Apollo 17 EVA-1 and EVA-2 Task Decomposition: Planning for Artemis and Future Mars Missions

A decomposition of the Apollo 17 mission extravehicular activities (EVA) tasks can be used to prepare for Artemis and future Mars missions. A categorized minute by minute breakdown of the astronauts activites could be used to plan future EVAs and determine which scientific tasks or equipment may be prioritized. This is especially relevant in this critical stage for the upcoming Atemis missions and science activity planning. The infographics generated from the decomposition provide a higher level view of actual EVAs and could aid in making future EVAs more efficient and successful

Current-induced torques due to compensated antiferromagnets

We analyse the influence of current induced torques on the magnetization configuration of a ferromagnet in a circuit containing a compensated antiferromagnet. We argue that these torques are generically non-zero and support this conclusion with a microscopic NEGF calculation for a circuit containing antiferromagnetic NiMn and ferromagnetic Co layers. Because of symmetry dictated differences in the form of the current-induced torque, the phase diagram which expresses the dependence of ferromagnet configuration on current and external magnetic field differs qualitatively from its ferromagnet-only counterpart.Comment: 4 pages, 5 figure

““Capitán, ¿a qué huele la sangre? ”: Mexicana/o Vaudeville and Militarized Citizenship during World War II.”

This record contains the abstract for the book chapter.Much of the research on the generation of Mexican Americans who came of age during World War II has characterized that cohort’s orientation as culturally and politically assimilationist. A survey of the state of Mexican American commercial theatre in San Antonio during the period complicates this picture. Although flag-waving patriotism and strident support of the war effort were important themes on the city’s stage, San Antonio’s Spanish-speaking audiences did not abandon their cultural identity. Instead, the military alliance between the U.S. and Mexico against the Axis powers made the symbols of Mexican exile nationalism that had developed during the 1920s and 1930s available to the war effort, and fundraising techniques originally developed for mutual aid societies were channeled into war bonds and outright military recruitment. At the same time, newly assertive Mexican American entrepreneurs moved into the business of recruiting touring acts from Mexico, challenging the dominance of Anglo impresarios and the situation of internal colonialism that had reigned in the industry. Although much of the content of theatrical entertainment of the day reflected an increasing militarization of Mexican American claims to U.S. citizenship, there were counter-currents that used grotesque humor to challenge the disembodied loyalties and antipathies that made industrial-scale warfare so distinctly awful

Sol, Sombra, y Media Luz: History, Parody, and Identity Formation in the Mexican American Carpa

This is the publisher's official version, also available electronically here: http://elanguage.net/journals/pragmatics/article/view/2635/2605This paper analyzes a parody of the tango "A media luz" that was performed by Rodolfo García, a Mexican American comedian who worked in his family's tent show, the Carpa García, in the early 1940s. I argue that by juxtaposing the generic conventions of the tango with those of the canción ranchera and by introducing carni valesque humor, Mr. Garcia's parody articulated a distinctly local Mexican American identity which was strongly linked to a sense of working-class masculinity. In this way, the parody highlights the class- and gender-based contradictions that were inherent in ongoing processes of Mexican American identity formation at mid-century

Bilingual Humor, Verbal Hygiene, and the Gendered Contradictions of Cultural Citizenship in Early Mexican American Comedy

This is the Author's Final Draft. The publisher's official version is available from: http://dx.doi.org/10.1525/jlin.2003.13.2.163. The audio files are also available online at http://linguisticanthropology.org/journal/web-enhanced-articles/blingual-humor/ .This article examines the paradoxes of linguistic purism in a series of sound recordings of comic dialogues made by Mexican immigrant comedians in San Antonio, Texas, during the Depression. The dialogues present characters who mix English and Spanish as transgressors of gender roles and national identities, reserving their harshest criticism for women. However, bilingual wordplay in the dialogues suggests a dialectically opposed ideological move toward a celebration of linguistic and cultural hybridity

Singing to the Machine: Rodolfo Garcia's Autobiographical Report

This is the publisher's official version, also available from: http://studentorgs.utexas.edu/salsa/proceedings/1998.htm.My paper examines an autobiographical monologue which Rodolfo García, an elderly Mexican American vaudevillian from San Antonio, Texas, recorded on his home tape recorder. In the monologue, Mr. García moved from a temporally ordered story to a performance of several song parodies he once sang on stage. He thus brought diachronic and synchronic modes of apprehension of past events (i.e., narrative and list) into dialogue. By presenting a working-class masculine mexicano self grounded in a family tradition of performance, he responded creatively to social tensions within his community, as well as those inherent in the ethnographic encounter

What Matters Most To Mayors Making Interlocal Agreement Decisions

Local governmental units in the United States are struggling to cope with dwindling public resources and surging public demands. They often turn to interlocal agreements (ILAs) as a collaborative means by which to more effectively serve their constituents. Unfortunately, many ILAs never materialize or fail prematurely. The purpose of this qualitative, phenomenological study was to explore the experiences of 13 purposefully selected mayors in the State of Indiana to discover what factors they considered important when making their ILA entry and continuation decisions. It utilized a conceptual framework based on the transaction costs theory, as informed by the utility maximization, bounded rationality, social decision scheme, and groupthink theories. Interviews were transcribed, and data were subjected to an inductive analysis using idiographic interpretation to develop themes and to describe the essence of the ILA decision-making process. Key findings included that direct cost savings, a detailed, written agreement, contractual flexibility, an ability to perform, the effect on constituents and the current municipal workforce, and having a trusted, like-minded partner were important ILA entry factors. Furthermore, contractual flexibility, meeting constituent expectations, service effectiveness, relevancy, having a communicative partner, being able to measure an ILA service, and saving money were important ILA continuation factors, but that both service quality and doing the right thing trumped saving money. These findings have implications for positive social change because they can assist local leaders in achieving ILA success, with society benefitting from a commensurate increase in public value and in the more efficient and effective meeting of societal needs

Recovering La Carpa: The Dialogue of History and Memory in José Manuel Galván's 'Las Tandas de San Cuilmas - Los Carperos"

This is the publisher's version, also available from: http://www.utexas.edu/cola/centers/culturalstudies/text-practice-performance/overview.php.In 1989, playwright José Manuel Galván-Leguízamo, a veteran of the theatrical arm of the Mexico City student movement, created a play based on his own oral history interviews with peformers from San Antonio who had been active in carpas (“tent shows”) before World War II. The resulting work, Las tandas de San Cuilmas—Los carperos enjoyed two successful runs at the Guadalupe Cultural Arts Center, a grassroots arts organization on San Antonio’s West Side. The play made an important contribution to the efforts of a politically liberal Chicana/o middle class to make a place for itself in San Antonio by publicly celebrating the memory of the carpas and their aesthetic. Perhaps inevitably, this larger project has partly mythologized its object and sometimes papered over the divisions of class and status that fractured San Antonio’s ethnic Mexican community during the early twentieth century. Although Galván’s play participated in this mythologizing process to a degree, it also highlighted the contradictions of public history and public memory in ways that invited more searching reflection on those topics and on San Antonio’s rich and conflictive history