The foundation of the Mexican welfare state and social security reform in the 1990s

Before 1982 Mexico's welfare state regime was a limited conservative one that put priority on the social security of organized labor. But following the country's debt crisis in 1982, this regime changed to a hybrid liberal model. The Ernest Zedillo government (1995-2000) in particular pushed ahead with liberal reform of the social security system. This paper examines the characteristics and the policy making of the social security reforms in the 1990s. The results suggest that underlying these reforms was the restructuring of the economy and the need to cope with the cost of this restructuring. The paper also points out that one of the main factors making possible the rapid execution of the reforms were the weakened political clout of the officialist labor unions due to their steady breakdown during the 1990s and the increase in the monopolistic power of the state vis-a-vis the position of labor during the negotiations on social security reforms.

Chapter 2 On the usage of the measurements of geographical concentration and specialization with areal data

Measures have been developed to understand tendencies in the distribution of economic activity. The merits of these measures are in the convenience of data collection and processing. In this interim report, investigating the property of such measures to determine the geographical spread of economic activities, we summarize the merits and limitations of measures, and make clear that we must apply caution in their usage. As a first trial to access areal data, this project focus on administrative areas, not on point data and input-output data. Firm level data is not within the scope of this article. The rest of this article is organized as follows. In Section 2, we touch on the the limitations and problems associated with the measures and areal data. Specific measures are introduced in Section 3, and applied in Section 4. The conclusion summarizes the findings and discusses future work.

Mobile gaming: Industry challenges and policy implications

Mobile games are a prime example of a successful mobile application and demonstrate the increasing range of platforms for the media and entertainment industries. Against this convergent background, this paper introduces the basic features of the mobile gaming market and its industrial ecosystem together with its main actors and activities. The focus of the paper lies in the challenges ahead for the evolution of mobile applications into a potentially dominant game platform and the possible disruptions along this road. The deep personal relationships between users and their mobile devices are considered to further explore the link between mobile games, players’ strategies and pending techno-economic developments. The paper concludes with a brief discussion of some policy options to assist with the development of this domain.

Germination ecology of the perennial Centaurium somedanum, a specialist species of mountain springs

To improve understanding of how a rare endemic species of Centaurium adapts to a specialized ecological niche, we studied the germination ecology of the mountain spring specialist, C. somedanum, a perennial species restricted to an unusual habitat for this genus. We conducted laboratory experiments with fresh seeds collected from two populations for three consecutive years, to investigate: (1) the effect of temperature and light ongermination; (2) the existence of seed dormancy; and (3) inter-population and inter-annual variation in germinability. Germination occurred only in the light and at relatively low temperatures (15?228C) with no differences between constant and alternating regimes, and a significant decrease at high temperatures (258C and 308C). We found non-deep simple morphophysiological dormancy and variation in seed germinability depending on the year of seed collection. C. somedanum diverged from the common germination characteristics of the genus in: (1) its germination at lower temperatures, which contrasts with what is generally expected in wetland species but could be adaptive in the spring habitat; and (2) its morphophysiological dormancy, which we report here for the first time in the genus and which could be an adaptation to its mountain habitat.

Crowdsourcing malaria parasite quantification: an online game for analyzing images of infected thick blood smears

Background: There are 600,000 new malaria cases daily worldwide. The gold standard for estimating the parasite burden and the corresponding severity of the disease consists in manually counting the number of parasites in blood smears through a microscope, a process that can take more than 20 minutes of an expert microscopist’s time. Objective: This research tests the feasibility of a crowdsourced approach to malaria image analysis. In particular, we investigated whether anonymous volunteers with no prior experience would be able to count malaria parasites in digitized images of thick blood smears by playing a Web-based game. Methods: The experimental system consisted of a Web-based game where online volunteers were tasked with detecting parasites in digitized blood sample images coupled with a decision algorithm that combined the analyses from several players to produce an improved collective detection outcome. Data were collected through the MalariaSpot website. Random images of thick blood films containing Plasmodium falciparum at medium to low parasitemias, acquired by conventional optical microscopy, were presented to players. In the game, players had to find and tag as many parasites as possible in 1 minute. In the event that players found all the parasites present in the image, they were presented with a new image. In order to combine the choices of different players into a single crowd decision, we implemented an image processing pipeline and a quorum algorithm that judged a parasite tagged when a group of players agreed on its position. Results: Over 1 month, anonymous players from 95 countries played more than 12,000 games and generated a database of more than 270,000 clicks on the test images. Results revealed that combining 22 games from nonexpert players achieved a parasite counting accuracy higher than 99%. This performance could be obtained also by combining 13 games from players trained for 1 minute. Exhaustive computations measured the parasite counting accuracy for all players as a function of the number of games considered and the experience of the players. In addition, we propose a mathematical equation that accurately models the collective parasite counting performance. Conclusions: This research validates the online gaming approach for crowdsourced counting of malaria parasites in images of thick blood films. The findings support the conclusion that nonexperts are able to rapidly learn how to identify the typical features of malaria parasites in digitized thick blood samples and that combining the analyses of several users provides similar parasite counting accuracy rates as those of expert microscopists. This experiment illustrates the potential of the crowdsourced gaming approach for performing routine malaria parasite quantification, and more generally for solving biomedical image analysis problems, with future potential for telediagnosis related to global health challenges.

Study about the Problem of Dropping of Subjects by Students During an Academinc Year at the University.

In university studies, it is not unusual for students to drop some of the subjects they have enrolled in for the academic year. They start by not attending lectures, sometimes due to neglect or carelessness, or because they find the subject too difficult, this means that they lose the continuity in the topics that the professor follows. If they try to attend again they discover that they hardly understand anything and become discouraged and so decide to give up attending lectures and study on their own. However some fail to turn up to do their final exams and the failure rate of those who actually do the exams is high. The problem is that this is not only the case with one specific subject, but it is often the same with many subjects. The result is that students arent’s productive enough, wasting time and also prolonging their years of study which entails a great cost for families. Degree courses structured to be conducted and completed in three academic courses, it may in fact take up to an average of six or more academic courses. In this paper, we have studied this problem, which apart from the waste of money and time, produces frustration in the student, who finds that he has not been able to achieve what he had proposed at the beginning of the course. It is quite common, to find students who do not even pass nor 50% of the subjects they had enrolled in for the academic year. If this happens repeatedly to a student, it can be the point when he considers dropping out altogether. This is also a concern for the universities, especially in the early courses. In our experience as professors, we have found that students, who attend lectures regularly and follow the explanations, approach the final exams with confidence and rarely fail the subject. In this proposal we present some techniques and methods carried out to solve in possible, the problem of lack of attendance to lectures. This involves "rewarding students for their assistance and participation in lectures". Rewarding assistance with a "prize" that counts for the final mark on the subject and involving more participation in the development of lectures. We believe that we have to teach students to use the lectures as part of their learning in a non-passive way. We consider the professor's work as fundamental in terms of how to convey the usefulness of these topics explained and the applications that they will have for their professional life in the future. In this way the student see for himself the use and importance of what he is learning. When his participation is required, he will feel more involved and confident participating in the educational system. Finally we present statistical results of studies carried out on different degrees and on different subjects over two consecutive years. In the first year we assessed only the final exams without considering the students attendance, or participation. In the second year, we have applied the techniques and methods proposed here. In addition we have compared the two ways of assessing subjects.

Decarbonization of toll plazas: impact assessment of toll collection system management

Transport climate change impacts have become a worldwide concern. The use of Intelligent Transport Systems (ITS) could contribute to a more effective use of resources in toll road networks. Management of toll plazas is central to the reduction of greenhouse gas (GHG) emissions, as it is there that bottlenecks and congestion occur. This study focuses on management strategies aimed at reducing climate change impacts of toll plazas by managing toll collection systems. These strategies are based on the use of different collection system technologies – Electronic Toll Collection (ETC) and Open Road Tolling (ORT) – and on queue management. The carbon footprint of various toll plazas is determined by a proposed integrated methodology which estimates the carbon dioxide (CO2) emissions of the different operational stages at toll plazas (deceleration, service time, acceleration, and queuing) for the different toll collection systems. To validate the methodology, two main-line toll plazas of a Spanish toll highway were evaluated. The findings reveal that the application of new technologies to toll collection systems is an effective management strategy from an environmental point of view. The case studies revealed that ORT systems lead to savings of up to 70% of CO2 emissions at toll plazas, while ETC systems save 20% comparing to the manual ones. Furthermore, queue management can offer a 16% emissions savings when queue time is reduced by 116 seconds. The integrated methodology provides an efficient environmental management tool for toll plazas. The use of new technologies is the future of the decarbonization of toll plazas.

Technology of bare tether current collection

The outstanding problem for useful applications of electrodynamic tethers is obtaining sufficient electron current from the ionospheric plasma. Bare tether collectors, in which the conducting tether itself, left uninsulated over kilometers of its length, acts as the collecting anode, promise to attain currents of 10 A or more from reasonably sized systems. Current collection by a bare tether is also relatively insensitive to drops in electron density, which are regularly encountered on each revolution of an orbit. This makes nighttime operation feasible. We show how the bare tether's high efficiency of current collection and ability to adjust to density variations follow from the orbital motion limited collection law of thin cylinders. We consider both upwardly deployed (power generation mode) and downwardly deployed (reboost mode) tethers, and present results that indicate how bare tether systems would perform as their magnetic and plasma environment varies in low earth orbit.

Bankable procedures for the technical quality assurance of large scale PV plants

Strict technical quality assurance procedures are essential for PV plant bankability. When large-scale PV plants are concerned, this is typically accomplished in three consecutive phases: an energy yield forecast, that is performed at the beginning of the project and is typically accomplished by means of a simulation exercise performed with dedicated software; a reception test campaign, that is performed at the end of the commissioning and consists of a set of tests for determining the efficiency and the reliability of the PV plant devices; and a performance analysis of the first years of operation, that consists in comparing the real energy production with the one calculated from the recorded operating conditions and taking into account the maintenance records. In the last six years, IES-UPM has offered both indoor and on-site quality control campaigns for more than 60 PV plants, with an accumulated power of more than 300 MW, in close contact with Engineering, Procurement and Construction Contractors and financial entities. This paper presents the lessons learned from such experience.

A CAD development strategy for the next years

This paper suggests a new strategy to develop CAD applications taking into account some of the most interesting proposals which have recently appeared in the technology development arena. Programming languages, operating systems, user devices, software architecture, user interfaces and user experience are among the elements which are considered for a new development framework. This strategy considers the organizational and architectural aspects of the CAD application together with the development framework. The architectural and organizational aspects are based on the programmed design concept, which can be implemented by means of a three-level software architecture. These levels are the conceptual level based on a declarative language, the mathematical level based on the geometric formulation of the product model and the visual level based on the polyhedral representation of the model as required by the graphic card. The development framework which has been considered is Windows 8. This operating system offers three development environments, one for web pplications (HTML5 + CSS3 + JavaScript), and other for native applications C/C++) and of course yet another for .NET applications (C#, VB, F#, etc.). The use rinterface and user experience for non-web application is described ith XAML (a well known declarative XML language) and the 3D API for games and design applications is DirectX. Additionally, Windows 8 facilitates the use of hybrid solutions, in which native and managed code can interoperate easily. Some of the most remarkable advantages of this strategy are the possibility of targeting both desktop and touch screen devices with the same development framework, the usage of several programming paradigms to apply the most appropriate language to each domain and the multilevel segmentation of developers and designers to facilitate the implementation of an open network of collaborators.

Auditorium: una tipología del siglo XX

Se recoge en esta tesis doctoral la definición y clasificación de los edificios cuya finalidad es proporcionar espacios para escuchar y producir música. Se centra en aquellos construidos a lo largo del siglo XX, en el área geográfica y cultural que forman Europa occidental y Estados Unidos. Se analizan edificios construidos en el pasado, en una serie que se origina a mediados del siglo XIX y que se culmina terciado el propio siglo XX. Son edificios que contienen espacios pensados para músicas que, sin embargo, en su mayoría fueron creadas en un periodo anterior, desde mediados del siglo XVIII hasta las primeras décadas del siglo pasado. Un auditorium es un edificio cuya idea conlleva la compleja herencia de los múltiples lugares, abiertos y cerrados, que han alojado la música a lo largo del tiempo. Es un edificio que es útil a la sociedad y que ocupa un lugar significativo dentro de la ciudad, y es consecuencia del campo de fuerzas que constituyen los avances técnicos, el progreso de las sociedades urbanas y la evolución del arte, al compartir estrechamente, música y arquitectura, el interés por hallar la expresión de una nueva relación con la naturaleza. Se parte de la hipótesis de que el auditorium puede constituir un tipo arquitectónico con entidad suficiente para generar una tipología. Entendida ésta como una herramienta que dota de conocimientos útiles a quien va a proyectar un edificio para la música y también que permita abrir el campo de pensamiento sobre el espacio musical, sin necesidad de recurrir a modelos previos, aunque se hayan manifestado útiles y precisos. Se comienza con una aproximación a una definición del término «auditorium » y se analizan a qué funciones responde y en qué es distinto de otros edificios, a través de determinar las características formales propias. Para ello se articula la tesis en varios bloques de análisis. I Elementos para una tipología Se indaga en los atributos que determinan la naturaleza de los auditorios para definir cómo son estos edificios y qué características y condiciones tienen, no sólo las salas sino también los edificios que las contienen, buscando el origen de los espacios musicales y su relación con las personas que allí se han reunido para celebrar, a través de la música, acontecimientos colectivos. Relación que ha comportado desplazamientos por los distintos espacios que ha compartido, supeditada a otras actividades, hasta que finalmente, la música ha reclamado espacios propios. Pero también se establece otra relación física entre las distintas posiciones que ocupan en el espacio cuantos intervienen en la celebración del hecho musical, músicos y público. De otra parte se analiza cómo son sus espacios interiores, salas y vestíbulos, y los volúmenes y formas de los edificios en relación con la ciudad. Su conexión con la idea del paisaje abierto y con el carácter originario de la cueva. II Cinco tiempos Los edificios sobre los que se van explorar estas capacidades son en muchos casos arquitecturas divulgadas y conocidas. Sin embargo no todas han tenido desde su aparición el mismo grado de aprecio ni reconocimiento, y sólo el paso del tiempo ha confirmado su excelencia. El estudio se estructura en los periodos marcados por los acontecimientos bélicos y las grandes crisis que sacudieron Europa y Norte América desde comienzos del siglo XX. La identificación de los elementos significativos de la tipología se hace a través del análisis de distintos tiempos que agrupan casos heterogéneos, tiempos entendidos unas veces como la relación entre edificios coetáneos y otra como proyectos pensados por un mismo arquitecto y se detiene, entre otros, en cuatro excepcionales edificios que condensan la experiencia de varias décadas y demuestran su plenitud arquitectónica, por haber evolucionado de modelos precedentes o por su novedosas aportaciones. El Royal Festival Hall (1951), el Kresge Auditorium (1954), el Kulttuuritalo (1958) y la Philharmonie de Berlín (1963), sirven de base para una clasificación del auditorium. III Cronología gráfica Este apartado es fundamentalmente gráfico y consta un inventario de más de 100 archivos correspondientes a otros tantos auditorios y sus salas, en orden cronológico. Cada archivo cuenta con una imagen del exterior del edificio y otra del interior de la sala. Se han incorporado en cada uno de los archivos, dos dibujos a la misma escala. El primero muestra la planta de la sala con tres parámetros: la ocupación del público en referencia al lugar que ocupa la orquesta, la relación de tamaño entre la sala y las de los cuatro auditorios de referencia y la distancia al foco de sonido, la orquesta, mediante una escala en metros. Estos tres parámetros están superpuestos al que he considerado espacio audible, un rectángulo de 60 por 90 metros, en el que el foco está desplazado, por considerar que el sonido de una orquesta tiene una componente directional y que en esas dimensiones la energía sonora no decae. En el friso bajo el dibujo, aparecen cuatro iconos que informan de la relación formal de la sala con la del auditorium. Puede ser una sala dentro de un edificio sin correspondencia formal, un edificio en el que se manifiesta exteriormente el volumen de la sala, un edificio que tiene la forma de la sala y resuelve el resto del programa funcional sin manifestarlo exteriormente o, finalmente un edificio complejo cuya forma absorbe dos o más salas de música. El segundo dibujo es la sección longitudinal de la sala, recortada sobre un fondo negro para destacar su forma y proporción, todas están a la misma escala y en la misma dirección respecto del escenario para facilitar su lectura y comparación. En el parte inferior de la sección, aparecen cuatro esquemas de la forma y distribución en planta sobre el que destaca la de cada caso de estudio. La forma del techo de las salas de música de los auditorios, expresada a través de la sección longitudinal, es uno de los elementos que caracteriza el espacio musical. El perímetro de la sección, determina su superficie y por tanto, el volumen total interior. Es una herramienta técnica que permite dirigir el sonido reflejado en él, hasta cualquier lugar del interior de la sala, garantizando una distribución homogénea y evitando concentraciones perjudiciales o «sombras acústicas», lugares donde no llegan las primeras reflexiones. IV Geometría de las salas El análisis efectuado permite la elaboración de paralelos de tres de los elementos fundamentales de la tipología de las salas de los auditorium y que definen el espacio musical. El perímetro de la sección y su superficie que establecen el volumen total interior, que es un factor determinante en la reverberación de una sala. La forma y superficie del techo, que interviene directamente en el cálculo de la absorción del sonido, en función de la cualidad reflejante o absorbente del material con el que está construido, y por otra parte en la distribución del sonido en el espacio. Y por último, la forma del suelo de las salas también expresada a través de la sección longitudinal, es otro de los elementos que caracteriza el espacio musical. El modelado del suelo permite mediante distintas pendientes garantizar la correcta visión del escenario y por tanto permite también una buena audición, puesto que la llegada directa del sonido está asegurada. La otra limitación dimensional es el ancho de la grada. Cuando se ha buscado incrementar al máximo la capacidad de una sala, se han establecido graderíos en balcones en voladizo para no penalizar la distancia al escenario, de manera que algunas partes del graderío quedan cubiertas, en detrimento de su calidad acústica al privarlas de las primeras reflexiones que proceden del techo. V Auditórium y ciudad El auditorium es un edificio singular que establece con la ciudad una relación particular y que contiene en su interior una o varias salas especiales destinadas a oír y ejecutar música, a las que se accede a través de otros espacios de carácter social. Han ido evolucionando y modificándose de manera ininterrumpida, dando lugar a edificios de diversa complejidad en su programa y a salas cada vez mas especificas para cumplir mejor su cometido, perfeccionando su sonido y buscando la más elevada musicalidad. Estos edificios disponen de otros ámbitos de relación, son los espacios interiores, vestíbulos y escaleras, generalmente generosos en superficie y espacialidad, previos al espacio musical, corazón del auditorium donde suena la música en condiciones acústicas precisas. También el lugar donde se construyen los auditoriums en las ciudades tiene un especial significado, porque generalmente han buscado interponer espacios abiertos o ajardinados que suavicen el contacto directo con la ciudad y que implican, por otra parte, una preparación de las personas que asisten para escuchar los conciertos. Con el paso del tiempo, la aceptación generalizada de formas afianzadas en la ciudad, será uno de los vehículos que permita contaminar a otros tipos de edificios y alcanzar una libertad formal renovadora de los paisajes urbanos. Conclusiones La disolución del espacio musical convencional pregonado por el pabellón Philips del año 1958, no ha impedido que hoy siga vivo para el arquitecto el reto del proyecto y construcción del auditorium. Hoy conviven experiencias musicales totales; imagen, luz y movimiento, ocupando todo tipo de espacios públicos, cerrados o al aire libre, con la voluntad de conseguir espacios capaces de crear la intimidad y las precisas condiciones ambientales que hagan posible la recreación de las músicas del pasado en una especie de emocionante museo sonoro vivo. Como edificios urbanos, los auditoriums han conseguido un lugar destacado en la iconografía urbana después de un largo camino hasta conseguir el reconocimiento social. Se puede, así, establecer que estos edificios han introducido en la ciudad una nueva manera de expresarse la arquitectura. Que lo inesperado de sus formas y volúmenes en el espacio urbano, o la sorpresa de sus interiores altamente técnicos, justificados para satisfacer las nuevas necesidades impuestas por una audiencia cada vez más y más experta, obtienen la aceptación urbana por su utilidad social y por su capacidad de establecer una relación distinta entre las personas, la ciudad y la naturaleza. Coda Finalmente, el epílogo habla de la metamorfosis del espacio musical y de la convivencia de distintos espacios musicales en la actualidad. Desde la creación de las primeras y sencillas salas de música hasta las grandes salas filarmónicas que se construyen en las últimas décadas, la arquitectura ha proporcionado lugares adecuados para contener y disfrutar la música, espacios que se han modificado según cambiaban las formas musicales. Sin embargo el sonido parece mostrarse reticente a ser encerrado en el espacio y busca aliarse con el tiempo para conseguir un desplazamiento permanente. Seguramente es en el pabellón Philips de Bruselas en 1958 donde se presenta el último intento de la arquitectura de contener la música, que impulsada por tecnologías absolutamente nuevas, se mueve como dardos que atraviesan el espacio en todos los lugares y en todas las direcciones. Desde aquellas décadas centrales del pasado siglo, y superando los mas optimistas intentos de distribuir masivamente la música a través de incipientes tecnologías, se puede afirmar que vivimos en una inmersión sonora universal. Anexos Incluyen, una colección de mapas de la geografía de los auditorios europeos y norte-americanos, referenciados a los periodos de su construcción, y una relación de los auditorios estudiados con referencias bibliográficas. ABSTRACT This doctoral thesis does not only look at the ways in which architecture and music relate with one another; it also seeks to be an exact, scientific study of auditoriums, a building type that first appeared in the 20th century as a place in which to produce and listen to music. It studies concert halls, raised in Europe and the United Stated in the 20th century, for the purpose of recreating older music, that were the result of the evolution of various ancient building types. Auditoriums have a complex heritage of architecture of all times, openair and covered alike, and occupy important spots in cities. They incorporate the technical innovations of their times, and are reflections not only of the music played within them, but also of the societies that built them. Music and architecture share an interest in connecting with nature. Auditorium, a 20th-century Typology tries to define this building typology, and with that, be a practical tool in designing and constructing spaces for music, besides exploring the relationship between the two disciplines, architecture and music, and establishing the foundations for an entire school of thought. It is organized in five chapters, each focusing on a particular aspect of auditoriums, all towards defining a possible typology: I Typology elements. A study of the origin of auditoriums, and of how the different parts of these buildings —the actual concert hall, the foyer, the open spaces— relate with the city and with nature, which is ever present in music and in the origin of auditoriums. II Five sequences. A chronological journey through the 20th century, in periods marked by the two world wars and the consequent crises, with case studies of four exceptional buildings: the Royal Festival Hall (1951), the Kresge Auditorium (1954), the Kulttuuritalo (1958), and the Berlin Philharmonie (1963). III Graphic chronology. A methodical sequence looking at a hundred auditoriums, with each entry presenting images of the concert hall and the building as a whole, and two drawings on the same scale. Each concert hall floor plan shows how the orchestra relates with the audience, and it is compared to the floor plans of the four case-study examples named above. We also see how the hall is set into the building. The second drawing is the longitudinal section of the hall. Ceiling shape much determines the character of concert hall spaces, while technical data like air volume and the amount of absorbent and reflecting materials used have a direct bearing on the reflection of sound and on the overall musical quality of the auditorium. IV Geometry of concert halls. Graphic analysis of the key elements of a music space: the ceiling and the floor plan. The section is a necessary tool for determining the reverberation time of a concert hall, and is closely linked to the shape of the floor plan. In concert halls, there is a strong connection between the ceiling, the walls, and the floor, as there is between different musical instruments. It also includes maps showing where these European and American buildings are located geographically as well as in time. V The auditorium in the city. This chapter presents a series of maps showing the location of auditoriums in the city. They are often located in squares and gardens, open public spaces that serve to emotionally prepare the listener for an imminent musical experience. Time has shown that concert halls have changed the urban landscape and city life. Conclusions As a building type, auditoriums —though «dissolved» by the Philips Pavilion in 1958— remain valid spaces for listening to music. As intimate and unique spaces for social gathering and musical creation, they have done their part in transforming cities. Acoustics play a key role in these technical interiors, but just as important is the rapport that is struck between the musicians and the audience, and between musical works of the past, present, and future. Auditoriums are urban buildings that have been very successful throughout history. They have enriched our cities with surprising shapes and volumes, introduced new interiors in architecture, and struck new relationships between people, the city, and nature. As such, they are necessary. Coda Finally, the epilogue presents the evolution of the music space, from the early simple music halls to the highly complex philharmonic halls of recent years. Architecture has produced spaces for the enjoyment of music that have been modified for new musical creations, while remaining useful for the historical repertoire. Sound, and thus music, has as complex a relationship with space as it does with time. The coda of this thesis is the Philips Pavilion of 1958, perhaps the last attempt to propose a new kind of architecture for music with the latest technology. Annexes The thesis includes a collection of site maps of European and American auditoriums, complete with completion dates and descriptions.

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.

Determinants and impact of suboptimal asthma control in Europe : The INTERNATIONAL CROSS-SECTIONAL AND LONGITUDINAL ASSESSMENT ON ASTHMA CONTROL (LIAISON) study

Acknowledgements We are grateful to THERAmetrics for the study management, data collection and analysis. The authors would like to thank the following investigators for their contribution (>30 patients enrolled): F. Fohler, A.G. Haider, J. Hesse-Tonsa, J. Messner, W. Pohl (Austria); G. Joos, J.L. Halloy, R. Peche, H. Simonis, P. Van den Brande (Belgium); B. Bugnas, J.M. Chavaillon, P. Debove, S. Dury, L. Mathieu, O. Lagrange, A. Prudhomme, S. Verdier (France); A. Benedix, O. Kestermann, A. Deimling, G. Eckhardt, M. Gernhold, V. Grimm-Sachs, M. Hoefer, G. Hoheisel, C. Stolpe, C. Schilder, M. John, J. Uerscheln, K.H. Zeisler (Germany); A. Chaniotou, P. Demertzis, V. Filaditaki-Loverdou, A. Gaga, E. Georgatou-Papageorgiou, S. Michailidis, G. Pavkalou, M. Toumpis (Greece); K. Csicsari, K. Hajdu, M. Póczi, M. Kukuly, T. Kecskes, C. Hangonyi, J. Schlezak, E. Takács, M. Szabo,G. Szabó, C. Szabo (Hungary); G.W. Canonica, W. Castellani, A. Cirillo, M.P. Foschino Barbaro, M. Gjomarkaj, G. Guerra, G. Idotta, D. Legnani, M. Lo Schiavo, R. Maselli, F. Mazza, S. Nutini, P. Paggiaro, A. Pietra, O. Resta, S. Salis, N.A. Scichilone, M.C. Zappa, A. Zedda (Italy); M. Goosens, R. Heller, K. Mansour, C. Meek, J. van den Berg (The Netherlands); A. Antczak, M. Faber, D. Madra-Rogacka, G. Mincewicz, M. Michnar, D. Olejniczak, G. Pulka, Z. Sankowski, K. Kowal, I. Krupa-Borek, B. Kubicka Kozik, K. Kuczynska, P. Kuna, A. Kwasniewski, M. Wozniak (Poland); F. Casas Maldonado, C. Cisneros, J. de Miguel Díez, L.M. Entrenas Costa, B. Garcìa-Cosio, M.V. Gonzales, L. Lores, M. Luengo, C. Martinez, C. Melero, I. Mir, X. Munoz, A. Pacheco, V. Plaza, J. Serra, J. Serrano, J.G. Soto Campos (Spain); T. Bekci, R. Demir, N. Dursunoglu, D. Ediger, A. Ekici, O. Goksel, H. Gunen, I.K. Oguzulgen, Z.F. Ozseker, (Turkey); L. Barnes, T. Hall, S. Montgomerie, J. Purohit, J. Ryan (United Kingdom). The authors would also like to thank P. Galletti (THERAMetrics S.p.A., Sesto San Giovanni, Italy) and K. Stockmeyer (THERAMetrics GmbH, Essen, Germany) for providing editorial assistance in the preparation of this manuscript. Open Access This article is distributed under the terms of the Creative Commons Attribution 4.0 International License (http://creativecommons.org/licenses/by/4.0/), which permits unrestricted use, distribution, and reproduction in any medium, provided you give appropriate credit to the original author(s) and the source, provide a link to the Creative Commons license, and indicate if changes were made. The Creative Commons Public Domain Dedication waiver (http://creativecommons.org/publicdomain/zero/1.0/) applies to the data made available in this article, unless otherwise stated.

Circulation of core collection monographs in an academic medical library

Academic medical librarians responsible for monograph acquisition face a challenging task. From the plethora of medical monographs published each year, academic medical librarians must select those most useful to their patrons. Unfortunately, none of the selection tools available to medical librarians are specifically intended to assist academic librarians with medical monograph selection. The few short core collection lists that are available are intended for use in the small hospital or internal medicine department library. As these are the only selection tools available, however, many academic medical librarians spend considerable time reviewing these collection lists and place heavy emphasis on the acquisition of listed books. The study reported here was initiated to determine whether the circulation of listed books in an academic library justified the emphasis placed on the acquisition of these books. Circulation statistics for “listed” and “nonlisted” books in the hematology (WH) section of Indiana University School of Medicine's Ruth Lilly Medical Library were studied. The average circulation figures for listed books were nearly two times as high as the corresponding figures for the WH books in general. These data support the policies of those academic medical libraries that place a high priority on collection of listed books.