Terrain-Specific: Contemporary Landscape Architecture in Canada

The Canadian landscape has typically captured a global imaginary of a pristine wild, but how might its urban designed landscapes be distinctly understood? Foregrounded by the landscape transformations accelerated by climate change, the book Innate Terrain: Canadian Landscape Architecture, edited by Professor Alissa North from the University of Toronto, highlights landscape architecture projects situated on the unique Canadian terrain. Providing further provocation on Canadian landscape architecture, Innate Terrain seeks to fill the literary gap on contemporary landscape perspectives, distinguishing Canadian landscape architecture from global practice, and particularly, its well-documented American counterpart. Landscape architecture in the Canadian context has evolved and established its own distinct identity, one imbued with national and local sensitivities. Informed by diverse environmental and cultural contexts, Canadian-designed landscapes reflect and refer to the prevailing ecosystems of Canada’s innate terrain. Contrary to the preceding International Style, landscape architecture projects in Canada have adopted the ethos of Critical Regionalism in the second half of the 20th century. Contemporary Canadian practitioners are designing landscapes that are deeply informed by their surrounding geographical context while emphasizing cultural specificity. Central to this cultural specificity, addressed by a new generation of landscape architects, is the increasing recognition of Indigenous Traditional Knowledge within the discipline. Canadian landscape architects have collaborated with First Nations, Inuit, and Métis communities, including the keepers of this knowledge, to develop land management strategies and design landscape interventions.     

Micro-structural study of Yaozhou celadons (Tang to Yuan Dynasty): probing crystalline and glassy phases

The Yaozhou kiln complex is a representative production center of ancient northern China, famous for the celadon production. In this work, bubbles, glassy matrix and residual crystals of celadon glazes produced from the Tang to Yuan Dynasty were analyzed by using optical microscopy, Raman spectroscopy and scanning electron microscopy-energy dispersive X-ray spectroscopy (SEM-EDS). The results revealed that the Song, Jin and Yuan productions present bigger bubble and higher area ratios of the Si-O bending over stretching modes than the Tang and Wudai productions. This is consistent with firings at higher temperatures during Song, Jin and Yuan Dynasties. It is also in agreement with the historical studies, which revealed the change from wood-firing to coal-firing during Song Dynasty. The observation of calcium phosphate in Yaozhou productions indicated that the glaze ash had been used. No iron-based particle was identified by Raman spectroscopy in the glazes of all periods. The green color is certainly due to iron ion dispersed in the glassy matrix. Our study also confirmed no significant change in glaze raw materials used for Yaozhou productions from Tang to Yuan Dynasty.     

Utilizing sensor data to model students’ creativity in a digital environment

While creativity is essential for developing students’ broad expertise in Science, Technology, Engineering, and Math (STEM) fields, many students struggle with various aspects of being creative. Digital technologies have the unique opportunity to support the creative process by (1) recognizing elements of students’ creativity, such as when creativity is lacking (modeling step), and (2) providing tailored scaffolding based on that information (intervention step). However, to date little work exists on either of these aspects. Here, we focus on the modeling step. Specifically, we explore the utility of various sensing devices, including an eye tracker, a skin conductance bracelet, and an EEG sensor, for modeling creativity during an educational activity, namely geometry proof generation. We found reliable differences in sensor features characterizing low vs. high creativity students. We then applied machine learning to build classifiers that achieved good accuracy in distinguishing these two student groups, providing evidence that sensor features are valuable for modeling creativity.     

可园及其周边地区发展策略初探

以加强对可园的保护和促进其周边地区的经济发展为目的，本文深入分析、探讨促进具有历史文化价值地段的保护与发展方法，尝试提出进行可园区域改造的概念性规划策略。     

AssetCollector: a system for managing collections of cultural assets

In this paper, AssetCollector is presented, which is a system for managing collections of cultural assets. AssetCollector covers the needs of collection curators towards defining, populating and searching a collection in a flexible way, while supporting them in generating reports based on the collection’s assets and reusing them in order to build web sites and CD-ROMs. In order to support the above functionality, the system provides the content structuring subsystem, the content input subsystem, the search subsystem and the report subsystem. The use of the subsystems is straightforward and requires no technical skills from the curators. AssetCollector has been successfully applied for organizing various collections of cultural assets in Greece, such as archaeological sites, museums and published books. In the future, an evaluation procedure is planned in order to further refine the use of the system according to the targeted users’ needs. Furthermore, more import and export facilities will be provided, which will make the system compliant with widely accepted standards.     

中西方文化差异对商务谈判的影响

本文就中西方文化差异对涉外谈判中的沟通风格、谈判策略、决策方式以及对如何处理冲突等方面的影响进行了分析。     

关于构建油田和谐社区的几点思考

油田和谐社区应是创建安全有序、舒适和睦、温馨亮美的社区,其目标应是实现人与自然的和谐、人与社会的和谐、人与人的和谐,其实施途径是以服务群众为重点,以居民自治为方向,以维护稳定为基础,以文化活动为载体。     

论高校计算机实验室在大学生创新实践能力培养中的作用

在计算机及其网络已经相当普及的今天,如何在计算机专业的教学中,利用各高校现有计算机实验室资源来突出对学生创新实践能力的培养,造就一批适应社会和学科飞速发展要求的优秀人才就显得十分急迫。本文就高校计算机实验室在大学生创新实践能力培养中所起的作用进行了一些有益地探讨,并提出了一些个人看法。     

中国传统装饰艺术在数字绘画艺术中应用初探

数字绘画技术主要应用在商业插画、科普插画、少儿插画、游戏人物及场景设定等方面,其中又是在动画与游戏中应用最广,让数字绘画艺术更好地为我国的文化创意产业服务,向世界展示出具有本民族特色的文化艺术产品,中国的传统装饰艺术将是其取之不尽的艺术宝库。     

浅析广告创意产生的过程

文章将广告创意的产生分为准备、分析、顿悟和评估四个阶段,针对每个阶段的工作重点、工作方法进行阐述,涉及到多种思维方式和创意技巧,旨在说明创意不能仅靠天赋,更应源于科学的方法和步骤。