Sensitivity Gains, Linearity, and Spectral Reproducibility in Nonuniformly Sampled Multidimensional MAS NMR Spectra of High Dynamic Range

Recently, we have demonstrated that considerable inherent sensitivity gains are attained in MAS NMR spectra acquired by nonuniform sampling (NUS) and introduced maximum entropy interpolation (MINT) processing that assures the linearity of transformation between the time and frequency domains. In this report, we examine the utility of the NUS/MINT approach in multidimensional datasets possessing high dynamic range, such as homonuclear C-13-C-13 correlation spectra. We demonstrate on model compounds and on 1-73-(U-C-13,N-15)/74-108-(U-N-15) E. coli thioredoxin reassembly, that with appropriately constructed 50 % NUS schedules inherent sensitivity gains of 1.7-2.1-fold are readily reached in such datasets. We show that both linearity and line width are retained under these experimental conditions throughout the entire dynamic range of the signals. Furthermore, we demonstrate that the reproducibility of the peak intensities is excellent in the NUS/MINT approach when experiments are repeated multiple times and identical experimental and processing conditions are employed. Finally, we discuss the principles for design and implementation of random exponentially biased NUS sampling schedules for homonuclear C-13-C-13 MAS correlation experiments that yield high-quality artifact-free datasets.

Magic Lantern Slides 2

According to Charles Musser, Huygens had two key innovations for his magic lantern: 1. Images painted on glass instead of etchings on mirrors. 2. An artificial light source was used instead of the reflection of sunlight. (20) Glass slides (often more than one) with hand drawn images are the standard aesthetic for these slides. They are then usually mounted in rectangular wooden frames approx. 4 x 7 inches with a 3 inch circular opening for the image. (Musser 30) The various mechanisms attached to the images are described in the Object Narrative section.

Magic Lantern Slides 4

According to Charles Musser, Huygens had two key innovations for his magic lantern: 1. Images painted on glass instead of etchings on mirrors. 2. An artificial light source was used instead of the reflection of sunlight. (20) Glass slides (often more than one) with hand drawn images are the standard aesthetic for these slides. They are then usually mounted in rectangular wooden frames approx. 4 x 7 inches with a 3 inch circular opening for the image. (Musser 30) The various mechanisms attached to the images are described in the Object Narrative section.

Magic Lantern Slides 1

According to Charles Musser, Huygens had two key innovations for his magic lantern: 1. Images painted on glass instead of etchings on mirrors. 2. An artificial light source was used instead of the reflection of sunlight. (20) Glass slides (often more than one) with hand drawn images are the standard aesthetic for these slides. They are then usually mounted in rectangular wooden frames approx. 4 x 7 inches with a 3 inch circular opening for the image. (Musser 30) The various mechanisms attached to the images are described in the Object Narrative section.

Magic Lantern Slides 3

According to Charles Musser, Huygens had two key innovations for his magic lantern: 1. Images painted on glass instead of etchings on mirrors. 2. An artificial light source was used instead of the reflection of sunlight. (20) Glass slides (often more than one) with hand drawn images are the standard aesthetic for these slides. They are then usually mounted in rectangular wooden frames approx. 4 x 7 inches with a 3 inch circular opening for the image. (Musser 30) The various mechanisms attached to the images are described in the Object Narrative section.

Thaumatrope (Magic Circle)

The thaumatrope consists of a circle of cardstock, 2.5 inches in diameter with 2 strings attached, one each at opposite points of the diameter. There were 2 images painted on the cardstock, one on each side, with their positions inverted. The outline of the image was usually printed and the color hand-painted in (Barnes 7).

Modeling of Magic Water Clusters(H20)2 and (H20)21H+ with the PM3 Quantum-Mechanical Method

The PM3 quantum-mechanical method is able to model the magic water clusters (H20),, and (H20)&+. Results indicate that the H30+ ion is tightly bound within the (H20),, cluster by multiple hydrogen bonds, causing deformation to the symmetric (HzO),, pentagonal dodecahedron structure. The structures, energetics, and hydrogen bond patterns of six local minima (H20)21H+ clusters are presented.

Spinning Song

More than twelve years ago, during the car rides to school, my paternal grandmother, or Obasan as she is known in our family, first began telling me her stories about living in the Philippines during the Japanese Occupation. At the time, I did not know much about World War II, but her stories about being captured by the Japanese soldiersfascinated me. Years have passed, and only recently did I really begin to grasp not only the poignancy of these accounts, but also their importance in a larger context. The absence of first-hand narratives about World War II and the Japanese Occupation of the Philippines from the point of view of a Filipino woman is problematic, and I hope that my grandmother’s story can fill this hole in war literature. There are two main parts to the narrative. The first eight chapters of my thesis are about the early years of the Japanese Occupation. During this time, Obasan and her familylived a relatively peaceful life, with the exception of a few troubling encounters with the Japanese. The last seven chapters recount the Liberation of the Philippines and the days when Obasan and her family were held captive by the Japanese. The primary sources for this thesis are the interviews I have conducted with my grandmother over the course of this year and her own handwritten memoir that she composed in the last two decades. I focus specifically on the three chapters that she wrote about the war. I have also included poems written by women and historical background on the Philippines and World War II. Spinning Song is what I call a hybrid-memoir, as it retells Obasan’s stories about the war and explores the ways in which our experiences as grandmother and granddaughter intersect. More importantly, it is my way of preserving the legacy of my grandmother and paying tribute to the woman who has shaped much of who I am today.