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Dora lived with her parents, who had a loveless marriage, but one which took place in close concert with another couple, Herr and Frau K, who were friends of Dora's parents. The crisis that led her father to bring Dora to Freud was her accusation that Herr K had made a sexual advance to her, at which she slapped his fa... | https://en.wikipedia.org/wiki/Dora_(case_study) |
Freud initially thought of calling the case "Dreams and Hysteria", and it was as a contribution to dream analysis, a pendent to his Interpretation of Dreams, that Freud saw the rationale for publishing the fragmentary analysis.Ida (Dora) recounted two dreams to Freud. In the first: house was on fire. My father was sta... | https://en.wikipedia.org/wiki/Dora_(case_study) |
Mother wanted to stop and save her jewel-case; but Father said: 'I refuse to let myself and my two children be burnt for the sake of your jewel-case.' We hurried downstairs, and as soon as I was outside I woke up. | https://en.wikipedia.org/wiki/Dora_(case_study) |
The second dream is substantially longer: I was walking about in a town which I did not know. I saw streets and squares which were strange to me. Then I came into a house where I lived, went to my room, and found a letter from Mother lying there. | https://en.wikipedia.org/wiki/Dora_(case_study) |
She wrote saying that as I had left home without my parents' knowledge she had not wished to write to me to say Father was ill. "Now he is dead, and if you like you can come." I then went to the station and asked about a hundred times: "Where is the station?" | https://en.wikipedia.org/wiki/Dora_(case_study) |
I always got the answer: "Five minutes." I then saw a thick wood before me which I went into, and there I asked a man whom I met. He said to me: "Two and a half hours more." | https://en.wikipedia.org/wiki/Dora_(case_study) |
He offered to accompany me. But I refused and went alone. | https://en.wikipedia.org/wiki/Dora_(case_study) |
I saw the station in front of me and could not reach it. At the same time, I had the unusual feeling of anxiety that one has in dreams when one cannot move forward. Then I was at home. | https://en.wikipedia.org/wiki/Dora_(case_study) |
I must have been travelling in the meantime, but I knew nothing about that. I walked into the porter's lodge, and enquired for our flat. The maidservant opened the door to me and replied that Mother and the others were already at the cemetery. | https://en.wikipedia.org/wiki/Dora_(case_study) |
Freud reads both dreams as referring to Ida Bauer's sexual life—the jewel case that was in danger being a symbol of the virginity which her father was failing to protect from Herr K. He interpreted the railway station in the second dream as a comparable symbol. His insistence that Ida had responded to Herr K's advances... | https://en.wikipedia.org/wiki/Dora_(case_study) |
Through the analysis, Freud interprets Ida's hysteria as a manifestation of her jealousy toward the relationship between Frau K and her father, combined with the mixed feelings of Herr K's sexual approach to her. Although Freud was disappointed with the initial results of the case, he considered it important, as it rai... | https://en.wikipedia.org/wiki/Dora_(case_study) |
Freud's case study was condemned in its first review as a form of mental masturbation, an immoral misuse of his medical position. A British physician, Ernest Jones, was led by the study to become a psychoanalyst, gaining "a deep impression of there being a man in Vienna who actually listened to every word his patients ... | https://en.wikipedia.org/wiki/Dora_(case_study) |
By mid-century, Freud's study had gained general psychoanalytic acceptance. Otto Fenichel, for example, citing her cough as evidence of identification with Frau K and her mutism as a reaction to the loss of Herr K. Jacques Lacan singled out for technical praise Freud's stressing of Dora's implication in "the great diso... | https://en.wikipedia.org/wiki/Dora_(case_study) |
Second-wave feminism would develop Erikson's point, as part of a wider critique of Freud and psychoanalysis. Freud's comment that "This was surely just the situation to call up distinct feelings of sexual excitement in a girl of fourteen", in reference to Dora's being kissed by a "young man of prepossessing appearance"... | https://en.wikipedia.org/wiki/Dora_(case_study) |
Lidia Yuknavitc, 2012. Dora: a Headcase. A novel based on the case, from a contemporary perspective sympathetic to Dora. Katz, Maya Balakirsky (2011). | https://en.wikipedia.org/wiki/Dora_(case_study) |
"A Rabbi, A Priest, and a Psychoanalyst: Religion in the Early Psychoanalytic Case History". Contemporary Jewry 31 (1): 3–24. doi:10.1007/s12397-010-9059-y Hélène Cixous, Portrait de Dora, des femmes 1976, Translated into English as Portrait of Dora Routledge 2004, ISBN 0-415-23667-3 Charles Bernheimer, Claire Kahane, ... | https://en.wikipedia.org/wiki/Dora_(case_study) |
Dror Green, "Freud versus Dora and the transparent model of the case study", Modan Publishers, 1998. Jody Shields, The Fig Eater: A Novel, centered around the murder of Dora, with a character based on Ida Bauer. Katharina Adler, Ida, a novel in German, Rowohlt, 2018. | https://en.wikipedia.org/wiki/Dora_(case_study) |
Freud: The Secret Passion, director John Huston, 1962. Drama film with a heroine drawing from the Dora case. Sigmund Freud’s Dora, directors Anthony McCall, Andrew Tyndall, Jane Weinstock, and Claire Pajaczkowska, 1979. Experimental essayistic film putting the Dora case into debates about psychoanalysis and feminism. | https://en.wikipedia.org/wiki/Dora_(case_study) |
Nineteen Nineteen, director Hugh Brody, 1985. Dramatic fiction about a reunion of two patients of Freud, largely based on the Dora and Wolf-Man cases. Hysterical Girl, 2020, director Kate Novack. A contemporary feminist interpretation of the study. | https://en.wikipedia.org/wiki/Dora_(case_study) |
Portrait of Dora by Hélène Cixous, 1976 The Dark Sonnets of the Lady: A Drama in Two Acts, by Don Nigro, 1992. Dora: A Case of Hysteria by Kim Morrissey, 1995 | https://en.wikipedia.org/wiki/Dora_(case_study) |
One of the main drivers of the COVID-19 pandemic is Intensive Care Unit (ICU) capacity as resources such as hospital staff and personal protective equipment (PPE) are continuously used up. Although disaster planning for such a contingency had already taken place (and indeed has been updated), the sheer scale of the imp... | https://en.wikipedia.org/wiki/Impact_of_the_COVID-19_pandemic_on_ICU_capacity |
aUI (IPA: ) is a philosophical, a priori language created in the 1950s by W. John Weilgart, Ph.D. (March 9, 1913 – January 26, 1981; born Johann Wolfgang Weixlgärtner, and also known as John W. Weilgart) a philosopher and psychoanalyst originally from Vienna, Austria. He described it as "the Language of Space", connoti... | https://en.wikipedia.org/wiki/AUI_(constructed_language) |
aUI is built upon a set of proposed universal semantic primes or elements of meaning that are combined – analogous to the atomic elements of the periodic table – to create ‘molecules of meaning.’ Each ‘element of meaning’ is represented by both a morpheme and a phoneme, all of which are motivated by their intuitive rel... | https://en.wikipedia.org/wiki/AUI_(constructed_language) |
Additionally, short nasal vowels (marked with an asterisk) are used for numerals: Each phoneme also has an ideographic glyph or symbol that represents its meaning. The symbol for "human", /u/ is depicted by the two legs or arms of the human being, also suggesting his dichotomous nature. The "human" may be fulfilled by ... | https://en.wikipedia.org/wiki/AUI_(constructed_language) |
The letter "r" can be pronounced either as the alveolar trill /r/ or the uvular trill /ʀ/. | https://en.wikipedia.org/wiki/AUI_(constructed_language) |
Weilgart followed Gottfried Leibniz' proposal for an alphabet of human thought that would provide a universal way to analyze ideas by breaking them down into their component pieces—to be represented by a unique "real" character. In the early 18th century, Leibniz outlined his characteristica universalis, the basic elem... | https://en.wikipedia.org/wiki/AUI_(constructed_language) |
In particular, he was struck by how double meanings, together with similar sounds in slogans often associated unrelated words into suggestive "stereotyped formulas", "arrest the attention and appeal to the hearts of the national masses" (Hitler, Mein Kampf, 1925). For example, in one of the most repeated political slo... | https://en.wikipedia.org/wiki/AUI_(constructed_language) |
the word Volk sounds similar to folgt, meaning to follow or obey; Reich also means rich; so the phrase points to a subliminal association: that the populace obeys and follows their leader, who leads them to a wealthy empire. ("Das Volk folgt dem Führer"). Blu-Bo from Blut und Boden (Blood and Soil) was also a key sloga... | https://en.wikipedia.org/wiki/AUI_(constructed_language) |
(Hail Hitler! - heil also meaning heal, salvation, safe, well). Based on research in semantic conditioning from the 1950s, Weilgart theorized that whereas the conscious mind links synonyms (similar meanings), the subconscious mind associates assonance (similar sounds). | https://en.wikipedia.org/wiki/AUI_(constructed_language) |
That is, while we think about and distinguish similar-sounding words by their different meanings, we nonetheless feel, especially under stressed or 'crowd think' conditions, that at some level they are (or ought to be) also related in meaning. Alliterative slogans may suggest a link in words unrelated by meaning but re... | https://en.wikipedia.org/wiki/AUI_(constructed_language) |
aUI is currently included in the unofficial ConScript Unicode Registry (CSUR), which assigns code points in the Private Use Area. aUI code points are mapped to the range U+E270 to U+E28F. The eight “Aux” variant fonts of Kurinto (Kurinto Text Aux, Book Aux, Sans Aux, etc.) support aUI. | https://en.wikipedia.org/wiki/AUI_(constructed_language) |
Hagiotherapy is the medieval practice of using religious relics, prayers, pilgrimages, etc. to alleviate sickness. It was used to treat epilepsy during the Middle Ages with Saint Valentine particularly associated with the treatment as an 'epilepsy specialist'. | https://en.wikipedia.org/wiki/Hagiotherapy |
A known practicing therapist is Tomislav Ivančić, who founded Center for Spiritual Help in Zagreb. Prokop Remeš in the Czech Republic is treating addicts in Bohnice Psychiatric Hospital in Prague. His style of hagiotherapy is a type of group existential psychotherapy (Yalom, Frankl), which focuses on eliminating dysfun... | https://en.wikipedia.org/wiki/Hagiotherapy |
Ivančić recently defined hagiotherapy as a scientific discipline which aims to heal the human soul. His thesis was that every human being does not have only physical and psychological dimension, but also spiritual dimension (human soul) that has its own scientific laws and it should be subject of scientific research. O... | https://en.wikipedia.org/wiki/Hagiotherapy |
He was concerned with the fact that so many patients relapse some time after treatment. He explained it with the fact that they were treated only on mental level, and not on spiritual level. According to his opinion, addiction is basically spiritual issue, so it needs to be treated on spiritual level. == References == | https://en.wikipedia.org/wiki/Hagiotherapy |
Madeleine Ashcraft Bates (born c. 1948) is a researcher in natural language processing who worked at BBN Technologies in Cambridge, Massachusetts from the early 1970s to the late 1990s. She was president of the Association for Computational Linguistics in 1985, and co-editor of the book Challenges in Natural Language P... | https://en.wikipedia.org/wiki/Madeleine_Bates |
Bates was a student at Allegheny College before transferring to Carnegie Mellon University, where she majored in mathematics, graduating in 1968. She completed her Ph.D. in applied mathematics at Harvard University in 1975, working there with Bill Woods on augmented transition networks.While a student at Harvard, she b... | https://en.wikipedia.org/wiki/Madeleine_Bates |
Bates married chemist Alan Hunt Bates in summer 1968; he later became a professor at the University of Massachusetts Dartmouth. Her mother, Madeleine DeMuth Ashcraft (died 1990), was a long-term sufferer of Huntington's disease, and Bates has been an activist for the treatment of Huntington's disease, serving as presid... | https://en.wikipedia.org/wiki/Madeleine_Bates |
Bates, M. (February 1975), "The use of syntax in a speech understanding system", IEEE Transactions on Acoustics, Speech, and Signal Processing, 23 (1): 112–117, doi:10.1109/tassp.1975.1162640 Bates, Madeleine (1978), "The theory and practice of augmented transition network grammars", in Bolc, Leonard (ed. ), Natural La... | https://en.wikipedia.org/wiki/Madeleine_Bates |
191–254, doi:10.1007/bfb0031372 Bates, Madeleine (1982), "AI Research at Bolt, Beranek & Newman, Inc", AI Magazine, 3 (2): 44–46, archived from the original on 2020-10-30, retrieved 2021-04-27 Bates, Madeleine; Weischedel, Ralph M., eds. (1993), Challenges in Natural Language Processing, Studies in Natural Language Pro... | https://en.wikipedia.org/wiki/Madeleine_Bates |
(October 1995), "Models of natural language understanding", Proceedings of the National Academy of Sciences, 92 (22): 9977–9982, Bibcode:1995PNAS...92.9977B, doi:10.1073/pnas.92.22.9977, PMC 40721, PMID 7479812 Bates, Madeleine; Bobrow, Robert J. (1997), "Using BBN VALAD: Speech at the Logistics Anchor Desk", 5th Appli... | https://en.wikipedia.org/wiki/Madeleine_Bates |
Integrated pest management in museums, libraries, archives and private collections is the practice of monitoring and managing pest and environmental information with pest control methods to prevent pest damage to collections and cultural property. Preserving cultural property is the ultimate goal for these institutions... | https://en.wikipedia.org/wiki/Integrated_pest_management_(cultural_property) |
Museum IPM is a sub specialty of Integrated pest management that focuses specifically on the application in museums and cultural institutions. The primary difference between IPM and Museum IPM is that in the context of a museum, the main focus is placed on the protection of collections from pests. Integrated Pest Manag... | https://en.wikipedia.org/wiki/Integrated_pest_management_(cultural_property) |
The museum should “consult experts if necessary and choose the most appropriate and safe control methods for (the) eradication” of the pests. It is important not to panic and rush to rash decisions if a few pests are discovered. A museum should be thoughtful and plan out of their steps before taking any action.Integrat... | https://en.wikipedia.org/wiki/Integrated_pest_management_(cultural_property) |
The implementation of integrated pest management should be done in steps. To begin, a museum should review a floor plan of the building and determine all “doors, windows, water and heat sources, and drains”, as well as all furniture and other objects within the museum. The museum can place traps that have been numbered... | https://en.wikipedia.org/wiki/Integrated_pest_management_(cultural_property) |
Once the traps are in place, they should be monitored. Detailed notes should be made on the finding in the traps, which pests are being trapped, how they are accessing the museum, and what do these trapped pests look for in a food source. After the first few months, the trap placement should be refined to insure the be... | https://en.wikipedia.org/wiki/Integrated_pest_management_(cultural_property) |
Before any new items or objects enter the collection storage area, the contents should be inspected for any signs of insect activity. If an object is found, or even thought to be infested, it should be immediately isolated and put into quarantine. The museum should next look to identify the pest and determine what type... | https://en.wikipedia.org/wiki/Integrated_pest_management_(cultural_property) |
The museum must monitor all of their pest management programs to ensure they are effective. Routine monitoring will provide information about the points of entry, amount of insects, where they reside in the building, and what they are feeding on. With this information, a museum will be able to identify the damaged area... | https://en.wikipedia.org/wiki/Integrated_pest_management_(cultural_property) |
When traps are placed in a new location in the building they should be checked within the first 48 hours. This will help confirm where the problem areas are located and if adjustments need to be made to the trap locations. | https://en.wikipedia.org/wiki/Integrated_pest_management_(cultural_property) |
The next step should be weekly and then monthly inspections. Once the pests have been identified and the best location confirmed, then the traps should be changed every two months, or sooner if they are full or have lost their stickiness.When the staff conducts their insect monitoring, the staff member “should use a br... | https://en.wikipedia.org/wiki/Integrated_pest_management_(cultural_property) |
A key component in Integrated Pest Management for museums is the ability to identify the pests causing issues so the museum staff can establish a plan of attack to remove the pest from the building. Traps can be used to identify the pests, the extent of infestation, and determine the source of the infestation. All of t... | https://en.wikipedia.org/wiki/Integrated_pest_management_(cultural_property) |
The museum should review the data and ask “can we simply remove the pest? are eggs present? what is the least damaging approach to treatment?”. Once a museum have this information written down and confirmed by all those involved in the program, a treatment strategy can be planned and implemented. | https://en.wikipedia.org/wiki/Integrated_pest_management_(cultural_property) |
Traps: Traps are an important part of Integrated Pest Management and they come in different shapes, sizes, and odors. Traps will help to identify the museums pest problem, and should be periodically emptied as the dead pests will attract and be food for other pests. Before any treatment action is executed, it is import... | https://en.wikipedia.org/wiki/Integrated_pest_management_(cultural_property) |
These traps should be placed in high risk areas and will provide the museum’s staff insight into the pests that are infesting the building and “can be used to give information on the pest, an indication of their number and seasonal cycles and where they congregate … (the best place these trap are) … in corners, near do... | https://en.wikipedia.org/wiki/Integrated_pest_management_(cultural_property) |
These traps can serve as an effective warning system, and are typically also deployed with/as sticky traps. Currently pheromone traps are only available for “webbing clothes moths, drug store beetles, cigarette beetles, and the German cockroach, but more are being developed”. Light traps: Light Traps emit ultraviolet l... | https://en.wikipedia.org/wiki/Integrated_pest_management_(cultural_property) |
Most insects are drawn towards light, but these traps should not be used on their own. Other traps, usually sticky traps, should be installed near light traps to help encourage and trap more pests. | https://en.wikipedia.org/wiki/Integrated_pest_management_(cultural_property) |
Chemical control of museum pests: Pesticides should only be used as a last resort as “pesticides used in museum pest control are generally some of the same products used for household or other structural pest control”. These chemicals can be damaging to the health to the staff and to anyone else that visits the buildin... | https://en.wikipedia.org/wiki/Integrated_pest_management_(cultural_property) |
Chemicals can also cause damage to the museum’s collection such as metal corrosion, deterioration of proteins (fur, feather, leather, and wool), deterioration of paper, stiffening/softening of plastic and change the pigments. Pesticides will do nothing to prevent the infestation, they only kill the pests after the fact... | https://en.wikipedia.org/wiki/Integrated_pest_management_(cultural_property) |
There are many different type of pests that can affect a museum and its collection. It will be important for the museum staff to identify the pests, as well as understand how they will act and what they will feed on. Insects will cause damage not only through their feeding habits but their tracks, tunnel and nesting ha... | https://en.wikipedia.org/wiki/Integrated_pest_management_(cultural_property) |
Rodents can cause further damage through the increased risk of fire when they gnaw on wires. Birds and bats can cause indirect damage to cultural materials and are more disruptive to heritage structures. Aside from being a source of inconvenience around the area through their irritating smell and health risks, their in... | https://en.wikipedia.org/wiki/Integrated_pest_management_(cultural_property) |
Fabric pests: There are two groups of fabric pests that are common in museums: carpet beetles and clothes moths. These pest eat proteins like wool, fur, feathers, dead animals and horns. These pests are known to burrow into materials such as storage bins or little-used drawers. Wood pests: The most common wood pests ar... | https://en.wikipedia.org/wiki/Integrated_pest_management_(cultural_property) |
These pests are known to attack and damage objects made of wood and often go undetected on the surface as they burrow into the wood. Stored product pests: The most common stored product pests or pantry pests are the cigarette beetle and the drugstore beetle. These pests are known to infest “seeds, nuts, grains, spices,... | https://en.wikipedia.org/wiki/Integrated_pest_management_(cultural_property) |
Moisture pests: Moisture can be damaging not only to the building but also to the objects in the collection that “may attract a number of moisture-loving pests that can do additional damage”. Mold is damaging on its own but it also attracts pests like Psocoptera to feed on the objects that are affected by mold. It is i... | https://en.wikipedia.org/wiki/Integrated_pest_management_(cultural_property) |
General pests: General pests are any household pests that enter into a building through windows, doors, cracks, and any other entrance to the museum. These pest include cockroaches, rodents, silverfish, and ants and will cause damage to the museum and their objects. The most common damage occurs from the nesting and fe... | https://en.wikipedia.org/wiki/Integrated_pest_management_(cultural_property) |
It will become apparent if your museum has a rodent infestation as the pests leave behind droppings and gnaw marks. Rodents will breed rapidly and begin shredding and nest in objects they come into contact with. It is important to note that rodents “will not discriminate between valuable objects, packing or rubbish”. I... | https://en.wikipedia.org/wiki/Integrated_pest_management_(cultural_property) |
Birds can cause damage to the exterior of the museum when they roost or nest on “windowsills, ledger, and other architectural features”. Bird droppings can cause staining and damage to the building and any fabric attached to the building. Museum staff will also need to be careful when they are around birds and items in... | https://en.wikipedia.org/wiki/Integrated_pest_management_(cultural_property) |
Bats can cause damage and mess with their droppings. | https://en.wikipedia.org/wiki/Integrated_pest_management_(cultural_property) |
In the presence of nutrients and under unfavourable climatic conditions such as excessive humidity, moulds can colonize both organic and inorganic surfaces. Moulds and mildew are generally conidial fungi as they grow on the surface of the initiated airborne objects. These conidia typically come with large airborne spor... | https://en.wikipedia.org/wiki/Integrated_pest_management_(cultural_property) |
For instance, objects like ceramics and stones could be corroded or etched by organic acid by-products of fungal germination such as citric, oxalic, succinic, glutamic, fumaric, malic and acetic acids.The most vulnerable organic materials are paper and parchment, which are common carriers of valuable information. Mould... | https://en.wikipedia.org/wiki/Integrated_pest_management_(cultural_property) |
They are relatively soft, entirely digested, and cellularly permeable. Furthermore, the resulting damage is disfiguring due to these qualities. Fungal activity on the paper, for example, or their contact with the substrate, results in discolouration known as fox spots. These could be colored conidia or other fungal com... | https://en.wikipedia.org/wiki/Integrated_pest_management_(cultural_property) |
The "Dirty Dozen" are the top offenders within a museum and an IPM program must take all of these pests into account. | https://en.wikipedia.org/wiki/Integrated_pest_management_(cultural_property) |
There are a number of steps that a museum can put in place to help to prevent pests within their buildings. It is important to inspect any item that is coming in the storage area such as a new accessions or loans. Museums should maintain good housekeeping and restrict food in the museum to help prevent pests in the fir... | https://en.wikipedia.org/wiki/Integrated_pest_management_(cultural_property) |
It is important for the museum to keep the environments in exhibition galleries and the collection storage areas stable with low, controlled humidity and temperature. A museum may also install sweeps and gaskets on exterior doors, screens on all drains and windows, while also caulking all cracks in the building. Museum... | https://en.wikipedia.org/wiki/Integrated_pest_management_(cultural_property) |
Pest will always find a way into your building, so it is important to determine how pests are entering your building. The location of the building should be taken into account as every "building has their own ecosystem based on their location and other historic factors". It is important to secure the exterior of the bu... | https://en.wikipedia.org/wiki/Integrated_pest_management_(cultural_property) |
All of the cracks and holes in the foundation should be sealed and repaired. All exterior trash receptacles should be placed away from the building, and plants should be at least a foot away from the building. Having grass growing against the building gives insects another way into the building and a place to hide and ... | https://en.wikipedia.org/wiki/Integrated_pest_management_(cultural_property) |
WindowsAll windows should be tightly sealed. Weatherstripping can be placed around the windows to insure that the window is tightly sealed. DoorsAll doors should be checked and confirmed that they are firmly on their hinges and brush sweepers are installed. Brush sweepers are highly effective against pests, especially ... | https://en.wikipedia.org/wiki/Integrated_pest_management_(cultural_property) |
Collection storage areas are especially at risk from pests as they can be darker, tight spaces that often go undisturbed for long periods of time. If these tight spaces are left undisturbed and unmonitored for months or years at a time, they will provide an atmosphere for pests to nest in high quantities. All collectio... | https://en.wikipedia.org/wiki/Integrated_pest_management_(cultural_property) |
Insects and other pests are attracted to water and damp areas. Common sources of water within the building are water pipes that can be found running throughout the building for restrooms, kitchens, water fountains, custodial closets, and climate control equipment. Water can also be found standing on the roof or in base... | https://en.wikipedia.org/wiki/Integrated_pest_management_(cultural_property) |
It is important to reduce the attractiveness of the building to pests, and one of the ways that this can be achieved is through the lighting. A museum should use light shields, curtains, and keep windows closed to minimize the attractiveness of entering the building. Any “lighting affixed to the building should be made... | https://en.wikipedia.org/wiki/Integrated_pest_management_(cultural_property) |
One of the most important compotes of preventing pests is having good housekeeping skills. The building should be regularly vacuumed, mopped, and dusted, and food debris should be removed. When the museum is vacuumed, the edge tool around the furniture and baseboards should be used as pests tend to hide in these locati... | https://en.wikipedia.org/wiki/Integrated_pest_management_(cultural_property) |
Pests can be controlled and growth even slowed when the humidity and temperature is controlled. Humidity should be kept below a maximum of 50%. In some cases the pest infestation can be directly related to the humidity and temperature within the building. The optimum temperature should around 68 °F. | https://en.wikipedia.org/wiki/Integrated_pest_management_(cultural_property) |
Museum can use screens, filters, and caulking to prevent the entry of pests. Screens should be placed over windows and drains. Filters should be used on all of the air vents and replaced on a regular basis. Caulk can be used to seal cracks and holes in the walls, floors, and round pipes. | https://en.wikipedia.org/wiki/Integrated_pest_management_(cultural_property) |
Pests can find many sources of food within a museum; “pests are normally wild creatures but they are opportunistic and if material is available that resembles their preferred natural food or nesting, they will readily adapt and possibly thrive." Food sources can range from human food, to plants and trash. Human food sh... | https://en.wikipedia.org/wiki/Integrated_pest_management_(cultural_property) |
HeatTreating an object with heat is a method used to disinfect objects by either an oven or a commercial kiln. When the internal temperature reaches “130°F for three hours it will kill any insect”; however, this kind of heat can damage veneer, damage finish of specimens, warp lumber, or melt glues. FreezingFreezing an ... | https://en.wikipedia.org/wiki/Integrated_pest_management_(cultural_property) |
“Books, mammal, ethnographic materials and bird collections have been successfully frozen for insect control,” though freezing is not always the best option for certain objects such as certain woods, bone, lacquers, some painted surfaces, and leather. Before an object is frozen for one to two weeks, it should be wrappe... | https://en.wikipedia.org/wiki/Integrated_pest_management_(cultural_property) |
It is important to ensure that the “materials are not fragile or deteriorated" if they are to be vacuumed. Vacuuming should remove all of the hatched pest, but some eggs may remain as they can be microscopic. After the object has been vacuumed, it should be placed in a plastic bag isolating the object. During the isola... | https://en.wikipedia.org/wiki/Integrated_pest_management_(cultural_property) |
Richard Elovich (born 1954) is a social psychologist, writer, performance artist, and AIDS activist focusing on harm reduction and low-threshold approaches to drug treatment. | https://en.wikipedia.org/wiki/Richard_Elovich |
A student at New York University from 1973 to 1975, Elovich dropped out to pursue life as a writer and artist after meeting William S Burroughs through his job at the Manhattan bookstore and cultural center, the Gotham Book Mart. Elovich worked as a secretary to poet Allen Ginsberg, and lived in the former YMCA buildin... | https://en.wikipedia.org/wiki/Richard_Elovich |
Elovich began writing for downtown magazines including Bomb, City Moon, Roof, Gay Sunshine Press and The World from the mid- 1970s, and in 1980-1981 served as an art critic for The Burlington magazine. In 1984, Elovich was dramaturge for the inaugural performance of Robert Wilson and David Byrne's The Knee Plays in Min... | https://en.wikipedia.org/wiki/Richard_Elovich |
In 1986, poet Eileen Myles invited Elovich to curate performance at the St. Marks Poetry Project, and Elovich also began writing and staging his own work, including Ivan and the Lamp (1986), What the Water Gave Me (1986), My Hat It Has Three Corners (1986, with dancer Yvonne Meier), Bobby's Birthday Like That (1987) an... | https://en.wikipedia.org/wiki/Richard_Elovich |
Elovich organized other performance artists to challenge the 1990 decision by the National Endowment for the Arts chairman John Frohnmayer to defund four whose work included explicit sexual content, donating part of his own NEA award to support those defunded and charging the NEA with homophobia in an oped coauthored w... | https://en.wikipedia.org/wiki/Richard_Elovich |
In 1988, Elovich became a member of the AIDS activist group ACT UP, working first with other Treatment and Data Committee members to start the AIDS Treatment Registry compiling lists of clinical trial sites for people with HIV. Elovich drew on his own experience of injecting drug use in his activism, challenging the he... | https://en.wikipedia.org/wiki/Richard_Elovich |
Elovich and other defendants subsequently known as the “needle 8’—including Gregg Bordowitz, Cynthia Cochran, Debra Levine, Kathy Otter, Jon Parker, Monica Pearl, and Dan Keith William—were tried in 1990–1991, with Elovich representing himself and convincing former New York City Health Commissioner Stephen C. Joseph to... | https://en.wikipedia.org/wiki/Richard_Elovich |
Elovich was also a member of Gran Fury, the AIDS activist artist collective who used techniques of advertising and propaganda to urge action on key policy issues. He later collaborated with Gran Fury members Donald Moffett and Marlene McCarty to produce publications and posters for gay men's HIV prevention. In 1990, El... | https://en.wikipedia.org/wiki/Richard_Elovich |
Elovich joined the policy department of Gay Men's Health Crisis, the nation's first and largest AIDS organization, and became the founding director of GMHC's substance use counseling and education program in 1994 and the director of HIV prevention in 1996. His work included creation of programs for HIV negative men, Bl... | https://en.wikipedia.org/wiki/Richard_Elovich |
Elovich trained as a researcher at Columbia University, receiving his PhD in 2008. His award-winning dissertation and subsequent years of professional work focused on narcology, the subspecialty of Soviet psychiatry authorized to treat addiction, and on the tensions between rigid health systems and lived experiences of... | https://en.wikipedia.org/wiki/Richard_Elovich |
Geography Now (also stylized as Geography Now!) is an American educational YouTube channel and web series created and hosted by Paul Barbato, profiling UN recognized countries in the world in alphabetical order as well as covering other topics regarding physical or political geography. The channel was started in 2014 a... | https://en.wikipedia.org/wiki/Geography_Now |
Paul Barbato (born on 7 June 1987 in Minnesota) sometimes nicknamed as Barby or Barbs – creator and host. He started Geography Now! because he felt there were no channels with the specific goal of profiling every country, thus decided to start one himself. He has stressed the importance of geography education and criti... | https://en.wikipedia.org/wiki/Geography_Now |
Keith Everett – music segment Hannah Bamberg, also known as "Random Hannah" – culture segment. Noah Gildermaster – food segment Kaleb Seaton, also known as "Gary Harlow" (a “knockoff Steve Irwin”) – wildlife segment Arthur "Art" Napiontek – sports segment Bill Rahko – theme music composer Vincent Kierkels - graphics de... | https://en.wikipedia.org/wiki/Geography_Now |
The channel series started on October 15, 2014 with the country of Afghanistan and will conclude with the country of Zimbabwe. The member states of the United Nations are covered in alphabetical order with few exceptions, such as when Swaziland changed its name to Eswatini after E had already been passed. However, the ... | https://en.wikipedia.org/wiki/Geography_Now |
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