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Particularly with aspheric, toric, and multifocal IOLs, perfect positioning of the artificial lens is mandatory to provide optimal visual performance. It is therefore postulated that, using the femtosecond laser for capsulorhexis, a more precise capsulotomy with 360° IOL-capsular overlap can[for full text, please go to the a.m. URL] 27. Internationaler Kongress der Deutschen Ophthalmochirurgen

Our conscious experiences are qualitative and unitary. The qualitative universals given in particular experiences, i.e. qualia, combine into the seamless unity of our conscious experience. The problematics of quality and cohesion are not unique to consciousness studies. In mathematics, the study of qualities (e.g., shape) resulting from quantitative variations in cohesive spaces led to the axiomatization of cohesion and quality. Using the mathematical definition of quality, herein we model qualia space as a categorical product of qualities. Thus modeled qualia space is a codomain space wherein composite qualities (e.g. shape AND color) of conscious experiences can be valued. As part of characterizing the qualia space, we provide a detailed exemplification of the mathematics of quality and cohesion in terms of the categories of idempotents and reflexive graphs. More specifically, with qualities as commutative triangles formed of cohesion-preserving functors, first we calculate the product of commutative triangles. Next, we explicitly show that the category of idempotents is a quality type. Lastly, as part of showing that the category of reflexive graphs is cohesive, we characterize the adjointness between functors relating cohesive graphs to discrete sets. In conclusion, our category theoretic construction of qualia space is a formalization of the binding of qualitative features (colors and shapes) into the cohesive objects (colored-shapes) of conscious experiences. Compared to the feature-vector accounts of conscious experiences, our product-of-qualities account of consciousness is a substantial theoretical advance.

This paper describes how focus groups can contribute in the design of choice experiments for use in the urban environment. Focus groups enable researchers to identify changes to the urban environment that the public would like to see take place; first, in terms of redefining the use of an area, and second, in terms of the attributes that could be placed within the redevelopment scene. Four focus groups were held in Aberdeen, Scotland with the purpose of deriving this information. The issues raised by each user group, and how they relate to future work in the project are discussed. URN: urn:nbn:de:0114-fqs020358 Forum Qualitative Sozialforschung / Forum: Qualitative Social Research, Vol 3, No 3 (2002): Subjectivity and Reflexivity in Qualitative Research I

Tujuan dilakukannya penelitian ini adalah untuk mengetahui bagaimana prinsip-prinsip gugatan perdata dan bagaimana prosedur mengajukan gugatan di pengadilan negeri serta bagaimana tata cara pemanggilan yang sah dalam persiapan persidangan perkara perdata menurut undang-undang. Dengan menggunakan metode penelitian yuridis normatif, disimpulkan: 1. Prinsip-prinsip gugatan adalah harus ada dasar hukum sebagaimana tersebut dalam Pasal 118 HIR dan Pasal 142 RBg. Adanya kepentingan hukum yang melekat pada penggugat. Merupakan suatu sengketa Pasal 118 HIR/Pasal 132 RBg. Dibuat dengan cermat dan terang Pasal 142 (1) RBg/120 HIR. Memahami hukum formil dan materil. 2. Prosedur mengajukan gugatan adalah: Gugatan Tertulis terdiri dari Identitas para pihak, Fundamentum petendi (posita), Petitum dan tuntutan. Sedangkan gugatan lisan terdiri dari apa yang disampaikan kepada ketua pengadilan negeri. Hakim yang ditunjuk mencatat semua kejadian di sekitar tuntutan hak, kemudian diformulasikan dalam surat gugatan. Ditandatangani oleh ketua/hakim yang ditunjuk oleh Ketua Pengadilan. 3. Tata Cara Pemanggilan Yang Sah dalam persiapan persidangan perkara perdata: Dasar hukum Pasal 390 ayat (1) dan (2), (3) HIR/Pasal 388 HIR tempat tinggal tergugat diketahui.Tempat tinggal tergugat tidak diketahui. Pemanggilan tergugat yang berada di luar negeri. Pemanggilan tergugat yang telah meninggal dunia. Tergugat pindah alamat setelah gugatan diajukan. Kepala Desa/Lurah lalai menyampaikan kepada tergugat. Keabsahan surat panggilan.Kata kunci: Tata Cara Pemanggilan, Para Pihak, Penggugat/Tergugat,Perkara Perdata, Pengadilan Negeri.

On concrete dam construction work, it is necessary to manufacture a large amount of concrete and CSG (Cemented Sand and Gravel). The manufacture plant of concrete and CSG is operated in very long term, therefore the effect of its environmental impact could be serious. In general, there are two types of manufacture plant on the process of manufacturing concrete or CSG. The one is batch type plant; its mixing process is not continuous and it is necessary to repeat the processes of measuring and mixing every batch. The other is continuous mixing plant; mixing process is completely continuous, at the same time, the measurement and supplement of materials are also carried out continuously. Since continuous mixing plant can manufacture a large amount of products at short time, continuous mixing plant is suitable for manufacture plant of concrete dam construction. But it is hard to control the quality of products, so batch type plant used to be adopted as the mixer of the manufacture plant. In recent years, the new continuous mixing plant which can control the quality of products accurately has developed and been put to practical use on several projects of concrete and CSG dam construction. The best feature of this plant is its energy saving effect. This plant is equipped with a static continuous mixer for mixing concrete or CSG. This mixer is set up in vertical direction, and then it is possible to mix materials with no electric power but only by gravity force. In this study, environmental impact due to manufacture concrete and CSG by conventional batch type plant and new continuous mixing plant are estimated and compared, and then the advantage of new continues mixing plant for environment is discussed.

identifier:oai:t2r2.star.titech.ac.jp:00218642

identifier:oai:t2r2.star.titech.ac.jp:50362064

高知工科大学博士(工学) 平成24年9月28日授与(甲第220号) identifier:高知工科大学, 博士論文.

This paper considers the ways in which Neil Gaiman’s The Sandman appropriates and transforms the works of William Shakespeare. Shakespeare features in three comics from the award-winning Sandman series: ‘Men of Good Fortune’ (The Sandman #13), ‘A Midsummer Night’s Dream’ (The Sandman #19), and ‘The Tempest’ (The Sandman #75). The series rewrites the Shakespearean legend into a Faustian bargain and provides readings of these two plays that not only sustain their traditional interpretations and performance legacies, but also subsumes them within a wider treatise on the nature of literary creation. In this sense The Sandman transforms Shakespeare’s works into metafictional diatribes that comment both on his life and on the nature of literary creation and storytelling.\ud \ud The Sandman #19 (Neil Gaiman/Charles Vess) tells of Dream’s first performance by Lord Strange’s Men to a faerie audience that includes many of the play’s characters, allowing Gaiman to situate ‘real’ versions of the play’s characters and events alongside their actor counterparts. In this way Sandman #19 both performs and comments upon Dream. Drawing on previously published criticism, this article briefly discusses the ways in which the comic sustains many semantic and structural themes of the Shakespearean text. These include the play’s reality/illusion dichotomy, the play-within-play motif, the entertainment of the faerie cast by the mechanicals, and the doubling of many characters and events. However, Gaiman’s treatment of many of these elements may also be said to simultaneously subvert the original text, as his faerie characters are often opposed to their Shakespearean counterparts. \ud \ud The article then moves to consider The Sandman #75 (Neil Gaiman/Charles Vess). This comic surrounds the text of The Tempest with a metafiction that replicates the play’s motifs, themes and specific scenes. In so doing it comments on the small amount we know about Shakespeare’s life, and draws parallels between the author, its titular character, Morpheus, and even Gaiman as the comic’s creator. \ud \ud The main body of this article proceeds to discuss the effects of this transformation of Shakespeare’s life and work. As metafiction that deals not only with the creative process and the telling of stories, but also with the nature of fact and fiction/reality and illusion, The Sandman provides an informative example of the uses and effects of metafiction that is of interest not only to students of literature, but also accessible to general readers. This article closely examines The Sandman #13 (Neil Gaiman/Michael Zulli and others), which details the pact made between Morpheus and Shakespeare. It concludes that while this scenario initially appears to attack Shakespeare and reference the history of doubt surrounding his works, the mystical nature of this pact means it can also be read as sustaining ‘bardolatry’. \ud \ud The article concludes that subversive and supportive elements coexist in both the Shakespearean content of The Sandman and its medium (which challenges elitist notions of Shakespearean drama while retaining an emphasis on spectacle and performance). In many respects comics align with dramatic texts: both are subject to constant reinterpretation and re-creation with each new reading/production and, while having a textual basis, therefore exist in no original form. As such, Gaiman and Vess offer a reinterpretation of the plays and playwright that renews and relocates Shakespeare by aligning the man’s life with his fictions, and in this regard sheds light on academic discourse that habitually sets literature against popular culture.