Owl song : a study in tragedy

The thesis is a creative work with exegesis. The creative component is a playscript exploring European tragic form within a mythologised Australian context. The exegesis examines the research material that informed the playwriting process; including tragic theory, dramatic character, place and landscape, and the use of landscape in theatre.

Analysis of Parameter Values in the van der Waals and Platteeuw Theory for Methane Hydrates Using Monte Carlo Molecular Simulations

The van der Waals and Platteuw (vdVVP) theory has been successfully used to model the thermodynamics of gas hydrates. However, earlier studies have shown that this could be due to the presence of a large number of adjustable parameters whose values are obtained through regression with experimental data. To test this assertion, we carry out a systematic and rigorous study of the performance of various models of vdWP theory that have been proposed over the years. The hydrate phase equilibrium data used for this study is obtained from Monte Carlo molecular simulations of methane hydrates. The parameters of the vdWP theory are regressed from this equilibrium data and compared with their true values obtained directly from simulations. This comparison reveals that (i) methane-water interactions beyond the first cage and methane-methane interactions make a significant contribution to the partition function and thus cannot be neglected, (ii) the rigorous Monte Carlo integration should be used to evaluate the Langmuir constant instead of the spherical smoothed cell approximation, (iii) the parameter values describing the methane-water interactions cannot be correctly regressed from the equilibrium data using the vdVVP theory in its present form, (iv) the regressed empty hydrate property values closely match their true values irrespective of the level of rigor in the theory, and (v) the flexibility of the water lattice forming the hydrate phase needs to be incorporated in the vdWP theory. Since methane is among the simplest of hydrate forming molecules, the conclusions from this study should also hold true for more complicated hydrate guest molecules.

Influence of van der Waals and Casimir Forces on Electrostatic Torsional Actuators

The influence of van der Waals (vdW) and Casimir forces on the stability of the electrostatic torsional nanoelectromechanical systems (NEMS) actuators is analyzed in the paper. With the consideration of vdW and Casimir effects, the dependence of the critical tilting angle and pull-in voltage on the sizes of structure is investigated. And the influence of vdW torque is compared with that of Casimir torque. The modified coefficients of vdW and Casimir torques on the pull-in voltage are, respectively, calculated. When the gap is sufficiently small, pull-in can still take place with arbitrary small angle perturbation because of the action of vdW and Casimir torques even if there is not electrostatic torque. And the critical pull-in gaps for two cases are, respectively, derived.

Cinema Lucida: Johan van der Keuken and the Meaning of Loss

Ever sceptical about the positivistic claims of ethnographic and so-called realist documentary, Johan van der Keuken’s film-making is the work of a curious, spontaneous and disorientated observer of the essential strangeness of both the foreign and the familiar, new landscapes and cities, experiences, and people. While there are various explicitly political and socially orientated films and themes across his work, it is those films and moments when what is being conveyed is a sense of him being somewhere liminal, being ‘in-between’ situations, cultures, styles and interpretations, reticent, uncertain but incorrigibly curious that constitute his most valuable contribution to documentary film aesthetics. Not surprisingly, such characteristics often come to the fore in those films where he tries to make sense of loss, the passing of lives and the legacies left behind. This article discusses questions of history and personal loss in a number of his films.

Mutations in IRF6 cause Van der Woude and popliteal pterygium syndromes

Interferon regulatory factor 6 (IRF6) belongs to a family of nine transcription factors that share a highly conserved helix-turn-helix DNA-binding domain and a less conserved protein-binding domain. Most IRFs regulate the expression of interferon-alpha and -beta after viral infection(1), but the function of IRF6 is unknown. The gene encoding IRF6 is located in the critical region for the Van der Woude syndrome (VWS; OMIM 119300) locus at chromosome 1q32-q41 (refs 2,3). The disorder is an autosomal dominant form of cleft lip and palate with lip pits(4), and is the most common syndromic form of cleft lip or palate. Popliteal pterygium syndrome (PPS; OMIM 119500) is a disorder with a similar orofacial phenotype that also includes skin and genital anomalies(5). Phenotypic overlap(6) and linkage data(7) suggest that these two disorders are allelic. We found a nonsense mutation in IRF6 in the affected twin of a pair of monozygotic twins who were discordant for VWS. Subsequently, we identified mutations in IRF6 in 45 additional unrelated families affected with VWS and distinct mutations in 13 families affected with PPS. Expression analyses showed high levels of Irf6 mRNA along the medial edge of the fusing palate, tooth buds, hair follicles, genitalia and skin. Our observations demonstrate that haploinsufficiency of IRF6 disrupts orofacial development and are consistent with dominant-negative mutations disturbing development of the skin and genitalia.

Twentieth Century Modern Architecture and the Countryside: Ludwig Mies van der Rohe's design for a country gold clubhouse for the Krefeld Golf Club Association

This paper investigates relationships between modernity and monumentality in the architecture of Ludwig Mies van der Rohe. In his Modern Architecture, the critic and historian Kenneth Frampton separated Mies’ work into two historical periods, 1921-1933 and 1933-1967; the first he entitled ‘Mies van der Rohe and the significance of fact,’ the second ‘Mies van der Rohe and the monumentalisation of technique.’ The two historical periods correspond to two different geopolitical phases of Mies’ career, the first in Weimar Germany the second in the United States. By looking at a number of designs and texts made by Mies in the 1930’s and 1940’s, this essay questions the validity of separating Mies’ architecture into such clear-cut categories, where each one can enjoy a seeming independence from the other. The fulcrum for the discussion is Mies’ design of 1930 for a country golf clubhouse for the industrial town of Krefeld in north-western Germany. Our attention to the golf clubhouse design was prompted by the recent installation (2013), in which a 1-1 model of the design, made primarily from plywood, was erected in a field close the the site of Mies' original proposal.

Prevalence and nonrandom distribution of exonic mutations in interferon regulatory factor 6 in 307 families with Van der Woude syndrome and 37 families with popliteal pterygium syndrome

Purpose: Interferon regulatory factor 6 encodes a member of the IRF family of transcription factors. Mutations in interferon regulatory factor 6 cause Van der Woude and popliteal pterygium syndrome, two related orofacial clefting disorders. Here, we compared and contrasted the frequency and distribution of exonic Mutations in interferon regulatory factor 6 between two large geographically distinct collections of families with Van der Woude and between one collection of families with popliteal pterygium syndrome. Methods: We performed direct sequence analysis of interferon regulatory factor 6 exons oil samples from three collections, two with Van der Woude and one with popliteal pterygium syndrome. Results: We identified mutations in interferon regulatory factor 6 exons in 68% of families in both Van der Woude collections and in 97% of families with popliteal pterygium syndrome. In sum, 106 novel disease-causing variants were found. The distribution of mutations in the interferon regulatory factor 6 exons in each collection was not random; exons 3, 4, 7, and 9 accounted for 80%. In the Van der Woude collections, the mutations were evenly divided between protein truncation and missense, whereas most mutations identified in the popliteal pterygium syndrome collection were missense. Further, the missense mutations associated with popliteal pterygium syndrome were localized significantly to exon 4, at residues that are predicted to bind directly to DNA. Conclusion: The nonrandom distribution of mutations in the interferon regulatory factor 6 exons suggests a two-tier approach for efficient mutation screens for interferon regulatory factor 6. The type and distribution of mutations are consistent with the hypothesis that Van der Woude is caused by haploinsufficiency of interferon regulatory factor 6. Oil the other hand, the distribution of popliteal pterygium syndrome-associated mutations suggests a different, though not mutually exclusive, effect oil interferon regulatory factor 6 function. Genet Med 2009:11(4):241-247.

Prevalence and nonrandom distribution of exonic mutations in interferon regulatory factor 6 in 307 families with Van der Woude syndrome and 37 families with popliteal pterygium syndrome

Purpose: Interferon regulatory factor 6 encodes a member of the IRF family of transcription factors. Mutations in interferon regulatory factor 6 cause Van der Woude and popliteal pterygium syndrome, two related orofacial clefting disorders. Here, we compared and contrasted the frequency and distribution of exonic Mutations in interferon regulatory factor 6 between two large geographically distinct collections of families with Van der Woude and between one collection of families with popliteal pterygium syndrome. Methods: We performed direct sequence analysis of interferon regulatory factor 6 exons oil samples from three collections, two with Van der Woude and one with popliteal pterygium syndrome. Results: We identified mutations in interferon regulatory factor 6 exons in 68% of families in both Van der Woude collections and in 97% of families with popliteal pterygium syndrome. In sum, 106 novel disease-causing variants were found. The distribution of mutations in the interferon regulatory factor 6 exons in each collection was not random; exons 3, 4, 7, and 9 accounted for 80%. In the Van der Woude collections, the mutations were evenly divided between protein truncation and missense, whereas most mutations identified in the popliteal pterygium syndrome collection were missense. Further, the missense mutations associated with popliteal pterygium syndrome were localized significantly to exon 4, at residues that are predicted to bind directly to DNA. Conclusion: The nonrandom distribution of mutations in the interferon regulatory factor 6 exons suggests a two-tier approach for efficient mutation screens for interferon regulatory factor 6. The type and distribution of mutations are consistent with the hypothesis that Van der Woude is caused by haploinsufficiency of interferon regulatory factor 6. Oil the other hand, the distribution of popliteal pterygium syndrome-associated mutations suggests a different, though not mutually exclusive, effect oil interferon regulatory factor 6 function. Genet Med 2009:11(4):241-247.

Material, espacio y color en Mies van der Rohe. Café Samt & Seide: Hacia una Propuesta Estructural

La aparición de varias fotografías del Café Samt & Seide no publicadas hasta 2008 en las que se observaba la luz natural de la exposición; los planos a escala de la nave donde se realizó la exposición textil; y los croquis inéditos de la instalación de la seda localizados durante el transcurso de la Tesis Doctoral por el doctorando en el plano de la Sala de Cristal, han sido las principales aportaciones de la búsqueda documental que ha tenido por objeto el conocimiento espacial e interpretación gráfica del proyecto expositivo realizada durante el transcurso de la Tesis Doctoral para poder profundizar en el alcance de la propuesta protoarquitectónica y, a través de ella, en la obra y pensamiento de Mies van der Rohe. Material, espacio y color son elementos propuestos como capítulos que estructuran la disertación y que son empleados por Mies van der Rohe como factores de una nueva expresión espacial en la exposiciones como ensayos identificados con su idea de arquitectura. En el Café Samt & Seide, Mies van der Rohe y Lilly Reich proponen una sensibilidad en el empleo del material y color trasladada al espacio mediante una atmósfera rítmica y en movimiento de superficies abstraídas e iluminadas. La estructura visual de opuestos nace del doble material textil de la exposición desplegándose en un orden espacial y constructivo de elementos independientes iniciado en los apartamentos de la Colonia Weissenhof y Sala de Cristal de Stuttgart 1926-1927, y que será trasladado desde los espacios experimentales de 1927 a las series de mármoles y cristales del Pabellón Alemán 1928-1929. La síntesis intelectual (arte-ciencia-filosofía) guía el proceso de formalización y la técnica en una intención que será trasladada a su arquitectura en el empleo de la tecnología. La creatividad y repercusión de las vanguardias en la instalación muestra la voluntad integradora de la exposición y arquitectura como arte total. Los aspectos interpretativos de las artes plásticas, visuales y musicales se integran como criterios y sensibilidades aplicadas a las estructuras yuxtapuestas material, espacial y de color. Modernidad y tradición tectónica convergen en este espacio construido cuyas superficies cubren un armazón metálico oculto. La construcción mínima textil será incorporada como idea de forma en la futura construcción del pilar metálico, la pared flotante de sus viviendas y pabellones abiertos a la naturaleza, y la gran fachada tecnológica del espacio público de sus agrupaciones en la ciudad. El espacio total del Café Samt & Seide dentro de la gran nave de Berlín anticipa las exposiciones artísticas e industriales realizadas junto a Lilly Reich en el interior de las espaciosas salas de estructura metálica como instalaciones conceptuales de gravedad y luz antecedentes de los pabellones de grandes dimensiones y espacio universal. Arquitectura, construcción y lugar son integrados en la instalación por el principio estructural como propuesta de una idea de arquitectura que es desarrollada en las exposiciones. Oscilador y bastidor son construcciones escaladas dentro de la gran nave iluminada, expresando el conjunto un orden de partes que reflejan un todo integrado en la naturaleza y lo universal. Las múltiples relaciones espaciales, constructivas y conceptuales de la exposición con su arquitectura desvelan al Café Samt & Seide como un exponente y antecedente de su obra e idea a la que definió como una propuesta estructural. La estructura, entendida como un conjunto de valores culturales y medios técnicos, es el concepto con el que Mies van der Rohe identifica la síntesis intelectualtecnológica de su tiempo, constituyendo la finalidad de su expresión material, espacial y de color. ABSTRACT The unpublished pictures of the Café Samt & Seide appeared in 2008 in which the natural light in the exhibition can be seen; the scaled plan of the nave where the textile exhibition was held; and the unpublished sketches of the silk exhibition located by the doctoral candidate while preparing his dissertation have been the main input of the data search aiming at a better understanding of the space and a graphic interpretation of the exhibition project made by the doctoral candidate during the dissertation as a basic requirement to deepen in the scope of this protoarchitectural proposal and, though it, into Mies van der Rohe’s work and thinking. Material, space and colour are the elements put forward as the chapters structuring this dissertation and were used by Mies van der Rohe as factors of a new spatial expression in expositions as tests identified with his idea of architecture. In Café Samt & Seide, Mies van der Rohe and Lilly Reich present material and colour sensitivity transferred to space though a rhythmic and moving atmosphere made up by abstracted and lit surfaces. Such a visual grammar and oppositions unfolds into a space and constructive order of independent elements originated with the apartments of the Weissenhof Colony and Glass Room in Stuttgart 1926-1927, and which were transferred these test spaces 1927 to the series of marble and glass in the German Pavilion 1928-1929. The intellectual and formal will (art-science-philosophy) guides the technical expression, which is transferred to architecture through technology. The creativity and impact of avant-gardes in the installation reflects exhibition and architecture’s will to integrate as a Total Art. The interpretative aspects of plastic, visual and musical arts are part of a sensitivity applied to the overlapped structures of material, space and colour. Tectonic modernity and tradition converge in this space built with surfaces covering a hidden metal framework. The minimal textile construction is integrated as a shape idea in his subsequent construction of the metal pillar, floating wall in his housing and pavilions open to nature, and the great technological façade of the public space of his urban clusters. The total space of the exhibition inside the great nave in Berlin anticipates the artistic and industrial exhibitions done together with Lilly Reich inside the spacious Halls built with exposed metal structures as conceptual installation of gravity and light prior to the big-dimensioned pavilions and universal space. Architecture, construction and place are integrated by the structural principle. Oscillator and framework are scaled constructions integrated inside the great, lit nave, and the whole conveys order of its parts reflecting a whole integrated in nature and the universal. The many conceptual, space and constructive link of the textile exhibition to his European and American architecture add a greater knowledge of the time when Mies van der Rohe stated he gained a “new awareness” 1926, revealing Café Samt & Seide as a valuable example and the experimental precursor of his work and idea defined by himself as a “structural proposal”. The structure, understood as a set of cultural and material values expressed by architecture, is the notion used by Mies van der Rohe to identify the intellectual-technological synthesis as the idea of a time and which is the goal of its material, space and colour expression.

Author's reply to: Ankylosing spondylitis: evidence for a non-HLA-B*27 protective effect, Sjef Van Der Linden, Desieree Van Der Heijde

As mentioned in the letter by van der Linden and van der Heijde, Jurgen Braun’s excellent recent paper describing a survey of blood donors by questionnaire, clinical, and magnetic resonance imaging examinations revealed a prevalence of ankylosing spondylitis in B27 positive blood donors (6.4%)1-1 very similar to that reported by Gran et al(6.7%).1-2 It is probable that some of the differences in reported prevalence of ankylosing spondylitis by the various studies are because of methodological differences.