Art and Design

My thesis work and research explores various forms of cultural resistance and the use of symbolism and meaning making to modify power and contest domination. The work is situated at the intersections of sculpture, the body, and sound. The research explores liminal spaces in postcolonial contexts and how these spaces are breeding grounds for hybridity, tensions and harmony. In these spaces, the body, through dance and gesture, interacts with sculpture and sound in ways that create a euphemistic and nuanced lexicon of resistance and negotiation with power.

Ini buku digital yang merekam perbincangan yang berlangsung selama ISPAE (International Symposium for Performing Arts Ecosystem). Ditulis dalam Bahasa Indonesia, berisi transkrip yang disunting dari para pembicara internasional serta dua diskusi meja bundar dengan para praktisi Indonesia juga. ISPAE pertama ini terjadi pada 1-2 Desember 2023.

The Design.Lives project is collaboration between the disciplines of design and sociology. This paper unfolds our latest attempt on the practice of design participation through educating young designers. We discuss a three-week Design.Lives Lab, a workshop for practicing our approach in a design education context. The design lab was inspired and informed by solution-focused approach and employed three tactics namely confrontational, empathy and the imagination of replacement so as to bring forth reflectivity on the role of designers and users. We finally found that these three tactics are significant in opening up the design community and sensitizing novice designers to the power of pre-reflexive being and dispositions. Our attempt has shown the significance and effectiveness of using solutionfocused approach as a design methodology.

As a dialogue with the advocates of the idea of ‘design process as Things’ of which designers become facilitators and supporters for design process, we attempt to argue that designers should understand their role as a moral subject and their values in design should be revealed and discussed with design participants. Regarding the ways of deliberating values in design process, we employed Ricoeur’s ideas of utopia and ideology as the key concepts guiding the design of our experiment with a group of retired academics in China. We argue that designers could accomplish this task through a critique of ideology and of identifying utopian elements from the participants. In conclusion, we maintain that both designers should align with the critical role of designers as a moral subject so as to ensure better design ‘outcomes’ that could improve lives for our future selves.

Inspired by concepts from the Participatory Design discourse such as the idea of design process as Things Binder et al 2011) and the concept of agonistic democracy (Bjorgvinsson et al, 2010), we have engaged a community of over 7000 retired academics who are actively ageing on their university campus in China through a variety of methods since 2011. We call this a reflexive ethnographic study with these ingenious older people and it focuses on how they designed their lives, the Ingenuity of Ageing. A research team composed of design researchers and a sociologist; we have investigated how designers accomplish infrastructuring and the mobilisation of participation in design. From our intensive interaction with this ingenious group, we found important new roles for designers as triggers/activists. Regarding the ways of deliberating people's value in design processes, we employed Ricoeur's ideas of utopia and ideology as the key concept guiding the design of our ongoing experiment, the Scientist Study. This study engages a community of retired scientists who are actively exploring possibilities in their third age, on their university campus in China. After building trust based on a one-year engagement, we have revisited the situation to refine how participation should work with the critical task of designers, i.e. transfer people's ingenuity into insights for democratic innovation that could improve lives for our future selves.

One's identity is shaped by many factors such as race, culture, physical appearance, nationality, and religion-amongst many more. As an artist, the subjugation of identity in the context of race, gender, and sexuality is a world I examine closely. Subverting myths of sexual deviancy and racial inferiority that perpetually pathologizes Black feminine sexuality, I often use and reference my own body to create avenues of power through physical and intellectual pleasure. Through material use of clay, metal, photography, and installation, I emphasize on how contemporary Black social cultures are able to write their own narratives in order to further progressions of an inclusive present and future for themselves. "To name ourselves rather than be named we must first see ourselves. For some of us this will not be easy. So long unmirrored, we may have forgotten how we look. Nevertheless, we can't theorize in a void; we must have evidence."

One's identity is shaped by many factors such as race, culture, physical appearance, nationality, and religion-amongst many more. As an artist, the subjugation of identity in the context of race, gender, and sexuality is a world I examine closely. Subverting myths of sexual deviancy and racial inferiority that perpetually pathologizes Black feminine sexuality, I often use and reference my own body to create avenues of power through physical and intellectual pleasure. Through material use of clay, metal, photography, and installation, I emphasize on how contemporary Black social cultures are able to write their own narratives in order to further progressions of an inclusive present and future for themselves. "To name ourselves rather than be named we must first see ourselves. For some of us this will not be easy. So long unmirrored, we may have forgotten how we look. Nevertheless, we can't theorize in a void; we must have evidence."

This course introduces students to the manifold histories of the 20 th century world. It is organized in chronological order, incorporating different regions of the world and various methodologies of world history into a coherent narrative. Together, we will examine the ways political, economic, and social processes have informed one another by reference to both long-term phenomena and specific human experiences on the ground. The main goal of this approach is to shift focus from the West to the rest of the world, inviting students to think in comparative, integrative terms. Prominent themes include revolutionary nationalisms and enduring empires; notions of modernity, peace, and war; technology in the context of global interactions; economic and political expressions of globalization. The goal of this course is empower students to understand historical events and movements in the world, both Western and non-Western, and to assess their subsequent significance. It uses case studies to provide an interdisciplinary view of the 20th-century world. It satisfies three credits of the GUR in Cultural History.

Research in human-computer interaction (HCI) has identified meaning as an important, yet poorly understood concept in interaction design contexts. Central to this development is the increasing emphasis on designing products and technologies that promote leisure, personal fulfillment, and well-being. As spaces of profound historical significance and societal value, museums offer a unique perspective on how people construct meaning during their interactions in museum spaces and with collections, which may help to deepen notions of the content of meaningful interaction and support innovative design for cultural heritage contexts. The present work reports on the results of two studies that investigate meaning-making in museums. The first is an experience narrative study (N = 32) that analyzed 175 memorable museum visits, resulting in the establishment of 23 triggers that inform meaningful interaction in museums. A second study (N = 354) validated the comprehensiveness and generalisability of the triggers by asking participants to apply them to their own memorable museum experiences. We conclude with a framework of meaning in museums featuring the 23 triggers and two descriptive categories of temporality and scope. Our findings contribute to meaning research in HCI for museums through an articulation of the content of meaning-making in the cultural sector.

In 1995, I spent the summer designing and building web pages in Kanazawa, a regional city in Japan. Writing and dreaming in Hypertext Markup Language (HTML), I worked alongside engineers at the region's first Internet service provider, a mid-size conglomerate, to produce promotional webpages for hotels and tourist attractions. I was not a trained designer: I had taught myself basic photography and graphic design out of interest, and thanks to a childhood spent with computers could train myself to code in HTML and to use software such as Adobe Photoshop and Illustrator. My efforts to render Kanazawa's famously succulent prawns even more enticing on tourist websites tell a story about social change: I had begun a summer internship in the conglomerate's central administrative division. As a woman, I was assigned a turquoise and white uniform and directed to stuff envelopes alongside the other young women in the administrative track, which ran alongside the career track for male university graduates. But my line manager swiftly moved me to the IT division, in a more specialized role, once my amateur computing and design skills became known, and I was offered a full-time role in the company following university graduation. It is unclear whether a Japanese woman would have been offered the same opportunity, so difficult to say whether my reassignment represented a re-evaluation of women's roles within the company, but at the very least indicates that the firm was open to foreign hires. My male colleagues' employment itself demonstrated change as well: some had postgraduate degrees, which complicated their position and

Many myths and legend try to trace the origin of Isekiri to different and divergent areas – Bini, Egypt etc. But all these are been thrown out with the light of modern scientific findings. Prior to the Nok culture and the Igbo Ukwu civilisation, the Iwo (Ugho/Igho)Eleru (cave of ashes) near Akure,  civilisation dates to more than 15000BC, making it the oldest archaeological  find extant in Nigeria.  Even before this Igbale Aiye was discovered all in Yoruba land (Oghanrandukun 2017) .
In consonance with the archaeological findings, the work of linguistic mapping and glottochronology gave a thorough backing to the antique status of Isekiri. Linguistic findings show that the separation of languages and the formation of ethnicities in Nigeria took place around the Ekiti area in the Niger-Benue confluence. By linguistic mapping and glottochronology, Isekiri, Igala, North East Yoruba, South East Yoruba were the first to form identities, before the Ife, Bini, Egba etc. By this token Isekiri as a branch of the Yoruboid languages and part of Yorubic culture becomes one of the earliest ethnicities extant in modern Nigeria  , after the consolidation of ethnicities, a group of Yoruban ancestors – the aboriginal communities – from parts of Yoruban culture: Ife, Ijebu, especially Ijebu water side, Akure, Ekiti etc boosted the Isekirite geo-polity, making them a proper Yoruban people. C1440, Ewuare, the son of Korobe and Olague, resident in the Korobe area of Koko caused a coup in Benin and became the 14th Oba.  The grandson of Ewuare, Ginuwa returned c1472 as the 1st Olu of Warri. This historical analysis will make the Isekiri, a pure Yoruba ethnicity – a dialect of Yoruba. Linguistically, Isekiri are more related to the SEY – Ilaje, Ikale, Apoi, Owo, Ondo, Ijebu and Ife dialects

El presente artículo consiste en una bitácora y divagación reflexiva a partir de la revisión y puesta en  diálogo de dos proceso de investigación artística desarrollados entre los  años 2014-2016 y 2019-2020, en torno al  Oasis de Niebla de Alto Patache, Desierto de Atacama, Región de Tarapacá (Chile). Articulando nodos especulativos entre procesos diferidos espacial y temporalmente, el artículo busca establecer conexiones y derivas entre un primer proceso de investigación mediante metodología de trabajo de de exploración de campo, y un segundo proceso de investigación mediante metodología de análisis de crónicas y archivos históricos. De esta manera, el  artículo va hilvanando preguntas y relaciones entre la calidad material, sentidos simbólicos y denominación que da nombre al fenómeno de niebla costera llamada “camanchaca”, transitando también por las nociones de desierto, frontera y visibilidad, y reflexionando sobre sus implicancias en la configuración del imaginario paisajístic...

Borderline was created to speak for unlawful immigrants, first-generation Americans, and Dreamers in the United States. It was created to inform people of immigrant-related issues, deportation, and injustices occurring during Donald Trump's presidency. Nine posters were created to make up the body of work, each reflecting on a

In a 2017 study, Dario Monti came up with an intriguing hypothesis: for his world-famous fresco of the Last Supper at Santa Maria delle Grazie in Milan, Leonardo da Vinci chose a monastery near Lake Como as a model for his fresco of the Last Supper. Although this seemingly audacious idea was reported in the local media, the hypothesis did not attract much attention for lack of substantiation. In this study, I have rethought and developed this idea further, and have found sufficient quantity and quality of evidence to conclude that the original depiction of the Last Supper was the former refectory of the monastery of San Calocero in Civate.

Special thanks to: Dario Monti, Carlo Castagna, Claudio Butti,

Used Bibliogrpahy:

Dario Monti: L'Ultima Cena, Leonardo e Civate - viestoriche.net

Carlo Castagna: Artisti civatesi alla corte visconteo sforzesca e l’abate commendatario Card. Ascanio Sforza Visconti

Michael White: Leonardo the First Scientist

Enrico Crispino: Leonardp

Walter Isaacson: Leonardo da Vinci

Simona Cremante: Leonardo da Vinci

rheory is often thought of as a carrybag into tohich is tossed various deas, -isms, conceptsand thoughts that can then be "welded" to graphic lesign products in a concrete and vivid way --a notion of theory as xilue-added service. We end up with a split between theory and design vhich defeats the role of theory as a critical and analytical part of the iesign business or education program. This article argues that it is a 'alse economy to have such an oppositional split between theory and miciice or studies and production.

Annie Potts has curated a particularly strong and essential group of perspectives on ‘meat culture,’ described here as a coherent framework within which exist ‘a wide range of domains of production and consumption of animals.’ Meat Culture distinguishes itself in its clearheaded focus on the centrality of the misery and slaughter of animals without which the culture of eating meat would not exist. This journal article is available in Animal Studies Journal: https://ro.uow.edu.au/asj/vol6/iss2/13

In India's vast craft and design sector, resin art is quickly becoming a more lucrative niche. Customers of today are more discerning and well-informed when making purchases. Through the online platform, they may compare products based on a range of criteria, including cost, quality and environmental friendliness. The incorporation of artistic and personal expression into common place goods has gained considerable appeal. While many other types of art have contributed to the success of the interior design industry, one type of art that has recently gained prominence is resin art. However, simply understanding the art form is insufficient. To use art in their daily lives and to fill the gaps in their knowledge, people should also possess the necessary information about it. Very few individuals are knowledgeable about resin art and its different approaches. People should be made aware of various techniques so they can apply them in various contexts. Therefore, the purpose of this study is to evaluate the interior students' understanding of resin art and to provide a workshop to impart knowledge to them about resin art and its various techniques. Through purposive sampling techniques, 80 interior designing students were selected from Department of Family and Community Resource Management, Faculty of Family and Community Sciences, The Maharaja Sayajirao University of Baroda, Vadodara. It was seen that two-third (60 per cent) of respondents had moderate knowledge regarding resin art. A workshop was held for the students and an expert was called in order to impart knowledge to them about resin art and its many techniques. The expert also gave them ways of using the resin art in interior spaces.

In November of 2022, The Walking Dead (TWD) ended an eleven-year run, leaving a devoted fan base bereft of their favorite show but eagerly awaiting more spinoffs in the coming years. At its conclusion, The Walking Dead left an even more important legacy: TWD was one of the most watched TV series of all time, which is no small accomplishment, given the competition it faced from an ever-expanding assortment of streaming shows available online. TWD became paradigmatic of zombie films, carrying on a tradition started by George Romero-yet the word "zombie" is never spoken throughout the series. In TWD, a world-wide pandemic has infected everyone in America. It is implied that the entire world is impacted. As per the sole surviving CDC scientist (played by Noah Emmerich), the virus was a subject of study in Paris. It is unclear how much progress was made by Parisian scientists, who survived longer than their American counterparts, but it is clear that only a single researcher at CDC headquarters in Atlanta remained. His absent colleagues were either "wiped out" or "opted out." CDC staff has no success in identifying the source of the virus, but the CDC scientist acknowledged that "everyone is infected," even if they are not bitten by creatures known as "walkers." Until that authoritative disclosure, it was assumed that the contagion traveled only through direct contact with infected blood-which usually came by way of bites. Due to this enigmatic infection, no one dies a natural death. Instead, the afflicted rise after death, with their flesh withered. They walk slowly, with a stilted Parkinsonian-style gait. These unfortunate creatures cannot be put to rest until a knife or bullet enters their brains. Based on a successful graphic novel by the same name, authored by Robert Kirkman, and initially illustrated by Tony Moore but mostly by Charlie Adlard, The Walking Dead TV series did not remain 100% true to its source material. The spectacularly successful TV show took liberties at times, changing names and timelines and even introducing surprisingly popular new characters, such as Daryl Dixon (played by Norman Reedus). Both versions feature a long line of interesting characters who interact with one another, to make the storyline even more complex.

Nos anos mais recentes, houve um deslocamento do debate político, outrora circunscrito aos grandes veículos midiáticos e às ações praticadas corpo a corpo, para o ambiente das redes digitais. Com isso, constitui-se um novo cenário para esse tipo de discussão, o qual, embora tenha sido assimilado inicialmente com otimismo, desembocou para a organização maciça de iniciativas repressoras. O presente estudo visa abordar os aspectos conceituais estruturantes desses movimentos, bem como analisar de que maneira tais fenômenos atingem em cheio a cena pública brasileira, marcada por um forte predomínio comunicacional das frentes conservadoras, que, amparadas por uma base virtual falsamente democrática, promoveram a ascensão da extrema direita a patamares antes improváveis pelas vias eletivas.

Preview October 2025: The script has got updated. The new preview offers you almost the entire image park of more than 40 illustrations, including photos and construction drawings of the looms.

Our ongoing project examines ethnic loin looms on the island of Flores and the surrounding area in eastern Indonesia. We will first discuss the historical background of the available image material from academic collections such as the Collectie Tropenmuseum and the digital collection of Universiteit Leiden before turning to the current inventory and cross the Ikat line.

Existing literature provides a wealth of, albeit incomplete, information, but a comparative overview is currently difficult. This project aims to provide an initial remedy, focusing primarily on describing loin looms and illustrating an overview of ethnic looms on Flores with photographs and drawings. Warping devices have been added, too!

The aim was to represent the loin looms of all five regencies: Manggarai, Ngada, Ende, Sikka, and East Flores, as well as to compare loin looms of the Lamaholot and the Bima. In addition to the loin looms, ethnic warping tools will also be included in the collection, as far as information is available.

Current overviews of Indonesian loin looms, such as "De Weefkunst" published by Jasper & Pirngadie in 1912, omit Flores, and thus an important type group of Indonesian loin looms. This blind spot also affects the perception of the more extensively documented ethnic looms.

We would be very happy to receive supporting photos, further information & suggestions!

Ravelry.com was founded in 2007 and as of March 2013 it had more than three million members for its social networking website. The Ravelry.com motto is: Ravelry is “a place for knitters, crocheters, designers, spinners, and dyers to keep track of their yarn, tools, and pattern information, and communicate with others for ideas and inspiration” (Forbes, Ravelry.com/about, Aug 22, 2013). Members share images of their handcrafts and discuss their recent projects. The site serves as more than a social media platform for handcrafters; however, it also provides members with a means of commerce, such as selling yarns and patterns. This research draws on experiences of handcrafters, including knitters, crocheters, weavers, textile designers, and quilters. In 2004, we launched an ongoing qualitative ethnographic research study of handcrafters. For the last nine years, we collected interviews from fiber and textile handcrafters; observed and participated in various handcrafting groups; attend...

In today's rapidly evolving design world, interior designing is more than just decorating spaces-it's about transforming environments into functional, beautiful, and emotionally engaging areas. Whether it's a cozy home, a stylish office, or a high-end commercial space, interior designers are at the forefront of aesthetic innovation and functional design. For aspiring designers, a diploma in interior designing is often the fastest and most effective way to break into this exciting industry. If you're passionate about design, textures, color palettes, lighting, and transforming living or workspaces, then pursuing an interior designing course might be your ideal career path. Especially if you're situated in or around the capital, an interior design course in Delhi can provide not only a world-class education but also proximity to some of India's best design firms and creative hubs.

This paper offers a thorough examination of research, design, and design research, providing a comprehensive framework for PhD scholars in the design discipline. It establishes a fundamental understanding of systematic knowledge generation by delineating the core principles of rigorous inquiry. The paper then explores the multifaceted nature of design, including its interpretations, the essential competencies of a designer, and the various levels of design intervention. The central focus of this work lies in converging research and design, defining design research as a distinct and robust area of inquiry. It elaborates on its systematic, iterative, and reflective processes, its key characteristics, and the critical typologies that frame its practice. Additionally, the paper explores the expansive scope of design research, emphasizing its disciplinary breadth, methodological pluralism, and strategic integration within contemporary organizations. Finally, it highlights the significant contemporary value of design research, emphasizing its contributions to human-centered innovation, economic efficiency, risk mitigation, competitive advantage, future-proofing, and ethical design. This framework is intended as an indispensable guide for PhD scholars in design, equipping them with the nuanced understanding necessary for advanced academic pursuit and impactful practice.

[The paper serves as an expansion of the concepts introduced in the presentation 'Research, Design, and Design Research'  https://www.academia.edu/67491176/research_design_design_research]

The Bulletin publishes scholarly research on history, theory, and interdisciplinary discourse in plastic arts and contemporary design, reviews of monographs, exhibition catalogues and teaching aids. The periodical invites aсademic scholars and addresses the researchers, educators, and students of fine arts, visual culture and design.
У збірнику публікуються матеріали наукових досліджень з історії, теорії та міждисциплінарного дискурсу в галузі образотворчого мистецтва й дизайну, наукові рецензії на монографії, на каталоги художніх проєктів та навчальні посібники. Вісник запрошує академічних науковців, пошукачів учених ступенів і звань та звертається до дослідників, викладачів і студентів з образотворчого мистецтва, візуальної культури й дизайну.

The interrelationships between humans, smells and the built environment have been the focus of increasing numbers of research studies in the past ten years. This paper reviews these trends and identifies the challenges in smellscape research from three aspects: methodological approaches, artistic design interventions and museum practices, and odour policy making. In response to the gaps and challenges identified, three areas of future research have also been identified for this field: smell archives and databases, social justice within odour control and management, and research into advanced building materials.

The purpose of this study is to define the factors which brought about the morphological evolution of English wine bottles from circa 1660 through circa 1750. The hypothesis upon which the work is based is that the shape of the English wine bottle changed through time as a result of three inter-related factors including: changes in the availability and popularity of various types of wine, the coincidental development of the custom of maturing and storing certain types of wine in glass bottles, and the need to improve bin-storage methods in such a manner that bottles could be stored more efficiently on their sides rather than up-side-down. Periods of wine availability and popularity, which are indicators of preference through time, have been researched using primary and secondary documentation concerning wine consumption in England and in Virginia during the period under investigation. This research, and an investigation of the literature dealing with the custom and methods of closin...

Hand weaving has a very old history in Anatolia. In addition to carpet and rugs, almost in every region it could be possible to see local weavings. Some of the weavings perished and others still continue to exist. These weavings which have to be evaluated as intangible cultural heritage have been protected by the geographical indication suspended license in order to protect them from losing their unique properties. Changes in the dynamics of tourism with the improvements in technology and the emergence of alternative forms of tourism, have increased the importance of local and touristic products. Turkish Bath has always been a topic of interest for tourists. Besides, hand crafted products such as copper bath bowl, clogs, soap, marble basin, and woven loincloth (peştamal) and sacare the other products complementing the tradition. In Turkish baths, both females and males uses loincloths for covering up and drying the body, sac is used to clean the skin. In some regions of Turkey, bath...

In this study, it is aimed to analyze the cigarette holder which is an important handcraft in our country. Process steps in which cigarette holder turns from raw material into a product are examined in the study. Tools used in the process are introduced. Also, emergent works are introduced. In this research, it is dwelt on the problems of cigarette holder craft.

Peter Beacock runs the Architectural Design and Management programme at the University of Northumbria, and has an interest in sustainable design. In addition, he has worked with Wilkinson Hindle Halsall Lloyd Partnership (WHHLP) on a number of recent projects. Patricia Beecham, BA (Hons), BArch (Hons), RIBA (Farms; Museums; L a w Courts; Zoos and Aquariums) After studying at Newcastle University, Patricia Beecham spent 20 years as a registered architect on a wide variety of projects in private practice in Liverpool, London and Newcastle. During two years in Warsaw she developed a series of guided architectural walks. She is now practising independently. Fiona Brettwood, BA, Dip Arch, RIBA (Community Centres) Fiona Brettwood is a partner in Wilkinson Hindle Halsall Lloyd Partnership (WHHLP), which has over 25 years' experience of community architecture, community consultation and design participation. Her recent and current projects are with community projects in the North-East, helping in the development of appropriate facilities for the 21st century.

A arte nem sempre existiu como arte, isto é, como "arte produtora de obras"; ela sempre existiu como índice de uma sensação de vida que ultrapassa qualquer possibilidade de dizer ou de representar. (Celso Favaretto) Depois de estabelecer as bases fundamentais para a compreensão da contracultura brasileira, do cinema à música, em textos como Tropicália, Alegoria, Alegria (1979) e de lançar o bólide transformador da nossa historiografia da arte com A Invenção de Hélio Oiticica (1992), Celso Favaretto dedica-se há pelo menos dez anos à análise dos resquícios do moderno na arte e no pensamento contemporâneo. Tratase de uma análise que abarca o sentido psicanalítico do termo: analisar a hipótese de que a arte contemporânea sofra de reminiscências do moderno. É assim que no belíssimo texto "Entre Luzes e Sombras: a arte contemporânea", de 2020, Favaretto aborda a perlaboração do moderno: a arte contemporânea tem como princípio a imanência, propondo na materialidade de suas práticas, através de intervenções abertas e precisas sobre os restos da obra moderna, que a arte não pode dizer

Culture is gaining recognition globally as an important driver of sustainable development in the creative economy. The significance of the role of design and culture with the creative industries is under-researched, especially from the new emerging economies perspective. Therefore, designers need a framework which will guide them on how they can create sustainable, and innovative cultural sensitive products which reflect users’ identities. Co-designing from cultural memory is a new design approach which embeds users’ beliefs, expectations, and expressive values in products and services. The paper discusses two case studies which were conducted in Botswana within the creative industries. The aim was to study how designers imbued cultural memory factors into design features. The paper developed a culture-centred design model after carefully studying how designers identify, transform and imbued cultural memory factors into innovative glocalised products that have local meaning and a gl...

Tulisan pendamping untuk pameran tunggal Cecil Mariani, "Bangau di Rumah ke-12." Melalui praktik visual Cecil yang mencampuradukkan representasi dan misrekognisi, kerja kognitif dan kerja manual, saya membahas masalah jiwa seniman, mogok dalam manajemen kerja kontemporer, dan pembentukan nilai dalam ekonomi spekulasi.

يُعد قانون جيب التمام أحد الأدوات الأساسية في الهندسة الإقليدية، حيث يربط بين أطوال أضلاع المثلث وزواياه بطريقة رياضية دقيقة. يأتي هذا البحث لاستعراض هذا القانون من خلال ثلاثة محاور رئيسية:
أولاً: التطور التاريخي للقانون منذ صيغته الأولية عند إقليدس، مروراً بإسهامات علماء مثل الكاشي وفييت، وصولاً إلى صياغته الحديثة. 
ثانياً: عرض مجموعة متنوعة من البراهين التي تثبت القانون، مع التركيز على تنوع المناهج المستخدمة في الإثبات، سواء كانت هندسية أو جبرية أو تعتمد على المتجهات.
ثالثاً: دراسة بعض النتائج المباشرة والغير مباشرة للقانون، كاستخدامه في حل مسائل وإثبات مبرهنات.
يهدف هذا العمل إلى تقديم فهم واضح وشامل لقانون جيب التمام في إطاره الكلاسيكي ضمن الهندسة الإقليدية، مع إبراز قيمته كأداة رياضية مفيدة في دراسة خصائص المثلثات والعلاقات بين أضلاعها وزواياها. على الرغم من أن البحث لا يتناول التطبيقات الفيزيائية أو التعميمات في الهندسات غير الإقليدية، إلا أنه يغطي بشكل منهجي الجوانب الأساسية للقانون.

The purpose of the research was to longitudinally investigate rural consumers' online shopping for food and fiber products as a function of satisfaction with local retailing and outshopping. Innovation diffusion theory was used to guide the research. Eight hundred seventy-nine rural consumers from 11 states completed surveys twice (in 2000 and 2003). Data were analyzed using structural equation modeling and analyses of variance. Dissatisfaction with local retailing in 2000 was a powerful driver of outshopping, beliefs about online shopping, and online shopping (both in 2000 and in 2003). Outshopping was positively related to online shopping at both points in time, suggesting that variables found to affect outshopping in the literature may affect online shopping in a similar way.