Web services enhanced interoperable construction products catalogue

This paper presents a new approach to achieving interoperability between Web-based construction products catalogues. It first introduces the current development of electronic catalogues of construction products. The common system architecture of Web-based electronic products catalogues is discussed, which is followed by a discussion on construction products information standardization and the latest distributed-systems technologies for the communication and exchange of construction products information. The latter part of this paper presents a model of interoperable Web-based construction products catalogue and an implementation of Web services in E-commerce systems to enable the sharing of construction products information.

Szuper Gallery materials

A portfolio of prints, books and catalogues by Szuper Gallery exhibited at this group exhibition.

'Public Sculpture (The Social)' 2010

Commisssioned by Frieze Art for the Frieze Sculpture Park The project presents the image of a sculpture as a sculpture, installed in the form of a large scale digital print on vinyl stretched over a 14 x 28ft (4.2 x 8.4m) stretcher supported by a scaffolding structure. The image itself depicts a futuristic public sculpture, an ‘impossible’ artwork, referencing Ballard’s descriptions in his book ‘Vermillion Sands’. The work also draws upon examples of rococo ornamentation and the compositional conventions of ‘images of sculpture’ (in art magazines, catalogues, publicity photos) including examples sited in Regents park in previous years. Technical details: The image is printed on vinyl, stretched over a 14 x 28ft (4.2 x 8.4m) wooden stretcher and fixed to a deep buttressed scaffold 8m long by 6.23 deep with IBC water tanks on the back edge as kentledge (4 x I tonne IVC water containers - 1 per bay). The structure is constructed from clean silver Layher system scaffold and wrapped by a dense black mesh netting.

Meteorological phenomena in Western classical orchestral music

Depictions of the weather are common throughout the arts. Unlike in the visual arts, however, there has been little study of meteorological inspiration in music. This article catalogues and analyzes the frequencies with which weather is depicted in a sample of classical orchestral music. The depictions vary from explicit mimicry using traditional and specialized orchestral instruments, through to subtle suggestions. It is found that composers are generally influenced by their own environment in the type of weather they choose to represent. As befits the national stereotype, British composers seem disproportionately keen to depict the UK's variable weather patterns and stormy coastline

Between writing and type: the stencil letter

An exhibition of stencil letters from the 18th century to the present day. Co-curated by Eric Kindel and Fred Smeijers, the exhibition featured a wide selection of stencil letters in the context of historical artefacts, documents and ephemera, including stencil plates and stencilling devices, specimens and catalogues and patent inventions. The exhibition also introduced a series of new stencil fonts designed by Maurice Göldner, Pierre Pané-Farré and Fred Smeijers. The design of each font made reference to and was informed by the historical material.

Stencil work in America, 1850–1900

An overview of stencil work in American in the second half of the nineteenth century, which shows and discusses stencil plates, stencil-making equipment, catalogues and other ephemera, and patents. The article additionally identifies some of the prominent individuals and companies who produced the work, and locates references to stencils in contemporary literature, including in the writing of Mark Twain.

Marked by time

A concise study of two stencil-makers' catalogues published in Germany and the USA in the mid-twentieth century.

The Italian Academies, 1525-1700: a themed collection database, London, British Library

A database of books published by Italian Academies between 1525 and 1700. The Italian Academies Themed Collection provides a detailed searchable database for locating printed material relating to the Italian learned Academies active in Avellino, Bari, Benevento, Bologna, Brindisi, Caltanissetta, Catania, Catanzaro, Enna, L’Aquila, Lecce, Mantua, Naples, Padua, Palermo, Rome, Salerno, Siena, Syracuse, Trapani, and Venice in the period 1525-1700 and now held in the collections of the British Library.

Arthur et ses barons rebelles: la fin remaniée et abrégée de la Suite Vulgate dans le manuscrit du cycle du Graal, Paris, BNF fr. 344

The ms. Paris, BnF, fr. 344 was produced in Lorraine at the end of the thirteenth century and contains the whole Lancelot-Grail cycle. It presents an abridged version of the end of the Vulgate Sequel to Merlin. The rewriting of the end of the sequel glosses over the romantic episodes of the common version and focuses on the figure of Arthur, a legitimate sovereign and skilful war leader confronted by his barons’ dissidence. From the end of f° 182 to f° 184v°, BnF, fr. 344, narrates the departure of Kings Ban and Bohort for the Continent, the embassy of King Loth and his sons, and the fight against the Saxons of the Christian coalition gathered at Logres for the feast of the Holy Cross. This article shows the ideological implications of the abridgement and the illustration used at the end of the Vulgate Sequel in ms. fr. 344, as it exalts Arthur’s kingship and insists on the rallying, penance and submission of his rebelled vassals.

L’illustration marginale d’un ouvrage profane : étude du manuscrit Paris, Bibliothèque nationale de France, français 95, xiiie siècle (1290)

BnF fr. 95 is a late 13th century manuscript containing Arthurian romances and other fictional and didactic texts. The Estoire del saint Graal and Merlin section is the most highly illuminated, with a rich marginal iconography, an unusual feature in the illustration of lay works and in these texts’ manuscript tradition. This article shows how in Merlin and its Vulgate Sequel marginal scenes overlap with widespread subjects in courtly and chivalric vernacular romances, in contrast with Latin and religious works. The reuse of similar patterns in principal and marginal miniatures, examined in the episode of the Battle of Danablaise, where King Arthur fights the Saxon King Rion, highlights the need for a comprehensive reading of text and images, taking into account the mise en page and the different levels of illustration in the manuscript.

Differences between the CME fronts tracked by an expert, an automated algorithm, and the Solar Stormwatch project

Observations from the Heliospheric Imager (HI) instruments aboard the twin STEREO spacecraft have enabled the compilation of several catalogues of coronal mass ejections (CMEs), each characterizing the propagation of CMEs through the inner heliosphere. Three such catalogues are the Rutherford Appleton Laboratory (RAL)-HI event list, the Solar Stormwatch CME catalogue, and, presented here, the J-tracker catalogue. Each catalogue uses a different method to characterize the location of CME fronts in the HI images: manual identification by an expert, the statistical reduction of the manual identifications of many citizen scientists, and an automated algorithm. We provide a quantitative comparison of the differences between these catalogues and techniques, using 51 CMEs common to each catalogue. The time-elongation profiles of these CME fronts are compared, as are the estimates of the CME kinematics derived from application of three widely used single-spacecraft-fitting techniques. The J-tracker and RAL-HI profiles are most similar, while the Solar Stormwatch profiles display a small systematic offset. Evidence is presented that these differences arise because the RAL-HI and J-tracker profiles follow the sunward edge of CME density enhancements, while Solar Stormwatch profiles track closer to the antisunward (leading) edge. We demonstrate that the method used to produce the time-elongation profile typically introduces more variability into the kinematic estimates than differences between the various single-spacecraft-fitting techniques. This has implications for the repeatability and robustness of these types of analyses, arguably especially so in the context of space weather forecasting, where it could make the results strongly dependent on the methods used by the forecaster.