The printed page

In the year 1702 two books were published, in Oxford and Paris, that can now be seen as defining the presses that produced them. In Paris, the Imprimerie Royale issued the Médailles sur les principaux évènements du règne de Louis le Grand, a large folio of text and plates intended to glorify the regime of Louis XIV. In Oxford, the first, large format volume of Clarendon’s The history of the rebellion appeared; painstakingly edited at Christ Church, it brought prestige and profit to the University. Both were considerable statements of publishing intent in graphic form: both were sumptuous, and both used types and decorations reserved to their respective presses. But the French book points the way to future developments in typography, particularly in the design of type, while the Oxford book is a summation of the past, and its types and page design would be abandoned by the Oxford press in little more than thirty years. Tracing the printed pages of Oxford books from the late sixteenth to the mid-eighteenth century shows changes that parallel wider developments in English and European typography, but from a distinctly Oxford perspective.

TWEI 2.0 (Type will ease itself 2.0)

TWEI 2.0 (Type will ease itself 2.0) is a newly developed artefact of inquiry that engages the reproductions of memory, meaning and experience. The work offers a new typographic mark-making proposal salvaged from ordinary articles common to routines of the everyday – street and road signage, maps, and GPS coordinates. Our experience of these articles offer familiar patterns of recognition and sites for meaning making. We keep hold of and remember the traces of colour, marks and symbols as a means to retain our experiences of places and sites of meaning. In this work TWEI 2.0 positions a cartographic reproduction of digital histories, which have been repurposed from landscapes in Kuwait and Oman. The digital based work will be projected in a large format so to be physically realized on an architectural scale representative of large maps in the gallery environment. This scenario offers a vision that is as inescapable as the signage from which it comments on and offers a consideration of the gallery wall as both a boundary for experience and the production of a site of meaning. The work in this space physically presents an installation that seeks to be at both overwhelming and intimate. Here the artist pursues direct engagement with the audience as a practice of social meaning and partnership providing a direct correlation to our familiarities with common physical signage and sign posting of our streets, corners and roads. In achieving this TWEI 2.0 proposes to highlight the fragility of meaning and the brittleness of memories.

Advanced lithium and lithium-ion rechargeable batteries for automotive applications

The worldwide demand for a clean and low-fuel-consuming transport promotes the development of safe, high energy and power electrochemical storage and conversion systems. Lithium-ion batteries (LIBs) are considered today the best technology for this application as demonstrated by the recent interest of automotive industry in hybrid (HEV) and electric vehicles (EV) based on LIBs. This thesis work, starting from the synthesis and characterization of electrode materials and the use of non-conventional electrolytes, demonstrates that LIBs with novel and safe electrolytes and electrode materials meet the targets of specific energy and power established by U.S.A. Department of Energy (DOE) for automotive application in HEV and EV. In chapter 2 is reported the origin of all chemicals used, the description of the instruments used for synthesis and chemical-physical characterizations, the electrodes preparation, the batteries configuration and the electrochemical characterization procedure of electrodes and batteries. Since the electrolyte is the main critical point of a battery, in particular in large- format modules, in chapter 3 we focused on the characterization of innovative and safe electrolytes based on ionic liquids (characterized by high boiling/decomposition points, thermal and electrochemical stability and appreciable conductivity) and mixtures of ionic liquid with conventional electrolyte. In chapter 4 is discussed the microwave accelerated sol–gel synthesis of the carbon- coated lithium iron phosphate (LiFePO 4 -C), an excellent cathode material for LIBs thanks to its intrinsic safety and tolerance to abusive conditions, which showed excellent electrochemical performance in terms of specific capacity and stability. In chapter 5 are presented the chemical-physical and electrochemical characterizations of graphite and titanium-based anode materials in different electrolytes. We also characterized a new anodic material, amorphous SnCo alloy, synthetized with a nanowire morphology that showed to strongly enhance the electrochemical stability of the material during galvanostatic full charge/discharge cycling. Finally, in chapter 6, are reported different types of batteries, assembled using the LiFePO 4 -C cathode material, different anode materials and electrolytes, characterized by deep galvanostatic charge/discharge cycles at different C-rates and by test procedures of the DOE protocol for evaluating pulse power capability and available energy. First, we tested a battery with the innovative cathode material LiFePO 4 -C and conventional graphite anode and carbonate-based electrolyte (EC DMC LiPF 6 1M) that demonstrated to surpass easily the target for power-assist HEV application. Given that the big concern of conventional lithium-ion batteries is the flammability of highly volatile organic carbonate- based electrolytes, we made safe batteries with electrolytes based on ionic liquid (IL). In order to use graphite anode in IL electrolyte we added to the IL 10% w/w of vinylene carbonate (VC) that produces a stable SEI (solid electrolyte interphase) and prevents the graphite exfoliation phenomenon. Then we assembled batteries with LiFePO 4 -C cathode, graphite anode and PYR 14 TFSI 0.4m LiTFSI with 10% w/w of VC that overcame the DOE targets for HEV application and were stable for over 275 cycles. We also assembled and characterized ―high safety‖ batteries with electrolytes based on pure IL, PYR 14 TFSI with 0.4m LiTFSI as lithium salt, and on mixture of this IL and standard electrolyte (PYR 14 TFSI 50% w/w and EC DMC LiPF 6 50% w/w), using titanium-based anodes (TiO 2 and Li 4 Ti 5 O 12 ) that are commonly considered safer than graphite in abusive conditions. The batteries bearing the pure ionic liquid did not satisfy the targets for HEV application, but the batteries with Li 4 Ti 5 O 12 anode and 50-50 mixture electrolyte were able to surpass the targets. We also assembled and characterized a lithium battery (with lithium metal anode) with a polymeric electrolyte based on poly-ethilenoxide (PEO 20 – LiCF 3 SO 3 +10%ZrO 2 ), which satisfied the targets for EV application and showed a very impressive cycling stability. In conclusion, we developed three lithium-ion batteries of different chemistries that demonstrated to be suitable for application in power-assist hybrid vehicles: graphite/EC DMC LiPF 6 /LiFePO 4 -C, graphite/PYR 14 TFSI 0.4m LiTFSI with 10% VC/LiFePO 4 -C and Li 4 T i5 O 12 /PYR 14 TFSI 50%-EC DMC LiPF 6 50%/LiFePO 4 -C. We also demonstrated that an all solid-state polymer lithium battery as Li/PEO 20 –LiCF 3 SO 3 +10%ZrO 2 /LiFePO 4 -C is suitable for application on electric vehicles. Furthermore we developed a promising anodic material alternative to the graphite, based on SnCo amorphous alloy.

A review of full-body radiography in nontraumatic emergency medicine

This paper reports on the application of full-body radiography to nontraumatic emergency situations. The Lodox Statscan is an X-ray machine capable of imaging the entire body in 13 seconds using linear slit scanning radiography (LSSR). Nontraumatic emergency applications in ventriculoperitoneal (VP) shunt visualisation, emergency room arteriography (ERA), detection of foreign bodies, and paediatric emergency imaging are presented. Reports show that the fast, full-body, and low-dose scanning capabilities of the Lodox system make it well suited to these applications, with the same or better image quality, faster processing times, and lower dose to patients. In particular, the large format scans allowing visualisation of a greater area of anatomy make it well suited to VP shunt monitoring, ERA, and the detection of foreign bodies. Whilst more studies are required, it can be concluded that the Lodox Statscan has the potential for widespread use in these and other nontraumatic emergency radiology applications.

The Absence of Atrocity: On Bart Michiels’ "The Course of History" Photographs

This article examines the absence of atrocity in the photographic series The Course of History by the Belgian-born, New York-based photographer Bart Michiels (1964–). It shows, in beautiful, large-format prints, seemingly innocent landscapes and confined views of nature. Only when viewers read the titles of the photographs do they become aware of the violent history of the sites. These turn out to be the fields of fierce European battles such as Verdun, Waterloo and Stalingrad. The present article reviews recent trends towards using place as a motif in contemporary art photography and focuses on the ‘empty’ landscape as a pictorial strategy that opens up a narrative space, one that needs to be completed by the viewer. The absence evoked by the image is treated as antithetical to the conventional ethos of photography, which canonically stands as the evidence of an occurrence.

La transformación de la fachada en la arquitectura del siglo XX : evolución de los elementos arquitectónicos hacia el espacio

Esta tesis doctoral, bajo el título “La transformación de la fachada en la arquitectura del siglo XX. Evolución de los elementos arquitectónicos hacia el espacio único”, examina –siguiendo el método deductivo mediante investigación documental y de campo– los principales mecanismos proyectuales que han originado una transformación arquitectónica en la fachada. El término fachada, leído normalmente como sinónimo de arquitectura, ha sido analizado bajo taxonomías historiográficas, sociopolíticas, formales, compositivas o materiales. Más allá de estas clasificaciones, esta investigación determina cómo han evolucionado los elementos arquitectónicos hacia el espacio único, transformando con ello tanto la realidad física como el concepto de fachada. Proyectar, como diría Robert Venturi1. 1966, tanto desde el exterior al interior como desde el interior al exterior, produce las tensiones necesarias que ayudan a generar la arquitectura. De ahí la importancia del estudio de la transformación de la fachada como faccia, máscara, disfraz o sistema de representación, a la fachada como un diafragma activo, como un espacio de relación o como un límite donde se produce una experiencia arquitectónica con nuevos significados. El término fachada, del latín facies y del italiano facciata, fue creado como tal durante el siglo XVI, aunque como elemento arquitectónico es una realidad clásica y un concepto humanista reinventado en el Renacimiento. A principios del siglo XX la fachada se transforma radicalmente, con la aparición del vidrio plano de grandes dimensiones, y se despoja de su carga historicista. La transparencia literal hace desaparecer (negar) la fachada. La fachada se construye con nuevos materiales, nuevas tecnologías, y responde a un espacio global que espera a ser colonizado por una sociedad en constante mutación; un espacio que irá siendo cada vez más complejo a lo largo del siglo pasado y que tendrá como una de sus principales consecuencias un mayor grado de abstracción en la fachada. Para desarrollar con mayor precisión las intenciones de este trabajo se analiza la acepción de fachada en la que se encuadra la línea de investigación de la tesis doctoral. Siguiendo las indicaciones del Profesor Kenneth Frampton, se ha optado por dedicar precisamente a este análisis el primer capítulo, de precedentes, con el fin de hacer una relectura de la fachada barroca en clave contemporánea. La fachada barroca se estudia como un punto de inflexión, y origen de la transformación, frente al clasicismo de siglos precedentes. Se plantea por tanto como el primero de los mecanismos proyectuales motivo de estudio. Estos mecanismos han sido sometidos a una clasificación que responde a diversos tipos de espacio arquitectónico que han provocado la transformación de la fachada, analizando cada uno de ellos con un filtro bajo el cual se ha desarrollado un estudio pormenorizado. De esta manera se examinan la transformación compositiva de la fachada por medio del espacio dinámico (capítulo 00_precedentes) en San Carlo alle Quattro Fontane de Francesco Borromini, la transformación constructiva de la fachada por medio del espacio membrana (capítulo 01) en la Villa Tugendhat de Mies van der Rohe, la transformación diagramática de la fachada por medio del espacio pliegue (capítulo 02) en la terminal portuaria de Yokohama de FOA, la transformación tecnológica de la fachada por medio del espacio estructura (capítulo 03) en la mediateca de Sendai de Toyo Ito y, finalmente, la transformación fenomenológica de la fachada por medio del espacio múltiple (capítulo 04) en el pabellón de vidrio del Museo Toledo de SANAA. La investigación se completa con el análisis de una serie de textos que acompañan a cada uno de los capítulos, generando así un cuerpo de conocimiento global junto al análisis documental y las visitas de campo de cada uno de los casos de estudio considerados. ABSTRACT This doctoral thesis entitled “The Transformation of the Façade in Twentieth Century Architecture. The Evolution of Architectural Elements Towards a Single Space“ employs a deductive methodology incorporating both archival and field research, to examine the main design strategies that have given rise to the architectural transformation of the façade. The term façade, usually read as a synonym for architecture, has been analyzed under historiographic, sociopolitical, formal, compositive and material taxonomies. Far beyond these classifications, this study determines how architectural elements have evolved towards a single space, consequently transforming both the physical reality and the concept of façade. As Robert Venturi would say,1 to design from the inside-out and from the outside-in can create valid tensions that help generate architecture, hence the importance of this study of the transformation of the façade as a faccia, a mask, disguise or representation system, to the façade as an active diaphragm, a connective space or a limit within which architectural events with new meaning take place. The term fachada (Spanish for façade), from the Latin facies and the Italian facciata, appeared as such during the sixteenth century, although as an architectural element it is a classical ingredient and a humanist concept reinvented during the Renaissance. At the beginning of the 20th century, the façade is radically transformed with the introduction of large format plate glass, stripping it of its historicist content. Literal transparency causes the façade to disappear. The façade is built with new materials, new technologies, responding to a global space to be occupied by an everchanging society. It is a space that becomes increasingly more complex throughout the last century and which will have, as a consequence, a larger degree of abstraction in the façade. In order to more precisely focus this investigation, the meaning of the façade has been scrutinized. Following Professor Kenneth Frampton’s advice, the first chapter -Precedents- is precisely dedicated to this analysis, in order to understand the baroque façade read in a contemporary manner. The baroque façade has been studied as a turning point, the origin of the transformation of the façade, as compared to the classicism of previous centuries. For this reason it is considered the first design strategy to be studied. These strategeies have been sorted into a classification of architectural spaces that have caused the transformation of the façade, all of which having been analyzed using a methodology allowing for detailed study. Thus, this investigation examines the compositional transformation of the façade by means of a dynamic space (chapter 00: Precedents) in San Carlo alle Quattro Fontane by Francesco Borromini, the constructive transformation of the façade by means of a membrane space (chapter 01) in the Tugendhat Villa by Mies van der Rohe, the diagrammatic transformation of the façade by means of a folded space (chapter 02) in the Yokohama International Port Terminal by FOA, the technological transformation of the façade by means of a structure space (chapter 03) in the Sendai Mediathèque by Toyo Ito, and finally, the technological transformation of the façade by means of multiple space (chapter 04) in the Glass Pavilion of the Toledo Museum of Art by SANAA. The research is supplemented by the analysis of a series of texts presented alongside each chapter; creating a global body of knowledge together alongside the documentary analysis and on site analysis of each of the case studies considered.

Bathymetric Terrain Model of the Puerto Rico Trench and the Northeastern Caribbean Region for Marine Geological Investigations

Multibeam bathymetric data collected in the Puerto Rico Trench and northeastern Caribbean region are compiled into a seamless bathymetric terrain model for broad-scale geological investigations of the trench system. These data, collected during eight separate surveys between 2002 and 2013 and covering almost 180,000 square kilometers, are published here in large-format map sheet and digital spatial data. This report describes the common multibeam data collection and processing methods used to produce the bathymetric terrain model and corresponding data-source polygon. Details documenting the complete provenance of the data are provided in the metadata in the Data Catalog section.

portrait of Dr. David E. Schteingart, 1996

(Large format color negative frame #4: )

Evaluation of individual protein errors in silver-stained two-dimensional gels

The relationship between spot volume and variation for all protein spots observed on large format 2D gels when utilising silver stain technology and a model system based on mammalian NSO cell extracts is reported. By running multiple gels we have shown that the reproducibility of data generated in this way is dependent on individual protein spot volumes, which in turn are directly correlated with the coefficient of variation. The coefficients of variation across all observed protein spots were highest for low abundant proteins which are the primary contributors to process error, and lowest for more abundant proteins. Using the relationship between spot volume and coefficient of variation we show it is necessary to calculate variation for individual protein spot volumes. The inherent limitations of silver staining therefore mean that errors in individual protein spot volumes must be considered when assessing significant changes in protein spot volume and not global error. (C) 2003 Elsevier Science (USA). All rights reserved.

Fallen hut #1, forest pathway, fallen hut #2 (a photographic triptych)

Three large format photographic images which form part of an ongoing documentation of old huts in a Poplar forest at Vaughan near Castlemaine in central Victoria. I have been documenting this location and these abandoned huts for fifteen years. These images were made between April and June 2015 and were presented in the exhibition titled: 37° Sur a 19° Norte: Fotografía contemporánea de Australia.

Trace memory: after decay

In this exhibition, interdisciplinary artist Tonya A. Meyrick presents a body of new work that explores the relationship between memory and place.Tonya A. Meyrick explores the recollection and perception of memory and considers how our memories are not stable; rather, they are fickle and tied to the places which we inhabit, past events and the ebb and flow of our daily patterns. The act of remembering, putting our memories back together is the thread that runs through this exhibition of large format digital still and moving artworks coupled with an experience of augmented reality

Tenerbrosity scene 1

Tenerbrosity Scene 1, is a large format photographic artwork. The work visually explores memory through the recollection of incidents and the fragility of truth. This is situated within the practice of landscape photography in a post-colonial framework. In Scene 1 of 2, a woodland closed shot is presented for the audience. The scene was shot at night in a forest, and provides a focus on the details of trees and leaves, branches and an emerging blackness that surrounds the scene. The journey has taken a strange turn in Tenerbrosity, with suggestions of the strange and unfamiliar, like a fragment or a moment, attempting to pull everything back together, somehow..somewhere… The size of the work as a large unframed print on canvas, actively seeks a physical engagement with the audience via a centrality of vision. The artwork hangs a metre out from the wall and the work sways in the breeze, to ensure the audience is located at a site for the production of meaning and this captures a mixed reality, between artwork, vision, audience and experience. This is achieved to engage with the multi-sequential narratives surrounding traces of memories and decay visually and theoretically traversed throughout the series. This is part of the ongoing exploration of states of the in-between and forms the 1st in a series of 2 artworks. The work is exhibited in the Yarra Ranges, because the work explores the narratives of the decay of memory experienced in this location. Exhibiting here allows a cyclic dialogue with notions of place, home, longing and loss.

Tenerbrosity scene 2

Tenerbrosity Scene 2, is a large format photographic artwork. The work visually explores memory through the recollection of incidents and the fragility of truth. This is situated within the practice of landscape photography in a post-colonial framework. In Scene 2 of 2, a woodland closed shot is presented for the audience. The scene was shot at night in a forest, and provides a focus on the details of trees and leaves, branches and an emerging blackness that surrounds the scene. The journey has taken a strange turn in Tenerbrosity, with scene 2 suggesting a mirror or reflection, a duplicate of or duality in combination with Scene 1. The size of the work as a large unframed print on canvas, actively seeks a physical engagement with the audience via a centrality of vision. The artwork hangs a metre out from the wall and the work sways in the breeze, to ensure the audience is located at a site for the production of meaning and this captures a mixed reality, between artwork, vision, audience and experience. This is achieved to engage with the multi-sequential narratives surrounding traces of memories and decay visually and theoretically traversed throughout the series. This is part of the ongoing exploration of states of the in-between and forms the 2nd in a series of 2 artworks. The work is exhibited in the Yarra Ranges, because the work explores the narratives of the decay of memory experienced in this location. Exhibiting here allows a cyclic dialogue with notions of place, home, longing and loss.

On the statistical determination of optimal camera configurations in large scale surveillance networks

The selection of optimal camera configurations (camera locations, orientations etc.) for multi-camera networks remains an unsolved problem. Previous approaches largely focus on proposing various objective functions to achieve different tasks. Most of them, however, do not generalize well to large scale networks. To tackle this, we introduce a statistical formulation of the optimal selection of camera configurations as well as propose a Trans-Dimensional Simulated Annealing (TDSA) algorithm to effectively solve the problem. We compare our approach with a state-of-the-art method based on Binary Integer Programming (BIP) and show that our approach offers similar performance on small scale problems. However, we also demonstrate the capability of our approach in dealing with large scale problems and show that our approach produces better results than 2 alternative heuristics designed to deal with the scalability issue of BIP.

Comparing methods for sampling large- and medium-sized mammals: camera traps and track plots

Activities involving fauna monitoring are usually limited by the lack of resources; therefore, the choice of a proper and efficient methodology is fundamental to maximize the cost-benefit ratio. Both direct and indirect methods can be used to survey mammals, but the latter are preferred due to the difficulty to come in sight of and/or to capture the individuals, besides being cheaper. We compared the performance of two methods to survey medium and large-sized mammal: track plot recording and camera trapping, and their costs were assessed. At Jatai Ecological Station (S21 degrees 31`15 ``- W47 degrees 34`42 ``-Brazil) we installed ten camera traps along a dirt road directly in front of ten track plots, and monitored them for 10 days. We cleaned the plots, adjusted the cameras, and noted down the recorded species daily. Records taken by both methods showed they sample the local richness in different ways (Wilcoxon, T=231; p;;0.01). The track plot method performed better on registering individuals whereas camera trapping provided records which permitted more accurate species identification. The type of infra-red sensor camera used showed a strong bias towards individual body mass (R(2)=0.70; p=0.017), and the variable expenses of this method in a 10-day survey were estimated about 2.04 times higher compared to track plot method; however, in a long run camera trapping becomes cheaper than track plot recording. Concluding, track plot recording is good enough for quick surveys under a limited budget, and camera trapping is best for precise species identification and the investigation of species details, performing better for large animals. When used together, these methods can be complementary.