A hierarchical approach to defining marine heatwaves

Marine heatwaves (MHWs) have been observed around the world and are expected to increase in intensity and frequency under anthropogenic climate change. A variety of impacts have been associated with these anomalous events, including shifts in species ranges, local extinctions and economic impacts on seafood industries through declines in important fishery species and impacts on aquaculture. Extreme temperatures are increasingly seen as important influences on biological systems, yet a consistent definition of MHWs does not exist. A clear definition will facilitate retrospective comparisons between MHWs, enabling the synthesis and a mechanistic understanding of the role of MHWs in marine ecosystems. Building on research into atmospheric heatwaves, we propose both a general and specific definition for MHWs, based on a hierarchy of metrics that allow for different data sets to be used in identifying MHWs. We generally define a MHW as a prolonged discrete anomalously warm water event that can be described by its duration, intensity, rate of evolution, and spatial extent. Specifically, we consider an anomalously warm event to be a MHW if it lasts for five or more days, with temperatures warmer than the 90th percentile based on a 30-year historical baseline period. This structure provides flexibility with regard to the description of MHWs and transparency in communicating MHWs to a general audience. The use of these metrics is illustrated for three 21st century MHWs; the northern Mediterranean event in 2003, the Western Australia ‘Ningaloo Niño’ in 2011, and the northwest Atlantic event in 2012. We recommend a specific quantitative definition for MHWs to facilitate global comparisons and to advance our understanding of these phenomena.

A hierarchical approach to defining marine heatwaves

Marine heatwaves (MHWs) have been observed around the world and are expected to increase in intensity and frequency under anthropogenic climate change. A variety of impacts have been associated with these anomalous events, including shifts in species ranges, local extinctions and economic impacts on seafood industries through declines in important fishery species and impacts on aquaculture. Extreme temperatures are increasingly seen as important influences on biological systems, yet a consistent definition of MHWs does not exist. A clear definition will facilitate retrospective comparisons between MHWs, enabling the synthesis and a mechanistic understanding of the role of MHWs in marine ecosystems. Building on research into atmospheric heatwaves, we propose both a general and specific definition for MHWs, based on a hierarchy of metrics that allow for different data sets to be used in identifying MHWs. We generally define a MHW as a prolonged discrete anomalously warm water event that can be described by its duration, intensity, rate of evolution, and spatial extent. Specifically, we consider an anomalously warm event to be a MHW if it lasts for five or more days, with temperatures warmer than the 90th percentile based on a 30-year historical baseline period. This structure provides flexibility with regard to the description of MHWs and transparency in communicating MHWs to a general audience. The use of these metrics is illustrated for three 21st century MHWs; the northern Mediterranean event in 2003, the Western Australia ‘Ningaloo Niño’ in 2011, and the northwest Atlantic event in 2012. We recommend a specific quantitative definition for MHWs to facilitate global comparisons and to advance our understanding of these phenomena.

UK consensus project on quality in palliative day services: developing a quality indicator set using the RAND/UCLA appropriateness method

Introduction
Evaluating quality of palliative day services is essential for assessing care across diverse settings, and for monitoring quality improvement approaches.

Aim
To develop a set of quality indicators for assessment of all aspects (structure, process and outcome) of care in palliative day services.

Methods
Using a modified version of the RAND/UCLA appropriateness method (Fitch et al., 2001), a multidisciplinary panel of 16 experts independently completed a survey rating the appropriateness of 182 potential quality indicators previously identified during a systematic evidence review. Panel members then attended a one day, face-to-face meeting where indicators were discussed and subsequently re-rated. Panel members were also asked to rate the feasibility and necessity of measuring each indicator.

Results
71 indicators classified as inappropriate during the survey were removed based on median appropriateness ratings and level of agreement. Following the panel discussions, a further 60 were removed based on appropriateness and feasibility ratings, level of agreement and assessment of necessity. Themes identified during the panel discussion and findings of the evidence review were used to translate the remaining 51 indicators into a final set of 27.

Conclusion
The final indicator set included information on rationale and supporting evidence, methods of assessment, risk adjustment, and recommended performance levels. Further implementation work will test the suitability of this ‘toolkit’ for measurement and benchmarking. The final indicator set provides the basis for standardised assessment of quality across services, including care delivered in community and primary care settings.

Reference

• Fitch K, Bernstein SJ, Aguilar MD, et al. The RAND/UCLA Appropriateness Method User’s Manual. Santa Monica, CA: RAND Corporation; 2001. http://www.rand.org/pubs/monograph_reports/MR1269

La traduzione del testo satirico “When will Jesus bring the pork chops?” di George Carlin

Il presente elaborato ha come obiettivo l’analisi della traduzione di alcuni estratti del libro di George Carlin "When will Jesus bring the pork chops?" L’opera si presenta come una raccolta di testi satirici, tutti dello stesso autore, che trattano temi ritenuti spesso tabù, quali, tra gli altri, l’handicap fisico e mentale, la morte e l’abuso. L’autore, conosciuto per la sua grande capacità oratoria, il suo humor dark e per l’uso di un linguaggio spesso scurrile e molto vario in tal sen-so, è uno tra i comici americani più conosciuti e stimati in tutto il mondo. La traduzione di un autore come Carlin è un esercizio importante proprio per la complessità del linguaggio che il comico utilizzava e per le tematiche che trattava, ma non solo; può infatti portare a una mag-giore consapevolezza sul ruolo del traduttore e sulle considerazioni, oltre che di tipo tecnico e pratico, teoriche ed etiche che questo lavoro richiede. Nei capitoli iniziali verranno presentate alcune teorie molto utili ed interessanti sia dal punto di vista pratico sia da quello dell’inquadramento teorico. Nel capitolo sul verbally expressed humour si presenteranno alcuni studi sui problemi principali nella traduzione delle opere umoristiche mentre, nel capitolo finale, si tratterà l'analisi della proposta di traduzione di alcuni frammenti dell’opera di Carlin con un commento sulle scelte applicate.

“Art Will Not Disappear Into Nothing; It Will Disappear Into Everything“: The Black Audio Film Collective and Latin America

The development of Latin American cinema in the 1960s was underwritten by a number of key texts that outlined the aesthetic and political direction of individual filmmakers and collectives (Solanas and Getino, 1969; Rocha, 1965; Espinosa, 1969). Although asserting the specificity of Latin American culture, the theoretical foundations of its New Wave influenced oppositional filmmaking way beyond its own regional boundaries. This chapter looks at how movements in British art cinema, especially the Black Audio Film Collective, were inspired and propelled by the theories behind New Latin American cinema. Facilitated by English translations in journals such as Jump Cut in the early ‘80s, Cuban and Argentine cinematic manifestoes provided a radical alternative to the traditional language of film theory available to filmmakers in Europe and works such as Signs of Empire (1983-4); Handsworth Songs (1986) and Seven Songs for Malcolm X (1993) grew out of this trans-continental exchange. The Black Audio Film Collective represented a merging of politics, popular culture, and art that was, at once, oppositional and melodic. Fusing postcolonial discourse with pop music, the avant-garde and re-imaginings of subalternity, the work of ‘The Collective’ provides us with a useful example of how British art cinema has drawn from theoretical foundations formed outside of Europe and the West. As this chapter will argue however, the Black Audio Film Collective’s work can also be read as a reaction to the specificity of British socio-politics of the ‘80s and ‘90s. Its engagement with the aesthetico-political strategies of Latin American cinema, then, undercut what was a solidly British project, rooted in (post)colonial history and emerging ideas of disaporic identity. If the propulsive thrust of The Black Audio Film Collective’s art was shaped by Third Cinema, its images and concerns were self-consciously British.

Only Time Will Tell: The Changing Relationships between LMX, Job Performance, and Justice

Although it has been argued that LMX is a phenomenon that develops over time, the existing LMX literature is largely cross-sectional in nature. Yet, there is a great need for unraveling how LMX develops over time. To address this issue in the LMX literature, we examine the relationships of LMX with two variables known for changing over time: job performance and justice perceptions. On the basis of current empirical findings, a simulation deductively shows that LMX develops over time, but differently in early stages versus more mature stages. Our findings also indicate that performance and justice trends affect LMX. Implications for LMX theory, and for longitudinal research on LMX, performance, and justice are discussed.

Dealing with flood damages: will prevention, mitigation, and ex post compensation provide for a resilient triangle?

There is a wealth of literature on the design of ex post compensation mechanisms for natural disasters. However, more research needs to be done on the manner in which these mechanisms could steer citizens toward adopting individual-level preventive and protection measures in the face of flood risks. We have provided a comparative legal analysis of the financial compensation mechanisms following floods, be it through insurance, public funds, or a combination of both, with an empirical focus on Belgium, the Netherlands, England, and France. Similarities and differences between the methods in which these compensation mechanisms for flood damages enhance resilience were analyzed. The comparative analysis especially focused on the link between the recovery strategy on the one hand and prevention and mitigation strategies on the other. There is great potential within the recovery strategy for promoting preventive action, for example in terms of discouraging citizens from living in high-risk areas, or encouraging the uptake of mitigation measures, such as adaptive building. However, this large potential has yet to be realized, in part because of insufficient consideration and promotion of these connections within existing legal frameworks. We have made recommendations about how the linkages between strategies can be further improved. These recommendations relate to, among others, the promotion of resilient reinstatement through recovery mechanisms and the removal of legal barriers preventing the establishment of link-inducing measures.

From "Rational Utopia" to "Will-to-Utopia". On the "Post-modern" Turn in the Recent Work of Agnes Heller

Agnes Heller recently described her position as 'postmodernist', suggesting a move from a political radical to a politically liberal or 'neoconservative' position. The aim of this paper is to assess the degree to which Heller can still be regarded as a radical political thinker through an evaluation of her work on autonomy, democracy and contingency all of which remain key concepts in her thinking about the political. We find in each case that whilst many of the motifs of her critical Marxist period recur in her recent work, they are losing their oppositional or 'negative' character in the sense that making these motifs operational would require changes to the structure or functioning of liberal-capitalism. Whils remaining in some sense a radical thinker Heller has moved from the advocacy of a 'rational utopia' to a form of theorising which I describe as 'will-to-utopia': radical at the surface yet conservative at the core.

Comparison of Intraocular Pressure before and after Laser In Situ Keratomileusis Refractive Surgery Measured with Perkins Tonometry, Noncontact Tonometry, and Transpalpebral Tonometry

Purpose. To compare the intraocular pressure (IOP) before and after Laser In Situ Keratomileusis (LASIK), measured by Diaton, Perkins, and noncontact air pulse tonometers. Methods. Fifty-seven patients with a mean age of 34.88 were scheduled for myopia LASIK treatment. Spherical equivalent refraction (SER), corneal curvature (K), and central corneal thickness (CCT) and superior corneal thickness (SCT) were obtained before and after LASIK surgery. IOP values before and after surgery were measured using Diaton, Perkins, and noncontact air pulse tonometers. Results. The IOP values before and after LASIK surgery using Perkins tonometer and air tonometers were statistically significant (). However, no significant differences were found () for IOP values measured with Diaton tonometer. CCT decreases significantly after surgery () but no statistical differences were found in SCT (). Correlations between pre- and postsurgery were found for all tonometers used, with and for the air pulse tonometer, and for Perkins, and and for Diaton. Conclusion. Transpalpebral tonometry may be useful for measuring postsurgery IOP after myopic LASIK ablation because this technique is not influenced by the treatment.

A question of a voice: with what voice will I cry my sad fado?

This work is licensed under a Creative Commons Attribution 3.0 License.

‘You, my body, and my mind, one of these will go’: Madness as Disguise in Samuel Beckett's Murphy and Endgame

ithin the wide topic of disguise in literature, we could signal a subcurrent which can be found in a number of literary texts: the idea of madness as a disguise, i.e. the creation or invention of a ‘false self’ as a mask which is presented to the world and which conceals the real self. In The Divided Self (1960), R. D. Laing deals with the “personality, false self, mask, front or persona that (...) [schizophrenic] wear” (73). Using as a basis Laing’s theories on schizophrenia and the creation of a false-self system, we will analyze two works by Samuel Beckett: Murphy and Endgame, where we find the uses of madness as disguise in a series of ways: through the usage of ‘disguised’ language (what we could refer to as schizophrenese) which acts as a mask for real meaning; through odd ‘schizophrenic’ behaviour on the part of the characters (which screens real intentions), and, mainly, through the creation of a ‘false self’ which acts as a disguise and barrier between the inner self and the real world. These two works by Samuel Beckett, where real intentions and meanings are continuously concealed and disguised in a desperate attempt to preserve the inner self, lend themselves to an analysis of madness as disguise, precisely the one we attempt to carry out in our paper.