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The word Glitch is an English word that originated from the Yiddish word Glitch which means "slippery place" that used by immigrants from West Germany in America in the 1940s to indicate an error, and then by the 1950s the term was used by electrical engineers to indicate a fault In the electrical signal, this term became a scientific term for electrical and electronics sciences, used to refer to the defect in the electrical signal in all scientific references in The National Aeronautics and Space Administration (NASA). Most of the time, this defect occurs through noises that cut the signal during transmission, so the image or sound appears incomplete, so Some modern artists thought of using this noise to produce different artworks belonging to the digital and electronic age in which they live, and after several experiments on the Digital and analog transmission of image, the Artists found Aesthetics in that defect, That look can only be produced through digital and electronic tools, after that It has subsequently affected other plastic arts, starting with architecture and sculpture, down to fashion design, creating forms and aesthetic values specific to this art alone, and its aesthetics are derived from the nature of its constituent tools. The defect in digital and analog signals “The more the artist controls this noise, the more he can control the final digital artistic output, then they unleashed the manifesto of that ideology, the ideology of Aesthetic based on errors.

Implication Statement Problem-based learning (PBL) and case-based learning (CBL) often mention social identities only if this information is directly relevant to diagnosis, which can inadvertently perpetuate stereotypes in trainee learning. Using a student-developed resource entitled “Portraying Social Identities in Medical Curriculum: A Primer,” we analyzed cases for social identities, identified gaps, and proposed changes, including use of a validated name bank to reflect diversity as represented by local census data. Through this innovation, suggestions were provided to represent the social determinants of health in CBL cases. Other medical schools can use our innovation to improve the social diversity of their medical curriculums.

Euro-Mediterranean heritage is a form of artistic expression that represents the essence of multiculturalism. It is a modern and contemporary expression of the intersection of East and West and the mutual cultural influence between Europe and the Mediterranean basin on one hand and Islamic art on the other hand .The researcher chose the Euro-Mediterranean Andalusian Spanish Islamic and Mudéjar heritage to study its forms due to the value of its unique cultural forms. It represents a state of convergence between people of different cultural types and there was an exchange between Western and Eastern cultures. The Euro-Mediterranean Andalusian-Spanish Islamic and Mudéjar heritage is a collective heritage that forms a part of the common heritage of mankind. The researcher tackles an artistic study of the most prominent forms of artistic heritage of the Spanish Islamic and Mudéjar through the four Ages of the Islamic: the era of the Caliphate, Taifa Kingdoms, the Almoravids and the Almohads, Nasrid kingdom of Granada, then Fifth: Mudéjar art after the reconquest war that turned Spain back to Christianity, This research demonstrates further evidence of the pivotal role of the Islamic heritage in the Middle Ages, which witnesses tangible forms of artistic heritage in architecture and applied arts including pottery, mosaic works, wood works, metal tools, ornaments, baskets, embroideries, textiles, carpets, costumes and various crafts on its continuity and greatness. The researcher aims to achieve innovative design solutions suitable for the printing of upholstery fabrics inspired by aesthetic values, which comes only after the artistic analytical study of models of Euro-Mediterranean Spanish Islamic and Mudéjar heritage, as it is characterized by originality and the ability to regenerate. The researcher studied analytical models of selected forms of Euro-Mediterranean Spanish Islamic and Mudéjar heritage, and then developed design ideas using the philosophical, aesthetic and artistic values and the formal and decorative elements of this artistic heritage to create printed patterns of upholstery fabrics with a contemporary vision.

Fabrics produced on fabric looms with Dobby devices play a major role in meeting the needs of consumers of woven fabrics, especially in the field of clothing fabrics. With the great technological development in these lines and their connection to computers, this gave the designer the opportunity to increase his creative and innovative ability to produce designs with values Functional and aesthetic within the limits of the number of limited textile differences in those looms.Jacket fabrics are very important for consumers to use frequently in the winter as they provide the required warmth, and given its importance and advantages, it deserves technical and Technology consideration,Whereas the design of that kind of fabrics carried on dobby looms almost typical is represented in plain,streak, and plaid designs . There are rarely simple engravings , Hence the importance of developing this type of fabric and providing a new vision by adapting some of the relevant scientific theories and applying them to the production of innovative designs with a new aesthetic and artistic vision. The most important research is Presenting a new vision for winter jacket fabric designs, Promote the use of scientific foundations and theories to obtain new and diverse designs, Take advantage of the recent developments of dobby looms to develop dobby fabric designs, and Enrich the local market with advanced products.and Objectives is Development of winter jacket fabrics executed on dobby looms, Emphasis on the adaptation of theories and scientific foundations and use in the dobby fabric design, Developing the local product to face the competition of the foreign product.

This article surveys and analyzes the gendered symbols and imageries in the hegemonic nationalist discourse in Egypt, under Nasser and under Sisi. It advances that gender binaries are projected onto the relation between ruler and ruled, state and nation, military and civilian, as a means to demobilize and subordinate “the people” following coups d’état. The article also analyzes the negative feminization of the Egyptian populace under Sisi, which serves to discredit demands for political participation and social justice and to legitimate their suppression, especially following the mass mobilizations of January 25, 2011.

Middle Egypt is the most fertile region in the country and its provincial governors were the richest and most powerful. Intermarriages between members of neighbouring nomarchic families created a strong power base, resulting in most governors gradually representing themselves in such forms and using formulae which are strictly royal. While there is no evidence that any of the governors actually challenged the authority of the king, it seems doubtful if the latter would have been pleased with the grand claims made by some of his top administrators and the royal prerogatives they attributed to themselves. The almost simultaneous end of Middle Kingdom nobility in different provinces, under Senwosret III, even though presumably not everywhere at exactly the same time, appears to have been the result of a planned central policy, although each province was dealt with differently and as the opportunity presented itself.

Abstract Man is the axis of all rights because they are only created for him, And if they sometimes are restricted to the interest of society, they are for the man himself who can only live in a community for he is a social creature in nature. Proceeding from the fact that human rights are inalienable although some wear important than others and the important ones are considered as basic for others, therefore, if the basis is lost, what is built on it will also be lost. Undoubtedly, the human right to life is the most valuable and fundamental one as it is related to the human self, in essence, his dignity and attached directly and timely to its value as a human being and it is the reason for his progress towards ideals of humanity. So, a need has arisen to investigate the human right to life as it is the most valuable right.

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This study examines how the theoretical insights and ideologies of the French sociologist Michel Foucault are contextualized in the Egyptian playwright Fathia al-Assal’s play The Women’s Prison (1993) in which institutions prove to be containers of power structures, punitive forms, strict social and political disciplines, and modes of resistance. Significantly, the Foucauldian thought takes an oppositional stance to dismantle the diacritics associated with power and punishment through delving deeply into the disciplines which constitute them. Under such a prism, the study investigates how institutions shape the human psychology of Egyptian women through an oppressive consciousness, thereby generating dissonance in characters and engaging the reader’s empathy with their plight. The play comprises a plethora of women prisoners who advocate political protests and the restructuring of state institutions being part of the overall power structure under which they exist. The playwright integrates polyphonic voices from different social categories to give her fragmented characters an opportunity for articulation and self-representation. Being socially outcast, these women are ostracized by the authoritarian state, so they are put in jail, an oppressive institution in which the playwright gives a voice to the marginalized, voiceless women. Thus, the play is an indictment of the burdensome power dynamics and punishments which weigh upon variable slices of Egyptian women. Moreover, the playwright is attentive to power relations under patriarchy and materialism and how these structures force women to fall into the abyss of crime, thereby depicting their non-conformity as a survival and anti-oppression mechanism. تبحث هذه الدراسة في کيفية وضع الرؤى النظرية والأيديولوجيات لعالم الاجتماع الفرنسي ميشيل فوکو في سياق مسرحية "سجن النساء" (1993) للکاتبة المسرحية المصرية فتحية العسال، حيث أثبتت المؤسسات إنها حاويات لأنماط السُلطة، وأشکال العقاب، والضوابط الاجتماعية والسياسية الصارمة، وأنماط المقاومة. بشکل ملحوظ، يتخذ الفکر الفوکوي موقفاً معارضاً من أجل تفکيک الترميزات المُرتبطة بالسُلطة والعقاب من خلال الخوض بعمق في الضوابط التي تُشکلها. من هذا المنظور، تبحث الدراسة في کيفية قيام المؤسسات بتشکيل الترکيبة النفسية للمرأة المصرية من خلال الوعي القمعي، وبالتالي توليد التنافر داخل الشخصيات، وإدماج القارئ في التعاطف مع محنتهن. تضم المسرحية عدداً کبيراً من النساء اللواتي يُدافعن عن الاحتجاجات السياسية، وإعادة هيکلة مؤسسات الدولة، باعتبارها جزءاً من هيکل السُلطة العام الذي يتواجدن تحت قبضته. وقد أشرکت الکاتبة أصواتاً مُتعددة من فئات اجتماعية مختلفة لمنح شخصياتها المُمزقة فرصة للتعبير وتمثيل الذات. ولکونهن مُنشقات اجتماعياً، فإن هؤلاء النسوة يتم النظر إليهن کمنبوذات من قبل الدولة الاستبدادية، ولذلک يتم وضعهن في السجن الذي يُمثل مؤسسة قمعية تُعطي فيه الکاتبة صوتًا للنساء المُهمشات اللاتي لا صوت لهن. وبناءً عليه، فإن المسرحية تُمثل إدانة لديناميکيات السُلطة القهرية والعقاب التي تُثقل کاهل شرائح مختلفة من النساء المصريات. فضلاً عن ذلک، فإن الکاتبة تهتم بعلاقات السُلطة في ظل النظام الأبوي والمادي، وکيف تُجبر هذه الترکيبات النساء على الوقوع في هاوية الجريمة، وبالتالي يتم تصوير عدم امتثالهن للضوابط على أنه آلية للبقاء ومناهضة القمع.