bluuebunny/crossref_metadata_2025_split huggingface dataset:
Dependency of Rubber Friction on Normal Force or Load: Theory and Experiment
Authors: Fortunato Gaetano , Ciaravola Vincenzo , Furno Alessandro , Scaraggi Michele , Lorenz Boris , Persson Bo N. J. 
Published: March 2017

ABSTRACTIn rubber friction studies, it is often observed that the kinetic friction coefficient μ depends on the nominal contact pressure p. We discuss several possible origins of the pressure dependency of μ: (1) saturation of the contact area (and friction force) due to high nominal squeezing pressure; (2) nonlinear viscoelasticity; (3) nonrandomness in the surface topography, in particular the influence of the skewness of the surface roughness profile; (4) adhesion; and (5) frictional heating. We show that in most cases the nonlinearity in the μ(p) relation is mainly due to process (5), frictional heating, that softens the rubber, increases the area of contact, and (in most cases) reduces the viscoelastic contribution to the friction. In fact, because the temperature distribution in the rubber at time t depends on the sliding history (i.e., on the earlier time t′ &lt; t), the friction coefficient at time t will also depend on the sliding history, that is, it is, strictly speaking, a time integral operator. The energy dissipation in the contact regions between solids in sliding contact can result in high local temperatures that may strongly affect the area of real contact and the friction force (and the wear-rate). This is the case for rubber sliding on road surfaces at speeds above 1 mm/s. Previously, we derived equations that described the frictional heating for solids with arbitrary thermal properties. Here, the theory is applied to rubber friction on road surfaces. Numerical results are presented and compared to experimental data. We observe good agreement between the calculated and measured temperature increase.
FORMAÇÃO CONTINUADA DE PROFESSORES EM TECNOLOGIA: A “OUSADIA” NA DIALOGICIDADE ENTRE A UNIVERSIDADE E A ESCOLA
Authors: Brito Glaucia Da Silva , Knoll Ariana Gerzson , Simonian Michele 
Published: March 2017

Neste artigo, apresentamos os resultados de uma experiência do Grupo de Estudo e Pesquisa Professor, Escola e Tecnologias Educacionais (Geppete) ao planejar, desenvolver e avaliar a formação “Tecnologias e Educação na Cibercultura”, sendo este integrante do projeto de formação continuada de professores – EduPesquisa. Esse curso ocorreu por meio da parceria entre a Secretaria Municipal de Educação de Curitiba, a Universidade Federal do Paraná e a Secretaria de Educação Básica do Ministério da Educação durante os anos de 2013 a 2015. Foram referências dessa produção quanto à metodologia autores como Saldaña (2013) e Bardin (2009) e na análise qualitativa dos dados o software ATLAS.ti. No que se refere à fundamentação teórica, foram referência os autores Marcelo (1999) e Freire (1968; 1987;1998). A questão norteadora centrou-se em analisar os resultados da formação continuada baseada na pesquisa por meio da parceria entre universidade e escola a partir de depoimentos de professores(as). As categorias explicativas reveladas no processo foram: as emoções dos(as) professores(as) frente à oportunidade de estudar e pesquisar em serviço, as mudanças conceituais e de visão sobre a pesquisa, bem a escrita (em forma de artigo) dos ensaios de estudo, pesquisa e reflexão, comunicando-os aos pares e à comunidade acadêmica. Em síntese, podemos afirmar que a experiência vivida pelos professores reaproximou-os da universidade e da “vida teórico-acadêmica”, articulando a realidade pessoal e profissional do(a) professor(a) da educação básica às demandas da academia.
Ngā mahi ora ā Rēhia (Diabetes prevention and intervention programme)
Authors: McNeill Hinematau 
Published: March 2017

Ngā Mahi Ora a Rēhia was designed to address the epidemic of type 2 diabetes within Māori communities. The philosophy underpinning the programme is contained in the name, Ngā Mahi Ora a Rēhia. In Māori traditions Rēhia is the atua (god) of recreation, pleasure and enjoyment. By placing the programme under the auspices of this atua, a Māori health provider organisation called Ngā Kākano, based in Te Puke, Aotearoa-New Zealand, accentuates and promotes the programme as positive and enjoyable within an holistic paradigm. The word ‘ora’ is significant because it reinforces the Māori wellness approach to wellbeing.
Grounded in the community's tribal knowledge base of whakapapa (genealogy) and traditions, recreational (physical exercise) activities centre on mahi a toi (arts song and dance) associated with Rēhia. Similarly, healthy eating is shaped by the relationship with Papatūānuku (earth god) to promote gardening and the consumption of natural, as opposed to processed food. Participants are taught to prepare healthy food that is also palatable. The influence of Rēhia emphasises te reka, the sweetness of the food.
The effective management of disease to achieve the highest level of wellness possible typifies the Māori approach to diabetes intervention. Government reporting and monitoring records provides evidence that all of the participants engaged in the programme are meeting the minimal HbA1c readings <8 standard. Considering that the majority of participants when first enrolled on the programme record HbA1c readings in double digits - this is a significant improvement in terms of health gains.
SOUTHEAST ASIA: HISTORY, MODERNITY, AND RELIGIOUS CHANGE
Authors: Al Qurtuby Sumanto 
Published: March 2017

Southeast Asia or Southeastern Asia, with more than six hundred million populations, is home to millions of Buddhists, Muslims, Confucians, Protestants, Catholics, and now Pentecostals, as well as many followers of local religions and spiritual beliefs. Notwithstanding its great historical, political, cultural legacies, however, the region has long been neglected as a site for religious studies in the Western academia. Aiming at filling the gap in Asian and religious studies as well as exploring the richness of Southeast Asian cultures, this article discusses the dynamics, diversity, and complexity of Southeast Asian societies in their response to the region’s richly political, cultural, and religious traditions spanning from pre-modern era to modern one. The article also examines the “integrative revolutions” that shaped and reshaped warfare, state organization and economics of Southeast Asia, particularly in the pre-European colonial era. In addition, the work discusses the wave of Islamization, particularly since the nineteenth century, as well as the upsurge of religious resurgence that shift the nature of religiosity and the formation of religious groupings in the area. The advent of Islam, with some interventions of political regimes, had been an important cause for the decline of Hindu-Buddhist traditions in some areas of Southeast Asia, especially Indonesia, the coming of Pentecostalism has challenged the well-established mainstream Protestantism and Catholicism, especially in Indonesia and the Philippines.
Keywords: history, modernity, religious change, Southeast Asia
MAPPING THE RELIGIOUS RESPONSE OF THE DISASTER-HIT COMMUNITY: (REDEFINITION OF RELATIONSHIP BETWEEN HUMAN, GOD, NATURE AND RELIGION IN DISASTER CONSTRUCTION)
Authors: Mujib Ibnu  
Published: March 2017

This paper would like to map the religious response in a post-disaster community. In an academic discourse, a post-disaster community is one with abnormal conditions, including how it defines aspects of Divinity in their religious perspective. Thus, the complexity of issues that encompass a disaster-hit community will shape the worldview, perspective, and the understanding of the relationship between human, God, nature, and religion, serves as the basic assumption of this research. So, there are several points that will be introduced in this paper including: first, the disaster typology from the perspective of the experts; second, the debate between the divine law and the law of nature in the context of disaster; and third, the religious response of the disaster-hit community over the history of the events of disaster. The research shows some important findings including the emergence of various forms of response about the events of disaster and their relation to human, God, nature, and religion itself. Since the concepts of disaster appear from a post-disaster society, on one side also require relationship which is able not only to respond to disasters but also to provide constructive solutions to the survival of the post-disaster community. Therefore, the stronger the religious normative doctrine of a person, the more difficult to bring closer to the context his survival not to mention life improvement. Nevertheless, in the majority of other communities that culturally experienced two sides of mass dilemma i.e. the theological concept of submission, patience and gratitude in the religious worldview of post-disaster community as the disaster not only happened to a person but also to many people.
RELIGION AND THE LOCAL TRADITION OF LIFE CYCLE RITUALS IN KAMPUNG NAGA, WEST JAVA
Authors: Bambang Prawiro Abdurrahman Misno 
Published: March 2017

West Java is one of the provinces in Indonesia which is culturally rich and diverse. The cultural wealth in Tatar Sunda (West Java) is centered on several areas that serve as the settlement of indigenous communities, from the eastern region of Ciamis, to Sukabumi. Each region has its own cultural uniqueness. Among the cultural heritage which is still in existence and preserved is Kampung Naga. It was a traditional village that firmly preserves its ancestral tradition (karuhun) passed down from generation to generation. One of the interesting features of the community of Kampung Naga is the life cycle ritual which they perform with no outside influence. This article will describe the life cycle ritual performed by the indigenous community of Kampung Naga. The ethnographic method approach is used in this study, where the author was directly involved in the process of performing the ritual. Observations, in-depth interviews and participation in any activity were used to collect verifiable data. This research showed that the daur hidup (life cycle) ritual performed by the traditional community of Kampung Naga included the rituals for pregnant mother, child birth, circumcision, gusaran, marriage, and prayer to the dead. The ritual carried out by the community is derived from the old Sundanese belief combined with Islamic culture that came in later
ISLAM AND BUGIS IN WEST KALIMANTAN
Authors: Patmawati Patmawati , M. Nurfaidah 
Published: March 2017

The Bugis people generally have tough character because of maritime and competitive traditions, as well as sufferings as a result of the colonialism. They also strongly uphold their honor. In West Kalimantan, the Bugis are also identical with Islam. The history of the arrival of the Bugis people in West Kalimantan can be traced, at least, to three stages which will be covered in this paper, namely in 1667 during the Treaty of Bungaya, and in late1946 through early 1947 when there was mass murder where 40,000 people were killed, and in 1950 when there was a revolt of DII/TII led by KaharMuzakkar. A year later, the migration happened because they were looking for a job as a civil servant (PNS). The role of the Bugis in the spread of Islam in West Kalimantan is known through education conducted by To-Panrita, To-Sugi, To-Warani, dan To-Sulasena.
Humanização em unidade de terapia intensiva: a enfermagem e o cuidado humanizado
Authors: Maia Luiz Faustino dos Santos 
Published: March 2017

Humanizar é retomar o respeito à vida humana, considerando todos os aspectos adjacentes em sua existência. Especialmente na unidade de terapia intensiva, um local culturalmente desconhecido e incerto aos pacientes e familiares. Trata-se de um estudo de revisão bibliográfica, com objetivo de enfatizar os aspectos sobre humanização no ambiente de unidade de terapia intensiva a enfermagem e o cuidado humanizado. Identificou-se que os cuidados intensivos são desafiadores, pois assistir o ser humano numa visão holística requer aliar aos conhecimentos técnicos e científicos, comunicação e empatia, promovendo e estreitando as relações humanas.Descritores: Humanização, Unidade de Terapia Intensiva, Enfermagem. Humanization in intensive care unit: a nursing and human careAbstractHumanize resume is the respect for human life, all things considered adjacent in its existence. Especially in the unit of intensive therapy a local culturally unknown and uncertain for patients and family. This is a review of the literature, aiming to emphasize the aspects of humanizing the environment of the intensive care unitd nursing and humanized care. It was identified that the care is challenging because humans watch a holistic requires combining the scientific and technical knowledge, communication and empathy, promoting and strengthening human relations.Descriptors:Humanization, Unit of Intensive Therapy, Nursing.Humanización en la unidad de cuidado intensivo: equipo de enfermería y el cuidado humanizadoResumenHumanizar es volver a tomar el respeto a la vida humana, considerando todos los aspectos adyacentes en su existencia. Especialmente en la unidad de cuidado intensivo, un lugar culturalmente desconocido y incierto a los enfermos y familiares. Se trata de un estudio de revisión bibliográfica, cuyo objetivo es enfatizar los aspectos de la humanización en el ambiente de la unidad de cuidado intensivo, del equipo de enfermería y el cuidado humanizado. Se identificó que los cuidados intensivos son desafiantes, pues asistir el ser humano en una visión holística se requiere unir a los conocimientos técnicos y científicos, la comunicación y empatia, promoviendo y fortaleciendo las relaciones humanas. Descriptores: Humanización, Unidad de Cuidado Intensivo, Enfermería.
Aspek Olah Vokal Musik Klasik Barat pada Musik Populer
Authors: Bintarto A. Gathut 
Published: March 2017

Setiap medium musik mempunyai keistimewaan yang bisa dikaji seperti halnyapada musik klasik Barat dan musik populer. Norma daya tarik musik populeryang ringan dan mudah dinikmati tidak seperti pada musik klasik Barat atauyang sering disebut sebagai musik seni, namun demikian bukan berarti bahwamemainkannya tidak ada syarat artistik. Bervariasinya musik dan banyaknya pelakumusik mengakibatkan standar yang tinggi dan menuntut pemahaman terhadapdetail musik. Musik populer bertolak dari kebiasaan orang dan musisinya inginmemenuhi kebutuhan tersebut. Gambaran emosional yang muncul pada teksmenyebabkan kecenderungan naturalistik dalam bernyanyi. Melalui penelusuranasal-usul musik populer dan penelitian studi kasus di lapangan ditemukan bahwamusik populer beraliran soul serta R&B (rhythm and blues) mempunyai kesamaanunsur dengan teknik dan gaya bernyanyi klasik pada penerapan suara yang ratadalam rentang ambitus (even scale technique), penggunaan imajinasi dengan iramabebas, nada-nada hiasan, teknik vibrato, dan bahkan gaya bernyanyi Gregorianmurni dengan iringan ritmis yang dianggap sebagai suatu kebaruan dalam musikpopuler. The Overview on the Aspect of Western Classical Singing on Popular Music.Every music medium such as Western classical and popular music has its own practicalspecification due to the observation of each characteristic and uniqueness. The potentialattractiveness of popular music is different from the Western classical music in its easylistening characteristics, but it does not mean that the music does not have the artisticcharacter at all. More performers and more variations in the popular music mayaffect the higher standard and require the demand in every aspect of the details. Thepopular music is derived from the daily habit and that is the way the musician shoulddo to make this kind of music. The emotional characteristics in their lyrics cause thenaturalistic singing tendency. Through the observation of the popular music origin andthe field research study, it is founded that soul and R&B music have the similarities. Interms of the classical music, both use the typical scale technique, imagination with thefree rhythm, ornamentation, vibrato technique and even pure Gregorian singing styleused in some popular songs accompanied by rhythmical music served as a new idea inpopular music.
Citra Budaya Melalui Kajian Historis dan Identitas : Perubahan Budaya Pariwisata Bali Melalui Karya Seni Lukis
Authors: Himawan Willy 
Published: March 2017

Bali adalah sebuah wilayah unik dengan realita sosial yang berada dalam tarikmenarikantara warisan tradisi yang masih hidup di dalam masyarakat dan budayamodern yang masuk melalui pariwisata. Imaji stereotype pariwisata menjadisimulakra realita yang diyakini benar dan pariwisata yang tadinya berdasar padaekonomi pun menjadi pariwisata budaya. Dalam situasi seperti ini munculfenomena mempertanyakan identitas kultural sebagai akibat tarik-menarik danperbenturan nilai-nilai tradisi dan modern yang sering kali bertentangan satu danyang lain. Karya seni adalah gambaran akan realita, namun tidak semata-matasebagai tiruan realita (mimesis). Persoalan identitas yang mengemuka dalam seniera post-modern lebih mengacu pada fenomena mempertanyakan seni dalam eramodernisme dengan menggunakan isu-isu identitas kultural sebagai lawan dari seniyang otonomi dalam era modernisme. Identitas tidak tercermin utuh dalam karyaseni sebab karya seni hanya menggunakan jejak-jejaknya. The Culture Image Trough Historical and Identity Study: Change of BaliTourism Culture By Means of Paintings. Bali is a unique place with a social realityin which the inherited tradition practiced by the society and the modern culture broughtby tourism drag one another. The image of tourism stereotype becomes a simulacrumof reality which is believed to be true and the tourism which was economically basedcurrently has been shifted into the culture tourism. Within this kind of situation, aquestion about cultural identity arises due to the contact and conflict between thetraditional values and the modern ones. Works of art are the depictions of the reality yetare not merely the imitation of it (mimesis). Identity problems raised in the post-modernera tends to ask art in the modernism age using cultural identity issues opposed to theautonomous art within that time. Identity is not fully illustrated in works of art becausethey only use the traces of it..
Visual Tradisi dalam Karya Seni Lukis Kontemporer Sebagai Wujud Artistik Pengaruh Sosial Budaya
Authors: Himawan Willy , Nugroho Budi Adi 
Published: March 2017

Penelitian ini bertujuan untuk memahami pengaruh sosial budaya pada senilukis kontemporer. Penelitian dilakukan dengan studi kasus pada dua senimankontemporer Bali yaitu Wayan Sudiarto dan Haryadi Suadi. Penelitian dilakukandengan mengamati unsur-unsur tradisi dan modern seperti otonomi, kebebasan,dan progresitivitas menjadi elemen yang penting dalam karya – karya keduaseniman. Berdasarkan penelitian dapat disimpulkan bahwa seni kontemporersecara khas mampu menunjukkan manifestasi estetik dan refleksi nilai yang bersifatkritis terhadap sistem ekonomi-sosial-kultural yang menghidupinya. Walau karyaSudiarta dan Haryadi saling bertolak belakang, namun kedua karya seniman tersebutmemperlihatkan bahwa visualisasi tradisi pada karya-karya seni lukis kontemporerterkait dengan aspek-aspek seni rupa yang menjadi bagian dari konsep konsepbudaya visual. Keberadaan tradisi atau unsur-unsur tradisi yang muncul dalamkarya-karya tersebut masih dibaca dalam ranah identitas dan keunikan tetapi belummenyentuh ke dalam makna yang terkandung di dalamnya. The Visual Tradition on Contemporary Art Works as the Artistic Form of Socio-Cultural Influence. This study aims to understand the socio-cultural influences oncontemporary paintings. It is a case study of two contemporary Balinese artists, i.e.Wayan Sudiarto and Haryadi Suadi. The study is conducted by observing the traditionand modern elements such as autonomy, freedom, and progressivity which become theimportant elements of both artists’ artworks. Based on the research, it can be concludedthat the contemporary art is typically able to demonstrate the aesthetic manifestationand reflection of values which are critical toward the system of economy-socio-cultural.Although the artworks of Sudiarta and Haryadi are in contradictory, but both of theartists’ works show the visualization of tradition on the works of contemporary paintingsassociated with the aspects of arts which are a part of the concepts of visual culture. Theexistence of the tradition or traditional elements appeared in these works are still readin the realm of identity and uniqueness, but they have not touched into the containedmeaning.
Ikonografi Arsitektur dan Interior Masjid Kristal Khadija Yogyakarta
Authors: Rony Rony 
Published: March 2017

Masjid Kristal Khadija (MKK) adalah sebuah masjid yang berada di kompleksYayasan Budi Mulia Dua di Yogyakarta. Masjid ini memiliki keunikan pada arsitekturdan desain interiornya. MKK sebagai karya seni akan dikaji dengan metodeikonografi. Metode ini adalah suatu studi untuk mengungkapkan makna dari suatukarya seni dengan tahapan-tahapan, yakni deskripsi praikonografi, analisis ikonografi,dan interpretasi ikonologi. Ketiga proses tahap kajian tersebut bersifat prerequisiteatau prasyarat dari tahapan satu ke tahapan selanjutnya. Hasil penelitian padatahap deskripsi praikonografi bahwa wujud arsitektur dan interior MKK memilikiciri-ciri masjid bergaya Persia, tetapi masjid ini bukan termasuk tipe hipostyle karenabangunan masjid yang berdiri sendiri dan tidak dilengkapi riwaqs. Analisis ikonografimenghasilkan makna yang ditunjukkan oleh tema feminin dengan konsep materialkaca cermin yang diasosiasikan aktivitas kaum wanita, yakni bersolek. Interpretasiikonologi dihasilkan makna secara simbolis bahwa MKK merepresentasikanide dan gagasan tokoh dibaliknya. Penafsiran makna ini dapat menambah muatanfilosofi MKK sebagai ikon kebanggaan Yayasan Budi Mulia Dua. The Iconographic on the Architecture and Interior of Masjid Kristal KhadijaYogyakarta. The Masjid Kristal Khadija is a mosque located in a high school complexunder the auspices of the Budi Mulia Dua in Yogyakarta. This mosque is unique in itsarchitecture and interior design. The mosque as a work of art is analyzed by the methodof iconography. This method is a study to reveal the meaning of a work of art with thestages namely; pre-iconographical description, iconographical analysis, and iconologicalinterpretation. There is a prerequisite relationship among those stages, meaning thatthe first stage has to be conducted before the second and the second has to be completedbefore the last one. The result of the pre-iconographical description stage shows thatthe architecture and interior of Kristal Khadija is characterized by the Persian stylemosque, yet it is not a hypostyle mosque as it is a stand-alone mosque without riwaqs.The iconographical analysis of the mosque indicates that it was built under the femininetheme shown by the use of mirror glass as its material concept that is associated withwomen’s activity, i.e. dressing up. The iconological interpretation generates a symbolicmeaning that Masjid Kristal Khadija represents the ideas of the figures behind it. Theinterpretation of its meaning may add philosophical values to this mosque as an icon ofBudi Mulia Dua Foundation pride.