Ung-Hans' kärleksbref: (en bok om en människa III) af Adolf Paul

Kannen signeeraus: Arthur Högstedt.

Prologo a las investigaciones dirigidas por el Dr. Adolf Zilch

La primera tarea de un Instituto nuevo que se dedica a la investigación científica pura dentro de un territorio poco conocido es elaborar un catálogo de las riquezas naturales que constituyen la fauna y la flora de dicho país. Por esta razón es la tarea básica de nuestro Instituto Tropical de Investigaciones Científicas de El Salvador investigar la fauna y flora un mapa geológico del país. Las clases de los vertebrados están terminadas o actualmente en trabajo, tenemos ya en nuestras manos los manuscritos acerca de las aves, anfibios y reptiles de El Salvador; actualmente se están estudiando los mamíferos un especialista en peces, la última clase de vertebrados, llegara a principios del año entrante. También diferentes grupos de los invertebrados, como por ejemplo los caracoles terrestres y varios grupos de insectos están ya investigados. En cuanto a la flora, se está elaborando una descripción de las especies de las catorce familias de la fanerógamas pentacíclicas, a las cuales pertenecen las orquídeas y las bromeliáceas. El trabajo de la fauna y flora tiene dos fines: describir las especies nuevas recién descubiertas y comprobar la presencia de las especies ya conocidas que hasta ahora no se habían descrito.

Sphingidae de El Salvador: (Resultado del viaje de exploración Dr. Adolf Zilch 1951 en El Salvador Nº2)

Entre los miles de lepidópteros coleccionados por el Dr. Adolf Zilch durante su estancia en El Salvador se hallaban 204 sphingidae de 33 especies donde no se anota diferentemente los animales proceden de San Salvador. Todos fueron coleccionados mediante captura por luz, por ofrecerse precisamente buena ocasión para aquel método en el Instituto Tropical de Investigaciones Científicas de El Salvador. Los faroles colocados alrededor del Instituto atraían con su luz resplandeciente masas de insectos noche tras noche y el Dr. Zilch los coleccionaba cada tres o cuatro horas en la pared iluminada del edificio. En los anales del Instituto de Biología de 1942, Carlos especificó para México 154 especies de sphingidae.

Gyrinidae de El Salvador (Resultado del viaje de exploración Dr. Adolf Zilch 1951 en El Salvador, No 1)

Hasta hoy día no se habían descrito de El Salvador, coleópteros de la familia de los Girinidos. Por eso me ha alegrado mucho obtener del Museo Senckenberg, en Francfort A. M. Una colección de estos coleópteros, coleccionados por el Dr. Zilch durante sus viajes de exploración, en El Salvador, en el año 1951. El material investigado contenía 7 especies, entre las cuales se encontraban dos Gyretes hasta ahora desconocidos. Simultáneamente recibí del museo zoológico de Vienna tres ejemplares de Dineutus sublimatus que se habían coleccionado en 1877 en El Salvador.

Super-orbital re-entry in Australia : laboratory measurement, simulation and flight observation

There are large uncertainties in the aerothermodynamic modelling of super-orbital re-entry which impact the design of spacecraft thermal protection systems (TPS). Aspects of the thermal environment of super-orbital re-entry flows can be simulated in the laboratory using arc- and plasma jet facilities and these devices are regularly used for TPS certification work [5]. Another laboratory device which is capable of simulating certain critical features of both the aero and thermal environment of super-orbital re-entry is the expansion tube, and three such facilities have been operating at the University of Queensland in recent years[10]. Despite some success, wind tunnel tests do not achieve full simulation, however, a virtually complete physical simulation of particular re-entry conditions can be obtained from dedicated flight testing, and the Apollo era FIRE II flight experiment [2] is the premier example which still forms an important benchmark for modern simulations. Dedicated super-orbital flight testing is generally considered too expensive today, and there is a reluctance to incorporate substantial instrumentation for aerothermal diagnostics into existing missions since it may compromise primary mission objectives. An alternative approach to on-board flight measurements, with demonstrated success particularly in the ‘Stardust’ sample return mission, is remote observation of spectral emissions from the capsule and shock layer [8]. JAXA’s ‘Hayabusa’ sample return capsule provides a recent super-orbital reentry example through which we illustrate contributions in three areas: (1) physical simulation of super-orbital re-entry conditions in the laboratory; (2) computational simulation of such flows; and (3) remote acquisition of optical emissions from a super-orbital re entry event.

Radiometric temperature analysis of the Hayabusa spacecraft re-entry

Hayabusa, an unmanned Japanese spacecraft, was launched to study and collect samples from the surface of the asteroid 25143 Itokawa. In June 2010, the Hayabusa spacecraft completed it’s seven year voyage. The spacecraft and the sample return capsule (SRC) re-entered the Earth’s atmosphere over the central Australian desert at speeds on the order of 12 km/s. This provided a rare opportunity to experimentally investigate the radiative heat transfer from the shock-compressed gases in front of the sample return capsule at true-flight conditions. This paper reports on the results of observations from a tracking camera situated on the ground about 100 km from where the capsule experienced peak heating during re-entry.

Deceit and Bruno Taut's Glashaus

The historical context surrounding Bruno Taut's Glashaus has been established through work of authors like Reyner Banham, Dennis Sharp and Ian Boyd-Whyte. However, these English language translations, are mostly derived from secondary sources such as Adolf Behne and Paul Scheerbart. Surprisingly, Taut's own writings largely do not feature in this prevailing account of his work. Since 1990, strong doubts have arisen about this conventional picture of Taut's Glashaus. Manfred spiedel, for instance, minimizes Paul Scheerbart's contribution to the design by arguing that Scheerbart met Taut only a few months before the construction of the Glashaus, that is, after Taut had finished his preliminary sketches. Kurt Junghanns goes further and asserts that the Glashaus design was complete beefore Taut and Scheerbart ever met. In 2005, Kai Gutschow published The Culture of Criticism: Adolf Behne and the Development of Modern Architecture in Germany, 1910 - 1914. Most startling, Gutschow asserts that Behne acts as the propagandist for the Glashaus by fabricating its link with Expressionism. This is particularly troubling because nobody contributed more to establishing the link between the Glashaus, Bruno Taut and Expressionism than Behne. As a result of this new evidence, this paper concurs that the established historical understanding of the Glashaus is flawed. By returning to Taut's own writings, a reinterpretation can be offered that strongly links the Glashaus to the Victoria regia lily and Strasbourg Cathedral. The significance of this approach is that it re-establishes Taut's own rational behind the design of the Glashaus, and thus contributes to the re-evaluation of the generally accepted histories of the Modern movement.

Image-based visual servoing for the super-orbital re-entry of Hayabusa spacecraft

This paper presents an image-based visual servoing system that was used to track the atmospheric Earth re-entry of Hayabusa. The primary aim of this ground based tracking platform was to record the emission spectrum radiating from the superheated gas of the shock layer and the surface of the heat shield during re-entry. To the author's knowledge, this is the first time that a visual servoing system has successfully tracked a super-orbital re-entry of a spacecraft and recorded its pectral signature. Furthermore, we improved the system by including a simplified dynamic model for feed-forward control and demonstrate improved tracking performance on the International Space Station (ISS). We present comparisons between simulation and experimental results on different target trajectories including tracking results from Hayabusa and ISS. The required performance for tracking both spacecraft is demanding when combined with a narrow field of view (FOV). We also briefly discuss the preliminary results obtained from the spectroscopy of the Hayabusa's heat shield during re-entry.

Visible and near infrared spectroscopy of Hayabusa re-entry using semi-autonomous tracking

A ground-based tracking camera and co-aligned slit-less spectrograph were used to measure the spectral signature of visible radiation emitted from the Hayabusa capsule as it entered into the Earth's atmosphere in June 2010. Good quality spectra were obtained that showed the presence of radiation from the heat shield of the vehicle and the shock-heated air in front of the vehicle. An analysis of the black body nature of the radiation concluded that the peak average temperature of the surface was about (3100±100) K.

Natures muses in Bruno Tuat’s Glashaus

Constructed for the 1914 Werkbund Exhibition in Cologne, Germany, the Glashaus was both a seminal example of early modernist architecture and Bruno Taut’s signature building. Over time, metaphors have come to be applied to the Glashaus. Within the realm of nature these metaphors include cosmic, geological, botanic and sexual. However these metaphors, like the history of the Glashaus, are not a foregone conclusion. Recently it has been argued that the majority of our current knowledge regarding the Glashaus derives not from the perspective of Bruno Taut as the architect, but rather directly from perspective of the art critic Adolf Behne. This argument goes further and proposes that Behne’s official history of Glashaus is possibly fabricated propaganda. So, if indeed the official history of the Glashaus is questionable, then too are the natural metaphors commonly applied to the building. By revisiting Bruno Taut’s pre-1915 writings, this investigation reveals that botanic metaphors appear to have been Taut’s primary source of inspiration for the design of the Glashaus. Through the exposure of this fact, this research contributes significantly to the current debates surrounding Bruno Taut, the Glashaus and the re-evaluation of the official histories of the modern movement.

Fourth wall removed : womens' liberation or entrapment?

Australian dramatic literature of the 1950s and 1960s heralded a new wave in theatre and canonised a unique Australian identity on local and international stages. In previous decades, Australian theatre had been abound with the mythology of the wide brown land and the outback hero. This rural setting proved remote to audiences and sat uneasily within the conventions of the naturalist theatre. It was the suburban home that provided the back drop for this postwar evolution in Australian drama. While there were a number of factors that contributed to this watershed in Australian theatre, little has been written about how the spatial context may have influenced this movement. With the combined effects of postwar urbanization and shifting ideologies around domesticity, a new literary landscape had been created for playwrights to explore. Australian playwrights such as Dorothy Hewett, Ray Lawler and David Williamson transcended the outback hero by relocating him inside the postwar home. The Australian home of the 1960s slowly started subscribing to a new aesthetic of continuous living spaces and patios that extended from the exterior to the interior. These mass produced homes employed diluted spatial principles of houses designed by architects, Le Corbusier, Ludwig Mies Van der Rohe and Adolf Loos in the 1920s and 1930s. In writing about Adolf Loos’ architecture, Beatriz Colomina described the “house as a stage for the family theatre”. She also wrote that the inhabitants of Loos’ houses were “both actors and spectators of the family scene involved”. It has not been investigated as to whether this new capacity to spectate within the home was a catalyst for playwrights to reflect upon, and translate the domestic environment to the stage. Audiences were also accustomed to being spectators of domesticity and could relate to the representations of home in the theatre. Additionally, the domestic setting provided a space for gender discourse; a space in which contestations of masculine and feminine identities could be played out. This research investigates whether spectating within the domestic setting contributed to the revolution in Australian dramatic literature of the 1950s and 1960s. The concept of the spectator in domesticity is underpinned by the work of Beatriz Colomina and Mark Wigley. An understanding of how playwrights may have been influenced by spectatorship within the home is ascertained through interviews and biographical research. The paper explores playwrights’ own domestic experiences and those that have influenced the plays they wrote and endeavours to determine whether seeing into the home played a vital role in canonising the Australian identity on the stage.