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This reflection on Göran Sonesson's writings and theoretical engagement in art is also a survey of a set of semiotic concepts related to this area. As a semiotician Sonesson wrote about varying sub-genres like fine art, photography, film and architecture. The reflection is also a personal recollection – as a colleague, friend and participant in the Lund circle of semiotics – of ideas and discussions highlighting the relation between semiotics, art theory and artistic practice. This reflection captures a couple of notions of importance in Sonesson's contributions to semiotic theory relating to pictoriality, art and culture, such as "secondary iconicity", "projected Ego, Alter and Alius", "sedimentation of impressions", "picture subject and picture object", etc. The reflection ends in stating the importance of the specifically Lifeworld-based semiotic contribution by Sonesson to art theory, a contribution perhaps yet to be fully appreciated, and how this contribution also corresponds with how practicing artists reach out to, but also goes beyond, the art world itself. [ABSTRACT FROM AUTHOR]

Visual receptions of the Eden serpent throughout the history of Western art have reflected various interpretive attempts to understand the nature of this creature. In the investigation of these receptions, five iconographic categories emerge: the female-headed serpent, the demonic serpent, the dragon-like serpent, the etiological serpent, and the zoological serpent. Of these categories, all but the female-headed serpent survives in modern children's Bible illustration. Due to the cultural prevalence of children's Bibles and the tendency of images to inform later readings of texts, these visual receptions of the Eden serpent hold significant interpretive power for the child. Survivals of demonic, dragon-like, and etiological iconographic categories in modern children's Bibles limit the interpretive possibilities of the child's subsequent reading of the biblical text. The child is predisposed to regard the serpent as a demonic figure or a fantastical creature, or to regard Genesis 3 as a purely etiological tale, proscribing other interpretive possibilities. In contrast, the survival of the zoological serpent in modern children's Bibles highlights the interpretive tensions within the Hebrew text of Genesis 3. Rather than proscribing certain interpretations of the Eden serpent, the survival of the zoological serpent in modern children's Bibles invites the child to interact with the interpretive gaps and ambiguities in both text and image. [ABSTRACT FROM AUTHOR]

The publication of Wolfgang Wildgen's Morphogenesis of Symbolic Forms: Meaning in Music, Art, Religion and Language is an opportune moment to reflect on the author's extensive contributions to a dynamic semiotics, founded on catastrophe theory. Bringing together a number of investigations on a number of Cassirer-like "symbolic forms" like music, visual art, myth/religion and language, Wildgen provides an overarching system to weigh the semiotic resources of each of these bodies of knowledge as they contribute to the semiogenesis of the species. By comparing sensorial capacities, Wildgen helps us understand how and when a symbolic form can grow at all. Chapters devoted to each form explore their unique way of organizing knowledge. Using catastrophe primitives, Wildgen both bonds symbolic forms together while at the same time preserving Cassirer's Enlightenment interest in evolution and the way in which new semiotic capacities grow and others can be discarded. The review ends with a consideration of the humanist's misunderstanding of mathematical and natural science insights like Wildgen's and explains how its rich results are to be utilized. [ABSTRACT FROM AUTHOR]

The Open Science and, above all, the Open Access movement have their origins primarily in the STEM subjects. The movement is dominated by their publication cultures and the corresponding infrastructures. With the technical developments of the last three decades, both have been gradually translated from analogue to digital. But what if openness is not translated but rethought? The paper presents the differences, challenges, and special needs of the arts and point out possible solutions. For this purpose, topics such as diversity, infrastructure for multimedia materials or homogeneous data management will be considered. After a brief outline practical reports from the Hochschule für Schauspielkunst Ernst Busch (HfS), the Hochschulübergreifendes Zentrum Tanz (HZT) and the Universität der Künste (UdK) will show the situations for artistic institutions and their way to openness. A change of perspective is indispensable for rethinking, which is why the STEM subjects should take the arts into account. With their diversity and creativity, they meet the challenges of the digital world with innovation and vision. The arts create a modern openness for all. [ABSTRACT FROM AUTHOR]

The article examines the origin of the trope of the crocodile bird in Egyptian culture and its dissemination in classical, Islamic, and Jewish traditions. It discusses whether the crocodile bird actually existed and which bird species could be identified with it. The text describes various versions of a story about the friendship between a crocodile and a bird that was widespread in ancient literature. It also points out that the trochilus may be mentioned in Byzantine poetry and in Horapollo's treatise on hieroglyphs. However, there is no clear evidence for the depiction of the trochilus in visual art. The article describes the origin and dissemination of the trochilus trope, a narrative about a bird that cleans the teeth of a crocodile. The story originated in ancient Egypt and was passed down in various cultures, including Greek, Roman, Islamic, and Jewish traditions. [Extracted from the article]

This article examines the visual interpretations of the Spirit in the Beatus illuminated manuscripts. This study will follow methods emerging in the discipline of visual criticism where visual art of biblical texts function like commentaries by offering visual interpretations. This study will investigate the visual interpretations of "John being in the Spirit" (Rev 1:10; 4:2; 17:3; 21:10) and the seven Spirits who are identified as the seven torches, the seven eyes, and the seven horns of the Lamb (Rev 1:4; 3:1; 4:5; 5:6) in the Beatus illuminated manuscripts. [ABSTRACT FROM AUTHOR]

Studies have established a relationship between proinflammatory factors and implantation failure in IVF/ICSI cycles. Likewise, low-grade chronic inflammation is generally blamed for predisposing infertility. In the present study, we aimed to find a relationship between serum IL-6 and hs-CRP levels and IVF/ICSI cycle outcomes. A total of 129 patients who consented to participate and attended the IVF unit of our department for the treatment of infertility have been enrolled in this prospective cohort study. Serum levels of high sensitive C-reactive protein and interleukin 6 have been detected at the beginning of the IVF/ICSI ovulation induction cycle. Cycle outcomes have been compared between patients with and without clinical pregnancy achievement following ART treatments. IVF/ICSI cycle outcomes of these two groups were also comparable except the number of >14 mm follicles, retrieved oocytes, metaphase II oocytes, and fertilized oocytes (2 pronuclei) which were in favor of the clinical pregnancy group. Mean serum hs-CRP levels were 3.08 mg/L (0.12–35.04) and 2.28 mg/L (0.09–22.52) patients with and without clinical pregnancy respectively. Mean serum IL-6 levels were 2 pg/mL (1–10.2) and 2 pg/mL (1–76.9) patients with and without clinical pregnancy respectively. Both tests were found to be statistically insignificant in predicting the success of the ART cycle in terms of implantation, clinical pregnancy, miscarriage, and live birth. In the present study, we have not found any significant effect of hs-CRP and IL-6 levels in the IVF cycle. However, in the light of this and previous studies, large-scale research may prove the exact influence of these markers on IVF success. – There is an equilibrium between pro-and anti-inflammatory factors during the regulation of reproduction. – Chronic low-grade inflammation has been found to be present in many reproductive dysfunctions. – However in the present study we have not found any significant effect of hs-CRP and IL-6 levels in IVF cycle. [ABSTRACT FROM AUTHOR]

The article discusses the topic of polytheism in ancient Greece. The author argues that it is important to not only consider individual gods, but also the various configurations and relationships between the gods. A case study is presented on a decree from the city of Mytilene, which lists different gods. The article emphasizes the importance of examining such lists and configurations in order to deepen the understanding of Greek polytheism. The role of Zeus and other gods in different configurations is also discussed. The representation of the divine family in visual arts is also mentioned, emphasizing the need for further research to deepen the understanding of the complex portrayal of the gods in Greek mythology. [Extracted from the article]

Although a relatively recent invention (c. 1500), many legends have accumulated around the origins of lace, more than have been recorded for other crafts. Almost every region involved in pillow or needle lace had its own origin story: I will concentrate on those circulating in Italy, Catalonia, France, Belgium, and England. Lacemaking was a poorly paid, dispersed and overwhelmingly female occupation, but none the less it had a strong craft tradition, including the celebration of particular saints' feastdays. The legends drew on elements of this work culture, and especially the strong connections to royal courts and the Catholic Church, but they did not originate among lacemakers themselves. Rather they were authored by persons – lace merchants and other patrons – who in the nineteenth century took on the task of defending homemade lace in its drawn-out conflict with machine-made alternatives. Legends first circulated in print, in lace histories, newspapers and magazines, before transferring to other media such as the stage, historical pageants, even the visual arts. More recently they have continued to propagate on the web. While not originally oral narratives, they behave much like legends in oral storytelling environments: they are usually unsourced; they accumulate and shed motifs; they adapt to new circumstances and audiences. They were told with the intention of creating a special status for handmade lace, and to mobilize protectors and consumers. [ABSTRACT FROM AUTHOR]

Progestational agents are often prescribed to increase the clinical pregnancy rate in assisted reproduction. Progestogens affect implantation, cytokine balance, natural killer cell activity, arachidonic acid release and myometrial contractility. Progesterone production from the corpus luteum is essential for reproduction, but assisted reproductive technologies (ART) can impair luteal function. ART cycles can be classified into three, fresh cycles in which there may or may not be luteal insufficiency, agonist or antagonist cycles in which there is luteal insufficiency, and luteal support is essential, and donor cycles, in which there is no corpus luteum, and a luteal phase has to be created. However, there is no adequate diagnostic test for luteal insufficiency. This article summarises the effect of various progestogens, progesterone itself whether administered vaginally, intra-muscularly, rectally or subcutaneously, and the effect of the progestogen, dydrogesterone. The time of commencement and cessation of therapy are also discussed. Progestogens are also often used to treat threatened and recurrent miscarriage. In these patients progestogen supplementation may need to be prolonged. In threatened miscarriage, until after all bleeding stops, and in recurrent miscarriage, at least as long as the luteo-placental shift. [ABSTRACT FROM AUTHOR]

Given the extensive body of research in audio description – the verbal-vocal description of visual or audiovisual content for visually impaired audiences – it is striking how little attention has been paid thus far to the spoken dimension of audio description and its para-linguistic, prosodic aspects. This article complements the previous research into how audio description speech is received by the partially sighted audiences by analyzing how it is performed vocally. We study the audio description of pictorial art, and one aspect of prosody is examined in detail: pitch, and the segmentation of information in relation to it. We analyze this relation in a corpus of audio described pictorial art in Finnish by combining phonetic measurements of the pitch with discourse analysis of the information segmentation. Previous studies have already shown that a sentence-initial high pitch acts as a discourse-structuring device in interpreting. Our study shows that the same applies to audio description. In addition, our study suggests that there is a relationship between the scale in the rise of pitch and the scale of the topical transition. That is, when the topical transition is clear, the rise of pitch level between the beginnings of two consecutive spoken sentences is large. Analogically, when the topical transition is small, the change of the sentence-initial pitch level is also rather small. [ABSTRACT FROM AUTHOR]

In the early medieval urban centers on the south and east coast of the Baltic, objects decorated in Scandinavian style were used, however with the local character of ornamentation. The authors analyze large collections of this type of artifacts from Wolin and Novgorod against the wide North European background. They indicate the spread of this phenomenon in the Baltic area, naming it Viking Periphery Art and offer an explanation of its origin instead of previous attempts of defining this phenomenon as a Pomeranian School of Scandinavian-Insular Art. They argue that the local art is a testimony to social changes: the fusion of different cultural elements could be proof of the development of the new identity of town elites taking part in long-distance trade in the 10th century. [ABSTRACT FROM AUTHOR]

A fundamental assumption in relevance theory is that human cognition has evolved in the direction of increased efficiency and, as such, tends, as Sperber and Wilson (Relevance: Communication and cognition, 2nd ed. Oxford: Blackwell, 1995: 38–46, 260–66) put it in their cognitive principle, to be naturally geared towards the maximisation of relevance. The cognitive principle inter alia explains the selectivity of human agency and attention: for an input to merit the attention of the human cognitive system, it must seem relevant enough to be worth attending to. But what makes an input relevant? The relevance-theoretic account proposes that relevance for an individual organism at any specific time involves a balancing of mental effort and a particular type of worthwhile modifications, cognitive effects, that are representational in nature and amount to improvements in knowledge. The type of relevance yielded by such effects could be described as a cognitive type of relevance. However, inputs such as artistic stimuli – including literary ones – invite us to widen the scope of the causal engineering behind the selective directedness of our mental lives. Artistic stimuli merit the attention of the human cognitive system at various time-scales (momentary, developmental, and evolutionary). Following Kolaiti (The limits of expression: Language, literature, mind. Cambridge: Cambridge University Press, 2019: 76–94) and drawing on neuroscientific evidence from the last 25 years, I will make tentative suggestions that artistic stimuli may also yield non-representational worthwhile modifications or effects. My discussion focuses on one such type of effects involving the human perceptual system: perceptual effects. Being partly or wholly embodied, perceptual effects could extend the machinery of relevance theory in an embodied direction and widen its interdisciplinary implications. [ABSTRACT FROM AUTHOR]

There are only a few sequences of ancient magic signs known to us today that have been preserved on multiple artefacts. A previously unnoticed sequence of 17 signs on a gem in the Museum of Fine Arts in Vienna occurs with minor but significant variations on two other gems in the State Museum of Egyptian Art in Munich. The Viennese gem is dated to the 16th century and is documented as a drawing in a 17th century publication. The first Munich gem has been assigned to the Graeco-Roman period. The second gem, which, according to the inventory card of the museum, also belongs to the Graeco-Roman period, is published here for the first time. A comparative study of the three gems and the drawing has lead to a number of new findings, including the re-dating of the Munich gems. [ABSTRACT FROM AUTHOR]

This article is part of the oral history research project at the Academy of Fine Arts Vienna and discusses the development of mountings and passe-partouts at the Grafische Sammlung Albertina from 1805 until 2018. Based on the history of passe-partouts, the professionalisation of paper conservation in Vienna can be described. Passe-partouts of drawings and prints were chronologically classified. The collection history, the appearance of the passe-partouts as well as inventory catalogues and collection stamps served to classify the passe-partouts. The prints were mounted on back mounts at the beginning of the 19th century, after 1822 they were stored in albums. Since 1900, prints were removed from the albums, from nationalisation in 1919 onwards, they were set in passe-partouts. The drawings, however, were always kept in passe-partouts. At the beginning, these only consisted of back mounts. In the 1860ies, they were supplemented by a window mount. The hinged window mount that appeared in the 1960ies has been complemented with a cover sheet since the 1990ies. [ABSTRACT FROM AUTHOR]

The chalcedony amulet MFA 98.697, which originates from the famous Tyszkiewicz Collection, has been kept in Boston's Museum of Fine Arts since 1898. The object bears a Sumerian Kultmittelbeschwörung on a thorn bush (Sum. ĝeš kiši 16 , Akk. ašāgum), a shorter version of which was published by A.R. George in 2016. The present paper provides editions of both incantations, including some new readings. In addition to the philological analysis, it explores the magical-medical application of the thorn bush, which might have had an apotropaic use. The object presented here is of great importance, since it provides the first occurrence of an incantation on a particular plant written on a pendant that was used as an amulet during magical-medical activities in ancient Mesopotamia. [ABSTRACT FROM AUTHOR]

This article is part of the oral history research project at the Academy of Fine Arts Vienna and discusses the development of mountings and passe-partouts at the Grafische Sammlung Albertina from 1805 until 2018. Based on the history of passe-partouts, the professionalisation of paper conservation in Vienna can be described. Passe-partouts of drawings and prints were chronologically classified. The collection history, the appearance of the passe-partouts as well as inventory catalogues and collection stamps served to classify the passe-partouts. The prints were mounted on back mounts at the beginning of the 19th century, after 1822 they were stored in albums. Since 1900, prints were removed from the albums, from nationalisation in 1919 onwards, they were set in passe-partouts. The drawings, however, were always kept in passe-partouts. At the beginning, these only consisted of back mounts. In the 1860ies, they were supplemented by a window mount. The hinged window mount that appeared in the 1960ies has been complemented with a cover sheet since the 1990ies. [ABSTRACT FROM AUTHOR]

Background: Infertile women may have underlying genetic abnormalities. There is, at present, a significant number of studies on the relation between the follicle stimulating hormone receptor (FSHR) or anti-Müllerian hormone type II receptor (AMHRII) polymorphisms and response to in-vitro fertilisation (IVF) treatment. However, it is not yet clear which genotype or combination of genotypes is favourable towards a better ovarian stimulation and pregnancy outcome. Materials and methods: In this study we assessed the distribution of the genotypes of FSHR Ser680Asn and of AMHRII −482A>G gene polymorphisms in a group of 126 infertile women and a control group of 100 fertile women by using real-time polymerase chain reaction (RT-PCR). Results: Statistical analysis showed that the frequency of the genotypes is similar in both control and IVF/ intracytoplasmic sperm injection (ICSI) groups. Further investigation of the frequency of the nine possible combinations of these polymorphisms in the groups revealed no correlation between infertility and combination of the polymorphisms. Women with one polymorphism have on average 5.5 units higher levels of AMH compared to women carrying no polymorphism. In women with no polymorphisms, for each unit of FSH increase, the average concentration of blood AMH is expected to be 72% lower. Conclusion: The distribution of the FSHR Ser680Asn and of the AMHRII −482A>G gene polymorphisms, in the Greek population is similar in fertile and infertile women. The study showed that FSH and AMH correlated levels in certain cases could be used to estimate a patient's ovarian reserve. [ABSTRACT FROM AUTHOR]

This article highlights the importance of acknowledging the underlying methodology in the interpretation of early Christian art. I raise these issues via an engagement with the frescoes at Dura Europos, as interpreted by Michael Peppard in his recent work, The World's Oldest Church. I demonstrate that Peppard's ideology and archaeological methodology entail a creative, hermeneutical nexus for interpreting the initiation rituals at the Dura Europos house church. For Peppard, this nexus entails an innovative interplay between non-canonical sources, art and liturgical identity. This yields a surprising interpretation of initiation rituals at Dura Europos and, by extension, of early Christianity in Syria. After describing some problematic aspects of Peppard's ideological and archaeological choices, I offer suggestions for a related proposal on Christology and visual exegesis at the Dura Europos house church baptistery. This proposal begins with clarification of ideological issues that foreground visual exegesis at Dura Europos, and argues for the adoption of six essential criteria when reconstructing the operative Christology in the baptistery of Dura Europos. [ABSTRACT FROM AUTHOR]

The key figure here was Walter Gropius, Pevsner's self-confessed hero, and Oléron Evans cites Pevsner's well-known thesis that the architectural statements made by Gropius in Germany by 1914, most particularly the Fagus Factory in Alfeld (Leine), represented the style of the twentieth century. After briefly considering Australia as a possible refuge, and approaching Walter Gropius about a position at Harvard, Pevsner became reconciled to his fate as an adopted Englishman, and Oléron Evans is particularly instructive on the increasingly positive understanding of the English || 3 On Pevsner's complicated relationship with National Socialism and on the NS nurturing of Kunstgeographie, see Iain Boyd Whyte "Nikolaus Pevsner: Art History, Nation, and Exile", RIHA Journal 0075 (23 October 2013), http://www.riha-journal.org/articles/2013/2013-oct-dec/whytepevsner (accessed 2 October 2018). 5 Quoted in Harries, Nikolaus Pevsner, p. 99. 174 | Reviews/Rezensionen character that Pevsner gained during the London blitz, when he was paid to clear rubble in Kentish Town in the autumn of 1941. This clash of cultures is chillingly captured by Oléron Evans in a quotation from a review of one of Pevsner's radio talks by Ellis Waterhouse, an authority on Italian Baroque and English art, which was published in The Listener: Prof. Pevsner dealt gently with us last week. [Extracted from the article]

The present work is an attempt to bring meaning to the fore of not only empirical aesthetics but also experimental aesthetics. We have addressed meaning in terms of attention-grabbing perceptual structure, doing so in the strong sense of structure; i.e., structure understood as a pure spatial relation between shapes, independently of what objects these shapes represent. The structures we investigate are the so-called non-generic configurations that obtain between objects seen from a unique vantage point. In the paper, we first introduce the notion of non-genericity, in general, and its use in visual art in particular, where it is claimed to affect the visual brain as an attention grabber. We then present an experiment we have designed to test the effect of such a relation on the visual brain, and we give evidence to the effect that non-generic configurations in pictures do attract attention significantly more than their generic counterparts. Non-genericity can therefore be considered as one among other pictorial techniques artists dispose of to construct perceptual meaning in vision. [ABSTRACT FROM AUTHOR]

The article focuses on culture and history of Germany and and its impact on Europe. It presents difference in ideologies regarding historical events between Great Britain and Germany and states that German commemorations inspire to look forward while the English commemorations look back and are a reminder of the past events. It also presents examples of German excellence in several fields including technology, art and economics.

The article discusses the development of high intensity discharge (HID) lamps application for light bleaching art works on paper. It describes the construction of a light bleaching unit using HID lamps, and cites key functionalities of the system. It discusses methods of bleaching for their principal working parameters including immersion bleaching, bleaching on the slant washing board, and on a moist blotter.

Hydatidiform mole is a pregnancy disorder, of a benign nature. We present a case of molar tissue within a uterine myoma, the first such entity reported in the literature. In May 2006, a thirty-eight year old infertility patient was admitted for myomectomy. She had anamnesis for chronic pelvic inflammatory disease and surgeries performed for tubal pregnancies. After the sixth intracytoplasmal spermatozoa injection procedure performed in January 2006, she conceived, but curettage was performed in March 2006 for a missed abortion. Following the routine preoperative evaluation in May 2006, four months after the last artificial reproductive technology procedure, myomectomy was performed as uneventful operation, but the histological report appeared unusual, showing degenerated chorionic villi within the uterine myoma. Molar tissue within uterine myoma might evolve even after artificial reproductive procedures. Furthermore, this finding might be misinterpreted as a fibromyoma degeneration. This is the first, and a unique case, of molar tissue within uterine myoma reported in the literature. [ABSTRACT FROM AUTHOR]

The Trundholm sun chariot is characterized by extraordinary aesthetics. The front and the back side of the Trundholm disc represent through their difference in brilliance and decoration a separate concept -- the Sun and the Moon. The analysis of these exquisite decorations demonstrates that the Bronze Age people had profound astronomical knowledge of the movements of these heavenly bodies. Taken together, the front and the back side of the disc form a complete picture, one which already contains the Metonic cycle. The mathematics of the ornamentation on both sides is also of great potency and beauty. The Trundholm disc is thus the key to understanding the Nordic style and its underlying creation myth. [ABSTRACT FROM AUTHOR]

The article reviews several articles which appeared in the periodical "Circolo Medievistico Romano," including "Leggere i testamenti pisani, 1350-1420" by Sylvie Duval on January 23, 2014, "Giovanni Burckardo e l'immagine dei curiali tedeschi a Roma nel primo Rinascimento," by Tobias Daniels on February 19, 2014 and "Committenza artistica nelle signorie urbane dell'Italia centrale alla fine del Medioevo," by Jean-Baptiste Delzant on March 18, 2014.

Objective: To evaluate the relationship between assisted reproduction technology (ART) and parental mental representations during late pregnancy and early parenthood. Study design: Women (n=25) following ART pregnancies were compared with their partners (n=23) and with women following spontaneous conceptions (n=39). Subjects were interviewed on mental representations at late gestation and three months postpartum. Results: Socio-demographic and obstetrical characteristics were similar between groups. ART women tend to decrease scores of intensity of investment from before to after delivery. During pregnancy and postpartum, ambivalent representations were more often present and well-integrated representations were less often present among ART women as compared with non-ART women. ART women had significantly more ambivalent representations that persisted at three months postpartum, and men had more disengaged representations. Conclusions: A greater desire for pregnancy exists in ART women which might not always coincide with a desire for maternity. ART men, however, manifest greater disengagement from the entire child project. [ABSTRACT FROM AUTHOR]

Objective: To evaluate the relationship between assisted reproduction technology (ART) and anxiety symptoms during late pregnancy and early parenthood. Method: Women with ART pregnancies were prospectively compared to their partners and to women with spontaneous pregnancies. The sample of 87 subjects, 48 ART (25 mothers and 23 fathers) and 39 non-ART mothers were given the ASQ-IPAT Anxiety Scale at 30–32 weeks of gestation, and at one week and three months after delivery. Results: The main socio-demographic and obstetrical characteristics were similar between groups. ART women showed higher scores for latent anxiety than non-ART women at three months after birth and showed no difference from ART men in all assessments. Manifest anxiety scores in ART women were higher, compared to non-ART women during the third trimester of pregnancy and one week after birth and were higher in all assessments when compared to ART men. Overall level of anxiety was higher in ART women in all assessments when compared to non-ART women and higher than in ART men during the two postnatal assessments. Conclusion: We confirm the higher level of anxiety that characterizes the pregnancy-birth process in ART pregnancies. In addition, the higher manifest anxiety present before delivery and one week post-partum can be explained by the special nature of these pregnancies. Psychological support should be offered to ART patients because anxiety is an important risk factor for maternal post-partum depression and can lead to negative effects on the neonate and on child emotional and behavioral development. [ABSTRACT FROM AUTHOR]

This essay is about guidance and orientation systems in libraries and wants to point to the aspects which are responsible for clients to find their destinations in an easy way. It begins with the psychological bases for spatial orientation, before the architectural and interior design possibilities are examined. Then the basic principles for the design and placement of orientation systems (signs, electronic navigation systems and print products) are shown. The last part shows, what libraries can do themselves and in cooperation with specialists and how they should proceed. [ABSTRACT FROM AUTHOR]

Considerable differences will be found between the way many art works and particularly the papers, which act as support and made especially for graphic art, have aged over the years. They confirm an urgent need to use permanent archival materials to ensure the longevity of an art work. To evaluate whether some of papers used by artists are likely to last the test of time it is necessary to determine their permanence and durability. A work of art on paper, such as a print, created for display as the artist intended, should be printed on paper of archival quality, displayed and stored, when not being exhibited, under strictly controlled climatic conditions, with strict light levels.

Focuses on the question as to what assertion can be made concerning the relationship between ethics and aesthetics, given the cosmological-ontological premises of perception. Phenomenal structure of reality as a normative-selecting formation through possibility; Significance of art as a factor that generates reality.

No abstract available [ABSTRACT FROM AUTHOR]