Instructions for an Audio Performance/Scissors Music

‘Instructions for an Audio Performance/Scissors Recording’ is a score for a performance using an amplified scissors that can be downloaded and interpreted by a performer anywhere in the world. The file functions as a manual for the performer with guidance for creating the instrument and preparing the performance space while it also provides a template for the actual sonic pattern to be followed in the live performance. Created originally for ‘Storageroom’ an online platform featuring complete exhibitions that are available for download, the piece was exhibited and interpreted in a live performance by Ayelet Lerman for the File Transfer Protocol, the contemporary section of the Haifa-Jerusalem-Tel Aviv exhibition at the Museum of Art, Haifa, Israel.

Wind observations above an urban river using a new lidar technique, scintillometry and anemometry

Flow along rivers, an integral part of many cities, might provide a key mechanism for ventilation – which is important for air quality and heat stress. Since the flow varies in space and time around rivers, there is limited utility in point measurements. Ground-based remote sensing offers the opportunity to study 3D flow in locations which are hard to observe. For three months in the winter and spring of 2011, the atmospheric flow above the River Thames in central London was observed using a scanning Doppler lidar, a dual-beam scintillometer and sonic anemometry. First, an inter-comparison showed that lidar-derived mean wind-speed estimates compare almost as well to sonic anemometers (root-mean-square error (rmse) 0.65–0.68 m s–1) as comparisons between sonic anemometers (0.35–0.73 m s–1). Second, the lidar duo-beam scanning strategy provided horizontal transects of wind vectors comparison with scintillometer rmse 1.12–1.63 m s–1) which revealed mean and turbulent flow across the river and surrounds; in particular: chanelling flow along the river and turbulence changes consistent with the roughness changes between built to river environments. The results have important consequences for air quality and dispersion around urban rivers, especially given that many cities have high traffic rates on bankside roads.

A method to diagnose boundary-layer type using Doppler lidar

A new technique for objective classification of boundary layers is applied to ground-based vertically pointing Doppler lidar and sonic anemometer data. The observed boundary layer has been classified into nine different types based on those in the Met Office ‘Lock’ scheme, using vertical velocity variance and skewness, along with attenuated backscatter coefficient and surface sensible heat flux. This new probabilistic method has been applied to three years of data from Chilbolton Observatory in southern England and a climatology of boundary-layer type has been created. A clear diurnal cycle is present in all seasons. The most common boundary-layer type is stable with no cloud (30.0% of the dataset). The most common unstable type is well mixed with no cloud (15.4%). Decoupled stratocumulus is the third most common boundary-layer type (10.3%) and cumulus under stratocumulus occurs 1.0% of the time. The occurrence of stable boundary-layer types is much higher in the winter than the summer and boundary-layer types capped with cumulus cloud are more prevalent in the warm seasons. The most common diurnal evolution of boundary-layer types, occurring on 52 days of our three-year dataset, is that of no cloud with the stability changing from stable to unstable during daylight hours. These results are based on 16393 hours, 62.4% of the three-year dataset, of diagnosed boundary-layer type. This new method is ideally suited to long-term evaluation of boundary-layer type parametrisations in weather forecast and climate models.

An assessment of a three-beam Doppler lidar wind profiling method for use in urban areas

Currently there are few observations of the urban wind field at heights other than rooftop level. Remote sensing instruments such as Doppler lidars provide wind speed data at many heights, which would be useful in determining wind loadings of tall buildings, and predicting local air quality. Studies comparing remote sensing with traditional anemometers carried out in flat, homogeneous terrain often use scan patterns which take several minutes. In an urban context the flow changes quickly in space and time, so faster scans are required to ensure little change in the flow over the scan period. We compare 3993 h of wind speed data collected using a three-beam Doppler lidar wind profiling method with data from a sonic anemometer (190 m). Both instruments are located in central London, UK; a highly built-up area. Based on wind profile measurements every 2 min, the uncertainty in the hourly mean wind speed due to the sampling frequency is 0.05–0.11 m s−1. The lidar tended to overestimate the wind speed by ≈0.5 m s−1 for wind speeds below 20 m s−1. Accuracy may be improved by increasing the scanning frequency of the lidar. This method is considered suitable for use in urban areas.

An assessment of observed vertical flux divergence in long-term eddy-covariance measurements over two Midwestern forest ecosystems

Vertical divergence of CO2 fluxes is observed over two Midwestern AmeriFlux forest sites. The differences in ensemble averaged hourly CO2 fluxes measured at two heights above canopy are relatively small (0.2–0.5 μmol m−2 s−1), but they are the major contributors to differences (76–256 g C m−2 or 41.8–50.6%) in estimated annual net ecosystem exchange (NEE) in 2001. A friction velocity criterion is used in these estimates but mean flow advection is not accounted for. This study examines the effects of coordinate rotation, averaging time period, sampling frequency and co-spectral correction on CO2 fluxes measured at a single height, and on vertical flux differences measured between two heights. Both the offset in measured vertical velocity and the downflow/upflow caused by supporting tower structures in upwind directions lead to systematic over- or under-estimates of fluxes measured at a single height. An offset of 1 cm s−1 and an upflow/downflow of 1° lead to 1% and 5.6% differences in momentum fluxes and nighttime sensible heat and CO2 fluxes, respectively, but only 0.5% and 2.8% differences in daytime sensible heat and CO2 fluxes. The sign and magnitude of both offset and upflow/downflow angle vary between sonic anemometers at two measurement heights. This introduces a systematic and large bias in vertical flux differences if these effects are not corrected in the coordinate rotation. A 1 h averaging time period is shown to be appropriate for the two sites. In the daytime, the absolute magnitudes of co-spectra decrease with height in the natural frequencies of 0.02–0.1 Hz but increase in the lower frequencies (<0.01 Hz). Thus, air motions in these two frequency ranges counteract each other in determining vertical flux differences, whose magnitude and sign vary with averaging time period. At night, co-spectral densities of CO2 are more positive at the higher levels of both sites in the frequency range of 0.03–0.4 Hz and this vertical increase is also shown at most frequencies lower than 0.03 Hz. Differences in co-spectral corrections at the two heights lead to a positive shift in vertical CO2 flux differences throughout the day at both sites. At night, the vertical CO2 flux differences between two measurement heights are 20–30% and 40–60% of co-spectral corrected CO2 fluxes measured at the lower levels of the two sites, respectively. Vertical differences of CO2 flux are relatively small in the daytime. Vertical differences in estimated mean vertical advection of CO2 between the two measurement heights generally do not improve the closure of the 1D (vertical) CO2 budget in the air layer between the two measurement heights. This may imply the significance of horizontal advection. However, a reliable assessment of mean advection contributions in annual NEE estimate at these two AmeriFlux sites is currently an unsolved problem.

An optimal inverse method using Doppler lidar measurements to estimate the surface sensible heat flux

Inverse methods are widely used in various fields of atmospheric science. However, such methods are not commonly used within the boundary-layer community, where robust observations of surface fluxes are a particular concern. We present a new technique for deriving surface sensible heat fluxes from boundary-layer turbulence observations using an inverse method. Doppler lidar observations of vertical velocity variance are combined with two well-known mixed-layer scaling forward models for a convective boundary layer (CBL). The inverse method is validated using large-eddy simulations of a CBL with increasing wind speed. The majority of the estimated heat fluxes agree within error with the proscribed heat flux, across all wind speeds tested. The method is then applied to Doppler lidar data from the Chilbolton Observatory, UK. Heat fluxes are compared with those from a mast-mounted sonic anemometer. Errors in estimated heat fluxes are on average 18 %, an improvement on previous techniques. However, a significant negative bias is observed (on average −63%) that is more pronounced in the morning. Results are improved for the fully-developed CBL later in the day, which suggests that the bias is largely related to the choice of forward model, which is kept deliberately simple for this study. Overall, the inverse method provided reasonable flux estimates for the simple case of a CBL. Results shown here demonstrate that this method has promise in utilizing ground-based remote sensing to derive surface fluxes. Extension of the method is relatively straight-forward, and could include more complex forward models, or other measurements.

The plume also rises: trajectories of pheromone plumes issuing from point sources in an orchard canopy at night

The trajectories of pheromone plumes in canopied habitats, such as orchards, have been little studied. We documented the capture of male navel orangeworm moths, Amyelois transitella, in female-baited traps positioned at 5 levels, from ground level to the canopy top, at approximately 6 m above ground, in almond orchards. Males were captured in similar proportions at all levels, suggesting that they do not favor a particular height during ranging flight. A 3-D sonic anemometer was used to establish patterns of wind flow and temperature at 6 heights from 2.08 to 6.65 m in an almond orchard with a 5 m high canopy, every 3 h over 72 h. The horizontal velocity of wind flow was highest above the canopy, where its directionality also was the most consistent. During the time of A. transitella mating (0300–0600), there was a net vertical displacement upward. Vertical buoyancy combined with only minor reductions in the distance that plumes will travel in the lower compared to the upper canopy suggest that the optimal height for release of pheromone from high-release-rate sources, such as aerosol dispensers (“puffers”), that are deployed at low densities (e.g., 3 per ha.) would be at mid or low in the canopy, thereby facilitating dispersion of disruptant throughout the canopy. Optimal placement of aerosol dispensers will vary with the behavioral ecology of the target pest; however, our results suggest that current protocols, which generally propose dispenser placement in the upper third of the canopy, should be reevaluated.

An overview on the urban boundary-layer atmosphere network in Helsinki

The Helsinki Urban Boundary-Layer Atmosphere Network (UrBAN: http://urban.fmi.fi) is a dedicated research-grade observational network where the physical processes in the atmosphere above the city are studied. Helsinki UrBAN is the most poleward intensive urban research observation network in the world and thus will allow studying some unique features such as strong seasonality. The network's key purpose is for the understanding of the physical processes in the urban boundary layer and associated fluxes of heat, momentum, moisture, and other gases. A further purpose is to secure a research-grade database, which can be used internationally to validate and develop numerical models of air quality and weather prediction. Scintillometers, a scanning Doppler lidar, ceilometers, a sodar, eddy-covariance stations, and radiometers are used. This equipment is supplemented by auxiliary measurements, which were primarily set up for general weather and/or air-quality mandatory purposes, such as vertical soundings and the operational Doppler radar network. Examples are presented as a testimony to the potential of the network for urban studies, such as (i) evidence of a stable boundary layer possibly coupled to an urban surface, (ii) the comparison of scintillometer data with sonic anemometry above an urban surface, (iii) the application of scanning lidar over a city, and (iv) combination of sodar and lidar to give a fuller range of sampling heights for boundary layer profiling.

Space, authenticity and utopia in the hip-hop teen dance film

The dance film flourished in the 2000s in the form of the hip-hop teen dance film. Such films as Save the Last Dance (Thomas Carter, 2001), Honey (Billy Woodruff, 2002) and Step Up (Anne Fletcher, 2006) drew on hip-hop’s dominance of the mainstream music industry and combined the teen film’s pre-existing social problem and musical narratives. Yet various tension were created by their interweaving of representations of post-industrial city youth with the utopian sensibilities of the classical Hollywood musical. Their narratives celebrated hip-hop performance, and depicted dance’s ability to bridge cultural boundaries and bring together couples and communities. These films used hip-hop to define space and identity yet often constructed divisions within their soundscapes, limiting hip-hop’s expressive potential. This article explores the cycle’s celebration of, yet struggle with, hip-hop through examining select films’ interactions between soundscape, narrative and form. It will engage with these films’ attempts to marry the representational, narrative and aesthetic meanings of hip-hop culture with the form and ideologies of the musical genre, particularly the tensions and continuities that arise from their engagement with the genre’s utopian qualities identified by Richard Dyer (1985). Yet whilst these films illustrate the tensions and challenges of combining hip-hop culture and the musical genre, they also demonstrate an effective integration of hip-hop soundscape and the dancing body in their depiction of dance, highlighting both form’s aesthetics of layering, rupture and flow (Rose, 1994: 22).