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Türk Halı, Kilini Ve Kınlılarında Kullanılan
Türk Halı, Kilini ve kınlılarında Kullanılan Resim/Picture I Kökboya {Rubia tincrorum L.) Madder ( Rubia tincrorum L.) Yrd. Doç. Dr. Recep Türk dokumalarında tabiattan elde edilen boyar- sülfat), siyah renkler için ise Fe2 (S04)3 (demir 3 sülfat), maddelerin kullanıldığı bilinmektedir. Halk arasında FeS04 (demir 2 sülfat) ve kalay tuzlandır. Mordan olarak yaygın bir kanı ve adlandırma olarak bu türlerin hepsi Sn2+ katyonu 16-17, yüzyıllarda Avrupa’da kullanılmış “kökboya” biçiminde anılmaktadır. Bu makalede olmasına rağmen Türk ve İran tekstillerinde görüldüğü üzere boyalar sadece bitki köklerinden değil, kullanılmamıştır.5 bitkilerin toprak üstünde kalan bölümlerinden ve hatta böceklerden de elde edilmektedir. * Marmara Üniversitesi, Güzel Sanatlar Fakültesi, Doğal Boya Araştırma Lâboratuvarı, Öğretim Üyesi. 1. H. Böhmer- R. Karadağ, “Analysis of Dyes”, Kaitag, 1. GİRİŞ Textile A rt From Daghestan, Textile Art Publication, London Türk halı, kilim ve kumaşlarında doğal boyarmaddeler 1993, s. 43; T. Eşberk- M. Harmancıoğlu, “Bazı Bitki Boyalannın ve boyama kaynakları sınırlı sayıda kullanılmıştır. Çoğu Haslık Dereceleri”, Ankara Üniversitesi Ziraat Fakültesi Yıllığı, litaretürlerin aksine boyama kaynağı olarak verilen Yıl 2, Fasikül 4,1952, s. 326; H. Schweppe, “Idenification of Dyes bitkilerin çoğunun çeşitli haslıklarının düşük olması ve in Historic Textile Materials”, Historic Textil And Paper I Materials: Convertion and Characterization, American Society, bazılarının ise boyarmadde içermediği yapılmış olan Washington D.С. 1986, s. 164; H. Schweppe, Handbuch der çalışmalarda tespit edilmiştir.1 Tarihî tekstillerin (halı, Naturfairbstoffe, Landsberg 1992; H. Schweppe, Historic Textile kilim ve çeşitli kumaşlarda) yapılmış olan boyarmadde and Paper Materials I, American Society, Washington, D.С. 1986, analizleri sonucunda, kullanılmış olan boyarmaddeler ve s. 174-183; H. Schweppe, Historic Textile and Paper Materials II, boyarmadde kaynaklarının sınırlı sayıda olduğu tespit American Society, Washington, D.C. -
3 Flushing Meadows Corona Park Strategic Framework Plan
Possible reconfiguration of the Meadow Lake edge with new topographic variation Flushing Meadows Corona Park Strategic Framework Plan 36 Quennell Rothschild & Partners | Smith-Miller + Hawkinson Architects Vision & Goals The river and the lakes organize the space of the Park. Our view of the Park as an ecology of activity calls for a large-scale reorganization of program. As the first phase in the installation of corridors of activity we propose to daylight the Flushing River and to reconfigure the lakes to create a continuous ribbon of water back to Flushing Bay. RECONFIGURE & RESTORE THE LAKES Flushing Meadows Corona Park is defined by water. Today, the Park meets Flushing Bay at its extreme northern channel without significantly impacting the ecological characteristics of Willow and Meadow Lakes and their end. At its southern end, the Park is dominated by the two large lakes, Willow Lake and Meadow Lake, created for shorelines. In fact, additional dredged material would be valuable resource for the reconfiguration of the lakes’ the 1939 World’s Fair. shoreline. This proposal would, of course, require construction of a larger bridge at Jewel Avenue and a redesign of the Park road system. The hydrology of FMCP was shaped by humans. The site prior to human interference was a tidal wetland. Between 1906 and 1934, the site was filled with ash and garbage. Historic maps prior to the ‘39 Fair show the Flushing To realize the lakes’ ecological value and their potential as a recreation resource with more usable shoreline and Creek meandering along widely varying routes through what later became the Park. -
Bhutan Trade Statistic 2021 1St Quarter
BHUTAN TRADE STATISTICS (PROVISIONAL) 1st January to 31st March 2021 DEPARTMENT OF REVENUE & CUSTOMS MINISTRY OF FINANCE ROYAL GOVERNMENT OF BHUTAN TABLE OF CONTENTS CONTENTS PAGE NO. 1. Balance of Trade 1.1. Overall Balance of Trade I 1.2. Balance of Trade with India I 1.3. Balance of Trade with Countries other than India I 2. Trade in Electricity I 3. Top Ten Import and Export 3.1 Top Ten Commodities Import II 3.2 Top Ten Commodities Export II 4. Region wise Import and Export III 5. Country wise Import Ranking IV 6. Country wise Export Ranking Order V 7. Abbreviation VI 8. Contact details of BTS focal person VI 9. Appendix :- Appendix I: Import by BTC Section 1-1 Appendix II: Import by BTC Chapter 2-6 Appendix III: Import by BTC Code 7-142 Appendix IV: Export by BTC Section 143-143 Appendix V: Export by BTC Chapter 144-146 Appendix VI: Export by BTC Code 147-164 Appendix VII: Import from Countries other than India by Country and Commodity 165-278 Appendix VIII: Export to Countries other than India by Country and Commodity 279-288 Appendix IX: Export to Countries other than India by Commodity and Country 289-294 1. Balance of Trade 1.1 Overall Balance of Trade Trade Trade excluding Electricity Trade including Electricity Export 19,378.18 19,509.45 Import 8,029.42 9,326.05 Balance (11,348.76) (10,183.40) 1.2 Balance of Trade with India Trade Trade excluding Electricity Trade including Electricity Export 16,563.77 16,695.05 Import 5,410.84 6,707.48 Balance (11,152.93) (9,987.57) 1.3 Balance of the Trade with Countries other than India Trade Trade excluding Electricity Trade including Electricity Export 2,814.41 2,814.41 Import 2,618.58 2,618.58 Balance (195.83) (195.83) 2. -
Tomorrow's World
Tomorrow’s World: The New York World’s Fairs and Flushing Meadows Corona Park The Arsenal Gallery June 26 – August 27, 2014 the “Versailles of America.” Within one year Tomorrow’s World: 10,000 trees were planted, the Grand Central Parkway connection to the Triborough Bridge The New York was completed and the Bronx-Whitestone Bridge well underway.Michael Rapuano’s World’s Fairs and landscape design created radiating pathways to the north influenced by St. Peter’s piazza in the Flushing Meadows Vatican, and also included naturalized areas Corona Park and recreational fields to the south and west. The Arsenal Gallery The fair was divided into seven great zones from Amusement to Transportation, and 60 countries June 26 – August 27, 2014 and 33 states or territories paraded their wares. Though the Fair planners aimed at high culture, Organized by Jonathan Kuhn and Jennifer Lantzas they left plenty of room for honky-tonk delights, noting that “A is for amusement; and in the interests of many of the millions of Fair visitors, This year marks the 50th and 75th anniversaries amusement comes first.” of the New York World’s Fairs of 1939-40 and 1964-65, cultural milestones that celebrated our If the New York World’s Fair of 1939-40 belonged civilization’s advancement, and whose visions of to New Dealers, then the Fair in 1964-65 was for the future are now remembered with nostalgia. the baby boomers. Five months before the Fair The Fairs were also a mechanism for transform- opened, President Kennedy, who had said, “I ing a vast industrial dump atop a wetland into hope to be with you at the ribbon cutting,” was the city’s fourth largest urban park. -
Community: a Collaborative Prospective to Curatorial Practices
COMMUNITY: A COLLABORATIVE PROSPECTIVE TO CURATORIAL PRACTICES A thesis submitted to the faculty of San Francisco State University A ^ In partial fulfillment of the requirements for the Degree MOSST * Master of Arts In Museum Studies by Crystal Renee Taylor San Francisco, California May 2015 Copyright by Crystal Renee Taylor 2015 CERTIFICATION OF APPROVAL I certify that I have read Community: A Collaborative Prospective to Curatorial Practices by Crystal Renee Taylor, and that in my opinion this work meets the criteria for approving a thesis submitted in partial fulfillment of the requirement for the degree Master of Arts in Museum Studies at San Francisco State University. rward Luby, Ph.D. Director of Museum Studies & _______________________ <i.ren Kienzle, MA Jecturer of Museum Studies ACKNOWLEDGEMENTS I would like to dedicate this thesis to my wonderful parents Albert and Frances Taylor who have always supported and encouraged me in all aspects of my life. Also, to Nathaniel who has been a great source of encouragement throughout this process I truly appreciate and thank you. TABLE OF CONTENTS List of Figures................................................................................................................................vii List of Appendices.......................................................................................................................viii Chapter 1: Introduction................................................................................................................... 1 Chapter 2: Literature -
Textile Society of America Newsletter 28:1 — Spring 2016 Textile Society of America
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Textile Society of America Newsletters Textile Society of America Spring 2016 Textile Society of America Newsletter 28:1 — Spring 2016 Textile Society of America Follow this and additional works at: https://digitalcommons.unl.edu/tsanews Part of the Art and Design Commons Textile Society of America, "Textile Society of America Newsletter 28:1 — Spring 2016" (2016). Textile Society of America Newsletters. 73. https://digitalcommons.unl.edu/tsanews/73 This Article is brought to you for free and open access by the Textile Society of America at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Textile Society of America Newsletters by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. VOLUME 28. NUMBER 1. SPRING, 2016 TSA Board Member and Newsletter Editor Wendy Weiss behind the scenes at the UCB Museum of Anthropology in Vancouver, durring the TSA Board meeting in March, 2016 Spring 2016 1 Newsletter Team BOARD OF DIRECTORS Roxane Shaughnessy Editor-in-Chief: Wendy Weiss (TSA Board Member/Director of External Relations) President Designer and Editor: Tali Weinberg (Executive Director) [email protected] Member News Editor: Caroline Charuk (Membership & Communications Coordinator) International Report: Dominique Cardon (International Advisor to the Board) Vita Plume Vice President/President Elect Editorial Assistance: Roxane Shaughnessy (TSA President) [email protected] Elena Phipps Our Mission Past President [email protected] The Textile Society of America is a 501(c)3 nonprofit that provides an international forum for the exchange and dissemination of textile knowledge from artistic, cultural, economic, historic, Maleyne Syracuse political, social, and technical perspectives. -
Border Thinking
Publication Series of the Academy of Fine Arts Vienna VOLUME 21 Border Thinking Marina Gržinić (Ed.) Border Thinking Disassembling Histories of Racialized Violence Border Thinking Disassembling Histories of Racialized Violence Marina Gržinić (Ed.) Publication Series of the Academy of Fine Arts Vienna Eva Blimlinger, Andrea B. Braidt, Karin Riegler (Series Eds.) VOLUME 21 On the Publication Series We are pleased to present the latest volume in the Academy of Fine Arts Vienna’s publication series. The series, published in cooperation with our highly com- mitted partner Sternberg Press, is devoted to central themes of contemporary thought about art practices and theories. The volumes comprise contribu- tions on subjects that form the focus of discourse in art theory, cultural studies, art history, and research at the Academy of Fine Arts Vienna and represent the quintessence of international study and discussion taking place in the respective fields. Each volume is published in the form of an anthology, edited by staff members of the academy. Authors of high international repute are invited to make contributions that deal with the respective areas of emphasis. Research activities such as international conferences, lecture series, institute- specific research focuses, or research projects serve as points of departure for the individual volumes. All books in the series undergo a single blind peer review. International re- viewers, whose identities are not disclosed to the editors of the volumes, give an in-depth analysis and evaluation for each essay. The editors then rework the texts, taking into consideration the suggestions and feedback of the reviewers who, in a second step, make further comments on the revised essays. -
Brooklyn-Queens Greenway Guide
TABLE OF CONTENTS The Brooklyn-Queens Greenway Guide INTRODUCTION . .2 1 CONEY ISLAND . .3 2 OCEAN PARKWAY . .11 3 PROSPECT PARK . .16 4 EASTERN PARKWAY . .22 5 HIGHLAND PARK/RIDGEWOOD RESERVOIR . .29 6 FOREST PARK . .36 7 FLUSHING MEADOWS CORONA PARK . .42 8 KISSENA-CUNNINGHAM CORRIDOR . .54 9 ALLEY POND PARK TO FORT TOTTEN . .61 CONCLUSION . .70 GREENWAY SIGNAGE . .71 BIKE SHOPS . .73 2 The Brooklyn-Queens Greenway System ntroduction New York City Department of Parks & Recreation (Parks) works closely with The Brooklyn-Queens the Departments of Transportation Greenway (BQG) is a 40- and City Planning on the planning mile, continuous pedestrian and implementation of the City’s and cyclist route from Greenway Network. Parks has juris- Coney Island in Brooklyn to diction and maintains over 100 miles Fort Totten, on the Long of greenways for commuting and Island Sound, in Queens. recreational use, and continues to I plan, design, and construct additional The Brooklyn-Queens Greenway pro- greenway segments in each borough, vides an active and engaging way of utilizing City capital funds and a exploring these two lively and diverse number of federal transportation boroughs. The BQG presents the grants. cyclist or pedestrian with a wide range of amenities, cultural offerings, In 1987, the Neighborhood Open and urban experiences—linking 13 Space Coalition spearheaded the parks, two botanical gardens, the New concept of the Brooklyn-Queens York Aquarium, the Brooklyn Greenway, building on the work of Museum, the New York Hall of Frederick Law Olmsted, Calvert Vaux, Science, two environmental education and Robert Moses in their creations of centers, four lakes, and numerous the great parkways and parks of ethnic and historic neighborhoods. -
Crosstalk of Cancer Signaling Pathways by Cyclic Hexapeptides and Anthraquinones from Rubia Cordifolia
molecules Article Crosstalk of Cancer Signaling Pathways by Cyclic Hexapeptides and Anthraquinones from Rubia cordifolia Premalatha Balachandran 1,*,† , Mohamed Ali Ibrahim 1,*,† , Jin Zhang 1 , Mei Wang 1,2 , David S. Pasco 1 and Ilias Muhammad 1,* 1 National Center for Natural Products Research, Research Institute of Pharmaceutical Sciences, School of Pharmacy, University of Mississippi, Oxford, MS 38677, USA; [email protected] (J.Z.); [email protected] (M.W.); [email protected] (D.S.P.) 2 Natural Products Utilization Research Unit, Agricultural Research Service, United States Department of Agriculture, Oxford, MS 38677, USA * Correspondence: [email protected] (P.B.); [email protected] (M.A.I.); [email protected] (I.M.); Tel.: +1-662-915-3463 (P.B.); +1-662-915-1147 (M.A.I.); +1-662-915-1051 (I.M.) † P.B. and M.A.I. share equal authorship. Abstract: The anticancer activities of Rubia cordifolia and its constituents have been reported earlier, but their influence on the crosstalk of complex cancer-related signaling metabolic pathways (i.e., transcription factors; TF) has not yet been fully investigated. In this study, R. cordifolia root extract was subjected to the cancer signaling assay based bioactivity-guided fractionation, which yielded the following compounds viz., three anthraquinones, namely alizarin (1), purpurin (2), and emodin (3); two lignans, namely eudesmin (4) and compound 5; and two cyclic hexapeptides, namely deoxybouvardin RA-V (6), and a mixture of 6+9 (RA-XXI). The structures of the isolated compounds were determined by NMR spectroscopy and HRESIMS. The isolated compounds 1, 2, 3, 6, and a mixture of 6+9 were tested against a panel of luciferase reporter genes that assesses the activity Citation: Balachandran, P.; Ibrahim, of a wide-range of cancer-related signaling pathways. -
Divine and Diabolic Radio
Goldsmiths, University of London Politics Department PhD Thesis Divine and Diabolic Radio Electromagnetic Spectrum, Aesthetics and Latin America Paulo José Olivier Moreira Lara 2 Declaration of Authorship I, Paulo José Olivier Moreira Lara hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: Date: 09/03/2020 3 4 Acknowledgements First the eternal comrades who have been opening up picadas with me since long ago. Rita and Leticia, my breath, ignis, splendor and magnetic field, this work is like our lifetime: as much yours as it is mine. A huge gratitude and appreciation for my supervisor David Martin who has been supporter, guide, analyst, mentor and interlocutor all at once. This would not be possible without you. During my days at the Centre for Cultural Studies at Goldsmiths in London, I had the dear support, intellectual exchanges and friendship from many great people, including Bronac Ferran, Mathew Fuller, Luciana Parisi, Adelia Santana, Yuk Hui, Masa Kosugui, Chryssa Sdrolia, James Burton, Leila Withley, Maria José Pantoja, Karen Tam, Nicolas Salazar, Jaron Rowan and Franscesca Bria, who I will always remember with much love and affection. The expatriate company and friendship of Paulo Tavares was also fundamental to my life in London as it was before and will always be. I also appreciate the sometimes brief but always very productive interactions with great thinkers such as Julian Enriques and Edward King (many thanks for making this readable), Walter Mignolo, Michael Taussig, Bernand Stiegler, Gayatry Spivak, Sanjay Seth (special thanks), Enrique Dussel, Oscar Guardiola Rivera, Stephen Nugent (great advisor), Celia Lury (forever grateful), Joaquin Barriendos, and my dear punk friend, Dr. -
The Los Angeles County Museum of Art (LACMA) Presents Do Ho Suh: 348 West 22Nd Street Showcasing a Recent Gift to the Museum
Image caption on page 3 The Los Angeles County Museum of Art (LACMA) presents Do Ho Suh: 348 West 22nd Street showcasing a recent gift to the museum. 348 West 22nd Street, Apartment A, Unit-2, Staircase (2011–15) replicates the artist’s ground-floor residence from a New York City building. Created in luminous swaths of translucent polyester, the rooms and hallways are supported by stainless-steel. In this immersive passageway of conjoined rooms, visitors pass through an ephemeral representation of the artist’s personal history. The corridor, stairs, apartment, and studio are each rendered in a single block of color, with fixtures and appliances replicated in exacting detail. Fusing traditional Korean sewing techniques with digital modeling tools, the maze-like installation of 348 West 22nd Street balances intricate construction with delicate monumentality. The installation is curated by Meghan Doherty, Curatorial Assistant, Contemporary Art at LACMA. Inspired by his own history of migration, Suh’s ethereal, malleable architecture presents an intimate world both deeply familiar and profoundly estranged. The artist’s works elicit a physical manifestation of memory, exploring ideas of personal history, cultural tradition, and belief systems in the contemporary world. Best known for his full-size fabric reconstructions of places he has lived including former residences in Seoul, Providence, New York, Berlin, and London, Suh’s creations of physicalized memory address issues of home, displacement, individuality, and collectivity, articulated through the architecture of domestic space. 348 West 22nd Street, Apartment A, Unit-2, Staircase is the second work by Do Ho Suh to enter LACMA’s collection, following the artist’s Gate (2005) which was acquired by the museum in 2006. -
The Textile Museum Thesaurus
The Textile Museum Thesaurus Edited by Cecilia Gunzburger TM logo The Textile Museum Washington, DC This publication and the work represented herein were made possible by the Cotsen Family Foundation. Indexed by Lydia Fraser Designed by Chaves Design Printed by McArdle Printing Company, Inc. Cover image: Copyright © 2005 The Textile Museum All rights reserved. No part of this document may be reproduced, stored in a retrieval system, or transmitted in any form or by any means -- electronic, mechanical, photocopying, recording or otherwise -- without the express written permission of The Textile Museum. ISBN 0-87405-028-6 The Textile Museum 2320 S Street NW Washington DC 20008 www.textilemuseum.org Table of Contents Acknowledgements....................................................................................... v Introduction ..................................................................................................vii How to Use this Document.........................................................................xiii Hierarchy Overview ....................................................................................... 1 Object Hierarchy............................................................................................ 3 Material Hierarchy ....................................................................................... 47 Structure Hierarchy ..................................................................................... 55 Technique Hierarchy ..................................................................................