avant-garde painting, we lind ourselves inc1ined to stress the formative function of our art at the expense of the forms of the characters. This new art, known as Bokusho, which is derived from the art of Shoo is not based on characters but is a much more abstract form of self expression. I believe that the art of all people is ultimately a genuine expression of human Ii Ie and not an art of portraying objects The art of Shoo which has at its very basis the desire to express the spirit of man is, therelore, an art which has an appeal to both the Oriental and the Occidental world. Its study can bring rewards to all men who care to spend the time to dream upon its meaning._ ON JAPANESE BRUSHES Japanese brushes were once the universal implement for writing in the daily life of the Japanese but the introduction of pens and fountain pens from the West began to limit their daily use except in the art of Shoo Japanese brushes are made from rabbit fur, wool, horsehair SHOTEr IBATA HARMONY (1971) Japanese sumion IIcepape. 218mx366m and raccoon -dog hair by craftsmen of delicate skill who use the traditional methods of the past in making them. They differ from brushes made and used in Europe and America. One essential characteristic is that they must retain the sumi ink and be able to draw several kinds of delicate line. They are classified into two kinds, hard fur brushes and soft fur brushes. The former are made from the hair of deer, horses, and raccoon-dogs and are used for the making of strong lines. The soft fur brushes. chiefly made of wool, are ideal for the execution of soft, elastic or tender and delicate lines. ON JAPANESE PAPERS Japanese papers are made from mitumata (edgewofthia chrysantha), Kozo (mulberry paper) or gampi (wikstroemia rice papers). They can be used for the making of artistic blottings and blurrings, the variety 01 such being made at the speed of writing ; but when using Japanese papers for artistic blotting and blurring allowance must be made for the correct amount and consistency of the sum; ink. They provide for a range of effects which cannot be represented on Western papers. of Sho is crealed on a piece 01 paper, (he limited space 01 the paper is transfo:med into an infinite space wherein the rhythm ollile moves. Where strokes of the brush cross or overlap each other an effect of depth is produced, as distinct from an out - lined plain f igure which, when drawn, produces only the effect of flatness. Thus a whole work of Sho possesses an exquisite three -dimensional quality. The art 01 Sho is executed in black ink on white Japanese paper. The simple black ink is no less abstract than the form and is thus quite suited to the artist's intention - to express the purity 01 the rhythm of life. The beauty of harmony between lines of black ink is always pursued in the context of the white (that is the infinite space) and because of this the art of Sho may be called an art of black and white rather than an art of black ink. This graceful art of black and white possesses a sentiment that may be thought of as a mystic manifestation of the human spirit . In recent times, particularly because of the influence of 236 ON JAPANESE INKS Sumi is used when creating the art of Shoo There are two kinds of sumi - shoenboku and yuenboku. Shoenboku is made hom pine-tree twig, burned in a charcoal oven that is fitted with a small paper chimney cap. The soot is gathered from the small chimney and is then kneaded with liquid glue into a suitable mixture. Yuenboku is sesame oil or rape seed oil (colza oil). The oil is poured into an earthen vessel and lit. The vessel is covered with a screen to which the soot adheres and from which it is collected to prepare the sumi. Recently, sum; has been made from mineral oil, too. Sum; is made in China and Japan but Chinese sumi contains much more glue than does the Japanese. The color of sum; is not always the same although it is basically black. There are degrees of intensity of black hom light grey to deep black and tinges of other colours like blue or light brown may be discerned in some blacks. The artist chooses the shade of sum; which best suits his needs for any particular work. ART and Australia December 1971
1Russell H. Morgan Department of Radiology, Johns Hopkins University, Baltimore, MD, United States, 2Electrical and Computer Engineering, Johns Hopkins University, Baltimore, MD, United States, 3Acoustic MedSystems, Inc, Champaign, IL, United States
An intravascular MRI (IMRI) loopless antenna is combined for the first time with an intravascular water-cooled ultrasound ablation transducer as a possible tool for providing high-resolution MRI-guided ablations of pathological tissue via intravascular access. High resolution anatomical MRI, and real-time MRI thermometry were used to monitor ablation delivery in phantoms and tissue specimens. Results show that IMRI can guide IVUS-mediated directional ablation with minimal image artifacts. This permits the monitoring of thermal dose and therapy titration while minimizing potential thermal damage to the vessel wall.
1Biomedical Engineering, Kyung Hee University, Seoul, Republic of Korea, 2Konkuk University, Seoul, Republic of Korea
Electrical conductivity is a passive material property primarily determined by concentrations of charge carriers and their mobility. The macroscopic conductivity of biological tissue at low frequency may exhibit anisotropy related with its structural directionality. When expressed as a tensor and properly quantified, the conductivity tensor can provide diagnostic information of numerous diseases. Imaging of conductivity distributions inside the human body requires probing it by externally injecting conduction currents or inducing eddy currents. Here we propose a novel method to reconstruct conductivity tensor images using an MRI scanner without any current injection.
I recently took the train to Chicago, where I found myself enjoying a glass of 2011 Corton Charlemagne Grand Cru with Erwan Faiveley.
Faiveley is the seventh generation to head-up Domaine Faiveley, one of Burgundy's most illustrious producers. He took over in 2007 when he was 25 years old.
Faiveley was in attendance at a Burgundian wine tasting hosted by New York-based importer Frederick Wildman & Sons.
I grabbed Faiveley and a glass of his wine, hoping that he could help to demystify the notoriously confusing wines of his home turf. And he used the historic emperor to get our lesson going.
According to Faiveley, even "under Charlemagne's reign, the market noticed" that the wines from Burgundy were something special.
Charlemagne, who reigned as king or emperor from A.D. 768 to 814, is said to have been the first to have a particular hillside - now called Corton-Charlemagne - planted with white grape varieties.
So when it's on the label, it tells you that the grapes are from Corton-Charlemagne, which is a grand cru vineyard in which Chardonnay is the only permitted grape.
Grand cru is the top classification for vineyards in Burgundy, and accounts for about 2% of total production.
The story also goes - or so I've read - that Charlemagne's wife preferred white wine because it didn't stain her husband's white beard.
So my head was swimming from the $250-a-bottle wine, not from the effort of trying to understand how to read a Burgundy label.
He soldiered on: "You know exactly what you've got in every bottle because it is so tightly controlled by the law."
If the label says Nuits-Saint-Georges "Les Porets Saint-George" 1er Cru, "you know what small plot the grapes are from - and we don't even have to write Pinot Noir on the label," he said.
Faiveley explained that "for centuries, when oil did not exist, all the work had to be done by hand and with horses. So the plots had to be small enough to work by hand."
It is also a region based on "terroir," or the mix of soil, climate and other less quantifiable factors that give each vineyard or plot its unique characteristics.
Over the centuries it has been determined that Pinot Noir or Chardonnay from one place in Burgundy will taste subtly different from that of another vineyard.
Faiveley conceded that it's best to do some reading about Burgundy so you can start to grasp an area that has something like 1,200 of these different-tasting plots, which are also know as "climats."
"Also, I would highly suggest you go to wine tastings and see what style and what producer you like," he said.
The delicate 2011 Mercurey "Clos Rochette" from Faiveley, a Chardonnay, costs about $30, and in my estimation is a standout for the price.
Phil Bilodeau of Thief Wine Shop in Milwaukee and Shorewood was at the Chicago event, and - not talking specifically about Faiveley - he said that you can get simple white Burgundy such as Macon-Villages for $20 or less.
Sept. 24, arrival of the ship Virginus Grace, from Rotterdam, last from Cowes. -- extracted from A Collection of Upwards of Thirty Thousand Names of German, Swiss, Dutch, French and other Immigrants in Pennsylvania, from 1727 to 1776 with a Statement of the names of Ships, whence they sailed, and the date of their arrival in Philadelphia. Second Revised and Enlarged Edition with German Translation.