Formal verification of a group membership protocol using model checking

The development of safety-critical embedded applications in domains such as automotive or avionics is an exceedingly challenging intellectual task. This task can, however, be significantly simplified through the use of middleware that offers specialized fault-tolerant services. This middleware must provide a high assurance level that it operates correctly. In this paper, we present a formal verification of a protocol for one such service, a Group Membership Service, using model checking. Through this verification we discovered that although the protocol specification is correct, a previously proposed implementation is not

Cell-type-specific resolution epigenetics without the need for cell sorting or single-cell biology.

High costs and technical limitations of cell sorting and single-cell techniques currently restrict the collection of large-scale, cell-type-specific DNA methylation data. This, in turn, impedes our ability to tackle key biological questions that pertain to variation within a population, such as identification of disease-associated genes at a cell-type-specific resolution. Here, we show mathematically and empirically that cell-type-specific methylation levels of an individual can be learned from its tissue-level bulk data, conceptually emulating the case where the individual has been profiled with a single-cell resolution and then signals were aggregated in each cell population separately. Provided with this unprecedented way to perform powerful large-scale epigenetic studies with cell-type-specific resolution, we revisit previous studies with tissue-level bulk methylation and reveal novel associations with leukocyte composition in blood and with rheumatoid arthritis. For the latter, we further show consistency with validation data collected from sorted leukocyte sub-types

A simple modeling approach to study the regional impact of a Mediterranean forest isoprene emission on anthropogenic plumes

Research during the past decades has outlined the importance of biogenic isoprene emission in tropospheric chemistry and regional ozone photo-oxidant pollution. The first part of this article focuses on the development and validation of a simple biogenic emission scheme designed for regional studies. Experimental data sets relative to Boreal, Tropical, Temperate and Mediterranean ecosystems are used to estimate the robustness of the scheme at the canopy scale, and over contrasted climatic and ecological conditions. A good agreement is generally found when comparing field measurements and simulated emission fluxes, encouraging us to consider the model suitable for regional application. Limitations of the scheme are nevertheless outlined as well as further on-going improvements. In the second part of the article, the emission scheme is used on line in the broader context of a meso-scale atmospheric chemistry model. Dynamically idealized simulations are carried out to study the chemical interactions of pollutant plumes with realistic isoprene emissions coming from a Mediterranean oak forest. Two types of anthropogenic sources, respectively representative of the Marseille (urban) and Martigues (industrial) French Mediterranean sites, and both characterized by different VOC/NOx are considered. For the Marseille scenario, the impact of biogenic emission on ozone production is larger when the forest is situated in a sub-urban configuration (i.e.&nbsp;downwind distance TOWN-FOREST <30km, considering an advection velocity of 4.2 m.s^-1). In this case the enhancement of ozone production due to isoprene can reach +37% in term of maximum surface concentrations and +11% in term of total ozone production. The impact of biogenic emission decreases quite rapidly when the TOWN-FOREST distance increases. For the Martigues scenario, the biogenic impact on the plume is significant up to TOWN-FOREST distance of 90km where the ozone maximum surface concentration enhancement can still reach +30%. For both cases, the importance of the VOC/NO_x ratio in the anthropogenic plume and its evolution when interacting with the forest emission are outlined. In complement to real case studies, this idealized approach can be particularly useful for process and sensitivity studies and constitutes a valuable tool to build regional ozone control strategies

Czy kolekcja sztuki musi być artystyczna?

The paper comprises short reflections on the situation of art collections in the modern reality. While the work of art has always been present in collection, the collection itself, as a specific form is a historic phenomenon closely bound with the early modern idea of art as an autonomic symbolic sphere referring to intellectual and spiritual values. This is where the paradigm of such collection comes from – the collection as an assembly of men-made artefacts of a special masterpiece   status, attributed to them due to their originality, uniqueness and virtuosity (in a sense of personal making) determined by the artist’s talent. Since the early 20th century, and especially in the years 1950–1980, a significant part of art openly rejected that paradigm through works, that were neither original, unique nor masterly, and finally, by rejecting their material aspect in favour of the creative act or action. In effect the traditional art collection could no longer meet its needs. The works of modern art often as such can not pretend to the special status of the masterpiece. The creative act or artistic situation entirely escape the collector, leaving him/her with nothing but props, accessories and leftovers, or with data carriers with recorded work – such as film tape, video cassette, compact disc or carriers of the memory of the creative act and testimonies about it, as a visual documentation, legal acts, instructions, certificates, reports and affidavits, and in extreme cases – just the viewer’s memory. This should however not be perceived as the end, the death of traditional art collection, which has been proved by the reality (the flourish of museums and private collections). However it is true, that it has lost the monopole, the exclusiveness of the model of art collecting, that now has to coexists with other modes. If in past it was an amateurs’ collection or a gallery exhibiting masterpieces (original, unique and of personal making), today next to them appears what usually did not or has not been granted the artistic character: an archive, a library, a property-room, storage-room or even a scrap-heap, or a film- or record library, database and finally the Internet, as an entirely separate reality, seemingly non-collection- like at all. In the face of increasing phenomenon of the art melting into the aesthetics of commonplaceness, what fills them is more the testimony of spiritual and visual culture then the masterpiece and is being collected for documentary rather then purely aesthetic purpose.

Kolekcja artystyczna – geneza, rozkwit, kryzys

Artistic Collection – Genesis, Bloom, Crisis In contemporary humanities a collection is no longer regarded as an erudite addition to the history of art, element of a merely supportive character, thus at most a testimony of an individual taste of the collector, but most often as a reservoir for preserving the works of art. It is being interpreted as an important cultural phenomenon situated in the borderland of art and history, but also of religion, politics, economy, social relations and reflction over the civilisation, science, nature. It is in the same time one of the places of art, places of exhibiting and meeting: exhibiting the artefacts and artefacts meeting artefacts, artefacts meeting people and people meeting people. After all, the relations between the art and the collection as a semantic, spatial and social structure are complex. Artistic collection, over several hundreds years of its history, has developed into the most eventful and culturally fertile kind of collecting. It can be defied as an assemblage of human products of a particular status of ARTWORKS resulting from their authenticity, uniqueness and virtuosity (in a sense of a personal production) conditioned by the artists’ talent. It is however neither parallel in time, nor synonymous with collecting in a broad understanding, although the artefacts have always occupied an import ant position in this area – it is a historical phenomenon, the result of a long-lasting process of transformations leading to the development of a separate symbolic sphere for art, distinct from the sphere of cult, power, tradition or ideology. In a kunstkammer, an early modern form of colleting, art gave witness to history and illustrated, or substituted for what was inaccessible in a form of drawings, prints, paintings. It mad one of the elements of universum, much more corresponding with the Medieval artes than with the weighty Romantic phenomenon with a capital “A”. The artistic collection in a full sense that emerged from that assemblage of artworks has been developing over the 17th and 18th centuries, flurished in 19th century and reached its apogee in the era of Avant-garde in early 20th century, when the idea of art adopted by artists was the closest to its character and allocation. The process of formation of such a collection has been initiated by the Renaissance “cult of the Antiquity” in the South of Europe and the Reformation iconoclasm in the North, that in a way have liberated art from the supremacy of religion. Highly important role have played here the transformations in perception of art, that led to the development of aesthetics as an autonomous science, and later – the Romantic idea of art and artist. The apogee of development of that form of collection came in the era of Modernism and Avant-garde, a particular, ephemeral form of it being the 20th century exhibition concept of the white cube presupposing a special kind of reception of an artwork: its undisturbed, unbiased and aesthetic contemplation. The crisis came in the 20th century, when modern art adopted “inartistic” materials and objects, of mass production, often entirely devoid of any aesthetic and decorative features, when it replaced a material artwork with the creative process or its idea, which forced employment of procedures form other filds of creativity (music, fim, theatre) or application of advanced technology. Collectable objects produced by artists more and more often could not but also would not be either authentic, or unique or virtuosic, so they were not ARTWORKS any more. This has forced new forms of collecting to emerge, depriving artistic collection of its signifiant monopole of the most noble way to appropriate art

HFI L2 DPC destripping and mapmaking modules

PoS(CMB2006)049International audienceThe data processing of the data from the High Frequency Instrument (HFI) of the Planck mission will use several modules. Destriping is expected to play a central role in the mapmaking stage. This paper outlines two existing HFI l2 DPC destriping modules together with estimations of their performances. MOKAPIX is a temperature data destriping tool based on scanning redundancies on the sky. We have developped another modules, BOGOPIX , based on the same philosophy, to perform simultaneously destriping and relative intercalibration

O książce Beaty Długajczyk i Leszka Machnika na temat muzeum Lubomirskich we Lwowie

The paper is a presentation and evaluation of a book by Beata Długajczyk and Leszek Machnik on the Lubomirski museum in Lviv (Muzeum Lubomirskich 1823–1940. Zbiórmalarstwa [„The Lubomirski Museum in Lviv 1823–1940. The Collection of Painting”], Wrocław: Wydawnictwo Ossolineum, 2019).Artykuł jest prezentacją i oceną książki Beaty Długajczyk i Leszka Machnika na temat muzeum Lubomirskich we Lwowie (Muzeum Lubomirskich 1823–1940. Zbiór malarstwa, Wrocław: Wydawnictwo Ossolineum, 2019)

Nowoczesny Museion Jerzego Ludwińskiego

This paper is devoted to never fulfilled museum projects by Jerzy Ludwiński, one of the most outstanding Polish art critics of the 20th century. Although his idea of “Museum of Contemporary Art”(1966) and a bit later “Centre of Artistic Research”(1971) appeared on the other side of the Iron Curtain, they were at that time an innovative equivalent to discussions conducted in the west countries on the role of a museum as a traditional institution towards contemporary artistic activity. The traditional character and museum narrative were becoming more and more inadequate for changing art going beyond old barriers of different artistic genres and putting more and more pressure on a creative process at the expense of its result. Instead of a museum strictly subjected to historically arranged and exhibited collections, Ludwiński suggested a fully open attitude to the latest artistic tendencies, action and development of relations between an artist and his audience. The author compares these ideas to the one of the ancient Museion in Alexandria, the etymological ancestor of a modern museum. Such institution, which would change itself from the one of a static collection of works of art presented for individual and passive contemplation of an audience into a place where art is created, some kind of a laboratory or atelier, he interprets as an “Alexandria model of a museum”. He is against the more traditional one (called “Luxembourg” after Musee du Luxembourg in Paris established in 1819, the first museum of modern art), where works of contemporary art are shown only provisionally or are just kept in storerooms waiting for the prestige of passing time to prove their value.