Post-9/11 Illegal Immigrant Detention and Deportation: Terrorism and the Criminalization of Immigration

This paper analyzes the changes in immigration policy since the terrorist attacks of September 11, 2001 in terms of how immigrants are viewed in the United States. The goal is to address the recent criminalization of immigration in that the perceptions of terrorists and immigrants have become relatively synonymous since 2001. Although deportations have decreased, immigrant detention has increased significantly. Detention centers pose threats to the basic human rights of the immigrants residing in them, as well as perpetuate the culture of fear enveloping recent immigrants, whether they are legally or illegally in the country, and native United States citizens alike. Being that globalization encourages the blurring of borders and the movement of people across them, it plays a crucial role in the discussion of immigration and the treatment of immigrants in the United States. Globalization has the power to spread and influence public opinion more quickly than ever before in history, which houses potential for both the circulation of the criminalization of immigration and the standardization of the promotion of diversity and human rights. These parallels will be analyzed as they relate to immigration in a post-9/11 globally integrated society

Characterization of Dielectric Barrier Discharge Plasma Actuators: Logarithmic Thrust-Voltage Quadratic Relationship

Results of thrust measurements of dielectric barrier discharge plasma actuators are presented. The test setup, measurement, and data processing methodology that were developed in prior work were used. The tests were conducted with high-density polyethylene actuators of three thicknesses. The applied voltage driving the actuators was a pure sinusoidal waveform. The test setup was a suspended actuator with a decoupling liquid interface. The tests were conducted at low ambient humidity. The thrust was measured with an analytical balance and the results were corrected for antithrust to isolate the plasma-generated thrust. Applying this approach resulted in smooth and repeatable data. It also enabled precise curve fitting that yielded quadratic relations between the plasma thrust and voltage in loglog space at constant frequencies. The results contrast power law relationships developed in literature that now appear to be an approximation only over a limited voltage range

Intertwining

From Vitruvius’ Ten Books on Architecture to Wagner’s conception of the Gesamkunstwerk, many would agree that each area of art should influence the others. By narrowing my study to the relationship of architecture and music, I will explore in depth how music can directly influence the design, in form and experience, of architecture.There are two ways to understand the interactions of music and architecture. The analogical is concerned with the artist’s intention and technical procedure. Often, we think of the Pythagorean philosophy concerning the mathematical relationships that both music and architecture employ. These include, but are not limited to, harmony, rhythm and order. The Pythagoreans are credited for having brought measure to music through the study of the monochord, pipes, and bells. Pythagoras discovered through plucking strings of different lengths, hitting bells, and blowing pipes of different lengths that musical harmony existed in multiples of the original note. Architectural form and structure follow many of the same rules in which music is composed. For example, single components of primary structure, such as rhythm, may include secondary structural components to create harmony. Also, Architecture can use musical iconography in the form of buildings. Frank Gehry uses several musical icons and distorts them in order to give shape to his Experience Music Project building. This is the most literal translation of musical influence on architecture. I am not suggesting this is the appropriate way in which these forces meet. However, a combination of the following two interactions will be further explored.There also exists the metaphorical, the poetic analogies that exist in both architecture and music. We use a different art to describe the impalpable effects that another art has on us in order to better identify that effect. Like built architecture, performed music can capture many emotions and feelings. Music is much like architecture in that it is written as well as experienced. “For Kahn, the work of the architect was closer to that of the musician than to that of the painter because the visual notations on paper which both musicians and architects make represent something outside the paper. A musical score represents sound, an architectural plan the three-dimensional experience of mass, space and light,” (Shaw-Miller, 34). Musicians continually write and rewrite pieces so that in the end, their audience will be able to fully engage in the experience of the music. In order for this to be a rich experience the music must be composed in great detail through many layers. I would argue that music can be used as a precedent for technique and intention, and also for the metaphorical, to create an effect in architecture. In this thesis, I will explain how we, as architects, can learn from the creation and experience of music and translate this into architecture by designing through a deep layering of information in order to create a rich, inspirational experience

1918-08-16, Laun to Carl

https://digitalcommons.chapman.edu/lbee_collection/1000/thumbnail.jp

Finding Euridice: A Singers Introduction to Jonathan Dove\u27s L\u27altra Euridice

Orphean mythology continues to fascinate musical and literary scholars to this day. The thematic elements originally presented in the Greek myth of Orpheus and Euridice continue to be written about and studied, and this interest in antiquity plays a critical role in solidifying the myth’s importance and value to today’s musical and literary scenes. Dove’s L’altra Euridice presents the traditional Orphean mythology, but in a radically altered account of the transpiring events, reversing Orpheus’ and Plutone’s roles as hero and villain. Dove wrote two seemingly divergent ethea, which causes elements of the emotional content within the narrative are lost if the vocalist adheres strictly to the written material. This juxtaposition presents a unique opportunity for the vocalist to either remain with the written ethos, or to mimic the gestures and articulations of the orchestra, thereby uniting the two ethea and enhancing the communicative content of the piece. First, I introduced Dove’s importance in the current classical music canon, and specifically mentioned his contribution to and reputation within the operatic community. I then followed by establishing the historical importance of the librettist, Italo Calvino, thereby providing a foundation for why L’altra Euridice is worth further consideration. I examined each movement in the larger work according to the text, specifically identifying the ethos and apparent emotional elements in both the vocal and orchestral content, and offered subsequent unification options for the vocalist to employ. I used established terminology and techniques to instruct the vocalist as to what interpretive options were available, and defined these terms for those who would not be as familiar with them. When these techniques and interpretive options are used discerningly, the communicative content of the vocal line within each movement can be altered to be more congruent with the orchestral content, or can be adhered to as it is written, and be justified as important without alteration. These interpretive options provide a way to more fully communicate the mythology in this unique retelling, and offer an important outlet for technical and expressive exploration and discovery for the performer