scholarly journals ECOFEMINIST DISCOURSE AND ECO ART

2021 ◽  
Vol 5 (3) ◽  
Author(s):  
Nezaket Tekin
Keyword(s):  
New York ◽  
Women Artists ◽  
Art And Design ◽  
Wheat Field ◽  
Male Predominance ◽  
Female Protagonists ◽  
Francoise D'eaubonne ◽  
Commercial Center ◽  
Descriptive Method ◽  
Eco Art

This article focuses on the concepts of woman-nature-art, 18.-19. Century has progressed through a structure that extends from women nature artists to today's eco art. First of all, female protagonists in the stories of the writer Andrea Barrett and their historical counterparts, such as Elizabeth Blackwell, were included. Examples of the works of female artists who criticized the male predominance in the art environment of the 1970s were examined. At the same time, it was mentioned that awareness of the environment increased in the 1970s with the influence of scientists, activists and artists. The concept of Ecofeminism, which was first used by Françoise d'Eaubonne in 1974, was defined, and the women and ecology connections of writers such as Vandana Shiva were mentioned. In the last two sections, the works of the women artists selected were examined with the descriptive method. Agnes Varda is discussed in her wheat field project, which she cultivates in the commercial center of New York, as she is the first artist to engage in agriculture as an artistic act and production. Katie Holten has made boulevard trees visible using photographs, drawings, maps, interviews and software. Finally, there is Neri Oxman, who uses nature itself as a design in her projects, which she calls "Material Ecology" combines science, engineering, art and design. <p> </p><p><strong> Article visualizations:</strong></p><p><img src="/-counters-/edu_01/0856/a.php" alt="Hit counter" /></p>

scholarly journals Rapid Emergence of SARS-CoV-2 in the Greater New York Metropolitan Area: Geolocation, Demographics, Positivity Rates, and Hospitalization for 46 793 Persons Tested by Northwell Health

2020 ◽  
Author(s):  
Samuel B Reichberg ◽  
Partha P Mitra ◽  
Aya Haghamad ◽  
Girish Ramrattan ◽  
James M Crawford ◽  
...  
Keyword(s):  
New York ◽  
Metropolitan Area ◽  
Primary Outcome Measure ◽  
Polymerase Chain Reaction Test ◽  
Ambulatory Setting ◽  
Cumulative Number ◽  
Annual Household Income ◽  
Male Predominance ◽  
York Metropolitan Area ◽  
New York Metropolitan Area

Abstract Background In March 2020, the greater New York metropolitan area became an epicenter for severe acute respiratory syndrome coronavirus 2 (SARS-CoV-2) infection. The initial evolution of case incidence has not been well characterized. Methods Northwell Health Laboratories tested 46 793 persons for SARS-CoV-2 from 4 March through 10 April. The primary outcome measure was a positive reverse transcription–polymerase chain reaction test for SARS-CoV-2. The secondary outcomes included patient age, sex, and race, if stated; dates the specimen was obtained and the test result; clinical practice site sources; geolocation of patient residence; and hospitalization. Results From 8 March through 10 April, a total of 26 735 of 46 793 persons (57.1%) tested positive for SARS-CoV-2. Males of each race were disproportionally more affected than females above age 25, with a progressive male predominance as age increased. Of the positive persons, 7292 were hospitalized directly upon presentation; an additional 882 persons tested positive in an ambulatory setting before subsequent hospitalization, a median of 4.8 days later. Total hospitalization rate was thus 8174 persons (30.6% of positive persons). There was a broad range (&gt;10-fold) in the cumulative number of positive cases across individual zip codes following documented first caseincidence. Test positivity was greater for persons living in zip codes with lower annual household income. Conclusions Our data reveal that SARS-CoV-2 incidence emerged rapidly and almost simultaneously across a broad demographic population in the region. These findings support the premise that SARS-CoV-2 infection was widely distributed prior to virus testing availability.

scholarly journals First Report of the Cereal Cyst Nematode Heterodera filipjevi on Wheat in Serbia

Plant Disease ◽  
2012 ◽  
Vol 96 (10) ◽  
pp. 1583-1583 ◽  
Author(s):  
V. Oro ◽  
S. Živković ◽  
Ž. Ivanović ◽  
L. Waeyenberge
Keyword(s):  
New York ◽  
Tail Length ◽  
Its Region ◽  
Molecular Data ◽  
Cyst Nematode ◽  
Cereal Cyst Nematode ◽  
Important Species ◽  
First Report ◽  
Wheat Field ◽  
Heterodera Filipjevi

The most globally recognized and economically important nematode on wheat is the cereal cyst nematode (CCN) complex (1). One of the most important species of this group is Heterodera filipjevi (Madžidov, 1981) Mulvey and Golden, 1983. During regular soil quarantine control in September 2010, Heterodera sp. cysts were found in soil samples originating from a wheat field in Gunaroš, Vojvodina Province, in northern Serbia. The wheat was a winter crop grown in a dryland production system and had an average cyst density of 2.50/100 cm3 of soil. Morphologically, the cysts were golden brown and lemon shaped with a posterior protuberance. The vulval cone was bifenestrate with horseshoe-shaped semifenestra, bullae, and underbridge. Cyst measurements (n = 30) ranged as follows: cyst length (without neck): 511.50 to 899.00 μm, cyst width: 201.50 to 682.00 μm, fenestral length: 44.80 to 65.60 μm, fenestral width: 24.00 to 40.00 μm, vulval bridge length: 12.80 to 20.80 μm, vulval bridge width: 6.40 to 14.40 μm, vulval slit: 6.00 to 12.80 μm, and underbridge length: 60.00 to 112.00 μm. The second-stage juveniles had an offset head, stylet with characteristic anchor-shaped basal knobs, four incisures, and a conical tail with a rounded tip. The J2 morphometrics (n = 30) were: length: 447.30 to 611.10 μm, width: 22.40 to 25.60 μm, stylet: 20.80 to 24.00 μm, tail length: 56.00 to 68.80 μm, tail width: 14.40 to 19.20 μm, and hyaline length: 35.20 to 44.80 μm. The ITS region was used for molecular analysis. Each DNA sample was extracted from a single cyst. Sequencing was done with primers TW81 and AB28 (2). In comparison with other H. filipjevi populations, the obtained sequence (GenBank Accession No. JX235959) revealed 99 to 100% similarity. Morphological and molecular data confirmed the existence of H. filipjevi. This is, to our knowledge, the first report of H. filipjevi from Serbia. Since wheat has important socioeconomic value for Serbia, after extensive surveys, additional phytosanitary measures may be necessary to prevent the spread of this parasite. References: (1) J. M. Nicol et al. Current Nematode Threats to World Agriculture. Genomics and Molecular Genetics of Plant-Nematode Interactions, Springer, New York, 2011. (2) A. M. Skantar et al. J. Nematol. 39:133, 2007.

scholarly journals KAJIAN KONSEP ARSITEKTUR METAFORA PADA BANGUNAN BERTINGKAT TINGGI

2020 ◽  
Vol 3 (2) ◽  
pp. 220-232
Author(s):  
Mundhi Prihutama
Keyword(s):  
New York ◽  
Building Materials ◽  
Bank Of China ◽  
High Rise ◽  
Object Based ◽  
Building Facades ◽  
The World ◽  
Qualitative Descriptive ◽  
Descriptive Method

Abstract: Metaphor is a concept in the field of architecture which is starting to be widely applied in architectural buildings today. Metaphor in architecture can be defined as a figure or expression of a form in the form of a building that can give an impression to people who observe and use it. The concept of metaphorical architecture is divided into three types, namely; 1) Intangible Metaphor, 2) Tangible Metaphor, 3) Combined Metaphor. The concept of metaphorical architecture has been widely applied to several high-rise buildings in the world, but the clarity of the characteristics and application of the concept of metaphorical architecture in high-rise buildings is still unclear. The purpose of this study is to study and understand the characteristics of metaphorical architectural concepts and their application to high-rise buildings. The qualitative descriptive method is used to analyze the case study object. Based on the analysis and discussion of case study objects, it can be concluded that the application of the metaphorical architectural concept in high-rise buildings can be applied to parts of the building, such as crowns of buildings, towers or building bodies, podiums, shape patterns of building masses, building facades and also building materials , which is adapted to the type of architectural metaphor that will be applied. Of the three case study objects examined, each has a different type of metaphor, namely; 1) Menara Wisma BNI 46, Jakarta; Tangible Metaphor, 2) Bank of China Tower; Combined Metaphor, 3) Beekman Tower, New York; Tangible Metaphor.Keywords: Architecture; Metaphor; High-rise Buildings. Abstrak: Metafora merupakan sebuah konsep dalam bidang arsitektur yang mulai banyak diterapkan pada bangunan-bangunan arsitektur saat ini. Metafora dalam arsitektur dapat didefinisikan sebagai sebuah kiasan atau ungkapan suatu bentuk dalam wujud sebuah bangunan yang dapat menimbulkan kesan bagi orang yang mengamati dan menggunakannya. Konsep arsitektur metafora terbagi menjadi tiga jenis, yaitu; 1) Metafora Tak Teraba (Intangible Metaphor), 2) Metafora Teraba (Tangible Metaphor), 3) Metafora Kombinasi (Combained Metaphor). Konsep arsitektur metafora sudah banyak diterapkan pada beberapa bangunan bertingkat tinggi di dunia, namun kejelasan akan ciri-ciri dan penerapan konsep arsitektur metafora pada bangunan bertingkat tinggi tersebut masih belum jelas kepastiannya. Tujuan dari penelitian ini adalah untuk mengkaji dan memahami ciri-ciri konsep arsitektur metafora serta penerapannya pada bangunan bertingkat tinggi. Metode deskriptif kualitatif digunakan untuk menganalisa objek studi kasus. Berdasarkan analisa dan pembahasan dari objek studi kasus, dapat disimpulkan bahwa penerapan konsep arsitektur metafora pada bangunan bertingkat tinggi dapat diterapkan pada bagian-bagian bangunannya, seperti mahkota bangunan, menara atau badan bangunan, podium, bentuk pola masa bangunan, fasad bangunan dan juga material bangunan, yang disesuaikan dengan jenis arsitektur metafora yang akan diterapkan. Dari ketiga objek studi kasus yang diteliti, masing-masing memiliki jenis metafora yang berbeda, yaitu; 1) Menara Wisma BNI 46, Jakarta; Metafora Teraba (Tangible Metaphor), 2) Bank of China Tower; Metafora Kombinasi (Combained Metaphor), 3) Beekman Tower, New York; Metafora Teraba (Tangible Metaphor).Kata Kunci: Arsitektur, Metafora, Bangunan Bertingkat Tinggi

scholarly journals Mastiff: Beka Cooper Book 3 by T. Pierce

2012 ◽  
Vol 1 (4) ◽  
Author(s):  
Kristine Moruzi
Keyword(s):  
New York ◽  
Film Studies ◽  
Police Force ◽  
Postdoctoral Fellow ◽  
University Of Alberta ◽  
Female Protagonists ◽  
The Poor ◽  
Slave Traders ◽  
The Government ◽  
The University

Pierce, Tamora. Mastiff: Beka Cooper Book 3. New York: Random House, 2011. Print. The final book in the Beka Cooper trilogy begins three years after the close of the previous book, Bloodhound, at the funeral of Beka’s fiancé. Instead of grief, Beka is relieved to be free of this unhappy relationship; enthusiastically, she begins a new hunt for the King’s abducted son, along with her supernatural cat, Pounce; her scenthound, Achoo;  and her partner, Tunstall. Soon joined by the deceptively capable mage, Farmer, and the lady knight, Sabine, the group follows the heir’s trail through noble houses, discovering corruption in all levels of the government. Pierce is known for her strong female protagonists, and Beka is no different. Fiercely loyal and honest, Beka is an upstanding member of the Tortall police force who believes in protecting the poor. When she discovers that the prince is being held by slave traders, she becomes even more determined to rescue him. Her relationships with her friends are tested by a shocking betrayal that causes innocents to die. The story is fast-paced and includes a growing relationship between Beka and Farmer that provides a satisfying conclusion to the trilogy. Although it could be read as a standalone novel, some elements of the narrative are explained in the previous books. Recommended: 3 out of 4 starsReviewer: Kristine MoruziKristine Moruzi is a Grant Notley Postdoctoral Fellow in the Department of English and Film Studies at the University of Alberta, where she is examining representations of girlhood in Canadian children's literature between 1840 and 1940.

Cyber-Culture, Cyber-Art, and Mnemonic Energy

2021 ◽  
pp. 1-17
Author(s):  
Simber Atay
Keyword(s):  
New York ◽  
New Media ◽  
Institutional Context ◽  
The Other ◽  
Artistic Creativity ◽  
New Meanings ◽  
Cyber Culture ◽  
Art Activities ◽  
The City ◽  
Descriptive Method

The word cybernetics has a very rich etymology. On the other hand, Norbert Wiener's Cybernetics and Society (1950) has very fluid style with its literary intertextual texture. Cyber prefix defines many aspects of life. Today, cyber-culture has gained new meanings due to virtual art activities during COVID-19 pandemic and lockdown. Cybernetics has shown its impact on artistic creativity with two exhibitions, Cybernetic Serendipity (1968, London) and Software (1970, New York), which featured early examples of digital-art, cyber-art, and new media performances. Cyber-art is a very broad category. There are countless cyber-artists. In the institutional context, Can't Help Myself of Sun Yuan and Peng Yu (2016), Memory of Topography of teamLab (2018), and The City As A House of Rebecca Merlic (2020) are three valuable works. This subject was developed under the light of the ideas of Benjamin, Wiener, Deleuze, and Guattari, and the specified examples were analyzed with the descriptive method.

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