Meteorological phenomena in Western classical orchestral music

Depictions of the weather are common throughout the arts. Unlike in the visual arts, however, there has been little study of meteorological inspiration in music. This article catalogues and analyzes the frequencies with which weather is depicted in a sample of classical orchestral music. The depictions vary from explicit mimicry using traditional and specialized orchestral instruments, through to subtle suggestions. It is found that composers are generally influenced by their own environment in the type of weather they choose to represent. As befits the national stereotype, British composers seem disproportionately keen to depict the UK's variable weather patterns and stormy coastline

A simple analysis of thermodynamic properties for classical plasmas: I. theory

By eliminating the short range negative divergence of the Debye–Hückel pair distribution function, but retaining the exponential charge screening known to operate at large interparticle separation, the thermodynamic properties of one-component plasmas of point ions or charged hard spheres can be well represented even in the strong coupling regime. Predicted electrostatic free energies agree within 5% of simulation data for typical Coulomb interactions up to a factor of 10 times the average kinetic energy. Here, this idea is extended to the general case of a uniform ionic mixture, comprising an arbitrary number of components, embedded in a rigid neutralizing background. The new theory is implemented in two ways: (i) by an unambiguous iterative algorithm that requires numerical methods and breaks the symmetry of cross correlation functions; and (ii) by invoking generalized matrix inverses that maintain symmetry and yield completely analytic solutions, but which are not uniquely determined. The extreme computational simplicity of the theory is attractive when considering applications to complex inhomogeneous fluids of charged particles.

A comparison between classical techniques and eigenstructure assignment in the design of a longitudinal instrument landing system

Although modern control techniques such as eigenstructure assignment have been given extensive coverage in control literature there is a reluctance to use them in practice as they are often not believed to be as `visible' or as simple as classical methods. A simple aircraft example is used, and it is shown that eigenstructure assignment can be used easily to produce a more viable controller than with simple classical techniques.

Key concepts in development geography

Key Concepts in Develpment Geography is an introductory text that provides students with the core concepts that form contemporary research and ideas within the development geography discipline. The book covers the meanings and measurement of development; its theory and practice; work, employment and development; people, culture and development; and contemporary issues in development.

Attic pottery in early Classical Thessaly. A case study from Achaia Phthiotis

This paper attributes a previously unnoticed Attic black-figured lekythos kept in the Archaeological Museum of Volos to the Pholos Group (ca. 470 BC) and discusses its findspot in the peripheral Thessalian district of Achaia Phthiotis. Beyond an art-historical appreciation of the hastily-drawn chariot scene on this lekythos and a discussion of stylistic parallels, which include a lekythos in Prague, it is argued that such lekythoi were socially important for their shape and small size that made them easily transportable. The assumed scarcity of Attic pottery in Thessaly can be questioned given that a considerable amount of Attic pottery from Thessalian locations is mentioned only in passing or remains unpublished in museum storage. Small late black-figured lekythoi predominate amongst Attic pottery shapes in Thessaly. The popularity of such lekythoi can become indicative of human mobility across the landscape and the consumption of imported (grave) goods by social groups other than elites.

Back to the margins in search of the core: "Foreign Land"'s geography of exclusion

The crisis of the national project in the early 1990s, caused by a short-lived but disastrous government, led Brazilian art cinema, for the first time, to look at itself as periphery and re-approach the old colonial center, Portugal. Terra estrangeira/Foreign Land (Walter Salles & Daniela Thomas, Brazil/Portugal, 1995), a film about Brazilian exiles in Portugal, is the best illustration of this perspective shift which provides a new sense of Brazil’s scale and position within a global context. Shot mainly on location in São Paulo, Lisbon and Cape Verde, it promotes the encounter of Lusophone peoples who find a common ground in their marginal situation. Rather than as a former empire, Portugal is defined by its situation at the edge of Europe and by beliefs such as Sebastianism, whose origins go back to the time when the country was dominated by Spain. As a result, notions of “core” or “center” are devolved to the realm of myth. The film’s carefully crafted dialogue combines Brazilian, Portuguese and Creole linguistic peculiarities into a common dialect of exclusion, while language puns trigger visual rhymes which refer back to the Cinema Novo (the Brazilian New Wave) repertoire and restage the imaginary of the discovery turned into unfulfilled utopia. The main characters also acquire historical resonances, as they are depicted as descendants of Iberian conquistadors turned into smugglers of precious stones in the present. Their activities define a circuit of international exchange which resonates with that of globalized cinema, a realm in which Foreign Land, made up of citations and homage to other cinemas, tries to retrieve a sense of belonging.