Discussion of “Methodology Used to Calculate Naval Compensated Gross Tonnage Factors” by John Craggs, Damien Bloor, Brian Tanner, and Hamish Bullen

2003 ◽  
Vol 19 (01) ◽  
pp. 29-30
Author(s):  
Thomas Lamb

I have been working in this area for the past 9 years. As the Craggs et al paper states, I have presented a number of papers on the subject (Lamb 1998, Lamb 2002, Lamb & Hellesoy 2001, Lamb & Knowles 1999, Storch et al 1995). The Craggs et al paper is the second publication I have seen by others about naval ship compensation coefficients. The other was Brian Tanner's paper presented at the Royal Institution of Naval Architects meeting last year describing how the British Ministry of Defence with First Marine International has been working on this matter for the past 2 years.

Author(s):  
Daiva Milinkevičiūtė

The Age of Enlightenment is defined as the period when the universal ideas of progress, deism, humanism, naturalism and others were materialized and became a golden age for freemasons. It is wrong to assume that old and conservative Christian ideas were rejected. Conversely, freemasons put them into new general shapes and expressed them with the help of symbols in their daily routine. Symbols of freemasons had close ties with the past and gave them, on the one hand, a visible instrument, such as rituals and ideas to sense the transcendental, and on the other, intense gnostic aspirations. Freemasons put in a great amount of effort to improve themselves and to create their identity with the help of myths and symbols. It traces its origins to the biblical builders of King Solomon’s Temple, the posterity of the Templar Knights, and associations of the medieval craft guilds, which were also symbolical and became their link not only to each other but also to the secular world. In this work we analysed codified masonic symbols used in their rituals. The subject of our research is the universal Masonic idea and its aspects through the symbols in the daily life of the freemasons in Vilnius. Thanks to freemasons’ signets, we could find continuity, reception, and transformation of universal masonic ideas in the Lithuanian freemasonry and national characteristics of lodges. Taking everything into account, our article shows how the universal idea of freemasonry spread among Lithuanian freemasonry, and which forms and meanings it incorporated in its symbols. The objective of this research is to find a universal Masonic idea throughout their visual and oral symbols and see its impact on the daily life of the masons in Vilnius. Keywords: Freemasonry, Bible, lodge, symbols, rituals, freemasons’ signets.


Author(s):  
A. E. Hefford

The observations which form the subject of the following notes deal with only part of the total material on which my studies of teleostean reproduction, pursued during the last two years, have been made; but as the other and larger part of the material consists of preserved specimens of the young (chiefly post-larval) stages of fishes collected during the four years 1906 to 1909 inclusive, it is more convenient to deal with the egg collections of the past year first and to treat the whole collection of young fry separately in a further paper.


1881 ◽  
Vol 31 (206-211) ◽  
pp. 327-330 ◽  

Since the communication which I had the honour to read before this Society in 1869, “On the Refraction Equivalents of the Elements”, very little has been done on the subject. My own contributions have been almost confined to two communications in the “Journal of the Chemical Society,” in 1870; the one a lecture on the subject in general, the other a paper on the “Refraction Equivalents of the Aromatic Hydrocarbons and their Derivatives;” together with a discourse at the Royal Institution in March, 1877, on “ The Influence of Chemical Constitution on the Refraction of Light.” In the meantime, observations on many substances have gradually accumulated in my note-book.


In the year 1821, the author published in the Journal of the Royal Institution an account of a new pyrometer, and of some determinations of high temperatures, in connexion with the scale of the mercurial thermometer, obtained by its means. The use of the instrument then described was, however, limited; and the author was subsequently led to the invention of a pyrometer of a more universal application, both to scientific researches and to various purposes of art. Fie introduces the subject by an account of the late attempt of M. Guyton de Morveau, to employ the expansions of platina for the admeasurement of high temperatures, and for connecting the indications of Wedgwood’s pyrometer with the mercurial scale, and verifying its regularity. The experiments of that philosopher were by the contraction of porcelain, and by actual comparison with those of the platina pyrometer, at no higher temperature than the melting point of antimony; but they are sufficient to establish the existence of a great error in Wedgwood’s original estimation of his degrees up to that point. This he carries on by calculation, on the hypothesis of uniform progression of expansion, up to the melting point of iron; the construction of his instrument not admitting of its application to higher temperatures than a red heat, in which platina becomes soft and ductile. Mr. Daniell shows, by an examination of M. Guyton’s results, that he has failed in establishing the point he laboured to prove; namely, the regularity of the contraction of the clay pieces. The pyrometer of the author consists of two distinct parts; the one designated the register , the other the scale .


1898 ◽  
Vol 30 (4) ◽  
pp. 96-97 ◽  
Author(s):  
W. J. Holland

The other day a distinguished artist friend of mine called upon me with a small bottle containing some whiskey, which by its odour I judged was good, when he first took it from his flask, and in it was what he denominated a “bug.” He told me that he had experienced “one of the most wonderful adventures of his life” in connection with the specimen he put before me, and went on to tell me that during the past summer, while sketching in the mountains, he had discovered one evening, when undressing, a small, dark swelling on his breast. He thought it to be a little abnormal growth on the skin and paid no attention to it. From time to time he noticed it afterwards, when retiring, and found to his considerable alarm that it was gradually growing larger, and evil thoughts of cancer, tumors, and what not, began to float through his mind. Finally, after some two weeks had passed, one evening, as he expressed it, “while fooling with the darned thing it came off” He laid it down on the dressing-case before him and was presently astounded to see it slowly crawling away from the spot. Then a small bottle was sought out, the whiskey flask was brought into requisition, and the “bug” was safely bottled, to be referred to me for an explanation. This proved not difficult to give. The specimen was a well-developed example of Ixodes albipictus, Packard. We had a hearty laugh together, and my friend assured me that he “would know better the next time, and not let such creatures establish such a lengthy abode upon his person.” His adventure recalled to me a letter which I have long had in my possession, intending to publish it, as it is very well written, and adds a touch of humour to the subject. The specimen referred to in the letter is in my collection, and proves to be an example of Ixodes bovis, a very common plague in the south-western part fo this country.


Dialogue ◽  
1965 ◽  
Vol 4 (2) ◽  
pp. 243-251
Author(s):  
Geoffrey Payzant

It is no easy matter for a teacher of aesthetics to make a choice among the many textbooks now available in that subject. I have been looking at fourteen books of “readings” in aesthetics, all of them in English, and all but one of them published during the past twenty years. Three were published within the past six months: how many more will arrive before we have to settle down to work on another choice?There are two main reasons for this proliferation of anthologies or books of “readings”. One reason is that it is almost fatally easy for a busy academic to prepare an anthology rather than to write a book. Deans and presidents are as much impressed by the book a man edits as they are by the book he writes, although they are achievements of two very different levels. The other is that aesthetics is currently big in the booming textbook industry, and every commercial publisher wants a title on the subject in his catalogue.


1982 ◽  
Vol 17 (1) ◽  
pp. 1-11
Author(s):  
Lane

The subject upon which I have been invited to address you is a gloomy one. There is little pleasure to the speaker in recounting a catalogue of failures. The hope is that you may be able at the end to say “Thank goodness we have done better than the British”, or even, perhaps, “The British have made that mistake, we can avoid it”. In other words, a free and candid exchange of views never does any harm.Thirty-five years ago were stirring times for Israel. For us too, in Great Britain, in a more mundane way. Some of us were exchanging flying helmets for barristers wigs. There was new hope in the air. Social injustice would be a thing of the past. No one would go hungry. No one would go short of medical attention through lack of money, involuntary unemployment would no longer mean that a man's family would go short of food and the other necessities of life.


Author(s):  
Natalia Chwaja

„It was all there already, from the beginning” – Microcosms by Claudio Magris as a Triestineauto/bio/geographyAbstractThe aim of my article is to study the relation between the subject and the city, focusing on thecase of an autobiographic essayistic novel by a contemporary Italian writer Claudio Magris.The space of Trieste, author’s native city, plays a multiple role in the Microcosms narration.On one hand, it works as a “mnemotechnical pretext” for the protagonist’s sentimentaljourney into the past, both individual and collective. On the other hand, the city space canbe seen as an active factor, shaping the hero’s “triestine” state of mind and reflecting itself inthe novel’s poetics. In my analysis, I refer to some essential categories of geopoetics (“auto/bio/geography” by Elżbieta Rybicka, Tadeusz Sławek’s and Stefan Symotiuk’s interpretationsof genius loci), as well as to Walter Benjamin’s oeuvre, which I consider one of the mostimportant Microcosms’ intertexts.Keywords: Claudio Magris, Trieste, city, auto/bio/geography, space, genius loci


Author(s):  
Gyöngyi Pásztor ◽  
Anita Dózsa

The subject of the present study is Transylvania as a tourist destination, more precisely the analysis of what Transylvania means for the foreign tourists visiting here, and what meaning they attach to it. The timeliness of the issue is given by two factors. On the one hand the number of events with a touristic appeal has grown in the past years in Transylvania, and similarly the number of tourists has risen. On the other hand, writings that recommend Transylvania as an outstanding destination are more and more frequent in the international public sphere, in other words, it increasingly appears on the map of international tourism.


Author(s):  
Vlad Strukov

Balabanov’s Morphine is concerned with cultural memory conceived as a continuum; not as identity but rather subjectivity in construction. The concepts relates to Badiou’s study of subjectivity. It determines existence in a world where the horizon of knowledge is always disappearing and is never available to us in its integrity whereby the subject is barred from the infinite. Different directions and speeds of movement generate the transcendental subject in that the subject is in relation to the variations of the lived. One of such states implies a continuum, or becoming without determination, whilst the other, refers to the imperative to construct knowledge out of the elements of the continuum. Such assemblages, rituals and rites allow the subject to access the ‘beyond’, a different realm, where the elements of the past are positioned towards the future. The transcendence of the subject is coded as an unstoppable flow of imagery—a hallucination—divided into sequences by reiterations and references to the cultural discourse: an introspective vision produces not self-organisation but self-destruction as the subject becomes aware of its own infiniteness. I showcase how Balabanov’s Morphine captures the brutality of such openings and the self-annihilating impact of nothingness.


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