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