An all monolithic MOS A/D converter - Low power clocks, multiplexers, registers, and A/D converter Final report

Research and developments of monolithic, MOS, ten bit, analog to digital converte

Footnotes in Gaza (2009) by Joe Sacco: a historian against the grain (anachronism and memory)

Indexación: Revista UNAB.Notas al pie de Gaza es una novela gráfica en la que Joe Sacco intenta dar cuenta de las matanzas de Khan Younis y Rafah, llevadas a cabo por soldados israelíes en la población palestina en la década de los cincuenta. Este trabajo se aproxima a la obra de Sacco desde los conceptos del tiempo y las imágenes de Didi-Huberman contenidos en Ante el tiempo (2008). Este análisis expone las diversas anacronías que Sacco introduce para abordar los sucesos del pasado. La anacronía –entendida como la intromisión de un tiempo en otro –revela la dificultad del historiador para relacionar adecuadamente su presente con el pasado. Este análisis propone constantemente la pregunta por respuesta ética y la adecuación de las técnicas descritas.Notas al pie de Gaza is a graphic novel in wich Joe Sacco sheds light on the killings of Khan Younis and Rafah, carried out by Israeli soldiers in the Palestinian population in the 1950s. In this article, we approach Sacco’s work from Didi-Huberman’s concepts of time and images explained in Ante el tiempo (2008). The analysis shows how Sacco introduces various anachronisms to present past events. These anachronisms -understood as the meddling of one time into another- reveals the difficulty of the historian to relate his present with the past. Underneath this analysis, we are faced with the question of a possible ethical answer and the appropriateness of the described techniques.http://revistahumanidades.unab.cl//wp-content/uploads/2019/01/Mary-Mac-Millan-Notas-al-pie-de-Gaza-2009-de-Joe-Sacco-un-historiador-a-contrapelo-anacronia-y-memoria.pd

Solar-radiation-induced damage to optical properties of ZnO-type pigments Technical summary report, Jul. 1966 - Feb. 1968

Mechanisms of solar radiation damage to optical properties in zinc oxide pigments in visible and infrared region

LA FUNCIÓN DEL CÓMIC EN FANTOMAS CONTRA LOS VAMPIROS MULTINACIONALES DE JULIO CORTÁZAR (1975):DEL FETICHE AL DUELO

N/

Franz Kafka: El buitre y la resonancia del mito de Prometeo

El mito prometeico. Textos desde Hesíodo hasta René Char[1] , así se titula unvolumen publicado por la editorial Reclam el año 1995. La recopilación, conintroducción de Wolfgang Storch sobre la figura de Prometeo en la historia,ofrece primeramente las versiones de Hesíodo, Esquilo y de Francis Bacon. Acontinuación se añaden textos que se relacionan con el mito y que seclasifican en cinco subtítulos: "formador de hombres", "dador del fuego,"encadenado", "liberación" y "después". En la división correspondiente a"encadenado" y entre versiones de Bertolt Brecht, Friedrich Nietzsche y JeanPaul llama la atención un breve texto: El buitrede Franz Kafka. ¿Qué significala inclusión de este texto al interior de este marco mayor del mito dePrometeo? ¿Cuál es la implicancia de este gesto crítico para la lectura de Elbuitre? [2]La lectura está determinada por numerosos factores. Uno de estosfactores es la "resonancia" que el texto pueda despertar, es decir, el texto,aunque solitario y en sí mismo completo, entra en "diálogo" con unadeterminada tradición. De momento utilizaremos el término "diálogo" hasta nodar con uno más adecuado para describir el vínculo entre El buitre y el mitoprometeico. El buitre entablaría un diálogo con una tradición[3]. Ahora bien, lapregunta que guía esta reflexión es un su base simple: ¿Por qué la críticaincluye determinado texto en una recopilación sobre el mito prometeico? Talpregunta, ingenua, si se quiere, pone en movimiento varios problemas. Habráque dilucidar en qué medida la incorporación mencionada determina la luzbajo la cual debe ser leído el texto kafkiano. O dicho de otro modo ¿seconstituye el mito prometeico en una especie de código de lectura para Elbuitre? Y si es así ¿cuáles son los resultados de esta lectura?IILa

NOTAS AL PIE DE GAZA (2009), DE JOE SACCO: REPRESENTACIÓN DEL CUERPO Y SU ROL CENTRAL COMO TESTIMONIO

Abstract: In this article we analyze the graphic novel by Joe SaccoFootnotes in Gaza (2009), focusing on the different representations ofthe body. Sacco addresses a complex investigation into two massacrescommitted by Israel’s armed forces on the Palestinian population of theGaza Strip in 1956. We distinguish three uses of the body, which directlycontribute to the testimonial force of the story: the hunting formula, thebody as social cohesion and the corpse as persistence.Resumen: En este artículo analizamos la novela gráfica de Joe SaccoNotas al pie de Gaza (2009) centrándonos en las diversas representacionesdel cuerpo. Sacco aborda una compleja investigación sobre dos matanzascometidas por el ejército israelí sobre la población palestina de la Franjade Gaza en el año 1956. Distinguimos tres usos del cuerpo, los que aportandirectamente a la fuerza testimonial del relato: la fórmula cinegética, elcuerpo como cohesión social y el cadáver como persistencia. Abstract: In this article we analyze the graphic novel by Joe SaccoFootnotes in Gaza (2009), focusing on the different representations ofthe body. Sacco addresses a complex investigation into two massacrescommitted by Israel’s armed forces on the Palestinian population of theGaza Strip in 1956. We distinguish three uses of the body, which directlycontribute to the testimonial force of the story: the hunting formula, thebody as social cohesion and the corpse as persistence

Ecosystem-based biomimicry as a potential informer of regenerative architecture: a proposed regenerative research centre on the docks of the Durban Bay.

Masters Degree. University of KwaZulu-Natal, Durban.The context of the 21st century is the epoch of the ‘Anthropocene’ which characterizes the contemporary geological age we have entered – one defined by causative human activity and its decisive influence on planetary systems. This stems from the conceptualisation of human systems to be separate from natural systems leading to a problematic relationship between man and nature. This is manifested through our built environments where processes of urbanization and industrialization continue to pollute and degrade ecosystems both in & beyond their hinterlands. The built environment has been identified as a potential medium for mitigating the causes for ecosystem degradation and the loss of biodiversity – because of its role as a driver of ecosystem degradation, because it is the primary habitat for humans, and because the built environment presents potential opportunities for change. The purpose of this research was to explore regenerative design as a means for the built environment to restore the capacity of ecosystems. The research focussed on ecosystem-based biomimicry as a potential informer for regenerative architecture, so that it may motivate architecture as a vital component in the regeneration of local biodiversity and the wider ecological habitat. The research was primarily focused on the city of Durban and in particular the Durban Bay. The study is of an interdisciplinary nature and gathers insight from experts in their respective fields. The disciplines explored were Architecture, Urban Design and Town planning, Ecology, and Biomimicry. The research findings indicate that there is a need for socio-ecological change in the way we conceive of our built environments, to re-think the problematic relationship between man, the built environment, and the ecologies that they are an intrinsic part of. Regenerative Design begins to alter this relationship, and promotes the positive integration with ecological systems, regenerating ecosystems particularly in human dominated urban contexts. Mimicking ecosystems goes beyond a basic understanding of local ecological systems, but rather critically changes how buildings should function in relation to nature, shifting from a consumer of ecosystems towards a producer of natural resources

Social Misdirection Fails to Enhance a Magic Illusion

Visual, multisensory and cognitive illusions in magic performances provide new windows into the psychological and neural principles of perception, attention, and cognition. We investigated a magic effect consisting of a coin “vanish” (i.e., the perceptual disappearance of a coin after a simulated toss from hand to hand). Previous research has shown that magicians can use joint attention cues such as their own gaze direction to strengthen the observers’ perception of magic. Here we presented naïve observers with videos including real and simulated coin tosses to determine if joint attention might enhance the illusory perception of simulated coin tosses. The observers’ eye positions were measured, and their perceptual responses simultaneously recorded via button press. To control for the magician’s use of joint attention cues, we occluded his head in half of the trials. We found that subjects did not direct their gaze at the magician’s face at the time of the coin toss, whether the face was visible or occluded, and that the presence of the magician’s face did not enhance the illusion. Thus, our results show that joint attention is not necessary for the perception of this effect. We conclude that social misdirection is redundant and possibly detracting to this very robust sleight-of-hand illusion. We further determined that subjects required multiple trials to effectively distinguish real from simulated tosses; thus the illusion was resilient to repeated viewing

Graduate Student Recital: Janet Mac Millan, Flute; Cynthia Reno, Harpsichors; Paul Packard, Piano; February 27, 1974

Centennial East Recital HallWednesday EveningFebruary 27, 19748:15 p.m