Ueber die relativen chemischen Intensitäten des directen und zerstreuten Sonnenlichtes

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Predicción del flujo multifásico en tuberías: artículo de revisión

In this work a review about the most relevant methods found in the literature to model the multiphase flow in pipelines is presented -- It includes the traditional simplified and mechanistic models, moreover, principles of the drift flux model and the two fluid model are explained -- Even though, it is possible to find several models in the literature, no one is able to reproduce all flow conditions presented in the oil industry -- Therefore, some issues reported by different authors related to model validation are here also discussedEn este trabajo se presenta una revisión de los métodos más relevantes en la industria del petróleo para modelar el flujo multifásico en tuberías -- Se incluyen desde los modelos simplificados hasta los modelos mecanicistas además de explicar los principios de los modelos drift flux y two fluid -- Existe una gran cantidad de modelos en la literatura para simular el flujo multifásico en tuberías, empero, ningún modelo es capaz de reproducir todas las condiciones de flujo multifásico presentes en la industria del petróleo -- Finalmente, se mencionan algunos temas en los que se requiere más investigación que lleven a simulaciones con resultados más cercanos a los datos de pozos reale

Did the ancient egyptians record the period of the eclipsing binary Algol - the Raging one?

The eclipses in binary stars give precise information of orbital period changes. Goodricke discovered the 2.867 days period in the eclipses of Algol in the year 1783. The irregular orbital period changes of this longest known eclipsing binary continue to puzzle astronomers. The mass transfer between the two members of this binary should cause a long-term increase of the orbital period, but observations over two centuries have not confirmed this effect. Here, we present evidence indicating that the period of Algol was 2.850 days three millenia ago. For religious reasons, the ancient Egyptians have recorded this period into the Cairo Calendar, which describes the repetitive changes of the Raging one. Cairo Calendar may be the oldest preserved historical document of the discovery of a variable star.Comment: 26 pages, 5 figures, 11 table

Nigel Brown and New Zealand National Identity

New Zealand national identity has dominated the art of Nigel Brown, emerging in various guises throughout his career. This thesis examines his work from his school drawings through to his development into a mature, established and significant artist. The introduction reflects the role of New Zealand national identity within the context of Nigel Brown‟s oeuvre, providing an overview of his style and subject matter and concludes with a biographical summary. Chapter One considers Brown‟s origins: his upbringing, school-boy art and art school days, through to his first solo exhibition in 1972. This section of my thesis also includes a discussion of his key educators including Ray Ericson, Fred Graham, Garth Tapper, Pat Hanly, Colin McCahon and Robert Ellis. Chapter Two examines the artist‟s nationalist symbolism and draws attention to the way in which Brown‟s visual language speaks to a predominantly New Zealand audience. This chapter identifies and clarifies key symbols from his oeuvre: the fern, black dog, black-singlet-clad bloke, James K. Baxter as well as a cast of other disparate "characters", spiritual symbolism and McCahon. Chapter Three considers notions of belonging and explores living in Aotearoa, New Zealand, as a feature within Brown‟s art practice. Included is a discussion of his uncomfortable position within the New Zealand art scene where, despite the impediment of occasional cultural snobbery, the artist nevertheless achieved a significant reputation. The chapter also takes into account traditions of the figured landscape, the depiction of rural and suburban New Zealand, as well as this country‟s historical and cultural makeup from Pākehā, Māori and Pacific perspectives. In Chapter Four Brown‟s response to aspects of politics, social change and protest are considered. Brown is an artist with a strong social conscience and this chapter reflects on the diverse range of issues and events he tackled in his artwork such as the Vietnam War, suburban neurosis, The Springbok Tour rugby protests, pacifism, nuclear arms, feminism, human rights and environmentalism. When pulled together, the diverse threads of Brown‟s oeuvre explored in each of the above chapters, display an over-riding sense of New Zealand national identity

Ueber den von Dr. Schmidt beobachteten Stern beiU Canis minoris

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Nigel Brown and New Zealand National Identity

New Zealand national identity has dominated the art of Nigel Brown, emerging in various guises throughout his career. This thesis examines his work from his school drawings through to his development into a mature, established and significant artist. The introduction reflects the role of New Zealand national identity within the context of Nigel Brown‟s oeuvre, providing an overview of his style and subject matter and concludes with a biographical summary. Chapter One considers Brown‟s origins: his upbringing, school-boy art and art school days, through to his first solo exhibition in 1972. This section of my thesis also includes a discussion of his key educators including Ray Ericson, Fred Graham, Garth Tapper, Pat Hanly, Colin McCahon and Robert Ellis. Chapter Two examines the artist‟s nationalist symbolism and draws attention to the way in which Brown‟s visual language speaks to a predominantly New Zealand audience. This chapter identifies and clarifies key symbols from his oeuvre: the fern, black dog, black-singlet-clad bloke, James K. Baxter as well as a cast of other disparate "characters", spiritual symbolism and McCahon. Chapter Three considers notions of belonging and explores living in Aotearoa, New Zealand, as a feature within Brown‟s art practice. Included is a discussion of his uncomfortable position within the New Zealand art scene where, despite the impediment of occasional cultural snobbery, the artist nevertheless achieved a significant reputation. The chapter also takes into account traditions of the figured landscape, the depiction of rural and suburban New Zealand, as well as this country‟s historical and cultural makeup from Pākehā, Māori and Pacific perspectives. In Chapter Four Brown‟s response to aspects of politics, social change and protest are considered. Brown is an artist with a strong social conscience and this chapter reflects on the diverse range of issues and events he tackled in his artwork such as the Vietnam War, suburban neurosis, The Springbok Tour rugby protests, pacifism, nuclear arms, feminism, human rights and environmentalism. When pulled together, the diverse threads of Brown‟s oeuvre explored in each of the above chapters, display an over-riding sense of New Zealand national identity

(e,2e) Measurements in the Molecular Frame

J. Lower, J. Baxendell and S. Bellmhttp://trove.nla.gov.au/work/3500146