Iowa Byways: The Official Guide to Iowa Byways, 2013

Browse through this guide and you’ll find the distinct flavor of what is available along each byway. Discover recreational, historic, cultural and scenic attractions using the maps and lists provided in the guide. You’ll find numbered attractions for each byway in or near the town listed. For a comprehensive list of byway features, visit www.iowabyways.org. Friendly local contacts are provided to help you along the way. Iowa Transportation Maps clearly tracking all the Iowa byways with red dotted lines are available at Iowa’s official welcome centers. Traveling Iowa’s byways you will experience small town America, while enjoying diverse landscapes and unique landforms that have been shaped over thousands of years. Iowa’s cultural heritage also plays a major role across all 11 byways, boasting hundreds of historic sites, national landmarks and interpretive centers, each telling Iowa’s stories from the first Native Americans through European immigrants to modern times. Glaciers once covered much of Iowa, shaping the broad flat plains of the prairie. These massive sheets of ice missed the northeast corner of the state, leaving the land along the Driftless Area Byway rugged and hilly with rock outcroppings, springs and cold water trout streams. Rivers coursed their way through the land, carving deep furrows in some places and leaving gently rolling hills in others. In western Iowa, wind has shaped fine sand into the impressive Loess Hills, a rare land form found in only one other place on earth. Iowa’s two national scenic byways and nine state byways offer unique varieties of scenic features, and more for you to see and do. View three states from atop a Mississippi River bluff, stop at a modern art museum and then tour a working farm. Explore a historic mill, visit a national aquarium, take a boat ride in a cave, purchase locally crafted pottery and wares from local artisans or trace the footsteps of Lewis and Clark. Experience the actual wagon ruts of the Mormon Trail, ride your bike 13 stories high, canoe a water trail, star gaze under Iowa’s darkest sky, and marvel at mounds built by prehistoric cultures. Agriculture wraps Iowa’s byways with an abundance of farmland vistas and fills Iowa lands with ever-changing crops and activities for you to “harvest.” You’ll see croplands on the vast flat plains and farmsteads sprinkled across rolling hills reminiscent of a Grant Wood painting. Along the way, you might wander in a corn maze, rest at a bed and breakfast, study farming in museums, discover the Iowa barn quilt collection or visit a working Amish farm. When you are ready to step outside your vehicle, you’ll find much more to do and see. Prairie, forests, rivers and public lands are abundant along Iowa’s byways; providing opportunities for you to stop and play in the outdoors with hiking, biking, kayaking and trout fishing. Classic hometowns with pride for their unique lore and offerings are found all along the byways. They invite you to taste local food, enjoy their architecture, and immerse yourself in the rich history and culture that defines them. Why not plan your next journey off the beaten path? No matter how you choose to make the most of every moment, we know that time spent along Iowa’s byways is sure to grow your love for Iowa’s diverse, beautiful vistas and authentic communities. Happy driving!

Pieces of Iowa’s Past, February 15, 2012

Pieces of Iowa’s Past, published by the Iowa State Capitol Tour Guides weekly during the legislative session, features historical facts about Iowa, the Capitol, and the early workings of state government. All historical publications are reproduced here with the actual spelling, punctuation, and grammar retained. February 15, 2012 THIS WEEK: Iowa State Capitol WPA Painting Project

Les natures mortes de Paul Gauguin: une production picturale méconnue

Gauguin's first attempts at still-life painting, around 1875, followed the Dutch tradition, influenced mainly by Manet's palette. But he did take occasional liberties in depicting flowers with more fluid colour and dynamic backgrounds. From 1879 his style shows the influence of the Impressionists: Pissarro in the landscapes and Degas in the composition of his still-lifes. He was also open to the new trends which were developing among artists in Paris and applied them in his paintings, using still-lifes as his main means for testing them. He did not escape the contemporary fascination with Japonism, and even experimented briefly with Pointillism in Still Life with Horse's Head. His stays in Britain between 1886 and 1890 correspond to an extremely rich and innovative period for him, in which still-lifes served for increasing experimentation. "Fête Gloanec" and Three Puppies reflect his preoccupations: rejection of perspective, use of areas of flat colour, and mixed styles. These pictures amount to an aesthetic manifesto; many of them are also imbued with strong symbolism, as in the Portrait of Meyer de Haan, which is a melancholic reflection on the fall of man. In Still-Life with Japanese Print, frail blue flowers seem to come out of the head of the artist-martyr, a pure product of the painter's "restless imagination". Thus Gauguin showed that art is an "abstraction" through a genre which was reputed to lend itself with difficulty to anything other than mimesis. Although he moved away from still-life after 1890, Gauguin is one of the first artists to radically renew its role and the status of still-life at the end of the 19th century, well before the Fauvists and Cubists.

Caracterizacion quimica de la vidriera historica de Sant Pere i Sant Jaume (segundo cuarto del s. XIV, Monestir de Pedralbes, Barcelona)

Se han caracterizado químicamente diferentes tipos de vidrios arquitectónicos originales de la iglesia del Monestir de Pedralbes, Barcelona (realizados hacia 1330). Esta nota expone los resultados obtenidos mediante el empleo de microsonda electrónica en vidrios de varios colores (blanco, verde, rosado, azul, amarillo, rojo) de la vidriera de Sant Pere y Sant Jaume. Corresponden esencialmente a vidrios sódicos (dentro del rango 13-19 % de Na2O) de coloración y composición homogénea, con elementos que actúan como colorante (p.e., CuO en rango 1.6-6 % en los vidrios verdes). El vidrio rojo, potásico, es una excepción notable (16.5 % K2O, 14 % CaO), tecnológicamente diferente (vidrio"plaqué" blanco con una intercalación roja de composición análoga pero sensiblemente más rica en CuO). Los vidrios sódicos no aparecen substancialmente dañados, los vidrios potásicos presentan corrosiones (moderadas) y pérdida parcial de transparencia. El predominio en esta vidriera de vidrios sódicos (inusuales para la época por lo que conocemos) ha permitido una excelente conservación. La composición química es una característica que permite diagnosticar precozmente el estado de deterioro y evaluar los costes de restauración en una vidriera, independientemente de los recubrimientos, pátinas y morteros que ésta presente.

Oppimisen haasteet sukupuolinäkökulmasta : esimerkkinä tekstiili- ja vaatetusteollisuus

Summary: Gender and learning - examples from the textile and clothing industry

Evaluation of an Epoxy Pavement Marking System, HR-180, 1978

The purpose of this research project is to determine if (1) epoxy lane markings will last an entire winter season without replacement, (2) epoxy lane marking is an economical alternative to standard paint on high-traffic multi-lane roadways where lane changing is frequent, and (3) there are worthwhile benefits derived from thorough cleaning of the pavement surface before painting. The success of epoxy lane marking depends on the success of the equipment with which it is mixed and applied. The epoxy lane marking material, if properly mixed and placed on a clean surface, has the durability required to withstand a high traffic volume and frequent lane changes for at least one year.

La conservació del revers Criteris de restauració del suport de tela de la pintura catalana moderna com a testimoni històric i artístic

Cada quadre conté diferents tipus d’informació. El missatge estètic, materialitzat en la sevacapa pictòrica, és el que acostuma a ser objecte de valoració, crítica o simplement gaudi,però no és l’únic. Existeixen altres elements que poden donar-nos coneixement i que se situen al darrera d’aquest estrat pictòric. El suport de la pintura n’és un d’ells, i el revers, és la superfície d’aquesta matèria...

Differential insertion of GPI-anchored GFPs into lipid rafts of live cells.

Partitioning of proteins in cholesterol and sphingolipid enriched plasma membrane microdomains, called lipid rafts, is critical for many signal transduction and protein sorting events. Although raft partitioning of many signaling molecules remains to be determined, glycosylphosphatidyl-inositol (GPI)-anchored proteins possess high affinity for lipid rafts and are currently exploited as markers to investigate fundamental mechanisms in protein sorting and signal transduction events. In this study, we demonstrate that two recombinant GPI-anchored green fluorescent proteins (GFP-GPIs) that differ in their GPI signal sequence confer distinct localization in plasma membrane microdomains. GFP fused to the GPI signal of the decay accelerating factor GFP-GPI(DAF) partitioned exclusively in lipid rafts, whereas GFP fused to the GPI signal of TRAIL-R3, GFP-GPI(TRAIL-R3), associated only minimally with microdomains. In addition, we investigated the unique ability of purified GFP-GPIs to insert into membrane microdomains of primary lymphocytes. This cell surface painting allows rapid, stable, and functional association of the GPI-anchored proteins with the target cell plasma membrane. The distinct membrane localization of the two GFP-GPIs was observed irrespective of whether the GPI-anchored molecules were painted or transfected. Furthermore, we show that painted GFP-GPI(DAF) was totally dependent on the GPI anchor and that the membrane insertion was increased by the addition of raft-associated lipids such as cholesterol, sphingomyelin, and dipalmitoyl-phosphatidylethanolamine. Thus, this study provides evidence that different GPI signal sequences lead to distinct membrane microdomain localization and that painted GFP-GPI(DAF) serves as an excellent fluorescent marker for lipid rafts in live cells.

La Materia del logos

Se suele decir que el nacimiento del logos marca el origen de la filosofía. El surgimiento del logos inauguraría una forma del ver, de tomar conciencia que, más allá de su manifestación lingüística y matemática, se concretaría también en expresión artística. Ellogos sería, entonces, el surgimiento de un modo expresivo que se hace presente en la multiplicidad de las formas capaz de adoptar. Del número a las imágenes del arte, se podría trazar un recorrido de esas formas que revelarían la transformación de la physis por la mirada. Número, palabra, arte, serán las formulaciones de la nueva forma del ver

Historical reconstruction of polychlorinated biphenyl (PCB) exposures for workers in a capacitor manufacturing plant

We developed a semiquantitative job exposure matrix (JEM) for workers exposed to polychlorinated biphenyls (PCBs) at a capacitor manufacturing plant from 1946 to 1977. In a recently updated mortality study, mortality of prostate and stomach cancer increased with increasing levels of cumulative exposure estimated with this JEM (trend p values = 0.003 and 0.04, respectively). Capacitor manufacturing began with winding bales of foil and paper film, which were placed in a metal capacitor box (pre-assembly), and placed in a vacuum chamber for flood-filling (impregnation) with dielectric fluid (PCBs). Capacitors dripping with PCB residues were then transported to sealing stations where ports were soldered shut before degreasing, leak testing, and painting. Using a systematic approach, all 509 unique jobs identified in the work histories were rated by predetermined process- and plant-specific exposure determinants; then categorized based on the jobs' similarities (combination of exposure determinants) into 35 job exposure categories. The job exposure categories were ranked followed by a qualitative PCB exposure rating (baseline, low, medium, and high) for inhalation and dermal intensity. Category differences in other chemical exposures (solvents, etc.) prevented further combining of categories. The mean of all available PCB concentrations (1975 and 1977) for jobs within each intensity rating was regarded as a representative value for that intensity level. Inhalation (in microgram per cubic milligram) and dermal (unitless) exposures were regarded as equally important. Intensity was frequency adjusted for jobs with continuous or intermittent PCB exposures. Era-modifying factors were applied to the earlier time periods (1946-1974) because exposures were considered to have been greater than in later eras (1975-1977). Such interpolations, extrapolations, and modifying factors may introduce non-differential misclassification; however, we do believe our rigorous method minimized misclassification, as shown by the significant exposure-response trends in the epidemiologic analysis.

Field Evaluation of Pavement Marking Materials, MLR-79-02, 1979

Pavement marking materials other than conventional paint must be evaluated as environmental standards become more restrictive. The new EPA classification for solvents states that all oil paints are photochemically reactive and, therefore, contribute to smog. This will eventually result in the elimination of organic solvents from all paints, which may occur in Iowa by 1985. The Special Investigations Section of the Office of Materials field reviewed all urban and rural applications of pavement marking materials in the spring of 1979. The field review consisted of a visual estimation of percent marking missing, percent satisfactory, and percent non-satisfactory; reflective readings by ERMA; and notation of special conditions which may have impacted performance. ERMA was not effective in evaluating the reflective quality of pavement marking materials. No pavement marking materials evaluated have been successful enough to date to totally replace conventional painting methods.

Field Evaluation of Electro-Reflective Measuring Apparatus (ERMA), MLR-81-01, 1981

The Electro-Reflective Measuring Apparatus (ERMA) was developed by the Minnesota Department of Highways in 1974 to measure the retro-reflective characteristics of pavement marking materials. Minnesota researchers recommended that due to the increased cost of pavement marking materials and reduced availability of these materials, ERMA can and should be used as a maintenance management tool to determine when painting is necessary rather than according to a fixed time schedule. The Iowa DOT Office of Materials built an ERMA device patterned after Minnesota's design in 1976. Subsequent efforts to calibrate and correlate this ERMA device to District Paint Foremen ratings proved unsuccessful, and ERMA modification or abandonment was recommended in 1979. Lyman Moothart, Materials Lab. Tech. 4, modified the ERMA device in 1980 and correlation attempts to District Paint Foremen ratings conducted in November 1980 have been moderately successful. A Paint/No Paint ERMA value has been established which will identify about 90% of the painting needs but will also include about 40% of the marking lines not needing repainting. The Office of Maintenance should establish a trial ERMA program to study the accuracy and potential cost savings of using ERMA to identify pavement marking needs.

Hydro-Surface Preparation and Coating for Painted Structural Steel, TR-407, 1999

Cities and counties in Iowa have more than 8,890 steel bridges, most of which are painted with red lead paint. The Iowa Department of Transportation (Iowa DOT) maintains less than 35 bridges coated with red lead paint, including seven of the large border bridges over the Mississippi and Missouri Rivers. Because of the federal and state regulations for bridge painting, many governmental agencies have opted not to repaint, or otherwise maintain, lead paint coatings. Consequently, the paint condition on many of these bridges is poor, and some bridges are experiencing severe rusting of structural members. This research project was developed with two objectives: 1) to evaluate the effectiveness of preparing the structural steel surface of a bridge with high pressure water jetting instead of abrasive blasting and 2) to coat the structural steel surface with a moisture-cured polyurethane paint under different surface preparation conditions.

"Locus Ecclesiae" : Passion du Christ et renouveaux ecclésiastiques dans la peinture murale des Pyrénées françaises : les styles picturaux (XIIe s.)

RESUME FRANCAIS Le premier chapitre de la thèse prend en considération le style des peintures murales du XIIe siècle à Toulouse, en Comminges, en Couserans, en Carcassonnais et en Roussillon. Chaque oeuvre est analysée de manière comparative avec les autres oeuvres de la même région. Dans la conclusion, on propose de reconnaître l'existence d'au moins trois - peut-être quatre - centres de production de peinture murale, qui exercent leur influence sur la production de la région. La ville de Toulouse se présente comme une véritable capitale régionale en matière de peinture murale. La découverte d'une inscription qui permet de dater une partie des décors de Saint-Sernin à l'année près constitue l'acquis majeur de cette partie. Le deuxième chapitre est consacré à l'analyse de l'iconographie de la Passion du Christ dans les peintures de Saint-Sernin de Toulouse, Saint-Plancard et Montgauch. L'on étudie ici lés valeurs ecclésiales et le thème de la rénovation dans l'iconographie de la Passion. L'étude explore aussi la notion de «lieu rituel » et la fonction spatiale des peintures dans l'édifice. Elle propose d'identifier des réaménagements du lieu selon l'exhibition d'un discours portant sur l'identité religieuse et l'autorité temporelle de l'Église, en coïncidence avec différentes facettes de la Réforme au XIIe siècle, dont l'étude a retrouvé certaines sources écrites. La troisième partie de la thèse est occupée par « le corpus des oeuvres », base documentaire de notre travail comportant les données historiques, architecturales, techniques, épigraphiques et bibliographiques de chaque oeuvre. RESUME ANGLAIS The first chapter of the dissertation takes into consideration the style of mural painting in Toulouse, Comminges, Couserans, Carcassonnais and Roussillon. Each work is studied in a comparative way with the other paintings of the same region. In the conclusion, we propose to recognise the existence of at least three - maybe four - centres of production of mural painting, influencing the production of the region. The city of Toulouse represents a real capital for the region in terms of mural painting. The discovery of an inscription that dates a part of the paintings of Saint-Sernin is the major result of this part. The second chapter is devoted to the analysis of the iconography of Christ's Passion in the mural paintings of Saint-Sernin of Toulouse, Saint-Plancard and Montgauch. The enquiry explores the ecclesiastical values and the theme of renovatio in this iconography, as well as the notion of "ritual place" and the spatial function of the paintings in the building. It identifies the redevelopment of places according to the exhibition of a speech on the religious identity and the temporal authority of the Church. These meanings coincide with different aspects of the XIIth century Reform, evidenced by unpublished sources. The third part of the dissertation is the "corpus", a documentary base for the whole enquiry composed by information on the historical background, the architecture, the paintings' techniques, and the epigraphic data of each work.

Determinar la causa de las marcas o quebrados que aparecen en el cuello de la camisa

Dictamen