Apollo 11 - Preliminary science report

Preliminary scientific observation of Apollo 11 missio

High-Tech Trash

High-Tech Trash analyzes creative strategies in glitch, noise, and error to chart the development of an aesthetic paradigm rooted in failure. Carolyn L. Kane explores how technologically influenced creative practices, primarily from the second half of the twentieth and first quarter of the twenty-first centuries, critically offset a broader culture of pervasive risk and discontent. In so doing, she questions how we continue onward, striving to do better and acquire more, despite inevitable disappointment. High-Tech Trash speaks to a paradox in contemporary society in which failure is disavowed yet necessary for technological innovation.  “Leonard Cohen sang ‘There’s a crack in everything…that’s how the light gets in.’ Here, Carolyn Kane teaches us how to see that light, one crack at a time.” FRED TURNER, author of The Democratic Surround: Multimedia and American Liberalism from World War II to the Psychedelic Sixties  “Kane profiles art practices and media discourses that exploit and celebrate, rather than filter or suppress, all kinds of errors and noises. A welcome intervention in a number of discursive fields.” PETER KRAPP, author of Noise Channels: Glitch and Error in Digital Culture  “An original work of scholarship that addresses some of the most pervasive phenomena and foundational questions in the contemporary media environment.” ROBERT HARIMAN, coauthor of The Public Image: Photography and Civic Spectatorship  CAROLYN L. KANE is Associate Professor of Communication at Ryerson University and author of Chromatic Algorithms: Synthetic Color, Computer Art, and Aesthetics after Code

High-Tech Trash

High-Tech Trash: Glitch, Noise, and Aesthetic Failure maps an archaeology of failure in a culture seemingly ill-equipped to deal with it. To better understand failure, Kane argues, we must abstract from our subjective, personal disappointments and see them as meaningful symbols of a broader human struggle. By connecting twenty-first century digital aesthetics to critical issues in the history of high-tech, the book elucidates what it means to be an error-prone, fallible human in an age of hyper technology; to fail again and again without recourse to anything but repetition

Remote sensing and image interpretation

A textbook prepared primarily for use in introductory courses in remote sensing is presented. Topics covered include concepts and foundations of remote sensing; elements of photographic systems; introduction to airphoto interpretation; airphoto interpretation for terrain evaluation; photogrammetry; radiometric characteristics of aerial photographs; aerial thermography; multispectral scanning and spectral pattern recognition; microwave sensing; and remote sensing from space

The Normal Canine Heart: Anatomical Criteria for the Study of Real-Time Ultrasonography and Doppler Echocardiography

The present work has two main objectives, firstly, to establish acriterion that enables the successful, real - time imaging of the canine heart, and secondly, to carry out a Doppler ultrasound study of the bloodflow signatures that occurr across the various heart valves. The historical development of ultrasound, (Chapter 1) describes the early applications of the technique in relation to shipping as a navigational aid, and also to industry where it is employed to detect flaws in metals. The scientific review in the same chapter, establishes the uptake of ultrasound as a tool for echocardiography in the early 1950's, but only in the M-mode format. It is not until the 1980's that the real-time echocardiography of the dog heart is studied in any detail. To date, the only reports of Doppler echocardiography in the dog are those describing cardiac abnormalities. The normal ultrasonic anatomy of the heart combined with the Doppler bloodflow patterns through the heart valves has not been fully explained. The practical physics of ultrasound is described in Chapter 2, and provides information on the acoustic physics and principles of the ultrasonic images. The common artifacts encountered in an ultrasonic examination, such as reverberation and absorption, are discussed along with basic information about various types of transducers and ultrasound scanners employed in all aspects of ultrasonic investigations. In Chapter 3, a detailed description of Doppler ultrasound is explained. This includes the description of the principles of Doppler ultrasound, the Doppler spectrum, and the differing types of bloodflow encountered during a Doppler echocardiographic examination. The various modes of Doppler ultrasound (pulse-wave and continuous wave) are also described to allow a comprehensive understanding of the subject. The procedures and disciplines, along with the equipment employed in the study are outlined in Chapter 4. The importance of the scanner adjustment via the depth, gain and power controls are identified along with the selection of the proper transducer frequencies required for the different scanning planes. Images of the dog heart are recorded in four positional planes; the right and left parasternal, subcostal and suprasternal. The positioning of the transducer and the anatomical structures to be found in these imaging planes are identified. In Chapter 5, the images of the heart recorded are displayed in both colour and black and white prints, with the anatomical structures annotated. The echocardiographs are displayed in all the imaging planes using a combination of real-time and M-mode ultrasound, along with pulsed wave and continuous wave Doppler. The results of the present work are explained in Chapter 6. They include a detailed description of the anatomical structures that are found during the various scans. The bloodflow velocities of the various heart valves (mitral, tricuspid, aortic and pulmonary) are measured as well as the left ventricular function of the heart

A study of the materials and techniques of Francis Bacon (1909 - 1992)

The materials and techniques used by Francis Bacon were studied through the examination of paintings and the scientific analysis of paint samples. Samples were taken from 21 complete works by Bacon, and from 17 abandoned canvases left in the Artists? studio, most of which had had large sections cut out and removed. The works sampled range in date from c.1945 to c.1990. Materials left in Bacon?s studio, now preserved at Dublin City Gallery The Hugh Lane were also studied and 100 items were sampled. Samples were analysed using Gas Chromatography Mass Spectrometry (GCMS), Scanning Electron Microscopy with Energy Dispersive X-Ray Analysis (SEM-EDX), Polarised Light Microscopy, Fourier Transform Infrared Spectroscopy (FTIR) and Pyrolysis Gas Chromatography Mass Spectrometry (PyGCMS) to identify both pigments and binders. A reference collection of synthetic organic pigments was subjected to analysis using FTIR and PyGCMS in order to build up reference data for the identification of these materials in paint samples. Major FTIR peaks are reported for over 120 different pigments, and pyrolysis products from over 70 pigments. PyGCMS was used to analyse many pigments which have not previously been studied in the literature by this method, including diketopyrropyrrole, isoindolinone and perylene types. The existing literature on Bacon?s materials and techniques was surveyed, and information from letters, receipts and other documentary sources was compiled. Supports, primings, pigments and media were compared for the paintings studied, revealing a great deal of consistency in materials used over a long working life. Oil paints were used throughout for figures, but a range of different paints are used in backgrounds to create different textural effects, with household emulsion paints found on several works from the 1970s and 80s. The conservation issues arising from Bacon?s use of materials are also explored. The results were used to examine a small number of test cases to see how similar materials were to those in Bacon?s usual practice. Results showed strong similarities to works examined in the study in some cases

Obiter Dicta

"Stitched together over five years of journaling, Obiter Dicta is a commonplace book of freewheeling explorations representing the transcription of a dozen notebooks, since painstakingly reimagined for publication. Organized after Theodor Adorno’s Minima Moralia, this unschooled exercise in aesthetic thought—gleefully dilettantish, oftentimes dangerously close to the epigrammatic—interrogates an array of subject matter (although inescapably circling back to the curiously resemblant histories of Western visual art and instrumental music) through the lens of drive-by speculation. Erick Verran’s approach to philosophical inquiry follows the brute-force literary technique of Jacques Derrida to exhaustively favor the material grammar of a signifier over hand-me-down meaning, juxtaposing outer semblances with their buried systems and our etched-in-stone intuitions about color and illusion, shape and value, with lessons stolen from seemingly unrelatable disciplines. Interlarded with extracts of Ludwig Wittgenstein but also Wallace Stevens, Cormac McCarthy as well as Roland Barthes, this cache of incidental remarks eschews what’s granular for the biggest picture available, leaving below the hyper-specialized fields of academia for a bird’s-eye view of their crop circles. Obiter Dicta is an unapologetic experiment in intellectual dot-connecting that challenges much long-standing wisdom about everything from illuminated manuscripts to Minecraft and the evolution of European music with lyrical brevity; that is, before jumping to the next topic.

Skylab EREP Investigations Summary

The problems in the areas of agriculture, range and forestry; land use and cartography; geology and hydrology; oceans atmosphere, and data analysis techniques were investigated and summarized using Earth Resources Experiment Package (EREP) data