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This work presents an analysis of seasonal variations of medium‐scale perturbations (∼500 to ∼5,700 km) spanning altitudes from 90 to 250 km using temperature and wind measurements made by the Michelson Interferometer for Global High‐resolution Thermospheric Imaging (MIGHTI) instrument onboard the Ionospheric Connection Explorer (ICON) in the latitude range of 0°–40°N during 2020–2021. Both medium‐scale perturbations (MSP) in temperature and winds below ∼120 km show semi‐annual variations, whereas annual variations of MSP for winds become dominant between 160 and 250 km. The largest wind MSP was observed at ∼110–120 km throughout the year. Spatial variations of MSP at 90–250 km do not show clear geographic patterns in either temperature or wind. Our analysis suggests both seasonal variations of MSP between 90 and 250 km altitudes are influenced by variation on both the sources of MSP and changes in the background wind. Plain Language Summary: This work presents an analysis of seasonal variations of medium‐scale perturbations (MSP) in the altitude range of 90–250 km using temperature and wind measurements made by the Michelson Interferometer for Global High‐resolution Thermospheric Imaging (MIGHTI) instrument onboard the Ionospheric Connection Explorer (ICON) in the latitude range of 0°–40°N from January 2020 to December 2021. MSP in temperature and winds below ∼120 km show semi‐annual variations with peaks in June‐July and December‐January, whereas annual variations of SSP for winds become dominant above 180 km. Key Points: Medium‐scale perturbations (MSP) are identified in MIGHTI temperature and wind profiles from 90 to 250 km in altitudeMSP show semi‐annual variations below ∼130 km and annual variations above ∼160 kmSeasonal variations of MSP are influenced by background winds and tropospheric sources [ABSTRACT FROM AUTHOR]

The paper presents data related to the conservation problems of the icons whose pictorial layer is covered with metal revetment, as well as their research and conservation methods. The degradation of the icons through the development of biological attacks, the fragility of the painting is a frequent problem of the icons. The cleaning of the revetment ends with the erosion of the painting adjacent to the metal edges and the leakage of the cleaning solutions on the painting. Macro and microscopic observations, with UV, IR, Roentgen radiation provide essential data for dating, characterization of the author's techniques and style, analysis of the state of conservation of the icons. The conservation of the icons covered by revetment requires ensuring a healthy space, with stable microclimate factors, with relative humidity below 55%, as well as carrying out biocidal treatment and painting consolidation when the onset of degradation processes is noticed. [ABSTRACT FROM AUTHOR]

As a counterpoint to rhetorical velocity, this essay proposes rhetorical stillness, the property of texts that are designed to have limited circulation but high audience engagement. Drawing from an analysis of Byzantine iconography, the essay examines how a rhetorical ecology of beliefs and embodied practices can slow down a text's circulation and create space for audiences to have transformative encounters. [ABSTRACT FROM AUTHOR]

The studies on the history of the notion of "personhood" have largely recognized that Christian thought had a central role in the development and significance of this concept throughout the history of Western civilization. In late antiquity, Christianity used some terms taken from the classic and Hellenistic vocabulary in order to express its own theological content. This operation generated a "crisis" of classical language, namely a semantic transformation in the attempt to address some aspects of reality which were not envisioned by the previous usage of these words. The term person is a paradigmatic example of this process. In fact, from the outset, it played a strategic role in formulating the idea of Incarnation, one of the central doctrines of Christianity. This essay aims to show how, during the first centuries of Christianity, the terms commonly used in order to express the notion of "personhood" (prosōpon, hypostasis and persona) became pivotal elements for the formulation of the discourse about the Trinity and progressively acquired new meanings. The analysis focuses only on the initial stage of the elaboration of this concept in Christianity and, based on some of the most significant texts, tries to bring out a series of theoretical problems that may be useful to understand the subsequent debate. In order to do so, the author divides the text in two parts. In the first one, he analyses two features strictly connected to the theological use of the term "persona", which remained central also when this term was later referred to man. These features are individuality and ontological stability, along with the structurally relational status of personhood. In the second part, the author offers more details about the theology of the Cappadocian Fathers, in particular of Basil of Caesarea, and analyses two sectorial languages—mathematical and iconic language—used by Basil in order to describe the intra-trinitarian relationships. [ABSTRACT FROM AUTHOR]

During the geomagnetic storm on 3–6 November 2021, the in‐situ plasma density and the gridded total electron content (TEC) maps registered a persistent presence of the strip‐like bulges (electron density enhancement, also known as the shoulders in previous literatures) at lower‐middle latitudes. The observed strip‐like bulge resided in the Pacific‐America‐Atlantic sector and lasted from 07:00 UT on 4 November to 20:00 UT on 6 November. For the first time, the temporal evolution of the 2‐D strip‐like bulge was recorded by gridded TEC maps, though observations were limited over the North American continents. The TEC maps showed a continuous shrinking of the nightside midlatitude plasma band structure right before the presence of the narrow strip‐like bulge. Simultaneous measurements from the Ionospheric Connection Explorer satellite (ICON) revealed an equatorward turning of the field‐aligned ion transportation driven by the disturbance equatorward neutral winds. However, the enhanced fountain effect at low latitudes was not observed during the entire formation phase of the strip‐like bulge. We propose that the storm‐induced enhanced equatorward thermospheric neutral winds push the plasma equatorward along the field lines, and the plasma band structure was developed into the strip‐like bulge. In addition, the ion composition of both the plasma band structure and the strip‐like bulges are dominated by H+, and the maintenance of the strip‐like bulge could be due to the compensation of the downward plasmaspheric content flux. Key Points: The temporal evolution of the 2‐D strip‐like bulge is recorded on gridded total electron content (TEC) mapsThe strip‐like bulge is a consequence of the narrowing midlatitude band structure driven by the disturbance neutral windThe enhanced equatorial fountain effect is not involved during the formation of the strip‐like bulge [ABSTRACT FROM AUTHOR]

Milorad Pavić's An Inscription in the Sign of the Virgin (1973) has not been the subject of scholarly investigation yet, although this story manifests a peculiar poetics of epiphany which aims to counter Yugoslavian (post-)modernity immanently by using its own hybrid and fragmented strategies and to restore an allegedly lost totality and transcendentality by focusing on a mythological past. The text is structured as a postmodern play with language and literary conventions; but its ontological, phenomenological, linguistic and geopoetic implications carry a conservative character. Every movement the text makes towards fragmentation is followed by an opposite movement towards a restoration of traditional structures. For these reasons, I propose to label this poetics of epiphany as 'retro-(post-)modernism'. In this article, I will focus on the mentioned issues by illustrating these opposite movements with the help of the philosophical concepts of Jean-Luc Marion, Martin Heidegger, Jacques Derrida and Gilles Deleuze and Félix Guattari. [ABSTRACT FROM AUTHOR]

The article focuses on the analysis of autobiographical intentions in Dominik Tatarka’s work Navrávačky. The author’s autobiographical approach is decrypted in the Nietzschean context as the subject’s self-realization strategy based on the principle of fixation and elaboration. The Carpathian shepherd concept, which is a result of the interference between fixation and elaboration principle, is based on the autobiographical semantic concentration and re-direction of the experienced events. However, by activating mythological schemes, it creates an opportunity to transform the author’s pragmatic image into an icon.

Dostoevsky’s philosophy and theology cannot be extracted from his work in the form of explicit statements; instead, they manifest themselves via a complexly structured figurative text; the author’s strategy consists in stepping back in order to implicitly involve the reader in a process of personal discoveries and personal change. This article focuses on philosophical and theological thoughts in Dostoevsky’s works that are associated with the narratives about paintings which the artist paints against the client’s demand to explicitly express their spiritual meaning. This kind of storyline recurs at least twice in Dostoevsky’s works and appears to be highly effective from a philosophical and theological point of view. In the novel The Insulted and the Injured, it demonstrates what happens “on the other side” of the icon, while in The Adolescent, it serves to reveal the images of the spiritual world in their everyday array and to teach the reader to recognize these images not only within the fictional world of the text but also without, in the external world with which she interacts.

The article is devoted to the phenomenon of the so-called “painting icon” in Russia between the 18th and 20th centuries. “Painting icon” is a type of icon painting that uses the artistic means characteristic of painting, primarily light and shade modelling and portraiture. The author analyses specific icons belonging to this direction. A connection is established between the emergence of the “painting icon” and social and cultural changes in Russia that influenced the understanding of the theology of the icon.

Образотворче мистецтво, в широкому його розумінні, так як література, є одним із найпоширеніших способів віддзеркалення і опису подій, що мали місце в історії. Митці різних стилів, за допомогою своїх творів часто висвітлюють події епохи, в якій творять, порушуючи при цьому різного роду проблеми суспільного характеру, що проявляються в їхній сучасності. Війна має вплив на усі аспекти людського життя. Культурна сфера – не виняток. Тема війни, з огляду на її актуальність, дедалі більше простежується у творах сучасних художників різних жанрів. В даній статті представлено та описано праці творців образотворчого мистецтва, котрі у своїх творах представляють тему чи окремі події російсько-української війни. Усі праці, описані в статті, повстали після 24 лютого 2022 року (дата початку повномасштабного вторгнення військ Російської Федерації на територію України). Винятковою особливістю даних творів є те, що у кожному з них в більшій чи меншій мірі представлені елементи, притаманні типово для іконографії чи релігійного мистецтва загалом. Опис саме цього явища є головною метою статті. Більшість з представлених робіт порівняно з відомими творами релігійного мистецтва. У працях, що описані в першій частині статті, представлене явище гармонійного поєднання та модифікації стилів. Праці, представлені у другій частині статті, з огляду на їх контроверсійність, також піддані критичній оцінці з точки зору християнського богослов'я.

Abstract This work presents an analysis of seasonal variations of medium‐scale perturbations (∼500 to ∼5,700 km) spanning altitudes from 90 to 250 km using temperature and wind measurements made by the Michelson Interferometer for Global High‐resolution Thermospheric Imaging (MIGHTI) instrument onboard the Ionospheric Connection Explorer (ICON) in the latitude range of 0°–40°N during 2020–2021. Both medium‐scale perturbations (MSP) in temperature and winds below ∼120 km show semi‐annual variations, whereas annual variations of MSP for winds become dominant between 160 and 250 km. The largest wind MSP was observed at ∼110–120 km throughout the year. Spatial variations of MSP at 90–250 km do not show clear geographic patterns in either temperature or wind. Our analysis suggests both seasonal variations of MSP between 90 and 250 km altitudes are influenced by variation on both the sources of MSP and changes in the background wind.

There are two collections of icons in the Department of Private Collections — the M.I. Chuvanov collection and the T.A. Mavrina collection. Despite the fact that the time of their formation is the 20th century and the subject of the collections is icon, the collections differ significantly: the personalities of the collectors — the old believer and the artist — impacted their collections in full. Mikhail I. Chuvanov was a chairman of the Preobrazhensky congregation of Old Believers, a bibliophile and a palaeographer. The collection includes icons from the middle of the 15th century to the early 20th century. The icons correspond to the canons of the Old Russian icon painting. Tatyana A. Mavrina was a painter, a graphic artist, an illustrator. The collection includes the icons of the 15th – 17th century — the icons of “northern writing”, and the icons of Novgorod and Moscow icon painting. The research includes wonderful samples of icons, which characterize the personalities of the collectors most brightly: M.I. Chuvanov found and saved prayer images for descendants of the icons; T.A. Mavrina with her love to colour collected icons-pictures, icons-tales.

How do Russian Orthodox Christians frame their understanding of semiotic ideologies of worship? That is to say, how do worshippers interpret liturgical language ‘signs’ and how do these interpretations colour their views as to which language is ‘right’ for the Church? There are to be found two semiotic ideologies of worship in Moscow. There are traditionalists for whom the liturgical language is embodied; it becomes the language of God through its vocalisation and enactment. Then, there are those who believe that Church Slavonic is not an indelible part of Russian Orthodox life and that in terms of its semiotic status its relation to the world it represents is an arbitrary one. Those who invoke the former, folk understandings of semiotic praxis perceive the Holy language as an icon or experiential portal that makes the presence of God more presupposable. Conceptions of language and linguistic register vary intra-culturally. Fieldwork showed how different perceptions of form map onto consciousness, raising questions of intentionality as assumptions about who is speaking (God or the priest) are bound up with the form that is used.

The sacred art of Jerzy Nowosielski, an outstanding Polish painter of the second half of the 20th century, is an example of the creative continuation of the Byzantine tradition in Poland, but also an embodiment of the debate with the painting tradition of the East and with the experience of the Church. Both in theory and in painting practice, the artist redefined the concept of the icon, attempting to expand its formula so that it not only spoke of the Kingdom, but also included the image of the earthly, imperfect reality of the pilgrim Church. In his designs of sacred interiors for churches of various Christian denominations, Nowosielski wanted to combine three theological disciplines and their respective ways of representation: Christology, sophiology and angelology. Beside a classical icon, called by the painter a “Christological-Chalcedonian” icon, Nowosielski demanded a “sophiological” icon, bringing into the space of a church an earthly, painful reality, traces of inner struggle and doubt - hence the presence of doloristic motifs in his icons. The “inspired geometry” also became a complement to the holy images; the artist noticed a huge spiritual potential in abstract painting, to which he eventually assigned the role of icon painting. The poetic concept of “subtle bodies” - abstract angels testifying to the reality of the spiritual world - drew from the early Christian theological thought, which argued about the corporeality of spiritual entities, from Byzantine angelology, the tradition of theosophy and occultism, but also from the art of the first avant-garde, especially that from Eastern Europe, which inherited the Orthodox cult of the image. Nowosielski’s bilingualism as a painter - practicing abstraction and figuration in tandem, also within the church - paralleled the liturgical practice of many religious communities using different languages to express different levels of reality: human affairs and divine affairs. The tradition of apophatic theology, proclaiming the truth about the “unrepresentability” of God, was also important in shaping Nowosielski’s ideas. For Nowosielski’s monumental art, the problem of the mutual relationship between painting and architecture proved crucial. The artist based his concept on the decisive domination of painting over architecture and the independence of monumental painting. His goal was the principle of creating a sacred interior as a holistic, comprehensive vision of space which leads the participants of liturgy “out of everyday life” and into a different, transcendent dimension, in which the painter saw the main purpose of sacred art. From his first projects from the 1950s till the end of his artistic practice Nowosielski tried to realize his own dream version of the “ideal church”. In many of his projects he introduced abstraction into the temple, covering the walls, vaults, presbyteries, sometimes even the floors with a network of triangular “subtle bodies”. Forced to compromise, he introduced sacred abstraction into murals, as accompanying geometries, or into stained glass windows. The interiors, comprehensively and meticulously planned, were supposed to create the effect of “passing through”, “rending the veil” - from behind which a new, heavenly reality dawned. In practice, it was not always possible to achieve this intention, but the artist’s aim was to create an impression of visual unity, a sense of “entering the painting”, of being immersed in the element of painting. Painting in space was supposed to unite a broken world, to combine physical and spiritual reality into an integral whole. When designing sacred interiors, Nowosielski used the sanctity of the icon, but also the pure qualities of painting which were to cause a “mystical feeling of God’s reality”. The aim of sacred art understood in such a way turned out to be initiation rather than teaching. In this shift of emphasis Nowosielski saw the only chance for the revival of sacred art, postulating even a shift of the burden of evangelization from verbal teaching to the work of charismatic art.

Contemporary Orthodox church art in Poland is an issue that influences many areas of research. Current research focuses both on the work of individual artists, as well as on new formal solutions used by them, and aimed at enriching the Orthodox tradition. Apart from Jerzy Nowosielski and Adam Stalony-Dobrzański, who contributed to the renaissance of Orthodox church art in Poland, the works of Sotyrys Pantopulos and their correct attribution also deserve more attention. Two sets of icons depicting the Pantocrator and the Virgin Mary painted in 1969 by Pantopulos for the iconostasis designed by Stalony-Dobrzański for the Orthodox Cathedral of the Nativity of the Most Holy Mother of God in Wrocław and the Orthodox Church of the Nativity of the Virgin Mary in Gródek near Białystok are examples of this. For many years their authorship was mainly attributed to Stalony-Dobrzański. Today, both pairs of icons found a secondary location as a result of the reconstruction of an iconostasis (Gródek, 1995) or its dismantling (Wrocław, 2019) – in this case, according to the opinion of the church's custodians, as a structure that does not meet the requirements of the Orthodox liturgy. For that reason art historians have an urgent task to bring the importance of these works to public attention, and ultimately to have them entered into the heritage register. It appears that this is the only chance to preserve this legacy in an unchanged condition.

This research analyze the kinds and functions of the signs found in the movie Spiderman : Far from Home. There are some methods used in writing this research, they are data sources, data collection, data analysis, and presenting the result of the analysis. In this research writer used the movie entitled “Spiderman: Far from Home” as the data source. The writer applied some methods of research those are by watching the movie, taking any signs that found in it, and then it was classified based on their kinds of sign on the collecting the data. In analyzing the data, the writer applied the theory of Chandler in his book entitled Semiotic for Beginners (1931) as the main theory and supported by other theories that are relevant to this topic. The analysis of data was done by explaining all the signs found in the movie based on its kind and function. The result of the research shows that the signs found in the movie Spiderman: Far from Home consist of 3 Icons, 5 Indexes and 8 Symbols. In the Icon there are, 3 Ideational Metafunctions. In the Index there are, 4 Ideational Metafunctions and 1 Interpersonal Metafunctions. In the Symbol there are, 6 Ideational Metafunctions, 4 Interpersonal Metafunctions and 4 Textual Metafunctions. [ABSTRACT FROM AUTHOR]

This study investigated the impact of patient motion on the dosimetric quality of treatment plans for metastatic patients undergoing frameless GammaKnife® Icon™ treatments. By quantifying dosimetric robustness at increasing high definition motion management (HDMM) gating tolerances, this study investigated the possibility of increasing the HDMM threshold for patients treated at our centre from our current standard of 1 mm. Methods: Motion was retrospectively simulated by shifting the stereotactic co-ordinates of shots in treatment plans using three motion models. Dosimetric quality indicators of original and shifted plans were compared. Influence of target location and size was determined. Results: Motion models showed median (p-value) absolute changes in target coverage of up to -0.133% (<0.0001), -0.267% (<0.0001) and -0.667% (<0.0001) for HDMM tolerances of 1mm, 1.5mm and 3mm. The greatest median (p-value) absolute changes in Paddick Conformity Index (PCI) and Gradient Index (GI) were -0.008 (0.0032) and 0.017 (0.6893). A reduction in target size correlated weakly with greater changes in target coverage for all models and HDMM tolerances (r² =0.040-0.309). No location dependence was observed. Conclusion: HDMM tolerances up to and including 3mm all resulted in negligible changes in PCI and GI. Target coverage exhibited greater sensitivity to motion, but only at 3mm was the target coverage reduced below local planning aims. Our HDMM tolerance could therefore potentially be increased to 1.5mm, with likely benefits to treatment delivery efficiency. [ABSTRACT FROM AUTHOR]

The icon occupies an important place in theological and philosophical discourse, especially within Christian traditions. This paper argues that the theological notion of iconicity offers unique insight into rhetorical constructions of the ineffable. Central to such a task is the imbrication of icons in mythology, indeed their absolute dependence on them. By locating the "secular" mythological icon in a non-religious speech given by David Foster Wallace, this analysis posits both the indissolubility of myths and icons as well as their rhetorical utility in understanding forms of representation. [ABSTRACT FROM AUTHOR]

The paper attempts to introduce Polish readers to a theory presented by the American literary scholar Margaret Freeman in her recent book, The Poem as Icon (2020). In the monograph, Freeman analyzes ways in which the reader experiences reality - both visible and invisible - through poetry. Her fundamental assumption is that the relevant research question is not what literary art is, but how it comes to be what it is. The purpose of the present paper is to show that, although written by a literary scholar, the monograph corresponds to general tendencies that can be seen in contemporary humanities: in cognitive linguistics (in particular, Leonard Talmy's theory of -ception and George Lakoff's cognitive theory of metaphor), in the theory of linguistic picture of the world, or in discourse analysis. All these disciplines are based upon the assumption that the essence of the world is continuous change, and they investigate linguistic expressions in the process of becoming, which is relative to factors traditionally considered as non-linguistic. Freeman's poetic cognition has a wide scope: it embraces cognitive processes of human mind, but also bodily and emotive cognition. Thus poetic cognition is embodied, and in Freemen's theory a "poem-as-icon" ultimately becomes an illusion of the "here-and-now" direst experience. [ABSTRACT FROM AUTHOR]

Copyright of Djoussour El-maarefa is the property of Association of Arab Universities 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 IUG Journal of Humanitarian Research is the property of Islamic University of Gaza 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.)

In recent years, an increase in children diagnosed with molar incisor hypomineralization (MIH) has been observed. Children with MIH show a high failure rate with conservative treatment. The ICON® system (DMG, Hamburg, Germany), which is an infiltration of decalcified lesions with resin, may strengthen the tooth structure, improve its aesthetics, and cure hypersensitivity. The following article is a systematic review based on the Preferred Reporting Items for Systematic Reviews and Meta-Analyses (PRISMA) protocol. Scientific articles in the PubMed and Google Scholar databases describing the use of the ICON system in the treatment of MIH published in the years 2012–2022 were analyzed. Two independent study authors selected publications that show that the ICON system can be used during the treatment of children with MIH. So far, in the literature, there are no standardized protocols for the dental treatment of patients with hypomineralization of the incisors using the ICON system. Therefore, clinicians rarely use this method of treatment. The ICON system may be successfully used to infiltrate tooth decalcification in children with MIH. However, the depth of infiltration and the achievement of enamel hardness after such therapy are not precisely defined. [ABSTRACT FROM AUTHOR]

To assess the effectiveness of two experimental, hybrid-glass-based infiltrants in arresting artificial white spot lesions (WSLs) in vitro, and to compare it with resin-based infiltrant Icon. Artificial WSLs were formed on bovine enamel specimens (n = 68). Specimens were divided into four groups according to WSLs treatment: 1) no-treatment control (NTC), 2) infiltration with Icon (Icon), 3) infiltration with experimental hybrid-glass material (EXP), and 4) infiltration with experimental hybrid-glass material containing hydroxyapatite (HAp) nanoparticles (1%) (EXP-HAp). Half of the specimens from each group were subjected to cariogenic challenge using pH-cycling, consisting of a 7-day alternate incubation (37⁰C) in demineralization (4 h/day, pH=4.6) and remineralization solutions (20 h/day, pH=7.2). Another half of the specimens was incubated in distilled water (control). Caries progression was assessed by measuring surface micro-hardness (SMH), roughness (R a) and average surface level, and by analyzing WSLs morphology. Non-cycled and pH-cycled specimens were compared with Man-Whitney U test, while different treatment groups were compared with Kruskal-Wallis test with pairwise comparisons (p < 0.05). In all groups (NTC, Icon and EXP-HAp) except EXP, SMH decreased significantly after pH cycling. In addition, SMH increased in EXP upon pH cycling and was significantly higher than in other pH-cycled groups (<0.001). R a increased considerably, while surface level decreased after pH cycling in all groups except in EXP. Signs of demineralization and roughness increase in NTC, Icon and EXP-HAp were also observed with the SEM. Experimental hybrid-glass-based material without HAp-nanoparticles could completely arrest the progression of WSLs, unlike its version with HAp-nanoparticles and resin-based infiltrant Icon. • Hybrid-glass-based infiltrant can completely arrest early caries lesions • The hardness of new hybrid-glass-based material increases in acidic environment. • Hybrid-glass-based infiltrant is more biostable than methacrylate-based Icon. • Hybrid-glass-based infiltrant is a viable alternative to methacrylate-based Icon. [ABSTRACT FROM AUTHOR]

Jean-Luc Marion is often interpreted as a thinker of the purely invisible and apophatic, in tension with the rich forms of mediation found in Christian practice. I will challenge these assumptions through a close reading of one of Marion's rare concrete examples, the "icon"— not his philosophical use of the term, but the holy image that initially inspired it. Marion defines the sacred image by its "transparency," "self-effacement," or "kenosis." This seems to indicate that the icon must cancel itself out to make room for God, an iconoclastic attitude with troubling consequences for the believer who prays to the icon and for the rest of the finite world. By rigorously developing Marion's understanding of this word "kenosis," I argue that, counter to initial impressions, this account of the sacred image is deeply faithful to the essential aspects of the Byzantine icon understood as a "window into heaven." [ABSTRACT FROM AUTHOR]

The main objective of this paper is to develop methods for assessing the deterioration of wooden panels of iconic heritage objects and the effectiveness of consolidation treatments, methods that are easy to apply to the field of wood restoration. During the research, four evaluation methods were identified, respectively: the density method, the excessive porosity method, the Brinell hardness method, and the Mark hardness method. Each method was exemplified on five wooden panels (icons), and when needed, degraded specimens were used and/or treated with Paraloid B72. One of the main conclusions of the research is that, although all methods are minimally invasive and do not require cutting of these heritage objects, the applicability of each is done depending on the type of degradation, often requiring a combined analysis between two or several methods. Additionally, the classification of the cultural good in one of the five degrees of embrittlement-degradation help to design a technological flow regarding the treatments of consolidation/restoration of the heritage object. [ABSTRACT FROM AUTHOR]

We use a global 5‐km resolution model to analyze the air‐sea interactions during a katabatic storm in the Irminger Sea originating from the Ammassalik valleys. Katabatic storms have not yet been resolved in global climate models, raising the question of whether and how they modify water masses in the Irminger Sea. Our results show that dense water forms along the boundary current and on the shelf during the katabatic storm due to the heat loss caused by the high wind speeds and the strong temperature contrast. The dense water contributes to the lightest upper North Atlantic Deep Water as upper Irminger Sea Intermediate Water and thus to the lower limb of the Atlantic Meridional Overturning Circulation (AMOC). The katabatic storm triggers a polar low, which in turn amplifies the near‐surface wind speed due to the superimposed pressure gradient, in addition to acceleration from a breaking mountain wave. Overall, katabatic storms account for up to 25% of the total heat loss (20 January 2020 to 30 September 2021) over the Irminger shelf of the Ammassalik area. Resolving katabatic storms in global models is therefore important for the formation of dense water in the western boundary current of the Irminger Sea, which is relevant to the AMOC, and for the large‐scale atmospheric circulation by triggering polar lows. Plain Language Summary: Katabatic storms are outbursts of cold air associated with strong winds from coastal valleys of Greenland, in particular from the Ammassalik valleys in southeast Greenland. These storms are not resolved in global climate models because of their small spatial extent. However, they are important for the formation of dense water on the Irminger Sea shelf, because they induce a substantial heat loss from the coastal water. In this study, we resolve katabatic storms for the first time in a global climate model and analyze the water transformation caused by a single storm before quantifying the importance of katabatic storms for the entire simulation period. We find that a water mass is formed during the katabatic storm that is dense enough to contribute to the cooling and sinking of the global conveyor belt in the subpolar North Atlantic. Overall, katabatic storms account for up to 25% of the heat loss over the Irminger shelf of the Ammassalik area. Key Points: For the first time, the direct effect of a katabatic storm on the Irminger Sea has been simulated in a global climate modelThe katabatic storm induces strong heat loss and dense water formation over the Irminger shelf (Sermilik Trough) and in the boundary currentDense water forming in the western boundary current during katabatic storms contributes to the lightest upper North Atlantic Deep Water [ABSTRACT FROM AUTHOR]

The article presents the view of the Russian Orthodox theologian Paul Evdokimov on the topic of women. Evdokimov’s theological reflections are framed in his own experience with women. The first chapter on the role of woman as mother as the inspiration of the icons of the Mother of God and God’s Wisdom begins with the mention of Evdokimov’s beautiful relationship with his own mother who gave him religious faith. He could not perceive a woman other than through this experience of maternal love. As an Orthodox thinker, he put the theme of woman as fiancée and wife in the sacramental unity of man and woman, modelled on the love of Christ and the Church, as discussed in the second chapter. The third chapter, again, deepens the topic in the example of the archetype of the woman as the Mother of God, and the archetype of the man as John the Baptist from the Deisis icon. The second and third chapters also mention his pain in the death of his first wife and his second marriage, which gave him the power to create. Evdokimov was critical of the history of subjugating women to men through ideologies, philosophies, and religions. Against this, he stressed that, in a Christian perspective, the woman, through her religious nature, is the stronger sex.

This paper experimentally tests the contribution of twodistinct aspects of social interaction to the creation ofshared symbols: behaviour alignment and concurrentpartner feedback. Pairs of participants (N= 120, or 60pairs) completed an experimental-semiotic game,similar to Pictionary, in which they tried to communicatea range of recurring meanings to a partner by drawingon a shared whiteboard (without speaking or usingnumbers of letters in their drawings). The opportunityfor sign alignment and/or concurrent partner feedbackwas manipulated in a full factorial design. Each processmade a distinct contribution to the evolution of sharedsymbols: sign alignment directly influencedcommunication success, and concurrent partnerfeedback drove sign simplification and symbolization.These complimentary processes led to the interactiveevolution of effective and efficient humancommunication systems.

Background/purpose: Resin infiltration (RI) material ICON is used in treating early proximal caries lesions, as it depends on a micro–invasive infiltration technology. This in vitro study aimed to evaluate the effect of ICON resin infiltration (RI) on early proximal caries by comparing surface roughness and hardness before and after treatment with RI using atomic force microscopy (AFM), automated microhardness testing system (AMHTS), and scanning electron microscopy (SEM) in vitro. Materials and methods: Twenty seven premolars extracted for orthodontic reasons were sectioned buccolingually, creating 54 specimens. Each specimen was immersed in demineralizing solution to induce caries. Only teeth with “International Caries Detection and Assessment System” codes 1 and 2 were selected. The specimens were divided randomly into either AFM, AMHTS or SEM groups, which examined demineralized enamel before and after treatment with ICON. Results: The mean average surface roughness and root mean square roughness values of demineralized enamel treated with ICON were significantly higher than untreated lesions (P

A triptych with Slavic inscriptions from the monastery of St. Catherine in Sinai, composed of icons depicting St. Stephen, the Mother of God and St. Nicholas, is published in the paper. Based on the stylistic analysis and consideration of iconographic features, the opinion is expressed that it is a work of Serbian medieval painting. In addition, such an attribution is explained through the light of intensive and continuous contacts between the medieval Serbian lands and the famous monastery at the foot of Mount Sinai. Finally, a possibility is opened for the interpretation of the work in question in connection with certain, very interesting source material about the ktetorial activity of the Serbian rulers in Sinai.

The woman's handbag is an iconic consumer artefact layered with meaning. Ideologies, economics, culture, social statuses, and identities converge in this object. Superfluous but fetishized luxury, essential useful tool, communications device, fashion arbiter, all this and more. To shed light on this fascinating artefact and its journey to a contemporary marketplace icon, we first clarify how the iconicity of the handbag emerged and changed over time. Tracking historical turning points and changes in society offers a basis for understanding how the handbag displays its iconic value today. We conclude this marketplace essay by looking into the many ways that handbag consumption manifests in contemporary times, through consumers' everyday performances. [ABSTRACT FROM AUTHOR]

The deepest convection on Earth injects water in the tropical stratosphere, but its contribution to the global stratospheric water budget remains uncertain. The Global Storm‐Resolving Model ICOsahedral Non‐hydrostatic is used to simulate the moistening of the lower stratosphere for 40 days during boreal summer. The decomposition of the water vapor budget in the tropical lower stratosphere (TLS, 10°S–30°N, and 17–20 km altitude) indicates that the average moistening (+21 Tg) over the simulated 40‐day period is the result of the combined effect of the vertical water vapor transport from the troposphere (+27 Tg), microphysical phase changes and subgrid‐scale transport (+2 Tg), partly compensated by horizontal water vapor export (−8 Tg). The very deep convective systems, explicitly represented thanks to the employed 2.5 km grid spacing of the model, are identified using the very low Outgoing Longwave Radiation of their cold cloud tops. The water vapor budget reveals that the vertical transport, the sublimation and the subgrid‐scale transport at their top contribute together to 11% of the water vapor mass input into the TLS. Key Points: The global water vapor budget of the low stratosphere is computed for the first time using a Global Storm‐Resolving Model (GSRM)ICOsahedral Non‐hydrostatic GSRM simulates the global distribution of very deep convection and its hydration of the stratosphereOver the simulated period, very deep convective systems contribute to 11% of the stratospheric water vapor input [ABSTRACT FROM AUTHOR]

How language began is one of the oldest questions in science, but theories remain speculative due to a lack of direct evidence. Here, we report two experiments that generate empirical evidence to inform gesture-first and vocal-first theories of language origin; in each, we tested modern humans' ability to communicate a range of meanings (995 distinct words) using either gesture or non-linguistic vocalization. Experiment 1 is a cross-cultural study, with signal Producers sampled from Australia (n = 30, Mage = 32.63, s.d. = 12.42) and Vanuatu (n = 30, Mage = 32.40, s.d. = 11.76). Experiment 2 is a cross-experiential study in which Producers were either sighted (n = 10, Mage = 39.60, s.d. = 11.18) or severely vision-impaired (n = 10, Mage = 39.40, s.d. = 10.37). A group of undergraduate student Interpreters guessed the meaning of the signals created by the Producers (n = 140). Communication success was substantially higher in the gesture modality than the vocal modality (twice as high overall; 61.17% versus 29.04% success). This was true within cultures, across cultures and even for the signals produced by severely vision-impaired participants. The success of gesture is attributed in part to its greater universality (i.e. similarity in form across different Producers). Our results support the hypothesis that gesture is the primary modality for language creation. [ABSTRACT FROM AUTHOR]

To strengthen personal identity security through a password, the CAPTCHA authenticates the human user. In this, text-based Hue Icon Montage (HIM) and image-based Hue Icon Montage Click on meddler image and color (HIMC) CAPTCHA are displayed on a panel with a grid of images called a photomontage that contains a set of image groups that each holds six images. Fake facial images (Meddler images) are created by compositing human and animal images called ANTHROMORPH images to create CAPTCHA images against the threat of deep learning. The main contribution to this paper consists of 1) a novel CAPTCHA created with meddler images. 2) this work apply to test whether these images are strong or identified by the machine, the latest manipulated face convolution neural network MANFA framework with Xtreme Gradient Boosting (XGB-MANFA) to overcome the imbalanced dataset problem. 3) A voluminous meddler image dataset (ANTHROMORPH) is created, collected, and validated. This model produces higher security because the success probability rate of HIM and HIMC against brute-force attacks is 3.960 × 10−21. Further, the robustness of meddler images against artificial machine attacks is verified using the XGB-MANFA network, which produces only 26% accuracy that ensures the strength against machine attacks. A user study was conducted to measure the usability of HIM and HIMC CAPTCHAs with 112 participants. The proposed model's effectiveness, efficiency, learnability, and user satisfaction scores were 0.16, 10.70, 8.40, and 8.62, respectively. The experimental result outperforms well than the existing CAPTCHAs like KCAPTCHA, reCAPTCHA, farett-gender, farett-gender and age. [ABSTRACT FROM AUTHOR]

Seismology focuses on the study of earthquakes and associated phenomena to characterize seismic sources and Earth structure, which both are of immediate relevance to society. This article is composed of two independent views on the state of the integrated, coordinated, open, networked (ICON) principles (Goldman et al., 2021, https://doi.org/10.1029/2021eo153180) in seismology and reflects on the opportunities and challenges of adopting them from a different angle. Each perspective focuses on a different topic. Section 1 deals with the integration of multiscale and multidisciplinary observations, focusing on integrated and open approaches, whereas Section 2 discusses computing and open‐source algorithms, reflecting coordinated, networked, and open principles. In the past century, seismology has benefited from two co‐existing technological advancements—The emergence of new, more capable sensory systems and affordable and distributed computing infrastructure. Integrating multiple observations is a crucial strategy to improve the understanding of earthquake hazards. However, current efforts in making big datasets available and manageable lack coherence, which makes it challenging to implement initiatives that span different communities. Building on ongoing advancements in computing, machine learning algorithms have been revolutionizing the way of seismic data processing and interpretation. A community‐driven approach to code management offers open and networked opportunities for young scholars to learn and contribute to a more sustainable approach to seismology. Investing in new sensors, more capable computing infrastructure, and open‐source algorithms following the ICON principles will enable new discoveries across the Earth sciences. Plain Language Summary: Seismological observations can provide critical insights into the physical processes of the Earth's interior and associated near‐surface consequences, resulting from both natural and anthropogenic activities across spatial and temporal scales. This commentary discusses the current status and opportunities of integrated, coordinated, open, and networked (ICON) principles in seismology. As an applied discipline, seismology is highly data‐dependent and inherently relies on sensing (data acquisition) and computing (data processing and modeling) technologies. Integrating data from multiple scales and domains has improved our understanding of earthquakes and is also beneficial to adjacent disciplines, such as reservoir engineering and rock mechanics. When more open data and models are produced and integrated by coordinated acquisition systems and networked programming efforts, seismology will enable new discoveries in the Earth sciences. Key Points: We comment on the current status and potential for synergy and challenges of implementing integrated, coordinated, open, networked principles in seismologyThe integration of multi‐parametric and multi‐scale observations across disciplines benefits Earth imaging and earthquake understandingHigh‐performance computing and open‐source algorithms offer networked opportunities for a broader community to contribute to seismology [ABSTRACT FROM AUTHOR]

The article deals with the development of modern Ukrainian iconography and the formation of the main centres and regional schools, tracing artistic and stylistic features and trends. The article analyses the activities of the Kyiv and Lviv art schools in the field of sacred art. The main features of the development of modern iconography are identified, and the creativity of leading specialists and iconographers, genres, and technological specifics of iconography are studied. The scientific novelty of this research consists in a comprehensive study of modern Ukrainian iconography, taking into account artistic and stylistic, regional, technological, and canonical aspects. Features of the formation of art schools and associations of sacred art in Ukraine are traced. The aim of the study is to determine the main trends in the development of modern Ukrainian iconography and to identify the influence of the leading schools in the field of sacred art. The methodological basis is a comprehensive analysis of cultural and artistic phenomena in chronological and theoretical aspects of the development of modern sacred art in Ukraine. [ABSTRACT FROM AUTHOR]

The church of St Nicholas, which is now located on the territory of Jiráskovy sady Park in Hradec Králové, Czech Republic, was originally built in the village of Habura (Slovakia). During the 2017 restoration, the iconostasis was dismantled, which made it possible to study the wall painting, preserved in fragments. The article examines the icons on the church walls, in the sanctuary and in the iconostasis, and the wall painting in the context of the activity of their authors. Most of the icons are attributed to the centre of church art in the town of Rybotychi (today the village of Rybotycze in Fredropol district of the Subcarpathian Voivodeship of Poland). In addition to the manner of painting and of the frame carving of the icons, the history of the church’s relocation shows that it was originally built in the epicentre of the activity of these masters on the border of the Peremyshl (today the town of Przemyśl, Subcarpathian Voivodeship of Poland) and Mukachevo (today a town in Ukraine) dioceses of the Ukrainian (than called Rus’ka) church. The chronology of the icon painting is related to the transfers and rededications of the church. The connection of the wall painting with the painting style of the master Yakiv of Rybotychi, who, as we assume, was the leading master of this centre in the 1670s and 1680s, is substantiated. Associated with his authorship are icons originating from the churches of Habura’s neighbouring villages. This confirms our hypothesis that the wall painting was created in the 1670s. Church icons belong to masters whose other works have been identified in museum collections and in churches in Slovakia, Poland and Ukraine. [ABSTRACT FROM AUTHOR]

It is proved in the publication that the icon of the Dormition of the Most Holy Mother of God depicts the event of the Assumption of the Mother of God presented in the writings of the Holy Fathers and in apocrypha. The article represents the composition formation development of the Dormition of the Most Holy Mother of God icon in the Church during the first millennium. The research has shown that the oldest surviving image of the Dormition of the Most Holy Mother of God dates from the 4 th century. It has been found out that the oldest surviving image of the Dormition of the Most Holy Mother of God in Ukraine was depicted on the 12-13 th century. The article shows how the icon painters depicted apocryphal events in iconographical images of the Dormition of the Most Holy Mother of God icon and what symbolic means they used. It has been noted that a distinctive peculiarity of the Dormition of the Most Holy Mother of God icon is maintaining unity of the depicted scenes from the apocryphal sources and that is placed in the liturgical texts for the feast. It has been stated that nowadays one can observe the Dormition of the Most Holy Mother of God icon on the iconostasis in some chapels of Ukrainian Churches of the Kyivan tradition. It has been emphasized that during the matins on Dormition of the Most Holy Mother of God (August 15 (28)) the icon is placed on the analogion (or tetrapodion) for veneration by the faithful. [ABSTRACT FROM AUTHOR]

Exospheric temperature is one of the key parameters in constructing thermospheric models and has been extensively studied with in situ observations and remote sensing. The Global‐scale Observations of the Limb and Disk (GOLD) at a geosynchronous vantage point provides dayglow limb images for two longitude sectors, from which we can estimate the terrestrial exospheric temperature since 2018. In this paper, we investigate climatological behavior of the exospheric temperature measured by GOLD. The temperature has positive correlations with solar and geomagnetic activity and exhibits a morning‐afternoon asymmetry, both of which agree with previous studies. We have found that the arithmetic sum of F10.7 (solar) and Ap (geomagnetic) indices is highly correlated with the exospheric temperature, explaining ∼64% of the day‐to‐day variability. Furthermore, the exospheric temperature has good correlation with thermospheric parameters (e.g., neutral temperature, O2 density, and NO emission index) sampled at various heights above ∼130 km, in spite of the well‐known thermal gradient below ∼200 km. However, thermospheric temperature at altitudes around 100 km is not well correlated with the GOLD exospheric temperature. The result implies that effects other than thermospheric heating by solar Extreme Ultraviolet and geomagnetic activity take control below a threshold altitude that exists between ∼100 and ∼130 km. Plain Language Summary: In the terrestrial thermosphere, which is the topmost layer of the collisional atmosphere surrounding the Earth, temperature generally increases with altitude unlike in the troposphere near the surface. However, the thermospheric temperature does not increase indefinitely, but approaches an asymptote, which is referred to as the exospheric temperature, the temperature of the outermost layer of the atmosphere. The Global‐scale Observations of the Limb and Disk (GOLD) instrument, launched into a geosynchronous orbit in 2018, regularly observes atmospheric glow from the Earth's limb, from which we can estimate the terrestrial exospheric temperature (Texo). The GOLD Texo is higher in the afternoon than in the morning and generally increases as solar radiation strength or geomagnetic field variability increases. In this paper, we show that a simple arithmetic sum of the solar and geomagnetic indices can explain a large part of the day‐to‐day Texo variability. Also, Texo has good (poor) correlation with thermospheric parameters such as temperature and density above ∼130 km (at ∼100 km). The behavior suggests that factors other than solar radiation and geomagnetic energy deposition, both of which are correlated well with Texo, take control below a threshold altitude that is between ∼100 and ∼130 km. Key Points: We report on the climatology of exospheric temperature (Texo) measured by NASA‐GOLD in 2018–2021Texo is highly correlated with Ap and F10.7, whose linear combination can explain ∼64% of the Texo day‐to‐day variability in 2018–2021Texo has positive correlation with Swarm thermospheric mass density, GOLD disk temperature, GOLD O2 density, and TIMED/SABER TCI [ABSTRACT FROM AUTHOR]

Low‐latitude plasma blobs have been studied since their first being reported in 1986. However, investigations on temporal evolution of a blob or on continental scale (>2,000 km) ionospheric contexts around it are relatively rare. Overcoming these limitations can help elucidate the blob generation mechanisms. On 21 January 2021, the Ionospheric Connection Explorer satellite encountered a typical low‐latitude blob near the northeastern coast of South America. The event was collocated with a local enhancement in 135.6 nm nightglow at the poleward edge of an equatorial plasma bubble (EPB), as observed by the Global‐scale Observations of the Limb and Disk (GOLD) imager. Total electron content maps from the Global Navigation Satellite System confirm the GOLD observations. Unlike typical medium‐scale traveling ionospheric disturbances (MSTIDs), the blob had neither well‐organized wavefronts nor moved in the southwest direction. Neither was the blob a monotonically decaying equatorial ionization anomaly crest past sunset. Rather, the blob varied following latitudinal expansion/contraction of EPBs at similar magnetic longitudes. The observational results support that mechanisms other than MSTIDs, such as EPBs, can also contribute to blob generation. Plain Language Summary: In the nightside low‐latitude ionospheric F‐layer, localized enhancements of plasma density are occasionally identified, which were named by the ionospheric community as low‐latitude plasma blobs. The phenomenon has been extensively investigated since the first report in 1986. However, there have been few studies on temporal evolution of a specific blob or on a continental scale (>2,000 km) ionospheric context around it. In this study, we present two‐dimensional images of 135.6 nm nightglow and total electron content, both of which represent ionospheric density, over a wide area (>2,000 km) surrounding a typical blob encountered by the NASA‐ICON satellite. According to the time series of the images, the blob is a part of the enhanced plasma contents sitting on the poleward border of an equatorial plasma bubble (EPB). The blob neither exhibited well aligned wavefronts nor propagated equatorward, unlike generic properties of medium‐scale traveling ionospheric disturbances (MSTIDs). The results imply that this event did not originate from MSTIDs, but other generation mechanism such as EPBs should be invoked. Key Points: For the first time, we present two‐dimensional images of 135.6 nm nightglow from a low‐latitude plasma blobEvolution history of the blob is gleaned from time series of 135.6 nm nightglow and total electron content images on a continental‐scale (>2,000 km)Characteristics of this blob event conform to neither medium‐scale traveling ionospheric disturbance nor monotonically decaying near‐sunset equatorial ionization anomaly crests [ABSTRACT FROM AUTHOR]

This Study aims to explain the truth of metaphorical thinking and its dimensions, starting from metaphor as an essential part of the conceptual system and a mental mechanism that contribute to achieving the objectives of the communicative process in the various reporting spaces by investing the facebook image as an icon charged with cognitive meanings, and the result of a cognitive structure and a logical projection between two different areas of experience, and that was presented a lesson and analysis through pictures from a page « RAWAII ALADAB ASSIASY ». [ABSTRACT FROM AUTHOR]

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