Experimental evaluation of Kuhn's geometric index of reduction and the flat-flake problem

This paper presents the results of an experiment designed to explore the performance of Kuhn's Geometric Index of Unifacial Reduction [S. Kuhn, A geometric index of reduction for unifacial stone tools, Journal of Archaeological Science 17 (1990) 585-593] in measuring the amount of material removed over a sequence of retouching events for a population of 30 flakes. The index provides a reliable absolute measure of reduction under experimental conditions, and does so irrespective of blank cross-section, suggesting that the "flat-flake" problem is not necessarily a serious difficulty for the index. Furthermore, Kuhn's Index provided a more sensitive and robust measurement of the extent of reduction than any of the alternative techniques proposed in recent years

Dynamic Agent Compression

We introduce a new method for processing agents in agent-based models that significantly improves the efficiency of certain models. Dynamic Agent Compression allows agents to shift in and out of a compressed state based on their changing levels of heterogeneity. Sets of homogeneous agents are stored in compact bins, making the model more efficient in its use of memory and computational cycles. Modelers can use this increased efficiency to speed up the execution times, to conserve memory, or to scale up the complexity or number of agents in their simulations. We describe in detail an implementation of Dynamic Agent Compression that is lossless, i.e., no model detail is discarded during the compression process. We also contrast lossless compression to lossy compression, which promises greater efficiency gains yet may introduce artifacts in model behavior. The advantages outweigh the overhead of Dynamic Agent Compression in models where agents are unevenly heterogeneous — where a set of highly heterogeneous agents are intermixed with numerous other agents that fall into broad internally homogeneous categories. Dynamic Agent Compression is not appropriate in models with few, exclusively complex, agents.Agent-Based Modeling, Scaling, Homogeneity, Compression

Blurring the Margins: Ardalén (2012) and Collective Memory in Spain

The title of Miguelanxo Prado's Ardalén is a word invented by its author, but which refers to a real phenomenon: a long-distance wind that carries the scent of salt and sea far inland from the coast. In the fictional tale, this sea breeze carries with it not just air and smells, but also stories, as well as living sea creatures. Appropriate to its title, this winner of the 2012 National Spanish Comics Prize blurs lines between the real and the imaginary, between self and other, between land and sea, and between life and death. Blurry margins exist metaphorically in the book's story as well as visually in its images, both within its panels and in its gutters. Drawing on Anne Whitehead's recent discussion of modes of inscription and collective memory, this article explores the representation of memory and the fantastic in Miguelanxo Prado's 2012 graphic novel Ardalén, noting the strong implications of Ardalén's main character's incapacity to distinguish between what he lived and what he heard in the context of the Recovery of Historical Memory in Spain's early 21st century.The title of Miguelanxo Prado's Ardalén is a word invented by its author, but which refers to a real phenomenon: a long-distance wind that carries the scent of salt and sea far inland from the coast. In the fictional tale, this sea breeze carries with it not just air and smells, but also stories, as well as living sea creatures. Appropriate to its title, this winner of the 2012 National Spanish Comics Prize blurs lines between the real and the imaginary, between self and other, between land and sea, and between life and death. Blurry margins exist metaphorically in the book's story as well as visually in its images, both within its panels and in its gutters. Drawing on Anne Whitehead's recent discussion of modes of inscription and collective memory, this article explores the representation of memory and the fantastic in Miguelanxo Prado's 2012 graphic novel Ardalén, noting the strong implications of Ardalén's main character's incapacity to distinguish between what he lived and what he heard in the context of the Recovery of Historical Memory in Spain's early 21st century.La novela gráfica Ardalén (2012) de Miguelanxo Prado se titula con una palabra inventada por su autor, pero que se refiere a un fenómeno verdadero: un viento de larga distancia que lleva el olor de la sal y del mar lejos de la costa al interior del país. En la novela gráfica, esta brisa marina lleva consigo no sólo sus aires y sus olores, sino también historias, recuerdos, así como criaturas marinas vivas. Apropiado a su título, este libro ganador del Premio Nacional de Cómic de 2012 borra fronteras entre lo real y lo imaginario, entre persona y colectividad, entre tierra y mar, y entre vida y muerte. Los márgenes borrosos existen metafóricamente en la historia del libro, así como visualmente en sus imágenes, tanto dentro de sus viñetas como en los espacios entre sus vi- ñetas. Basándose en el reciente análisis de Anne Whitehead sobre los  modos de inscripción y la memoria colectiva, el presente artículo explora la representación de la memoria y lo fantástico en la novela gráfica Ardalén de Miguelanxo Prado, señalando las fuertes implicaciones de la incapacidad del protagonista en Ardalén de distinguir entre lo que vivió y lo que oyó contar en el contexto de la Recuperación de la Memoria Histórica en el siglo xxi de España

Study of space shuttle environmental control and life support problems

Four problem areas were treated: (1) cargo module environmental control and life support systems; (2) space shuttle/space station interfaces; (3) thermal control considerations for payloads; and (4) feasibility of improving system reusability