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The article presents the evolution of the ideological complex of chiefdom in the ideology of the Bolshevik Party and the reflection of this idea in political posters, drawings, paintings dedicated to the leaders. The images were studied mainly by I.V. Stalin without connection with the evolution of the ideology of the Bolsheviks. The chronological framework of their works was limited to the years 1930-1950. The chronological framework of this study covers the period from 1917 to the early 1950s. The article examines the prerequisites for the emergence of the cult of the leader in the public consciousness after the February Revolution and in the ideology of the Bolshevik Party. In this ideology, the complex of leadership emerged gradually. At the beginning of his revolutionary activity, Lenin justified the need for leaders for the party. After coming to power in the country, Lenin characterized their role as dictators in the management of the economy. In the 1930s, Stalin came to the conclusion that in Russia the need for a leader lies in the traditional views of the Russian people. This idea was political realism and at the same time a departure from Lenin’s class position. During his lifetime and soon after Lenin’s death, artists presented his image in a friendly and humorous spirit. Later, his image in the visual arts is canonized, the cult of Lenin develops. Images of Stalin have undergone an even greater evolution. In the 1930s, the ideological complex of his cult was formed in literature and embodied in a number of works of fine art. The evolution of the image of the leader in the visual arts in the 1930s and 1940s followed the same path as the entire party-state ideology — from radical concepts and ideas to the revival of traditional ideas and images for Russia.

Latar Belakang: Katering menjadi cara untuk memenuhi kebutuhan terhadap makanan. Katering merupakan penyelenggaraan makanan institusi karena mengolah makanan jumlah besar. Penjamah makanan dibutuhkan dalam jumlah banyak sehingga meningkatkan potensi kontaminasi makanan. Pencegahan kontaminasi dilakukan dengan penerapan personal hygiene berdasarkan Permenkes RI No. 1096/Menkes/PER/VI/2011. Peningkatan pengetahuan dan praktik diperlukan untuk meningkatkan penerapan personal hygiene salah satunya dengan pemasangan poster di area kerja. Katering Senjani Kitchen merupakan katering yang berada di Kota Malang. Hasil studi pendahuluan menunjukkan bahwa tenaga penjamah makanan belum menerapkan personal hygiene dengan baik. Tujuan: Penelitian ini bertujuan untuk menganalisis pengaruh media poster terhadap pengetahuan dan praktik personal hygiene penjamah makanan di Katering Senjani Kitchen Malang. Metode: Penelitian ini merupakan penelitian deskriptif dengan pendekatan kuantitatif menggunakan jenis penelitian pre-eksperimen dengan desain one group pretest posttest. Pemasangan poster di area kerja dengan sampel berjumlah 5 tenaga penjamah. Hasil: Hasil rata-rata nilai pengetahuan personal hygiene penjamah makanan sebelum dilakukan intervensi pemasangan poster adalah 70,7 (cukup). Setelah dilakukan intervensi meningkat menjadi 82,7 (baik). Rata-rata nilai praktik personal hygiene penjamah makanan sebelum dilakukan intervensi pemasangan poster adalah sebesar 55,7 (kurang). Setelah dilakukan intervensi meningkat menjadi 73,0 (cukup). Kesimpulan: Sehingga selain poster diperlukan adanya pengawasan serta pelatihan ataupun penyuluhan mengenai personal hygiene. Kata kunci: Penjamah makanan, pengetahuan, personal hygiene, poster, praktik.

The article is devoted to the analysis of the public opinion of the United States of America regarding the participation of the American state in the First World War, which in Western historiography is referred to as the “Great War”. Based on a wide range of English-language sources (American press, posters, speeches by politicians, representatives of the church, public associations), the authors concluded that the American society ambiguously assessed the fact of the participation of the United States of America in the military conflict. One group of American citizens advocated intervention in the war to prevent relentless German submarine action and to determine the participation and role of the American state in making peace. Another group of the American population believed that the entry of the United States of America into a military conflict would facilitate the penetration of a militarized culture into the country, which would threaten American values. The proposed study may be of interest and be useful for rethinking the experience of interaction between the state and society in the process of solving the most important tasks, as well as for revealing certain issues of public reaction to the problems of the state during wartime.

The article is dedicated to the current problem of integrating the competency approach into the educational process. In arts education, the acquisition of skills based on certain theoretical knowledge is always tied to the achievement of an artistic result. This text shares and describes experience related to mastering, expanding and practical application of knowledge about music through the application of the project activity, as an opportunity to form and improve the professional competences of students from the specialty “Graphic Design with Advertising”. [ABSTRACT FROM AUTHOR]

Conference participation is an important part of academic practice and contributes to building scientific careers. Investigating demographic differences in conference participation may reveal factors contributing to the continued under-representation of women in marine and ocean science. To explore the gender and career stage dimensions of participation in an international marine science conference, preferences of presentation type (oral/poster) as well as acceptance and rejection decisions were investigated using 5-years of data (2015–2019) from an International Marine Science Conference. It was found that early career scientists were more likely to be women, while established scientists were more likely to be men. Although overall, gender did not show a significant effect on the decisions to "downgrade" requests for oral presentations to poster presentations, early career scientists were significantly more likely to be downgraded than established scientists. Given that more women were often early career scientists, more women than men had their presentations downgraded. Other indicators and evidence from conference prize-giving and recognition awards point to a gender gap remaining at senior levels, highlighting the need for further actions as well as monitoring and researching conference participation from a gender perspective. [ABSTRACT FROM AUTHOR]

The purpose of this study is to examine how male and female students majoring in graphic design understand the metaphorical meaning of the term "poster" and how it is used in their everyday lives. Participating in the study were 106 students from Frat University's graphic design program. There are 106 kids total, including 49 boys and 57 girls. The research's data were gathered by having students fill in the blanks in the line "Poster is like.................., because...................................." It looks at how conceptual metaphor shows the presumptions made by participating graphic design students to understand the concept of posters in their professional lives. The purpose of this study is to develop a systematic picture of how and with what the study participants associate the idea of a poster in their minds. This study attempts to provide a more thorough understanding of how the research subjects interpret professional notions. Interview forms that were semi-structured were used to gather research data. To further explain the research, the obtained data are presented in tables. After gathering the data, the metaphors created by the male and female students were assessed independently, and then analyses on related topics were conducted. The research is qualitative, and the data was analyzed using content analysis. The findings were examined in light of the literature, and recommendations were given. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Academic Social Resources is the property of Journal of Academic Social Resources 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.)

Propaganda activities, which are mostly grounded in political communication today, were used as a weapon during the war periods. The effect of art branches with strong visual communication aspects in reaching the crowd led states to artistic propaganda activities during periods of political turmoil. Poster is one of the main actors of propaganda, which targets the masses rather than individuals and benefits from the visual power of the mass media while doing this, Posters, which are active elements of material culture, not only contribute to the social order, but also try to change this order by criticizing it when necessary. The posters, which are in cultural exchange with the society, reflect the sociological and political thought structures of the periods they were produced. The poster is a lively and aesthetic indicator that reflects the cultural and social characteristics of the country in which it is designed. In addition to conveying information to the society, poster designs with good aesthetic value are a very effective element in conveying messages. When evaluated from this point of view, state authorities, who realize that art increases the power of political communication, especially in I. and II. World War. They entered a kind of propaganda competition with the posters they used during World War II. With the posters used to convince the public that the war was necessary and to increase the participation in the army, both mass communication was ensured and the acceptance process of the political shock periods on the people was tried to be facilitated. In this study, the role of poster works used in political rupture periods in political communication will be examined and the connection between politics, propaganda and art will be analyzed. [ABSTRACT FROM AUTHOR]

Copyright of Al-Academy is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) 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 Journal of Contemporary Educational Studies / Sodobna Pedagogika is the property of Association of Slovenian Educationalists 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 Educaniora: Journal of Education & Humanities is the property of Educaniora: Journal of Education & Humanities 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 Art Time is the property of Ataturk University Coordinatorship of Scientific Journals 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.)

Os pôsteres são amplamente utilizados na comunidade acadêmica, e a maioria das conferências inclui apresentações de dessa modalidade em seu programa. O objetivo deste artigo apresentar técnicas de como criar e apresentar um pôster científico. Os pôsteres de pesquisa devem resumir as informações de forma concisa e atraente para ajudar a divulgá-las e gerar discussões. Devem ter uma mistura de um texto breve com tabelas, gráficos, fotos e outros formatos de apresentação. Durante a apresentação oral, o pesquisador fica ao lado da exibição do pôster enquanto outros participantes podem vir e ver a apresentação e interagir com o autor.

Radblock is a smart radio that uses machine learning to classify audio samples and then changes the radio station when an advertisement is detected.

The Sign Language Translator is a glove that translates sign language to text and speech in real time. The glove is outfitted with an Arduino Lilypad, an Accelerometer, Flex Sensors and Contact Sensors. Values from these sensors are sent via bluetooth to an iPhone application which predicts and displays the translated gesture. Through the application, users are able to calibrate the glove and view the translation.Team Advisor: Professor Pooria M. YaghiniDepartment of Electrical  Engineering and Computer ScienceWebsite: http://projects.eng.uci.edu/projects/asl-communications-device

Fungsi museum saat ini bukan hanya sekadar tempat penyimpanan koleksi, tetapi juga sebagai sarana untuk pembelajaran, penelitian, dan bisnis. Untuk mewujudkan fungsi tersebut, saya membuat 32 poster koleksi salah satu museum yang terlatek di Nagari Toboh Gadang, Kecamatan Sintuk Toboh Gadang, Kabupaten Padang Pariaman, Sumatra Barat. Museum tersebut dinamakan Museum Nagari Dr. Sawirman atau terkadang hanya disingkat dengan Museum Nagari dalam artikel ini. Metode research and development digunakan. Saya membuat 32 poster dan situs Museum Nagari sebagai media pembelajaran dan penelitian tahun 2021. Poster-poster tersebut selain dipajang secara manual di dalam museum juga ditampilkan di website https://sawirman.com/museum/. Poster-poster tersebut mencantumkan nomor registrasi, nomor inventarisasi, nama artefak dalam bahasa daerah, bahasa Indonesia, nomor inventarisasi, jenis, subtipe, panjang, lebar, diameter, asal, bahan artefak, keterangan, tanggal pendaftaran, dan nama penyedia (penjual artefak atau penyumbang koleksi museum). Semua poster itu telah memiliki hak cipta sejak bulan Desember 2021. Berhubung beberapa konten dalam situs tersebut memiliki hak cipta dari Direktur Jenderal Kekayaan Intelektual, Paten dan Merek Kementerian Hukum dan Hak Asasi Manusia Republik Indonesia, pembaca tidak diperbolehkan mengunduh dan mengutip informasi kecuali sumbernya disebutkan dalam kutipan secara benar. Output lainnya adalah profil buku Museum Nagari dan sertifikat pemateri kunci.

The article offers a systematic analysis of “quarantines”—small comic works dedicated to the pandemic and lockdown, which are transmitted in the Internet in digital form. The analysis is conducted on 3082 social cartoons collected by the Center for Social and Political History of the State Public Historical Library (CSPH of the SPHL) during the lockdown in March-June 2020. The quarantines are typologized into three categories: images (collages, original and doctored photos), aphorisms, and creolized texts (caricatures, comic strips, posters, and memes). A quantitative analysis of the collection allows to conclude that the vast majority of quarantines are creolized texts—a visual unity of image and caption. By analyzing the frequencies of the main themes represented by the quarantines (with the help of hashtags), a rating of thematic groups is compiled, where the topics “Lockdown” and “Masks” take the leading place. In all thematic groups, there are motifs both critical and loyal to the social norms of the pandemic, as well as plots and images of varying degrees of metaphoricity. Based on the analysis of quarantines collected by the Center for Social and Political History, as well as a critical review of modern studies devoted to digital folklore of the pandemic period in Russia and abroad, the main socio-cultural functions of a quarantine are singled out: overcoming social stress, adaptation to the new conditions of physical and social existence; interiorization of social norms of the pandemic. The conclusion is that quarantines have become a special, artistic method of selfhelp for society in a situation of social extreme. В статье предпринимается попытка системного анализа феномена «карантинки» — комических произведений малых форм, посвященных ситуации пандемии и локдауна, и передающихся в социальных Интернет-сетях в цифровом виде. Анализ проводится на материале коллекции социальной карикатуры Центра социально-политической истории Государственной публичной исторической библиотеки, которая была собрана во время локдауна в марте–июне 2020 года и насчитывает 3082 единицы хранения. Предложена типология «карантинок», включающая три типа документов: изображения (коллаж, «фотожаба», фотография), афоризмы, креолизованные тексты (карикатура, комикс, плакат, мем). В результате количественного анализа корпуса «карантинок» коллекции делается вывод о том, что подавляющее большинство единиц изучаемого корпуса представляет собой креолизованный текст (с его визуальным единством изображения и подписи). Исходя из хештегов коллекции, в статье проведен частотный анализ основных тем «карантинок» и составлен рейтинг тематических групп, где лидирующее место заняли тематические группы «Маски» и «Локдаун». Во всех тематических группах «карантинок» обнаруживаются как критические, так лояльные по отношению к социальным нормам пандемии мотивы, а также сюжеты и образы разной степени метафоричности. На основе анализа корпуса коллекции «карантинок» ЦСПИ ГПИБ и также критического обзора литературы по современным исследованиям цифрового фольклора пандемии в России и за рубежом автором выделяются основные социально-культурные функции «карантинки»: преодоление социального стресса, адаптация к новым условиям физического и социального существования; интериоризация социальных норм пандемии. Делается вывод о том, что «карантинка» стала особым, художественным методом самопомощи общества в ситуации социального экстремума.

The new modernity of the competence approach in training and lifelong learning are massively popularized mostly in the educational system, developed at a complex-active level and in combination with other approaches such as - interdisciplinary, reflexive, constructivist, activity-oriented, person-oriented, systemic, innovative, problematic, projectresearch, multicultural, etc. All approaches are interconnected and interpenetrating, interactive and multi-functionally dependent in the training process. If the approach represents a principle of action, then every activity is based on a given principle, and the implementation of the principles is carried out through approaches. The implementation and application of the approaches is done through different methods, which united in groups and with a common goal, hierarchical structure and tools form the foundations of technology in the training. In the new educational conditions, there is an added specificity, in line with global educational trends and educational strategies, where the educational perspective is also placed on the study, interpretation and presentation of information from different sources in order to form skills. Undoubtedly, the normative framework has been extended beyond specific geographical skills, being extended in the context of ICT, the requirements of the information society and digital transformations. The situational analysis of the geography and economics curricula in general preparation reveals the place and the scheduled expected results with a requirement to present geographic information only through a poster in school geography. The goals of this article are research, analysis and didactic interpretation of the normative framework of the competence for presenting a geographical object through a curricula poster; creating and justifying the life programstructural cycle of competence as an expected result for presenting geographic information through a poster; study of the connections and interactions of the competence for presenting a poster and in other subjects of the general educational preparation; identification and analyzation of examples of poster presentation and the relationship with key competence groups; systematizing the connections and creating a general model of the connections between the competence for presenting geographic information through a poster with the groups of key competences; presentation of an author's generalized model of a rule for making a poster in geography and economics. Within the research and didactic interpretation of the subject, methods such as content analysis, situational and comparative analysis, systematization, generalization, deduction and induction, multidisciplinary and integral approach, complex and systemic approach, scientific research approach, etc. have been applied. The content analysis for the application of the posters in geography and economics covers competencies as expected training results according to the curricula for general education (grades V - X) and profiled preparation (grades XI - XII) in the Bulgarian school - characterization and presentation through a poster of a geographical object, process or phenomenon. The overall structural model of application of the expected poster presentation result in terms of geographical objects, processes and phenomena is as follows: 8=[3(VI)+4(VII)]+[1*(X)]+[1(XI)]. Besides the author's model of the life cycle, other important results are: a normative systematization and didactic interpretation of the posters in geography training was made; it is ascertained that the normative framework does not contain rules and requirements for the manner and form of creating and presenting a poster; the deductive-inductive approach was applied in the spatial determination of the application of the posters by continents; an author's generalized model of a sequence of steps for making a geography and economics poster is proposed. [ABSTRACT FROM AUTHOR]

Copyright of Beykoz Akademi Dergisi is the property of Beykoz University 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.)

Introduction: Posters of the Art of Resistance Festival are one of the fields of formation of symbols and signs affected by the Islamic Revolution. The juxtaposition of the two factors, "image" and "text", is important in the design of these announcements. Symbolic relations appear in the design of the mentioned announcements in two ways: the axis of paradigmatic and the axis of syntagmatic. In the axis of paradigmatic, one element replaces another element. In the axis of syntagmatic, two or more elements are placed next to each other these relationships in some posters implicitly and in others explicitly convey the desired concept to the audience. In this research, the structural relations of signs in the posters of the resistance art festival will be identified. Emamifar, Sajoudi, and Khazaei (2010) in an article entitled "Semiological examination of announcements from the emergence of the Islamic Revolution of Iran until 2001" investigated how meaning is produced in the design of posters from the Islamic Revolution of Iran until 2001. In an article entitled "The Art of the Islamic Revolution", Rahnavard (2000) investigated and analyzed the Islamic Revolution of Iran in 1979 and its influence and expression on the culture and art of Iran. Talebi (2017) in his article entitled "Reflection of Islamic components and values in the art of resistance" examined the posters of the first decade of the Islamic Revolution of Iran. This research aims to investigate the paradigmatic and syntagmatic axes of signs structurally and the types of relationships related to them in some posters of the resistance art festival, as well as analyzing the explicit and implicit meanings of visual and written signs in them. Accordingly the two following questions will be investigated: 1. Based on what relationships do visual and written signs in the posters of the resistance art festival form the meaning transfer process? 2. What roles do these relationships play in the meaning of the poster? Methodology: The research method is descriptive-analytical. Collection of library and documentary information was through note-taking and image reading. Data analysis is qualitative. Statistical population is a collection of posters from the 5th Resistance Art Festival that was held in 2018. The sampling method is selective. Discussion: The semiotic relationships in the resistance posters can be classified into two axes syntagmatic and paradigmatic signs. In the analysis based on the paradigmatic axis, relationships are based on 3 factors, which are: contrasting relationships, analogical relationships, and comparative relationships. Conclusion: The poster "We come from the grandson of Abel of the Sun, who stand against the Cain of Darkness", is placed in the category of contrasting relationships. This relationship means the difference between the elements in the work in terms of position, orientation, and attraction of the elements to each other. This poster conveys to the audience the concept of good and evil in the confrontation between Iran and its enemies. The poster "I am a revolutionary" belongs to the category of analogical relations. Analogical relations compare the relationship between the elements in the text or narrate the artwork that in this announcement, due to the replacement of the fisted hands form on parts of the letters, an analogical connection arises in the mind. In the poster "The ax was from our family, we didn't know", comparative relations are strengthened due to the relations of paradigmatic of the ax instead of one of the branches of the tree and also the existence of conflict between the two. In the analysis based on the syntagmatic axis, relationships are divided into three categories: spatial relationships, sequential relationships, and conceptual relationships. The "Happy the 40th Spring of the Revolution" poster is placed in the axis of syntagmatic signs due to the juxtaposition of visual elements, and due to the placement of different components and elements in the image, it is placed in the category of spatial relations in the axis of spatial syntagmatic of signs, because spatial relationships mean the placement of the components and elements of the work in different axes of the image. The "Unity is the Code of Victory" poster is also placed in the axis of syntagmatic due to the juxtaposition of different components of the image in the poster, and according to the definition of sequential relationships, due to the placement of elements based on the alternation of the theme of the work and the creation of meaningful relationships with each other, it is in the category of sequential relationships. The poster "Iranian lion spills the blood of every hyena of disbelief", due to the juxtaposition of two images of lion and hyena, as well as the way the elements are placed and their proximity and the type of reading, is placed in the category of conceptual relations in the axis of syntagmatic of signs; conceptual relationships mean the reading of images and elements in them as well as the type of their relationship with each other. In all the works, when a visual sign metaphorically expresses the concept of revolution and Iran, understanding the meaning of the sign occurs on the axis of paradigmatic. [ABSTRACT FROM AUTHOR]

'EUNOS 2022' marked the 15th biennial congress of the European Neuro-ophthalmology Society. It was held at the University of Birmingham, England between Monday 20 June and Thursday 23 June 2022. This report summarises the highlights of the Neuro-ophthalmology programme of the congress, including the teaching day, scientific symposia and debates. [ABSTRACT FROM AUTHOR]

Copyright of Art-E is the property of Suleyman Demirel University, Faculty of Fine Arts 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 Amerta Nutrition is the property of Universitas Airlangga 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.)

Problem Definition: Relatively speaking, there are elements or phenomena in the universe whose origin, use, repetition, and representation have caused the formation of collective memories, and in their light, a sense of belonging or identity has been formed. One of these elements is color, which may be attributed to a group or a nation within a certain or wide range in a non-written form, regardless of whether the subject is right or wrong. Graphics, as a visual medium from form and color, conveys various subjects; thus, cultural issues and national culture can also be a part of it. To address this issue, the present research aims to find the answer to the following questions: (1) "what are the most frequent colors related to Iran in graphic posters with the theme of Iran or culture?" and (2) "What are the possible reasons for these colors?".Objective: Knowing Iranian intangible symbolic elements and better understanding different variants of Iranian visual culture are the main goals of this research.Research method: In this research, data were collected using library resources, databases, and visual graphic evidence. Then, using the method of visual content analysis, by collecting color samples from posters related to Iran in a pseudo-statistical manner, the most frequent colors were identified and then described and analyzed.Results: This study showed that to represent the Iranian color, except for the corporate color and the official flag, Iranian graphic designers referred to the colors related to their culture, which are often derived from cultural and artistic products, handicrafts, the color of the climate and ecosystem, traditional arts, Iranian-Islamic architecture, calligraphy, and the like. They also reproduced a spectrum of these colors in their work for Iran-related topics. Among these, the most frequent colors associated with Iran are the color spectrum of lacquered red, bright yellow, and brick red, as well as turquoise blue.

Posters created for conferences are a type of visual communication that are used frequently by academics. There are rarely any formatting requirements beyond fitting on their provided boards. Because posters are usually created by researchers rather than experienced graphic designers, the visual structure of conference posters may be influenced by the common format for journal articles, where text is given primacy over graphics and structured as “introduction, methods, results, discussion.” To test this, I examined award-winning posters from a large scientific society over 5 years of meetings. About three-quarters use the “Introduction, methods, results, discussion” format common to journal articles; about two-thirds use a columnar layout; most show multiple graphs and cite multiple references. Relatively few posters follow best graphic design practices, resulting in a “wall of text” on many posters.

Design MotivationThe Cordoba Cultural Complex aims to promote social interaction, cultural diffusion and skill cultivation. This structural system will consist of two buildings standing 65 feet above ground connected by a bridge The guitar-shaped design of the Cordoba Complex was inspired by its intended use, which is centered around performing arts. The design was also influenced by MAJISA's aim to reduce the negative impact of development and promote urban sustainability. In order to achieve these goals, the Cordoba Cultural Complex will feature a green roof and solar panels.Design ApproachSchematic renderings created to portray Architectural concept Concept transferred into AutoCAD for Construction Documents Floor occupancies & live loads were assigned based on ASCE 7-101 Dead Loads were assigned based on various structural resources Steel/Composite members were designed based on AISC Steel Manual Foundation and Seismic design to meet constraints required by the site locationMAJISA Consulting EngineersKPFF Consulting Engineers Client ConsultantBill Thorpe, S.E. PrincipalRachel Goossens, Project EngineerStewart Hooks, Project EngineerPeter Duong, Project EngineerFaculty Advisor:   Dr. Joel Lanning, P.E.;  Department of Civil & Environmental Engineering

Background:   HyperXite is an undergraduate senior design team at the University of California, Irvine competing in the SpaceX Hyperloop Competition III in the Summer of 2018. Our pod will be a 1:2 scale hyperloop pod utilizing an electric motor, eddy current brakes, and a distributed control system to accelerate through a 1-mile vacuum tube reaching a maximum speed of over 300 MPH. Our ongoing goal is to educate and train our members in advanced analysis, design, and manufacturing methods and to collaborate with industry partners and students from many engineering disciplines. Website: hyperxite.com

Background:   Vibrational stability is a natural phenomenon where a system if vibrating at sufficiently high frequencies, can bring itself back into a stable state if perturbed. This is akin to the high frequency flapping that hummingbirds and insects employ to maintain a hovering position and fly. Micro Air Vehicles (MAV) are a subset of air vehicles that have a size restriction and are commonly used for commercial, military, and reconnaissance purposes where larger devices are not feasible. With the idea of combining vibrational stability with micro air vehicle restrictions, we aim to study and manufacture a mechanism capable of producing this flapping motion and conduct performance testing to compare a manufactured “quadflapper” with more conventional quadcopters/drones. Preliminary performance testing between a “quadflapper” utilizing a passive pitching, flapping mechanism found in a toy [insert name of toy] and a similar set-up that replaced the toy mechanism with propellors was conducted. These two set-ups differed only in their lift mechanism and a circuit board. The quadcopter had a mass of 57.51 grams and an operating time of 8 minutes whereas the quadflapper had a mass of 53.97 grams and an operating time of 6 minutes. By performing a simple lift experiment with incremental weight added to a load, we found that the quadcopter set-up could produce 119.42 grams of maximum lift while the quadflapper produced 103.32 grams. This showed that the quadcopter was able to produce more lift and maintain a longer operating time despite its heavier base mass. However, the quadflapper responded much better when faced with physical perturbances during testing such as obstacle collisions. In most cases, it was able to fix itself and maintain steady flight afterward which shows that could potentially be employing vibrational stability to correct itself without any feedback. Further experimentation must be done to quantify this otherwise inadequate measure of relative stability and maneuverability. Furthermore, we are also working on the design and manufacturing of an active pitching mechanism. The “toy” mechanism currently on the quadflapper employs passive pitching which means that only the top portion of the wing is being moved. The lower portions are affected by wind and air flow, so the pitching angle is also dependent on these factors. A new design must control both the top and bottom portion of the wing to create an active pitching angle. To create the flapping motion, we designed and modified linkages to be actuated by a crankshaft and electric motor system. The wings are then attached to the system of linkages. Two similar systems of linkages are located above and below each other, which creates the control of the pitching angle. This will reduce the effects of air flow and provide more control and lessen the variability of the flight. Future progression in the design portion of this project is focused on the redesign of the toy mechanism to employ an active pitching angle and redesign and modification of a Université Libre de Bruxelles (ULB) design. The current ULB redesign employs a motor-driven central shaft that drives a top and bottom crankshaft to control their respective portions of the wing. Mathematically, the system identification team has been working find the equations of motion and forces relevant to a model of hummingbird flight. This has evolved into the creation of a testing rig to visually record the airflow around the wings of a single flapping mechanism. A better understanding of the mathematics, physics, and fluid dynamics of the flapping system may prove useful for further optimization of the quadflapper and flapping designs in general.

Background:   Through extensive research and hands-on work, our team, The Four Horsemen, was able to construct a robotic guide to aid a visually impaired individual cross a light intersection.  Known as RoboEye, it is an autonomous device equipped with an IR sensor, phone camera, and a pan and tilt system.  It can detect and differentiate between the “walk” and ”stop” symbol at the light intersection as well as avoid obstacles along the pathway.  Our team aims to reduce traffic incidents involving sight-impaired individuals and allow the transition between intersections to be easier, safer, and more efficient.

ObjectiveDevelop robust software on a modular platform to run on an embedded real-time system Display metrics like telen1et1y on a web interface Implement adaptability mechanisms through wall-following and obstacle avoidance algorithms Utilize information from multiple onboard sensors for on-the-fly decision making BackgroundGiven that human error can be considered a major factor in most vehicular accidents, the use of autonomous vehicles stands to improve the safety of transportation. The preceding project relied on turn-by-turn directions to navigate without adapting to track conditions or obstacles.Faculty Adviser:   Professor Mohammad Al Faruque

The cost of developing a single pharmaceutical medication takes more than 10 years and $2.5 billion. Despite an annual compounding financial investment of approximately 13%, no overwhelming innovations in improving the efficacy and safety of newly discovered drugs has been shown. The Syroto Bioprinter is designed to increase efficiency of testing of potential new molecular entities on cell cultures. Current bioprinters available on the market are too expensive for small companies to afford or have too limited of range of capabilities to justify their purchase. Our prototype promises cheaper, efficient, and accurate dispensing of biomaterials to fit researchers needs. By creating a printer with modular capabilities, multiple types of materials and dispensing techniques are achievable in one dispensing run. Smaller pharmaceutical companies can now have the means and resources to scale up testing and further innovation in drug discovery or repurposing of existing molecular entities. Faculty Adviser:   Dr. Elliot Botvinick