In considering medieval illustrated Buddhist manuscripts as sacred objects of cultic innovation, Receptacle of the Sacred explores how and why the South Asian Buddhist book-cult has survived for almost two millennia to the present. A book “manuscript” should be understood as a form of sacred space: a temple in microcosm, not only imbued with divine presence but also layered with the memories of many generations of users. Jinah Kim argues that illustrating a manuscript with Buddhist imagery not only empowered it as a three-dimensional sacred object, but also made it a suitable tool for the spiritual transformation of medieval Indian practitioners. Through a detailed historical analysis of Sanskrit colophons on patronage, production, and use of illustrated manuscripts, she suggests that while Buddhism’s disappearance in eastern India was a slow and gradual process, the Buddhist book-cult played an important role in sustaining its identity. In addition, by examining the physical traces left by later Nepalese users and the contemporary ritual use of the book in Nepal, Kim shows how human agency was critical in perpetuating and intensifying the potency of a manuscript as a sacred object throughout time.
Garland of Visions explores the generative relationships between artistic intelligence and tantric vision practices in the construction and circulation of visual knowledge in medieval South Asia. Shifting away from the traditional connoisseur approach, Jinah Kim instead focuses on the materiality of painting: its mediums, its visions, and especially its colors. She argues that the adoption of a special type of manuscript called pothi enabled the material translation of a private and internal experience of "seeing" into a portable device. These mobile and intimate objects then became important conveyors of many forms of knowledge—ritual, artistic, social, scientific, and religious—and spurred the spread of visual knowledge of Indic Buddhism to distant lands. By taking color as the material link between a vision and its artistic output, Garland of Visions presents a fresh approach to the history of Indian painting.
In Postcolonial Grief Jinah Kim explores the relationship of mourning to transpacific subjectivities, aesthetics, and decolonial politics since World War II. Kim argues that Asian diasporic subjectivity exists in relation to afterlives because the deaths of those killed by U.S. imperialism and militarism in the Pacific remain unresolved and unaddressed. Kim shows how primarily U.S.-based Korean and Japanese diasporic writers, artists, and filmmakers negotiate the necropolitics of Asia and how their creative refusal to heal from imperial violence may generate transformative antiracist and decolonial politics. She contests prevalent interpretations of melancholia by engaging with Frantz Fanon's and Hisaye Yamamoto's decolonial writings; uncovering the noir genre's relationship to the U.S. war in Korea; discussing the emergence of silenced colonial histories during the 1992 Los Angeles riots; and analyzing the 1996 hostage takeover of the Japanese ambassador's home in Peru. Kim highlights how the aesthetic and creative work of the Japanese and Korean diasporas offers new insights into twenty-first-century concerns surrounding the state's erasure of military violence and colonialism and the difficult work of remembering histories of war across the transpacific.
This text advances fundamental knowledge in modeling in vitro tissues/organs as an alternative to 2D cell culture and animal testing. Prior to engineering in vitro tissues/organs,the descriptions of prerequisites (from pre-processing to post-processing) in modeling in vitro tissues/organs are discussed. The most prevalent technologies that have been widely used for establishing the in vitro tissue/organ models are also described, including transwell, cell spheroids/sheets, organoids, and microfluidic-based chips. In particular, the authors focus on 3D bioprinting in vitro tissue/organ models using tissue-specific bioinks. Several representative bioprinting methods and conventional bioinks are introduced. As a bioink source, decellularized extracellular matrix (dECM) are importantly covered, including decellularization methods, evaluation methods for demonstrating successful decellularization, and material safety. Taken together, the authors delineate various application examples of 3D bioprinted in vitro tissue/organ models especially using dECM bioinks.
Abstract: The purpose of this project was to develop a proposal seeking funding to implement a Training and Redirecting Anger and Conflict (TRAC) group and evaluate its effectiveness. The TRAC groups are developed to reduce anger and conflict among at risk high school students. The project will be administered at schools in Santa Ana, California. School administration will refer at-risk adolescent students who have difficulty maintaining their studies within traditional school, are facing suspension, or expulsion from the school district due to various violations. A search for potential funding sources was made via the internet through various websites, grant database, and private and governmental opportunities, in addition to the Walmart Corporation. The actual submission and/or funding of this grant were not a requirement for the successful completion of this project.
In considering medieval illustrated Buddhist manuscripts as sacred objects of cultic innovation, Receptacle of the Sacred explores how and why the South Asian Buddhist book-cult has survived for almost two millennia to the present. A book “manuscript” should be understood as a form of sacred space: a temple in microcosm, not only imbued with divine presence but also layered with the memories of many generations of users. Jinah Kim argues that illustrating a manuscript with Buddhist imagery not only empowered it as a three-dimensional sacred object, but also made it a suitable tool for the spiritual transformation of medieval Indian practitioners. Through a detailed historical analysis of Sanskrit colophons on patronage, production, and use of illustrated manuscripts, she suggests that while Buddhism’s disappearance in eastern India was a slow and gradual process, the Buddhist book-cult played an important role in sustaining its identity. In addition, by examining the physical traces left by later Nepalese users and the contemporary ritual use of the book in Nepal, Kim shows how human agency was critical in perpetuating and intensifying the potency of a manuscript as a sacred object throughout time.
Garland of Visions explores the generative relationships between artistic intelligence and tantric vision practices in the construction and circulation of visual knowledge in medieval South Asia. Shifting away from the traditional connoisseur approach, Jinah Kim instead focuses on the materiality of painting: its mediums, its visions, and especially its colors. She argues that the adoption of a special type of manuscript called pothi enabled the material translation of a private and internal experience of "seeing" into a portable device. These mobile and intimate objects then became important conveyors of many forms of knowledge—ritual, artistic, social, scientific, and religious—and spurred the spread of visual knowledge of Indic Buddhism to distant lands. By taking color as the material link between a vision and its artistic output, Garland of Visions presents a fresh approach to the history of Indian painting.
In Postcolonial Grief Jinah Kim explores the relationship of mourning to transpacific subjectivities, aesthetics, and decolonial politics since World War II. Kim argues that Asian diasporic subjectivity exists in relation to afterlives because the deaths of those killed by U.S. imperialism and militarism in the Pacific remain unresolved and unaddressed. Kim shows how primarily U.S.-based Korean and Japanese diasporic writers, artists, and filmmakers negotiate the necropolitics of Asia and how their creative refusal to heal from imperial violence may generate transformative antiracist and decolonial politics. She contests prevalent interpretations of melancholia by engaging with Frantz Fanon's and Hisaye Yamamoto's decolonial writings; uncovering the noir genre's relationship to the U.S. war in Korea; discussing the emergence of silenced colonial histories during the 1992 Los Angeles riots; and analyzing the 1996 hostage takeover of the Japanese ambassador's home in Peru. Kim highlights how the aesthetic and creative work of the Japanese and Korean diasporas offers new insights into twenty-first-century concerns surrounding the state's erasure of military violence and colonialism and the difficult work of remembering histories of war across the transpacific.
This book introduces various 3D printing systems, biomaterials, and cells for organ printing. In view of the latest applications of several 3D printing systems, their advantages and disadvantages are also discussed. A basic understanding of the entire spectrum of organ printing provides pragmatic insight into the mechanisms, methods, and applications of this discipline. Organ printing is being applied in the tissue engineering field with the purpose of developing tissue/organ constructs for the regeneration of both hard (bone, cartilage, osteochondral) and soft tissues (heart). There are other potential application areas including tissue/organ models, disease/cancer models, and models for physiology and pathology, where in vitro 3D multicellular structures developed by organ printing are valuable.
This text advances fundamental knowledge in modeling in vitro tissues/organs as an alternative to 2D cell culture and animal testing. Prior to engineering in vitro tissues/organs,the descriptions of prerequisites (from pre-processing to post-processing) in modeling in vitro tissues/organs are discussed. The most prevalent technologies that have been widely used for establishing the in vitro tissue/organ models are also described, including transwell, cell spheroids/sheets, organoids, and microfluidic-based chips. In particular, the authors focus on 3D bioprinting in vitro tissue/organ models using tissue-specific bioinks. Several representative bioprinting methods and conventional bioinks are introduced. As a bioink source, decellularized extracellular matrix (dECM) are importantly covered, including decellularization methods, evaluation methods for demonstrating successful decellularization, and material safety. Taken together, the authors delineate various application examples of 3D bioprinted in vitro tissue/organ models especially using dECM bioinks.
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