Jan Steen and The doctor’s visit: Classical Tradition in Golden Age Dutch painting (1st Part)

First one of a two-part analysis on the influence of the Classical Tradition on a favourite theme along the Dutch painters of the Golden Age, The doctor’s visit or The lovesick maiden, especially in the Leiden artist’s production, Jan Steen (1626-1679).

Tracing the Chromospheric and Coronal Magnetic Field with AIA, IRIS, IBIS, and ROSA Data

The aim of this study is to explore the suitability of chromospheric images for magnetic modeling of active regions. We use high-resolutionimages (≈0.2"-0.3"), from the Interferometric Bidimensional Spectrometer in the Ca II 8542 Å line, the Rapid Oscillations in the Solar Atmosphere instrument in the Hα 6563Å line, the Interface Region Imaging Spectrograph in the 2796Å line, and compare non-potential magnetic field models obtainedfrom those chromospheric images with those obtained from images of the Atmospheric Imaging Assembly in coronal (171 Å, etc.) and inchromospheric (304 Å) wavelengths. Curvi-linear structures are automatically traced in those images with the OCCULT-2 code, to which we forward-fitted magnetic field lines computed with the Vertical-current Approximation Nonlinear Force Free Field code. We find that the chromospheric images: (1) reveal crisp curvi-linear structures (fibrils, loop segments, spicules) that are extremely well-suited for constraining magnetic modeling; (2) that these curvi-linear structures arefield-aligned with the best-fit solution by a median misalignment angle of μ2 ≈ 4°–7° (3) the free energy computed from coronal data may underestimate that obtained from chromospheric data by a factor of ≈2–4, (4) the height range of chromospheric features is confined to h≲4000 km, while coronal features are detected up to h = 35,000 km; and (5) the plasma-β parameter is β ≈ 10^-5 - 10^-1 for all traced features. We conclude that chromospheric images reveal important magnetic structures that are complementary to coronal images and need to be included in comprehensive magnetic field models, something that is currently not accomodated in standard NLFFF codes.

IRIS Guidelines: Early Intervention in Psychosis IRIS Guidelines Update September 2012

Revision of the original 1998 IRIS Guidelines.

Revising Devotion: the role of wooden sculptures in affecting painting and devotion in the Late Medieval period in Italy (XII-XV century)

Thesis (Ph.D.)--University of Washington, 2016-06

Encountering the Spectre of Painting

When thinking what paintings are, I am continually brought back to my memory of a short sequence in Alfred Hitchcock’s Vertigo. In the scene, Kim Novak’s Madeleine is seated on a bench in an art gallery. She is apparently transfixed by a painting, Portrait of Carlotta. Alongside James Stewart, we watch her looking intently. Madeleine is pretending to be a ghost. At this stage she does not expect us to believe she is a ghost, but simply to immerse ourselves in the conceit, to delight in the shudder. Madeleine’s back is turned away from us, and as the camera draws near to show that the knot pattern in her hair mirrors the image in the portrait, I imagine Madeleine suppressing a smile. She resolutely shows us her back, though, so her feint is not betrayed. Madeleine’s stillness in this scene makes her appear as an object, a thing in the world, a rock or a pile of logs perhaps. We are not looking at that thing, however, but rather a residual image of something creaturely, a spectre. This after-image is held to the ground both by the gravity suggested by its manifestation and by the fine lie - the camouflage - of pretending to be a ghost. Encountering a painting is like meeting Madeleine. It sits in front of its own picture, gazing at it. Despite being motionless and having its back to us, there is a lurching sensation the painting brings about by pretending to be the ghost of its picture, and, at the same time, never really anticipating your credulity.

The Wounded Me: a novel and critical essay on Hugo Simberg's oeuvre and the literary engagement with his painting The Wounded Angel

No abstract available.

Cognitive and structural aspects of addiction: Relation between iris patterns, time perception, eyeblink rate, impulsivity and cigarette addiction

Objectif : Le but de ce travail est d'étudier les corrélations existantes entre les patterns de l'iris, la perception du temps et la fréquence de clignement des paupières (eye blink rate) et ceci en relation avec l'addiction à la cigarette. Méthodologie: Revue de la littérature existante. Expériences sur une cohorte d'au moins trente sujets fumeurs/non-fumeurs. Analyses statistiques. Résultats: Nos résultats confirment qu'il existe des relations entre l'impulsivité, les patterns d'iris, l'eye blink rate spontané et la perception du temps. Nous observons également que l'addiction à la cigarette et son niveau de dépendance ont une influence sur ces différentes mesures. En effet, les sujets fumeurs tendent à avoir une personnalité plus impulsive par rapport aux sujets contrôles. On remarque également une nette diminution de l'eye blink rate dans le groupe des fumeurs et une tendance à la sur-estimation du temps qui passe. Conclusion : Ce travail nous permet de mieux comprendre les différentes corrélations qui existent entre les différentes variables que nous avons mesurées (patterns d'iris, score d'impulsivité et eye blink rate) ainsi que leur relation à l'addiction à la cigarette. Dès lors qu'il est avéré que les fumeurs peuvent avoir une perception du temps altérée par rapport au groupe contrôle, il serait intéressant d'en étudier l'évolution sur le long terme (aggravation avec la durée du tabagisme actif) ainsi que les conséquences qui en découlent écologiquement au moyen d'études longitudinales et de terrain.

Iris Murdoch's romantic platonism

Abstract available.

Utilización de espirulina (Spirulina maxima) en la alimentación de alevinos de trucha arco Iris (Oncorhynchus mikyss)

Tesis (Zootecnista). -- Universidad de La Salle. Facultad de Ciencias Agropecuarias. Programa de Zootecnia, 2014