9 research outputs found
Development of a virtual reality video game using principal component analysis to map isometric force efforts for haptic feedback: A proof of concept
Full text linkCerebral palsy is a developmental movement disorder that is associated with antenatal, perinatal, or postnatal trauma to the central nervous system and manifests peripherally. The kind of cerebral palsy a person displays can be classified in multiple ways, focusing on the tonicity, movement behavior, and location of atypical movement. One subtype of cerebral palsy, dystonic cerebral palsy, is particularly difficult to treat and manage as little is known on therapeutic methods that work with children with dystonia. Treatments that show promise, such as deep brain stimulation, are invasive procedures; non-invasive therapies that significantly improve the comfort of children with dystonic cerebral palsy is a needed area of study.
This thesis outlines the process by which a virtual reality video game was concepted, developed, and tested as a novel non-invasive mode for selective motor control training, which can be poor in children with cerebral palsy. The game is also targeted to children with dystonic cerebral palsy by reducing the range of motion necessary for gameplay as well as by increasing motivation by using a robotic interface and virtual reality head mounted display. The game is played by interacting with a force/torque sensor mounted onto the end effector of the robot and force feedback is given real time as participants aim to match force targets in a lower dimensional space.
Preliminary results of a typically developing child indicate lower error during gameplay over six trials as well as between levels of the game. These results show promise of motor learning of specific force tasks as well as possibly confirm that the game requires progressively increasing selective motor control for task completion.Submission published under a 24 month embargo labeled 'U of I Access', the embargo will last until 2021-05-01The student, Reika McNish, accepted the attached license on 2019-04-25 at 11:42.The student, Reika McNish, submitted this Thesis for approval on 2019-04-25 at 12:00.This Thesis was approved for publication on 2019-04-25 at 16:44.DSpace SAF Submission Ingestion Package generated from Vireo submission #13912 on 2019-08-22 at 15:08:38Made available in DSpace on 2019-08-23T20:36:12Z (GMT). No. of bitstreams: 3
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Previous issue date: 2019-04-25Embargo set by: Seth Robbins for item 112218
Lift date: 2021-08-23T20:36:18Z
Reason: Author requested U of Illinois access only (OA after 2yrs) in Vireo ETD systemU of I Only Restriction Lifted for Item 112218 on 2021-08-24T09:15:28Z
Helena Kolody, carbono & diamante: uma biografia ilustrada
Full text linkTese (doutorado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão. Programa de Pós-Graduação em LiteraturaHelena Kolody, carbono & diamante - uma biografia ilustrada conta a vida da escritora Helena Kolody, a partir de sua inscrição na literatura, questionando sua identidade, o mundo que a cercava e o sentido de sua existência. Equivale a dizer: em sua lírica, reflexões e sentimentos se entretecem a partir de uma matéria pessoal e localizada. Da estação ferroviária à estação tubo; da Ucrânia ao centro de Curitiba; de Paisagem interior a Reika; do século XIX ao século XXI, a literatura de Helena Kolody gerencia sua presença na consolidação do binômio arte-vida. O retrato da autora acaba se constituindo também por meio de farto aparato iconográfico; pelos mais de quinhentos textos críticos elencados e por sua obra completa. Fragmentação deliberadamente assumida, a pessoa se revela em sua inteireza.Helena Kolody, carbon & diamond - an illustrated biography tells the life of Helena Kolody, from her very insertion in literature, as it questions her identity, the world surrounding her, and the meaning of her existence. That is equivalent to saying that in her poetry there is the intermingling of reflections and feelings that derive from personal and localized material. From the railroad station to the tube-shaped bus stops; from Ukraine to downtown Curitiba; from Paisagem interior to Reika; from the nineteenth century to the twenty-first century, Helena Kolody's literature guarantees her presence in the consolidation of the art/life binomial. The portrait of the author ends up by also being made up of an abundant iconographic apparatus, of the over five hundred critical texts listed, and of her complete work. The person, although deliberately accepting her own fragmentation, reveals herself in her entireness
Utilization of the Alumni Site of SMA Negeri 1 Kelam Permai
Full text linkOne who has an important role in school development is alumni, but regarding alumni, many schools have not utilized alumni in school contributions, one of which is SMA Negeri 1 Kelam Permai. So far, the alumni data collection at SMA Negeri 1 Kelam Permai has not been carried out in a structured and online manner. In collecting data on alumni, it is still done by recording in written documents which results in data management cannot be done quickly and errors often occur, and it is difficult to update information about alumni. In carrying out this service, the author uses the lecture method and direct system demonstration to participants. The lecture method is used because it is efficient to interact directly with the participants. While the demonstration method is used to teach participants how to use the system. The purpose of this service is to teach participants how to use a website that can help schools quickly and accurately in the process of collecting data and managing alumni data in obtaining information about alumni
The Subject and Source of Kikkawa Reika’s Encountering Sorrow
Full text linkEncountering Sorrow by Kikkawa Reika (1875 – 1929) was displayed in the 7th Teiten (Exhibition of the Imperial Academy of Fine Arts) exhibition held from October 17 – November 20, 1926 (Taishô 15) at the Tokyo Prefectural Art Museum. The painting was extolled by Teiten judge Fujikake Shizuya and other committee members.
This work consists of a pair of hanging scrolls. The right scroll shows a woman floating in clouds, riding along with two servant women and a dragon. The woman’s appearance resembles that of Avalokitesvara (Jp: Kannon), so clearly Reika was expressing in this figure a sacred being beyond mere mortal. The left screen shows a man leading two horses at the water’s edge. He turns back and his gaze focuses on a dragon, not unlike that depicted in the right scroll, seen in the distance immersed in clouds.
There are numerous theories about the identity of the man and woman depicted in this work, as well as about the subject itself. Fujikake believed that the subject of the work was “Li Sao” (here translated as “Encountering Sorrow”), a lengthy poem by Qu Yuan that appears in the ancient Chinese poetry anthology, Chu ci (variously translated as Verses of Chu, Songs of Chu or Songs of the South). The two figures consist of the poet himself, the chief character in the poem, as the male, and the woman as Fufei (Jp: Fukuhi), who appears in the poem. On the other hand, while agreeing with Fujikake that the scroll’s subject is based on “Encountering Sorrow,” Hosono Masanobu surmises that the woman is the wizard who foretells that Qu Yuan will meet a man of virtue, while the left scroll depicts the final scene in the poem where he wished a dragon would build him a bridge.
Around the same time that Fujikake published his interpretations, the art critic Wakimoto Rakushiken surmised in the Tokyo Asahi Shimbun that the source of the work could be found in “Xiang Furen” (“The Lady of the Xiang”) from the set of poems known as Jiu Ge (Nine Songs). While this interpretation has not gained much attention, Shimao Arata suggested recently that the source could be found in “Xiang Jun” (“The Goddess of the Xiang”) of the Nine Songs.
While agreeing with Wakimoto and Shimao’s interpretations, the author here seeks to provide more positive clarification of the sourcing of this work in “Xiang Jun” or “Xiang Furen” from the Nine Songs.
Like Encountering Sorrow, the Nine Songs are poems included in the Chu ci. “Xiang Jun” and “Xiang Furen” are the third and fourth poems of the set respectively. The two poems have been interpreted as expressing the sorrow Qu Yuan felt upon not being able to see the form of the goddess of the Xiang River no matter how hard he tried. The seven elements depicted in the Reika work, namely: 1) woman leading a dragon; 2) man looking into the distance; 3) servant woman; 4) water’s edge with rocks and flying dragon; 5) two horses; 6) rough belt worn by the man; and 7) flowers held by the woman, can all be explained by either the contents of “Xiang Jun” or “Xiang Furen” or their annotations. It seems most appropriate to identify the woman in the right scroll as the Xiang River goddess descending to earth and the man in the left scroll as Qu Yuan awaiting that descent.
Numerous paintings on the theme of the Nine Songs exist in Chinese painting. A comparison of this work with extant examples of Nine Songs iconography reveals that a direct iconographic similarity can be noted in the Nine Songs images published in the late Ming dynasty Chengshi moyuan (Master Cheng’s Gardens of Ink). The iconography of the Xiang Furen and Yunzhongjun images in this book resemble those of Reika’s right scroll.
Originally the term Li Sao, or Encountering Sorrow, was not a proper noun indicating a specific poem, but rather meant “a poem by Qu Yuan.” Given that the Nine Songs are poems by Qu Yuan, they can be categorized within, “Encountering Sorrow.” This understanding of the term Encountering Sorrow was accepted in Japan. Mention of the Nine Songs was lessening in the Chu ci-related books that were published when Reika was painting this pair of scrolls, so it was not commonly known that Encountering Sorrow was also used as a term indicating Qu Yuan’s poems.
We can surmise the existence of a discrepancy between the artist and the viewer in terms of the understanding of the painting’s Encountering Sorrow theme. In other words, Reika titled this work Encountering Sorrow on the basis of the awareness that the terms Nine Songs and Encountering Sorrow both meant “poems by Qu Yuan.” However, both Wakimoto and Fujikake mistakenly identified the source of the Encountering Sorrow title of the scrolls as the poem entitled “Encountering Sorrow” found in the Chu ci anthology. And their misconception was then handed on and continued without further investigation.
In addition, during his naming of this work Encountering Sorrow, Reika can be thought to have referred to Li sao tu (Illustrations to Encountering Sorrow), a book published at the beginning of the Qing dynasty. This book presents interpretations and illustrations of Qu Yuan’s poems, including the Nine Songs under the collective book title of Illustrations to Encountering Sorrow. Then can’t we consider that when Reika read this book, he would have felt that a painting of a Nine Songs theme could be appropriately titled Encountering Sorrow?
It is fascinating to note that immediately prior to Reika’s production of this work, the Illustrations to Encountering Sorrow volume was reissued in both Shanghai and Tokyo. The illustrations in the book for “Xiang Jun” and “Xiang Furen” poems, with their image of a goddess flying away accompanied by a dragon, resemble this work’s image of a goddess leading a dragon. Further, the detail of the woman holding flowers and the dramatic composition of the two gods gazing at each other are also elements close to this work. What Reika probably saw was Xiao Chimu Li sao tu (Xiao Chimu’s Illustrations to Encountering Sorrow) that was reissued in Tokyo 10 months prior to the creation of this work. Reika had access to this book thanks to his close contact with Masaki Naohiko, the head of the Tokyo School of Fine Arts. Masaki was deeply involved in the reissuing of the illustrated Zuhon sokan that included the Xiao Chimu Li sao tu and thus it was an environment in which Reika would have easily obtained the volume.
Further, the Zuhon sokan including the Xiao Chimu Li sao tu also contained the Chengshi moyuan. The iconography for the “Xiang Furen” and “Yun zhong jun” in the Chengshi moyuan can be considered the direct iconographic source for Reika’s painting. Given this environment, this book would also have been at hand. In addition, the rock expression found in the Suyuan shi pu (Catalogue of Suyuan Rocks) contained in the Zuhon sokan resembles the rock expression in Reika’s painting. Thus it is highly likely that Reika referred to the Zuhon sokan during his painting production.
This work is constructed from a reusing of iconography published in Chinese books, and works he personally viewed in the Shôsôin treasures and early illustrated handscrolls. The Chengshi moyuan and Li sao tu particularly inspired Reika. There are many examples of modern Nihonga paintings based on Chinese paintings. This work can also be generally positioned within the context of Chinese painting reception in modern Nihonga.
However, the iconography that Reika used as his model for this work was first made publicly available to the Japanese in the 1920s. The mistaken interpretation of the work’s subject –– even though it is a close copied reuse of Nine Songs iconography and even prior to the understanding of the Encountering Sorrow term –– can be thought to have been based in the fact that the iconography used in this work had been virtually unseen in Japan prior to the 1920s. Historically speaking, the 1920s witnessed an unprecedented interchange of people, things and information between Japan and China, and it was a time when a new image of China was being cultivated. The Zuhon sokan referred to by Reika was also a book created out of this artistic interchange between Japan and China. In this manner, it was the 1920s themselves, a time when Japan was directing a new gaze at China, that underpinned the production of this work.journal articl
Helena Kolody, carbono
No full textTese (doutorado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão. Programa de Pós-Graduação em LiteraturaHelena Kolody, carbono & diamante - uma biografia ilustrada conta a vida da escritora Helena Kolody, a partir de sua inscrição na literatura, questionando sua identidade, o mundo que a cercava e o sentido de sua existência. Equivale a dizer: em sua lírica, reflexões e sentimentos se entretecem a partir de uma matéria pessoal e localizada. Da estação ferroviária à estação tubo; da Ucrânia ao centro de Curitiba; de Paisagem interior a Reika; do século XIX ao século XXI, a literatura de Helena Kolody gerencia sua presença na consolidação do binômio arte-vida. O retrato da autora acaba se constituindo também por meio de farto aparato iconográfico; pelos mais de quinhentos textos críticos elencados e por sua obra completa. Fragmentação deliberadamente assumida, a pessoa se revela em sua inteireza.Helena Kolody, carbon & diamond - an illustrated biography tells the life of Helena Kolody, from her very insertion in literature, as it questions her identity, the world surrounding her, and the meaning of her existence. That is equivalent to saying that in her poetry there is the intermingling of reflections and feelings that derive from personal and localized material. From the railroad station to the tube-shaped bus stops; from Ukraine to downtown Curitiba; from Paisagem interior to Reika; from the nineteenth century to the twenty-first century, Helena Kolody's literature guarantees her presence in the consolidation of the art/life binomial. The portrait of the author ends up by also being made up of an abundant iconographic apparatus, of the over five hundred critical texts listed, and of her complete work. The person, although deliberately accepting her own fragmentation, reveals herself in her entireness
Asymmetric syntheses of diarylheptanoid natural products (−)-centrolobine and (−)-de-O-methylcentrolobine via hetero-Diels–Alder reaction catalyzed by dirhodium(II) tetrakis[(R)-3-(benzene-fused-phthalimido)-2-piperidinonate]
Full text linkCatalytic asymmetric syntheses of (-)-centrolobine and (-)-de-O-methylcentrolobine have been achieved, incorporating a hetero-Diels-Alder (HDA) reaction between 4-aryl-2-silyloxy-1,3-butadienes and phenylpropargyl aldehyde derivatives as a key step. The HDA reaction using dirhodium(II) tetrakis[(R)-3-(benzene-fused-phthalimido)-2-piperidinonate], Rh_{2}(R-BPTPI)_{4}, as a chiral Lewis acid catalyst provides exclusively cis-2,6-disubstituted tetrahydropyran-4-ones in up to 93% ee
Isolation of a major genetic interaction associated with an extreme phenotype using assorted F2 populations in rice
Full text linkDetection of quantitative trait loci (QTLs) is dependent on the materials used in the analysis, as different combinations of parental materials may lead to different outcomes in QTLs for the same trait. On the other hand, an extreme phenotype associated with a given trait implies the potential involvement of a particular allele in various allelic interactions. A genetic factor associated with such an extreme phenotype may frequently be identified from various genetic populations consisting of different parental combinations. In this study, we attempted to uncover the genetic factor associated with extremely early heading date in rice, using various F2 populations. Heading date in rice has been characterized by at least 19 QTLs, from which 12 genes have been identified. A58, a rice strain with an extremely early heading date, is adapted to Hokkaido, the northernmost limit of rice cultivation. Six F2 populations derived from crosses of A58 with six other strains displayed a range of heading dates. Genotyping using 19 QTL markers indicated that the A58 allele of the Ghd7 locus was present in most F2 individuals exhibiting extremely early heading dates. This analysis also demonstrated that when the wild-type Ehd1 allele was present, the Ghd7 allele from A58 accelerated floral induction. The results of this study demonstrate that assorted F2 populations are valuable materials for comprehensive genotyping to explore major genetic factors for extreme phenotypes, and that this methodology is broadly applicable to other unknown traits
