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    <title>Transport Research International Documentation (TRID)</title>
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    <copyright>Copyright © 2026. National Academy of Sciences. All rights reserved.</copyright>
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    <managingEditor>tris-trb@nas.edu (Bill McLeod)</managingEditor>
    <webMaster>tris-trb@nas.edu (Bill McLeod)</webMaster>
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      <title>Transport Research International Documentation (TRID)</title>
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      <title>Interpretation of the Image of the Railway in the Painting in Europe and North America</title>
      <link>https://trid.trb.org/View/2408094</link>
      <description><![CDATA[The paper analyzes the formation and development of the image of the railway in European and North American painting. The use of a combination of art and cultural methods, the use of extensive empirical material allowed drawing conclusions about the peculiarities of the interpretation of this image in the works of artists of the XIX-XX centuries. The artistic image of the railway began to form already in the 1830s, i.e. since the inception of the railway. During the XIX century. European and American artists created a large number of landscapes in which the railway was harmoniously included in the surrounding natural space, not contradicting, but complementing it. However, almost at the same time, another line appeared – the image of the railway as opposed to the natural landscape and the usual human life. In the painting of modernism, the image of the railway is filled with mystical, religious meanings, it becomes an independent space, different from the real one. The theme of the relationship between the railway and man is also reflected in the paintings of a number of authors. Numerous images of stations, railway platforms, carriages show how society gradually mastered the railway space, adapting to this type of transport. The train itself was also of interest to painters. This technical object is undoubtedly aesthetically beautiful, effective, which the artists convey in their works, demonstrating admiration for the great invention of mankind.]]></description>
      <pubDate>Fri, 21 Mar 2025 16:02:42 GMT</pubDate>
      <guid>https://trid.trb.org/View/2408094</guid>
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      <title>Philosophical and Artistic Image of the Railway in Russian Culture</title>
      <link>https://trid.trb.org/View/2408088</link>
      <description><![CDATA[Philosophical and artistic comprehension is considered as one of the ways of cognitive mastering of reality. The key features of philosophical and artistic thinking are recognized as axiologiness, establishing the value content of an object and creating opportunities for its use also as a symbol of certain values. It is shown how the axiological and symbolic components of the image of the road in Russian culture have changed. Initially, this image was ambivalent, since the mythological concept of the road included both the idea of a path, movement, change, and the idea of danger, risk, exit into another being. Transformed into the image of the railway, initially it received a predominantly negative development, since the railway was presented as a direct expression and symbol of technocratism, opposed to humanistic guidelines. In the Soviet period, the railway received a rethinking as a symbol of technical progress transforming the entire social reality, which objectively loaded its image with both positive and negative connotations. But in real historical conditions, this led to a noticeable positive shift in the content of the image. In the postmodern era, the symbolic meaning of the railway as a sphere of objectified order, organization, and stability comes to the fore.]]></description>
      <pubDate>Fri, 21 Mar 2025 16:02:27 GMT</pubDate>
      <guid>https://trid.trb.org/View/2408088</guid>
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      <title>Acoustic Meanings in Media Arts</title>
      <link>https://trid.trb.org/View/1831570</link>
      <description><![CDATA[The modern approach that divides art and science ignores that they both have in common the pursuit of knowledge. The work of great artists and thinkers of all times has been influenced by the study of physical phenomena perception, on the ground that to achieve a more accurate comprehension of an aesthetic event, it is necessary to go beyond the receiving subject and ponder on the artist too. When a stimulus is perceived through the senses, a reconstruction takes place in the consciousness that allows its perception as a coherent wholeness; an acoustic stimulation generates a sensation that reveals the aesthetic sense and sets aside objective registers to give way to the symbolism of sound. The reasoning and logical rigor of acoustics as an exact science finds a connection point with pure expression that includes technology as a fruitful field of art.]]></description>
      <pubDate>Mon, 18 Apr 2022 17:04:41 GMT</pubDate>
      <guid>https://trid.trb.org/View/1831570</guid>
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      <title>The Quest for Creative Industries: A Multilevel National Study of the Impacts of Urban Form on the Geography of Creative Industries</title>
      <link>https://trid.trb.org/View/1595394</link>
      <description><![CDATA[Creative industries have gained increasing attention in light of the cultural economy as viable magnets for local and regional economic development. Policy makers thus would benefit from attracting creative industries as potential economic boosters. However, it is hard to target such catalyst industries without better knowledge of the urban form conditions that may influence the location preference of these industries; do creative industries favor compact, pedestrian-friendly neighborhoods with transit accessibility to employment? This paper, as one of the first national studies, answers this question using a multilevel modeling approach to control for the socioeconomic and built environment characteristics at both local and regional levels. Factor analysis is used to define a Creative Score, which captures the geography of creative industries using the number of creative firms, employment, the percentage of creative firms, and a creative employment location quotient. The compactness/sprawl index is used at both census tract and metropolitan levels as a proxy for urban form. Accounting for the socioeconomic factors, the findings suggest that, at the neighborhood level, the compactness index is significantly and positively associated with the Creative Score. Every 10% increase in compactness score results in a 0.3% increase in Creative Score at the census tract level. This is partly because compact neighborhoods provide creative industries with a stronger consumer base as a reliable source of development. Compact urban form also serves agglomeration economies by facilitating knowledge exchange, reducing travel time and costs, and giving greater accessibility to destinations by transit.]]></description>
      <pubDate>Mon, 22 Apr 2019 16:06:18 GMT</pubDate>
      <guid>https://trid.trb.org/View/1595394</guid>
    </item>
    <item>
      <title>Traffic Accidents Don't Just Happen: They're Caused</title>
      <link>https://trid.trb.org/View/1106580</link>
      <description><![CDATA[One neglected area of traffic safety research is linking engineering with graphic arts and psychology to improve what road users perceive and how they react.  The author argues that camouflage, optical illusions, misleading visual cues and ill-placed signs contribute to many accidents.  He suggests that drivers should instead use their innate pattern recognition abilities rather than signs and pavement markings for vehicle guidance. Several European cities have successfully implemented this idea of “naked streets,” in which traffic lights and road signs are eliminated.  Accidents have been reduced in these areas, since drivers are forced to pay attention and be cautious rather than relying on fabricated cues.  If standard road markings and signs are used, they should be implemented in such a way that they are highly visible and that the visual cues do not mislead drivers.]]></description>
      <pubDate>Wed, 20 Jul 2011 07:23:47 GMT</pubDate>
      <guid>https://trid.trb.org/View/1106580</guid>
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      <title>Raleigh’s Art-on-the-Move Program: Leveraging an Existing Program, Building Interagency Partnerships, and Coping with Local Regulatory Constraints</title>
      <link>https://trid.trb.org/View/909346</link>
      <description><![CDATA[Public art programs provide venues for artists to present their work and build awareness of the arts in general in a community. Combining public art with public transit can provide symbiotic benefits to the local arts community and to the transit agency: installations connected with public transit can be delivered to a broad cross-section of the community while the artwork can play a role in improving the visibility and image of a transit agency and of transit more generally. While the cost, complexity, and space requirements for a large-scale public art program may be out of reach for many cities and smaller transit agencies, there are alternative strategies that can effectively accomplish many of the aims of the transit agency and the arts community. This paper presents a case study of the Art-On-The-Move program in Raleigh, North Carolina. Art-On-The-Move is a partnership between the city bus transit provider, Capital Area Transit System (CATS), and the city arts office, the Raleigh Arts Commission. Established in 2007, the program displays original artwork by local artists as vinyl wraps on city buses. The case study demonstrates how a transit agency can leverage an existing bus advertising program to establish a public art in transit program, despite strict local and state regulations. It also provides an example of interagency working relationships that can lay a foundation for an expanded public art-in-transit program in the future.]]></description>
      <pubDate>Fri, 16 Apr 2010 11:52:12 GMT</pubDate>
      <guid>https://trid.trb.org/View/909346</guid>
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    <item>
      <title>Art in Transportation: Multimodal Overview</title>
      <link>https://trid.trb.org/View/909947</link>
      <description><![CDATA[In recent decades interest in incorporating art into transportation facilities has increased. Proponents suggest that art is appropriate for inclusion in many modes of transportation and that transportation facilities serve as an ideal venue for art, allowing the public to appreciate art during daily life, be it during a commute, recreational trip, or community festival. This paper provides an introduction to art and transportation, for public transportation as well as other surface transportation modes, including roadway, pedestrian, and bicycle facilities. A brief history of transportation art and public art is presented, as well as legislation that enables local agencies to leverage federal funds and support the integration of art into transportation projects. Examples of art in transportation for multiple modes are presented that illustrate the wide range of possibilities across the country.]]></description>
      <pubDate>Wed, 14 Apr 2010 07:14:13 GMT</pubDate>
      <guid>https://trid.trb.org/View/909947</guid>
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    <item>
      <title>Supplemental Metrics to Communicate Aircraft Noise Effects</title>
      <link>https://trid.trb.org/View/801219</link>
      <description><![CDATA[Airport noise analyses rely heavily on the use of complex exposure metrics that can be obscure to the layperson. Individuals often seek out information on aircraft noise levels, only to be frustrated by the complexity of the science. In recent years, there has been increasing use of supplemental or other nontraditional metrics to describe the impact of aviation noise on people. Implicit in this usage has been an assumption that supplemental metrics are better understood by the community. This paper proposes that practitioners be much more explicit in relating these supplemental noise metrics to the potential effects of noise and presents several examples that relate noise effects to lay terms. FAA’s integrated noise model (INM) can predict noise impact on the basis of well-established relationships between noise effects and metrics available in the INM. Then, instead of presenting noise level information, it is possible to use these relationships to prepare graphical depictions that represent the extent of the effects, rather than the extent of the noise level metric. With the increased transparency provided by these effect maps, policy makers and concerned citizens can engage in a more informed discussion that could ultimately lead to better outcomes for all.]]></description>
      <pubDate>Thu, 15 Mar 2007 06:42:00 GMT</pubDate>
      <guid>https://trid.trb.org/View/801219</guid>
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    <item>
      <title>Presentations</title>
      <link>https://trid.trb.org/View/759193</link>
      <description><![CDATA[This appendix describes how oral reports and presentation are an important means of communication for traffic engineering professionals.  Presentations range from simple progress statements to extensive reports on traffic studies.  All effective communication must fit the requirements and experience of the audience.  This is especially important in oral presentations.  Define all unfamiliar terms and arrange and present the main points of the presentation so that they are easily understood and allow a logical conclusion to be made.  If a listener cannot follow the presentation with at least a reasonable degree of understanding, it makes little difference as to how the investigation was.  There is little chance for a listener, once lost, to catch up.  This appendix presents some general guidelines that help make a good presentation.]]></description>
      <pubDate>Mon, 15 Aug 2005 08:39:44 GMT</pubDate>
      <guid>https://trid.trb.org/View/759193</guid>
    </item>
    <item>
      <title>Data Presentation Techniques</title>
      <link>https://trid.trb.org/View/759191</link>
      <description><![CDATA[This appendix describes how data presentation is an essential part of most engineering reports and oral presentations.  Illustrations (tables, figures, drawings, and photographs) are efficient and powerful tools for the presentation and data results.  However, illustrations must be prepared carefully in order to ensure that the intended message is being conveyed.  Poorly designed illustrations can confuse, distort and fail to communicate the relevant information.  In recent years a wide variety of microcomputer-based tools have come into common practice.  Professional looking graphics can be created using spreadsheets, graphics managers and presentation software, paint programs, computer-aided drafting (CAD) and programs that allow the integration of scanned video images with computer-generated graphics.  These new tools have made the creation of report graphics fast and easy and is has also shifted the burden of producing final graphics and tables from the graphics staff to the traffic engineering staff.]]></description>
      <pubDate>Mon, 15 Aug 2005 08:39:44 GMT</pubDate>
      <guid>https://trid.trb.org/View/759191</guid>
    </item>
    <item>
      <title>Useful Forms for Various Transportation Studies</title>
      <link>https://trid.trb.org/View/759194</link>
      <description><![CDATA[This appendix contains some commonly used data collection forms.]]></description>
      <pubDate>Mon, 15 Aug 2005 08:39:43 GMT</pubDate>
      <guid>https://trid.trb.org/View/759194</guid>
    </item>
    <item>
      <title>MOONLIGHT IN DUNELAND: THE ILLUSTRATED STORY OF THE CHICAGO SOUTH SHORE AND SOUTH BEND RAILROAD</title>
      <link>https://trid.trb.org/View/748156</link>
      <description><![CDATA[The Chicago South Shore and South Bend Railroad has served the Northwest Indiana/Chicago area as a major commercial and recreational transportation link for 90 years.  In 1925, the railroad was purchased by Samuel Insull's Midland Utilities. Insull launched an aggressive marketing campaign, including a set of colorful, artistic posters designed by some of Chicago's most talented artists.  The posters highlighted recreation in the Indian Dunes, local flora and fauna, and the strength of heavy industry.  This book tells the story of that campaign, reproducing more than 40 known surviving posters and other advertising items from the 1920s to the 1970s, as well as art commissioned more recently by the Northwest Indiana Forum.  Four essays are included that describe Insull's purchase of the South Shore Line and its rebirth, the intensive involvement of the railroad and its advertising campaign in the economic development of the region, a personal memoir from one of the poster artists, and how a group of railroad enthusiasts saved the South Shore Line when it was threatened with extinction in the 1970s.]]></description>
      <pubDate>Mon, 14 Feb 2005 00:00:00 GMT</pubDate>
      <guid>https://trid.trb.org/View/748156</guid>
    </item>
    <item>
      <title>CEMENT DISTRIBUTOR FOR SOIL STABILIZATION</title>
      <link>https://trid.trb.org/View/122571</link>
      <description><![CDATA[A NEW TYPE OF SPRAY BAR HAS BEEN DEVELOPED IN THE U.S.S.R. FOR THE EVEN DISTRIBUTION OF CEMENT FOR THE STABILIZATION OF SOIL SURFACINGS AND FOUNDATIONS. A STEEL PIPE 8 CM IN DIAMETER AND 2.3 M LONG MOUNTED ON A TWO-WHEEL TRAILER IS TOWED BY THE CEMENT TANKER AT 5 KM/H. CEMENT IS SUPPLIED THROUGH A HOSE AT 0.5 TO 2 KG/SQ. CM PRESSURE TO THE PIPE WHICH HAS A SLIT 4 CM IN WIDTH ALONG ITS WHOLE LENGTH. ILLUSTRATIONS OF THE DESIGN ARE INCLUDED.]]></description>
      <pubDate>Sun, 15 Aug 2004 02:44:00 GMT</pubDate>
      <guid>https://trid.trb.org/View/122571</guid>
    </item>
    <item>
      <title>MEASUREMENT AND CALCULATION OF EARTH MOVING OPERATIONS. 2ND EDITION</title>
      <link>https://trid.trb.org/View/119524</link>
      <description><![CDATA[COMPLETE EXAMPLES ON PRACTICAL MEASUREMENT AND CALCULATION ARE PRESENTED. IN THESE THE CALCULATION METHODS GO HAND IN HAND WITH THE DIAGRAMMATIC ILLUSTRATIONS. THE CALCULATION METHODS ARE NOT SUITABLE FOR STANDARDIZATION IN CHARTS, AND REQUIRE CERTAIN ADDITIONS FROM CASE TO CASE. CALCULATION WITH A SIMPLE ADDING MACHINE IS ALSO DESCRIBED. THE BOOK GIVES PRACTICAL ADVICE IN THEORY AND IN PRACTICE. /FG/RRL/]]></description>
      <pubDate>Sun, 15 Aug 2004 02:23:09 GMT</pubDate>
      <guid>https://trid.trb.org/View/119524</guid>
    </item>
    <item>
      <title>EVOLUTION OF SIGNAGE SCIENCE</title>
      <link>https://trid.trb.org/View/646503</link>
      <description><![CDATA[Signage science is defined as being a practice which uses prediction, confirmation of prediction, and systematic experiments to determine the location and content of outdoor signage, also known as environmental graphics.  This article describes a Washington, D.C. downtown renewal project which involved the application of signage science to create high quality signage and wayfinding systems. Effectively designed outdoor signage is critical for identification, direction and traffic control. Sign design and fabrication has evolved into the production of signs that now feature bolder colors, enhanced graphics, three-dimensional forms, animation, sound, and audio. A list of signage objectives is presented, including requirements such as: effective and concise communication; timeless and adaptable; attractive, durable and functional; achieve convenience and safety; and complement other elements in the landscape.]]></description>
      <pubDate>Wed, 02 Jul 2003 00:00:00 GMT</pubDate>
      <guid>https://trid.trb.org/View/646503</guid>
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