Bad Accident Research Articles

An Interview with Radu Oreian

An Interview with Radu Oreian David Riddle Watson Radu Oreian is an emerging artist from Romania who currently works in Marseilles, France. Finding inspiration from Renaissance masters, medieval manuscripts, and philosophical figures, his works create connections across time and space by folding the history of art and ideas into his pieces. His works use a variety of mediums and consistently challenge the boundaries between painting, sculpture, and drawing. Using the Braille alphabet in recent pieces, he has added another dimension to his work, addressing the physicality of communication. Most importantly, his work is communal—it is a radical attempt to bring disparate pieces together in harmony in a time when that is greatly needed. Radu Oreian's work has consistently grown in popularity as it has been shown in major art shows across the globe. Over this last year his work has been featured in prominent exhibitions such as Untitled in Miami, Art Paris, the Dallas Art Fair, and Zona Maco in Mexico City. His most recent show was a month-long residency at 1969 Gallery in New York City, which ran from 6 September until 22 October 2022. david riddle watson: Can you talk a little about how and when you started drawing and painting? When did you decide to do art professionally? radu oreian: I started drawing after I suffered a bad injury in a soccer game and I was stuck in bed for a couple of weeks with my knee in a cast. At that time I was playing at a professional level, and I had no intention of becoming an artist, but somehow one drawing led to another and slowly the idea of changing my life crept in. I guess it's the cliché of the bad accident that became the best thing that happened to me, from a professional perspective. [End Page 160] drw: Where did you study? Can you speak a little to the experience at the Cluj School—I know there is some history there. ro: I studied two years at the University of Arts and Design from Cluj, in Transylvania, and I spent another two years studying at the National Academy of Art from Bucharest. The term "Cluj School" describes a generation of artists that reached international success, but it's not defined by a specific style or artistic direction, rather by a group of very talented artists that put Romania on the map of contemporary art. I ended up working as an assistant years later to some of these artists when I was living in Berlin. drw: What artists have been influential to you as you were finding your style? ro: The artists I worked with from the Cluj School were fundamental for my development. Leaving aside their practice, I was mostly struck by their professionalism and their stamina of producing amazing works no matter the pressure they had on their shoulders. History-wise there are so many artists that left an imprint on my practice. For example, I remember visiting an etching exhibition of James Ensor, my favorite draftsman, in Arles, that touched me to the core. drw: I'm always curious about process. What does a typical day at the studio look like? Is there any general rule about how long a painting typically takes you from beginning to completion? ro: A good day at the studio begins before entering the studio. On the road to my atelier I pass Marseille's old port fish market, then some streets with small cafés and restaurants, so when I start working I am already charged with a visual imprint. This walk is a preparatory process. Rather than overthinking my working day, I prefer to put myself in a clear mind-set, and that always leads to good results. My works are amalgamations of details. I often refer to them as tornadoes of matter, and they have their own way of completing themselves. drw: How do you choose your subjects? I notice lots of mythological and religious images. What is it about these figures that inspires you? [End Page 161] ro: I like to zap through art history. The archives of images are immense and of such amazing quality. There are...

Probit and Wealth Inequality—How Random Events and the Laws of Probability Are Partially Responsible for Wealth Inequality

Using two very simple coin-toss games, we demonstrate how the laws of probability affect wealth distribution. Even in a group of people who are identical in every way and are only subject to random costs (such as that incurred from severe weather, major illness, and bad accidents) or random benefits (such as those derived from lucky breaks), the distribution of wealth will be nudged towards taking the shape of the normal distribution’s cousin, the probit, with its very unequal allocation. The larger these random costs and benefits are and the more frequently they occur, the more severe inequality will become. Moreover, the inequality will tend to be most extreme at the very top and very bottom of the wealth distribution, reflecting the asymptotic curls at either end of the probit curve.

Research on Electric Traction Technology of Modern Rail Transit Vehicles

the application of electric traction technology in modern urban rail transit vehicles, electrical traction technology has strong controllability. In the actual work process, it can be effectively transformed into stable braking of vehicles, providing high safety and controllability for vehicles, so as to realize stable braking and deceleration of rail vehicles during operation, prevent the vehicle from bad accident and ensure the safety of passengers.

QUANTITATIVE RISK MAPPING OF URBAN GAS PIPELINE NETWORKS USING GIS

Abstract. Natural gas is considered an important source of energy in the world. By increasing growth of urbanization, urban gas pipelines which transmit natural gas from transmission pipelines to consumers, will become a dense network. The increase in the density of urban pipelines will influence probability of occurring bad accidents in urban areas. These accidents have a catastrophic effect on people and their property. Within the next few years, risk mapping will become an important component in urban planning and management of large cities in order to decrease the probability of accident and to control them. Therefore, it is important to assess risk values and determine their location on urban map using an appropriate method. In the history of risk analysis of urban natural gas pipeline networks, the pipelines has always been considered one by one and their density in urban area has not been considered. The aim of this study is to determine the effect of several pipelines on the risk value of a specific grid point. This paper outlines a quantitative risk assessment method for analysing the risk of urban natural gas pipeline networks. It consists of two main parts: failure rate calculation where the EGIG historical data are used and fatal length calculation that involves calculation of gas release and fatality rate of consequences. We consider jet fire, fireball and explosion for investigating the consequences of gas pipeline failure. The outcome of this method is an individual risk and is shown as a risk map.

A Dialectic of Dissatisfaction

Simon Critchley, the Hans Jonas Professor of Philosophy at the New School for Social Research, is a philosopher whose work has had few limits, either in form or subject matter. He has engaged the intersections of literature, ethics, politics, phenomenology, psychoanalysis, art, deconstruction, and questions of life and death. Adept as a scholarly interpreter of the history of philosophy, a public spokesman for philosophical conversation, and an artist of timely and untimely thoughts, he has published over twenty-five books in both paper and digital formats, most recently Suicide and Bowie,1 published in numerous journals, appeared in film and digital video, and given scores of interviews. A public philosopher in the best sense of the term, Critchley has also been the moderator of The Stone, a philosophical opinion series in The New York Times, since 2010, extending the terms of philosophical discussion and its audience far beyond the confines of any academy.Alexander Kardjian Elnabli is a doctoral candidate and Graduate Teaching Fellow in philosophy at Fordham University in New York. Under the supervision of Dr. Samir Haddad, his work examines ethics and identity in democratic education. This interview took place on September 21, 2016.Alexander Kardjian Elnabli [AE]: Academics often think of education in terms of higher education, but what was your primary and secondary education like? Did they play a role in your eventual pursuit of philosophy?Simon Critchley [SC]: I failed at school pretty dramatically . . . on purpose. In England there were these things called O Levels (Ordinary Levels) that you took when you were sixteen. I got one of those-Grade C in geography-and then went to catering college because it was next door to my school and I thought that would be easy. I expected that I would end up as a rock star within a matter of months, so education seemed immaterial to me.I don't remember much about my secondary education, because I had a very bad accident when I was eighteen. I was working in a pharmaceutical factory, and my lefthand was effectively severed. It was put back together, and I still have it. There's a long story connected with that, but one effect of it, which is very common in serious injuries, was traumatic memory loss. So I realized a few weeks after the accident that I couldn't really remember all sorts of things about my past. Some of it came back. Some of it was told to me. But when something's told to you it feels unreal. So with school my memories are really pretty hazy.There's an idea you find in Sartre of what he calls a project. Because he's opposed to psychoanalysis-because he's opposed to the idea that all of the formative elements that make you who you are occur in early infancy-Sartre has this idea that you can make a decision like Genet made when he was fourteen to become a thief. That's his fundamental project, his radical choice. And I was always very attracted to that idea because at eighteen it seemed to me that I began again as a kind of tabula rasa. Then I began to read in the years after that and slowly, after a period of years, ended up at university doing philosophy. So it's not the kind of conventional story.I mean that would be one way of answering the question-that philosophy begins with an accident that wipes out your memory. Then you remember very little, almost nothing, about what happened before and begin to try to construct forms, views of things. At that point for me, from when I was eighteen through my late twenties, I was enormously receptive for whatever reason, and so I just soaked things up very fast. That was when I think that things really took shape. Obviously things happened earlier on, but I just don't remember that much about it.AE: What were you reading after the accident?SC: Initially it was people like Aldous Huxley or George Orwell's 1984. I realized that reading books was interesting. My family is a very ordinary working class family, and there were no books in the house. …

Analisis Pengaruh Efektivitas Penerapan Sistem Manajemen Keselamatan dan Kesehatan Kerja (SMK3) Terhadap Produktivitas Kerja Karyawan (Studi Kasus Plant 11 PT Indocement Tunggal Prakarsa, Tbk Citeureup)

<p><em>Employee is an important resource to have production process in a big factory. Factory couldn’t operate without employee. To protect their employees, the leader makes a policy like occupational health and safety. This policy for protect their employee from risk of bad accident and illness that causes of work. Bad accident can strike employee anywhere and anytime so this cases must to have a special attention. So, the leader, government, and management must pay attention to this risk. Work accident leaning influence to manpower productivity because quality of work life and guarantee of occupational health and safety influence manpower productivity. PT Indocement Tunggal Prakarsa, Tbk is one of the biggest cement factories in Indonesia. This factory has applicated occupational health and safety assessment base on Permenaker No. 05/MEN/1996 and OHSAS 18001. Occupational health and safety effectiveness can describe by six aspect based on Miner Theory. That theory are safety training,</em><em> </em><em>safety publication, control to work</em><em> </em><em>environment, inspection and discipline, improvement awareness of occupational health and safety, report and statistic of occupational health and safety. Five aspect of Theory Miner, can describe by employee perspective, even report and statistic of occupational health and safety can describe by secondary data from Safety Department and Management Representative of PT ITP.</em></p>

In Every Place

IN EVERY PLACE /Andrew Alt THINGS CHANGED ONCE they shed the city and got on Michigan 37 heading north: the names of towns—Newaygo and White Cloud, for instance, sounded Uke places Indians would Uve—as well as their size; the way that trees filled all space between buildings; how the road conformed to the land, rather than slicing through it; the smell of wood and moss that came in through the car's vents. The world became wUder, there was the possibUity of adventure, and it seemed as if everything changed for the better. To Watassa was a three-beer trip. It was the boy's job to retrieve the brown bottles from under the seat, twist them open, and trade them for the ones warmed by his father's thighs, empty. The boy marked their progress by counting beers and naming towns. "Look out below!" His father's beUowed warning preceded a great, roUing belch—wet thunder—that sent them both into clutches of giggling. His father was more capable of having fun than any adult Henry knew. Now that it was Friday afternoon, and they were on their way, he forgot about his mother's anger and was excited. His father had caUed on Wednesday. Visitation rights on the weekends. Sometimes this meant the whole weekend, sometimes only one afternoon. Henry knew he was a shared thing. Of course, he loved both his parents, but he recognized the need to keep his love for each mostly hidden from the other. His mother would, often on Mondays, teU Henry stories about how badly his father had treated her whUe they were StUl married. His father would teU him that his mother had not even known how to cook hot dogs when they were wed, and that her coddling would ruin him if he let it. "Ifs my birthday Saturday," Henry reminded him. "Yeah, I know." His father sounded irritated. "I thought we could celebrate it up at Watassa." "That would be fun." There was a small hum as the line carried sUence. "Mom has plans though, I think. Dinner and stuff. I think Granny and Gumpah are coming." "Hmm." Then his father said, "Well, you do whatever you think is best. But you're with your mother and her parents aU the time, 158 · The Missouri Review and I think it would be nice if you could spend one birthday with your old man." Now, with the sky smudging over as evening settled, Henry could see twin pinheads of yellow winking far up the road, at the town of WalhaUa's only fuUy paved intersection. There were no other signals Uke it on Highway 10, once you left Baldwin; this one was new, here because of a bad accident. Highway 10 was long, twisting, hüly and mostly forest-lined. They had driven it once near midnight and, out of the darkness at the roadside, deer had begun appearing in the fuzzy edges of their car's Ughts. It was weird: his father said he had never seen anything like it— cluster after cluster of them, locked by the headlamps with eyes amber, glowing, and their coats gray in the artificial Ughts. From the time Henry started counting, they saw more than seventy, aU within a stretch of five mUes or so, aU within a few feet of the asphalt. His father had driven slowly, and they kept saying, "God," or "Jesus," every time new animals appeared. Henry had felt as if they were trespassing, witnessing something wholly apart from them, and secret. They turned south on Walhalla Road at the bUnking light. A few mUes later, they reached the unpaved drive, about twenty yards of which was visible before it curved and was swaUowed up by the state forest. They had an easement on the government-owned and -constructed drive, obtained in the early thirties by the boy's great-grandfather, whose name was carved into the wooden sign marking its mouth: WATASSA-KeUer—Private. The name made perfect sense to the boy. Watassa meant "heaven" or "paradise" in Potowatomie dialect. The drive was rutted and puddled, mud-slick with the midApril thaw. His father tried to...

Does Socialism Signify?

We face a dramatic array of new social problems, vexing new problems of the natural and social environment which seem to require political forms of response. Yet the institutional as well as rhetorical fabric of political life needs to be substantially rewoven before we can begin to drape these new problems of everyday life in a mantle of political solicitude. We presently experience an increasingly toxic natural environment, decaying wage and employment structures, unstable mutations of the traditional family, as well as potentially dangerous objects of daily consumption, from TV to drugs. Such problems lie beyond the bounds of conventional political responses. Mainstream political parties are on the front lines in this situation. Their strategies, be they conservative, moderate, or liberal, have all been tried at various times, and found wanting. It should, thus, have been no surprise when both major party candidates in the 1988 presidential election chose a strategy of rhetorical transcendance and denial of the most fearful social phenomena. Accurately construing themselves as impotent in the face of the drug problem, pollution, and various forms of racial and social injustice, each attempted to distance himself, and us, from these: Noreiga is a bad man in a corrupt Caribbean society, Chernobyl was a bad accident in a poorly administered Communist nuclear plant, the Holocaust was a terrible event of racial hatred from which we have all gained a greater appreciation of our common humanity. The very real, everyday problems of social injustice, ecological destruction, and the commodification of lethal vices such as drugs were elided by each candidate, and in their place we were offered political narratives of implacable far off evil-doing and evil-doers. Bush, with his bland, blond presence, won because he was the candidate best able to convey the sense that the individual can always choose to ignore the existence of evil, be it in one's own past history, be it in the next room, be it in the very words in the air in the room in which one sits.

État des recherchessur la faune de Mammifères du Montien de Hainin (Belgique)

The search for a european Paleocene mammal fauna older than the Thanetian has been a long one… The discovery at last of a few micromammal teeth in continental Montian was made almost by chance when I. Godfriaux of the Mons School of Mines asked me for identification of bone scraps recovered from a small-diameter boring conducted by him in 1970 in the type area of the Montian at Hainin. The country beeing flat and low, even artificial outcrops are rare and incomplete, so the boring was necessary for a better knowledge of the stage. Despite the unusual setting for a mammal quarry (at a depth between 10 and 25 m, in unconsolidated sediments below the water table) this discovery prompted us to apply for à Fonds National de la Recherche Scientifique grant. Thanks to this enlightened Belgian institution I. Godfriaux was able to open in 1973 a conventional pit, earth-proofed by a steel pipe, equipped with a water-pump and wide enough for a little man to shovel at the bottom. A bad accident interrupted the excavation for months but it was resumed and ended in 1974. The concentration in mammal remains proved tobe variable but never high nor nil, so we had to wash and sieve all of the sediments below marine Landenian. Most of the teeth beeing very small we used a 0,43 mm mesh! All the matrix has been pretreated at Mons and the residue has been sent to Montpellier where it is in the process of beeing re-washed-and-sieved and sorted. At the present rate we will not be through before years! The material presently sorted ranges from 11 m to 17 m depth and comprises 91 mammals fragments which are entire or incomplete isolated teeth and a very few bones. Lower vertebrate remains, mainly fish teeth and scales, are much more abundant. The biggest mammal is a multituberculate, seemingly referable to Catopsalis. Let us note incidentally that this genus is unknown in North America later than Puercan times. Most mmamals are very small tribosphenic eutherians. Among them are nyctitheres, adapisoricids, erinaceomorphs, apatemyids and possibly miacids (or paroxyclaenids). There are a few small bunodonts; one of them approaches Louisina and Microhyus, a group of condylarths endemic to Europe. Metatherians are problematic. On geological grounds this fauna is Montian, that is to say older than Thanetian. On paleontological grounds the provisional impression is of an older age than the classical Upper Paleocene faunas of North America and Europe (French Thanetian and Walbeck). As expected this fauna exhibits North American affinities but also a moderate degree of endemicity. The study of animal and plant fossils from Hainin will be conducted on an international cooperative basis under the supervision of I. Godfriaux, the work of mammalogists beeing organised from now on by B. Sigé.

George Lucas: The Stinky Kid Hits the Big Time

George Lucas's American Graffiti is the surprise blockbuster of the year. Made for $750,000, it has already earned over $21 million; Universal is predicting that it may even outgross Airport. When he first conceived the film, Lucas could not have guessed that it would be released at the height of the nostalgia boom. Although actually set in 1962, American Graffiti is the quintessential fifties nostalgia movie a comprehensive recreation of the world of sock hops, drag races, cherry cokes, and Eisenhower complacency. The remarkable thing, however, is that the film recaptures the past without sentimentalizing it. A comedy with unexpected resonance, American Graffiti is neither a glorification nor a mockery of the period; it summons up the deeply conflicting feelings that we all have when contemplating our own youth and the primal experience of leaving home. Dressed like one of the characters in the movie -Ivy League shirt and T-shirts, chinos, sneakers, and white sox-George Lucas could have stepped out of a time capsule; his beard is the only incongruous touch, a hint that he combines some of the irreverence of the sixties with the square earnestness of the fifties. Either way Lucas has little in common with most of Hollywood's chic superstar directors. fact, he lives a long way from the studios-just north of San Francisco, in San Anselmo, in a spacious, beautifully secluded house that may remind him of the farm he grew up on. American Graffiti is probably as close to an autobiographical film as a studio-financed Hollywood product will ever be. Lucas, like his characters, grew up in Modesto, California, and graduated from high school in 1962; he spent most of his teenage years on the main drag, cruising. He says, In a way the film was made so my father won't think those were wasted years. can say was doing research, though didn't know it at the time. Most of the incidents in the film are things that actually experienced in one way or another. They've also been fantasized, as they should be in a movie. They aren't really the way they were the way they should have been. For example, there is a hilarious scene in which the hero demolishes a police car. Some friends of mine did that one Hallowe'en night, Lucas recalls, but all that really happened was that the car drove off and went clunk. It wasn't so spectacular. It just doesn't happen that way in real life. The movie follows four main characters: Steve, the superstraight class president dating the head cheerleader; John, the dragstrip champion who models himself on James Dean and drives the meanest deuce coupe in the valley; Terry, the dumb, creepy kid who only drives a Vespa finally gets a chance to play the stud; and Curt, the most sensitive and introspective of the group, who chases a mysterious blonde in a white T-bird, and reluctantly boards a plane out of town in the morning-the only one of the four to break free. Lucas says he is, in a sense, a composite of all four characters: I started out when was young as Terry the Toad, and think everybody sort of starts out as Terry the Toad. And went from that to being John; had a hot car, and raced around a lot. Finally got into a very bad accident and almost got r

THE CRITICALLY ILL CHILD: RESPIRATORY ARREST AND ITS SEQUELAE

The term respiratory arrest is at once an admission of inaccuracy and confusion, since it can only stand for the chaos of a bad accident or, worse, the unhappy occasion where a patient has been allowed to slip through the measurable stages of respiratory failure due to neglect, poor judgment, or inadequate therapy. Unfortunately, we do find ourselves confronted by children in respiratory arrest all too frequently. Regardless of the cause, salvage of many of them depends not only upon management of the emergency itself, about which there has been considerable discussion, but also upon management of the sequelae, an area which deserves more attention. Actually, the two phases are markedly different: the emergency period demands instant action, rapid thinking, and efficient organization, while the recovery period requires more sophisticated evaluation and grueling observation and sometimes ends in painful decision. MANAGEMENT OF EMERGENCY PHASE The two principal factors in emergency care of children in respiratory arrest are: (1) the preparation for such incidents, and (2) an organized response to the emergency when it occurs. Preparation Suitable Treatment Areas: Wellequipped hospitals will have apparatus for resuscitation in emergency rooms for accidents and outpatient care, and in intensive care units for long-term respiratory therapy. Also, the hospitals will have portable resuscitation kits on all nursing divisions. Equipment: In each of the preceding areas, suction apparatus, oxygen, airways, laryngoscopes, endotracheal tubes, self-in-flating breathing bags, masks, syringes, needies, and suitable drugs (Table I) are stocked, easily available, and ready for use. Mechanical ventilators are seldom necessary for emergency use, but they might be available in intensive care units where more extensive monitoring and diagnostic equipment should be maintained.

Medical aspects of motor-vehicle accident prevention in industry.

• The significance of the human factor in automobile accidents is illustrated by the reduction in the annual rate of accidents (from 6,377 in 1946 to 3,130 in 1955) achieved by a metropolitan transit system by developing its medical program for drivers and introducing psychological tests. The data show that the cost of maintaining a medical department for a year is less than the cost of one bad accident. The division of motor-vehicle drivers into categories makes it possible to set up fair standards for each. The details of the examination and the frequency of reexaminations depend on the applicant's age, the history of past and more recent illnesses, and the category for which he wishes to qualify. A reference list of hazardous conditions in drivers of motor-vehicles has been prepared on the basis of experience and is available for the guidance of physicians, industry, safety organizations, and licensing agencies. The comprehensive medical program enlists the cooperation of the family physician, and handicapped employees are grateful for safer jobs.

Navigation and Air Route Flying

THE publication of an article on the requirements in aircraft equipment and ground organisation, from the point of view of an air pilot, seems a suitable opportunity for considering the present position in regard to the safety of passengers carried on organised air routes. The matter has been further brought into prominence by two recent bad accidents. In the one case, it appears—we write from information obtained from cables published in the English press—that an American machine flew into the side of a hill in the dark. In the other, a German three‐engined monoplane, shortly after leaving Croydon for the Continent, crashed in a wood when the pilot was seeking either to return or to land under foggy conditions.