It's Alive! The Supernova Impostor 1961V

Reports of the death of the precursor of Supernova (SN) 1961V in NGC 1058 are exaggerated. Consideration of the best astrometric data shows that the star, known as "Object 7," lies at the greatest proximity to SN 1961V and is the likely survivor of the "SN impostor" super-outburst. SN 1961V does not coincide with a neighboring radio source and is therefore not a radio SN. Additionally, the current properties of Object 7, based on data obtained with the Hubble Space Telescope, are consistent with it being a quiescent Luminous Blue Variable (LBV). Furthermore, post-explosion non-detections by the Spitzer Space Telescope do not necessarily and sufficiently rule out a surviving LBV. We therefore consider, based on the available evidence, that it is yet a bit premature to reclassify SN 1961V as a bona fide SN. The inevitable demise of this star, though, may not be too far off.Comment: 15 pages, 6 figures; corrected use of tau in DUSTY and updated Fig 4 (thanks, CS Kochanek). Conclusions unchanged. In Ap

It's alive! - Stereokatselulaitteiden historiallinen autenttisuus

Tutkimuksessa tarkastellaan stereonäköä simuloivien stereoskooppisten katselulaitteiden eli stereo- tai 3-D-katselulaitteiden toistuvuutta mediakulttuurillisena toposilmiönä. Tavoitteena on ymmärtää stereokatselulaitteiden ja stereoskopian perustavanlaatuista olemusta. Vuonna 2016 läpimurtonsa saaneet virtuaalitodellisuus-laitteet tekevät tutkimuksesta ajankohtaisen. Topoksen määrittelyä varten kartoitetaan stereokatselulaitteiden historiallisia merkityssisältöjä. Tutkimus on media-arkeologinen. Näkökulmana toimii median uusiutumisprosessia avaava remediaatioteoria. Sen käsitteistä autenttisuus, jolla viitataan median totuusarvoon, luo tutkimukselle viitekehyksen. Autenttisuutta lähestytään etenkin tutkimalla mimesistä eli matkimisen estetiikkaa, joka paljastaa stereolaitteiden ja -kuvaston esteettisiä piirteitä. Keskeisenä pohdinnan aiheena on virtuaalisen ja todellisen problematiikka. Tutkimus on monitieteellinen yhdistäen fenomenologiaa, kulttuurihistorian tutkimusta ja media-analyysia. Tutkimusaineistona toimivat itse tehdyt havainnot 1800-luvun stereoskoopista, 1950-luvun Leningrad-katselulaitteesta ja VR-teknologiasta, ja niiden sisällöstä. Aineistoon kuuluu myös muun muassa artikkeleita, kuvia, mainoksia ja aiempien tutkimusten dokumentaatioita ja analyysejä. Merkitysten hahmottamiseksi perehdytään kunkin ajanjakson mediakulttuurilliseen ja sosioekonomiseen kontekstiin. Aineiston analyysissa tarkastellaan laitteita ja kontekstia mimesiksen näkökulmasta. Tulkinnassa pohdin, kuinka tulokset vastaavat kontekstuaalista autenttisuutta. Vertailun tuloksena, uutena tietona, on moniulotteinen merkityskudelma, topos. Eräänä merkittävänä huomiona on täysin uusi luokitus kokeiluasteella oleville MR-laitteille, jotka määritellään neo-stereoskooppisiksi. Tutkimuksen päätelmänä on, että stereokatselulaitteiden topos rakentuu laitteiden soveltuvuudesta kolmeen päärooliin: tutkimuslaitteiksi, joukkoviestimiksi ja attraktiokulttuurin välineiksi. Syklien aikana roolituksissa on yhtäläisyyksiä, mutta myös eroja. Topos koostuu myös monista muista topoksista. Keskeisimpinä ovat ihmisen teknologinen rekonstruktio, tirkistelijyys, eskapismi ja sosioekonominen opportunismi. Tulkinnassa mietitään myös syklisyyden ehdottamia tulevaisuuden näkymiä, ja miten stereoskopia asettuu virtuaalisen ja todellisen filosofiseen keskusteluun.This research studies stereoscopic viewers, also known as stereo or 3-D-viewers, which simulate binocular stereovision, as a repetitive media cultural topos-phenomenon. The study attempts to understand the fundamental nature of stereo viewers and stereoscopy. Its significance is supported by the current breakthrough of virtual reality devices. To determine the topos, the study maps the historic meanings attached to stereo viewers. The approach utilizes the theory of remediation, which examines the renewing process of media. Of its concepts, the idea of authenticity creates the main framework. Authenticity is concluded primarily by observing the occurrence of mimesis, the philosophy of mimicry, which highlights the aesthetics of stereo viewers and their imagery. A prominent topic through out the study are the problematics of the virtual and the real. The study is multidisciplinary combining phenomenology, the study of cultural history and media-analysis. The study material is comprised of self-experiences of the 19th century stereoscope, a 1950's "Leningrad" stereo viewer and VR-technology, and their contents. The material also includes i.a. articles, images, advertisements, and documentations and analyses of previous studies. To form the meanings associated with stereo viewers, the study acknowledges the media cultural and socio-economic context of each time period. In the analysis, the devices and contexts are examined from the perspective of mimesis. In the interpretation, the results are evaluated in accordance to their contextual authenticity. The outcome as new information is a weave of meanings, a topos. Another significant conclusion is the unprecedented classification of MR-devices, which are still in a development phase, as neo-stereoscopic. The conclusion is that the topos of stereo viewers is composed of how the devices are applied to three main roles: as scientific tools, massmedia and Instruments of attraction. During each cycle, there are similarities but also differences. The topos also consists of many other topoi, but the major ones are as follows: the technological reconstruction of the human being, peep culture, escapism and sosioecono-mical opportunism. The interpretation also forecasts how the cycle of stereo viewers might affect their future, and how they fit into the debate of the real

Norie (Game)

Korean culture the lives of children in past generations were strongly influenced by folk song. They heard their mother's lullabies and later sang those songs with their peers. Such songs can be called Korean children's folk songs. These songs are anonymous and are not bound by any forms or lyrical rules. Orally taught and handed down from generation to generation, they typically use only 4-5 pitches. My piece Norie ("Game," in Korean) is based on a famous children's game song, "Yeo-u-ya Yeo-u-ya, Mo-ha-ni?" (Fox, Fox, What Are You Doing?). Children in the game pick one "Fox" and ask questions, which the Fox must answer while singing the song. The lyrics are "Over the first hill, there is no Fox, over the second hill, there is no Fox, over the third hill, there is a Fox" and the Fox is questioned. "Fox, Fox, What are you doing?" "I am sleeping." "Sleepyhead." "I am washing." "Dandy." "I am eating." "What are you eating?" "It's a Frog." "Dead or alive?" "It's alive (dead)." If the Fox says "It's alive," then children run away. When the Fox catches one of the players, the game continues with a new Fox. Norie (Game) is a set of Variations for orchestra using this folk song as a theme and a point of departure. Three Clarinets present the theme after the introduction of 45 measures. The scene in which children run away after hearing "It's alive" is presented at rehearsal mark C. From rehearsal D there are five variations incorporating inverted intervals, varied rhythms, varied modes, several points of imitation, and various ostinato, a repeated pattern, techniques. The third variation (rehearsal mark I) is a slow section in which the folk tune is presented by Marimba and strings. In the final measures each instrument plays the question "Dead or alive?" in different rhythms and Norie concludes with the answer, "It's alive.

Caring Capitalist (Chapter 15 of Financially Alive: Wealth Creation. Social Responsibility. Biblical Values)

The crisis of ethics and values is more evident in the world of business than in any other area. Many people have come to associate capitalism with corporate corruption. From big businesses to mortgage brokers to banking services to Wall Street, greed and self-interest appear unchecked and out of control. While some companies struggle to survive, their senior executives are still receiving staggering salaries, lavish bonuses, and ridiculous perks causing confusion and mistrust within their ranks. The average person can quickly become untrusting at best and disillusioned at worst. At times, it seems that making money at any cost, has become the new goal of business in the 21st century. Is the goal of business to only make money (one-dimensional financial profit)? Is it possible that there is more to business than just to become as rich as you can, as fast as you can, however you can

What is Leadership? (Chapter Two of Leadership Alive: Changing Leadership Practices within the Emerging 21st Century Culture)

Excerpt: This newly emerging culture is upon us. This change in Western culture requires a new breed of leader to emerge. There are many usable definitions concerning leadership. Leadership may appear in many forms, come from many theories, and be derived from many sources, but all are likely to guide through actions, influence, or service. 80 The new emerging leader of the 21st century will understand the relationship between the four principle leadership models: (1) Servant Leadership, (2) Situational Leadership, (3) Leadership and the New Science, and ( 4) Christian Leadership. In Chapter Three, I will introduce and explore the cultural shift that is surfacing within the United States and for that matter, Western Society abroad. I\u27ll discuss its effect upon leadership perceptions and development and will introduce three major themes of cultural change. We\u27re in need of a leadership with perspective and that perspective is colored by the prismatic tapestry of our evolving culture. So let\u27s turn the page to explore and collect some new colors of understanding as we venture into the future of the 21st century

What\u27s Hecuba to Him, or He to Hecuba?

(Excerpt) My first attendance at this institute also marked the first of these Institutes. came to meet a musician classmate of mine. He was in a discussion with Edward Rechlin, the distinguished organist. As I came within earshot, Rechlin said to my classmate, Is he a musician? He said, Oh, no! No! He\u27s not a musician. Perfectly normal then, Rechlin responded

The Hero Who Overslept

"We all love a lie in, but the alarm clock is definitely ringing. The time has finally come to throw back the duvet and leap into this playfully unhinged show about finding the hero under the covers. It’s a sincere and heartfelt invitation to defy indifference and experience a new, tender love story for our long-neglected earth, one in which we are the ones we’ve been waiting for. In a never seen before mix of climate science, psychology, philosophy and surrealist dance, our unlikely heroes strive to remake themselves in preparation for an overdue remaking of the world. These quirky ‘Clark Kents’ of climate change will shake your inner snooze button awake, so come see a performance that stretches what’s possible in an hour but will be a lifetime in the living.