scholarly journals Turn Continuations and Gesture: “And Then”-Prefacing in Multi-Party Conversations

2021 ◽  
Vol 6 ◽  
Author(s):  
Sara Rönnqvist ◽  
Jan Lindström
Keyword(s):  
Visual Art ◽  
Free Standing ◽  
Hand Gestures ◽  
The Core ◽  
Rest Position

This article offers an analysis of turn-expanding practices with the connective å sen ‘and then’ in Swedish multi-party conversations in which the participants discuss and assess works of visual art. The connective is recurrently used to introduce a turn continuation, i.e. a stretch of talk that is produced after a possibly completed turn-constructional unit (TCU). We identify three types of continuations: same-speaker continuations, occurring post gap or post-other talk, and other-continuations by the next speaker. Some of the “and then” continuations are clausal, syntactically free-standing, while non-clausal continuations have more in common with TCU increments. “And then” continuations specify, restrict or redirect the unfolding contribution while at the same time orienting to a collective interactional project. In same-speaker continuations, the speaker can introduce a new aspect of the established theme or offer an account. Other-continuations can be used to achieve a shift in footing to introduce a somewhat non-aligning contribution. Both grammar and embodied resources (especially hand gestures) are activated in the management of the completion of a prior turn unit, the initiation of a turn continuation and the recompletion of the speaker’s turn. The typical multimodal trajectory is: syntactic completion of a first unit + retracted gesture; link to prior talk and upcoming talk with “and then” followed by the core of the continuation + a redeployed gesture; and finally, syntactic completion of the continuing unit + retracted gesture to a rest position.

The Dynamic Strength of a Representative Double Layer Prismatic Core: A Combined Experimental, Numerical, and Analytical Assessment

2010 ◽  
Vol 77 (6) ◽  
Author(s):  
Enrico Ferri ◽  
V. S. Deshpande ◽  
A. G. Evans
Keyword(s):  
Finite Element ◽  
Double Layer ◽  
Dynamic Compression ◽  
Dynamic Strength ◽  
Element Model ◽  
Free Standing ◽  
The Core ◽  
Impulsive Loads ◽  
Back Face ◽  
Out Of Plane

Dynamic out-of-plane compressive testing was used to characterize the dynamic strength of stainless steel prismatic cores with representative double layer topology to be employed in sandwich panels for blast protection. Laboratory-scaled samples of the representative core unit cell were manufactured (relative density of 5.4%) and tested at constant axial impact velocities (ranging from quasi-static to 140 ms−1). The dynamic strength was evaluated by measuring the stresses transmitted to a direct impact Hopkinson bar. Two-dimensional, plane strain, finite element calculations (with a stationary back face) were used to replicate the experimental results upon incorporating imperfections calibrated using the observed dynamic buckling modes. To infer the response of cores when included in a sandwich plate subject to blast loading, the finite element model was modified to an unsupported (free-standing) back face boundary condition. The transmitted stress is found to be modulated by the momentum acquired by the back face mass and, as the mass becomes larger, the core strength approaches that measured and simulated for stationary conditions. This finding justifies the use of a simple dynamic compression test for calibration of the dynamic strength of the core. An analytical model that accounts for the shock effects in a homogenized core and embodies a simple dual-level dynamic strength is presented and shown to capture the experimental observations and simulated results with acceptable fidelity. This model provides the basis for a constitutive model that can be used to understand the response of sandwich plates subject to impulsive loads.

scholarly journals Wpływ fundacji papieskich na polską architekturę początku XVI wieku. Watykański kontekst mauzoleum prymasa Jana Łaskiego

2020 ◽  
Vol 68 (4 Zeszyt specjalny) ◽  
pp. 109-138
Author(s):  
Piotr Gryglewski
Keyword(s):  
18Th Century ◽  
The South ◽  
Roman Art ◽  
Free Standing ◽  
Renaissance Art ◽  
The Core ◽  
Late 18Th Century ◽  
History Of ◽  
Core Part

The analysis is devoted to the St. Stanislaus chapel erected near Gniezno Cathedral on the initiative of Primate Jan Łaski between 1518 and 1523 (pulled down in the late 18th century). Foundation of this central, free-standing mausoleum plays an important role in the history of the beginnings of Renaissance art in Poland. Its realisation took place simultaneously with construction of the chapel: the mausoleum of King Sigismund I the Old at Wawel. Archbishop Jan Łaski was involved in bringing to Poland Bartolommeo Berrecci, a designer of the royal chapel, who perhaps also participated in preparing the Gniezno design. Undoubtedly, the Łaski foundation was influenced by his stay in Rome in 1513-1515, when the Archbishop was permitted to take some soil from the Roman necropolis of Campo Samo and use it to sanctify the cemetery at Gniezno Cathedral. The concept of the mausoleum was also connected with the tombstones ordered in Hungary in Giovanni Fiorentino studio. On the basis of the preserved line of foundations, we can distinguish a number of important features of the building. It had a central layout. The core part took the form of a cylinder, most probably vaulted by the dome. Three semi-circular apses formed a elear triconch. From the south there was an entrance to the chapel. No less important was location of the mausoleum, situated between the cathedral and St George’s a collegiate church. On the same axis was the original location of the tomb of St. Adalbert. The solutions applied in Gniezno may have had their sources in a Roman art centre. They were used in a sedes of projects and concepts appearing around the Julius II foundation, renovation of St. Peter’s Basilica and the concept of the papai mausoleum. They were related to the work of Donato Bramante and Giuliano da Sangallo. The Vatican architectural designs were formulated in the context of unique historical signifi of St. Peter’s burial place. A similar, ancient context appeared in Gniezno, a place associated with the beginnings of Christianity in Poland.

A Theoretical Examination of Mems Microactuator Responses with an Emphasis on Materials and Fabrication

1994 ◽  
Vol 360 ◽  
Author(s):  
D.E. Glumac ◽  
T.G. Cooney ◽  
L.F. Francis ◽  
W.P. Robbins
Keyword(s):  
Material Properties ◽  
Elastic Moduli ◽  
Beam Theory ◽  
Core Layer ◽  
Metal Electrode ◽  
Force Output ◽  
Free Standing ◽  
Element Analysis ◽  
The Core ◽  
Core Thickness

AbstractA free standing cantilever beam consisting of a support structural material (polysilicon/silicon nitride), a piezoelectric PZT ceramic layer, and metal electrode layers has been analyzed. Beam theory and finite element analysis were used to model the electric field induced deflections of this structure, and provided information as to how material choices influenced actuator function. Both support material and PZT thicknesses varied from 0-1.0 gim, and bulk piezoelectric coefficients and elastic moduli were assumed. The beam theory uses known (or assumed) material properties to predict actuator responses. Conversely, if device responses can be measured, material properties may be inferred from the theory. For a PZT thickness of 0.3 μm, a core layer thickness of 0.13 μm was found to maximize displacement. Also, the force output was found to be more dependent on the core thickness than that of the PZT. This information can then be used to predict the response of a more complex microactuator.

scholarly journals AESTHETIC VALUES AND ITS IMPLICATIONS IN MODERN AMERICAN POTTERY

2021 ◽  
Vol 03 (03) ◽  
pp. 349-360
Author(s):  
Ahmed Shams ATIYAH
Keyword(s):  
Physical Environment ◽  
Visual Art ◽  
Visual Effects ◽  
Aesthetic Value ◽  
The Core ◽  
Artistic Activity ◽  
Artistic Achievement ◽  
The Aesthetic ◽  
Aesthetic Values

Aesthetic values have grown in light of the innovations and changes taking place in society that can be captured from the outside world, because they are textile creation composed of formal relationships that have produced shapes of aesthetic value. Therefore, it is necessary to realize the most important characteristics of the whole and the part in the context of designing the ceramic figure to highlight its aesthetic value, as it gave the artist a vision inspired by the creations of nature and was thus able to transfer the inner or latent knowledge in the core of artistic activity to the circle of consciousness and feeling, as it relates to the production of meaning and the regularity of lines and colors, as well On the nature of the physical environment that has the ability to achieve constructive relationships in the process of perception such as harmony, dominance, unity and diversity, an attempt to invest in visual art through the illusions that the sculptural work leaves on the eyes of the recipient through his perceptual system, and it is a result of the issue of the dialectical relations between objective vision and self-vision and their visual effects that arise Through the organization and the intermarried lines in the artistic achievement, the first chapter also reviewed a number of terms mentioned in the title of the research, and the second chapter dealt with two topics: the first was the aesthetic value, the concept and the meaning, while the second research concerned visual art and its role in contemporary American ceramics and concluded the theoretical framework by extracting indicators from it, and studies The precedent and its discussion, to be used in drafting the paragraphs of the research tool (the form of analysis of the Samples). The third chapter deals with the research procedures, as the current research follows the approach (descriptive - analytical), in which the research community was defined, "30" works of art were selected and "3" works were selected, where 4areas were identified for analysis to reveal the aesthetic value in the ceramic work. As for the contemporary, the fourth chapter includes research results, conclusions, recommendations and proposals, then sources, appendices and English

THE IMPORTANCE OF AESTHETIC ELEMENTS IN THE ART OF CINEMA AN ASSESSMENT ON

2021 ◽  
Vol 7 (28) ◽  
pp. 101-115
Author(s):  
Serpil SAMUR
Keyword(s):  
Visual Art ◽  
Color Image ◽  
Narrative Structure ◽  
Visual Design ◽  
Art Cinema ◽  
The Core ◽  
The World ◽  
Linguistic Ability ◽  
Sense Of Reality ◽  
Sound Color

Besides being an art, cinema also reveals the existence of a linguistic ability. In this way, with a flexible and dynamic narrative structure that turns changed so as to maintain its coherence, which can create endless imaginative narratives and present these narratives that provide a structure which allows the viewer. Cinema is quite close to the appearance in life, and the illusion of reality is an inalienable attribute of it. Reality is sometimes used as a whole, sometimes a part of it is reflected on the screens. At the core of the language of cinema lies the visual perception of the world in which people live. The concept of aesthetics is essential to understanding the ways in which contemporary and popular culture interacts with cinema. Light, sound, color and movement elements are involved in providing visual communication. Color, one of the most important elements of visual design in the cinema industry, is at the heart of the narrative world created by cinema. Basically there is no color, there is light. The element of color can be said to be an aesthetic transformation of reality or a directed, interpreted sense of reality. Every image in the cinema is accepted as a sign as the carrier of the filmic image. In addition to this, cinema is a visual art, as well as an auditory art. Cinema, which was considered as an art before sound, has undergone a structural change with the introduction of sound. Cinema aesthetics is a special aesthetic area established with cinematography and dealing with beauty. For this reason, the aim of the study is to reveal the importance of aesthetic elements for the art of cinema. In addition, the basic aesthetic elements in the art of cinema are discussed in detail and it is tried to explain why aesthetic elements are important for the art of cinema. Keywords: Cinema Art, Aesthetics, Lighting, Color, Image, Sound.

scholarly journals MODERNIZATION PROCESSES IN THE MODERN FINE ART

THE BULLETIN ◽  
2020 ◽  
Vol 5 (387) ◽  
pp. 281-287
Author(s):  
B. R. Karabalayeva ◽  
◽  
S. Pelshe ◽  
N. L. Seitakhmetova ◽  
◽  
...  
Keyword(s):  
Visual Arts ◽  
Visual Art ◽  
New Technologies ◽  
Modern Art ◽  
Conceptual Art ◽  
Point Of View ◽  
The Core ◽  
The Past ◽  
Iconic Images ◽  
Basic Ideas

Today, in the visual arts of Kazakhstan, the actual art is developing dynamically. Although the popularity of new technologies has been observed only in the last decade, there are selected, unique works in the actual art of Kazakhstan. The artists received the core of actual art they were interested in from the conceptual art of Russia. It began to expand, because in General, within the framework of conceptual art, social and basic ideas were very well developed. This affected not only the spiritual process, but also people's thoughts. The main search for contemporary art can be observed in the creation of mythological images. The attempt of brush masters to abstract originates from bold fantasies that smoothly pass to iconic images, along with various ways of image; there are attempts to convey the idea of compositional works. In the article, the authors review the space of historical development of the art of Kazakh painting. In addition, the modern art of painting in Portugal is offered as an analysis of the set themes and positions of modern art of painting, comparative analyses are provided. Today’s visual art landmarks will be used to analyze the predictive and critical point of view of the past and future.

What face familiarity feelings say about the lateralization of specific entities within the core system

2019 ◽  
Vol 42 ◽  
Author(s):  
Guido Gainotti
Keyword(s):  
Temporal Lobe ◽  
Memory System ◽  
Core System ◽  
The Core ◽  
Memory Traces ◽  
Specific Memory ◽  
Target Article ◽  
Temporal Structures ◽  
The Right

Abstract The target article carefully describes the memory system, centered on the temporal lobe that builds specific memory traces. It does not, however, mention the laterality effects that exist within this system. This commentary briefly surveys evidence showing that clear asymmetries exist within the temporal lobe structures subserving the core system and that the right temporal structures mainly underpin face familiarity feelings.

A scanning electron microscopic study on dissolving process of cholesterol gallstones by chenodeoxycholic acid (CDCA)

1978 ◽  
Vol 36 (2) ◽  
pp. 522-523
Author(s):  
T. Kanetaka ◽  
M. Cho ◽  
S. Kawamura ◽  
T. Sado ◽  
K. Hara
Keyword(s):  
Electron Microscope ◽  
Chenodeoxycholic Acid ◽  
Outer Surface ◽  
Electron Microscopic ◽  
Cholesterol Gallstones ◽  
The Core ◽  
Scanning Electron Microscopic Study ◽  
Scanning Electron Microscopic ◽  
Acceleration Voltage ◽  
Scanning Electron

The authors have investigated the dissolution process of human cholesterol gallstones using a scanning electron microscope(SEM). This study was carried out by comparing control gallstones incubated in beagle bile with gallstones obtained from patients who were treated with chenodeoxycholic acid(CDCA).The cholesterol gallstones for this study were obtained from 14 patients. Three control patients were treated without CDCA and eleven patients were treated with CDCA 300-600 mg/day for periods ranging from four to twenty five months. It was confirmed through chemical analysis that these gallstones contained more than 80% cholesterol in both the outer surface and the core.The specimen were obtained from the outer surface and the core of the gallstones. Each specimen was attached to alminum sheet and coated with carbon to 100Å thickness. The SEM observation was made by Hitachi S-550 with 20 kV acceleration voltage and with 60-20, 000X magnification.

The Structure and Development of Microbodies in the Fat Body and other Tissues of an Insect (Calpodes Ethlius)

1970 ◽  
Vol 28 ◽  
pp. 148-149
Author(s):  
M. Locke ◽  
J. T. McMahon
Keyword(s):  
Electron Microscopy ◽  
Liquid Crystals ◽  
Fat Body ◽  
Competitive Inhibitor ◽  
Dense Core ◽  
Urate Oxidase ◽  
Blood Proteins ◽  
Free Base ◽  
The Core ◽  
The Matrix

The fat body of insects has always been compared functionally to the liver of vertebrates. Both synthesize and store glycogen and lipid and are concerned with the formation of blood proteins. The comparison becomes even more apt with the discovery of microbodies and the localization of urate oxidase and catalase in insect fat body.The microbodies are oval to spherical bodies about 1μ across with a depression and dense core on one side. The core is made of coiled tubules together with dense material close to the depressed membrane. The tubules may appear loose or densely packed but always intertwined like liquid crystals, never straight as in solid crystals (Fig. 1). When fat body is reacted with diaminobenzidine free base and H2O2 at pH 9.0 to determine the distribution of catalase, electron microscopy shows the enzyme in the matrix of the microbodies (Fig. 2). The reaction is abolished by 3-amino-1, 2, 4-triazole, a competitive inhibitor of catalase. The fat body is the only tissue which consistantly reacts positively for urate oxidase. The reaction product is sharply localized in granules of about the same size and distribution as the microbodies. The reaction is inhibited by 2, 6, 8-trichloropurine, a competitive inhibitor of urate oxidase.

Exsolution and inversion in pigeonite from the Whin Sill, Northern England

1978 ◽  
Vol 36 (1) ◽  
pp. 474-475
Author(s):  
P.P.K. Smith
Keyword(s):  
High Temperature ◽  
Low Temperature ◽  
Homogeneous Nucleation ◽  
Silicate Mineral ◽  
Antiphase Boundaries ◽  
Two Phase ◽  
Primitive Form ◽  
The Core ◽  
Nucleation Mechanisms ◽  
And Inversion

Grains of pigeonite, a calcium-poor silicate mineral of the pyroxene group, from the Whin Sill dolerite have been ion-thinned and examined by TEM. The pigeonite is strongly zoned chemically from the composition Wo8En64FS28 in the core to Wo13En34FS53 at the rim. Two phase transformations have occurred during the cooling of this pigeonite:- exsolution of augite, a more calcic pyroxene, and inversion of the pigeonite from the high- temperature C face-centred form to the low-temperature primitive form, with the formation of antiphase boundaries (APB's). Different sequences of these exsolution and inversion reactions, together with different nucleation mechanisms of the augite, have created three distinct microstructures depending on the position in the grain.In the core of the grains small platelets of augite about 0.02μm thick have farmed parallel to the (001) plane (Fig. 1). These are thought to have exsolved by homogeneous nucleation. Subsequently the inversion of the pigeonite has led to the creation of APB's.

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