568 research outputs found
Uuden pitopalvelun konseptointi : Catering Studio Soma
No full textOpinnäytetyön tekijä on toiminut pitopalveluyrittäjänä kuluneet kaksi vuotta, jonka aikana hänelle on tullut ajatus uudistaa perinteistä alaa yhtiökumppaninsa kanssa. Opinnäytetyön tarkoituksena oli selvittää yhdistelmätutkimuksen avulla Pirkanmaalla toimivien yritysten pitopalvelutottumuksia. Tavoitteena oli luoda tutkitun tiedon pohjalta uusi pitopalvelukonsepti Tampereelle, joka vastaa paremmin asiakkaiden tarpeisiin, kuin kilpailijat. Uudella konseptilla tavoiteltiin perinteisestä alasta poikkeavaa pitopalvelua, joka tarjoaa lounaita ja kokoustarjottavia. Uusi pitopalvelu käynnistyisi tammikuussa 2019.
Työssä esitellään palveluiden ja konseptoinnin teoriat sekä kvalitatiivisen ja kvantitatiivisen tutkimuksen teoriat. Yhdistelmätutkimuksen laadullinen osio koostuu yrittäjien haastatteluista. Määrällinen tutkimus toteutettiin sähköisen verkkokyselyn avulla. Yhdistelmätutkimuksessa saatujen vastausten perusteella luotiin palvelumuotoilun avulla asiakkaita parhaiten palveleva pitopalvelukonsepti.
Tutkimuksen mukaan yritysasiakkaita parhaiten palveleva pitopalvelu on joustava, luotettava, tarjoaa hyvät ruuat ja omaa nopean reagointikyvyn. Tilauksen tekemisessä verkkokauppaa ja mobiilisovellusta pidettiin ajankohtaisina. Lounaspalvelu ei saanut odotettua suosiota, mutta sen sijaan kokoustarjottavissa nähtiin potentiaalia.
Tuloksena on Catering Studio Soma, joka tutkimuksessa nousseiden vastausten ja siitä seuranneen konseptoinnin ansiosta sai ääriviivat liiketoimintasuunnitelmaa varten. Catering Studio Soma tulee erottumaan muista pitopalveluista luomalla yritysten tarpeita vastaavia tuotepaketteja. Tuotteet ovat ostettavissa verkkokaupasta vuorokauden ympäri.The author of this thesis has been working as a catering entrepreneur for the past two years. During this time, an idea arose to reform traditional catering business. The objective of this thesis was to study the use of catering services in the companies operating in Pirkanmaa. The study was carried out using a combination of qualitative and quantitative studies.
The goal was to create a new catering concept in Tampere that meets the customers’ demands better than the competitors’ concept does. With the new concept, a catering service diverging from the traditional catering industry was pursued. New catering service would start in January 2019 and serve lunches and meeting refreshments.
The theories of services, conceptualization, and qualitative and quantitative studies are introduced in the text. The qualitative part of the study included interviewing entrepreneurs. The quantitative part was carried out as an online survey. The new catering concept that meets the customers’ demands was created using service design and the answers from both the qualitative and quantitative part.
According to the study, to meet business customers’ demands the catering service must be flexible and reliable, serve delicious food and respond quickly. The respondents considered online store and mobile application to be timely for ordering catering services. Lunch service did not obtain much support, but meeting refreshments were considered potential.
The result of the study is Catering Studio Soma, which is now ready for making a business plan. Catering Studio Soma will stand out from other catering services by creating product lines that meet business customers’ demands. Products will be available online around the clock
Ciało nie jest ważne? Modernistyczne eksperymenty ze sferą soma w dramacie Ołeksandra Ołesia
No full textThe body is not important? Modernist experiments with a soma-sphere in the Oleksandr Oles’ drama Way to the fairy-tale 1908 The contents of the article are regarded as an effort to answer the question outlined in the title about the importance of the somatic sphere in the drama of the Ukrainian modernism epoch writer — Oleksandr Oles real name: Oleksandr Kandyba 1878–1944. In the Way to the fairy-tale 1908 the author avoids direct information on carnality. Following the prevailing epoch trend, the writer gives up the traditional ethnographic and realistic model of artistic creation. His reflexion about the soma-sphere is expressed by an ambiguous myth and symbol. The symbolism is one of the basic trends at the beginning of the 20th century and makes up an essential mean for Oles’ dramatic expression, the author is therefore more interested in the presentation of state of mind than in sensual body. The body appears to be important insofar as it is a soul’s expression and sign. Like the symbol, the body remains in the sensation and imagination sphere. The body is not important? Modernist experiments with a soma-sphere in the Oleksandr Oles’ drama Way to the fairy-tale 1908 The contents of the article are regarded as an effort to answer the question outlined in the title about the importance of the somatic sphere in the drama of the Ukrainian modernism epoch writer — Oleksandr Oles real name: Oleksandr Kandyba 1878–1944. In the Way to the fairy-tale 1908 the author avoids direct information on carnality. Following the prevailing epoch trend, the writer gives up the traditional ethnographic and realistic model of artistic creation. His reflexion about the soma-sphere is expressed by an ambiguous myth and symbol. The symbolism is one of the basic trends at the beginning of the 20th century and makes up an essential mean for Oles’ dramatic expression, the author is therefore more interested in the presentation of state of mind than in sensual body. The body appears to be important insofar as it is a soul’s expression and sign. Like the symbol, the body remains in the sensation and imagination sphere.  
Soma Design: On Articulation, Materiality, Politics, and the Body. Interview with Kristina Höök
No full textKristina Höök is Professor of Interaction Design at the Royal Institute of Technology (KTH), where she leads the Somaesthetic Design Research Group, a lab that explores ways to reincorporate the body and movement into a design regime that has long privileged language and logic. Höök’s research on affective interaction, somaesthetic design, and the Internet of Things seeks to make life with technology more meaningful, enjoyable, creative, and aesthetically appealing by focusing on the soma, that is, on our living, purposive, sentient, perceptive body.
Author of Designing with the Body: Somaesthetic Interaction Design (MIT Press, 2018), Kristina Höök starts by briefly defining soma design in connection with somaesthetics and feminist theories. In light of the fundamental definition of somaesthetics and the role of cultivation and appreciation, Höök makes some distinctions between soma design and other design approaches, discussing, for example, the tensions between the use of language and body, cultivation versus correction, slowness versus solutionism, culture versus nature, and tangible versus digital materiality. She clarifies how the significance of articulating experience in detail for soma design does not betray the centrality of the body, where sketching, making, and coding could represent means of articulation in themselves
Soma Design: On Articulation, Materiality, Politics, and the Body. Interview with Kristina Höök
No full textKristina Höök is Professor of Interaction Design at the Royal Institute of Technology (KTH), where she leads the Somaesthetic Design Research Group, a lab that explores ways to reincorporate the body and movement into a design regime that has long privileged language and logic. Höök’s research on affective interaction, somaesthetic design, and the Internet of Things seeks to make life with technology more meaningful, enjoyable, creative, and aesthetically appealing by focusing on the soma, that is, on our living, purposive, sentient, perceptive body.
Author of Designing with the Body: Somaesthetic Interaction Design (MIT Press, 2018), Kristina Höök starts by briefly defining soma design in connection with somaesthetics and feminist theories. In light of the fundamental definition of somaesthetics and the role of cultivation and appreciation, Höök makes some distinctions between soma design and other design approaches, discussing, for example, the tensions between the use of language and body, cultivation versus correction, slowness versus solutionism, culture versus nature, and tangible versus digital materiality. She clarifies how the significance of articulating experience in detail for soma design does not betray the centrality of the body, where sketching, making, and coding could represent means of articulation in themselves
Soma Design: On Articulation, Materiality, Politics, and the Body. Interview with Kristina Höök
No full textKristina Höök is Professor of Interaction Design at the Royal Institute of Technology (KTH), where she leads the Somaesthetic Design Research Group, a lab that explores ways to reincorporate the body and movement into a design regime that has long privileged language and logic. Höök’s research on affective interaction, somaesthetic design, and the Internet of Things seeks to make life with technology more meaningful, enjoyable, creative, and aesthetically appealing by focusing on the soma, that is, on our living, purposive, sentient, perceptive body.
Author of Designing with the Body: Somaesthetic Interaction Design (MIT Press, 2018), Kristina Höök starts by briefly defining soma design in connection with somaesthetics and feminist theories. In light of the fundamental definition of somaesthetics and the role of cultivation and appreciation, Höök makes some distinctions between soma design and other design approaches, discussing, for example, the tensions between the use of language and body, cultivation versus correction, slowness versus solutionism, culture versus nature, and tangible versus digital materiality. She clarifies how the significance of articulating experience in detail for soma design does not betray the centrality of the body, where sketching, making, and coding could represent means of articulation in themselves
Sema i soma u pjesmama Konstantina P. Kavafija o smrti
No full textThe aim of this article is to analyse Constantine P. Cavafy’s poems on death with the help of theoretical and hermeneutical literary principles and the interplay of the Greek words sema (“a grave”) and soma (“the body”). The aim is to study their forms and symbolisms as one of the fundamental motifs of Cavafy’s oeuvre. Simultaneously, the article will compare the poetic symbols with ancient philosophy on death (exemplified by Plato), as well as with the later authors’ (for instance, Stephane Mallarme’s) symbolistic considerations of death, which inspired Cavafy’s, modern, poetry. Through a textual analysis of his poetry on death, the poet’s influence and the sense of destruction he arouses in the reader will be explored. Furthermore, the article will focus on the thymotic power of his poetry, arguing that this author of historical heritage—that is, of the inheritance of Eros inheritance—is also an author of the inheritance of Thanatos.Cilj je rada analizirati pjesme Konstantina P. Kavafija koje tematiziraju smrt, a kroz vizuru teorijskih i hermeneutičkih književnih načela i igara riječi na temelju grčkih pojmova sema („grob”) i soma („tijelo”). Cilj je proučiti njihove oblike i simbolizme, promišljajući o njima kao o temeljnim motivima Kavafijeva stvaralaštva. Pritom će se primijeniti komparativno načelo povezivanja pjesničkih simbola s antičkom filozofijom smrti (oprimjerenom Platonom) te s kasnijim, simbolističkim promišljanjem smrti autora (npr. kod Stéphanea Mallarméa), iz kojih se Kavafijevo moderno pjesništvo i izrodilo. Tekstualnom analizom njegove poezije usmjerene na smrt, istražit će se pjesnikov utjecaj i osjećaj razornosti koji pobuđuje u čitatelju. Nadalje, rad će se usmjeriti na timotičku snagu njegove poezije kroz tvrdnju da se pjesnik naslanja na povijesno naslijeđe ponajprije Erosa, ali i Tanatosa
Comparing the RTOG/EORTC and LENT-SOMA scoring systems for the evaluation of late skin toxicity after I-125 seed brachytherapy for parotid gland cancer
No full textPURPOSE: The Radiation Therapy Oncology Group (RTOG) and Late Effects Normal Tissue Task Force-Subjective, Objective, Management and Analytic (LENT-SOMA) scoring systems were compared for grading late skin effects after iodine-125 seed brachytherapy in parotid gland cancer patients. METHODS AND MATERIALS: A total of 109 patients diagnosed with parotid gland carcinoma were treated postoperatively with iodine-125 seed brachytherapy at a dose of 100-120 Gy. After 6-24 months of followup, telangiectasia, skin pigmentation, atrophy, fibrosis, and ulceration were scored according to both RTOG and LENT-SOMA scale criteria. The strength of correlation between the scores and the interobserver variability were calculated. RESULTS: Of 109 patients, 22.9% had telangiectasia; 78.9%, pigmentation; 28.4%, fibrosis; 4.6%, edema; 0.9%, ulceration; 37.6%, retraction and/or atrophy; 22.9%, sensation change; and 11%, scaliness and/or roughness. Compared with RTOG, LENT-SOMA criteria resulted in the upgrading of pigmentation in 17% of cases, the downgrading of all instances of telangiectasia and the downgrading of one instance of Grade 4 ulceration to Grade 3. Between the two scales, fibrosis and atrophy correlated well (Spearman p, 0.992, 0.986). An additional 229 side effects were observed using LENT-SOMA criteria. CONCLUSIONS: The LENT-SOMA scale was more accurate than the RTOG scale for the evaluation of late skin and subcutaneous toxicity. The downgrading of telangiectasia and upgrading of pigmentation with the LENT-SOMA scale reflected the patients' conditions better than the scores obtained with the RTOG scale. The assessment of fibrosis and atrophy correlated well between the two scales. The use of the sum of the individual scores of the LENT-SOMA is therefore advocated. The addition of decreased sweating and the removal of the alopecia (scalp) metric should be considered to standardize the reporting of late radiation morbidity. (C) 2017 American Brachytherapy Society. Published by Elsevier Inc. All rights reserved.SCI(E)ARTICLE4,SI877-8831
3D Reconstruction of the Mitochondrial Network within the Neuronal Soma from SBF-SEM Volume Data
No full text\ua9 2024. The Author(s), under exclusive license to Springer Science+Business Media, LLC, part of Springer Nature. Neurons contain three compartments, the soma, long axon, and dendrites, which have distinct energetic and biochemical requirements. Mitochondria feature in all compartments and regulate neuronal activity and survival, including energy generation and calcium buffering alongside other roles including proapoptotic signaling and steroid synthesis. Their dynamicity allows them to undergo constant fusion and fission events in response to the changing energy and biochemical requirements. These events, termed mitochondrial dynamics, impact their morphology and a variety of three-dimensional (3D) morphologies exist within the neuronal mitochondrial network. Distortions in the morphological profile alongside mitochondrial dysfunction may begin in the neuronal soma in ageing and common neurodegenerative disorders. However, 3D morphology cannot be comprehensively examined in flat, two-dimensional (2D) images. This highlights a need to segment mitochondria within volume data to provide a representative snapshot of the processes underpinning mitochondrial dynamics and mitophagy within healthy and diseased neurons. The advent of automated high-resolution volumetric imaging methods such as Serial Block Face Scanning Electron Microscopy (SBF-SEM) as well as the range of image software packages allow this to be performed.We describe and evaluate a method for randomly sampling mitochondria and manually segmenting their whole morphologies within randomly generated regions of interest of the neuronal soma from SBF-SEM image stacks. These 3D reconstructions can then be used to generate quantitative data about mitochondrial and cellular morphologies. We further describe the use of a macro that automatically dissects the soma and localizes 3D mitochondria into the subregions created
Body Maps: A Generative Tool for Soma-based Design
No full textBody maps are visual documents, where somatic experiences can be drawn onto a graphical representation of an outline of the human body. They hold the ability to capture complex and non-explicit emotions and somatic felt sensations, elaborating narratives that cannot be simply spoken. We present an illustrative example of "how-to"complete a body map, together with four case studies that provide examples of using body maps in design research. We identify five uses of body maps as generative tools for soma-based design, ranging from sampling bodily experience, heightening bodily self-awareness, understanding changing bodily experience over time, identifying patterns of bodily experience, and transferring somatic experiential qualities into physical designs. The different requirements for scaffolding the use of body maps in user-centred design versus first-person autobiographical design research are discussed. We provide this Pictorial as a resource for designers and researchers who wish to integrate body maps into their practice. © 2022 Owner/Author.</p
A Study of Dancing Work 「The Pilgrimage」: Finding dancer’s ‘Personality of soma’
No full text본 논문에서는 본 연구자의 창작 무용작품 「순례」를 통하여 무용수들이 ‘몸의 인격성(Personality of soma)’을 어떻게 체험하는지를 알아보았다. 그리하여 무용수들이 작품의 안무 및 연습 그리고 공연까지의 전 과정에서 몸의 인격성을 회복하고 고유한 움직임을 계발하여 독창적 춤을 형성하는 것 간의 연관성을 살펴보는 것이 본 연구의 목적이었다.
본 논문의 연구방법으로 문헌연구와 실기기반연구법을 병행하였다. 우선 문헌연구에서는 몸(soma), 몸적학습, 몸의 인격성의 주요개념을 정리하였다. 몸과 몸적학습에 대한 개념은 토마스 하나의 몸학(Somatics)을 중심으로 탐구하였다. 그리고 몸의 인격성은 카롤 보이티야가 인간의 몸에서 드러나는 인격성과 주체성을 신학적 입장에서 제시한 원고독(Origin Solitude), 원순수(Origin Nakedness), 원일치(Origin Unity)의 개념을 중점으로 정리하였다.
그리고 실기기반연구(Practice Based Research)법으로 「순례」의 작품 구상과 안무 및 연습 그리고 공연까지의 전 과정을 분석하였다. 본 연구자와 참여무용수가 제일자적 관점(first-person perspective)에서 구축한 체험자료(somatic data)와 관찰내용을 분석을 위한 연구자료로 활용하였다.
‘몸의 인격성’체험은 몸에 대한 재인식, 자각, 일치, 개방의 단계를 거치는 것을 확인 할 수 있었다. 첫 번째 침묵의 체험에서 무용수는 자신의 몸을 재인식하여 자신의 몸에 내재된 가능성과 잠재력을 발견하였다. 두 번째 원고독의 체험에서 무용수는 자율적인 움직임 탐구를 통해 자신의 몸의 독창성과 자율성을 자각하였다. 그리고 이 움직임을 자신만의 고유한 춤으로 형성해 갔다. 세 번째 원일치의 체험에서 몸이 지닌 소통능력을 깨닫고, 인격간의 친교의 방법을 터득하게 되었다. 네 번째 원순수의 체험에서 내재화된 타인의 시선으로부터 벗어나 자신만의 춤을 자유롭게 추게 되었다.
이처럼‘몸의 인격성’을 체험한 무용수는 몸의 자존감을 높이고 인격적 몸으로 회복하는 것을 발견할 수 있었다. 그리고 고유한 움직임을 계발하여 독창적인 춤으로 발전시키는 것을 확인 할 수 있었다.
본 연구과정을 통해 무용수들은 수동적 학습방식에서 몸 감각을 활용한 주체적 학습방식으로, 주입식 훈련에서 움직임 탐구방식으로, 안무가와 무용수간의 위계적 관계에서 수평적인 관계로 전환할 수 있었다. 무엇보다 무용수는 창작 작업의 원동력인 고유한 움직임을 스스로 탐구하고 계발할 수 있게 되었다.;This dissertation investigates the way dancers experience ‘Personality of soma’ while practicing and performing the author’s dance work「The Pilgrimage」. The purpose of this dissertation was to study the interrelationship among recovering ‘Personality of soma’ and creating unique dances while dancers learned original movements, to the entire process of practicing and performing.
The author used the Practice Based Research and other academic resources for the research. Frist, the major terms such as ‘soma’, ‘somatic learning’and ‘Personality of soma’were defined from other academic sources. The discussion of the concepts of soma and somatic learning is primarily based on Somatics of Thomas Hanna. The Study of ‘Personality of soma’ is based mainly on the concepts that Karol Wojtyla suggested from the theological perspective: Origin Solitude, Origin Nakedness and Origin Unity.
Analysis on the entire process of constructing the piece, creating choreography, practicing and performing was done by the Practice Based Research. Somatic data derived from a first-person perspective observation of the researcher and dancers is employed as the materials for the analysis.
The experience of ‘Personality of Soma’ consists of four stages: recognition, awareness, unity, openness of soma. First, the experience of silence made the dancers recognize their soma and discover potentials within them. Second, the experience of Origin Solitude allowed the dancers to discover creativity and autonomy within their soma through an exploration of autonomous movement. Third, the experience of Origin Unity gave a chance to realize that soma have their own ways of conducting communication and personal interactions. Fourth, going through the stage of Origin Nakedness, the dancers learned how to dance their unique moves without the eyes of others which is internalized on them.
The dancers who participated in the study gained self-esteem and recovered their ‘Personality of Soma’ They also created unique dance through a development of their own dance moves.
By conducting this study, the dancers experienced transitions from passive, memorization-based learning to active learning which allows them to utilize somatic sensations. The dancers and the choreographer were on a equal footing rather than a hierarchical relation. Most of all, the dancers were able to investigate and develop their own dance moves, which are the major motives in a creative process.Ⅰ. 서론 1
A. 연구 목적 및 필요성 1
B. 연구 방법 6
C. 연구 절차 12
Ⅱ. 몸(soma)의 개념과 인격성 15
A. 몸(soma)의 개념 15
B. 몸적학습(somatic learning) 18
C. 몸의 인격성(Personality of the soma) 21
1. 원고독 23
2. 원일치 25
3. 원순수 27
Ⅲ. 안무가의 ‘몸의 인격성’체험 29
A. 침묵 31
B. 원고독 36
C. 원일치 42
D. 원순수 45
Ⅳ. 무용수의‘몸의 인격성’체험 49
A. 작품 개요 49
B. 작품 안무 및 연습 51
1. 침묵의 체험 53
2. 원고독의 체험 59
3. 원일치의 체험 69
4. 원순수의 체험 76
C. 공연작품 분석 81
1. 작품구성 82
2. 움직임 84
3. 영상과 조명 109
Ⅴ. 결과 및 논의 112
Ⅵ. 결론 116
참고문헌 120
부록 125
ABSTRACT 248박04
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