Some questions on integral geometry on noncompact symmetric spaces of higher rank

Let be a noncompact symmetric space of higher rank. We consider two types of averages of functions: one, over level sets of the heat kernel on and the other, over geodesic spheres. We prove injectivity results for functions in which extend the results in Pati and Sitaram (Sankya Ser A 62:419-424, 2000).

Moduli spaces of vector bundles on a singular rational ruled surface

We study moduli spaces M-X (r, c(1), c(2)) parametrizing slope semistable vector bundles of rank r and fixed Chern classes c(1), c(2) on a ruled surface whose base is a rational nodal curve. We showthat under certain conditions, these moduli spaces are irreducible, smooth and rational (when non-empty). We also prove that they are non-empty in some cases. We show that for a rational ruled surface defined over real numbers, the moduli space M-X (r, c(1), c(2)) is rational as a variety defined over R.

The Encyclopaedia of missions : descriptive, historical, biographical, statistical : with a full assortment of maps, a complete bibliography, and lists of Bible versions, missionary societies, mission stations, and a general index / edited by Edwin Munsell Bliss.

http://www.archive.org/details/encyclopaediamis02unknuoft

Components of error of maps from remotely sensed images

The concept of a “true” ground-truth map is introduced, from which the inaccuracy/error of any production map may be measured. A partition of the mapped region is defined in terms of the “residual rectification” transformation. Geometric RMS-type and Geometric Distortion error criteria are defined as well as a map mis-classification error criterion (the latter for hard and fuzzy produc-tion maps). The total map error is defined to be the sum (over each set of the map partition men-tioned above) of these three error components integrated over each set of the partition.

Spaces of observation and obscurity: cinematic prisons of light and dark

In The Eye of Power, Foucault delineated the key concerns surrounding hospital architecture in the latter half of the eighteenth century as being the ‘visibility of bodies, individuals and things'. As such, the ‘new form of hospital' that came to be developed ‘was at once the effect and support of a new type of gaze'. This was a gaze that was not simply concerned with ways of minimising overcrowding or cross-contamination. Rather, this was a surveillance intended to produce knowledge about the pathological bodies contained within the hospital walls. This would then allow for their appropriate classification. Foucault went on to describe how these principles came to be applied to the architecture of prisons. This was exemplified for him in the distinct shape of Bentham's panopticon. This circular design, which has subsequently become an often misused synonym for a contemporary culture of surveillance, was premised on a binary of the seen and the not-seen. An individual observer could stand at the central point of the circle and observe the cells (and their occupants) on the perimeter whilst themselves remaining unseen. The panopticon in its purest form was never constructed, yet it conveys the significance of the production of knowledge through observation that became central to institutional design at this time and modern thought more broadly. What is curious though is that whilst the aim of those late eighteenth century buildings was to produce wellventilated spaces suffused with light, this provoked an interest in its opposite. The gothic movement in literature that was developing in parallel conversely took a ‘fantasy world of stone walls, darkness, hideouts and dungeons…' as its landscape (Vidler, 1992: 162). Curiously, despite these modern developments in prison design, the façade took on these characteristics. The gothic imagination came to describe that unseen world that lay behind the outer wall. This is what Evans refers to as an architectural ‘hoax'. The façade was taken to represent the world within the prison walls and it was the façade that came to inform the popular imagination about what occurred behind it. The rational, modern principles ordering the prison became conflated with the meanings projected by and onto the façade. This confusion of meanings have then been repeated and reenforced in the subsequent representations of the prison. This is of paramount importance since it is the cinematic and televisual representation of the prison, as I argue here and elsewhere, that maintain this erroneous set of meanings, this ‘hoax'.