Registrum prioratus omnium sanctorum juxta Dublin.

Introduction and notes in English.

Anaerobic performance in ice hockey : the effect of skate blade radius of hollow

The purpose of the study was to investigate the effect of skate blade radius of hollow (ROH) on anaerobic performance, specifically during the acceleration and stopping phases of an on-ice skating test. Fifteen, male Junior B hockey players (mean age 19 y ± 1.46) were recruited to participate. On-icc testing required each participant to complete an on-ice anaerobic performance test [Reed Repeat Skate (RRS)) on three separate days. During each on-ice test, the participant's skate blades were sharpened to one of three, randomly assigned, ROH values (0.63 cm, 1.27 cm, 1.90 cm). Performance times were recorded during each RRS and used to calculate anaerobic variables [anaerobic power (W), anaerobic capacity (W), and fatigue index (s, %)). Each RRS was video recorded for the purpose of motion analysis. Video footage was imported into Peak Motus™ to measure kinematic variables of the acceleration and stopping phases. The specific variables calculated from the acceleration phase were: average velocity over 6 m (m/s), average stride length (m), and mean stride rate (strides/s). The specific variables calculated from the stopping phase were: velocity at initiation of stopping (rn/s), stopping distance (m), stopping time (s). A repeated measures ANOV A was used to assess differences in mean performance and kinematic variables across the three selected hollows. Further analysis was conducted to assess differences in trial by trial performance and kinematic variables for all hollows. The primary findings of the study suggested that skate blade ROH can have a significant effect on kinematic variables, namely stride length and stride rate during the acceleration phase and stopping distance and stopping time during the stopping phase of an on-ice anaerobic performance test. During the acceleration phase, no significant difdifferences were found in SR and SL across the three selected hollows. Mean SR on the 1.27 cm hollow was significantly slower than both the 0.63 cm and 1.90 cm hollows and SL was significantly longer when skating on the 1.27 cm hollow in comparison to the 1.90 cm hollow. During the stopping phase, stopping distance on the 0.63 cm hollow (4.12 m ± 0.14) was significantly shorter than both the 1.27 cm hollow (4.43 m ± 0.08) (p < 0.05) and the 1.90 cm ho])ow (4.35 m ± 0.12) (p < 0.05). Mean ST was also significantly shorter when stopping on the 0.63 cm hollow then both the 1.27 cm and 1.90 cm hollows. Trial by trial results clearly illustrated the affect of fatigue on kinematic variables; AV, SR, IV decreased from trial 1 to 6. There was no significant effect on anaerobic performance variables during the RRS. Altering the skate blade ROH has a significant and practical affect on accelerating and stopping performance will be discussed in this paper.

A general catalogue of books in all languages, arts and sciences: that have been printed in Ireland and published in Dublin, from the year 1700, to the present time. The whole alphabetically and classically arranged under the several branches of literature, with their sized and prices.

Xerox copy made in 1966 by the Photduplication Dept., Library of Congress.

Medical botany, or, illustrations and descriptions of the medicinal plants of the London, Edinburgh, and Dublin pharmacopoeias : comprising a popular and scientific account of all those poisonous vegetables that are indigenous to Great Britain /

Mode of access: Internet.

Rejoyce Dublin 2004: Revived copyrights and public exhibitions

This article considers the impact of the copyright term extension upon public exhibitions in libraries and cultural institutions. It focuses upon the legal action taken by the Joyce Estate to prevent the staging of "Rejoyce Dublin 2004", a festival celebrating the centenary of Bloomsday. It evaluates the emergency legislation rushed through by the Irish Parliament, Copyright and Related Rights (Amendment) Act 2004 (Ireland) to safeguard the celebrations. It concludes that copyright law needs to be revised to promote the interests of libraries and other cultural institutions.

All-optical signal processing using semiconductor optical amplifiers for next generation optical networks

This thesis details an experimental and simulation investigation of some novel all-optical signal processing techniques for future optical communication networks. These all-optical techniques include modulation format conversion, phase discrimination and clock recovery. The methods detailed in this thesis use the nonlinearities associated with semiconductor optical amplifiers (SOA) to manipulate signals in the optical domain. Chapter 1 provides an introduction into the work detailed in this thesis, discusses the increased demand for capacity in today’s optical fibre networks and finally explains why all-optical signal processing may be of interest for future optical networks. Chapter 2 discusses the relevant background information required to fully understand the all-optical techniques demonstrated in this thesis. Chapter 3 details some pump-probe measurement techniques used to calculate the gain and phase recovery times of a long SOA. A remarkably fast gain recovery is observed and the wavelength dependent nature of this recovery is investigated. Chapter 4 discusses the experimental demonstration of an all-optical modulation conversion technique which can convert on-off- keyed data into either duobinary or alternative mark inversion. In Chapter 5 a novel phase sensitive frequency conversion scheme capable of extracting the two orthogonal components of a quadrature phase modulated signal into two separate frequencies is demonstrated. Chapter 6 investigates a novel all-optical clock recovery technique for phase modulated optical orthogonal frequency division multiplexing superchannels and finally Chapter 7 provides a brief conclusion.

Crystal Creatures: Context for the Dublin Blaschka Congress

The ‘Dublin Blaschka Congress’ was conceived as a gathering to bring together the diverse scholarly disciplines that are uniquely, if eccentrically, joined in the study of scientific glass models. Leopold and Rudolf Blaschka are best known for the ‘Glass Flowers’ of Harvard but in the nineteenth century they also invented techniques to sculpt anatomically accurate marine invertebrates in glass. In the course of preparing the Congress and a coordinated temporary exhibition, much new information was uncovered about the collections of Blaschka objects in Ireland, including a total of nearly 800 surviving models. The history of the artists shows a clever business model that was designed to tap a niche market in the contemporary fascination with natural history, and improved through the course of several decades with input from clients and their own passion for understanding their biological subjects. From a modern perspective, a single Blaschka glass model of a marine invertebrate can embody biology, the history of science, craftsmanship, glass chemistry, aesthetics and art. This ability to cross interdisciplinary bridges is a singular strength of the Blaschka works, and is evident in the published proceedings of the Congress.

Synchronized phasor measurement on the All-Ireland electrical network

Variations in the phase angle difference between a remote 11kV connected wind farm and the centre of Belfast during a typical working day are investigated in the paper. The results obtained using phasor measurement units (PMUs) are compared with the data generated using a PSS/E simulator configured to model the N.Ireland network. The study investigates the effect of changes in the load demand and the wind farm output power on the phase angles at various locations on the network. The paper finally describes how a major system disturbance on the All-Ireland network was monitored and analysed using PMUs located at Queen's University, Belfast and University College Dublin. ©2007 IEEE.

'Something That Unites Us All': Understandings of St. Patrick's Day Parades as Representing the Irish National Group

The present study investigates how attendees at national celebratory crowd events-specifically St. Patrick's Day parades-understand the role of such events in representing and uniting the national community. We conducted semi-structured interviews with people who attended St. Patrick's Day parades in either Dublin or Belfast. In year 1, full-length interviews were conducted before and after the events (N=17), and in years 1 and 2, shorter interviews were conducted during the events (year 1 N=170; year 2 N=142). Interview data were analysed using thematic analysis, allowing the identification of three broad themes. Participants reported that (i) the events extend the boundary of the national group, using participation to define who counts as Irish; (ii) the events strategically represent the nature of the national group, maximising positive images and managing stereotypical representations; and (iii) symbolism serves to unify the group but can also disrupt already fragile unity and so must be managed. Overall, this points to a strategic identity dimension to these crowd events. We discuss the implications of these findings for future research in terms of the role of large-scale celebratory events in the strategic representation of everyday social identities.

The Dublin Lock Hospital: Medicine, Morality, Disease and Sin

Anecdotal evidence has it that when Dublin’s venereal disease hospital closed its doors for the last time in the 1950s, its administrative staff began to burn its records, starting with the most recent. This attempt to conceal the results of sexual profligacy is perhaps understandable in the rarefied climate of mid-century Catholic Ireland. However, the sense of shame attached to this institution has been pervasive. For example, of all Dublin’s major hospitals, the lock hospital remains the only one without a dedicated history. And, throughout its two centuries of existence, the ‘lock’ had often been a site of controversy and approbation.

The institution began in the eighteenth century as the most peripatetic, poor relation of the city’s voluntary hospitals, wandering indiscriminately through a series of temporary premises before finally achieving a permanent home and official recognition as a military-sponsored medical hospital in 1792. It also gained architectural extensions by both Richard and Francis Johnston and in the following decades. This new-found status and a growing re-conceptualisation of venereal disease as a legitimate medical problem rather than a matter of morality was, however, somewhat compromised by the choice of site at Townsend Street. The institution occupied a hidden part of city, appropriating the vacated home of the Hospital for Incurables, another marginalised group whose presence in the city had been viewed through the lens of superstition and fear. For the rest of its existence, the lock hospital would share this experience occupying a nebulous position between medicine and morality; disease and sin.

Using what’s left of the hospital’s records and a series of original architectural drawings, this paper discusses the presence and role of the lock hospital in the city in the eighteenth and early nineteenth century, tracking how changes in its administration and architectural form reflected wider attitudes towards disease, sexuality and gender in Georgian Dublin.

Dublin 1916: theatre of revolt

At Easter 1916, Dublin city centre was one of a series of sites throughout Ireland where a rebellion was staged against British rule. It was a strategic failure, swiftly crushed by superior British forces. The event, however, subsequently took a central role in the mythology of modern Ireland.

The first visual representations were of the conflict’s aftermath: photographic journeys through landscapes of ruin. From the distance of the camera, we see none of the pockmarks of shell bursts, nor the etchings of machine guns. Instead, traces of life in the city seem to have been swept aside by an unseen hand: the passing of millennia or a violent action of nature. Architecture alone has witnessed and recorded its presence. Amongst the fragments, the shell of the General Post Office (G.P.O.) in Sackville Street is one of the few buildings still wholly recognizable. The remnants of its classical form, portico and pediment, columns and entablature seem to transcend its prosaic modern functions and allude to something more ancient. The bewilderment of city’s inhabitants is also recorded. Dubliners have become inquisitive tourists in streets which hitherto were the locus of everyday life. They wander around aimlessly in a landscape as alien and picturesque as Pompeii. This shift in perception was captured by the Irish poet W.B. Yeats who hinted that Dublin, purged of modern commercialism had transcended its petty inadequacies to revive a slumbering heroic past.

‘I have met them at the close of day
Coming with vivid faces
From counter or desk among grey
Eighteenth-century houses [.]’
All is changed, changed utterly:
A terrible beauty is born.’

His comments were prescient. Initially unpopular, the republican leaders, executed by the British, slowly became recast as heroic martyrs. Similarly, the spaces where their heroism was forged became venerated. The G.P.O. and Sackville Street, however, already had a republican history. It was originally conceived in the eighteenth century as part of a series of magnificent urban spaces to provide an arena of spectacle and self-celebration for the colonial Anglo-Irish and their vision of a Protestant republic. O’Connell/Sackville Street became the temporal, geographical and mythical hinge upon which two different versions of Irish republicanism waxed and waned. Its recasting after independence as a space of Catholic Nationalism bore testimony to its consistency in providing a backdrop for the production of ritual and myth. In the 1920s and 30s, as the nascent country, beset with economic stagnation and political tensions, turned to spectacle as a salve for it social problems, O’Connell Street and the G.P.O. provided its most sacred sites. Within the introduction of new myths, however, individual as well as national identities were created and consolidated. The emerging identity of modern Ireland became inextricably linked with that of one ambitious politician. His uses of the G.P.O. in particular revealed a perceptive understanding of the political uses of classical architecture and urban space.

Dublin 1916: theatre of revolt

In his essay, Anti-Object, Kengo Kuma proposes that architecture cannot and should not be understood as object alone but instead always as series of networks and connections, relationships within space and through form. Some of these relationships are tangible, others are invisible. Stan Allen and James Corner have also called for an architecture that is more performative and operative – ‘less concerned with what buildings look like and more concerned with what they do’ – as means of effecting a more intimate and promiscuous relationship between infrastructure, urbanism and buildings. According to Allen this expanding filed offers a reclamation of some of the areas ceded by architecture following disciplinary specialization:

‘Territory, communication and speed are properly infrastructural problems and architecture as a discipline has developed specific technical means to deal with these variables. Mapping, projection, calculation, notation and visualization are among architecture’s traditional tools for operating at the very large scale’.

The motorway may not look like it – partly because we are no longer accustomed to think about it as such – but it is a site for and of architecture, a territory where architecture can be critical and active. If the limits of the discipline have narrowed, then one of the functions of a school of architecture must be an attempt occupy those areas of the built environment where architecture is no longer, or has yet to reach. If this is a project about reclamation of a landscape, it is also a challenge to some of the boundaries that surround architecture and often confine it, as Kuma suggests, to the appreciation of isolated objects.

M:NI 2014-15
We tend to think of the motorway as a thing or an object, something that has a singular function. Historically this is how it has been seen, with engineers designing bridges and embankments and suchlike with zeal … These objects like the M3 Urban Motorway, Belfast’s own Westway, are beautiful of course, but they have caused considerable damage to the city they were inflicted upon.

Actually, it’s the fact that we have seen the motorway as a solid object that has caused this problem. The motorway actually is a fluid and dynamic thing, and it should be seen as such: in fact it’s not an organ at all but actually tissue – something that connects rather than is. Once we start to see the motorway as tissue, it opens up new propositions about what the motorway is, is used for and does. This new dynamic and connective view unlocks the stasis of the motorway as edifice, and allows adaptation to happen: adaptation to old contexts that were ignored by the planners, and adaptation to new contexts that have arisen because of or in spite of our best efforts.

Motorways as tissue are more than just infrastructures: they are landscapes. These landscapes can be seen as surfaces on which flows take place, not only of cars, buses and lorries, but also of the globalized goods carried and the lifestyles and mobilities enabled. Here the infinite speed of urban change of thought transcends the declared speed limit [70 mph] of the motorway, in that a consignment of bananas can cause soil erosion in Equador, or the delivery of a new iphone can unlock connections and ideas the world over.

So what is this new landscape to be like? It may be a parallax-shifting, cognitive looking glass; a drone scape of energy transformation; a collective farm, or maybe part of a hospital. But what’s for sure, is that it is never fixed nor static: it pulses like a heartbeat through that most bland of landscapes, the countryside. It transmits forces like a Caribbean hurricane creating surf on an Atlantic Storm Beach: alien forces that mutate and re-form these places screaming into new, unclear and unintended futures.

And this future is clear: the future is urban. In this small rural country, motorways as tissue have made the whole of it: countryside, mountain, sea and town, into one singular, homogenous and hyper-connected, generic city.

Goodbye, place. Hello, surface!