Concepts for a geostationary-like polar missions

An evidence-led scientific case for development of a space-based polar remote sensing platform at geostationary-like (GEO-like) altitudes is developed through methods including a data user survey. Whilst a GEO platform provides a nearstatic perspective, multiple platforms are required to provide circumferential coverage. Systems for achieving GEO-like polar observation likewise require multiple platforms however the perspective is non-stationery. A key choice is between designs that provide complete polar view from a single platform at any given instant, and designs where this is obtained by compositing partial views from multiple sensors. Users foresee an increased challenge in extracting geophysical information from composite images and consider the use of non-composited images advantageous. Users also find the placement of apogee over the pole to be preferable to the alternative scenarios. Thus, a clear majority of data users find the “Taranis” orbit concept to be better than a critical inclination orbit, due to the improved perspective offered. The geophysical products that would benefit from a GEO-like polar platform are mainly estimated from radiances in the visible/near infrared and thermal parts of the electromagnetic spectrum, which is consistent with currently proven technologies from GEO. Based on the survey results, needs analysis, and current technology proven from GEO, scientific and observation requirements are developed along with two instrument concepts with eight and four channels, based on Flexible Combined Imager heritage. It is found that an operational system could, mostly likely, be deployed from an Ariane 5 ES to a 16-hour orbit, while a proof-of-concept system could be deployed from a Soyuz launch to the same orbit.

The Coronation mantle and the Westminster sanctuary pavement

The Great Sanctuary pavement at Westminster Abbey, on which the kings of England were crowned, features a design of rotated squares, around a central roundel of unusual Egyptian alabaster, set within a circle of bright blue glass. The roundel’s visual resemblance to the world and the firmament is underlined by a surrounding inscription, identifying it as the world, the macrocosm. This paper proposes that the design and meaning of the Great Sanctuary pavement reflect the square macrocosmic mantle in which the English king was wrapped during the coronation ceremony. This paper underlines the special nature of the English coronation mantle within the context of other royal and imperial cosmic mantles. Its square form was unique, and it featured in the English coronation liturgies in a way that European mantles did not. The English liturgies stressed its role as a representation of the world or macrocosm

The romance of the Stanleys: regional and national imaginings in the Percy Folio

This article investigates a body of early Tudor poetry associated with the Stanley Earls of Derby, preserved in the Percy Folio (British Library, Additional MS 27879). It argues that the Lancashire and Cheshire authors of these poems modified strategies of national address, rooted in a historical and prophetic tradition we can trace back to Geoffrey of Monmouth, to construct a clear regional identity centred on the dynastic mythology of the Stanley family. The Galfridian Stanley-ite mythology of this period presents a significant counterpart to contemporary political historical and prophetic treatments of the Tudor accession. This provides an important new literary-historical context for our understanding of the Percy Folio romance "The Turke and Sir Gawain".

Transit times – the link between hydrology and water quality at the catchment scale

In spite of trying to understand processes in the same spatial domain, the catchment hydrology and water quality scientific communities are relatively disconnected and so are their respective models. This is emphasized by an inadequate representation of transport processes, in both catchment-scale hydrological and water quality models. While many hydrological models at the catchment scale only account for pressure propagation and not for mass transfer, catchment scale water quality models are typically limited by overly simplistic representations of flow processes. With the objective of raising awareness for this issue and outlining potential ways forward we provide a non-technical overview of (1) the importance of hydrology-controlled transport through catchment systems as the link between hydrology and water quality; (2) the limitations of current generation catchment-scale hydrological and water quality models; (3) the concept of transit times as tools to quantify transport and (4) the benefits of transit time based formulations of solute transport for catchment-scale hydrological and water quality models. There is emerging evidence that an explicit formulation of transport processes, based on the concept of transit times has the potential to improve the understanding of the integrated system dynamics of catchments and to provide a stronger link between catchment-scale hydrological and water quality models.

Pasolini and Third World hunger: an approach to Cinema Novo through 'La ricotta'

Among the links between Pier Paolo Pasolini and Brazilian Cinema Novo, one of the most inspiring is the political approach to hunger and consumption. In this text, I analyse this topic to look at how some of the aesthetic ideas in Pasolini’s La ricotta (1963) can also be found in some of the most important films of Cinema Novo. In 'La ricotta' (1963), the irresistible need to eat of a subproletarian interacts and clashes with his responsibilities as an actor in a movie version of the Passion of Christ, so that the film creates a complex network of relations between film shooting, social differences, art, hunger, consumption, time and light, which turns the film set into a space for displaying political relations, differences, exploitation and revolution. The correspondences between these concepts and some aggression techniques of Cinema Novo are numerous and confirm the capacity of Pasolini’s film to project ideas on cinema and politics beyond its particular production context.