1,372 research outputs found
Kritična presoja obdavčitve kapitalskih dobičkov fizičnih oseb med Slovenijo in Hrvaško : diplomsko delo
No full textCoercive means against the crowd-comparison of the legal systems
No full textV diplomskem delu z naslovom »Prisilna sredstva proti množici- Primerjalno pravna ureditev« sem analiziral pravno ureditev prisilnih sredstev v Republiki Sloveniji ter osnovna načela, ki jih policisti morajo spoštovati pri uporabi prisilnih sredstev. V nadaljevanju sem opredelil vsa prisilna sredstva, ki jih slovenska policija sme uporabiti proti množici. Pri tem sem podrobneje opisal, kako ta prisilna sredstva ureja zakon, način uporabe določenega prisilnega sredstva in kako posamezno sredstvo deluje na osebe proti katerim se ga uporabi, ter kdo ima pravico in je pooblaščen, da odredi uporabo posamezna sredstva. V diplomskem delu sem podrobneje predstavil tudi posebno policijsko enoto, ki sodeluje pri vzdrževanju javnega reda na demonstracijah ter protestnih shodih. Pri tem sem opisal pravno podlago za ustanovitev enote ter sestavo enote. Pozornost sem usmeril tudi na usposabljanje te enote ter na njen poseben način kadrovanja. V diplomskem delu sem pozornost usmeril tudi na prav poseben fenomen psihologije množice. Delovanje množice ter način postopanja proti množici sta prav gotovo za policijo dve znanji, ki imata ključen pomen za uspešno nadzorovanje množice. V diplomskem delu sem predstavil nekaj definicij množic ter opredelil oblike množic, način delovanja množice ter njene lastnosti. Bistvo diplomskega dela je primerjava pravnih ureditev prisilnih sredstev proti množici s tujimi državami. Pravno ureditev prisilnih sredstev proti množici v Republiki Sloveniji sem primerjal še s tremi evropskimi državami – Republiko Hrvaško, Republiko Avstrijo ter Francosko Republiko. Pri tujih ureditvah sem iskal podobnosti s slovensko ureditvijo, še posebej pa sem pozornost posvečal razlikam na katere sem naletel med pregledom tujih zakonodaj. Na koncu diplome sledi še pregled policijske analize o aktivnostih policije na protestnih shodih leta 2012. V tem delu sem preučil uporabo prisilnih sredstev, poseben poudarek pa sem namenil prisilnim sredstvom proti množici. Pri tem me je predvsem zanimalo, kolikokrat je v omenjenem letu slovenska policija uporabila prisilna sredstva proti množici ter ali je bila njihova uporaba zakonita in strokovna.In the diploma with a title »Coercive means against the crowd – Comparison of the legal systems« I analyzed the legal system of the coercive means in the Republic of Slovenia and the basic principles that the police officers should respect when using coercive means. In the diploma I defined all the coercive means that the Slovenian police can use against the crowd. In my work, I have described how these coercive means are regulated by the law in the Republic of Slovenia. I have also described the way in which a certain coercive means are used, and how they affect the people against whom they are used. I also described who has the power and is authorized to order usage of certain coercive means. In the diploma, I have presented a special police unit, which is responsible for the maintenance of public order at demonstrations and protest rallies. I have described the legal basis for the establishment of the unit and the composition of the unit. I also gave some attention to the training of this unit and its special way of recruitment new men into it. In the diploma, I also focused my attention on a very special phenomenon, called the psychology of the crowd. The modus operandi of the masses and actions against the crowd are, of course, two of the skills that the police have to master in order to successfully control the crowd. In the diploma I also introduced some definitions of the crowd and defined the forms of the crowds and the way that they operate. I also presented some of the characteristics of the crowds. The essence of the diploma is the comparison of the legal systems of coercive means against the crowd with foreign countries. I compared the Slovenian legal system of coercive means against the crowd with the legal systems of three other European countries - the Republic of Croatia, the Republic of Austria and the French Republic. In foreign regulations of the coercive means against the crowd, I looked for similarities with the Slovenian regulation. However, I paid more attention to the differences I encountered during the review of foreign legislations. At the end of the diploma, there is a review of the police analysis of police activities at the protest gatherings in the year 2012. Here I analyzed the use of coercive means, especially the use of coercive means against the crowd, by the Slovenian police. While examining the report, I was particularly interested in the number of times that the Slovenian police had used the coercive means against the crowd and whether that use was legal and professional
Alexander Dugin and the Theory of a Multipolar World
No full textAleksander Dugin je politični filozof, sociolog ter politični aktivist in ideolog novoevrazijstva in z njim tesno povezanega projekta snovanja »četrte politične teorije«. Ta naj bi predstavljala politično-filozofski temelj sveta po koncu dobe prevladujočega vpliva Zahoda. Ugotavljamo, da je izhodišče multipolarne teorije zavrnitev a priornega preferiranja značilno modernih političnih konceptov, kakršen naj bi bil tudi nacionalna država. Tej zavrnitvi sledi postuliranje civilizacije kot političnega subjekta, ki odgovarja tako post-moderni globalni stvarnosti kot normativnemu izhodišču kulturnega oziroma civilizacijskega pluralizma. V drugem delu pregledamo nekaj recepcij Duginovega dela in avtorja postavimo v dialog z uveljavljenimi teoretiki na polju sociologije globalizacije in na polju kritične teorije, pregledamo avtorjevo umeščenost in vpliv v ruski javnosti in politiki, v slovenski politični in intelektualni sferi, ob koncu pa podamo nekaj izvirnih kritik in predlogov za nadaljnje raziskovanje. Delo povzema ugotovitev, da opredeljevanje Dugina kot skrajnodesničarskega teoretika in obskurnega ruskega filozofa ni zadostno, kar nas napeljuje na pomen nadaljnjega raziskovanja misli in dela tega kontroverznega misleca.Aleksander Dugin is a political philosopher, sociologist, political activist and ideologue of New Eurasianism and of the closely related project of developing the "fourth political theory", which is supposed to represent the political-philosophical foundations of the world after the end of the era of dominant Western influence. We note that the starting point of the multipolar theory is the rejection of a priori preference for the typical modern political concepts, such as the nation-state. This rejection is followed by the postulation of civilization as a political subject, which corresponds to both the post-modern global reality and to the normative axiom of cultural and civilizational pluralism. In the second part, we examine some of the receptions of Dugin\u27s work and put the author in dialogue with established theorists in the field of sociology of globalization and in the field of critical theory, we examine the author\u27s place and influence in the Russian public and politics, and in the Slovenian political and intellectual sphere. At the end, we give some original criticism and suggestions for further research. We conclude that defining Dugin as a far-right theoretician and an obscure Russian philosopher is insufficient, which leads us to the importance of further research into the thoughts and work of this controversial thinker
HaN-Seg: The head and neck organ-at-risk CT & MR segmentation dataset
No full textThe HaN-Seg: Head and Neck Organ-at-Risk CT & MR Segmentation Dataset is a publicly available dataset of anonymized head and neck (HaN) images of 42 patients that underwent both CT and T1-weighted MR imaging for the purpose of image-guided radiotherapy planning. In addition, the dataset also contains reference segmentations of 30 organs-at-risk (OARs) for CT images in the form of binary segmentation masks, which were obtained by curating manual pixel-wise expert image annotations. A full description of the HaN-Seg dataset can be found in:
G. Podobnik, P. Strojan, P. Peterlin, B. Ibragimov, T. Vrtovec, "HaN-Seg: The head and neck organ-at-risk CT & MR segmentation dataset", Medical Physics, 2023. https://doi.org/10.1002/mp.16197,
and any research originating from its usage is required to cite this paper.
In parallel with the release of the dataset, the HaN-Seg: The Head and Neck Organ-at-Risk CT & MR Segmentation Challenge is launched to promote the development of new and application of existing state-of-the-art fully automated techniques for OAR segmentation in the HaN region from CT images that exploit the information of multiple imaging modalities, in this case from CT and MR images. The task of the HaN-Seg challenge is to automatically segment up to 30 OARs in the HaN region from CT images in the devised test set, consisting of 14 CT and MR images of the same patients, given the availability of the training set (i.e. the herein publicly available HaN-Seg dataset), consisting of 42 CT and MR images of the same patients with reference 3D OAR binary segmentation masks for CT images.If you are using the HaN-Seg public training dataset, you are required to cite the following article:
G. Podobnik, P. Strojan, P. Peterlin, B. Ibragimov, T. Vrtovec, "HaN-Seg: The head and neck organ-at-risk CT & MR segmentation dataset", Medical Physics, 2023. https://doi.org/10.1002/mp.16197
@ARTICLE{HaNSeg_dataset,
author = {Ga\v{s}per Podobnik, Primo\v{z} Strojan, Primo\v{z} Peterlin, Bulat Ibragimov, Toma\{z} Vrtovec},
title = {{HaN-Seg}: {T}he head and neck organ-at-risk {CT} \& {MR} segmentation dataset},
journal = {Medical Physics},
year = {2023},
doi = {10.1002/mp.16197}
Drawing, painting and graphic activities in kindergarten with the participation of various visual artists
No full text»Izkušnje na področju umetnosti so zaradi celovitosti doživljanja in ustvarjanja pomemben dejavnik uravnoteženega otrokovega razvoja in duševnega zdravja« (Bahovec, 1999, str. 38). Namen in cilj likovnih dejavnosti na predšolski stopnji nikoli ni likovni izdelek sam po sebi, pomembnejši od izdelka je ustvarjalni proces, ki vpliva na otrokov razvoj in ki je hkrati odvisen od razvoja. Risba, slika, kip, grafika, pri likovnem delu lahko nastanejo (Vrlič, 2008), ni pa nujno. Spoznavni procesi, ki so del mišljenja in so nastali preko vizualnega mišljenja, se razvijajo ob aktivni udeleženosti otroka na področju vizualnega in likovnega (Marjanovič Umek idr., 2001), ob tem pa je pomembna tudi »vloga likovnega izražanja pri omogočanju razvoja ustvarjalne osebnosti« (Podobnik, Bračun Sova, 2010, str. 258). Sredi devetdesetih let dvajsetega stoletja, ko je Rinaldijeva objavila poglavje o pedagogiki poslušanja, se je dodatno izčistila dialoška narava vzgojne paradigme v pristopu Reggio Emilia (v Kroflič, 2011). Poslušanje od odraslega zahteva, da otroku damo glas in mu prisluhnemo, da torej otroka razumemo kot kompetentno bitje in spoštujemo njegovo subjektivnost. Obenem t. i. odnosna pedagogika omogoča izražanje lastnih idej o stvarnosti, ki ga obdaja, artikulacijo misli, deljenje idej z vrstniki in ustvarjanje skupnega znanja, s čimer se krepijo otrokove spoznavne možnosti, pa tudi pripravljenost sodelovati v skupini in izpolnjevanje lastnih socialnih potreb, saj poslušanje zadovoljuje potrebo po komunikaciji z drugimi osebami (prav tam).
»O participaciji otrok lahko govorimo šele, ko otroci vedo, v kaj in zakaj so vključeni, lahko vplivajo na potek dogajanja, sledijo procesu dogajanja in prejemajo povratne informacije o svojih vplivih na dogajanje« (Rutar, 2013, str. 96). Prostor in čas sta določeni komponenti, ki sta nujni za izražanje. Temeljni prostor, kjer otrok ustvarja, pa je v osnovi naprej določen bodisi s strani organizacije predšolske vzgoje (npr. igralnica) bodisi s strani strokovne delavke, ki pripravlja material za dejavnosti v skupini (npr. temeljna ploskev, določen format). Otroci redko sami izbirajo oz. se odločajo, na kakšen nosilec želijo ustvarjati, s čim in na kakšen način. Po izkušnjah, ki jih imam z delom v različnih formalnih izobraževalnih inštitucijah (osnovne šole, vrtci) ali v neformalnih ustanovah (Zveza prijateljev mladine, kolonije RK), aktivnih na področju vzgoje in izobraževanja, menim, da je v vodenih in tudi v nevodenih likovnih dejavnostih otrokom zelo redko prepuščena izbira formata.
V diplomskem delu bo zato prav temu področju namenjena največja pozornost. Osredinila sem se na pomen in različne oblike formata, na pogostost izbire in uporabe formata, na vpliv, ki ga ima izbrani format v določeni likovni dejavnosti, na postavitev formata. Motorične sposobnosti mlajših predšolskih otrok po navadi že same po sebi govorijo v prid (vsaj občasni) uporabi večjih risarskih formatov (Tomšič Čerkez in Podobnik, 2015). Avtorici prav tam omenjata tudi pomembnost izbire velikih formatov za omogočanje priložnosti za likovno gibalno igro in likovno eksperimentiranje otrok.
Empirični del diplomskega dela je zasnovan tako, da je vloga (s)likovnega formata izpostavljena ob sodelovanju s tremi likovnimi ustvarjalci, ki temeljno slikovno površino vsak razume in uporablja na svoj način. V empiričnem delu sem opisala in analizirala sodelovanje z omenjenimi likovnimi ustvarjalci, ki so bili neposredno vključeni v izvedbo izkustvenega (praktičnega) dela naloge v vrtcu, v skupini otrok, starih od tri do štiri leta. Sodobni pedagoški trendi so naklonjeni likovnim dejavnostim, ki otrokom v likovno avtentičnih okoljih (galerijah, muzejih) in ob umetnikih različnih področij omogočajo bolj neposredno srečevanje z likovno umetnostjo (ali umetnostjo na sploh) (Podobnik in Bračun Sova, 2010). V raziskavi o nekaterih elementih likovno-pedagoške prakse v slovenskih vrtcih, ki je bila izvedena v okviru prvega sklopa Profesionalnega usposabljanja strokovnih delavcev za izvajanje elementov posebnih pedagoških načel koncepta Reggio Emilia na področju predšolske vzgoje 2008–2013, je bilo ugotovljeno, da se omenjenih oblik likovnega prakticiranja ne poslužuje prav veliko slovenskih vzgojiteljev (Podobnik in Bračun Sova, 2010). Nasprotno, več kot tri četrtine (80,7 %) jih likovne dejavnosti ob pomoči gostujočega sodelavca, npr. likovnega umetnika, izvaja redko ali zelo redko. Ta podatek me je spodbudil k organiziranju likovne dejavnosti ob povezovanju lokalnih likovnih ustvarjalcev z vzgojiteljicami in otroki v vrtcu. V vrtcih Reggio Emilia na nek način to vlogo udejanja ateljerist, tj. stalno zaposleni sodelavec in nepogrešljivi del strokovnega tima. Ateljerist po izobrazbi ni nujno likovnik, lahko gre namreč tudi za glasbenika, plesalca, fotografa ipd. V vsakem primeru pa naj bi obvladal različne izrazne spretnosti, imel pretanjen občutek za otroško (likovno) govorico in znal iz otrok izvabiti ustvarjalen (likovni) odziv (Podobnik in Bračun Sova, 2010). Ker v našem sistemu tovrstnega profesionalnega kadra nimamo, sem se odločila za sodelovanje s tremi likovnimi ustvarjalci, ki izhajajo iz okolja, v katerem sem izvajala raziskavo. Vpliv sodelovanja z likovnimi ustvarjalci sem analizirala s pomočjo avtorsko izdelanega instrumentarija (opazovalni list). Ker so bile likovne vsebine med umetniki zelo različne, sem analizo naredila ločeno, na podlagi likovnih rezultatov otrok. Ob tem sem imela s pomočjo opazovalnih listov zbrane podatke o konkretnem delu umetnika z otroki, kar je omogočilo primerjavo, kaj jim je skupno, po čem se razlikujejo, kako način ustvarjanja in način dela z otroki vpliva na odziv otrok in njihovo ustvarjanje.“Experience in the field of the arts is due to the integrity of experiencing and creating an important factor of a balanced child development and mental health.” (Bahovec, 1999, p. 38) The purpose and goal of art activities at the preschool level is never an art product in and of itselfmore important is the creative process, which has an impact on the child development and at the same time depends on that development. A drawing, painting, sculpture or graphic can be the result of art activities (Vrlič, 2008), but not necessarily. Cognitive processes, which are part of thinking and are created via visual thinking, develop when children actively participate in visual and art activities (Marjanovič Umek et al, 2001), with “the role of artistic expression in the enablement of the development of a creative personality” also playing an important part. (Podobnik, Bračun Sova, 2010, p. 258) Since the mid-1990s, when Carlina Rinaldi published a chapter on the pedagogy of listening, the dialogical nature of the educational paradigm of the Reggio Emilia approach has been additionally refined. (Kroflič, 2011) Listening demands from adults that we give children an opportunity to express themselves and to really listen to them, that we treat them as competent beings and respect their subjectivity. At the same time, the so-called relational pedagogy enables the articulation of their own ideas about reality around them and of their thoughts, the sharing of ideas with their peers and the creation of common knowledge that broadens their mind, their willingness for group participation and the fulfillment of their social needslistening namely satisfies the need for communication with others, without which children would find themselves in a state of lack of ontological security. (ibid)
“Very young children and children with special needs may have problems with verbal articulation of their view, but they can be encouraged to do that through art.” (Rutar, 2013, p.77) “We can only talk about the participation of children when they know what and why they are involved in, when they can influence the course of events, follow events and receive feedback on their influence on these events.” (ibid, p. 96) Space and time are defined components that are essential for expression. A space where children create is determined either by the organization of preschool education (for example a playroom) or by a preschool teacher assistant that prepares materials for group activities (for example the surface that children use for creating, a particular format). Children can only in rare cases choose or decide on which medium and which tools they want to use, and in what way. My experience in working with different formal educational institutions (primary schools, kindergartens) and informal institutions (Slovenian Association of Friends of Youth, Red Cross summer camps), active in the field of upbringing and education, shows that in guided as well as in unguided art activities, the choice of format is rarely left to children.
This is the reason why the greatest attention in the thesis is paid to this subject. The focus is on the importance of and different types of formats, on how frequently a certain format is chosen and used, on the influence a certain format has on a particular art activity, and on the format layout. Motor skills of young preschool children themselves usually dictate (at least occasional) use of big drawing formats. (Tomšič Čerkez and Podobnik, 2015) In the same book, both authors also mention the importance of choosing big formats, which enable an opportunity for movement games and art experimentation.
The empirical part of the thesis focuses on the importance of art formats and the cooperation with three Slovene visual artists, each of whom understands and uses the basic surface for creating in a different way. The empirical part of the thesis describes and analyses a cooperation with three visual artists – Danilo Jereb, Staš Kleindienst and Nande Rupnik – who were directly involved in the practical part of the thesis by being present in the kindergarten and working with a group of children between 3 and 4 years of age. Modern trends in pedagogical practices are in favor of art activitiesthey enable children a more direct contact with the visual arts (and art in general) in artistically-authentic environments (galleries, museums) and in the company of artists from different fields (Podobnik and Bračun Sova, 2010). Findings of a research into some elements of art and teaching praxis in Slovene kindergartens, which was conducted under the first assembly of the first Professional training of preschool teacher assistants for the implementation of elements of special pedagogical principles of the Reggio Emilia concept in preschool education 2008–2013, showed that not many Slovene preschool teachers make use of the above-mentioned art practices. (Podobnik and Bračun Sova, 2010). Just the opposite – more than three out of four (80.7 %) perform art activities together with a visiting associate, for example a visual artist, rarely or very rarely. This piece of data encouraged me to organize art activities with local visual artists, preschool teachers and children. In Reggio Emilia kindergartens, this role is played by an atelierista, i.e. a regularly employed member of staff and an indispensable part of the professional team. Atelieristas are not necessarily visual artists by professionthey can also be musicians, dancers, photographers etc. Atelieristas should have different expressive skills, a subtle feeling for children’s (artistic) language and the knowledge of how to elicit a creative (artistic) response from children. (Podobnik and Bračun Sova, 2010) Because the Slovene system does not have such professional staff members, I made the decision to cooperate with three visual artists from the environment where I conducted the research. The influence of the cooperation with visual artists was analyzed with the help of instruments (observation sheet). As art content differed greatly from artist to artist, I made analysis separately, based on children’s artistic results. Observation sheets enabled the collection of data on specific work of a particular visual artist with children and a comparison of what they had in common, how they differed, and how their way of creating and working with children affected children’s responses and creative process
Molecular basis for functional diversity among microbial Nep1-like proteins
No full textNecrosis and ethylene-inducing peptide 1 (Nep1)-like proteins (NLPs) are secreted by several phytopathogenic microorganisms. They trigger necrosis in various eudicot plants upon binding to plant sphingolipid glycosylinositol phosphorylceramides (GIPC). Interestingly, HaNLP3 from the obligate biotroph oomycete Hyaloperonospora arabidopsidis does not induce necrosis. We determined the crystal structure of HaNLP3 and showed that it adopts the NLP fold. However, the conformations of the loops surrounding the GIPC headgroup-binding cavity differ from those of cytotoxic Pythium aphanidermatum NLPPya. Essential dynamics extracted from μs-long molecular dynamics (MD) simulations reveals a limited conformational plasticity of the GIPC-binding cavity in HaNLP3 relative to toxic NLPs. This likely precludes HaNLP3 binding to GIPCs, which is the underlying reason for the lack of toxicity. This study reveals that mutations at key protein regions cause a switch between nontoxic and toxic phenotypes within the same protein scaffold. Altogether, these data provide evidence that protein flexibility is a distinguishing trait of toxic NLPs and highlight structural determinants for a potential functional diversification of non-toxic NLPs utilized by biotrophic plant pathogens
The child\u27s choice of sculptural material depending on the imaginative story
No full textV vrtcih je kiparstvo kot ena od oblik likovnega izražanja ostajalo nekoliko zapostavljeno, saj se je na področju likovne dejavnosti izvajalo predvsem risanje. Po mnenju avtorice Čadež Lapajne (2000) se danes kiparstvo oziroma plastično oblikovanje že lahko kosa tudi z risanjem in je vse bolj priljubljena likovna dejavnost. Najbolj priljubljena kiparska materiala pri delu z otroki sta glina in plastelin.
Kiparstvo je pomembno z več vidikov. Otroci prek kiparske dejavnosti razvijajo čutila in spoznavajo lastnosti materialov. Izdelek pri kiparstvu je tridimenzionalen, njegova podoba je vidna z vseh strani in tako je načeloma treba oblikovati tudi kiparsko maso, kar pa za predšolske otroke ni enostavno in večinoma tega tudi ne prakticirajo, pač pa kiparsko formo sestavljajo iz posameznih delov, ki jih zlepijo skupaj. Tako kot pri vseh likovnih dejavnostih tudi pri kiparstvu velja, da mora imeti otrok dovolj svobode za likovno izražanje, saj bo le tako lahko ustvarjalen. Upoštevati moramo individualnost in nikakor ne smemo podcenjevati otrokovih izraznih sposobnosti.
V teoretičnem delu sem se na začetku osredinila predvsem na opredelitev kiparstva. V nadaljevanju sem opisala kiparska materiala, ki se najpogosteje pojavljata v vrtcih (glina in plastelin). Na koncu sem na kratko predstavila pomen ustvarjalnosti, ki je zelo pomembna za likovno izražanje otrok.
V empiričnem delu sem v vrtcu z različno starimi otroki izvedla kiparsko dejavnost na podlagi avtorske domišljijske zgodbe. Dejavnost sem izvedla z otroki druge starostne skupine, in sicer so bili stari 3–4 leta in 5–6 let. Otroci so si morali med branjem zgodbe zamisliti njenega glavnega junaka in ga kasneje ustvariti oziroma izdelati. Na voljo so imeli dva kiparska materiala (glino in plastelin). Izbrali so si lahko le en kiparski material ter nato iz njega oblikovali kip. Zanimal me je vpliv domišljijske zgodbe na otroško izbiro in oblikovanje barvno enovitega oziroma barvno pestrega kiparskega materiala in oblikovanje figure osrednjega domišljijskega protagonista zgodbe.Sculpting in kindergarten has been overlooked for a long time, mainly due to the popularity of drawing and painting. Dragica Čadež Lapajne (2000) believes that sculpting is once again becoming very popular in kindergarten. The most frequently used materials are clay and plasticine. Especially plasticine is very popular with the youngest children because of its colours.
Sculpting is important in many aspects. Children can develop their sense organs and learn about materials. It is not easy for preschool children to sculpture three-dimensional objects as they have to think in advance. They need to predict the final appearance and model all sides of the sculpture. If we want for children to be creative, we need to give them enough freedom to use their imagination. Additionally, we have to respect their individuality and must not underestimate them.
In the theoretical part, I focus mainly on the definition of sculptige. Furthermore, I describe two of the most popular materials in kindergarten, i.e. clay and plasticine. In the end, I briefly present the meaning of creativity, which is very important for children.
In the empirical part, I present the art activities that I did with children in kindergarten. I wrote a story about a character named Skočuk. While I was reading, they needed to imagine how the main character looks like. Later on, children sculpted the main character from the story using plasticine or clay. Only one material could be used (plasticine or clay, but not both). Children created the main character with the chosen material. I was interested in how the story influenced the children’s choice of material and their creation of sculpture
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