Background & Aim: Excessive occupational noise exposure is a major cause of hearing impairment in workers in industrial settings. Textile industry with different machines is considered as a noise producer industry. Material & Methods: In this study, sound analyzing and measurement performed for spinning and Weaving machines used in a Textile plant in the city of Semnan (1997). All noise-exposed workers with at least 5 years work record, as the test group (n=70) completed audiometry and their results compared with non-exposed administrative personnel (n=30).Results: The results showed that average sound level of all spinning and Weaving machines were higher than 85 dBA, except for two cotton beating machines. Weaving machines had higher sound pressure level than spinning machines in all octave bands (63-8000 Hz). Sensory hearing loss was more prevalent in the test group in spite of less mean age and work record than control group. Only 20% of the workers sometimes used earplugs as Hearing Protection Device (HPD).Conclusion: Based on this study and previous researches, it is concluded that gross occupational noise exposure is a common and serious problem in industrial mills in Iran.

As an original and traditional art in the Qajar era, the art of Textile Weaving has been of high importance. The book "The Art of Textile Weaving of the Qajar Era", written by Zohreh Rouhfar, addresses this art. The book has been published by Armanshahr Publications in 2012. Therefore, the present paper deals with the content and formal critique of the book. With an analytical view in her book, the author introduces different types of Textiles of the Qajar era and mentions their characteristic features by classifying the fabrics. According to the content critique and analysis made by this paper, it is shown that the author adopts an analytical view in describing the works based on primary sources. Moreover, her academic approach to the systematic classification of different types of Textiles makes the book a reliable research source in the field of art of the Textile design industry. However, ignorance of some headlines and failure to provide sufficient documentation and persuasive analysis can be considered as the weaknesses of the book. Finally, weaknesses of the book, such as the lack of visual resources, the inclusion of black and white images at the end of the book, and flaws in the layout and editing of the content are discussed in the section on formal analysis and critique.

Qashqai tribe is from the southern states of the country that the main profession of livestock and their women to be engaged in Weaving. Depending on their nomadic life, some container Weaving such as “ mafrash” (bedding bag), saddlebag, “ chante” (small bag), “ joval” (storing sack), “ tobre” (bag), “ gashiglig” (bag for spoon) and “ duzlug” (bag for salt) are woven by them. Among these Weavings, mafrash is a biggest in which only three-dimensional woven kilim, jajim and bedspreads can be placed. All used motifs are geometric and abstract. In terms of design composition; horizontal panel and diagonal can be seen. Mafrash is woven with “ supplementary alternative weft” technique. Regarding heddling and Weaving; they are divided into two groups that so called “ new technique and old technique” . Research method is descriptive. The data obtained through library and field research visits to Shiraz, Firoozabad, Farashband tribes and villages. The results of the field research are based on a survey of 45 pieces; 5 pieces from Shiraz, 7 pieces from Firoozabad nomads, 5 pieces from Farashband nomads, 20 pieces from Firoozabad, 6 pieces from Jahadabad, 2 pieces from morjshahrak are researched and analyzed.

Strengthen of Safavid dynasty by kings like Shah Abbas cause the political alliance, trade boom, and road safety. Craft industries were developed in the early eleventh century. Along with support of fabric Textiles by kings and increasing producers, this industry gradually reached to its peak on Iran history. Yazd history in the knitting high quality fabrics returns to the early of Islam, and since patriarch period its name was known besides several major cloth Weaving center. Yazd reached to a position so that officer named Kerk Yaraqi was responsible for market requirements fabrics. Central government support of Textile workshops Stimulate employment in the Textile industry and a prominent designer such as Ghiyasoddin Yazdi emerged. He moved to Isfahan and became chief of the Royal Workshops. He was known as the most prominent fabric designer in Textile history of Iran. In Safavid era, two technical initiatives occurred in designing and Weaving tuple and velvet fabric, which Ghiyathoddin was highly skilled in both of them.

In the art of this country, design of Textiles has rarely been the main focus of the society. Due to dramatic growth in imported overseas designs, elegant and well-born designs of our ancestors are disappearing. A main reason for this phenomenon can be the misconceptions and lack of knowledge about the great value of these designs. This research introduce the mentioned designs as well as their historic roots and also expresses how these designs have changed, remained or even disappeared through the ages. The main purpose of this fundamental - applied research is development of authentic art and culture of Persia in designs of Textile and their usage in modern artistic phenomenon. Furthermore this research tries to gain comprehensive information on ancestors' design of Textiles and believes that by a link through culture and art of the ancient Persia it is possible to renew old historic designs.In addition by understanding and presenting these designs we can pass through the ages.

It has been stated that near work can cause myopia progression1-3 and carpet Weaving is included in that frame of work. Carpet Weaving is a meticulous and very fine handwork which is performed from a very near distance for hours and hours each day and for many years in life-time. A precise visual attention and concentration is needed in this job.

Cone snails of the genus Conus are one of the most toxic species of carnivorous marine invertebrates in tropical and subtropical areas. They are highly regarded, due to their medicinal compounds, which derived from their toxins. In order to examine the venom apparatus structure, 12 specimens of C. Textile were collected from the coastal zone of Gheshm Island and then they fixed in Bouin's for 48 hours and transferred to laboratory in ethanol. After breaking of shellfish, the venom apparatus were isolated and their different parts (after molding and cutting) were stained by HE and HEG and photographed by Nikon microscope. The stereomicroscope observation showed that the venom apparatus was included: (1) toxin production part (venom duct), (2) toxin transmission part (venom bulb), and (3) injection part (radula and proposcis). Photographs of sections showed that the venom bulb was completely muscular, consisting of longitudinal and transverse muscle fibers, and in their middle part a channel with epithelial cells was observed. Venom duct walls composed of 3 parts including the outer layer of muscle an inner layer of columnar epithelial cells with basal nucleus and the inner lumens which filled by the granules.HEG stained slides showed a much sharper cytoplasmic and nuclear implementation, particularly granules containing toxins were easily countable and measurable. Although the conventional HE staining method clearly showed different parts of the gland, but HEG method in addition to distinguishing different sections of tissue, seemed to be a suitable technique for studying the role of different parts of the organ in producing conotoxin in the form of secretory granules.

Pottery and Textile Weaving were two art media during the Seljuk and Ilkhanid periods, which one or sometimes both were considered important according to circumstances. Numerous studies have been carried out on pottery and Weaving in the Seljuk period, and in some cases the evidence left over from that time has been reviewed in a comparative method to determine to some extent how these works were influenced by other fields. In some cases, evidence suggests that artists modeled on designs used in other industries, and they embellished their work on this basis. The present study has been done by using a comparative-historical methodology and the information gathered from library sources and by referring to related data, as well as a visual study of the Seljuk pottery and a sample of brocade Textile from the Ilkhanid period preserved in the David Collection, Denmark. This Textile is similar in terms of form, pattern, color and geometric divisions to the mina’ i ware and luster-glazed bowls produced in Kashan. This study examines such interactions by thoroughly examining the patterns and similarities of the mentioned Textile sample and pottery of the Seljuk period. It is to answer the following question: Which of the arts of pottery and Weaving has had more influence on the other? There are some examples regarding the effect of Textile patterns on pottery, especially in the early Islamic period, but in later centuries, pottery reached such a great place and independence that affected Textiles; and its patterns and structure inspired the art of Weaving. The results of this study show that with regard to the color of the Ilkhanid Textile, the weaver had used gold and silver threads, i. e. brocade, to perform and manifest the beauty of luster-glazed pottery on the fabric. In observing the geometric divisions and in the general composition of the designs, the work has also been executed like pottery. It seems that the form and structure of this Textile, which is circular, is taken from that of pottery medium. Using circular composition and concentric circles, as well as emphasizing on the middle section, which according to the type of the characterization and other elements of the work represents the narrative state of a particular subject, this work sounds fairly similar to the mina’ i and luster-glazed ceramic plates once created by the Seljuk artisans. Inscriptions of invocation and those of good wishes were used in that time on ceramic ware, and in this piece of Textile such inscriptions are used on the last outward section of the work. Furthermore, the presence of mythical animals such as sphinxes among other creatures and the lush nature with fish ponds are elements often depicted in the Seljuk pottery. The assertion of such influence from pottery ware is not accidental and it seems that Seljuk pottery had been a good source of inspiration for this Textile. On the whole, the general composition and use of usual patterns in luster-glazed and mina’ i pottery has caused a successful adaptation in the design of the mentioned Textile. Other examples of this field are less considered by researchers and should be further studied.

Calibration is a conventional method which is utilized to adapt traffic models based on local situations in order to achieve best results. One of the issues regarding the efficiency of this method is whether traffic models should be calibrated only in one or two major cities of a country or calibrated based upon a comprehensive selection of cities. Therefore, this study, which has used the actual speeds, attempts to evaluate the performance of the Weaving model that was proposed in the fifth edition of Highway Capacity Manual (HCM 2010) and its calibrated model, which was calibrated in Tehran highways. In this regard, adequate field-data were collected on a ramp-Weaving segment in Isfahan. The procedure was of 9 fifteen-minute time steps of recording at different hours of a working day. The analysis results indicated poor and app. ropriate performances by the HCM 2010 model in estimating speeds of non-Weaving and Weaving vehicles, respectively, for which the RMSE (Root Mean Square Error) values were obtained as 16. 34 km/h and 2. 11 km/h, respectively. Moreover, not only was the calibrated model unable to improve the performance of the original model, but also it affected the original model negatively and caused a larger difference in the model output compared to the actual values. Hence, calibrated models based on metropolises such as Tehran may not necessarily be app. lied to other cities and may lead to unrealistic results. This reflect the fact that traffic patterns in two cities of one country may be highly dissimilar.