Art, Biotechnology and the Culture of Peace
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Ficha Catalográfica Online
UNIVERSIDADE ESTADUAL DE CAMPINAS FACULDADE DE ODONTOLOGIA DE PIRACICABA DIEGO ROMARIO DA SILVA ATIVIDADE FARMACOLÓGICA DE MEL ORGÂNICO DA MATA ATLÂNTICA BRASILEIRA NOS COMPONENTES MICROBIANO E INFLAMATÓRIO DA DOENÇA PERIODONTAL PHARMACOLOGICAL ACTIVITY OF ORGANIC HONEY FROM THE BRAZILIAN ATLANTIC FOREST IN THE MICROBIAL AND INFLAMMATORY COMPONENTS OF PERIODONTAL DISEASE Piracicaba 2021 DIEGO ROMARIO DA SILVA ATIVIDADE FARMACOLÓGICA DE MEL ORGÂNICO DA MATA ATLÂNTICA BRASILEIRA NOS COMPONENTES MICROBIANO E INFLAMATÓRIO DA DOENÇA PERIODONTAL PHARMACOLOGICAL ACTIVITY OF ORGANIC HONEY FROM THE BRAZILIAN ATLANTIC FOREST IN THE MICROBIAL AND INFLAMMATORY COMPONENTS OF PERIODONTAL DISEASE Tese apresentada à Faculdade de Odontologia de Piracicaba da Universidade Estadual de Campinas como parte dos requisitos exigidos para a obtenção do título de Doutor em Odontologia, na área de Farmacologia, Anestesiologia e Terapêutica. Thesis presented to the Piracicaba Dental School of the University of Campinas in partial fulfillment of the requirements for the degree of Doctor in Dentistry, in Pharmacology, Anesthesiology and Therapeutics area. Orientador: Prof. Dr. Pedro Luiz Rosalen ESTE EXEMPLAR CORRESPONDE À VERSÃO FINAL DA TESE DEFENDIDA PELO ALUNO DIEGO ROMARIO DA SILVA E ORIENTADA PELO PROF. DR PEDRO LUIZ ROSALEN. PIRACICABA 2021 Ficha catalográfica Universidade Estadual de Campinas Biblioteca da Faculdade de Odontologia de Piracicaba Marilene Girello - CRB 8/6159 Romario-Silva, Diego, 1993- Si38a RomAtividade farmacológica de mel orgânico da Mata Atlântica brasileira nos componentes microbiano e inflamatório da doença periodontal / Diego Romario da Silva. – Piracicaba, SP : [s.n.], 2021. RomOrientador: Pedro Luiz Rosalen. RomTese (doutorado) – Universidade Estadual de Campinas, Faculdade de Odontologia de Piracicaba. Rom1. Mel. 2. Atividade antimicrobiana. 3. Atividade antiinflamatória. 4. -
Painting in a Digital World: I Told You So
AUTHOR James Faure Walker University of the Arts, Camberwell London, United Kingdom Painting in a Digital World: [email protected] I Told You So Over the past 10 years, the proportion of painters who use comput like say hello. The curator of new media will casually mention that ers in their work has been rising, and rising dramatically. They may painting is "over" as if it were a given among the digerati. Here is not all be expert users, and they probably know next to nothing a phrase from the SIGGRAPH 2005 Electronic Art and Animation about digital art or its origins, and nothing at all about its pioneer art Catalog: "... the now-weary exertions of the 20th century's picture ists. They will not have heard of SIGGRAPH. They read Frieze. They plane." Yet the pot-pourri of post-modernist styles suggests oth probably outnumber hardcore digital artists by a factor of 50 to one. erwise. That concept of progress in art, of one phase superseding So if we are to speak of the way things are going in "digital art," they another, whether tired or not - that's history. So "new media" is on a are part of the picture. somewhat anachronistic track: a one-way track. No going back! No mixing! It's all historically determined! Goodbye non-interactive art! In the 1990s, it was different. Only a handful of galleries (special- You're exhausted! Any attempt to integrate, to reconcile the disci ist digital art galleries) exhibited inkjet prints as fine art. Today it is plines of that wretched, tired-out 20 picture-plane, is doomed. -
Cyberarts 2018
Hannes Leopoldseder · Christine Schöpf · Gerfried Stocker CyberArts 2018 International Compendium Prix Ars Electronica Computer Animation · Interactive Art + · Digital Communities Visionary Pioneers of Media Art · u19–CREATE YOUR WORLD STARTS Prize’18 Grand Prize of the European Commission honoring Innovation in Technology, Industry and Society stimulated by the Arts INTERACTIVE ART + Navigating Shifting Ecologies with Empathy Minoru Hatanaka, Maša Jazbec, Karin Ohlenschläger, Lubi Thomas, Victoria Vesna Interactive Art was introduced to Prix Ars Electronica farewell and prayers of a dying person into the robot as a key category in 1990. In 2016, in response to a software; seeking life-likeness—computational self, growing diversity of artistic works and methods, the and environmental awareness; autonomous, social, “+” was added, making it Interactive Art +. and unpredictable physical movement; through to Interactivity is present everywhere and our idea of the raising of a robot as one's own child. This is just what it means to engage with technology has shifted a small sample of the artificial ‘life sparks’ in this from solely human–machine interfaces to a broader year’s category. Interacting with such artificial enti- experience that goes beyond the anthropocentric ties draws us into both a practical and ethical dia- point of view. We are learning to accept machines as logue about the future of robotics, advances in this other entities we share our lives with while our rela- field, and their role in our lives and society. tionship with the biological world is intensified by At the same time, many powerful works that deal the urgency of environmental disasters and climate with social issues were submitted. -
Infectious Disease
Year 12 Biology Infectious Disease Lesson 2: Transmission of disease Sample resources 1 Year 12 Biology Lesson 2: Transmission of disease Transmission of disease The chain of infection ▪ Infectious diseases result from the interaction of the pathogen, the host and the environment. This is referred to as the chain of infection. ▪ If the chain is broken at any point, the spread of disease can be prevented. Infectious Agents Susceptible Reservoirs Host Portals of Portals of Entry Exit Modes of Transmission ▪ Infectious agents are living and non-living things that cause disease. − What is the technical term for this?1 _________________________________________________________________ − Provide some examples. 2 _________________________________________________________________ 2 Our students come first Copyright © Matrix Education 2020 All rights reserved. No part of this publication may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form, or by any means (electronic, mechanical, photocopying, recording, or otherwise), without the prior permission of Matrix Education. Year 12 Biology Lesson 2: Transmission of disease ▪ A reservoir is a place where the pathogen can live grow and reproduce, within people, water or food for example. − What are the reservoirs for the common cold and prion diseases? 3 __________________________________________________________________ ________________________________________________________________ ▪ To be infectious the pathogen must have a way of leaving the reservoir (portal of exit), such as through blood, other bodily fluid or skin. − What is the portal of exit for a tape worm? 4 _________________________________________________________________ Guinea worm exits through ulcers in the skin. ▪ Modes of transmission are the ways the pathogen spreads from the reservoir to the next susceptible host. This may be achieved through physical contact, droplets or by airborne pathogens. -
Nile Tilapia (Oreochromis Niloticus)
Preprints (www.preprints.org) | NOT PEER-REVIEWED | Posted: 24 November 2019 doi:10.20944/preprints201911.0282.v1 1 Nile tilapia (Oreochromis niloticus) as an aquatic vector for Pseudomonas 2 species: Quorum Sensing Association with Antibiotic Resistance, Biofilm 3 Formation and Virulence 4 Kamelia M Osman1*, Állan da Silva Pires2, Octavio Luiz Franco2,3,4, Ahmed Orabi1, Amr 5 H M Ali5, Mohamed Hamada6, Feras A. Alzaben7,8, Abdulaziz M. Almuzaini7, Ayman 6 Elbehiry9,10* 7 1 Department of Microbiology, Faculty of Veterinary Medicine, Cairo University, Egypt 8 ² Centro de Análises Proteômicas e Bioquímicas, Pós-Graduação em Ciências Genômicas e 9 Biotecnologia, Universidade Católica de Brasília, Brasília-DF, Brazil. 10 3 S-Inova Biotech, Programa de Pós-Graduação em Biotecnologia, Universidade Católica Dom 11 Bosco, Campo Grande, Brazil 12 4 Graduação em Ciências Biológicas, Universidade Católica Dom Bosco, Campo Grande, Brazil 13 5 Private Sector Veterinarian, Egypt 14 6 Department of Food Hygiene & Control, Faculty of Veterinary Medicine, Sadat City University, 15 Egypt 16 7 Department of Veterinary Medicine, College of Agriculture and Veterinary Medicine, Qassim 17 University, Buraydah, Saudi Arabia 18 8 Department of Preventive Medicine, King Fahad Armed Forces Hospital, Jeddah City, Saudi 19 Arabia 20 9 Department of Bacteriology, Mycology and Immunology, Faculty of Veterinary Medicine, 21 University of Sadat City, Egypt 22 10 Department of Public Health, College of Public Health and Health Informatics, Qassim 23 University, Saudi Arabia 24 25 * Corresponding author: Ayman Elbehiry 26 Tel.: +966532207969 27 E-mail: [email protected] 28 29 © 2019 by the author(s). Distributed under a Creative Commons CC BY license. -
COMPUTER ART As a WAY of LIFE
COMPUTER ART as a WAY OF LIFE By Gene Youngblood hen I think of computer art I think of Chicago, and of four people there- Jane Veeder, Phil Morton, Dan Sandin and Tom De Fanti-who are pioneer- ring a visual art form that ultimately is not visual at all, but rather the cre- ation of language, and of conversational "envi- ronments" out of which will emerge our future images and the images of our future. Together Wwith Steina and Woody Vasulka in Santa Fe, they inspired me, taught me, and changed me profoundly over thelast tenyears. With infinite patience and dedication, with the passion of vi- sionary seekers, they guided me ever deeper into the digital domain and caused me at last to understand that computer graphics is some- thing more than art, that it is a kind of practical philosophy, a way of life, a way of being in the world anda way of creating a world to be in. No story reflects this more vividlythan that of Jane Veeder, an artist-programmer whose life and work epitomize both the unique computer- art community in Chicago and a personal path- way of growth and discovery that will become representative of the life of the artist in our time. In my opinion, Veeder stands with Ed Em- shwiller and Larry Cuba as one of the most gifted computer artists working in America to- day. Relatively unknown until recently, she is beginning to get the recognition she deserves. Her 1982 animation Montana is the only work of computer graphics in the Museum of Modern Art's video collection, and her interactive paint program/arcade game Warpitout-the sensation of the SIGGRAPH '82 Art Show in Boston-will later this year be installed at the Ontario Sci- ence Center in Toronto, one of the most presti- gious science museums in the world. -
Cyberarts 2021 Since Its Inception in 1987, the Prix Ars Electronica Has Been Honoring Creativity and Inno- Vativeness in the Use of Digital Media
Documentation of the Prix Ars Electronica 2021 Lavishly illustrated and containing texts by the prize-winning artists and statements by the juries that singled them out for recognition, this catalog showcases the works honored by the Prix Ars Electronica 2021. The Prix Ars Electronica is the world’s most time-honored media arts competition. Winners are awarded the coveted Golden Nica statuette. Ever CyberArts 2021 since its inception in 1987, the Prix Ars Electronica has been honoring creativity and inno- vativeness in the use of digital media. This year, experts from all over the world evaluated Prix Ars Electronica S+T+ARTS 3,158 submissions from 86 countries in four categories: Computer Animation, Artificial Intelligence & Life Art, Digital Musics & Sound Art, and the u19–create your world com - Prize ’21 petition for young people. The volume also provides insights into the achievements of the winners of the Isao Tomita Special Prize and the Ars Electronica Award for Digital Humanity. ars.electronica.art/prix STARTS Prize ’21 STARTS (= Science + Technology + Arts) is an initiative of the European Commission to foster alliances of technology and artistic practice. As part of this initiative, the STARTS Prize awards the most pioneering collaborations and results in the field of creativity 21 ’ and innovation at the intersection of science and technology with the arts. The STARTS Prize ‘21 of the European Commission was launched by Ars Electronica, BOZAR, Waag, INOVA+, T6 Ecosystems, French Tech Grande Provence, and the Frankfurt Book Fair. This Prize catalog presents the winners of the European Commission’s two Grand Prizes, which honor Innovation in Technology, Industry and Society stimulated by the Arts, and more of the STARTS Prize ‘21 highlights. -
Nailing Down Bits: Digital Art & Intellectual Property
© Richard Rinehart Published under license by the Canadian Heritage Information Network (CHIN) Printed in Canada Library and Archives Canada Cataloguing in Publication Nailing down bits [electronic resource]: Digital Art and Intellectual Property / by Richard Rinehart. Electronic monograph in PDF format. Mode of access: World Wide Web. Issued also in French under title: Bien fixer les éléments d’information. ISBN 0-662-44629-1 Cat. no.: CH56-4/4-2006E-PDF 1. Copyright—Art. 2. Digital art. 3. Intellectual property—Social aspects. 4. Copyright and electronic data processing. 5. Digital media—Social aspects. 6. Cultural property. 7. Art and society. I. Canadian Heritage Information Network II. Title. N7433.8.R56 2006 346.04’8 C2006-980312-9 Nailing Down Bits: Digital Art and Intellectual Property Page 4 7 Introduction 9 Setting the Stage 14 Variable Media 18 Source Code 21 Copyright as Subject 23 Audiences, Participants, and Co-Authors 25 Publishing, Presenting, and Exhibiting Digital Art 27 Collection and Preservation 30 Economic Models for Digital Art 34 Moral Rights 36 Responses from the Legal Community 38 Summary of Findings 40 Recommendations for the Cultural Heritage Community 44 Concluding Remarks 45 Acknowledgements 45 Author Biography and Contact 46 Interviewees 48 End Notes 52 Other Sources Page 5 Page 6 Introduction This paper on digital art and intellectual property has been commissioned and published by Canadian Heritage Information Network CHIN), a special operating agency of the Department of Canadian Heritage. This paper is part of a larger series of papers on intellectual property and cultural heritage that have been commissioned by CHIN [1]. -
Edxrf Analysis of the Level of Heavy Metals in Marine Fishes from Rakhine Coastal Regions
EDXRF ANALYSIS OF THE LEVEL OF HEAVY METALS IN MARINE FISHES FROM RAKHINE COASTAL REGIONS PhD DISSERTATION WIN WIN MAW DEPARTMENT OF PHYSICS UNIVERSITY OF YANGON MYANMAR SEPTEMBER 2004 2 CONTENTS Page ACKNOWLEDGEMENT ABSTRACT CHAPTER I INTRODUCTION 1 1.1 General Features of Fishes 1 1.2 Types of Fish 2 1.2.1 Bony Fish and Cartilaginous Fish 3 1.3 Fish Shapes 4 1.4 Shellfish 4 1.5 Seafood 6 1.6 Seafood Quality and How to Check It 8 1.6.1 Smoked Seafood 9 1.6.2 Frozen Seafood 9 1.7 Shellfish and Packaging 10 1.7.1 Live Shellfish 10 1.7.2 Cooked Shellfish 11 1.8 Seafood Production, Consumption and Trade 13 1.9 Reducing Hazards with HACCP 17 1.9.1 Additional Protections 19 1.10 XRF - The Universal Metrology Method 20 CHAPTER II BACKGROUND THEORY OF X-RAYS 23 SPECTROSCOPY 2.1 Introduction of X-Ray 23 2.2 Nature of X-Rays 23 2.3 X-Ray Production 25 2.4 Properties of X-Rays 26 2.4.1 Fluorescence 27 2.4.2 Ionization 27 3 Page 2.4.3 X-Ray Diffraction 27 2.5 Interaction with Matter 28 2.5.1 Photoelectric Effect 28 2.5.2 Compton Effect 28 2.5.3 Pair Production 28 2.6 Application of X-Rays 29 2.6.1 Research Application 29 2.6.2 Industry Application 30 2.6.3 Medicine Application 31 CHAPTER III ANALYSIS OF X-RAY SPECTRA 33 3.1 Introduction 33 3.2 Spectrum Analysis 33 3.2.1 Continuous Spectrum 34 3.2.2 Absorption Spectra 36 3.3 Naming Transitions 37 3.4 Moseley's Law 38 3.5 Line Intensities 41 3.6 Satellite Peaks 42 3.7 Wavelength Shifts 43 3.8 Spectroscopic Analysis 46 3.9 WDS vs. -
The Pharaohs of Ancient Egypt: Oppressors Or Great
order • proposal • value • oppressive • revolution • stability SoGen Unit 6.1 social THE PHARAOHS OF studies ANCIENT EGYPT: OPPRESSORS OR GREAT LEADERS? SOCIAL STUDIES ACTIVITIES Session 1 2–3 Reader’s Theater Identifying Different Perspectives and Support Session 2 4–7 Building Background Knowledge Class Discussion Session 3 8–10 Understanding the Pharaohs Session 4 11–12 It’s Debate Time! Session 5 13–14 Writing SUPPLEMENTARY ACTIVITIES FOR OTHER CONTENT AREAS ELA 15 Twitter Revolutions Math 16 Mathematics with Knotted Ropes Science 17 Precautions in the Lab FOCUS WORDS Examining the Focus Words Closely 18 © 2015 SERP SoGen Unit 6.1 1 Session 1 order • proposal • value • oppressive • revolution • stability Reader’s Theater Comparing Parents to Pharaohs Setting: Tiana, Tray, and Ingrid are walking to school together. They stop to pick up their friend Raul. Since he hasn’t been answering their phone calls, Tiana knocks loudly on his door. After a minute, Raul storms out of his house. Raul: I swear! My parents are like…oppressors! Raul: I’m way ahead of you, Tiana. I did suggest going Tiana: What? somewhere more affordable, and my parents said, “No!” Honestly, I think they just want other parents to be Raul: My parents! They act like those people we’ve been impressed because they take their kids to Disney World. studying in social studies, the pharaohs in ancient Egypt. My aunt and uncle took their kids to the Grand Canyon They’re oppressive! last summer and they can’t stop talking about it. My Tiana: So you’re saying that your parents collect taxes parents are doing this just to look good, so they really from you and force you to build pyramids? Right. -
Advances in Applied Microbiology, Voume 49 (Advances in Applied
ADVANCES IN Applied Microbiology VOLUME 49 ThisPageIntentionallyLeftBlank ADVANCES IN Applied Microbiology Edited by ALLEN I. LASKIN JOAN W. BENNETT Somerset, New Jersey New Orleans, Louisiana GEOFFREY M. GADD Dundee, United Kingdom VOLUME 49 San Diego New York Boston London Sydney Tokyo Toronto This book is printed on acid-free paper. ∞ Copyright C 2001 by ACADEMIC PRESS All Rights Reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage and retrieval system, without permission in writing from the Publisher. The appearance of the code at the bottom of the first page of a chapter in this book indicates the Publisher’s consent that copies of the chapter may be made for personal or internal use of specific clients. This consent is given on the condition, however, that the copier pay the stated per copy fee through the Copyright Clearance Center, Inc. (222 Rosewood Drive, Danvers, Massachusetts 01923), for copying beyond that permitted by Sections 107 or 108 of the U.S. Copyright Law. This consent does not extend to other kinds of copying, such as copying for general distribution, for advertising or promotional purposes, for creating new collective works, or for resale. Copy fees for pre-2000 chapters are as shown on the title pages. If no fee code appears on the title page, the copy fee is the same as for current chapters. 0065-2164/01 $35.00 Academic Press A division of Harcourt, Inc. 525 B Street, Suite 1900, San Diego, California 92101-4495, USA http://www.academicpress.com Academic Press Harcourt Place, 32 Jamestown Road, London NW1 7BY, UK http://www.academicpress.com International Standard Serial Number: 0065-2164 International Standard Book Number: 0-12-002649-X PRINTED IN THE UNITED STATES OF AMERICA 010203040506MM987654321 CONTENTS Microbial Transformations of Explosives SUSAN J. -
Fish Imagery in Iranian Artwork
Iran. J. Ichthyol. (December 2015), 2(4): 244–261 Received: September 16, 2015 © 2015 Iranian Society of Ichthyology Accepted: November 25, 2015 P-ISSN: 2383-1561; E-ISSN: 2383-0964 doi: http://www.ijichthyol.org Fish imagery in Iranian artwork Zohreh MORADI* Department of Crafts, University of Hormozgan, Bandar Abbas, Iran. * Email: [email protected] Abstract: Iranian art is one of the richest artistic heritages in the world comprising different fields such as architecture, paintings, weaving, pottery, calligraphy, metalworking, petrography, etc. This art had inseparable link with nature; especially with plants and animals in different eras; and it has been interwoven with poetry and literature so that its glory, beauty and expression have increased over time. In this study, based on available resources and collections in the museums of the world, fish imagery depicted in ancient Iranian art has been studied and its importance is dis- cussed from different perspectives. The use of plant and animal imagery, especially fish, in the ancient works such as stone, clay, bronze and fabric (textile) has a long history of several thousand years and the fish has been used as a symbol of religion, culture, social relationships and economy. On the other hand, fish imagery presents the past fish fauna, and along with the archaeological remains, provides information about the fish biodiversity, which is usually consistent with the recent ichthyodiversity. Keywords: Fish imagery, Archaeology, Ichthyodiversity, Iranian artwork. Introduction were painted or sculptured by CroMagnon people in Fishes constitute slightly more than one-half of the Caves in France at least 14000 years ago (Ruspoli total number of recognized living vertebrate species 1986).