The practical application of an enhanced conveyance calculation in flood prediction

An enhanced one-dimensional mathematical model for simulating flood levels and calculating stage-discharge relationships is presented. Enhanced conveyance subroutines have been developed and incorporated into the commercially available river modelling software ISIS. The newly developed software has been verified using experimental and field data. When a river overtops its banks there is a vigorous interaction between slow moving flood plain flow and faster moving main channel flow. This interaction mechanism has been the focus of intense research over the past forty years. A selective review of this research is detailed with particular attention to the case of meandering channels. The Ackers Method and the James and Wark Method are two discharge capacity methods that have emanated from this recent research and are considered to be the most practically suitable methods and are indeed recommended by the Environment Agency of England and Wales. The methods account for interaction effects when flow is overbank in a straight and meandering channel respectively. It is these methods that have been incorporated into the commercially available and industry leading one-dimensional river model ISIS to enable an enhanced conveyance calculation. The newly developed software has been tested against the Flood Channel Facility Series A and B experiments to a satisfactory level of accuracy. The testing included predicted of stage discharge relationships and water level prediction. In addition it has been applied to the River Dane in Cheshire which is highly meandering and suited to the James and Wark methodology. This was intended to give practical advice concerning the use of the James and Wark Method and the degree of accuracy in estimating the 'channel parameters' which are required by this method. The results of this work showed that a significant rise in water level prediction is obtained when using the enhanced code. Also, it was clear that a high degree of accuracy was not required in estimating the 'channel parameters' with the possible exception of the sinuosity term

“O, she’s warm!”: The taking of hands … and bears … and time’s … in The Winter’s Tale

Shakespeare wrote words and plays. Words might well be considered to be the ‘life blood’ of a play. But plays are more than words. Plays have characters, movement, costumes and props. Words inhabit and animate, give rhyme and reason to an actor being on a stage, performing for an audience. But between the words, the play still exists. This thesis is an exploration of those ‘moments’ that are played out in silence and are watched rather than heard. To tell the story of The Winter’s Tale, Shakespeare was faced with some specific problems. There are essentially two tales to be told in the space of one play. The first requires for an all consuming jealousy to be played out. He solved this with a simple and understandable wordless action. Then to conclude this first tragic section, the story demanded that a helpless baby be abandoned - lost. Here he used an old trick in a new and surprising way, to be played quickly and, with his unerring sense of staging, for a laugh. The second tale then had to begin, and the baby had to become a woman. For this he used a convention - unconventionally. Finally, at the end of the play, he decided to change the story. To conclude his tale, the tale he was telling, with an image of redemption, reconciliation and hope. Of all the moments, this is the one that is the quietest, slowest and most beautifully painted. This thesis is an exploration of those moments. A discussion about how Shakespeare, who has probably added more words into the lexicon that any other person, was also essentially a visual artist. That he ‘drew and painted and sculpted’ - creating stage pictures

Norm-Constrained Consider Kalman Filtering

Peer Reviewedhttps://deepblue.lib.umich.edu/bitstream/2027.42/140651/1/1.g000344.pd

Hantavirus maintenance and transmission in reservoir host populations

Hantaviruses are primarily hosted by mammalian species of the orders Rodentia, Eulipotyphla and Chiroptera. Spillover to humans is common, and understanding hantavirus maintenance and transmission in reservoir host populations is important for efforts to curtail human disease. Recent field research challenges traditional phases of virus shedding kinetics derived from laboratory rodent infection experiments. Organ infection sites in non-rodent hosts suggest similar transmission routes to rodents, but require direct assessment. Further advances have also been made in understanding virus persistence (and fadeouts) in fluctuating host populations, as well as occupational, recreational and environmental risk factors associated with spillover to humans. However, despite relevance for both intra-species and inter-species transmission, our understanding of the longevity of hantaviruses in natural environments remains limited.Peer reviewe

Comparing the 2013 ACC/AHA & 2014 NLA Dyslipidemia Guidelines and Their Impact on Clinical Decision Making

This home-study CPE activity has been developed to educate pharmacists on the similarities and differences between the 2014 NLA Recommendations for Dyslipidemia Management and the 2013 ACC/AHA Guidelines for Treatment of Blood Cholesterol

Richard Serra as landscape architecture: How the sculpture practice of Serra may evolve landscape architecture in Aōtearoa : A dissertation submitted in partial fulfilment of the requirements for the Degree of Master of Landscape Architecture at Lincoln University

This dissertation explores the potential of sculpture and sculptural processes as catalysts for advancing landscape architecture in Aotearoa, with a particular focus on the groundbreaking work of post-modernist American sculptor Richard Serra. While this approach represents a unique angle within contemporary landscape architecture academia, the research grounds itself by examining historical periods where the connection between sculpture and landscape was inseparable. Examples such as Göbekli Tepe in Turkey and Ginkaku-ji in Japan demonstrate how both practices contributed distinct qualities to the surrounding landscape, reflecting the worldviews of their creators. To contextualize the study in a contemporary setting, the research draws on art critic and theorist Rosalind Krauss's seminal essay ‘Sculpture in the Expanded Field’ (1979) to explore the relationship between sculpture and landscape as they evolved beyond modernism. To investigate Serra's practice within the realm of landscape architecture, a multi-modal research approach is adopted. Drawing from established landscape architectural studies, the research employs various tools and methods to address key questions related to Serra's work in the context of landscape architecture. These approaches include biographic research and design drawing to gain an in-depth understanding of Serra's unique practice. Additionally, interpretive and descriptive design critiques explore how Serra's work relates to landscape architecture. First-hand, experientially based design critiques further examine how Serra's practice extends into the landscape architecture domain. Finally, the research considers the potential attributes Serra's practice may bring to landscape architecture in Aotearoa by analysing two NZILA award-winning projects. The outcomes of this research are manifold. First, the study reveals how Serra's practice is influenced by the logic of process and materiality, forming the basis for a process-oriented approach across various mediums. Utilizing Serra's ‘Verblist’ (1967), the research delves into an embodied approach, expanding the notion of 'landscape' and drawing parallels with Tim Ingold's concept of 'taskscape.' This perspective contrasts the ocular-centric view prevalent in landscape architecture and emphasizes the idea that "through living in it, the landscape becomes a part of us, just as we are a part of it" (Ingold, 1993, p. 154). Second, the research demonstrates how Serra's sculptural practice consistently extends into the landscape. Through the analysis and design critique of his works, the study uncovers a practice that explores body, space, and time, engaging viewers through site-specificity, context, and materiality. This emphasis on experiential engagement aligns with phenomenological philosophy and an embodied perspective of landscape. Third, the research establishes that Serra's sculptural ethos and the qualities inherent in his extensive practice—such as body, space, time, process, site-specificity, context, and materiality—have the potential to enrich contemporary landscape architecture practices in Aotearoa. This insight specifically pertains to enhancing the utility and design experience of existing and future landscapes. And finally, the study provides valuable insights into how landscape architecture, influenced by sculpture or other art disciplines, can evolve into a distinct and recognizable form. The interdisciplinary, multi-modal approach employed in this research can serve as a model for future investigations within landscape architectural academia, offering numerous benefits to the field

Implementation of the orthodoxy test as a validity check on experimental field emission data

In field electron emission (FE) studies, it is important to check and analyse the quality and validity of experimental current-voltage data, which is usually plotted in one of a small number of standard forms. These include the so-called Fowler-Nordheim (FN), Millikan-Lauritsen (ML) and Murphy-Good (MG) plots. The Field Emission Orthodoxy Test is a simple quantitative test that aims to check for the reasonableness of the values of the parameter "scaled field" that can be extracted from these plots. This is done in order to establish whether characterization parameters extracted from the plot will be reliable or, alternative, likely to be spurious. This paper summarises the theory behind the orthodoxy test, for each of the plot forms, and confirms that it is easy to apply it to the newly developed MG plot. A simple web tool has been developed that extracts scaled-field values from any of these three plot forms, and tests for lack of field emission orthodoxy.Comment: 14 typescript pages, 2 figure

A new look at a polar crown cavity as observed by SDO/AIA

Context. The Solar Dynamics Observatory (SDO) was launched in February 2010 and is now providing an unprecedented view of the solar activity at high spatial resolution and high cadence covering a broad range of temperature layers of the atmosphere. Aims. We aim at defining the structure of a polar crown cavity and describing its evolution during the erupting process. Methods. We use the high-cadence time series of SDO/AIA observations at 304 Å (50 000 K) and 171 Å (0.6 MK) to determine the structure of the polar crown cavity and its associated plasma, as well as the evolution of the cavity during the different phases of the eruption. We report on the observations recorded on 13 June 2010 located on the north-west limb. Results. We observe coronal plasma shaped by magnetic field lines with a negative curvature (U-shape) sitting at the bottom of a cavity. The cavity is located just above the polar crown filament material. We thus observe the inner part of the cavity above the filament as depicted in the classical three part coronal mass ejection (CME) model composed of a filament, a cavity, and a CME front. The filament (in this case a polar crown filament) is part of the cavity, and it makes a continuous structuring from the filament to the CME front depicted by concentric ellipses (in a 2D cartoon). Conclusions. We propose to define a polar crown cavity as a density depletion sitting above denser polar crown filament plasma drained down the cavity by gravity. As part of the polar crown filament, plasma at different temperatures (ranging from 50 000 K to 0.6 MK) is observed at the same location on the cavity dips and sustained by a competition between the gravity and the curvature of magnetic field lines. The eruption of the polar crown cavity as a solid body can be decomposed into two phases: a slow rise at a speed of 0.6 km s-1 and an acceleration phase at a mean speed of 25 km s-1