Journal articles on the topic 'Force terrestre'

ABSTRACT. Solid Earth tide is the periodic displacement due to the tidal force. This effect is present in all geodesic and geophysical observations and should be eliminated when high accuracy surveying is required. It is necessary to determine the amplitudes and phases of the harmonic constituents to estimate the terrestrial tide effect magnitude. This article presents a methodology for estimating and analyzing the amplitudes and phases of the solid Earth tide principal constituents from gravimetric/GNSS observations. The methodology was applied to data collected in the Manaus/AM and Brasília/DF stations, Brazil, to determine the amplitude and phase values for the long period, monthly, diurnal and semidiurnal constituents, besides determining the time required for the convergence of the estimated constituent values. The estimated amplitude and phase values, using gravimetric data, converged between the 2nd and 6th months of the time series. For the positioning observations, the constituents values converged between the 2nd and 17th month of the data series, except for the long period constituent, which requires a longer time series to obtain satisfactory values for both methods. The results show that the solid Earth tide constituents were better estimated by the gravimetric data compared to the positioning data considering the series analyzed.Keywords: gravimetry, GNSS, solid Earth tide, tidal constituents.RESUMO. Maré terrestre é o deslocamento periódico decorrente da força de maré. Este é um efeito que deve ser eliminado quando se deseja realizar levantamentos nos quais é necessária alta acurácia tanto em observações geodésicas quanto geofísicas. Para estimar o efeito de maré terrestre deve-se determinar as amplitudes e fases de suas componentes harmônicas. Este artigo apresenta uma metodologia para a estimativa das amplitudes e fases das principais componentes de maré terrestre, a partir de observações gravimétricas/GNSS. A metodologia foi aplicada a dados coletados em estações instaladas em Manaus/AM e Brasília/DF, Brasil, resultando na determinação dos valores de amplitude e fase para componentes de longo período, mensais, diurnas e semidiurnas, além da análise da convergência dos valores estimados para estas componentes. As amplitudes e fases calculadas, utilizando dados gravimétricos, convergiram entre o 2_ e o 6_ mês analisados, enquanto para os dados de posicionamento a convergência ocorreu entre o 2_ e o 17_ mês observado, com exceção da componente de longo período, que não pôde ser determinada em ambos os métodos. Para o período analisado, as componentes de maré terrestre foram melhor estimadas utilizando dados gravimétricos, se comparadas aos resultados obtidos com dados de posicionamento.Palavras-chave: gravimetria, GNSS, maré terrestre, componentes de maré.

In hydrostatic skeletons, it is the internal fluid under pressure surrounded by a body wall in tension (rather than a rigid lever) that enables the stiffening of the organism, the antagonism of muscles and the transmission of force from the muscles to the environment. This study examined the ontogenetic effects of body size on force production by an organism supported with a hydrostatic skeleton. The earthworm Lumbricus terrestris burrows by forcefully enlarging crevices in the soil. I built a force-measuring apparatus that measured the radial forces as earthworms of different sizes crawled through and enlarged pre-formed soil burrows. I also built an apparatus that measured the radial and axial forces as earthworms of different sizes attempted to elongate a dead-end burrow. Earthworms ranging in body mass m(b) from hatchlings (0.012 g) to adults (8.9 g) exerted maximum forces (F, in N) during active radial expansion of their burrows (F=0.32 m(b)(0.43)) and comparable forces during axial elongation of the burrow (F=0.26 m(b)(0.47)). Both these forces were almost an order of magnitude greater than the radial anchoring forces during normal peristalsis within burrows (F=0.04 m(b)(0.45)). All radial and axial forces scaled as body mass raised to the 2/5 power rather than to the 2/3 power expected by geometric similarity, indicating that large worms exert greater forces than small worms on an absolute scale, but the difference was less than predicted by scaling considerations. When forces were normalized by body weight, hatchlings could push 500 times their own body weight, while large adults could push only 10 times their own body weight.

Abstract. This paper takes the Prometheus story in chapter 12 of Leviathan as the point of entry for an examination of the importance that Hobbes assigns to the problem of an uncertain future in his political philosophy. Hobbes's thinking on human nature represents a dramatic departure from the ancients not only because his mechanistic psychology reverses the ancient conception of the relation between reason and passion but also because his understanding of the temporal situation of human beings privileges the future to an unprecedented degree. It is against the backdrop of a universe in which the problem of an uncertain future has reached intolerable proportions that Hobbes develops his portrait of human nature; it is against the backdrop of this universe that he develops his account of Leviathan as the only earthly power capable of stabilizing the horizon of expectation.Résumé. Cet article utilise l'histoire de Prométhée au chapitre 12 du Léviathan comme introduction à l'examen de l'importance qu'accorde Hobbes au problème de l'incertitude de l'avenir dans sa philosophie politique. La pensée de Hobbes sur la nature humaine constitue une dérogation spectaculaire par rapport aux Anciens non seulement parce que sa psychologie mécaniste s'oppose diamétralement à l'ancienne conception de la relation entre raison et passion, mais également parce que sa compréhension de la situation temporelle des êtres humains privilégie l'avenir et ce, à un degré sans précédent. C'est sur la toile de fond d'un univers dans lequel le problème de l'incertitude de l'avenir a atteint des proportions intolérables que Hobbes construit son portrait de la nature humaine comme un tourbillon de passions incontrôlées; c'est sur la toile de fond de cet univers qu'il élabore son récit du Léviathan, seule force terrestre capable de stabiliser les attentes de l'avenir.

Antecedentes: La rodilla es una unidad funcional anatómica móvil que juega un papel clave en la función deportiva. Las lesiones producidas en esta articulación y, más específicamente, las roturas de ligamento cruzado anterior son de gran gravedad obligando al deportista a estar mucho tiempo apartado de la competición. En los últimos años, el trabajo en el medio acuático se ha incrementado debido a las diferentes ventajas que este proporciona. En cuanto a la readaptación de este tipo de lesiones, las terapias acuáticas pueden ser favorables debido a su implementación en etapas tempranas en las que se requiere minimizar el impacto en la articulación lesionada.Objetivos: Averiguar si la readaptación en el medio acuático produce beneficios durante las distintas fases de recuperación de la lesión del ligamento cruzado anterior respecto a una readaptación en el medio terrestre.Método: Se ha llevado a cabo una revisión de artículos que han comprobado los beneficios obtenidos entre una readaptación acuática y otra tradicional, así como la complementación de ambas.Resultados: Los resultados obtenidos no muestran diferencias significativas en la mayoría de variables (dolor, ROM, fuerza, etc.), aunque si se evidencian mejoras en cuanto al tiempo de recuperación durante el ejercicio en el medio acuático. También se encuentran diferencias negativas en el trabajo de fuerza isquitibial en el medio acuático respecto al entrenamiento tradicional.Conclusiones: El ejerccio físico en el medio acuático es un complemeto útil para la recuperación terrestre. Además, facilita la recuperación en la etapa temprana de la lesión.Palabras clave: ligamento cruzado anterior, rotura, intervención quirúrjica, hidroterapia, piscina, recuperación, ROM, fuerza. AbstractIntroduction: The knee is a mobile anatomical functional unit that plays a key role in sports function. The injuries produced in this joint and, more specifically, anterior cruciate ligament tears are of great gravity, forcing the athlete to be a long time away from the competition. In recent years, work in the aquatic environment has increased due to the different advantages it provides. Regarding the rehabilitation of this type of lesions, aquatic therapies may be favorable due to their implementation in the early stages in which it is required to minimize the impact on the injured joint.Objectives: To determine if the readaptation in the aquatic environment produces benefits during the different phases of recovery of the anterior cruciate ligament injury with respect to a readaptation in the terrestrial environment.Method: A review has been carried out of articles that have verified the benefits obtained between an aquatic and a traditional readaptation, as well as the complementation of both.Results: The results obtained do not show significant differences in the majority of variables (pain, ROM, force, etc.), although there is evidence of improvement in recovery time during exercise in the aquatic environment. There are also negative differences in the work of isquitibial force in the aquatic environment compared to traditional training.Conclusions: Physical exercise in the aquatic environment is a useful supplement for terrestrial recovery. It also facilitates recovery at the early stage of the injury.Keywords: anterior cruciate ligament, rupture, surgical intervention, hydrotherapy, pool, recovery, ROM, strength. ResumoAntecedentes: O joelho é uma unidade funcional anatômica móvel que desempenha um papel fundamental na função desporto. Lesões nessa articulação e, mais especificamente, quebra ACL são extremamente graves obrigando o atleta a ser longo para fora da competição. Nos últimos anos, o trabalho no ambiente aquático tem aumentado devido às diversas vantagens que ela proporciona. Como para a reabilitação de tais lesões, terapia da água pode ser favorável devido à sua implementação em estágios iniciais é necessária para minimizar o impacto sobre a articulação lesada.Objetivos: Descubra se a reciclagem no ambiente aquático produz benefícios durante as várias fases de lesão recuperação ACL sobre um retrofit em terra.Método: Realizou uma revisão de artigos têm mostrado os benefícios obtidos a partir de uma reabilitação aquática e outra tradicional e complementação de ambos.Resultados: Os resultados não mostram diferenças significativas na maioria das variáveis (dor, ROM, força, etc.), embora melhorias no tempo de recuperação são evidentes durante o exercício em ambiente aquático. As diferenças negativas também são encontrados na isquitibial força de trabalho no ambiente aquático em relação à formação tradicional.Conclusões: Ejercicio física no meio aquático é útil para recuperação complemeto terrestre. Além disso, facilita a recuperação na fase inicial da lesão.Palavras-chave: ligamento cruzado anterior, de ruptura, de intervenção quirúrjica, piscina de hidroterapia, recuperação, ROM, força.

Abstract Vasily Zhukovsky’s 1802 translation of Thomas Gray’s Elegy Written in a Country Churchyard, highly acclaimed in its time and since regarded as a crucial document for the study of Russian Romanticism, offers the reader of Gray an original but compelling approach to his most famous poem. Although generally faithful to the form and style of the English, Zhukovsky’s version nevertheless forecloses some possibilities of Gray’s poetic argument while creating others. By darkening the descriptive texture of the elegy, adding two crucial stanzas that weigh the significance of graveyard memorials, and reconceiving the figure of the narrator in relation to his environment, Zhukovsky concentrates the force of Gray’s most universal concerns. This is especially evident in the stanzas that reflect on the “frail memorial” to the village dead. Dispensing altogether with Gray’s “unlettered muse” and “rustic moralist,” Zhukovsky applies the moral of the gravestone to the reader: “we must learn to die.” Whereas this passage in Gray’s poem distinguishes the villagers, identified with what is “uncouth,” “unlettered,” and “rustic,” the corresponding passage in translation represses the distinguishing marks of rusticity, assimilates the argument of the stanzas to the general human condition, and thus concludes by invoking the collective pronoun. This passage in turn anticipates the epitaph, which is cast in strikingly Biblical language: the passersby are asked to pray over the grave of one now removed from all earthly anxiety, of one who has left behind all that within him is sinful, of one whose hope now is in his savior God. Zhukovsky thus transforms the grave from a “dread abode” into a place of refuge and establishes through his translation of Gray a model for Russian elegiac poetry. Résumé La traduction du poeme de Th omas Gray, Elegie ecrite dans un cimetiere de campagne, faite par Vassily Zhukovsky en 1802, unanimement saluee en son temps et depuis lors consideree comme un texte primordial a l’etude du romantisme russe, offre au lecteur de Gray une approche a la fois originale et attirante pour la lecture de son plus celebre poeme. Bien que generalement fidele et a la forme et au style originel, la version de Zhukovsky saisit neanmoins certaines nuances du debat poetique de Gray tout en en creant d’autres. En voilant la structure descriptive, en ajoutant deux strophes essentielles qui renforcent la signification des monuments funeraires, et en recreant le personnage du narrateur en fonction de son environnement, Zhukovsky concentre la puissance des preoccupations les plus repandues chez Gray. Cela est tout particulierement evident dans les strophes dont la reflection porte sur les fragiles monuments aux morts du village. Zhukovsky, rendant superflu la muse illettree et le moraliste rustique de Gray, applique la morale de la pierre tombale au lecteur: il nous faut apprendre a mourir. Tandis que ce passage particulier du poeme de Gray caracterise les villageois, les identifiant par ce qui est rude, illettre, et rustique, le passage qui lui correspond dans la traduction assimile l’argument des strophes a la condition humaine en general, concluant ainsi par l’invocation du pronom collectif. Ce passage precede a son tour l’epitaphe redige dans une langue etonnamment biblique: les passants sont invites a prier sur la tombe de celui qui est dorenavant depourvu de toute angoisse terrestre, de celui qui laissa derriere lui tout ce qui, en lui, etait peche, et dont l’espoir desormais reside dans son Dieu Sauveur. Zhukovsky transforme ainsi la tombe d’une demeure redoutable en un lieu de refuge et cree, par le biais de sa traduction du poeme de Gray, un modele pour la poesie elegiaque russe.

Dès le XIVe siècle en France et en Angleterre, on assiste à la montée en puissance d’appareils militaires au service d’entités souveraines qui affirment un particularisme national et linguistique. Etroitement liée à l’autonomie politique revendiquée par les États émergents, la monopolisation des moyens de coercition entraîne une augmentation continue de la pression fiscale et une profonde transformation de l’administration royale. Chacune des principales composantes de la modernisation des forces terrestres à l’aube des temps modernes peut ainsi être envisagée comme le revers des signes distinctifs de 1’État en formation. L’histoire militaire est à ce titre un révélateur de premier ordre des processus à l’œuvre et des forces en jeu dans la transition historique des royaumes médiévaux aux monarchies de la Renaissance et le changement de civilisation où elle s’inscrit.

1. Length-tension relationships and work output were investigated in the intact, dorso-ventral flight muscle of the bumblebee Bombus terrestris. The muscle is an asynchronous muscle. Like other asynchronous flight muscles, it has high resting stiffness and produces relatively low active force in response to tetanic stimulation. 2. The muscle shows shortening deactivation and stretch activation, properties that result in delayed force changes in response to step changes in length, a phase lag between force and length during imposed sinusoidal strain and, under appropriate conditions, positive work output during oscillatory length change. 3. Work loops were used to quantify work output by the muscle during imposed sinusoidal oscillation. The curves relating net work per cycle with muscle length, oscillatory strain and oscillatory frequency were all roughly bell-shaped. The work-length curve was narrow. The optimum strain for net work per cycle was approximately 3 %, which is probably somewhat greater than the strain experienced by the muscle in an intact, flying bumblebee. The optimum frequency for net work output per cycle was 63 Hz (30 °C). The optimum frequency for power output was 73 Hz, which agrees well with the normal wing stroke frequency if allowance is made for the elevated temperature (approximately 40 °C) in the thorax of a flying bumblebee. The optimal strain for work output was not strongly dependent on oscillation frequency. 4. Resilience (that is the work output during shortening/work input during lengthening) for unstimulated muscle and dynamic stiffness (=stress/strain) for both stimulated and unstimulated muscles were determined using the strain (3 %) and oscillation frequency (64 Hz) which maximized work output in stimulated muscles. Unstimulated muscle is a good energy storage device. Its resilience increased with increasing muscle length (and increasing resting force) to reach values of over 90 %. The dynamic stiffness of both stimulated and unstimulated muscles increased with muscle length, but the increase was relatively greater in unstimulated muscle, and at long muscle lengths the stiffness of unstimulated muscle exceeded that of stimulated muscle. Effectively, dynamic stiffness is reduced by stimulation! This is taken as indicating that part of the stiffness in an unstimulated muscle reflects structures, possibly attached cross bridges, whose properties change upon stimulation.

1. Isometric contractions from the asynchronous dorso-ventral flight muscle of the bumblebee Bombus terrestris were slow and rather weak. The twitch duration (onset to 50 % relaxation) was approximately 300 ms at 30 °C and 170 ms at 40 °C. The maximum tetanic tension was approximately 40 kN m-2; the ratio of twitch force to tetanic force was approximately 0.2. 2. The unstimulated muscle was quite resistant to stretch, with a low-frequency stiffness of 730 kN m-2 at muscle lengths close to that of the muscle in vivo. The length­tension curve for active tetanic tension (that is the increase in tension above the passive level during stimulation) was very narrow, with a half-width equal to only 17 % of the optimal length. 3. The muscle strain during tethered flight was approximately 2 % peak-to-peak, occasionally reaching 3 %. Strain amplitude increased with wing stroke frequency. The thoracic vibration frequency of escape buzzing, during which the wings are not extended but are folded over the abdomen, was approximately twice that of tethered flight but the muscle strain was similar to that of flight.

In 1954 army historian George Stanley claimed that naval initiatives from the eighteenth century to the 1870s by the French and British armies in Canada and the local land militia were the true roots of the Royal Canadian Navy. He privately admitted that he was being intentionally provocative. The present article, however, reviews subsequent scholarship and offers new research that strengthens Stanley’s findings, and shows that the Canadian army continued to promote the organization of naval forces after the 1870s. The army, moreover, lobbied for the founding of the Royal Canadian Navy in 1910, and supported the new service in its troubled early years. En 1954, l’historien de l’armée George Stanley a affirmé que les initiatives navales entreprises du 18e siècle aux années 1870 par les armées française et britannique au Canada et par la milice terrestre locale étaient les véritables racines de la Marine royale canadienne. Par contre, il a aussi admis en privé qu’il avait été délibérément provocateur. Le présent article passe en revue les études ultérieures et propose de nouvelles recherches qui viennent renforcer les conclusions de Stanley et indiquent que l’armée canadienne a continué de promouvoir l’organisation des forces navales après les années 1870. De plus, l’armée a fait pression en faveur de la fondation de la Marine royale canadienne en 1910, puis elle a appuyé le nouveau service au cours de ses premières années tumultueuses.

Soft-bodied organisms with hydrostatic skeletons range enormously in body size, both during the growth of individuals and in the comparison of species. Therefore, body size is an important consideration in an examination of the mechanical function of hydrostatic skeletons. The scaling of hydrostatic skeletons cannot be inferred from existing studies of the lever-like skeletons of vertebrates and arthropods because the two skeleton types function by different mechanisms. Hydrostats are constructed of an extensible body wall in tension surrounding a fluid or deformable tissue under compression. It is the pressurized internal fluid (rather than the rigid levers of vertebrates and arthropods) that enables the maintenance of posture, antagonism of muscles and transfer of muscle forces to the environment. The objectives of the present study were (1) to define the geometric, static stress and dynamic stress similarity scaling hypotheses for hydrostatic skeletons on the basis of their generalized form and function, and (2) to apply these similarity hypotheses in a study of the ontogenetic scaling of earthworms, Lumbricus terrestris, to determine which parameters of skeletal function are conserved or changed as a function of body mass during growth (from 0.01 to 8 g). Morphometric measurements on anesthetized earthworms revealed that the earthworms grew isometrically; the external proportions and number of segments were constant as a function of body size. Calculations of static stresses (forces per cross-sectional area in the body wall) during rest and dynamic stresses during peristaltic crawling (calculated from measurements of internal pressure and body wall geometry) revealed that the earthworms also maintained static and dynamic stress similarity, despite a slight increase in body wall thickness in segment 50 (but not in segment 15). In summary, the hydrostatic skeletons of earthworms differ fundamentally from the rigid, lever-like skeletons of their terrestrial counterparts in their ability to grow isometrically while maintaining similarity in both static and dynamic stresses.

Resumen: En los últimos años Emiratos Árabes Unidos se ha consolidado como centro marítimo global, siendo Dubai una de las ciudades portuarias más importantes del mundo. La posición estratégica de Emiratos entre Europa, Asia y África, junto con sus capacidades de logística y comerciales hacen que medida que el comercio se globaliza, las empresas transnacionales continúen creciendo, y las conexiones marítimas, terrestres y aéreas proliferen. Por ese motivo, debido al auge y crecimiento imparable del transporte marítimo de mercancías la presente investigación tiene como finalidad realizar un breve análisis sobre el régimen de responsabilidad del porteador marítimo vigente bajo la regulación marítima vigente en los Emiratos Árabes Unidos.Palabras clave: Responsabilidad, porteador marítimo, Emiratos Árabes Unidos, causas de exoneración, limitación. Abstract: During the last years, United Arab Emirates has been consolidated as maritime global center, being Dubai one of the most important port cities of the world. The strategic position of Emirates between Europe, Asia and Africa, together with his capacities of logistics and commercial make the globalization of trade, transnational corporations continue to grow, maritime, land and air connections proliferate. Therefore, due to the summit and unstoppable growth of the maritime carriage of goods this paper has as purpose to present a brief analysis on the regime of liability of the maritime carrier under the Federal Maritime Law in force in the United Arab Emirates.Keywords: Liability, maritime carrier, United Arab Emirates, excepted perils, limitation.

Actualmente la labor de desminado realizada por la fuerza pública es considerada un trabajo con un alto índice de mortalidad. El propósito del artículo fue desarrollar e implementar una plataforma robótica teledirigida para la identificación de minas terrestres antipersona en diferentes terrenos; partiendo de un sistema de evasión de obstáculos, mediante el algoritmo de VFH (Vector Field Histogram), mediante el software LabView Robotics. Los resultados obtenidos mostraron que el sistema de tracción tipo oruga permite un mejor desplazamiento, más agarre en los diferentes terrenos en comparación con el sistema de tracción tipo rueda, además se obtuvo un 87,5% de exactitud en la identificación de minas, a partir de un conjunto de 8 materiales diferentes, en comparación con el sistema MICRONTA 4003 utilizado actualmente. El sistema implementado contribuye a la detección de objetos peligrosos sobre diferentes terrenos, convirtiéndose en una alternativa para disminuir los índices de mortalidad en las tareas de desminado. Palabras clave.- Maniobrabilidad, MICRONTA, Plataforma teledirigida, Sistema de tracción. ABSTRACTIn the present time the mine clearance by the security forces is considered a job with a high mortality rate. The purpose of this article was to develop and implement a robotic platform remote control for identification of antipersonnel landmines in various fields; starting from an obstacle avoidance system, for this propose we using the algorithm VFH (Vector Field Histogram) through the LabVIEW Robotics software. The results have showed that the caterpillar type traction system allows better movement, more grip in all fields compared to the type wheel drive system, plus 87.5% accuracy in identifying mines was obtained from a set of 8 different materials, compared with the currently used system MICRONTA 4003. The implemented system contributes to the detection of dangerous objects on different grounds, becoming an alternative to reduce mortality rates in demining. Keywords.- Maneuverability, MICRONTA, Remote control platform, Drive system.

We investigate aspects of hovering insect flight by finding the optimal wing kinematics which minimize power consumption while still providing enough lift to maintain a time-averaged constant altitude over one flapping period. In particular, we study the flight of three insects whose masses vary by approximately three orders of magnitude: fruitfly (Drosophila melanogaster), bumblebee (Bombus terrestris), and hawkmoth (Manduca sexta). Here, we model an insect wing as a rigid body with three rotational degrees of freedom. The aerodynamic forces are modelled via a quasi-steady model of a thin plate interacting with the surrounding fluid. The advantage of this model, as opposed to the more computationally costly method of direct numerical simulation via computational fluid dynamics, is that it allows us to perform optimization procedures and detailed sensitivity analyses which require many cost function evaluations. The optimal solutions are found via a hybrid optimization algorithm combining aspects of a genetic algorithm and a gradient-based optimizer. We find that the results of this optimization yield kinematics which are qualitatively and quantitatively similar to previously observed data. We also perform sensitivity analyses on parameters of the optimal kinematics to gain insight into the values of the observed optima. Additionally, we find that all of the optimal kinematics found here maintain the same leading edge throughout the stroke, as is the case for nearly all insect wing motions. We show that this type of stroke takes advantage of a passive wing rotation in which aerodynamic forces help to reverse the wing pitch, similar to the turning of a free-falling leaf.

Geographic profiling (GP) was originally developed as a statistical tool to help police forces prioritize lists of suspects in investigations of serial crimes. GP uses the location of related crime sites to make inferences about where the offender is most likely to live, and has been extremely successful in criminology. Here, we show how GP is applicable to experimental studies of animal foraging, using the bumble-bee Bombus terrestris . GP techniques enable us to simplify complex patterns of spatial data down to a small number of parameters (2–3) for rigorous hypothesis testing. Combining computer model simulations and experimental observation of foraging bumble-bees, we demonstrate that GP can be used to discriminate between foraging patterns resulting from (i) different hypothetical foraging algorithms and (ii) different food item (flower) densities. We also demonstrate that combining experimental and simulated data can be used to elucidate animal foraging strategies: specifically that the foraging patterns of real bumble-bees can be reliably discriminated from three out of nine hypothetical foraging algorithms. We suggest that experimental systems, like foraging bees, could be used to test and refine GP model predictions, and that GP offers a useful technique to analyse spatial animal behaviour data in both the laboratory and field.

Resumo: Pensar o mapa é pensá-lo como o agenciamento de forças, de linhas/corpos que se afetam e apontam para sentidos de localização e orientação espacial. Desdobra-se que os mapas não se restringem a representação plana da superfície terrestre, logo, há outras formas de se relacionar e vivenciar as representações que o processo de mapeamento promove. A espacialidade constitui-se na multiplicidade, e a relação da cartografia deve estar inclusa nessa maleabilidade espacial, sendo o mapa o próprio acontecer do mundo. O que faz de um ser um mapa é uma das prerrogativas eloquentes que recaem sobre o processo de mapeamento. Assim, intentamos que capturar e mostrar informação espacial são modos de apreensão de um possível do que faz uma imagem cartográfica ser um mapa. Realça-se que os sentidos deste trabalho situam-se no intuito de pensar sobre as possibilidades e potencialidades referentes aos processos cartográficos e à criação de mapas. Buscando deslocar o pensamento cartográfico, friccionando as suas dimensões comunicativa e informativa à qual ela se vincula atualmente. A potência que se instaura aqui é instigar o pensamento na relação dos mapas com a produção artística; enquanto obra de arte não se fixa representativamente, mas é um instigador de processos possíveis. O mural “Polimorfia Fronteiriça”, exposto na FCH/UFGD, entra aqui como um possível na articulação com o pensamento geográfico e cartográfico, em que os mapas se vislumbram na contingencialidade criativa do pensar/viver o mundo enquanto lugar.Palavras-chave: Mapa. Cartografias geográficas. Multiplicidades. Pensamento geográfico. GEOGRAPHICAL CARTOGRAPHY: WHAT CAN A MAP... Abstract: Think the map is think of it as the freight forwarding, forces of lines/bodies affect and point to senses of place and spatial orientation. Unfolds that the maps are not restricted to flat representation of the Earth’s surface, so there are other ways to relate and experience the representations that the mapping process promotes. The spatiality is constituted in the multiplicity and the relationship of cartography should be included in the suppleness and the spatial map of the world happen himself. What makes a map is one of the prerogatives eloquent that fall on the mapping process. Thus, we capture and show spatial information are modes of apprehension of a possible of what makes an image be a cartographic map. Emphasises that the directions of this work are in order to think about the possibilities and potentialities for the Cartographic processes and creating maps. Seeking to shift cartographic thought, rubbing their communicative and informational dimensions to which she links these days. The power which introduces here is instigating the thought in relationship of maps with artistic production; While artwork is not fixed but representatively is an instigator of possible processes. The mural “Polimorfia Fronteiriça”, exposed on FCH/UFGD, comes here as a possible in conjunction with the geographic and cartographic thought, in which the maps are glimpsing at contingencialidade creative thinking/living the world while place. Keywords: Map. Geographical Cartography. Multiplicities. Geographic Thought. CARTOGRAFÍA GEOGRÁFICA: QUÉ PUEDE UN MAPA... Resumen: Creo que el mapa es pensar como el manejo de fuerzas, de líneas y órganos afecta y sentidos de lugar y orientación espacial. Revela que los mapas no se limitan a la representación plana de la superficie terrestre, como hay otras formas de relacionar y las representaciones que promueve el proceso de asignación de experiencia. La espacialidad se constituye en la multiplicidad y la relación de la cartografía se debe incluir en este espacio flexible y el mapa del mundo se suceden. Lo que hace que un mapa es una de las prerrogativas elocuentes que caen en el proceso de asignación. Así, capturar y mostrar información espacial son modos de aprehensión de un posible de lo que hace que una imagen sea un mapa cartográfico. Hace hincapié en que las instrucciones de este trabajo son para pensar acerca de las posibilidades y potencial de los procesos cartográficos y crear mapas. Buscando cambiar el pensamiento cartográfico, frotando su dimensión comunicativa e informativa a la que se vincula. La energía que se presenta aquí es promover el pensamiento en la relación de los mapas con la producción artística; mientras que el arte no es fijo pero representativo es un instigador de procesos posibles. El mural “Polimorfia Fronteiriça”, expuesto en FCH/UFGD, viene aquí como un posible junto con el pensamiento geográfico y cartográfico, en que el encuentro mapas contingencialidade creativo pensamiento estar del mundo mientras al lugar. Palabras-clave: Mapa. Cartografía Geográfica. Multiplicidad. Pensamiento Geográfico.

Resumo: Pensar o mapa é pensá-lo como o agenciamento de forças, de linhas/corpos que se afetam e apontam para sentidos de localização e orientação espacial. Desdobra-se que os mapas não se restringem a representação plana da superfície terrestre, logo, há outras formas de se relacionar e vivenciar as representações que o processo de mapeamento promove. A espacialidade constitui-se na multiplicidade, e a relação da cartografia deve estar inclusa nessa maleabilidade espacial, sendo o mapa o próprio acontecer do mundo. O que faz de um ser um mapa é uma das prerrogativas eloquentes que recaem sobre o processo de mapeamento. Assim, intentamos que capturar e mostrar informação espacial são modos de apreensão de um possível do que faz uma imagem cartográfica ser um mapa. Realça-se que os sentidos deste trabalho situam-se no intuito de pensar sobre as possibilidades e potencialidades referentes aos processos cartográficos e à criação de mapas. Buscando deslocar o pensamento cartográfico, friccionando as suas dimensões comunicativa e informativa à qual ela se vincula atualmente. A potência que se instaura aqui é instigar o pensamento na relação dos mapas com a produção artística; enquanto obra de arte não se fixa representativamente, mas é um instigador de processos possíveis. O mural “Polimorfia Fronteiriça”, exposto na FCH/UFGD, entra aqui como um possível na articulação com o pensamento geográfico e cartográfico, em que os mapas se vislumbram na contingencialidade criativa do pensar/viver o mundo enquanto lugar.Palavras-chave: Mapa. Cartografias geográficas. Multiplicidades. Pensamento geográfico. GEOGRAPHICAL CARTOGRAPHY: WHAT CAN A MAP... Abstract: Think the map is think of it as the freight forwarding, forces of lines/bodies affect and point to senses of place and spatial orientation. Unfolds that the maps are not restricted to flat representation of the Earth’s surface, so there are other ways to relate and experience the representations that the mapping process promotes. The spatiality is constituted in the multiplicity and the relationship of cartography should be included in the suppleness and the spatial map of the world happen himself. What makes a map is one of the prerogatives eloquent that fall on the mapping process. Thus, we capture and show spatial information are modes of apprehension of a possible of what makes an image be a cartographic map. Emphasises that the directions of this work are in order to think about the possibilities and potentialities for the Cartographic processes and creating maps. Seeking to shift cartographic thought, rubbing their communicative and informational dimensions to which she links these days. The power which introduces here is instigating the thought in relationship of maps with artistic production; While artwork is not fixed but representatively is an instigator of possible processes. The mural “Polimorfia Fronteiriça”, exposed on FCH/UFGD, comes here as a possible in conjunction with the geographic and cartographic thought, in which the maps are glimpsing at contingencialidade creative thinking/living the world while place. Keywords: Map. Geographical Cartography. Multiplicities. Geographic Thought. CARTOGRAFÍA GEOGRÁFICA: QUÉ PUEDE UN MAPA... Resumen: Creo que el mapa es pensar como el manejo de fuerzas, de líneas y órganos afecta y sentidos de lugar y orientación espacial. Revela que los mapas no se limitan a la representación plana de la superficie terrestre, como hay otras formas de relacionar y las representaciones que promueve el proceso de asignación de experiencia. La espacialidad se constituye en la multiplicidad y la relación de la cartografía se debe incluir en este espacio flexible y el mapa del mundo se suceden. Lo que hace que un mapa es una de las prerrogativas elocuentes que caen en el proceso de asignación. Así, capturar y mostrar información espacial son modos de aprehensión de un posible de lo que hace que una imagen sea un mapa cartográfico. Hace hincapié en que las instrucciones de este trabajo son para pensar acerca de las posibilidades y potencial de los procesos cartográficos y crear mapas. Buscando cambiar el pensamiento cartográfico, frotando su dimensión comunicativa e informativa a la que se vincula. La energía que se presenta aquí es promover el pensamiento en la relación de los mapas con la producción artística; mientras que el arte no es fijo pero representativo es un instigador de procesos posibles. El mural “Polimorfia Fronteiriça”, expuesto en FCH/UFGD, viene aquí como un posible junto con el pensamiento geográfico y cartográfico, en que el encuentro mapas contingencialidade creativo pensamiento estar del mundo mientras al lugar. Palabras-clave: Mapa. Cartografía Geográfica. Multiplicidad. Pensamiento Geográfico.

Resumo: Pensar o mapa é pensá-lo como o agenciamento de forças, de linhas/corpos que se afetam e apontam para sentidos de localização e orientação espacial. Desdobra-se que os mapas não se restringem a representação plana da superfície terrestre, logo, há outras formas de se relacionar e vivenciar as representações que o processo de mapeamento promove. A espacialidade constitui-se na multiplicidade, e a relação da cartografia deve estar inclusa nessa maleabilidade espacial, sendo o mapa o próprio acontecer do mundo. O que faz de um ser um mapa é uma das prerrogativas eloquentes que recaem sobre o processo de mapeamento. Assim, intentamos que capturar e mostrar informação espacial são modos de apreensão de um possível do que faz uma imagem cartográfica ser um mapa. Realça-se que os sentidos deste trabalho situam-se no intuito de pensar sobre as possibilidades e potencialidades referentes aos processos cartográficos e à criação de mapas. Buscando deslocar o pensamento cartográfico, friccionando as suas dimensões comunicativa e informativa à qual ela se vincula atualmente. A potência que se instaura aqui é instigar o pensamento na relação dos mapas com a produção artística; enquanto obra de arte não se fixa representativamente, mas é um instigador de processos possíveis. O mural “Polimorfia Fronteiriça”, exposto na FCH/UFGD, entra aqui como um possível na articulação com o pensamento geográfico e cartográfico, em que os mapas se vislumbram na contingencialidade criativa do pensar/viver o mundo enquanto lugar.Palavras-chave: Mapa. Cartografias geográficas. Multiplicidades. Pensamento geográfico. GEOGRAPHICAL CARTOGRAPHY: WHAT CAN A MAP... Abstract: Think the map is think of it as the freight forwarding, forces of lines/bodies affect and point to senses of place and spatial orientation. Unfolds that the maps are not restricted to flat representation of the Earth’s surface, so there are other ways to relate and experience the representations that the mapping process promotes. The spatiality is constituted in the multiplicity and the relationship of cartography should be included in the suppleness and the spatial map of the world happen himself. What makes a map is one of the prerogatives eloquent that fall on the mapping process. Thus, we capture and show spatial information are modes of apprehension of a possible of what makes an image be a cartographic map. Emphasises that the directions of this work are in order to think about the possibilities and potentialities for the Cartographic processes and creating maps. Seeking to shift cartographic thought, rubbing their communicative and informational dimensions to which she links these days. The power which introduces here is instigating the thought in relationship of maps with artistic production; While artwork is not fixed but representatively is an instigator of possible processes. The mural “Polimorfia Fronteiriça”, exposed on FCH/UFGD, comes here as a possible in conjunction with the geographic and cartographic thought, in which the maps are glimpsing at contingencialidade creative thinking/living the world while place. Keywords: Map. Geographical Cartography. Multiplicities. Geographic Thought. CARTOGRAFÍA GEOGRÁFICA: QUÉ PUEDE UN MAPA... Resumen: Creo que el mapa es pensar como el manejo de fuerzas, de líneas y órganos afecta y sentidos de lugar y orientación espacial. Revela que los mapas no se limitan a la representación plana de la superficie terrestre, como hay otras formas de relacionar y las representaciones que promueve el proceso de asignación de experiencia. La espacialidad se constituye en la multiplicidad y la relación de la cartografía se debe incluir en este espacio flexible y el mapa del mundo se suceden. Lo que hace que un mapa es una de las prerrogativas elocuentes que caen en el proceso de asignación. Así, capturar y mostrar información espacial son modos de aprehensión de un posible de lo que hace que una imagen sea un mapa cartográfico. Hace hincapié en que las instrucciones de este trabajo son para pensar acerca de las posibilidades y potencial de los procesos cartográficos y crear mapas. Buscando cambiar el pensamiento cartográfico, frotando su dimensión comunicativa e informativa a la que se vincula. La energía que se presenta aquí es promover el pensamiento en la relación de los mapas con la producción artística; mientras que el arte no es fijo pero representativo es un instigador de procesos posibles. El mural “Polimorfia Fronteiriça”, expuesto en FCH/UFGD, viene aquí como un posible junto con el pensamiento geográfico y cartográfico, en que el encuentro mapas contingencialidade creativo pensamiento estar del mundo mientras al lugar. Palabras-clave: Mapa. Cartografía Geográfica. Multiplicidad. Pensamiento Geográfico.

O objetivo deste estudo é avaliar os efeitos da mudança do clima durante o século XXI sobre a precipitação na Amazônia, utilizando o modelo regional Eta forçado com o cenário de emissões RCP 8.5 proveniente do modelo do sistema terrestre HadGEM2-ES. As mudanças projetadas para o clima futuro mostram que, os impactos nos componentes do balanço de umidade foram mais significativos durante a estação chuvosa e no setor sul da bacia, principalmente, no final do século. O mecanismo de retroalimentação positivo é configurado durante o verão e na média anual, isto é, a redução da convergência de umidade e da evapotranspiração à superfície agiram no mesmo sentido para reduzir a precipitação total; no entanto, o mecanismo de retroalimentação negativo é dominante no inverno, em que a redução da evapotranspiração é parcialmente compensada pelo aumento da convergência de umidade, porém, não o suficiente para inibir a redução da precipitação. A redução da precipitação total na Amazônia foi decorrente tanto da redução da precipitação de origem local quanto advectiva, sendo que a advectiva teve papel predominante devido às mudanças na circulação regional e no transporte de umidade para a bacia. Esses resultados mostram que, a mudança do clima pode afetar de forma significativa os componentes do balanço de água na Amazônica, implicando em graves consequências ecológicas ao bioma, tais como: afetando a dinâmica dos ecossistemas, reduzindo a capacidade da floresta em absorver carbono, favorecendo a ocorrência de eventos extremos, aumentando a temperatura à superfície e, consequentemente, a frequência e intensidade das queimadas. Assessment of the Effects of Climate Change on Precipitation in the Amazon Basin Using the RCP 8.5 Eta-HadGEM2-ES Model A B S T R A C TThe aim of this study is to evaluate the effects of climate change on precipitation in the Amazon basin during the 21st century using the Eta Regional Climate Model forced by RCP 8.5 emissions scenario from the HadGEM2-ES earth system model. The changes projected for future climate show that the impacts on the water budget components were more significant during the rainy season and southern basin sector, especially at the end of the 21st century. The positive feedback mechanism is configured during the summer and on average annually, i.e., the reduction of moisture convergence and surface evapotranspiration acted in the same way to reduce total precipitation. The negative feedback mechanism is seen during the winter, where the reduction of evapotranspiration is partially offset by the increase in moisture convergence, however, not sufficient to offset the reduction in precipitation. The reduction in total precipitation in the Amazon was due to both the decrease of local and advective precipitation, but the advective had a major role due to changes in the regional circulation and moisture transport over the basin. These results show that climate change can significantly affect the components of the water budget in the Amazon basin, resulting in serious ecological consequences for the biome, such as affecting ecosystem dynamics, reduction in the forest's ability to absorb carbon, causing the occurrence of extreme events, increasing the surface temperature, and hence, the frequency and intensity of fires.Keywords: Amazon basin, precipitation, water budget, Eta regional model, RCP 8.5 emissions scenario

Il est désormais commun de le dire : les faits humains sont de plus en plus étroitement liés à l’espace maritime. Les exemples seraient légion, citons parmi les plus significatifs et contemporains: les revendications coutumières dont la mer fait l’objet parmi les communautés autochtones, en Australie notamment; les enjeux économiques et les confrontations nouvelles autour de l’appropriation des ressources marines, en Arctique ; les réseaux d’Aires Marines Protégées de plus en plus étendus, qui forment le projet d’une mer dont la responsabilité et l’administration pourraient être globales ; la submersion inexorable des îles Salomon, ou Maldives et la nécessité, pour ses actuels habitants, de fonder des utopies maritimes dans des États voisins ; et, pouvons-nous faire l’économie de cette tragique actualité : les itinéraires désespérés qu’engagent sur la Méditerranée des hommes acculés. Toute anthropologie sera-t-elle donc amenée à devenir « maritime » ? Force est de constater que cette mer, qui constitue aujourd’hui un élément de réflexion latent et apparemment incontournable, a tardé à investir le champ anthropologique. C’est bien en effet par sa marginalité dans le paysage intellectuel que s’est caractérisée l’« anthropologie maritime », définie comme telle au tournant des années 1970-1980 en Amérique du Nord et en Europe. L’étrangeté et l’ambivalence associées à la mer dans la pensée occidentale expliquent sans doute en partie cette curiosité tardive et, plus encore peut-être, la méthodologie mise en œuvre par ce « sous-champ disciplinaire » pour l’appréhender. Pour rendre compte de la relation de l’homme à un espace « irrémédiablement sauvage » (Corbin 2010 :75), deux approches ont en effet été privilégiées : une lecture matérialiste, absorbant dans un registre technique la teneur d’une interaction principalement fondée sur la "conquête" (Michelet 1935) et la "lutte" (Hugo 2002); et, une lecture continentale, impliquant le rapprochement sémantique et épistémologique avec un milieu terrestre plus familier. Les textes programmatiques qui définissent l’anthropologie maritime ne manquent pas de faire apparaître la permanence de ces entrées, en y incluant toutefois de discrètes variations. Dans le cas de la lecture continentale par exemple, c’est avec des interprétations divergentes que le référent terrestre est mobilisé, suivant que les auteurs privilégient une continuité terre-mer, ou qu’ils instaurent, a contrario, une césure entre un milieu et l’autre. Pour les tenants d’une continuité, la mer, inscrite dans le prolongement d’un espace continental, en poursuit les structures sociales et économiques. C’est en projetant sur elle et les marins les logiques du monde paysan (Breton 1981 : 8), en rapprochant les activités de pêche de celles de la chasse (Barnes 1996), en accusant un monisme épistémologique pour faire des perceptions associées à la mer des répliques de schèmes continentaux, qu’ils entendent penser cet espace. Pour les autres, l’appréhension de la mer implique, au contraire, de mettre en évidence sa radicale étrangeté. Ce milieu, jugé « hostile, « incertain » et « dangereux » (Poggie 1980), façonne des sociétés dont les structures sociales, techniques, économiques ou psychiques, appellent un traitement particulier et commun.

Synopsis Jumping is a common, but demanding, behavior that many animals employ during everyday activity. In contrast to jump-specialists such as anurans and some primates, jumping biomechanics and the factors that influence performance remains little studied for generalized species that lack marked adaptations for jumping. Computational biomechanical modeling approaches offer a way of addressing this in a rigorous, mechanistic fashion. Here, optimal control theory and musculoskeletal modeling are integrated to generate predictive simulations of maximal height jumping in a small ground-dwelling bird, a tinamou. A three-dimensional musculoskeletal model with 36 actuators per leg is used, and direct collocation is employed to formulate a rapidly solvable optimal control problem involving both liftoff and landing phases. The resulting simulation raises the whole-body center of mass to over double its standing height, and key aspects of the simulated behavior qualitatively replicate empirical observations for other jumping birds. However, quantitative performance is lower, with reduced ground forces, jump heights, and muscle–tendon power. A pronounced countermovement maneuver is used during launch. The use of a countermovement is demonstrated to be critical to the achievement of greater jump heights, and this phenomenon may only need to exploit physical principles alone to be successful; amplification of muscle performance may not necessarily be a proximate reason for the use of this maneuver. Increasing muscle strength or contractile velocity above nominal values greatly improves jump performance, and interestingly has the greatest effect on more distal limb extensor muscles (i.e., those of the ankle), suggesting that the distal limb may be a critical link for jumping behavior. These results warrant a re-evaluation of previous inferences of jumping ability in some extinct species with foreshortened distal limb segments, such as dromaeosaurid dinosaurs. Simulations prédictives de la fonction musculo-squelettique et des performances de saut chez un oiseau généralisé Sauter est un comportement commun, mais exigeant, que de nombreux animaux utilisent au cours de leurs activités quotidiennes. Contrairement aux spécialistes du saut tels que les anoures et certains primates, la biomécanique du saut et les facteurs qui influencent la performance restent peu étudiés pour les espèces généralisées qui n’ont pas d’adaptations marquées pour le saut. Les approches de modélisation biomécanique computationnelle offrent un moyen d’aborder cette question de manière rigoureuse et mécaniste. Ici, la théorie du contrôle optimal et la modélisation musculo-squelettique sont intégrées pour générer des simulations prédictives du saut en hauteur maximal chez un petit oiseau terrestre, le tinamou. Un modèle musculo-squelettique tridimensionnel avec 36 actionneurs par patte est utilisé, et une méthode numérique nommée “direct collocation” est employée pour formuler un problème de contrôle optimal rapidement résoluble impliquant les phases de décollage et d’atterrissage. La simulation qui en résulte élève le centre de masse du corps entier à plus du double de sa hauteur debout, et les aspects clés du comportement simulé reproduisent qualitativement les observations empiriques d’autres oiseaux sauteurs. Cependant, les performances quantitatives sont moindres, avec une réduction des forces au sol, des hauteurs de saut et de la puissance musculo-tendineuse. Une manœuvre de contre-mouvement prononcée est utilisée pendant le lancement. Il a été démontré que l’utilisation d’un contre-mouvement est essentielle à l’obtention de hauteurs de saut plus importantes, et il se peut que ce phénomène doive exploiter uniquement des principes physiques pour réussir; l’amplification de la performance musculaire n’est pas nécessairement une raison immédiate de l’utilisation de cette manœuvre. L’augmentation de la force musculaire ou de la vitesse de contraction au-dessus des valeurs nominales améliore grandement la performance de saut et, fait intéressant, a le plus grand effet sur les muscles extenseurs des membres plus distaux (c'est-à-dire ceux de la cheville), ce qui suggère que le membre distal peut être un lien critique pour le comportement de saut. Ces résultats justifient une réévaluation des déductions précédentes de la capacité de sauter chez certaines espèces éteintes avec des segments de membres distaux raccourcis, comme les dinosaures droméosauridés. Voorspellende simulaties van musculoskeletale functie en springprestaties bij een gegeneraliseerde vogel Springen is een veel voorkomend, maar veeleisend, gedrag dat veel dieren toepassen tijdens hun dagelijkse bezigheden. In tegenstelling tot de springspecialisten zoals de anura en sommige primaten, is de biomechanica van het springen en de factoren die de prestaties beïnvloeden nog weinig bestudeerd voor algemene soorten die geen uitgesproken adaptaties voor het springen hebben. Computationele biomechanische modelbenaderingen bieden een manier om dit op een rigoureuze, mechanistische manier aan te pakken. Hier worden optimale controle theorie en musculoskeletale modellering geïntegreerd om voorspellende simulaties te genereren van maximale hoogtesprong bij een kleine grondbewonende vogel, een tinamou. Een driedimensionaal musculoskeletaal model met 36 actuatoren per poot wordt gebruikt, en directe collocatie wordt toegepast om een snel oplosbaar optimaal controleprobleem te formuleren dat zowel de opstijg-als de landingsfase omvat. De resulterende simulatie verhoogt het lichaamszwaartepunt tot meer dan het dubbele van de stahoogte, en belangrijke aspecten van het gesimuleerde gedrag komen kwalitatief overeen met empirische waarnemingen voor andere springende vogels. De kwantitatieve prestaties zijn echter minder, met verminderde grondkrachten, spronghoogtes en spierpeeskracht. Tijdens de lancering wordt een uitgesproken tegenbewegingsmanoeuvre gebruikt. Aangetoond is dat het gebruik van een tegenbeweging van cruciaal belang is voor het bereiken van grotere spronghoogten, en dit fenomeen hoeft alleen op fysische principes te berusten om succesvol te zijn; versterking van de spierprestaties hoeft niet noodzakelijk een proximate reden te zijn voor het gebruik van deze manoeuvre. Het verhogen van de spierkracht of van de contractiesnelheid boven de nominale waarden verbetert de sprongprestatie aanzienlijk, en heeft interessant genoeg het grootste effect op de meer distale extensoren van de ledematen (d.w.z. die van de enkel), wat suggereert dat de distale ledematen een kritieke schakel kunnen zijn voor het springgedrag. Deze resultaten rechtvaardigen een herevaluatie van eerdere conclusies over springvermogen bij sommige uitgestorven soorten met voorgekorte distale ledematen, zoals dromaeosauride dinosauriërs. Prädiktive Simulationen der muskuloskelettalen Funktion und Sprungleistung bei einem generalisierten Vogel Springen ist ein übliches jedoch anstrengendes Verhalten, das viele Tiere bei ihren täglichen Aktivitäten einsetzen. Im Gegensatz zu Springspezialisten, wie Fröschen und einigen Primaten, sind bei allgemeinen Arten, welche keine ausgeprägten Anpassung für Sprungverhalten aufweisen, die Biomechanik beim Springen und die Faktoren, welche die Leistungsfähigkeit beeinflussen, noch wenig untersucht. Computergestützte biomechanische Modellierungsverfahren bieten hier eine Möglichkeit, dies in einer gründlichen, mechanistischen Weise anzugehen. In dieser Arbeit werden die optimale Steuerungstheorie und Muskel-Skelett-Modellierung zusammen eingesetzt, um die maximale Sprunghöhe eines kleinen bodenlebenden Vogels, eines Perlsteisshuhns, zu simulieren und zu prognostizieren. Es wird ein dreidimensionales Muskel-Skelett-Modell mit 36 Aktuatoren pro Bein verwendet, und durch direkte Kollokation wird ein schnell lösbares optimales Steuerungsproblem formuliert, das sowohl die Abstoss- als auch die Landephase umfasst. Die daraus folgende Simulation bringt den Ganzkörperschwerpunkt auf mehr als das Doppelte seiner Standhöhe und entscheidende Aspekte des simulierten Verhaltens entsprechen qualitativ empirischen Beobachtungen für andere springende Vögel. Allerdings ist die quantitative Leistungsfähigkeit geringer, mit reduzierten Bodenkräften, Sprunghöhen und Muskel-Sehnen-Kräften. Beim Abstossen wird ein ausgeprägtes Gegenbewegungsmanöver durchgeführt. Die Durchführung einer Gegenbewegung ist nachweislich entscheidend für das Erreichen grösserer Sprunghöhen, wobei dieses Phänomen möglicherweise nur physikalische Prinzipien auszuschöpfen braucht, um erfolgreich zu sein. Die Verstärkung der Muskelleistung ist daher möglicherweise nicht zwingend ein unmittelbarer Grund für die Verwendung dieses Manövers. Eine Erhöhung der Muskelkraft oder der Kontraktionsgeschwindigkeit über die Nominalwerte hinaus führt zu einer erheblichen Zunahme der Sprungleistung und hat interessanterweise den grössten Effekt bei den weiter distal gelegenen Streckmuskeln der Beine (d.h. bei denjenigen des Sprunggelenks), was darauf hindeutet, dass die distale Gliedmasse ein entscheidendes Element für das Sprungverhalten sein könnte. Diese Ergebnisse geben Anlass zur Überprüfung früherer Schlussfolgerungen hinsichtlich der Sprungfähigkeit einiger ausgestorbener Arten mit verkürzten distalen Gliedmassen, wie beispielsweise bei dromaeosauriden Dinosauriern.

The spectacular angular unconformity at Siccar Point is the most famous site associated with James Hutton (1726–1797), but it was not his only place of insight. In 1785, three years before he discovered Siccar Point, Hutton examined outcrops in the still-remote valley of Glen Tilt, in the Scottish Highlands. He documented contact relationships between Precambrian metasedimentary rocks and Paleozoic granite bodies, although he had no knowledge of their true ages. Near to the hunting lodge where he and his colleague John Clerk of Eldin stayed, veins of granite clearly cut through relict bedding in the stratified rocks and disrupt their layering, breaking apart individual strata and leaving fragments (xenoliths) surrounded by granite. Hutton correctly deduced that the granite must originally have been in a ‘state of fusion’ and was forcefully injected into much older ‘schistus’. Such conclusions contravened prevailing ideas that granite bodies formed from aqueous solutions, and also refuted a wider philosophical view that granite and other crystalline rocks were the oldest and first-created parts of the Earth. Hutton’s key outcrops in Glen Tilt are easy to visit, although they do require a long (but easy) roundtrip hike of some 25 km. These are certainly not the most spectacular intrusion breccias that I have ever seen, but they are very instructive, and were very influential, because they sparked a long, and at times acrimonious, debate about the origins of igneous rocks and especially granite. This controversy had many strange twists and turns. These include the disappearance of Hutton’s original manuscript after his death, and its serendipitous rediscovery a century later, and the similar loss and rediscovery of exquisite drawings by John Clerk, almost two centuries after they were first penned. Among the lost drawings is an early example of detailed outcrop-scale mapping, which would become a key field-work technique. Hutton’s vision of granite as the product of hot, liquid material that moved upward in the Earth’s crust (plutonism) eventually prevailed over the idea that crystalline rocks formed from a primordial ocean that once enveloped the Earth (neptunism), but this victory did not come easily or quickly. In another strange twist of history, new evidence from the Cape of Good Hope in South Africa eventually acted to further the plutonist cause. Glen Tilt has changed very little since the time of Hutton, but the observations that were made here, and the long debate that followed, brought fundamental changes in our understanding of the Earth. Although Siccar Point should remain the first entry on the bucket list of any prospective geopilgrim to Scotland, the long and beautiful valley of the River Tilt should also be a priority. RÉSUMÉLa spectaculaire discordance angulaire de Siccar Point est le site le plus célèbre associé à James Hutton (1726–1797), mais ce n'était pas le seul lieu qui l’ait inspiré. En 1785, trois ans avant de découvrir Siccar Point, Hutton a examiné des affleurements dans la vallée encore enclavée de Glen Tilt, dans les Highlands écossais. Il a documenté les contacts entre les roches métasédimentaires précambriennes et les corps granitiques du Paléozoïque, bien qu'il ne connût pas leur véritable âge. Près du pavillon de chasse où lui et son collègue John Clerk of Eldin ont séjourné, des veines de granit ont clairement percé le litage relique dans les roches stratifiées et perturbé leur superposition, brisant les strates individuelles et laissant des fragments (xénolithes) entourés de granit. Hutton a correctement déduit que le granit devait à l'origine être dans un « état de fusion » et qu'il avait été injecté de force dans des « schistes » beaucoup plus anciens. De telles conclusions contrevenaient aux idées dominantes selon lesquelles des corps granitiques se formaient à partir de solutions aqueuses et réfutaient également une vision philosophique plus large selon laquelle le granit et d'autres roches cristallines étaient les parties de la Terre les plus anciennes et les premières créées. Les principaux affleurements de Hutton à Glen Tilt sont faciles à visiter, bien qu'ils nécessitent une longue randonnée (mais facile) d'environ 25 km aller et retour. Ce ne sont certainement pas les brèches d'intrusion les plus spectaculaires que je n’ai jamais vues, mais elles sont très instructives et ont eu un rôle très influent, car elles ont déclenché un long débat, parfois acrimonieux, sur les origines des roches ignées et en particulier du granit. Cette controverse a eu de nombreux rebondissements étranges. Ceux-ci incluent la disparition du manuscrit original de Hutton après sa mort, et sa redécouverte fortuite un siècle plus tard, et la perte et la redécouverte similaires de dessins remarquables de John Clerk, près de deux siècles après qu’ils aient été esquissés. Parmi les dessins perdus, se trouve un premier exemple de cartographie détaillée à l'échelle des affleurements, qui deviendra une technique clé de travail sur le terrain.La vision de Hutton du granit en tant que produit d'un matériau chaud et liquide qui s'est déplacé vers le haut dans la croûte terrestre (plutonisme) a finalement prévalu sur l'idée que des roches cristallines se sont formées à partir d'un océan primordial qui enveloppait autrefois la Terre (neptunisme), mais cette victoire n'est pas venue facilement ou rapidement. Dans une autre tournure étrange de l'histoire, de nouvelles preuves provenant du Cap de Bonne-Espérance en Afrique du Sud ont fini par faire avancer la cause plutoniste. Glen Tilt a très peu changé depuis l'époque de Hutton, mais les observations qui ont été faites ici, et le long débat qui a suivi, ont apporté des changements fondamentaux dans notre compréhension de la Terre. Bien que Siccar Point devrait rester en haut de la liste des lieux à visiter de tout visiteur potentiel lors d’un pèlerinage géologique en Écosse, la longue et belle vallée de la rivière Tilt devrait également être une priorité.

Le terme « culte à María Lionza » renvoie à un ensemble de pratiques rituelles consacrées à la déesse María Lionza et à d’autres esprits de son panthéon. Il est présent sur une grande partie du territoire vénézuélien, notamment dans la région de Yaracuy, au centre ouest du pays, sur la côte caribéenne et dans les grandes villes comme Caracas. La Montagne de Sorte, dans la région de Yaracuy, est le principal centre de pèlerinage des croyants. Bien qu’il soit originaire du Venezuela, le culte à María Lionza est également visible, avec quelques variantes, dans plusieurs autres pays de la région caribéenne et de l’Amérique du Sud, voire aux États-Unis et en Europe. L’origine de ce culte remonte à la conquête espagnole du Venezuela. Au fil des ans, les pratiques sacrées indiennes, les religions africaines apportées par les esclaves noirs ainsi que le catholicisme auraient fusionné donnant lieu à des manifestations religieuses nouvelles (Mintz et Price 1992 ; Andrews 2004). Dès la fin du XIXe siècle se seraient ajoutées à ces trois sources principales d’autres influences culturelles comme le spiritisme kardeciste et l’occultisme, entre autres (Pollack-Eltz 1972 ; Clarac de Briceño 1996 ; Barreto 1990). Cependant, et à la différence de cultes afro-américains comme la Santería Cubaine, le Candomblé ou le Voudou haïtien, le culte à María Lionza n’est pas, dès son origine, connecté aux communautés d’esclaves africains. Jusqu’au XXe siècle, ce culte contenait essentiellement des éléments d’origine catholique et indienne, notamment des images religieuses de saints ou des pratiques d’adoration d’éléments naturels comme des cascades ou des fleuves. A cette période-là, le culte était majoritairement répandu parmi la population métisse et rurale, et l’apport africain n’était que peu présent –la possession spirituelle ou l’usage de percussions, par exemple, étaient rares lors des cérémonies. Dans les années quarante, le culte devint urbain du fait de la migration massive de la population rurale vers les grandes villes suite au boom pétrolier (Coronil 1997). C’est dans ce nouveau contexte, et essentiellement sous l’influence de la santería cubaine, que le culte commence à subir un processus d’afroaméricanisation avec plus de recours aux possessions spirituelles, aux percussions et à une multiplication des entités surnaturelles. Aujourd’hui, le culte à María Lionza entretient de multiples connexions avec d’autres cultes afro-américains comme le Palo Mayombe, l’Umbanda et le spiritisme dominicain. L’incessant partage d’éléments entre ces pratiques oblige à les considérer toutes en termes de continuité et à adopter à leur égard une perspective d’analyse comparatiste. Enfin, quant aux liens du culte avec d’autres religions, force est de constater que l’immense majorité des Maríalionzeros (les pratiquants du culte) s’affirme catholique, paradoxalement à l’opposition historique de l’Église catholique à la pratique de ce culte. Les églises évangélistes, dont le nombre au Venezuela ne cesse de s’accroître, critiquent elles aussi le culte avec véhémence, l’accusant souvent d’être une œuvre du diable. Le culte à María Lionza englobe des rituels de guérison, divination, purification et initiation, dans lesquels les épisodes de possession sont fréquents. La transe est plus ou moins violente selon l’esprit qui « descend » et la façon de « travailler » de chaque médium ou materia (matière). Parfois la possession pousse le médium jusqu’à la blessure ou l’automutilation (Ferrándiz 2004). Cela dit, nombre de croyants rendent hommage aux divinités de manière très calme et discrète, sans inclure des épisodes de transe. A part María Lionza, ce culte compte des centaines d’esprits, nommés aussi entidades (entités) ou hermanos (frères). Ceux-ci correspondent aussi bien à des divinités n’ayant jamais eu une existence terrestre qu’à des personnages célèbres ou aux âmes de défunts. Ces esprits sont regroupés en différentes cortes (cours) ou ensembles de divinités présentant une affinité ethnique, sociale ou professionnelle. On retrouve ainsi la Corte Africana (Cour Africaine), la Corte Malandra (Cour des Délinquants) ou la Corte Militar (Cour Militaire), parmi bien d’autres. Les cortes, quant à elles, sont ordonnées suivant une logique pyramidale : celles ayant moins de pureté sont placées en bas du panthéon tandis que les plus pures ou dites « avec le plus de lumière » sont placées en haut, aux côtés de María Lionza et du Christ. S’ils réalisent de bonnes actions, les esprits en position basse peuvent gravir l’échelle du panthéon. Ce vaste panthéon spirituel peut être interprété comme un dispositif de réappropriation voire de subversion de l’histoire. Il est par exemple fréquent que les esprits d’anciens chefs indiens ayant lutté contre les Espagnols pendant la Conquête (les célèbres caciques) descendent dans le corps des médiums et racontent, en témoins directs, les faits survenus il y a 500 ans, donnant leur avis sur la situation politique actuelle et offrant des conseils à l’assistance. Le culte relie ainsi passé, présent et futur, vie et mort, mémoire collective et expérience individuelle. Le culte à María Lionza ne constitue une pratique ni unifiée ni cohérente. Chaque groupe de culte, nommé centro (centre), organise les rituels à sa manière et donne sa propre version de l’origine de la déesse. Les rivalités entre les centros sont fréquentes et parfois violentes. Non seulement pluriel, le culte à María Lionza est aussi dynamique et changeant. En effet, les pratiquants le transforment incessamment en y incorporant de nouvelles divinités (tel que l’ex-président Chávez) et de nouvelles techniques rituelles à travers notamment les technologies de communication. María Lionza, quant à elle, est une déesse imaginée et représentée de façons très différentes, voire apparemment contradictoires : on peut la voir indienne, blanche, métisse ou, plus rarement, noire, selon les mythes, légendes ainsi que les études à caractère historique retraçant son origine. Cela dit, deux versions iconographiques et littéraires de María Lionza sont particulièrement répandues : d’une part, celle où elle apparaît comme une femme indienne nue chevauchant un tapir et, d’autre part, celle où elle est représentée comme une femme métisse ou blanche, habillée comme une femme du XVIIe ou XVIIIe siècle, portant une couronne sur la tête et tenant une rose sur la poitrine (Canals 2010). María Lionza apparaît souvent accompagnée de Felipe le Noir (El Negro Felipe) et de l’Indien Guacaipuro (El Indio Gucaipuro). L’ensemble de ces trois figures, nommées les Trois Puissances (las Tres Potencias), a, pour les croyants, un double sens : d’un côté, il est l’expression divine du métissage de la population vénézuélienne à travers les représentants de ce que les Vénézuéliens appellent « les trois races » (las tres razas, c’est-à-dire indien, blanc et noir) qui ont constitué le réseau ethnique du pays, et, d’un autre côté, il représente le paradigme d’entente et de réconciliation historique entre ces trois sources culturelles. Bref, les Trois Puissances sont, en même temps et pour les croyants, le reflet de ce qu’est le Venezuela et l’exemple de ce qu’il devrait être. Les images religieuses ont une grande importance dans le culte (Canals 2011) et donnent lieu à une industrie ésotérique qui a acquis une échelle planétaire. Lors des cérémonies, les croyants se réunissent autour de l’autel, nommé aussi portal (portail) où se trouvent surtout des statuettes de divinités. Hormis ces icônes, le culte serait inconcevable sans un grand nombre d’objets ou produits à forte composante sensitive et symbolique. Parmi ceux-là, il faut distinguer les substances « naturelles » (tabac, rhum, miel) de celles composées dans les perfumerías ou boutiques ésotériques. Dans ces boutiques s’amoncellent des savons, flacons de parfum, crèmes, encens et nombre d’autres éléments fabriqués à des fins très précises liés à la vie quotidienne et arborant des noms suggestifs: Amarra Hombres (lotion de séduction « attrape-hommes » adressée aux femmes) ou Tumba Negocios (produit pour faire échouer les affaires de ses concurrents commerciaux). Cette industrie ésotérique joue un rôle économique important au Venezuela et ailleurs. En fait, le culte à María Lionza est, pour nombre de croyants, un moyen de survie. Les rituels de guérison, divination ou initiation sont souvent payants, sans arriver pour autant aux prix exorbitants pratiqués dans d’autres religions comme la Santería. Par ailleurs, le culte à María Lionza est très présent sur le net, aussi bien sur des sites ésotériques que sur des réseaux sociaux. Cette présence sur Internet joue un rôle décisif dans l’expansion et la réinvention du culte. Récemment, certains groupes de culte ont initié des démarches pour intégrer le culte au Patrimoine Immatériel de l’UNESCO. Cette volonté de reconnaissance institutionnelle constitue un changement par rapport à la dynamique historique du culte qui a maintenu vis-à-vis du pouvoir et de l’officialisme une position majoritairement d’opposition, bien que nombre de représentants politiques et de militaires aient été, depuis les années 1950, pratiquants du culte en secret (Taussig 1997)

A partir de una presentación del desempeño de las economías de Argentina, Brasil y Uruguay en relación a un núcleo de economías desarrolladas en 1870-1990, este trabajo se concentra en explicar el cambio desde una posición de relativamente buen desempeño de las economías rioplatenses hasta principios del Siglo XX, hacia un proceso de progresiva divergencia. El abordaje enfatiza el estudio del crecimiento de la productividad de las economías agro-exportadoras en relación a los cambios tecnológicos e institucionales producidos a lo largo de toda la cadena de producción y comercialización nacional e internacional. Igualmente se refiere a las características de los mercados de factores para la determinación de patrones de distribución del ingreso, que afectan niveles relativos del PBI per capita y de los salarios en términos de paridad de poder de compra. Las determinantes de un buen desempeño hasta la década de 1910 parecen revertirse entre 1910-1930, de la mano de cambios profundos en los paradigmas tecno-económicos y de fuertes cambios socio-institucionales en las economías desarrolladas. Parece agotarse una modalidad de inserción internacional basada en el uso intensivo de factores naturales combinados con la revolución de los transportes terrestres y marítimos, a la vez que la herencia en términos de formación de capital humano dejada por el modelo agro-exportador augura muy fuertes dificultades para insertarse en los nuevos patrones de competencia internacional. Abstract On the basis of an overview of Argentine, Brazilian and Uruguayan growth in 1870-1990 and in relation to a core of developed countries, this paper focuses on the transition which Argentina and Uruguay went through, from a high relative performance to a process of cumulative divergence. The approach emphasizes the role of productivity growth in the agrarian export sector, as related to technological and institutional changes along the whole national and international productive and commerce chain. The paper also refers to the features of factor markets in shaping the pattern of income distribution, and on real per capita GDP and purchasing power parity real wage levels. The underlying forces of the relatively successful performance until the 1910s seem to have experienced a reversal in 1910-1930, together with deep changes in the techno-economic paradigm as well as in the socio-institutional environment in the developed economies. The pattern of foreign trade, based on an intensive use of natural resources combined with the benefits of the transport revolution, both terrestrial and maritime, seemed to have come to n end. The heritage of the agrarian export-led growth in terms of poor human capital formation, anticipates the difficulties which those economies should face in relation to the emerging patterns of international competition.

Ever since I tripped over Tiddles while I was carrying a pile of discs into the studio, I’ve known it was possible to get a laugh out of gramophone records!Max Bygraves In 1978 the music critic Lester Bangs published a typically pugnacious essay with the fighting title, “The Ten Most Ridiculous Albums of the Seventies.” Before deliciously launching into his execution of Uri Geller’s self-titled album or Rick Dees’ The Original Disco Duck, Bangs asserts that because that decade was history’s silliest, it stands to reason “that ridiculous records should become the norm instead of anomalies,” that abominations should be the best of our time (Bangs, 1978). This absurd pretzel logic sounds uncannily like Jacques Derrida’s definition of the “post” condition, since for it to arrive it begins by not arriving (Derrida 1987, 29). Lester is thinking like a poststructuralist. The oddness of the most singularly odd album out in Bangs’ greatest misses of the seventies had nothing to do with how ridiculous it was, but the fact that it even existed at all. (Bangs 1978) The album was entitled The Best of Marcel Marceao. Produced by Michael Viner the album contained four tracks, with two identical on both sides: “Silence,” which is nineteen minutes long and “Applause,” one minute. To underline how extraordinary this gramophone record is, John Cage’s Lecture on Nothing (1959) is cacophonous by comparison. While Bangs agrees with popular opinion that The Best of Marcel Marceao the “ultimate concept album,” he concluded that this is “one of those rare records that never dates” (Bangs, 1978). This tacet album is a good way to start thinking about the Classical Gas project, and the ironic semiotics at work in it (Tofts & Gye 2011). It too is about records that are silent and that never date. First, the album’s cover art, featuring a theatrically posed Marceau, implies the invitation to speak in the absence of speech; or, in our terms, it is asking to be re-written. Secondly, the French mime’s surname is spelled incorrectly, with an “o” rather than “u” as the final letter. As well as the caprice of an actual album by Marcel Marceau, the implicit presence and absence of the letters o and u is appropriately in excess of expectations, weird and unexpected like an early title in the Classical Gas catalogue, Ernesto Laclau’s and Chantal Mouffe’s Hegemony and Socialist Strategy. (classical-gas.com) Like a zootrope animation, it is impossible not to see the o and u flickering at one at the same time on the cover. In this duplicity it performs the conventional and logical permutation of English grammar. Silence invites difference, variation within a finite lexical set and the opportunity to choose individual items from it. Here is album cover art that speaks of presence and absence, of that which is anticipated and unexpected: a gramophone recoding without sound. In this the Marceau cover is one of Roland Barthes’ mythologies, something larger than life, structured like a language and structured out of language (Barthes 1982). This ambiguity is the perfidious grammar that underwrites Classical Gas. Images, we learned from structuralism, are codified, or rather, are code. Visual remix is a rhetorical gesture of recoding that interferes with the semiotic DNA of an image. The juxtaposition of text and image is interchangeable and requires our imagination of what we are looking at and what it might sound like. This persistent interplay of metaphor and metonymy has enabled us to take more than forty easy listening albums and republish them as mild-mannered recordings from the maverick history of ideas, from Marxism and psychoanalysis, to reception theory, poststructuralism and the writings of critical auteurs. Foucault à gogo, for instance, takes a 1965 James Last dance album and recodes it as the second volume of The History of Sexuality. In saying this, we are mindful of the ambivalence of the very possibility of this connection, to how and when the eureka moment of remix recognition occurs, if at all. Mix and remix are, after Jean Baudrillard, both precession and procession of simulacra (Baudrillard, 1983). The nature of remix is that it is always already elusive and anachronistic. Not everyone can be guaranteed to see the shadow of one text in dialogue with another, like a hi-fi palimpsest. Or another way of saying this, such an epiphany of déjà vu, of having seen this before, may happen after the fact of encounter. This anachrony is central to remix practices, from the films of Quentin Tarrantino and the “séance fictions” of Soda_Jerk, to obscure Flintstones/Goodfellas mashups on YouTube. It is also implicit in critical understandings of an improbable familiarity with the superabundance of cultural archives, the dizzying excess of an infinite record library straight out of Jorge Luis Borges’ ever-expanding imagination. Drifting through the stacks of such a repository over an entire lifetime any title found, for librarian and reader alike, is either original and remix, sometime. Metalanguages that seek to counter this ambivalence are forms of bad faith, like film spoilers Brodie’s Notes. Accordingly, this essay sets out to explain some of the generic conventions of Classical Gas, as a remix project in which an image’s semiotic DNA is rewired and recontextualised. While a fake, it is also completely real (Faith in fakes, as it happens, may well be a forthcoming Umberto Eco title in the series). While these album covers are hyperreal, realistic in excess of being real, the project does take some inspiration from an actual, rather than imaginary archive of album covers. In 2005, Jewish artist Dani Gal happened upon a 1968 LP that documented the events surrounding the Six Day War in Israel in 1967. To his surprise, he found a considerable number of similar LPs to do with significant twentieth century historical events, speeches and political debates. In the artist’s own words, the LPs collected in his Historical Record Archive (2005-ongoing) are in fact silent, since it is only their covers that are exhibited in installations of this work, signifying a potential sound that visitors must try to audition. As Gal has observed, the interactive contract of the work is derived from the audience’s instinct to “try to imagine the sounds” even though they cannot listen to them (Gal 2011, 182). Classical Gas deliberately plays with this potential yearning that Gal astutely instils in his viewer and aspiring auditor. While they can never be listened to, they can entice, after Gilles Deleuze, a “virtual co-existence” of imaginary sound that manifests itself as a contract between viewer and LP (Deleuze 1991, 63). The writer Jeffrey Sconce condensed this embrace of the virtual as something plausibly real when he pithily observed of the Classical Gas project that it is “the thrift-bin in my fantasy world. I want to play S/Z at 78 rpm” (Sconce 2011). In terms of Sconce’s spectral media interests the LPs are haunted by the trace of potential “other” sounds that have taken possession of and appropriated the covers for another use (Sconce 2000).Mimetic While most albums are elusive and metaphoric (such as Freud’s Totem and Taboo, or Luce Irigaray’s Ethics of Sexual Difference), some titles do make a concession to a tantalizing, mimetic literalness (such as Das Institut fur Sozialforschung). They display a trace of the haunting subject in terms of a tantalizing echo of fact or suggestion of verifiable biography. The motivation here is the recognition of a potential similarity, since most Classical Gas titles work by contrast. As with Roland Barthes’ analysis of the erotics of the fashion system, so with Gilles Deleuze’s Coldness and Cruelty: it is “where the garment gapes” that the tease begins. (Barthes 1994, 9) Or, in this instance, where the cigarette smokes. (classical-gas.com) A casual Max Bygraves, paused in mid-thought, looks askance while lighting up. Despite the temptation to read even more into this, a smoking related illness did not contribute to Bygraves’ death in 2012. However, dying of Alzheimer’s disease, his dementia is suggestive of the album’s intrinsic capacity to be a palimpsest of the co-presence of different memories, of confused identities, obscure realities that are virtual and real. Beginning with the album cover itself, it has to become an LP (Deleuze 1991, 63). First, it is a cardboard, planar sleeve measuring 310mm squared, that can be imprinted with a myriad of different images. Secondly, it is conventionally identified in terms of a title, such as Organ Highlights or Classics Up to Date. Thirdly it is inscribed by genre, which may be song, drama, spoken word, or novelty albums of industrial or instrumental sounds, such as Memories of Steam and Accelerated Accordians. A case in point is John Woodhouse And His Magic Accordion from 1969. (classical-gas.com) All aspects of its generic attributes as benign and wholesome accordion tunes are warped and re-interpreted in Classical Gas. Springtime for Kittler appeared not long after the death of its eponymous philosopher in 2011. Directed by Richard D. James, also known as Aphex Twin, it is a homage album to Friedrich Kittler by the PostProducers, a fictitious remix collective inspired by Mel Brooks whose personnel include Mark Amerika and Darren Tofts. The single from this album, yet to be released, is a paean to Kittler’s last words, “Alle Apparate auschalten.” Foucault à gogo (vol. 2), the first album remixed for this series, is also typical of this archaeological approach to the found object. (classical-gas.com) The erasure and replacement of pre-existing text in a similar font re-writes an iconic image of wooing that is indicative of romantic album covers of this period. This album is reflective of the overall project in that the actual James Last album (1968) preceded the publication of the Foucault text (1976) that haunts it. This is suggestive of how coding and recoding are in the eye of the beholder and the specific time in which the remixed album is encountered. It doesn’t take James Last, Michel Foucault or Theodor Holm Nelson to tell you that there is no such thing as a collective memory with linear recall. As the record producer Milt Gabler observes in the liner notes to this album, “whatever the title with this artist, the tune remains the same, that distinct and unique Foucault à gogo.” “This artist” in this instance is Last or Foucault, as well as Last and Foucault. Similarly Milt Gabler is an actual author of liner notes (though not on the James Last album) whose words from another album, another context and another time, are appropriated and deftly re-written with Last’s Hammond à gogo volume 2 and The History of Sexuality in mind as a palimpsest (this approach to sampling liner notes and re-writing them as if they speak for the new album is a trope at work in all the titles in the series). And after all is said and done with the real or remixed title, both artists, after Umberto Eco, will have spoken once more of love (Eco 1985, 68). Ambivalence Foucault à gogo is suggestive of the semiotic rewiring that underwrites Classical Gas as a whole. What is at stake in this is something that poststructuralism learned from its predecessor. Taking the tenuous conventionality of Ferdinand de Saussure’s signifier and signified as a starting point, Lacan, Derrida and others embraced the freedom of this arbitrariness as the convention or social contract that brings together a thing and a word that denotes it. This insight of liberation, or what Hélène Cixous and others, after Jacques Lacan, called jouissance (Lacan 1992), meant that texts were bristling with ambiguity and ambivalence, free play, promiscuity and, with a nod to Mikhail Bakhtin, carnival (Bakhtin 1984). A picture of a pipe was, after Foucault after Magritte, not a pipe (Foucault 1983). This po-faced sophistry is expressed in René Magritte’s “Treachery of Images” of 1948, which screamed out that the word pipe could mean anything. Foucault’s reprise of Magritte in “This is Not a Pipe” also speaks of Classical Gas’ embrace of the elasticity of sign and signifier, his “plastic elements” an inadvertent suggestion of vinyl (Foucault 1983, 53). (classical-gas.com) This uncanny association of structuralism and remixed vinyl LPs is intimated in Ferdinand de Saussure’s Cours de linguistique générale. Its original cover art is straight out of a structuralist text-book, with its paired icons and words of love, rain, honey, rose, etc. But this text as performed by Guy Lombardo and his Royal Canadians in New York in 1956 is no less plausible than Saussure’s lectures in Geneva in 1906. Cultural memory and cultural amnesia are one and the same thing. Out of all of the Classical Gas catalogue, this album is arguably the most suggestive of what Jeffrey Sconce would call “haunting” (Sconce, 2000), an ambivalent mixing of the “memory and desire” that T.S. Eliot wrote of in the allusive pages of The Waste Land (Eliot 1975, 27). Here we encounter the memory of a bookish study of signs from the early twentieth century and the desire for its vinyl equivalent on World Record Club in the 1960s. Memory and desire, either or, or both. This ambivalence was deftly articulated by Roland Barthes in his last book, Camera Lucida, as a kind of spectral haunting, a vision or act of double seeing in the perception of the photographic image. This flickering of perception is never static, predictable or repeatable. It is a way of seeing contingent upon who is doing the looking and when. Barthes famously conceptualised this interplay in perception of an between the conventions that culture has mandated, its studium, and the unexpected, idiosyncratic double vision that is unique to the observer, its punctum (Barthes 1982, 26-27). Accordingly, the Cours de linguistique générale is a record by Saussure as well as the posthumous publication in Paris and Lausanne of notes from his lectures in 1916. (Barthes 1982, 51) With the caption “Idiot children in an institution, New Jersey, 1924,” American photographer Lewis Hine’s anthropological study declares that this is a clinical image of pathological notions of monstrosity and aberration at the time. Barthes though, writing in a post-1968 Paris, only sees an outrageous Danton collar and a banal finger bandage (Barthes 1982, 51). With the radical, protestant cries of the fallout of the Paris riots in mind, as well as a nod to music writer Greil Marcus (1989), it is tempting to see Hine’s image as the warped cover of a Dead Kennedys album, perhaps Plastic Surgery Disasters. In terms of the Classical Gas approach to recoding, though, this would be far too predictable; for a start there is neither a pipe, a tan cardigan nor a chenille scarf to be seen. A more heart-warming, suitable title might be Ray Conniff’s 1965 Christmas Album: Here We Come A-Caroling. Irony (secretprehistory.net) Like our Secret Gestural Prehistory of Mobile Devices project (Tofts & Gye), Classical Gas approaches the idea of recoding and remixing with a relentless irony. The kind of records we collect and the covers which we use for this project are what you would expect to find in the hutch of an old gramophone player, rather than “what’s hot” in iTunes. The process of recoding the album covers seeks to realign expectations of what is being looked at, such that it becomes difficult to see it in any other way. In this an album’s recoded signification implies the recognition of the already seen, of album covers like this, that signal something other than what we are seeing; colours, fonts etc., belonging to a historical period, to its genres and its demographic. One of the more bucolic and duplicitous forms of rhetoric, irony wants it both ways, to be totally lounge and theoretically too-cool-for school, as in Rencontre Terrestre by Hélène Cixous and Frédéric-Yves Jeannet. (classical-gas.com) This image persuades through the subtle alteration of typography that it belongs to a style, a period and a vibe that would seem to be at odds with the title and content of the album, but as a totality of image and text is entirely plausible. The same is true of Roland Barthes’ S/Z. The radical semiologist invites us into his comfortable sitting room for a cup of coffee. A traditional Times font reinforces the image of Barthes as an avuncular, Sunday afternoon story-teller or crooner, more Alistair Cooke/Perry Como than French Marxist. (classical-gas.com) In some instances, like Histoire de Tel Quel, there is no text at all on the cover and the image has to do its signifying work iconographically. (classical-gas.com) Here a sixties collage of French-ness on the original Victor Sylvester album from 1963 precedes and anticipates the re-written album it has been waiting for. That said, the original title In France is rather bland compared to Histoire de Tel Quel. A chic blond, the Eiffel Tower and intellectual obscurity vamp synaesthetically, conjuring the smell of Gauloises, espresso and agitated discussions of Communism on the Boulevard St. Germain. With Marcel Marceao with an “o” in mind, this example of a cover without text ironically demonstrates how Classical Gas, like The Secret Gestural Prehistory of Mobile Devices, is ostensibly a writing project. Just as the images are taken hostage from other contexts, text from the liner notes is sampled from other records and re-written in an act of ghost-writing to complete the remixed album. Without the liner notes, Classical Gas would make a capable Photoshop project, but lacks any force as critical remix. The redesigned and re-titled covers certainly re-code the album, transform it into something else; something else that obviously or obliquely reflects the theme, ideas or content of the title, whether it’s Louis Althusser’s Philosophy as a Revolutionary Weapon or Luce Irigaray’s An Ethics of Sexual Difference. If you don’t hear the ruggedness of Leslie Fiedler’s essays in No! In Thunder then the writing hasn’t worked. The liner notes are the albums’ conscience, the rubric that speaks the tunes, the words and elusive ideas that are implied but can never be heard. The Histoire de Tel Quel notes illustrate this suggestiveness: You may well think as is. Philippe Forest doesn’t, not in this Éditions du Seuil classic. The titles included on this recording have been chosen with a dual purpose: for those who wish to think and those who wish to listen. What Forest captures in this album is distinctive, fresh and daring. For what country has said it like it is, has produced more robustesse than France? Here is some of that country’s most famous talent swinging from silk stockings, the can-can, to amour, presented with the full spectrum of stereo sound. (classical-gas.com) The writing accurately imitates the inflection and rhythm of liner notes of the period, so on the one hand it sounds plausibly like a toe-tapping dance album. On the other, and at the same time, it gestures knowingly to the written texts upon which it is based, invoking its rigours as a philosophical text. The dithering suggestiveness of both – is it music or text – is like a scrambled moving image always coming into focus, never quite resolving into one or the other. But either is plausible. The Tel Quel theorists were interested in popular culture like the can-can, they were fascinated with the topic of love and if instead of books they produced albums, their thinking would be auditioned in full stereo sound. With irony in mind, then, it’s hardly surprising to know that the implicit title of the project, that is neither seen nor heard but always imminent, is Classical Gasbags. (classical-gas.com) Liner notes elaborate and complete an implicit narrative in the title and image, making something compellingly realistic that is a composite of reality and fabulation. Consider Adrian Martin’s Surrealism (A Quite Special Frivolity): France is the undeniable capital of today’s contemporary sound. For Adrian Martin, this is home ground. His French soul glows and expands in the lovely Mediterranean warmth of this old favourite, released for the first time on Project 3 Total Sound Stereo. But don’t be deceived by the tonal and melodic caprices that carry you along in flutter-free sound. As Martin hits his groove, there will be revolution by night. Watch out for new Adrian Martin releases soon, including La nuit expérimentale and, his first title in English in many years, One more Bullet in the Head (produced by Bucky Pizzarelli). (classical-gas.com) Referring to Martin’s famous essay of the same name, these notes allusively skirt around his actual biography (he regularly spends time in France), his professional writing on surrealism (“revolution by night” was the sub-title of a catalogue for the Surrealism exhibition at the National Gallery of Australia in Canberra and the Art Gallery of New South Wales in 1993 to which he contributed an essay) (Martin 1993), as well as “One more bullet in the head,” the rejected title of an essay that was published in World Art magazine in New York in the mid-1990s. While the cover evokes the cool vibe of nouvelle vague Paris, it is actually from a 1968 album, Roma Oggi by the American guitarist Tony Mottola (a real person who actually sounds like a fictional character from Sergio Leone’s Once Upon A Time in America, a film on which Martin has written a book for the British Film Institute). Plausibility, in terms of Martin’s Surrealism album, has to be as compellingly real as the sincerity of Sandy Scott’s Here’s Sandy. And it should be no surprise to see the cover art of Scott’s album return as Georges Bataille’s Erotism. Gramophone The history of the gramophone represents the technological desire to write sound. In this the gramophone record is a ligature of sound and text, a form of phonographic writing. With this history in mind it’s hardly surprising that theorists such as Derrida and Kittler included the gramophone under the conceptual framework of a general grammatology (Derrida 1992, 253 & Kittler 1997, 28). (classical-gas.com) Jacques Derrida’s Of Grammatology is the avatar of Classical Gas in its re-writing of a previous writing. Re-inscribing the picaresque Pal Joey soundtrack as a foundation text of post-structuralism is appropriate in terms of the gramme or literate principle of Western metaphysics as well as the echolalia of remix. As Derrida observes in Of Grammatology, history and knowledge “have always been determined (and not only etymologically or philosophically) as detours for the purpose of the reappropriation of presence” (Derrida 1976, 10). A gas way to finish, you might say. But in retrospect the ur-text that drives the poetics of Classical Gas is not Of Grammatology but the errant Marcel Marceau album described previously. Far from being an oddity, an aberration or a “novelty” album, it is a classic gramophone recording, the quintessential writing of an absent speech, offbeat and untimely. References Bahktin, Mikhail. Rabelais and His World. Trans. Hélène Iswolsky. Bloomington: Indiana University Press, 1985. Bangs, Lester. “The Ten Most Ridiculous Albums of the Seventies”. Phonograph Record Magazine, March, 1978. Reproduced at http://rateyourmusic.com/list/dacapo/the_ten_most_ridiculous_records_of_the_seventies__by_lester_bangs. Barthes, Roland. Camera Lucida: Reflections on Photography. Trans. Richard Howard. London: Flamingo, 1982. ---. Mythologies. Trans. Annette Lavers. London: Granada, 1982. ---. The Pleasure of the Text. Trans. Richard Miller. Oxford: Blackwell, 1994. Baudrillard, Jean. Simulations. Trans. Paul Foss, Paul Patton and Philip Beitchman. New York: Semiotext[e], 1983. Deleuze, Gilles. Bergsonism. Trans. Hugh Tomlinson and Barbara Habberjam. New York: Zone Books, 2000. Derrida, Jacques. Of Grammatology. Trans. Gayatri Chakravorty Spivak. Baltimore: Johns Hopkins University Press, 1976. ---. The Post Card: From Socrates to Freud and Beyond. Trans. Alan Bass. Chicago: Chicago University Press, 1987. ---. “Ulysses Gramophone: Hear Say Yes in Joyce,” in Acts of Literature. Ed. Derek Attridge. New York: Routledge, 1992. Eco, Umberto. Reflections on The Name of the Rose. Trans. William Weaver. London: Secker & Warburg, 1985. Eliot, T.S. The Waste Land and Other Poems. London: Faber & Faber, 1975. Foucault, Michel. This Is Not a Pipe. Trans. James Harkness. Berkeley: University of California Press, 1983. ---. The Use of Pleasure: The History of Sexuality Volume 2. Trans. Robert Hurley. New York: Random House, 1985. Gal, Dani. Interview with Jens Hoffmann, Istanbul Biennale Companion. Istanbul Foundation for Culture and the Arts, 2011. Kittler, Friedrich. “Gramophone, Film, Typewriter,” in Literature, Media, Information Systems. Ed. John Johnston. Amsterdam: Overseas Publishers Association, 1997. Lacan, Jacques. The Ethics of Psychoanalysis (1959–1960): The Seminar of Jacques Lacan. Trans. Dennis Porter. London: Routledge, 1992. Marcus, Greil. Lipstick Traces: A Secret History of the Twentieth Century. London: Secker & Warburg, 1989. Martin, Adrian. “The Artificial Night: Surrealism and Cinema,” in Surrealism: Revolution by Night. Canberra: National Gallery of Australia, 1993. Sconce, Jeffrey. Haunted Media: Electronic Presence from Telegraphy to Television. Durham: Duke University Press, 2000. ---. Online communication with authors, June 2011. Tofts, Darren and Lisa Gye. The Secret Gestural Prehistory of Mobile Devices. 2010-ongoing. http://www.secretprehistory.net/. ---. Classical Gas. 2011-ongoing. http://www.classical-gas.com/.