Fossil trees in ancient fluvial channel deposits: evidence of seasonal and longer-term climatic variability

It has been established that large numbers of certain trees can survive in the beds of rivers of northeastern Australia where a strongly seasonal distribution of precipitation causes extreme variations in flow on both a yearly and longer-term basis. In these rivers, minimal flow occurs throughout much of any year and for periods of up to several years, allowing the trees to become established and to adapt their form in order to facilitate their survival in environments that experience periodic inundation by fast-flowing, debris-laden water. Such trees (notably paperbark trees of the angiosperm genus Melaleuca) adopt a reclined to prostrate, downstream-trailing habit, have a multiple-stemmed form, modified crown with weeping foliage, development of thick, spongy bark, anchoring of roots into firm to lithified substrates beneath the channel floor, root regeneration, and develop in flow-parallel, linear groves. Individuals from within flow-parallel, linear groves are preserved in situ within the alluvial deposit of the river following burial and death. Four examples of in situ tree fossils within alluvial channel deposits in the Permian of eastern Australia demonstrate that specialised riverbed plant communities also existed at times in the geological past. These examples, from the Lower Permian Carmila Beds, Upper Permian Moranbah Coal Measures and Baralaba Coal Measures of central Queensland and the Upper Permian Newcastle Coal Measures of central New South Wales, show several of the characteristics of trees described from modern rivers in northeastern Australia, including preservation in closely-spaced groups. These properties, together with independent sedimentological evidence, suggest that the Permian trees were adapted to an environment affected by highly variable runoff, albeit in a more temperate climatic situation than the modem Australian examples. It is proposed that occurrences of fossil trees preserved in situ within alluvial channel deposits may be diagnostic of environments controlled by seasonal and longer-term variability in fluvial runoff, and hence may have value in interpreting aspects of palaeoclimate from ancient alluvial successions. (C) 2001 Elsevier Science B.V. All rights reserved.

Adaptive Signal Processing for Power Line Communications

This thesis represents a significant part of the research activity conducted during the PhD program in Information Technologies, supported by Selta S.p.A, Cadeo, Italy, focused on the analysis and design of a Power Line Communications (PLC) system. In recent times the PLC technologies have been considered for integration in Smart Grids architectures, as they are used to exploit the existing power line infrastructure for information transmission purposes on low, medium and high voltage lines. The characterization of a reliable PLC system is a current object of research as well as it is the design of modems for communications over the power lines. In this thesis, the focus is on the analysis of a full-duplex PLC modem for communication over high-voltage lines, and, in particular, on the design of the echo canceller device and innovative channel coding schemes.

Low density parity check codes: a statistical physics perspective

The modem digital communication systems are made transmission reliable by employing error correction technique for the redundancies. Codes in the low-density parity-check work along the principles of Hamming code, and the parity-check matrix is very sparse, and multiple errors can be corrected. The sparseness of the matrix allows for the decoding process to be carried out by probability propagation methods similar to those employed in Turbo codes. The relation between spin systems in statistical physics and digital error correcting codes is based on the existence of a simple isomorphism between the additive Boolean group and the multiplicative binary group. Shannon proved general results on the natural limits of compression and error-correction by setting up the framework known as information theory. Error-correction codes are based on mapping the original space of words onto a higher dimensional space in such a way that the typical distance between encoded words increases.

Une étude générique du metteur en scène au théâtre:son émergence et son rôle moderne et contemporain

The theatre director (metteur en scene in French) is a relatively new figure in theatre practice. It was not until the I820s that the term 'mise en scene' gained currency. The term 'director' was not in general use until the I880s. The emergence and the role of the director has been considered from a variety of perspectives, either through the history of theatre (Allevy, Jomaron, Sarrazac, Viala, Biet and Triau); the history of directing (Chinoy and Cole, Boll, Veinstein, Roubine); semiotic approaches to directing (Whitmore, Miller, Pavis); the semiotics of performance (De Marinis); generic approaches to the mise en scene (Thomasseau, Banu); post-dramatic approaches to theatre (Lehmann); approaches to performance process and the specifics of rehearsal methodology (Bradby and Williams, Giannachi and Luckhurst, Picon-Vallin, Styan). What the scholarly literature has not done so far is to map the parameters necessarily involved in the directing process, and to incorporate an analysis of the emergence of the theatre director during the modem period and consider its impact on contemporary performance practice. Directing relates primarily to the making of the performance guided by a director, a single figure charged with the authority to make binding artistic decisions. Each director may have her/his own personal approaches to the process of preparation prior to a show. This is exemplified, for example, by the variety of terms now used to describe the role and function of directing, from producer, to facilitator or outside eye. However, it is essential at the outset to make two observations, each of which contributes to a justification for a generic analysis (as opposed to a genetic approach). Firstly, a director does not work alone, and cooperation with others is involved at all stages of the process. Secondly, beyond individual variation, the role of the director remains twofold. The first is to guide the actors (meneur de jeu, directeur d'acteurs, coach); the second is to make a visual representation in the performance space (set designer, stage designer, costume designer, lighting designer, scenographe). The increasing place of scenography has brought contemporary theatre directors such as Wilson, Castellucci, Fabre to produce performances where the performance space becomes a semiotic dimension that displaces the primacy of the text. The play is not, therefore, the sole artistic vehicle for directing. This definition of directing obviously calls for a definition of what the making of the performance might be. The thesis defines the making of the performance as the activity of bringing a social event, by at least one performer, providing visual and/or textual meaning in a performance space. This definition enables us to evaluate four consistent parameters throughout theatre history: first, the social aspect associated to the performance event; second, the devising process which may be based on visual and/or textual elements; third, the presence of at least one performer in the show; fourth, the performance space (which is not simply related to the theatre stage). Although the thesis focuses primarily on theatre practice, such definition blurs the boundaries between theatre and other collaborative artistic disciplines (cinema, opera, music and dance). These parameters illustrate the possibility to undertake a generic analysis of directing, and resonate with the historical, political and artistic dimensions considered. Such a generic perspective on the role of the director addresses three significant questions: an historical question: how/why has the director emerged?; a sociopolitical question: how/why was the director a catalyst for the politicisation of theatre, and subsequently contributed to the rise of State-funded theatre policy?; and an artistic one: how/why the director has changed theatre practice and theory in the twentieth-century? Directing for the theatre as an artistic activity is a historically situated phenomenon. It would seem only natural from a contemporary perspective to associate the activity of directing to the function of the director. This is relativised, however, by the question of how the performance was produced before the modern period. The thesis demonstrates that the rise of the director is a progressive and historical phenomenon (Dort) rather than a mere invention (Viala, Sarrazac). A chronological analysis of the making of the performance throughout theatre history is the most useful way to open the study. In order to understand the emergence of the director, the research methodology assesses the interconnection of the four parameters above throughout four main periods of theatre history: the beginning of the Renaissance (meneur de jeu), the classical age (actor-manager and stage designer-manager), the modern period (director) and the contemporary period (director-facilitator, performer). This allows us properly to appraise the progressive emergence of the director, as well as to make an analysis of her/his modern and contemporary role. The first chapter argues that the physical separation between the performance space and its audience, which appeared in the early fifteenth-century, has been a crucial feature in the scenographic, aesthetic, political and social organisation of the performance. At the end of the Middle Ages, French farces which raised socio-political issues (see Bakhtin) made a clear division on a single outdoor stage (treteau) between the actors and the spectators, while religious plays (drame fiturgique, mystere) were mostly performed on various outdoor and opened multispaces. As long as the performance was liturgical or religious, and therefore confined within an acceptable framework, it was allowed. At the time, the French ecclesiastical and civil authorities tried, on several occasions, to prohibit staged performances. As a result, practitioners developed non-official indoor spaces, the Theatre de fa Trinite (1398) being the first French indoor theatre recognized by scholars. This self-exclusion from the open public space involved breaking the accepted rules by practitioners (e.g. Les Confreres de fa Passion), in terms of themes but also through individual input into a secular performance rather than the repetition of commonly known religious canvases. These developments heralded the authorised theatres that began to emerge from the mid-sixteenth century, which in some cases were subsidised in their construction. The construction of authorised indoor theatres associated with the development of printing led to a considerable increase in the production of dramatic texts for the stage. Profoundly affecting the reception of the dramatic text by the audience, the distance between the stage and the auditorium accompanied the changing relationship between practitioners and spectators. This distance gave rise to a major development of the role of the actor and of the stage designer. The second chapter looks at the significance of both the actor and set designer in the devising process of the performance from the sixteenth-century to the end of the nineteenth-century. The actor underwent an important shift in function in this period from the delivery of an unwritten text that is learned in the medieval oral tradition to a structured improvisation produced by the commedia dell 'arte. In this new form of theatre, a chef de troupe or an experienced actor shaped the story, but the text existed only through the improvisation of the actors. The preparation of those performances was, moreover, centred on acting technique and the individual skills of the actor. From this point, there is clear evidence that acting began to be the subject of a number of studies in the mid-sixteenth-century, and more significantly in the seventeenth-century, in Italy and France. This is revealed through the implementation of a system of notes written by the playwright to the actors (stage directions) in a range of plays (Gerard de Vivier, Comedie de la Fidelite Nuptiale, 1577). The thesis also focuses on Leoni de' Sommi (Quatro dialoghi, 1556 or 1565) who wrote about actors' techniques and introduced the meneur de jeu in Italy. The actor-manager (meneur de jeu), a professional actor, who scholars have compared to the director (see Strihan), trained the actors. Nothing, however, indicates that the actor-manager was directing the visual representation of the text in the performance space. From the end of the sixteenth-century, the dramatic text began to dominate the process of the performance and led to an expansion of acting techniques, such as the declamation. Stage designers carne from outside the theatre tradition and played a decisive role in the staging of religious celebrations (e.g. Actes des Apotres, 1536). In the sixteenth-century, both the proscenium arch and the borders, incorporated in the architecture of the new indoor theatres (theatre a l'italienne), contributed to create all kinds of illusions on the stage, principally the revival of perspective. This chapter shows ongoing audience demands for more elaborate visual effects on the stage. This led, throughout the classical age, and even more so during the eighteenth-century, to grant the stage design practitioner a major role in the making of the performance (see Ciceri). The second chapter demonstrates that the guidance of the actors and the scenographic conception, which are the artistic components of the role of the director, appear to have developed independently from one another until the nineteenth-century. The third chapter investigates the emergence of the director per se. The causes for this have been considered by a number of scholars, who have mainly identified two: the influence of Naturalism (illustrated by the Meiningen Company, Antoine, and Stanislavski) and the invention of electric lighting. The influence of the Naturalist movement on the emergence of the modem director in the late nineteenth-century is often considered as a radical factor in the history of theatre practice. Naturalism undoubtedly contributed to changes in staging, costume and lighting design, and to a more rigorous commitment to the harmonisation and visualisation of the overall production of the play. Although the art of theatre was dependent on the dramatic text, scholars (Osborne) demonstrate that the Naturalist directors did not strictly follow the playwright's indications written in the play in the late nineteenth-century. On the other hand, the main characteristic of directing in Naturalism at that time depended on a comprehensive understanding of the scenography, which had to respond to the requirements of verisimilitude. Electric lighting contributed to this by allowing for the construction of a visual narrative on stage. However, it was a master technician, rather than an emergent director, who was responsible for key operational decisions over how to use this emerging technology in venues such as the new Bayreuth theatre in 1876. Electric lighting reflects a normal technological evolution and cannot be considered as one of the main causes of the emergence of the director. Two further causes of the emergence of the director, not considered in previous studies, are the invention of cinema and the Symbolist movement (Lugne-Poe, Meyerhold). Cinema had an important technological influence on the practitioners of the Naturalist movement. In order to achieve a photographic truth on the stage (tableau, image), Naturalist directors strove to decorate the stage with the detailed elements that would be expected to be found if the situation were happening in reality. Film production had an influence on the work of actors (Walter). The filmmaker took over a primary role in the making of the film, as the source of the script, the filming process and the editing of the film. This role influenced the conception that theatre directors had of their own work. It is this concept of the director which influenced the development of the theatre director. As for the Symbolist movement, the director's approach was to dematerialise the text of the playwright, trying to expose the spirit, movement, colour and rhythm of the text. Therefore, the Symbolists disengaged themselves from the material aspect of the production, and contributed to give greater artistic autonomy to the role of the director. Although the emergence of the director finds its roots amongst the Naturalist practitioners (through a rigorous attempt to provide a strict visual interpretation of the text on stage), the Symbolist director heralded the modem perspective of the making of performance. The emergence of the director significantly changed theatre practice and theory. For instance, the rehearsal period became a clear work in progress, a platform for both developing practitioners' techniques and staging the show. This chapter explores and contrasts several practitioners' methods based on the two aspects proposed for the definition of the director (guidance of the actors and materialisation of a visual space). The fourth chapter argues that the role of the director became stronger, more prominent, and more hierarchical, through a more political and didactic approach to theatre as exemplified by the cases of France and Germany at the end of the nineteenth-century and through the First World War. This didactic perspective to theatre defines the notion of political theatre. Political theatre is often approached by the literature (Esslin, Willett) through a Marxist interpretation of the great German directors' productions (Reinhardt, Piscator, Brecht). These directors certainly had a great influence on many directors after the Second World War, such as Jean Vilar, Judith Molina, Jean-Louis Barrault, Roger Planchon, Augusto Boal, and others. This chapter demonstrates, moreover, that the director was confirmed through both ontological and educational approaches to the process of making the performance, and consequently became a central and paternal figure in the organisational and structural processes practiced within her/his theatre company. In this way, the stance taken by the director influenced the State authorities in establishing theatrical policy. This is an entirely novel scholarly contribution to the study of the director. The German and French States were not indifferent to the development of political theatre. A network of public theatres was thus developed in the inter-war period, and more significantly after the Second World War. The fifth chapter shows how State theatre policies establish its sources in the development of political theatre, and more specifically in the German theatre trade union movement (Volksbiihne) and the great directors at the end of the nineteenth-century. French political theatre was more influenced by playwrights and actors (Romain Rolland, Louise Michel, Louis Lumet, Emile Berny). French theatre policy was based primarily on theatre directors who decentralised their activities in France during both the inter-war period and the German occupation. After the Second World War, the government established, through directors, a strong network of public theatres. Directors became both the artistic director and the executive director of those institutionalised theatres. The institution was, however, seriously shaken by the social and political upheaval of 1968. It is the link between the State and the institution in which established directors were entangled that was challenged by the young emerging directors who rejected institutionalised responsibility in favour of the autonomy of the artist in the 1960s. This process is elucidated in chapter five. The final chapter defines the contemporary role of the director in contrasting thework of a number of significant young theatre practitioners in the 1960s such as Peter Brook, Ariane Mnouchkine, The Living Theater, Jerzy Grotowski, Augusto Boal, Eugenio Barba, all of whom decided early on to detach their companies from any form of public funding. This chapter also demonstrates how they promoted new forms of performance such as the performance of the self. First, these practitioners explored new performance spaces outside the traditional theatre building. Producing performances in a non-dedicated theatre place (warehouse, street, etc.) was a more frequent practice in the 1960s than before. However, the recent development of cybertheatre questions both the separation of the audience and the practitioners and the place of the director's role since the 1990s. Secondly, the role of the director has been multifaceted since the 1960s. On the one hand, those directors, despite all their different working methods, explored western and non-western acting techniques based on both personal input and collective creation. They challenged theatrical conventions of both the character and the process of making the performance. On the other hand, recent observations and studies distinguish the two main functions of the director, the acting coach and the scenographe, both having found new developments in cinema, television, and in various others events. Thirdly, the contemporary director challenges the performance of the text. In this sense, Antonin Artaud was a visionary. His theatre illustrates the need for the consideration of the totality of the text, as well as that of theatrical production. By contrasting the theories of Artaud, based on a non-dramatic form of theatre, with one of his plays (Le Jet de Sang), this chapter demonstrates how Artaud examined the process of making the performance as a performance. Live art and autobiographical performance, both taken as directing the se(f, reinforce this suggestion. Finally, since the 1990s, autobiographical performance or the performance of the self is a growing practical and theoretical perspective in both performance studies and psychology-related studies. This relates to the premise that each individual is making a representation (through memory, interpretation, etc.) of her/his own life (performativity). This last section explores the links between the place of the director in contemporary theatre and performers in autobiographical practices. The role of the traditional actor is challenged through non-identification of the character in the play, while performers (such as Chris Burden, Ron Athey, Orlan, Franko B, Sterlac) have, likewise, explored their own story/life as a performance. The thesis demonstrates the validity of the four parameters (performer, performance space, devising process, social event) defining a generic approach to the director. A generic perspective on the role of the director would encompass: a historical dimension relative to the reasons for and stages of the 'emergence' of the director; a socio-political analysis concerning the relationship between the director, her/his institutionalisation, and the political realm; and the relationship between performance theory, practice and the contemporary role of the director. Such a generic approach is a new departure in theatre research and might resonate in the study of other collaborative artistic practices.

The dark side of the internet:protecting yourself and your family from online criminals

In less than a decade, personal computers have become part of our daily lives. Many of us come into contact with computers every day, whether at work, school or home. As useful as the new technologies are, they also have a darker side. By making computers part of our daily lives, we run the risk of allowing thieves, swindlers, and all kinds of deviants directly into our homes. Armed with a personal computer, a modem and just a little knowledge, a thief can easily access confidential information, such as details of bank accounts and credit cards. This book helps people avoid harm at the hands of Internet criminals. It offers a tour of the more dangerous parts of the Internet, as the author explains who the predators are, their motivations, how they operate and how to protect against them. In less than a decade, personal computers have become part of our daily lives. Many of us come into contact with computers every day, whether at work, school or home. As useful as the new technologies are, they also have a darker side. By making computers part of our daily lives, we run the risk of allowing thieves, swindlers, and all kinds of deviants directly into our homes. Armed with a personal computer, a modem and just a little knowledge, a thief can easily access confidential information, such as details of bank accounts and credit cards. This book is intended to help people avoid harm at the hands of Internet criminals. It offers a tour of the more dangerous parts of the Internet, as the author explains who the predators are, their motivations, how they operate and how to protect against them. Behind the doors of our own homes, we assume we are safe from predators, con artists, and other criminals wishing us harm. But the proliferation of personal computers and the growth of the Internet have invited these unsavory types right into our family rooms. With a little psychological knowledge a con man can start to manipulate us in different ways. A terrorist can recruit new members and raise money over the Internet. Identity thieves can gather personal information and exploit it for criminal purposes. Spammers can wreak havoc on businesses and individuals. Here, an expert helps readers recognize the signs of a would-be criminal in their midst. Focusing on the perpetrators, the author provides information about how they operate, why they do it, what they hope to do, and how to protect yourself from becoming a victim.

Guest Editorial: Debunking the Myths

The modem retail travel industry has been plagued by myths created by popular media in an effort to create hype and readership, rather than report an accurate portrayal of the extraordinary health of the travel distribution system. Regardless of the structural changes in the travel industry, the outlook for growth and profitability of travel agencies and travel agents has never been better

Tracking the Effects of Salt Water Encroachment on South Florida Coastal Ecotones Using Mollusks

Many coastal wetland communities of south Florida have been cut off from freshwater sheet flow for decades and are migrating landward due to salt-water encroachment. A paleoecological study using mollusks was conducted to assess the rates and effects of salt-water encroachment due to freshwater diversion and sea level rise on coastal wetland basins in Biscayne National Park. Modem mollusk distributions taken from 226 surface sites were used to determine local habitat affinities which were applied to infer past environments from mollusk distributions found in soil cores. Mollusks species compositions were found to be strongly correlated to habitat and salinity, providing reliable predictions. Wetland soils were cored to bedrock at 36locations. Mollusks were abundant throughout the cores and 15 of the 20 most abundant taxa served as bioindicators of salinity and habitat. Historic accounts coupled with mollusk based inference models indicate (1) increasing salinity levels along the coast and encroaching into the interior with mangroves communities currently migrating westward, (2) replacement of a mixed graminoid-mangrove zone by a dense monoculture of dwarf mangroves, and (3) a confinement of freshwater and freshwater graminoid marsh to landward areas between urban developments and drainage canals.

Personal computer security system

This work consists on the design and implementation of a complete monitored security system. Two computers make up the basic system: one computer is the transmitter and the other is the receiver. Both computers interconnect by modems. Depending on the status of the input sensors (magnetic contacts, motion detectors and others) the transmitter detects an alarm condition and sends a detailed report of the event via modem to the receiver computer.

Poetica de la brevedad en Borges

Although he did not write copious novels, endless essays, or long poems, Jorge Luis Borges is considered one of today's best modem writers. His works have never been more than ten pages long. The purpose of this dissertation is to demonstrate that the willing use of concise expression in Borges's writings is inscribed in a poetic worldview of great implications. This view is based on the synthesis of philosophical, literary, and cultural issues that Borges interprets, discusses, refutes, and re-elaborates with a new conjectural approach. This dissertation is based on a methodological review of all his current scholarly work and on a thorough examination of the four volumes of his Complete Works, edited by Emece, in 2002. His pantheistic vision, the epiphanic moments, and his love/hate relationship with language, conform an aesthetic of resounding silence that enlightens the hidden aspects of his brief masterpieces. Even though Borgesian studies flood the library he once imagined, they have been presented in an isolated manner. This dissertation establishes a link among the various aforementioned aspects as studied by Borges scholars, and demonstrates the powerful influence of Borges's illuminating and precise vision. Paradoxically, the poetry of brevity in Borges's works is filled with allusions to the things that Borges silences, because, from a panoramic pantheism, his words almost reach an epiphanic enlightenment that flashes between preterit and future nothingness. By replacing extension with intensity, and mastering the art of omission, Borges's laborious work reaches power and concentration that only the very greatest talents can achieve. His delicate verbal conciseness provides his readers with a virtually infinite freedom of imagination because it exposes them to the chaotic world of mythical probabilities, where an instant encompasses etemity.

Das palavras à vida: o prazer em Max Weber

The thesis has as its goal the discussion over the pleasure as an intellectual and personal subject for Max Weber. The main references are The Sociology of Religion, Science as a Vocation and Politics as a Vocation, Bureaucracy, The sense of "Axiological Neutrality" in Social and Economic Sciences. Many authors were researched for information about his life, with a highlight to the biography written by his wife Marianne Weber, for its great number of excerpts from letters and informal conversations. The subject "pleasure" was developed by taking into consideration the complexity of this phenomenon which happens in an ambivalent and multiple ways. In order to do that, we started from the paradigm of the complexity according to Edgar Morin's view, Georges Bataille's discussions on erotism and the antinomic comprehension of Lepegneur and Onfray, who define pleasure as a phenomenon with ambiguities, and the historical references of Peter Gay, Nobert Elias, Wolf Lepenies. In Max Weber, pleasure presents, also, this ambiguity, as his scientific approach is registering the absence of pleasure for the rise of a protestant ethic and, besides that, to support with a process of disenchantment of the world which leads us to a meaningless life. Weber goes through great changes in the last years of his life. In this period he includes in his comments the subjects "erotism" and "arts" with the possibility of escaping from modem everyday routine that affects the individual's existential freedom. However, his ambiguous position about these possibilities take him to consider that a situation o f personal confrontation, considered heroical, once, in his opinion, each one accepts the consequences o f their acts and builds their values to give a meaning to their own existence. The pleasure in Weber is, above ali aspects, intellectual and existential: side by side with the routine, bureaucracy and disenchantment ofthe world was the possibility of charisma, vocation and passion. However, always he related these characteristics to the discomfort that the modem world presented to men, he, as a scientist, was ethical. This is the main argument ofthis thesis

Geochemistry of ODP Leg 135 igneous rock samples

Ocean Drilling Program Leg 135 provided igneous rock cores from six sites drilled on a transect across the Lau Basin between the Lau Ridge remnant arc and the modem spreading ridges of the Central and Eastern Lau Spreading Centers. The drill cores sampled crust from the earliest stage of backarc extension (latest Miocene time, about 6 Ma), and younger crust (late Pliocene, about 3.8-2 Ma, and middle Pleistocene, about 0.64-0.8 Ma). Nearly all of the igneous samples are from tholeiitic basalt flows; many of them are interbedded with arc-composition volcaniclastic sediments. Rock compositions range from olivine-plagioclase-clinopyroxene basalt, with up to 8% MgO, to oceanic andesites with less than 3.2% MgO and silica contents as high as 56%. The oldest rocks recovered are close in composition to rocks formed at the modern Central and Eastern Lau Spreading Centers and have MORB-like characteristics. Generation of the oldest units was coeval with arc-tholeiitic volcanism on the Lau Ridge less than 100 km to the west. The arc and backarc melts came from different mantle sources. At three sites near the center of the basin, the crust is arc-tholeiitic basalt, two-pyroxene basaltic-andesite, and two-pyroxene andesite. These rocks have many similarities to modem Tofua Arc lavas yet they were drilled within 70 km of the MORB-like Eastern Lau Spreading Center. Estimates of the minimum age for these arc-like rocks indicate that they are late Pliocene (about 2 Ma). These ages overlap the age of the nearby Eastern Lau Spreading Center. The heterogeneous crust of the Lau Basin carries many of the signatures of supra-subduction zone (SSZ) melts but also has a distinct MORB-like component. Mixing between SSZ and MORB mantle sources may explain the variations and the spatial distribution of magma types.

Pollen analysis of sediment profile WO1 from Wollingster See

A palynological study of a 15 m sediment core from the centre of Lake Wollingst (water depth 14,5 m) is presented. The pollen record shows 3 lateglacial thermomers, called Meiendorf, Bölling, Alleröd and the early holocene Friesland-Thermomer. The succession of forest vegetation taking place on the lake surroundings during the Holocene was typical for older moraine soils which are poor in nutrients: forest vegetation started with birch and pine, followed by hazel, oak and elm in the Boreal and by alder, lime and ash-tree in the Atlantic. Beech and hornbeam reached the area during Subboreal. However, due to the poor soils they spread out only after the Iron Age. With the deforestation during the medieval time the lake lost its character of a primeval forest lake. Lake Wollingst was oligotrophic since its origin at the end of the Pleniglacial. After medieval forest-clearing the lake has changed its quality of water particularly in connection with hemp- and flax-rotting. The modem sediments in this profile are completely disturbed. They contain reworked material, a lot of blue-green algae and remains of Bosmina longirostris indicating eutrophic conditions.

Perspective d'un développement rural durable : le cas des Hmongs du Laos

Résumé : Le développement durable est un processus d'évolution dans lequel toutes les ethnies coexistent en harmonie avec un environnement sain. Depuis une quarantaine d'années, le Laos a connu de nombreux bouleversements. Des groupes minoritaires, dont les Hmongs, ont subi les contrecoups des changements socio-politiques et économiques. Les Hmongs, qui habitent les régions montagneuses et qui pratiquent l'agriculture itinérante, sont particulièrement touchés par des inégalités économiques et sociales malgré la politique d'égalité ethnique. Les transformations progressives de leur méthode d'utilisation du sol, de leur mode de production et de leur mode de vie itinérants en sédentarisation durable deviennent fondamentales et cruciales. Les Hmongs défavorisés aspirent fortement à de meilleures conditions de vie tout comme les populations qui vivent dans les plaines. En effet, les Hmongs, qui habitent dans les régions de Lakhasipsong et de Longsan, province de Vientiane, s'adaptent aux nouvelles conditions de transformation socio-économique, soient la sédentarisation du mode de production et du mode de vie. On peut affirmer que le développement rural et communautaire permet la sédentarisation des Hmongs et que ces derniers sont aptes à s'adapter à la vie moderne. La méthode d'enquête par entrevue sur la base d'un sondage employée sur le terrain nous a permis de découvrir les caractéristiques de développement durable autant socio-économique que politique dans la province de Vientiane avec application particulière aux Hmongs. Les résultats de l'enquête démontrent que les stratégies de sédentarisation sans relocalisation et avec relocalisation sur l'initiative soit personnelle soit gouvernementale ont fait leurs preuves. Des changements dans les modes de production et de vie ont non seulement permis une meilleure utilisation du sol, une augmentation de la production et une amélioration des conditions de vie mais aussi une meilleure préservation de l'écosystème.||Abstract : Sustainable development is an evolutionary process in which all ethnie groups live in harmony with a healthy environment. For approximately forty years, Laos has been subjected to many disruptions. Minority groups, like the Hmong, have felt the full impact of the numerous socio-political and economic changes that took place in the country. The Hmong, in particular, who live in mountainous regions and practice slash and burn agriculture, have suffered from economic and social inequality policies praticed by previous governments. The progressive transformation of their methods of land use, their mode of production and their migrant life style must clearly be understood before any attempt at a sedentary life style with a view to a sustainable development be undertaken. The underprivileged Hmong aspire to better living conditions comparable to those of people living in the plains. More precisely, the Hmong, who live in Lakhasipsong and Longsan in the province of Vientiane, adapt to their new conditions of social and economic transformation by fixing into place their mode of production and their lifestyle. We can state that the rural community development taking place allows an effective sédentarisation for the Hmong and, that they are able to adapt themselves to modem life. The survey method by interview and randown sampling on the ground permits us to discover elements of farming development within the socio-economic as well as political life in Vientiane province with a particular application to the Hmong. The survey results in showing that settling down strategies without relocation or with relocation on personal or governmental initiative are truly operational. Changes in the mode of production and life style have not only permitted a better land use, an increased production and a better life style but also, a better conservation of the environment.

Plataforma interactiva para edifícios inteligentes com controlo preditivo

Esta dissertação desenvolve uma plataforma de controlo interactiva para edifícios inteligentes através de um sistema SCADA (Supervisory Control And Data Acquisition). Este sistema SCADA integra diferentes tipos de informações provenientes das várias tecnologias presentes em edifícios modernos (controlo da ventilação, temperatura, iluminação, etc.). A estratégia de controlo desenvolvida implementa um controlador em cascada hierárquica onde os "loops" interiores são executados pelos PLC's locais (Programmable Logic Controller), e o "loop" exterior é gerido pelo sistema SCADA centralizado, que interage com a rede local de PLC's. Nesta dissertação é implementado um controlador preditivo na plataforma SCADA centralizada. São apresentados testes efectuados para o controlo da temperatura e luminosidade de salas com uma grande área. O controlador preditivo desenvolvido tenta optimizar a satisfação dos utilizadores, com base nas preferências introduzidas em várias interfaces distribuídas, sujeito às restrições de minimização do desperdício de energia. De forma a executar o controlador preditivo na plataforma SCADA foi desenvolvido um canal de comunicação para permitir a comunicação entre a aplicação SCADA e a aplicação MATLAB, onde o controlador preditivo é executado. ABSTRACT: This dissertation develops an operational control platform for intelligent buildings using a SCADA system (Supervisory Control And Data Acquisition). This SCADA system integrates different types of information coming from the several technologies present in modem buildings (control of ventilation, temperature, illumination, etc.). The developed control strategy implements a hierarchical cascade controller where inner loops are performed by local PLCs (Programmable Logic Controller), and the outer loop is managed by the centralized SCADA system, which interacts with the entire local PLC network. ln this dissertation a Predictive Controller is implemented at the centralized SCADA platform. Tests applied to the control of temperature and luminosity in huge­area rooms are presented. The developed Predictive Controller tries to optimize the satisfaction of user explicit preferences coming from several distributed user-interfaces, subjected to the constraints of energy waste minimization. ln order to run the Predictive Controller at the SCADA platform a communication channel was developed to allow communication between the SCADA application and the MATLAB application where the Predictive Controller runs.