Morse's manual of art : a self teacher in all branches of deocrative art, embracing almost every variety of painting and drawing, on china, glass, velvet, canvas, paper and wood : the secret of all glass transparencies, sketching from nature, pastel and crayon drawing, etc. : illustrated /

Mode of access: Internet.

The secret of pictorial art, or, Self-instructor in painting on glass, china, satin and paper : it teaches the oil photo-miniature, Grecian oil, antique, oriental, crystal and pastel paintings, crystalline, decalcomanie and diaphanie transferring /

Includes index.

Art-Map: concept of moving curatorial project and its practical realization in Aveiro

In this dissertation, I present the results of a project which aim was to find out and try an effective model of independent curatorial project executable in small and medium cities in Portugal. The concept of Moving Curatorial Project ARTMAP is a result of theoretical research and reflection about municipal exhibition spaces and possibility of presentation of the contemporary art in these spaces. To test if this curatorial project is realizable and if there are conditions to continue it, a first trial was implemented in Aveiro. A curated international exhibition, entitled “A Poética do Visual" occupied two municipal and two private gallery spaces and brought together 111 artists from 25 different countries. The art event was carried out in collaboration with the Municipality of Aveiro and the University of Aveiro, and involved several private cultural spaces in the city. This first experience showed that there are all conditions for the presentation of contemporary art in small and medium size locations in Portugal, and for this project to be replicated in other regions of the country.

Negotiating indeterminacy in studio teaching: Using the zones of material and immaterial play to shape pedagogies and practices in art

The processes of studio-based teaching in visual art are often still tied to traditional models of discrete disciplines and largely immersed in skill-based learning. These approaches to training artists are also tied to an individual model of art practice that is clearly defined by the boundaries of those disciplines. This paper will explain how the open studio program at QUT can be broadly understood as an action research model of learning that ‘plays’ with the post-medium, post-studio genealogies and zones of contemporary art. This emphasises developing conceptual, contextual and formal skills as essential for engaging with and practicing in the often-indeterminate spatio-temporal sites of studio teaching. It will explore how this approach looks to Sutton-Smith’s observations on the role of play and Vygotsky’s zone of proximal development in early childhood learning as a way to develop strategies for promoting creative learning environments that are collaborative and self sustainable. Social, cultural, political and philosophical dialogues are examined as they relate to art practice with the aim of forming the shared interests, aims, and ambitions of graduating students into self initiated collectives or ARIs.

Pattern-Formation During Self-organization in Three-Phase Eutectic Solidification

Eutectic growth is an interesting example for exploring the topic of pattern-formation in multi-phase systems, where the growth of the phases is coupled with the diffusive transport of one or more components in the melt. While in the case of binary alloys, the number of possibilities are limited (lamellae, rods, labyrinth etc.), their number rapidly increases with the number of components and phases. In this paper, we will investigate pattern formation during three-phase eutectic solidification using a state-of-the art phase-field method based on the grand-canonical density formulation. The major aim of the study is to highlight the role of two properties, which are the volume fraction of the solid phases and the solid-liquid interfacial energies, in the self-organization of the solid phases during directional growth. Thereafter, we will show representative phase-field simulations of a micro-structure in a real alloy (Ag-Al-Cu) using an asymmetric phase diagram as well as interfacial properties.

Self-pulsation in a two-section DFB laser with a varied ridge width

A 1.55 mu m InGaAsP-InP two-section DFB laser with a variable ridge width has been fabricated. Self-pulsations with frequencies around 3 GHz and 40 GHz are observed. The pulsation mechanisms related to the two frequencies are discussed and the tunability of generated self-pulsations is studied.

Beyond homo economicus: Recognition, self-realization and social work

This paper builds on Ferguson's important contribution to the debate on personalization in social work that appeared in the British Journal of Social Work in 2007. Whereas Ferguson approached the topic through the lens of political philosophy, the account below draws on critical social theory to examine not only the nature of personalization, but also its supportive pillar of individualization. In particular, Axel Honneth's critique of individualization in modern society is presented before setting out his ideas on the need for self-realization through inter-subjective recognition. The implications of Honneth's position are then considered in terms of four interrelated dimensions of social work practice, namely: (i) social work as symbolic interaction; (ii) social work as care; (iii) social work as respect; and (iv) social work as validation. It is argued that this constellation of practices poses a direct and necessary challenge to a social work of personalization.

Conversations about self-identity in Alzheimer disease : Argumentative and Alternative Communication memory books as an aid

Resumen basado en el de la publicaci??n

Prevalence and functions of non-suicidal self-injury in Spanish adolescents

Resumen tomado de la publicaci??n

Importance of self-efficacy in psychoendocrine responses to competition and performance in women

Resumen tomado de la publicaci??n

Sustainable consumption as a means to self-realization: a Hindu perspective on when enough is enough

In this paper, I investigate the religious notion of self-realization or self-actualization in the context of sustainability, and argue that sustainability is the means to this end. I am particularly interested in Hindu perspectives on self-realization or the Purusharthas. The Purusharthas provide an interesting sustainability critique because they consider the satisfaction of material want as an important step to self-actualization; the reconciliation of want and need is a fundamental sustainability tension. The issue of growing want is doubtless an important one, given the rapidly growing middle classes in the developing world that aspire to Western material dreams, as illustrated by the case of Delhi. The Purusharthas may be seen to give consumption legitimacy; however, I argue that it is the selective understanding and institutionalization of the religious message that causes the sustainability problem. Viewed in their entirety, the Purusharthas provide the correct prescriptions for the sustainable enjoyment of want, and take the adherent beyond sustainability into greater transcendence or self- awareness.

David Bowie: dancing with madness and proselytising the socio-political in art and life

A longstanding, successful and frequently controversial career spanning more than four decades establishes David Bowie as charged with individual agency. The notion of ‘agency’ here refers particularly to the ‘ability of people, individually and collectively to influence their own lives and the society in which they live’ (Germov and Poole, 2007: 7). That Bowie has influenced many lives is undeniable to his fans. He has long demonstrated an avid curiosity for the enduring patterns of social life which is reflected in his art. Bowie’s opus contains the elements of ideological narratives around sexual (mis)adventure, expressivity, and; resistance to ‘normative’ behaviour. He requisitions his audiences, through frequently indirect lyrics and images, to critically question sanity, identity and essentially what it means to be ‘us’ and why we are here. Here, in this context, ‘dancing with madness’ assumes an intimate relationship, even if brief, where ideas and emotions come passionately together for the purpose of creative expression much like the intertwining and energetic performance of the partner dance Tango. As such, ‘dancing’ is argued here to be an appropriate descriptor for how Bowie has engaged with creative cultural forms but not meant to be self-conscious nor indicate superficiality or ignorance. The idea of madness for its part is a theme in many of his compositions, for example the original album cover for The Man Who Sold the World (1971)  depicts an asylum and includes the song ‘All The Madmen’ and Aladdin Sane (1973)—a lad insane--are but two examples. This paper argues that Bowie’s frequently astute contemplations, manifest through his art over a period now spanning more than forty years, continues to draw fans of like mind to his work with the result that he has a legitimate claim to influence and affect.