3,152 research outputs found
Discurs pronunciat a l'acte d'investidura com a Doctor Honoris Causa per la Universitat de Barcelona
No Pulsar Left Behind. I. Timing, Pulse-sequence Polarimetry, and Emission Morphology for 12 pulsars
In this paper we study a set of twelve pulsars that previously had not been
characterized. Our timing shows that eleven of them are "normal" isolated
pulsars, with rotation periods between 0.22 and 2.65 s, characteristic ages
between 0.25 Myr and 0.63 Gyr, and estimated magnetic fields ranging from 0.05
to 3.8x 10^{12} G. The youngest pulsar in our sample, PSR~J0627+0706, is
located near the Monoceros supernova remnant (SNR G205.5+0.5), but it is not
the pulsar most likely to be associated with it. We also confirmed the
existence of a candidate from an early Arecibo survey, PSR~J2053+1718, its
subsequent timing and polarimetry are also presented here. It is an isolated
pulsar with a spin period of 119 ms, a relatively small magnetic field of
5.8x10^9 G and a characteristic age of 6.7 Gyr; this suggests the pulsar was
mildly recycled by accretion from a companion star which became unbound when
that companion became a supernova. We report the results of single-pulse and
average Arecibo polarimetry at both 327 and 1400 MHz aimed at understanding the
basic emission properties and beaming geometry of these pulsars. Three of them
(PSRs~J0943+2253, J1935+1159 and J2050+1259) have strong nulls and sporadic
radio emission, several others exhibit interpulses (PSRs J0627+0706 and
J0927+2345) and one shows regular drifting subpulses (J1404+1159).Comment: 17 pages, 14 figure
Deslocações na paisagem: recursos de transfiguração na paisagem moderna
Qual pode ser o sentido de desenhar a paisagem atualmente? Que pode
acrescentar a pintura ou desenho em relação ao registo documental da
fotografia e imagem digital? A transformação da paisagem urbana e espe-
cialmente suburbana é um dos efeitos mais marcantes da evolução social
e política. Este texto insere-se num projeto de estudo sobre a condição da
representação gráfica e pictórica da paisagem contemporânea. Aqui se
reúnem quatro pintores em duas linhas de afinidade geográfica e históri-
ca: Laura Oldfield Ford e George Shaw são dois pintores britânicos con-
temporâneos e Kurt Dornis e Franz Radziwill são dois pintores alemães de
gerações diferentes mas ligados à Nova Objetividade/ Realismo Mágico.
Ford, Shaw, Dornis, Radziwill desenvolvem uma prática de ‘Psicogeografia’ com um sentido de “deriva” e deslocação pelo espaço envolvente e
anónimo, focando a atenção do espetador em paisagens desqualificadas,
banais e quotidianas. O registo destes artistas é realista, ora sob a forma
de fotorrealismo ou sob a designação de “Verismo”. Todavia, nos quatro
pintores existe o recurso deliberado a uma luminosidade e cromatismo di-
vergente de critérios naturalistas. Nesses pintores, a cor e a luz funcionam
como dimensão disruptiva sob a qual assenta o seu dispositivo retórico:
perturbar a perceção da realidade e introduzir um distanciamento face à
familiaridade dos lugare
O quotidiano na construção do imaginário e da identidade
Usually the artist doesn’t create useful objects. In fact, utility and functionality are design
problems. However, the artists are interested in the depiction and status of objects and
urban equipment with the stories and meanings associated with those artifacts. In
this paper, it is argued that art has recovered to identity, a landscape devoid of identity
qualities: the suburbs, the wasteland, the “non-place” (Augé 1994).
In the context of Everyday Aesthetics there is a claim of ‘ prosaic or colloquial’ forms as
opposed to ‘poetic’ ones (Mandoki). As Haapala wrote, art and aesthetics are related to
the strange and unique space, without attention to the everyday functional objects. So,
houses, streets, urban equipment are depleted in its functional roles. But the aesthetics of
everyday life looks for fulfilment and identity in familiar places. In the fine arts of painting
and drawing there is a return to the depiction of daily-domestic landscape and domestic
interior where the presence of the prosaic and ordinary furniture, common objects,
equipment, signs and clothes, creates a paradox. On the one hand, ordinary comodities
suggest the destruction of local identity and traditional landscape and memory. On the
other hand establish new visual references not yet assimilated.
This paper cross the theory about the aesthetics of the everyday life of Arto Haapala and
Katya Mandoki with three contemporary artists: George Shaw (1966), Matthias Weischer (1973) and Simon Stalenhag (1984), in which realism is underlined by the identity of
prosaic and everyday elements of architecture and design, opening room for dream,
the absurdity and science fiction. The solution for this apparent contradiction between
reality and reverie lies in reference to quotidian and prosaic, filtered by the concepts of
anachronism, melancholy and desertion. In these paintings the design of the objects
and equipment is vital in the statement of the identity of places and authors through a
process of time encapsulation.Lab2PT. Projeto UID/AUR/04509 e da FCTMEC, cofinanciamento do FEDER, no âmbito do novo acordo de parceria PT202
- …