41 resultados para Cave paintings.


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The decomposition of soil organic matter (SOM) is temperature dependent, but its response to a future warmer climate remains equivocal. Enhanced rates of decomposition of SOM under increased global temperatures might cause higher CO2 emissions to the atmosphere, and could therefore constitute a strong positive feedback. The magnitude of this feedback however remains poorly understood, primarily because of the difficulty in quantifying the temperature sensitivity of stored, recalcitrant carbon that comprises the bulk (>90%) of SOM in most soils. In this study we investigated the effects of climatic conditions on soil carbon dynamics using the attenuation of the 14C ‘bomb’ pulse as recorded in selected modern European speleothems. These new data were combined with published results to further examine soil carbon dynamics, and to explore the sensitivity of labile and recalcitrant organic matter decomposition to different climatic conditions. Temporal changes in 14C activity inferred from each speleothem was modelled using a three pool soil carbon inverse model (applying a Monte Carlo method) to constrain soil carbon turnover rates at each site. Speleothems from sites that are characterised by semi-arid conditions, sparse vegetation, thin soil cover and high mean annual air temperatures (MAATs), exhibit weak attenuation of atmospheric 14C ‘bomb’ peak (a low damping effect, D in the range: 55–77%) and low modelled mean respired carbon ages (MRCA), indicating that decomposition is dominated by young, recently fixed soil carbon. By contrast, humid and high MAAT sites that are characterised by a thick soil cover and dense, well developed vegetation, display the highest damping effect (D = c. 90%), and the highest MRCA values (in the range from 350 ± 126 years to 571 ± 128 years). This suggests that carbon incorporated into these stalagmites originates predominantly from decomposition of old, recalcitrant organic matter. SOM turnover rates cannot be ascribed to a single climate variable, e.g. (MAAT) but instead reflect a complex interplay of climate (e.g. MAAT and moisture budget) and vegetation development.

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The Cave, in SZUPERNOVA, Vozodvishenka Arts House, Kiev

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Building roofs play a very important role in the energy balance of buildings, especially in summer, when they are hit by a rather high solar irradiance. Depending on the type of finishing layer, roofs can absorb a great amount of heat and reach quite high temperatures on their outermost surface, which determines significant room overheating. However, the use of highly reflective cool materials can help to maintain low outer surface temperatures; this practice may improve indoor thermal comfort and reduce the cooling energy need during the hot season.This technology is currently well known and widely used in the USA, while receiving increasing attention in Europe. In order to investigate the effectiveness of cool roofs as a passive strategy for passive cooling in moderately hot climates, this paper presents the numerical results of a case study based on the dynamic thermal analysis of an existing office building in Catania (southern Italy, Mediterranean area). The results show how the application of a cool paint on the roof can enhance the thermal comfort of the occupants by reducing the operative temperatures of the rooms and to reduce the overall energy needs of the building for space heating and cooling.

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Deuterium (dD) and oxygen (d18O) isotopes are powerful tracers of the hydrological cycle and have been extensively used for paleoclimate reconstructions as they can provide information on past precipitation, temperature and atmospheric circulation. More recently, the use of 17Oexcess derived from precise measurement of d17O and d18O gives new and additional insights in tracing the hydrological cycle whereas uncertainties surround this proxy. However, 17Oexcess could provide additional information on the atmospheric conditions at the moisture source as well as about fractionations associated with transport and site processes. In this paper we trace water stable isotopes (dD, d17O and d18O) along their path from precipitation to cave drip water and finally to speleothem fluid inclusions for Milandre cave in northwestern Switzerland. A two year-long daily resolved precipitation isotope record close to the cave site is compared to collected cave drip water (3 months average resolution) and fluid inclusions of modern and Holocene stalagmites. Amount weighted mean dD, d18O and d17O are �71.0‰, �9.9‰, �5.2‰ for precipitation, �60.3‰, �8.7‰, �4.6‰ for cave drip water and �61.3‰, �8.3‰, �4.7‰ for recent fluid inclusions respectively. Second order parameters have also been derived in precipitation and drip water and present similar values with 18 per meg for 17Oexcess whereas d-excess is 1.5‰ more negative in drip water. Furthermore, the atmospheric signal is shifted towards enriched values in the drip water and fluid inclusions (D of ~ þ 10‰ for dD). The isotopic composition of cave drip water exhibits a weak seasonal signal which is shifted by around 8e10 months (groundwater residence time) when compared to the precipitation. Moreover, we carried out the first d17O measurement in speleothem fluid inclusions, as well as the first comparison of the d17O behaviour from the meteoric water to the fluid inclusions entrapment in speleothems. This study on precipitation, drip water and fluid inclusions will be used as a speleothem proxy calibration for Milandre cave in order to reconstruct paleotemperatures and moisture source variations for Western Central Europe.

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In this research, a cross-model paradigm was chosen to test the hypothesis that affective olfactory and auditory cues paired with neutral visual stimuli bearing no resemblance or logical connection to the affective cues can evoke preference shifts in those stimuli. Neutral visual stimuli of abstract paintings were presented simultaneously with liked and disliked odours and sounds, with neutral-neutral pairings serving as controls. The results confirm previous findings that the affective evaluation of previously neutral visual stimuli shifts in the direction of contingently presented affective auditory stimuli. In addition, this research shows the presence of conditioning with affective odours having no logical connection with the pictures.

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This paper presents the first systematic chronostratigraphic study of the river terraces of the Exe catchment in South West England and a new conceptual model for terrace formation in unglaciated basins with applicability to terrace staircase sequences elsewhere. The Exe catchment lay beyond the maximum extent of Pleistocene ice sheets and the drainage pattern evolved from the Tertiary to the Middle Pleistocene, by which time the major valley systems were in place and downcutting began to create a staircase of strath terraces. The higher terraces (8-6) typically exhibit altitudinal overlap or appear to be draped over the landscape, whilst the middle terraces show greater altitudinal separation and the lowest terraces are of a cut and fill form. The terrace deposits investigated in this study were deposited in cold phases of the glacial-interglacial Milankovitch climatic cycles with the lowest four being deposited in the Devensian Marine Isotope Stages (MIS) 4-2. A new cascade process-response model is proposed of basin terrace evolution in the Exe valley, which emphasises the role of lateral erosion in the creation of strath terraces and the reworking of inherited resistant lithological components down through the staircase. The resultant emergent valley topography and the reworking of artefacts along with gravel clasts, have important implications for the dating of hominin presence and the local landscapes they inhabited. Whilst the terrace chronology suggested here is still not as detailed as that for the Thames or the Solent System it does indicate a Middle Palaeolithic hominin presence in the region, probably prior to the late Wolstonian Complex or MIS 6. This supports existing data from cave sites in South West England.

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Over the past few years a number of research studies, mainly involving desktop-based or head-mounted Virtual Reality (VR) systems, have been undertaken to determine what VR can contribute to the education process. In our study we have used the findings from a number of these studies to help in formulating a new study into the perceived merits and limitations of using VR in general, and immersive CAVE-like systems in particular, as an education tool. We conducted our study with a group of final year undergraduate students who were registered on a module that described VR in terms of the scientific issues, application areas, and strengths and weaknesses of the technology.

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A desktop tool for replay and analysis of gaze-enhanced multiparty virtual collaborative sessions is described. We linked three CAVE (TM)-like environments, creating a multiparty collaborative virtual space where avatars are animated with 3D gaze as well as head and hand motions in real time. Log files are recorded for subsequent playback and analysis Using the proposed software tool. During replaying the user can rotate the viewpoint and navigate in the simulated 3D scene. The playback mechanism relies on multiple distributed log files captured at every site. This structure enables an observer to experience latencies of movement and information transfer for every site as this is important fir conversation analysis. Playback uses an event-replay algorithm, modified to allow fast traversal of the scene by selective rendering of nodes, and to simulate fast random access. The tool's is analysis module can show each participant's 3D gaze points and areas where gaze has been concentrated.

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Participants' eye-gaze is generally not captured or represented in immersive collaborative virtual environment (ICVE) systems. We present EyeCVE. which uses mobile eye-trackers to drive the gaze of each participant's virtual avatar, thus supporting remote mutual eye-contact and awareness of others' gaze in a perceptually unfragmented shared virtual workspace. We detail trials in which participants took part in three-way conferences between remote CAVE (TM) systems linked via EyeCVE. Eye-tracking data was recorded and used to evaluate interaction, confirming; the system's support for the use of gaze as a communicational and management resource in multiparty conversational scenarios. We point toward subsequent investigation of eye-tracking in ICVEs for enhanced remote social-interaction and analysis.

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Realistic medical simulation has great potential for augmenting or complimenting traditional medical training or surgery planning, and Virtual Reality (VR) is a key enabling technology for delivering this goal. Although, medical simulators are now widely used in medical institutions, the majority of them are still reliant on desktop monitor displays, and many are restricted in their modelling capability to minimally invasive or endoscopic surgery scenarios. Whilst useful, such models lack the realism and interaction of the operating theatre. In this paper, we describe how we are advancing the technology by simulating open surgery procedures in an Immersive Projection Display CAVE environment thereby enabling medical practitioners to interact with their virtual patients in a more realistic manner.

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It is reported in the literature that distances from the observer are underestimated more in virtual environments (VEs) than in physical world conditions. On the other hand estimation of size in VEs is quite accurate and follows a size-constancy law when rich cues are present. This study investigates how estimation of distance in a CAVETM environment is affected by poor and rich cue conditions, subject experience, and environmental learning when the position of the objects is estimated using an experimental paradigm that exploits size constancy. A group of 18 healthy participants was asked to move a virtual sphere controlled using the wand joystick to the position where they thought a previously-displayed virtual cube (stimulus) had appeared. Real-size physical models of the virtual objects were also presented to the participants as a reference of real physical distance during the trials. An accurate estimation of distance implied that the participants assessed the relative size of sphere and cube correctly. The cube appeared at depths between 0.6 m and 3 m, measured along the depth direction of the CAVE. The task was carried out in two environments: a poor cue one with limited background cues, and a rich cue one with textured background surfaces. It was found that distances were underestimated in both poor and rich cue conditions, with greater underestimation in the poor cue environment. The analysis also indicated that factors such as subject experience and environmental learning were not influential. However, least square fitting of Stevens’ power law indicated a high degree of accuracy during the estimation of object locations. This accuracy was higher than in other studies which were not based on a size-estimation paradigm. Thus as indirect result, this study appears to show that accuracy when estimating egocentric distances may be increased using an experimental method that provides information on the relative size of the objects used.

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Counting Her Dresses and other plays, devised by Lib Taylor, is a short, mixed-media, promenade performance based on theatre writings by Gertrude Stein. Gertrude Stein was an American writer who lived in Paris for most of her adult life and was a significant figure in the development of early twentieth century modernism. She was an artists’ patron and one of the first collectors of paintings by Picasso, Matisse, Cezanne and others. She wrote novels, short stories, poetry and criticism, as well as a number of very short ‘plays’ and opera libretti. Even though her plays are very rarely performed they have been very influential in the development of avant-garde theatre. The performance juxtaposes a soundcape of voices, live performance, an ‘exhibition’ of paintings and mediated images projected onto and across the space to evoke Stein’s sense of theatre as a place of experience and emotion, not as a place of story and action. The performance comprises five theatre fragments which have been combined in a collage that alludes to the experimental art that Stein promoted.

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Solo exhibition of 22 paintings at Outpost gallery, Norwich. And launch of Issue Four: Negative Space (2010) by John Russell – limited edition letterpress print published by Stone Canyon Nocturne Press.