Understanding Iconography: a method to allow rich picture interpretation to improve.

Information Systems for complex situations often fail to adequately deliver quality and suitability. One reason for this failure is an inability to identify comprehensive user requirements. Seldom do all stakeholders, especially those "invisible‟ or "back room‟ system users, have a voice when systems are designed. If this is a global problem then it may impact on both the public and private sectors in terms of their ability to perform, produce and stay competitive. To improve upon this, system designers use rich pictures as a diagrammatic means of identifying differing world views with the aim of creating shared understanding of the organisation. Rich pictures have predominantly been used as freeform, unstructured tools with no commonly agreed syntax. This research has collated, analysed and documented a substantial collection of rich pictures into a single dataset. Attention has been focussed on three main research areas; how the rich picture is facilitated, how the rich picture is constructed and how to interpret the resultant pictures. This research highlights the importance of the rich picture tool and argues the value of adding levels of structure, in certain cases. It is shown that there are considerable benefits for both the interpreter and the creator by providing a pre-drawing session, a common key of symbols and a framework for icon understanding. In conclusion, it is suggested that there is some evidence that a framework which aims to support the process of the rich picture and aid interpretation is valuable.

Molecular dynamics-based approach to study the anisotropic self-diffusion of molecules in porous materials with multiple cage types: Application to H-2 in losod

Van den Berg, A. W. C., Flikkema, E., Lems, S., Bromley, S. T., Jansen, J. C. (2006). Molecular dynamics-based approach to study the anisotropic self-diffusion of molecules in porous materials with multiple cage types: Application to H-2 in losod. Journal of physical chemistry b, 110 (1), 501-506. RAE2008

Sonata Development at the Turn of the Century: From Liszt to Stravinsky

The sonata began to lose its position of predominance among compositions in the middle of the 19th century. Having been the platform for harmonic and thematic development of music since the late baroque period the sonata entered a process of reevaluation and experimentation with form. As a result fewer sonatas were being composed with some composers dropping the genre completely. This dissertation looks at the different approaches taken by the German, French and Russian schools of composition and compares the solo and chamber music applications of the sonata form. In the German tradition Franz Liszt's Sonata in b minor sets the standard for the revolutionary approach to form while the Berg Sonata is a very conservative application of form to an innovative use of extended chromaticism. Both composers chose to write one movement through composed pieces with Liszt working with a very expansive use of form and Berg being extremely compact and efficient. Among the Russian composers, Prokofieff's third sonata is also a one movement sonata, but he falls between Liszt and Berg in terms of the length of the piece and the use of innovative musical language. Scriabin uses a two movement approach, but keeps the element of a through composed piece with the same important material spanning both movements. Stravinsky is the most conservative of these with a three movement sonata that uses a mix of chromaticism and baroque and classical style influences. The French almost stopped composing true sonatas except for chamber music where Franck and Fauré write late romantic sonatas, while Debussy is very innovative within a three movement sonata. Estampes, by Debussy, are taken in almost as an afterthought to illustrate the direction Debussy takes in his piano solo music. While Estampes is by definition a set of character pieces they function like a sonata with three movements.

SELECTED VARIATIONS BY COMPOSERS IN GERMANY AND FRANCE

The Haward of Dictionary of Music (1983), defines variation as "a technique modifying a given musical idea." From the Baroque period on, the form and the techniques of variation were developed and enriched in Germany and France. Therefore, I presented the works of composers from these two nations. Even though there was a vast number of possibilities, I wanted to be scholastically fair and interesting in making my selections by choosing well-known pieces along with lesser-known ones. Haydn's well-known Variations in F minor consist of two sets of double variations which break into an improvisation fantasy. The first movement of Beethoven Sonata in A flat major, Op. 26, is a set of five variations on the composer's original theme. The variations are positioned in the first movement instead of Sonata-Allegro form. In 1861 Brahrns composed the Variations and Fugue, Op. 24, on the theme of Handel. Brahms displays a wealth of rhythmic, harmonic and textural contrasts in the variations. Chopin's E Major Variations without opus number are written on a Swiss influenced German folksong. Faure's Theme and Variations in C sharp minor, Op. 73, includes eleven variations. The work displays the composer's subtlety, grace and reticence. 12 Variationen iiber ein eigenes Thema were written by Alban Berg as a composition study with Schonberg. The Finale of Dutilleux's Piano Sonata, titled "Chorale with Variations", is written in an impressionistic style. A rich expressiveness is well blended in a classical form. In 1742, the remarkable Aria and thirty variations known as the Goldberg Variations were composed by J. S. Bach. The thirty Variations are unified by the bass line, which forms the foundation of the Aria. The pieces discussed above were presented in three recitals. Compact disc recordings of these recitals are available in the Michelle Smith Performing Arts Library of the Clarice Smith Performing Arts Center at the University of Maryland.

DEGENERATE MUSIC?! MUSICAL CENSORSHIP IN THE THIRD REICH

In 1938, in Düsseldorf, the Nazis put on an exhibit entitled "Entartete Musik” (degenerate music), which included composers on the basis of their “racial origins” (i.e. Jews), or because of the “modernist style” of their music. Performance, publication, broadcast, or sale of music by composers deemed “degenerate” was forbidden by law throughout the Third Reich. Among these composers were some of the most prominent composers of the first half of the twentieth-century. They included Stravinsky, Schoenberg, Webern, Berg, Mahler, Ernst Krenek, George Gershwin, Kurt Weill, Erwin Schulhoff, and others. The music of nineteenth-century composers of Jewish origin, such as Mendelssohn and Meyerbeer, was also officially proscribed. In each of the three recitals for this project, significant works were performed by composers who were included in this exhibition, namely, Mendelssohn, Webern, Berg, Weill, and Hans Gal. In addition, as an example of self-censorship, a work of Karl Amadeus Hartmann was included. Hartmann chose “internal exile” by refusing to allow performance of his works in Germany during the Nazi regime. One notable exception to the above categories was a work by Beethoven that was presented as a bellwether of the relationship between music and politics. The range of styles and genres in these three recitals indicates the degree to which Nazi musical censorship cut a wide swath across Europe’s musical life with devastating consequences for its music and culture.

Improvement in visual search with practice: mapping learning-related changes in neurocognitive stages of processing.

Practice can improve performance on visual search tasks; the neural mechanisms underlying such improvements, however, are not clear. Response time typically shortens with practice, but which components of the stimulus-response processing chain facilitate this behavioral change? Improved search performance could result from enhancements in various cognitive processing stages, including (1) sensory processing, (2) attentional allocation, (3) target discrimination, (4) motor-response preparation, and/or (5) response execution. We measured event-related potentials (ERPs) as human participants completed a five-day visual-search protocol in which they reported the orientation of a color popout target within an array of ellipses. We assessed changes in behavioral performance and in ERP components associated with various stages of processing. After practice, response time decreased in all participants (while accuracy remained consistent), and electrophysiological measures revealed modulation of several ERP components. First, amplitudes of the early sensory-evoked N1 component at 150 ms increased bilaterally, indicating enhanced visual sensory processing of the array. Second, the negative-polarity posterior-contralateral component (N2pc, 170-250 ms) was earlier and larger, demonstrating enhanced attentional orienting. Third, the amplitude of the sustained posterior contralateral negativity component (SPCN, 300-400 ms) decreased, indicating facilitated target discrimination. Finally, faster motor-response preparation and execution were observed after practice, as indicated by latency changes in both the stimulus-locked and response-locked lateralized readiness potentials (LRPs). These electrophysiological results delineate the functional plasticity in key mechanisms underlying visual search with high temporal resolution and illustrate how practice influences various cognitive and neural processing stages leading to enhanced behavioral performance.

A revised classification for direct tooth-colored restorative materials

Composite resins and glass-ionomer cements were introduced to dentistry in the 1960s and 1970s, respectively. Since then, there has been a series of modifications to both materials as well as the development other groups claiming intermediate characteristics between the two. The result is a confusion of materials leading to selection problems. While both materials are tooth-colored, there is a considerable difference in their properties, and it is important that each is used in the appropriate situation. Composite resin materials are esthetic and now show acceptable physical strength and wear resistance. However, they are hydrophobic, and therefore more difficult to handle in the oral environment, and cannot support ion migration. Also, the problems of gaining long-term adhesion to dentin have yet to be overcome. On the other hand, glass ionomers are water-based and therefore have the potential for ion migration, both inward and outward from the restoration, leading to a number of advantages. However, they lack the physical properties required for use in load-bearing areas. A logical classification designed to differentiate the materials was first published by McLean et al in 1994, but in the last 15 years, both types of material have undergone further research and modification. This paper is designed to bring the classification up to date so that the operator can make a suitable, evidence-based, choice when selecting a material for any given situation.

Safety issues with the South African Pebble Bed Modular Reactor: when were the issues apparent? A briefing paper

This is a briefing report on when the safety issues identified in a July 2008 report by Jülich should have become apparent In July 2008, the German Jülich nuclear research centre published a report entitled ‘A safety re-evaluation of the AVR pebble bed reactor operation and its consequences for future HTR concepts.’ It concluded: ‘pebble bed HTRs require additional safety related R&D effort and updating of safety analyses before construction.’

Nomenclature and syntaxonomic notes on some high-rank syntaxa of the European grassland vegetation

We present descriptions of a new order (Ranunculo cortusifolii-Geranietalia reuteri and of a new alliance (Stachyo lusitanicae-Cheirolophion sempervirentis) for the herbaceous fringe communities of Macaronesia and of the southwestern Iberian Peninsula, respectively. A new alliance, the Polygalo mediterraneae-Bromion erecti (mesophilous post-cultural grasslands), was introduced for the Peninsular Italy. We further validate and typify the Armerietalia rumelicae (perennial grasslands supported by nutrient-poor on siliceous bedrocks at altitudes characterized by the submediterranean climate of central-southern Balkan Peninsula), the Securigero-Dasypyrion villosae (lawn and fallow-land tall-grass annual vegetation of Italy), and the Cirsio vallis-demoni-Nardion (acidophilous grasslands on siliceous substrates of the Southern Italy). Nomenclatural issues (validity, legitimacy, synonymy, formal corrections) have been discussed and clarified for the following names: Brachypodio-Brometalia, Bromo pannonici-Festucion csikhegyensis, Corynephoro-Plantaginion radicatae, Heleochloion, Hieracio-Plantaginion radicatae, Nardetea strictae, Nardetalia strictae, Nardo-Callunetea, Nardo-Galion saxatilis, Oligo-Bromion, Paspalo-Heleochloetalia, Plantagini-Corynephorion and Scorzoneret alia villosae.