Two biological nitrogen removal processes are compared in the aspect of nitrogen removal, process operation and energy saving. Results show that when the returned sludge ratio is 50% of the inflow rate, the step-feedi...Two biological nitrogen removal processes are compared in the aspect of nitrogen removal, process operation and energy saving. Results show that when the returned sludge ratio is 50% of the inflow rate, the step-feeding process achieves over 80% total nitrogen (TN) removal efficiency, but the TN removal efficiency of the A/O process is only 40%. Moreover, filamentous sludge bulking can be well restrained in the step-feeding process. Given the conditions of a returned sludge ratio of 100% and a nitrifying liquor recycle ratio of 200%, the TN removal efficiency is 78.32% in the A/O process, but the sludge volume index (SVI) value increases to 143 mL/g. In the step-feeding process, the SVI is only 94.4 mL/g when the TN removal efficiency reaches 81. 1%. The step-feeding process has distinct advantages over the A/O process in the aspects of practicability, nitrogen removal and operating stability.展开更多
Microwave-assisted extraction (MAE) of isoflavones from Belamcanda chinensis was studied using ethanol as the solvent. The single factor experiment and the orthogonal method were used to optimize the MAE condition. ...Microwave-assisted extraction (MAE) of isoflavones from Belamcanda chinensis was studied using ethanol as the solvent. The single factor experiment and the orthogonal method were used to optimize the MAE condition. It was concluded that two doses of intermittent microwave power radiation, 300 W each for 4 rain, were needed for extraction. The mass ratio of solvent to material was 8:1 and the alcohol mass fraction was 80%. The extracted liquor was then concentrated under vacuum and degreased with petroleum ether. The yield of total isofiavones was about 8.8% and the contents of tectoridin and iridin were 67.6% and 16.3% respectively. Compared with direct-heating extraction (DHE), MAE may shorten extracting duration, reduce solvent consumption, and improve yield and purity of isoflavones from Belamcanda chinensis.展开更多
A novel latent thermal initiator, ferricenium tetrafluoroborate salt (FcBF4), for cationic polymerization of epoxides is reported. The activities of FcBF4 for different epoxides, including bisphenol-A-type epoxy oligo...A novel latent thermal initiator, ferricenium tetrafluoroborate salt (FcBF4), for cationic polymerization of epoxides is reported. The activities of FcBF4 for different epoxides, including bisphenol-A-type epoxy oligomer E44, cycloaliphatic epoxy ERL4221, and glycidylether epoxy GGE, were evaluated by differential scanning calorimetry (DSC). The results showed a moderate thermal initiation activity for E44 and GGE at 78℃ and 108℃ respectively. When adding GGE to E44, the reaction was enhanced. The temperature of thermal degradation of the cured specimens for the system of E44/FcBF4, E44+10%GGE/FcBF4 and E44+10%ERL4221/FcBF4 is higher than 350℃.展开更多
In contemporary Turkish art, topics or items considered obscene by society are being carried out by a number of artists with protest, agitation, anti-propaganda, or strike purposes. Issues that are often seen in socia...In contemporary Turkish art, topics or items considered obscene by society are being carried out by a number of artists with protest, agitation, anti-propaganda, or strike purposes. Issues that are often seen in social life such as domestic violence, honour killings, rape, gender discrimination, intolerance against minority groups generate some artists' main theme in their work. Certain circles do not show any reaction to such social wounds, or even support. These circles that have no discomfort in the existence of these wounds get disturbed when they face these social realities through artistic activities. These artists are subject to threats or even physical attacks by such groups. In this paper, Turkish artists, namely Sukran Moral, Taner Ceylan, and Nezaket Ekici who make use of such obscene scenes in their works, will be analyzed including their performances, reactions, and attitudes toward threats and attacks.展开更多
Nicholas Bourriaud's relational aesthetics is regarded as a new approach to art history and criticism, but has recently been appropriated by many art programs as a pedagogical and productive strategy in the classroom...Nicholas Bourriaud's relational aesthetics is regarded as a new approach to art history and criticism, but has recently been appropriated by many art programs as a pedagogical and productive strategy in the classroom. While there is much that is positive in Bourriaud's ideas in the first sense, its translation into a studio situation is problematic. Offering a corrective through Lacanian psychoanalysis, with acknowledgement of additional figures with corresponding ideas, it is proposed that Bourriaud's ideas are valuable additions to pedagogy generally but are equally in need of modifications that encompass a critical understanding of the desire structures of both students and faculty.展开更多
This paper aims, first of all, to examine the two fundamental treatments of the complex and very broad notion of chrematistikd (money-making) and its links with the notion of oikonomia (economics), outlining a fun...This paper aims, first of all, to examine the two fundamental treatments of the complex and very broad notion of chrematistikd (money-making) and its links with the notion of oikonomia (economics), outlining a fundamental division between natural and unnatural art of money-making. The two different arts of money-making are based on two very different psychological attitudes: in the first case, desire is channeled, managed, and organized by practical wisdom with a view to a further end; in the second case, desire is an end unto itself, insatiable, boundless and contrary to the commands of practical wisdom. Only in the first case there is a "true wealth", that is a wealth oriented toward a good life that constitutes the end (telos) and the limit (peras) of the wealth itself. The conclusion is that, for the Stagirite, wealth is not an evil, nor, in itself, is the pursuit of wealth, that is, the art of money-making, because if it is rightly organized and oriented in function of the end, it constitutes the conditio sine qua non of a life that is good, ordered and happy for the individual and for the city展开更多
The technology that waste activated carbon after extracting gold is regenerated with steam under microwave heating was studied. The influence of the activation temperature, activation duration and steam flow rate on i...The technology that waste activated carbon after extracting gold is regenerated with steam under microwave heating was studied. The influence of the activation temperature, activation duration and steam flow rate on iodine adsorption value and regeneration yield of activated carbon was investigated. The response surface methodology (RSM) technique was utilized to optimize the process conditions. The optimum conditions for the preparation of activated carbon are identified to be activation temperature of 831 ℃, activation duration of 40 min and steam flow rate of 2.67 mL/min. The optimum conditions result in an activated carbon with an iodine number of 1048 mg/g and a yield of 40%, and the BET surface area evaluated using nitrogen adsorption isotherm is 1493 m2/g, with total pore volume of 1.242 cm3/g. And the pore structure of activated carbon regenerated is mainly composed of micropores and a small amount of mesopores.展开更多
This paper focuses on a non-linear relationship between the course of one individual's life and its creative reshaping in the literary work of art as experienced in Julian Barnes's novel The Noise of Time. Contempla...This paper focuses on a non-linear relationship between the course of one individual's life and its creative reshaping in the literary work of art as experienced in Julian Barnes's novel The Noise of Time. Contemplating a creative process of writing, the author seems to insist on a symbiosis between art and life. Writing about Shostakovich, he goes on challenging aWs ability to deliver a clear message about life: how to put what one has experienced into words? A creative dialogue thus established between a non-speaking, extra-linguistic, and unique self and its verbal representation in literature is built upon a relational nature of the said and the not-said. Eloquent silence is employed to transpose one's life experience into the realm of verbal represenation. Focusing on the limits of verbal representation, Barnes' character in The Noise of Time similarly strives to grasp a meaning of the relationship among language, "silence", and liberation from the self. Refiguring silence as one of the most valuable narrative devices, the text challenges the illusory nature of historical time, of historical places, and of selfhood展开更多
On December 30th of 2016,the temperature in Lhasa is almost at a record low.Around half past eleven,the 78-year-old Tashi Tsering is sitting cross-legged on his bed.Upon finishing his daily scriptural recitation,he pi...On December 30th of 2016,the temperature in Lhasa is almost at a record low.Around half past eleven,the 78-year-old Tashi Tsering is sitting cross-legged on his bed.Upon finishing his daily scriptural recitation,he picks up a cup of sweet tea placed on the tea table in front of him and takes a swallow before putting on his shoes and saying to his wife,Nyima,"I am going out to see them,so please don’t wait around for me at lunchtime."展开更多
A pilot-scale modified carbon source division anaerobic anoxic oxic(AAO) process with pre-concentration of returned activated sludge(RAS) was proposed in this study for the enhanced biological nutrient removal(BNR) of...A pilot-scale modified carbon source division anaerobic anoxic oxic(AAO) process with pre-concentration of returned activated sludge(RAS) was proposed in this study for the enhanced biological nutrient removal(BNR) of municipal wastewater with limited carbon source. The influent carbon source was fed in step while a novel RAS pre-concentration tank was adopted to improve BNR efficiency, and the effects of an influent carbon source distribution ratio and a RAS pre-concentration ratio were investigated. The results show that the removal efficiency of TN is mainly influenced by the carbon source distribution ratio while the TP removal relies on the RAS pre-concentration ratio. The optimum carbon source distribution ratio and RAS pre-concentration ratio are 60% and 50%, respectively, with an inner recycling ratio of 100% under the optimum steady operation of pilot test, reaching an average effluent TN concentration of 9.8 mg·L-1with a removal efficiency of 63% and an average TP removal efficiency of 94%. The mechanism of nutrient removal is discussed and the kinetics is analyzed. The results reveal that the optimal carbon source distribution ratio provides sufficient denitrifying carbon source to each anoxic phase, reducing nitrate accumulation while the RAS pre-concentration ratio improves the condition of anaerobic zone to ensure the phosphorus release due to less nitrate in the returned sludge. Therefore, nitrifying bacteria, denitrifying bacteria and phosphorus accumulation organisms play an important role under the optimum condition, enhancing the performance of nutrient removal in this test.展开更多
Abstract modern social awareness and people' s aesthetic psychology has undergone tremendous changes in the design of modem ceramic art poses severe requirements. This article from the perspective of modem lifestyles...Abstract modern social awareness and people' s aesthetic psychology has undergone tremendous changes in the design of modem ceramic art poses severe requirements. This article from the perspective of modem lifestyles, made from ceramic design concepts, modeling, implication, decoration, materials and technology and other aspects of transformation and innovation, in order to achieve adapt to the modem lifestyle, aesthetic purposes.展开更多
This paper documents the works and lives of selected visual artists from Panay provinces. The selection of the artist was based on meeting at least two of the following criteria: (1) The artist should have a major ...This paper documents the works and lives of selected visual artists from Panay provinces. The selection of the artist was based on meeting at least two of the following criteria: (1) The artist should have a major award(s) in any prestigious national fine arts contests which included the MADE (Metrobank Art and Design Excellence), A.AP (Art Association of the Philippines), Petron, GSIS (Government Service Insurance System), and the Biennial Dumaguete Open Terra Cotta Festival contests; (2) He/she should have had one-man or two-man exhibitions at reputed galleries; and (3) He/she should be active in the local art scene, meaning, a continuous schedule of exhibits during the past three years. Mostly self-taught, the artists' artistic inclinations manifested early in childhood when they discovered their talents; this led to their resolve to seriously pursue with enduring fervor their art careers. Their sense of calling amid a less ideal art scene did not give way to the voice of conformity but they have maintained a clear sense of identity and destiny as inspiring art icons in their milieu. The analyses of the works of these artists lead to the observation of the Panayanon artistic tradition. Aside from the formalist descriptions of the artworks' features, the analyses go further into the contextual and evaluative levels that reveal a highly nuanced meaning and semantic richness of the works. The paintings and sculptural pieces of the artists are expressions of their true "voices", fresh innovations that have earned accolades even if these innovations are untamed by the academe展开更多
The paper examines the assignment of the visual experience in the context of interrelation between civilization and art. Civilization is defined as "the survival of the weak". It is stressed that this definition can...The paper examines the assignment of the visual experience in the context of interrelation between civilization and art. Civilization is defined as "the survival of the weak". It is stressed that this definition can be applied to man, animal and every living being. Lie as "someone else's truth" and art as "the process of the creation of 'copies of the copies of nature'" are considered to be the weak man's tools for survival. The author argues that purpose of erotic scenes and scenes of hunting (death and violence) both in the past and in the present is the excitation at the woman of desire to reproduction.展开更多
The main aim of this article is to describe the intersubjective relationship between the observer and the subject depicted in a work of art. More precisely, I am interested in the observer's imagination as it is mani...The main aim of this article is to describe the intersubjective relationship between the observer and the subject depicted in a work of art. More precisely, I am interested in the observer's imagination as it is manifested in this relationship. I argue that every act of empathy involves the imagination, but the act of imagination is never understood as an act of empathy. This article will take a new approach towards the perception of a work of art and challenges the traditional notion of empathy as "looking into," "looking in," or "seeing-in." I describe the experience of empathy as a lived experience, where I understand it as a type of intentional act that is distinct from imagination; meanwhile, I show that the imagination plays a role in the empathetic experience of the work of art. How? I understand this situation as one that brings the observer into a new reality, an intersubjective mode of being where she finds a better understanding of her own (as an observer) inner world. I wish to argue that empathy gives a new dimension to experience, where being "here" becomes being "there." Empathy is in fact a special form of meeting the Other. In the case of a work of art, we do not meet the Other as a person who lives their daily life like everyone else; instead we have an independent empathetic experience of the world, taking place within the work of art, in relation to the depicted subject. The nature of empathy is that it enables the observer to enter the deepest intimacy of the work of art and dwell inside it. This depends solely on the observer on how open they are to this world and how much it coincides with the observer's will, as she always retains limitless freedom when interpreting a work of art.展开更多
In recent years, graffiti has ascended to the ranks of modem new art from public action of street and has derived modem graffiti culture. With the development of graffiti art and the improvement of people's aesthetic...In recent years, graffiti has ascended to the ranks of modem new art from public action of street and has derived modem graffiti culture. With the development of graffiti art and the improvement of people's aesthetic idea, graffiti has penetrated into various aspects of people's life and has been closely integrated with people's life in many fields. Fashion design is one of the forms which have the closest relation with modem graffiti. Many famous brands have increased their own vitality and fashion sense of costume through graffiti. In modem fashion design, graffiti has special aesthetic value and personality characteristics, bringing about huge commercial opportunities to merchants. Its personality expression in fashion design involves factors in multi-aspects. This paper makes an in-depth analysis of this problem in simple terms, which is of positive significance to the combination of graffiti and fashion design.展开更多
In the creation works of European musicians in late nineteenth Century, it has more profound philosophical and ethical foundation, and its production and development has a profound reflection of music art on social li...In the creation works of European musicians in late nineteenth Century, it has more profound philosophical and ethical foundation, and its production and development has a profound reflection of music art on social life, but it is also a response to contemporary European romanticism non-rationalism ethics.展开更多
Terms of sustainable and sustainability have been employed in various sectors and fields since around 1990. To make a society sustainable needs to find ways of having sustainable local activities. The ways may be to f...Terms of sustainable and sustainability have been employed in various sectors and fields since around 1990. To make a society sustainable needs to find ways of having sustainable local activities. The ways may be to find and revitalize local resources, or to support new life styles by accepting outsider's new ideas. I see those ways often taken from a perspective that the ways require a structure or institutional organization. To explore in-between ways, it would be better to have an alternative perspective and useful to learn from Southeast Asian cases of managing diversity while accepting new ways (cf. Reid, 2015). In this essay, I focus on a sustainable craft making of a men's hat kopiah meuketob in Aceh, Sumatra, which is traditional item for marriage but has been used in various imaginative ways and has been shaping a regional "craft-scape." I examine such ways and various facets of making the hat and conclude that a lesson from the case for making things sustainable is equal and flexible ways of participating in production processes.展开更多
Chinese traditional architectural paintings are more drawn to the interior and exterior painting walls, canopies, beams, Fang, stigma, brackets and interior ceilings, caisson, the architectural art of building compone...Chinese traditional architectural paintings are more drawn to the interior and exterior painting walls, canopies, beams, Fang, stigma, brackets and interior ceilings, caisson, the architectural art of building components were processed and formed their rich colors, making the Chinese ancient architecture even more magnificent. It has two kinds of practical effects, one is to decorate building, and the second is to protect the individual masonry wood components and parts them from wind and rain erosion. In other words, functional and aesthetic painting set in one. Most Chinese ancient buildings are wooden structures, for aesthetics and durability wooden structural parts, are generally required to cover color to paint the cover, so the Chinese ancient buildings, whether internal walls, ceiling, doors, windows, roofs, etc. are painted with colors, sculpturing patterns and patterns to enhance the expressive power of art architecture, it can be said that the ancient Chinese architecture buildings are colorized architecture. From afar to go, the overall color of ancient Chinese architecture makes people' s hearts worship must be generated by the primary function of psychological respected. Ancient architectural decoration can be summarized into three categories: gold, color ornaments and carvings, color ornaments which include brush color decoration ornaments, painting and murals are as one of the three categories, the color was given such a high mission in the world, yet there are no countries can be comparable with it, the reason is not just the appearance of color can achieve architectural beauty, but also to show people' s color sustenance and beliefs in a certain extent. Ancient architectural sculpture was created by people in the production practice activities, and it is a product of the interaction between material and spiritual civilization and has a very high social value and artistic value. It carries historical and cultural information, expresses people' s spiritual and cultural pursuits and beliefs and through different art forms, reflects the beauty of different materials, expresses a different artistic content.展开更多
Becoming a tea art practitioner, or charen (茶人), involves cultivation of body and mind. This paper attempts to document the long-term process of bodily and mindful cultivation from an anthropological, participant-...Becoming a tea art practitioner, or charen (茶人), involves cultivation of body and mind. This paper attempts to document the long-term process of bodily and mindful cultivation from an anthropological, participant-observation, and self-reflective point of view. I will describe my experiences from entering the world of Taiwan Residents tea art through learning the great variety of teas and the techniques for making them, designing my own tea sets, and performing in tea gatherings. This learning process has gone well beyond what is required of a researcher, or a good observer, because it has not only allowed me to understand, interpret, and analyze the aesthetics and ritual of Taiwan Residents tea art but it has also required that I "designs" or be creative in presenting Taiwan Residents tea art to my own cultural members. This substantially changes my status from the objective observer my profession requires, to a dedicated performer and even a designer/creator of my own culture. My self-reflexivity in this process points to not only methodological issues but also theoretical ones, including recent academic interest in materiality, cultural performance, lifestyle, bodily discipline, and the senses. Through self-reflection, I intends to reveal connections among them.展开更多
基金The Project of Scientific Research Base and Scientific Innovation Platform of Beijing Municipal Education Commission (No.PXM2008-014204-050843)the Project of Beijing Science and Technology Committee (No.D07050601500000)+1 种基金the Knowledge Innovation Program of the Chinese Academy of Sciences (No.RCEES-QN-200706)the Special Funds for Young Scholars of RCEES,CAS.
文摘Two biological nitrogen removal processes are compared in the aspect of nitrogen removal, process operation and energy saving. Results show that when the returned sludge ratio is 50% of the inflow rate, the step-feeding process achieves over 80% total nitrogen (TN) removal efficiency, but the TN removal efficiency of the A/O process is only 40%. Moreover, filamentous sludge bulking can be well restrained in the step-feeding process. Given the conditions of a returned sludge ratio of 100% and a nitrifying liquor recycle ratio of 200%, the TN removal efficiency is 78.32% in the A/O process, but the sludge volume index (SVI) value increases to 143 mL/g. In the step-feeding process, the SVI is only 94.4 mL/g when the TN removal efficiency reaches 81. 1%. The step-feeding process has distinct advantages over the A/O process in the aspects of practicability, nitrogen removal and operating stability.
文摘Microwave-assisted extraction (MAE) of isoflavones from Belamcanda chinensis was studied using ethanol as the solvent. The single factor experiment and the orthogonal method were used to optimize the MAE condition. It was concluded that two doses of intermittent microwave power radiation, 300 W each for 4 rain, were needed for extraction. The mass ratio of solvent to material was 8:1 and the alcohol mass fraction was 80%. The extracted liquor was then concentrated under vacuum and degreased with petroleum ether. The yield of total isofiavones was about 8.8% and the contents of tectoridin and iridin were 67.6% and 16.3% respectively. Compared with direct-heating extraction (DHE), MAE may shorten extracting duration, reduce solvent consumption, and improve yield and purity of isoflavones from Belamcanda chinensis.
文摘A novel latent thermal initiator, ferricenium tetrafluoroborate salt (FcBF4), for cationic polymerization of epoxides is reported. The activities of FcBF4 for different epoxides, including bisphenol-A-type epoxy oligomer E44, cycloaliphatic epoxy ERL4221, and glycidylether epoxy GGE, were evaluated by differential scanning calorimetry (DSC). The results showed a moderate thermal initiation activity for E44 and GGE at 78℃ and 108℃ respectively. When adding GGE to E44, the reaction was enhanced. The temperature of thermal degradation of the cured specimens for the system of E44/FcBF4, E44+10%GGE/FcBF4 and E44+10%ERL4221/FcBF4 is higher than 350℃.
文摘In contemporary Turkish art, topics or items considered obscene by society are being carried out by a number of artists with protest, agitation, anti-propaganda, or strike purposes. Issues that are often seen in social life such as domestic violence, honour killings, rape, gender discrimination, intolerance against minority groups generate some artists' main theme in their work. Certain circles do not show any reaction to such social wounds, or even support. These circles that have no discomfort in the existence of these wounds get disturbed when they face these social realities through artistic activities. These artists are subject to threats or even physical attacks by such groups. In this paper, Turkish artists, namely Sukran Moral, Taner Ceylan, and Nezaket Ekici who make use of such obscene scenes in their works, will be analyzed including their performances, reactions, and attitudes toward threats and attacks.
文摘Nicholas Bourriaud's relational aesthetics is regarded as a new approach to art history and criticism, but has recently been appropriated by many art programs as a pedagogical and productive strategy in the classroom. While there is much that is positive in Bourriaud's ideas in the first sense, its translation into a studio situation is problematic. Offering a corrective through Lacanian psychoanalysis, with acknowledgement of additional figures with corresponding ideas, it is proposed that Bourriaud's ideas are valuable additions to pedagogy generally but are equally in need of modifications that encompass a critical understanding of the desire structures of both students and faculty.
文摘This paper aims, first of all, to examine the two fundamental treatments of the complex and very broad notion of chrematistikd (money-making) and its links with the notion of oikonomia (economics), outlining a fundamental division between natural and unnatural art of money-making. The two different arts of money-making are based on two very different psychological attitudes: in the first case, desire is channeled, managed, and organized by practical wisdom with a view to a further end; in the second case, desire is an end unto itself, insatiable, boundless and contrary to the commands of practical wisdom. Only in the first case there is a "true wealth", that is a wealth oriented toward a good life that constitutes the end (telos) and the limit (peras) of the wealth itself. The conclusion is that, for the Stagirite, wealth is not an evil, nor, in itself, is the pursuit of wealth, that is, the art of money-making, because if it is rightly organized and oriented in function of the end, it constitutes the conditio sine qua non of a life that is good, ordered and happy for the individual and for the city
基金Project(2013AA064003)supported by the National High Technology Research and Development Program of ChinaProject(2012HB008)supported by Young and Middle-aged Academic Technology Leader Backup Talent Cultivation Program in Yunnan Province,China
文摘The technology that waste activated carbon after extracting gold is regenerated with steam under microwave heating was studied. The influence of the activation temperature, activation duration and steam flow rate on iodine adsorption value and regeneration yield of activated carbon was investigated. The response surface methodology (RSM) technique was utilized to optimize the process conditions. The optimum conditions for the preparation of activated carbon are identified to be activation temperature of 831 ℃, activation duration of 40 min and steam flow rate of 2.67 mL/min. The optimum conditions result in an activated carbon with an iodine number of 1048 mg/g and a yield of 40%, and the BET surface area evaluated using nitrogen adsorption isotherm is 1493 m2/g, with total pore volume of 1.242 cm3/g. And the pore structure of activated carbon regenerated is mainly composed of micropores and a small amount of mesopores.
文摘This paper focuses on a non-linear relationship between the course of one individual's life and its creative reshaping in the literary work of art as experienced in Julian Barnes's novel The Noise of Time. Contemplating a creative process of writing, the author seems to insist on a symbiosis between art and life. Writing about Shostakovich, he goes on challenging aWs ability to deliver a clear message about life: how to put what one has experienced into words? A creative dialogue thus established between a non-speaking, extra-linguistic, and unique self and its verbal representation in literature is built upon a relational nature of the said and the not-said. Eloquent silence is employed to transpose one's life experience into the realm of verbal represenation. Focusing on the limits of verbal representation, Barnes' character in The Noise of Time similarly strives to grasp a meaning of the relationship among language, "silence", and liberation from the self. Refiguring silence as one of the most valuable narrative devices, the text challenges the illusory nature of historical time, of historical places, and of selfhood
文摘On December 30th of 2016,the temperature in Lhasa is almost at a record low.Around half past eleven,the 78-year-old Tashi Tsering is sitting cross-legged on his bed.Upon finishing his daily scriptural recitation,he picks up a cup of sweet tea placed on the tea table in front of him and takes a swallow before putting on his shoes and saying to his wife,Nyima,"I am going out to see them,so please don’t wait around for me at lunchtime."
基金Supported by the Major Science and Technology Program for Water Pollution Contro and Treatment-Crucial Technology Research and Engineering Sample Subject on Municipa Wastewater Treatment Process Updated to Higher Drainage Standard(2008ZX07317-02)Wuhan Water Pollution Control and the Water Environment Administer Technology and Synthetic Sample Project in Cities and Towns(2008ZX07317)
文摘A pilot-scale modified carbon source division anaerobic anoxic oxic(AAO) process with pre-concentration of returned activated sludge(RAS) was proposed in this study for the enhanced biological nutrient removal(BNR) of municipal wastewater with limited carbon source. The influent carbon source was fed in step while a novel RAS pre-concentration tank was adopted to improve BNR efficiency, and the effects of an influent carbon source distribution ratio and a RAS pre-concentration ratio were investigated. The results show that the removal efficiency of TN is mainly influenced by the carbon source distribution ratio while the TP removal relies on the RAS pre-concentration ratio. The optimum carbon source distribution ratio and RAS pre-concentration ratio are 60% and 50%, respectively, with an inner recycling ratio of 100% under the optimum steady operation of pilot test, reaching an average effluent TN concentration of 9.8 mg·L-1with a removal efficiency of 63% and an average TP removal efficiency of 94%. The mechanism of nutrient removal is discussed and the kinetics is analyzed. The results reveal that the optimal carbon source distribution ratio provides sufficient denitrifying carbon source to each anoxic phase, reducing nitrate accumulation while the RAS pre-concentration ratio improves the condition of anaerobic zone to ensure the phosphorus release due to less nitrate in the returned sludge. Therefore, nitrifying bacteria, denitrifying bacteria and phosphorus accumulation organisms play an important role under the optimum condition, enhancing the performance of nutrient removal in this test.
文摘Abstract modern social awareness and people' s aesthetic psychology has undergone tremendous changes in the design of modem ceramic art poses severe requirements. This article from the perspective of modem lifestyles, made from ceramic design concepts, modeling, implication, decoration, materials and technology and other aspects of transformation and innovation, in order to achieve adapt to the modem lifestyle, aesthetic purposes.
文摘This paper documents the works and lives of selected visual artists from Panay provinces. The selection of the artist was based on meeting at least two of the following criteria: (1) The artist should have a major award(s) in any prestigious national fine arts contests which included the MADE (Metrobank Art and Design Excellence), A.AP (Art Association of the Philippines), Petron, GSIS (Government Service Insurance System), and the Biennial Dumaguete Open Terra Cotta Festival contests; (2) He/she should have had one-man or two-man exhibitions at reputed galleries; and (3) He/she should be active in the local art scene, meaning, a continuous schedule of exhibits during the past three years. Mostly self-taught, the artists' artistic inclinations manifested early in childhood when they discovered their talents; this led to their resolve to seriously pursue with enduring fervor their art careers. Their sense of calling amid a less ideal art scene did not give way to the voice of conformity but they have maintained a clear sense of identity and destiny as inspiring art icons in their milieu. The analyses of the works of these artists lead to the observation of the Panayanon artistic tradition. Aside from the formalist descriptions of the artworks' features, the analyses go further into the contextual and evaluative levels that reveal a highly nuanced meaning and semantic richness of the works. The paintings and sculptural pieces of the artists are expressions of their true "voices", fresh innovations that have earned accolades even if these innovations are untamed by the academe
文摘The paper examines the assignment of the visual experience in the context of interrelation between civilization and art. Civilization is defined as "the survival of the weak". It is stressed that this definition can be applied to man, animal and every living being. Lie as "someone else's truth" and art as "the process of the creation of 'copies of the copies of nature'" are considered to be the weak man's tools for survival. The author argues that purpose of erotic scenes and scenes of hunting (death and violence) both in the past and in the present is the excitation at the woman of desire to reproduction.
文摘The main aim of this article is to describe the intersubjective relationship between the observer and the subject depicted in a work of art. More precisely, I am interested in the observer's imagination as it is manifested in this relationship. I argue that every act of empathy involves the imagination, but the act of imagination is never understood as an act of empathy. This article will take a new approach towards the perception of a work of art and challenges the traditional notion of empathy as "looking into," "looking in," or "seeing-in." I describe the experience of empathy as a lived experience, where I understand it as a type of intentional act that is distinct from imagination; meanwhile, I show that the imagination plays a role in the empathetic experience of the work of art. How? I understand this situation as one that brings the observer into a new reality, an intersubjective mode of being where she finds a better understanding of her own (as an observer) inner world. I wish to argue that empathy gives a new dimension to experience, where being "here" becomes being "there." Empathy is in fact a special form of meeting the Other. In the case of a work of art, we do not meet the Other as a person who lives their daily life like everyone else; instead we have an independent empathetic experience of the world, taking place within the work of art, in relation to the depicted subject. The nature of empathy is that it enables the observer to enter the deepest intimacy of the work of art and dwell inside it. This depends solely on the observer on how open they are to this world and how much it coincides with the observer's will, as she always retains limitless freedom when interpreting a work of art.
文摘In recent years, graffiti has ascended to the ranks of modem new art from public action of street and has derived modem graffiti culture. With the development of graffiti art and the improvement of people's aesthetic idea, graffiti has penetrated into various aspects of people's life and has been closely integrated with people's life in many fields. Fashion design is one of the forms which have the closest relation with modem graffiti. Many famous brands have increased their own vitality and fashion sense of costume through graffiti. In modem fashion design, graffiti has special aesthetic value and personality characteristics, bringing about huge commercial opportunities to merchants. Its personality expression in fashion design involves factors in multi-aspects. This paper makes an in-depth analysis of this problem in simple terms, which is of positive significance to the combination of graffiti and fashion design.
文摘In the creation works of European musicians in late nineteenth Century, it has more profound philosophical and ethical foundation, and its production and development has a profound reflection of music art on social life, but it is also a response to contemporary European romanticism non-rationalism ethics.
文摘Terms of sustainable and sustainability have been employed in various sectors and fields since around 1990. To make a society sustainable needs to find ways of having sustainable local activities. The ways may be to find and revitalize local resources, or to support new life styles by accepting outsider's new ideas. I see those ways often taken from a perspective that the ways require a structure or institutional organization. To explore in-between ways, it would be better to have an alternative perspective and useful to learn from Southeast Asian cases of managing diversity while accepting new ways (cf. Reid, 2015). In this essay, I focus on a sustainable craft making of a men's hat kopiah meuketob in Aceh, Sumatra, which is traditional item for marriage but has been used in various imaginative ways and has been shaping a regional "craft-scape." I examine such ways and various facets of making the hat and conclude that a lesson from the case for making things sustainable is equal and flexible ways of participating in production processes.
文摘Chinese traditional architectural paintings are more drawn to the interior and exterior painting walls, canopies, beams, Fang, stigma, brackets and interior ceilings, caisson, the architectural art of building components were processed and formed their rich colors, making the Chinese ancient architecture even more magnificent. It has two kinds of practical effects, one is to decorate building, and the second is to protect the individual masonry wood components and parts them from wind and rain erosion. In other words, functional and aesthetic painting set in one. Most Chinese ancient buildings are wooden structures, for aesthetics and durability wooden structural parts, are generally required to cover color to paint the cover, so the Chinese ancient buildings, whether internal walls, ceiling, doors, windows, roofs, etc. are painted with colors, sculpturing patterns and patterns to enhance the expressive power of art architecture, it can be said that the ancient Chinese architecture buildings are colorized architecture. From afar to go, the overall color of ancient Chinese architecture makes people' s hearts worship must be generated by the primary function of psychological respected. Ancient architectural decoration can be summarized into three categories: gold, color ornaments and carvings, color ornaments which include brush color decoration ornaments, painting and murals are as one of the three categories, the color was given such a high mission in the world, yet there are no countries can be comparable with it, the reason is not just the appearance of color can achieve architectural beauty, but also to show people' s color sustenance and beliefs in a certain extent. Ancient architectural sculpture was created by people in the production practice activities, and it is a product of the interaction between material and spiritual civilization and has a very high social value and artistic value. It carries historical and cultural information, expresses people' s spiritual and cultural pursuits and beliefs and through different art forms, reflects the beauty of different materials, expresses a different artistic content.
文摘Becoming a tea art practitioner, or charen (茶人), involves cultivation of body and mind. This paper attempts to document the long-term process of bodily and mindful cultivation from an anthropological, participant-observation, and self-reflective point of view. I will describe my experiences from entering the world of Taiwan Residents tea art through learning the great variety of teas and the techniques for making them, designing my own tea sets, and performing in tea gatherings. This learning process has gone well beyond what is required of a researcher, or a good observer, because it has not only allowed me to understand, interpret, and analyze the aesthetics and ritual of Taiwan Residents tea art but it has also required that I "designs" or be creative in presenting Taiwan Residents tea art to my own cultural members. This substantially changes my status from the objective observer my profession requires, to a dedicated performer and even a designer/creator of my own culture. My self-reflexivity in this process points to not only methodological issues but also theoretical ones, including recent academic interest in materiality, cultural performance, lifestyle, bodily discipline, and the senses. Through self-reflection, I intends to reveal connections among them.