Structural phase transition study of the morphotropic phase boundary compositions of Na0.5Bi0.5TiO3-PbTiO3

Neutron, synchrotron x-ray powder diffraction and dielectric studies have been performed for morphotropic phase boundary (MPB) compositions of the (1 - x )Na1/2Bi1/2TiO3-xPbTiO(3) system. At room temperature, the MPB compositions (0.10 < x <= 0.15) consist of a mixture of rhombohedral (space group R3c) and tetragonal ( space group P4mm) structures with the fraction of tetragonal phase increasing with increasing PbTiO3 content. On heating, while the rhombohedral phase just outside the MPB region, i.e. x = 0.10, transforms directly to a cubic phase, the rhombohedral phase of the MPB compositions transforms gradually to a tetragonal phase, until interrupted by a rhombohedral-cubic phase transition. The correspondence of the dielectric anomalies with the structural transitions of the different compositions has been examined and compared with earlier reports.

Dancing practices from multiple perspectives: the increasingly complex role of the contemporary dancer

This paper will discuss the complexities of the role of contemporary dancer in this current epoch, with a particular focus on the multiple identities dancers embody within dance practice and how these accumulate to form a creative self-in-process or ‘moving identity’. Wider issues, such as training will be explored questioning how technical skills can be imparted alongside autonomous learning approaches to ensure that dancers are prepared to negotiate the entrepreneurial ecology of various dance sectors. Furthermore, the paper will examine the shifting relationship between choreographer and dancer from hierarchical to co-creative including how, in spite of the often collaborative nature of dance creation, the marketplace continues to celebrate the singular authorial position of the choreographer. Each of these elements will reflect back the complex issues of agency and creative self-hood that dancers must negotiate in an increasingly diverse and changeable arts environment.

The Yellow Supergiant Progenitor of the Type II Supernova 2011dh in M51

We present the detection of the putative progenitor of the Type IIb SN 2011dh in archival pre-explosion Hubble Space Telescope images. Using post-explosion Adaptive Optics imaging with Gemini NIRI+ALTAIR, the position of the supernova (SN) in the pre-explosion images was determined to within 23 mas. The progenitor candidate is consistent with an F8 supergiant star (logL/L sun = 4.92 ± 0.20 and T eff = 6000 ± 280 K). Through comparison with stellar evolution tracks, this corresponds to a single star at the end of core C-burning with an initial mass of M ZAMS = 13 ± 3 M sun. The possibility of the progenitor source being a cluster is rejected, on the basis of: (1) the source not being spatially extended, (2) the absence of excess Ha emission, and (3) the poor fit to synthetic cluster spectral energy distributions (SEDs). It is unclear if a binary companion is contributing to the observed SED, although given the excellent correspondence of the observed photometry to a single star SED we suggest that the companion does not contribute significantly. Early photometric and spectroscopic observations show fast evolution similar to the transitional Type IIb SN 2008ax and suggest that a large amount of the progenitor's hydrogen envelope was removed before explosion. Late-time observations will reveal if the yellow supergiant or the putative companion star were responsible for this SN explosion.

Prizes for modernity in the provinces: The Arts Council’s 1950-1951 regional playwriting competition

As part of its contribution to the 1951 Festival of Britain, the Arts Council ran what can be seen in retrospect to be an important playwriting competition. Disregarding the London stage entirely, it invited regional theatres throughout the UK to put forward nominations for new plays within their repertoire for 1950-1951. Each of the five winning plays would receive, what was then, the substantial sum of £100. Originality and innovation featured highly amongst the selection criteria, with 40 per cent of the judges’ marks being awarded for “interest of subject matter and inventiveness of treatment”. This article will assess some of the surprising outcomes of the competition and argue that it served as an important nexus point in British theatrical historiography between two key moments in post-war Britain: the first being the inauguration of the Festival of Britain in 1951, the other being the debut of John Osborne’s Look Back in Anger in May 1956. The article will also argue that the Arts Council’s play competition was significant for two other reasons. By circumventing the London stage, it provides a useful tool by which to reassess the state of new writing in regional theatre at the beginning of the 1950s and to question how far received views of parochialism and conservatism held true. The paper will also put forward a case for the competition significantly anticipating the work of George Devine at the English Stage Company, which during its early years established a reputation for itself by heavily exploiting the repertoire of new plays originally commissioned by regional theatres. This article forms part of a five year funded Arts and Humanities Research Council (AHRC) project, ‘Giving Voice to the Nation: The Arts Council of Great Britain and the Development of Theatre and Performance in Britain 1945-1994’. Details of the Arts Council’s archvie, which is housed at the Victoria & Albert Museum in London can be found at http://www.vam.ac.uk/vastatic/wid/ead/acgb/acgbf.html Keywords: Arts Council of Great Britain, regional theatre, playwriting, Festival of Britain, English Stage Company (Royal Court) , Yvonne Mitchell

Late Quaternary geological evolution of the Montenegro and Northern Albania continental margins

The object of this work has been the analysis of natural processes controlling the geological evolution of the Montenegro and Northern Albania Continental Margin (MACM) during the Late Quaternary. These include the modern sediment dispersal system and oceanographic regime, the building and shaping of the shelf margin at the scale of 100 kyr and relative to the most recent transition between glacial and interglacial periods. The analysis of the new data shows that the MACM is a shelf-slope system formed by a suite of physiographic elements, including: an inner and an outer continental shelf, separated by two tectonically-controlled morphological highs; a lobated drowned mid-shelf paleodelta, formed during the last sea level fall and low stand; an upper continental slope, affected by gravity-driven instability and a system of extensional faults with surficial displacement, featuring an orientation coherent with the regional tectonics. The stratigraphic study of the MACM shows a clear correspondence between the Late Pleistocene/Holocene mud-wedge and the low reflectivity sectors of the inner shelf. Conversely, most of the outer shelf and part of the continental slope expose deposits from the last sea level low stand, featuring a general sediment starving condition or the presence of a thin postglacial sediments cover. The MACM shows uplift in correspondence of the Kotor and Bar ridges, and subsidence in the outer shelf and upper slope sectors. In fact, seaward of these tectonic ridges, the sparker seismic profile show the presence of four well-defined seismo-stratigraphic sequences, interpreted as forced regression deposits, formed during the last four main glacial phases. In this way, the MACM records the 100 kyr scale sea level fluctuations on its seismo-stratigraphic architecture over the last 350 kyr. Over such time range, through the identification of the paleoshoreline deposits, we estimated an average subsidence rate of about 1.2 mm/yr.

LINKAGE RELATIONSHIPS AMONG PROTEIN-CODING LOCI IN FISHES OF THE GENUS XIPHOPHORUS

Inbred strains of three species of fishes of the genus Xiphophorus (platyfish and swordtails) were crossed to produce intra- and interspecific F(,1) hybrids, which were then backcrossed to one or both parental stocks. Backcross hybrids were used for the analysis of segregation and linkage of 33 protein-coding loci (whose products were visualized by starch gel electrophoresis) and a sex-linked pigment pattern gene. Segregation was Mendelian for all loci with the exception of one instance of segregation distortion. Six linkage groups of enzyme-coding loci were established: LG I, ADA --6%-- G(,6)PD --24%-- 6PGD; LG II, Est-2 --27%-- Est-3 --0%-- Est-5 --23%-- LDH-1 --16%-- MPI; LG III, AcPh --38%-- G(,3)PD-1 (GUK-2 --14%-- G(,3)PD-1 is also in LG III, but the position of GUK-2 with respect to AcPh has not yet been determined); LG IV, GPI-1 --41%-- IDH-1; LG V, Est-1 --38%-- MDH-2; and LG VI, P1P --7%-- UMPK-1 (P1P is a plasma protein, very probably transferrin).^ Sex-specific recombination appeared absent in LG II and LG IV locus pairs; significantly higher male recombination was demonstrated in LG I but significantly higher female recombination was detected in LG V. Only one significant population-specific difference in recombination was detected, in the G(,6)PD - 6PGD region of LG I; the notable absence of such effects implies close correspondence of the genomes of the species used in the study. Two cases of possible evolutionary conservation of linkage groups in fishes and mammals were described, involving the G(,6)PD - 6PGD linkage in LG I and the cluster of esterase loci in LG II. One clear case of divergence was observed, that of the linkage of ADA in LG I. It was estimated that a minimum of (TURN)50% of the Xiphophorus genome was marked by the loci studied. Therefore, the prior probability that a new locus will assort independently from the markers already established is estimated to be less than 0.5. A maximum of 21 of the 24 pairs of chromosomes could be marked with at least one locus.^ Only the two LG V loci showed a significant association with a postulated gene controlling the severity of a genetically controlled melanoma caused by abnormal proliferation of macromelanophore pigment pattern cells. The independence of melanotic severity from all other informative markers implies that one or at most a few major genes are involved in control of melanotic severity in this system. ^

Role of the monkey ventrolateral prefrontal cortex in the integration of contextual information for the selection and understanding of goal-directed actions

Action selection and organization are very complex processes that need to exploit contextual information and the retrieval of previously memorized information, as well as the integration of these different types of data. On the basis of anatomical connection with premotor and parietal areas involved in action goal coding, and on the data about the literature it seems appropriate to suppose that one of the most candidate involved in the selection of neuronal pools for the selection and organization of intentional actions is the prefrontal cortex. We recorded single ventrolateral prefrontal (VLPF) neurons activity while monkeys performed simple and complex manipulative actions aimed at distinct final goals, by employing a modified and more strictly controlled version of the grasp-to-eat(a food pellet)/grasp-to-place(an object) paradigm used in previous studies on parietal (Fogassi et al., 2005) and premotor neurons (Bonini et al., 2010). With this task we have been able both to evaluate the processing and integration of distinct (visual and auditory) contextual sequentially presented information in order to select the forthcoming action to perform and to examine the possible presence of goal-related activity in this portion of cortex. Moreover, we performed an observation task to clarify the possible contribution of VLPF neurons to the understanding of others’ goal-directed actions. Simple Visuo Motor Task (sVMT). We found four main types of neurons: unimodal sensory-driven, motor-related, unimodal sensory-and-motor, and multisensory neurons. We found a substantial number of VLPF neurons showing both a motor-related discharge and a visual presentation response (sensory-and-motor neurons), with remarkable visuo-motor congruence for the preferred target. Interestingly the discharge of multisensory neurons reflected a behavioural decision independently from the sensory modality of the stimulus allowing the monkey to make it: some encoded a decision to act/refraining from acting (the majority), while others specified one among the four behavioural alternatives. Complex Visuo Motor Task (cVMT). The cVMT was similar to the sVMT, but included a further grasping motor act (grasping a lid in order to remove it, before grasping the target) and was run in two modalities: randomized and in blocks. Substantially, motor-related and sensory-and-motor neurons tested in the cVMTrandomized were activated already during the first grasping motor act, but the selectivity for one of the two graspable targets emerged only during the execution of the second grasping. In contrast, when the cVMT was run in block, almost all these neurons not only discharged during the first grasping motor act, but also displayed the same target selectivity showed in correspondence of the hand contact with the target. Observation Task (OT). A great part of the neurons active during the OT showed a firing rate modulation in correspondence with the action performed by the experimenter. Among them, we found neurons significantly activated during the observation of the experimenter’s action (action observation-related neurons) and neurons responding not only to the action observation, but also to the presented cue stimuli (sensory-and-action observation-related neurons. Among the neurons of the first set, almost the half displayed a target selectivity, with a not clear difference between the two presented targets; Concerning to the second neuronal set, sensory-and-action related neurons, we found a low target selectivity and a not strictly congruence between the selectivity exhibited in the visual response and in the action observation.

Transactions of the Wisconsin State Agricultural Society.

"With an abstract of the correspondence of the secretary."

Fieldworks from the Museum of the Void: Experiments in the Event of an Archive

This exhibition was a research presentation of works made at Center for Land Use Interpretation [CLUI]base in Wendover, Utah, USA between 2008-2010. The project was commissioned by the Centre For Land Interpretation in USA and funded by The Henry Moore Foundation in the UK. Documentation of research conducted in the field as made available as video and installation. An experimental discourse on the preservation of land art was put with GPS drawings and research information displayed as maps and documents. In examining physical sites in Utah, USA, the project connected to contemporary discourse centred on archives in relation to land art and land use. Using experimental processes conceived in relation to key concepts such as event structures and entropy, conceptual frameworks developed by Robert Smithson (USA) and John Latham (UK), the 'death drive' of the archive was examined in the context of a cultural impulse to preserve iconic works. The work took items from Lathams archive and placed them at the canonical 'Spiral Jetty', Smithson land art work at Rozel Point north of Salt Lake City. This became a focus for the project that also highlighted the role of the Getty Foundation in documenting major public artworks and CLUI in creating an American Land Museum. Work was created in the field at extreme remote locations using GPS technologies and visual tools were developed to articulate the concepts of the artists discussed, to engage the exhibition audience in ideas of transformation and entropy in art. Audiences were encouraged to sign a petition to be used in future preservation of spiral jetty currently facing development challenges.

Obrazy muzyki w twórczości Janiny Kraupe-Świderskiej

Filologii Polskiej i Klasycznej: Zakład Dydaktyki Literatury i Języka Polskiego

Selections from the scientific correspondence of Cadwallader Colden with Gronovius, Linnaeus, Collinson, and other naturalists /

"From the American Journal of Science and Arts."

Power through influence : the evolution of arts management in Australia

The purpose of this paper is to frame effective models of arts management for Australia in the nineties and beyond based on an analysis of historical practices. The evolutionary process of government subvention of the arts through non-profit arts organisations provides a clear statement of the role of power and influence. In particular the ascendancy of arts organisations and their management constitute a background against which to study other non-profit corporations.

Leadership as dance : a consideration of the applicability of the ‘mother’ of all arts as the basis for establishing connoisseurship

This article follows the lead of several researchers who claim there is an urgent need to utilize insights from the arts, aesthetics and the humanities to expand our understanding of leadership. It endeavours to do this by exploring the metaphor of dance. It begins by critiquing current policy metaphors used in the leadership literature that present a narrow and functional view of leadership. It presents and discusses a conceptual model of leadership as dance that incorporates key dimensions such as context, dance and music and includes Polyani’s concept of connoisseurship. This article identifies some of the tensions that are inherent in both notions of dance and leadership. The final part of the article discusses the implications the model raises for broadening our understanding of leadership and school leadership preparation programmes. Three core implications raised here are (i) making space for alternative metaphors in leadership preparation programmes; (ii) providing opportunities to students of leadership to understand through alternative learning approaches and (iii) providing opportunities for engagement in alternative research agendas.

Looking Yonder : Longitudinal Research and Evaluation of the Yonder Participative Arts-based Learning Model Report 2010-2012

Since 2007, KITE Arts Education Program @ QPAC has been engaged in a series of arts and drama-based experiences for students in selected primary schools on the edges of Brisbane and in regional Queensland. The in-school workshop experiences of the program have culminated in a performance by the children for their school community, parents and carers at the Queensland Performing Arts Centre or a regional cultural venue. In conducting an analysis of the Yonder project, the researcher aimed to provide evidence of outcomes brought about through participation by schools, school staff, students and their communities in the Yonder project. To develop longitudinal data project initiators, participants were interviewed at six-monthly intervals to establish patterns of engagement and participation. The report analyses arts-based workshops conducted by the teacher artist in edge-city Brisbane and a regional centre; interviews with teachers and school administrators from the participating schools; interviews with teacher artist and professional artists; interviews with community partners; teacher professional development workshops; community-based workshops; performance outcomes that were the culminating events of the workshop program; student work samples and student reflections on the program. This document covers data and project outputs from February 2010 to July 2012. There have been five iterations of the Yonder project since its commencement in mid-2009 — three in regional Queensland (February–April 2010; February–May 2011; February–May 2012) and two in edge-city1 Brisbane (July–September 2010; August–October 2011). This report is a result of a research partnership between Queensland Performing Arts Centre and Queensland University of Technology (QUT) Creative Industries Faculty(Drama).

'These are my photos of when I was little' : Locating Media Arts in the Primary School Curriculum

‘Media Arts’ has been included as a fifth area of the Arts for the Australian Curriculum which will become mandatory learning for all Australian children from pre-school to Year Six (Y6) from 2014. The current curriculum design is underpinned by an approach familiar to media educators who combine creative practice and critical response to develop students’ media literacies. Media Arts within the Australian Curriculum will place Australia at the forefront of international efforts to promote media education as an entitlement for all children. Even with this mandated endorsement, however, there remains ongoing debate about where to locate media education in school curricula. Historically, media education in Australia has been approached through diverse curriculum activities at the secondary school level. These include subject English’s critical literacy objectives; vocationally oriented media and technology education or ICTs education; and Arts courses using new media technologies for creativity. In this chapter we consider the possibilities and challenges for Media Arts, specifically for primary school student learning. We draw on empirical evidence from a research project that has trialled a Media Arts curriculum with students attending a primary school in a low socio-economic status and culturally diverse community on the outskirts of Brisbane, Queensland.