Horizon

Communication via satellite begins when the satellite is positioned in the desired orbital position. Ground stations can communicate with LEO (Low Earth Orbiting) satellites only when the satellite is in their visibility region. The duration of the visibility and so the communication duration varies for each satellite pass at the ground station, specifically for LEO satellites which do move too fast over the Earth [1]. For low cost LEO satellite ground stations in urban environment it will be a big challenge to ensure communication down to the horizon. The communication at low elevation angles can be hindered through natural barriers. Thus, motion (appearance) detection of the satellite above natural barriers enables the practical horizon to be determined. Practical horizon differs from the ideal horizon. This paper discusses the satellites motion detection and the difference in between ideal and practical horizon. For this paper, data recorded at the Vienna satellite ground station...

Ein Panorama verbindet in einem Bildraum mehrere Szenen, die eine Handlung erzählen. Zeitlich nacheinander stattfindende Ereignisse werden in einem Bildraum dargestellt. Die ersten Passionspanoramen entstehen im 15. Jahrhundert, vor allem im Medium der Tafelmalerei, als Tapisserie und in kleineren Formaten. Für dieselbe Zeit werden auch eine Zunahme perspektivischer Darstellungsmodi, das genaue Studium von Naturphänomenen und ein wachsendes Interesse an naturalistischen Darstellungsformen nachgewiesen. Diese Darstellungsmodi scheinen auf eine grösstmögliche Einheit von dargestelltem Raum und dargestellter Zeit zu zielen. Diese Einheit scheint zunächst im Widerspruch zu der im Scherzliger Panorama dargestellten Handlungsabfolge zu stehen. Das Passionspanorama in Scherz- ligen ist jedoch ein Schlüsselwerk, um diesen Widerspruch aufzulösen und die Verbindungen zwischen imaginierten Ereignissen, ihren Bezügen zu den dargestellten Bildräumen, den historischen Orten und der Raumwahrneh- mung in der Gegenwart des Betrachters besser zu verstehen.

Carlo Scarpa is one of the best-known and most
studied modern architects; the bibliography on his
works is vast and exhaustive. Despite the undeniably
positive critical reception of his work, however,
approaching the complex world of his forms is neither
easy nor immediate. The singular nature of
his built spaces and the originality of his famous
construction details have often left him open to
accusations of sterile and self-referential formalism.
This picture of a refined artist isolated in his
ivory tower has long overshadowed his work as an
architect. In fact, Carlo Scarpa was a perceptive
intellectual and an artist sensitive to all aspects of
the contemporary world. In his long career as an
architect, he constantly sought to reinterpret the
legacy of the classical tradition, blending it with the
most stimulating ideas drawn from his great interest
in international artistic experimentation and the
cultures of the Far East.
The poetry of Scarpa’s work springs not only from
the geometrical rigour of his forms but also from
his acute sensitivity towards immaterial aspects of
architecture such as light and colour, the sky and
the horizon. This article contains the preliminary
results of a long study of the original documents in
the architect’s personal archive. It will focus in particular
on the relationship between architecture and
the landscape, developed in a particularly intense
cycle of mature works comprising the extension to
the Canova plaster museum and the monumental
cemetery for the Brion family. In both cases, it
would be hard to describe Scarpa’s works simply
as “buildings”: in them, open spaces and the rapport
with the sky and the landscape are almost as
important as the solid parts of the structure. Scarpa
arranges the various elements of the construction
by orienting them towards the natural landscape in
search of an intimate and creative relationship with
the great artistic tradition of the Veneto. The plaster
museum is a space projected wholly towards the
landscape, inspired by the paintings of Lotto and
Canova’s classical legacy. The Brion cemetery, by
contrast, is a garden-building that blends oriental
influences and Western art to offer a captivating
array of visual experiences created by sculptural
objects and structured spaces. Here Scarpa plays
explicitly with the fine line of the horizon, cutting
the built volume at the exact height of viewers’
eyes, and thus aligning, on the edge of the boundary
wall, objects near and far that resonate with
his architectural forms. The walled space embraces
the changeability of the sky and the light, which
become the true protagonists of the architectural
work, following in the footsteps of an experimentation
that runs from Giorgione to Le Corbusier.
In the plaster museum, the altitude of +1.37 m
marks ground level; in the Brion cemetery, eye level
is set at +1.62 m. Between these two extremes,
Scarpa calibrates his architectural landscapes almost
like optical devices, to see into the distance
Gianluca FREDIANI
On the Line of the Horizon: Architecture Between Earth and Sky.
Carlo Scarpa: the Canova Plaster Museum (1955-1957) and the Brion Cemetery
(1969-1978).
Entlang des Horizonts: Architektur zwischen Himmel und Erde.
Carlo Scarpa: die Gipsothek von Canova (1955-1957) und der Brion Friedhof
(1969 - 1978)
without being seen. The magnificent obsession
with perfect sight” is in him so compelling and
fundamental that it appears to demand a constant
reference point from which to measure the dimensional
variations transcribed into the stratified world
of his forms: the horizon. Scarpa thus shows us
that architecture is the sublime play of materials
arrange above and below the line of the horizon.

Design education needs to recognise the changing world it services. The way that we live our lives is very different to that of our parents. No doubt the way our children will live their lives will be very different to ours. We exist in an ever changing world. Design education must recognise this constant change and develop long term strategies that enable designers to not only be aware of, but play a major role in this change. Futures thinking – the systematic study of the future – provides design with a structured approach to consider potential futures.

From colonization to (post)industrial era, recreation guised as preservation of wilderness is a concept and ongoing topic in arts and media. This paper defines the distinct staging of untamed and pristine environment in open world games as striated wilderness which is constituted by aesthetics and gazing regimes of Western culture as well as by modularity and variability of computer games as data bases. Merging the wilderness discourse with concepts of tourist gaze and prospect-refuge theory, rural open world games can be analyzed as rhythmized liminal spaces of the man-nature dichotomy. Thus, they stand in the tradition of landscape gardens and nature parks where former survival instincts and urges for exploration are experienced for recreation and entertainment. Striated wilderness has to be differentiated between place (wilderness) and practice (wildness). How do open world games regulate our understanding of landscape and longing for nature?

Proceedings of DiGRA 2018 © 2018 Authors & Digital Games Research Association DiGRA. Personal and educational classroom use of this paper is allowed, commercial use requires specific permission from the author.

The Quran has used the term ‘sama’ for space or heaven. It has used both the singular (sama’) and the plural (samawaat) form of it. In one of the verse it states that there are seven heavens and each one has its own earth. The objective of this paper was to explore what these two terms mean scientifically.

The analysis of the Quranic verses suggest that the Quranic term as-sama’-ad-dunya stands for the scientific term the observable universe. It is the innermost heaven (sama), which includes all the zodiacal signs/constellations (brooj), tracks (hobook), stars (kawakib), lamp (masabeeh), meteorites (shohoba) and etc. we observe or could observe in the future. On top of this heaven (samat) are staked six more heavens (samawat).  These could have been partitioned based on the horizons or dimensions.

The first horizon (sama) is called the event horizon. It is a conceptual boundary between particles that are moving slower and those that are moving faster than the speed of light. Since the light from the particles which are beyond it will never reach us, we would never be able to observe them. The particles that are within the event horizon belong to the observable universe (as-Sama-ad-Dunya). Beyond this horizon, there could be six more horizons (samawat).  In each of these the speed of the moving particles is faster than the speed of light. However, the speed in each of the successive horizons (samawat) could be faster than the speed in the previous horizon (sama). The speed of the moving particles within the seventh horizon (sama) could be the fastest. These horizons were probably partitioned after the universe  began to expand at a faster rate about four billion years ago.

Alternatively, the universe could have been partitioned in terms of dimensions. Just as our heaven has three dimensions, other heavens (samawat) could have four, five, six, seven, eight, and nine dimensions. Since we the humans cannot perceive dimensions higher than three, these heavens (samawat) with higher dimension will never be accessible to us.

Revised extract with illustration added in Building 22, of "Introduction" previously titled "Standing on the Shore, Contemplating the Cube" in Three Cubes of Perception by Jason Freedman (Toronto: Dans le Vide) 2015.

Note: The byline is incorrect, it should read as follows, "Adjunct Professor | M.Arch [Distinction] Dip. Arch. [Bombay]."

[Abstract français ci-dessous]
Expressionnist portraits and caricature

There is a certain visual evidence which makes it tempting to link modern art and caricature. At least two art-historians have done so: Ernst Gombrich and Werner Hofmann. However, they nowhere develop their contention that caricature may have a link to modern, more specifically, expressionist art.
My more programmatic than exhaustive article aims at developing the relationship they hint at. I will argue that the surface resemblance is the symptom of a deeper connection between caricature and expressionist art.
More specifically, I will show that expressionist artists share a common goal with caricaturists: they want to show the deep nature of that which they portray. The seeming deformations or distorsions that appear in their works are linked to an ideal of realism: showing the otherwise invisible nature of people.

If this link existed, then it would be more plausible than has generally been thought that caricature plays a role in the development of modern art. I believe that realist aspirations along these lines are sufficient to explain how caricature came into being and that it is unnecessary to appeal to the idea that caricature opposes ideal beauty, that it is, in this sense, an anti-art, as Werner Hofmann and many others have suggested. This has  a historical implication: If the birth of caricature can indeed be linked to the will to unmask, then the Northern countries become candidates for the place of emergence of caricature again - for they have long been discarded precisely because they didn’t have the ideal of beauty which existed in Italy and it was thus suggested that they didn’t have anything to oppose to. And as long as caricature was defined as an anti-art, negatively rather than positively, it could only be born in Italy. But if it the visual deformations it displays is explained as an extension of the will to show reality, earlier Northern examples have to be taken into account as examples of caricature.

"Portrait expressioniste et caricature par Klaus-Peter Speidel

La tentation de relier certaines œuvres de l’art moderne à la caricature est grande. Au moins deux historiens de l’art – et non les moindres – n’y ont pas résisté : Werner Hofmann et Ernst Gombrich. Toutefois le rapprochement qu’ils opèrent n’est développé nulle part. Dans cet article analytique, qui se veut plus programmatique qu’exhaustif, j’essaierai d’élucider la pertinence et la portée de ce rapprochement. A partir de quelques éléments de définition et de la structure de l’activité figurative dans les domaines de la caricature et du portrait moderne, je tenterai de déterminer si la ressemblance de surface pointe vers un lien profond entre portrait caricatural et portrait artistique moderne. Si tel est le cas, alors la caricature joue sans doute un rôle clé dans l’avènement de l’art moderne.

J’essaierai de montrer que le lien entre art moderne et caricature est non seulement formel, mais que les peintres de portraits expressionnistes parta­gent des objectifs réalistes que l’on remarque déjà chez les premiers carica­turistes. Je montrerai que la « déformation » ou « distorsion » que l’on observe chez les uns et chez les autres est un écart par rapport aux normes de la peinture naturaliste, mais au service du réalisme [1] : la déformation de surface permet de rendre compte d’une réalité qui est moins apparente. Je crois que l’aspiration réaliste suffit pour expliquer le cheminement vers la caricature. On n’a pas besoin de faire appel à la beauté idéale comme l’autre qui serait nécessaire pour « l’invention » de la caricature."

The horizon and the infinite in Leonardo
Leonardo faces the theme of the horizon in successive stages; on one hand the pictorial valences interests him, on the other the tight link there is between physical horizon and the question of hydraulics, levelling and cartography. His interest towards this line (or circle or plane according to how you interpret it) is multiform but finds an admirable synthesis in the eighth chapter of the "Libro di pittura" where he orders the whole subject in the form of definition s, theorems and demonstrations. Through analysing the passages, some of them are not easy to read or interpret, we discover the variety of knowledge Leonardo had accumulated in a few decades of experiences and interpretations, as well as the ability to connect different themes under only one common denominator.
Leonardo discovers the depression of the sea horizon and with it the possibility to calculate the dimension of the earth and the height of the observer. Besides he defined the difference between the perspective horizon and the sea horizon, that will never reach the height of the first. Initially nobody gave him importance, contrasting with what had been published by Jean Pelerin-Viator in 1505, that however incorrect, was carried on in the pictorial praxis for centuries.
In the present study a critical reading of the text is given and Leonardo's notations become part of it in the contemporary cultural context, individualizing some common diachronic clichés not only in Leonardo's work.

Between February 2018 and January 2019, a systematic analysis of current trends and requirements in the areas of knowledge and competence was carried out within the project “(A) Higher Education Digital (AHEAD)—International Horizon Scanning/Trend Analysis on Digital Higher Education.” One aim of this project was to examine the latest developments in learning theory, didactics, and digital-education technology against the background of (increasingly) digitized higher education. The analysis formed the basis for a horizon scanning of higher education in 2030, designed to develop future scenarios that would meet future higher education demands by taking advantage of social and digital innovations.

English (French below)
Karl Kraus’s favourable and conceptually complex comments of the portrait drawings by Oskar Kokoschka in 1910 put us on the trail of a host of different phenomena of pictorial representation. Based on close-readings of several aphorisms by Kraus and drawings by Kokoschka, I propose that realistic distortion can be distinguished from its defamatory counterpart, and that the traditional concepts of style cannot account for all essential stylistic variations that are important in pictures. I argue that we need to introduce the concept of subject specific style. This must be distinguished from other concepts such as signature style. I try to show how these conceptual distinctions are connected to the difference in representational range displayed by media that are based on traces, like photography, and by media based on testimony, like drawing or writing.

French (English above)
En 1910, Oskar Kokoschka produit une série de dessins pour la revue expressionniste berlinoise Der Sturm. L’un des portraits représente le satiriste Karl Kraus, un autre l’architecte Adolf Loos. Au même moment, Kraus fait paraître une série d’aphorismes qui commentent le travail de Kokoschka. Kraus part du travail de Kokoschka pour arriver à des principes généraux sur la représentation picturale. Une analyse des réflexions de l’écrivain et des deux dessins faits par Kokoschka nous permet non seulement de mieux comprendre comment un dessin peut saisir le caractère d’un modèle au-delà du physique, mais aussi de forger des concepts pour enrichir les notions de style traditionnelles. Nous soutenons dans notre article qu’il faut introduire l’idée d’un style à l’oeuvre pour compléter les notions de style habituelles. Le style à l’oeuvre peut être spécifique au sujet traité. Nous montrons en particulier comment le dessin permet des distorsions réalistes, difficiles à obtenir dans des médias basés sur la trace comme la photographie.

Fink hat in seiner 1930 publizierte Dissertation Vergegenwärtigung und Bild den Gedanken ausgearbeitet, was es heißt, in eine Welt zu versinken, um auf diese Weisedie Besonderheiten des Unwirklichen herauszuarbeiten. Das Phänomen des Versinkens in eine Welt lässt sich am geeignetsten am Traum verdeutlichen. Das Phänomen des Traums eröffnet einen theoretischen Horizont für die Infragestellung der Wirklichkeit der faktischen Welt, indem es die Denkbarkeit aufzeigt, dass die faktische Welt sich als Traum einer anderen Welt herausstellen könnte. Dank dieses „erkenntnistheoretischen“ Arguments zeigt Fink mit dem Hinweis auf den Traum einen denkbaren Übergang von der vorgegebenen Welt in eine andere Welt. Diese „Transweltbewegung“ ist nicht nur eine willkürliche Spekulation, wie es beispielsweise ein rundes Viereck wäre, sondern bedroht transzendental die Selbstvertrautheit des Menschen. Wir möchten die These formulieren, dass der Weltglaube durch die denkbare Unwirklichkeit unserer vorgegebenen Welt relativiert wird, und versuche in dieser Arbeit, die transzendentale Instabilität des Weltglaubens zu artikulieren. Da das Subjekt der Transweltbewegung weder ein Mensch ist, der in der vorgegebenen Welt lebt – denn dieser geht an die extreme Grenze der vorgegebene Welt –, noch das transzendentale Subjekt in seiner Reinheit – denn auch dieses befindet sich immer noch in einem weltlichen Zusammenhang –, schlagen wir eine Untersuchung vor, die zeigen soll, dass die Transweltbewegung bezüglich des Innerweltlichen und des Außerweltlichen auf ein drittes Subjekt verweist.

There might be some relations between the definition of Horizon in Leonardo treatise on Painting and the famous Idyll by Giacomo Leopardi "L'Infinito". The poet was a keen scholar on history of Astronomy and the publication of the Treatise on Painting by Leonardo published in 1817 may have drawn the attention of the poet. Leopardi made in 1819  same changes in the poem which might be related with his reading of the horizon in Leonardo.

Artificial insemination is very important for genetic improvement, especially in dairy cattle breeds. It has problems in meeting the needs of some producers, not its opportunities. The objective of this study was the challenge and opportunity of artificial insemination on dairy cattle in the case of Sayo district, west Wollega Zone, Ethiopia. The problem of not using Artificial insemination is not limited to the region, and there are also dairy farmers in our district who have not practiced the service due to various challenges. In addition, most of the Artificial insemination services reported by the dairy industry have failed, rather than bull services. However, although there are few attempts to quantify opportunities, constraints, and why producers do not use artificial insemination services in other regions, researchers have not disclosed well-documented data on the challenges and opportunities of artificial insemination services in the Sayo region. The Result is Artificial ins...

Ancient mathematics concerned itself with shapes, numbers and their relations, at rest and in motion. Not until modern geometry were shapes replaced by space. In this article I deal with the late thought of Petr Vopěnka: the return to shapes, intuition and his reflection of the history of mathematics in connection with phenomenological philosophy. I point to how, in his approach, shape conveys that which is beyond the
horizon. Last but not least, I explore the relation of the mathematical and of shape to the phenomenality of the face, body and the other.

In Amazonian archaeological discussion the concept of tradition presupposes a keen connection between pottery styles and specific language groups. Multicultural traditions or transcultural adaptions are often pushed aside. Denise Schaan returned to the concept of horizon in order to explain a number of archaeological phenomena from a wide geographical and chronological perspective. Also in this study the concept of Polychrome Horizon is used, but it is divided between Early and Late Polychrome Horizons. At the same time an entirely new area, eastern Acre, and its archaeological sub-tradition Tequinho, dated 50BC-AD200 with its polychrome pottery, are brought into the discussion. Tequinho is situated in the interfluvial terra firme environment, and by its geographic position mediated contacts between the headwaters of the Amazon, the Ucayali and the Madeira rivers.

El artículo aborda el concepto filosófico de mundo a partir de su determinación como totalidad y objeto de experiencia en la fenomenología de Husserl. El análisis gira en torno a la posibilidad de sostener estas caracterizaciones que, según la interpretación anticartesiana, dañan la estructura fenomenológico-trascendental del mundo. Se empieza exponiendo brevemente ciertos aspectos del pensamiento de Husserl desde donde se abre la posibilidad de trazar una comparación entre los objetos y el mundo y luego se seleccionan algunas descripciones que marcan un alto a la comparación y la ponen incluso en tela de juicio. Seguidamente, se presenta la postura anticartesiana a partir de las críticas de Held, Brand, Steinbock, Welton y Claesges. Finalmente, se toma distancia de este enfoque a partir de las consideraciones críticas de Aguirre y Walton que evitan un quiebre entre las diversas etapas del pensamiento husserliano.

The article deals with the philosophical concept of the world from its determination as a totality and object of experience in Husserl’s phenomenology. The analysis revolves around the possibility of sustaining these characterizations that, according to the anti-Cartesian interpretation, damage the phenomenological-transcendental structure of the world. It begins by briefly exposing certain aspects of Husserl’s thought from which the possibility of drawing a comparison between objects and the world is opened and then some descriptions are selected that mark a halt to the comparison and even put it into question. The anti-Cartesian position is then presented on the basis of criticisms by Held, Brand, Steinbock, Welton and Claesges. Finally, a distance is taken from this approach on the basis of the critical considerations of Aguirre and Walton, which avoid a break between the various stages of Husserlian thought.

... For Sheets-Johnstone (200823. Sheets-Johnstone, Maxine. 2008. ... 2000. Ethics and infinity , Pittsburgh, PA: Duquesne University Press. View all references, 85) grounds his account of ethics to 'the face' of the other and claims that 'access to the face is straightaway ethical'. ...

This report presents the conceptual design of a new European research infrastructure EuPRAXIA. The concept has been established over the last four years in a unique collaboration of 41 laboratories within a Horizon 2020 design study funded by the European Union. EuPRAXIA is the first European project that develops a dedicated particle accelerator research infrastructure based on novel plasma acceleration concepts and laser technology. It focuses on the development of electron accelerators and underlying technologies, their user communities, and the exploitation of existing accelerator infrastructures in Europe. EuPRAXIA has involved, amongst others, the international laser community and industry to build links and bridges with accelerator science — through realising synergies, identifying disruptive ideas, innovating, and fostering knowledge exchange. The Eu-PRAXIA project aims at the construction of an innovative electron accelerator using laser- and electron-beam-driven plasma wak...

شلایرماخر هرمنوتیک را بازگشت به بنیان زبان که با شکل هایی از بیان و زبان سروکار داریم می دانست و آن را تاویل نامگذاری می کرد. از اینرو می توان هرمنوتیک را فعالیتی ادراکی و ارتباطی دانست که به تجربه هایی همچون تاویل، توضیح، شرح و تفسیر پدیدارها می پردازد. کنشِ ادراک یا شناخت به طور معمول از پیش داشته ها، پیش فرض ها شروع شده و ما دریافت های جدیدمان را به چیزهایی که در تاریخچه دانسته هایمان داریم مرتبط می کنیم. موضوع تاویل باید به پیکربندی  نشانه های زبانی تبدیل شود. در تاویل یک متن موضوع تاویل به متن خلاصه نمی شود. مقصود گادامر از همانندی متن  موضوعات تاویل همچون سخن، رویداد، کنش، هنجارها و ... می باشد.  شلایرماخر مهمترین هدف فهم را پیدا کردن معنایی می داند که در بیان قرار دارد وی معتقد بود که گفتار بر تفکر پیشینی باشد، ما در فکر همان چیزی را می جوییم که صاحب فکر در پی بیانش بوده است بنابراین هرمنوتیک در جهت عکس بلاغت عمل می کند، بدین منظور وظیفه ی هرمنوتیک فهم معنای گفتار بر مبنای زبان است. از نظر او زبان تمام آن چیزی است که باید در هرمنوتیک پیش فرض گرفته شود بدلیل آنکه هرمنوتیک ملازم زبان است به دوبخش تقسیم می گردد تفسیر دستوری که امکان فهمیدن گفتار را براساس یک زبان خاص و قواعد نحوی مقدور می سازد و تفسیر روانشناختی(تفسیر فنی) که گفتار را تجلی  درون فرد می داند. شلایرماخر معتقد بود که هرمنوتیک به مثابه ی روش فهم هنوز به صورت عام وجود ندارد بلکه هرچه هست تعدادی هرمنوتیک خاص است. تا پیش از شلایرماخر –پیش از تاکید بر فهم- فن تفسیر بود اما اکنون باید به فهم روی آورد. تاکید بر فهم یعنی کلیت بخشیدن به پدیده ی بدفهمی احتمالی  که امکان رخ داد دارد. طبق دستورالعمل شلایرماخر وظیفه ی هرمنوتیک عبارت است از درست فهمیدنِ گفتار، سپس فهمیدن آن بهتر از پدیدآورنده اش. از این پس فهمیدن به معنای بازسازی روند تکوینِ.... است.

Comparisons of relative size in pictorial spaces under the influence of depth cues were investigated. Using the staircase method, 40 participants adjusted the sizes of blank cards presented in the upper visual field to the size of playing cards presented in the lower visual field. During the presentation of the stimuli, pictorial depth cues were displayed in the computer screen and participants were asked to typify the strategy used to judge the perceived sizes. The horizon and the perspective line gradient contributed to the overestimation of the perceived size of blank cards in about 8 and 12%, respectively, and size comparisons were coherent with the constancy of size.

A star collapsing gravitationally into a black hole emits a flux of radiation, known as Hawking radiation. When the initial state of a quantum field on the background of the star, is placed in the Unruh vacuum in the far past, then in the exterior Hawking radiation corresponds to a flux of positive energy radiation travelling outwards from near the surface to future infinity. Based on pair creation, the evaporation of the collapsing star can be equivalently described by the absorption of an ingoing negative energy flux of radiation travelling towards the center of the star. Here, we are interested in the evolution of the star during its collapse. Thus we include the backreaction of the negative energy Hawking flux in the interior geometry of the collapsing star when writing the full 4-dimensional Einstein and hydrodynamic equations. Hawking radiation emitted before the star passes through its Schwarzschild radius slows down and reverses the collapse of the star. The star evaporates ...

1. Wide LCD panel with full background illumination ensures easy viewing of on-screen data at all times. Redesigned keyboard panels with ergonomic buttons and user defined shortcut keys ensure ease of operation. 2. Built in SD card interface allows for easy and convenient data transfer, and facilitates large data storage 3. Built in USB and RS-232 interface 4. 500m reflectorless range 5. Upgraded automatic Temperature and Pressure Sensor in H70 6. Dual compensator used in H70 ensures added operation stability 7. Selectable language display currently include English, Portuguese, German, and Chinese. Display language customization possible 8. Graphical points with lines plotting and display in H70, allows for plane viewing of surveyed points on instrument screen. 9. New Upgraded EDM 10. New Rechargable Li-ion Battery

Research related to the effect of product turnover on the performance of companies in the industrial sector is still needed to do research and study in depth. This is needed because the developed sector, especially related to product rotation, has an important role in advancing the sustainability of the company. The research methodology in this research is descriptive quantitative using simple linear regression analysis and using SPSS v 23 and Amos v 23 software as a calculation tool through a measurement model using simple Linear Regression at 87 MSMEs in Sukabumi City. The results of this study indicate a positive effect of product turnover on the performance of Small and Medium Enterprises.

Ueda writes in his 'Reading Nishida Kitarō' ('Nishida Kitarō o yomu') that to compare Heidegger’s entire thinking up to his last period with Nishida’s thought also up to his last period, including their multiple turns, would be “one of the most valuable paths to investigating the significance, potential, and problematics of Nishidian philosophy.”  In this paper I examine the philosophy of Ueda Shizuteru through the juxtaposition of those two thinkers, of West and of East, who prove to be significant for the creative unfolding of his thought: Martin Heidegger who had inspired much of phenomenology and Continental philosophy, and Nishida Kitarō who had inspired the development of Kyoto School philosophy and much of contemporary Japanese philosophy.  The Heideggerian and Nishidian streams of thought, in their “placial turns”—Nishida’s “logic of place” and Heidegger’s “topology of beyng”—meet in Ueda as he reads each in light of the other’s terminology and concepts.  Through his readings and appropriations that underscore their commonalities and differences, Ueda thus develops a compelling philosophy of place, world, and horizon, a thinking of being-in-the-twofold-world.  The chapter thus examines the meeting of Nishida and Heidegger in Ueda.

This is a chapter in the forthcoming book, Tetsugaku Companion to Ueda Shizuteru--Thoughts About Experience, Language, and Zen, edited by Racquel Bouso, Ralf Müller, and Adam Loughnane; and published by Springer.