An Analysis of Local Wind and Air Mass Directions and Their Impact on Cladosporium Distribution Using HYSPLIT and Circular Statistics

Ecological studies that examine species-environment relationships are often limited to several meteorological parameters, i.e. mean air temperature, relative humidity, precipitation, vapour pressure deficit and solar radiation. The impact of local wind, its speed and direction are less commonly investigated in aerobiological surveys mainly due to difficulties related to the employment of specific analytical tools and interpretation of their outputs. Identification of inoculum sources of economically important plant pathogens, as well as highly allergenic bioaerosols like Cladosporium species, has not been yet explored with remote sensing data and atmospheric models such as Hybrid Single Particle Lagrangian Integrated Trajectory (HYSPLIT). We, therefore, performed an analysis of 24 h intra-diurnal cycle of Cladosporium spp. spores from an urban site in connection with both the local wind direction and overall air mass direction computed by HYSPLIT. The observational method was a volumetric air sampler of the Hirst design with 1 h time resolution and corresponding optical detection of fungal spores with light microscopy. The atmospheric modelling was done using the on-line data set from GDAS with 1° resolution and circular statistical methods. Our results showed stronger, statistically significant correlation (p ≤ 0.05) between high Cladosporium spp. spore concentration and air mass direction compared to the local wind direction. This suggested that a large fraction of the investigated fungal spores had a regional origin and must be located more than a few kilometers away from the sampling point.

Pyramus and Thisbe 4 You or a "Wondrous Strange" Tale of Contemporary Romanian Theatre

Like its title, Pyramus and Thisbe 4 You, Alexandru Dabija’s production at the Odeon Theatre, Bucharest, was a tongue-in-cheek invitation to the audience that at once aimed to tease past and recent Romanian endeavours and to tease out the stage potential a Shakespeare play holds today. My examination of the production re-constructs the local cultural contexts the production plays with and against, referring to the Romanian ways of making Shakespeare this production enters into dialogue with. Take 1, an all-female version casting the mature stars of the Odeon, I read against both Elizabethan all-male stage practice and Andrei Serban’s all-female Lear at the Bulandra (2008). Take 2, “an old device” (V.1.50): a teacher-student “devising” session at the Academy of Theatre and Cinema, I read against critics’ “more strange than true” (V.1.2) parlance on “theories of perception and reception” and against hi-tech Shakespeare dominating the Romanian stages in the first decade of the third millennium. Take 3, local political banter on ethnic discrimination, I read as “satire keen and critical” (V.1.54) on both communist censorship and the recent rise of nationalism in Romania. Take 4, a “cold” reading-cum-improvisation performed by the technical crew – this production’s mechanicals – I read as “palpable-gross play” (V.1.376) on both acting and spectating practices. What I argue in this article is that Dabija’s production goes beyond its local context and mores, and proposes a re-assessment of Shakespeare’s cultural currency in (European) Romania and Europe at large by exposing current tyrannies in Shakespeare studies: from translation and adaptation, through directing and acting, to viewing and reviewing.