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Violeta Parra's visual art is characterized by the integration of the popular Chilean artist's craftsmanship, her field research, the role of women, poverty and injustice, as well as the use of everyday and modern art materials. Today, fifty years after her passing, Parra's creations are still being debated on the grounds of a solid narrative that supports the current socio-political discussion of the Chilean and Latin American scenario, for which she has earned a fundamental place in the collective memory. “Justice” (1964, 149.5 × 109.5 cm) is an oil painting on burlap canvas from the collection of the “Museo Violeta Parra” (Violeta Parra Museum). For the first time, the recent conservation treatment of the painting has allowed the development of a scientific multi-analytical approach. This research aimed to study the color palette and understand the studio practice used by the artist in the creation of the oil painting. The scientific strategy included visual documentation, canvas characterization, noninvasive portable X-ray fluorescence spectroscopy (pXRF) to determine elemental composition, and vibrational spectroscopy analysis to identify pigments. In addition, a stratigraphic study was conducted to understand the painting technique used by Parra. However, due to the rich elemental composition found in the blue areas, consistent with the predominance of this color in the composition of the painting, a chemometric analysis was performed that allowed the identification of five characteristic elements: iron (Fe), cobalt (Co), manganese (Mn), chromium (Cr) and copper (Cu). By using Raman spectrometry and attenuated total reflectance Fourier transform infrared spectroscopy (ATR-FTIR) analysis, the blue pigments were later identified as ultramarine blue, copper phthalocyanine blue, anthraquinone blue, and manganese blue. In contrast, no specific pigments could be identified to explain the systematic appearance of cobalt and iron. Since commercial production of manganese blue was limited to a narrow time frame, its identification could be further used as a marker for Parra's color palette. Furthermore, the findings of the stratigraphic study showed that the artist made an overall application of a white ground layer, used a block distribution of underlying colors, and suggested the application of a varnish. Results correlated with previous documentation about Parra paying close attention to the facial expressions of the figures in her oil paintings, which is consistent with the application of multiple pictorial layers using a wet-on-wet painting technique. Due to the lack of evidence or studies on the subject, this research represents the first scientific milestone on the studio practice and use of materials in Parra's visual artwork.

The easy way to get a grip on inorganic chemistry Inorganic chemistry can be an intimidating subject, but it doesn't have to be! Whether you're currently enrolled in an inorganic chemistry class or you have a background in chemistry and want to expand your knowledge, Inorganic Chemistry For Dummies is the approachable, hands-on guide you can trust for fast, easy learning. Inorganic Chemistry For Dummies features a thorough introduction to the study of the synthesis and behavior of inorganic and organometallic compounds. In plain English, it explains the principles of inorganic chemistry and includes worked-out problems to enhance your understanding of the key theories and concepts of the field.

\"From the structure of the cosmos to that of the human body, the discoveries of science over the past few hundred years have been remarkable. Sciencia spans the realms of mathematics, physics, chemistry, biology, and astronomy, offering an invaluable introduction to each. Curious about quarks, quasars, and the fantastic universe around you? Ever wanted to explore a mathematical proof? Need an introduction to biochemistry? Beautifully illustrated with engravings, woodcuts, and original drawings and diagrams, Sciencia will inspire inquisitive readers of all ages to appreciate the interconnected knowledge of the modern sciences\"--Page 4 of cover.

Humanity's ongoing quest to unlock the secrets of dark matter and dark energyHeart of Darkness describes the incredible saga of humankind's quest to unravel the deepest secrets of the universe. Over the past thirty years, scientists have learned that two little-understood components—dark matter and dark energy—comprise most of the known cosmos, explain the growth of all cosmic structure and hold the key to the universe's fate. The story of how evidence for the so-called \"Lambda-Cold Dark Matter\" model of cosmology has been gathered by generations of scientists throughout the world is told here by one of the pioneers of the field, Jeremiah Ostriker, and his coauthor Simon Mitton.From humankind's early attempts to comprehend Earth's place in the solar system, to astronomers' exploration of the Milky Way galaxy and the realm of the nebulae beyond, to the detection of the primordial fluctuations of energy from which all subsequent structure developed, this book explains the physics and the history of how the current model of our universe arose and has passed every test hurled at it by the skeptics. Throughout this rich story, an essential theme is emphasized: how three aspects of rational inquiry—the application of direct measurement and observation, the introduction of mathematical modeling, and the requirement that hypotheses should be testable and verifiable—guide scientific progress and underpin our modern cosmological paradigm.This monumental puzzle is far from complete, however, as scientists confront the mysteries of the ultimate causes of cosmic structure formation and the real nature and origin of dark matter and dark energy.

THE IMMIGRANT from central Europe newly arrived in Canada has but a limited choice of works. Handicapped by language, at times, by prejudices, and usually without funds, he is fitted only for the heavier manual tasks. The bush camps, the mines, and the railway extra-gangs during the milder months, as well as camps on new construction, offer the most probable forms of employment, until he has become better accustomed to the country. But even in these occupations there are many forms of work, which from the very nature of the tasks are closed to the newcomer. It is intended in

The logger who worked in the heavy timber has been almost forgotten in Minnesota. He represents a phase of frontier life which can never return. This industrial pioneer lived in the deep forest where his life was simple, even elemental; his clothes were rough, often a strange combination of store clothes and fringed buckskins. His manner was rough too, though most often there was a “heart in him.” Logging called for strong, daredevil men; there was no place in it for either invalids or shirkers — they were “shown the tote road.” The man in the woods was usually strong and