(Table 1) K-Ar age and inert-gas-isotopes at DSDP Holes 68-501, 69-504B and 69-505B

Conventional K-Ar ages have been determined and inert-gas abundances have been measured on representative samples of altered rocks from Deep Sea Drilling Project Holes 501, 504B, and 505B in an attempt to correlate their degree of alteration with inert-gas and K-Ar data. Samples taken from the first 60 meters below the sediment/basalt interface give significantly higher ages than would be expected from the magnetic stratigraphy, though at greater depths the calculated ages are in broad agreement with the expected age. The inert gas ratios 20Ne/36Ar, 36Ar/84Kr, and 84Kr/130Xe also show a marked discontinuity at the 60-meter depth, and all these effects are interpreted as being a consequence of low-temperature alteration produced by burial metamorphism and by interaction with sea water (halmyrolysis).

(Table 1) Downhole variation of potassium, apparent K-Ar age, and inert gas abundances at DSDP Holes 69-504B, 70-504B and 83-504B

Ne, Ar, Kr, Xe, and K2O were measured in representative samples of holocrystalline basalt from DSDP Hole 504B. No hiatus in inert gas abundance is recognized at the base of the "oxic" alteration zone and the extent rather than the nature of alteration appears to determine these abundances. When the inert gas abundances are separately plotted against K2O, two distinct trends of loss emerge, one for alteration involving K-gain, the other for K-loss. Apparent whole-rock K-Ar ages are anomalous in the upper 50 m of basement, and below 300 m sub-basement. In the intervening zone of basement, celadonization adds sufficient potassium and eliminates enough "primary" 40Ar early in the history of the basalts for "excess" 40Ar to become subordinate to radiogenic 40Ar in basalts showing potassium enrichment greater than 0.2%. Stratigraphically correct K-Ar ages are obtained, therefore, from K-enriched basalts of the oxic alteration zone.

DAVID HOMEOMORPHISMS VIA CARLESON BOXES

We construct a family of examples of increasing homeomorphisms of the real line whose local quasi-symmetric distortion blows up almost everywhere, which nevertheless can be realized as the boundary values of David homeomorphisms of the upper half-plane. The construction of such David extensions uses Carleson boxes.

Co-morbidity between alcohol, tobacco and cannabis use: reply to David Fergusson

No abstract

Do dois ao múltiplo na terra do um: a experiência antropológica de David Maybury-Lewis

Este artigo busca uma compreensão da trajetória do antropólogo britânico, radicado nos EUA, David Maybury-Lewis. Aborda aspectos de sua formação intelectual, que envolveram uma longa pesquisa entre os Xavante e um estudo comparativo sobre os povos de língua jê e bororo do Brasil Central. Maybury-Lewis é um nome central para o desenvolvimento de um "americanismo tropical". Entre suas contribuições etnográficas e teóricas, pode-se citar a elaboração de um modelo analítico jê e bororo, a renovação dos estudos de parentesco e a reflexão sobre a relação entre povos indígenas e o Estado. Um tema parece, com efeito, permear a sua obra: o das organizações dualistas. Não por menos, esse foi o motivo de um longo debate com a obra de Lévi-Strauss, que será aqui destacado.

O metacinema norte-americano e o storytelling : de Orson Welles a David Lynch

ABSTRACT: The American metacinema which, by tradition, is narrative but extremely formulaic favours the story above the telling. No man contributed more to alter this state of affairs than Orson Welles, whose cinematic practice exalted the filmic enunciation and linked it more explicitly to the narrative intentions of the creator, making it obvious that metanarrative is synonymous with metacinema. With Citizen Kane (1941), in particular, the cinema was made more disnarrative, as meant by French writer/director Alain Robbe–Grillet, well ahead of Modernism. The fragmented narration, the temporal convolutions, a tendency for paradox and the interpretative obstacles all come together to anticipate the serial practice of David Lynch in his last four features. Structuring the films in segments which constitute different but complementary versions of the same events, Lynch manages to express the director’s enunciation along with the narration of the characters, reinforcing the role of the telling in the midst of the story. In INLAND EMPIRE (2006) the use of mise-en-abyme as a way of duplicating stories and tellers further increases the objective and complicates what is clearly the reign of the puzzle or mind-game film. In the footsteps of Welles, Lynch contributed for an outbreak of metanarrative / metacinematic crossover indie films closer to the European aesthetic practice but still very much within the American narrative tradition.