Debris flow magnitudes: a global catalog

The episodic occurrence of debris flow events in response to stochastic precipitation and wildfire events makes hazard prediction challenging. Previous work has shown that frequency-magnitude distributions of non-fire-related debris flows follow a power law, but less is known about the distribution of post-fire debris flows. As a first step in parameterizing hazard models, we use frequency-magnitude distributions and cumulative distribution functions to compare volumes of post-fire debris flows to non-fire-related debris flows. Due to the large number of events required to parameterize frequency-magnitude distributions, and the relatively small number of post-fire event magnitudes recorded in the literature, we collected data on 73 recent post-fire events in the field. The resulting catalog of 988 debris flow events is presented as an appendix to this article. We found that the empirical cumulative distribution function of post-fire debris flow volumes is composed of smaller events than that of non-fire-related debris flows. In addition, the slope of the frequency-magnitude distribution of post-fire debris flows is steeper than that of non-fire-related debris flows, evidence that differences in the post-fire environment tend to produce a higher proportion of small events. We propose two possible explanations: 1) post-fire events occur on shorter return intervals than debris flows in similar basins that do not experience fire, causing their distribution to shift toward smaller events due to limitations in sediment supply, or 2) fire causes changes in resisting and driving forces on a package of sediment, such that a smaller perturbation of the system is required in order for a debris flow to occur, resulting in smaller event volumes.

Cobertura de la trinchera ferroviaria de Hendaya

Un problema del ferrocarril al paso por las ciudades europeas es el efecto barrera generado, que impide su desarrollo más allá de las vías. Si se salta la barrera lo cierto es que ello se hace sólo en sitios concretos y el efecto psicológico de aislamiento persiste para los habitantes del entorno. Este trabajo presenta de manera sucinta los problemas de concepción, comprobación y vibraciones planteados por la estructura de cubierta de la trinchera ferroviaria de Hendaya, consistente en una losa de hormigón pretensado y luz variable de 20-40 metros, que resuelve el problema de aislamiento entre las dos partes de la ciudad. Su construcción ha sido posible gracias al acuerdo entre la SNCF e inversores privados y está permitiendo la construcción sobre ella de 6 edificios de viviendas y una residencia de turismo, la demolición del antiguo ?Pont-Vieux? y la construcción de un nuevo ?Pont-Vieux?, integrado completamente en la promoción inmobiliaria. An important problem put by the train in its passage by the cities of Europe generally and in France in particular is the effect barrier which builds up, preventing the cities from developing beyond. Even if this barrier is crossed, it is certain that the passage is restricted to concrete places and always acts as psychological barrier for the local residents. This article presents in a brief way the problems of conception, analysis and vibration of the cover structure of the railroad trench of Hendaye. This structure consists of a 20-40 meters span slab of pre-stressed concrete that solves the isolation problem of both parts of the town of Hendaye. Its construction was possible thanks to the agreement of the SNCF (French Railways)and some private investors, and is allowing the investors the construction on top of 6 residential buildings and a holiday residence, with demolition of the ancient “Pont-Vieux” and building of a new “Pont-Vieux”, which is completely integrated into the real-estate development. Special attention is given to the change of transverse cross-section of the slab during construction stages, which originates a redistribution of stresses, and to the long-term equilibrium of horizontal forces.

Análisis de los mercados de gas mayoristas en Europa: Francia, Reino Unido, Bélgica y Holanda

Este proyecto consiste en una previa investigación descriptiva del mercado mayorista de gas en España. Para ello, se ha estudiado en profundidad el funcionamiento de los componentes que constituyen este sistema y las herramientas necesarias utilizadas para el sostenimiento del mismo. Se ha analizado las capacidades, peajes, etc. para poder extrapolar estos conocimientos al resto de los mercados europeos examinados. Una vez explorado el mercado español, se ha analizado el mercado belga, francés, inglés y holandés. En estos mercados se ha hecho un estudio de las bases necesarias que un comercializador necesita para poder introducirse en estos nuevos mercados. Por último, al tratarse de un proyecto de investigación, se ha realizado un estudio del coste económico que un estudio como este podría conllevar. 3 ABSTRACT This project is a descriptive pre-research study of the wholesale gas market in Spain. For that purpose, the system's structure, functioning and the strategies required for its sustainability have been studied extensively. Capacities, tolls, etc. have been analysed so that results can be then extrapolated to the other markets examined. Once the spanish market was explored; belgian, french, english and dutch markets were analysed. In these markets, the basis required for a potential marketer entering these markets, have been evaluated. At last, as a research study, it includes an economic cost analysis that a study like this would imply

La representación de la arquitectura moderna : la villa Stein-de Monzie en "L'Oeuvre Complète" de Le Corbusier y Pierre Jeanneret : influencia de la visión cinematográfica

Esta tesis doctoral trata de investigar cuánto hubo de presencia del cine en el pensamiento de Le Corbusier y Pierre Jeanneret, a la hora de acometer la publicación y maquetación de las páginas dedicadas a la Villa Stein-de Monzie en Garches, en “Le Corbusier et Pierre Jeanneret. Oeuvre Complète 1910-1929”. Qué mecanismos cinematográficos pusieron en juego, cuando montaban las páginas de L´Oeuvre Complète. Más que encontrar elementos cinematográficos utilizados de manera directa; el objetivo de esta tesis es profundizar en los mecanismos, procedimientos, sistemas de generación de ideas a lo largo del proceso de proyecto; en las maneras de percibir y experimentar los espacios, o de observar las formas. El armazón lo compone por lo tanto el análisis del modo en que Le Corbusier representa la villa en L´Oeuvre Complète, sus intenciones y la función pedagógica de este modo de representar; así como sus diferencias con respecto a lo realmente construido. Una realidad elaborada sobre un tablero; maquetando su representación, eligiendo los fragmentos, y componiendo las láminas (cercana a la de un director de cine). La justificación del objeto a estudiar se plantea en el primer capítulo: L´Oeuvre Complète (1937), la reedición en francés, alemán e inglés de la primera edición en alemán, Ihr Gesamtes Werk (1929).Se establecen las intenciones de Le Corbusier de que se convierta en un modelo de Tratado de Arquitectura Moderna, eminentemente visual. Se estudian los mecanismos formales y geométricos de composición del libro, y el modo en el que L´Oeuvre Complète debe ser leída. El desarrollo de los siguientes capítulos (del 2 al 9) recoge el método principal de investigación de esta tesis, basado en una lectura longitudinal, crítica y sistemática, a partir de la observación atenta de la representación de la villa Stein-de Monzie en Garches, en las páginas nº 140 a 149 de L´Oeuvre Complète. Se efectúa mediante un desarrollo lineal y secuenciado, como si de un guión cinematográfico se tratara. Cada capítulo describe y analiza cada uno de los diferentes fragmentos, permitiendo al mismo tiempo enlazar temas de interés que ayudan a comprender aspectos de la villa de Garches, de su concepción en la intensa labor de proyecto (con numerosas variantes y propuestas), e incluso de su aparición en el cine. Además, la tesis arroja luz sobre unos documentos bastante desconocidos: las láminas de la colección del Museo Cooper-Hewitt de nueva York, para la villa de Garches. El análisis de la presentación de la villa de Garches en L´Oeuvre Complète, constata que para Le Corbusier, el fragmento, per se, ha de ser perfecto, produciendo la máxima emoción. Como un prestidigitador, Le Corbusier los manipula, o le niega información al espectador mediante el uso de la elipsis en el relato. Los textos concatenan las imágenes, soportan el hilo de la narración. Los bocetos quieren siempre seducir al espectador: son dibujos que rezuman vitalidad, con una técnica muy cercana a la ligne claire del cómic. Las plantas son un laboratorio para demostrar su jerarquía y su libertad de composición; eliminando elementos, distorsionando la valoración de líneas y apareciendo algún elemento no ejecutado. Los alzados, esquemáticos y abstractos, demuestran el control de la geometría para garantizar la emoción. Las fotografías son controladas en su fase de captura (elección del punto de vista, cuidada puesta en escena de los objetos, composición con la luz, uso de las sombras para la aparición del fuera de campo); pero también en la fase de postproducción y edición, donde son cortadas, alisadas superficies, borrando o dibujando elementos sobre ellas. El montaje compone asimismo una representación dinámica, fragmentada y múltiple de la villa. Como sucede en el cine, los fragmentos sólo encuentran su razón de ser una vez son re-creados y montados en la cabeza del espectador. La falta de raccord es un mecanismo buscado por Le Corbusier, trasladando a la representación una de las primordiales características de la villa de Garches: su permanente dualidad simultánea. Todos estos mecanismos son desplegados por Le Corbusier, para ofrecer una versión idealizada de la villa, que recoja todas las virtudes de los distintos proyectos e incorpore el factor tiempo. ABSTRACT This doctoral thesis tries to investigate how much the cinema affected Le Corbusier and Pierre Jeanneret´s thoughts, at the moment of undertaking the publication and layout of the pages dedicated to the villa Stein-de Monzie in Garches, in the book “Le Corbusier et Pierre Jeanneret. Oeuvre Complète 1910-1929”. Which cinematographic mechanisms they brought into play, when they were mounting those pages. Instead of finding cinematographic elements, used directly; the aim of this thesis is to go deeply into the mechanisms, methods, systems of generation of ideas along the project process; into the ways of seeing and feeling the spaces, or of watching the forms. The body is composed therefore by the analysis of the way in which Le Corbusier represents the villa in L'Oeuvre Complète, his intentions and the pedagogic function of that way of representation; as well as its differences with the real built villa. One reality elaborated on a board; laying out its representation, choosing the fragments, and composing the sheets (near to the work of a director of cinema). The justification of the object to studying appears in the first chapter: L'Oeuvre Complète (1937), the reissue in French, German and English of the first edition in German, Ihr Gesamtes Werk (1929). This chapter shows the intentions of Le Corbusier of turning the book into a model of modern architecture, highly visual. The formal and geometric mechanisms of composition of the book are studied, and the way in which L'Oeuvre Complète must be read. The development of the following chapters (from 2 to 9) gathers the principal method of investigation of this thesis, based on a longitudinal, critical and systematic reading; from the watching of the representation of the villa Stein-de Monzie in Garches, in the pages nr. 140 to 149 of L'Oeuvre Complète. It is carried out by a linear and sequenced development, as a cinematographic script. Every chapter describes and analyzes each of the different fragments, allowing at the same time to connect interesting issues that help to understand aspects of the villa in Garches, of its conception in the intense project process (with numerous variants and designs), and even of its appearance in films. Also, the thesis throws light on some unknown documents: the sheets of the collection of the Museum Cooper-Hewitt in New York, for the villa in Garches. The analysis of the presentation of the villa in Garches in L'Oeuvre Complète, proves that for Le Corbusier, the fragment, itself, has to be perfect, getting the maximum emotion. As a prestidigitator, Le Corbusier manipulates them, or denies information to the spectator by means of the use of the ellipsis in the story. The texts concatenate the images, support the thread of the story. The sketches always attempt to seduce the spectator: they are drawings that leak vitality, with lines very near to the ligne claire of the cómic. The plans are a laboratory to demonstrate their hierarchy and their freedom of composition; deleting elements, distorting the thickness of lines and showing some not executed elements. The elevations, schematic and abstract, shows the control of the geometry to guarantee the emotion in architecture. The pictures are controlled in their instant of capture (choice of the point of view, elegant mise-en-scène of the objects, composition with light, use of the shadows for the appearance of out of vision); but also in the postproduction and edition time, when surfaces are cut, smoothing, erasing or drawing elements in them. The montage composes in the same way a dynamic, fragmented and multiple representation of the villa. As in the films, the fragments only find their raison d'être once they have been re-created and mounted into the mind of the viewer. The continuity error is a mechanism allowed by Le Corbusier, transfering to the representation in the book one of the basic characteristics of the villa in Garches: its constant simultaneous duality. All these methods are displayed by Le Corbusier, to offer an idealized version of the villa, which gathers all the virtues of the different projects, and incorporates the time factor.

Althea Gibson

One quote from the famous Venus Williams sums up what Ms. Gibson did for this world, “For players like myself and a lot of other African American players on the tour, Althea Gibson paved the way for us”. Ms. Gibson was the first African American woman to win the Wimbledon and U.S. Championships in 1957, and the French Open and three double titles at Wimbledon in 1958. She worked as the Athletic Director at Lincoln University and, after retiring from tennis, toured with the Harlem Globetrotters.

Ouida Sprye Tolbert

Ouida Tolbert began her career at Lincoln University in 1950 as a Supervisory teacher of English, French, Speech, and Drama in the Laboratory High School and as an Associate Professor in the Department of Education. She retired from Lincoln as an Associate Professor of English in 1993. Tolbert was a mentor, role model, and life-long educator. Her dedication to pedagogy and passionate attitude touched many of her students’ and colleagues’ lives. She still contributes to the educating community today.

Sequence of a 189-kb segment of the chromosome of Rhodobacter capsulatus SB1003

Cosmids from the 1A3–1A10 region of the complete miniset were individually subcloned by using the vector M13 mp18. Sequences of each cosmid were assembled from about 400 DNA fragments generated from the ends of these phage subclones and merged into one 189-kb contig. About 160 ORFs identified by the CodonUse program were subjected to similarity searches. The biological functions of 80 ORFs could be assigned reliably by using the WIT and Magpie genome investigation tools. Eighty percent of these recognizable ORFs were organized in functional clusters, which simplified assignment decisions and increased the strength of the predictions. A set of 26 genes for cobalamin biosynthesis, genes for polyhydroxyalkanoic acid metabolism, DNA replication and recombination, and DNA gyrase were among those identified. Most of the ORFs lacking significant similarity with reference databases also were grouped. There are two large clusters of these ORFs, one located between 45 and 67 kb of the map, and the other between 150 and 183 kb. Nine of the loosely identified ORFs (of 15) of the first of these clusters match ORFs from phages or transposons. The other cluster also has four ORFs of possible phage origin.

The European Resonance of Napoleon’s Defeat in Spain

The military event that sealed the defeat of Napoleon in Spain was the Battle of Vitoria on 21st June 1813, which saw the allied British, Spanish and Portuguese troops led by Wellington gain victory over Joseph Bonaparte's forces. It was the last great battle of what is known in Spain as the Guerra de la Independencia, in the United Kingdom as the Peninsular War and in France as the Guerre d'Espagne. While a sliver of Spanish territory remained under French control and the war itself went on for a few more months, it was the Battle of Vitoria that marked the end of Napoleon's rule on the Iberian Peninsula, as symbolised by the departure from Spain of Joseph Bonaparte, the monarch who had been imposed five years earlier to remove the Bourbons from the Spanish throne.