Rapidly Connecting You to the World: Improving NASAs Worldview to Enhance Discovery and Access to Near Real-Time Imagery

The world around us is constantly in motion. Storms swirl, fires rage, volcanoes erupt and icebergs calve. NASAs fleet of Earth Observing System (EOS) satellites are there to capture this. Within hours of satellite overpass, NASAs Worldview (https://worldview.earthdata.nasa.gov) delivers this global, near-real time imagery through an interactive web map application. Provided through NASAs Land Atmosphere Near real-time Capability for EOS (LANCE) (https://earthdata.nasa.gov/lance) via NASAs Global Imagery Browse Services (GIBS) (https://earthdata.nasa.gov/gibs), the near real-time satellite imagery provides a launching point to discover where the latest wildfires, severe storms, volcanic eruptions, and calving ice shelves are happening. This poster will explore the newest near real-time satellite imagery and soon-to-be available imagery in Worldview, including imagery from geostationary satellites - GOES-East/West and Himawari-8. The poster will cover recent and future improvements to Worldview aimed to enhance the discovery and interaction with near real-time imagery and show how it is used by people from researchers, to meteorologists to the science-minded public around the world

Ethics and the crimes of the powerful

The ethical dimension adds a key tool for the analysis of the crimes of the powerful. This dimension is introduced in the analysis of the present article, which seeks to establish how offenders endowed with resources and power justify their conduct through a selective interpretation of classical Western philosophy

The New Narrative: Applying narratology to the shaping of futures outputs

Both scenario development and design practices incorporate elements of storytelling, but this use remains undertheorised. This paper will draw upon literary theory, film theory and science fiction criticism to develop an analytical model of narrative structure and rhetorics which speaks to the concerns of scenario developers and designers when engaged in shaping the final outputs or deliverables of a futures project. After highlighting the differing role of telos in art and futures and defining the metacategory of “narratives of futurity”, this paper then defines the terms “story”, “narrative”, “narrator” and “world” in the literary context. It then shows how those concepts map onto futures practice, before going into detail regarding the variety of narrative strategies available across a range of different forms and media, and the qualitative effects that they can reproduce in audiences. There follows the construction of a 2 × 2 matrix based on the critical concepts of narrative mode and narrative logic, within which narratives of futurity might be usefully catalogued and compared, and from which certain broad conclusions may be reached as regards the relation between choice of medium and rhetorical effect. The implications of this analysis are explored in detail

Getting nowhere fast: a teleological conception of socio-technical acceleration

It has been frequently recognized that the perceived acceleration of life that has been experienced from the Industrial Revolution onward is engendered, at least in part, by an understanding of speed as an end in itself. There is no equilibrium to be reached – no perfect speed – and as such, social processes are increasingly driven not by rational ends, but by an indeterminate demand for acceleration that both defines and restricts the decisional possibilities of actors. In Aristotelian terms, this is a final cause – i.e. a teleology – of speed: it is not a defined end-point, but rather, a purposive aim that predicates the emergence of possibilities. By tracing this notion of telos from its beginnings in ancient Greece, through the ur-empiricism of Francis Bacon, and then to our present epoch, this paper seeks to tentatively examine the way in which such a teleology can be theoretically divorced from the idea of historical progress, arguing that the former is premised upon an untenable ontological privileging of becoming

What's It like to See Earth from Space? Viewing Your World with NASA's Worldview!

When you first see Earth from space, you'll realize it's largely covered in white - our world is quite cloudy! Look closer and you'll discern landmasses, oceans, and regions covered in snow. Look closer still and you'll notice that our world is in constant motion - storms brewing and tracing paths over the oceans, plumes of smoke from wildfires and plumes of ash from volcanic eruptions billowing with the wind, dust storms blowing across the deserts, phytoplankton swirling in the oceans, icebergs floating in the oceans, and you'll see the human footprint on the earth's surface: cities connected by roads and vast swaths of agriculture. NASA's Worldview (https://worldview.earthdata.nasa.gov) interactive web map application provides a platform to view the world as it has been every day for the past 18 years, using data from NASA's fleet of Earth Observing System (EOS) satellites.This presentation will cover the history and development of the Worldview web map application; the 700+ imagery layers that are provided by the Global Imagery Browse Services (GIBS) (https://earthdata.nasa.gov/gibs); current and new features that are in Worldview to constantly improve the user experience; the interdisciplinary nature of the app and how it helps a broad range of user communities discover and interact with NASA satellite imagery; and ongoing efforts to improve Worldview and serve user communities

Consilient Discrepancy: Porosity and Atmosphere in Cinema and Architecture

Cinema constitutes a way of looking at the world, at a world – its aspect, its appearance; but it also presents how that world looks, its prospect – by the prospective glance it throws back toward us. The “look” of a film – its mood, ambiance or atmosphere – eclipses formal and aesthetics registers. It is fundamentally world-forming, and therefore both cosmogonic and ethical: cosmogonic because it produces a world in the midst of, and as, the temporality that devolves through its passage; and ethical because the world it brings about is an inhabited world, a conjugation of people and place that constructs particular ways of being-there-together. The premise here is that atmosphere, ambiance and mood have never been vague categories for cinema and need not be for architecture: rather, that they are in fact producible through deliberate organizational strategies – kinematic and narrative in film, tectonic and material in architecture – according to what might be called “consilient discrepancy” – the coexistence of disseveral systems in unaligned multiplicity that, while never fusing, resonate to produce emergent conditions. Cinema offers architecture an accessible and instructive instance of such consilient discrepancy, because, in it, atmosphere is more fully captured and the conditions that create it more evidently analyzable. To that extent, cinema provides architecture with comparative grounds for engaging with atmosphere through a properly tectonic practice that can potentially enrich the design and experience of architecture. Consilient discrepancy is evident across multiple registers in film. It can function at the level of narrative, space and time and thus puts into question verisimilitude, causality, situational and durational veracity. An example of this is the constitutive disjunctions of Jean-Luc Godard’s jump cut montage where sampled film sequences, film and photographic stills, texts and citations, ambient sound, spoken word and music, build into complex assemblages of sense (Histoire(s) du Cinema, 1998). It is evident in Nicholas Roeg’s multiple, simultaneous temporalities where past and future events interpenetrate and mutually condition the narrative present (Bad Timing, 1980). Similarly, we can find it in Michelangelo Antonioni’s sequence shots that traverse multiple timeframes across the same space – a technique that enables past and present to communicate and amplify the affective, foundational value of the unseen and off-frame (The Passenger, 1975). Another example would be David Lynch’s labyrinthine existential settings, constituted of interminable slippages between indeterminable and infinitely potentialized spaces of dreams, imagination, memory and reality (Mulholland Drive, 2001). Likewise, we could cite Michael Hanake’s persistent displacement of causality and verisimilitude through ambiguous narrative viewpoints (Caché, 2005), and Roy Andersson’s radically liminal settings and characters whose lives constitute larval pre- and/or posthuman states of existence (A Pigeon Sat on a Branch Reflecting on Existence, 2014). This paper will foreground two foundational characteristics of atmosphere in cinema, as evident in the works just cited, and explore their applicability to architecture. The first characteristic is the consilient discrepancy outlined here by way of introduction, and the second, related characteristic, is a spatiality of porosity and occlusion. The provisional aim of comparing cinema and architecture according to this tectonic logic is to go beyond typical ways of understanding cinema’s formal engagement with architecture. For this purpose, a detailed analysis of Béla Tarr’s film Werckmeister Harmonies (2000) will serve as a case study for how the medium of cinema generates atmosphere, ambiance and mood through visual language. This will be followed by a similarly detailed consideration of concomitant qualities created in two recent works by the architects Flores Prats, the Mills Museum and Casal Balaguer. Functioning as exemplars of how cinematic qualities can be made manifest in architecture, these precedents will further substantiate the cinematic–architectonic proposition ventured in this paper

Figuring Rhetoric: From Antistrophe to Apostrophe through Catastrophe

This essay explores rhetoric tropologically through various strophes: antistrophe, catastrophe, and apostrophe. Our purpose is to delineate problems and possibilities that these tropes pose for rhetoric in an effort to create new rhetorics. We seek to display the antistrophic and catastrophic figurations of rhetoric and then use visual lenses of photography and cinema to disrupt the figurations. Following the disruption, we seek to heighten sensibilities to other figurations, in particular an apostrophic figuration. We cast apostrophe as a figure for change because it marks a deeply felt turn toward difference and otherness. Turned as such, rhetoric becomes erotic

The world in ruins : Heidegger, Poussin, Kiefer

The aim of this paper is to begin to respond to the question of how to engage the presence of catastrophic climate change as a locus of philosophical thought. What has to be thought is the end of the world. Central to that project is Heidegger’s “The Origin of the Work of Art,” and in particular, Heidegger’s thinking of the earth/world relation, both in itself and in terms of the limits it encounters. Heidegger’s use of “examples” of artwork, as well as works by Nicolas Poussin and Anselm Kiefer, are deployed in order to begin to understand the role of art in thinking the end of the world

Exposure-Response Analyses of Asbestos and Lung Cancer Subtypes in a Pooled Analysis of Case-Control Studies

International audienceBACKGROUND:Evidence is limited regarding risk and the shape of the exposure-response curve at low asbestos exposure levels. We estimated the exposure-response for occupational asbestos exposure and assessed the joint effect of asbestos exposure and smoking by sex and lung cancer subtype in general population studies.METHODS:We pooled 14 case-control studies conducted in 1985-2010 in Europe and Canada, including 17,705 lung cancer cases and 21,813 controls with detailed information on tobacco habits and lifetime occupations. We developed a quantitative job-exposure-matrix to estimate job-, time period-, and region-specific exposure levels. Fiber-years (ff/ml-years) were calculated for each subject by linking the matrix with individual occupational histories. We fit unconditional logistic regression models to estimate odds ratios (ORs), 95% confidence intervals (CIs), and trends.RESULTS:The fully adjusted OR for ever-exposure to asbestos was 1.24 (95% CI, 1.18, 1.31) in men and 1.12 (95% CI, 0.95, 1.31) in women. In men, increasing lung cancer risk was observed with increasing exposure in all smoking categories and for all three major lung cancer subtypes. In women, lung cancer risk for all subtypes was increased in current smokers (ORs ~two-fold). The joint effect of asbestos exposure and smoking did not deviate from multiplicativity among men, and was more than additive among women.CONCLUSIONS:Our results in men showed an excess risk of lung cancer and its subtypes at low cumulative exposure levels, with a steeper exposure-response slope in this exposure range than at higher, previously studied levels. (See video abstract at, http://links.lww.com/EDE/B161.)