In accountancy, depreciation refers to two aspects of the same concept: Businesses depreciate long-term assets for both tax and accounting purposes. The former affects the balance sheet of a business or entity, and the latter affects the net income that they report. Generally the cost is allocated, as depreciation expense, among the periods in which the asset is expected to be used. This expense is recognized by businesses for financial reporting and tax purposes. Methods of computing depreciation, and the periods over which assets are depreciated, may vary between asset types within the same business and may vary for tax purposes. These may be specified by law or accounting standards, which may vary by country. There are several standard methods of computing depreciation expense, including fixed percentage, straight line, and declining balance methods. Depreciation expense generally begins when the asset is placed in service.
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This exhibit will examine and interpret the art and artifacts of the shaft tomb culture that flourished in West Mexico BC AD, bringing together the most current research from the field, scientific laboratories and objects to re-create life, death and ritual. With large scale murals of these settlements complementing the objects on display, the exhibition will examine the various forms of sculpted vessels, paying particular attention to the human forms, which tell a rich story of a culture predating the more widely known Aztecs, but equally as fascinating and arguably more influential.
Archaeological remains of ceramic musical instruments occur among pre-Columbian cultures across Mesoamerica.
Meshworks, Hierarchies, and Interfaces. (online dating services, . 14 Continuing with our crafting notions, we can call these social meshworks.
However, the rapid pace of social change, scope of technological and economic development, and cultural diversity in the southern portion of the peninsula also allows the region to be a compelling starting point for questioning and redefining these well-worn archaeological topics. But despite the accumulation of a huge volume of archaeological data since the s and the presence of a vibrant academic archaeological community in South Korea, the region remains relatively unknown and understudied outside of East Asia.
This talk introduces the material culture of the Iron Age, the major questions of concern to Korean scholars working on this material, and suggests how mortuary data upends models of unilineal social evolution and textually derived narratives typically applied to the region. By focusing primarily on grave goods the only recoverable material at most sites , I argue that broad similarities in the mortuary ritual of the region masks significant variability in the adoption of new tomb elements, elite legitimizing strategies, and differing degrees of participation in regional customs.
The picture that emerges is one of competition, emulation, and indifference among a number of small, politically independent groups that served as the foundation for the first historical kingdoms on the Korean peninsula. For best viewing quality click the Gear icon and set the viewing mode to p HD. Indeed, communities in the ancient Near East and the Mediterranean often perceived these lands and their inhabitants as peripheral and marginal, if not dangerous and barbaric.
However, thousands of years of archaeological remains, often still visible today, attest to quite another picture. This is a sedimented landscape, a palimpsest, where multiple communities inscribed themselves over the millennia. Many of these communities subsisted on a flexible patchwork of pastoralism, foraging and limited agriculture, trade, and mining, framed within the punctuated and cyclical movements of pilgrimage.
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Drawings, Prints, and Paintings The first major retrospective devoted to the virtuoso Netherlandish mannerist Hendrick Goltzius — one of the most versatile and accomplished figures in the history of art — was on display at The Metropolitan Museum of Art June 26 — September 7, Hendrick Goltzius, Dutch Master Drawings, Prints, and Paintings, an international loan exhibition of more than works, spans the artist’s entire career and demonstrates his legendary mastery of a remarkably wide range of media, subject matter, and styles — from extravagantly complex mythological scenes in prints, to sensitively observed studies from nature, to sumptuously colored oil paintings on canvas and copper.
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Memory, Myth and Long-term Landscape Inhabitation. Memory, Myth and Long-term Landscape Inhabitation, Dec 1, “Memory and forgetting are fundamental to human existence and experience. Within archaeology, although there has been increasing acknowledgement of the role of the past in the past, to date there has been surprisingly little specific discussion of how such long-term persistence of place and practice was possible; and why this was the case.
The sixteen papers in this collection use detailed contextual evidence and the results of radiocarbon dating to address these questions. This volume weaves recent theoretical considerations of memory, materiality and landscape with exciting evidence emerging from research and developer-funded archaeology. There is a focus on British archaeology from the Neolithic to the early medieval period, but other papers deal with Neolithic Central Europe, ancient Etruscan and Egyptian landscapes, and historic Native American practices.
As part of his foreword, Professor Richard Bradley of the University of Reading offers these generous words: Key elements include memory, myth, the invention of traditions, and the erasure of old ones. The contributors consider these ideas in relation to a series of well researched case studies. What they share are sophisticated ways of thinking about the past in the past.
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Updated limited-number 3rd edition of the classic now available — order today! Undoubtedly, you have attempted to convey the eight vMEMEs to friends, family, colleagues, and others. The postmodern mind struggles with applying it. The Crucible is the only work to date that lays out an entire case study and, step-by-step, walks you through the thinking of social transformation using Spiral Dynamics.
On the other hand, if you have no exposure to Spiral Dynamics or Clare W.
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Refinements of scientific dating techniques, isotope, trace element and aDNA analyses, in conjunction with phenomenological investigation, computer-aided landscape modelling and GIS-style approaches to large data sets, allow us to follow the movement of people, animals and objects in the past with greater precision and conviction. One route into exploring mobility in the past may be through exploring the movements and biographies of artefacts.
Biographical approaches to artefacts include the recognition that culture contact and hybridity affect material culture in meaningful ways. These are linked to an under-explored middle-spectrum of mobility, a range nestled between everyday movements and one-off ambitious voyages. We wish to explore how these travels involved entangled meshworks of people, animals, objects, knowledge sets and identities. By crossing and re-crossing cultural, contextual and tenurial boundaries, such journeys could create diasporic and novel communities, ideas and materialities.
Table of Contents Blurring boundaries and celebrating transience:
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Katy Metzler Katy teaches biology at the college level and did her Ph. The cytoskeleton provides structure and shape to cells. In this lesson, learn about actin filaments, a kind of cytoskeletal filament that is important for cell shape, muscle contraction, and cell adhesion.
Meshworks also maintain complex and deep historical relations. The life of the Hyde Park memorial goes far beyond the small period between the initial commissioning () and the opening (). The materials, desires and activities that are woven together have their own historicity.
Hale, who was born just one month after Huggins read his watershed paper on stellar motion in the line of sight, never knew a time when astronomy was practiced without spectroscopy. As this paper will show, their unpublished correspondence reveals that they enjoyed a symbiotic relationship with each giving as much as he gained to satisfy their united appetite for promoting the development and wider application of spectroscopic methods in astronomy.
When, near the end of his life, Huggins recognized that he no longer possessed the tools, expertise, and youth necessary to finish the race he had started, he prepared to pass the baton on to those who did: But even as early as the time of his death in , he had fallen into such obscurity that obituaries and other secondary sources conflict about basic facts of his life such as what degrees he had earned and from where, and the full number of his publications. Published sources are also silent about exactly where he was and what he was doing for fully five years: Unpublished correspondence and other documents at eight institutions—the Albany Institute, the Cincinnati Observatory, the University of Cincinnati, the Cleveland Public Library, the Dudley Observatory, Notre Dame University, Northwestern University, and Union College—reveal that his meteorological inventions apparently got Hough into unrealized trouble with the trustees of the Dudley Observatory.
This illustrated talk will demystify several shadowy unknowns of his life story and highlight a dozen of his key inventions, including his automatic star-charter and his self-registering barometer. This research was supported by the Herbert C. Pollock Award of the Dudley Observatory. They consisted of refracting optics, polished brass tubes, decorative details, and elaborate mahogany tripods. They were aesthetically pleasing to many at the time and not at all out of place standing in the finest Victorian parlor or conservatory.
However, beginning with telescopes produced by the firm of Carl Zeiss Jena Germany around , the aesthetics of telescope design changed to far more utilitarian and modernistic patterns. Such changes in design philosophy are important in explaining the rise of new telescope manufacturers and the failure of old ones in the context of material culture, modern society as a whole, and changing aesthetic tastes in the twentieth century.
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He was the first to recognize that dinosaurs “fearfully great reptiles” were a distinct group of reptiles, much different from today’s lizards. Owen defined dinosaurs as reptiles that walked erect, having a posture similar to elephants and rhinos. Dinosaurs did not have wings, flippers, or fins.
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Arising in the wake of modernity and postmodernism respectively, neither concept need have close ties to theatrical performance. Indeed, their attendant philosophies have extended their reach not only across different art forms cf. Fried , but further into the material, technological, or social sphere at large e. However—and this is the first axiom of the present article—both concepts also seem to fluctuate between conflicting values of novelty and normativity: The second axiom—one that I only state here but will elaborate throughout—is that certain dramaturgical tendencies can be ascribed to both concepts that not only validate their distinction, but also hold across the kinds of tensions described effecting a certain consistency, that is, between the normative and the subversive, for performativity, or the rejected and the embraced, for theatricality.
Rather than individual action or social sanction, both reflect a world of emergence and becoming.
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Download as PowerPoint Slide Figure 1. The actin meshwork of the motile T cell establishes a mechanical regime of TCR triggering. A T cells TC display various modes of motility depending on the adhesive properties of their microenvironment. To achieve high velocities, T cells create series of small, short-lived contacts with substrates. The pseudopod sequences are generated by cycles of actin polymerization followed by myosin generated contractility.
When T cells encounter the adhesion promoting surface of an APC, such as a dendritic cell DC , integrin ligation causes the T cells to spread more extensively, maximizing surface interactions between the cells.