SAMBA: Superconducting antenna-coupled, multi-frequency, bolometric array

We present a design for a multipixel, multiband (100 GHz, 200 GHz and 400 GHz) submillimeter instrument: SAMBA (Superconducting Antenna-coupled, Multi-frequency, Bolometric Array). SAMBA uses slot antenna coupled bolometers and microstrip filters. The concept allows for a much more compact, multiband imager compared to a comparable feedhorn-coupled bolometric system. SAMBA incorporates an array of slot antennas, superconducting transmission lines, a wide band multiplexer and superconducting transition edge bolometers. The transition-edge film measures the millimeter-wave power deposited in the resistor that terminates the transmission line

A doorway to Borromean halo nuclei: the Samba configuration

We exploit the possibility of new configurations in three-body halo nuclei - Samba type - (the neutron-core form a bound system) as a doorway to Borromean systems. The nuclei $^{12}$Be, $^{15}$B, $^{23}$N and $^{27}$F are of such nature, in particular $^{23}$N with a half-life of 37.7 s and a halo radius of 6.07 fm is an excellent example of Samba-halo configuration. The fusion below the barrier of the Samba halo nuclei with heavy targets could reveal the so far elusive enhancement and a dominance of one-neutron over two-neutron transfers, in contrast to what was found recently for the Borromean halo nucleus $^6$He + $^{238}$U.Comment: Accepted for publication in Modern Physics Letters

Representation of Samba dance gestures, using a multi-modal analysis approach

In this paper we propose an approach for the representation of dance gestures in Samba dance. This representation is based on a video analysis of body movements, carried out from the viewpoint of the musical meter. Our method provides the periods, a measure of energy and a visual representation of periodic movement in dance. The method is applied to a limited universe of Samba dances and music, which is used to illustrate the usefulness of the approach

The rhythmical development of samba between 1910 and 1940: Transformation of emergence? A reevaluation of the Bantu contribution in the form of timelines as a rhythm concept

From a history of persecution and repression in the first decades of the 20th century samba became by 1940, the strongest cultural manifestation to represent Brazilian identity. In the space of a mere three decades, this musical form spread from the lower classes and permeated the highest echelons of Brazilian society. Samba, as it is known today in Brazil, inherits its rhythmical shape from the Samba Batucado. What I suggest is that the rhythmic cell that guided Samba during its rise to the position of Brazilian national music did not appear suddenly at the end of the 1920s with the Estácio composers, it already existed in other musical forms, as a creative concept and the Brazilian national style of music was the result of, not a transformation of the first sambas recorded, but in fact, the emergence into commercial popular music of a rhythmical concept which was part of the culture of the disenfranchised ex-slaves and their immediate descendents. I further suggest that this “timeline” is a direct inheritance from the Bantu culture of the Congo/Angolan slaves brought to Brazil, for it is from those areas in Africa that the majority of slaves in the states of Rio de Janeiro, Sao Paulo and Minas Gerais came from

Diaspora, Développement et Citoyenneté: Les Migrants Originaires du Bassin du Fleuve Sénégal

The author analyses the contribution of the diaspora on the development of their locality

Penerapan File Sharing Terpusat Menggunakan Samba Server Pada Kantor Kecamatan Ratu Samban

ABSTRACT One of the file sharing systems is using samba with the Linux Ubuntu server operating system. Samba is a Linux application or tool that can be used to create file sharing. File sharing using samba can be distinguished by access rights based on the account and storage folder. Samba file sharing can be used by many users at once as well as many storage folders. In samba file sharing, you can limit the file extensions that can be stored in the folder, and limit the users who can use the folder. From a series of tests carried out on a file sharing system using samba on a linux ubuntu server it went well, according to the design and configurations applied. Starting from the installation of linux, ubuntu server, and samba, then login to each storage folder, after successfully logging in, new users can access files. Meanwhile, network users who do not have a login account can only access certain folders with read only access rights. Keywords: File Sharing, Linux and Samb

Casa Samba: Twenty-One Years of Amerizilian Identity in New Orleans1

Samba drumming and dance traditions work in New Orleans in ways that they do not elsewhere. Casa Samba, a drumming and dance troupe in the tradition of the Brazilian escolas de samba, shows how it works. Integral to this analysis of Casa Samba are the ways in which the group\u27s identity and the identities of its individual members are processual, mutable, and unfinished, always being remade (Gilroy 1993:xi). This thesis examines how Casa Samba has situated itself in the New Orleans music scene. This work seeks, through ethnographic interviews with long term members, to identify what makes Casa Samba attractive to New Orleanians who choose to join this musical troupe as opposed to the myriad of other musical organizations available. Finally, this thesis looks at Casa Samba\u27s post-Katrina rebirth and the ways in which the group\u27s willingness to continuously evolve throughout its history has made this rebirth possible

Casa Samba: Twenty-One Years of Amerizilian Identity in New Orleans1

Samba drumming and dance traditions work in New Orleans in ways that they do not elsewhere. Casa Samba, a drumming and dance troupe in the tradition of the Brazilian escolas de samba, shows how it works. Integral to this analysis of Casa Samba are the ways in which the group\u27s identity and the identities of its individual members are processual, mutable, and unfinished, always being remade (Gilroy 1993:xi). This thesis examines how Casa Samba has situated itself in the New Orleans music scene. This work seeks, through ethnographic interviews with long term members, to identify what makes Casa Samba attractive to New Orleanians who choose to join this musical troupe as opposed to the myriad of other musical organizations available. Finally, this thesis looks at Casa Samba\u27s post-Katrina rebirth and the ways in which the group\u27s willingness to continuously evolve throughout its history has made this rebirth possible

KAJIAN ETNOKOREOLOGI TARI TOPENG SAMBA ABANG GAYA CARPAN DI SANGGAR SENI ASEM GEDE KECAMATAN LOSARANG KABUPATEN INDRAMAYU

Skripsi ini berjudul Kajian Etnokoreologi Tari Topeng Samba Abang gaya Carpan di Sanggar Seni Asem Gede Kecamatan Losarang Kabupaten Indramayu. Tari Topeng Samba Abang yaitu sejenis tari Topeng Samba dengan kedok berwarna merah jambu yang hanya terdapat di Indramayu. Tujuan penelitian ini adalah untuk mengetahui penggambaran karakter tari Topeng Samba Abang menurut pemahaman masyarakat, struktur koreografi, serta tata rias dan busananya. Penelitian dilakukan di Sanggar Seni Asem Gede Desa Muntur Kecamatan Losarang Kabupaten Indramayu. Metode yang digunakan yaitu metode deskriptif analisis dengan pendekatan kualitatif melalui kajian Etnokoreologi. Peneliti menggunakan teknik analisis data model sirkuler nasution yaitu reduksi data, penyajian data, dan penarikan kesimpulan. Berdasarkan hasil analisis diketahui bahwa tari Topeng Samba Abang menurut pemahaman masyarakat menggambarkan kehidupan remaja akil baligh yang masih dalam taraf pendewasaan (penemuan jati diri). Penggambaran ini didasarkan pada karakter tokoh Raden Kudapanulis putra dari Prabu Lembusenggoro yang lincah dan ceria. Karakter tokoh yang diambil dari wiracarita Panji itu merupakan cerita legenda berbentuk prosa rakyat dari folklor lisan. Struktur koreografinya didominasi oleh gerak-gerak lokomotor bervolume sedang yang asimetris dan berkesinambungan tanpa tekanan sehingga memberikan kesan tenang, variatif, dan lincah (dinamis). Secara Ikonografis, bentuk kedok Samba Abang mencerminkan karakter seseorang yang periang, berani, dan penuh semangat. Penggunaan warna kuning pada busana tari Topeng Samba Abang gaya Carpan semakin mendukung kedalaman karakter yang coba diungkapkam dari wujud ungkap kedok Samba Abang itu sendiri. Dengan demikian dapat disimpulkan bahwa tari Topeng Samba Abang merupakan tarian yang menggambarkan kehidupan remaja madya berkarakter lincah (dinamis), periang, berani, dan penuh semangat.;---The title of this research paper is The Ethnochoreology Study of Topeng Samba Abang Dance with Carpan Style at Asem Gede Art Theatre, Losarang, Indramayu. Topeng Samba Abang dance is a kind of Topeng Samba dance which uses a rosy mask and only exist in Indramayu. The purpose of this research is to know the character description of Topeng Samba Abang dance according to society understanding, choreography structure, and make up and its costume. The research was conducted at Asem Gede Art Theatre on Muntur, Losarang district, Indramayu regency. The method used was descriptive analysis by qualitative approach through ethnochoreology study. Researcher used the circular nasution data analysis, that is data reduction, data presentation, and conclusion. Based on the analysis result, it is known that Topeng Samba Abang dance describes the life of adolescents who are on maturing stage (discovering identity). Based on society understanding, the description is taken based on the character of Raden Kudapanulis, who was sprightful and cheerful, whom was a son of Prabu Lembusenggoro. The character which taken in the epic of Panji is a legend story in the form of prose of oral folklore. Its choreography structure is dominated by locomotor movement with medium volume which asymmetric and sustained movement without any pressure so that it gives a calm, variative, and dynamic image. Iconographically, the shape of Samba Abang mask itself describes a cheerful, brave, and passionate person. The use of yellow color on its costume is supporting the character which trying to be presented by the Samba Abang dance itself. So, it can be concluded that Topeng Samba Abang dance is a dance which describes the dynamic, cheerful, brave, and passionate adolescents’ life

Study of the hearing of percussionists of a samba school from São Paulo

OBJETIVO: Investigar a presença de possíveis perdas auditivas em ritmistas de uma escola de samba de São Paulo. MÉTODOS: O presente estudo foi prospectivo. Participaram dez ritmistas da bateria da escola de samba, de faixa etária entre 20 e 31 anos de idade. Foram realizadas medição dos níveis de pressão sonora dentro da quadra e avaliações audiológicas dos participantes. RESULTADOS: A média dos níveis de pressão sonora na quadra da escola de samba durante os ensaios foi de 111,42 dBA. Seis indivíduos apresentaram limiares auditivos dentro dos limites da normalidade em ambas as orelhas (sendo que as frequências altas apresentaram-se elevadas quando comparadas às frequências médias e baixas); três apresentaram perdas auditivas leves unilaterais; um apresentou perda auditiva neurossensorial leve em ambas as orelhas. CONCLUSÃO: Quatro ritmistas da escola de samba apresentaram algum grau de perda auditiva.PURPOSE: To investigate possible hearing loss in percussionists of a samba school from São Paulo. METHODS: Ten percussionists of a samba school from São Paulo, with ages between 20 and 31 years, participated in this prospective study. Sound pressure levels were measured during a rehearsal and auditory evaluations of the participants were carried out. RESULTS: Mean sound pressure level during rehearsals at the samba school was 111.42 dBA. Six subjects showed normal hearing thresholds in both ears (high frequencies more elevated than medium and low frequencies); three showed unilateral hearing loss; one had bilateral sensorineural hearing loss. CONCLUSION: Four percussionists of the samba school had some degree of hearing loss