Medium

In the Philippines, the K+12 system is newly introduced and the readiness for its implementation undoubtedly made the teaching community confused and confounded. Thus, extra efforts are being done to upgrade and update all instructional materials. Even if the Department of Education are preparing the faculty members through trainings, seminars and providing them with syllabus accompanying the new curriculum, still the confidence for the coming teaching assignments for the additional two years in the system is very low. The faculty members are now strategizing teaching methodology for the subjects they have to handle through upgrading not only their knowledge but also the teaching materials they are to use in their classroom. With the changing environment, the learning style of students also advances. Children are now exposed to various modern gadgets, thus, they learn more advanced knowledge about their environment. These modern medium must be an advantage to the teaching profession. Teachers must know how and what the children learn through these medium and create some learning materials that will augment this knowledge in schools. This study is a partial analysis of the learning style of students in different levels of the educational system and the knowledge they acquire through different modern medium and test the gap between this and the knowledge they must learn in school. Also, this study will come up with what medium can be used as instructional medium that will aid the faculty members in their teaching courses or subjects in school.

Mobile applications are too handy and easy to use. They are used as an option to the traditional process. Applications developed have users which through proper authentication can access the system. Teacher and students both have their own apps and have username and password to log in and so anyone cannot log in. Students can view all the details like attendance percentage, defaulter list, and internal marks, practical submitted using this app interface. Teachers can take attendance, enter marks, keep track of each student who has submitted the practical, and generate automatic defaulter and critical defaulter list. The project also adds mobility and automation of the information.

Theyyam is a ritual art form exclusive to Northern Kerala, performed by the Scheduled Castes & Scheduled Tribes. It is the socio-religious movements that gave them a platform to put forth their problems and change the attitude and treatment of upper castes towards them. Until then, it was a medium for them to present the trauma and victimhood long endured by their community under casteism. This is well fabricated in various elements surrounding Theyyam, such as Thottam Pattu. Theyyam also projects the kinds of ritual and spiritual practices of their community. So, this research attempts to read Theyyam as an archive of the subaltern community by borrowing the Archive concept defined by Gayatri Chakravorty Spivak in her essay 'The Rani of Sirmur: An Essay in Reading the Archives.' As the art form is linked with religious beliefs, it has survived over the years, recognising the community's struggles under casteism and their heroic figures. Thus, this research also attempts to have a close reading of each element surrounding it.

This article explores turn-of-the-twentieth-century occult photographic experiments by Louis Darget and Hippolyte Baraduc that eliminated the technological medium of the photographic equipment and worked with an altogether different kind of medium: namely, the so-called ‘vital fluid’. These experiments fit into their era’s aim for scientific objectivity; however, by striving to exclude the camera from the image-making process, they highlight the complex media-theoretical dynamics at work in Lorraine Daston and Peter Galison’s ‘mechanical objectivity’. It is these media-theoretical implications that form the subject matter of this article. I explore the tension between Darget’s and Baraduc’s photographic practice, which stresses immediacy even as it continually enacts ‘medial tautologies’. Their attempts to capture the subtle media of effluvia reveal the presence of other media within the images: that of the technical apparatus (the emulsifying liquid) and that of the surrounding environment (the fluid of air). Thereby, their practice continually blurs the line between its object of representation and its medium of representation. This peculiar medial situation makes their experiments into sites for the analysis of the entwinement between objects of knowledge and their means of knowing as well as for the study of the attempt to grasp with the exact methods of science that which is beyond the purported limits of science.

The theory of social presence is perhaps the most popular construct used to describe and understand how people socially interact in online learning environments. However, despite its intuitive appeal, researchers and practitioners alike often define and conceptualize this popular construct differently. In fact, it is often hard to distinguish between whether someone is talking about social interaction, immediacy, intimacy, emotion, and/or connectedness when they talk about social presence. Therefore, the focus of this chapter is on outlining the evolution of the construct of social presence in an effort to understand better its relationship to online learning.

Upon returning from a long crusade in the Holy Land, during which he had hoped to discover the meaning of his life and the certainty of God"s existence, the knight Antonius Block finds his homeland ravaged by the plague and in the grips of the millenarist visions spread by the flagellants" processions and by beggar monks. A contemporary version of Saint John"s Apocalypse, a modern yet medieval allegory, The Seventh Seal (I. Bergman, 1957) revives old Christian symbols in order to voice the new fear of a possible nuclear apocalypse.

Starting from dozens of studies on neural correlates during mystical experiences and the use of extrasensory skills from common sense, I proceeded to contextualize in a more scientific way the concept of extrasensory mediums and faculties, then analyzing the state of the art in relation to discoveries in the neuroscientific field concerning precisely the alleged extrasensory faculties possessed and the perception of the sacred in the subjects of the researches so far evaluated. From this examination there emerges a direct involvement of the cerebral areas of the frontal and temporal lobes and in general of the circuits connected to the limbic system. This thematic research has deepened the object of study concerning the phenomena of subjective perception; however, in the last part, I proceeded instead to suggest a research-oriented research scheme not so much of the subjective profiles already known as much as the hypothesis of the existence of the entities perceived by the mediums, therefore an objective profile, in order to better know the external context of the medium.

In a 1982 essay entitled “The Fact of Television”, the American philosopher Stanley Cavell revisits the topic of genres and notes the difference between the concept of “genre-as-cycle” and that of “genre-as-medium”. He uses the former to refer to television series, in which individual episodes are instances of an ensemble of characters and settings, while the latter refers to films (as members of the genre) and also to a myth which must be inherited and interpreted from time to time. Cavell associates such cycle with the process of “serialization”. This aesthetical prototype of genre represents a sort of embryonic phase of Jason Mittell’s “Complex TV” genre. In both cases the format and the processes of seriality are the basis for the construction of the concept of genre in relation to the specificity of the television medium. The theoretical richness of Cavell’s approach can still therefore be exploited in order to classify certain aspects of the television phenomenon, especially from the point of view of genres and narration, in what has been defined as the “Age of Abundance”.

Bugün sanat olarak nitelendirdiğimiz, insanın kendini çeşitli malzemeler ve yöntemlerle ifade etme isteği her zaman var olmuştur. Sanatın tanımı ve kapsamı ise yaşanılan zamanın anlayışına göre değişiklik göstermiştir. Günümüzde sanatın tanımı hala tartışmaya açık ve üzerinde pek çok söz söylenen bir konu olmakla birlikte; artık anlayış doğayı taklit etmekten uzaklaşmış, kişinin zihnindekini yansıtması için bir araç, iç dünyası ile dış dünya arasında kurulan bir köprü, bir iletişim ve ifade aracı haline gelmiştir. Sanatçı ifadesini, kullandığı malzeme ve onu işleyiş yöntemleri ile kişiselleştirmektedir.
Fikir ve üslubun aktarıcısı olan malzeme bu aşamada önemli etkenlerden biridir. Malzeme ve teknik, sanatçının düşünme, hissetme ve algılama biçimlerini aktarmak için birer araçtır. Söz konusu durum sanatçıya farklı yollar sunar. Malzemenin sınırlarında dolaşarak vermek istediği mesajı, söyleyeceği sözü bu yönde pekiştirebileceği gibi; malzeme ile birlikte düşünüp onunla hareket ederek işinde kullandığı aracın ifade ettiği bilgiyi vurgulayan ve onunla anlam kazanan çalışmalar yapma yoluna da gidebilir.
Doğayı biçimlendiren insanın hem kullanım nesnesi, hem de ilk heykelciklerden bu yana sanat üretiminde; erişebildiği malzemeler kendine yer bulmuş, ifadesini teknik ve kavramsal açıdan desteklemiştir. Bugün teknolojinin de gelişimiyle çok farklı biçimlerde karşımıza çıkan seramik malzeme bu araştırmaya konu olmaktadır. Bu çalışma malzeme ve sanatsal ifade arasındaki ilişkiyi araştırarak sanatçının fikrinin maddi bir forma dönüşmesinde malzemenin önemini sorgulamaktadır. Seramik malzemenin özgün dili, özellikleri ve üretim sürecinde sanatçıya sunduğu teknik imkanlar incelenmiş, aynı zamanda geçmişi ve belleği olması dolayısıyla taşıdığı kavramlar ve hafızası sanatçı çalışmalarından örneklerle araştırılmıştır.

__

One’s desire to express oneself with various materials and methods, which
we call art today, has always existed. The definition and scope of art changes
according to the understanding of the time. Today, the definition of art is still open to
debate and many issues are mentioned on it; understanding has become far from
imitating nature and has become a means of reflecting one's mind, a bridge between
inner and outer world, a means of communication and expression. The artists
personalize their expression with the material they use and the way they process.
Material, which is the transmitter of ideas and style, is one of the important
factors at this stage. Materials and techniques are tools for conveying the artist's
ways of thinking, feeling and perceiving. The situation offers the artist different
ways. As he can reinforce the message he wants to give by wandering around the
boundaries of the material; he can also choose the way of thinking and acting with
the material by making studies that emphasize the information expressed by the tool
used in the work.
For human who shaped the nature; the materials he had access has always
had an important role and they supported his expression technically and conceptually
for production of both the functional object and art since the first figurines. Ceramic
material, which can be found in many different forms today with the development of
technology, is the subject of this research. This study explores the relationship
between material and artistic expression and questions the importance of material in
transforming the artist's idea into a material form. The original language of the
ceramic material, its characteristics and the technical possibilities it presents to the
artist in the production process were examined, and the conceptual meaning and
memory it carries due to its history and memory were investigated with examples
from the artist's works.

In line with Spinoza, Deleuze and Braidotti, I would like to propose a new conception of the image and also highlight the emergence of new audiovisual art features and capabilities ―always in relation to the evolution of audience habits. The articles starts with two major affective escalations in the history of audiovisual practices. The first occurred almost immediately after World War II, while the effects of the second were more diffusely propagated at the margins of industry for decades. The study of these two historical events vividly illuminates the evidence that a work is not a term. This epistemological aspect is of special interest in the field of artistic theory. As will be seen in various examples, the work is an active agent, defined by the relations of exteriority of which it is capable, by varying capabilities and dependent on a living environment of which it is a part. To refer to “medium”, therefore, is to refer to a relationship system that involves our bodies in a situation. I will, therefore, focus on the fact that the spectator is not to be found among terms, but precisely there where objects pick up speed, where possibilities arise in the very genesis. The vision I propose is infused with renewed optimism in that it predicts that the audiovisual art of the twenty-first century will encounter new states of fluidity and other forms of emotional escalation. The roles of director and spectator will continue to be diluted generation after generation; in fact, each has always been an active agent in the morphogenesis of the world.

Mutant Algae and Fighting Fascism with Félix Guattari This lightening talk is based on fragments from a lost radio interview with Felix Guattari Ideas of, Ecosophy (Ecological Philosophy), Chaos-mosis and The Three Ecologies as useful ways of thinking about Earth and Equity and Subjectivity were discussed. Somethings might have been lost in my translation

Call And What's up +44-7861079928

For such bigger problems there is a very powerful totke for vashikaran.  Problems like competitors in business. These are some major problems that a person has to deal with in their day to day lives. These problems cannot be solved by simple totke for vashikaran. But before performing this powerful totke for vashikaran full preparations should be made.  Many people perform this powerful vashikaran in the wrong way which can be very dangerous. So before performing this powerful vashikaran full knowledge should be taken from Molvi Saheb.
Simple Totke For Vashikaran in Urdu
Start learning this simple totke for vashikaran today only. Some people lose their love because of various reasons. And after trying everything they are not able to get the love back of their lover. In such a case achuk totke for vashikaran will be very helpful. By performing this achuk totke a person can control the mind of his or her lover and can get back the lost love of his or her lover. This achuk totke for vashikaran should be performed on Saturday night.

The Muslim totke for vashikaran should be performed on Thursday night after esha namaz.  Firstly read Surah kafiroon for 36 times. Then take the name of the person whose mind you want to control. Insha Allah you will be successful in your task. For any further queries contact us.

Note :-- Don't worrty We are 100% private and Confidential.

Love and Marriage

Remove Black Magic

Bed Luck

Evil Eye power

Jealousy

Husband and wife Issues

Win Lotto

Vashikaran spells

The category of voice in Modern Hebrew is perceived in the current study as displaying a set of oppositions between two or three binyanim (templates) for a single consonantal root, instantiating different argument structures that do not affect the inventory of semantic roles characterizing a given root as a lexical entry. These oppositions, once established, are examined for the complementary functional distribution of their members in a variety of contexts in written Hebrew. Although the semantic relationships between the binyanim are frequently unpredictable, the data show that systematic form-function oppositions can nonetheless be distinguished, denoting subtle voice distinctions as well as different degrees of argument participation in the event. These oppositions can play an important role in the text.

Cette étude traite des phénomènes paranormaux au Québec. À partir d’un terrain mené de 2014 à 2015 dans la région des Laurentides, cette recherche propose un portrait de la croyance paranormale, du spiritisme et des croyants dans la province. En contextualisant les démarches de nos répondants dans l’héritage catholique local et en les interprétant à l’aide des notions de bricolage religieux, de phénoménologie et de croyances, il a été possible d’établir un profil type du croyant au surnaturel et du contexte dans lequel peut apparaître et évoluer cette croyance.
Les répondants de cette recherche ont généralement vécu une expérience paranormale qu’ils ont interprétée à la lumière du décès d’une personne, analyse validée par l’intermédiaire d’un médium possédant, selon eux, un Don, celui de la communication avec
l’au-delà. La croyance de la continuité de l’âme humaine après la mort du corps semble donc constituer un pilier de la croyance au paranormal.
Les répondants, qui ont tous vécu des phénomènes inexplicables, ont en outre généralement peur du jugement des autres et évitent de parler de leurs croyances. Ce fait contribue à la mécompréhension des croyances paranormales et c’est à ce stade que le médium va jouer le rôle d’intermédiaire entre le répondant et le phénomène, en authentifiant l’évènement comme réel. Ce mémoire analyse donc enfin le processus de légitimation de la croyance au paranormal et de l’existence de la médiumnité, dans un contexte post-Révolution tranquille où la raison et la science ne suffisent pas à fournir toutes les réponses.


This research project deals with beliefs about paranormal activity in the province of Quebec. Drawing on fieldwork conducted from 2014 to 2015 in the Laurentians, the project provides a picture of paranormal beliefs, spiritualism and believers. Contextualizing the steps taken by participants to integrate, as part of their local Catholic heritage, their beliefs about the paranormal, and interpreting these using the concepts of religious bricolage, phenomenology and belief, it was possible to create a profile of a typical believer in the paranormal and the context in which such beliefs can appear and evolve.
Most of the participants in this project had had a paranormal experience that they interpreted in the light of the death of a person, and then had their analysis validated by a medium with a Gift, that according to them involved the ability to communicate with “the beyond”. The belief in the continuity of the human soul after the death of the body seems to be a pillar of beliefs in the paranormal. Participants, who had all experienced inexplicable phenomena, also tended to fear the judgment of others and so avoided talking about their beliefs. This fact contributes to the misunderstanding of paranormal beliefs and it is at this stage that the medium plays the role of intermediary between the participant and the phenomenon, by authenticating the event as real.
This thesis analyses the process of legitimation of beliefs in the paranormal and the existence of mediumship in a post-Quiet Revolution context in Quebec, where reason and science may still be insufficient for providing all the answers that people seek.

Wenn in der Philosophie – wie Hegel in der Phänomenologie des Geistes schreibt – „an die Sache selbst, nämlich an das wirkliche Erkennen dessen, was in Wahrheit ist, gegangen wird“, dann wollen wir in diesem Beitrag die Sache selbst dadurch angehen, dass wir daran festhalten, dass der Leib die Sache ist, um die es uns nicht nur hier, sondern immer, je schon und überall geht, von den grundlegendsten Vollzugsweisen unseres Lebens bis zu den äußersten Formen des strategischen Umgangs mit dem Leib wie die Politik der Körper im Allgemeinen oder, noch spezifischer gesehen, die sogenannte „politische Ökonomie des Körpers“ (economie politique du corps). Alle philosophischen und wissenschaftlichen Untersuchungen des Körpers und der Welt bleiben unbegründet ohne die Entwicklung einer Genealogie des Leibes: Ohne Leib kein Zugang zum Körper – ohne Leib kein Zugang zur Welt.

Une règle de jeu n'est pas un texte ordinaire. C'est un texte qui se transmet intact, dans le temps et dans l'espace, à travers les langues et les traductions, en conservant son contenu. Les mots et leur syntaxe peuvent évoluer ou être formulés dans d'autres langages avec des grammaires diverses sans rapport direct les unes avec les autres, sans que le jeu qu'elle décrive en subisse les conséquences. Il est préservé tel quel avec son déroulement et sa logique. De ce point de vue, une règle de jeu est une entité homéostatique abstraite, apparemment dotée des moyens de préserver son contenu.

Seramik binlerce yıldır pek çok kültürde, öncelikle işlevsel ürünlerde kullanılmış bir malzemedir. Farklı bölgelere ait kil bünyeleri, teknikler ve gelenekler ile bu ürün çeşitliliği ve kullanım alanları zenginleşerek günümüze ulaşmıştır. Bugün pek çok geleneksel teknik uygulanmaya devam ederken bunların bir kısmı zaman içinde unutulmuş, bir kısmı da sanatçılar tarafından güncele yorumlanmıştır.
Seramik malzeme bugün de duvar ve yer karosu, seramik sağlık gereçleri, sofra grubu ürünleri ve çömlekçilik gibi pek çok alanda hayatımızda olduğu gibi sanat nesnesi olarak da varlığını sürdürmektedir. Bu durum sanat, zanaat ve tasarım alanında malzemenin pek çok farklı biçimde deneyimlenmesine, sunduğu olanak ve kısıtlamaların keşfedilmesine ve malzeme üzerindeki teknik hakimiyetin gelişmesine olanak sağlamıştır.
Günümüz sanatında seramiği malzeme olarak kullanan pek çok sanatçı vardır. Bu araştırma, seramik malzemenin özgün yapısı ve karakteristiklerini eserlerinde kişisel üslupları ile yansıtan ve farklı kültür ve eğitim geleneklerinden gelmelerine rağmen, malzemeye dair benzer sorunları farklı bakış açıları ile ele alan Danimarka asıllı Amerikalı sanatçı Anders Ruhwald ve Japon sanatçı Takuro Kuwata’nın eserlerini inceler. Seramik malzemelerin olanaklarının; sanatçıların sanatsal ifadeleri ile ele aldıkları konu ve temalarına olan etkilerini ve malzemenin sanatçıyı nasıl yönlendirdiğini irdeler ve örneklerle açıklamayı amaçlar.

ÖZET Descartes'ı modern felsefenin kurucusu yapan epistemolojik öğelerin uzantıları, onun görme kuramında da görülür. Descartes'ın felsefesinde görülen düalizm, onun görme kuramının her bir öğesine nüfuz etmiştir. Descartes'ı "Ego cogito ergo sum" çıkarımına ulaştıran akıl yürütmedeki çıkış noktalarından biri duyulara, bilgi edinme konusunda güvenilmeyeceği görüşüdür. Bu belirlenim, onun algı kuramının olduğu kadar görme kuramının da önemli noktalarının başında gelir. Aristoteles'in algı kuramını eleştiren Descartes, kendi mekanik doğa felsefesini geliştirmiştir. Bu mekanik doğa felsefesine paralel bir görme kuramı oluşturan Descartes, görme sorununu geometrik açıdan ele alan Antik Yunan düşünürlerinin yaklaşımlarına benzer bir tavır sergile-miştir. Descartes açısından görmenin gerçekleşmesi için ruhun bir müdahalesinin olması gerekmektedir. Görme engellisinin kullandığı baston ile ışık arasında arasında anaoloji yapmış olan Descartes'e göre görme mekânsal bir algılamadır. Görüntülerin şeylere benzediğini ileri süren resim kuramına karşı çıkan Descartes, görüntülerin görüntüledikleri objeleri zihnimizde canlandığını ve bu nedenle görüntülerin görün-tüledikleri objeleri temsil ettiklerini düşünür. Bu nedenle Descartes'in felsefi dizgesinin representasyonalist olduğu görülür.

ABSTRACT The traces of epistemological items of Descartes, which make him the fuounder of modern philosophy, are seen in his vision theory. The dualism, which is seen in the Descartes's philosophy, spreads each element of his vision theory. One of the starting points in the reasoning that led Descartes to the inference of "ego cogito ergo sum" is the view that the senses are not be trusted to obtain information. This determination * Makale, Descartes ve Berkeley'de Görme Kuramı adlı 2017 yılında İstanbul Üniversitesi, Sosyal Bilimler Enstitüsü'nde Doç. Dr. Nedim Yıldız danışmanlığında yazılan doktora tezinden türetilerek hazırlandı.

Growing Good Corn A simple and interesting story has traversed the mailboxes of several people, and can also be found on many blogs. However, absorbed in our daily lives, we seldom have time to pay attention to everything, given the excessive amount of information we are subjected to. I decided to write this article based on a story, using System Thinking and raising some other questions for discussion.

Ce mémoire de maîtrise est une recherche exploratoire sur les expériences de localisation vécues dans l’espace urbain montréalais par des sujets en relation à l’information dite « de localisation ». La localisation est un processus d’orientation spatiale où l’emplacement d’un lieu dans l’espace est un problème à résoudre. Cette exploration est basée sur la théorisation
de l’information proposée par Bateson (1972) et le développement du concept de dispositif par Belin (2002) et Agamben (2007) à la suite de Foucault, la localisation étant le concept empirique exploratoire. Le processus de localisation est investigué quant à son caractère
médiatique : l’information de localisation est le medium qui, en étant un résultat et une cause de l’action, donne forme à ce processus mené par l’effort. Un travail de terrain ethnométhodologique déployé par le biais d’observations empiriques et d’entrevues qualitatives permet d’identifier certaines conditions qui rendent possibles, dans la vie quotidienne, les relations entre l’information de localisation, l’espace urbain et un sujet.
Étant majoritairement vécue lors de déplacements présents, futurs ou passés, la localisation est ainsi conceptualisée en tant que wayfinding : l’action de déterminer quelles voies ou trajets emprunter pour se rendre d’un point A à un point B. Ce mémoire est en réalité une problématisation ouverte qui vise à explorer et identifier certains enjeux qui sont au coeur des processus de localisation dans l’espace urbain montréalais. Si « [l]e fait humain par excellence », comme le souligne Leroi-Gouhran (1965) « est peut-être moins la création de l’outil que la domestication du temps et de l’espace » (p. 139), le fait d’habiter en un certain temps et en un certain espace est en soi une relation problématique de confiance. Le vivant
et le non-vivant habitent des espaces aménagés qui sont continuellement transformés par leur détermination mutuelle. En partant du constat que l’environnement construit se déploie en étant produit et aménagé dans des dispositions où certains de nos gestes sont délégués, peut-on envisager être libre sans (se) faire confiance ?

Ovo je prikaz predavanja koje sam održao na radionici Photo-Robot, na 9 Međunarodnaoj letnjoj školi Univerziteta umetnosti u Sremskim Karlovcima 2009. Zasnovano je na video predavanju Bastards of the Cool koje je bilo prikazano na izložbi projekta 2D MutantZombies u galeriji Medienkunstlabor u Grazu 2007, a koje je nastalo razradom predavanja n-Dimensional Zombies: The Possibility of n-Mutation koje sam održao na 6 Međunarodnaoj letnjoj školi Univerziteta umetnosti u Pirotu 2006 godine.

Claude-Henri de Saint-Simon (1760-1825), penseur du changement social par Pierre MUSSO Professeur à l'Université de Rennes 2 et à Télécom Paris Tech Saint-Simon est un fondateur. Sa « philosophie inventive » a fixé les règles de la méthode pour conduire la réforme sociale. Il se déclare d'ailleurs « réformiste », au sens où sa problématique est celle du changement social, hic et nunc. Il vise « une mise en activité » générale des forces industrielles, comme il le déclare dans le Catéchisme des Industriels : « nous essaierons de faire

The film Das Cabinet des Dr. Caligari by Robert Wiene (1920) is analyzed
in the article in detail. The author examines the spatial model, the relationships between the characters and the ambiguity of the narrative structure. It is noted that the expressionist decoration of urban space is combined with the traditional entourage of private interiors, which are associated with the traditions of Biedermeier, as well as with the old-fashioned clothing of the characters. In this context, the design of Jane’s room, similar to the bedroom of a fairy princess, stands out. Fairy-tale motives are also revered in the episode of the girl’s abduction by the monster, the somnambulist Cesare. While the exteriors of the main part of the city lack a certain texture, the space of the fair has it,
and it is dominated by soft fabrics and wooden bases. In comparison with the houses and pavements of the city, the fair seems more real, tangible, as if it is in the register of non-style, more lifelike art. Expressionism to a certain extent is always the embodiment of the inner state of individuals, their mental disharmony.
Therefore, the expressionistic broken, angular outlines of the city create a sense of a frozen or convulsed “spiritual interior”, inner world of a human, which at the subconscious level is perceived in contrast to the physical interior of living organisms, devoid of rigid geometricism. In the film, the “frame story” and the “inner plot” coexist. According to the frame story, Dr. Caligari is the attending physician in a psychiatric clinic, and most of the other characters are his patients.
According to the inner plot of Francis, a series of violent murders takes place in the city. It turns out that they are inspired by Caligari, who simultaneously lives in two guises—as a fairground charlatan-magician and as a psychiatrist, testing the possibilities of influencing a somnambulist. Thus, the two lines of the whole plot contradict each other. The director does not give direct hints about which
story is trustworthy. According to the author, this is because the director’s subconscious goal is to demonstrate to the audience the principles of perception of different narratives and the regularity of our rejection of the version according to which Caligari is an ordinary respectable doctor. Caligari can be interpreted as an expression of the recipient’s distrust towards any positive images of power and scientific influence on the individual. Robert Wiene’s film makes us offset the
perception of modernism in art, which is traditionally considered in the paradigm of rational creativity, and see the possibilities of a symbiosis of art as a cognitive activity and as spontaneous, unconscious creativity.

В статье подробно анализируется фильм Роберта Вине «Кабинет доктора Калигари» (1920), рассматривается пространственная модель, соотношение образов персонажей и многозначность повествовательной конструкции. Отмечается, что экспрессионистская декорация городских пространств сочетается с традиционным антуражем приватных интерьеров, в
которых читаются традиции бидермайера, а также со старомодной одеждой действующих лиц. В данном контексте особо выделяется решение комнаты Жанны, похожей на спальню сказочной принцессы. Сказочные мотивы прочитываются и в эпизоде похищения девушки монстром-сомнамбулой
Чезаре. Если экстерьеры основной части города лишены определенной фактурности, то пространство ярмарки ею обладает, в нем доминируют мягкие ткани и деревянные основы. По сравнению с домами и мостовыми города ярмарка кажется более реальной, осязаемой, как бы находящейся
в регистре внестилевого, более жизнеподобного искусства. Экспрессионизм в известной степени всегда является воплощением внутреннего состояния личности, ее душевной дисгармонии. Поэтому экспрессионистские изломанные, угловатые очертания города создают ощущение застывшего или
пребывающего в конвульсиях «духовного нутра», которое на подсознательном уровне воспринимается нами по контрасту с физическим нутром живых организмов, лишенным жесткого геометризма. В фильме сосуществуют «рамочная история» и «внутренний сюжет». Согласно рамочной истории,
доктор Калигари является лечащим врачом в психиатрической клинике, а большинство остальных персонажей — его пациенты. Согласно внутреннему сюжету, который подается от имени Франца, в городе происходит череда жестоких убийств. Оказывается, что в них повинен Калигари, одновременно живущий в двух ипостасях — как ярмарочный маг-шарлатан и как ученый психиатр, стремящийся испытать возможности воздействия на сомнамбулу.
Тем самым, две линии сюжетного целого противоречат друг другу. Режиссер не дает прямых намеков на то, какая история заслуживает доверия. По мнению автора, так происходит потому, что подсознательная цель режиссера — продемонстрировать аудитории принципы восприятия разных нарративов и
закономерность нашего неприятия той версии, согласно которой Калигари — обычный добропорядочный медик. Калигари может быть интерпретирован как фигура недоверия реципиента любым позитивным образам власти и научного воздействия на индивида. Фильм Роберта Вине заставляет скорректировать восприятие модернизма в искусстве, традиционно рассматриваемого
в парадигме рационального творчества, и увидеть возможности симбиоза искусства как познавательной деятельности и как стихийного, бессознательного творчества.

Culture as “Inter”-Culture ‒ Is itpossible to elaborate a hermeneutical conception of culture from the direction of the inter-culturalism which is based on the presuppositions of the philosophical hermeneutics? In my study, I try to look for an answer for this question, with the exploration of the hermeneutics opportunities residing in the relation between “inter” and culture.
x  x  x
A kultúra mint „inter”kultúra. In: Veress Károly (szerk.):  Az interkulturalitás ‒ interdiszciplináris megközelítésben. Alkalmazott filozófiai kutatások. Egyetemi Műhely Kiadó, Bolyai Társaság ‒ Kolozsvár, 2008. 65‒130.
A tanulmány kultúrák között kiterjedő közös tapasztalati mezőnek, az „inter” által bejelölt kultúra-köziség szférájának a komplex vizsgálatával foglalkozik, egy újszerű, hermeneutikai kultúrakoncepció megalapozása céljából.

The over exploitation of African mahogany in tropical forest has threatened the genetic base of this useful timber and medicinal tree species and as such, an experiment was conducted on the in vitro culture of Khaya grandifoliola, an endangered tree species commonly found in the high forest zones of West Africa to explore its potential for micropropagation. Embryos excised from matured seeds were cultured on Murashige and Skoog (MS) medium supplemented with naphthalene acetic acid (NAA), benzyl amino purine (BAP) and kinetine (KIN) at different concentrations. The optimum result in relation to shoot length, root length, number of nodes and number of root was obtained on MS medium supplemented with 1.0 mg/L BAP + 0.01 mg/L NAA.

Tutkielma kuvailee pyöräilyyn liittyviä toiseuden kokemuksia kaupunkitilassa. Toistaiseksi pyöräilyä on Suomessa tutkittu kulkutapaosuuksien ja turvallisuuden näkökulmasta. Kokemuksellista näkökulmaa pyöräilyyn liikkumismuotona urbaanissa ympäristössä kaivataan. Olen kummastellut pyöräillessäni kaupungilla miten itsestään selvänä ympäristö ja oma toimintani siellä minulle näyttäytyvät. Samalla ruumiillinen kokemukseni, joka syntyy liikkuessani, puhuu omaa kieltään. Pyöräilyäni määrittelee jokin konflikti, joka ilmenee toiseuden kokemuksina julkisessa tilassa liikkuessa. Käsittelen kaupungin katutilaa julkisena tilana ja pohdin miten sen olemus vaikuttaa liikkuvaan subjektiin. Millainen on polkupyöräilijän kokemus toiseudesta tietyllä, tässä tutkitulla reitillä? Tutkielman tarkoituksena on osoittaa, että arkisen liikkumisemme käytännöt vaikuttavat siihen miten voimme suuntautua. Suuntautumisen tarkasteleminen yhdessä mediumin kieliopin (kuten pyöräilyn) kanssa avaa mahdollisuuksia ko...

Women entrepreneurs have been considered to use business networking as a determinant to enterprise performance. A key question that arises is – Does networking determine the performance of women-owned SMEs in Nairobi County? A survey was carried out among the women across the County. The sample comprised of 158 small and medium women entrepreneurs. Data was subjected to computer aided statistical analysis that included descriptive statistic, ANOVA and regression techniques.  The results revealed that networking is a determinant of performance of the women-owned enterprises. The P- value of 0.000 (Less than 0.05) implies that the model of networking on performance of the enterprises is significant at the 95% confidence level.  It is recommended that there is need for women entrepreneurs to form business networks with other entrepreneurs so as to improve their enterprise performance. Further conclusive research should also be conducted to include other variables. Normal 0 false false ...

Online learning communities are introduced as a comprehensive model for technology-enabled learning. We give an analysis of goals in education and the requirements to community platforms. The main contribution of the article is a reference model for online learning communities that consists of four layers designing the organizational, interaction, channel or service and the technological model of learning communities. This reference model captures didactic goals, learning methods and learning platforms in a structured way and provides guidelines on how to design and implement a medium for learning.

Perkembangan teknologi yang terus berkembang dan maju membuat para aplikasi fintech berlomba-lomba untuk terus melakukan sebuah inovasi baru. Kini masyarakat bisa bertransaksi menggunakan applikasi digital payment yang dapat mempermudah kegiatan sehari-hari. Applikasi-applikasi digital payment tersebut terus melakukan inovasi-inovasi baru. Inovasi tersebut bisa berupa kemudahan dalam bertransaksi, promo-promo yang diberikan, atau fitur-fitur lain yang berhubungan dengan applikasi fintech tersebut. Adapun tujuan dari penelitian ini adalah untuk memahami sejauh mana adopsi inovasi digital payment kepada generasi millennial. Teori utama yang digunakan dalam penelitian ini ialah teori difusi inovasi yang dikemukakan oleh Everet Rogers. Metode penelitian yang digunakan ialah kualitatif dekskriptif, dengan jumlah narasumber sebanyak 10 orang yang berusia 16-22 tahun. Hasil penelitian yang diperoleh dari wawancara dengan narasumber ialah generasi millennial sudah menerima adanya inovasiinovasi baru yang diciptakan oleh applikasi-applikasi digital payment. Penggunaan applikasi digital payment dilakukan untuk berbagai hal seperti transportasi online, membeli makanan, membeli tiket, dan sebagainya.

Women entrepreneurs have been considered to use business networking as a determinant to enterprise performance. A key question that arises is – Does networking determine the performance of women-owned SMEs in Nairobi County? A survey was carried out among the women across the County. The sample comprised of 158 small and medium women entrepreneurs. Data was subjected to computer aided statistical analysis that included descriptive statistic, ANOVA and regression techniques. The results revealed that networking is a determinant of performance of the women-owned enterprises. The P- value of 0.000 (Less than 0.05) implies that the model of networking on performance of the enterprises is significant at the 95 % confidence level. It is recommended that there is need for women entrepreneurs to form business networks with other entrepreneurs so as to improve their enterprise performance. Further conclusive research should also be conducted to include other variables.

Penelitian ini bertujuan untuk mengetahui pemahaman, pemaknaan serta pengalaman wartawan televisi pada saat peliputan kerusuhan Aksi 22 Mei. Teori yang digunakan adalah teori fenomenologi Alfred Schutz. Penelitian ini menggunakan pendekatan kualitatif dan menggunakan paradigma konstuktivis dengan metode studi fenomenologi. Informan dalam penelitian ini merupakan wartawan televisi INews TV, Net TV, Kompas TV, RTV, Jawa Pos TV, TVOne, dan CNN Indonesia. Hasil penelitian menunjukan,bahwa wartawan televisi memahami peliputan kerusuhan Aksi 22 Mei yaitu definisi peliputan kerusuhan Aksi 22 Mei, etika peliputan kerusuhan dan posisi peliputan wartawan. Wartawan televisi juga memaknai peliputan kerusuhan Aksi 22 Mei yaitu pentingnya peran wartawan televisi dan mendahulukan humanisme. Berdasarkan pengalamannya yaitu adanya hambatan peliputan, intimidasi dan diskriminasi serta keselamatan peliputan. This study aims to determine the understanding, interpretation, and experience of television r...

Pola komunikasi politik di era multimedia ini sudah sangat mengandalkan kehadiran media baru yang berbasis internet, seperti Facebook, Twitter, Instagram, YouTube, Line Today, dll. Penguasaan teknologi informasi adalah bagian dari munculnya kekuatan media baru, di mana hal ini tentunya membawa perubahan di dalam masyarakat. Siapa pun, termasuk pengguna media baru tersebut, sekarang juga bisa terlibat langsung dalam proses tersebut. Perubahan dalam masyarakat inilah yang ingin penulis teliti karena dampaknya dalam pola komunikasi politik sangat terasa. Interaksi antara pemilih dengan yang dipilih sudah tidak terhambat lagi oleh jarak dan waktu, sehingga kualitas komunikasi politik dalam demokrasi seharusnya dapat meningkat. Komunikasi politik dapat berjalan dua arah atau bahkan lebih, sehingga feedback dari masyarakat dapat langsung diterima. Atas dasar itulah, media baru memiliki signifikansi yang penting terkait aktivitas-aktivitas komunikasi politik saat ini. Penulis melakukan ana...

Pendahuluan Design thinking adalah metode atau konsep atau pola piki r yang dapat digunakan untuk menyelesaikan masalah dengan cara yang kreatif. Dengan design thinking kita dapat menyelesaikan masalah kita yang belum diketahui inti masalahnya dengan cara yang menarik, sehingga dapat mempermudah kita menyelesaikan masalah kita, dan masalah tersebut dapat diketahui apa sebenarnya inti masalahnya. Design Thinking dipopulerkan oleh David Kelley dan Tim Brown pendiri IDEO. Pada dasarnya konsep design thinking merupakan upaya untuk mencari ide atau gagasan inovatif terhadap permasalahan yang kompleks dengan berfokus kepada kebutuhan user. Disisi lain metode design (design thinking), berfokus mencari solusi inovatif atas permasalahan kompleks dengan mengeksplorasi ide sebanyak mungkin berdasarkan pemahaman atas kebutuhan user yang terlibat, kemudian melakukan pembuatan ide prototipe yang akan diujicobakan/divalidasi ke pengguna yang terkait. Dalam artikel ini saya akan membahas tentang penyelesaian masalah menggunakan metode desain thinking dan transformasi produk dengan menggunakan desain thinking. Pembahasan Design Thinking,Perusahaan memiliki kesediaan untuk terlibat dalam tugas mendesain ulang bisnis mereka secara terus menerus. Mereka melakukannya dengan tujuan menciptakan kemajuan dalam inovasi dan efisiensi-kombinasi yang menghasilkan keunggulan kompetitif