(Supplemet S1) Silicon oxide and Potassium + Sodium oxide from the PACManus hydrothermal area

This study presents a systematic analysis and interpretation of autonomous underwater vehicle-based microbathymetry combined with remotely operated vehicle (ROV) video recordings, rock analyses and temperaturemeasurements within the PACManus hydrothermal area located on Pual Ridge in the Bismarck Sea of eastern Manus Basin. The data obtained during research cruise Magellan-06 and So-216 provides a framework for understanding the relationship between the volcanism, tectonismand hydrothermal activity. PACManus is a submarine felsic vocanically-hosted hydrothermal area that hosts multiple vent fields locatedwithin several hundredmeters of one another but with different fluid chemistries, vent temperatures and morphologies. The total area of hydrothermal activity is estimated to be 20,279m**2. Themicrobathymetrymaps combinedwith the ROV video observations allow for precise high-resolution mapping estimates of the areal extents of hydrothermal activity.We find the distribution of hydrothermal fields in the PACManus area is primarily controlled by volcanic features that include lava domes, thick andmassive blocky lava flows, breccias and feeder dykes. Spatial variation in the permeability of local volcanic facies appears to control the distribution of venting within a field.We define a three-stage chronological sequence for the volcanic evolution of the PACManus based on lava flow morphology, sediment cover and lava SiO2 concentration. In Stage-1, sparsely to moderately porphyritic dacite lavas (68-69.8 wt.% SiO2) erupted to form domes or cryptodomes. In Stage-2, aphyric lava with slightly lower SiO2 concentrations (67.2-67.9 wt.% SiO2) formed jumbled and pillowed lava flows. In the most recent phase Stage-3, massive blocky lavaswith 69 to 72.5wt.% SiO2were erupted throughmultiple vents constructing a volcanic ridge identified as the PACManus neovolcanic zone. The transition between these stages may be gradual and related to progressive heating of a silicic magma following a recharge event of hot, mantle-derived melts.

Strontium measurements and sea surface temperatures of corals from Xisha Island, South China Sea

A Porites coral collected from Xisha Island, South China Sea, represents a skeleton secreted in the period from 1906 to 1994. The Sr contents of the coral vary linearly with the instrument-measured sea-surface temperature (SST), giving a Sr thermometer: SST = -1.9658 x Sr + 193.26. The reconstructed SST data show that the late 20th century was warmer (about 1°C) than the early 20th century and that two cooling (1915/1916 and 1947/1948) and three warming (1935/1936, 1960/1961, and 1976/1977) shifts occurred in the century. The temperature shifts are more pronounced for winters, implying a close effect of the west Pacific warm pool and Asian monsoon and suggesting that the former is a primary force controlling the climatic system of the region. Results of this study and previously published data indicate a close link of temperature shifts between the boreal summer and the austral winter or the boreal winter and the austral summer. The annual SST anomalies in the South China Sea and the South Pacific reveal the existence of harmonic but opposite SST variations between the two regions. On the decadal scale the comparative annual SST anomalies for the South China Sea and for the equatorial west Pacific show a similarity in temperature variations, implying that the South China Sea climate is coherent with climatic regime of the tropical west Pacific.

Major- and trace-element chemistry of DSDP Leg 70 Holes basalts and their alteration products

Major and trace element compositions of basalts from the lower part of Hole 504B indicate their cogenetic nature. The cored sequence of interlayered pillow lavas and massive lava flows was produced by eruption of lavas, slightly variable in composition. Plagioclase and olivine crystallization in a shallow magma chamber, followed by small-scale fractionation at higher levels, is responsible for these variations. Except in highly fractured zones within the basement, there are systematic variations in the style and degree of rock alteration with depth. Trace element characteristics of altered rocks and secondary minerals indicate that progressive changes in sea water composition occurred as it reacted with basaltic crust.

In-situ sediment temperature and pore water chloride concentration at pockmarks of the Nigerian continental margin

A joint research expedition between the French IFREMER and the German MARUM was conducted in 2011 using the R/V 'Pourquoi pas?' to study gas hydrate distributions in a pockmark field (1141-1199 m below sea surface) at the continental margin of Nigeria. The seafloor drill rig MeBo of MARUM was used to recover sediments as deep as 56.74 m below seafloor. The presence of gas hydrates in specific core sections was deduced from temperature anomalies recorded during continuous records of infrared thermal scanning and anomalies in pore water chloride concentrations. In situ sediment temperature measurements showed elevated geothermal gradients of up to 258 °C/km in the center of the so-called pockmark A which is up to 4.6 times higher than that in the background sediment (72 °C/km). The gas hydrate distribution and thermal regime in the pockmark are largely controlled by the intensity, periodicity and direction of fluid flow. The joint interaction between fluid flow, gas hydrate formation and dissolution, and the thermal regime governs pockmark formation and evolution on the Nigerian continental margin.

Si and SixGe1-x NWs studied by Raman spectroscopy

Group IV nanostructures have attracted a great deal of attention because of their potential applications in optoelectronics and nanodevices. Raman spectroscopy has been extensively used to characterize nanostructures since it provides non destructive information about their size, by the adequate modeling of the phonon confinement effect. The Raman spectrum is also sensitive to other factors, as stress and temperature, which can mix with the size effects borrowing the interpretation of the Raman spectrum. We present herein an analysis of the Raman spectra obtained for Si and SiGe nanowires; the influence of the excitation conditions and the heat dissipation media are discussed in order to optimize the experimental conditions for reliable spectra acquisition and interpretation.

Estimation of functional connectivity from electromagnetic signals and the amount of empirical data required

An increasing number of neuroimaging studies are concerned with the identification of interactions or statistical dependencies between brain areas. Dependencies between the activities of different brain regions can be quantified with functional connectivity measures such as the cross-correlation coefficient. An important factor limiting the accuracy of such measures is the amount of empirical data available. For event-related protocols, the amount of data also affects the temporal resolution of the analysis. We use analytical expressions to calculate the amount of empirical data needed to establish whether a certain level of dependency is significant when the time series are autocorrelated, as is the case for biological signals. These analytical results are then contrasted with estimates from simulations based on real data recorded with magnetoencephalography during a resting-state paradigm and during the presentation of visual stimuli. Results indicate that, for broadband signals, 50–100 s of data is required to detect a true underlying cross-correlations coefficient of 0.05. This corresponds to a resolution of a few hundred milliseconds for typical event-related recordings. The required time window increases for narrow band signals as frequency decreases. For instance, approximately 3 times as much data is necessary for signals in the alpha band. Important implications can be derived for the design and interpretation of experiments to characterize weak interactions, which are potentially important for brain processing.

The dicode workbench: A flexible framework for the integration of information and web services

Aiming to address requirements concerning integration of services in the context of ?big data?, this paper presents an innovative approach that (i) ensures a flexible, adaptable and scalable information and computation infrastructure, and (ii) exploits the competences of stakeholders and information workers to meaningfully confront information management issues such as information characterization, classification and interpretation, thus incorporating the underlying collective intelligence. Our approach pays much attention to the issues of usability and ease-of-use, not requiring any particular programming expertise from the end users. We report on a series of technical issues concerning the desired flexibility of the proposed integration framework and we provide related recommendations to developers of such solutions. Evaluation results are also discussed.

La ciudad editada: de Las Vegas a Nueva York (1972-1978): Venturi / Scott Brown / Koolhaas

Si hubiese un denominador común entre todas las artes en lo que ha venido llamándose postmodernidad, éste tendría mucho que ver con el final del origen de la obra. Desde la literatura y la música hasta las artes plásticas y la arquitectura, la superación de la modernidad ha estado caracterizada por la sustitución del concepto de creación por el de intervención artística, o lo que es lo mismo, la interpretación de lo que ya existe. A principios del siglo XX los conceptos modernos de creación y origen implicaban tener que desaprender y olvidar todo lo anterior con el ánimo de partir desde cero; incluso en un sentido material Mies sugería la construcción literal de la materia y su movimiento de acuerdo a unas leyes. A partir de la segunda mitad de siglo los planteamientos historicistas empezaron a surgir como reacción ante la amnesia y la supuesta originalidad de los modernos. En este contexto surgen los libros Learning from Las Vegas, 1972 y Delirious New York, 1978, ambos deudores en muchos aspectos con el anterior libro de Venturi, Complexity and Contradiction in Architecture, 1966. Estos dos libros sobre ciudades, alejándose decididamente de las tendencias historicistas de la época, proponían utilizar el análisis crítico de la realidad existente como vehículo para la teoría y el proyecto de manera simultánea, convirtiéndose indirectamente en Manifiestos. Si en un primer momento Venturi, Rossi y otros planteaban acabar con los límites formales establecidos por la modernidad, así como por cualquiera de los cánones anteriores, tomando la totalidad de la obra construida como sistema de referencia, - al igual que hiciera Eliot en literatura, - los libros de Las Vegas y Nueva York sugerían directamente borrar los límites de la propia disciplina, llegando a poner en duda ¿Qué puede ser considerado arquitectura? Sin embargo, debido precisamente a la ausencia total de límites y a la inmensidad del sistema referencial planteado, “todo puede ser arquitectura”, como apuntaba Hans Hollein en 1968, los libros proponen al mismo tiempo definir el campo de actuación de cada cual de manera individual. Los escritos sobre Las Vegas y Nueva York suponen por un lado la eliminación de los limites disciplinares y por otro, la delimitación de ámbitos de trabajo concretos para sus autores: los propios de cada una de las ciudades interpretadas. La primera parte de la Tesis, Lecciones, se ocupa del necesario proceso de aprendizaje y experimentación previo a la acción crítica propiamente dicha. Los arquitectos contemporáneos necesitan acumular material, conocimiento, documentación, experiencias... antes de lanzarse a proponer mediante la crítica y la edición; y al contrario que ocurría con los modernos, cuanto más abundante sea ese bagaje previo más rica será la interpretación. Las ciudades de Roma, Londres y Berlín se entienden por tanto como experiencias capaces de proporcionar a Venturi, Scott Brown y Koolhaas respectivamente, sus “personales diccionarios”, unas interminables imaginerías con las que posteriormente se enfrentarían a los análisis de Las Vegas y Nueva York. La segunda parte, Críticas, se centra en la producción teórica en sí: los dos libros de ciudades analizados en estrecha relación con el Complexity and Contradiction. El razonamiento analógico característico de estos libros ha servido de guía metodológica para la investigación, estableciéndose relaciones, no entre los propios escritos directamente, sino a través de trabajos pertenecientes a otras disciplinas. En primer lugar se plantea un importante paralelismo entre los métodos de análisis desarrollados en estos libros y los utilizados por la crítica literaria, observando que si el new criticism y el nuevo periodismo sirvieron de guía en los escritos de Venturi y Scott Brown, la nouvelle critique y su propuesta de identificación poética fueron el claro referente de Koolhaas al abordar Nueva York. Por otro lado, la relevancia ganada por la actividad de comisariado artístico y la aparición de la figura del curator, como autoridad capaz de utilizar la obra de arte por encima de las intenciones de su propio autor, sirve, al igual que la figura del editor, como reflejo de la acción transformadora y de apropiación llevada a cabo tanto en Learning from Las Vegas, como en Delirious New York. Por último y a lo largo de toda la investigación las figuras de Bergson y Baudelaire han servido como apoyo teórico. A través de la utilización que de sus ideas hicieron Venturi y Koolhaas respectivamente, se ha tratado de mostrar la proximidad de ambos planteamientos desde un punto de vista ideológico. La Inclusión propuesta por Venturi y la ironía utilizada por Koolhaas, la contradicción y la paradoja, no son sino el reflejo de lógicas que en ambos casos reaccionan al mismo tiempo contra idealismo y materialismo, contra modernidad y antimodernidad, en un continuo intento de ser lo uno y lo otro simultáneamente. ABSTRACT If there was a common denominator among all the arts in what has been called postmodernism, it would have much to do with the end of the origin of the artwork. From literature and music to fine arts and architecture, overcoming modernity has been characterized by replacing the concept of artistic creation by the one of intervention, in other words, the interpretation of what already exists. In the early twentieth century modern concepts of creation and origin involved unlearning and forgetting everything before with the firm intention of starting from scratch. Even in a material sense Mies suggested the literal construction of matter and its motion according to laws. From the mid-century historicist approaches began to emerge in response to the amnesia and originality alleged by moderns. In this context appeared the books Learning from Las Vegas, 1972 and Delirious New York, 1978, both debtors in many respects to the previous book by Venturi, Complexity and Contradiction in Architecture, 1966. These two books on cities, which broke away decidedly with the historicist trends of the time, proposed using critical analysis of the existing reality as a vehicle for theory and projecting at the same time, indirectly becoming manifests. If at first Venturi, Rossi and others pose to erase the formal limits set by modernity, as well as any of the canons before, taking the entire work built as a reference system, - as did Eliot in literature - the books on Las Vegas and New York proposed directly erasing the boundaries of the discipline itself, coming to question what could be considered architecture? However, and precisely because of the absence of limits and the immensity of the established framework, - “everything could be architecture” as Hans Hollein pointed in 1968, - the books suggested at the same time the definition of a field of action for each one individually. The cities of Las Vegas and New York represented on the one hand the elimination of disciplinary limits and on the other, the delimitation of specific areas of work to its authors: Those on each of the cities interpreted. The first part of the thesis, Lessons, attend to the necessary process of learning and experimentation before the critical action itself. Contemporary architects need to accumulate material, knowledge, information, experiences... before proposing through criticism and editing; and unlike happened with moderns, the most abundant this prior baggage is, the richest will be the interpretation. Rome, London and Berlin are therefore understood as experiences capable of providing Venturi, Scott Brown and Koolhaas respectively, their “personal dictionaries”, interminable imageries with which they would later face the analysis of Las Vegas and New York. The second part, Critiques, focuses on the theoretical production itself: the two books on both cities analyzed closely with the Complexity and Contradiction. The analogical reasoning characteristic of these books has served as a methodological guide for the research, establishing relationships, not directly between the writings themselves, but through works belonging to other disciplines. First, an important parallel is set between the methods of analysis developed in these books and those used by literary criticism, noting that if the new criticism and new journalism guided Venturi and Scott Brown´s writings, the nouvelle critique and its poetic identification were clear references for Koolhaas when addressing New York. On the other hand, the relevance gained by curating and the understanding of the figure of the curator as an authority capable to use artworks above the intentions of their authors, like the one of the Editor, reflects the appropriation and processing actions carried out both in Learning from Las Vegas, and Delirious New York. Finally and over all the research Bergson and Baudelaire figures resonate continuously. Through the use of their ideas done by Venturi and Koolhaas respectively, the research has tried to show the proximity of both approaches from an ideological point of view. Inclusion, as posed by Venturi and irony, as used by Koolhaas, contradiction and paradox are reflections of the logic that in both cases allow them to react simultaneously against idealism and materialism, against modernism and anti-modernism.

Escaparates de la modernidad : la tienda como laboratorio de arquitectura

El proyecto de una tienda concentra un poco de todo aquello que interesa al arquitecto: conforma una suerte de encrucijada en la que se dan cita, junto a cuestiones disciplinares que la hacen muy atractiva y ponen a prueba su habilidad como proyectista, la necesidad de aunar recursos compositivos procedentes de otros terrenos periféricos a la arquitectura para dar una respuesta adecuada a los requerimientos específicos de imagen y persuasión que la actividad comercial comporta. Las difíciles condiciones de partida, habitualmente configuraciones espaciales no excesivamente favorables, donde las preexistencias y los contornos coartan y encierran un espacio al que hay que dotar de un nuevo orden; el tamaño reducido y las posibilidades de control total de la obra que de éste se derivan; el corto plazo de tiempo y la rapidez de respuesta que la estrategia comercial impone; su posición estratégica, en relación directa con la calle, y la mayor evidencia que, por tanto, se le asigna a la fachada y al escaparate como ‘primeros anuncios’ de la actividad; la integración y el comentario recíproco entre arquitectura y objeto que tiene lugar en su seno…, son algunas de las razones que explican este interés y justifican que la tienda −ese espacio acotado tan apto para el invento y la innovación−, constituya un banco de pruebas donde poder ensayar nuevos conceptos de la arquitectura al reunir espacial y temporalmente los condicionantes ideales requeridos para la experimentación y la comprobación de hallazgos. Aunque escasas, existen en la arquitectura contemporánea tiendas que han logrado ocupar por méritos propios un lugar destacado dentro de la obra de sus autores. Entre las merecedoras de ese reconocimiento habría que citar la ‘mítica’ sastrería Kniže proyectada por Adolf Loos a comienzos del siglo XX en Viena, el Negozio Vitrum que Giuseppe Terragni diseñara en Como en los años treinta, o la sucursal londinense de las líneas aéreas de Iraq construida en los sesenta por Alison y Peter Smithson. La elección, lejos de ser gratuita, obedece a razones fundadas. Dentro de las circunstancias temporales en las que se gestaron −las tres fueron proyectadas y construidas a lo largo del pasado siglo en un arco que abarca algo más de cincuenta años (1907-1961)−, los ejemplos seleccionados aúnan toda una serie de ‘coincidencias’ entre las que no resulta difícil establecer ciertos paralelismos: las tres marcan la talla de unos creadores que fueron capaces de dedicar la misma intensidad creativa a estos temas ‘menores’, corroborando que el carácter de la arquitectura también puede hacerse grande en lo pequeño; las tres, debido al momento de madurez en el que se abordó su diseño, reflejan su condición de laboratorio experimental al servicio de los intereses proyectuales que en ese momento ocupaban la mente de los arquitectos; las tres corroboran hipótesis ya apuntadas en arquitecturas anteriores, prueban líneas de trabajo no materializadas por falta de oportunidad y testan de manera menos comprometida soluciones que luego se trasladarán a obras con mayor vocación de permanencia; obras −y esto es algo especialmente sorprendente− con las que mantuvieron una estrecha relación en el espacio y en el tiempo, convirtiéndose incluso en plataformas de experimentación paralelas: baste en este sentido con apuntar la cercanía física −a ‘metros’ de distancia− y temporal −realizadas en los mismos años− entre la sastrería Kniže (1907- 1913;1928) y la Casa en la Michaelerplatz (1910-11); la tienda Vitrum (1930) y la Casa del Fascio (1929; 1932-36) o las oficinas de venta de las Iraqi Airways (1960-61) y la sede del The Economist (1959-64). Esta potencialidad que la tienda encierra para erigirse en laboratorio de experimentación y ensayo de la arquitectura, constituye la clave de la investigación que la tesis propone. ABSTRACT A little of everything that interests the architect is concentrated in the designing of a shop: it forms a kind of crossroads bringing together, apart from certain disciplinary questions rendering it particularly attractive and testing one’s ability as a designer, the need to coordinate compositional resources from fields peripheral to architecture in order to devise an adequate response to the specific requirements of image and persuasion that are part and parcel of business activity. The difficult start-up conditions, the generally not overly favourable spatial configurations ‒where the pre-existing conditions and shape of the site encroach on and enclose a space which has to be given a new order‒, the reduced size and possibilities afforded in terms of controlling the work, the short time frame and the rapid response imposed by the business tactics and its strategic position and direct frontal relationship with the street, make the shopfront and the display window are the ‘first advertisements” of the activity, or the integration and the reciprocal commentary between architecture and what takes place within: these are but some of the reasons explaining this interest and justifying the claim that the shop –a dimensional space so well suited to invention and innovation− constitutes a test-bed for trying out new concepts of architecture, combining in space and time the ideal conditions for experiment and the examination of its findings. Albeit not numerous, there are shops in contemporary architecture which have managed on their own merit to obtain a special place among the works of their authors. Among those earning such recognition, one should mention the ‘mythical’ Kniže tailoring establishment designed by Adolf Loos at the beginning of the 20th century in Vienna, the Negozio Vitrum designed by Giuseppe Terragni in Como in the thirties, or the London offices of Iraqi Airways built in the sixties by Alison and Peter Smithson. This selection, far from gratuitous, is based on well-founded reasons. Within the circumstances of the time-frame in which they were developed −the three were designed and built during the 20th century in a period that spans just over fifty years (1907-1961)− the chosen examples bring together a whole series of ‘coincidences’ where it is not difficult to draw certain parallels: the three bear witness to the stature of creators who were capable of devoting the same creative intensity to these ‘minor’ themes, thus corroborating the fact that the nature of the architecture can also be great in less important works; the three, thanks to the moment of maturity in which their design was carried out, reflect their condition as an experimental laboratory at the service of the particular designing interests which at the time occupied the minds of these architects; the three confirm hypotheses already displayed in previous architectures, they test lines of work which had not materialised through lack of opportunity, and in a less comprised manner check solutions that were later transferred to works with a greater vocation for permanence; works −and this is something especially surprising – with which they maintained a close relationship in time and space, even becoming parallel experimental platforms: in this sense, we need only to mention the physical proximity –just metres away− and proximity in time –built within the same years− between the Kniže shop (1907-1913; 1928) and the House of Michaelerplatz (1910-11); the Vitrum shop (1930) and the Casa del Fascio (1929;1932-36); and the Iraqi Airways sales offices (1960-61) and the headquarters of The Economist (1959-64). The potential of the shop to set itself up as an experimental laboratory and architectural rehearsal constitutes the main focus of the research put forward by this thesis.

Affect and the Problem of Evil

A central aspect of the problem of evil or the argument from evil is the intensity or quantity of suffering. This quantity is conceived of as something objective and fixed. But because our experience is in part constituted and interpreted by our effectual orientation, there is no such objective quantum of suffering. But where there is no objective quantum of suffering, the argument from evil collapses. Here we begin by examining the connection between the philosophical and existential dimensions of the problem of and argument from evil as suffering. Next we consider the role of the affect in the constitution and interpretation of experience generally, together with implications for the argument from suffering. Third, we look at how a key affectual element of the argument from evil might undercut that argument. And finally, we consider a proposal to categorize suffering as a species of moral or spiritual failure, as affectually wrong.