Object-oriented implementations of the MPDATA advection equation solver in C++, Python and Fortran

Three object-oriented implementations of a prototype solver of the advection equation are introduced. The presented programs are based on Blitz++ (C++), NumPy (Python), and Fortran's built-in array containers. The solvers include an implementation of the Multidimensional Positive-Definite Advective Transport Algorithm (MPDATA). The introduced codes exemplify how the application of object-oriented programming (OOP) techniques allows to reproduce the mathematical notation used in the literature within the program code. A discussion on the tradeoffs of the programming language choice is presented. The main angles of comparison are code brevity and syntax clarity (and hence maintainability and auditability) as well as performance. In the case of Python, a significant performance gain is observed when switching from the standard interpreter (CPython) to the PyPy implementation of Python. Entire source code of all three implementations is embedded in the text and is licensed under the terms of the GNU GPL license

Everything Matters: The ReproNim Perspective on Reproducible Neuroimaging

There has been a recent major upsurge in the concerns about reproducibility in many areas of science. Within the neuroimaging domain, one approach is to promote reproducibility is to target the re-executability of the publication. The information supporting such re-executability can enable the detailed examination of how an initial finding generalizes across changes in the processing approach, and sampled population, in a controlled scientific fashion. ReproNim: A Center for Reproducible Neuroimaging Computation is a recently funded initiative that seeks to facilitate the “last mile” implementations of core re-executability tools in order to reduce the accessibility barrier and increase adoption of standards and best practices at the neuroimaging research laboratory level. In this report, we summarize the overall approach and tools we have developed in this domain

New Peredvizhniki, Or Artists On The Move

In 2013 Honorata Martin, a young artist from Gdańsk travelled about six hundred kilometres on foot. No other work than the journey itself was created apart from the scrapbook with her notes and a short video. By putting herself in the precarious position of a nomad/migrant, the artist achieved multiple goals. One of them was to put an end to the alienation of work. The result is a work that is deprived of a “labour force,” and as such, it cannot be exploited. Martin adopted the strategy of a “passive subject” (as opposed to the “active subject” of Lazzarato). She followed the instructions, fitted the image that was being proposed to her by people she encountered, and this was exactly the move that triggered emancipatory power. Her perverse answer to the danger pointed out by Lazzarato was the creation of a subject without a soul who cannot be put to use in the economic structure based on immaterial labour. Her project “Setting off for Poland” contributes to decades-long discussions about the role and function of art institutions

Language of Protest in the Visual Arts and March ‘68 in Poland. The example of the OdNOWA Gallery in Poznań

The events of March 1968 in Poland have been widely studied from the point of view of political and social history. Recently, it has also become the subject of cultural studies. Yet, the research in the area of the visual arts has been neglected. In the text on the performance art in Poland around 1968 I pay special attention to the connection of art and political tensions of the era with the odNOWA Gallery in Poznań as a case study. The gallery was closed down after the happening by Andrzej Matuszewski entitled Proceeding on May 1969 and the event marked the break of the artists community with the cultural policy of the socialist state. It was too early to call their position ‘dissident’. Yet, I propose a notion of ‘distrust’, taken from Stanisław Barańczak’s writings, to define the peculiar stand of the avant-garde artists in Poland by the end of the 1960s that eventually led to dissidence in the 1980s

Small Utopia of the Avant-Garde. The Collections of both the Studio Gallery in Warsaw and Koszalin Museum Seen as Local Initiatives for the Foundation of Contemporary Art Museums in Poland

Artykuł przeprowadza porównanie między dwiema instytucjami w odniesieniu do problemu kolekcjonowania dzieł sztuki współczesnej oraz muzeum sztuki współczesnej jako składnika awangardowej utopii. Galeria Studio powstała w 1972 roku i działa do dzisiaj przy Teatrze Studio w Warszawie, od początku zajmuje się też gromadzeniem dzieł sztuki najnowszej. Dział sztuki współczesnej w Muzeum Koszalinie powstał w 1976 roku i funkcjonuje w tym samym miejscu do dzisiaj, jednak historia kolekcjonowania sztuki współczesnej przez muzeum w Koszalinie, sięga 1956 kiedy do Muzeum Archeologiczno-Historycznego w Koszalinie nabyto pierwsze prace współczesnych artystów. Muzeum w Koszalinie w 1963 roku otrzymało dar w postaci trzynastu obrazów od Mariana Bogusza, pochodzących ze zbiorów Galerii Krzywego Koła w Warszawie, zaś w sąsiednich Osiekach z jego inicjatywy zaczęły się odbywać plenery gromadzące awangardowych artystów z całej Polski. Organizatorzy plenerów mieli nadzieję, że uda się na bazie lokalnego muzeum zbudować instytucję, która z czasem zamieni się w muzeum sztuki nowoczesnej. Taki plan się nie powiódł. Ostatecznie z marzeń o muzeum w Koszalinie pozostał jedynie zbiór dzieł, zwany dzisiaj „kolekcją osiecką”. W Galerii Studio zbiory sztuki także nie przerodziły się w muzeum, choć chciał tego założyciel galerii Józef Szajna. Autorka rozważa historyczne implikacje oraz możliwe scenariusze przyszłości dwóch zmarginalizowanych w polityce lokalnych władz i macierzystych instytucji, wybitnych zbiorów polskiej sztuki współczesnej

Intermedialny język protestu i Marzec ‘68 w Polsce na przykładzie Poznańskiej Galerii OdNOWA

The events of March 1968 in Poland have been widely studied from the point of view of political and social history. Recently, it has also become the subject of cultural studies. Yet, the research in the area of the visual arts has been neglected. In the text on the performance art in Poland around 1968 I pay special attention to the connection of art and political tensions of the era with the odNOWA Gallery in Poznań as a case study. The gallery was closed down after the happening by Andrzej Matuszewski entitled Proceeding on May 1969 and the event marked the break of the artists community with the cultural policy of the socialist state. It was too early to call their position ‘dissident’. Yet, I propose a notion of ‘distrust’, taken from Stanisław Barańczak’s writings, to define the peculiar stand of the avant-garde artists in Poland by the end of the 1960s that eventually led to dissidence in the 1980s

Scipy2014 tutorial image

<p>Imige of tardigrades</p