Search Results (3,378)

Automobile spray painters in small informal workshops in developing countries face high occupational exposure to organic solvents. Although health effects are well known, the influence of workers’ knowledge, attitudes, and practices (KAP) on these effects is less well understood. This study examined spray painters’ KAP regarding organic solvents and health symptoms and assessed workplace safety compliance. A cross-sectional study in Region F, Johannesburg, collected data among 152 spray painters across 47 workshops using a questionnaire and checklist. KAP scores were analysed with multivariable logistic regression to identify associations with eye, skin, respiratory, and CNS symptoms, while controlling for confounders. Workplace controls were inadequate: 64% of workshops conducted spray painting outdoors, while only 17% had a functioning spray booth. Although knowledge scores were high (45.29/50 ± 6.025), practice scores remained low (9.01/20 ± 5.275). After adjustment, higher knowledge was significantly associated with reduced odds of eye (AOR = 0.846), skin (AOR = 0.915), and respiratory symptoms (AOR = 0.890). Better practice scores also correlated with fewer skin symptoms (AOR = 0.891). No KAP construct was linked to CNS symptoms. In the absence of engineering controls, workers’ knowledge is strongly linked to lower reporting of solvent-related symptoms affecting the eyes, skin, and respiratory system. However, knowledge does not appear to influence CNS symptoms, which are probably driven by ambient solvent concentrations that individual behavioural measures cannot effectively manage. Therefore, knowledge acts as a supplementary, rather than a substitute, safeguard where engineering controls are lacking. Interventions should include education and enforceable regulations to empower workers and ensure the use of engineering controls, especially in spray booths. Full article

This article focuses on aspects related to the physical and thermal parameters of so-called thermal-insulating paints. These materials and systems are used in two different situations: first, as agents reducing surface temperature due to solar radiation, and second, as so-called “thermal-insulating” coatings. The paper focuses on the second aspect of the applications described by the manufacturers and presents the results of the author’s laboratory tests (using an insulated heating box with two different heat sources) and field tests (in situ) on a building façade. The research methodology focuses on contact and thermal imaging measurements to assess the effectiveness and properties of reflective thermal-insulating paints, as well as analyzing their impact on the surface temperature and heat transfer coefficient of building envelopes. The conducted research showed that the use of reflective thermal-insulating paints does not significantly improve the thermal insulation of building envelopes. Measurements of the heat transfer coefficient showed a reduction of 1–7% compared to the reference wall tested. In situ measurements using temperature sensors and thermographic studies confirmed the insignificant impact of reflective thermal insulation paints on the thermal protection of external walls. Full article

In his lectures from November 1980 to March 1981, Deleuze describes the immanent and compositional nature of Spinoza’s philosophy expressed in the content, the method, and the form of his writings. Spinoza himself uses in the Ethics and the TP the images of the climatologist studying the weather and the geometric drawing of lines and surfaces for his technical, artisanal, and neutral approach to the affects and political life. His ontology is characterized by the absence of hierarchical order and by nature as the principle and source of diversity. This approach is reminiscent of art, which also orders the chaos of human existence and makes it productive in a free and immeasurable way. Deleuze conceives of Spinoza’s ontology as a practical philosophy, leading him to the examples and the analysis of paintings (and, vice versa, from the art of painting to Spinoza’s philosophy), to which he dedicates his subsequent lectures from March to June 1981. In this article I reflect on the link between Deleuze’s lectures on Spinoza and on painting, and therefore also between Spinoza’s compositional thought itself and painting. Full article

To mitigate health hazards from pathogenic bacteria (Escherichia coli, Staphylococcus aureus) and fungi (Aspergillus niger) as well as the coating mildew issue in high-humidity indoor environments, and to overcome the challenges of particle agglomeration and non-uniform distribution in conventional benzalkonium chloride (BAC)-clay composites, this study proposes a wet chemical strategy to prepare BAC-hectorite antimicrobial composites using synthetic hectorite as a high-performance carrier, which is superior to natural clays such as montmorillonite and kaolin in structural uniformity, ion-exchange efficiency, and dispersion stability. Characterization using X-ray diffraction (XRD), scanning electron microscopy (SEM), Fourier transform infrared spectroscopy (FTIR), and Brunauer–Emmett–Teller (BET) analysis confirmed the successful intercalation of BAC cations into the hectorite interlayers through ion exchange. This resulted in a significant expansion of the interlayer spacing from 1.0–1.2 nm to 1.5–1.8 nm, a marked alleviation of particle agglomeration, and an optimized pore structure. A clear structure–activity relationship between preparation conditions, microstructure regulation, and antimicrobial performance is systematically established. Antibacterial tests revealed superior efficacy against Gram-positive bacteria; the composite exhibited an inhibition zone of 13.31 mm and a minimum inhibitory concentration (MIC) of 4 μg/mL against S. aureus, compared to 11.62 mm and 32 μg/mL against E. coli. Practical application tests demonstrated that at an ultralow addition level of 0.4%, incorporating this composite into latex paint achieved an antibacterial rate exceeding 99.9% against both pathogens. When added to putty powder, it yielded Grade 0 mold resistance with no observable growth. Furthermore, compounding with polypropylene (PP) increased the elongation at break to approximately 600%, simultaneously realizing antibacterial, antifungal, and toughening functions, thereby not only conferring antibacterial functionality but also significantly enhancing toughness—resolving the typical polymer embrittlement caused by traditional inorganic antibacterial fillers. Short-term evaluations confirm that this composite offers a stable structure, high-efficiency antimicrobial properties, and improved substrate mechanics at low loading levels. These findings provide technical support and experimental guidance for the functional upgrading of indoor decorative coatings, putties, and polymer materials used in high-humidity scenarios such as kitchens and bathrooms. Full article

This article examines the transcultural and transmedial transformation of the kalavinka motif along the Silk Road, situating its development within the interpretive framework of the Indian kinnara/kinnarītradition. It asks how a figure associated with wondrous sound and devotional praise in Buddhist cosmology came to function as a wearable ornament without losing its religious identity. Through close formal analysis of Dunhuang murals from the Tang period (618–907 CE), the study identifies three interrelated visual processes that prepared the motif for mobility across media: the fusion of gendered pairs into an androgynous form, the progressive elongation and ornamental stylization of the tail, and the reorientation of bodily pose into compact, suspension-friendly configurations. These mechanisms are then examined in relation to eleventh-century painted and excavated materials, including donor adornment in Western Thousand Buddha Cave 16, a Khara Khoto scroll, a Liao (916–1125 CE) gold kalavinka earring, and a Western Xia linked-pearl headdress. Comparative visual and material analysis shows that kalavinka imagery circulated in parallel across mural, painted, and metal media, where scale, material, and bodily placement re-coded rather than erased its sacred associations. The study argues that this process is best understood as material translation, and it proposes a model for linking formal change, sensory affordance, and religious function in the arts of the Silk Road. Full article

This study investigates how land use changes upstream and the Kamal Khan Dam have reshaped patterns of water allocation and intensified hydropolitical tensions in the Helmand/Hirmand Transboundary River Basin (HTRB). Remote sensing and deep learning techniques were employed to analyze land use changes from 2012 to 2024. After radiometric and atmospheric corrections were applied to Landsat imagery, pixel-based classification was performed using a Deep Belief Network model. Additionally, hydrological changes were analyzed using Sentinel-2 data, with attention paid to the diversion of water flows toward the Godzareh Depression. The classification results revealed considerable expansion of agricultural land downstream of the Kajaki Dam, primarily at the expense of rangeland, forest, and barren land. Moreover, sentinel imagery confirmed that, following the commissioning of the Kamal Khan Dam in 2021, systematically diverted Helmand/Hirmand hydrosystem flows toward the Godzareh Depression. Also, this study applied the painted water framework to analyze the evolution of hydropolitical dynamics in the HTRB across two critical periods, 1954–1980 and 2010–2025. The analysis revealed a fundamental transformation from green water-dominated natural flow regimes to infrastructure-controlled systems characterized by concurrent increases in both yellow water (controlled but not immediately consumed) and red water (controlled and consumed). The Kamal Khan Dam’s operationalization represents a pivotal inflection point, dramatically expanding Afghanistan’s yellow water reserves. This dual expansion of controlled water categories, empirically documented through satellite imagery, confirms the emergence of negative hydrohegemony in the basin. Consequently, Iran’s position has transitioned from a historically stable painted water class to one characterized by critical dependency. Full article

The scale features of rock art exhibit significant diversity and graduality. Among the existing semantic segmentation methods for rock art, although some models have taken note of the scale differences in rock art patterns and the complexity of directional features, and proposed targeted improvement strategies, most of these methods view scale adaptation and directional representation as unconnected problems. They fail to model the intrinsic correlation between the scale adaptation and directional representation, and particularly overlook the restrictive effect of scale accuracy on the extraction of directional features. This ultimately leads to the problem of “spatial representation misalignment” in the semantic segmentation of rock art. To address the above problems, this paper proposes a Dynamic Fine-tuning Rotation Network (DFTR-Net), which aims to solve the problems of imprecise scale feature extraction and directional misalignment for rock art patterns with arbitrary orientations. The network consists of a dynamic selective convolution structure and a shapeaware spatial feature extraction module. Specifically, the dynamic selective convolution dynamically adjusts the coverage range of the receptive field through inter-layer feature aggregation. It uses stacked small dilated convolution kernels to replace large convolution kernels with the same receptive field for extracting the neighborhood details of patterns. Then, by combining with feature aggregation, it constructs spatial feature differences and realizes intra-layer dynamic weighted fusion, thereby achieving accurate scale feature extraction. After obtaining fine-grained scale features, the shape-aware module first corrects the initial segmentation candidate regions of the patterns to generate directional guide boxes. Subsequently, it drives the rotational sampling of convolution kernels based on the angles of the guide boxes, forming region-constrained deformable convolutions that adapt to the shape of the patterns. These convolution kernels obtain strong supervision based on pixel-level annotations, which enhances the sensitivity to the directional features of the patterns and effectively alleviates the problem of directional misalignment. Extensive experiments show that DFTR-Net can achieve higher performance on the 3D-pitoti and Petroglyph Annotation datasets compared with the existing methods. Full article

An ecological approach in the broadest sense arguably places art in a context that is unconstrained by disciplinary categories. It is focused on the form of art in context and on all the variables that account for its making and the contexts of its use at the time of its making. The argument of the paper is centred on a set of Yolŋu bark paintings exhibited in the Madayin exhibition that opened in the Hood Museum at Dartmouth College in New Hampshire in September 2022. In a period of 80 years Yolŋu art has moved from a moment of first contact to becoming a global contemporary phenomenon, while maintaining its cultural distinctiveness. Rather than using an ecological approach to examine Yolŋu culture, Yolŋu art as a mode of action exemplifies the ways in which the natural environment is integral to their sense of being in the world. Full article

This study explores “incapacitated transcendence”—a divine presence that remains ontologically present but lacks sovereign power to intervene—within Paul Klee’s angel paintings. It reinterprets these figures as a critical counterpoint to Carl Schmitt’s theory of sovereignty. While Schmitt rationalized the “decision” of an omnipotent sovereign as a secularized miracle, Klee’s malformed or flightless angels present a starkly different theological device. Influenced by Nietzsche, Klee rejected traditional afterlife-oriented transcendence while preserving it as a domain inassimilable to human finitude. Following World War I, this evolved into “incapacity”—not an absence of the divine, but the structural impossibility of its manifestation through fragile human existence. By contrasting Klee’s Angelus Novus with Schmitt’s sovereign, this study argues that incapacitated transcendence deconstructs the myth of absolute political power. Drawing on Walter Benjamin’s “Angel of History,” this study concludes that this very incompetence constitutes a site of hope. This reinterpretation suggests that aesthetics can offer a profound critique of political theology, challenging absolutist models of power in contemporary crisis. Full article

A three-phase digital reconstruction of the now-lost tramezzo and presbytery of the parish church of S. Remigio in Florence, Italy visualizes the interior of this small gothic space as it may have appeared at the end of the fourteenth century. Using data collected from a combination of Terrestrial Laser scans (TLS), high resolution photographs, architectural evidence, and archival information, the Digital Humanities team of Florence As It Was has recreated the structure that once bisected this Medieval worship center, including three of the paintings that may have adorned it, to reveal the spatial and artistic relationships valued by the proprietors and users of the neighborhood church. The results provide an example of how traditional art–historical questions surrounding the original appearance of spaces and structures may be queried and then tested through the employment of Remote Sensing technologies. Full article

Removing altered varnishes and retouching from oil paintings is a delicate and irreversible procedure in the conservation of cultural heritage. Surfactant-free gelled o/w emulsions containing dibasic esters (DBE) provide a green, safe, and environmentally friendly alternative to traditional solvent methods. The use of Xanthan gum and polyacrylate as thickening agents successfully restricted solvent diffusion, thereby minimizing the risk of interaction with water-sensitive substrates. Spectroscopic and microscopic analyses (FTIR and SEM) were employed to evaluate the cleaning efficacy and to assess the morphological integrity of the paint surface post-treatment, detecting potential inhomogeneities, erosion, or pigment loss. Determination of surface conductivity has allowed us to verify the degree of removal of any residues that could have undesirable long-term effects. Fatty acid leaching was quantified by gas chromatography-mass spectrometry (GC/MS): the use of free DBE resulted in a loss of up to 60% of the lipid component, while for surfactant-free gelled o/w emulsions with DBE, this figure was significantly reduced, with no observable surface damage. The tests were performed at both neutral pH and pH 8.5. The pH change was consistent with expected values: alkaline and ionizing conditions enhanced the emulsifying and removal effect, as well as the interaction with the painting medium. These results suggest that surfactant-free gelled o/w emulsions represent a promising alternative to conventional solvent-based systems, offering effective varnish removal while minimizing risks to both artifacts and restorers. Full article

As a key figure among Japanese American artists, Yasuo Kuniyoshi attracted scholarly attention for his melancholic paintings produced during and shortly after the Second World War. Many of his works from this period portrayed somber figures in masks painted in muted color palettes. Kuniyoshi also placed his figures in bleak circus or carnival settings, imbuing these traditionally festive settings with an air of sadness. As many scholars argued, Yasuo’s solemn postwar paintings reflected the artist’s disillusionment with American society after he was labeled an “enemy alien” as a Japanese artist living in the U.S. during the Pacific War. While his postwar paintings have been extensively studied, his lithographic works remained overlooked due to their scarcity. This paper examines Kuniyoshi’s two postwar lithographs, Carnival and Mask, which follow the same carnival motifs as his late-life works, but represent a departure from his earlier artistic principles. Through the close analysis of the artist’s two lithographs and comparison to contemporary paintings, this paper argues that Kuniyoshi’s lithographs function as reflexive records of his paintings, serving as platforms for him to experiment with new artistic techniques and themes. Furthermore, examining the lithographs in the context of the artist’s full oeuvre, this paper will highlight how Kuniyoshi blurred the boundaries between artistic mediums, mirroring his broader efforts to navigate the challenges of postwar identity and artistic expression. Full article

The praṇidhi paintings of Cave 20 at Bezeklik in Turfan are murals representing the cultural sophistication of the Gaochang Uyghur kingdom (866–1283). Building on Grünwedel’s rearrangement of the murals in his 1924 book, this paper examines praṇidhi paintings of Cave 20, with a particular focus on analyzing the accompanying inscriptions in relation to Mūlasarvāstivāda-vinaya Bhaiṣajyavastu. Le Coq’s numbering system, used in existing literature, has made it difficult to comprehend not only the sequential arrangement among 15 themes but also the order in which inscriptions were derived from the text. Using an alternative arrangement of the paintings, this paper provides a systematic pattern in the derivation of inscriptions from the text, with the following results: The inscriptions of Subject 9 (Ratnaśikin Buddha), Subject 7 (Dīpaṃkara Buddha), and Subject 10 (Kāśyapa Buddha) correspond respectively to three asaṅkhya kalpas of the verses, each conveying a pivotal moment in its period. Seen from left toward the right corridors, the inscriptions follow a sequence tracing from the second to the third, and then the first asaṅkhya kalpa. Following the pictorial narrative, the cycle begins with inviting the Buddha, the donor’s offering and worship, continues with making vows and receiving prophecies from the three Buddhas, and concludes with Buddha being seen off and renewal of devotional engagement by the viewer. These findings help clarify an issue in previous scholarship concerning how the inscriptions correspond to the Mūlasarvāstivāda-vinaya Bhaiṣajyavastu. This also supports Grünwedel’s early insight that the praṇidhi paintings of Cave 20 were interconnected with circumambulatory religious practice. Full article

Deployable structures offer new solutions in space, and among them, tubular origami-inspired space structures have proven to be a robust solution for packaging problems. This study focuses on the analysis of the Kresling origami pattern, which theoretically offers bi-stability during its folding process. The bi-stability of this pattern is a well-known property for paper models. However, it cannot be generalised for any material or geometry, as this property can be traced back to the manufacturing process and the materials being used. Consequently, we propose and test additive manufacturing models implementing different geometry parameters with the materials of interest. In parallel, a parametrised numerical model was developed in the commercial software Abaqus, replicating the structural behaviour of these test specimens under displacement-controlled compression. The aim is to obtain a final validated numerical model from where the entire behaviour and energetic response of each sample and, thus, their stability can be tested. Combining experimental and numerical results paints a whole picture of bi-stability, verifying this useful property for different space materials and configurations. Full article

This article studies the unique funerary decorative and architectural programs of the Foyemiaowan tombs in Dunhuang, dating to the third and fourth centuries CE. While Dunhuang is known for its later Buddhist grottoes, its sophisticated pre-Buddhist religious landscape remains understudied. This article focuses on the elaborate screen walls constructed of painted pictorial bricks, which represent the celestial realm designed to visualize the soul’s transcendence to heaven. Based on iconographic analysis, this study discusses the highlighted decorative design of screen wall at Foyemiaowan and explains the different artistic logics behind the lavish exterior decoration of Foyemiaowan vis-à-vis the interior-focused programs of neighboring sites like Xincheng in Jiayuguan. This study situates visual and material symbols in the distinct arrangement of the whole tomb space, which together reflect local adoption and innovation of Central Plain traditions in Early Medieval Dunhuang. Full article