Promote Systems of Linear Inequalities with Real-World Problems

1999 ◽  
Vol 92 (2) ◽  
pp. 118-123
Author(s):  
Thomas G. Edwards ◽  
Kenneth R. Chelst
Keyword(s):  
Real World ◽  
Operations Research ◽  
Linear Inequalities ◽  
The Real ◽  
Problem Situations ◽  
The World ◽  
Systems Of Linear Inequalities ◽  
Real World Problems

Because operations researchers solve problems in the real world, operations-research-based problems have rich connections to the world in which students live and work. Drawing on such problem situations is one way in which teachers can let applications of mathematics drive instruction. We believe that doing so will better motivate students to learn the mathematics they encounter in the classroom.

scholarly journals Handrails through the Swamp? A Pilot to Test the Integration and Implementation Science Framework in Complex Real-World Research

2021 ◽  
Vol 13 (10) ◽  
pp. 5491
Author(s):  
Melissa Robson-Williams ◽  
Bruce Small ◽  
Roger Robson-Williams ◽  
Nick Kirk
Keyword(s):  
Pilot Study ◽  
Case Studies ◽  
Implementation Science ◽  
Real World ◽  
Environmental Problems ◽  
Environmental Research ◽  
Integrative Framework ◽  
The World ◽  
Science Framework ◽  
Real World Problems

The socio-environmental challenges the world faces are ‘swamps’: situations that are messy, complex, and uncertain. The aim of this paper is to help disciplinary scientists navigate these swamps. To achieve this, the paper evaluates an integrative framework designed for researching complex real-world problems, the Integration and Implementation Science (i2S) framework. As a pilot study, we examine seven inter and transdisciplinary agri-environmental case studies against the concepts presented in the i2S framework, and we hypothesise that considering concepts in the i2S framework during the planning and delivery of agri-environmental research will increase the usefulness of the research for next users. We found that for the types of complex, real-world research done in the case studies, increasing attention to the i2S dimensions correlated with increased usefulness for the end users. We conclude that using the i2S framework could provide handrails for researchers, to help them navigate the swamps when engaging with the complexity of socio-environmental problems.

Multiple original spellings, living authors and the Code: The case of Malachius raniansis Mawlood, Hammamurad & Abdulla, 2017 (Coleoptera: Melyridae)

Zootaxa ◽  
2021 ◽  
Vol 4927 (2) ◽  
pp. 297-300
Author(s):  
ISIDOR S. PLONSKI
Keyword(s):  
Real World ◽  
Zoological Nomenclature ◽  
International Code ◽  
Present Communication ◽  
The Real ◽  
The World

The present communication is primarily nomenclaturial–classical taxonomy is only touched in a side note on a diagnosis. It uses technical terminology coined by Alain Dubois, who is interested in the study of the concepts and theory of biological nomenclature (i.e. the “objective connection between the real world of populations of organisms and the world of language” (Dubois & Ohler 1997)), and who discusses the current ‘International Code for Zoological Nomenclature’ [hereafter just called ‘the Code’] in great detail. The terms are explained where necessary–but see also the glossaries in Dubois et al. (2019) and the works by A. Dubois cited below. 

scholarly journals Biblical Inspirations in Nikifor’s Paintings

2019 ◽  
Vol 26 (3) ◽  
pp. 31-46
Author(s):  
Krzysztof Wałczyk
Keyword(s):  
Real World ◽  
The Self ◽  
Creative Activity ◽  
The Real ◽  
Ideal World ◽  
The World ◽  
Biblical Anthropology ◽  
Divine Order ◽  
The Ideal

Nikifor Krynicki (Epifaniusz Drowniak, 1895-1968) was one of the most popular non-academic Polish painters worldwide. To show the biblical inspiration in his creative output I chose two categories from various thematic aspects: self-portraits and landscapes with a church. There are plenty of Nikifor’s paintings showing him as a teacher, as a celebrating priest, as a bishop, or even as Christ. A pop­ular way to explain this idea of self-portraits is a psychological one: as a form of auto-therapy. This analysis is aims to show a deeper expla­nation for the biblical anthropology. Nikifor’s self-portraits as a priest celebrating the liturgy are a symbol of creative activity understood as a divine re-creation of the world. Such activity needs divine inspira­tion. Here are two paintings to recall: Potrójny autoportret (The triple self-portrait) and Autoportret w trzech postaciach (Self-portrait in three persons). The proper way to understand the self-identification with Christ needs a reference to biblical anthropology. To achieve our re­al-self we need to identify with Christ, whose death and resurrection bring about our whole humanity. The key impression we may have by showing Nikifor’s landscapes with a church is harmony. The painter used plenty of warm colors. Many of the critics are of the opinion that Nikifor created an imaginary, ideal world in his landscapes, the world he wanted to be there and not the real world. The thesis of this article is that Nikifor created not only the ideal world, but he also showed the source of the harmony – the divine order.

Playing With Time: An Analysis of Time and Space in Tom Stoppard’s Rosencrantz and Guildenstern Are Dead

2017 ◽  
Author(s):  
Johanna Lawrie
Keyword(s):  
Real World ◽  
Time And Space ◽  
The Real ◽  
Opening Scene ◽  
The World

In this paper I will examine the multiple layers of time within Tom Stoppard’s play, Rosencrantz and Guildenstern Are Dead. Typically, a script plays with two definitions of the term: stage time being that of the audience and the “real world,” and dramatic time, the passing of time within the world of the play and the characters’ lives. Rosencrantz and Guildenstern Are Dead is unique in its multitude of times, each occupying its own space within the story. Hamlet resides in a time that extends beyond that of Rosencrantz and Guildenstern Are Dead, while presenting the same story through different characters. When are these stories presented harmoniously, and when can gaps be found between the two plays in terms of time? In contrast, the play‐within‐a‐play presented in Rosencrantz and Guildenstern Are Dead, titled “The Murder of Gonzago,” represents the story even prior to the opening scene of Hamlet and has an omniscient quality, presenting elements of both Hamlet and Rosencrantz and Guildenstern Are Dead. Though this play‐within‐a‐play represents the longest view of the overlapping stories, it is presented in the shortest amount of time. “The Murder of Gonzago” plays with the limitations of time and space and the acknowledgment of their presentation in theatrical terms. Throughout the paper I will determine the overlapping nature of times within the plays, how they are structured around one another, and what this symbolises for both the spaces of each play and the characters within.  

A & B Companies: Impairment of Goodwill

2004 ◽  
Vol 19 (3) ◽  
pp. 369-376 ◽  
Author(s):  
Veronique G. Frucot ◽  
Leland G. Jordan ◽  
Marc I. Lebow
Keyword(s):  
Real World ◽  
Intangible Assets ◽  
Financial Accounting ◽  
Theoretical Problem ◽  
Problem Statement ◽  
Current Standard ◽  
The Real ◽  
Correct Method ◽  
Real World Problems

Accounting for goodwill has long been a theoretical problem for accountants. Although most businesses possess some goodwill, accountants record it only when a premium is paid in the acquisition of another company. Subsequent to acquisition, valuing goodwill becomes a problem. Statement of Financial Accounting No. 142, Goodwill and Other Intangible Assets (FASB 2001), is the current standard for testing goodwill for impairment. This case is designed to introduce you to the “real-world” problems that many practitioners are likely to encounter while implementing this new standard. The case involves two antagonists: an auditor eager to record an impairment of goodwill and a client even more eager to avoid recording any impairment. You must tactfully address both individuals' arguments and determine the correct method for accounting for goodwill and the standard for testing for impairment per SFAS No. 142.

Augmented Reality and Experiences

2019 ◽  
pp. 66-93 ◽  
Author(s):  
Prabha Selvaraj ◽  
Sumathi Doraikannan ◽  
Anantha Raman Rathinam ◽  
Balachandrudu K. E.
Keyword(s):  
Augmented Reality ◽  
Real World ◽  
New Technology ◽  
Handheld Devices ◽  
The Real ◽  
The World ◽  
Extensive Range ◽  
Different Types ◽  
Medicine Education

Today technology evolves in two different directions. The first one is to create a new technology for our requirement and solve the problem, and the second one is to do it with the existing technology. This chapter will discuss in detail augmented reality and its use in the real world and also its application domains like medicine, education, health, gaming, tourism, film and entertainment, architecture, and development. Many think that AR is only for smartphones, but there are different ways to enhance the insight of the world. Augmented realities can be presented on an extensive range of displays, monitors, screens, handheld devices, or glasses. This chapter will provide the information about the key components of AR devices. This chapter gives a view on different types of AR and also projects how the technology can be adapted for multiple purposes based on the required type of view.

Inception and the Arts

Inception ◽  
2019 ◽  
pp. 95-98
Author(s):  
David Carter
Keyword(s):  
Real World ◽  
Visual Simulation ◽  
Francis Bacon ◽  
The Real ◽  
The Arts ◽  
The World ◽  
Indirect Reference

This chapter looks at the specific artistic references in Christopher Nolan's Inception (2010). One artist is referred to by indirect reference and visual simulation of some of his works, and another is paid homage to by the inclusion of one of his works in a scene. The artists in question are M.C. Escher and Francis Bacon. The Dutch artist Maurits Cornelis Escher, famous for his works featuring constructions which would be impossible in the real world, is not directly named in the film, but he is referred to indirectly by the mention of a phenomenon which he utilised in his work: the so-called 'Penrose Steps'. Meanwhile, in a sequence in which Cobb is talking to Mal, there is a painting visible on the wall of the room, Bacon's Study for a head of George Dyer, 1967. Nolan clearly shares some perspectives on the world with Bacon: a fascination with distorted reality, a sense of horror as in a nightmare, and, in some cases, the real world being actually torn apart.

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