Inversion Schemes to Retrieve Atmospheric and Oceanic Parameters from SeaWiFS Data

Firstly, we have analyzed atmospheric transmittance and sky radiance data connected at the Scripps Institution of Oceanography pier, La Jolla during the winters of 1993 and 1994. Aerosol optical thickness at 870 nm was generally low in La Jolla, with most values below 0.1 after correction for stratospheric aerosols. For such low optical thickness, variability in aerosol scattering properties cannot be determined, and a mean background model, specified regionally under stable stratospheric component, may be sufficient for ocean color remote sensing, from space. For optical thicknesses above 0. 1, two modes of variability characterized by Angstrom exponents of 1.2 and 0.5 and corresponding, to Tropospheric and Maritime models, respectively, were identified in the measurements. The aerosol models selected for ocean color remote sensing, allowed one to fit, within measurement inaccuracies, the derived values of Angstrom exponent and 'pseudo' phase function (the product of single scattering albedo and phase function), key atmospheric correction parameters. Importantly, the 'pseudo' phase function can be derived from measurements of the Angstrom exponent. Shipborne sun photometer measurements at the time of satellite overpass are usually sufficient to verify atmospheric correction for ocean color

Les nouveaux murs du CDN

Le jeudi 1er Novembre 1995 ont été inaugurés en grande pompe les aménagements complémentaires du Centre Dramatique National, qui en font en quelque sorte un nouveau théâtre. La salle était comble, sans doute 337 personnes, sa nouvelle capacité d'accueil. Les discours d'inauguration ont été suivis de la première de Peepshow dans les Alpes de Markus Köbeli, mis en scène par René Loyon, et d'un coquetèle.René Loyon a accueilli ses hôtes en dressant un bilan de son activité depuis sa nomination i..

Montreal, Québec. Reflexiones sobre un territorio urbano de América

There are people around the world that dreams of Praga, Kyoto or Granada, very few with Montreal. It is just. If the people of a city don’t look after their way of life, they can’t expect foreigners to do it. In the architecture, landscape or urbanism fields, Montreal isn’t an authority and I don’t want to offer it as a role model. But neither am I looking for role models for Montreal. Rather I’m trying to establish a dialogue between region and cultural representatives that are also not authorities, among whom the conquest of such an authority doesn’t seem to be as urgent as the elaboration of appropriate ideas or practices within their own territories. In this context, the lack of authority of Montreal paradoxically becomes a window.Hay gente por el mundo que sueña con Praga, Kyoto o Granada, muy pocos con Montreal. Es de justicia. Si la gente de una ciudad no mira a su propio ambiente de vida, no se debe esperar a que los extranjeros lo hagan. En el ámbito de la arquitectura, del paisaje o del urbanismo, Montreal no es autoridad y no quiero ofrecerla como modelo. Pero tampoco estoy en busca de modelos para Montreal. Más bien intento establecer un diálogo con representantes de regiones y culturas que tampoco son autoridad, entre las cuales la conquista de dicha autoridad no aparece tan urgente como la elaboración de ideas o prácticas apropiadas dentro de sus propios territorios. En este contexto, la falta de autoridad de Montreal se convierte paradójicamente en ventana

Comments on the "Spatial variability of coastal surface water temperature during upwelling"

International audienceComments on the article "Spatial variability of coastal surface water temperature during upwelling

Satellite determination of the mesoscale variability of the sea surface temperature

International audienceSatellite infrared data have been used to investigate the mesoscale variability of the SST (sea surface temperature) field. A statistical analysis of the SST field has been performed by means of the structure function. Results give the equivalent power-law exponent n of the spatial variance density spectrum E(k) ∼ k−h. The exponent n was found to vary from 1.5 to 2,3 with a mean value of 1.8 in the ]range of scales 3–100 km which is in agreement with previous one-dimensional analysis from shipborne and airborne measurements. These observed values of n are discussed and compared with the values predicted by turbulence theories

Petrological and geochemical characterization of Ge-bearing coals from the eastern Rhodopes, Bulgaria

The coals from Pchelarovo and Vulce Pole are perhydrogenated coals showing high sulphur content (3.2 - 6.2 wt%) and significant Ga and Ge contents (0 - 480 ppm) in organic matter (OM). The coals from Medenbuk could be perhydrogenated coals modified by weathering processes. They show low sulphur content (1.5 wt%), high homogeneous Ge contents in OM (~2500 ppm) and an unusual enrichment in Ge (up to 0.8 wt%) and V (2.8 wt%) in weathered zones of framboïdal pyrite. Sulphur isotopic study of pyrite and organic sulphur provides evidence of bacterial reduction of dominantly seawater sulphates. However taking account the geological context of the three basins, the introduction of volcanic fluids in the basins of Pchelarovo and Vulce Pole during their forma-tion cannot be excluded

Le retable de Carrières-sur-Seine : étude des vestiges d’une riche polychromie du xiie siècle

À l’occasion de sa présentation lors de l’exposition temporaire « Les premiers retables (xiie-début du xve siècle). Une mise en scène du sacré » au musée du Louvre en 2009, le retable de Carrières-sur-Seine a bénéficié d’une étude puis d’une restauration effectuée entre 2006 et 2008. La polychromie de cette sculpture, lacunaire à 90 %, qui plus est extrêmement fragile, a été refixée, nettoyée et certains repeints ont été éliminés. Bien qu’associé au premier art gothique par les circonstances de sa commande, ce retable présente une polychromie relevant encore de l’esthétique romane, fondée sur une harmonie de couleurs vives et contrastées, telles le rouge vermillon, le bleu lapis-lazuli, le blanc et l’or. Les architectures et les rinceaux qui encadrent les scènes étaient également vivement colorés de rouge, de vert et de bleu.On the occasion of it being shown in the temporary exhibition “Early Altarpieces (12th-early 15th century). A presentation of Sacred Art”, held at the Louvre in 2009, the altarpiece from Carrières-sur-Seine depicting The Annunciation, The Virgin in Majesty and The Baptism of Christ was the subject of a study and a restoration programme carried out between 2006 and 2008. This sculpture was extremely fragile and ninety per cent of its polychromy was missing. The remaining ten per cent was reattached, cleaned, and some of the repainted areas were removed. Although associated with Early Gothic Art because of the circumstances surrounding its commission, this altarpiece’s vivid, contrasting colours – vermilion, lapis lazuli, white, gold – are still characteristic of Romanesque aesthetics. The architecture and scrolls carved around the scenes were also painted in bright red, green and blue

La restauration du Christ Courajod : la luminosité d’une polychromie romane retrouvée

Chef-d’œuvre du département des Sculptures du musée du Louvre, le Christ dit Courajod (RF 1082) a été étudié puis restauré dans les ateliers du C2RMF entre 2007 et 2011. La polychromie de cette œuvre présentait un état de conservation médiocre, résultant essentiellement d’une tentative de dégagement non maîtrisé en 1956. Cette intervention a créé un état de surface confus induisant une perte de visibilité des qualités plastiques de la sculpture. L’élimination de l’ensemble des repeints a permis de découvrir une polychromie originale romane d’une facture remarquable et d’une grande finesse, aux coloris subtils jouant sur un contraste entre des carnations pâles, des cheveux et une barbe d’un noir soutenu et un périzonium d’un bleu intense rehaussé d’or.A masterpiece of the Louvre’s Sculpture Department, the figure of Christ from a Descent from the Cross, known as the Courajod Christ (RF 1082), was examined then restored in the C2RMF workshops between 2007 and 2011. The polychromy of this work was in a mediocre condition, basically as a result of a misfired attempt to remove overpaints in 1956. This restoration left the work with a muddled surface concealing some of the sculpture’s artistic qualities. The removal of all the repaints revealed the great finesse and remarkable handling of the original Romanesque polychromy. Its subtle use of colour plays on a contrast between the pale flesh tints, the dark hair and beard and the deep blue perizonium enhanced with gold