Transient Permanence

There are few places where the tenacious dichotomy of copy and original deconstructs itself more forcefully than in the trajectory we refer to as classical sculpture. This process is intrinsic to the assumed origins of the classical and the idea of the antique original, and despite the existence of celebrity pieces such as the Venus de Milo, the Laocoön, or the Farnese Hercules, objects that crowds have lined up for centuries to see in Paris, Rome, and Naples, respectively. Few statues can be authorized as first, original versions: the history of classical sculpture is as much a history of the serialized original as of the serial copy, as Salvatore Settis and his team exquisitely displayed in the concurrent exhibitions Portable Classic and Serial Classic at the Prada Foundation in Venice and Milan in 2015. While the Milan edition revolved around seriality, materiality and surface, the Venice exhibition displayed antique repetitions through scale, miniaturization and portability. Hackneyed conceptions of origins and originality collapsed in the line–up of a Farnese Hercules series in Palazzo Corner della Regina on the Grand Canal, and in the numerous antique variants and derivatives of iconic statues such as the Discobolus and the Crouching Venus in Milan. Entering these two spaces was a profound bodily experience of the repeatability, versatility, and adjustability of the classical tradition.Existen pocos ámbitos donde la obstinada dicotomía entre copia y original se deconstruya con más vehemencia que en la trayectoria de la denominada escultura clásica. Se trata de un proceso intrínseco a los asumidos orígenes de lo clásico y a la idea del original antiguo, a pesar de la existencia de piezas célebres como la Venus de Milo, el Laocoonte o el Hércules Farnesio, veneradas por el público durante siglos en París, Roma y Nápoles, respectivamente. Pocas estatuas pueden ser consideradas una versión original y primigenia: la historia de la escultura clásica es tanto la historia del original seriado como la de las copias en serie, tal como evidenciaron en 2015 Salvatore Settis y su equipo en dos refinadas exposiciones simultáneas en las sedes de Venecia y Milán de la Fundación Prada: “Portable Classic” [Clásicos portátiles] y “Serial Classic” [Clásicos seriados]. Mientras que esta última reflexionaba acerca de la seriación, la materialidad y la superficie, la de Venecia mostraba repeticiones antiguas que jugaban con la escala, la miniaturización y la portabilidad. Las manidas preconcepciones sobre los orígenes y la originalidad se venían abajo ante una serie de Hércules Farnesios alineados en la Ca’ Corner della Regina junto al Gran Canal, y ante las numerosas variantes y reformulaciones de esculturas paradigmáticas como el Discóbolo y la Afrodita agachada en Milán. El acceso a estos espacios generaba una profunda experiencia corpórea de la repetitividad, versatilidad y adaptabilidad de la tradición clásica

Thalassemias in South Asia:clinical lessons learnt from Bangladesh

Abstract Thalassemias are emerging as a global public health concern. Due to remarkable success in the reduction of childhood mortality by controlling infectious diseases in developing countries, thalassemias are likely to be a major public health concern in the coming decades in South Asia. Despite the fact that Bangladesh lies in the world’s thalassemia belt, the information on different aspects (epidemiology, clinical course, mortality, complications and treatment outcomes) of thalassemias is lacking. In this comprehensive review, the aim is to to depict the epidemiological aspects of thalassemias, mutation profile and current treatment and management practices in the country by sharing the experience of dealing with 1178 cases over 2009–2014 time periods in a specialized thalassemia treatment centre. We have also discussed the preventative strategies of thalassemias from the context of Bangladesh which could be effective for other developing countries

Transient Permanence

There are few places where the tenacious dichotomy of copy and original deconstructs itself more forcefully than in the trajectory we refer to as classical sculpture. This process is intrinsic to the assumed origins of the classical and the idea of the antique original, and despite the existence of celebrity pieces such as the Venus de Milo, the Laocoön, or the Farnese Hercules, objects that crowds have lined up for centuries to see in Paris, Rome, and Naples, respectively. Few statues can be authorized as first, original versions: the history of classical sculpture is as much a history of the serialized original as of the serial copy, as Salvatore Settis and his team exquisitely displayed in the concurrent exhibitions Portable Classic and Serial Classic at the Prada Foundation in Venice and Milan in 2015. While the Milan edition revolved around seriality, materiality and surface, the Venice exhibition displayed antique repetitions through scale, miniaturization and portability. Hackneyed conceptions of origins and originality collapsed in the line–up of a Farnese Hercules series in Palazzo Corner della Regina on the Grand Canal, and in the numerous antique variants and derivatives of iconic statues such as the Discobolus and the Crouching Venus in Milan. Entering these two spaces was a profound bodily experience of the repeatability, versatility, and adjustability of the classical tradition.Existen pocos ámbitos donde la obstinada dicotomía entre copia y original se deconstruya con más vehemencia que en la trayectoria de la denominada escultura clásica. Se trata de un proceso intrínseco a los asumidos orígenes de lo clásico y a la idea del original antiguo, a pesar de la existencia de piezas célebres como la Venus de Milo, el Laocoonte o el Hércules Farnesio, veneradas por el público durante siglos en París, Roma y Nápoles, respectivamente. Pocas estatuas pueden ser consideradas una versión original y primigenia: la historia de la escultura clásica es tanto la historia del original seriado como la de las copias en serie, tal como evidenciaron en 2015 Salvatore Settis y su equipo en dos refinadas exposiciones simultáneas en las sedes de Venecia y Milán de la Fundación Prada: “Portable Classic” [Clásicos portátiles] y “Serial Classic” [Clásicos seriados]. Mientras que esta última reflexionaba acerca de la seriación, la materialidad y la superficie, la de Venecia mostraba repeticiones antiguas que jugaban con la escala, la miniaturización y la portabilidad. Las manidas preconcepciones sobre los orígenes y la originalidad se venían abajo ante una serie de Hércules Farnesios alineados en la Ca’ Corner della Regina junto al Gran Canal, y ante las numerosas variantes y reformulaciones de esculturas paradigmáticas como el Discóbolo y la Afrodita agachada en Milán. El acceso a estos espacios generaba una profunda experiencia corpórea de la repetitividad, versatilidad y adaptabilidad de la tradición clásica

Effluent treatment plants used in the manufacture of printed circuits

Translated from Galvanotechnik (1979) v. 70(1) p. 29-38LD:8052.98F(RTS-Trans--11941) / BLDSC - British Library Document Supply CentreSIGLEGBUnited Kingdo

That is quite true

Translated from Danish (VVS 1971 v. 4 p. 163, 166 and 169)SIGLEAvailable from British Library Document Supply Centre- DSC:5828.4(M--50688)T / BLDSC - British Library Document Supply CentreGBUnited Kingdo

A quantitative study of fractures in cast iron pipelines

Translated from French (Gaz D'Aujourd'hui Jan 1981)SIGLEAvailable from British Library Document Supply Centre- DSC:5828.4(M--50458)T / BLDSC - British Library Document Supply CentreGBUnited Kingdo

The future of the aero-engine

Translated from French(paper from 4. Congres Aeronautique Europeen, Cologne (DE) 18-22 Sep 1960)Available from British Library Document Supply Centre- DSC:5828.4(M-Trans--51568)T / BLDSC - British Library Document Supply CentreSIGLEGBUnited Kingdo