11 research outputs found
Reproducing the original plan of the Abbasid Friday Mosque at Esfahan and its first enlargement
No full textFollowing an in-depth study and comparison of the archaeological data collected by the Italian Archaeological Mission at the Friday Mosque of Esfahan in 1970s and Islamic historical sources dealing with Esfahan, this paper aims to suggest a reconstruction of the layout of the first Abbasid mosque at Esfahan – attributed by the author to 767 – and of its first enlargement carried out a few years later. In particular, though two different models can be hypothesised for the 767 mosque, i.e. the so-called “Syrian plan” and the so-called “Arab-Iraqi plan”, some observations can be made that seem to pin down the latter as the actual prototype for the first Abbasid phase, thus revealing an influence of the Arab-Iraqi model in early Islamic Iranian architecture that was maintained in the enlarged plan of the mosque
Confirmation of a predating of the First Abbasid Masjid-i Jumʿa in Isfahan. The nahr Farsān as the mādī Fadan
No full textThe first Abbasid Masjid-i Jumʿa in Isfahan, underneath the present-day building, was brought to light by the Italian Archaeological Mission in the 1970s. An in-depth study of the unedited archaeological data obtained from the excavations has allowed the author to equate the mosque with the building described by some historical sources as having been erected close to the ancient nahr (canal) Farsān by the Abbasid governor Ayyūb ibn Ziyād in 767. This paper aims to present some new observations that support this hypothesis. In particular, extending the research to incorporate the study of the water canalization of Isfahan, mostly dated to the Safavid period, suggests the possibility that the mādī Fadan – an old branch of a canal running very close to the present-day mosque – could be identified with the nahr Farsān, thus confirming the identification of the excavated mosque with the 767 building
sj-docx-1-phr-10.1177_00333549231163531 – Supplemental material for Tracking COVID-19 in the United States With Surveillance of Aggregate Cases and Deaths
No full textSupplemental material, sj-docx-1-phr-10.1177_00333549231163531 for Tracking COVID-19 in the United States With Surveillance of Aggregate Cases and Deaths by Diba Khan, Meeyoung Park, Jacqueline Burkholder, Sorie Dumbuya, Matthew D. Ritchey, Paula Yoon, Amanda Galante, Joseph L. Duva, Jeffrey Freeman, William Duck, Stephen Soroka, Lyndsay Bottichio, Michael Wellman, Samuel Lerma, B. Casey Lyons, Deborah Dee, Seghen Haile, Denise M. Gaughan, Adam Langer, Adi V. Gundlapalli and Amitabh B. Suthar in Public Health Reports</p
The Biopolitics of the COVID-19 Crisis and a New Form of the State of Exception
No full textThe pandemic entering our lives globally challenges us to think about questions related to the cities and new forms of social life as the cities are never seen last any longer without a crisis. There have been various debates among philosophers on this issue. Some philosophers reject the new administration policies by claiming that the `physical distance' required for health has been used for power under the name of `social distance' with the custody of the street and point out that these policies have created new forms of control, among economically, politically, and socially. Some others are more hopeful and believe that the crisis can build a new economic and social life; it can be an opportunity to find a new starting point; especially from being confined in the pandemic process. The author will refer to Agamben's thoughts to understand how the state of exception turned into a rule and how it affects street politics. In this context, COVID-19 is seen as a `state of exception' that normalises all the dominative practices, strengthens sovereignty by designing the social/economical life like a camp. In the pandemic process, people were accustomed to isolation by the administrations under the name of social distance, just like in a camp life. At this point, Agamben's analysis should be understood in relation to a biopolitical paradigm and can be expanded to reflect on street economy, street politics, and the life of cities
Non-Linear Regresion And Bisection Method Numerical Analysis of Humidity And Temperature Relationships
No full textThis study aims to analyze the correlation of temperature and humidity based on climatological data from Kuningan, West Java province, Indonesia, using non-linear regression and numerical analysis using the bisection method. In studying the education curriculum in Indonesia, most of them have studied linear regression, but only within certain limits, namely linear and multiple. It is still rare for students to use non-linear regression in their analysis. This paper will explain the analysis using non-linear regression as a source of data and equations in numerical analysis so that it can be applied in the context of the numerical bisection method. As for data processing and numerical analysis, Microsoft Excel is used. The authors combined the two variables in the non-linear analysis and used geometric equations for the numerical quotient analysis. The author displays the results of numerical graphs and real-time data obtained from the source "Data access viewer NASA.
Imagem digital em movimento
No full textEste trabalho reúne análises sobre as imagens digitais com questões estruturais e poéticas do movimento, fazendo um levantamento histórico e artístico desde os primeiros experimentos em cronofotografia, até as manifestações atuais, do universo digital, que incorporam o movimento como temática. A imagem digital tratada não é de cunho sintético, mas sim que passou por algum processo de captura analógica, por meio de câmeras, e após isso, foi digitalizada. A partir daí, a pesquisa reflete as transformações estéticas e sinestéticas que as imagens podem sofrer de acordo com as possibilidades oferecidas pela tecnologia digital. Procuramos discutir os processos e precedimentos artísticos sob a luz desse caráter tecnológico, em que as imagens ganham novas formas dinâmicas e novos padrões de movimento. Buscamos incluir os principais fatores que são singulares ao universo digital e permitem concepções artísticas inovadoras através das novas mídias surgidas. Entre as características estão a convergência, desmaterialização, ubiqüidade e a replicabilidade dos remixes e samplers. Três obras foram discutidas com maior profundidade por oferecerem suporte conceitural, visual e nova proposta estética: Stop Motion Studies (David Crawford), Soft Cinema (Lev Manovich) e as Live Images (Luiz Duva). Durante a pesquisa, a autora também elaborou três obras construídas em momentos distintos, que acompanhavam os questionamentos feitos ao longo do processo: convergência, gradeativa e passagens. As obras sugerem um estreitamento intenso entre arte e pesquisa, pratica e teoria, no intuito de atingir complexidade sobre o tema, para contribuir com estudos contemporâneos sobre as manifestações artísticas nas novas mídias.This work analyses the digital under the structural and poetical issues of the movement, making a historical and artistic retrospective since the first experiments in cronophotography, to the current manisfestations of the digital universe, that incorporate the movement as thema. The treated digital image is not asynthetic matrix, but the one that passed for some process of analogical capture by cameras and then digitalized. Further on, the research reflects about the aesthetic and synesthesic transformations that images can receive with possibilities offered by the digital technology. We look for debate the processes and artistic procedures and its techological features, when the images gain new dynamic forms and new standards of movement. We try to include the main factors that are singular to the digital universe and allow innovative artistic comceptions through the new appeared medias. Some of the features are the convergence, dematerialization, ubiquity and the replicability of remixes and samplers. Three artistic creation had been deeply analysed because of its conceptual visual and new aesthetic proposal support: Stop Motion Studies (David Crawford), Soft Cinema (Lev Manovich) and the Live Images (Luiz Duva). During this work, the author also elaboreted three creactions built in different times, that accompany the debates made throughout the process: Convergência, Gradeativa and Passagens. These creations suggest an intense relationship between aty and research, practical and theory in intention to reach complexity on the subject, to contribute with contemporaneous studies on artistic manisfestations in the new medias.Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES
Imagem digital em movimento
No full textEste trabalho reúne análises sobre as imagens digitais com questões estruturais e poéticas do movimento, fazendo um levantamento histórico e artístico desde os primeiros experimentos em cronofotografia, até as manifestações atuais, do universo digital, que incorporam o movimento como temática. A imagem digital tratada não é de cunho sintético, mas sim que passou por algum processo de captura analógica, por meio de câmeras, e após isso, foi digitalizada. A partir daí, a pesquisa reflete as transformações estéticas e sinestéticas que as imagens podem sofrer de acordo com as possibilidades oferecidas pela tecnologia digital. Procuramos discutir os processos e precedimentos artísticos sob a luz desse caráter tecnológico, em que as imagens ganham novas formas dinâmicas e novos padrões de movimento. Buscamos incluir os principais fatores que são singulares ao universo digital e permitem concepções artísticas inovadoras através das novas mídias surgidas. Entre as características estão a convergência, desmaterialização, ubiqüidade e a replicabilidade dos remixes e samplers. Três obras foram discutidas com maior profundidade por oferecerem suporte conceitural, visual e nova proposta estética: Stop Motion Studies (David Crawford), Soft Cinema (Lev Manovich) e as Live Images (Luiz Duva). Durante a pesquisa, a autora também elaborou três obras construídas em momentos distintos, que acompanhavam os questionamentos feitos ao longo do processo: convergência, gradeativa e passagens. As obras sugerem um estreitamento intenso entre arte e pesquisa, pratica e teoria, no intuito de atingir complexidade sobre o tema, para contribuir com estudos contemporâneos sobre as manifestações artísticas nas novas mídias.This work analyses the digital under the structural and poetical issues of the movement, making a historical and artistic retrospective since the first experiments in cronophotography, to the current manisfestations of the digital universe, that incorporate the movement as thema. The treated digital image is not asynthetic matrix, but the one that passed for some process of analogical capture by cameras and then digitalized. Further on, the research reflects about the aesthetic and synesthesic transformations that images can receive with possibilities offered by the digital technology. We look for debate the processes and artistic procedures and its techological features, when the images gain new dynamic forms and new standards of movement. We try to include the main factors that are singular to the digital universe and allow innovative artistic comceptions through the new appeared medias. Some of the features are the convergence, dematerialization, ubiquity and the replicability of remixes and samplers. Three artistic creation had been deeply analysed because of its conceptual visual and new aesthetic proposal support: Stop Motion Studies (David Crawford), Soft Cinema (Lev Manovich) and the Live Images (Luiz Duva). During this work, the author also elaboreted three creactions built in different times, that accompany the debates made throughout the process: Convergência, Gradeativa and Passagens. These creations suggest an intense relationship between aty and research, practical and theory in intention to reach complexity on the subject, to contribute with contemporaneous studies on artistic manisfestations in the new medias.Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES
Imagem digital em movimento
No full textEste trabalho reúne análises sobre as imagens digitais com questões estruturais e poéticas do movimento, fazendo um levantamento histórico e artístico desde os primeiros experimentos em cronofotografia, até as manifestações atuais, do universo digital, que incorporam o movimento como temática. A imagem digital tratada não é de cunho sintético, mas sim que passou por algum processo de captura analógica, por meio de câmeras, e após isso, foi digitalizada. A partir daí, a pesquisa reflete as transformações estéticas e sinestéticas que as imagens podem sofrer de acordo com as possibilidades oferecidas pela tecnologia digital. Procuramos discutir os processos e precedimentos artísticos sob a luz desse caráter tecnológico, em que as imagens ganham novas formas dinâmicas e novos padrões de movimento. Buscamos incluir os principais fatores que são singulares ao universo digital e permitem concepções artísticas inovadoras através das novas mídias surgidas. Entre as características estão a convergência, desmaterialização, ubiqüidade e a replicabilidade dos remixes e samplers. Três obras foram discutidas com maior profundidade por oferecerem suporte conceitural, visual e nova proposta estética: Stop Motion Studies (David Crawford), Soft Cinema (Lev Manovich) e as Live Images (Luiz Duva). Durante a pesquisa, a autora também elaborou três obras construídas em momentos distintos, que acompanhavam os questionamentos feitos ao longo do processo: convergência, gradeativa e passagens. As obras sugerem um estreitamento intenso entre arte e pesquisa, pratica e teoria, no intuito de atingir complexidade sobre o tema, para contribuir com estudos contemporâneos sobre as manifestações artísticas nas novas mídias.This work analyses the digital under the structural and poetical issues of the movement, making a historical and artistic retrospective since the first experiments in cronophotography, to the current manisfestations of the digital universe, that incorporate the movement as thema. The treated digital image is not asynthetic matrix, but the one that passed for some process of analogical capture by cameras and then digitalized. Further on, the research reflects about the aesthetic and synesthesic transformations that images can receive with possibilities offered by the digital technology. We look for debate the processes and artistic procedures and its techological features, when the images gain new dynamic forms and new standards of movement. We try to include the main factors that are singular to the digital universe and allow innovative artistic comceptions through the new appeared medias. Some of the features are the convergence, dematerialization, ubiquity and the replicability of remixes and samplers. Three artistic creation had been deeply analysed because of its conceptual visual and new aesthetic proposal support: Stop Motion Studies (David Crawford), Soft Cinema (Lev Manovich) and the Live Images (Luiz Duva). During this work, the author also elaboreted three creactions built in different times, that accompany the debates made throughout the process: Convergência, Gradeativa and Passagens. These creations suggest an intense relationship between aty and research, practical and theory in intention to reach complexity on the subject, to contribute with contemporaneous studies on artistic manisfestations in the new medias.Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES
Chronicle (Paterson, NJ) Vol. 30, No. 12, Mar. 23, 1958
No full textLocal information pertaining to Paterson, N.J. and surrounding Passaic County. Issues may include events, government, business, political cartoons, engagement and marriage announcements, and birth announcements. This publication was also known as the Paterson Chronicle (1952) and the Paterson Sunday Chronicle (1951-1952)
