Period-Luminosity-Colour distribution and classification of Galactic oxygen-rich LPVs

The absolute K magnitudes and kinematic parameters of about 350 oxygen-rich Long-Period Variable stars are calibrated, by means of an up-to-date maximum-likelihood method, using Hipparcos parallaxes and proper motions together with radial velocities and, as additional data, periods and V-K colour indices. Four groups, differing by their kinematics and mean magnitudes, are found. For each of them, we also obtain the distributions of magnitude, period and de-reddened colour of the base population, as well as de-biased period-luminosity-colour relations and their two-dimensional projections. The SRa semiregulars do not seem to constitute a separate class of LPVs. The SRb appear to belong to two populations of different ages. In a PL diagram, they constitute two evolutionary sequences towards the Mira stage. The Miras of the disk appear to pulsate on a lower-order mode. The slopes of their de-biased PL and PC relations are found to be very different from the ones of the Oxygen Miras of the LMC. This suggests that a significant number of so-called Miras of the LMC are misclassified. This also suggests that the Miras of the LMC do not constitute a homogeneous group, but include a significant proportion of metal-deficient stars, suggesting a relatively smooth star formation history. As a consequence, one may not trivially transpose the LMC period-luminosity relation from one galaxy to the other.Comment: 13 pages, 23 figures. Accepted for publication in A&A

Re: Silences--: The Sensing of Sound

There is always a pressing need to make sense of the inexplicable. Research as teaching, writing as inquiry, texts as performative—we embark on a series of encounters and engagements. We draw and write lines in, and around, our experiences. Straightforward is not a geometry that sense, time, identity, or language takes. Usually, texts are considered to be the domain of authors but we ask that you engage with us as we explore how matter and fact warp and where theory is practice rather than applied, expressed, or attached to practice

An unfolding signifier: London's Baltic Exchange in Tallinn

In the summer of 2007 an unusual cargo arrived at Muuga and Paldiski harbors outside Tallinn. It consisted of nearly 50 containers holding over 1,000 tons of building material ranging from marble columns, staircases and fireplaces, to sculpted allegorical figures, wooden paneling and old-fashioned telephone booths. They were once part of the Baltic Exchange in the City of London. Soon they will become facets of the landscape of Tallinn. The following article charts this remarkable story and deploys this fragmented monument to analyze three issues relating to the Estonian capital: the relocation of the ‘Bronze Soldier’, the demolition of the Sakala Culture Center, and Tallinn’s future role as European Cultural Capital in 2011

From cyber-security deception to manipulation and gratification through gamification

Over the last two decades the field of cyber-security has experienced numerous changes associated with the evolution of other fields, such as networking, mobile communications, and recently the Internet of Things (IoT) [3]. Changes in mindsets have also been witnessed, a couple of years ago the cyber-security industry only blamed users for their mistakes often depicted as the number one reason behind security breaches. Nowadays, companies are empowering users, modifying their perception of being the weak link, into being the center-piece of the network design [4]. Users are by definition "in control" and therefore a cyber-security asset. Researchers have focused on the gamification of cyber- security elements, helping users to learn and understand the concepts of attacks and threats, allowing them to become the first line of defense to report anoma- lies [5]. However, over the past years numerous infrastructures have suffered from malicious intent, data breaches, and crypto-ransomeware, clearly showing the technical "know-how" of hackers and their ability to bypass any security in place, demonstrating that no infrastructure, software or device can be consid- ered secure. Researchers concentrated on the gamification, learning and teaching theory of cyber-security to end-users in numerous fields through various techniques and scenarios to raise cyber-situational awareness [2][1]. However, they overlooked the users’ ability to gather information on these attacks. In this paper, we argue that there is an endemic issue in the the understanding of hacking practices leading to vulnerable devices, software and architectures. We therefore propose a transparent gamification platform for hackers. The platform is designed with hacker user-interaction and deception in mind enabling researchers to gather data on the techniques and practices of hackers. To this end, we developed a fully extendable gamification architecture allowing researchers to deploy virtualised hosts on the internet. Each virtualised hosts contains a specific vulnerability (i.e. web application, software, etc). Each vulnerability is connected to a game engine, an interaction engine and a scoring engine

Examining the effects of experimental/academic electroacoustic and popular electronic musics on the evolution and development of human–computer interaction in music

This article focuses on how the development of human–computer interaction in music has been aided and influenced by both experimental/academic electroacoustic art music and popular electronic music. These two genres have impacted upon this ever-changing process of evolution in different ways, but have together been paramount to the establishment of interactivity in music as we understand it today; which is itself having wide-ranging implications upon the modern-day musical landscape as a whole—both in the way that we, as listeners and audience members, purchase and consume music as well as conceptualise and think about it

Unravelling social constructionism

Social constructionist research is an area of rapidly expanding influence that has brought together theorists from a range of different disciplines. At the same time, however, it has fuelled the development of a new set of divisions. There would appear to be an increasing uneasiness about the implications of a thoroughgoing constructionism, with some regarding it as both theoretically parasitic and politically paralysing. In this paper I review these debates and clarify some of the issues involved. My main argument is that social constructionism is not best understood as a unitary paradigm and that one very important difference is between what Edwards (1997) calls its ontological and epistemic forms. I argue that an appreciation of this distinction not only exhausts many of the disputes that currently divide the constructionist community, but also takes away from the apparent radicalism of much of this work

Effect of a legume cover crop on carbon storage and erosion in an ultisol under maize cultivation in southern Benin

Field experiment was conducted from 1988 to 1999 at an experimental farm at Agonkanmey, near Cotonou in southern Benin, to study the effect of relay-cropping maize through Mucuna pruriens (var. utilis). The relay-cropping system was compared with traditional maize cropping system without any input, and with a maize cropping system with mineral fertilizers (NPK). Special attention was given on the changes in soil C during the period of the experiment in relation to residue biomass C returned to the soil, runoff and soil erosion losses, and loss of C with erosion. The soils are classified as sandy loam Typic Kandiustult. The general properties of these soils are given. For this soil type, relay cropping of maize and mucuna was very effective in enhancing C sequestration: change in Ct (total C content) stock for 0 to 40 cm depth was 1.3 t C/ha per year over the 12-year period of the experiment, ranging among the highest rates recorded for the eco-region. This increase resulted first from the high amount of residue biomass provided by mucuna, which amounted to 10 t DM/ha per year (83% aboveground). Mucuna residues, supplying the soil with N, also favoured the production of maize biomass, and total mucuna plus maize residue biomass returned to the soil was approximately 20 t/ha per year. In contrast, non-fertilized and fertilized continuous maize cultivation resulted in -0.2 and 0.2 t C/ha per year change in Ct stock for 0 to 40 cm depth, respectively. Total residue biomass was 8 and 13 t/ha per year, including 77 and 29% by weeds, respectively. Thick mulch produced by mucuna decreased losses by runoff and erosion, which were 0.28, 0.12 and 0.08 mm/mm and 34.0, 9.0 and 3.0 t/ha per year in unfertilized, fertilized with NPK and mucuna treatments, respectively. Eroded C was estimated at 0.3, 0.1 and 1.0 t C/ha per year in unfertilized, fertilized with NPK and mucuna treatments, respectively. Through its benefits on soil organic matter management, weed suppression and erosion control, cropping systems including a legume crop may have an adverse impact from a global change standpoint

"Oh! What a tangled web we weave": Englishness, communicative leisure, identity work and the cultural web of the English folk morris dance scene

In this paper, we consider the relationship between Englishness and the English folk morris dance scene, considering how the latter draws from and reinforces the former. Englishness is considered within the context of the cultural web; a tool more often applied to business management but linked to a sociological viewpoint here. By doing so, we draw the connections between this structured business model and the cultural identity of Englishness. Then, we use the framework of the cultural web and theories of leisure, culture and identity to understand how morris dancers see their role as dancers and ‘communicative leisure’ agents in consciously defending Englishness, English traditions and inventions, the practices and traditions of folk and morris, and the various symbolic communities they inhabit. We argue that most morris dancers in our research become and maintain their leisured identities as dancers because they are attracted to the idea of tradition – even if that tradition is invented and open to change