931 resultados para drift retardant
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We obtain the exact asymptotic result for the disorder-averaged probability distribution function for a random walk in a biased Sinai model and show that it is characterized by a creeping behavior of the displacement moments with time,
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In this paper we will demonstrate the improved BER performance of doubly differential phase shift keying in a coherent optical packet switching scenario while still retaining the benefits of high frequency offset tolerance. © OSA 2014.
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The diglycidyl ether of tetrabromobisphenol A, the diglycidyl ether of bisphenol A and their mixture was cured by 4,4'-diaminodiphenyl methane. The pyrolysis of the obtained epoxy resins was studied by TG, DSC, TG/FTIR as well as FTIR characterization of pyrolysis residues. The gaseous and high boiling pyrolysis products were collected, characterized by GC/MS and their formation is discussed. The brominated epoxy resins are thermally less stable than the non-brominated ones. This effect is caused by the amine-containing hardener. The degradation initiation reaction is associated with the formation of hydrogen bromide which further destabilizes the epoxy network. The effect of the curing agent can be used in recycling of epoxy resins to separate brominated pyrolysis products from non-brominated ones.
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The transmission loss in polymer optical fiber (POF) is much higher than that in silica fiber. Very strong absorption bands dominate throughout the visible and near infrared. Optical absorption increases the internal temperature of the polymer fiber and reduces the wavelength of any POF Bragg grating (POFBG) inscribed within the fiber. In this letter, we have investigated the wavelength drift of FBGs inscribed in poly(methyl methacrylate)-based fiber under illumination at different wavelengths. The experiments have shown that the characteristic wavelength of such a POFBG starts decreasing after a light source is applied to it. This decrease continues until equilibrium inside the fiber is established, depending on the surrounding humidity, optical power applied, and operation wavelength.
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A time dependent electromagnetic pulse generated by a current running laterally to the direction of the pulse propagation is considered in paraxial approximation. It is shown that the pulse envelope moves in the time-spatial coordinates on the surface of a parabolic cylinder for the Airy pulse and a hyperbolic cylinder for the Gaussian. These pulses propagate in time with deceleration along the dominant propagation direction and drift uniformly in the lateral direction. The Airy pulse stops at infinity while the asymptotic velocity of the Gaussian is nonzero. © 2013 Optical Society of America.
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Brominated flame retardants (BFRs) have been found in Arctic wildlife, lake sediment, and air. To identify the atmospheric BFR deposition history on Svalbard, Norway, we analyzed 19 BFRs, including hexabromocyclododecane (HBCD), 1,2-bis(2,4,6-tribromophenoxy)ethane (BTBPE), decabromodiphenyl ethane (DBDPE), pentabromoethylbenzene (PBEB),and 15 polybrominated diphenyl ether congeners (PBDE) in the upper 34 m of an ice core (representing 1953-2005) from Holtedahlfonna, the western-most ice sheet on Svalbard. All of the non-PBDE compounds were detected in nearly continuous profiles in the core. Seven PBDEs were not observed above background (28,47,66,100,99,154,153), while 4 were found in 1 or 2 of 6 segments (17,85,138,183). BDEs-49,71,190,209 had nearly continuous profiles but only BDE-209 in large amounts. The greatest inputs were HBCD and BDE-209, 910, and 320 pg/cm**2/yr from 1995-2005. DBDPE, BTBPE, and PBEB show nearly continuous input growth in recent core segments, but all were <6 pg/cm**2/yr. Long-range atmospheric processes may have moved these particle-bound BFRs to the site, probably during the Arctic haze season. Average air mass trajectories over 10 years show >75% of atmospheric flow to Holtedahlfonna coming from Eurasia during haze periods (March and April).
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Observations of snow properties, superimposed ice, and atmospheric heat fluxes have been performed on first-year and second-year sea ice in the western Weddell Sea, Antarctica. Snow in this region is particular as it does usually survive summer ablation. Measurements were performed during Ice Station Polarstern (ISPOL), a 5-week drift station of the German icebreaker RV Polarstern. Net heat flux to the snowpack was 8 W/m**2, causing only 0.1 to 0.2 m of thinning of both snow cover types, thinner first-year and thicker second-year snow. Snow thinning was dominated by compaction and evaporation, whereas melt was of minor importance and occurred only internally at or close to the surface. Characteristic differences between snow on first-year and second-year ice were found in snow thickness, temperature, and stratigraphy. Snow on second-year ice was thicker, colder, denser, and more layered than on first-year ice. Metamorphism and ablation, and thus mass balance, were similar between both regimes, because they depend more on surface heat fluxes and less on underground properties. Ice freeboard was mostly negative, but flooding occurred mainly on first-year ice. Snow and ice interface temperature did not reach the melting point during the observation period. Nevertheless, formation of discontinuous superimposed ice was observed. Color tracer experiments suggest considerable meltwater percolation within the snow, despite below-melting temperatures of lower layers. Strong meridional gradients of snow and sea-ice properties were found in this region. They suggest similar gradients in atmospheric and oceanographic conditions and implicate their importance for melt processes and the location of the summer ice edge.
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1. nowhere landscape, for clarinets, trombones, percussion, violins, and electronics
nowhere landscape is an eighty-minute work for nine performers, composed of acoustic and electronic sounds. Its fifteen movements invoke a variety of listening strategies, using slow change, stasis, layering, coincidence, and silence to draw attention to the sonic effects of the environment—inside the concert hall as well as the world outside of it. The work incorporates a unique stage set-up: the audience sits in close proximity to the instruments, facing in one of four different directions, while the musicians play from a number of constantly-shifting locations, including in front of, next to, and behind the audience.
Much of nowhere landscape’s material is derived from a collection of field recordings
made by the composer during a road trip from Springfield, MA to Douglas, WY along US- 20, a cross-country route made effectively obsolete by the completion of I-90 in the mid- 20th century. In an homage to artist Ed Ruscha’s 1963 book Twentysix Gasoline Stations, the composer made twenty-six recordings at gas stations along US-20. Many of the movements of nowhere landscape examine the musical potential of these captured soundscapes: familiar and anonymous, yet filled with poignancy and poetic possibility.
2. “The Map and the Territory: Documenting David Dunn’s Sky Drift”
In 1977, David Dunn recruited twenty-six musicians to play his work Sky Drift in the
Anza-Borrego Desert in Southern California. This outdoor performance was documented with photos and recorded with four stationary microphones to tape. A year later, Dunn presented the work in New York City as a “performance/documentation,” playing back the audio recording and projecting slides. In this paper I examine the consequences of this kind of act: what does it mean for a recording of an outdoor work to be shared at an indoor concert event? Can such a complex and interactive experience be successfully flattened into some kind of re-playable documentation? What can a recording capture and what must it exclude?
This paper engages with these questions as they relate to David Dunn’s Sky Drift and to similar works by Karlheinz Stockhausen and John Luther Adams. These case-studies demonstrate different solutions to the difficulty of documenting outdoor performances. Because this music is often heard from a variety of equally-valid perspectives—and because any single microphone only captures sound from one of these perspectives—the physical set-up of these kind of pieces complicate what it means to even “hear the music” at all. To this end, I discuss issues around the “work itself” and “aura” as well as “transparency” and “liveness” in recorded sound, bringing in thoughts and ideas from Walter Benjamin, Howard Becker, Joshua Glasgow, and others. In addition, the artist Robert Irwin and the composer Barry Truax have written about the conceptual distinctions between “the work” and “not- the-work”; these distinctions are complicated by documentation and recording. Without the context, the being-there, the music is stripped of much of its ability to communicate meaning.