Wide Field of View Spectroscopy Using Fabry-Perot Interferometers

We present a high resolution spectrometer consisting of dual solid Fabry-Perot Interferometers (FPIs). This work is intended to be an all inclusive documentation of the instrument including discussion of the design of this instrument, the methods used in data reduction, and the analysis of these data. Each FPI is made of a single piece of L-BBH2 glass which has a high index of refraction n~2.07 with a thickness on the order of 100 μm. Each is then coated with partially reflective mirrors to create a resonant cavity and thus achieve a spectral resolution of R~30,000. Running the FPIs in tandem reduces the overlapping orders and allows for a much wider free spectral range and higher contrast. We will also discuss the properties of the FPIs which we have measured. This includes the tuning of the FPIs which is achieved by adjusting the temperature and thus changing the FPI gap and the refractive index of the material. The spectrometer then moves spatially in order to get spectral information at every point in the field of view. We select spectral lines for further analysis and create maps of the line depths across the field. Using this technique we are able to measure the fluorescence of chlorophyll in plants and attempt to observe zodiacal light. In the chlorophyll analysis we are able to detect chlorophyll fluorescence using the line depth in a plant using the sky as a reference solar spectrum. This instrument has possible applications in either a cubesat or aerial observations to measure bulk plant activity over large areas.

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Mode of access: Internet.

The denouncement in the social textualization by interweavement of significant materialities

In this paper I analyse the discursive mechanics on a scene of the Brazilian film Ó paí, ó! , directed by Monique Gardenberg and based on Marcio Meirelles's play. As a start I reckon that the film textualises the social aspects parting from the relation between humour and denunciation. This relation mirrors at another one: the one between art and resistence, which is broadcast on the common  sense as well as on the theoretical-political and artistical field. I reckon humour as the expression of both exaggeration and irony that is formulated by the interweavement of images, gestures, sounds and text. The denunciation, however, is viewed as the textualisation of the conflict, once there is an element of denouncement in the play (as well as in the film), since it intends to portrait the situation of the inhabitants of Pelourinho (a historical neighbourhood in Salvador) during the 90's. This was the period when the neighbourhood was under refurbishment, motivated by touristic interests. The analysis is done under the analytical and theoretical premises of the Discourse Analysis, on a materialist perspective. I also use the notions of interdiscourse, resistence and denunciation against the analytical notions of intradiscourse and discursive memory. I believe to be able to show how the visual formulations textualise social aspects, considering the intersection between humour and denunciation as an axis of sustainability of these formulations.