On Analytic Multivalent Function Associated with Cosine Hyperbolic Function

In this article, we set up some adequate conditions for analytic functions associated with cosine hyperbolic function. We determine conditions on α such that 1+α (ϰ^(2+P(j-1) ) g^' (ϰ))/(Pg^j (ϰ)),for each j=0,1,2,3 are subordinated by Janowski function, then (g(ϰ))/ϰ^P <cosℏ⁡(ϰ),(ϰ∈C). By choosing specific values of functions g we get some adequate conditions for multivalent starlike function related with cosine hyperbolic.

The q-difference operator associated with the multivalent function bounded by conical sections

In this paper we obtain some inclusion relations of k - starlike functions, k - uniformly convex functions and quasi-convex functions. Furthermore, we obtain coe¢ cient bounds for some subclasses of fractional q-derivative multivalent functions together with generalized Ruscheweyh derivative.

Some sufficient conditions for certain class of meromorphic multivalent functions involving Cho-Kwon-Srivastava operator

Making use of a meromorphic analogue of the Cho-Kwon-Srivastava operator for normalized analytic functions, we introduce below a new class of meromorphic multivalent function in the punctured unit disk and obtain certain sufficient conditions for functions to belong to this class. Some consequences of the main result are also mentioned.

Certain subclasses of meromorphic p-valent functions involving the El-Ashwah operator

In this paper, we introduce and investigate some inclusion theorems, convolution theorems and class preserving transforms for subclasses of the meromorphic multivalent function associated with the El-Ashwah operator. Some interesting corollaries and consequences of the main results are pointed out.

Artists Design Exhibitions: Introduction

In the first half of the twentieth century, exhibition design served a central and multivalent function: As spaces of the public sphere, exhibitions offered sites for aesthetic experimentation, for the confrontation with new technologies, and for the dissemination of propaganda materials. Rather than elaborating a medium per se, artists who turned to exhibition design sought tactical, site-specific—even project-specific—interventions in the pressing questions of their present, and they did so by positioning their work within the terms, materials, and technologies then active. One need only consider the approaches articulated in such diverse texts as El Lissitzky's 1926 manifesto-like “Exhibition Rooms” or Herbert Bayer's 1937 treatise “Fundamentals of Exhibition Design” to appreciate the privileged role and cultural currency of this formal strategy through the middle of the century.