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How do age and the acquisition of independent walking relate to changes in infants' everyday experiences? We used a novel ecological momentary assessment (EMA) method to gather caregiver reports of infants' restraint, body position, and object holding via text messages sparsely sampled across multiple days of home life at 10, 11, 12, and 13 months of age. Using data from over 4,000 EMA samples from N = 62 infants recruited from across the United States and sampled longitudinally, we measured changes in the base rates of different activities in daily life. With age, infants spent more time unrestrained. With the onset of walking, infants spent less time sitting and prone and more time upright. Although rates of object holding did not change with age or walking ability, we found that infants who can walk hold objects more often in an upright position compared with nonwalkers. We discuss how accurately measuring changes in lived experiences serves to constrain theories about developmental mechanisms. (PsycInfo Database Record (c) 2024 APA, all rights reserved).

Humans adopt non-linguistic signals, from smoke signals to Morse code, to communicate. This communicative flexibility emerges early: embedding novel sine-wave tones in a social, communicative exchange permits 6-month-olds to imbue them with communicative status, and to use them in subsequent learning. Here, to specify the mechanism(s) that undergird this capacity, we introduced infants to a novel signal—sine-wave tone sequences—in brief videotaped vignettes with non-human agents, systematically manipulating the socio-communicative cues in each vignette. Next, we asked whether infants interpreted new tone sequences as communicative in a fundamental cognitive task: object categorization. Infants successfully interpreted tones as communicative if they were produced in dialogues with one agent speaking (Study 1) or both agents producing tones (Study 2), or in monologues involving only a single agent (Study 3). What was essential was cross-modal temporal synchrony between an agent's movements and the tones: when this synchrony was disrupted (Study 4), infants failed in the subsequent task. This synchrony, we propose, licensed an inference that the tones, generated by an agent, were candidate communicative signals. Infants' early capacity to use synchrony to identify new communicative signals and recruit them in subsequent learning has implications for theory and for interventions to support infants facing communicative challenges. [ABSTRACT FROM AUTHOR]

Abstract Humans adopt non-linguistic signals, from smoke signals to Morse code, to communicate. This communicative flexibility emerges early: embedding novel sine-wave tones in a social, communicative exchange permits 6-month-olds to imbue them with communicative status, and to use them in subsequent learning. Here, to specify the mechanism(s) that undergird this capacity, we introduced infants to a novel signal—sine-wave tone sequences—in brief videotaped vignettes with non-human agents, systematically manipulating the socio-communicative cues in each vignette. Next, we asked whether infants interpreted new tone sequences as communicative in a fundamental cognitive task: object categorization. Infants successfully interpreted tones as communicative if they were produced in dialogues with one agent speaking (Study 1) or both agents producing tones (Study 2), or in monologues involving only a single agent (Study 3). What was essential was cross-modal temporal synchrony between an agent’s movements and the tones: when this synchrony was disrupted (Study 4), infants failed in the subsequent task. This synchrony, we propose, licensed an inference that the tones, generated by an agent, were candidate communicative signals. Infants’ early capacity to use synchrony to identify new communicative signals and recruit them in subsequent learning has implications for theory and for interventions to support infants facing communicative challenges.

This paper combines insights drawn from the fields of routine dynamics (RD) and science and technology studies (STS) to analyse the enactment of objects in an emerging organizational routine. I zoom in on a specific case that was part of a two-year ethnographic study shadowing a literacy coach, who facilitates professional development regarding literacy in school. Using the concept of ‘fluid technologies’, developed by STS scholars Marianne de Laet and Annemarie Mol (2000), enables me to analyse objects, such as a folder, PowerPoints, and models, to see how a routine develops and varies over time and place while remaining recognizable (Feldman et al. 2021a). The emerging routine renders visible various practices and patterns, although similarities come in varying shades, gradients, and mixtures. The literacy coach’s facilitating role is of great importance, enacting objects and guiding the flows and processes of objects in the emerging routine. The article adds to the existing research literature on routine dynamics, highlighting the relevance of theories of fluid technologies when studying objects in emerging organizational routines. Furthermore, conceptualizing momentarily stabilization as routines is significant to the STS field to understand more on work and organization.

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Copyright of Historia y Memoria de la Educación is the property of Historia y Memoria de la Educacion and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Drawing on our recent collaborative experience in teaching an intermediate-level museum studies course in Fall 2023, this reflective essay aims to demonstrate how faculty and librarians can employ object-centered research to guide students in their exploring and understanding of the extractive practices associated with imperialism and colonialism that have shaped museum and library collections. We specifically focus on the research and curatorial practices that culminated in an end-of-semester exhibit, showcased in both physical and digital formats. Through this exhibit, our student-curators brought to light the process of removing artifacts from their original material and political contexts and their subsequent integration into our collections. Moreover, they critically examined how classification and organization practices and, in certain instances, digitization processes in libraries, can either continue to veil or reveal the history of violence.

The abolition of slavery in the French colonies generates a new flow of migration from Asia. Several Indian migrants reach the coasts of the Antilles as contract laborers in the sugarcane fields. In the archipelago they suffer from the violence of European settlers who, through the imposition of Christian worship and the destruction of traditional elements of Indian culture, undertake a process of annihilating a centuries-old identity. However, the population manages to resist, reinventing itself, through the confluence of syncretistic elements.

In this article, a standalone executable software molVisual3D, for 3D visualization of molecules was developed. It uses the XYZ file of a molecule to generate its 3D graphics. Some parameters can be specified by the user. In the generated 3D graphics window, the user can right- or left-click mouse to zoom in or zoom out the 3D graphics, or mouse-drag the graphics to rotate the 3D graphics, or slide scrollbar to vertically or horizontally translate the 3D graphics. The 3D graphics can be saved into an image file (in BMP format). Both molVisual3D and demonstration data files were given.

Copyright of Diálogo com a Economia Criativa is the property of Dialogo com a Economia Criativa and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Shadows, as all other objects that surround us, are incorporated into the body and extend the body mediating perceptual information. The current study investigates the hypothesis according to which the perception of object shadows would predict the perception of body shadows. 38 participants (19 males and 19 females) aged 23 years on average were immersed into a virtual reality environment and instructed to perceive and indicate the coincidence or non coincidence between the movement of a ball shadow with regard to ball movement on the one hand, and between their body shadow and their body position in space on the other. Their brain activity was recording via a 32-channel EEG system, in which beta (13.5-30 Hz) oscillations were analyzed. A series of Multiple Regression Analysis (MRA) revealed that the beta dynamic oscillations patterns of the bilateral occipito-parieto-frontal pathway associated with the perception of ball shadow appeared to be a significant predictor of the increase in beta oscillations across frontal areas related to the body shadow perception and the decrease in beta oscillations across frontal areas connected to the decision making of the body shadow. Taken together, the findings suggest that inferential thinking ability relative to body shadow would be reliably predicted from object shadows and that the bilateral beta oscillatory modulations would be indicative of the formation of predictive neural frontal assemblies, which encode and infer body shadow neural representation, that is, a substitution of the physical body. [ABSTRACT FROM AUTHOR]

The 2009 policy of the Indonesian football league management, mandating that football clubs competing in the 2009-2010 Indonesian Super League must be legal entities, resulted in the transformation of several clubs that maintained amateur status. Amateur associations, funded through the regional budget regulated by the Ministry of Home Affairs Regulation No. 13 of 2006, revised to Ministry of Home Affairs Regulation No. 59 of 2007, underwent this transition. One notable example of an amateur association evolving into a professional club is Persib Bandung, which established a legal entity in the form of a Limited Liability Company (PT) known as PT Persib Bandung Bermartabat (PT PBB). A professional measure taken by PT PBB involved entering into contracts with individual players. One clause stipulated in these contracts pertained to image rights, the management of which was held by PT PBB, with players entitled to royalties for the use of their image rights. This research examines and analyzes image rights from the perspective of Intellectual Property Rights as a component of property law within the civil law concept. The study utilizes a qualitative analysis with a normative legal approach. The research concludes that the image rights referred to in the contracts of Persib Bandung players constitute objects eligible for the protection of intellectual property rights, specifically copyright and trademark rights.

Background: In this study, objects are used as a representation of relational wellbeing to help young refugees living in Norway, Scotland, and Finland to talk about important persons who make them feel well. At the time of this research, there is no known study that uses objects to facilitate narratives of how young refugees and members of their social networks generate relational wellbeing. Methods: Using a qualitative approach, young refugees participated in individual interviews about the objects they brought to art workshops to understand their experiences, feelings, and acts of wellbeing. Results: Treating each object as unique to the owner was powerful in revealing how relational wellbeing is experienced and expressed. There were overlaps in experiences and expressions of wellbeing, hence our themes of discussion: overlaps between old and new social ties; between time and space; and between the three constructs of relational wellbeing. Old ties were not forgotten; instead, they evolved to a different form, supporting young refugees from a distance, while new ties contributed to what is needed in their present and at their current age. Experiences of relational wellbeing transcended time and space between their disrupted places of origin, their experiences on the journey, and settling in their new countries. The constructs of relational wellbeing—feeling good, being connected, and having enough—were inseparable in the participants' experiences. Conclusions: We conclude that these overlaps have implications for a relational wellbeing approach in theory and practice. The results leave a challenge for both researchers and practitioners to develop complex research and intervention methods that can capture these tapestries of young refugees' experiences of relational wellbeing. [ABSTRACT FROM AUTHOR]

Framed within the phenomenological turn that literary studies have experienced through the last few decades, this article analyses Oliver Sacks’ narrative of the life course in Uncle Tungsten (2001) and Gratitude (2015) as about the very act of embodied perception from an object-oriented perspective. Sacks presents himself as what French philosopher Maurice Merleau-Ponty depicted as a «phenomenal body», a sentient body playing an active and intentional role ‒ in the phenomenological sense of being directed toward something ‒ in his/her relation to and perception of the self, nature, and the other. This study reads Sacks’ narrative as an outstanding literary illustration of Gilbert G. Germain’s presentation of Merleau-Ponty’s phenomenology of perception as a return journey to a world permeated by an affective, lyrical, and enigmatic understanding of science where the embodied perception of natural objects is central to the recognition of the self and what surrounds it. [ABSTRACT FROM AUTHOR]

The article examines the issue of the specifics of the protection of property rights, the specifics of their application to objects. Article 13 of the Constitution of Ukraine declares that the fundamental principle of in the field of protection of property rights there is a provision that the state provides equal protection of all subjects of property rights. In recent years, the question of protection of property rights has gained important theoretical and practical importance. The analysis of modern judicial practice shows that there is no unified position of judicial bodies on the resolution of disputes related to the violation of property rights. Courts of general jurisdiction and commercial courts, when considering disputes related to the protection of violated rights, ambiguously apply the norms of current legislation, therefore, the uncertainty of judicial authorities in the matter of the uniform application of the provisions of civil law to disputes of this category leads to the violation of the constitutional righ ts of owners. It is emphasized that the protection of property rights is a complex of civil legal means, which are aimed, on the one hand, at ensuring the normal economic use of property and maintaining property rights in an intact state, and, on the other hand, at restoring violated property relations, overcoming obstacles to their normal functioning and compensation for dama ges caused to the owner. As a conclusion, it is said that the protection of property rights acts as an independent subjective right that arises at the moment when there is a threat of its violation or dispute. This right includes powers, each of which involves the active implementation of positive ac tions. In the field of legal relations related to the protection of property rights, the objects of protection are directly the rights to certain objects. It is these rights that can be violated by other persons, and it is for their protection that the civil law provides for various means that a person can use to protect his violated or disputed rights, which are subject to protection by the law of interests. Subjects of legal relations related to the protection of property rights are, on the one hand, persons who have property rights to a specific object, and persons who retain property in accordance with relevant contracts or laws, and who, accordingly to legal norms, have the right to demand protection of their violated subjective rights. On the other hand, these are persons whose actions led to the unlawful violation of subjective rights to property objects. [ABSTRACT FROM AUTHOR]

Copyright of Confluenze. Rivista di Studi Iberoamericani is the property of Universita di Bologna, Dipartimento di Lingue, Letterature e Culture Moderne and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article offers an examination of biographical and literary approaches to rereading and rewriting the Brontës, particularly the way in which the figures of Charlotte Brontë and Jane Eyre rematerialise in contemporary fiction. It considers the way that this presence is figured through the material legacy of the Brontës, focusing on two recent works - Catherine Lowell's The Madwoman Upstairs (2016) and Deborah Lutz's The Brontë Cabinet: Three Lives in Nine Objects (2015). In Lowell's novel, Brontë relics represent an association with death and loss, the material object emptied out and carrying the aura of emptiness and grief. Conversely, in her biography, Lutz uses the same objects to summon a lived sense of the Brontës. The two texts, one non-fiction, the other a novel, are characterised by a fascination with the lives and works of the Brontës and an interplay between fanfiction and literary criticism relating to the context of their writing and biographies. Both books summon the ghosts of the Brontës through depiction of the sisters' possessions and their writing, as well as acts of writing in Jane Eyre (1847), in order to explore the individual stories the objects tell as well as the ones they conceal. [ABSTRACT FROM AUTHOR]

Copyright of Trabajos y Comunicaciones is the property of Universidad Nacional de La Plata and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Framed within the phenomenological turn that literary studies have experienced through the last few decades, this article analyses Oliver Sacks’ narrative of the life course in Uncle Tungsten (2001) and Gratitude (2015) as about the very act of embodied perception from an object-oriented perspective. Sacks presents himself as what French philosopher Maurice Merleau-Ponty depicted as a «phenomenal body», a sentient body playing an active and intentional role ‒ in the phenomenological sense of being directed toward something ‒ in his/her relation to and perception of the self, nature, and the other. Sacks’ narrative will be analysed in light of four central concepts in Merleau-Ponty’s phenomenology of perception: perspective, enigma, chiasma, and flesh. This study reads Sacks’ narrative as an outstanding literary illustration of Gilbert G. Germain’s presentation of Merleau-Ponty’s phenomenology of perception as a return journey to a world permeated by an affective, lyrical, and enigmatic understanding of science where the embodied perception of natural objects is central to the recognition of the self and what surrounds it.

Shadows, as all other objects that surround us, are incorporated into the body and extend the body mediating perceptual information. The current study investigates the hypothesis according to which the perception of object shadows would predict the perception of body shadows. 38 participants (19 males and 19 females) aged 23 years on average were immersed into a virtual reality environment and instructed to perceive and indicate the coincidence or non coincidence between the movement of a ball shadow with regard to ball movement on the one hand, and between their body shadow and their body position in space on the other. Their brain activity was recording via a 32-channel EEG system, in which beta (13.5–30 Hz) oscillations were analyzed. A series of Multiple Regression Analysis (MRA) revealed that the beta dynamic oscillations patterns of the bilateral occipito-parieto-frontal pathway associated with the perception of ball shadow appeared to be a significant predictor of the increase in beta oscillations across frontal areas related to the body shadow perception and the decrease in beta oscillations across frontal areas connected to the decision making of the body shadow. Taken together, the findings suggest that inferential thinking ability relative to body shadow would be reliably predicted from object shadows and that the bilateral beta oscillatory modulations would be indicative of the formation of predictive neural frontal assemblies, which encode and infer body shadow neural representation, that is, a substitution of the physical body.

Internet of things (IoT) is the concept of data transmission network between physical objects ("things"), equipped with built-in tools and technologies for interaction with each other or with the environment. The work is devoted to the inspection and analysis of sensors, how the IoT systems are associated with environmental objects. IOT uses a wide class of measurement tools, from elementary sensors (eg, temperature, pressure, light), consumption metering devices (such as intellectual meters) to complex integrated measuring systems. The parameters of 30 types of sensors for IoT are given, 2 of them of the type of temperature and humidity sensors, 2 type of pressure sensors, 13 sensors that measure the flow and amount of gas or liquid, 2 type of accelerometers, 10 approach and movement sensors and 1 noise sensor. Among them are 4 sensors for wireless sensory networks (WSM), a single-time medical sensor for internal blood pressure measurement, calorimetric, vortex and electromagnetic flow sensors and gas or fluid, accelerometer, and memes of memes, and e-memometers, and electromagnetic measurement motion, a device of measuring noise level in the range of sound vibrations. For some sensors, there are no metrological characteristics at all, at best there is only a range of measurements and resolution. The resolution ranges from 8 bits to 16 bits with a signal sampling rate from 0.5 Hz to 48 kHz. There is even a LDC1612 digital induction chip with 28 bits. WSM sensors are designed to work with DigiMesh, LoraWan and Arduino, Raspberry. Many sensors use outdated RS 232, RS 432, I2C.

An integrative Java software, visual3D 1.0, for 3D visualization of objects and chemical molecules was developed in present study. The software uses a XYZ or OBJ file to generate the 3D graphics represented by the file. Various parameters can be specified by users. In the generated 3D graphics window, users may rightor left-click mouse to zoom in or zoom out the 3D graphics, or mouse-drag the graphics to rotate the 3D graphics, or slide scrollbar to vertically or horizontally translate the 3D graphics. The 3D graphics can be saved as an image file (in PNG, JPG, or other formats) at its current appearance. Both visual3D 1.0 and demonstration data files were given.

This article’s assumption is that ordinary aesthetics does not necessarily imply a distancing from art and artists; rather, it can benefit from the input of creators when they use everyday scenes or objects as their theme. This approach focuses on the practice of twentieth-century Italian painter Giorgio Morandi, who depicted compositions of common objects such as bottles, jars, and vases. Through Morandi’s meditative and artistic search, these objects are given value and aesthetic elevation in his paintings. Thomas Leddy’s aesthetics of everyday life will also be called upon in my analysis, insofar as the author recognizes a continuity between the ordinary and the extraordinary, through auratic experiences. If Morandi discovers the extraordinary in the trivial, this is achieved through a gradual process of selection regarding the objects he favoured, which allows for the interaction of various levels of aesthetic intensity. Morandi’s objects and models and their preparation suggest a circulation between aesthetic degrees that, in turn, suggests a timeless “language of things” fixed through the discourse of the paintings. Along these lines, it will be necessary to address the enchantment related to common things, a mesmerizing presence of which we became more aware through Morandi compositions.

Beginning with a dream encounter with the tubuan, an ancestral spirit in Papua New Guinea, this article questions conventional anthropological framings that posit a sharp distinction between Western humanist ontologies and non-Western or indigenous ontologies. The article argues that non-human entities essential for human existence come in and out of being across stereotypical cultural divides and that the creation and acknowledgment of non-human agents is as essential for capitalist modernity as it is for any other form of human existence. Non-human "Objects" as diverse as tubuans and corporations are essential for the construction of human subjectivity as much as they are its outcome. The perspectival construction of such different kinds of object is a process by which humans continuously refashion themselves into different kinds of Subjects. [ABSTRACT FROM AUTHOR]

This article attempts to problematize objects in the context of changing social reality. An object is considered within the framework of the work, among other objects, as something with extension (i.e., the property of occupying a certain place in space), impenetrability, and the ability to resist external influences, which brings us to the possibility of considering an object as a subject. The problems of interaction between objects and social agents in modern society are considered. The phenomenological approach and the theory of social constructivism were chosen as the methodological basis, putting forward a thesis. The authors pay special attention to the study of the influence of the transformation of material elements on the characteristics of social space through social interaction. The authors analyze the process of adapting the operational potential of an object in the context of a game. The influence of objects on the social environment and interaction with agents is considered. The role of objects in communication and their social significance is determined. The authors define objects through three aspects: activity, discursive and spatial levels. The main focus is on studying the influence of objects on social interactions and their symbolic structures. It is argued that objects determine the boundaries of a social act and influence the process of socialization, and also gives examples of their regulatory impact on communication. The work also examines the symbolic content of objects and their influence on the nature of interaction. [ABSTRACT FROM AUTHOR]

This article reflects on material objects and the practice of collecting as literary subject linked to the themes of memory and past in contemporary Turkish fiction. The analysis focuses mainly on Orhan Pamuk’s The Museum of Innocence considering the objects exhibited both in the novel and the museum as narrative texts of subjective and collective memories. In order to better understand Pamuk’s works we will preliminarily reconstruct the intertextual chain that preceded such a specific approach to material culture, having particular reference to Ahmet Hamdi Tanpınar’s first novel Mahur Beste. By comparing both the authors’ poetics of objects we aim at highlighting the intimate reasons which made this subject a peculiar topos in modern Turkish literary tradition. [ABSTRACT FROM AUTHOR]

This paper presents an overview of the main semiotic issues surrounding the representation of the inside of the sacred body in Christian-Catholic material culture and art, in particular sculpture. The study of a wide range of artworks and devotional objects provides the grounds for applying, and sometimes questioning, well-consolidated semiotic notions such as Greimasian topologic oppositions and leads to an improved understanding of the strategies regulating the visibility of the sacred body in the culture under consideration. In particular, three representative regimes are identified and discussed. The first, obliteration, consists in making the inner level perceivable, but in an abstract way, deprived of figurativity (as in the case of hollow colossuses, concentric statues and dressable statues); the second, ostension, consists in the representation of the inside through strategies based on either iconicity or indexicality (respectively, for instance, in martyrological iconography and in artworks displaying relics); the third, ostentation, consists in a marked form of ostension, either as a textual strategy deliberately stressing traditional and stereotyped religious iconography or perceived as such by the observer based on moral and aesthetic thresholds culturally determined.

Industrial improvements to silver plating through the work of electroplating firms such as Elkington, Mason and Co are an important part of our industrial heritage, bridging art, science and industry to form a significant portion of museum collections. However, the impact of this development of silverplating technology upon photography has not previously been explored. This article details the improvements that electroplated silver brought to the daguerreotype photographic process and to the manufacture of daguerreotype plates in Birmingham, offering a material reappraisal of the inventive qualities of the daguerreotype within a wider narrative of industrial manufacture. Chemists in 1840s Birmingham were developing photographic techniques and silverplating processes at the Birmingham Royal School of Medicine and Surgery, later Queens College on Paradise Street. These scientists – George Shaw (1818–1904) and John Percy (1817–1889) – had detailed, tactile knowledge of the convergent chemistry and processes in both arenas. Developments in the industrial manufacture of silverplate in 1840s Birmingham created significant improvements to the materials used in the daguerreotype photographic process, making photography more viable as a commercial venture. Shaw planned an early portrait studio and worked with early innovators in electroplating techniques the Marrian brothers (Francis (1802–1893) and Benjamin James Pratt Marrian (1811–1891)) using magneto-plate technology developed by another Birmingham industrial entrepreneur John Woolrich (c. 1791–1843). This potential studio did not emerge due to restrictive patenting and licensing restrictions around the practice of daguerreotype photography, yet extant daguerreotypes tell a story of improvements stemming from technical innovation. These daguerreotypes situate industrial Birmingham as a place of innovation and invention and place the daguerreotype photographic process within narratives of industrial improvements and radically inventive manufacturing practices. Key to the analysis presented here is the role of the recreation of historic techniques in historical research and the value of acquiring tactile knowledge of the behaviour of materials during the processes explored. Here practical experiments allowed the author to look beyond the surviving daguerreotypes via material knowledge to the circumstances and social environment of production. This approach revealed new knowledge which offers an alternative reading of the history of objects through their materials.

Industrial improvements to silver plating through the work of electroplating firms such as Elkington, Mason and Co are an important part of our industrial heritage, bridging art, science and industry to form a significant portion of museum collections. However, the impact of this development of silverplating technology upon photography has not previously been explored. This article details the improvements that electroplated silver brought to the daguerreotype photographic process and to the manufacture of daguerreotype plates in Birmingham, offering a material reappraisal of the inventive qualities of the daguerreotype within a wider narrative of industrial manufacture. Chemists in 1840s Birmingham were developing photographic techniques and silverplating processes at the Birmingham Royal School of Medicine and Surgery, later Queens College on Paradise Street. These scientists -- George Shaw (1818-1904) and John Percy (1817-1889) -- had detailed, tactile knowledge of the convergent chemistry and processes in both arenas. Developments in the industrial manufacture of silverplate in 1840s Birmingham created significant improvements to the materials used in the daguerreotype photographic process, making photography more viable as a commercial venture. Shaw planned an early portrait studio and worked with early innovators in electroplating techniques the Marrian brothers (Francis (1802-1893) and Benjamin James Pratt Marrian (1811-1891)) using magneto-plate technology developed by another Birmingham industrial entrepreneur John Woolrich (c. 1791-1843). This potential studio did not emerge due to restrictive patenting and licensing restrictions around the practice of daguerreotype photography, yet extant daguerreotypes tell a story of improvements stemming from technical innovation. These daguerreotypes situate industrial Birmingham as a place of innovation and invention and place the daguerreotype photographic process within narratives of industrial improvements and radically inventive manufacturing practices. Key to the analysis presented here is the role of the recreation of historic techniques in historical research and the value of acquiring tactile knowledge of the behaviour of materials during the processes explored. Here practical experiments allowed the author to look beyond the surviving daguerreotypes via material knowledge to the circumstances and social environment of production. This approach revealed new knowledge which offers an alternative reading of the history of objects through their materials. [ABSTRACT FROM AUTHOR]

Copyright of Uzhhorod National University Herald Series Law is the property of Uzhhorod National University, State Higher Educational Establishment and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista de Arqueologia is the property of Revista de Arqueologia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Experiences during the early years shape our lives as adults, including our appreciation and understanding of science. Even though early years audiences make up a significant number of visitors in many museums, they are an underresearched age group, particularly in science museums. This paper addresses this gap by considering young children's learning at the Science Museum in London. Two approaches to support learning from unfamiliar objects were tested with 4-7 year-olds in family groups. The first approach involved families creating a display that featured a small replica of the original object. The second approach involved displaying familiar objects or modern versions with conversation prompts next to the original objects. The testing included observations and semi-structured interviews with a total of 16 family groups. Findings show that families use play to create familiarity and context around objects. Guided play provides opportunities for families to tap into their existing understanding and interests, and in this way allows families to learn from objects. These findings highlight the importance of providing for and encouraging play on gallery to support young children's learning from objects. Young children can successfully be supported to learn from unfamiliar objects in object-rich galleries in a science museum. [ABSTRACT FROM AUTHOR]

This article is a continuation of an extensive study of the process and results of the regulation of space activities over the period from 1958 to the present, the purpose of which is a deep analysis of international documents adopted over the entire period of space activities. The article is focused on an attempt to answer some controversial or unresolved issues related to the regulation of relations in outer space and on celestial bodies. Thus, for example, there are still many different theories and discussions on the topic: Does space law exist or not, and provided it exists, what documents can be attributed to its sources? Who can be the founder of space law, and to what extent? What can be the subjects and objects of space activities and space law? And, of course, one of the most important issues is the question of the jurisdictions of subjects of space activities and space law. To understand this, it is necessary to return to the origins of the process of regulating space activities, namely, during the period 1958-1963 years, when the technical exploration of outer space and celestial bodies had just begun and the first and most important documents in this area were adopted, namely, the first Resolutions and UN Declaration. Based on the analysis of these documents and the circumstances in which they were created, as well as taking into account the various opinions of scientists and the basic postulates of the theory of law, and even taking into account some philosophical aspects of human nature, this article attempts to define and describe the essence of space law, existing and possible spatial and territorial jurisdictions and also the subject-object composition of participants in space activities. [ABSTRACT FROM AUTHOR]

Stagnation in the development of the process of regulation of relations in outer space and on celestial bodies as well as a large number of gaps and contradictions in this area along with impressive technical progress in the field of space activities and the expansion of its subject composition have led to the need to reconsider existing approaches to regulating such relations. This article is the beginning of an extensive study of the process and results of the regulation of space activities from 1958 to the present day. The purpose of this study is a deep analysis of international documents adopted for the entire period of space activities, as well as an attempt to highlight the basic principles, concepts, models, and rules of space activities. The results of this study will make it possible to understand the issues that remain unresolved and the gaps in the field of space law and also set new tasks for the development of space law and suggest ways to solve them. This article includes a review and analysis of international documents adopted at the first stage of the development of space activities (1958-1963), and also the goals and conditions for their adoption. As a result of this analysis, the article presents a list and description of the tasks that were formed by the international community at this stage along with the difficulties that arose at the stage of their formation and implementation. In addition, a new vision of the concepts that arose at this stage in connection with the need to regulate space activities is proposed. In the future, the results of this analysis will allow us to continue the study of space relationships to determine and describe the essence of the legal systems that regulate or may regulate space activities, as well as to identify (define, classify, and formulate) spatial-territorial jurisdictions and subject-object composition of participants in space activities. [ABSTRACT FROM AUTHOR]

This research investigates the significance of the physical environment in early childhood education and care (ECEC) institutions as a facilitator of deep-level learning. Building upon Laevers' concept of deep-level learning, this study explores the interplay between objects in ECEC settings, children's play, and their deep-level learning. The primary objective is to examine the potential mediating role of play in the relationship between objects and deep-level learning. The research methodology involves the analysis of a sample consisting of 928 two-minute video observations collected from eight ECEC institutions in Norway. The results demonstrate a positive association between children's engagement in play, their utilization of objects, and deep-level learning. The findings suggest that constructive and symbolic play partly mediate the positive relationship between deep-level learning and object utilization. These outcomes highlight the pivotal role of play in early childhood education and emphasize how elements within the physical environment can effectively support children's learning. [ABSTRACT FROM AUTHOR]

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Copyright of Patrimônio e Memória is the property of Centro de Documentacao e Apoio a Pesquisa and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Attentional selection mechanisms in visual cortex involve changes in oscillatory activity in the EEG alpha band (8-12 Hz), with decreased alpha indicating focal cortical enhancement and increased alpha indicating suppression. This has been observed for spatial selective attention and attention to stimulus features such as color versus motion. We investigated whether attention to objects involves similar alpha-mediated changes in focal cortical excitability. In experiment 1, 20 volunteers (8 males; 12 females) were cued (80% predictive) on a trial-by-trial basis to different objects (faces, scenes, or tools). Support vector machine decoding of alpha power patterns revealed that late (>500 ms latency) in the cue-to-target foreperiod, only EEG alpha differed with the to-be-attended object category. In experiment 2, to eliminate the possibility that decoding of the physical features of cues led to our results, 25 participants (9 males; 16 females) performed a similar task where cues were nonpredictive of the object category. Alpha decoding was now only significant in the early (

Drawing is a powerful tool that can be used to convey rich perceptual information about objects in the world. What are the neural mechanisms that enable us to produce a recognizable drawing of an object, and how does this visual production experience influence how this object is represented in the brain? Here we evaluate the hypothesis that producing and recognizing an object recruit a shared neural representation, such that repeatedly drawing the object can enhance its perceptual discriminability in the brain. We scanned human participants (N = 31; 11 male) using fMRI across three phases of a training study: during training, participants repeatedly drew two objects in an alternating sequence on an MR-compatible tablet; before and after training, they viewed these and two other control objects, allowing us to measure the neural representation of each object in visual cortex. We found that: (1) stimulus-evoked representations of objects in visual cortex are recruited during visually cued production of drawings of these objects, even throughout the period when the object cue is no longer present; (2) the object currently being drawn is prioritized in visual cortex during drawing production, while other repeatedly drawn objects are suppressed; and (3) patterns of connectivity between regions in occipital and parietal cortex supported enhanced decoding of the currently drawn object across the training phase, suggesting a potential neural substrate for learning how to transform perceptual representations into representational actions. Together, our study provides novel insight into the functional relationship between visual production and recognition in the brain.SIGNIFICANCE STATEMENT Humans can produce simple line drawings that capture rich information about their perceptual experiences. However, the mechanisms that support this behavior are not well understood. Here we investigate how regions in visual cortex participate in the recognition of an object and the production of a drawing of it. We find that these regions carry diagnostic information about an object in a similar format both during recognition and production, and that practice drawing an object enhances transmission of information about it to downstream regions. Together, our study provides novel insight into the functional relationship between visual production and recognition in the brain.

Humans have been faced with the challenges of pictorialproduction since at least the Paleolithic. Curiously, while thecapacity to navigate layouts and recognize objects in everydaylife comes almost effortlessly, inherited from our evolutionarypast, the capacity to draw layouts and objects is more effortful,often needing time to improve over the course of anindividual’s development and with the technologicalinnovations acquired through culture. The present studyexamines whether young children might nevertheless rely onphylogenetically ancient spatial capacities for navigation andobject recognition when creating uniquely human pictorial art.We apply a novel digital coding technique to a publiclyavailable dataset of young children’s drawings of layouts andobjects to explore children’s use of classic pictorial depth cuesincluding size, position, and overlap. To convey pictorialdepth, children appear to adopt several cues, without apreference among them, younger than had been suggested byprevious studies that used other, less rich, analytic techniques.Moreover, children use more cues to pictorial depth indrawings of layouts versus objects. Children’s creation ofuniquely human pictorial symbols may thus reflect theirheightened use of depth for navigating layouts compared torecognizing objects, both cognitive capacities that humansshare with other animals.

This article explores the way in which the generative capacity of language inflects objects and props in several films by Alfred Hitchcock, focusing in particular on Rope (1948) and Strangers on a Train (1951). Camera angle and framing, the duration of the shot, the close-up or the long shot – all give shape to the filmed object. But why is language – or its absence – not mentioned among the set of operations that determines cinematic objects? In the form of dialogue or imaged writing (words or letters visible in the frame), it notably contextualizes the object in Hitchcock's films. Language in relation to objects can be punning; it can extend the image, evoking another, unimaged object through the use of rhyme, and it may act as a verbal solution to a puzzle. When imaged as writing, language is materialized, itself an object. At their most macabre, Hitchcock films stage an oscillation between a word's literal and figurative use, generating an undertext that extends beyond the joke the film's surface makes available. This discussion teases out several functions of language in Hitchcock films as it impacts the viewer's understanding of objects, moments when language creates undertexts that are clearly intentional but resist interpretation.