Effect of ocean acidification on growth and otolith condition of juvenile scup, Stenotomus chrysops

Increasing amounts of atmospheric carbon dioxide (CO2) from human industrial activities are causing changes in global ocean carbonate chemistry, resulting in a reduction in pH, a process termed "ocean acidification." It is important to determine which species are sensitive to elevated levels of CO2 because of potential impacts to ecosystems, marine resources, biodiversity, food webs, populations, and effects on economies. Previous studies with marine fish have documented that exposure to elevated levels of CO2 caused increased growth and larger otoliths in some species. This study was conducted to determine whether the elevated partial pressure of CO2 (pCO2) would have an effect on growth, otolith (ear bone) condition, survival, or the skeleton of juvenile scup, Stenotomus chrysops, a species that supports both important commercial and recreational fisheries. Elevated levels of pCO2 (1200-2600 µatm) had no statistically significant effect on growth, survival, or otolith condition after 8 weeks of rearing. Field data show that in Long Island Sound, where scup spawn, in situ levels of pCO2 are already at levels ranging from 689 to 1828 µatm due to primary productivity, microbial activity, and anthropogenic inputs. These results demonstrate that ocean acidification is not likely to cause adverse effects on the growth and survivability of every species of marine fish. X-ray analysis of the fish revealed a slightly higher incidence of hyperossification in the vertebrae of a few scup from the highest treatments compared to fish from the control treatments. Our results show that juvenile scup are tolerant to increases in seawater pCO2, possibly due to conditions this species encounters in their naturally variable environment and their well-developed pH control mechanisms.

Programming with global analysis

Global data-flow analysis of (constraint) logic programs, which is generally based on abstract interpretation [7], is reaching a comparatively high level of maturity. A natural question is whether it is time for its routine incorporation in standard compilers, something which, beyond a few experimental systems, has not happened to date. Such incorporation arguably makes good sense only if: • the range of applications of global analysis is large enough to justify the additional complication in the compiler, and • global analysis technology can deal with all the features of "practical" languages (e.g., the ISO-Prolog built-ins) and "scales up" for large programs. We present a tutorial overview of a number of concepts and techniques directly related to the issues above, with special emphasis on the first one. In particular, we concéntrate on novel uses of global analysis during program development and debugging, rather than on the more traditional application área of program optimization. The idea of using abstract interpretation for validation and diagnosis has been studied in the context of imperative programming [2] and also of logic programming. The latter work includes issues such as using approximations to reduce the burden posed on programmers by declarative debuggers [6, 3] and automatically generating and checking assertions [4, 5] (which includes the more traditional type checking of strongly typed languages, such as Gódel or Mercury [1, 8, 9]) We also review some solutions for scalability including modular analysis, incremental analysis, and widening. Finally, we discuss solutions for dealing with meta-predicates, side-effects, delay declarations, constraints, dynamic predicates, and other such features which may appear in practical languages. In the discussion we will draw both from the literature and from our experience and that of others in the development and use of the CIAO system analyzer. In order to emphasize the practical aspects of the solutions discussed, the presentation of several concepts will be illustrated by examples run on the CIAO system, which makes extensive use of global analysis and assertions.

Programming with Global Analysis

Abstract is not available

Las casualidades controladas : la primera visibilidad del cambio del paradigma moderno

Como no pocos proyectos, el origen de esta tesis es fruto de una casualidad. Hace unos años me topé en Londres, en la librería Walden Books del 38 de Harmood St., con una primera edición de la conocida monografía de Mies a cargo de Philip Johnson. El librito, en realidad catálogo de la exposición que en 1947 el MoMA de Nueva York dedicara a la obra de Mies Van der Rohe a los diez años del desembarco del arquitecto en Estados Unidos, tiene un tamaño de 10 x 7,5 pulgadas, es decir, la mitad del formato americano Crown (20x15 pulgadas), equivalente a 508 x 381 mm. Se imprimieron, en su primera tirada, editada por The Plantin Press, 12.000 ejemplares. Ese mismo año, con edición al cuidado de Reynal y Hitchcock, se publicaría la primera traducción al inglés de Cuando las catedrales eran blancas de Le Corbusier y una selección de poemas de Lorca, siete años después de su Poeta en Nueva York. En la monografía, en la página 109, aparece el conocido croquis de Mies Sketch for a glass house on a hillside. c. 1934, escasamente unas líneas, aunque precisas y llenas de matices, de la casa en una ladera que rápidamente nos remite a aquella primera propuesta de Saarinen para una casa en el aire, primero en 1941 en Pensilvania y después, en 1945, con Charles Eames, en Los Angeles, que nunca llegarían a construirse, sino en su aliteraciones posteriores realizadas por Harry Seidler (Julian Rose House, Wahroonga, Sydney, 1949), Philip Johnson (Leonhardt house, Long Island, Nueva York, 1956) o Craig Ellwood (Smith House, Crestwood Hills, 1958; Frank & Polly Pierson House, Malibú, 1962; Chamorro House, Hollywood Hills, 1963, o la serie Weekend House, con Gerald Horn, entre 1964 y 1970, hasta el magnífico Art Center College of Design de Pasadera, su puente habitado de 1977). El relato que da origen al texto discurre en un estricto período de tiempo, desde los primeros dibujos de la Case Study House nº8, dentro del programa promovido por John Entenza y su revista Arts & Architecture en California, realizados en el estudio de Saarinen en Bloomfield Hills, Michigan, hasta que el proyecto de la casa Eames finaliza cinco años después de acabar la obra en 1955, en la versión conocida, radicalmente distinta al proyecto original, cuando la pareja Charles y Ray Eames edita el corto House After Five Years of Living. La discusión original en torno a esta casita, o mejor, a las circunstancias, casualidades controladas, que rodean su construcción, se produce estrictamente cuando rastreamos aquellos invariantes que se mantienen en las dos versiones y las reconcilian. En este corto período de tiempo se producen en el proyecto una serie de decisiones que permiten descubrir, tanto en la forma como en el mismo proceso transformador del proyecto, en su obsesivo registro, en los nuevos referentes asumidos y propuestos, la primera visibilidad del cambio del paradigma moderno. Pero este momento germinal que cristaliza el paso a la postmodernidad no es inédito en la historia de la arquitectura americana. Así, el relato abre su ámbito temporal hasta un nuevo período de cincuenta años que arranca en 1893, año de la celebración en Chicago de la Exposición Internacional Colombina. En la White City de Hunt & McKim y del traidor Burham, Louis Sullivan construye su Golden Doorway en el pabellón de los Transportes. Aquella que visitará Adolf Loos antes de volver, renovado, a Viena; la misma que admirará André Bouillet, representante de la Union Centrale des Arts Decoratifs de Paris, y que deslumbrará en los museos de toda Europa, de París a Moscú en grandes fotografías y maquetas. Hasta que en Finlandia alguien muestra una de esas fotografías a un joven estudiante de diecinueve años en el Instituto Politécnico. Eliel Saarinen queda fascinado por la poderosa novedad de la imagen. Cuelga la fotografía frente a su tablero de dibujo, consciente de que la Golden Doorway, esa puerta de la aventura y la catarsis que Sullivan acuñaría como distintivo y que resolvería como único elemento complejo sus proyectos más maduros, desprovistos de todo ornamento; la misma que repetirían más tarde, con profundo reconocimiento, Ladovsky, Wright, Scarpa o Moneo, puerta dentro de puerta, fuelle y umbral, contenía, en sus propias palabras emocionadas, todo el futuro de la arquitectura. Desde ahí, pasando por el año 1910, momento de la huida de Wright a La Toscana y el descubrimiento de su arquitectura en Europa, entre otros por un joven Mies van der Rohe, meritorio en el estudio de Peter Behrens, a través del Wasmuth Portfolio; y así como algo después, en 1914, Schindler y en 1923 Neutra, harán el camino inverso, hasta que Mies les siga en 1937, animado por un Philip Johnson que había viajado a Europa en 1930, volviendo a 1945 y el inicio del programa Case Study House en California, hasta 1949, momento de la construcción de la CSH#8, y, por fin, al año 1955, after 5 years of living, en el que Julius Shulman fotografía la casa de Ray y Charles Eames en el prado de Chautauqua sobre las Pacific Palisades de Los Angeles, lanzando sus finas líneas amarillas hasta Alison y Peter Smithson y su tardomoderno heroico, hasta el primer Foster y su poético hightech y hasta el O-riginal Ghery, deconstruyendo el espacio esencial de su casa desde el espacio mismo, abiertas ya las puertas al nuevo siglo. Y en estos cambios de paradigma, desde el rígido eclecticismo de los estilos al lirismo moderno en el gozne secular y de ahí a la frivolidad, ligereza, exhibicionismo y oportunismo cultos del hecho postmoderno, hay algo que se mantiene invariante en los bandazos de la relación del hombre contemporáneo con su entorno. Como la escultura, que según Barnett Newman no es sino aquello contra lo que uno choca cuando retrocede para mirar un cuadro, en estos prístinos lugares, comunes y corrientes, recorrido, puerta, umbral, recinto y vacío, te topas con la arquitectura antes de darte cuenta de que es arquitectura. ABSTRACT As with many other projects, the origin of this doctoral thesis is the result of a chance. A few years ago I found in a bookstore in London, 38 Harmood st., Walden Books, a first edition of the well-known monograph about Mies by Philip Johnson. The tiny book, in fact a catalog of the exhibition that the MoMA of New York devoted to the work of Mies van der Rohe in 1947, ten years after his landing in the United States, has a size of 10 x 7.5 inches, that is, half of Crown American format (20 x 15 inches), equivalent to 508 x 381 mm. In the first printing, published by The Plantin Press, 12,000 copies were released. That same year, produced by Reynal and Hitchcock, both the first English translation of When the cathedrals were white by Le Corbusier and a selection of poems by Lorca were published, seven years after his Poet in New York. Inside the book, the famous drawing from Mies Sketch for a glass house on a hillside c. 1934 appears on page 109, barely a few lines, precise and nuanced though, the house on a hillside that quickly reminds us of the proposals of Eero Saarinen for a house in the air, first in 1941, in Pennsylvania, and later, in 1945, with Charles Eames, in Los Angeles, that would never be built, but in their later alliterations made by Harry Seidler (Julian Rose House, Wahroonga, Sydney, 1949), Philip Johnson (Leonhardt house, Long Island, New York, 1956) or Craig Ellwood (Smith House, Crestwood Hills, 1958; Frank Pierson & Polly House, Malibu, 1962, Chamorro House, Hollywood Hills, 1963, or the Weekend House series, with Gerald Horn, between 1964 and 1970, to the magnificent Art Center College of Design Pasadena, the inhabited bridge, in 1977). The story that gives rise to the text flows in a short amount of time, from the first drawings of the Case Study House No. 8, within the program promoted by John Entenza and his magazine Arts & Architecture in California, made in the study of Saarinen in Bloomfield Hills, Michigan, until the project of the Eames house is completed five years after finishing the construction in 1955, in the final version we know, radically different from the initial state, when the couple, Charles and Ray, published the film House after Five Years of Living. The original discussion around this house, or better, about the circumstances, controlled coincidences, regarding its construction, appears when one takes account of those that remain, the invariants, in the two versions, drawn and built, which precisely allow the reconciliation between both projects. In this short period of time a series of decisions made in the transformation process of the project reveal, in the obsessive record made by Charles Eames and in the new proposed references, the first visibility of the changing of the modern paradigm. But this germinal moment that crystallizes the transition to postmodernism is not unprecedented in the history of American architecture. So, the story opens its temporal scope to a fifty-year period that started in 1893, date of the celebration of the Chicago World´s Columbian Exposition. In the White City by Hunt & McKim and Burnham, the traitor, Louis Sullivan builds his Golden Doorway in the Transportation Building. That visited by a renovated Adolf Loos before his coming back to Vienna; the same that André Bouillet, Head of the Union Centrale des Arts Decoratifs in Paris, admired and dazzled in museums all over Europe, from Paris to Moscow, in large photographs and models. Until someone in Finland showed one of those photos to a young nineteen-years-old student at the Polytechnic Institute. Eliel Saarinen became fascinated by the powerful new image: he hanged the picture in front of his drawing board, aware that the Golden Doorway, that door of adventure and catharsis Sullivan coined as distinctive and as a single complex element which would solve their most mature projects, devoid of all ornament; the same that would repeat later, with deep appreciation, Ladovsky, Wright, Scarpa, or Moneo, a door inside a door, a threshold, a gap that contained, in its own moving words, the whole future of architecture. From there, through 1910, when Wright's flight to Tuscany allows Europe to discover his architecture, including a young Mies van der Rohe, meritorious in the studio of Peter Behrens, via the Wasmuth Portfolio; and as a little bit later, in 1914, Schindler and Neutra in 1923, made the travel in opposite direction, until Mies follows them in 1937, led by a Philip Johnson who had traveled to Europe in 1930, we return to 1945 and the beginning of the program Case Study House in California, and from 1949, when construction of the CSH # 8 begins, and finally, to 1955, after five years of living, when Julius Shulman photographs the inside of the house with Ray and Charles Eames, and all their belongins, at the Chautauqua meadows on Pacific Palisades in Los Angeles, launching its fine yellow lines to Alison and Peter Smithson and his heroic late modern, up to the first Foster and his poetic hightech and even the O-riginal Gehry, deconstructing the essential space of his home from the space itself, opening the doors to the new century. And these paradigm shifts, from the hard eclectic styles to modern secular lyricism in the hinge and then overcoming the cultured frivolity, lightness, exhibitionism, and opportunism of the postmodern skeptical focus, something remains intense, invariant in the lurching relationship of contemporary man and his environment. As the sculpture, which according to Barnett Newman is what you bump into when you back up to see a painting, in these pristine, ordinary places, promenade, door, threshold, enclosure and emptiness, you stumble upon the architecture even before realizing that it is architecture.

1794, Catalogus eorum qui in Universitate Harvardiana, Cantabrigiae, in republica Massachusettensi, ab anno MDCXLII, ad annum MDCCXCIV. Alicujus gradû laureâ donati sunt.

Modern hardcover binding around original handsewn paper binding. Missing title page and first page of text. Key to abbreviations titled "Explination" on flyleaf with abbreviations for Massachusetts, New Hampshire, Connecticut, Rhode Island, Long Island, New York, Martha's Vineyard, New Jersey, Pensylvania [sic], Virginia, South Carolina, Georgia, West Indies, Great Britain, Episcopalian, and Baptist. Heavily annotated with residence locations. Asterisks added next to the names of alumni who died after the Catalogue's publication, generally in 1795. Also includes a tipped-in page at front of volume with the names of thirteen alumni of various classes from 1650 through 1756, in one hand, a note "Joseph Lovett was of Beverly, and a minister in a town of Connecticut the name of which I do not recollect. JW" in a different hand, and a final note "I believe there was a Lovett at Norwich" in the original hand.

Poems copied by James Diman, ca. 1730-1733

Small pamphlet-sized notebook containing handwritten transcriptions of three poems copied by James Diman, likely in the early 1730s. The notebook contains "The Catholic Remedy. to ye Tune of To all you Ladies, not at land &c.," "Father Ab--y's Will. Col. Sweeper Camb: Dec. 1731," and "The Poet's Lamentation for ye Loss of his cat, w'ch he used to call his Muse" copied from the London Magazine, November 1733. The "Catholic Remedy" begins "You Peope who desire to mend / your Desperate Estate..." and includes the note, "Made upon A--D--'s goving over to take orders. The note refers to the voyage of Addington Davenport (Harvard AB 1719) to England join the priesthood of the Church of England in 1730. "Father Ab--y's Will" begins "To my dear Wife, / My joy and Life..." and was a humorous poem published in 1731 after the death of Harvard College Sweeper Matthew Abdy, and attributed to Jonathan Seccombe (Harvard AB 1728). The "Poet's Lamentation" begins "Oppress'd with Grief, in heavy strains I mourn..." and was written by Joseph Green (Harvard AB 1726) as a parody of a psalm composed by Mather Byles (Harvard AB 1725). Pages 10-12, holding part of "Father Ab--y's Will" are missing, and pages 13-15 are no longer attached to the item.

Warrants from the governor and chief justice of New York, 1703-1704

Copies of warrants and writs concerning public unrest caused by an attempt to survey lands on Long Island in 1702.

Connecticut, 1780 (Raster Image)

This layer is a georeferenced raster image of the historic paper map entitled: Connecticut and parts adjacent. It was published in 1780 by Cóvens and Mortier and Cóvens Junior. Scale [ca. 1:375,000]. Covers also portions of New York (including Long Island), New Jersey, and Rhode Island. The image inside the map neatline is georeferenced to the surface of the earth and fit to the Connecticut State Plane Coordinate System (Feet) (FIPS 0600). All map collar and inset information is also available as part of the raster image, including any inset maps, profiles, statistical tables, directories, text, illustrations, or other information associated with the principal map. This map shows features such as roads, drainage, county and town boundaries and more. Relief is shown pictorially. This layer is part of a selection of digitally scanned and georeferenced historic maps of New England from the Harvard Map Collection. These maps typically portray both natural and manmade features. The selection represents a range of regions, originators, ground condition dates, scales, and map purposes.

Post Route Map of New York, 1871 (Image 1 of 2) (Raster Image)

This layer is a georeferenced raster image of the historic paper map entitled: Post route map of the state of New York : and parts of Vermont, Massachusetts, Connecticut, New Jersey and Pennsylvania, showing also the adjacent portions of the dominion of Canada, designed and constructed under the orders of Postmaster General, Alex. W. Randall, and second asst. Postmaster General, Geo. Wm. McLellan, by W.L. Nicholson, topographer of P.O. Dept. It was published by U.S. Post Office Dept. in 1868. Ink notation: "The service on this diagram brought up to date of Jan. 1st, 1871." Scale [1:380,160]. This layer is image 1 of 2 total images of the two sheet source map. The image inside the map neatline is georeferenced to the surface of the earth and fit to the Universal Transverse Mercator (UTM) Zone 18N NAD83 projection. All map collar and inset information is also available as part of the raster image, including any inset maps, profiles, statistical tables, directories, text, illustrations, index maps, legends, or other information associated with the principal map. This map shows features such as roads, railroads, postal routes (with delivery schedule frequency and distances), drainage, cities and towns, counties, and more. Includes insets: Postal service of Long Island with the principal mail connections of the city of New York. Scale [1:380,160] -- [Parts of the provinces of Québec and Ontario bordering New York and Vermont]. Includes tables of distances and statistics. This layer is part of a selection of digitally scanned and georeferenced historic maps from The Harvard Map Collection as part of the Imaging the Urban Environment project. Maps selected for this project represent major urban areas and cities of the world, at various time periods. These maps typically portray both natural and manmade features at a large scale. The selection represents a range of regions, originators, ground condition dates, scales, and purposes.

Post Route Map of New York, 1871 (Image 2 of 2) (Raster Image)

This layer is a georeferenced raster image of the historic paper map entitled: Post route map of the state of New York : and parts of Vermont, Massachusetts, Connecticut, New Jersey and Pennsylvania, showing also the adjacent portions of the dominion of Canada, designed and constructed under the orders of Postmaster General, Alex. W. Randall, and second asst. Postmaster General, Geo. Wm. McLellan, by W.L. Nicholson, topographer of P.O. Dept. It was published by U.S. Post Office Dept. in 1868. Ink notation: "The service on this diagram brought up to date of Jan. 1st, 1871." Scale [1:380,160]. This layer is image 2 of 2 total images of the two sheet source map. The image inside the map neatline is georeferenced to the surface of the earth and fit to the Universal Transverse Mercator (UTM) Zone 18N NAD83 projection. All map collar and inset information is also available as part of the raster image, including any inset maps, profiles, statistical tables, directories, text, illustrations, index maps, legends, or other information associated with the principal map. This map shows features such as roads, railroads, postal routes (with delivery schedule frequency and distances), drainage, cities and towns, counties, and more. Includes insets: Postal service of Long Island with the principal mail connections of the city of New York. Scale [1:380,160] -- [Parts of the provinces of Québec and Ontario bordering New York and Vermont]. Includes tables of distances and statistics. This layer is part of a selection of digitally scanned and georeferenced historic maps from The Harvard Map Collection as part of the Imaging the Urban Environment project. Maps selected for this project represent major urban areas and cities of the world, at various time periods. These maps typically portray both natural and manmade features at a large scale. The selection represents a range of regions, originators, ground condition dates, scales, and purposes.

New York, N.Y. and vicinity, 1961 : Harlem, N.Y.-N.J. (8 Sheet Set) (Raster Image)

This layer is a georeferenced raster image of the United States Geological Survey 7.5 minute topographic sheet map entitled: New York and vicinity : Harlem, N.Y.-N.J., 1956. It is part of an 8 sheet map set covering the metropolitan New York City area. It was published in 1961. Scale 1:24,000. The source map was compiled from 1:24,000-scale maps of Mount Vernon 1956, Yonkers 1956, Central Park 1956, and Flushing 1955 7.5 minute quadrangles. Hydrography compiled from USC&GS charts 222 (1955), 223 (1954), 748 (1955), 226, 274, 745, 746, and 747 (1956). The image inside the map neatline is georeferenced to the surface of the earth and fit to the Universal Transverse Mercator (UTM) Zone 18N NAD27 projection. All map collar and inset information is also available as part of the raster image, including any inset maps, profiles, statistical tables, directories, text, illustrations, index maps, legends, or other information associated with the principal map. USGS maps are typical topographic maps portraying both natural and manmade features. They show and name works of nature, such as mountains, valleys, lakes, rivers, vegetation, etc. They also identify the principal works of humans, such as roads, railroads, boundaries, transmission lines, major buildings, etc. Relief is shown with standard contour intervals of 10 and 20 feet; depths are shown with contours and soundings. Please pay close attention to map collar information on projections, spheroid, sources, dates, and keys to grid numbering and other numbers which appear inside the neatline. This layer is part of a selection of digitally scanned and georeferenced historic maps from The Harvard Map Collection as part of the Imaging the Urban Environment project. Maps selected for this project represent major urban areas and cities of the world, at various time periods. These maps typically portray both natural and manmade features at a large scale. The selection represents a range of regions, originators, ground condition dates, scales, and purposes.