Indexing nature: Carl Linnaeus (1707-1778) and his fact-gathering strategies

Early modern naturalists were faced with what has been termed the ‘first bio-information crisis’. A key figure in resolving this crisis was the Swedish naturalist Carl Linnaeus (1707-1788). This paper will focus on Linnaeus’s day-to-day working routines on the basis of manuscript material held at the Linnean Society(London). What this material shows is that Linnaeus had to manage a conflict between the need to bring factual information into a fixed order for purposes of retrieval, and the need to integrate new information into that order. A way out of this dilemma was to keep information on particular subjects on separate sheets, which could be reshuffled and complemented by additional sheets. It is only very late in his life, however, that Linnaeus realized the full potential of this technique, by inventing what look like index cards. What we thus hope to show in this paper is that one of the main cognitive advantages commonly assigned to writing – the possibility to abstract words and statements from their context and rearrange them freely in lists,tables and filing systems – had to prevail over considerable practical and psychological obstacles. What seems an obvious thing to do in hindsight, e.g. to work with something like index cards, had to be learned through an incessant, painstaking process of experimentation, fact-gathering, and reorganization

Quasi-Likelihood and/or Robust Estimation in High Dimensions

We consider the theory for the high-dimensional generalized linear model with the Lasso. After a short review on theoretical results in literature, we present an extension of the oracle results to the case of quasi-likelihood loss. We prove bounds for the prediction error and $\ell_1$-error. The results are derived under fourth moment conditions on the error distribution. The case of robust loss is also given. We moreover show that under an irrepresentable condition, the $\ell_1$-penalized quasi-likelihood estimator has no false positives.Comment: Published in at http://dx.doi.org/10.1214/12-STS397 the Statistical Science (http://www.imstat.org/sts/) by the Institute of Mathematical Statistics (http://www.imstat.org

The wave 6 NEPS adult study incentive experiment

"In wave 6 of the National Educational Panel Study (NEPS) adult starting cohort, an incentive experiment was conducted that randomly switched respondent cash incentives from promised to (partly) prepaid for half of the eligible sample. This research note examines the effects that this change in incentive scheme had on response rates, on sample composition in terms of some key survey variables, and fieldwork efforts by interviewers. We find moderately sized positive effects on overall response rates. The switch in incentive scheme appears to be particularly effective in raising response rates of low educated individuals and those with low reading and mathematics competencies, subgroups that participated underproportionately in prior waves. This differential reaction to the changed incentive scheme therefore leads to a somewhat more balanced sample composition along these dimensions. In line with prior studies, effects on fieldwork efforts such as the number of contact attempts to obtain an interview could be found, but are small in magnitude." (author's abstract

Women with early maltreatment experience show increased resting-state functional connectivity in the theory of mind (ToM) network

Background: Experience of childhood maltreatment significantly increases the risk for the development of psychopathology and is associated with impairments in socio-cognitive skills including theory-of-mind (ToM). In turn, neural alterations in ToM processing might then influence future interpersonal interaction and social-emotional understanding. Objective: To assess resting-state activity in the theory-of-mind network in traumatized and non-traumatized persons. Methods: Thirty-five women with a history of childhood maltreatment and 31 unaffected women completed a resting-state scan and a ToM localizer task. The peak coordinates from the localizer were used as the seed regions for the resting-state functional connectivity (RSFC) analyses (temporo-parietal junction, dorsomedial prefrontal cortex, middle temporal gyrus and precuneus). Results: Child abuse was associated with increased RSFC between various ToM regions including the precuneus and the brainstem suggesting altered hierarchical processing in ToM regions. Number of types of abuse was driving the effect for the temporo-parietal junction and the brainstem, while the severity of abuse was linked to increased RSFC between the middle temporal gyrus and the frontal cortex. Post-hoc analyses of brainstem regions indicated the involvement of the serotonergic system (dorsal raphe). Conclusions: The data indicate a lasting impact of childhood maltreatment on the neural networks involved in social information processing that are integral to understanding others' emotional states. Indeed, such altered neural networks may account for some of the interpersonal difficulties victims of childhood maltreatment experience

Control of Energy Transfer Between Pyrene‐ and Perylene‐Nucleosides by the Sequence of DNA‐Templated Supramolecular Assemblies

DNA was used as supramolecular scaffold to order chromophores and control their optical properties. Ethynylpyrene as energy donor was attached to 2′‐desoxy‐2‐aminoadenosine that binds selectively to thymidines (T) in the template. Ethynylperylene as acceptor was attached to 2′‐desoxyuridine that is complementary to 2′‐desoxyadenosine (A). This donor‐acceptor pair was assembled along single‐stranded DNA templates of different A−T sequences to investigate the sequence control of the energy transfer between the chromophores. The fluorescence intensities increase in the mixed assemblies along the DNA templates from A10T10 over (AATT)5 to (AT)10, although these templates provide equal numbers of potential binding sites for the two different nucleoside chromophore conjugates and exhibit similar absorbances. This shows that the sequence selective assembly of the two building blocks along DNA templates is programmable and alters the fluorescence readout. Such sequence‐controlled supramolecular chemistry represents the key element for future functional π‐systems in materials for light harvesting of solar energy

Neural correlates of ostracism in transgender persons living according to their gender identity : a potential risk marker for psychopathology?

Background. Stigmatization in society carries a high risk for development of psychopathology. Transgender persons are at particularly high risk for such stigmatization and social rejection by others. However, the neural correlates of ostracism in this group have not been captured. Method. Twenty transgender men (TM, female-to-male) and 19 transgender women (TW, male-to-female) already living in their gender identity and 20 cisgender men (CM) and 20 cisgender women (CW) completed a cyberball task assessing both exclusion and re-inclusion during functional magnetic resonance imaging (fMRI). Results. During psychosocial stress between-group differences were found in the dorsal and ventral anterior cingulate cortex (ACC) and the inferior frontal gyrus (IFG). Patterns were consistent with sex assigned at birth, i.e. CW showed greater activation in dorsal ACC and IFG relative to CM and TW. During re-inclusion, transgender persons showed greater ventral ACC activity relative to CW, possibly indicating persistent feelings of exclusion. Functional connectivity analyses supported these findings but showed a particularly altered functional connectivity between ACC and lateral prefrontal cortex in TM, which may suggest reduced emotional regulation to the ostracism experience in this group. Depressive symptoms or hormonal levels were not associated with these findings. Conclusion. The results bear implications for the role of social exclusion in development of mental health problems in socially marginalized groups

Tropical cyclone low-level wind speed, shear, and veer: sensitivity to the boundary layer parametrization in the Weather Research and Forecasting model

Mesoscale modeling can be used to analyze key parameters for wind turbine load assessment in a large variety of tropical cyclones. However, the modeled wind structure of tropical cyclones is known to be sensitive to the boundary layer scheme. We analyze modeled wind speed, shear, and wind veer across a wind turbine rotor plane in the eyewall and outer cyclone. We further assess the sensitivity of wind speed, shear, and veer to the boundary layer parametrization. Three model realizations of Typhoon Megi are analyzed over the open ocean using three frequently used boundary layer schemes in the Weather Research and Forecasting (WRF) model. All three typhoon simulations reasonably reproduce the cyclone track and structure. The boundary layer parametrization causes up to 15 % differences in median wind speed at hub height between the simulations. The simulated wind speed variability also depends on the boundary layer scheme. The modeled median wind shear is smaller than or equal to 0.11 used in the current IEC (International Electrotechnical Commission) standard regardless of the boundary layer scheme for the eyewall and outer cyclone region. However, up to 43.6 % of the simulated wind profiles in the eyewall region exceed 0.11. While the surface inflow angle is sensitive to the boundary layer scheme, wind veer in the lowest 400 m of the atmospheric boundary layer is less affected by the boundary layer scheme. Simulated median wind veer reaches values up to 1.7×10-2° m−1 (1.2×10-2° m−1) in the eyewall region (outer cyclone region) and is relatively small compared to moderate-wind-speed regimes. On average, simulated wind speed shear and wind veer are highest in the eyewall region. Yet strong spatial organization of wind shear and veer along the rainbands may increase wind turbine loads due to rapid changes in the wind profile at the turbine location.</p

Elizaveta, Leni y Agnès: tres mujeres que cambiaron el cine

The canonical records have made the work of the women of the seventh art invisible, eclipsing them with masculine figures. However, the revisiting the films has made them into part of history and film theory. We shall escape the established notion of man directed films, focusing on how the genre and “the thing of women” were established by the Soviet, German and French films, and its difference with the classic Hollywood model and its representations of princesses in need of being rescued or unchained by unconsented kisses. We believe that feminine influence, powerful, vibrating, creative -sometimes controversial-, is not a recent phenomenon. We intend to bring to this paper the contribution to the film genre by Elizaveta Svilova editor and creator of the kino-eye; the figure of Leni Riefenstahl, even though her association with German expressionism does not seem completely direct, it originates in the same context; and the works of Agnès Varda, the lady of the Nouvelle Vague. Three indispensable women who have left their mark and made the world know that the women can see, tell, experiment, and are able to create works of art and monsters. The choise of these three women is not trivial. Elizaveta Svilova is probably the best known editor to have worked in the USSR, even though her name is barely mentioned in most of the usual sources on Soviet film history. As editor of “The man with a movie camera” (1929), she is responsible for the technique and poetry of the film. It is through her that we access the raw material and the possibilities of manipulation, where filmed shoots are assembled and “organized”, the special and visual effects, fades, overlaid and frozen images, fast forward, split screens, several rhythms and inserts; with effects which are not random, for they are weighted with meaning and they are, ultimately, the method of the film. External to the German expressionism movement, yet equally necessary of being referred to for its temporal proximity, there is the controversial Leni Riefenstahl. Before being director, she starred in several “mountain” films, almost a subgenre of German film in the 20’s. Gubern describes these films as “a promethean emblem of the heroes that dared to conquer he summit, with resonance between pagan and fascist” (Gubern, 1973 quoted by Kairuz, 2009). “Triumph of the will” (1935) directed by Riefenstahl, is an outstanding piece of epic proportions (“wagnerian”). Current studies developed in France about the films by Agnès Varda make no emphasis in matters of genre, “the author is studied as a cinéaste instead of a feminist director” (Lee, 2008 quoted by Vallejo, 2010). Her vanguard language and aesthetic experimentation offer a different way to see and represent women.Los relatos canónicos han invisibilizado el trabajo de las mujeres en el séptimo arte, eclipsándolas con figuras masculinas. Sin embargo, la relectura de sus películas las han convertido en parte de la historia y teoría del cine. Escaparemos al relato instituyente de las películas dirigidas por directores hombres, haciendo foco en cómo el género y la “cuestión de la mujer” se constituyeron para el cine soviético, alemán y francés, y su diferencia con los modelos clásicos de Hollywood y sus representaciones de princesas necesitadas de ser rescatadas o desencantadas por medio de besos no consentidos. Creemos que la influencia femenina, poderosa, vibrante, creativa -a veces controvertida-, no es un fenómeno de los últimos años. Queremos traer a este escrito el aporte al género cinematográfico de Elizaveta Svilova montajista y gestora del Cine-Ojo; la figura de Leni Riefenstahl, que si bien su asociación con el expresionismo alemán no parezca del todo directa proviene del mismo contexto; y la obra de Agnès Varda la dama de la Nouvelle Vague. Tres mujeres imprescindibles, que han forjado un sello propio y que le han hecho saber al mundo que las mujeres miramos, contamos, experimentamos, podemos crear obras de arte y monstruos. La elección de estas tres mujeres no es baladí. Elizaveta Svilova es probablemente la editora más conocida que ha trabajado en la URSS, y sin embargo, su nombre apenas se menciona en la mayoría de las fuentes habituales de la historia del cine soviético. Montajista del “El hombre de la cámara” (1929) es la hacedora de la técnica y la poesía del film. Por medio de ella accedemos al material en bruto y las posibilidades de manipulación donde se ensamblan y “organizan” los registros filmados, los efectos especiales y trucas, fundidos, sobreimpresiones, imágenes congeladas, aceleración, pantallas partidas, diversos ritmos e intercalaciones, con efectos que no son azarosos, están cargados de sentido y son, en definitiva, el método de la película. Un poco por fuera del movimiento del expresionismo alemán, pero igualmente necesaria de ser referida por su cercanía temporal, está la polémica Leni Riefenstahl. Antes de dirigir, protagonizó varios films “de montaña”, todo un subgénero del cine alemán de los años ’20. Gubern describe estas películas como “un canto prometeico a los héroes que se atrevían a conquistar las cimas, con resonancias entre paganas y fascistas” (Gubern, 1973 citado por Kairuz, 2009). “El triunfo de la voluntad” (1935) de Riefenstahl ya como directora, es una obra asombrosa de proporciones épicas (“wagnerianas”). Los estudios actuales sobre los filmes de Agnès Varda realizados en Francia no hacen hincapié en cuestiones de género, “la autora es estudiada como cinéaste más que como directora feminista” (Lee, 2008 citado por Vallejo, 2010). Su lenguaje de vanguardia y experimentación estética ofrecen otra forma de mirar y representar a la mujer.Os relatos canónicos tornaram invisível o trabalho das mulheres na sétima arte, eclipsando-as com figuras masculinas. No entanto, a releitura de seus filmes converteram- -nas em parte da instituição da história e teoria do cinema. Escaparemos nós também ao relato institucional dos filmes dirigidos por diretores homens, fazendo enfocando em como o gênero e a "questão da mulher" se constituíram para o cinema soviético, alemão e francês, e sua diferença com os modelos clássicos de Hollywood e suas representações de princesas precisadas de ser resgatadas ou desencantadas por meio de beijos não consensuais. Achamos que a influência feminina, poderosa, vibrante, criativa -às vezes controversa-, não é um fenômeno dos últimos anos. Queremos trazer a este escrito o contribua ao gênero cinematográfico de Elizaveta Svilova montajista e gerente do Cinema Olho; a figura de Leni Riefenstahl, que conquanto sua associação com o expressionismo alemão não pareça do todo direta provém do mesmo contexto; e a obra de Agnes Vagda a dama da Nouvelle Vague. Três mulheres imprescindíveis, que têm deixado um selo próprio e que lhe fizeram saber ao mundo que as mulheres olhamos, contamos, experimentamos, podemos criar obras de arte e monstros. A escolha dessas três mulheres não é trivial. Elizaveta Svilova é provavelmente a editora mais conhecida que trabalhou na URSS e, no entanto, seu nome mal se menciona na maioria das fontes habituais da história do cinema soviético. Montajista do “O homem da câmera” (1929) é a hacedora da técnica e a poesia do filme. Através dele acedemos ao material em bruto e as possibilidades de manipulação onde se montam e “organizam” os registros filmados, os efeitos especiais e trucas, fundidos, sobreposições, congelamentos de imagem, aceleração, telas partidas, diversos ritmos e intercalações, com efeitos que não são aleatórios, estão carregados de sentido e são, em definitiva, o método do filme. Um pouco por fora do movimento do expresionismo alemão, mas igualmente necessária de ser referida por sua cercania temporária, está a polémica Leni Riefenstahl. Dantes de dirigir, Riefenstahl protagonizou vários filmes “de montanha”, todo um subgénero do cinema alemão dos anos '20. Gubern descreve a estes filmes como “um canto prometeico aos heróis que se atreviam a conquistar as cumes, com ressonâncias entre paganas e fascistas” (Gubern, 1973 citado por Kairuz, 2009). “O triunfo da vontade” (1935) de Riefenstahl já como diretora, é uma obra espantosa de proporções épicas (“wagnerianas”). Os estudos atuais sobre filme-os de Agnés Varda realizados no França não fazem finca- -pé em questões de gênero, “a autora é estudada como cinéaste mais que como diretora feminista” (Lee, 2008 citado por Vallejo Vallejo, 2010). Sua linguagem de vanguardia e experimentação estética oferecem outra forma de olhar e representar à mulher