25,683 research outputs found
Material for Art Research: “Myna Bird” by Niu-shih-hui
No full textAs Mr. YEH Tê-hui(?-1927) mentions in his Kuanhua Pai-yung, Niu-shih-hui has been traditionally known in China as ayounger brother of Pa-ta Shan-jen. His paintings, exemplified by “Pine and Deer” (fig. 1), closely resemble those of Pa-ta Shan-jen (fig. 2). In his book titled Pa-ta Shan-jen and Niu-shih-hui, Mr. Kan'ichi SUMITOMO presented four possible hypotheses regarding the relationship between the two artists: Niu-shih-hui and Pa-ta Shan-jen could have been the same person ; They could have been brothers ; Pa-ta Shan-jen could have been an elder fellow monk of Niu-shih-hui's ; Not directly connected with Pa-ta Shan-jen at all, Niu-shih-hui could have been an ardent admirer of his. Mr. SUMITOMO eliminated the first two hypotheses on the basis of a lack of materials to prove them. Then, he stated that the third was most likely to be true, having decided that Niu-shih-hui was a monk judging from the seals he used.
Later, Mr. YEH Yeh wrote an article titled “On the Relationships between CHU Jung-chung, Niu-shihhui and Pa-ta Shan-jen” which appeared in Ta-lu Tsa-chih (No. 1, Vol. 53). He cites both the 1872 Fêng-hsin-hsien-chih and the Ch'ing-ch'u Sêngchêng-chi. The former states that Niu-shih-hui is said to have had religious training at Niu-shih-an, a temple located at Fêng-hua Hsian-shang-tsun village, also called Po-fu-ssu. The latter states that monks customarily use a sobriquet or their temple's name before their real names. From this information, Mr. YEH concludes that Niu-shih-hui was the monk Fa-hui from Niu-shih-an temple, with the sobriquets Hsing-an and Ch'ing-nien. Since the sobriquets are similar to Jen-an and Shu-nien, the sobriquets of Pa-ta Shan-jen who also at one time lived in Fêng. hsin Prefecture, Mr. YEH assumes that they were about the same age and knew each other well.
“Myna Bird” by Niu-shih-hui reproduced here is almost identical with Pa-ta Shan-jen's painting of a myna bird in the Sumitomo album of “Flowers and Miscellaneous Subjects”. Niu-shih-hui's bird however seems to be huddled up, whereas Pa-ta Shan-jen's is a relaxed, rather plump bird. Moreover, the seal appearing on the latter album leaf is traditionally said to be Pa-ta Shan-jen's own work. It looks completely different stylistically from the seal on the Niushih-hui's painting. It is very unlikely that one artist would have used two such seals. Judging from this, one can conclude that the evidence of “Myna Bird” by Niu-shih-hui strongly supports the theory that Niushih-hui and Pa-ta Shan-jen are not the same person.journal articl
Colletes inspersus Niu, Zhu & Kuhlmann 2013
No full textColletes inspersus Niu, Zhu & Kuhlmann, 2013 (Figs 8C, 10A, 10B) Colletes inspersus Niu, Zhu & Kuhlmann, 2013b: 113 (holotype ♀, China, Xizang, Markam Xian [IZCAS]). Colletes inspersus; Ascher & Pickering 2021. Diagnosis. The female of C. inspersus (the male remains unknown) may be diagnosed through the following combination of features: bees relatively small (HW 2.6–2.7 mm), T1 finely and very sparsely (i=2.0–3.0 d) punctate medially and T2 without basal. Females of C. inspersus are similar to those of both C. xuezhongi and C. xizangensis, from which they can be differentiated by the paraocular area with pale-yellow and black hairs intermixed (paraocular area with only pale hairs in females of C. xuezhongi and C. xizangensis). Colletes inspersus can be further distinguished from C. xuezhongi by the clypeus longer than broad (clypeus broader than long in females of C. xuezhongi) and from C. xizangensis by the T1 with a broadly interrupted apical band (T1 apical band complete in females of C. xizangensis). Material examined. Published records — CHINA, Xizang: Markam Xian, 29.10 98.50, 3800 m, 20.vi.1976, YH Han, 1 ♀; XZ Zhang, 1 ♀. New records —none. Distribution. Western China (Xizang). DNA barcode. Unavailable. Floral hosts. Unknown. Remarks. The male of C. inspersus remains unknown.Published as part of Ferrari, Rafael R., Niu, Ze-Qing, Kuhlmann, Michael, Zhang, Dan & Zhu, Chao- Dong, 2021, The cellophane bees of Colletes Latreille (Hymenoptera: Colletidae) from Xizang (Tibet), China, pp. 1-72 in Zootaxa 5022 (1) on page 21, DOI: 10.11646/zootaxa.5022.1.1, http://zenodo.org/record/522666
Del Niu Volant a les escoles bressol de ciència
No full textEl Niu Volant viatja del Museu de Ciències Naturals a les
escoles bressol per apropar-hi propostes didàctiques
d’aprenentatge de les ciències naturals. Després de l’experiència
amb el Niu Volant, dues escoles han transferit el
projecte creant el seu propi espai de ciència
Jen Delos Reyes
No full textProjects in this collection: Open Engagement
From http://www.jendelosreyes.com/about: Jen Delos Reyes was born in the city of Winnipeg, Manitoba, Canada, and educated first in its local music scene of the mid-90’s infused with the energy of Riot grrrl and DIY, and then in its university. [1] How she works today is rooted in what she learned in her formative years as a show organizer, listener, creator of zines, and band member. Graduate work at the University of Regina made the space possible for her to see her work as an organizer as a key component of her continued creative work.
Jen Delos Reyes is a \u27farmer of sorts and an artist of sorts\u27[2], educator, writer, and radical community arts organizer. She is defiantly optimistic, a friend to all birds, and proponent that our institutions can become tender and vulnerable. Her practice is as much about working with institutions as it is about creating and supporting sustainable artist-led culture.
Delos Reyes worked within Portland State University from 2008-2014 to create the first flexible residency Art and Social Practice MFA program in the United States and devised the curriculum that focused on place, engagement, and dialogue. The flexible residency program allowed for artists embedded in their communities to remain on site throughout their course of study.
She worked with the Portland Art Museum from 2009-14 on a series of programs and integrated systems that allowed artists to rethink what can happen in a museum, and reinvigorate the idea of the museum as a public space.
From 2015-2022 Delos Reyes was the Associate Director of the School of Art & Art History of the University of Illinois, Chicago’s only public research university, where she taught in the departments of Art and Museum and Exhibition Studies.
She was the Director and founder of Open Engagement, an international annual conference on socially engaged art that was active between 2007-2019 and hosted ten conferences in two countries at locations including the Queens Museum in New York. After over a decade of large scale organizing she is now focused on work on the scale of her life.
She is the author of I’m Going to Live the Life I Sing About in My Song: How Artists Make and Live Lives of Meaning, Everything You Ever Wanted to Know About Public Engagement But Were Afraid to Ask, and Defiantly Optimistic: Turning Up in a World on Fire.
Delos Reyes divides her time between Chicago, IL where she is the founder of Garbage Hill Farm, and Ithaca, NY where she is an Associate Professor of Art at Cornell University.
[1] Credit to Saul Alinsky in form, and for the reminder that often the most formative educational experiences happen outside of the classroom.
[2] Grateful to Wendell Berry in general, and for this descriptor I am using.https://pdxscholar.library.pdx.edu/artandsocialpractice_creators/1030/thumbnail.jp
A Personal Journey with Gish Jen, Author
No full textBorn and raised in the United States, Gish Jen has become a leading literary voice of the Chinese-American experience. In this program, Bill Moyers talks with the critically acclaimed writer, whose novels and short stories are known for their humorous and incisive edge. (14 minutes, color
Expeditus: Congestion-Aware Load Balancing in Clos Data Center Networks
No full textData center networks often use multi-rooted Clos topologies to provide a large number of equal cost paths between two hosts. Thus, load balancing traffic among the paths is important for high performance and low latency. However, it is well known that ECMP-the de facto load balancing scheme-performs poorly in data center networks. The main culprit of ECMP's problems is its congestion agnostic nature, which fundamentally limits its ability to deal with network dynamics. We propose Expeditus, a novel distributed congestion-aware load balancing protocol for general 3-tier Clos networks. The complex 3-tier Clos topologies present significant scalability challenges that make a simple per-path feedback approach infeasible. Expeditus addresses the challenges by using simple local information collection, where a switch only monitors its egress and ingress link loads. It further employs a novel two-stage path selection mechanism to aggregate relevant information across switches and make path selection decisions. Testbed evaluation on Emulab and large-scale ns-3 simulations demonstrate that, Expeditus outperforms ECMP by up to 45% in tail flow completion times (FCT) for mice flows, and by up to 38% in mean FCT for elephant flows in 3-tier Clos networks.
Gish Jen: Vocation of the Writer (Library Resources)
No full textA bibliography of resources available through the Holy Cross Libraries which provide additional information related to Gish Jen: Vocation of the Writer a lecture by award-winning author and speaker Gish Jen. The conference is sponsored by the Rev. Michael C. McFarland, S.J. Center for Religion, Ethics and Culture, the Creative Writing Program, and Asian Studies and was held at the College of the Holy Cross on February 27, 2018.https://crossworks.holycross.edu/bibliography_events/1012/thumbnail.jp
Public Support for the Financing of RD&D Activities in New Clean Energy Technologies
No full textSeveral market failures, as well as other technical, economic and regulatory barriers to the market penetration of clean energy technologies result in under-investment of private innovators in RD&D. Therefore, public support is needed in order to induce innovations. Policy tools creating market conditions that are attractive for the exploitation of clean technologies (market pull) must be combined with other tools directly supporting the development of these technologies through the provision of public funds (technology push). Thereby, financing policy instruments should be chosen so that their characteristics match with those of the specific innovation process being targeted at the same time that social welfare is maximized. We develop an analytical framework to define the form of public support and to provide recommendations on the optimal choice of both technology push and market pull instruments.clean energy technologies; innovation finance; public support; technology push; market pull
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