RESONANCE RAMAN INVESTIGATION OF PH-DEPENDENT EQUILIBRIA OF WATER-SOLUBLE IRON PORPHYRINS

Resonance Raman spectroscopy has been used to probe the structures of; tetrakis(1-methylpyridinium-4-yl)-porphinatoiron(III), FeIII (T4MPyP); tetrakis(1-methylpyridium-2-yl)porphinatoiron(III), FeIII (T2MPyP); tetrakis(4-sulphonatophkenyl)porphinatoir(III), FeIII(TSPP); and tetrakis(4-carboxylatophenyl)porphinatoiron(III), FeIII(TCPP), over a wide pH range. The anionic complexes FeIII (TSPP) and FeIII (TCPP) contain high-spin iron(III) at all pHs. Both these complexes exhibit marked spectral changes at ca. pH 6 which correspond to conversion from the diaquo species, in acid solution, to hydroxy- or mu-oxo dimer complexes. Both cationic complexes show similar diaquo to high-spin hydroxy, or mu-oxo dimer, transitions at ca. pH 6. However, at pH > 11.5 for FeIII (T4MPyP) and pH > 9 for FeIII (T2MPyP) a second equilibrium process is observed, leading to two new species. One of these is readily assigned as the low-spin iron(III) dihydroxy complex by analogy with spectra of the dicyano complex. The second species is assigned to the hydroxy iron(II) complex by comparison with photo-chemically generated FeII (T4MPyP) (OH). The formation of iron(II) species in alkaline solutions of FeIII (T4MPyP) and FeIII (T2MPyP) is entirely unexpected and the significance of the observation to previous investigations of the pH-dependent behaviour of these complexes is discussed.

New Wave Italian Style

An investigation of the long controversy around the definition of an Italian New Wave cinema of the 1960s, this essay engages (and takes issue) with the reasons behind the critics’ reluctance to recognise its existence. After establishing a theoretical and historical framework for a transnational under- standing of the phenomenon of the European and World New Waves, it offers a reasoned analysis of the multiple industrial and artistic attempts at a generational renewal of Italian cinema that were made in Italy during the 1960s. Ultimately, the essay suggests that it would not only be appropriate, but also highly productive to reconsider the vibrant and heterogeneous young Italian cinema of the 1960s under the generational and transnational New Wave label, instead of continuing to approach the decade exclusively in the light of Neorealism.

The Many Directions of Time

Event duration perception is fundamental to cognitive functioning. Recent research has shown that localized sensory adaptation compresses perceived duration of brief visual events in the adapted location; however, there is disagreement on whether the source of these temporal distortions is cortical or pre-cortical. The current study reveals that spatially localized duration compression can also be direction contingent, in that duration compression is induced when adapting and test stimuli move in the same direction but not when they move in opposite directions. Because of its direction-contingent nature, the induced duration compression reported here is likely to be cortical in origin. A second experiment shows that the adaptation processes driving duration compression can occur at or beyond human cortical area MT+, a specialised motion centre located upstream from primary visual cortex. The direction-specificity of these temporal mechanisms, in conjunction with earlier reports of pre-cortical temporal mechanisms driving duration perception, suggests that our encoding of subsecond event duration is driven by activity at multiple levels of processing.

Crowd Control? Depictions of the Many in Anglo-Saxon Literature, with Particular Reference to the Old English Legend of the Seven Sleepers

This article argues for the distinctiveness of the presentation of crowds in the Old English version of the Legend of the Seven Sleepers . In traditional Old English poetry, crowds are mostly conspicuous by their absence, since the social groupings portrayed are typically those ofthe lord's retinue and the fellowship of the hall. In writings deriving from Latin traditions (in Anglo-Latin, Old English prose and strands of Old English poetry) such as historiography andhagiography, crowds are presented in highly conventional terms based on literary models. The crowd scenes in the Legend of the Seven Sleepers , on the other hand, have an immediacy and urgency that seem based on real-life experience of Anglo-Saxon England rather than simply imitative of the work's Latin (ultimately Greek) source or of other literary models. Drawing upon crowd theory and historical studies, the article demonstrates that the crowds in this text are presented in “domesticated” Anglo-Saxon terms and may be seen as reflective of growing urbanization in late Anglo-Saxon England. “Real” crowds are glimpsed elsewhere in Anglo-Saxon literature but in the Legend of the Seven Sleepers they are particularly foregrounded; this text also presents the literature's liveliest picture of town life more generally.

Bioinformatics inspired algorithm for stereo correspondence

In this paper, we exploit the analogy between protein sequence alignment and image pair correspondence to design a bioinformatics-inspired framework for stereo matching based on dynamic programming. This approach also led to the creation of a meaningfulness graph, which helps to predict matching validity according to image overlap and pixel similarity. Finally, we propose an automatic procedure to estimate automatically all matching parameters. This work is evaluated qualitatively and quantitatively using a standard benchmarking dataset and by conducting stereo matching experiments between images captured at different resolutions. Results confirm the validity of the computer vision/bioinformatics analogy to develop a versatile and accurate low complexity stereo matching algorithm.