From Chemical Topology to Three-Dimensional Geometry. Edited by Alexandru T. Balaban. Plenum Press:  New York. 1997. xvii + 420 pp. $125.00. ISBN 0-306-45462-9.

1997 ◽  
Vol 37 (6) ◽  
pp. 1204-1204
Author(s):  
Gordon G. Cash
1982 ◽  
Vol 14 (3) ◽  
pp. 33-39
Author(s):  
C Y Kuo

An existing, three-dimensional, Eulerian-Lagrangian finite-difference model was modified and used to examine the far-field transport processes of dumped sewage sludge in the New York Bight. Both in situ and laboratory data were utilized in an attempt to approximate model inputs such as mean current speed, vertical and horizontal diffusion coefficients, particle size distributions, and specific gravities. Concentrations of the sludge near the sea surface predicted from the computer model were compared qualitatively with those remotely sensed.


2021 ◽  
Author(s):  
Robert M. Peck ◽  
Stephen M. Rowland

ABSTRACT Benjamin Waterhouse Hawkins (1807–1894) was a British scientific illustrator and sculptor who illustrated many British exploration reports in the 1830s and 1840s. In the early 1850s, Hawkins was commissioned to create life-size, concrete sculptures of Iguanodon, ichthyosaurs, and other extinct animals for a permanent exhibition in south London. They were the first large sculptures of extinct vertebrates ever made, and they are still on view today. Inspired by his success in England, Hawkins launched a lecture tour and working trip to North America in 1868. Soon after his arrival, he was commissioned to “undertake the resuscitation of a group of animals of the former periods of the American continent” for public display in New York City. Had it been built, this would have been the first paleontological museum in the world. As part of this ambitious project, with the assistance of the American paleontologist Joseph Leidy, Hawkins cast the bones of a recently discovered Hadrosaurus specimen and used them to construct the first articulated dinosaur skeleton ever put on display in a museum. It was unveiled at the Academy of Natural Sciences of Philadelphia in November 1868. Hawkins worked tirelessly on New York’s proposed “Paleozoic Museum” for two years, until his funding was cut by William “Boss” Tweed, the corrupt leader of the Tammany Hall political machine, who grew hostile to the project and abolished the Central Park Commission that had made it possible. When Hawkins defiantly continued to work, without funding, Tweed dispatched a gang of thugs to break into his studio and smash all of the sculptures and molds. Although Hawkins would create several copies of his articulated Hadrosaurus skeleton for other institutions, the prospect of building a grand museum of paleontology in America was forever destroyed by Tweed’s actions.


Author(s):  
Danielle Child

Michael Fried is an American art critic, literary critic and art historian. Fried is most well-known for his art criticism, which contributed to the debates on modernist painting and sculpture that were played out in the pages of American art journals, such as Artforum, during the 1960s. In 1958, while studying English as an undergraduate at Princeton University, Fried met Clement Greenberg, whose theories on modernist painting influenced Fried’s subsequent writings and art criticism. He later studied under Richard Wollheim while at Oxford University. The formalist influence of Greenberg’s art criticism is prevalent in Fried’s two canonical texts on modernist art: "Three American Painters: Kenneth Noland, Jules Olitski, Frank Stella" (1965), the catalogue essay for an exhibition curated by Fried at Harvard’s Fogg Art Museum; and "Art and Objecthood" (1967). The former focuses upon three second-generation New York School painters, considered to be "high modernist." The latter is a defense of modernist painting against a new form of three-dimensional work that he terms "literal," now known as minimalist, sculpture. The argument initiated in these two essays formed a key moment in the debates that defined late-20th-century modernist art history. In the late 1960s Fried moved away from writing art criticism, focusing instead on modernist art in the 19th and early-20th centuries. He recently returned to contemporary art with his text Why Photography Matters as Art as Never Before.


2019 ◽  
Vol 35 (2) ◽  
pp. 187-195 ◽  
Author(s):  
G F Bauer ◽  
M Roy ◽  
P Bakibinga ◽  
P Contu ◽  
S Downe ◽  
...  

Abstract Aaron Antonovsky advanced the concept of salutogenesis almost four decades ago (Antonovsky, Health, Stress and Coping. Jossey-Bass, San Francisco, CA, 1979; Unravelling the Mystery of Health. Jossey-Bass, San Francisco, CA, 1987). Salutogenesis posits that life experiences shape the sense of coherence (SOC) that helps to mobilize resources to cope with stressors and manage tension successfully (determining one’s movement on the health Ease/Dis-ease continuum). Antonovsky considered the three-dimensional SOC (i.e. comprehensibility, manageability, meaningfulness) as the key answer to his question about the origin of health. The field of health promotion has adopted the concept of salutogenesis as reflected in the international Handbook of Salutogenesis (Mittelmark et al., The Handbook of Salutogenesis. Springer, New York, 2016). However, health promotion mostly builds on the more vague, general salutogenic orientation that implies the need to foster resources and capacities to promote health and wellbeing. To strengthen the knowledge base of salutogenesis, the Global Working Group on Salutogenesis (GWG-Sal) of the International Union of Health Promotion and Education produced the Handbook of Salutogenesis. During the creation of the handbook and the regular meetings of the GWG-Sal, the working group identified four key conceptual issues to be advanced: (i) the overall salutogenic model of health; (ii) the SOC concept; (iii) the design of salutogenic interventions and change processes in complex systems; (iv) the application of salutogenesis beyond health sector. For each of these areas, we first highlight Antonovsky’s original contribution and then present suggestions for future development. These ideas will help guide GWG-Sal’s work to strengthen salutogenesis as a theory base for health promotion.


2009 ◽  
Vol 4 (1) ◽  
Author(s):  
K. Ramalingam ◽  
J. Fillos ◽  
S. Xanthos ◽  
M. Gong ◽  
A. Deur ◽  
...  

New York City provides secondary treatment to approximately 78.6 m3/s among its 14 water pollution control plants (WPCPs). The process of choice has been step-feed activated sludge. Changes to the permit limits require nitrogen removal in WPCPs discharging into the Long Island Sound. The City has selected step feed biological nitrogen removal (BNR) process to upgrade the affected plants. Step feed BNR requires increasing the concentration of mixed liquors, (MLSS), which stresses the Gould II type rectangular final settling tanks (FSTs). To assess performance and evaluate alternatives to improve efficiency of the FSTs at the higher loads, New York City Department of Environmental Protection (NYCDEP) and City College of New York (CCNY) have developed a three-dimensional computer model depicting the actual structural configuration of the tanks and the current and proposed hydraulic and solids loading rates. Using Computational Fluid Dynamics (CFD) Model, Fluent 6.3.26TM as the base platform, sub-models of the SS settling characteristics as well as turbulence, flocculation, etc. were incorporated. This was supplemented by field and bench scale experiments to quantify the co-efficients integral to the sub-models. As a result, a three-dimensional model has been developed that is being used to consider different baffle arrangements, sludge withdrawal mechanisms and loading alternatives to the FSTs.


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