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2008, Conference on Frontiers in Education
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6 pages
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The State of Tennessee Department of Education provides grant support to the University of Tennessee at Chattanooga (UTC) to design, prototype, test, evaluate and disseminate products, procedures, and services that apply adaptive and assistive technologies to children with special needs. Eight to sixteen projects have been completed by freshman and upper level students each year since the fall of 2005. The academic outcome of these projects is an opportunity for students to experience the design process, aid someone's ability to be independent, and learn how engineering can benefit our society. The students who participate in these projects informally express they are motivated by knowing they have designed a device that can improve the life of a child. A recent formal survey of those students who have participated in these projects confirms this statement.
2017
This Work in Progress paper presents on the design of project-based learning approach focused on assistive technology as applied in a freshmen level engineering course which also integrates outreach with the local K12 system. The university course targets general education topics as well as an introductory engineering design experience and includes content on the engineering design process, societal implications of engineering design, and a participatory lab-based design project. A partnering class of 5th graders from a local elementary school made use of a daily block of time set aside for academic interventions and individual project-based work to collaborate with the university class. A qualitative assessment was conducted and has thus far has revealed that the university students found the assistive technology theme of the semester-long design project to be meaningful. For the K12 students, the survey results and anecdotal observations suggest that we were only moderately succes...
2002 Annual Conference Proceedings
The purpose of this paper is to show how some of the ABET EC 2000 criteria can be satisfied with "service-learning" student design projects. In addition to meeting ABET requirements, these "designing for the disabled" types of team design projects have other, less obvious, educational benefits that are not normally met with the traditional industrial projects. Several examples of these types of projects will be discussed showing their specific educational benefits.
2008 Annual Conference & Exposition Proceedings
This paper describes the experience of the Department of Mechanical Engineering (ME) at The University of Toledo (UT) during the past fourteen years in introducing engineering students to Assistive Technology. This is done during the course of the ME Senior Design projects when students custom design devices for individuals in the community with physical disabilities. The goal of these projects is to assist individuals with disabilities so they can enjoy life and realize their maximum potential. Furthermore, these projects significantly enrich the education of engineering students through the experience of designing and building devices to meet a real need; students also get feedback on how well the device satisfies that need. These projects are aimed at designing and constructing devices that will allow disabled individuals to improve the quality of their life without suffering from the associated financial burdens. Accomplishing these projects also provides support for an educational infrastructure that allows students to enhance their understanding of physiological, environmental, and biomechanical factors that influence aimed at enhancing quality of life. Students also have the opportunity to present their products to their peers-most of these projects are presented by students at local, national and international ASME (American Society of Mechanical Engineers) and RESNA (Rehabilitation Engineering Society of North America) meetings-and to publish their work in peer-reviewed publications. Finally, these projects also provide the ME Department with an opportunity to offer a unique service to the local community.
Curtin University has a Centre for Assistive Technologies (CUCAT) that endeavours to create artifacts that can support and improve the lifestyle of people with disabilities, in particular, those with vision impairment.
2016
– Cornerstone design at James Madison University is a two-semester, client-based service learning project. Each year, sophomore engineering students work to design human-powered vehicles for a community member with needs very different from their own as a result of cerebral palsy. This paper provides a reflection of the fifth iteration (2013-2014) of this year-long sophomore design experience with the overarching goal to provide a transferable model such that other engineering programs may learn from our lessons and develop their own service learning experience. The reflection contained in this paper was catalyzed through participation in the National Science Foundation-funded Integrating Design and Community Engagement within the Curriculum Workshop hosted at
2010 IEEE Frontiers in Education Conference (FIE), 2010
Service learning in the classroom has been shown to provide great benefit to students and their communities. During the fall of 2009, a national design competition for the disabled was integrated as a service learning term project in Montana State University's Industrial Engineering Department course entitled "Ergonomics and Safety Engineering I." This project provided students with hands-on experience in applying both their hard and soft skills (based upon the ABET a-k outcomes) in designing for special populations. Students used the concepts learned throughout the course in order to develop an assistive device that would empower people with disabilities to overcome barriers to employment. Each student group was assigned a person with a disability and a vocational aid. The students designed assistive devices that enabled the workers to perform their jobs with greater ease and efficiency and in some cases with complete independence. In order to encourage a more widespread adoption of service learning within engineering, this paper provides one application of a service learning project that can be applied across a variety of engineering domains.
International Conference on Engineering …, 2003
Україна модерна, 2009
We asked participants of our forum to share their thoughts about national varieties of Marxism, the nature of Soviet Marxism and the prospects of Marxist methodology in Ukraine and in East Central Europe more generally. Stanislav Kul’chyts’kyi emphasizes the principal difference between Leninism and orthodox Marxism and calls to make use of Marxism as a cognitive tool rather than a means of transforming the world. Ulrich Schmid draws attention to Marxist foundations of theoretical constructions of Michel Foucault and Pierre Bourdieu and the general capacity of Marxism to serve as a base for a variety of intellectual trends. Marina Sokolova writes about “theoretical infantilism” of contemporary Belarusan historiography, determined to a large degree by the heritage of “Soviet Marxism.” Daniel Chirot lays emphasis on the normalcy of “nationalizing” Marxism, just like any other influential political ideology or religion. Moreover, it was nationalism that lent legitimacy to Communist regimes around the planet. Ol’ga Leont’ieva examines “nationalization” of Marxism as reflected in the Russian intellectual culture of the early 20th century, describes varieties of Russian Marxism at the time. Heorhiy Kasianov notes similarities between the dogmatic “Soviet” Marxism and orthodox nationalism: shared teleology, essentialism, conception of conflict as a driving force of social development, appeal to macro- and mega-collectives—classes and nations, sacrifice of individual rights for the sake of collective interests, belief in the possibility of “changing the world” by violent means, – legitimated by interests of the community. Ronald Grigor Suny believes that Marx’s project remains critical as a form of analysis, an external standpoint from which to view the hegemonic social forms and practices of our time, and a cluster of values and norms that expose what needs to be changed. Communism, on the other hand, is a historical fact, no longer an active threat.
Türklük Araştırmaları Dergisi • Journal of International Turkic Research (INTURE) , 2024
Abstract As a result of Timur's policy of establishing world domination, he brought the scholars and artists of the societies he fought to Samarkand, and the Timurids (Gūrkāniyān) made a name for themselves among the important representatives of the artistic style and especially the decorative arts in Turkestan. The interaction between the Ottoman Empire and the Timurid State was an important motivation for the development of Turkish decorative arts. In the studies carried out so far, the ornamentation styles of Timurid art have been examined mostly through manuscripts preserved in Turkish museums and libraries. The architectural decorations and tile decorations of the period are discussed mostly in terms of their material and technical characteristics. The academic language of research on the subject has surrendered to Western-origin terms and epithets, ignoring the linguistic heritage of a geography like Turkestan, which has been the cradle of these arts. In this study, tiles, one of the common elements of the Timurid period architectural decoration, are discussed in terms of the motifs, arrangements and styles that make up the decorations, rather than their material and technical characteristics. For this purpose, the structures of Shah-i Zinda, which are considered the main source, were compared with some examples selected from the early period architecture of the Ottoman Empire. As a result of our study, which also included the origin research of some motifs, a common terminology evaluation was made, new terms were identified, and attention was drawn to the common heritage between the two contemporary states, with a comprehensive approach inspired by Turkestan and Anatolia. Floral vegetable embroidery, which was not seen in the Seljuk period but was seen in the early Ottoman architectural decorations, has similar qualities to the architectural decorations of the Timurid period; The first examples of hatayi style ornamentation in Anatolia, which consists of all elements such as leaves, buds and flowers moving on a line, date back to the 14th century. Its similarity with the 16th century Timurid decorative art; The limiting patterns of ornamentation beds (tanab), which we mostly encounter in early period architectural decorations in Ottoman art and are still frequently used in Uzbekistan today, are obvious indicators of interaction. In the continuation of this interaction, which we think is two-way. As a result of some artists or their students who established the artistic bond between Turkestan and Anatolia, coming to Istanbul after the conquest of Istanbul, vegetable motifs and styles developed and reached perfection in the palace ornamentation studio. In this study, by looking at the change observed on the samples, because even today, the artisans in Turkestan remain ignorant of the style that developed in the Ottoman court based on the Timurid period. The prophetic decoration style, which is believed to have originated from Khitai, reached its peak in Istanbul and took on the taste and colour of Istanbul. They remained indifferent to the style that developed in the Ottoman palace, based on the Timur period. The vegetal decoration style, which is believed to have originated in Khitai, reached its peak in Istanbul and took on the taste and colour of Istanbul. Keywords: Shah-i Zinda, Eslimi, Rumi, Handasa, Khitai, Istanbul Style, Animal Style, Hatti Style, Vegetable Style, Cloud Öz Timur'un cihan hâkimiyeti kurma siyaseti neticesinde savaştığı toplumların âlim ve sanatkârlarını Semerkand'a getirmesi ile Timûrîler (Gūrkāniyān), Türkistan'da sanat üslûbunun ve bilhassa bezeme sanatlarının önemli temsilcileri arasında adından söz ettirmişlerdir. Osmanlı Devleti ile Timurlu Devleti arasında gerçekleşen etkileşim Türk bezeme sanatlarının inkişâfını sağlayan önemli bir sâik olmuştur. Bugüne kadar yürütülen çalışmalarda Timurlu sanatına ait nakış üslûpları daha çok Türkiye müze ve kütüphanelerinde mahfuz yazma eserler üzerinden incelenmiştir. Dönemin mimarî tezyînâtı ve kâşî bezemeleri ise daha çok malzeme ve teknik hususiyetleri bakımından ele alınmıştır. Konuyla ilgili yapılan araştırmaların akademik dili, Türkistan gibi bu sanatlara beşiklik etmiş bir coğrafyanın dil mirası görmezden gelinerek Batı kökenli terimler ve yakıştırmalara teslim olmuştur. Bu çalışmada Timur dönemi mimarî tezyînâtının yaygın unsurlarından kâşîler, malzeme ve teknik hususiyetlerinden ziyade, bezemeleri meydana getiren nakış, tertip ve üslûpları yönüyle ele alınmıştır. Bunun için ana kaynak sayılan Şâh-ı Zinde yapıları ile Osmanlının erken devir mimarîsinden seçilen bazı örnekler karşılaştırılmıştır. Bazı nakışların köken araştırmalarının da yapıldığı çalışmamızın sonucunda Türkistan ve Anadolu'dan beslenen kapsayıcı bir yaklaşımla, ortak bir ıstılah değerlendirmesi yapılmış, yeni terimler tespit edilmiş ve iki çağdaş devlet arasındaki ortak mirasa dikkat çekilmiştir. Selçuklular döneminde görülmeyip erken devir Osmanlı mimarî tezyînâtında görülen çiçekli nebâtî nakışların Timur dönemi mimarî bezemeleri ile benzer niteliklerde olması; bir hat üzerinde ilerleyen yaprak, tomurcuk ve çiçek gibi tüm unsurlarıyla teşekkül etmiş hatâyî üslûbu nakışların Anadolu'daki ilk örneklerinin XIV. yüzyıl Timûrî bezeme sanatı ile benzerliği; Osmanlı sanatında çoğunlukla erken devir mimarî bezemelerinde karşılaştığımız, günümüzde hâlâ Özbekistan'da sıkça kullanılan nakış tarhlarının sınırlayıcı desenleri (tenab/tınâb), etkileşimin bariz göstergelerindendir. Çift yönlü olduğunu düşündüğümüz bu etkileşimin devamında, Türkistan ve Anadolu arasındaki sanat bağını kuran bazı sanatkârların veya bunların talebelerinin, Fetih'ten sonra İstanbul'a gelmeleri neticesinde nebâtî motif ve üslûplar Osmanlı saray nakkaşhânesinde gelişerek kemâle ermiştir. Bu çalışmada, örnekler üzerinde izlenen değişime bakılarak, Türk tezyînâtının klasik çağında görülen nebâtî motif dağarcığı ve sanat yaklaşımlarının saray nakkaşhanesinde gösterdiği tekâmül neticesinde yepyeni bir tarz/üslûp kazandığı, bu yeni üslûbun artık Tarz-ı İstanbul veya İstanbul Üslûbu olarak anılması gerektiği katiyetle teyid edilmiştir. Zira günümüzde bile Türkistan'daki sanatkârlar, Timur devrini esas alarak Osmanlı sarayında gelişen üslûba bigâne kalmışlardır. Hıtâ'dan doğduğuna inanılan çiçekli nebâtî bezeme üslûbu İstanbul'da zirveye ulaşmış ve İstanbul'un zevk-i selimine ve rengine bürünmüştür.
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