41 research outputs found
Chthamalus williamsi Chan & Cheang, 2015, sp. nov.
No full textChthamalus williamsi sp. nov. Figures 2–5 Material examined. Holotype. NMNS-006534-00001. Intertidal rocks (low shores, at the same tidal zone as Megabalanus volcano) at Shi-Ti-Ping, Hualien, Taiwan (23 ° 29.30 ’N, 121 ° 30.30 ’E, 12 May 2009). Paratype. NMNS-006534-00002. Cheng Gong, Taitung, Taiwan (23 °05.46’N, 121 ° 22.33 ’E, 0 2 Sep. 2008). Paratype. ASIZCR-000328. Cheng Gong, Taitung, Taiwan (23 °05.46’N, 121 ° 22.33 ’E, 0 2 Sep. 2008). Diagnosis. Shell conical; 6 plates, external surfaces white, smooth or with faint ribs; scutum equilateral triangular, tergal articular margin straight, external surface of scutum with horizontal striations; tergum triangular, scutal articular margin straight, spur blunt. Description. Shell small, about 3.0 mm basal diameter, conical; 6 plates (rostrum, carina, paired lateral and paired rostral-lateral; Fig. 2 A–D), externally white, surface smooth or with faint ribs, inner operculum pale orangecoloured; carina and rostrum with a pair of alae, carina short and wide, alae large; rostrum long and narrow, alae large; rostral-lateral triangular, interior surface with central mid rib, radii wide; lateral base wide, alae and radii present (Fig. 2 D); scutum white, triangular, tergal articular margin straight, perpendicular to basal margin, articular ridge not prominent, long with length extending 2 / 3 length of tergal articular margin, articular furrow narrow, deep, occludent margin inclined with fine teeth, scutal adductor scar oval, obvious, external surface of scutum with horizontal striations (Fig. 2 E, F); tergum white, triangular, scutal articular margin straight, extending down to spur, spur blunt, wide, about ½ width of basal margin, articular furrow wide, shallow, basal margin slightly concave (Fig. 2 E, F), 5 fine depressor crests at basal margin, external surface striated. Cirrus I without conical spines on dorsal surface, posterior ramus 5 -segmented, anterior ramus 6 -segmented (Fig. 3 A), both rami with serrulate setae, setae without basal guard (Fig. 4 A–C); cirrus II, anterior ramus 5 - segmented, posterior ramus 7 -segmented (Fig. 3 B), both rami with 2 types of serrulate setae, bidentate and plumose setae, all setae without basal guard (Figs 4 D–F, 5 K, L); cirrus III with rami equal length, anterior ramus 14 -segmented, posterior ramus 12 -segmented (Figs 3 C, 4 G), intermediate segments of cirrus III composed of 5 pairs of long serrulate setae (Fig. 4 H, I); cirrus IV with anterior ramus 14 -segmented, posterior ramus 15 - segmented (Fig. 3 D); cirrus V with anterior ramus 18 -segmented, posterior ramus 15 -segmented (Fig. 3 E), intermediate segments of both rami with 3 pairs of long serrulate setae and 2 pairs of shorter setae (Fig. 4 J); cirrus VI with anterior ramus 19 -segmented, posterior ramus 17 -segmented, intermediate segments of anterior and posterior rami composed of 3 pairs of long serrulate setae and 2 pairs of shorter setae (Fig. 4 K); penis long, slender, sparse setae along length, tip with dense bundle of setae (Fig. 5 I, J). Maxilla bilobed, serrulate setae on both lobes (Fig. 5 A, B); maxillule notched, 3 large setae above notch, 16 setae below notch (Fig. 5 C, D); mandible with 4 teeth, fourth bidentate, lower margin straight, with 14 setae, inferior angle with pair of large setae (Fig. 5 E, F); labrum concave, notch absent, dense setae at mid region of cutting margin, latter with numerous fine teeth (Fig. 5 G, H). Etymology. Chthamalus williamsi is named in honour of Prof. Gray A. Williams, Director of the Swire Institute of Marine Sciences, School of Biological Science, the University of Hong Kong, for life-long friendship and mentorship with the first author and for his contributions to the intertidal ecology in the South China Sea. Distribution. Chthamalus williamsi sp. nov. is common inside crevices of the mid shore of the intertidal zone, and on the shell surfaces of the barnacle Megabalanus volcano (Pilsbry, 1916) and M. tintinnabulum (Linnaeus, 1758) on low shores of the eastern waters of Taiwan. Chthamalus williamsi has not been identified previously from Taiwan as it is not easily spotted, due to its small size and low shore location. This species is absent from the N and NE coasts of Taiwan although intensive sampling was conducted (Fig. 1), suggesting its distribution may be associated with the Kuroshio Current. Molecular analysis. From both maximum likelihood and Bayesian inference trees of a COI region, Chthamalus williamsi shows a distinct divergence from C. challengeri, C. dalli, C. moro, C. malayensis and C. sinensis (sequence divergence> 0.13 K 2 P distance from all the Chthamalus species compared; Table 1). Chthamalus sinensis and C. neglectus grouped in the same clade, suggesting C. neglectus is a synonym of C. sinensis (see Liu & Ren 2007 for synonyms of C. neglectus and C. sinensis).Published as part of Chan, Benny K. K. & Cheang, Chi Chiu, 2015, A new Chthamalus (Crustacea: Cirripedia) from the challengeri subgroup on Taiwan rocky intertidal shores, pp. 547-558 in Zootaxa 4000 (5) on pages 549-550, DOI: 10.11646/zootaxa.4000.5.4, http://zenodo.org/record/23674
Human-eye-like multi-resolution image sensor design
No full textTwo difference types of project will be illustrate in this report by the author. Firstly is the High Performance CMOS image sensor design for scientific application and followed by the Design of a Human-eye-like Multi-resolution Image Sensor.
Firstly, the author will discuss on how to make use of certain software like ModelSIM, DC Synopsys and Encounter in LINUX machine. The main task of the author on this particular project is on Verilog timing with FPGA. The author run simulation test on the programming code with ModelSIM and convert the Verilog code into the gate level with Synopsys tool. After that, the gate level code is further convert into GDS level by using Encounter tool. Finally the GSD top level layout was than imported into Cadence for further place and route procedure.
Then, the author will discuss on how the implementation on Gaussian Multiresolution pyramid can match with the human visual system.Bachelor of Engineerin
Being Chiang Yee: Feeling difference and storytelling
No full textChiang Yee was a Chinese writer, poet and painter who lived in England during the 1930s and 1940s. In his writing and drawings, there are many observations on the attention that his Chinese appearance provoked, all enabling him to tell stories about both Chinese and English cultures. The autobiographical persona of Silent Traveller, created by Chiang Yee in his writing, steered clear of controversial remarks, although he had strong feelings about Chinese politics, racism, and how Chinese people were regarded in Britain and America. This chapter explores how emotions, whether difficult or joyous, do not fit smoothly into linear narratives, and make personal memory an unreliable witness to history. Historians also may have a personal and emotional interest in the subjects they study. Indeed, I cannot think about Chiang Yee without resonances of my own family history, and experiences of being or embodying something of the Chinese in Britain. In a new analysis of The Silent Traveller in London (1945) and The Silent Traveller in Oxford (1946), the chapter explores what happens if we deepen rather than deny the historian’s role as storyteller, and pay closer attention to the differences and overlaps between Chiang Yee the author and Chiang Yee the Silent Traveller. Embracing the fragmented, the personal, the emotional, and the miss-remembered reveals a series of moments that speak about a Chinese physical presence in Oxford and London. These bring us closer to what it felt like to be a Chinese man in England during the 1940s, between the stories that were silenced and the things that could be said
Frequency and management of maternal infection in health facilities in 52 countries (GLOSS): a 1-week inception cohort study
No full textBackground: Maternal infections are an important cause of maternal mortality and severe maternal morbidity. We report the main findings of the WHO Global Maternal Sepsis Study, which aimed to assess the frequency of maternal infections in health facilities, according to maternal characteristics and outcomes, and coverage of core practices for early identification and management. Methods: We did a facility-based, prospective, 1-week inception cohort study in 713 health facilities providing obstetric, midwifery, or abortion care, or where women could be admitted because of complications of pregnancy, childbirth, post-partum, or post-abortion, in 52 low-income and middle-income countries (LMICs) and high-income countries (HICs). We obtained data from hospital records for all pregnant or recently pregnant women hospitalised with suspected or confirmed infection. We calculated ratios of infection and infection-related severe maternal outcomes (ie, death or near-miss) per 1000 livebirths and the proportion of intrahospital fatalities across country income groups, as well as the distribution of demographic, obstetric, clinical characteristics and outcomes, and coverage of a set of core practices for identification and management across infection severity groups. Findings: Between Nov 28, 2017, and Dec 4, 2017, of 2965 women assessed for eligibility, 2850 pregnant or recently pregnant women with suspected or confirmed infection were included. 70·4 (95% CI 67·7–73·1) hospitalised women per 1000 livebirths had a maternal infection, and 10·9 (9·8–12·0) women per 1000 livebirths presented with infection-related (underlying or contributing cause) severe maternal outcomes. Highest ratios were observed in LMICs and the lowest in HICs. The proportion of intrahospital fatalities was 6·8% among women with severe maternal outcomes, with the highest proportion in low-income countries. Infection-related maternal deaths represented more than half of the intrahospital deaths. Around two-thirds (63·9%, n=1821) of the women had a complete set of vital signs recorded, or received antimicrobials the day of suspicion or diagnosis of the infection (70·2%, n=1875), without marked differences across severity groups. Interpretation: The frequency of maternal infections requiring management in health facilities is high. Our results suggest that contribution of direct (obstetric) and indirect (non-obstetric) infections to overall maternal deaths is greater than previously thought. Improvement of early identification is urgently needed, as well as prompt management of women with infections in health facilities by implementing effective evidence-based practices.Fil: Althabe, Fernando. Consejo Nacional de Investigaciones Científicas y Técnicas. Oficina de Coordinación Administrativa Parque Centenario. Centro de Investigaciones en Epidemiología y Salud Pública. Instituto de Efectividad Clínica y Sanitaria. Centro de Investigaciones en Epidemiología y Salud Pública; ArgentinaFil: Espinoza, Marisa Mabel. Consejo Nacional de Investigaciones Científicas y Técnicas. Oficina de Coordinación Administrativa Parque Centenario. Centro de Investigaciones en Epidemiología y Salud Pública. Instituto de Efectividad Clínica y Sanitaria. Centro de Investigaciones en Epidemiología y Salud Pública; ArgentinaFil: Pasquale, Julia. No especifíca;Fil: Hernández Muñoz, Rosalinda. No especifíca;Fil: Carvajal, Javier. No especifíca;Fil: Escobar, María Fernanda. No especifíca;Fil: Cecatti, José Guilherme. No especifíca;Fil: Ribeiro Do Valle, Carolina C.. No especifíca;Fil: Mereci, Wilson. No especifíca;Fil: Vélez, Paola. No especifíca;Fil: Pérez, Aquilino M.. No especifíca;Fil: Vitureira, Gerardo. No especifíca;Fil: Leroy, Charlotte. No especifíca;Fil: Roelens, Kristien. No especifíca;Fil: Vandenberghe, Griet. No especifíca;Fil: Aguemon, Christiane Tshabu. No especifíca;Fil: Cisse, Kadari. No especifíca;Fil: Ouedraogo, Henri Gautier. No especifíca;Fil: Kannitha, Cheang. No especifíca;Fil: Rathavy, Tung. No especifíca;Fil: Tebeu, Pierre Marie. No especifíca;Fil: Bustillo, Carolina. No especifíca;Fil: Bredy, Lara. No especifíca;Fil: Herrera Maldonado, Nazarea. No especifíca;Fil: Abdosh, Abdulfetah Abdulkadir. No especifíca;Fil: Teklu, Alula M.. No especifíca;Fil: Kassa, Dawit Worku. No especifíca;Fil: Kumar, Vijay. No especifíca;Fil: Suri, Vanita. No especifíca;Fil: Trikha, Sonia. No especifíca
Fashion and East Asia: Cultural translations and East Asian perspectives
No full textWith Elizabeth Kramer (University of Northumbria) I am co-editing a special edition of International Journal of Fashion Studies to publish 6 papers drawn from the workshops that were held as part of the interdisciplinary AHRC Network Project ‘Fashion and Translation: Britain, Japan, China, Korea’ or which I was Principal Investigator. I will also co-author an introductory essay that captures the current debates that were developed and new directions that were revealed through the Network’s activities as we explored the historical roots and contemporary factors of East Asian fashion, to create a new understanding of East Asian fashion’s intra and extra-regional movements. This collection will produce a timely new reading of East Asian fashion. By paying particular attention to the materiality of fashion as well as the multiple cultural fields within which fashion operates, and by decentring Euro-American fashion cultures in favour of East Asia, we further existing scholarship on transnational fashion in a sustained dialogue between European and non-European perspectives on the circulation of fashion. Using a range of voices, the special issue will also model theoretical and practical frameworks for translations between both cultures and disciplines
Performativity in Black Internationalist Poetics as Exemplified in Robeson and Hughes / الأدائية في الشعرالأفرو-أمريكي في السياق الدولي : إسهام روبسون وهيوز نموذجاً
No full text[This article explores the signs of Afro-orientalism and fantasies about the early twentieth-century peasants\u27 movement in China as evident in Langston Hughes\u27s Roar, China! (1938) and Paul Robeson\u27s rendition of the Chinese national anthem Chee Lai! (1941). It argues that black radical art in the Jim Crow era has unexpected roots in Russian Constructivism. The author traces the writing of the two texts, including Russian and Chinese influences on them, as well as their eventual circulations. The article analyzes how both works actively exhort and recruit their audiences and readers to be part of a global anti-imperial revolt. تتناول المقالة مظاهر الاستشراق الأفريقي والفانتازيات المتعلقة بحركة الفلاحين في الصين في بدايات القرن العشرين كما تتبدى ﻓﻲ قعيدة لانجستون هيوز «ازأري يا صين» (١٩٣٨) واقتباس پول روبسون للنشيد الوطني الصيني بعنوان «تشى لاي» (١٩٤١) . كما ترى المقالة أن للفن الأفرو-أمريكي الراديكالي في حقبة جيم كرو ﺟﺬﻭﺭﺍً غير متوقعة في المدرسة الإنشائية الروسية . ويتتبع الكاتب ملابسات كتابة العملين ، بما في ذلك المؤثرات الروسية والصينية عليهما وانتشارهما ﻓﻲ أنحاء متعددة . توضح المقالة الدور الفعال لكلا العملين في حث القراء والجماهير وحشدهم للمشاركة في الحركة الثورية العالمية المناهضة للإ مبريالية .
Jessica Hagedorn, 19th Annual ODU Literary Festival
No full textJessica Hagedorn Born and raised in the Philippines, Jessica Hagedorn is well-known as a performance artist, poet, and playwright. She is the author of the novel Dogeaters (Penguin), which was nominated for the National Book Award. Hagedorn wrote the screenplay for Fresh Kill, an independent first feature film directed and produced by Shu Lea Cheang and has collaborated on film projects, Color Schemes and Those Fluttering Objects of Desire. Her multimedia theater pieces include Teenytown, The Art of War: Nine situations, and Holy Food. Hagedorn is the recipient of a 1994 Lila Wallace Reader’s Digest Writers Award, and a 1995 NEA Creative Writing Fellowship. Her new novel, The Gangster of Love has been recently released by Houghton Mifflin
The 1961 Kampong Bukit Ho Swee fire and the making of modern Singapore
No full textBy 1970, Singapore’s urban landscape was dominated by high-rise blocks of planned public housing built by the People’s Action Party government, signifying the establishment of a high modernist nation-state. A decade earlier, the margins of the City had been dominated by kampongs, home to semi-autonomous communities of low-income Chinese families which freely built, and rebuilt, unauthorised wooden houses. This change was not merely one of housing but belied a more fundamental realignment of state-society relations in the 1960s. Relocated in Housing and Development Board flats, urban kampong families were progressively integrated into the social fabric of the emergent nation-state. This study examines the pivotal role of an event, the great Kampong Bukit Ho Swee fire of 1961, in bringing about this transformation. The redevelopment of the fire site in the aftermath of the calamity brought to completion the British colonial regime’s ‘emergency’ programmes of resettling urban kampong dwellers in planned accommodation, in particular, of building emergency public housing on the sites of major fires in the 1950s. The PAP’s far greater political resolve, and the timing of and state of emergency occasioned by the scale of the 1961 disaster, enabled the government to rehouse the Bukit Ho Swee fire victims in emergency housing in record time. This in turn provided the HDB with a strategic platform for clearing other kampongs and for transforming their residents into model citizens of the nation-state. The 1961 fire’s symbolic usefulness extended into the 1980s and beyond, in sanctioning the PAP’s new housing redevelopment schemes. The official account of the inferno has also become politically useful for the government of today for disciplining a new generation of Singaporeans against taking the nation’s progress for granted. Against these exalted claims of the fire’s role in the Singapore Story, this study also examines the degree of actual change and continuity in the social and economic lives of the people of Bukit Ho Swee after the inferno. In some crucial ways, the residents continued to occupy a marginal place in society while pondering, too, over the unresolved question of the cause of the fire. These continuities of everyday life reflect the ambivalence with which the citizenry regarded the high modernist state in contemporary Singapore
Cambiar el arte para cambiar el mundo (Una perspectiva feminista) Diálogo abierto con Suzanne Lacy
No full textThis article delves into the activist and transformative perspective of feminist artists who emerged in the 70s, looking into their personal view about the ability of art to create new socially integrating models. Based on the case study of American artist Suzanne Lacy, with whom the authors have held several meetings of public character at the Center for Contem- porary Art Matadero of Madrid, the authors reveal the strategies that feminism has interwo- ven around public art, while at the same time looking for a redefinition of the main pillars that support the current art world: the author, the work and its dissemination, and the final value of the piece. The article concludes with case studies of cyberfeminist artist Shu Lea Cheang, the Paraguayan born artist Faith Wilding and Toxic Lesbian collectiveRESUMENEste artículo ahonda en la perspectiva activista y transformadora de las artistas feministas que surgieron en la década de los años 70, indagando en su particular visión acerca de la capacidad del arte para crear nuevos modelos sociales integradores. A partir del caso de la artista norteamericana Suzanne Lacy, con quien las autoras han mantenido diversos encuentros de carácter público en el Centro de Arte Contemporáneo Matadero de Madrid, se pormenorizan las estrategias que el feminismo ha trabado en torno al arte público y se busca una redefinición de los ejes principales que sustentan el medio artístico actual: la autoría, la obra y su difusión y el valor final de la pieza. La investigación continúa con los estudios de caso de la artista ciberfeminista Shu Lea Cheang, la artista de origen paraguayo Faith Wilding y el colectivo madrileño Toxic Lesbian.PALABRAS CLAVESArte activista, arte colaborativo, arte procesual, ciberfeminismo, feminismo.CHUKAI KAWAITA CHUKANGAPA KAUSAITA WARMI KAWASPA RIMAPARLAMI TUKUIKUNAWA SUZANNE LACY SUGLLAPIKai iskai iacha warmikuna kawachirrei karrariskakuna kanchis wata Worramana tapuchingapa i Kawangapa imasan musu ruraikuna Kaiarrengapa, kai warmimSuzanne Lacy suti kawachii kallariska Sugrigcha ruraikuna katichingapa kasama kai kilkai suti Matadero de Madrid, kunaurra Maskanakui ima ministirri kaikama Chaiangapa, pim ruraska kawachiska y pasrlaska tukurregta kai Parlu kai iskai warmikuna shua Lea Cheang paraguaipi wiñaska Chasata kai warmi Faith Wilding Chasallata aidanakume. Toxio Lespian Madridmanda.IMA SUTI RIMAI SIMI: Arte Activista, Arte colaborativo, arte procesual, ciberfeminismo, feminismo.CHANGING ART TO CHANGE THE WORLD (A FEMINIST APPROACH) OPEN DIALOGUES WITH SUZANNE LACY ABSTRACTThis article delves into the activist and transformative perspective of feminist artists who emerged in the 70s, looking into their personal view about the ability of art to create new socially integrating models. Based on the case study of American artist Suzanne Lacy, with whom the authors have held several meetings of public character at the Center for Contem- porary Art Matadero of Madrid, the authors reveal the strategies that feminism has interwo- ven around public art, while at the same time looking for a redefinition of the main pillars that support the current art world: the author, the work and its dissemination, and the final value of the piece. The article concludes with case studies of cyberfeminist artist Shu Lea Cheang, the Paraguayan born artist Faith Wilding and Toxic Lesbian collective Madrid. t Autoretrato. Fotografía análoga. Fotografía: Camila Camacho. 2012KEYWORDSActivist art, collaborative art, process art, cyberfeminism, feminism.CHANGEZ L’ART POUR CHANGER LE MONDE (UNE PERSPECTIVE FÉMINISTE) UN DIALOGUE OUVERT AVEC SUZANNE LACY RÉSUMÉCet article se penche sur la perspective militante et transformatrice des artistes féministes qui ont émergé dans les années 70, en regardant dans leur point de vue personnel sur la capacité de l’art de créer de nouveaux modèles sociaux intégrateurs. À partir du cas de l’artiste américaine Suzanne Lacy, avec lesquels les auteurs ont tenu plusieurs réunions à caractère public au Centre d’Art Contemporain Matadero de Madrid, on détaille les stratégies que le féminisme a empêtré autour de l’art public, et on recherche une redéfinition des principaux piliers qui soutiennent le monde de l’art actuel : l’auteur, l’œuvre et sa diffusion et la valeur finale de la pièce. Les recherches se poursuivent avec des études de l’artiste cyberféministe Shu Lea Cheang, de l’artiste d’origine paraguayenne Faith Wilding et du collectif Toxic Lesbian de Madrid. MOTS-CLEFS Art activiste, art collaboratif, process art, cyberféminisme, féminisme.MUDAR A ARTE PARA MUDAR O MUNDO (UMA PERSPECTIVA FEMINISTA) DIÁLOGO ABERTO COM SUZANNE LACY RESUMOEste artigo aprofunda na perspectiva ativista e transformadora das artistas feministas que surgiram na década dos anos 70, questionado em sua particular visão sobre a capacidade da arte para criar novos modelos sociais integrados. A partir do caso da artista americana Suzanne Lacy, com quem as autoras têm mantido diversos encontros de caráter público no centro de Arte Contemporâneo “Matadero de Madrid”, se pormenoriza as estratégias que o feminismo há travado em torno à arte pública e se busca uma redefinição e o valor final da peça. Este artigo trata na perspectiva ativista e transformadora das artistas feministas que sur- giram na década dos anos 70, indagando em sua particular visão. PALAVRAS CHAVES Arte ativista, arte colaborativo, arte processual, ciber-feminismo, feminismo
