709 resultados para seeing


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We doubt that theory of mind can be sufficiently demonstrated without reliance on verbal tests. Where language is the major tool of social manipulation, an effective theory of mind must use language as an input. We suspect, therefore, that in this context, prelinguistic human and nonhuman minds are more alike than are human pre- and postlinguistic minds.

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The role of Ca2+ in the regulation of the cell cycle has been investigated mostly in studies assessing global cytosolic free Ca2+. Recent studies, however, have used unique techniques to assess Ca2+ in subcellular organelles, such as mitochondria, and in discrete regions of the cytoplasm. These studies have used advanced fluorescence digital imaging techniques and Ca2+-sensitive fluorescence probes, and/or targeting of Ca2+-sensitive proteins to intracellular organelles. The present review describes the results of some of these studies and the techniques used. The novel techniques used to measure Ca2+ in microdomains and intracellular organelles are likely to be of great use in future investigations assessing Ca2+ homeostasis during the cell cycle.

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This paper discusses the results of a large survey conducted in 2006 on the perception Portuguese movies’ audiences have of their own locally produced films. Audience’s reception of locally produced films is marked by the rejection of the consumption of these objects as a result of a bias against locally produced cultural artefacts. The prejudice shaping this relationship, not only demands for new cultural and social politics, but also raises a number of questions on local and European media industry’s ability to cope with its own audiences’ expectations. Finally, broader considerations are made on the different ways contemporary audiences are shaping media technologies, and their respective cultural artefacts, through their own use and reception of those technologies and artefacts.

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Poster presented at the Sixth Annual International Conference on Open Repositories (OR11) held on 6-11th June, Austin, Texas

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Strepsirhines comprise 10 living or recently extinct families, ≥50% of extant primate families. Their phylogenetic relationships have been intensively studied, but common topologies have only recently emerged; e.g. all recent reconstructions link the Lepilemuridae and Cheirogaleidae. The position of the indriids, however, remains uncertain, and molecular studies have placed them as the sister to every clade except Daubentonia, the preferred sister group of morphologists. The node subtending Afro-Asian lorisids has been similarly elusive. We probed these phylogenetic inconsistencies using a test data set including 20 strepsirhine taxa and 2 outgroups represented by 3,543 mtDNA base pairs, and 43 selected morphological characters, subjecting the data to maximum parsimony, maximum likelihood and Bayesian inference analyses, and reconstructing topology and node ages jointly from the molecular data using relaxed molecular clock analyses. Our permutations yielded compatible but not identical evolutionary histories, and currently popular techniques seem unable to deal adequately with morphological data. We investigated the influence of morphological characters on tree topologies, and examined the effect of taxon sampling in two experiments: (1) we removed the molecular data only for 5 endangered Malagasy taxa to simulate 'extinction leaving a fossil record'; (2) we removed both the sequence and morphological data for these taxa. Topologies were affected more by the inclusion of morphological data only, indicating that palaeontological studies that involve inserting a partial morphological data set into a combined data matrix of extant species should be interpreted with caution. The gap of approximately 10 million years between the daubentoniid divergence and those of the other Malagasy families deserves more study. The apparently contemporaneous divergence of African and non-daubentoniid Malagasy families 40-30 million years ago may be related to regional plume-induced uplift followed by a global period of cooling and drying. © 2013 S. Karger AG, Basel.

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The development of an array of chemically-responsive dyes on a porous membrane and in its use as a general sensor for odors and volatile organic compounds (VOCs) is reviewed. These colorimetric sensor arrays (CSA) act as an "optoelectronic nose" by using an array of multiple dyes whose color changes are based on the full range of intermolecular interactions. The CSA is digitally imaged before and after exposure and the resulting difference map provides a digital fingerprint for any VOC or mixture of odorants. The result is an enormous increase in discriminatory power among odorants compared to prior electronic nose technologies. For the detection of biologically important analytes, including amines, carboxylic acids, and thiols, high sensitivities (ppbv) have been demonstrated. The array is essentially non-responsive to changes in humidity due to the hydrophobicity of the dyes and membrane.

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Ofrece una introducción a temas que interesan a los jóvenes lectores, cómo es éste, dedicado al sentido de la vista. Usamos los ojos para ver, para ver colores y para ver muchas cosas en el mundo que nos rodea. Somos capaces de ver cosas muy pequeñas que están cerca de nosotros y cosas muy grandes que están lejos.

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Recent attempts to problematize archaeological fieldwork concerned with excavation at the expense of surface survey, and with questions of procedure more than interpretations of the past. In fact these two kinds of fieldwork offer quite different possibilities and suffer from different constraints. Thought must be given to ways in which they can be combined if they are to make a real contribution to social archaeology. The argument is illustrated by a project carried out at a megalithic cemetery in Scotland.

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This chapter develops a comparative analysis of sequences from the films of two directors who made eloquent use of widescreen formats but who seem to be in all other respects wholly contrasting figures. The article includes a historiographical element in grounding the argument in the critical history of widescreen aesthetics and the directors’ work. It moves from a close analysis of three sequences, and an exploration of strategies in the use of the widescreen frame, to broader questions of style and its interpretation, narration, point of view and epistemology. The article connects with other work on Preminger, and on the critical history of mise-en-scène, while extending this through the comparative analysis of two figures from different Hollywood contexts and characterised by very different approaches.