Horse-drawn Carriage Research Articles

The Dying Tradition of Kalesa Industry in the City of Laoag

The Kalesa, a traditional horse-drawn carriage, has been an iconic symbol of Filipino culture and heritage for centuries. However, in recent years, the once vibrant Kalesa industry in Laoag City, Ilocos Norte, has been facing a steady decline. This research abstract aims to investigte the factors contributing to the demise of this traditional mode of transportation and its associated industry. Through a combination of qualitative interviews, this study examines the socio-economic, cultural, and environmental factors that have led to the dwindling presence of Kalesas in Laoag City. Furthermore, historical research was done to look at primary sources and secondary documents on the Kalesa’s contribution to the city’s growth, especially in terms of its local economy and distinctive features that let people appreciate its local color even more.

Local Responses to Climate Change Impact on Intangible Cultural Heritage in Poland

Tradition and intangible cultural heritage help local communities cope with the uncertainty through familiar and repetitive actions. What if it all depends on variable and unstable factors? This paper presents an anthropological approach to the impact of climate change on local practices towards intangible cultural heritage based on human-environment interactions. The author presents early results of an ongoing research project. By drawing on ethnographic data, this article explores the implications of declining snow resources, alterations in the vegetation cycle and hydrological drought on the traditions of winter horse-drawn carriage races, Corpus Christi flower carpets and wickerwork. Based on the notions of ethnoclimatology and anthropology of weather, the text draws attention to local perceptions of climate change and potential methods of safeguarding tradition in times of uncertainty. It serves as an outline of a possible way of thinking about the relationship between climate change and intangible cultural heritage.

Z galerii ziemian lubelskich. Kazimierz Piaszczyński ze Snopkowa – hodowca koni, trzody chlewnej i owiec karakułów. Zarys działalności hodowlanej w latach 1895–1914

The article is an attempt to present the breeding activity of Kazimierz Piaszczyński, co-owner of the Snopków estate near Lublin. In the field of breeding horses and pigs, he continued the work carried out by his father-in-law, Antoni Bobrowski, who died in 1895, and he himself took up the breeding of Karakul sheep. At the turn of the century, Snopków was famous for its excellent horse-drawn carriage and riding stables, and repair horses were also appreciated. In the Kingdom of Poland and Russia, a pig farm also maintained its strong position, the fame of which was established by the breeding of pedigree English pigs. Piaszczyński, like his father-in-law, enjoyed the opinion of an excellent specialist among his contemporaries, as evidenced by numerous awards won at breeding exhibitions and the demand for local animals that remained at an even level. The year 1914 put a clearly outlined turning point for Snopków – the outbreak of World War I closed the period of Piaszczyński’s greatest successes, and the following years brought irreparable losses to the stud and the pigsty. Considering the above, I think it is worth reminding a wider group of readers the character and achievements of a man who has permanently entered the history of domestic livestock breeding.

Referencias al cometa Halley desde el observatorio de Cádiz

This paper presents the history of the observations of Halley's comet, in its first scheduled appearance, which were made from the Observatory of Cádiz. A history that links Cadiz with important names: Edmund Halley, who went to Isaac Newton to check the comet's orbit; Jorge Juan and the creation of the Cadiz Observatory which his friend Luis Godin would direct; important astronomers such as Joseph-Nicolas Delisle, who talked to Halley in London and was interested in his predictions, and his disciple the astronomer Charles Messier, who was nicknamed the comet hunter, due to the number of comets he described. Godin, who was himself a fellow astronomy student of Delisle, tracked Halley's comet from the Cadiz observatory, and it is recorded that these observations were taken and sent to Delisle. At a time when data collection was manual, as was the copying of the data and the corresponding annotations; and at a time when the transfer of information was not like e-mails, but was done by horse-drawn carriage, the guarantee that this information reached so many kilometres away could only be given in a later publication. That ratification is the one presented in this article, which completes the link between the Observatory of Cádiz and Halley's comet.

A REVIEW OF “AGORA” IN THE CONTEXT OF CITIES DEPICTION IN EPIC FILMS

Throughout the History of Cinema, Epic Films have allowed us to communicate with the past. It can be said that the Archaeological Films were successful to the extent that the facts they deal with are parallel to the present. Spanish Director Alejandro Amanebar’s 2009 film “Agora” takes the audience on a two-hour journey into the past, in the context of The Story of Hipatya. The City of Alexandria has been a research center for six centuries since its establishment in the 3rd century B.C. by Alexander the Great and has reached the position of a center where the latest developments in science were gathered and interpreted. On the other hand, city was going through a problematic period in the 5th century AD and science was largely identified with paganism. Hipatya, an astronomer, mathematician and scientist living in Alexandria during this period, symbolized a researcher on target with her fearless and rational stance. In the city, the Parabolans, who defended the Christian Morality, stripped Hippatia from the horse-drawn carriage she was driving, killed her by hitting her naked body, and threw her body into the fire in the year 415 A.D. The film first examines the factors that prepared this event, then focuses on the life in Alexandria City in parallel with the last days of Hipatya. The striking feature of “Agora” at first glance is that it is the best of all epics in terms of visual aesthetics. Moreover, considering all the factors from story to production design, we can qualify “Agora” as the best epic ever made in the History of Cinema. In our work, we examine all these elements in details.

The Blue Hour of Peder Severin Krøyer

The Blue Hour of Peder Severin Krøyer

Fortællerens fødsel ud af snestormen

In this article I analyze ‘Kirstens sidste Rejse’ [Kirsten’s Last Journey], one of Johannes V. Jensen’s stories from Himmerland, drawing on both the original version of the text published in 1901, and the version included in 1904 in Nye Himmerlandshistorier [New Stories from Himmerland]. At first sight, the story is realistic account of two men transporting a coffin with the corpse of an old woman from Aalborg to her home village in Himmerland where she is to be buried, and the violent snowstorm in which they are caught on the way. By the time they finally reach their destination, Christen Sørensen, who has been driving the horse-drawn carriage, has undergone a profound change. Earlier a silent person, he now recounts endlessly, with the same mechanical voice, the journey with the dead woman. In this article, I offer a reading of the story from the perspective of Maurice Blanchot’s literary theory, arguing that Johannes V. Jensen’s text can be read as an allegory of the becoming of the literary narration and its relation to the experience of death and nothingness.

Design and Evaluation of a Novel Haptic Interface for Horse-Drawn Carriage Simulation.

Animal welfare has become an increasingly important concern in the sports field. Learning horse-drawn carriage driving requires much time and effort for both the drivers and the horses because the associated gestures to avoid harming the horses are difficult to acquire. This raises the need to develop realistic simulation environments for future drivers. To this end, two haptic interface prototypes were designed, coupled with dedicated simulation software. The first was developed based on a SPIDAR haptic device and implemented simple behaviors of the carriage. A user study demonstrated interest in such a simulator, which led to the design of a second prototype, on a different architecture than the first prototype, for integrating more precise laws of horse behavior such as mood and allowing a more subtle control of forces. An evaluation with driving learners revealed that the simulator was capable of not only producing sensations close to reality but also improving the interaction between the trainer and the learner.

Technology and Urban Form: From the Horse-Drawn Carriage to the Information Highway

Technology and Urban Form: From the Horse-Drawn Carriage to the Information Highway

Visual Genome: Connecting Language and Vision Using Crowdsourced Dense Image Annotations

Despite progress in perceptual tasks such as image classification, computers still perform poorly on cognitive tasks such as image description and question answering. Cognition is core to tasks that involve not just recognizing, but reasoning about our visual world. However, models used to tackle the rich content in images for cognitive tasks are still being trained using the same datasets designed for perceptual tasks. To achieve success at cognitive tasks, models need to understand the interactions and relationships between objects in an image. When asked “What vehicle is the person riding?”, computers will need to identify the objects in an image as well as the relationships riding(man, carriage) and pulling(horse, carriage) to answer correctly that “the person is riding a horse-drawn carriage.” In this paper, we present the Visual Genome dataset to enable the modeling of such relationships. We collect dense annotations of objects, attributes, and relationships within each image to learn these models. Specifically, our dataset contains over 108K images where each image has an average of 35 objects, 26 attributes, and 21 pairwise relationships between objects. We canonicalize the objects, attributes, relationships, and noun phrases in region descriptions and questions answer pairs to WordNet synsets. Together, these annotations represent the densest and largest dataset of image descriptions, objects, attributes, relationships, and question answer pairs.

Steam Engines for Heavy Haulage on Common Roads — Early Trials and Early Apprehensions: 1856–1861

In 1856, a steam-powered traction engine was an exciting spectacle in a public procession. A year later, one travelled 85 miles over English roads, drawing a train of heavily loaded wagons — taking three days but showing what steam haulage could achieve. Engineers, manufacturers and entrepreneurs then vied in developing and deploying traction engines — alongside parallel developments in applying steam power to agriculture. But what were the dangers of massive steam engines working on public roads? Given the presence of very many horses on the roads, a noisy engine might cause one to rear up or bolt, throwing a rider or overturning a horse-drawn carriage. Regulation was needed! This should include equitable toll charges on turnpike roads, especially if heavy engines might cause serious damage. Legislation — eventually passed in 1861, after laborious parliamentary consideration — included speed restrictions and the possibility of banning daytime journeys in some urban localities.

Ode to the #6 Jackson Park Express, and: Uncensored, and: “Caldonia”

Ode to the #6 Jackson Park Express, and: Uncensored, and: “Caldonia” Cheswayo Mphanza (bio) Ode to the #6 Jackson Park Express after Tim Seibles The fungi express. The unused funk in Bootsy’s bass lines and riffs. Illicit pleasures of what bodies on the south side lust for, blasting from speakerphones: I wish I could give you this feeling; I wish I could give this feeling. The distant stares at the side of your sooty windows that gave me a sweeter scent from the Swisher Sweets and Black & Milds; the musk of all the marauders who rode you in the summer, bullet-eyed and waiting for triggers to clutch. The early morning wake-up calls from the woman in rags, who stood in the front preaching of Jehovah, saying she was a witness to a testament I could not believe in. The tithes and offerings spent on Cheetos and honeybuns, salvation in gyros and baptism in mystic drinks. The seats I gave up to old black women who all reminded me of the women that raised me over dominoes and house music. Thank you for holding my mother and all those other women who worked overtime, how intransigent their bones must have become, fighting the temptation of rest on your hard seats, while clutching their purses, accustomed to the malice of your comfort. Thank you to all the bus drivers who didn’t use their bulletproof plastic doors on 79th [End Page 28] and let on passengers who rode without paying, knowing the heavier toll their bodies carried. Curse the bump of its stop when it ran over the neighbor’s daughter, the mother running to each scattered limb, trying to piece back body parts and how we all watched in melancholic wonder, maybe thinking it was possible. I did not cry that day. I probably wentwith a friend to a corner store and attached my arms to bags of chips, touching and leaving corners that hugged us, feeling like all we’ll ever know is 75th & South Shore Drive. What did we know of death outside the body? Of friendship and how it hangs on the hinges of being lost with someone? Our bus rides, seated in the back with a fear or longing to not be left at the last stop. Uncensored for Redd Foxx Sometimes I dream of a solar eclipse in my eyes I have grown too weary of the naked eye and its weaknesses in the light beyond gentle reflections and their sensitive images there are darker hues sinister colors and obscene visions I want to wield to drink spirits and howl blasphemies to speak ghostly and ghastly rattling god with evocative gestures to lust after saints and turn sacrilegious their divine convictions gospels of loneliness and martyrdom do not bury me gently I do not want to be perfumed and catalogued bones or delivered the denizen’s dozen bouquets of orchids tulips and carnations I want to be a pile of fresh ash to fade into some ominous place I want to breathe in the nauseating scent of holiness curse believers and laugh softly with a sanctified woman in the shadows take me to a sacred rock where I’ll give my testimony about vision and its impaired sightings fragmented scenes and disturbing revelations deliver me from these eyes I want to close them and fold myself in their unreliable darkness and be brushed into locks of wind [End Page 29] “Caldonia” for LaWanda Page Women are suckers and so are the menwho call them ladies. Some prefer a helping hand going up the stairs or stepping down some horse-drawn carriage. I prefer the deacon’shand rattling the legs like an usher’s hand on the collection plate at an afternoon service. And maybe I might cool my lustwith communion vials of wine. Lord, I am not a saint; I want the devil’s heat to stir inside me. Hell sounds like a lovely placefor unfinished women who wish to reach a different kind of holy ghost, being handled in devilish ways. Honey, pour me a fifthof 90-proof rum, some firewater for my baptism. I want...

Pierre Curie: the anonymous neurosurgical contributor.

Pierre Curie, best known as a Nobel Laureate in Physics for his co-contributions to the field of radioactivity alongside research partner and wife Marie Curie, died suddenly in 1906 from a street accident in Paris. Tragically, his skull was crushed under the wheel of a horse-drawn carriage. This article attempts to honor the life and achievements of Pierre Curie, whose trailblazing work in radioactivity and piezoelectricity set into motion a wide range of technological developments that have culminated in the advent of numerous techniques used in neurological surgery today. These innovations include brachytherapy, Gamma Knife radiosurgery, focused ultrasound, and haptic feedback in robotic surgery.

Identity Crisis in the Eternal City: Finding a Raison D'être for Rome's New Photography Museum

After years of talk, Rome appears reach to launch its first photography museum. To mam. the ambitious plan marks the latest step in the artistic coming-of-age of the Eternal City, eager to be taken as seriously for its present and future as it is for its glorious past. But Italy's recent history of Hawed museum openings should serve as a warning. If organizers fail to overcome apparent lack of vision, staggering red tape, and austerity cuts to the arts, the photographs museum is destined to become the latest victim in this Roman tragedy. The chosen site is located in the southwest quarter of Testaccio, inside a beautifully restored from the nineteenth century, incidentally the era that marks the dawn of photography. Known as the Mattatoio slaughterhouse the multi-pavilion structure today houses the 165.000-square- foot of the Arts, a series of independent art-related institutions. Similar in concept to Madrid's Matadcro and Paris's Centquatre, it is still operating beneath its potential. A branch of the Museo d'arte con temporal tea Roma MACRO is perhaps Testaccio's best-known attraction. Other institutions already at the City of the Arts include art academy, a music school, and university departments. Adding hi die color, located nearby is association of horse-drawn carriage drivers, complete with stables and troughs, alongside organic food co-op and several associations devoted to the green economy. In this environment, at roughly hall the size of MACRO, the pholography museum will oceups the 9d pavilion on two floors, comprising a 4,600-square-foot modular exhibition space, a combined bookshop and en try way, a pressroom and educational room, two darkrooms, a multipurpose space, labs, reading rooms, and a four-thousand-volume library. Currently no other space devoted to photographs in Rome comes close in terms of size and resources, and enthusiasts argue that the time has come lor a city of such stature to finally Is fill a yawning gap that separates ii from the rest of Europe and the United States. Marina Righetli. director of the Art History Department at Rome's La Sapicnza University. calls this absence a cultural handicap. (2) In 2012, roughly ninety photography professionals signed appeal to build the museum, calling it strategic and an occasion not to be missed. (1) The plan marks a chance to fulfill urge that's been brewing in the capital at least since the 1990s, when talk ol the Italian government establishing a national photographs museum first arose. Then, in 200b. the province I Rome raised grand hopes of building the House of Photography close to Renzo Piano's Auditorium Parco dell a Musica and Zaha Hadid's National Museum of 21st Century Arts MAXXI). But where fanfare and determination fizzled for past projects, the most recent proposal from the city clearly has staying power. After surviving the worst recession since World War II, the cits seems committed to bringing this museum in completion. Yet, while the architectural and technical aspects seem to be taken care of a tangle of unresolved questions still remains about the nature and the mission of this museum-to-be. Such questions were first broached in 2011 at a public roimdtable bringing together representatives from the city and universities, as well as a dozen national and international photographs experts, including museum directors, curators, critics, publishers, and historians. Panelists asked a series of questions, both practical and philosophical, regarding the nature ol the operation: Is it anachronistic to found a photographs museum in the twenty-first century? What kind of photographs should be its focus? Should it have its own collection or promote those of' other institutions? What is the role of the museum and of the curator, both in general and in the specific case of Rome's photography venture? What kind of public does ii hope to attract? …

Modeling and optimization of passive and semi-active suspension systems for passenger cars to improve ride comfort and isolate engine vibration

Suspension systems have been widely applied to vehicles, from the horse-drawn carriage with flexible leaf springs fixed at four corners, to the modern automobile with complex control algorithms. A good suspension system should provide a comfortable ride and good handling within a reasonable range of deflection. Though a passive suspension system can perform this task, its parameters are generally fixed, being chosen to achieve a certain level of the compromise between comfort and handling. The loads acting on the suspension system may be on-board and off-board, the latter being the road loads and the former being characterized mainly by vibrations induced by the engine. The primary object of this study is to improve ride comfort for a passenger car, first by optimising the values of stiffness and damping coefficient for a passive suspension system, and then by introducing a semi-active control system that makes use of sky-hook control methods.

Electronic Records and the Horse-Drawn Carriage

Electronic Records and the Horse-Drawn Carriage

Comparing the Steam Engine With a Horse-Drawn Carriage?

Comparing the Steam Engine With a Horse-Drawn Carriage?

Comparing the Steam Engine With a Horse-Drawn Carriage?

In Response: In the study cited by Heller et al., we demonstrated similar rates of postoperative neurologic symptoms (PONS) after nerve stimulator or paresthesia techniques of nerve localization (1). Heller et al.'s negative views of paresthesia techniques are shared by many members of the anesthesia community. However, as clinicians and scientists, we should not be dealing with opinions, but rather on facts supported by rigorous scientific studies. First, Heller et al. state that the incidence of PONS in our patients is “strikingly high,” and they use a recent prospective case series (2), their “own experience,” and “European leaders' opinion” as support for this statement. “Opinions” and “experience” aside, the study referenced by Heller et al. that indicated a 3% incidence of PONS, followed patients who underwent many different operative procedures and who received either upper or lower extremity continuous peripheral nerve blockade for 2–7 days. We studied a single anesthetic and a single surgical procedure. Furthermore, in many patients, PONS presented and resolved within the timeframe of the continuous infusion referenced. Comparing these two studies is simply not appropriate. There are many more appropriate comparison studies that describe an incidence of PONS in the range we report (3–6). Second, although we agree with Heller et al. that ultrasound is a potentially useful method to assist in nerve localization for peripheral nerve block, there are few randomized, controlled trials evaluating the safety and efficacy of ultrasound in preventing PONS. Until the results of more such studies are available, we should keep an open mind. As Heller et al. correctly state, the relationship between needle tip and nerve are unclear (at best) with both paresthesia and nerve stimulator studies (7–9). In addition, a recent report by Bigeleisen (10) clearly shows that ultrasound techniques may not be reliable to avoid nerve contact. Furthermore, we do not understand the relevance of Heller et al.'s reference to the closed claims analysis (11). None of our patients suffered lasting injury, and there is no evidence that ultrasound-guided nerve blocks are safer than nerve blocks performed with other techniques. Third, Heller et al.'s comment that the volume of local anesthetic used is “outdated and potentially toxic” is another example of a commonly held, yet scientifically unsupported opinion. A comprehensive review on this topic attempts to differentiate between opinion and fact (12). Finally, it is true that it is difficult to statistically prove that two procedures yield equivalent results. We found a 9.3% incidence of PONS with the paresthesia technique (90% CI: 4.7%–13.9%) and a 10.1% incidence with the nerve stimulator technique (90% CI: 5.3%–14.7%). It is likely that if any difference did exist, it would be too small to be clinically significant. Anesthesiologists should be guided by facts supported by randomized, controlled trials, and not swayed by personal experiences and opinions. If we focus on facts, it is quite possible that other myths in anesthesia will be dispelled. We are certain that at some point during the 20th century, popular opinion was that steam engines would be the primary source of transportation energy for decades to come. Popular opinion is not always correct. Gregory A. Liguori, MD Jacques T. YaDeau, MD, PhD Victor M. Zayas, MD Richard Kahn, MD Leonardo Paroli, MD, PhD Valeria Buschiazzo, BS Department of Anesthesiology Hospital for Special Surgery Weill Medical College of Cornell University New York, New York [email protected]

The carriage trade: making horse-drawn vehicles in America

In 1926, the Carriage Builders' National Association met for the last time, signaling the automobile's final triumph over the horse-drawn carriage. Only a decade earlier, carriages and wagons were still a common sight on every Main Street in America. In the previous century, carriage-building had been one of the largest and most dynamic industries in the country. In this sweeping study of a forgotten trade, Thomas A. Kinney extends our understanding of nineteenth-century American industrialization far beyond the steel mill and railroad. The legendary Studebaker Brothers Manufacturing Company in 1880 produced a hundred wagons a day-one every six minutes. Across the country, smaller factories fashioned vast quantities of buggies, farm wagons, and luxury carriages. Today, if we think of carriage and wagon at all, we assume it merely foreshadowed the automobile industry. Yet., the carriage industry epitomized a batch-work approach to production that flourished for decades. Contradicting the model of industrial development in which hand tools, small firms, and individual craftsmanship simply gave way to mechanized factories, the carriage industry successfully employed small-scale business and manufacturing practices throughout its history. The Carriage Trade traces the rise and fall of this heterogeneous industry, from the pre-industrial shop system to the coming of the automobile, using as case studies Studebaker, the New York-based luxury carriage-maker Brewsters, and dozens of smallerfirms from around the country. Kinney also explores the experiences of the carriage and wagon worker over the life of the industry. Deeply researched and strikingly original, this study contributes a vivid chapter to the story of America's industrial revolution.

Alfred^Stieglitz: The Aeroplane

Throughout his career, Alfred Stieglitz evinced a fascination with transport of all kinds. One of his early pictures, which was to become one of his most famous, is Winter, Fifth Avenue of 1892, depicting a horse-drawn carriage churning through a fierce blizzard. Stieglitz stood outside in the storm until he caught just the composition he wanted: thick ridges of slush, the bulk of the carriage, the straining horses and their crouching driver, and everywhere the blurry streaks of wind-whipped snow. His intent, as he later described it, was to demonstrate what a photographer could do with a hand-camera. In many of his later photographs as well, he used vehicular motion as a vector and a metaphor for photographic modernism.