A reconciliation of empirical and mechanistic models of the air-sea gas transfer velocity

Models of the air-sea transfer velocity of gases may be either empirical or mechanistic. Extrapolations of empirical models to an unmeasured gas or to another water temperature can be erroneous if the basis of that extrapolation is flawed. This issue is readily demonstrated for the most well-known empirical gas transfer velocity models where the influence of bubble-mediated transfer, which can vary between gases, is not explicitly accounted for. Mechanistic models are hindered by an incomplete knowledge of the mechanisms of air-sea gas transfer. We describe a hybrid model that incorporates a simple mechanistic view—strictly enforcing a distinction between direct and bubble-mediated transfer—but also uses parameterizations based on data from eddy flux measurements of dimethyl sulphide (DMS) to calibrate the model together with dual tracer results to evaluate the model. This model underpins simple algorithms that can be easily applied within schemes to calculate local, regional, or global air-sea fluxes of gases.

La evolución de un paratexto singular: las subscriptiones latinas

La historia de las subscriptiones latinas revela alteraciones tanto en su frecuencia como en el tipo de información que transmiten, y en consecuencia también en su función. En un primer momento proporcionan datos escuetos con una finalidad práctica: la identificación del contenido de un libro concreto. En la Antigüedad tardía su número aumenta y transmiten mayor volumen de información, pero sobre todo adquieren relevancia los individuos que las firman, convirtiéndose en un instrumento de autorrepresentación social. Sin embargo, en época posterior estas subscriptiones tardoantiguas se siguen copiando en nuevos manuscritos y pierden su relación inicial con un ejemplar concreto; se transforman en paratextos que contribuyen a dar prestigio, ya no a un libro singular, sino a un autor o una obra.

Towards Night

Sixty artists explore the nocturnal. Curated by Tom Hammick. The evening hour too gives us the irresponsibility which darkness and lamplight bestow. We are no longer quite ourselves. – Virginia Woolf, Street Haunting: A London Adventure, 1930 Towards Night is an exhibition exploring the nocturnal through paintings, prints and drawings by over sixty artists. Drawing on the nineteenth century European Romantic tradition, the show surveys contemporary and historical connections to wonderment and dystopia at dusk, twilight, night and dawn. Towards Night juxtaposes key paintings and prints by Constable, Friedrich, Munch, Nolde, Palmer and Turner, some of the best known visionaries of the Romantic tradition with contemporary artists who work with the transformative aspects of nightfall to convey emotional responses of awe, anxiety and solitude, love and loss, revelry, insomnia, and journey’s end. The exhibition opens with direct and positive responses to the natural world; Marc Chagall’s exotic dreamlike evening in The Poet Reclining (1915) sits close to eighteenth century Indian miniatures depicting brightly painted figures offset against darkening monsoon clouds, and William Crozier’s Balcony at Night, Antibes (2007), of a plant, blue and iridescent against the cool night sky. As the exhibition progresses, the dystopias become darker and more disturbing, and the connections between artists and works intensify: Emma Stibbon’s Rome Aqueduct (2011) takes on a heightened sense of pathos alongside Caspar David Friedrich’s Winter Landscape (1811); Peter Doig’s cinematic Echo Lake (1998) conjures up an increased sense of contemporary angst; and Prunella Clough’s False Flower (1993), a magical tree defying brutalism by growing out of concrete, becomes more miraculous near Night Shift (2015) Nick Carrick’s tomblike high rise. Tom Hammick’s Violetta Alone (2015) and Michael Craig Martin’s Ash Tray (2015), reinforce hedonistic aspects of night-time revelry alongside Four AM, Betsy Dadd’s young woman drinking in the early hours of the morning and L.S. Lowry’s drunken people in a pub in The Crowd (1922). In the final room, a cluster of works explores dreams and insomnia, from Louise Bourgeois’ Spirals (2010) to Munch’s lovers embracing in The Kiss (1902). Tom Hammick, curator of the show said “This exhibition has grown way beyond its original conception, to become a magnificent survey of painting and printmaking from over two hundred years based around the central tenet of night. The exhibition is a kind of painterly response to the way figurative artists use their artistic heroes as starting points for their own work, both compositionally and emotionally.” Artists featured in Towards Night: Christiane Baumgarter, Michael Craig-Martin, Julian Opie, Will Gill, Merlin James, Howard Hodgkin, WillIam Scott, Patrick Caulfield, George Shaw, Stephen Chambers, Basil Beattie, Betsy Dadd, Christopher Le Brun, L.S Lowry, Andrew Cranston, David Willetts, James Fisher, Emma Stibbon, Vija Celmins, William Blake, William Crozier, Tom Hammick, Georgia Keeling, Helen Turner, Humphrey Ocean, Julian Bell, Craigie Aitchison, Mark Wright, Ken Kiff, Matthew Burrows, Andrzej Jackowski, Sarah Raphael, Nick Bodimeade, Nick Carrick, Mary Newcomb, Hurvin Anderson, Peter Doig, Phoebe Unwin, Danny Markey, Sara Lee, Simon Burton, Susie Hamilton, Marc Chagall, Alfred Wallis, Emil Nolde, J.M.W. Turner, Prunella Clough, Samuel Palmer, Louise Bourgeois, Caspar David Friedrich, Alex Katz, Ewan Gibbs, Susie Hamilton, Andrzej Jackowski, Amanda Vesey, Edward Stott, Gertrude Hermes, Rose Wylie, Sidney Nolan, John Constable, J.M.W. Turner, Emil Nolde, Hiroshige, Edvard Munch, Samuel Palmer, Eileen Cooper, Charles Neame-Spencer, Samantha Cary.

Writing disenchantment: British First World War Prose, 1914-30.

This book argues that disenchantment is not only a response to wartime experience, but a condition of modernity with a language that finds extreme expression in First World War literature. The objects of disenchantment are often the very same as the enchantments of scientific progress: bureaucracy, homogenisation and capitalism. Older beliefs such as religion, courage and honour are kept in view, and endure longer than often is realised. Social critics, theorists and commentators of the late nineteenth and early twentieth centuries provide a rich and previously unexplored context for wartime and post-war literature. The rise of the disenchanted narrative to its predominance in the War Books Boom of 1928 – 1930 is charted from the turn of the century in texts, archival material, sales and review data. Rarely-studied popular and middlebrow novels are analysed alongside well-known highbrow texts: D. H. Lawrence, Virginia Woolf, H. G. Wells and Rebecca West rub shoulders with forgotten figures such as Gilbert Frankau and Ernest Raymond. These sometimes jarring juxtapositions show the strained relationship between enchantment and disenchantment in the war and the post-war decade.

The Literature of Disaffection: Political Dysphoria and British Modernism after 1930

This dissertation argues that “disaffection” is an overlooked but foundational posture of mid-twentieth-century British and Anglophone literature. Previously misdiagnosed as quietism or apathy, disaffection instead describes how many late modernist writers mediated between their ideological misgivings and the pressure to respond to dire political crises, from the Second World War to the creation of new postcolonial nations. Stylists of disaffection—such as Henry Green, Virginia Woolf, Elizabeth Bowen, and V. S. Naipaul—grappled with how limiting cultural assumptions, for instance, about class and nation, seemed to inhere in particular aesthetic techniques like stream of consciousness or realism. Disaffected literature appeals to but then disrupts a given technique’s projection of these assumptions and the social totality that they imagine. This literary “bait-and-switch” creates a feeling of dysphoria whereby readers experience a text unnervingly different from what they had been led to expect. Recognizing the formative work of literary disaffection in late modernism offers an original way to conceptualize the transition between modernist and postmodernist literature in the twentieth century.

FluxEngine: A flexible processing system for calculating atmosphere-ocean carbon dioxide gas fluxes and climatologies

The air-sea flux of greenhouse gases (e.g. carbon dioxide, CO2) is a critical part of the climate system and a major factor in the biogeochemical development of the oceans. More accurate and higher resolution calculations of these gas fluxes are required if we are to fully understand and predict our future climate. Satellite Earth observation is able to provide large spatial scale datasets that can be used to study gas fluxes. However, the large storage requirements needed to host such data can restrict its use by the scientific community. Fortunately, the development of cloud-computing can provide a solution. Here we describe an open source air-sea CO2 flux processing toolbox called the ‘FluxEngine’, designed for use on a cloud-computing infrastructure. The toolbox allows users to easily generate global and regional air-sea CO2 flux data from model, in situ and Earth observation data, and its air-sea gas flux calculation is user configurable. Its current installation on the Nephalae cloud allows users to easily exploit more than 8 terabytes of climate-quality Earth observation data for the derivation of gas fluxes. The resultant NetCDF data output files contain >20 data layers containing the various stages of the flux calculation along with process indicator layers to aid interpretation of the data. This paper describes the toolbox design, the verification of the air-sea CO2 flux calculations, demonstrates the use of the tools for studying global and shelf-sea air-sea fluxes and describes future developments.

Una habitación propia

La vida de un autor no es siempre la expresión de su obra en la vitalidad dinámica de la escritura. A veces la escritura es el silencio del lenguaje donde también se silencia la vida de quien escribe. En Virginia Woolf (nacida en Londres el 25 de febrero de 1882) la vida es obra y su propia vida es el referente de la escritura. Ahora bien, la vida no se restringe a la cronología del nacimiento y la muer­te, cuando ella misma es el gesto de la palabra que transita por las diferentes textualidades y corporalidades de sentido. En este caso, la vida es memoria en recuerdo, en evocación y recitación de sus experiencias.

Evidencia sobre la eficacia de cannabinoides en el dolor neuropático oncológico

Contexto: La eficacia de los cannabinoides en el dolor neuropático es desconocida. El control del dolor es determinante en los pacientes ya que genera un impacto negativo en la calidad de vida de los pacientes. Objetivo: El presente trabajo pretende demostrar la evidencia sobre la eficacia de los medicamentos cannabinoides en el control del dolor neuropático oncológico, mediante la evaluación de la literatura disponible. Metodología: Se realizó una revisión sistemática de literatura incluyendo estudios experimentales, observacionales y revisiones sistemáticas en un periodo de 15 años. Se incluyeron todos los estudios desde el años 2000 con evidencia IB según la escala de evidencia de Oxford. Resultados: Cuatro estudios cumplieron criterios para su inclusión, sin embargo la evidencia es baja y no permite recomendar o descartar los cannabinoides como terapia coadyuvante en control del dolor neuropático oncológico. La combinación de THC/CDB (Sativex®) parece ser un medicamento seguro pues no se reportaron muertes asociadas a su uso, sin embargo la presentación de eventos adversos a nivel gastrointestinal y neurológico podría aumentar el riesgo de interacciones medicamentosas y tener un impacto negativo en la calidad de vida de los pacientes oncológicos. Conclusiones: No hay suficiente literatura y la evidencia no es suficiente para recomendar o descartar el uso de los cannabinoides en dolor neuropático oncológico. Futuros estudios deben realizarse para analizar el beneficio de estos medicamentos. Aunque ética y socialmente hay resistencia para el uso de los cannabinoides, actualmente hay una gran discusión política en el mundo y en Colombia para su aceptación como terapia en el control del dolor.

Prevalencia de morbilidad osteomuscular en una empresa de servicios de seguridad electrónica en Bogotá, 2013

Introducción: actualmente los trastornos músculo esqueléticos (TME) han sido reconocidos como la principal causa de morbilidad en el trabajo, dado el porcentaje de ausentismo laboral que representa, generando reducción en la productividad de las industrias. Una visión general de la prevalencia en TME puede conducir a métodos de prevención de morbilidad adecuados para cada tipo de proceso, y así proporcionar un ambiente más seguro y confortable. Objetivo: determinar la prevalencia de síntomas osteomusculares y su relación con factores individuales y laborales en personal de una empresa dedicada a prestar servicio de seguridad electrónica en Bogotá, en el 2013. Métodos: estudio de corte transversal, desarrollado a partir de fuentes de datos secundarios de una población de 199 trabajadores, con información sociodemográfica y síntomas osteomusculares en los distintos roles laborales (administrativo, soporte y de campo) de una empresa de servicios en seguridad electrónica. Se usaron métodos estadísticos para el cálculo de proporciones, se estimaron las prevalencias osteomusculares globales, realizando comparaciones por rol laboral. La revisión de la asociación entre factores sociodemográficos y laborales con síntomas de TME se hizo a través de la prueba Chi2 de asociación o prueba exacta de Fisher. Resultados: Los segmentos que mostraron la mayor frecuencia en morbilidad de TME fueron espalda, cuello, muñecas y manos. Se encontró asociación entre dolor de hombros y brazos con la edad, OR=0,54 (IC95%=0,30-0,95) y tiempo en el cargo, OR=1,855(IC 95%=1,043-3,297); entre dolor de cuello y edad OR=0,50 (IC95%=0,27-0,90) y entre dolor de muñecas y/o manos con tiempo en el cargo, OR=1,827(IC 95%=1,032-3,235). Conclusión: Se presenta morbilidad por TME en varios segmentos, derivados de factores (individuales y laborales), ratificando la importancia de hacer intervenciones integrales de control de riesgos para su prevención.

The literature as a poison and an antidote: the Phármakon of the writing in Virginia Woolf’s journals

This article introduces as object of study the journals written by the british author Virginia Woolf (1882-1941). From these journals, it is possible to see how the scripture is revealed as an excruciating process for the author who, in their intimate scripture, shows how his works and the literature itself can be understood as something pernicious for the intellectual. In the same way, it is possible to show that the act of writing was a vital necessity for the author. This paper thinks the literature as poison and as an antidote, in view the concept of pharmakon, developed in the book Plato's Pharmacy, written by the philosopher Jacques Derrida. The analysis will precede the approach of setting as the writer was disturbed by with the social environment. This paper applies the concept of pharmakon in order to think about the issues concerning the scripture as a punishment and as a necessity for intimate of Virginia Woolf.