11:59

At first glance, the gallery seems to be empty. Upon entering however, 11:59 reveals itself to be masking tape placed lackadaisically in seemingly geometric forms. Enter the gallery at 11:59 and you would witness the light and shadows correlate with the gestural marks that have been made. Exploring ideas of time, space, gesture, value and mark-making, this work can be interpreted to be overflowing with confidence and/or impotence. It whispers about site and encounters, over-complication and simplicity, and boldness and hesitancy.

The book of revelations

"Nihilistic act embraces doomsday The Age – December 2012 By Rebecca Harkins-Cross For The Book of Revelations A WOMAN stumbles backwards through the audience, burdened by an overflowing backpack, muttering about the home she’s left behind. When she reaches the mountain onstage, she looks upon its cloud-swirled peak with awe. This stillness is ruptured by an involuntary outburst as she begins spitting out the scourges of the modern world – “nuclear explosion… war… car salesman”, she yells. This is the final show in La Mama’s explorations season, which allows performers to stage works still in development. Devised and performed by theatre maker and academic Alison Richards, it questions our eschatological paranoia that the end times are upon us. It is fitting then that it is premiered on the eve of the Mayan’s prophesised doomsday. Like many pilgrims before her, Ada (Richards) ascends the mountain in search of salvation, but her journey evokes sublime terror; she speaks in tongues, collapses into fitful sleeps. Richards combines operatic singing with an ethereal score by Faye Bendrups, her eruptions into song apparently brought on by the mountain’s ecstatic pull. Richards’ seraphic voice is haunting, the lyrics evoking visions of birth and death. But when Ada finally converses with the heavens, she does not receive the revelations she hopes for: the voice of the divine is nihilistic, urging her to accept the universe’s chaos. While the work is still fragmentary, unfolding like a dream, this is a powerful performance by Richards. Its striking imagery fails to cohere yet in narrative terms, but it is promising nonetheless."

Crystals that count! Physical principles and experimental investigations of DNA tile self-assembly

Algorithmic DNA tiles systems are fascinating. From a theoretical perspective, they can result in simple systems that assemble themselves into beautiful, complex structures through fundamental interactions and logical rules. As an experimental technique, they provide a promising method for programmably assembling complex, precise crystals that can grow to considerable size while retaining nanoscale resolution. In the journey from theoretical abstractions to experimental demonstrations, however, lie numerous challenges and complications.

In this thesis, to examine these challenges, we consider the physical principles behind DNA tile self-assembly. We survey recent progress in experimental algorithmic self-assembly, and explain the simple physical models behind this progress. Using direct observation of individual tile attachments and detachments with an atomic force microscope, we test some of the fundamental assumptions of the widely-used kinetic Tile Assembly Model, obtaining results that fit the model to within error. We then depart from the simplest form of that model, examining the effects of DNA sticky end sequence energetics on tile system behavior. We develop theoretical models, sequence assignment algorithms, and a software package, StickyDesign, for sticky end sequence design.

As a demonstration of a specific tile system, we design a binary counting ribbon that can accurately count from a programmable starting value and stop growing after overflowing, resulting in a single system that can construct ribbons of precise and programmable length. In the process of designing the system, we explain numerous considerations that provide insight into more general tile system design, particularly with regards to tile concentrations, facet nucleation, the construction of finite assemblies, and design beyond the abstract Tile Assembly Model.

Finally, we present our crystals that count: experimental results with our binary counting system that represent a significant improvement in the accuracy of experimental algorithmic self-assembly, including crystals that count perfectly with 5 bits from 0 to 31. We show some preliminary experimental results on the construction of our capping system to stop growth after counters overflow, and offer some speculation on potential future directions of the field.

Transbordamentos: elementos para uma cartografia dos campos cegos nos jogos da arte

O trabalho explora a dinâmica dos jogos plásticos nas artes e das operações de suas obras enquanto máquinas de visão, dispositivos através dos quais determinados aprendizados se desenvolvem enquanto promovem certos processos de invisibilização. Entre negociações dos modos de ver se instaura a instituição do estatuto coletivo do visível. Fatores sociais, tecnológicos, econômicos e políticos se imbricam nessas negociações, implicando na expansão dos processos de produção e reprodução de imagens que culminam na constituição dos campos cegos na cultura visual, áreas abarrotadas de visibilidades ofuscantes. A arte, ciente de ser elemento ativo na constituição dos limites da visão, responde a esse panorama com ações de transbordamento e alargamento desses limites. Adota os campos cegos e suas dinâmicas internas como base para práticas reflexivas. Direciona-se para a identificação de um estatuto do invisível como parte da constituição do próprio estatuto do visível na proposição de experiências sensíveis a partir de diálogos com a invisibilidade. Algumas dessas experiências são analisadas nesta dissertação que reconhece nelas elementos para um mapear dos campos cegos e para uma discussão ampliada da visão

Vivenciando lugares prenhes de significados e decifrando simbologias da rua Sacadura Cabral e Morro da Conceição (RJ), arenas de vida e de pertencimento

A cidade do Rio de Janeiro atravessa um momento de intensas metamorfoses. O porto da cidade, que outrora era conhecido com um túmulo de estrangeiros, hoje procura ostentar a alcunha de Porto Maravilha. Com base nos preceitos da Geografia Humanística - vertente que exploraos dramas, alegrias, entusiasmos e decepções ocorridos no mundo vivido, no âmbito das relações do homem com o espaço - procuramos investigar o poder da identidade e do pertencimento de moradores e frequentadores da Zona Portuária da cidade, marcadamente da rua Sacadura Cabral e do Morro da Conceição. Os lugares em tela atravessam um instigante processo de toporreabilitação, que transborda seus impactos no mundo vivido dos indivíduos, nos elos dos mesmos e para com seus lugares de significado, plenos de simbolismo. Neste contexto, o lugar deve ser visto como um contínuo dinâmico, pleno de nuances, fragrâncias, simbolismos e identidades. Afinados com princípios fenomenológicos, buscamos entender as relações dos indivíduos com seus lares, traduzindo assim a alma dos seus lugares, identidade e simbiose. Apoiado em depoimentos, que portam identidades e traduzem culturas pulsantes, procuramos elucidar a força das vivências e o poder do lugar face às transformações ocorridas nas localidades em destaque.

Bergson e a criação artística

O pensamento de Bergson situa a estética no seio de uma filosofia da natureza, cujo princípio metafísico está longe de qualquer determinismo e do arbítrio do acaso, remetendo-se à irreversibilidade do tempo. Ao invés de disciplina intelectual que busca a natureza da beleza, trata-se, antes, de conduta vital, processo de diferenciação virtual rumo à posição de novidades radicais, podendo ou não desembocar na atividade artística. A arte não é, portanto, um conjunto de atributos atualmente dados ou a prática de habilidades específicas e, sim, um modo de ação que entrelaça os regimes do virtual e do atual sem permitir que a existência se sobreponha à consistência, realizando-se, inclusive, na sua própria abertura. Se o impulso da vida é o que comunica espírito e matéria, inserindo liberdade na necessidade, segue-se que a atividade artística é uma das vias em que desemboca o elã, ao lado dos seres vivos e da expressão mística. A individuação de uma obra implica certos graus de liberdade e níveis de consciência que não se explicam nem pela espécie, nem pelo indivíduo, já que sua contração intuitiva submete a duração do artista a tonalidades não psicológicas e a-subjetivas. Tocado por uma emoção criadora, vai-se realmente do Todo Aberto à colocação de novos mundos. O veículo de ação confunde-se com a própria ação, criatura com criador, de modo que o corpo artístico instaurado é puro transbordamento de vitalidade, consciência de si do tempo.

Entremeio: a constituição de um espaço bureaucrático individual

A presente dissertação acompanha os desdobramentos e estudos realizados durante a elaboração do trabalho intitulado Entremeio: a constituição de um espaço bureaucrático individual. Nela foram destacadas três momentos temporais e textuais: o movimento de chegada a uma cidade estranha e a elaboração do conceito de artista forasteiro, bem como o momento de adaptação ao novo e as perambulações por uma cidade a se desvelar e pulsar em uma potência transbordante; o desenvolvimento de uma coleção de perguntas capturadas em meio aos escritos de diversos autores, observando o efeito de apropriação das mesmas para a constituição de um trabalho artístico que leva em conta a distribuição silenciosa e unilateral de perguntas pelo tecido social da cidade; por fim, a criação de um trabalho que transporta o espaço individual de estudos e trabalho (bureau) para o meio de circulação pública, através da livre ocupação de espaços públicos, abordando as implicações espaciais do público e do privado. Este ensaio busca, ainda, explorar o formato ensaístico de escrita levando em consideração o relato de experiência no decorrer da elaboração de um trabalho artístico

High-resolution record of climate change in the Owens Lake Basin, California, for the period 52,500 to 12,500 YBP

EXTRACT (SEE PDF FOR FULL ABSTRACT): High-resolution oxygen-18 and total inorganic carbon (TIC) studies of cored sediments from the Owens Lake Basin, California, indicate that Owens Lake was hydrologically open (overflowing) most of the time between 52,500 and 12,500 carbon-14 YBP. ... The lack of a strong correspondence between North Atlantic climate records and the Owens Lake delta-oxygen-18 record has two possible explanations: (1) the sequence of large and abrupt climate change indicated in North Atlantic records is not global in scope and is largely confined to the North Atlantic and surrounding areas, or (2) Owens Lake is located in a part of the Great Basin that is relatively insensitive to the effects of climate perturbations recorded in the North Atlantic region.

复杂断块油气藏成藏机理和剩余油预测

Complex fault block reservoir is very important type in chinese oilfield.The reservoir have for many years and it has been the important issue of oil-gas exploration and development in china that how to increase reserves and production. Therefore,taking the Pucheng-oil field as an example, the article intensive study the geologic feature of oil pool, correctly recognize the rule of oil-gas accumulation and based on the fine representation of the characteristic of reservoir, research the remaining oil in high developed area,which is important for progressive exploratioon and development and taping the remaining oil. The article multipurpose uses the data of geology,drilling,wellloging, analysis and assay and so on, under the guidance multi-disciplinary theory, intensify the comprehension of the geologic feature of oil pool in high developed oil field. Based on the high-resolution sequence stratigraphic framework ,the article points out that Es_2 upper 2+3 reservoir in the south area of Pucheng oilfield is in the depositional environment of Terminal Fan, which has constant supply of sedimentary source ,and build the sedimentation model. Studies have shown that the major reservoir in work area is the distributary channel sandbody in central Sub-facies of Terminal Fan，secondary is both lateral accretion sandbodies of channel sands，nearby and far away from the channel overflowing sandbodies in front of the fan. The article analyze the effect of depth of burial of the reservoir, sandstone structure, strata pressure and bioturbate structure on control action of physical property for reservoir and indicate that deposition and diagenesis are major controlling factors.By building the model of reservoir heterogeneity, the article show the magnitude of reservoir heterogeneity ,the genesis and identification mark of Interlayer and build the the model of interlayer. in this area the vertical distribution of interlayer is complicated,but the intraed interlayer distribute steady. Thick interlayer is steady and the thin is relatively spreaded. By building models of fault sealing,stress field and fluid potential field of the south of the pucheng oil field, the regular pattern of fluid migration and accumulation runs out. By researching the elements of oil accumulation, migration pathway and accumulation period with quantification and semiquantitative methods,we bulit the oil-gas reservoir-forming mode of the south of the pucheng oil field,which will be the foundation of the rolling exploratory development in the future. We promulgated the master control element and the rule of distribution of the remaining oil with the upside 2+3 oil layer in shaer in the south of the pucheng oil field as an example.In this area, the formation and the distribution of the remaining oil is controled by the sedimentary microfacies, reservoir heterogeneity,fault and reservoir engineering. The remaining oil is concentrated in the vicinity of the gas cap, updip of the fault block and the area with incomplete flooding. Remaining oil saturation in some area can get 50%, so there are many places in which we can enhance oil recovery.

Rapid changes in the level of Kluane Lake in Yukon Territory over the last millennium

The level of Kluane Lake, the largest lake in Yukon Territory, was lower than at present during most of the Holocene. The lake rose rapidly in the late seventeenth century to a level 12 m above present, drowning forest and stranding driftwood on a conspicuous high-stand beach, remnants of which are preserved at the south end of the lake. Kluane Lake fell back to near its present level by the end of the eighteenth century and has fluctuated within a range of about 3 m over the last 50 yr. The primary control on historic fluctuations in lake level is the discharge of Slims River, the largest source of water to the lake. We use tree ring and radiocarbon ages, stratigraphy and sub-bottom acoustic data to evaluate two explanations for the dramatic changes in the level of Kluane Lake. Our data support the hypothesis of Hugh Bostock, who suggested in 1969 that the maximum Little Ice Age advance of Kaskawulsh Glacier deposited large amounts of sediment in the Slims River valley and established the present course of Slims River into Kluane Lake. Bostock argued that these events caused the lake to rise and eventually overflow to the north. The overflowing waters incised the Duke River fan at the north end of Kluane Lake and lowered the lake to its present level. This study highlights the potentially dramatic impacts of climate change on regional hydrology during the Little Ice Age in glacierised mountains. © 2006 University of Washington.

La caméra catalytique : du transfert d’affects du corps-filmant au corps-regardant dans les films de John Cassavetes et de Philippe Grandrieux

Cette étude a pour principal objectif d’examiner l’usage de la caméra à l’épaule dans les films de fiction Faces de John Cassavetes et La Vie nouvelle de Philippe Grandrieux. Loin d’associer la caméra portée à la vision subjective d’un personnage, ces cinéastes semblent plutôt inscrire la caméra et son tremblé comme un tiers autonome qui entre néanmoins dans la zone fictionnelle. Par la position similaire qu’ils attribuent à la caméra et par l’importance qu’ils accordent à l’improvisation au tournage, ces deux cinéastes créent une proximité entre le personnage et la caméra, qui a un impact sur l’esthétique visuelle de leurs films. De par cette esthétique affectée, l’expérience vécue par le spectateur devant le film est intensifiée. En interrogeant le processus de création, l’esthétique de la caméra à l’épaule ainsi que la réception spectatorielle, nous verrons comment un tel transfert d’affect est rendu possible par cette tripartition. Pour faire l’analyse de ce transfert affectif, phénomène causé par ce que nous pourrons appeler la caméra catalytique, nous nous appuierons sur quelques philosophies choisies.

Evaluation of modelled regional water balance using lake status data: a comparison of 6ka simulations with the NCAR CCM

Variations in lake area and depth reflect climatically induced changes in the water balance of overflowing as well as closed lakes. A new global data base of lake status has been assembled, and is used to compare two simulations for 6 ka (6000 yr ago) made with successive R15 versions of the NCAR Community Climate Model (CCM). Simulated water balance was expressed as anomalies of annual precipitation minus evaporation (P-E); observed water balance as anomalies of lake status. Comparisons were made visually, by comparing regional averages, and by a statistic that compares the signs of simulated P-E anomalies (smoothly interpolated to the lake sites) with the status anomalies. Both CCM0 and CCM1 showed enhanced Northern-Hemisphere monsoons at 6 ka. Both underestimated the effect, but CCM1 fitted the spatial patterns better. In the northern mid- and high-latitudes the two versions differed more, and fitted the data less satisfactorily. CCM1 performed better than CCM0 in North America and central Eurasia, but not in Europe. Both models (especially CCM0) simulated excessive aridity in interior Eurasia. The models were systematically wrong in the southern mid-latitudes. Problems may have been caused by inadequate treatment of changes in sea-surface conditions in both models. Palaeolake status data will continue to provide a benchmark for the evaluation of modelling improvements.

Estilo S.M: a poética do obsceno em A hora da estrela

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)