of many pieces and little space - this show has its objects juxtaposed in a continuous space.
The metal screens that support the works don't t separate them by rooms, thus creating a visual overlay of frames and works that confirms the concept of accumulation and bonding of this show. The inevitable white walls usually create static rooms and remove the spaciousness of galleries, transforming them into amorphous, clinical and domesticated spaces. The common expography treats spatial continuity as a problem and can't see possibilities in the idea of visual permeability. That's why to design an exhibition is almost always synonymous of creating "environments" and, unfortunately, that's why the glass trestles that Lina Bo Bardi designed for MASP were filed for two decades.
The exhibition has its curatorial proposal articulated on improvisation, collecting, accumulation and acceptance or not of popular culture in Fine Arts. And its expography seeks to reflect and blend in with these themes, endorsing the mundane materiality of its works and trying to be an element capable of enhancing the strength of the exhibited objects. Since they develop a work that blends experimenting with electronic music, sculptures and technological facilities in live performances and exhibitions.
They have presented work in several formats: objects, installations, video, performance and recorded albums. The trio makes unconventional use of musical instruments besides incorporating invented instruments from appliances and everyday objects in the performances, exploring the boundaries between noise and music. The group members live and work in Rio de Janeiro, where they also perform their solo artistic trajectories.
Precarious audiophonic assembly, in which the frequency generated by the amplifier shakes the speaker and generates a howling which, picked up by the microphone, returns to the device and generates an endless loop of noise. In he began his original work in the fields of photography, film and video, performing research with the construction of handmade cameras and using precarious equipment. This piece consists of a small wall, built from the stacking of simple and precarious cardboard boxes, which serve as dark cameras and point to the same place: a small illuminated chair.
The chair's image and everything around it is projected onto the paper inside the boxes, revealing an upside down world. Several boxes: many worlds in mosaic. Ephemeral real-time images that transport us to a reverse horizon: to the time of all Photography precursors which, together, "burned in desires," to use Daguerre's expression, for the magical image projected inside the black box. Here, the experience of image makes a way back towards immateriality, towards the desire that preceded the photographic image as we know it - or as we knew it a few years ago.
Inverted landscape A world within a box: the world upside down. Desires burn in images. Desires to fix desires in inverted desires, in parallel worlds: ephemeral image. He began his career as a drawer and engraver and from on he worked on producing assemblages, mainly using polyester, wood, antiques and found objects. He lived in Rome and Barcelona. He died in in Rio de Janeiro. His works remain being presented in many art events worldwide. To them, pieces of dolls, marbles, pieces of wood and other objects collected by the artist are aggregated.
The futuristic look of the "Computer" wrapped in polyester and its composition similar to a computer cabinet contrast with the piece's organic aesthetics which is entirely analogic. His works are It was originated from the reuse of various materials that would otherwise be discarded by the author, as well as others collected in the streets during the months prior to the exhibition.
Among them are packaging leftovers, auto parts, cables and semi-damaged mobile phone chargers, window frame, microprojector, monitor, screws, etc. Business is more relevant than the creative act on itself. Born in Belo Horizonte, Brazil where he lives and works.
He performs since the 's as an artist, designer, curator and researcher, focusing on the relationship between art, technology, politics and popular culture. His pieces are in diverse media: electronics, programming, graphic experimentation, object collagesm, street art and video. He was creative director at Osso Design and one of the founders of Mosquito Studio. Since he coordinates the Gambiologia Collective.
He is the editor of "Facta - the gambiologia magazine". The group adopts the culture of makeshifts as inspiration for works on art and technology. The collective received an honorable mention at the Prix Ars Electronica in Austria. Large in-process installation simulating the studio of Gambiologia's fictional patron. This is a temporary and permanently in change occupation that happens during the exhibition, which refers to the workshops of the collective members and any gambiologist.
In this installation, Gambiologia presented the most part of its pieces created from to , as well as original pieces produced for this show. Objects of collection and pieces that include: assemblages, sculptures, lamps, projections, stickertherapy, the Gambiocycle a multimedia-concept-tricycle and many other electronics. New works had been incorporated during the event and workshops for the visitors were held, in a way that this piece was considered done only on the last day of the exhibition. He is a multimedia artist, illustrator, designer, inventor and set designer. His production transits between graphic design, pieces made by ordinary objects, the exploration of technological possibilities in the arts and the world of media and consumption.
As a graphic designer, he produces logos, books and magazines, posters, illustration, exhibitions and special projects. A tiny object, slightly smaller than a hand, where there are wires connecting it to another device that receives and transmits. I thought that by replacing the mouse with the manipulator I would be creating an interesting technological and aesthetical contrast. His works with hardware hacking, circuit bending, DIY and open source electronics applied to theatre, media arts and education. He runs the "Toy Lab" in Argentina. It's an audiovisual performance based on the use of toys, hardware hacking and obsolete technology.
Electromechanical toys, lamps and other devices are sequenced and controlled, while being part of the sound and visual setup. Security cameras capture actions on the table, allowing the public to participate in what is happening in the "stage". Mutant reptiles, robots, toy soldiers and dinosaurs are the characters in this story where film genres collide and mingle.
Ludotecnia is a tribute to the VHS generation and its TV shows on Saturday afternoons, full of stop motion creatures, mad scientists, superpowers and alien invasions. Making them is a constant back and forth struggle between my idea and the making of the machine, with each piece emerging as individual and unique, containing their own reflection. It is my hope that through Mere Things, these simple machines can empathetically connect us to our shared humanity. He was the creator and coordinator of Arte. Born in Belo Horizonte, Brazil He creates objects using "makeshift video" which are presented in public spaces.
He also works as set designer and art director. He participated in exhibitions such as Arte. Digital hourglass mounted with cathode ray tubes.
If an hourglass is a clock of sand grains that fall, "Timecode" is a clock of videoframes of sand grains that don't fall, but give us the impression of falling. Each frame depicts a moment of this game of gravity and sand grains. The piece emulates the functioning of the former invention, but also subvert it. In the hourglass the driving force comes from nature, wether in this piece it is an invention of its creator, who edits time in his own way, as well as reedits our own time, thus integrating both the tube and the hourglass into it.
In Time is part of the work, it can't prescind it. In this sense, this device seems to protect itself from the idea of a scheduling, approaching the notion of time to something more connected to a sense of occasion. The piece deals with the flow of communication around us and its potential transformation into waste. We are users of a system in continuous testing, which will never be ready. We use dysfunctional hardware and let ourselves be regulated by networks that are increasingly encroaching on our lives. The ubiquity of communication increases and we become agents, operators and hostages of this flow.
Born in Belo Horizonte, Brazil, where he lives and works. He is a bachelor in Product Design at Fumec University. He is a hobbyist and self-taught artist in electronics for over 15 years. He designs, draws and builds electronics and lamps from reused materials, with extensive experience in the use of LEDs and circuit bending. He integrates the Gambiologia collective since He dedicates himself to the critical exploration of new media formats.
He produces videos, installations, audiovisual performances and interactive projects. His works were exhibited in more than 40 countries. In he received the Prix Ars Electronica. In he had a retrospective.
Installation-machine that draws from the electromagnetic flows existing in the space where it is installed in order to swallow obsolete mobile devices. The more intense the signals are, the faster and more effective the operation of the piece becomes. Several modules are integrated, showing the precarious precision of movements: the mechanism that pushes and dispenses cell phones, the gears and chains driven by the motor that drives the hydraulic vise, a niche of flow of the torn material.
Its operation is slow, precise, and it complies with dynamic patterns. He has produced more than 12 thousand pieces, among them.
- Acadêmicos do Cubango.
- Rosário, Arthur Bispo do 1909-1989!
- Die Olchis auf Geburtstagsreise: e-Book (German Edition)?
- English to Portuguese.
- Winin Boy Blues - C Lead Sheet - BC.
He had solo shows and has participated in many collective exhibitions in Brazil and abroad. What interests me the most in this work is a pictorial issue, of plasticity, a combination of forms suggesting another form. The materials seem noble, high-tech, but they are totally poor. They have a sophisticated look and would be difficult to be modeled, but the result of the sculpture is a very simple form that almost resembles a readymade. In the end, I think it also brings the issue of capitalism, of a disposable culture that affects not only objects, but also people. Large dimensions metal sculptures made from scrap.
The pieces oscillate between abstract and figurative, problematizing the utilitarianism of contemporary technological industry. The fluidity of movement suggested by the pieces contrast with its weight, while the decay of a humanity that produces waste in an uncontrolled pace is evident, through a singular transformation of these residues. The sculptures, thus, collide different times: of dead matter and of living human creation. She works in different media: drawing, video, photography and "organic machines. The animation of a window that speaks and breathes is displayed on a video monitor.
Light sensors capture the screen's bright and makes the piece react, inflating and deflating plastic bags installed at it, in a movement reminiscent of breathing. At the same time that the figure of a child suggests a pessimistic future message, the movement of the piece brings us some hope, since its own base is a hand reaching towards the visitor, suggesting a relationship with the one who arrives.
The parts used in this work were collected in a surplus automotive. He has exhibited his work in various solo and. These weapons-scraps point at the same time to the past and to the future, contradicting the civilizatory advance, using the backwoods barbarism of Canudos as a metaphor for a critique of the real destruction practiced by men called "modern". This work is an exchange with a part of the world that is foreign to me.
The sculpture creates a drawing on the wall by dispensing a fluid made of soap and pigment. A video camera feeds live the process of drawing for the video projector, which translates the video signal and projects it on an adjacent wall. They present installations and concerts that explore new acoustic and electronic music sources, the construction of "sound machines and mechanisms" and the unconventional use of traditional musical instruments.
Their pieces propose intersections between visual and audio information in a dialogue with film, video, theater and dance. They propose a state of curiosity and contemplative disposition to listening and discussing the relations of sound with space. It was a collaborative effort between sculpture and public. Activated by a motion sensor, the presence of the viewer caused each form to make red markings upon the wall surface. The more interaction between sculpture and public, the more elaborate the drawing on the wall became.
A series of preliminary drawings were then created through the installation. Since the s he dedicates himself entirely to creating sculptures from scrap and relics. He divides his creations between motorcycle sculptures, pieces inspired by the universal and regional literature and works denouncing attacks on the environment.
He has held several exhibitions in Juiz de Fora, Brazil, where he currently lives and in other states of Brazil and Uruguay, where he attended the International Sculptors Meeting. The slowness of the mechanism and the costly process by which the sound is produced values it. It is created a preparation, an expectation, a time suspension that is solved with the acoustic mechanical sound event. A great preparation for a rather small, soft and simple sound. The sculptures in oxidized iron use sharp and pointed tools, suggesting firearms in its final form.
The use of the. Rythm is everywhere. Quantifiable entity, numerable In absorbed progress, in suspended air, in silence, in its recidivist division of time, space. Measurement unit to be filled void that is the true substance of the world. Rythm, what flows, what owns motion As a graphic artist, he directed the Gorilla Studio, performing projects in fashion, set design, visual communication and illustration. Since the s he has participated in art and design exhibitions, such as the National Exhibition of Fine Arts Funarte, His work with light design using antiques and reused materials is well recognized.
His works are sculptures, installations, objects, instruments and sketches containing: sound, electronics, motion, construction, invention, randomness, physics, control, automation and "gambiarra". In , he participated at the residency Bolsa Pampulha in Belo Horizonte. In he received the Sergio Motta Art and Technology award. It is a work that produces a sonic and visual composition inspired by the moment just before the rain.
All sound produced is of acoustic and mechanical origin. Among the sound elements there is a copper plate which, when vibrating in low frequencies, plays the sound of wind and when vibrating in high frequencies produces a thunderous sound. A rope produces several harmonics through an electromagnetic feedback system. Within a small window there are the lightnings. The silence also comes as an important element in this completely random composition.
His studio is increasingly involved with the production of ephemeral spaces. The transition is an opportunity to experiment, both in the use of new techniques and materials and in the potential of touching people by immersion in unusual places. In his artistic explorations with technology, he gets a convergence of practices and, occasionally, a short circuit. It's alive and it's breathing. She appropriates elements and scenes from the every day, by removing them from their original context and re-organizing them in her video, photographs, collages, sculptures and installations, proposing a very particular way of organization based on a transgressor will.
In addition to exhibitions in institutions of international relevance such as the Venice Biennale Admittedly the video could also have had the same name as the exhibition. Someone's back appear and the person is pulling things from a suitcase. There is a scale game in regards to the possible contents of the suitcase. In it, more things than what would be reasonable fit, objects that are covering the floor, occupying a room that was empty at first. This is a piece about the accumulation of the things we carry with us, about what must be left behind.
It is an absurd journey, it is not clear where it comes from or where it goes, as it is in life itself. It also suggests a detachment movement, since you need to throughly empty your luggage to really go another place. Ujino's best known The Rotators project has been widely acclaimed, and lead to a number of exhibitions and live performances inside and outside Japan.
It is an eye, the one that chased Cain, or simply an eye on the place of the sex of a woman - an anatomical approach made by Georges Bataille in the book "Histoire de l'oeil", The image of the eye becomes thus the image of the woman sex, which opens and closes; two manipulated slides projected sequentially on a frame that is the lower part of a woman's body.
It is the result of an exercise of assemblage and reassemblage, piece by piece, simulacra of mechanisms. The presence of a body remained, in the form of a torso it is a place of origin of the sounds and noises of a tragedy, a bubble in a chest. On a tale by Jean Richepin, in a huge shed, a bit crazy builder builds a human larynx and an oral cavity driven by the bellows of a forge. The set should be able to say out loud: "In the beginning was the Word". This installation is a part of "The Rotators" series.
Its genesis is the mass consumerism, the disposable culture I was raised in, up until , with the end of a Japan that was constantly growing materially and becoming richer. The core section to control the unit is the Rotatorhead. A disc with color pencils embedded onto it surface is set in the turntable. The uniform rhythm starts. As the pencils hit the switches, the home appliances are turned on and off. There are machines everywhere, and not just metaphorically: machines of machines, with their engagements and connections.
The machine-body is connected to a machine-source: one emits a stream that engages another. The noise in this torso is caused by the combination of electricity, of the pump motor, of the effect of the air bubble in water and of this all amplified electronically. If we can not dismantle miracles to have fun, bring back the human body to the scene, or simulate the mechanisms of life so to laugh, thus why trying to understand them?
He has received the Sergio Motta Art and Technology award in His works have been presented in several places dedicated to art and technology, such as the California Institute of the Arts, the Alameda Art Lab in Mexico, and also during the Biennial of Contemporary Art of Lyon France.
This version is an object consisting basically of a projection, such as the wall of a prehistoric cave or the Platonic cave myth. It is therefore the origin of. These ornamental prototypes are compositions inspired in indigenous pieces, made from Meccano metal parts: perforated strips, straight or curved, flexible plates, flat, curved or rigid, with or without edges, beams brackets, ribs, base , mechanical accessories, gears and sprockets to allow for different types of transmissions.
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