Search results for: E. Gilmore

Authors: W. Thepsuwan, N. Monmaturapoj

Abstract:

Calcium phosphate cements (CPCs) is one of the most attractive bioceramics due to its moldable and shape ability to fill complicated bony cavities or small dental defect positions. In this study, CPCs were produced by using mixtures of tetracalcium phosphate (TTCP, Ca4O(PO4)2) and dicalcium phosphate anhydrous (DCPA, CaHPO4) in equimolar ratio (1/1) with aqueous solutions of acetic acid (C2H4O2) and disodium hydrogen phosphate dehydrate (Na2HPO4.2H2O) in combination with sodium alginate in order to improve theirs moldable characteristic. The concentrations of the aqueous solutions and sodium alginate were varied to investigate the effects of different aqueous solution and alginate on properties of the cements. The cement paste was prepared by mixing cement powder (P) with aqueous solution (L) in a P/L ratio of 1.0 g/ 0.35 ml. X-ray diffraction (XRD) was used to analyses phase formation of the cements. Setting times and compressive strength of the set CPCs were measured using the Gilmore apparatus and Universal testing machine, respectively. The results showed that CPCs could be produced by using both basic (Na2HPO4.2H2O) and acidic (C2H4O2) solutions. XRD results show the precipitation of hydroxyapatite in all cement samples. No change in phase formation among cements using difference concentrations of Na2HPO4.2H2O solutions. With increasing concentration of acidic solutions, samples obtained less hydroxyapatite with a high dicalcium phosphate dehydrate leaded to a shorter setting time. Samples with sodium alginate exhibited higher crystallization of hydroxyapatite than that of without alginate as a result of shorten setting time in basic solution but a longer setting time in acidic solution. The stronger cement was attained from samples using acidic solution with sodium alginate; however it was lower than using the basic solution.

Keywords: calcium phosphate cements, TTCP, DCPA, hydroxyapatite, properties

Procedia PDF Downloads 357

Authors: Marta Merkl

Abstract:

The ongoing project what the paper will present is about how the author introduces chefs to the history of art through a selected piece of art. The author is originally an art historian, but since 2019 she has been working on her PhD research topic related to designing dining experiences in the restaurant context, including the role of sensory experiences and storytelling. Due to a scholarship, she can participate in the re-design of a fine dining restaurant called Onyx in Budapest, which was awarded two Michelin stars before the pandemic caused by COVID-19. The management of the restaurant wants to broaden the chefs' horizons and develop their creativity by introducing them to each chapter of the visual arts. There is a kind of polyphony in the mass of information about what should a chef, a food designer, or anybody who make food in everyday basis use as a source of inspiration for inventing and preparing new dishes: nostalgia, raw material, cookbooks, etc. In today's world of fine dining, nature is the main inspiration for outstanding achievements, as exemplified by the Slovenian restaurant Hiša Franko** and its chef Ana Roš. The starting point for the project and the research was the idea of using art history as an inspiration for gastronomy. The research relies on data collection via interviews, ethnography, and autoethnography. In this case, the reflective introspection of the researcher is also relevant because the researcher is an important part of the process (GOULD, 1995). The paper overviews the findings of the autoethnography literature relevant to our topic. In the literature review, it will be also pointed out that sustainability, eating as an experience, and the world of art can be linked. As ERDMANN and co-authors (1999) argues that the health dimension of sustainability has a component called 'joy of eating,' which implies strong ties to the experiential nature of eating. Therefore, it is worth to compare with PINE and GILMORE's (1998) theory of experience economy and with CSÍKSZENTMIHÁLYI's (1999) concept of flow, which give examples of gastronomy and art. The aim of the research is to map experiences of the pilot project, the discourse between the art world and the gastronomy actors. Another noteworthy aspect is whether the chefs are willing to use art history as an inspiration.

Keywords: art history, autoethnography, chef, education, experience, food preparation, inspiration, sustainability

Procedia PDF Downloads 119

Authors: Marike Venter de Villiers, Alicia Kruger

Abstract:

The rapid development of the Internet has facilitated the proliferation of online stores. It has, therefore, become a pertinent issue for online retailers to provide the ultimate experience to customers in an attempt to maintain market share in this competitive landscape. Experiential marketing refers to the sensory dimensions that consumers experience when being faced with a purchase decision, such as getting them to sense, feel, think, act, and relate. The goal of experiential marketing is to provide a holistic experience for customers that allow them to engage in an activity where they may be motivated to purchase the concept behind the product. Creating a unique online experience holds several benefits to brands such as increased customer satisfaction, increased revisit intention, and higher levels of customer loyalty. Although several studies have explored the topic of experiential marketing in an online context, a lack of research exists on South African consumers, an emerging economy that is often overlooked globally. More specifically, the present study focused on professional females and their perceptions of experiential marketing when shopping for fashion products online. The main purpose of this study was to investigate the experiential factors that influence the online purchase intention of fashion products among female professionals. Furthermore, this study aimed to achieve the following objectives: firstly, to gain insight into key website characteristics that consumers value when shopping online for fashion products; secondly, to apply Pine and Gilmore’s (1989) Four Realms of an Experience (entertainment, education, esthetics, and escapism) to ground the study; and thirdly, to gain in-depth insight into the importance of these dimensions and identifying sub-categories that fashion marketers can use to enhance consumers’ online experience. By means of a qualitative study, a focus group was conducted comprising six professional females by using semi-structured questions. Respondents were selected using convenience sampling, and the results were analyzed using thematic analysis. The present research suggests that three of the four realms of experience influence purchase intention of fashion products online, namely, escapism, esthetics, and education. The fourth dimension, pleasure, was present but to a lesser degree. In other words, ‘escapism’ provides online shoppers with a sense of emotional and intellectual pleasure, while ‘esthetics’ refers to the website design, functionality, and product range, and ‘education’ comprises the product information such as the quality, fabric, price and available sizes. The findings of this study provide fashion marketers with insight into how they can maximize on experiential marketing when selling fashion products online. It further provides strategies and techniques for creating an enhanced online experience that ultimately may lead to increased purchase intention.

Keywords: experiential marketing, fashion, online, retail

Procedia PDF Downloads 104