Dissolved lithium and silicon through time in microbial dissolution experiments on ODP Leg 209 peridotite

Using peridotite drilled during Ocean Drilling Program Leg 209, a series of enrichment cultures were initiated on board the ship to stimulate microbially enhanced dissolution of olivine. Dissolution was estimated by measured changes in dissolved Li and Si in the media through time (up to 709 days). The results suggest that there was no significant difference between the amounts of dissolved Li and Si in most of the inoculated microbial cultures compared to the control cultures. Alternative explanations for this are that 1. No microbes are living in the culture tubes that can affect the dissolution rates of olivine, 2. The control cultures have microbes effecting the dissolution of olivine as well as the inoculated cultures, 3. Not enough time has passed to build up a large enough microbial population to effect the dissolution of the olivine in the culture tubes, 4. Microbes act to suppress dissolution of olivine instead of enhancing dissolution, and 5. Abiotic dissolution overshadows microbially enhanced dissolution. Further work is required to test these alternatives.

Richard Seaford. Cosmology and the Polis. The social Construction of Space and Time in the Tragedies of Aeschylus, Cambridge University Press, Cambridge, 2012, xiii + 366 pp.

Fil: Fernández Deagustini, María del Pilar. Universidad Nacional de La Plata. Facultad de Humanidades y Ciencias de la Educación. Instituto de Investigaciones en Humanidades y Ciencias Sociales (UNLP-CONICET); Argentina.

Richard Seaford. Cosmology and the Polis. The social Construction of Space and Time in the Tragedies of Aeschylus, Cambridge University Press, Cambridge, 2012, xiii + 366 pp.

Fil: Fernández Deagustini, María del Pilar. Universidad Nacional de La Plata. Facultad de Humanidades y Ciencias de la Educación. Instituto de Investigaciones en Humanidades y Ciencias Sociales (UNLP-CONICET); Argentina.

Chlorophyll a concentration, and proportion of time in the water column obtained by instrumented bowhead whales

Sixty hours of direct measurements of fluorescence were collected from six bowhead whales (Balaena mysticetus) instrumented with fluorometers in Greenland in April 2005 and 2006. The data were used to (1) characterize the three-dimensional spatial pattern of chlorophyll-a (Chl-a) in the water column, (2) to examine the relationships between whale foraging areas and productive zones, and (3) to examine the correlation between whale-derived in situ values of Chl-a and those from concurrent satellite images using the NASA MODIS (Moderate Resolution Imaging Spectroradiometer) EOS-AQUA satellite (MOD21, SeaWifs analogue OC3M and SST MOD37). Bowhead whales traversed 1600 km**2, providing information on diving, Chl-a structure and temperature profiles to depths below 200 m. Feeding dives frequently passed through surface waters ( >50 m) and targeted depths close to the bottom, and whales did not always target patches of high concentrations of Chl-a in the upper 50 m. Five satellite images were available within the periods whales carried fluorometers. Whales traversed 91 pixels collecting on average 761 s (SD 826) of Chl-a samples per pixel (0-136 m). The depth of the Chl-a maximum ranged widely, from 1 to 66 m. Estimates of Chl-a made from the water-leaving radiance measurements using the OC3M algorithm were highly skewed with most samples estimated as <1 mg/m**3 Chl-a, while data collected from whales had a broad distribution with Chl-a reaching >9 mg/m**3. The correlation between the satellite-derived and whale-derived Chl-a maxima was poor, a linear fit explained only 10% of the variance.

Graphs of experimental results given in concentration of trace metals versus time in days

The impact of CO2 leakage on solubility and distribution of trace metals in seawater and sediment has been studied in lab scale chambers. Seven metals (Al, Cr, Ni, Pb, Cd, Cu, and Zn) were investigated in membrane-filtered seawater samples, and DGT samplers were deployed in water and sediment during the experiment. During the first phase (16 days), "dissolved" (<0.2 µm) concentrations of all elements increased substantially in the water. The increase in dissolved fractions of Al, Cr, Ni, Cu, Zn, Cd and Pb in the CO2 seepage chamber was respectively 5.1, 3.8, 4.5, 3.2, 1.4, 2.3 and 1.3 times higher than the dissolved concentrations of these metals in the control. During the second phase of the experiment (10 days) with the same sediment but replenished seawater, the dissolved fractions of Al, Cr, Cd, and Zn were partly removed from the water column in the CO2 chamber. DNi and DCu still increased but at reduced rates, while DPb increased faster than that was observed during the first phase. DGT-labile fractions (MeDGT) of all metals increased substantially during the first phase of CO2 seepage. DGT-labile fractions of Al, Cr, Ni, Cu, Zn, Cd and Pb were respectively 7.9, 2.0, 3.6, 1.7, 2.1, 1.9 and 2.3 times higher in the CO2 chamber than that of in the control chamber. AlDGT, CrDGT, NiDGT, and PbDGT continued to increase during the second phase of the experiment. There was no change in CdDGT during the second phase, while CuDGT and ZnDGT decreased by 30% and 25%, respectively in the CO2 chamber. In the sediment pore water, DGT labile fractions of all the seven elements increased substantially in the CO2 chamber. Our results show that CO2 leakage affected the solubility, particle reactivity and transformation rates of the studied metals in sediment and at the sediment-water interface. The metal species released due to CO2 acidification may have sufficiently long residence time in the seawater to affect bioavailability and toxicity of the metals to biota.

Characteristic time in quasispecies evolution

Estudio del tiempo en que un fenotipo alcanza un estado estacionario

Máquinas o atmósferas: La estética de la energía en la arquitectura, 1750-2000 = From Machines to Atmospheres: The Aesthetics of Energy in Architecture, 1750-2000

La energía es ya un tema arquitectónico, pero su incorporación al proyecto ha sido hasta ahora fundamentalmente técnica, dando pie a una especie de funcionalismo ecológico cuyo destino es acaso repetir los errores de los viejos funcionalismos en su confianza de encontrar modos ‘objetivos’ de transmutar la energía en forma construida, pero sin que en tal proceso parezca haber hueco para mediaciones de tipo estético. Sin embargo, son precisamente tales mediaciones las que necesitan analizarse para que la adopción de los temas energéticos resulte fructífera en la arquitectura, y asimismo para dar cuenta de otras perspectivas complementarias —filosóficas, científicas, artísticas— que hoy forman el complejo campo semántico de la energía. Partiendo de la fecha de 1750 —que da comienzo simbólicamente al proceso de contaminaciones ‘modernas’ entre la arquitectura y otras disciplinas—, esta tesis analiza los diferentes modos con los que proyectos y edificios han expresado literal y analógicamente ciertos temas o ideales energéticos, demostrando la existencia de una ‘estética de la energía’ en la arquitectura y también de una tradición proyectual e intelectual sostenida en ella. Con este fin, se han seleccionados siete metáforas que vinculan tanto técnica como ideológicamente a la arquitectura con la energía: la metáfora de la máquina, asociada al ideal de movimiento y la autorregulación; las metáforas del arabesco, del cristal y del organismo, afines entre sí en su modo de dar cuenta del principio de la morfogénesis o energía creadora de la naturaleza; la metáfora de la actividad interna de los materiales; la metáfora del gradiente, que expresa la condición térmica y climática de la arquitectura, y, finalmente, la de la atmósfera que, recogiendo los sentidos anteriores, los actualiza en el contexto de la estética contemporánea. La selección de estas siete metáforas se ha llevado a cabo después de un barrido exhaustivo de la bibliografía precedente, y ha estructurado un relato cuyo método combina la perspectiva general —que permite cartografiar las continuidades históricas— con la cercana —que atiende a las problemas específicos de cada tema o metáfora—, complementándolas con una aproximación de sesgo iconográfico cuyo propósito es incidir en los vínculos que se dan entre lo ideológico y lo morfológico. El análisis ha puesto de manifiesto cómo detrás de cada una de estas metáforas se oculta un principio ideológico común —la justificación de la arquitectura desde planteamientos externos procedentes de la ciencia, la filosofía y el arte—, y cómo en cada uno de los casos estudiados las asimilaciones más fructíferas de la energía se han producido según mecanismos de mímesis analógica que inciden más en los procesos que en las formas que estos generan, y que en último término son de índole estética, lo cual constituye un indicio de los métodos de la arquitectura por venir. ABSTRACT Although it is already an architectural theme, the matter of incorporating energy into projects has up to now been mainly technical, giving rise to a kind of ecological functionalism which may be bound to old funcionalist mistakes in hopes of finding “objective” ways of transmuting energy into built forms without aesthetic considerations. However, it is precisely such considerations that need to be analyzed if the adoption of energy issues in architecture is to bear fruit and also to account for other complementary perspectives – philosophical, scientific, artistic – which today form the complex fabric of the energy semantic field. Beginning in 1750 – symbolic start of ‘modern’ contaminations between architecture and other disciplines –, this thesis analyzes the different ways in which projects and buildings have literally and analogically expressed certain subjects or ideals on energy, and demonstrates the existence of an “aesthetics of energy” in architecture, as well as of an intellectual and design tradition based on such aesthetics. For this purpose, seven metaphors are selected to link energy to architecture both technically and ideologically: the machine’s metaphor, associated with the ideal of mouvement and self-regulation; the arabesque, glass and the organism’s metaphors, which account for the morphogenesis principle, i.e. creative energy of nature; the metaphor linked to matter and the ideal of internal activity; the gradient’s metaphor, which expressed the thermal and climatic condition of architecture, and, finally, that of the atmosphere which, collecting the above meanings, updates them in the context of contemporary aesthetics. The selection of these seven metaphors was carried out after a thorough scan of the preceding literature, and has structured a reasoning that combines the overview method – which accounts for historical continuities – with the nearby one – which meets the specifics problems of each theme or metaphor –, both supplemented with an iconographic bias, the purpose of which is to visually express the links existing between the ideological and the morphological. So presented, the analysis shows how, behind each of these metaphors, lies a common ideological principle – the justification of architecture from scientific, philosophical and artistic “external” angles –, and how in each of the studied cases the most successful assimilation of energy were those produced by aesthetic mechanisms of analogical mimesis not focused in forms but in processes that generate them: an indication of the methods of architecture to come.

MNEMOSYNE VS MIMESIS, On Memory in Architecture = MNEMOSINE VS MIMESIS, De la memoria en la arquitectura

Memory is an indispensable tool for all architects. An architect without memory is worthless or less than worthless.

Feo, inútil, inestable: pensamiento crítico contemporáneo y procesos proyectivos en arquitectura = Ugly, useless, unstable: contemporary critical thought and projective processes in architecture

La presente tesis doctoral persigue dos objetivos simultáneos: Determinar el alcance de los criterios clásicos para la evaluación de arquitectura y poner en crisis la prevalencia de esos mismos criterios dentro del marco crítico y productivo actual. En concreto, esta tesis se interroga sobre la posible contribución de determinadas corrientes del pensamiento post-estructuralista y neo-materialista a las tareas de expansión y transformación de los criterios clásicos antes mencionados. Asimismo, se plantea la oportunidad de formalizar estas incorporaciones conceptuales como metodologías para el proyectar arquitectónico. La tesis emplea un análisis pormenorizado de las cualidades implícitas en la triada Firmitas, Utilitas, Venustas elaborada por Vitruvio como vehículo para calibrar la influencia de los paradigmas de pensamiento clásico en nuestras posiciones críticas contemporáneas. Como reacción al carácter dominante de dichos paradigmas, y con la ayuda de una compilación selectiva de ejemplos procedentes de los campos artístico y arquitectónico, la presente tesis procede a examinar y clasificar diversas estrategias arquitectónicas basadas en la no conformidad con los criterios clásicos de evaluación de la disciplina. A la hora de realizar esta tarea, y con el objetivo de superar el dualismo trascendental que caracteriza la gran mayoría de dichos criterios clásicos, se propone un modelo analítico y multidimensional que formula las instancias arquitectónicas como posibles posiciones dentro de un extenso continuo combinatorio de cualidades formales, estructurales y organizativas. Este modelo conceptual permite replantear el aparente antagonismo entre los principios de Vitruvio y sus opuestos, estableciendo en su lugar un dominio operativo continuo de producción arquitectónica. Esta operación abre una ventana de oportunidad para expandir los límites del marco crítico actual más allá de las fronteras establecidas por nuestra herencia clásica. En consecuencia con esta voluntad, la presente tesis pretende habilitar un ámbito para el análisis crítico de las estrategias que caracterizan ciertas corrientes del proyectar contemporáneo, pero también contribuir a informar nuevas aproximaciones metodológicas al proceso de proyecto, desplazando progresivamente su foco desde lo descriptivo hacia lo proyectivo. ABSTRACT This doctoral thesis attempts to simultaneously determine the scope of the classical criteria for the evaluation of architecture and challenge their prevalence within the current framework of architectural production and criticism. It examines how specific strands of post-structuralism and neo-materialism may contribute to both the expansion and the transformation of these criteria and, in doing so, sets itself the goal of mobilising these conceptual incorporations as explicit design methodologies. A detailed analysis of the formal, structural and organisational qualities implicit in Vitruvius’ triad Firmitas, Utilitas, Venustas is used as a starting point to determine the influence of classical paradigms in our current critical positions. As a reaction to this critical pervasiveness, and supported by a curated collection of artistic and architectural works, diverse approaches to non-compliance with the classical criteria of assessment are examined and classified. In order to facilitate this endeavour -and to overcome the transcendental dualism of most classical critical approaches in architecture- this thesis puts forward an analytical, multidimensional model that formulates architectural instances as possible positions within a larger combinatory continuum of formal, structural and organisational qualities. Using this conceptual model, the apparent antagonism between Vitruvius’ principles and its non-compliant opposites is reframed as a continuous operative domain of architectural production, which in turn opens up a window of opportunity to expand the limits of our critical framework beyond the boundaries of classical paradigms. In doing so, this thesis attempts not only to foster a better understanding of some of the strategic approaches that characterise contemporary systems of architectural production, but also to inform future methodological approaches to architectural design, hence situating itself beyond the domain of the descriptive and moving towards the projective.