55 resultados para PHOTOGRAPHIC INTERPRETATION


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Photographs have been used to enhance consumer reporting of preference of meat doneness, however, the use of photographs has not been validated for this purpose. This study used standard cooking methods to produce steaks of five different degrees of doneness (rare medium, medium well, well done and very well done) to study the consumer’s perception of doneness, from both the external and internal surface of the cooked steak and also from corresponding photographs of each sample. Consumers evaluated each surface of the cooked steaks in relation to doneness for acceptability, ‘just about right’ and perception of doneness. Data were analysed using a split plot ANOVA and least significant test. Perception scores (for both external and internal surfaces) between different presentation methods (steak samples and corresponding photos), were not significantly different (p > 0.05). The result indicates that photographs can be used as a valid approach for assessing preference for meat doneness.

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In this chapter the authors explore a practice-led approach to understanding the role of the body in music performance.

Many writers have discussed the body in music performance, in improvised music, as well as in electronic music. In this chapter the authors offer new modalities of reflection on the musical body in the interpretation of existing contemporary repertoire. Specifically, the authors discuss a re-interpretation of German composer Karlheinz Stockhausen's musical work 'Tierkreis'. Through the development of a specifically physical approach to the performance, the authors investigate the intrinsic relationship between the body and the music and point to an under-explored modality, which is not a musical choreography, but a choreography that is shaped through the musical body itself. It is a modality in which music itself propels forward choreographic ideas, the body becoming the driving force behind musical interpretation. The authors' thinking is influenced by Susan Kozel’s understanding of performance as an ecosystem (Kozel 2007) and framed within a subjective account of musical embodiment.

By merging theory with praxis the authors offer a deeper understanding of the role of the body in music performance and consider how such contributions might lead to new and exciting interpretive frameworks for existing musical repertoires.

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Magnetic properties of eight particle size ranges from nine locations in Iceland and 26 locations in southern Greenland reveal the importance of source variation for our understanding of paleomagnetic and environmental magnetic records in the marine environment. These terrestrial samples show varying degrees of particle size dependence with all samples showing that the silt fraction possesses greater concentrations of ferrimagnetic minerals than either clay or sand. Fine pseudo-single domain (PSD) size magnetic grains dominate the magnetic assemblage of all Icelandic fractions. In contrast, Greenlandic samples possess greater variation in magnetic grain size; only fine silt and clay are as magnetically fine as the Icelandic PSD grains, while Greenlandic silts and sands are dominated by coarser PSD and multi-domain grains. These observations from potential marine sediment sources suggest that the silt size fraction is a likely driver for much of the concentration-dependent parameters derived from bulk magnetic records and that the magnetic grain size of the silt fraction can be used to discriminate between Icelandic and Greenlandic sources. Using these results to examine magnetic grain size records from marine sediment cores collected across the northern North Atlantic suggests that source, not just transport-controlled physical grain-size, has a significant impact on determining the magnetic grain size at a particular location. Homogeneity of magnetic grain size in Icelandic sediments at least partially explains the consistent quality of paleomagnetic records derived from cores surrounding Iceland and their ability to buffer large environmental changes. © 2013 Elsevier B.V.

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This article describes a step-wise approach for the understanding and interpretation of Humphrey's SITA visual field tests. The goal of this article is to help the reader to differentiate between non-specific abnormalities of the visual field and changes of the visual field that are suggestive of glaucoma.

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2009-10 Perugia – provision of material and data for gallery and information panels in Perugia Museo dei Provincia

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The nearby A4-type star Fomalhaut hosts a debris belt in the form of an eccentric ring, which is thought to be caused by dynamical influence from a giant planet companion. In 2008, a detection of a point source inside the inner edge of the ring was reported and was interpreted as a direct image of the planet, named Fomalhaut b. The detection was made at 600-800nm, but no corresponding signatures were found in the near-infrared range, where the bulk emission of such a planet should be expected. Here, we present deep observations of Fomalhaut with Spitzer/IRAC at 4.5 µm, using a novel point-spread function subtraction technique based on angular differential imaging and Locally Optimized Combination of Images, in order to substantially improve the Spitzer contrast at small separations. The results provide more than an order ofmagnitude improvement in the upper flux limit of Fomalhaut b and exclude the possibility that any flux from a giant planet surface contributes to the observed flux at visible wavelengths. This renders any direct connection between the observed light source and the dynamically inferred giant planet highly unlikely. We discuss several possible interpretations of the total body of observations of the Fomalhaut system and find that the interpretation that best matches the available data for the observed source is scattered light from a transient or semi-transient dust cloud. © 2012 The American Astronomical Society. All rights reserved.

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The current body of literature regarding social inclusion and the arts tends to focus
on two areas: the lack of clear or common understanding of the terminology involved
(GLLAM, 2000) and the difficulty in measuring impact (Newman 2001). Further, much
of the literature traces the historical evolution of social inclusion policy within the arts
from a political and social perspective (Belfiore & Bennett, 2007), whilst others
examine the situation in the context of the museum as an institution more generally
(Sandell, 2002b). Such studies are essential; however they only touch on the
importance of understanding the context of social inclusion programmes. As each
individual’s experience of exclusion (or inclusion) is argued to be different (Newman
et al., 2005) and any experience is also process-based (SEU 2001), there is a need
for more thorough examination of the processes underpinning project delivery
(Butterfoss, 2006), particularly within a field that has its own issues of exclusion, such
as the arts (Bourdieu & Darbel, 1991). This paper presents case study findings of a
programme of contemporary arts participation for adults with learning difficulties
based at an arts centre in Liverpool. By focusing on practice, the paper applies
Wenger’s (1998) social theory of learning in order to assert that rather than search
for measurable impacts, examining the delivery of programmes within their individual
contexts will provide the basis for a more reflective practice and thus more effective
policy making.

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Scalar terms have been the focus of much recent attention. People can interpret such terms narrowly, for example, interpreting A or B to convey A or B but not both, on the grounds that a speaker would have explicitly used a more informative term (i.e., and) had he or she been in a position to do so; or they can interpret such terms broadly (A or B or both). Examined here are the effects of politeness contexts and self-rated honesty on people’s interpretation of the scalar connective or. In two experiments, it is shown that participants are less likely to adopt the narrow interpretation when the communicative context is face threatening, and that regardless of context, participants high in self-rated honesty adopt the narrow interpretation to a greater extent than those low in self-rated honesty. These results are consistent with the claim that an assumption of honesty underlies certain pragmatic inferences and suggest that personality may be an important source of individual differences in language interpretation.

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Oyster® is a surface-piercing flap-type device designed to harvest wave energy in the nearshore environment. Established mathematical theories of wave energy conversion, such as 3D point-absorber and 2D terminator theory, are inadequate to accurately describe the behaviour of Oyster, historically resulting in distorted conclusions regarding the potential of such a concept to harness the power of ocean waves. Accurately reproducing the dynamics of Oyster requires the introduction of a new reference mathematical model, the “flap-type absorber”. A flap-type absorber is a large thin device which extracts energy by pitching about a horizontal axis parallel to the ocean bottom. This paper unravels the mathematics of Oyster as a flap-type absorber. The main goals of this work are to provide a simple–yet accurate–physical interpretation of the laws governing the mechanism of wave power absorption by Oyster and to emphasise why some other, more established, mathematical theories cannot be expected to accurately describe its behaviour.

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The purposes of this chapter are to argue for (i) the heuristic value of the concept of mask and masking in research which has its basis in psychodynamic theory but relating it to socio-cultural theory as means to understanding self-experience (ii) the value of creating and performing masks as one valuable methodological ‘embodied’ form in social and educational research that represent individuals’ richly textured self-other constructions and allow for the interrogation of any simplistic dichotomies associated with notions of ‘inside’ ‘outside’ categories (iii) exploring possibilities and dilemmas of interpretation within this frame