The Effects of the Wet Pressing Load on the Migration Pattern of the Sizing Element

It has been proposed and approved to further delineate the effects that wet pressing plays on the migration pattern of a sizing element. As of this time, no in-depth study has been performed to further understand this principle, therefore the need for this research is crucial to possibly save the paper industry capital in the future. Research was conducted to determine the ·effects that the wet pressing load had on the amount of size necessary for acceptable limitations. To accomplish this, the variables were held constant with the exception of the pressure applied to the sheet and the moisture content of the pre-sized base sheet. The sheet was then cross-sectioned and examined for size migration using image analysis. The results gathered from this experiment supported the belief that as the wet pressing load was increased, the depth of size migration was decreased. This result, along with that of increased savings generated from higher wet press solids, will no doubt benefit the paper industry as a whole

Cognitive Creatures and Conceptuality

What does it take for thought to be conceptual? And which creatures get to count as having conceptual thoughts? This paper explores these questions. The discussion follows Elisabeth Camp by contrasting two families of views. One family of views endorses that conceptual thought is the ability to represent the world in a way that brings about action. The other family wants more of conceptual thought: namely, that it exhibit objectivity and, in particular, that it come with the ability to speak a language. This discussion also follows Camp in looking for a better way to tie activeness to conceptual thought than those that have, generally, dominated the philosophical literature. It departs from Camp, however, by arguing that her account also fails to give a workable way of specifying this connection. By drawing on the idea that conceptuality is tied to agency, it suggests a different way to specify the connection. The suggestion is that flexibility—an open-ended use of cognitive abilities that deals with environmental features in novel ways—provides a way to specify the connection between activeness and conceptual thought

An artificial spiking synapse made of molecules and nanoparticles

Molecule-based devices are envisioned to complement silicon devices by providing new functions or already existing functions at a simpler process level and at a lower cost by virtue of their self-organization capabilities, moreover, they are not bound to von Neuman architecture and this may open the way to other architectural paradigms. Here we demonstrate a device made of conjugated molecules and metal nanoparticles (NPs) which behaves as a spiking synapse suitable for integration in neural network architectures. We demonstrate that this device exhibits the main behavior of a biological synapse. These results open the way to rate coding utilization of the NOMFET in perceptron and Hopfield networks. We can also envision the NOMFET as a building block of neuroelectronics for interfacing neurons or neuronal logic devices made from patterned neuronal cultures with solid-state devices and circuits

Pavlov's dog associative learning demonstrated on synaptic-like organic transistors

In this letter, we present an original demonstration of an associative learning neural network inspired by the famous Pavlov's dogs experiment. A single nanoparticle organic memory field effect transistor (NOMFET) is used to implement each synapse. We show how the physical properties of this dynamic memristive device can be used to perform low power write operations for the learning and implement short-term association using temporal coding and spike timing dependent plasticity based learning. An electronic circuit was built to validate the proposed learning scheme with packaged devices, with good reproducibility despite the complex synaptic-like dynamic of the NOMFET in pulse regime

Liszt and the French literary avant-garde o f the 1830s

In France the 1820s and 1830s brought about enormous changes in the perception of literature and art as a whole. Young poets, encouraged by the success and novelty of Méditations poétiques by Alphonse de Lamartine, started seeking new possibilities of expression and ways of breaking with the several-centuries-old tradition. They met with a strong protest from conservative milieu, especially those linked to Académie française, and this made them fight for a new paradigm in literature. They eagerly experimented with language as sound (Lamartine, Sainte-Beuve) and graphic (Nodier) matter. They published their texts in the press (Le Globe) and presented them during meetings in artistic salons, which functioned as a kind of laboratory. Thanks to the support of Charles Nodier they could publish their poems in the best publishing houses, which largely contributed to their success. The final victory of the romantics was the premiere of Hernani by Victor Hugo in February 1830. Franz Liszt, who came to Paris in 1823, was an active participant in the artistic and intellectual life there. Moreover, he was also a friend of many prominent artists of the epoch, which can be seen in his letters, writings, and piano music from the early 1830s. A particular example of the relationship between the composer’s music and literary avant-garde is the piece Harmonies poétiques et religieuses of 1835. We find there the domination of the sound element, formal freedom, the intertwining of poetical techniques, experiments with structure, and a strong stress on the word aspect of the oeuvre, for example through very precise notation of tempo markings

Liszt and the French literary avant-garde of the 1830s

In France the 1820s and 1830s brought about enormous changes in the perception of literature and art as a whole. Young poets, encouraged by the success and novelty of Méditations poétiques by Alphonse de Lamartine, started seeking new possibilities of expression and ways of breaking with the several-centuries-old tradition. They met with a strong protest from conservative milieu, especially those linked to Académie française, and this made them fi ght for a new paradigm in literature. They eagerly experimented with language as sound (Lamartine, Sainte-Beuve) and graphic (Nodier) matter. They published their texts in the press (Le Globe) and presented them during meetings in artistic salons, which functioned as a kind of laboratory. Thanks to the support of Charles Nodier they could publish their poems in the best publishing houses, which largely contributed to their success. The fi nal victory of the romantics was the premiere of Hernani by Victor Hugo in February 1830. Franz Liszt, who came to Paris in 1823, was an active participant in the artistic and intellectual life there. Moreover, he was also a friend of many prominent artists of the epoch, which can be seen in his letters, writings, and piano music from the early 1830s. A particular example of the relationship between the composer’s music and literary avant-garde is the piece Harmonies poétiques et religieuses of 1835. We fi nd there the domination of the sound element, formal freedom, the intertwining of poetical techniques, experiments with structure, and a strong stress on the word aspect of the oeuvre, for example through very precise notation of tempo markings

Suitability of soils developed on the basis of black coal ash as a forest habitat

The aim of the study was to evaluate the usefulness as a forest habitat, the technogenic soils developed by applying overlays containing organic matter in the waste substances, onto the layer of black coal ash. Properties of these soils, located in the power plant “Dolna Odra” in Nowe Czarnowo (West-Pomeranian province), were studied in 2015, i.e. 13 years after founding the experiment upon the use of waste materials in soilless land reclamation. Analysis required samples from the ash overlays and bottoms of the soils, in which applying methods commonly used in soil science, following properties were determined to enable calculation of the indicators used in the evaluation: forest soil trophism index (FSTI), soil site index (SSI), and mine soil quality index (MSQI). Values of FSTI allowed for classify studied soils as forest habitats, values of SSI as mixed forests and forest habitats, and values of MSQI as mixed forest habitats

Liszt’s experiments with literature

Liszt’s aspiration to create his own musical language and to find new tools of musical expression was unusually strong almost from the very beginning of his artistic career. Not only did the artist gladly spend his time among writers and read numerous texts, but he also turned to the technical and expressive means originating in literature. Among the most important attempts to work out new musical means on the basis of literary devices we may list: a strong emphasis on the sound factor, formal freedom and mixing of genres, composing a musical cycle on the basis of a poetic one (a narrative whole, leitmotifs), appealing to emotions by means of the appropriate selection of an oeuvre’s parameters, in particular articulation and dynamics, poetic quotations preceding the score, transposition of literary genres into the field of music, or synthesis of poetry and music in songs, symphony choruses, and piano transcriptions of songs. Album d’un voyageur is an excellent example of Liszt’s borrowings from literature and a very individual cycle with literary value. It is a story of a voyage across a small part of Europe in search of self-understanding; it is also a history of rebellion and the doubts which come as its consequence, as well as finding peace through contact with nature and through searching for God. Liszt created here an unusual oeuvre that combines poetic images and sounds. In 1884 Liszt declared that the most perfect form of synthesis of poetry and music is transcription of songs. It is here that music interprets poetry with its own means, which are often invented for the purposes of this synthesis. On the basis of the transcription of the song Ich liebe dich from 1860 we may observe how music becomes a language capable of imitating the intonation of the human voice, expressing emotions and, symbolically, relying on a programme, also expressing ideas

Liszt’s experiments with literature

Liszt’s aspiration to create his own musical language and to fi nd new tools of musical expression was unusually strong almost from the very beginning of his artistic career. Not only did the artist gladly spend his time among writers and read numerous texts, but he also turned to the technical and expressive means originating in literature. Among the most important attempts to work out new musical means on the basis of literary devices we may list: a strong emphasis on the sound factor, formal freedom and mixing of genres, composing a musical cycle on the basis of a poetic one (a narrative whole, leitmotifs), appealing to emotions by means of the appropriate selection of an oeuvre’s parameters, in particular articulation and dynamics, poetic quotations preceding the score, transposition of literary genres into the fi eld of music, or synthesis of poetry and music in songs, symphony choruses, and piano transcriptions of songs. Album d’un voyageur is an excellent example of Liszt’s borrowings from literature and a very individual cycle with literary value. It is a story of a voyage across a small part of Europe in search of self-understanding; it is also a history of rebellion and the doubts which come as its consequence, as well as fi nding peace through contact with nature and through searching for God. Liszt created here an unusual oeuvre that combines poetic images and sounds. In 1884 Liszt declared that the most perfect form of synthesis of poetry and music is transcription of songs. It is here that music interprets poetry with its own means, which are often invented for the purposes of this synthesis. On the basis of the transcription of the song Ich liebe dich from 1860 we may observe how music becomes a language capable of imitating the intonation of the human voice, expressing emotions and, symbolically, relying on a programme, also expressing ideas

Mahomet jako centralna postać wyobrażonej opery w opowiadaniu „Gambara” Balzaca

The article discusses the fragment of Balzac’s short story Gambara in which the titular character discusses his opera. The focal point of this article is a character from the opera written by Paolo Gambara – Muhammad. The elements used to build the character (character traits, transformations, biography, relationships with his environment, actions, emotions etc.) were analysed in the context of the musical means used to present them and of the entire short story. The background of this analysis consists of a short overview of the philosophical ideas about music and science expressed by Gambara in order to better present the sources of his ideas and the musical solutions that he used.The article discusses the fragment of Balzac’s short story Gambara in which the titular character discusses his opera. The focal point of this article is a character from the opera written by Paolo Gambara – Muhammad. The elements used to build the character (character traits, transformations, biography, relationships with his environment, actions, emotions etc.) were analysed in the context of the musical means used to present them and of the entire short story. The background of this analysis consists of a short overview of the philosophical ideas about music and science expressed by Gambara in order to better present the sources of his ideas and the musical solutions that he used