Busca por excesso no infravermelho médio em estrelas evoluídas com fotometria WISE e 2MASS

Debris discs are commonly detected orbiting main-sequence stars, but little is known regarding their fate as stars evolve along subgiant and giant stages. Jones (2008) has found strong evidence on the presence of mid-IR excess in G and K stars of luminosity class III, using photometric data from the Two-Micron All-Sky Survey (2MASS) and GLIMPSE catalogues. While the origin of these excesses remains uncertain, it is plausible that they arise from debris discs around these stars. The present study brings an unprecedent survey in the search for mid-IR excess among single and binary F, G and K-type evolved stars of luminosity classes IV, III, II and Ib. For this study, we use WISE and 2MASS photometric data for a sample of 3000 evolved stars, complete up to visual magnitude of 6.5. As major results, we found that the frequency of evolved stars showing mid-IR WISE excess increases from the luminosity classes IV and III to luminosity classes II and Ib. In addition, there is no clear difference between the presence of IR excess in binary and single stars for all the analyzed luminosity classes.

Busca por excesso no infravermelho médio em estrelas evoluídas com fotometria WISE e 2MASS

Debris discs are commonly detected orbiting main-sequence stars, but little is known regarding their fate as stars evolve along subgiant and giant stages. Jones (2008) has found strong evidence on the presence of mid-IR excess in G and K stars of luminosity class III, using photometric data from the Two-Micron All-Sky Survey (2MASS) and GLIMPSE catalogues. While the origin of these excesses remains uncertain, it is plausible that they arise from debris discs around these stars. The present study brings an unprecedent survey in the search for mid-IR excess among single and binary F, G and K-type evolved stars of luminosity classes IV, III, II and Ib. For this study, we use WISE and 2MASS photometric data for a sample of 3000 evolved stars, complete up to visual magnitude of 6.5. As major results, we found that the frequency of evolved stars showing mid-IR WISE excess increases from the luminosity classes IV and III to luminosity classes II and Ib. In addition, there is no clear difference between the presence of IR excess in binary and single stars for all the analyzed luminosity classes.

Police attempt to clear street during Women's Liberation demonstration on Fifth Avenue

General note: Title provided by Freda Leinwand.

Nowhere Landscape, for Clarinets, Trombones, Percussion, Violins, and Electronics and “The Map and the Territory: Documenting David Dunn’s Sky Drift”

1. nowhere landscape, for clarinets, trombones, percussion, violins, and electronics

nowhere landscape is an eighty-minute work for nine performers, composed of acoustic and electronic sounds. Its fifteen movements invoke a variety of listening strategies, using slow change, stasis, layering, coincidence, and silence to draw attention to the sonic effects of the environment—inside the concert hall as well as the world outside of it. The work incorporates a unique stage set-up: the audience sits in close proximity to the instruments, facing in one of four different directions, while the musicians play from a number of constantly-shifting locations, including in front of, next to, and behind the audience.

Much of nowhere landscape’s material is derived from a collection of field recordings

made by the composer during a road trip from Springfield, MA to Douglas, WY along US- 20, a cross-country route made effectively obsolete by the completion of I-90 in the mid- 20th century. In an homage to artist Ed Ruscha’s 1963 book Twentysix Gasoline Stations, the composer made twenty-six recordings at gas stations along US-20. Many of the movements of nowhere landscape examine the musical potential of these captured soundscapes: familiar and anonymous, yet filled with poignancy and poetic possibility.

2. “The Map and the Territory: Documenting David Dunn’s Sky Drift”

In 1977, David Dunn recruited twenty-six musicians to play his work Sky Drift in the

Anza-Borrego Desert in Southern California. This outdoor performance was documented with photos and recorded with four stationary microphones to tape. A year later, Dunn presented the work in New York City as a “performance/documentation,” playing back the audio recording and projecting slides. In this paper I examine the consequences of this kind of act: what does it mean for a recording of an outdoor work to be shared at an indoor concert event? Can such a complex and interactive experience be successfully flattened into some kind of re-playable documentation? What can a recording capture and what must it exclude?

This paper engages with these questions as they relate to David Dunn’s Sky Drift and to similar works by Karlheinz Stockhausen and John Luther Adams. These case-studies demonstrate different solutions to the difficulty of documenting outdoor performances. Because this music is often heard from a variety of equally-valid perspectives—and because any single microphone only captures sound from one of these perspectives—the physical set-up of these kind of pieces complicate what it means to even “hear the music” at all. To this end, I discuss issues around the “work itself” and “aura” as well as “transparency” and “liveness” in recorded sound, bringing in thoughts and ideas from Walter Benjamin, Howard Becker, Joshua Glasgow, and others. In addition, the artist Robert Irwin and the composer Barry Truax have written about the conceptual distinctions between “the work” and “not- the-work”; these distinctions are complicated by documentation and recording. Without the context, the being-there, the music is stripped of much of its ability to communicate meaning.

Companies need clear internet use policy

Opinion & Analysis: Companies need clear internet use policy

Clear hero and dark hero in the cinematographic narration

The role of the hero is changing, slightly irregular, but it’s purpose is constant. The line that separates good from evil is frequently so thin that sometimes the main hero can act in a negative way, casting doubts about his own nature in the pursuit of good. This paper aims to inquire into the character’s heroic condition showing two variations of this archetype in the context of postmodern cinema: the “clear hero”, and the “dark hero”. The former keeps the most traditional values of the hero, while the latter provides a dimension which distinguishes it from the previous one: his experience executing evil as a part of his process to heroici­ty. Postmodernity implies an ambivalence in the character’s identity which can be comparable to the hero’s role, and to his way of making good. The “clear hero” does not imply negative features in the active nature of the hero, whilst the “dark hero” does include them. Through the protagonists of Gladiator (Scott, 2000) and Batman Begins (Nolan, 2005) are offered both heroic perspectives based on a selection of their principal ac­tions which have been subjected to analysis according to some parameters: behavior, implication, and cause. The decisive action will also be signalized, according to the narration’s teleonomy in reason of the favorable or unfavorable sense for the hero. Finally, each character will be observed from its archetype. By analyzing their actions from these perspectives, we observe the clear hero and the dark hero as affordable categories for the heroic role.

Podcast: After the Liverpool Care Pathway clear guidance and support on end-of-life care is needed

In this podcast Roberta Heale talks to Dr Peter O'Halloran about the paper "After the Liverpool Care Pathway clear guidance and support on end-of-life care is needed." They discuss the newly implemented pathways and the effects these have on practice and patients.

Assessment of Activity of 'Transparent and Clear' and 'Opaque and Highly Coloured' Photocatalytic Samples using a Fluorescent Photocatalytic Activity Indicator Ink, FPaii.

The photocatalytic activity of self-cleaning glass is assessed using a resazurin (Rz) photocatalyst activity indicator ink, i.e. Rz paii, via both the rate of change in the colour of the ink (blue to pink), R(Abs), and the rate of change in the fluorescence intensity, R(Fl), (λ(excitation) = 593 nm; λ(emission) = 639 nm) of the ink. In both cases the kinetics are zero order. Additional work with a range of glass samples of different photocatalytic activity reveal R(Abs) is directly related to R(Fl), thereby showing that the latter, like the former, can be used to provide a measure of the photocatalytic activity of the sample under test. The measured value of R(Fl) is found to be the same for 5 pieces of, otherwise identical, selfcleaning glass with: black, red, blue, yellow and no coloured tape stuck to their backs, which demonstrates that R(Fl) measurements can be used to measure photocatalytic activity under conditions of high colour and opacity under which R(Abs) cannot be measured. The relevance of this novel, fluorescence-based paii to the assessment of the activity of highly coloured, opaque photocatalytic samples, such as paints and tiles, is discussed briefly.

Synthetic Lethal Targeting of ARID1A-Mutant Ovarian Clear Cell Tumors with Dasatinib

New targeted approaches to ovarian clear cell carcinomas (OCCC) are needed, given the limited treatment options in this disease and the poor response to standard chemotherapy. Using a series of high-throughput cell-based drug screens in OCCC tumor cell models, we have identified a synthetic lethal (SL) interaction between the kinase inhibitor dasatinib and a key driver in OCCC, ARID1A mutation. Imposing ARID1A deficiency upon a variety of human or mouse cells induced dasatinib sensitivity, both in vitro and in vivo, suggesting that this is a robust synthetic lethal interaction. The sensitivity of ARID1A-deficient cells to dasatinib was associated with G₁ -S cell-cycle arrest and was dependent upon both p21 and Rb. Using focused siRNA screens and kinase profiling, we showed that ARID1A-mutant OCCC tumor cells are addicted to the dasatinib target YES1. This suggests that dasatinib merits investigation for the treatment of patients with ARID1Amutant OCCC. Mol Cancer Ther; 15(7); 1472-84. Ó2016 AACR.

Uma janela tropical: análise do desempenho luminoso de ambientes com aberturas sombreadas para o clima de Natal/RN

This master thesis introduces assessment procedures of daylighting performance in office rooms with shaded opening, recommendations for Natal-RN (Latitude 05,47' S, Longitude 35,11' W). The studies assume the need of window exterior shading in hot and humid climate buildings. The daylighting performance analyses are based on simulated results for three levels of illuminance (300,500 e 1000 lux) between 08h00 e 16h00, in rooms with 2,80 m height, 6 m large and 4 m, 6 m e 8 m depths, with a centered single opening, window wall ratio (20%, 40% e 60%), four orientations (North, East, South and West), and two types of sky (clear and partially cloudy). The sky characteristics were statistically determined based on hourly data from INPE-CRN solar and daylighting weather station. The lighting performance is resulted from dynamic computer simulation of 72 models using Troplux 3.12. The simulation results were assessed using a new parameter to quantify the use of interior daylighting, the useful percentage of daylight (PULN), which corresponds to the time fraction with satisfactory light, in accordance with the illuminance design. The passive zone depths are defined based on the PULN. Despite the failures of illuminance data from the weather station, the analyses ratified the high potential of daylighting for shaded rooms. The most influential variables on the lighting performance are the opening size and the illuminance of design, while the orientation is a little influential

Falling Out of the Sky

“Falling Out of the Sky” is a collection of poems, both formal and free verse, that explores an intimate familial landscape. In particular, these poems raise the question of what it means to be human through examinations of family mythology and its changes as bodies and memories become unreliable with time.