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386 results for “War”
What's left after war
Source: Objaverse 1.0 / Sketchfab
Great War Memorial - John Weir Foote Armoury
Captured Winter 2020 at https://w3w.co/rattled.puns.craters Created with Polycam Source: Objaverse 1.0 / Sketchfab
Tombstone (First World War)
52.56619, 23.6093 Source: Objaverse 1.0 / Sketchfab
Southborough War Memorial
Source: Objaverse 1.0 / Sketchfab
Morrigan War Ship
Under Process Open for any suggestion. Source: Objaverse 1.0 / Sketchfab
Ser Versta from The Asterisk War (Low Poly)
This is the sword from Ayato Amagiri. This Model may be a little bit broken, because this is one of my first models from a year ago. **I do not own any rights for Asteriks War. This is just fanart** Source: Objaverse 1.0 / Sketchfab
Medieval war
Medieval City on war siege Source: Objaverse 1.0 / Sketchfab
Greek soldiers in Korean war Monument, 2014
Source: Objaverse 1.0 / Sketchfab
Investigate Olfactory Functioning as a Possible Proxy for Neurotoxic Exposure in Cohorts of Deployed and Non-Deployed Gulf War-Era Veterans.
ClinicalTrials.gov study NCT00007514. IPD Sharing: Not stated. Countries: 1. Publications: 0.
Randomized Controlled Trial of the Effectiveness of Group Treatment With War-Exposed Bosnian Adolescents
ClinicalTrials.gov study NCT00480480. IPD Sharing: Not stated. Countries: 0. Publications: 0.
Follow-up of Psychological and Neurocognitive Gulf War Outcome: Relation to Stress
ClinicalTrials.gov study NCT00018707. IPD Sharing: Not stated. Countries: 1. Publications: 0.
Electrosurgery Wars;Ligasure or Enseal in Total Laparoscopic Hysterectomy
ClinicalTrials.gov study NCT03433209. IPD Sharing: Not stated. Countries: 0. Publications: 0.
CHARITY OF THE RUSSIAN ORTHODOX CHURCH DURING THE RUSSO-TURKISH WAR (1877-1878)
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Sex-specific transcriptional differences in Gulf War Illness patients under stressful conditions
GEO Series GSE286345. Homo sapiens. 242 samples. Type: Expression profiling by high throughput sequencing.
Unraveling Single-Cell Regulatory Networks in iPSC-Derived Neurons from Veterans with Gulf War Illness
GEO Series GSE303735. Homo sapiens. 2 samples. Type: Expression profiling by high throughput sequencing.
10M anonymized Twitter human and bot profiles correlated with 2022 Russo-Ukrainian War discussion.
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Methane War against War Methane: the Russia-Ukraine War Releases Vast, Hidden Methane
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Methane War against War Methane: the Russia-Ukraine War Releases Vast, Hidden Methane
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DFG Project Taming War - Visitor Interview Transcripts Tin Figure Museum Goslar
<p>With a plethora of commemorative services, performances and exhibitions the centennial of the First World War found its end, but the effects on the museum landscape remain: a renewed interest in military history produced new strategies of display that aim on establishing military history museums as an environment where the human condition and current geopolitical developments can be discussed. Central to these developments is the literal scale of war: the museum diorama has a surprising comeback. Instead of attempting the impossible - to recreate experiences of war - dioramas are used in combination with new technologies and large-scale exhibits to create affective experiential spaces that promote discussion and contemplation of war and violence. At the same time these museums are under constant political pressure and can implement new display strategies only slowly and over a long time due to financial constraints.</p> <p>Nevertheless, it is not well understood how visitors perceive these new strategies of display that employ the updated diorama in combination with large scale exhibits and new technology such as augmented reality. In addition, the motivation and role of curators, modelers and other actors in these developments is largely unknown. Accordingly, it is impossible to say if these new strategies of display are successful without further enquiry. There is always the danger that visitors and curators alike slip back into traditional perceptions and modes of display that simply see the diorama as a pseudo-realistic reconstruction of war experiences.</p> <p>The project wants to elucidate these aspects through qualitative visitor interviews that focus on the perception, effect and affective potential of this new form of exhibiting war. At the same time interviews with curators, designers and modelers are an important aspect of this international research project that spans three countries (England, New Zealand and Germany) and ten museums, ranging from small local institutions to large national museum. All of them use dioramas, miniatures and large-scale exhibits in their displays. Few studies of military history museums make use of such an approach that combines qualitative narrative interviews with different museum actors, a gap this project wants to address.</p> <p>Contrary to comparable studies the project not only relies on conventional interviewing techniques such as narrative face-to-face interviews or focus groups, but also embraces non-verbal interviewing techniques such as Personal Meaning Maps, participatory professional wargames and Lego Serious Play sessions to supplement and expand methodologies of museum visitor research. This approach engenders a deeper understanding of the musealization of war and its effects on visitors as well as the actors behind the scenes.</p> <p>----------</p> <p>This data set is part of a pilot interview campaign that took place in 2018 in preparation for the DFG project. The interviews are semi-structured, but emphasise a narrative approach, with the aim to explore a variety of topics and visitor reactions.</p>
DFG Project Taming War - Visitor Interview Transcript Museum Geschichte in Miniaturen e. V. Hann. Münden
<p>With a plethora of commemorative services, performances and exhibitions the centennial of the First World War found its end, but the effects on the museum landscape remain: a renewed interest in military history produced new strategies of display that aim on establishing military history museums as an environment where the human condition and current geopolitical developments can be discussed. Central to these developments is the literal scale of war: the museum diorama has a surprising comeback. Instead of attempting the impossible - to recreate experiences of war - dioramas are used in combination with new technologies and large-scale exhibits to create affective experiential spaces that promote discussion and contemplation of war and violence. At the same time these museums are under constant political pressure and can implement new display strategies only slowly and over a long time due to financial constraints.</p> <p>Nevertheless, it is not well understood how visitors perceive these new strategies of display that employ the updated diorama in combination with large scale exhibits and new technology such as augmented reality. In addition, the motivation and role of curators, modelers and other actors in these developments is largely unknown. Accordingly, it is impossible to say if these new strategies of display are successful without further enquiry. There is always the danger that visitors and curators alike slip back into traditional perceptions and modes of display that simply see the diorama as a pseudo-realistic reconstruction of war experiences.</p> <p>The project wants to elucidate these aspects through qualitative visitor interviews that focus on the perception, effect and affective potential of this new form of exhibiting war. At the same time interviews with curators, designers and modelers are an important aspect of this international research project that spans three countries (England, New Zealand and Germany) and ten museums, ranging from small local institutions to large national museum. All of them use dioramas, miniatures and large-scale exhibits in their displays. Few studies of military history museums make use of such an approach that combines qualitative narrative interviews with different museum actors, a gap this project wants to address.</p> <p>Contrary to comparable studies the project not only relies on conventional interviewing techniques such as narrative face-to-face interviews or focus groups, but also embraces non-verbal interviewing techniques such as Personal Meaning Maps, participatory professional wargames and Lego Serious Play sessions to supplement and expand methodologies of museum visitor research. This approach engenders a deeper understanding of the musealization of war and its effects on visitors as well as the actors behind the scenes.</p> <p>----------</p> <p>This data set is part of a pilot interview campaign that took place in 2018 in preparation for the DFG project. The interviews are semi-structured, but emphasise a narrative approach, with the aim to explore a variety of topics and visitor reactions.</p>
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Allen Brain Atlas
Allen Brain Atlas is an Allen Institute collection of brain map atlases, datasets, APIs, and analysis tools covering mouse, human, and non-human primate brain resources.
Annotated Behaviour and Observability Dataset (ABODe)
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DANDI Archive for NWB datasets
DANDI is a BRAIN Initiative archive for publishing and sharing neurophysiology data, including electrophysiology, optophysiology, and behavioral data packaged as NWB and related standards.
International Brain Laboratory public data
The International Brain Laboratory public data releases expose standardized mouse decision-making experiments, including Neuropixels recordings, widefield calcium imaging, behavior, and session metadata accessed through the ONE API.
OpenNeuro
OpenNeuro is a free, open platform for sharing neuroimaging datasets, with public search, dataset pages, and download paths for web, S3, DataLad, and the OpenNeuro CLI.