Electrospun nanofibrous interleaves in composite laminate materials

The present work aims for investigate the influence of electrospun Nylon 6,6 nanofibrous mat on the behavior of composite laminates. The main idea is that nanofibrous interleaved into particular ply-to-ply interfaces of a laminate can lead to significant improvements of mechanical properties and delamination/damage resistance. Experimental campaigns were performed to investigate how nanofibers affect both the static and dynamic behavior of the laminate in which they are interleaved. Fracture mechanics tests were initially performed on virgin and 8 different configuration of nanomodified specimens. The purposes of this first step of the work are to understand which geometrical parameters of the nanointerleave influence the behavior of the laminate and, to find the optimal architecture of the nanofibrous mat in order to obtain the best reinforcement. In particular, 3 morphological parameters are investigated: nanofibers diameter, nanofibers orientation and thickness of the reinforce. Two different values for each parameter have been used, and it leads to 8 different configurations of nanoreinforce. Acoustic Emission technique is also used to monitor the tests. Once the optimum configuration has been found, attention is focused on the mechanism of reinforce played by the nanofibers during static and dynamic tests. Low velocity impacts and free decay tests are performed to attest the effect of nanointerlayers and the reinforce mechanism during the dynamic loads. Bump tests are performed before and after the impact on virgin and two different nanomodified laminates configurations. The authors focused their attention on: vibrational behavior, low velocity impact response and post-impact vibration behavior of the nano-interleaved laminates with respect to the response of non-nanomodified ones. Experiments attest that nanofibers significantly strength the delamination resistance of the laminates and increase some mechanical properties. It is demonstrated that the nanofibers are capable to continue to carry on the loads even when the matrix around them is broken.

Not in the Legends

In writing “Not in the Legends”, one of the images and concepts which constantly returned was that of pilgrimage. I began to write these poems while studying abroad in London, after having passed the previous semester in France and travelling around Europe. There was something in the repetition of sightseeing— walking six miles in Luxembourg to see the grave of General Patton, taking photographs of the apartment where Sylvia Plath ended her life, bowing before the bones of saints, searching through Père Lachaise for the grave of Théodore Gericault— which struck me as numinous and morbid. At the same time, I came to love living abroad and I grew discontent with both remaining and returning. I wanted the opportunity to live everywhere all the time and not have to choose between home and away. Returning from abroad, I turned my attention to the landscape of my native country. I found in the New England pilgrims a narrative of people who had left their home in search of growth and freedom. In these journeys I began to appreciate the significance of place and tried to understand what it meant to move from one place to another, how one chose a home, and why people searched for meaning in specific locations. The processes of moving from student to worker and from childhood to adulthood have weighed on me. I began to see these transitions towards maturity as travels to a different land. Memory and nostalgia are their own types of pilgrimage in their attempts to return to lost places, as is the reading of literature. These pilgrimages, real and metaphorical, form the thematic core of the collection. I read the work of many poets who came before me, returning to the places where the Canon was forged. Those poets have a large presence in the work I produced. I wondered how I, as a young poet, could earn my own place in the tradition and sought models in much the same way a painter studies the brushstrokes of a master. In the process, I have tried to uncover what it means to be a poet. Is it something like being a saint? Is it something like being a colonist? Or is to be the one who goes in search of saints and colonists? In trying to measure my own life and work based on the precedent, I have questioned what role era and generation have on the formation of identity. I focused my reading heavily on the early years of English poetry, trying to find the essence of the time when the language first achieved the transcendence of verse. In following the development of English poetry through Coleridge, John Berryman, and Allison Titus, I have explored the progression of those basic virtues in changing contexts. Those bearings, applied to my modern context, helped to shape the poetry I produced. Many of the poems in “Not in the Legends” are based on my own personal experience. In my recollections I have tried to interrogate nostalgia rather than falling into mere reminiscence. Rather than allowing myself poems of love and longing, I have tried to find the meaning of those emotions. A dominant conflict exists between adventure and comfort which mirrors the central engagement with the nature of being “here” or “there”. It is found in scenes of domesticity and wilderness as I attempt to understand my own simultaneous desire for both. For example, in “Canned Mangoes…” the intrusion of nature, even in a context as innocuous as a poem by Sir Walter Raleigh, unravels ordinary comforts of the domestic sphere. The character of “The Boy” from Samuel Beckett’s Waiting for Godot proved such an interesting subject for me because he is one who can transcend the normal boundaries of time and place. The title suggests connections to both place and time. “Legends” features the dual meaning of both myths and the keys to maps. To propose something “Not in the Legends” is to find something which has no precedent in our histories and our geographies, something beyond our field of knowledge and wholly new. One possible interpretation I devised was that each new generation lives a novel existence, the future being the true locus of that which is beyond our understanding. The title comes from Keats’ “Hyperion, a Fragment”, and details the aftermath of the Titanomachy. The Titans, having fallen to the Olympians, are a representation of the passing of one generation for the next. Their dejection is expressed by Saturn, who laments: Not in my own sad breast, Which is its own great judge and searcher out, Can I find reason why ye should be thus: Not in the legends of the first of days… (129-132) The emotions of the conquered Titans are unique and without antecedent. They are experiencing feelings which surpass all others in history. In this, they are the equivalent of the poet who feels that his or her own sufferings are special. In contrast are Whitman’s lines from “Song of Myself” which serve as an epigraph to this collection. He contends for a sense of continuity across time, a realization that youth, age, pleasure, and suffering have always existed and will always exist. Whitman finds consolation in this unity, accepting that kinship with past generations is more important that his own individuality. These opposing views offer two methods of presenting the self in history. The instinct of poetry suggests election. The poet writes because he feels his experiences are special, or because he believes he can serve as a synecdoche for everyone. I have fought this instinct by trying to contextualize myself in history. These poems serve as an attempt at prosopography with my own narrative a piece of the whole. Because the earth abides forever, our new stories get printed over the locations of the old and every place becomes a palimpsest of lives and acts. In this collection I have tried to untangle some of those layers, especially my own, to better understand the sprawling legend of history.

Galileo Orbit and Clock Quality of the IGS Multi-GNSS Experiment

The Multi-GNSS Experiment (MGEX) of the International GNSS Service (IGS) aims at the data collection and analysis of all available satellite navigation systems. In particular the new global and regional satellite navigation systems are of interest, i.e., the European Galileo, the Chinese BeiDou, the Japanese QZSS as well as satellite based augmentation systems. This article analyzes the orbit and clock quality of the Galileo products of four MGEX analysis centers for a common time period of 20 weeks. Orbit comparisons of the individual analysis centers have a consistency at the 5–30 cm level. Day boundary discontinuities range from 4 to 28 cm whereas 2-day orbit fit RMS values vary between 1 and 7 cm. The accuracy evaluated by satellite laser ranging residuals is on the one decimeter level with a systematic bias of about −5 cm for all analysis centers. In addition, systematic errors on the decimeter level related to solar radiation pressure mismodeling are present in all orbit products. Due to the correlation of radial orbit errors with the clock parameters, these errors are also visible as a bump in the Allan deviation of the Galileo satellite clocks at the orbital frequency.

Thermal effects in Ni/Au and Mo/Au gate metallization AlGaN/GaN HEMT's reliability

AlGaN/GaN high electron mobility transistors (HEMT) are key devices for the next generation of high-power, high-frequency and high-temperature electronics applications. Although significant progress has been recently achieved [1], stability and reliability are still some of the main issues under investigation, particularly at high temperatures [2-3]. Taking into account that the gate contact metallization is one of the weakest points in AlGaN/GaN HEMTs, the reliability of Ni, Mo, Pt and refractory metal gates is crucial [4-6]. This work has been focused on the thermal stress and reliability assessment of AlGaN/GaN HEMTs. After an unbiased storage at 350 o C for 2000 hours, devices with Ni/Au gates exhibited detrimental IDS-VDS degradation in pulsed mode. In contrast, devices with Mo/Au gates showed no degradation after similar storage conditions. Further capacitance-voltage characterization as a function of temperature and frequency revealed two distinct trap-related effects in both kinds of devices. At low frequency (< 1MHz), increased capacitance near the threshold voltage was present at high temperatures and more pronounced for the Ni/Au gate HEMT and as the frequency is lower. Such an anomalous “bump” has been previously related to H-related surface polar charges [7]. This anomalous behavior in the C-V characteristics was also observed in Mo/Au gate HEMTs after 1000 h at a calculated channel temperatures of around from 250 o C (T2) up to 320 ºC (T4), under a DC bias (VDS= 25 V, IDS= 420 mA/mm) (DC-life test). The devices showed a higher “bump” as the channel temperature is higher (Fig. 1). At 1 MHz, the higher C-V curve slope of the Ni/Au gated HEMTs indicated higher trap density than Mo/Au metallization (Fig. 2). These results highlight that temperature is an acceleration factor in the device degradation, in good agreement with [3]. Interface state density analysis is being performed in order to estimate the trap density and activation energy.

Predictor paramétrico de glucosa subcutánea

La diabetes mellitus es una enfermedad que se caracteriza por la nula o insuficiente producción de insulina, o la resistencia del organismo a la misma. La insulina es una hormona que ayuda a que la glucosa (por ejemplo la obtenida a partir de los alimentos ingeridos) llegue a los tejidos periféricos y al sistema nervioso para suministrar energía. Hoy en día la tecnología actual permite abordar el desarrollo del llamado “páncreas endocrino artificial”, que consta de un sensor continuo de glucosa subcutánea, una bomba de infusión subcutánea de insulina y un algoritmo de control en lazo cerrado que calcule la dosis de insulina requerida por el paciente en cada momento, según la medida de glucosa obtenida por el sensor y según unos objetivos. El mayor problema que presentan los sistemas de control en lazo cerrado son los retardos, el sensor de glucosa subcutánea mide la glucosa del líquido intersticial, que representa la que hubo en la sangre un tiempo atrás, por tanto, un cambio en los niveles de glucosa en la sangre, debidos por ejemplo, a una ingesta, tardaría un tiempo en ser detectado por el sensor. Además, una dosis de insulina suministrada al paciente, tarda un tiempo aproximado de 20-30 minutos para la llegar a la sangre. Para evitar trabajar en la medida que sea posible con estos retardos, se intenta predecir cuál será el nivel de glucosa en un futuro próximo, para ello se utilizara un predictor de glucosa subcutánea, con la información disponible de glucosa e insulina. El objetivo del proyecto es diseñar una metodología para estimar el valor futuro de los niveles de glucosa obtenida a partir de un sensor subcutáneo, basada en la identificación recursiva del sistema glucorregulatorio a través de modelos lineales y determinando un horizonte de predicción óptimo de trabajo y analizando la influencia de la insulina en los resultados de la predicción. Se ha implementado un predictor paramétrico basado en un modelo autorregresivo ARX que predice con mejor precisión y con menor RMSE que un predictor ZOH a un horizonte de predicción de treinta minutos. Utilizar información relativa a la insulina no tiene efecto en la predicción. El preprocesado, postprocesado y el tratamiento de la estabilidad tienen un efecto muy beneficioso en la predicción. Diabetes mellitusis a group of metabolic diseases in which a person has high blood sugar, either because the body does not produce enough insulin, or because cells do not respond to the insulin produced. The insulin is a hormone that helps the glucose to reach to outlying tissues and the nervous system to supply energy. Nowadays, the actual technology allows raising the development of the “artificial endocrine pancreas”. It involves a continuous glucose sensor, an insulin bump, and a full closed loop algorithm that calculate the insulin units required by patient at any time, according to the glucose measure obtained by the sensor and any target. The main problem of the full closed loop systems is the delays, the glucose sensor measures the glucose in the interstitial fluid that represents the glucose was in the blood some time ago. Because of this, a change in the glucose in blood would take some time to be detected by the sensor. In addition, insulin units administered by a patient take about 20-30 minutes to reach the blood stream. In order to avoid this effect, it will try to predict the glucose level in the near future. To do that, a subcutaneous glucose predictor is used to predict the future glucose with the information about insulin and glucose. The goal of the proyect is to design a method in order to estimate the future valor of glucose obtained by a subcutaneous sensor. It is based on the recursive identification of the regulatory system through the linear models, determining optimal prediction horizon and analyzing the influence of insuline on the prediction results. A parametric predictor based in ARX autoregressive model predicts with better precision and with lesser RMSE than ZOH predictor in a thirty minutes prediction horizon. Using the relative insulin information has no effect in the prediction. The preprocessing, the postprocessing and the stability treatment have many advantages in the prediction.

Theory of a Probe in a Strong Magnetic Field. AT(30-1)-1238-MATT 599

A kinetic approach is used to develop a theory of electrostatic probes in a fully ionized plasma in the presence of a magnetic field. A consistent asymptotic expansion is obtained assuming that the electron Larmor radius is small compared to the radius of the probe. The order of magnitude of neglected terms is given. It is found that the electric potential within the tube of force defined by the cross section of the probe decays non-mono tonic ally from the probe; this bump disappears at a certain probe voltage and the theory is valid up to this voltage. The transition region, which extends beyond plasma potential, is not exponential. The possible saturation of the electron current is discussed. Restricted numerical results are given; they seem to be useful for weaker magnetic fields down to the zero-field limit. Extensions of the theory a r e considered.

Las casualidades controladas : la primera visibilidad del cambio del paradigma moderno

Como no pocos proyectos, el origen de esta tesis es fruto de una casualidad. Hace unos años me topé en Londres, en la librería Walden Books del 38 de Harmood St., con una primera edición de la conocida monografía de Mies a cargo de Philip Johnson. El librito, en realidad catálogo de la exposición que en 1947 el MoMA de Nueva York dedicara a la obra de Mies Van der Rohe a los diez años del desembarco del arquitecto en Estados Unidos, tiene un tamaño de 10 x 7,5 pulgadas, es decir, la mitad del formato americano Crown (20x15 pulgadas), equivalente a 508 x 381 mm. Se imprimieron, en su primera tirada, editada por The Plantin Press, 12.000 ejemplares. Ese mismo año, con edición al cuidado de Reynal y Hitchcock, se publicaría la primera traducción al inglés de Cuando las catedrales eran blancas de Le Corbusier y una selección de poemas de Lorca, siete años después de su Poeta en Nueva York. En la monografía, en la página 109, aparece el conocido croquis de Mies Sketch for a glass house on a hillside. c. 1934, escasamente unas líneas, aunque precisas y llenas de matices, de la casa en una ladera que rápidamente nos remite a aquella primera propuesta de Saarinen para una casa en el aire, primero en 1941 en Pensilvania y después, en 1945, con Charles Eames, en Los Angeles, que nunca llegarían a construirse, sino en su aliteraciones posteriores realizadas por Harry Seidler (Julian Rose House, Wahroonga, Sydney, 1949), Philip Johnson (Leonhardt house, Long Island, Nueva York, 1956) o Craig Ellwood (Smith House, Crestwood Hills, 1958; Frank & Polly Pierson House, Malibú, 1962; Chamorro House, Hollywood Hills, 1963, o la serie Weekend House, con Gerald Horn, entre 1964 y 1970, hasta el magnífico Art Center College of Design de Pasadera, su puente habitado de 1977). El relato que da origen al texto discurre en un estricto período de tiempo, desde los primeros dibujos de la Case Study House nº8, dentro del programa promovido por John Entenza y su revista Arts & Architecture en California, realizados en el estudio de Saarinen en Bloomfield Hills, Michigan, hasta que el proyecto de la casa Eames finaliza cinco años después de acabar la obra en 1955, en la versión conocida, radicalmente distinta al proyecto original, cuando la pareja Charles y Ray Eames edita el corto House After Five Years of Living. La discusión original en torno a esta casita, o mejor, a las circunstancias, casualidades controladas, que rodean su construcción, se produce estrictamente cuando rastreamos aquellos invariantes que se mantienen en las dos versiones y las reconcilian. En este corto período de tiempo se producen en el proyecto una serie de decisiones que permiten descubrir, tanto en la forma como en el mismo proceso transformador del proyecto, en su obsesivo registro, en los nuevos referentes asumidos y propuestos, la primera visibilidad del cambio del paradigma moderno. Pero este momento germinal que cristaliza el paso a la postmodernidad no es inédito en la historia de la arquitectura americana. Así, el relato abre su ámbito temporal hasta un nuevo período de cincuenta años que arranca en 1893, año de la celebración en Chicago de la Exposición Internacional Colombina. En la White City de Hunt & McKim y del traidor Burham, Louis Sullivan construye su Golden Doorway en el pabellón de los Transportes. Aquella que visitará Adolf Loos antes de volver, renovado, a Viena; la misma que admirará André Bouillet, representante de la Union Centrale des Arts Decoratifs de Paris, y que deslumbrará en los museos de toda Europa, de París a Moscú en grandes fotografías y maquetas. Hasta que en Finlandia alguien muestra una de esas fotografías a un joven estudiante de diecinueve años en el Instituto Politécnico. Eliel Saarinen queda fascinado por la poderosa novedad de la imagen. Cuelga la fotografía frente a su tablero de dibujo, consciente de que la Golden Doorway, esa puerta de la aventura y la catarsis que Sullivan acuñaría como distintivo y que resolvería como único elemento complejo sus proyectos más maduros, desprovistos de todo ornamento; la misma que repetirían más tarde, con profundo reconocimiento, Ladovsky, Wright, Scarpa o Moneo, puerta dentro de puerta, fuelle y umbral, contenía, en sus propias palabras emocionadas, todo el futuro de la arquitectura. Desde ahí, pasando por el año 1910, momento de la huida de Wright a La Toscana y el descubrimiento de su arquitectura en Europa, entre otros por un joven Mies van der Rohe, meritorio en el estudio de Peter Behrens, a través del Wasmuth Portfolio; y así como algo después, en 1914, Schindler y en 1923 Neutra, harán el camino inverso, hasta que Mies les siga en 1937, animado por un Philip Johnson que había viajado a Europa en 1930, volviendo a 1945 y el inicio del programa Case Study House en California, hasta 1949, momento de la construcción de la CSH#8, y, por fin, al año 1955, after 5 years of living, en el que Julius Shulman fotografía la casa de Ray y Charles Eames en el prado de Chautauqua sobre las Pacific Palisades de Los Angeles, lanzando sus finas líneas amarillas hasta Alison y Peter Smithson y su tardomoderno heroico, hasta el primer Foster y su poético hightech y hasta el O-riginal Ghery, deconstruyendo el espacio esencial de su casa desde el espacio mismo, abiertas ya las puertas al nuevo siglo. Y en estos cambios de paradigma, desde el rígido eclecticismo de los estilos al lirismo moderno en el gozne secular y de ahí a la frivolidad, ligereza, exhibicionismo y oportunismo cultos del hecho postmoderno, hay algo que se mantiene invariante en los bandazos de la relación del hombre contemporáneo con su entorno. Como la escultura, que según Barnett Newman no es sino aquello contra lo que uno choca cuando retrocede para mirar un cuadro, en estos prístinos lugares, comunes y corrientes, recorrido, puerta, umbral, recinto y vacío, te topas con la arquitectura antes de darte cuenta de que es arquitectura. ABSTRACT As with many other projects, the origin of this doctoral thesis is the result of a chance. A few years ago I found in a bookstore in London, 38 Harmood st., Walden Books, a first edition of the well-known monograph about Mies by Philip Johnson. The tiny book, in fact a catalog of the exhibition that the MoMA of New York devoted to the work of Mies van der Rohe in 1947, ten years after his landing in the United States, has a size of 10 x 7.5 inches, that is, half of Crown American format (20 x 15 inches), equivalent to 508 x 381 mm. In the first printing, published by The Plantin Press, 12,000 copies were released. That same year, produced by Reynal and Hitchcock, both the first English translation of When the cathedrals were white by Le Corbusier and a selection of poems by Lorca were published, seven years after his Poet in New York. Inside the book, the famous drawing from Mies Sketch for a glass house on a hillside c. 1934 appears on page 109, barely a few lines, precise and nuanced though, the house on a hillside that quickly reminds us of the proposals of Eero Saarinen for a house in the air, first in 1941, in Pennsylvania, and later, in 1945, with Charles Eames, in Los Angeles, that would never be built, but in their later alliterations made by Harry Seidler (Julian Rose House, Wahroonga, Sydney, 1949), Philip Johnson (Leonhardt house, Long Island, New York, 1956) or Craig Ellwood (Smith House, Crestwood Hills, 1958; Frank Pierson & Polly House, Malibu, 1962, Chamorro House, Hollywood Hills, 1963, or the Weekend House series, with Gerald Horn, between 1964 and 1970, to the magnificent Art Center College of Design Pasadena, the inhabited bridge, in 1977). The story that gives rise to the text flows in a short amount of time, from the first drawings of the Case Study House No. 8, within the program promoted by John Entenza and his magazine Arts & Architecture in California, made in the study of Saarinen in Bloomfield Hills, Michigan, until the project of the Eames house is completed five years after finishing the construction in 1955, in the final version we know, radically different from the initial state, when the couple, Charles and Ray, published the film House after Five Years of Living. The original discussion around this house, or better, about the circumstances, controlled coincidences, regarding its construction, appears when one takes account of those that remain, the invariants, in the two versions, drawn and built, which precisely allow the reconciliation between both projects. In this short period of time a series of decisions made in the transformation process of the project reveal, in the obsessive record made by Charles Eames and in the new proposed references, the first visibility of the changing of the modern paradigm. But this germinal moment that crystallizes the transition to postmodernism is not unprecedented in the history of American architecture. So, the story opens its temporal scope to a fifty-year period that started in 1893, date of the celebration of the Chicago World´s Columbian Exposition. In the White City by Hunt & McKim and Burnham, the traitor, Louis Sullivan builds his Golden Doorway in the Transportation Building. That visited by a renovated Adolf Loos before his coming back to Vienna; the same that André Bouillet, Head of the Union Centrale des Arts Decoratifs in Paris, admired and dazzled in museums all over Europe, from Paris to Moscow, in large photographs and models. Until someone in Finland showed one of those photos to a young nineteen-years-old student at the Polytechnic Institute. Eliel Saarinen became fascinated by the powerful new image: he hanged the picture in front of his drawing board, aware that the Golden Doorway, that door of adventure and catharsis Sullivan coined as distinctive and as a single complex element which would solve their most mature projects, devoid of all ornament; the same that would repeat later, with deep appreciation, Ladovsky, Wright, Scarpa, or Moneo, a door inside a door, a threshold, a gap that contained, in its own moving words, the whole future of architecture. From there, through 1910, when Wright's flight to Tuscany allows Europe to discover his architecture, including a young Mies van der Rohe, meritorious in the studio of Peter Behrens, via the Wasmuth Portfolio; and as a little bit later, in 1914, Schindler and Neutra in 1923, made the travel in opposite direction, until Mies follows them in 1937, led by a Philip Johnson who had traveled to Europe in 1930, we return to 1945 and the beginning of the program Case Study House in California, and from 1949, when construction of the CSH # 8 begins, and finally, to 1955, after five years of living, when Julius Shulman photographs the inside of the house with Ray and Charles Eames, and all their belongins, at the Chautauqua meadows on Pacific Palisades in Los Angeles, launching its fine yellow lines to Alison and Peter Smithson and his heroic late modern, up to the first Foster and his poetic hightech and even the O-riginal Gehry, deconstructing the essential space of his home from the space itself, opening the doors to the new century. And these paradigm shifts, from the hard eclectic styles to modern secular lyricism in the hinge and then overcoming the cultured frivolity, lightness, exhibitionism, and opportunism of the postmodern skeptical focus, something remains intense, invariant in the lurching relationship of contemporary man and his environment. As the sculpture, which according to Barnett Newman is what you bump into when you back up to see a painting, in these pristine, ordinary places, promenade, door, threshold, enclosure and emptiness, you stumble upon the architecture even before realizing that it is architecture.

Abrogation of the G2 cell cycle checkpoint associated with overexpression of HSIX1: A possible mechanism of breast carcinogenesis

While conducting a search for cell cycle-regulated genes in human mammary carcinoma cells, we identified HSIX1, a recently discovered member of a new homeobox gene subfamily. HSIX1 expression was absent at the onset of and increased toward the end of S phase. Since its expression pattern is suggestive of a role after S phase, we investigated the effect of HSIX1 in the G2 cell cycle checkpoint. Overexpression of HSIX1 in MCF7 cells abrogated the G2 cell cycle checkpoint in response to x-ray irradiation. HSIX1 expression was absent or very low in normal mammary tissue, but was high in 44% of primary breast cancers and 90% of metastatic lesions. In addition, HSIX1 was expressed in a variety of cancer cell lines, suggesting an important function in multiple tumor types. These data support the role for homeobox genes in tumorigenesis/tumor progression, possibly through a cell cycle function.

Multiwavelength study of quiescent states of MrK 421 with unprecedented hard x-Ray coverage provided by NuStar in 2013

We present coordinated multiwavelength observations of the bright, nearby BL Lacertae object Mrk 421 taken in 2013 January–March, involving GASP-WEBT, Swift, NuSTAR, Fermi-LAT, MAGIC, VERITAS, and other collaborations and instruments, providing data from radio to very high energy (VHE) γ-ray bands. NuSTAR yielded previously unattainable sensitivity in the 3–79 keV range, revealing that the spectrum softens when the source is dimmer until the X-ray spectral shape saturates into a steep G » 3 power law, with no evidence for an exponential cutoff or additional hard components up "aprox" 80keV. For the first time, we observed both the synchrotron and the inverse-Compton peaks of the spectral energy distribution (SED) simultaneously shifted to frequencies below the typical quiescent state by an order of magnitude. The fractional variability as a function of photon energy shows a double-bump structure that relates to the two bumps of the broadband SED. In each bump, the variability increases with energy, which, in the framework of the synchrotron self-Compton model, implies that the electrons with higher energies are more variable. The measured multi band variability, the significant X-ray-toVHE correlation down to some of the lowest fluxes ever observed in both bands, the lack of correlation between optical/UV and X-ray flux, the low degree of polarization and its significant (random) variations, the short estimated electron cooling time, and the significantly longer variability timescale observed in the NuSTAR light curves point toward in situ electron acceleration and suggest that there are multiple compact regions contributing to the broadband emission of Mrk 421 during low-activity states.

Estudo do impacto visual de alguns sinais horizontais de trânsito: avaliação utilizando métodos da psicofísica

Neste trabalho são feitas comparações entre os principais sinais horizontais de trânsito (Parada Obrigatória, Faixa de Pedestre e Lombada) padronizados pelo Código de Trânsito Brasileiro (CTB), com modelos alternativos que sofreram variações na forma e/ou cor, alguns deles já usados em algumas cidades brasileiras, com o objetivo de identificar se essas alterações melhoram ou não a percepção do sinal (impacto visual). Para isso são utilizados dois métodos da Psicofísica. Numa primeira etapa a análise é feita utilizando o Método de Comparação aos Pares, para um grupo de quatro estímulos para cada sinal estudado. Em seguida, aplicando o Método de Estimativa das Categorias, foi avaliado o impacto visual do sinal horizontal de Parada Obrigatória quanto à presença ou ausência de orla externa. Por fim, também pelo Método de Comparação aos Pares, foi avaliado o impacto visual causado pelo uso conjugado de sinais horizontais em cruzamentos não semaforizados. Foram estudadas as combinações entre os sinais de parada obrigatória, faixa de pedestres e faixa de retenção. Os resultados obtidos permitem inferir as seguintes conclusões: as alterações na forma e cor propostas para os sinais de parada obrigatória e faixa de pedestres causam maior impacto visual quando comparadas ao modelo padronizado pelo CTB mas, no caso das lombadas, a sinalização padrão mostrou-se ser mais perceptível; quanto a presença ou não da orla externa no sinal de parada obrigatória, esta demonstrou ser positiva; o uso conjugado dos sinais de parada obrigatória, faixa de pedestres e faixa de retenção é a combinação que mais desperta a atenção dos usuários.

Press conference announcing Bo Schembechler as New Michigan football coach, UM Football, 1968

[L-R: Bo Schembechler, Don Canham, Bump Elliott]

Bob Chappuis, UM Football, carries ball vs Stanford, 1947

[Bob Chappuis, #49; Joe Soboleski, #69; Bump Elliott, #18]

1964 Football Coaching Staff, UM Football

L-R: Henry Fonde, Don Dufek, Tony Mason, Jack Nelson, Bob Hollway, Dennis Fitzgerald, head coach Bump Elliott

1964 Football Coaching Staff, UM Football

L-R: Henry Fonde, Don Dufek, Tony Mason, Jack Nelson, Bob Hollway, Dennis Fitzgerald, head coach Bump Elliott

Coaches and offense at Rose Bowl practice field, UM Football 1965 Rose Bowl

[Head coach Bump Elliott in front of assistants?]