Fractional order COVID-19 model with transmission rout infected through environment

<abstract><p>In this paper, we study a fractional order COVID-19 model using different techniques and analysis. The sumudu transform is applied with the environment as a route of infection in society to the proposed fractional-order model. It plays a significant part in issues of medical and engineering as well as its analysis in community. Initially, we present the model formation and its sensitivity analysis. Further, the uniqueness and stability analysis has been made for COVID-19 also used the iterative scheme with fixed point theorem. After using the Adams-Moulton rule to support our results, we examine some results using the fractal fractional operator. Demonstrate the numerical simulations to prove the efficiency of the given techniques. We illustrate the visual depiction of sensitive parameters that reveal the decrease and triumph over the virus within the network. We can reduce the virus by the appropriate recognition of the individuals in community of Saudi Arabia.</p></abstract>

Drawing Distinctions: Assyrians and Others in the Art of the Neo-Assyrian Empire

Between the ninth and seventh centuries BCE, the Neo-Assyrian Empire became the largest the world had yet seen. In the process of imperial conquest, the Assyrian state incorporated previously foreign territories and people into their world. Landscapes, materials, and the labor of conquered bodies became a part of the Assyrian royal palaces of northern Iraq, both as elements of their construction and as themes emphasized within the extensive visual programs of the palace reliefs. Within and through visual depiction of enemy bodies and foreign landscapes, in the process of being (often violently) reshaped by Assyrian hands, Neo-Assyrian kings brought the farthest reaches of their world into the center of imperial power. This article considers how specific strategies of representation in palace art allowed the Assyrian palace to serve as a microcosm of the empire and a map of its borders. Palace art emphasized the remade, reworked, or recreated, defining “Assyrianness” as that which remakes and has been remade. As a central act of remaking, I examine representations of captive or submissive foreigners, whose presence in the reliefs commemorates their humiliation while compounding and enhancing it in the very ways that these figures are depicted: cringing, deficient, and physiologically incorrect. I pay particular attention to examples from the late King Ashurbanipal’s reign, in which foreign leaders are singled out through representation with distinctive facial features. I argue that this act of (literally) drawing distinctions was an inherently imperial process, one that both expressed and enabled an ideology of expansion and control.

Edu-Tensegrity: An Expanded Integration of 21st Century Education

The central concept within this research work is Edu-tensegrity. It is the foundation of the Heasly Thinking Skills System and uses a geodesic dome as a refreshed visual depiction of the many varied elements in the whole world of education, given paradigm changes within lived experience of 21st century education. This system uses a disciplined use of the art of Questioning, a ‘ME’ diagram, a fully explained process of decision-making, and finally a detailed diagram called the HUG/BUG for application of personally chosen behaviours. This paper explains the integrated connections of education concepts with similar knowledge content from other relevant academic disciplines. The aim allows for the academic support of teachers and lecturers as these paradigm changes are affected, relying on resilience and the authentic projects of our research communities, who are central to the concept of Edu-tensegrity. Edu-tensegrity is central to the twin concepts of Sustainability and Securitability, adding to the educational philosophy of this journal, and cementing the changing landscape of 21st century education in a time of pandemic and change.

Power and satire in the front-page images of Mariano Rajoy: visual motifs as political humour

This article explores the use of photography and visual motifs as forms of political humour in contemporary media. By studying the representation of former Prime Minister of Spain Mariano Rajoy in the front pages of three Spanish newspapers (El Mundo, El País and La Vanguardia) between 2011 and 2017, the paper identifies and questions the liaisons between power and satire present in the so-called “serious” press, focusing on how different photographic traits concerning layout, composition and gestures reflect ideological choices. This photographic satire developed by printed media is then framed within a figurative tradition that goes back to Spanish royal portraiture, from Velázquez to Goya, which employs common strategies for the visual depiction of power, including satirical and humorous attributes to push specific political agendas. This examination, based on the quantified study and the visual analysis of more than 7,500 front pages, is part of the national research project Visual Motifs in the Public Sphere: Production and Circulation of Images of Power in Spain, 2011-2017. In order to determine a useful procedural approach to satirical expressions in photographs, defining which front pages invoke a remarkable satirical content, this article also presents a comparative study and a categorisation based on formal (im)balances related to the concepts of visual motif and humour.

X-ray based computed tomography, a non-invasive approach in order to assess the damage caused by Lamprodila festiva of hidden lifestyle

The cypress jewel beetle Lamprodila (Palmar) festiva is a wood-boring pest posing a major threat to the phytosanitary conditions of several coniferous trees. Its unprecedented European expansion has triggered serious plant protection concerns in several new habitats. Parts of Chamaecyparis lawsoniana injured by L. festiva were collected and analysed by computed tomography in order to study the dimensions of the cavities caused by L. festiva larvae as well as the larval positions. It is concluded that computer tomography representing a non-invasive approach is a promising tool for the visual depiction of the position and the physical parameters of the cavities formed. According to our experimental data, the penetration into the cypress caused by larvae and, inherently, its depth depends on the diameter of the branch. Additionally, the developing larvae appeared to keep distance from each other, which also depended on the diameter of the attacked branch. Our approach provides new data to the biological traits of the species. The main benefit that our imaging method furnishes is the exact, stress-free measurement method of the hidden developing stages. Its additional advantage is the indirect pest identification, which is based on the predetermined pest-specific damage characters.

NEOLIBERAL CARTOGRAPHY: A VISUAL-SEMIOTIC ANALYSIS OF THREE NAVIGATION APPS

The proposed presentation adopts visual-semiotic tools to analyze the virtual environment conjured by the apps Waze, Moovit and Gett. Recent work has pointed to the complicated relationship between maps and the spaces they purportedly depict, interpreting maps as simulacra that are intimately intertwined in the ideology and design of gaming. In the presentation, we develop a semiotic walkthrough method that allows us to identify four representational practices of these widely used navigation apps: the map is personalized and adopts the perspective of the user – in Waze the arrow represents the user rather than e.g. the North; the map is commercial in that it is informed by the economic model of the app, e.g Waze presenting only those gas stations that pay the company; the map offers a visual depiction of time – arguably, time rather than space is its raison d’être; and lastly, the map is reflexive, incorporating users’ data both to regulate their behavior (speed alert) and to seemingly subvert surveillance (police alert). In this cartographic regime, the map user adopts a “self as business” (Gershon, 2017) logic in which navigation must constantly create value, as the map becomes less a tool for regulating behavior and more, a tool for producing it (Zuboff, 2019).

Evolution of racism in Spanish music textbooks: a real path towards interculturality through images?

Purpose An analysis of the images in music education textbooks for primary education has shown how the images do not fully reflect the human diversity present in the classroom and, therefore, continue to perpetuate positions that can lead to racism. The purpose of this paper is the analysis of the images to carried out has demonstrated how little progress has been made in the representation of diversity and how, in the 21st century, stereotypes continue to persist in the representation of cultural diversity. Design/methodology/approach The quantitative and qualitative data collected after analysing more than 2,600 images have shown that despite the considerable increase in the use of images in music textbooks, typical clichés about what instruments are played in the world and how those who play them are represented are still present. Findings The results also show how the images reflect the migratory flows experienced in each country. All of this has led to important conclusions, among which the importance of human diversity in images for students to normalise cultural diversity from and with musical educational materials should be highlighted. Research limitations/implications The analysis of the 2,686 images showed how the use of the human figure has evolved up to the last educational reform. Firstly, the analysis of images focused on the evolution (year) of the presence of diversity (ethnicity) in the musical groupings represented (orchestra, band, choir, soloist or chamber group), as well as the evolution with respect to the type of instrument represented. Practical implications With the aim of analysing the evolution in the representation of diversity in music textbooks, the authors searched the most important publishing houses in Spain. To analyse the evolution of the visual depiction of diversity in music education textbooks in light of legislative and social changes related to race, the authors constructed several variables under the category labelled “Ethnicity”. Social implications The images analysed, especially those included under the Organic General Law on the Educational System of 4 October 1990 and the Organic Law 2/2006 on Education of 3 May, tended to pair certain instruments with people with physical characteristics associated with particular ethnic profiles. In terms of musical activities, the main results can be summarised as follows: although the completely homogenous depiction of White Europeans in musical activities has given way to modestly more diverse representation, images of composition are still dominated by this group. Originality/value The authors’ analysis has led to the following conclusions, which demonstrate the need to continue the progress seen in the past several decades. The representation of human diversity in music textbooks can be considered a reality, not only in terms of the instruments with which they are represented but also in terms of their representation in other situations depicted in these textbooks. The progressive increase of images in music textbooks reflects the culturally diverse society of the national territory. However, the increase in this representation is not as considerable as might be expected. The typified representation of instruments associated with certain physical characteristics is starting to wane.

Imaging the Buddha in South Asia

The image of the Buddha appeared in the north of the South Asian subcontinent around the 1st century ce, following a period when no actual representation had been produced. Detailed considerations on how to represent this human being who had reached the highest spiritual plane are clearly illustrated in the highly elaborate portrayal in the literary sources and led to the visual formulation of an image based on strict iconographic rules, texts and art being both sides of the same issue. The texts include lengthy lists of either thirty-two or eighty marks that characterize the body of the Buddha, some being actually seen in the visual depiction, such as the tuft of hair between the eyebrows, the protuberance on the head, and the webbed hands, all of which contribute to the manifestation of a metamorphosed body that can become a powerful source of magic. This image does not stand on its own but is 1ed in a set of motifs—the throne, the nimbus, the aura, the lotusseat—that bring out the supramundane nature of the Buddha; further additions were to be the crown and the necklace, transforming the simple monk into a king. The various gestures that the Buddha displays reflect different aspects of his personality, as protector, as paradigm of generosity, as the ultimate teacher. Elements such as the monachal robe or hair style showed up in various forms in the early phase; however, the stylistic evolution progressively led to a uniformized figure that appeared in the 4th–5th century and became standardized in South Asia before finding its way to faraway regions. This figure was also used to represent the Buddhas of the past or the Tathāgathas and became the visual element unifying all Buddhist schools.

When the lens is too wide: The political consequences of the visual dehumanization of refugees

Photojournalistic images shape our understanding of sociopolitical events. How humans are depicted in images may have far-reaching consequences for our attitudes towards them. Social psychology has shown how the visualization of an ‘identifiable victim effect’ can elicit empathic responses. However, images of identifiable victims in the media are the exception rather than the norm. In the context of the Syrian refugee crisis, the majority of images in Western media depicted refugees as large unidentifiable groups. While the effects of the visual depiction of single individuals are well-known, the ways in which the visual framing of large groups operates, and its social and political consequences, remain unknown. We here focus on the visual depiction of refugees to understand how exposure to the dominant visual framing used in the media, depicting them in large groups of faceless individuals, affects their dehumanization and sets off political consequences. To that end we brought together insights from social psychology, social sciences and the humanities to test a range of hypotheses using methods from social and political psychology in 10 studies with the participation of 3951 European citizens. Seeing images of large groups resulted in greater implicit dehumanization compared with images depicting refugees in small groups. Images of large groups are also explicitly rated as more dehumanizing, and when coupled with meta-data such as newspaper headlines, images continue to play a significant and independent role on how (de)humanizing we perceive such news coverage to be. Moreover, after viewing images of large groups, participants showed increased preference for more dominant and less trustworthy-looking political leaders and supported fewer pro-refugee policies and more anti-refugee policies. In terms of a mechanistic understanding of these effects, the extent to which participants felt pity for refugees depicted in large groups as opposed to small groups mediated the effect of visual framing on the choice of a more authoritarian-looking leader. What we see in the media and how it is shown not only has consequences for the ways in which we relate to other human beings and our behaviour towards them but, ultimately, for the functioning of our political systems.

Language and cultural cognition

In this paper, we analyze a large-scale corpus of Arab cartoons to measure the correspondence between grammatical gender in Arabic and personified gender in images. The results show that the effect is very strong for males (a near-perfect relationship between the two, grammatical and visual depiction), but the reverse is the case for females (the grammatical description is almost the opposite in perceived meaning of the graphical depiction). It can be a substantive cartoon effect. That is, there is more ambiguity in images depicting females due to some implicit cultural effect (i.e., males/gendered maleness dominates even in the text in ‘male-centric’ cultures). We look at the implications of this androcentric behavior for understanding the complex set of relationships linking language, thought, and culture. Such research will aid both gender studies and cognition scholarship based on multimodal stimuli.