The alternative guidelines are more effective in eliminating microbial contamination from lens cases than that of the current manufacturer's guideline. Simply incorporating rubbing and tissue-wiping steps in daily case hygiene reduces viable organism contamination.
During the fall of 1992, we were engaged in a project at Lehigh University, Bethlehem, PA, to develop interactive video materials for use in upper‐level Russian language courses. Over the course of the semester, we worked together, as language teacher and instructional designer, on a pilot computer software program that uses Russian film clips on video laserdisc to improve writing and speaking skills and stimulate students' critical thinking. The program encourages collaborative effort by allowing students to access and comment upon the written responses of their peers. The program also provides for the creation of listening exercises, and students may record, review, and file their oral responses as voice files. The program, entitled “The Critic's Corner,” was used with a small group of students during the spring of 1993. This report of our development efforts includes examples and discussion of student critiques.
This essay argues for a radical reassessment of Moscow Conceptualism to incorporate the underappreciated Nest, the group of artists Gennady Donskoy, Mikhail Roshal, and Victor Skersis active in Moscow from 1974 to 1979. The Nest's emphasis on models of shared artistic investigation, audience autonomy, and unconstructed aesthetic response helped reshape Moscow Conceptualism in the late 1970s and early 1980s, making their experience essential to understanding both the era and the works of particular artists they influenced, including Yuri Albert, Vadim Zakharov, Nadezhda Stolpovskaya, and others. The Nest's focus on alternative media and new genres, particularly on unstructured performative works, helped transform Moscow's unofficial art world, freeing it from lingering insularity and modernist conventions.
The most important Russian artistic movement of the end of the twentieth century, Moscow conceptualism has been described as sectarian, esoteric, and self-absorbed, with an affinity for substituting longwinded commentaries for visual images. Such definitions, while compelling for some participants in the movement, fail to describe adequately the work of a number of unofficial Moscow artists from the late Soviet period, particularly the so-called second generation of conceptualists. This is partly the result of a critical tendency to misconstrue the role words actually play in the work of second-generation artists and to conflate their use of painted text with that of other Moscow conceptualists. Closer attention to the kinds of texts these artists include in their pictorial creation and their intent in doing so suggests that they represent a significant but understudied development in this still misunderstood group.
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