Deposits of the sandy braided South Saskatchewan River: Implications for the use of modern analogs in reconstructing channel dimensions in reservoir characterization

Estimation of the dimensions of fluvial geobodies from core data is a notoriously difficult problem in reservoir modeling. To try and improve such estimates and, hence, reduce uncertainty in geomodels, data on dunes, unit bars, cross-bar channels, and compound bars and their associated deposits are presented herein from the sand-bed braided South Saskatchewan River, Canada. These data are used to test models that relate the scale of the formative bed forms to the dimensions of the preserved deposits and, therefore, provide an insight as to how such deposits may be preserved over geologic time. The preservation of bed-form geometry is quantified by comparing the Alluvial architecture above and below the maximum erosion depth of the modem channel deposits. This comparison shows that there is no significant difference in the mean set thickness of dune cross-strata above and below the basal erosion surface of the contemporary channel, thus suggesting that dimensional relationships between dune deposits and the formative bed-form dimensions are likely to be valid from both recent and older deposits. The data show that estimates of mean bankfull flow depth derived from dune, unit bar, and cross-bar channel deposits are all very similar. Thus, the use of all these metrics together can provide a useful check that all components and scales of the alluvial architecture have been identified correctly when building reservoir models. The data also highlight several practical issues with identifying and applying data relating to cross-strata. For example, the deposits of unit bars were found to be severely truncated in length and width, with only approximately 10% of the mean bar-form length remaining, and thus making identification in section difficult. For similar reasons, the deposits of compound bars were found to be especially difficult to recognize, and hence, estimates of channel depth based on this method may be problematic. Where only core data are available (i.e., no outcrop data exist), formative flow depths are suggested to be best reconstructed using cross-strata formed by dunes. However, theoretical relationships between the distribution of set thicknesses and formative dune height are found to result in slight overestimates of the latter and, hence, mean bankfull flow depths derived from these measurements. This article illustrates that the preservation of fluvial cross-strata and, thus, the paleohydraulic inferences that can be drawn from them, are a function of the ratio of the size and migration rate of bed forms and the time scale of aggradation and channel migration. These factors must thus be considered when deciding on appropriate length:thickness ratios for the purposes of object-based modeling in reservoir characterization.

Urinary and plasma catecholamines and metanephrines in dogs with pheochromocytoma, hypercortisolism, nonadrenal disease and in healthy dogs.

BACKGROUND: Diagnosis of pheochromocytoma (PC) is based on a combination of clinical suspicion, finding an adrenal mass, increased plasma, and urine concentrations of catecholamine metabolites and is finally confirmed with histopathology. In human medicine, it is controversial whether biochemically testing plasma is superior to testing urine. OBJECTIVES: To measure urinary and plasma catecholamines and metanephrines in healthy dogs, dogs with PC, hypercortisolism (HC), and nonadrenal diseases (NAD) and to determine the test with the best diagnostic performance for dogs with PC. ANIMALS: Seven PC dogs, 10 dogs with HC, 14 dogs with NAD, 10 healthy dogs. METHODS: Prospective diagnostic clinical study. Urine and heparin plasma samples were collected and stored at -80°C before analysis using high-pressure liquid chromatography (HPLC) coupled to electrochemical detection or tandem mass spectrometry were performed. Urinary variables were expressed as ratios to urinary creatinine concentration. RESULTS: Dogs with PC had significantly higher urinary normetanephrine and metanephrine : creatinine ratios and significantly higher plasma-total and free normetanephrine and plasma-free metanephrine concentrations compared to the 3 other groups. There were no overlapping results of urinary normetanephrine concentrations between PC and all other groups, and only one PC dog with a plasma normetanephrine concentration in the range of the dogs with HC and NAD disease. Performances of total and free plasma variables were similar. Overlap of epinephrine and norepinephrine results between the groups was large with both urine and plasma. CONCLUSION AND CLINICAL IMPORTANCE: Measurement of normetanephrine is the preferred biochemical test for PC and urine was superior to plasma.

The Transnational Zombie: Postcolonial Memory and Rage in the Recent European Horror Film

An ever increasing number of films, books, and scholarly works dealing with the undead have appeared in the last decade, making the zombie the very incarnation of American popular culture on a global scale. In this chapter I show that the zombie is also a surprisingly complex sign for transnational movement and multidirectional cultural flow. While the zombie may appear as the very epitome of American cultural production and influence, a mindless movie monster born of a vapid stream of Hollywood B-horror, the zombie has a rich transnational history and an eloquent figurative resonance that have fed into its current ubiquity as cultural sign. This chapter reviews that history and then examines some of the ways that the zombie figure has traveled between the Caribbean, where it emerged, the United States, where it was translated into a film device of startling pathos and horror, and Europe, to which it owes some of its most interesting recent innovations.

La controverse avant le film : quelle politique pour Good Night, And Good Luck ?

This article aims to explain how newspapers commented on the movie Good Night, and Good Luck before its release. The media coverage anticipated George Clooney's film as a partisan attack launched against George W. Bush's policy since 9/11. Clooney advocates another reading: the historic confrontation between journalist Edward Murrow and Senator Joseph McCarty permits to reflect on the crucial role that the media play for democracy. Such reflection tries to prevent the dividing of the public sphere into antagonistic camps opposing "friends" to "foes," a division that undermines the possibility of a true pluralism. Our socio-semiotic analysis will focus on the critical work accomplished by the media, and on the way that work determines the collective meaning of a cultural object. Simultaneously, we will discuss the necessary conditions for pluralism in a public sphere.

L'origine picturale du cinéma : le tableau vivant, une esthétique du film des premiers temps

Le cinéma des premiers temps, c'est-à-dire la production des deux premières décennies du cinéma, majoritairement caractérisée par des plans autonomes, des histoires courtes et un cadre fixe, n'a essentiellement connu d'études esthétiques que sous un angle narratologique, centrées notamment sur les prémisses du montage. Cette thèse déplace le regard - ou plus simplement le convoque -, en proposant de faire sa place à l'image. Car à qui sait les regarder, les premiers films dévoilent une parenté picturale jusqu'alors ignorée. Les images du cinéma des premiers temps - alors significativement appelées « tableaux » - se sont en effet définies à l'aune de la peinture, et même plus précisément par une imitation littérale des oeuvres d'art. Cette étude révèle que le tableau vivant, défini dans les termes stricts de la reconstitution d'une composition picturale par des acteurs vivants (que ceux-ci tiennent la pose ou non), est au fondement d'une esthétique du film des premiers temps. L'argument est structuré par les illustrations que l'auteure exhume (et compare, à la manière d'un spectaculaire et vivant jeu des 7 différences) parmi cette production filmique majoritairement disparue, brûlée, effacée, et ces références picturales aujourd'hui perdues, dénigrées, oubliées... Néanmoins ce ne sont pas quelques exemples isolés, mais un vrai phénomène historique qui est mis au jours à travers un corpus de films traversant tous les genres du cinéma des premiers temps, et prouvant que les productions du Film d'Art et des séries d'art ou le film Corner in Wheat (D.W. Griffith, 1909), souvent tenus comme un commencement, consistent bien plus en un aboutissement de cette tradition qui consiste à créer des images filmiques sous forme de tableaux vivants. Traçant d'abord ses « contexte et contours », le texte montre que la reconstitution picturale hante toutes les formes de spectacle à l'heure de l'émergence du cinéma. Les scènes de l'époque cultivent internationalement une esthétique de tableau vivant. Et la scène n'a pas l'exclusivité du phénomène : le médium photographique, dès son apparition, s'approprie le procédé, pour (chose jusqu'alors impossible) documenter l'effet visuel de ces reconstitutions, mais aussi pour les réinventer, en particulier pour se légitimer en tant que moyen artistique capable de rivaliser avec la peinture. Le cinéma émergent procède à une appropriation similaire du tableau vivant, qui fait le coeur de ce travail en y étant analysée selon quatre axes théoriques : Reproduire - où l'on découvre le caractère fondamentalement indirect de la filiation picturale de ces tableaux vivants, pris dans une dynamique de reproduction intermédiale qui en fait de véritables exercices de style, par lesquels les producteurs expérimentent et prennent conscience des moyens .artistiques de l'image filmique - ; Réincarner - où l'on étudie les problématiques engagées par la « mise en vie », et plus précisément la « mise en corps » des figures picturales (en particulier de Jésus et du nu), impliquant des enjeux de censure et un questionnement du regard sur l'art, sur le corps, et sur le statut de ces images qui semblent plus originales que l'original - ; Réanimer - où l'on examine la manière dont le cinéma mouvemente la peinture, en remettant la composition en action, en en redéployant l'instant prégnant, en expérimentant la pose gestuelle, l'arrêt du photogramme et tout le spectre de la temporalité cinématographique - ; enfin Recadrer - où l'on analyse le cadrage de ces tableaux repensés à l'aune de la caméra et de l'écran, qui nécessitent de complexifier les catégories théoriques baziniennes, et qui font émerger le tableau vivant comme un lieu de cristallisation d'une image filmique tabu/aire, offrant une résistance au montage linéaire. Or cette résistance se vérifiera jusque dans les films très contemporains, qui, en réactualisant le motif du tableau vivant, briseront la linéarité narrative du montage et feront rejaillir le poids artistique de l'image - ravivant en cela une esthétique fondatrice du cinéma.