Principles Of Composition Research Articles

Study on Removal of Heavy Metal Pollution from Water by Biochar and Its Composite Materials

Heavy metal pollution is a long-term pollution problem that is difficult to control. Water microorganisms cannot directly degrade heavy metals, and heavy metals can produce mutual transformation, dispersion and enrichment in various forms in water. Adsorption is the most effective techniques to remove harmful heavy metals from water. Biochar (BC) and its composite materials, because of their simple and abundant source, abundant pore structure and unique surface chemical properties, are a new type of efficient adsorption material. Their technical development offers a new idea for solving the heavy metal pollution condition in water and preparing adsorbent required by adsorption method. In this paper, the preparation method of biochar and its composite materials, the mechanism and principle of heavy metals adsorption in water are reviewed, also development prospect of the biochar for application composite materials in the heavy metal pollution for treatment in the future is discussed.

An analysis of the inspiration of cubist painting on contemporary graphic design

Cubism is a movement and genre in the history of modern Western art and the most important movement in contemporary art. From Cézanne's three-dimensional vision to the practice of artists such as Picasso, the trend has been for everything to be three-dimensional. This was an exploration of so-called 'real' forms, symbolising a new way of being in a new era. There is an inseparable relationship between painting and design, which manifests itself in various forms in different fields of art.This paper contributes to an understanding of the historical background of Cubist painting, analyses and summarises the characteristics of Cubist painting, and interprets Cubist paintings by explaining the principles of Cubist composition in graphic design. It will also discuss the inspiration of Cubist painting for contemporary graphic design in terms of design forms, design methods and design styles, as evidenced by numerous works and examples.

How (not) to look for meaning composition in the brain: A reassessment of current experimental paradigms

When we use language, we draw on a finite stock of lexical and functional meanings and grammatical structures to assign meanings to expressions of arbitrary complexity. According to the Principle of Compositionality, the meanings of complex expressions are a function of constituent meanings and syntax, and are generated by the recursive application of one or morecomposition operations. Given their central role in explanatory accounts of human language, it is surprising that relatively little is known about how the brain implements these composition operations in real time. In recent years, neurolinguistics has seen a surge of experiments investigating when and where in the brain meanings are composed. To date, however, neural correlates of composition have not been firmly established. In this article, we focus on studies that set out to find the correlates of linguistic composition. We critically examine the paradigms they employed, laying out the rationale behind each, their strengths and weaknesses. We argue that the still blurry picture of composition in the brain may be partly due to limitations of current experimental designs. We suggest that novel and improved paradigms are needed, and we discuss possible next steps in this direction. At the same time, rethinking the linguistic notion of composition, as based on a tight correspondence between syntax and semantics, might be in order.

Almost periodic type functions of several variables and applications

In this paper, we present and analyze several new types of almost periodic functions in several variables, namely: (RX,B)-almost periodic functions, Bohr B-almost periodic functions, uniformly recurrent B-almost periodic functions, strongly B-almost periodic functions, where RX is a non-empty collection of sequences in Rn×X, B denotes a non-empty collection of non-empty subsets of X, and X is a Banach space. We present their principal structural characterizations, their composition principles and invariance under convolution products. After that, we provide several applications of our abstract theoretical results to partial differential equations and to the abstract integral equations in Banach spaces.

Characterization and Identification of Thermoacoustic behaviour of flames anchored on burner decks with multiple perforation; Transfer Function (de)composition approach

The appearance of thermoacoustic instability in combustion systems depends on thermoacoustic property (e.g., Transfer Function (TF)) of used burner/flame. Therefore, an attractive approach to cope with the instability is the purposeful design of the burner thermo-acoustics. One of the ideas of how the flame TF can be altered/designed is based on the heuristic idea that the acoustic response of one flame can be counteracted by the appropriately phased response of another flame. For the particular case of premixed, burner deck anchored conical flames, the TF depends on the diameter of perforation. It suggests the concept of combining different size and shape of perforations in one burner deck. In the present work, the acoustic response of sintered ceramic fibre burners with mixed perforation is investigated using the TF (de)-composition principle. By this approach, the cumulative flame TF can be represented as a weighted sum of elemental TF's of the groups of flames on the basis of the additive nature of the individual flame heat release rate. The capability of this principal to offer a designing framework for optimization of burner deck patterns aiming desirable acoustic characteristics will be tested by a course of measurements. Possible simplifications and extensions of the TF (de)composition principle will be discussed.

Proportionate Atomism: Solving the Problem of Isomorphic Variants in Plato’s Timaeus

Abstract The principles governing elemental composition, variation, and change in Plato’s Timaeus appear to be incompatible, which has led commentators to prioritize some of the principles to the exclusion of others. Call this seeming incompatibility the problem of isomorphic variants. In this paper, I develop the theory of proportionate atomism as a solution to this problem. Proportionate atomism retains the advantages of rival interpretations but allows the principles of material composition, variation, and change to combine into an internally coherent and explanatorily powerful atomic physics.

Architecture’s Allagmatics

The chapter addresses the topic of architectural intelligence whose sole purpose is to create affordances and make experience ‘stand on its own’, apart from architecture and distinct from the architect. The principles of sensation constitute the principles of composition of an existential niche whose structure reveals the genetic conditions of real experience. The argument is unpacked across three sections by reference to the Simondonian concept of allagmatics defined as the theory of operations. The first section ‘Ticks and Cats’ argues in favour of inserting an interval between the input and output, with the aim of debunking the mechanicist allegiance to linearity and promoting the concept of quasi-causality. In the second section ‘Ducks and Rabbits’ the affordance theory meets contemporary neurosciences to revamp the concept of metastability and plasticity. Its goal is to reframe the subject as the effect of (architectural) affect. The concluding radical empiricist section ‘Zebras and Flies’ revisits the lesson of the Leibnizian Monadology to tie sense to sensibility and matter to manner. The overall ambition of the chapter is to contest the philosophy of representation through the concept of difference and multiplicity.

MY FASHION JOURNEY DALAM KARYA SENI GRAFIS LINOCUT

The experience of the journey process of finding a character in fashion is done with a sense of comfort, courage, happiness. The creation of this work aims to create works of art with sources of inspiration: The journey process of finding characters in fashion and Fashion Storytelling, explaining the concept, creation process, and description of graphic art works. The process of creating this work of art uses the L.H. Chapman, that in the creation of works there are three stages, namely Finding ideas, perfecting and Visualization The process of traveling in fashion is expressed in the work of Graphic Art by processing elements and principles of visual composition, through the study of the process and concept of the creation of the work, using high print or cut techniques in linoleum on paper with 2 techniques, namely puzzle technique and reduction technique.

Pairwise ratio-based differential abundance analysis of infant microbiome 16S sequencing data.

Differential abundance analysis of infant 16S microbial sequencing data is complicated by challenging data properties, including high sparsity, extreme dispersion and the relative nature of the information contained within the data. In this study, we propose a pairwise ratio analysis that uses the compositional data analysis principle of subcompositional coherence and merges it with a beta-binomial regression model. The resulting method provides a flexible and easily interpretable approach to infant 16S sequencing data differential abundance analysis that does not require zero imputation. We evaluate the proposed method using infant 16S data from clinical trials and demonstrate that the proposed method has the power to detect differences, and demonstrate how its results can be used to gain insights. We further evaluate the method using data-inspired simulations and compare its power against related methods. Our results indicate that power is high for pairwise differential abundance analysis of taxon pairs that have a large abundance. In contrast, results for sparse taxon pairs show a decrease in power and substantial variability in method performance. While our method shows promising performance on well-measured subcompositions, we advise strong filtering steps in order to avoid excessive numbers of underpowered comparisons in practical applications.

Introduction

Introduction

ДИНАМИКА КОНЦЕПТУАЛЬНОГО ПРОСТРАНСТВА НЕМЕЦКОЙ ЛИНГВОКУЛЬТУРЫ В ПЕРИОД ПАНДЕМИИ

In the paper the author regards the conceptual space as a totality of basic concepts of some culture. The research is based on the analysis of new words that appeared in the time of two pandemic years. The author uses an integrative methodology, that combines characteristics of different culturetypes to characterize German culture as a part of low context cultures; principles of speech act theory to explain new words building; syntactic principles of new words composition that implicate pragmatic sense; description of German culture basic concepts as a semantic and functional field that changes its structure at different times. The comparison of its structure before pandemic and during pandemic shows the changes of basic conceptual fields. The findings are as follows. The main basic concepts of German culture ORDER and its derivate SECURITY form the core of conceptual space. The concepts WORK, EDUCATION and MOBILITY are regarded as instruments for their realization, they round the core. But in pandemic the emotional concept FEAR (ANGST) becomes a big value and moves into conceptual core. It influences rational concepts and their fields change the structure. In the concept ORDER the attention shifts to security and SOCIAL DISTANCING. In the concept SECURITY, nominations of defense means become the core. In instrumental concepts, the FEAR is indicated by some new words that separate some sub concepts. These sub concepts are: in the concept WORK LOCK DOWN, in the concept EDUCATION HOMESCHOOLING, in the concept MOBILITY COCOONING. The findings show the mechanism of conceptual adaptation in crisis situations which is important for peaceful settlement of different conflicts.

What is a Naturalized Principle of Composition?

Abstract Van Inwagen's General Composition Question (GCQ) asks what conditions on an object and its constituents make the object a whole that these constituents compose, as opposed to an object linked to the constituents by a relation other than composition. The answer is traditionally expected to cite no mereological terms, to hold of metaphysical necessity and to be such that no defeating scenarios can be conceived (e.g., a scenario in which the conditions are met but the constituents fail to genuinely compose the object). While not all writers agree on setting these high expectations on the principles that constitute answers to the GCQ (Hawley 2006), there is a yet unsettled issue concerning the principles’ naturalistic accreditation: Could putative principles be constrained and informed by advanced physical knowledge? Arguing positively, we outline two styles of principles worthy of naturalistic authority. In an explorative spirit, we notice that each style incurs certain costs. First, the principle in question may fail some of the above expectations set in an aprioristic context. Second, it may require a specific meta-theoretic understanding of what it takes to achieve naturalistic accreditation. Finally, it may address the GCQ “piecemeal” and fail to generalize to objects of all physical sorts.1

How to write articles for encyclopedias

This academic paper delves into the concept of encyclopedia articles (entries), their defining characteristics, and, based on this, offers recommendations for creators focusing primarily on contributors (rather than editors of encyclopedias). These recommendations specifically elucidate the principles of composition, as well as the linguistic and stylistic aspects of a typical encyclopedia article. In this paper, the author underscores the importance of maintaining academic integrity in encyclopedic writing and illustrating. The study is presented in a manner that enables potential contributors of encyclopedic content to grasp not only what information to include and how to structure it but also to recognize what pitfalls to avoid, thereby mitigating common errors in article writing.

Вопрос о нарративе и архитектонике — применительно к прозе Даниила Хармса

The present article was written as a response to the formulation of the theme of the conference Musical Composition: Narrative and Architectonics (Gnesin’ Russian Academy of Music, 2022), where in the commonality between music, literature and architecture was stated – i.e., between music and those forms of creativity to whom narrative and architectonics initially pertain. Music possesses the equable capability of perception of compositional principles relevant to both the temporal and the spatial arts, and this circumstance places music in the center of a triple juxtaposition with narrative (and literature presented by it) and architectonics (and, correspondingly, architecture). The author of the article suggests turning the scheme of the triple juxtaposition in such a way, that not music, but architecture would appear at the center. And the focus would be not literature in general, but specifically on Daniil Kharms’ flash fiction — the primary sphere of observation of the peculiarities of the narrative in his works. In the organization of Kharms’ literary works both musical and architectural analogies play a discernible role, the substantiation of which we find in a number of his diary notes, drawings and theoretical texts. The “musical” traits of Kharms’ poetry and prose have been studied to a sufficient degree, which cannot be said about the inherent architectonic qualities intrinsic to them — let us compare them with “the law of symmetry, the law of equilibrium” mentioned in Kharms’ notes (Treatise about the Infinite, 1932). The instrument of the revealing of symmetry in a literary text is the metrotectonic method of Konyus. The article examines three examples of Kharms’ symmetrically aligned prose — the short stories The Optical Illusion, Symphony No. 2 and The Trunk Box.

“The Feeling of the Right Path or the Method of Artistic Creativity”: About Nikolai Korndorf’s Composition In D

The article is devoted to the analysis of the compositional technique in a major orchestral composition, In D (1998) by Nikolai Korndorf (1947–2001). A characteristic feature of this work is the specific constructive idea associated with the composer’s special approach to the choice of musical material and the means of its development. It is referred to the disclosure of the potential of one single pitch. The author of the article proposes to apply the term of the outstanding Russian painter and art theorist Vassily Kandinsky: “one-tone composition,” in order to characterize this technique. Based on the comparative method, the article provides an examination of the successive connection of this composition with one of the orchestral works from Korndorf’s early musical period and presents a description for the first time of the most important compositional principles of In D. The idea of repetition, observed in the organization of this musical composition, is interpreted by the author of the article as one of the leading elements in it. The article describes a number of other structural ideas that connect Korndorf’s musical style directly with some of the well-known 20th century compositional techniques, such as serialism and Klangfarbenmelodie. The article substantiates the point of view that the composition In D demonstrates a certain number of invariable techniques regularly found in Korndorf’s artistic method.

(ω,c)-almost periodic type functions and applications

In this paper, we introduce several various classes of (?, c)-almost periodic type functions and their Stepanov generalizations. We also consider the corresponding classes of (?, c)-almost periodic type functions depending on two variables and related composition principles. We provide several illustrative examples and applications to the abstract Volterra integro-differential equations in Banach spaces.

Soirées musicales, Op. 6 by Clara Schumann: compositional and dramaturgical principles of the cycle

The relevance of the article. Clara Wieck-Schumann is one of the most famous female composers today, an outstanding artist of the XIX century. A significant amount of musicological researches has been devoted to her performance and compositional activities, and the recognized interpreter of the music of Robert and Clara Schumann, the Belgian pianist Joseph de Benhouwer, recorded all of her piano opuses. However, some certain issues related to the specifics of C. Schumann’s compositional work still require scientific research.
 The purpose of the article. Determination of the specifics of the compositional and dramaturgical solution of the program cycle of C. Schumann’s piano miniatures Soirées musicales, Op.6, which turns out to be one of the bright examples of this genre in the artist’s work and currently requires a comprehensive scientific research.
 The methodology. It is based on an integrative approach, and involves the use of analytical, systematic, structural-functional, comparative and inductive methods.
 The results. The cycle of piano miniatures Soirées musicales, Op. 6 is distinguished not only by its scale but also by its more pronounced programming. Unlike the other two piano cycles by C. Schumann, namely Quatre pièces characteristiques Op. 5, Quatre pièces fugitives Op. 15, which are rather a collection of diverse pieces united only by a common name, Op. 6 shows a certain dramaturgical line of development. The dramaturgy of the cycle is united with the help of a tonal arch, which is formed by a common tonality for 1 and 6 pieces. The miniatures represented in the cycle are quite diverse in their figurative structure.
 Conclusions. Among the important compositional and dramaturgical principles of building a cycle are the unification of diverse material from a thematic point of view with the help of intonation relationships or certain rhythmic formulas, comparison within miniatures of the same tonality, in which the middle sections of the form are usually written, stand out.
 The practical significance. The material of the article can be used in the further study of the specifics of C. Schumann’s compositional style, as well as in the study of the artist’s works in special piano classes, passing theoretical courses on the history of music and analysis of musical works.

АРХІТЕКТОНІКА МОВЧАННЯ У ПОВІСТІ ВЕРКОРА «МОРЕ МОВЧИТЬ»

АРХІТЕКТОНІКА МОВЧАННЯ У ПОВІСТІ ВЕРКОРА «МОРЕ МОВЧИТЬ»

Online Homework Intelligent Platform Based on Self-Regulated Learning (SRL): Essential for Sustainable Development of Online Higher Education

Online higher education has become a steadily more popular way of learning for university students in the post-pandemic era. It has been emphasized that active learning and interactive communication are key factors in achieving effective performance in online learning. However, due to the lack of learning motivation of students and the lack of feedback data in online learning, there are numerous problems, such as the weak self-discipline of students, unsatisfactory learning experience, a high plagiarism rate of homework, and the low utilization of online teaching resources. In this study, an online homework intelligent platform implemented by information technology (IT) was proposed. It was based on the pedagogical self-regulated learning (SRL) strategy as a theoretical foundation, and information technology as a driver. Through setting online homework assignments, a sustainable means of promoting the four components of the SRL strategy, i.e., self-disciplinary control, independent thinking, reflective learning, and interest development, can be provided to university students. Therefore, this study explained the “4A” functions in the platform and analysed the details of their implementation and value, such as assistance in locating resources, assignment of differentiated homework, assessment of warning learning, and achievement of sharing. After three years of continuous improvements since COVID-19, this online platform has been successfully applied to students and teachers at our university and other pilot universities. A comparison of student teaching data, questionnaire responses and teacher interviews from the Computer Composition Principles course illustrated the sustainability as well as the effectiveness of the method.

Investigation of microstructure evolution and properties in silica‐based ceramic cores with alumina as a mineralizer

AbstractIn this work, silica‐based ceramic cores with alumina as a mineralizer were prepared via an injection molding method, and the effects of alumina on the microstructural evolution and properties at 1450°C (simulating the process of equiaxed castings) and 1550°C (simulating the process of columnar/single crystal castings) were investigated. It was found that alumina promoted the cristobalite crystallization of fused silica refractory during sintering but inhibited the devitrification rate in the subsequent heating. The flexural strength of silica‐based ceramic cores at an ambient temperature and 1450°C improved with an increasing alumina content, whereas the opposite trend appeared at 1550°C. The creep resistances of silica‐based cores were improved significantly and then slightly deteriorated with an increasing alumina content from 5% to 20%, depending on the competition effects of alumina hindering the viscous flow of liquid silica (favorable), but suppressing the devitrification rate (unfavorable). The results of this work show that silica‐based cores need to follow different compositional design principles for equiaxed and columnar/single‐crystal turbine blade castings.