199 research outputs found
Seroprevalence of Anti-herpes Simplex Virus Type 2 IgG Antibodies and Its Associated Factors in Fertility-Treatment-Seeking Population: A Cross-sectional Survey in the Abu Dhabi Emirate
No full textSusumu Hani (1950-1960): la aportación teórico-práctica al documental y al cine juvenil japonés. Una aproximación al caso de Hani como precursor de la nueva ola,
No full textRESUMEN
La tesis reúne por primera vez una antología del director japonés Susumu Hani. En ella, se saca a la luz diecisiete de sus documentales realizados en los estudios Iwanami Eiga entre 1950 y 1960 para cine y televisión, en su mayoría desconocidos en Occidente. El análisis de estas obras se acompaña con las lecturas de los ensayos originales escritos por Hani, que se ponen en el contexto de las discusiones teóricas que tuvieron lugar en el Japón de la época.
La PARTE 1 trata de la aportación teórico-práctica de Hani al cine de no ficción. El Apartado 1.1 es un recorrido por los debates en los que participó respecto al documental de vanguardia, el realismo (recuperando el enfrentamiento de los teóricos marxistas de los años treinta, Taihei Imaura y Akira Iwasaki), la "discusión de la subjetividad" (shutaiseiron), la naturaleza de la imagen (eizo), el "arte de síntesis" (sogo geijutsu), la ruptura ideológico estética de los autores con la vieja izquierda a partir de 1956 y la influencia del género "documental de la vida" (seikatsu kiroku). Se ponen de relieve dos posturas enfrentadas en el grupo "Kiroku Geijutsu no Kai" ["Asociación del Arte Documental"] a partir de 1957: la corriente deformativa de Toshio Matsumoto y la corriente naturalista de Susumu Hani. Por un lado, Matsumoto seguía la preocupación formal de Kiyoteru Hanada, Kobo Abe y Taro Okamoto, la inclinación hacia el surrealismo y el subconsciente. Por su parte, Hani, critica el objetivismo pero traslada el problema de la subjetividad del interior del autor al interior de los personajes. No propone una síntesis con otras artes sino con otros medios de comunicación, incorporando una exploración del universo emocional que tuvo múltiples fuentes de inspiración: desde Flaherty a Robert Bresson, pasando por el movimiento documentalista británico (Grierson, Rocha, Wright, Cavalcanti) o incluso por autores que confluyeron en la Guerra Civil Española (fotografía de Capa o el periodismo literario de Hemingway).
El Apartado 1.2 es un análisis de los documentales realizados en Iwanami Eiga puestos en diálogo con los propios textos de Hani, quien escribió no sólo sobre cine (entre 1955 y 1967) sino también sobre el medio televisivo (1959-1960), infancia (1963-1979), el mundo animal (1965-1966 y 1973-1981) o la juventud (1974, 1975, 1982). El corpus fílmico se clasifica en:
-Las primeras "películas de ciencias sociales" (shakaika kyoiku eiga), donde se pone de relieve la influencia de su mentor, el veterano documentalista Keiji Yoshino, de quien Hani aprendió la combinación de mirada científica y preocupación social.
-Los documentales del mundo infantil: las consideradas como sus obras maestras "Children in the Classroom" (Kyoshitsu no kodomotachi, 1954) y "Children who Draw" (E o kaku kodomotachi, 1956) pero también las menos conocidas "Estudio de Gemelos" (Soseji gakyu, 1956) y "Dirección de grupos" (Gurupu no shido, 1956), en los que se registran innovadoras experiencias psicoeducativas. El análisis se acompaña con el contexto de la reforma educativa de la posguerra, los ensayos de Hani sobre educación, infancia y paternidad (1960-1979), la influencia de las escuelas reformistas como Jiyu Gakuen (fundada por sus abuelos), la llegada a Japón de las teorías sobre el arte y la psicología infantil o la aparición del “Movimiento de Educación Creativa y Artística” (Sozo Biiku Undo).
-El primero de sus trabajos sobre el mundo animal: "Diario de zoológico" (Dobutsuen nikki, 1957), cuyo análisis es acompañado por las reflexiones de Hani sobre el universo interior de los animales (1965-1966 y 1973-1981).
-Las obras sobre el Japón tradicional: tres documentales cinematográficos y cinco documentales televisivos. Hani perteneció a una primera generación de directores que trabajaron en televisión y se mostraron entusiastas con las posibilidades del nuevo medio. Se recupera su noción de "terementari" (documental televisivo), que para él no implica sólo un nuevo formato sino también un nuevo estilo, que permitiría un acercamiento más honesto a la realidad (debates de 1959-1960).
- Los reportajes gráficos de "Iwanami Shashin Bunko" (1950-1958). Se analiza el tránsito de imágenes entre la fotografía y el cine documental.
-El documental "Tokyo 1958" (1958), una obra colectiva y multidisciplinar en el que se plantea una crítica mediante la parodia de la modernidad en la capital japonesa, combinando elementos del ukiyoe, la pintura, teatro o la publicidad.
La PARTE 2 aborda el salto a la ficción de Hani en "Bad Boys" (Furyo shonen, 1960), desde dos enfoques distintos. Por un lado, un estudio de la adaptación del método documental en la ficción (el Apartado 2.1, centrado en el aspecto formal). Por otro, la constitución de cine juvenil que reacciona contra un cine adolescente estrenado unos años antes (el Apartado 2.2, centrado en el aspecto narrativo).
En el Apartado 2.1 se describe cómo el método documental impulsó la renovación del lenguaje cinematográfico de los sesenta y la inauguración de la nueva ola. Se encuadra el papel de la subjetividad en la construcción de la modernidad cinematográfica en Japón y se intenta matizar su equivalencia con la noción de autoría europea, liderada por las corrientes francesas de la " politique des auteurs", así como las diferencias entre el concepto de sujeto japonés y el sujeto proveniente de la semiótica europea. La lectura de los textos de Hani pone de evidencia su relación con las nuevas olas extranjeras, de las que fue un gran divulgador (textos entre 1959 y 1961): el New American Cinema o la nouvelle vague francesa pero sobre todo la admiración por la Escuela Polaca (Kawalerowicz, Wajda y Munk) y por el cine de Fellini y Antonioni, aunque él mismo se considera heredero del neorrealismo italiano (especialmente de Rossellini).
Se propone un análisis comparativo de "Bad Boys" con el libro "Tobenai tsubasa" (1958), perteneciente al “seikatsu kiroku”, el género de escritura amateur autobiográfica, en el que la psicóloga Aiko Jinushi reúne textos de los internos del reformatorio de Kurihama, que escriben sobre sus propias experiencias. Inspirado en sus historias y siguiendo el mismo método, Hani hizo que los protagonistas de "Bad Boys" proyectaran a través de la interpretación una reescritura cinematográfica de sus propias vivencias. El film entra en la modernidad mediante las llamadas fórmulas acinematográficas y antidramáticas rompiendo con los arquetipos y la noción de “recorrido” (kosu) en las acciones. El método documental desemboca en un nuevo realismo en dos dimensiones: un realismo narrativo, dominada por la incoherencia del azar, las dudas existenciales, orden acronológico de las escenas. Un realismo formal, dominado por el ascetismo que caracterizaba la producción documental de Iwanami Eiga (el uso de iluminación natural, sin decorados ni actores profesionales, rodaje con equipos ligeros o con cámara al hombro).
Lo sugerente del estilo de "Bad Boys" hizo que todas las miradas se dirigieran hacia el método documental, eclipsando que el film fue el origen de un "cine juvenil" (seishun eiga) que reaccionó contra el cine adolescente (el taiyozoku) de 1956. En el Apartado 2.2 se propone una distinción entre estos cines adaptando metodológicamente el siguiente proceso:
-Primero, describir estos cines a partir de las definiciones de juventud y adolescencia, como grupo no fisiológico sino socio-cultural (Morin, Gillis), incluyendo la aplicación al caso japonés (Namba, Kon, Okuno) y las reflexiones del propio Hani sobre estas fases del ser humano.
-Segundo, se define el taiyozoku como el nacimiento de esta cultura adolescente en Japón, entendida como un fenómeno multidimensional: su origen literario en las novelas de Shintaro Ishihara, las adaptaciones cinematográficas, el escándalo en la prensa, la constitución como cultura popular en las revistas semanales, los debates desde la literatura y la creación del star system juvenil. El estudio de esta producción cultural se hace de forma transversal, atendiendo no sólo a su dimensión transmediática sino también transcultural (dadas las reminiscencias de la cultura popular americana y ecos en la cultura adolescente europea).
- Tercero, se propone un análisis comparativo de "Bad Boys" con "Season of the Sun" (Taiyo no kisetsu, Takumi Furukawa, 1956), la primera de las cinco películas taiyozoku estrenadas el verano de 1956. Se establece como ejes estudio: primero, el retrato de la delincuencia juvenil; segundo, el derrumbamiento de la gerontocracia que Morin identifica en dos fenómenos: la emancipación de la mujer y el fin de la autoridad paternal.
- Cuarto, se establece como hipótesis que el paso de una cultura adolescente a una juvenil se puede entender como la sustitución de una "subcultura" por una "contracultura" (no subordinada a los discursos hegemónicos sino que reacciona contra ellos), lo cual explica las representaciones contradictorias del "milagro económico japonés", estudiado aquí como un imaginario o "frame" (en el sentido propuesto por Goffman, pero aplicado por Namba al caso japonés).
-Quinto, se establece un “Periodo de Transición” (1956 a 1960) en el que se trata de describir una trayectoria que va del taiyozoku burgués de Shintaro Ishihara (1956), siguiendo por el taiyozoku proletario de Yasuzo Masumura y Kon Ichikawa (1957 y 1958) a lo que hemos definido como una suerte de taiyozoku lumpenproletario de Hani (1960). En estas visiones del "fin de la posguerra", la cuestión de la japonesidad cobra protagonismo y en ella se ponen de relieve los traumas, complejos y ensoñaciones de la juventud japonesa respecto a Occidente.
En CONCLUSIÓN, las referencias a las obras más conocidas de Hani son frecuentes en la bibliografía del cine japonés, pero hasta ahora, la mayor parte del corpus filmográfico realizado en su década como documentalista ha sido ignorado por los autores. Como consecuencia, Hani es paradójicamente una figura de referencia y a la vez un autor en gran medida desconocido. Los films aquí estudiados muestran cómo Hani adelantó el carácter innovador y rupturista de la nueva ola, desafió las consideraciones sobre la autoría de la época y el objetivismo previo en el documental, otorgando a la cámara la capacidad para registrar el mundo interior escondido tras la imagen. Lo hizo con un sugerente realismo subjetivo, que acabaría por ubicar al cine en un lugar indefinible entre la realidad y la ficción. Hizo un uso dual de su capacidad para crear y reflejar la realidad al mismo tiempo, mediante una exploración psicológica ajena al director.
Asimismo, al acompañar las obras cinematográficas con el estudio de sus ensayos se observa cómo Hani se convirtió en una figura clave para entender los cambios que tuvieron lugar en el cine japonés de la segunda mitad del siglo XX. Pero dada la falta de traducciones y compilaciones posteriores de sus textos, estas contribuciones teóricas acabaron por ser olvidadas tanto por los autores occidentales como por los japoneses. La relectura de sus textos evidencia el nacimiento de un nuevo tipo de director, que siendo a la vez crítico, teórico y divulgador del cine, liderará la emergente modernidad cinematográfica en la esfera nacional e internacional.SUMMARY
This thesis brings for the first time an anthology of the Japanese director Susumu Hani. It brings to light the documentary films for cinema and television, made in Iwanami Eiga studios between 1950 and 1960, most of them unknown in the West. The analysis of these works is undertaken together with the reading of the original essays written by Hani, which are put into context within the theoretical discussions taking place in Japan at that time.
PART 1 deals with the theoretical and practical contribution of Hani to the non-fiction cinema. Section 1.1 is an study of the debate in which he participated regarding the avant-garde documentary, realism (recovering the conflict of the Marxist theorists of the 1930s, Taihei Imamura and Akira Iwasaki), the “discussion of subjectivity” (shutaiseiron), the nature of the “image” (eizo), the “art of synthesis” (sogo geijutsu), the ideological and aesthetical rupture of authors with the “Old Left” from 1956 and the influence of the “document of life” (seikatsu kiroku”). Two competing positions are ididentified within the "Kiroku Geijutsu no Kai" ["Asociación del Arte Documental"] group from 1957: the deformative leaning of Toshio Matsumoto and the naturalistic current of Susumu Hani. Matsumoto followed Kiyoteru Hanada, Kobo Abe and Taro Okamoto’s formal concern, their unconscious and surrealist interest, aiming at dismantling perceptive habits.
On the other hand, Hani criticized the objectivism but moved the problem of subjectivity from the interior of the author to the interior of the characters. He does not propose a synthesis with other arts but with other mass media, together with the exploration of an emotional universe which had multiple sources of inspiration: from Flaherty to Robert Bresson, the British documentary movement (Grierson, Rocha, Wright, Cavalcanti) or even the works produced during the Spanish Civil War (Capa’s photography or Hemingway’s literary journalism).
Section 1.2 is an analysis of the documentaries made during that decade, which are put in dialog with Hani’s own texts. He wrote not only about cinema (between 1955 and 1967) but also aobut television (1959-1960), childhood (1963-1979), the animal’s world (1965-1966 and 1973-1981) or youth (1974, 1975, 1982). The film corpus is classified in:
-The early “films of social science” (shakaika kyoiku eiga) in which the influence of his mentor is revealed, the veteran documentary maker Keiji Yoshino, from who Hani learnt the combination of the scientific view and social concern.
-The documentary on the world of children: the considered as his masterpieces "Children in the Classroom" (Kyoshitsu no kodomotachi 1954) and "Children who Draw" (E o kaku kodomotachi, 1956) but also the lesser known “Soseji Gakyu” (1954) and “Gurupu no shido” (1956) in which innovative physiological and educational experiences are registered. The analysis is undertaken together with the context of the Postwar educational reform, Hani’s writings on education, childhood and paternity (1960-1979), the influence of the alternative schools like Jiyu Gakuen (founded by his grandparents), the arrival in Japan of the theories on art and child psychology or the emergence of the “Movement of Creative and Artistic Education” (Sozo Biiku Undo).
-The first of his works on the animal’s world: Dobutsuen nikki (1957), whose analysis is carried out together with Hani’s reflections on the interior universe of animals (1965-1966 y 1973-1981).
-The films about Traditional Japan: three cinematographic documentaries and five television documentaries. Hani belonged to the first generation of directors who worked in television and became enthusiastic about the possibilities of the new medium. His notion of “terementari” (television documentary) is taken into account. It did not only mean a new format but also a new style which would allow a more honest approach to reality (debates of 1959-1960).
-The graphic reports of the "Iwanami Shashin Bunko" collection (1950-1958).The transit of images between photography and documentary film is analyzed.
-The documentary “Tokyo 1958” (1958), a collective and multidisciplinary work which displays a parody on the notion of modernity in the Japanese capital, combining elements from the ukiyoe, painting, theater or advertising.
PART 2 deals with Hani’s jump to fiction in “Bad Boys” (Furyo shonen, 1960) made from two different perspectives. On the one hand, the study of the adaptation of the documentary method in fiction (Section 2.1, focused in the formal aspect). On the other, the constitution of youth cinema reacting against teen cinema released some years before (Section 2.2, focused on the narrative aspect).
In Section 2.1 it is described how the documentary method prompted the renewal of the cinematographic language in the 1960s and the inauguration of the New Wave. It is framed the role of subjectivity in the construction of the cinematographic modernity in Japan, its equivalence with the notion of European authorship, led by the French trends of the “politique des auteurs” as well as the differences between the Japanese concept of subject and the subject coming from the European semiotics. The reading of Hani’s texts shows evidence of his relation with other foreign new waves, of which he was a great disseminator (texts between 1959 and 1961): the New American Cinema or the French Nouvelle Vague but especially the Polish School (Kawalerowicz, Wajda, Munk) as well as Fellini and Antonioni’s cinemas, although he regarded himself as the heir of the Italian Neorealism (mainly of Rossellini). It is proposed a comparative analysis between “Bad Boys” and the book “Tobenai tsubasa” (1958) which belongs to the “seikatsu kiroku”, the genre of autobiographic and amateur writing in which the psychologist Aiko Jinushi gathers the texts of the inmates from the Kurihama reformatory, who wrote about their own lives. Inspired by their stories and following the same method, Hani made the stars of “Bad Boys” project throughout their performance a cinematographic rewriting of their own experience. Hani entered in modernity throughout acinematographic and antidramatic formulas, breaking with stereotypes and challenging the notion of “course” (kosu) in the actions. The documentary method crystallized in a new realism in two dimensions: a narrative realism, dominated by the achronological order of actions and the character’s existential doubts; a formal realism, dominated by an asceticism which was characteristic of Iwanami Eiga documentary production (natural lighting, without sets or professional actors, filming with light equipment or with the hand-held camera).
In Section 2.2 it is highlighted that the suggestive documentary style of “Bad Boys” eclipsed the fact that this film was the origin of a “youth cinema” (seishun eiga) which reacted against a teen cinema (the taiyozoku). In order to make this distinction the following methodological procedure was carried out:
-Firstly, describing these films from the definitions of adolescence and youth not as physiological but as a socio-cultural group (Morin, Gillis) including the application to the Japanese case (Namba, Kon, Okuno) and Hani’s reflections on these stages of the human being.
-Secondly, the taiyozoku is defined as the birth of teen culture in Japan, understood as a multidimensional phenomenon: its literary origin with Shintaro Ishihara’s novels, the film versions, the press scandal, the constitution of popular culture in the weekly magazines, the debates in the literary circles and the creation of a juvenile star system. A transversal study is proposed, paying attention not only to its transmedia but also its transcultural dimension (given the reminiscence of the American popular culture and the echoes of European teen culture).
-Thirdly, a comparative analysis is undertaken between “Bad Boys” and "Season of the Sun" (Taiyo no kisetsu, Takumi Furukawa, 1956), the first of the five taiyozoku films released in the Summer of 1956. The axes of study are: 1. the depiction of juvenile delinquency; 2. The fall of gerontocracy, which according to Morin is produced by two facts: the emancipation of woman and the end of paternal authority.
-Fourthly, as a hypothesis, it is established that the transition from teen to youth culture can be understood as a substitution of a “subculture” by a “counterculture” (which is not under the hegemonic discourses but against them), which explain the contradictory representations of the so-called “Japanese Economic Miracle”. It is studied here as an imaginary or “frame” (proposed by Goffman but applied by Namba to the Japanese case).
-Finally, a “Period of Transition” (1956-1960) is delimited in which a trajectory can be defined from Shintaro Ishihara’s bourgeois taiyozoku (1956), followed by Yasuzo Masumura and Kon Ichikawa’s proletarian taiyozoku (1957 and 1958) to Hani’s lumpenproletarian taiyozoku (1960). In these views of the “end of postwar”, the problem of Japaneseness gains prominence, pointing out the traumas, complexes and daydreams of Japanese youth towards the West.
In CONCLUSION, a number of references to Hani’s most recognized works frequently appear in the literature of Japanese Cinema, but a big part of the filmography made during his decade as a documentary maker has been ignored by scholars to date. As a consequence, Hani has paradoxically been a referential author and at the same time a largely unknown figure. The films studied here show how Hani was ahead of the innovative and breaking nature the New Wave would have in years to come. Hence, he challenged previous documentary objectivism but also considerations on authorship of the time, giving the camera a capacity to register the inner world hidden behind the scenes. He did so with suggestive realism which would end up relocating cinema in an undefined place between reality and fiction, making dual use of its capacity to create and reflect reality through a psychological exploration alien to the author. Regarding his essays, when putting his publications into context, it can be seen how Hani became a key figure of the changes that took place in Japanese cinema in the second half of the last century. But given the lack of translations or later compilations of his texts, his theoretical contributions ended up being forgotten by most Western and Japanese scholars. Nevertheless, the re-reading of his texts shows evidence of the birth of a new kind of director, being simultaneously a cinema critic,
Focus Raqqa: Inventory of Museum Collections and Reconstruction of Missing Tablets
No full textThe National Museum of Raqqa in Syria has suffered immensely from the ongoing violence since 2011. Much of its valuable collection of movable archaeological heritage (ca. 6000 items) is considered lost. Starting from 500 of the most precious objects of the museum stored in the Raqqa Central Bank and stolen from there in 2013, the pilot project Focus Raqqa created a concrete, workable database to enable identification by Syrian and international police and heritage institutions. The project made a pivotal first step towards potential reconstruction of the Raqqa Museum in the future. The Raqqa museum collection included cuneiform tablets. Some of the tablets were cast before the war to allow detailed study in Europe. Today the tablets have vanished. The pilot project Scanning for Syria safeguarded information from the lost artefacts by making high-resolution three-dimensional scans of the silicone rubber moulds and subsequently physical replicas of the original objects by 3D printing. The short life expectancy (30 years) of the moulds necessitated measures for long-3term preservation. The Scanning for Syria team not only succeeded at the preservation and sharing of knowledge in the academic circle. It also told the story of Syrian culture and its people to everyone for raising more voices in the united effort to keep cultural heritage safe in a zone of conflict.Green Open Access added to TU Delft Institutional Repository ‘You share, we take care!’ – Taverne project https://www.openaccess.nl/en/you-share-we-take-care Otherwise as indicated in the copyright section: the publisher is the copyright holder of this work and the author uses the Dutch legislation to make this work public.Geo-engineerin
Smart Teddy: Elderly monitoring and support system using ambient intelligence: Human Interaction and Integration
No full textIn September 2018, the Smart Teddy project was founded by a group of researchers within the Hague University of Applied Sciences1 in the Netherlands. The Smart Teddy project is a multidisciplinary project aiming to create an interactive system, using a teddy bear as a focus point, which collects the data needed in order to enable seniors with dementia to live independently for a longer period of time. Over the last three years, three prototypes of the Smart Teddy have been developed. The Smart Teddy project was introduced as a final project for students following the BSc program Electrical Engineering at the Delft University of Technology. Starting in April 2021, a team of six students attempted to further develop the Smart Teddy over the course of 11 weeks. This thesis contains the Human Interaction & Integration subdomain of the Smart Teddy thesis project, where Human Interaction refers to the aspects of the Teddy that encourage interaction with the user, and Integration refers to the combination of all subdomains into one fully functioning prototype. In this thesis, the design choices, implementation methods and verification are discussed. The contribution to the prototype regarding Human Interaction & Integration are the addition of a movement system using pneumatics, the implementation of a flexible touch sensor, the ability for the Teddy to produce audio, to communicate wirelessly with the Base Station, and for all components in the Teddy to communicate with the main controller. The final prototype has been implemented using the Raspberry Pi Pico microcontroller, which was mounted on a custom PCB. All controls are provided by the Pico, and uses I2C, SPI, UART, and analog and digital inputs to communicate with the sensors and actuators. These sensors and actuators were implemented using off-the-shelf breakout boards and drivers, to allow for fast design and test iterations. The movement of the Teddy has been implemented using air pumps and molded silicon rubber, and the tail wagging is implemented using the same principle used for soft robotic grippers. The final prototype is fully functional and meets 16 of the 20 requirements - the requirement concerning speech recognition and the noise produced by the pumps have not been met.Bachelor Graduation ProjectElectrical Engineerin
The Smart Teddy Project: Design of a data acquisition system to monitor seniors with dementia and detect dangerous situations
No full textThe amount of people dealing with dementia is rising globally. The amount of caretakers is, however, not. Therefore, technological aids are needed to support people dealing with dementia and relieve the stress on their caretakers. Current solutions provide tracking of people with dementia. Also, different robots exist that provide people with companionship. However, no solution exists that combines tracking and companionship capabilities. Therefore, the Smart Teddy is introduced. The Smart Teddy can track different indicators that indicate the progress of dementia and simultaneously provide the user with companionship through interaction. The goal of this thesis is to design a data acquisition system that acquires meaningful data that can be used for the development of algorithms that will autonomously determine the progress of dementia. To achieve this, a system with a Teddy and a Base station has been designed. The Teddy has a sound-, a carbon monoxide-, a smoke- and a movement sensor. Also, a real-time module is implemented to be able to assign the current time to the measurement data. Lastly, a GPS and GSM module is implemented to be able to track seniors in case they wander. In the Base station, a mmWave sensor is implemented that tracks the position, velocity, and direction of the persons present in the room. Also, a processor is implemented that gathers and stores the data from the mmWave sensor and the data from the Teddy which is sent via a LoRa connection. In addition, the designed system can store the collected data for more than one week. The collected data can be used by an expert in dementia to extract meaningful information about dementia progress, after that, an expert in digital signal processing is needed to develop algorithms that estimate the quality of life of a senior suffering from dementia.The Smart TeddyElectrical Engineerin
Smart Teddy: Design of the Power Operations and Distribution: Elderly Monitoring and Support System Using Ambient Intelligence
No full textWith the increasing demand in home-care service to provide early intervention at the homes of seniors suffering from early stage dementia, the Smart Teddy prototype offers a technological solution to disburden caregivers, to promote and track the health and conditions of the senior and to prolong their independent life at home. The Smart Teddy is a project founded in 2018 by a research team of the Hague University of Applied Sciences. It is an interactive, companion robot - disguised as a toy dog - that serves as a therapeutic promoter while simultaneously monitoring the quality of life of the senior with pre-determined indicators. It consists of a Teddy to provide the interaction with the user and a Base Station for data processing and charging of the mount-in battery of the Teddy. The Power Operations and Distribution group carried out research on and developed suitable solutions to supply power to the Teddy with rechargeable batteries, to integrate controlled wireless charging of the battery for user-friendliness and to provide a streamlined power distribution throughout the Smart Teddy’s system. Based on an iterated program of requirements and a power budget analysis on the set of installed electronics, a design is implemented for the power system of the Smart Teddy. A design sequence is followed consisting of four stages: (1) battery selection, (2) charger selection, (3) power conversion and distribution, and (4) safety and failure protection. A power system is developed for the Smart Teddy that is able to supply power with lithium-ion batteries with a battery life of at least 12 hours providing a battery capacity of 25.16 Wh. Thereafter, the installed batteries located in the Teddy can be charged wirelessly by placing the Teddy on the Base Station (a dog bed) to reinforce the less robot-like and a more natural look of the Teddy. Furthermore, this system ensures that all electronic modules with different operating voltages and current draws are provided with the necessary power specifications through power-sharing paths and the usage of power converters. Lastly, safety measures and failure protection methods are developed to ensure the safety of the user through the usage of fuses, switches and, cable and PCB management. The design has been verified using the appropriate verification methods where the program of requirements is used as a guideline and assessment tool. The Power Operations and Distribution is largely complying with the program of requirements and is performing according to the predetermined functionalities. Consequently, the power system of the Smart Teddy is integrated in a real, spatial prototype, namely in a toy dog (the Teddy) and its dog bed (the Base Station).Smart Tedd
Delay models for intersections controlled by stop signs
No full textThis study divided the total delay into service and queue delay, and developed separate models for each component. Using a single model to estimate total delay is not appropriate, because the factors that affect the service delay are different from the factors that affect the queue delay.The service delay is estimated empirically as a function of conflicting traffic volumes. This yields more accurate results than the gap acceptance concept. A strong correlation was found between the mean and the variance of the service time. Similar models were developed for both two- and all-way stop controlled intersections.The queue delay is estimated using queuing theory for uncongested conditions and empirically for congested conditions. The M/G/1 model was found to be a good representative of the queue delay for two-way stop controlled intersections, and it is better than the M/M/1 model. On the other hand, the M/M/1 model was found to be a good representative of the queue delay for all-way stop controlled intersections, and it is better than the M/G/1 model. Three alternatives of empirical models were developed to estimate the queue delay as a function of the traffic intensity for congested conditions, and it was found that the exponential model is the best alternative for both two- and all-way stop controlled intersections.The developed models were based on field data that included the subject approach service and queue times, and the intersection traffic volumes. The service and queue times were observed for a total of 3,814 vehicles at two-way stop, and 8,298 vehicles at all-way stop controlled intersections.The final total delay models are very practical and use only two input variables: the arrival rate and conflicting traffic volumes. The developed models were compared with the 1994 HCM delay models, and it was found that the developed models are closer to the field data than the HCM models.Made available in DSpace on 2011-05-07T12:27:52Z (GMT). No. of bitstreams: 2
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HERMENEUTIKA AL-QURAN HASSAN HANAFI: IMPLIKASI TAFSIR TRANSFORMATIF DALAM KONTEKS KEKINIAN
No full textThe purpose of this research is to find out the urgency of al-Quran hermeneutics which was initiated by Hassan Hanafi as a solution to revitalize religious understanding in the era of globalization. In addition, to determine the ability of hermeneutics in reflecting texts on social realities that occur in the current era. Through the interpretation of liberation, Hasan Hanafi tries to position the Koran so that it can describe humans according to their human capacities in terms of relationships between fellow humans, tasks while in the world, as well as analyzing experiences within themselves that lead to the meaning of the text and even the existing reality. The interpretation of liberation initiated by Hassan Hanafi goes through three phases of analysis, namely historical criticism, eidetic criticism, and practical criticism. In essence, Hassan Hanafi seeks to understand the original meaning of a text without forgetting the past context. This research was conducted using library research methods and using descriptive analysis methods. The sources used by the author come from research journals, articles, and books related to the discussion. And from this research it can be concluded that Hassan Hanafi uses hermeneutics to reflect on a text that comes from the past so that it can be understood and applied according to the present context
Lecture et énonciation
No full textDo It is an interactive digital narrative designed by Serge Bouchardon et al. for smartphones and tablets. Reading it is thus a process that obliges the reader to constantly make choices and adapt to signs, texts, and other cues, some of which call for a response foreign to reading. The author conceives reading Do It as a practice — a phrasal sequence in which meaning is uncovered only in the doing, i.e., through immersion in practice
The Use of Local Anesthesia in Pediatric Dentistry: A Survey of Specialists’ Current Practices in Children and Attitudes in Relation to Articaine
No full textAims. This study aimed to evaluate the clinical practices of local anesthesia in children. The study also sought to investigate pediatric dentists’ views on articaine infiltration anesthesia and their willingness to use it to replace the inferior dental nerve block in primary molars. Materials and Methods. A cross-sectional survey was emailed to 183 registered specialists. Descriptive statistics along with chi-square and Fisher’s exact tests were used for data analysis. Results. A total of 72 responses were received. The sample consisted of 62 (86.1%) females and 10 (13.8%) males with varying levels of experience. The vast majority of respondents (98.6%) used topical anesthesia in their practice with children. The most frequently used anesthetic agent was 2% lidocaine (72.2%) followed by 4% articaine (54.2%). The entire sample indicated that they frequently find difficulties in dose calculation for their child patient. Gender and level of experience did not significantly influence specialists’ practice or their knowledge of local anesthesia. More than a third (31.9%) of participants were not happy to replace the block anesthesia with articaine infiltration for the treatment of lower primary molars. The most indicated reasons for this unwillingness were lack of effectiveness (11%) and inadequate scientific evidence (11%). Conclusion. Most pediatric dentists used topical anesthesia with children. Lidocaine was the most commonly used injectable local anesthesia. Specialists’ current practices of local anesthesia in children generally conformed well to good standards. However, inadequate knowledge regarding dose calculation was revealed. In addition, specialists’ reluctance to use articaine infiltration instead of the block anesthesia was evident in the current population. Further studies, with larger sample size are encouraged
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