Journal articles on the topic 'Sensibilité spectral'

Considering characteristics of gird truss structure, the suitable two-step damage detection method for these structures is proposed in the paper. The acceleration power spectral density sensibility of structural nodes is obtained by analyzing their acceleration power spectral density value caused every damaged structural bar. According to sensibility value, the range of influence of damaged structural bar is determined, then structural sub regions are divided and accelerators are distributed. The first step damage detection methods is identifying damaged bar occurrence region, it is extracting damage index to identify the damage occurrence region based on changes of acceleration response power spectral density of structure damaged after and before. The second step damage detection methods is located damaged bar in the region, it is completed by finding the damaged bar based on the theory of dissipation ratio of modal strain energy damage detection method. At last, taking the gird truss structure as numerical example, it shows the method has the capability to detect the damage of complex gird truss structures successfully.

Many Radiative Transfer Models (RTM) have been developed to simulate and estimate solar irradiance. Theirs accuracy is well documents in literature nonetheless the effect of the parameters uncertainties on the established models has not been well studied yet. This work focuses on implementing a RTM based on the models found in the literature along with some updates, with the aim to study the sensitivity of the model towards the variations of the input parameters. The parameters studied in this paper are: the day of the year, the solar zenith angle, the local atmospheric pressure, the local temperature, the relative humidity, the height of ozone layer concentration, the ozone concentration, the single scattering albedo, the ground albedo, the Ångström’s exponent and the aerosol optical depth. The sensibility analysis is achieved using the Normalized Root Mean Square Error (NRMSE) as an independent function, calculated with a set of simulated measurements of spectral global solar irradiance and a reference spectrum generated with a group of standard input parameters.

We experimentally demonstrate a fiber laser refractometer based on the use of a multimode interference (MMI) fiber structure. The MMI filter is constructed with an uncladded fiber segment which acts as sensing element to determine the refractive index (RI) of liquid solutions. The laser emission, generated at the 2 μm waveband, is wavelength shifted in linear proportion to the RI of the liquid. The proposed fiber laser refractometer exhibits high sensibility of 937.81 nm/RIU.

The great interest toward chalcogenide materials is due to the simple technology of preparation in bulk forms and thin films; good thermal and mechanical properties; transparency and photo-sensibility in the IR spectral range. These advantages determine the possibilities for potential application of these materials like optical storage media, memory devices, optical elements (lenses, waveguides, gratings, etc). The idea of present study is to trace the impact of gallium or indium as metal introduction on the behaviors of the glasses from germanium - chalcogenide system.

In this paper, based on analysis of the near infrared spectral absorption of methane molecule and considering factors such as compatibility with the transmission characteristics of silica optical fiber and the price, using Fiber Bragg Grating (FBG) filters to replace the the traditional interference filter, a novel kind of all-fiber remote sensor utilizing FBG filters and 1.33μm high power light-emitting diode (LED) was developed for real time measurement of methane gas concentration. FBG has a low insert loss and can be produced easily compared with dielectric interference filters. Theory and experiment proved that the system has simple construct and high sensibility.

We propose a simple, quick, and cost-effective method for nondestructive eddy-current testing of metallic cables. Inclusions in the cross section of the cable are detected on the basis of certain global data: hysteresis loop measurements for different frequencies. We detect air-gap inclusions inside the cross section using a homogenized model. The problem, which can be understood as an inverse spectral problem, is posed in two dimensions. We consider its reduction to one dimension. The identifiability is studied. We obtain a uniqueness result for a single inclusion in 1D by two measurements for sufficiently low frequency. We study the sensibility of the inverse problem numerically. A study case with real data is performed to confirm the usefulness.

The feasibility of polarization-maintaining photonic crystal fibre (PM-PCF) strategy for acoustooptic modulation using all-fibre Sagnac interferometer is demonstrated. The principal constraint to apply the strategy is defined by a linear laser acoustooptic modulator (AOM) for 1550 nm. The intensity of incident acoustic waves over the PM-PCF loop segment affected the signal interference transmission; here, modulation by birefringence variation around 7.6×10-4±Δni was observed. It is discovered that, through mathematical analysis, two operation points in the spectrum, TSI(λ), operate in a linear region, and expressions for spectral gain and sensibility are also discovered. AOM has a bandwidth from 0.1 Hz to 20 kHz, and its dynamic range is from 0.0 to 43.5 dB.

Les différents critères qui influencent la précision de la méthode surfacique d’estimation de paramètres forestiers à partir de données LiDAR ont été étudiés le plus souvent séparément et dans des contextes forestiers variés. Cela limite les possibilités de comparaison en vue de la détermination des critères prépondérants du point de vue de la précision et du coût de ce type d’inventaire. Cet article présente une évaluation de l’influence des caractéristiques des relevés de terrain sur la précision des modèles d’estimation, ainsi que de l’intérêt de l’utilisation de l’information spectrale LiDAR ou issue de fusion avec des données satellitaires RapidEye. L’erreur obtenue en combinant les données LiDAR et RapidEye est de 16,5% pour la surface terrière, 23,7% pour la densité de tiges et 11,7% pour le diamètre moyen. Le choix de la taille de la placette de terrain et du diamètre de recensement ont un impact important sur l’erreur d’estimation. La précision du géoréférencement et le nombre de placettes apparaissent comme cruciaux dans la mesure où ils influencent non seulement l’erreur d’estimation mais également la précision de son évaluation.

The sensitivity of the human eye varies with the different lighting conditions to which it is exposed. The cone photoreceptors perceive the color and work for illuminance conditions greater than 3.00 cd/m² (photopic vision). Below 0.01 cd/m², the rods are the cells that assume this function (scotopic vision). Both types of photoreceptors work coordinately in the interval between these values (mesopic vision). Each mechanism generates a different spectral sensibility. In this work, the emission spectra of common sources in present public lighting installations are analyzed and their normative photopic values translated to the corresponding mesopic condition, which more faithfully represents the vision mechanism of our eyes in these conditions. Based on a common street urban configuration (ME6), we generated a large set of simulations to determine the ideal light point setup configuration (luminance and light point height vs. poles distance ratio) for each case of spectrum source. Finally, we analyze the derived energy variation from each design possibility. The results obtained may contribute to improving the criterion of light source selection and adapting the required regulatory values to the human eye vision process under normalized artificial street lighting condition, reaching an average energy saving of 15% and a reduction of 8% in terms of points of light required. They also offer a statistical range of energy requirements for lighting installation that can be used to generate accurate electrical designs or estimations without the necessity of defining the exact lighting configuration, which is 77.5% lower than conventional design criteria.

Optical fiber sensors based on fiber Bragg gratings (FBGs) are prone to measurement errors if the cross-sensitivity between temperature and strain is not properly considered. This paper describes a self-compensated technique for canceling the undesired influence of temperature in strain measurement. An edge-filter-based interrogator is proposed and the central peaks of two FBGs (sensor and reference) are matched with the positive and negative slopes of a Fabry–Perot interferometer that acts as an optical filter. A tuning process performed by the grey wolf optimizer (GWO) algorithm is required to determine the optimal spectral characteristics of each FBG. The interrogation range is not compromised by the proposed technique, being determined by the spectral characteristics of the optical filter in accordance with the traditional edge-filtering interrogation. Simulations show that, by employing FBGs with optimal characteristics, temperature variations of 30 °C led to an average relative error of 3.4% for strain measurements up to 700μϵ. The proposed technique was experimentally tested under non-ideal conditions: two FBGs with spectral characteristics different from the optimized results were used. The temperature sensibility decreased by 50.8% as compared to a temperature uncompensated interrogation system based on an edge filter. The non-ideal experimental conditions were simulated and the maximum error between theoretical and experimental data was 5.79%, proving that the results from simulation and experimentation are compatible.

Triclosan (TCS), a bacteriostatic detected in water bodies, have inauspicious effects in human and biota. Consequently, there is a critical need of monitoring these type of compounds in aqueous matrices. In this sense, sensors, based on polyethyleneimine and polysodium 4-styrenesulfonate layer-by-layer thin-films adsorbed on supports with gold interdigitated electrodes deposited, were developed. The aim was analyze the sensitivity of discrimination of TCS (10−15 M to 10−5 M) in deionized water, Luso® and in an effluent, by measuring the impedance spectra. LbL films can distinguish TCS concentrations in EF, while in LW was achieved an acceptable sensibility when interdigitated electrodes without films were used.

This paper explores the effectiveness of the white, red, green, and blue light emitted diodes (LEDs) light sources to detect the third layer of the electrode pixel and the fourth layer of the via-hole passivation on thin-film transistors. The time-delay-integration charge-coupled device and a reflective spectrometer were implemented in this experiment. The optical conditions are the same, as each light source and the digital image’s binary method also recognize the sharpness and contrast in the task. Consequently, the white and the blue LED light sources can be candidates for the light source for the optical inspection, especially for monochromic blue LED’s outperformance among the light sources. The blue LED demonstrates the high spatial resolution and short wavelength’s greater energy to trigger the photosensor. Additionally, the metal material has shown a tremendous responsibility in the photosensor with 150 Dn/nj/cm2 over the sensibility. The mercury 198Hg-pencil discharge lamp emits the stable spectral wavelength to significantly calibrate the spectrometer’s measurement.

Due their excellent chemo-physical properties and ability to exhibit surface plasmon resonance, silver nanoparticles (AgNPs) have become a material of choice in various applications, such as nanosensors, electronic devices, nanobiotechnology and nanomedicine. In particular, from the environmental monitoring perspective, sensors based on silver nanoparticles are in great demand because of their antibacterial and inexpensive synthetic method. In the present study, we synthesized AgNPs in water phase using silver nitrate as precursor molecules, hydrophilic thiol (3-mercapto-1-propanesulfonic acid sodium salt, 3MPS) and sodium borohydride as capping and reducing agents, respectively. The AgNPs were characterized using techniques such as surface plasmon resonance (SPR) spectroscopy, dynamic light scattering (DLS), zeta potential (ζ-potential) measurements and scanning tunneling microscopy (STM). Further, to demonstrate the environmental application of our AgNPs, we also applied them for heavy metal sensing by detecting visible color modification due to SPR spectral changes. We found that these negatively charged AgNPs show good response to nickel (II) and presented good sensibility properties for the detection of low amount of ions in water in the working range of 1.0–0.1 ppm.

We study the effect of the nonparabolicity of the conduction band on the spectral properties of the shallow donor in elongated InAs/GaAs quantum dots with volcano-shaped profile in the framework of the Kane model by using a simple semiempiric relation between geometrical parameters of the quantum dot profile and the confinement potential, governing the in-plane electron’s movement. We represent the solution of the Schrödinger equation in the form of double Bessel-Fourier series expansion. We show that the nonparabolicity of dispersion of the conduction band, given by the Kane formula, conduces to significant lowering of the donor energies and to stronger confinement of the electron within the quantum dot. Calculated results for the energies as functions of the electric and magnetic fields for different quantum dot dimensions were compared with those obtained in the effective mass approximation. Our results exhibit a high sensibility of the probability density of electron distribution in volcano-shaped quantum dot to the variation of the external magnetic and electric fields.

The synthesis and characterization by elemental analysis, mass spectrometry, conductance measurements, IR, 1H, and 13C NMR spectroscopies of compounds with the general formula [MCl2(L)2], where M = Zn (1), Cd (2), or Hg (3) and L = 1-(2-hydroxyethyl)-3,5-dimethylpyrazole have been described. The 113Cd{1H} and 199Hg{1H} NMR spectra were also measured to investigate the coordination environment of the metal in solution. The structure of complex [ZnCl2(L)2] was determined by single-crystal structure analysis. The extended structure revealed a 1D chain caused by several O–H···CH3 intermolecular interactions. Moreover, we have determined the fluorescent properties of complexes 1–3; it was found that L demonstrates the higher sensibility to HgII ion, one of the most toxic agent in the environment. The preliminary results indicate that L could have a promising future for the detection of mercury in real environmental samples.

Aim - finding out the features of postural disorders among elderly people. Materials and methods. 47 patients above the age of 90 were analyzed. There were no disorders in particular functional systems to be noticed in these patients’ neurological status, although the patients complained of problems with balance function. All the patients were neurologically examined; the anamnesis data and computer stabilometry were investigated. Control group included patients of different age groups without any balance dysfunction according to computer stabilometry data. We used logistic regression to elicit connection between clinical and instrumental factors. Only significant regressors were taken into consideration. Results. The difference between the group of long-livers and the other age groups is about the modification of universal statokinesigram indicators. The suggested mathematical model included the area of statokinesigram, the speed of changing of the pressure center, Romberg’s coefficient and spectral statokinesigram parameters. Swift of the statokinesigram frequency range towards the low frequency characterizes tension or “failure” of compensatory mechanisms providing postural functions in this age group. Sensibility of this model is 95.5%, specificity is 69.5%. Conclusion. Long-living patients can be characterized as a group with a high risk of postural disorders and falls. Obtained mathematical model can be used in the daily clinical practice to verify the risk of falls among long-livers who complain of balance dysfunction.

Fluorescent labelling of monoclonal antibodies (mAbs) is classically performed by chemical bioconjugation methods. The most frequent labelling technique to generate antibody–fluorophore conjugates (AFCs) involves the bioconjugation onto the mAb lysines of a dye bearing an N-hydroxysuccinimide ester or an isothiocyanate group. However, discrepancies between labelling experiments or kits can be observed, related to reproducibility issues, alteration of antigen binding, or mAb properties. The lack of information on labelling kits and the incomplete characterization of the obtained labelled mAbs largely contribute to these issues. In this work, we generated eight AFCs through either lysine or interchain cysteine cross-linking bioconjugation of green-emitting fluorophores (fluorescein or BODIPY) onto either trastuzumab or rituximab. This strategy allowed us to study the influence of fluorophore solubility, bioconjugation technology, and antibody nature on two known labelling procedures. The structures of these AFCs were thoroughly analyzed by mass spectroscopy, and their antigen binding properties were studied. We then compared these AFCs in vitro by studying their respective spectral properties and stabilities. The shelf stability profiles and sensibility to pH variation of these AFCs prove to be dye-, antibody- and labelling-technology-dependent. Fluorescence emission in AFCs was higher when lysine labelling was used, but cross-linked AFCs were revealed to be more stable. This must be taken into account for the design of any biological study involving antibody labelling.

Prostate-specific antigen (PSA) is the main biomarker for the screening of prostate cancer (PCa), which has a high sensibility (higher than 80%) that is negatively offset by its poor specificity (only 30%, with the European cut-off of 4 ng/mL). This generates a large number of useless biopsies, involving both risks for the patients and costs for the national healthcare systems. Consequently, efforts were recently made to discover new biomarkers useful for PCa screening, including our proposal of interpreting a multi-parametric urinary steroidal profile with multivariate statistics. This approach has been expanded to investigate new alleged biomarkers by the application of untargeted urinary metabolomics. Urine samples from 91 patients (43 affected by PCa; 48 by benign hyperplasia) were deconjugated, extracted in both basic and acidic conditions, derivatized with different reagents, and analyzed with different gas chromatographic columns. Three-dimensional data were obtained from full-scan electron impact mass spectra. The PARADISe software, coupled with NIST libraries, was employed for the computation of PARAFAC2 models, the extraction of the significative components (alleged biomarkers), and the generation of a semiquantitative dataset. After variables selection, a partial least squares–discriminant analysis classification model was built, yielding promising performances. The selected biomarkers need further validation, possibly involving, yet again, a targeted approach.

Spectroscopic techniques based on Distributed FeedBack (DFB) Quantum Cascade Lasers (QCL) provide good results for gas detection in the mid-infrared region in terms of sensibility and selectivity. The main limitation is the QCL relatively low tuning range (~10 cm−1) that prevents from monitoring complex species with broad absorption spectra in the infrared region or performing multi-gas sensing. To obtain a wider tuning range, the first solution presented in this paper consists of the use of a DFB QCL array. Tuning ranges from 1335 to 1387 cm−1 and from 2190 to 2220 cm−1 have been demonstrated. A more common technique that will be presented in a second part is to implement a Fabry–Perot QCL chip in an external-cavity (EC) system so that the laser could be tuned on its whole gain curve. The use of an EC system also allows to perform Intra-Cavity Laser Absorption Spectroscopy, where the gas sample is placed within the laser resonator. Moreover, a technique only using the QCL compliance voltage technique can be used to retrieve the spectrum of the gas inside the cavity, thus no detector outside the cavity is needed. Finally, a specific scheme using an EC coherent QCL array can be developed. All these widely-tunable Quantum Cascade-based sources can be used to demonstrate the development of optical gas sensors.

ContexteLa dépression est une maladie hétérogène, au niveau clinique et physiopathologique. La recherche de biomarqueurs des troubles affectifs apporterait une meilleure compréhension des mécanismes sous-jacents et améliorerait la prise en charge. L’asymétrie de l’activité frontale de la bande de fréquence alpha (frontal alpha asymmetry [FAA]) basale est une mesure psychophysiologique issue de l’analyse spectrale de la bande de fréquence alpha à partir d’électroencéphalogrammes. Elle serait une mesure stable de la motivation (d’approche avec une hyperactivité frontale gauche relative et de retrait avec une hyperactivité droite frontale relative) et des émotions. Elle témoignerait aussi de dispositions individuelles émotionnelles et comportementales, et d’une vulnérabilité psychopathologique à la dépression . Une hyperactivité frontale droite (ou une hypoactivité gauche) relative basale serait associée à la dépression, particulièrement au site frontal médian F3/F4 , malgré une certaine inconsistance de la littérature.MéthodeNous avons mesuré la FAA (calcul de la différence de puissance alpha entre 2 électrodes homologues) au site frontal médian F3/F4, dans un groupe de patients déprimés et un groupe contrôle. Nous attendions une différence significative entre ces 2 groupes, dans le sens d’une hypoactivité frontale gauche relative dans le groupe de patients.RésultatsNous avons retrouvé une différence significative de FAA entre les 2 groupes, au site F3/F4 mais avec un pattern d’asymétrie opposé à celui attendu (hyperactivité corticale frontale gauche relative dans le groupe de patients).ConclusionLe pattern d’asymétrie retrouvé est en faveur d’une augmentation de la motivation d’approche. Il est similaire au pattern d’asymétrie de patients souffrant de troubles bipolaires . Le pattern qui était attendu dans le groupe de patients déprimés signait une diminution de la motivation d’approche, et donc une baisse de la sensibilité à la récompense dans la dépression (anhédonie) .

Among grapevine diseases affecting European vineyards, Flavescence dorée (FD) and Grapevine Trunk Diseases (GTD) are considered the most relevant challenges for viticulture because of the damage they cause to vineyards. Unmanned Aerial Vehicle (UAV) multispectral imagery could be a powerful tool for the automatic detection of symptomatic vines. However, one major difficulty is to discriminate different kinds of diseases leading to similar leaves discoloration as it is the case with FD and GTD for red vine cultivars. The objective of this paper is to evaluate the potentiality of UAV multispectral imagery to separate: symptomatic vines including FD and GTD (Esca and black dead arm) from asymptomatic vines (Case 1) and FD vines from GTD ones (Case 2). The study sites are localized in the Gaillac and Minervois wine production regions (south of France). A set of seven vineyards covering five different red cultivars was studied. Field work was carried out between August and September 2016. In total, 218 asymptomatic vines, 502 FD vines and 199 GTD vines were located with a centimetric precision GPS. UAV multispectral images were acquired with a MicaSense RedEdge® sensor and were processed to ultimately obtain surface reflectance mosaics at 0.10 m ground spatial resolution. In this study, the potentiality of 24 variables (5 spectral bands, 15 vegetation indices and 4 biophysical parameters) are tested. The vegetation indices are selected for their potentiality to detect abnormal vegetation behavior in relation to stress or diseases. Among the biophysical parameters selected, three are directly linked to the leaf pigments content (chlorophyll, carotenoid and anthocyanin). The first step consisted in evaluating the performance of the 24 variables to separate symptomatic vine vegetation (FD or/and GTD) from asymptomatic vine vegetation using the performance indicators from the Receiver Operator Characteristic (ROC) Curve method (i.e., Area Under Curve or AUC, sensibility and specificity). The second step consisted in mapping the symptomatic vines (FD and/or GTD) at the scale of the field using the optimal threshold resulting from the ROC curve. Ultimately, the error between the level of infection predicted by the selected variables (proportion of symptomatic pixels by vine) and observed in the field (proportion of symptomatic leaves by vine) is calculated. The same methodology is applied to the three levels of analysis: by vineyard, by cultivar (Gamay, Fer Servadou) and by berry color (all red cultivars). At the vineyard and cultivar levels, the best variables selected varies. The AUC of the best vegetation indices and biophysical parameters varies from 0.84 to 0.95 for Case 1 and 0.74 to 0.90 for Case 2. At the berry color level, no variable is efficient in discriminating FD vines from GTD ones (Case 2). For Case 1, the best vegetation indices and biophysical parameter are Red Green Index (RGI)/ Green-Red Vegetation Index (GRVI) (based on the green and red spectral bands) and Car (linked to carotenoid content). These variables are more effective in mapping vines with a level of infection greater than 50%. However, at the scale of the field, we observe misclassified pixels linked to the presence of mixed pixels (shade, bare soil, inter-row vegetation and vine vegetation) and other factors of abnormal coloration (e.g., apoplectic vines).

Abstract Spectra of stochastic gravitational waves (GW) generated in cosmological first-order phase transitions are computed within strongly correlated theories with a dual holographic description. The theories are mostly used as models of dark sectors. In particular, we consider the so-called Witten-Sakai-Sugimoto model, a SU(N) gauge theory coupled to different matter fields in both the fundamental and the adjoint representations. The model has a well-known top-down holographic dual description which allows us to perform reliable calculations in the strongly coupled regime. We consider the GW spectra from bubble collisions and sound waves arising from two different kinds of first-order phase transitions: a confinement/deconfinement one and a chiral symmetry breaking/restoration one. Depending on the model parameters, we find that the GW spectra may fall within the sensibility region of ground-based and space-based interferometers, as well as of Pulsar Timing Arrays. In the latter case, the signal could be compatible with the recent potential observation by NANOGrav. When the two phase transitions happen at different critical temperatures, characteristic spectra with double frequency peaks show up. Moreover, in this case we explicitly show how to correct the redshift factors appearing in the formulae for the GW power spectra to account for the fact that adiabatic expansion from the first transition to the present times cannot be assumed anymore.

Abstract External coloration in animals depends on the interaction of several different factors including the genetics and epigenetics processes that underlie the color expression, the mechanisms of color perception, and the general mechanisms controlling color evolution and function. Among all, camouflages from predators and conspicuousness are of particular interest because pose animal to choose between opposite adjustment in coloration. The external coloration of crustaceans is mainly due to the accumulation of carotenoids in the exoskeleton and the epidermal layer, and the trade-off between camouflage and communication had led to a variety of responses, involving signal partitioning, spectral sensibility, changing coloration, or signaling behavior. Here, we used digital images to explore intrapopulation variability of the external coloration of Pacifastacus leniusculus among body regions within an individual and between sexes. We found that 1) ventral coloration of claws are more saturated and brilliant than upper parts, 2) males express a more saturated and brightness coloration than females, especially on the lower portion of claws, 3) color intensity and brightness increases with size differently in different body regions, and 4) brightness is more variable in males than in females. All the above patterns support the hypothesis that color in this species could be the result of a compromise between camouflage from predators and conspicuousness for communication. The results of this study suggest that carotenoid might have something to do with intraspecific communication and perform more complex functions than that of a simple pigment.

IntroductionIn the contemporary West, experiences of time are shaped by—and inextricably linked to—the nature of media production and consumption. In Derrida and Steigler’s estimation, teletechnologies bring time “into play” and thus produce time as an “artifact”, that is, a knowable product (3). How and why time becomes “artifactually” produced, according to these thinkers, is a result of the various properties of media production; media ensure that “gestures” (which can be understood here as the cultural moments marked as significant in some way, especially public ones) are registered. Being so, time is constrained, “formatted, initialised” by the matrix of the media system (3). Subsequently, because the media apparatus undergirds the Western imaginary, so too, the media apparatus undergirds the Western concept of time. We can say, in the radically changing global mediascape then, digital culture performs and generates ontological shifts that rewrite the relationship between media, time, and experience. This point lends itself to the significance of the role of both new media platforms and new media texts in reconfiguring understandings between past, present, and future timescapes.There are various ways in which new media texts and platforms work upon experiences of time. In the following, I will focus on just one of these ways: narrativity. By examining a ‘new media’ text, I elucidate how new media narratives imagine timescapes that are constructed through metaphors of ‘confetti’ or ‘snow’, as opposed to more traditional lineal metaphors like ‘rivers’ or ‘streams’ (see Augustine Sedgewick’s “Against Flows” for more critical thinking on the relationship between history, narrative, and the ‘flows’ metaphor). I focus on the revisioning of narrative structure in the Netflix series The Haunting of Hill House (2018) from its original form in the 1959 novel by Shirley Jackson. The narrative revisioning from the novel to the televisual both demonstrates and manifests emergent conceptualisations of time through the creative play of temporal multi-flows, which are contemporaneous yet fragmented.The first consideration is the shift in textual format. However, the translocation of the narrative from a novel to a televisual text is important, but not the focus here. Added to this, I deliberately move toward a “general narrative analysis” (Cobley 28), which has the advantage of focusing onmechanisms which may be integral to linguistically or visually-based genres without becoming embroiled in parochial questions to do with the ‘effectiveness’ of given modes, or the relative ‘value’ of different genres. This also allows narrative analysis to track the development of a specified process as well as its embodiment in a range of generic and technological forms. (Cobley 28)It should be also be noted from the outset that I am not suggesting that fragmented narrative constructions and representations were never imagined or explored prior to this new media age. Quite the contrary if we think of Modernist writers such as Virginia Woolf (Lodwick; Haggland). Rather, it is to claim that this abstraction is emerging in the mainstream entertainment media in greater contest with the dominant and more historically entrenched version of ‘time as a construct’ that is characterised through Realist narratology as linear and flowing only one way. As I will explore below, the reasons for this are largely related to shifts in everyday media consumption brought about by digital culture. There are two reasons why I specifically utilise Netflix’s series The Haunting of Hill House as a fulcrum from which to lever arguments about new media and the contemporary experience of time. First, as a web series, it embodies some of the pertinent conventions of the digital media landscape, both diegetically and also through practices of production and consumption by way of new time-shifting paradigms (see Leaver). I focus on the former in this article, but the latter is fruitful ground for critical consideration. For example, Netflix itself, as a platform, has somewhat destabilised normative temporal routines, such as in the case of ‘binge-watching’ where audiences ‘lose’ time similarly to gamblers in the casino space. Second, the fact that there are two iterations of the same story—one a novel and one a televisual text—provide us with a comparative benchmark from which to make further assertions about the changing nature of media and time from the mid-century to a post-millennium digital mediascape. Though it should be noted, my discussion will focus on the nature and quality of the contemporary framework, and I use the 1959 novel as a frame of reference only rather than examining its rich tapestry in its own right (for critique on the novel itself, see Wilson; see Roberts).Media and the Production of Time-SenseThere is a remarkable canon of literature detailing the relationship between media and the production of time, which can help us place this discussion in a theoretical framework. I am limited by space, but I will engage with some of the most pertinent material to set out a conceptual map. Markedly, from here, I refer to the Western experience of time as a “time-sense” following E.P. Thompson’s work (80). Following Thompson’s language, I use the term “time-sense” to refer to “our inward notation of time”, characterised by the rhythms of our “technological conditioning” systems, whether those be the forces of labour, media, or otherwise (80). Through the textual analysis of Hill House to follow, I will offer ways in which the technological conditioning of the new media system both constructs and shapes time-sense in terms related to a constellation of moments, or, to use a metaphor from the Netflix series itself, like “confetti” or “snow” (“Silence Lay Steadily”).However, in discussing the production of time-sense through new media mechanisms, note that time-sense is not an abstraction but is still linked to our understandings of the literal nature of time-space. For example, Alvin Toffler explains that, in its most simple construction, “Time can be conceived as the intervals during which events occur” (21). However, we must be reminded that events must first occur within the paradigm of experience. That is to say that matters of ‘duration’ cannot be unhinged from the experiential or phenomenological accounts of those durations, or in Toffler’s words, in an echo of Thompson, “Man’s [sic] perception of time is closely linked with his internal rhythms” (71). In the 1970s, Toffler commented upon the radical expansion of global systems of communications that produces the “twin forces of acceleration and transience”, which “alter the texture of existence, hammering our lives and psyches into new and unfamiliar shapes” (18). This simultaneous ‘speeding up’ (which he calls acceleration) and sense of ‘skipping’ (which he calls transience) manifest in a range of modern experiences which disrupt temporal contingencies. Nearly two decades after Toffler, David Harvey commented upon the Postmodern’s “total acceptance of ephemerality, fragmentation, discontinuity, and the chaotic” (44). Only a decade ago, Terry Smith emphasised that time-sense had become even more characterised by the “insistent presentness of multiple, often incompatible temporalities” (196). Netflix had not even launched in Australia and New Zealand until 2015, as well as a host of other time-shifting media technologies which have emerged in the past five years. As a result, it behooves us to revaluate time-sense with this emergent field of production.That being said, entertainment media have always impressed itself upon our understanding of temporal flows. Since the dawn of cinema in the late 19th century, entertainment media have been pivotal in constructing, manifesting, and illustrating time-sense. This has largely (but not exclusively) been in relation to the changing nature of narratology and the ways that narrative produces a sense of temporality. Helen Powell points out that the very earliest cinema, such as the Lumière Brothers’ short films screened in Paris, did not embed narrative, rather, “the Lumières’ actualities captured life as it happened with all its contingencies” (2). It is really only with the emergence of classical mainstream Hollywood that narrative became central, and with it new representations of “temporal flow” (2). Powell tells us that “the classical Hollywood narrative embodies a specific representation of temporal flow, rational and linear in its construction” reflecting “the standardised view of time introduced by the onset of industrialisation” (Powell 2). Of course, as media production and trends change, so does narrative structure. By the late 20th century, new approaches to narrative structure manifest in tropes such as ‘the puzzle film,’ as an example, which “play with audiences” expectations of conventional roles and storytelling through the use of the unreliable narrator and the fracturing of linearity. In doing so, they open up wider questions of belief, truth and reliability” (Powell 4). Puzzle films which might be familiar to the reader are Memento (2001) and Run Lola Run (1999), each playing with the relationship between time and memory, and thus experiences of contemporaneity. The issue of narrative in the construction of temporal flow is therefore critically linked to the ways that mediatic production of narrative, in various ways, reorganises time-sense more broadly. To examine this more closely, I now turn to Netflix’s The Haunting of Hill House.Narratology and Temporal FlowNetflix’s revision of The Haunting of Hill House reveals critical insights into the ways in which media manifest the nature and quality of time-sense. Of course, the main difference between the 1959 novel and the Netflix web series is the change of the textual format from a print text to a televisual text distributed on an Internet streaming platform. This change performs what Marie-Laure Ryan calls “transfictionality across media” (385). There are several models through which transfictionality might occur and thus transmogrify textual and narratival parametres of a text. In the case of The Haunting of Hill House, the Netflix series follows the “displacement” model, which means it “constructs essentially different versions of the protoworld, redesigning its structure and reinventing its story” (Doležel 206). For example, in the 2018 television remake, the protoworld from the original novel retains integrity in that it conveys the story of a group of people who are brought to a mansion called Hill House. In both versions of the protoworld, the discombobulating effects of the mansion work upon the group dynamics until a final break down reveals the supernatural nature of the house. However, in ‘displacing’ the original narrative for adaptation to the web series, the nature of the group is radically reshaped (from a research contingent to a nuclear family unit) and the events follow radically different temporal contingencies.More specifically, the original 1959 novel utilises third-person limited narration and follows a conventional linear temporal flow through which events occur in chronological order. This style of storytelling is often thought about in metaphorical terms by way of ‘rivers’ or ‘streams,’ that is, flowing one-way and never repeating the same configuration (very much unlike the televisual text, in which some scenes are repeated to punctuate various time-streams). Sean Cubitt has examined the relationship between this conventional narrative structure and time sensibility, stating thatthe chronological narrative proposes to us a protagonist who always occupies a perpetual present … as a point moving along a line whose dimensions have however already been mapped: the protagonist of the chronological narrative is caught in a story whose beginning and end have already been determined, and which therefore constructs story time as the unfolding of destiny rather than the passage from past certainty into an uncertain future. (4)I would map Cubitt’s characterisation onto the original Hill House novel as representative of a mid-century textual artifact. Although Modernist literature (by way of Joyce, Woolf, Eliot, and so forth) certainly ‘played’ with non-linear or multi-linear narrative structures, in relation to time-sense, Christina Chau reminds us that Modernity, as a general mood, was very much still caught up in the idea that “time that moves in a linear fashion with the future moving through the present and into the past” (26). Additionally, even though flashbacks are utilised in the original novel, they are revealed using the narrative convention of ‘memories’ through the inner dialogue of the central character, thus still occurring in the ‘present’ of the novel’s timescape and still in keeping with a ‘one-way’ trajectory. Most importantly, the original novel follows what I will call one ‘time-stream’, in that events unfold, and are conveyed through, one temporal flow.In the Netflix series, there are obvious (and even cardinal) changes which reorganise the entire cast of characters as well as the narrative structure. In fact, the very process of returning to the original novel in order to produce a televisual remake says something about the nature of time-sense in itself, which is further sophisticated by the recognition of Netflix as a ‘streaming service’. That is, Netflix encapsulates this notion of ‘rivers-on-demand’ which overlap with each other in the context of the contemporaneous and persistent ‘now’ of digital culture. Marie-Laure Ryan suggests that “the proliferation of rewrites … is easily explained by the sense of pastness that pervades Postmodern culture and by the fixation of contemporary thought with the textual nature of reality” (386). While the Netflix series remains loyal to the mood and basic premise (i.e., that there is a haunted house in which characters endure strange happenings and enter into psycho-drama), the series instead uses fractured narrative convention through which three time-streams are simultaneously at work (although one time-stream is embedded in another and therefore its significance is ‘hidden’ to the viewer until the final episode), which we will examine now.The Time-Streams of Hill HouseIn the Netflix series, the central time-stream is, at first, ostensibly located in the characters’ ‘present’. I will call this time-stream A. (As a note to the reader here, there are spoilers for those who have not watched the Netflix series.) The viewer assumes they are, from the very first scene, following the ‘present’ time-stream in which the characters are adults. This is the time-stream in which the series opens, however, only for the first minute of viewing. After around one minute of viewing time, we already enter into a second time-stream. Even though both the original novel and the TV series begin with the same dialogue, the original novel continues to follow one time-stream, while the TV series begins to play with contemporaneous action by manifesting a second time-stream (following a series of events from the characters past) running in parallel action to the first time-stream. This narrative revisioning resonates with Toffler’s estimation of shifting nature of time-sense in the later twentieth century, in which he cites thatindeed, not only do contemporary events radiate instantaneously—now we can be said to be feeling the impact of all past events in a new way. For the past is doubling back on us. We are caught in what might be called a ‘time skip’. (16)In its ‘displacement’ model, the Hill House televisual remake points to this ongoing fascination with, and re-actualisation of, the exaggerated temporal discrepancies in the experience of contemporary everyday life. The Netflix Hill House series constructs a dimensional timescape in which the timeline ‘skips’ back and forth (not only for the viewer but also the characters), and certain spaces (such as the Red Room) are only permeable to some characters at certain times.If we think about Toffler’s words here—a doubling back, or, a time-skip—we might be pulled toward ever more recent incarnations of this effect. In Helen Powell’s investigation of the relationship between narrative and time-sense, she insists that “new media’s temporalities offer up the potential to challenge the chronological mode of temporal experience” (152). Sean Cubitt proposes that with the intensification of new media “we enter a certain, as yet inchoate, mode of time. For all the boasts of instantaneity, our actual relations with one another are mediated and as such subject to delays: slow downloads, periodic crashes, cache clearances and software uploads” (10). Resultingly, we have myriad temporal contingencies running at any one time—some slow, frustrating, mundane, in ‘real-time’ and others rapid to the point of instantaneous, or even able to pull the past into the present (through the endless trove of archived media on the web) and again into other mediatic dimensions such as virtual reality. To wit, Powell writes that “narrative, in mirroring these new temporal relations must embody fragmentation, discontinuity and incomplete resolution” (153). Fragmentation, discontinuity, and incompleteness are appropriate ways to think through the Hill House’s narrative revision and the ways in which it manifests some of these time-sensibilities.The notion of a ‘time-skip’ is an appropriate way to describe the transitions between the three temporal flows occurring simultaneously in the Hill House televisual remake. Before being comfortably seated in any one time-stream, the viewer is translocated into a second time-stream that runs parallel to it (almost suggesting a kind of parallel dimension). So, we begin with the characters as adults and then almost immediately, we are also watching them as children with the rapid emergence of this second time-stream. This ‘second time-stream’ conveys the events of ‘the past’ in which the central characters are children, so I will call this time-stream B. While time-stream B conveys the scenes in which the characters are children, the scenes are not necessarily in chronological order.The third time-stream is the spectral-stream, or time-stream C. However, the viewer is not fully aware that there is a totally separate time stream at play (the audience is made to think that this time-stream is the product of mere ghost-sightings). This is until the final episode, which completes the narrative ‘puzzle’. That is, the third time-stream conveys the events which are occurring simultaneously in both of the two other time-streams. In a sense, time-stream C, the spectral stream, is used to collapse the ontological boundaries of the former two time-streams. Throughout the early episodes, this time-stream C weaves in and out of time-streams A and B, like an intrusive time-stream (intruding upon the two others until it manifests on its own in the final episode). Time-stream C is used to create a 'puzzle' for the viewer in that the viewer does not fully understand its total significance until the puzzle is completed in the final episode. This convention, too, says something about the nature of time-sense as it shifts and mutates with mediatic production. This echoes back to Powell’s discussion of the ‘puzzle’ trend, which, as I note earlier, plays with “audiences’ expectations of conventional roles and storytelling through the use of the unreliable narrator and the fracturing of linearity” which serves to “open up wider questions of belief, truth and reliability” (4). Similarly, the skipping between three time-streams to build the Hill House puzzle manifests the ever-complicating relationships of time-management experiences in everyday life, in which pasts, presents, and futures impinge upon one another and interfere with each other.Critically, in terms of plot, time-stream B (in which the characters are little children) opens with the character Nell as a small child of 5 or 6 years of age. She appears to have woken up from a nightmare about The Bent Neck Lady. This vision traumatises Nell, and she is duly comforted in this scene by the characters of the eldest son and the father. This provides crucial exposition for the viewer: We are told that these ‘visitations’ from The Bent Neck Lady are a recurring trauma for the child-Nell character. It is important to note that, while these scenes may be mistaken for simple memory flashbacks, it becomes clearer throughout the series that this time-stream is not tied to any one character’s memory but is a separate storyline, though critical to the functioning of the other two. Moreover, the Bent Neck Lady recurs as both (apparent) nightmares and waking visions throughout the course of Nell’s life. It is in Episode Five that we realise why.The reason why The Bent Neck Lady always appears to Nell is that she is Nell. We learn this at the end of Episode Five when the storyline finally conveys how Nell dies in the House, which is by hanging from a noose tied to the mezzanine in the Hill House foyer. As Nell drops from the mezzanine attached to this noose, her neck snaps—she is The Bent Neck Lady. However, Nell does not just drop to the end of the noose. She continues to drop five more times back into the other two time streams. Each time Nell drops, she drops into a different moment in time (and each time the neck snapping is emphasised). The first drop she appears to herself in a basement. The second drop she appears to herself on the road outside the car while she is with her brother. The third is during (what we have been told) is a kind of sleep paralysis. The fourth and fifth drops she appears to herself as the small child on two separate occasions—both of which we witness with her in the first episode. So not only is Nell journeying through time, the audience is too. The viewer follows Nell’s journey through her ‘time-skip’. The result of the staggered but now conjoined time-streams is that we come to realise that Nell is, in fact, haunting herself—and the audience now understands they have followed this throughout not as a ghost-sighting but as a ‘future’ time-stream impinging on another.In the final episode of season one, the siblings are confronted by Ghost-Nell in the Red Room. This is important because it is in this Red Room through which all time-streams coalesce. The Red Room exists dimensionally, cutting across disparate spaces and times—it is the spatial representation of the spectral time-stream C. It is in this final episode, and in this spectral dimension, that all the three time-streams collapse upon each other and complete the narrative ‘puzzle’ for the viewer. The temporal flow of the spectral dimension, time-stream C, interrupts and interferes with the temporal flow of the former two—for both the characters in the text and viewing audience.The collapse of time-streams is produced through a strategic dialogic structure. When Ghost-Nell appears to the siblings in the Red Room, her first line of dialogue is a non-sequitur. Luke emerges from his near-death experience and points to Nell, to which Nell replies: “I feel a little clearer just now. We have. All of us have” ("Silence Lay Steadily"). Nell’s dialogue continues but, eventually, she returns to the same statement, almost like she is running through a cyclic piece of text. She states again, “We have. All of us have.” However, this time around, the phrase is pre-punctuated by Shirley’s claim that she feels as though she had been in the Red Room before. Nell’s dialogue and the dialogue of the other characters suddenly align in synchronicity. The audience now understands that Nell’s very first statement, “We have. All of us have” is actually a response to the statement that Shirley had not yet made. This narrative convention emphasises the ‘confetti-like’ nature of the construction of time here. Confetti is, after all, sheets of paper that have been cut into pieces, thrown into the air, and then fallen out of place. Similarly, the narrative makes sense as a whole but feels cut into pieces and realigned, if only momentarily. When Nell then loops back through the same dialogue, it finally appears in synch and thus makes sense. This signifies that the time-streams are now merged.The Ghost of Nell has travelled through (and in and out of) each separate time-stream. As a result, Ghost-Nell understands the nature of the Red Room—it manifests a slippage of timespace that each of the siblings had entered during their stay at the Hill House mansion. It is with this realisation that Ghost-Nell explains:Everything’s been out of order. Time, I mean. I thought for so long that time was like a line, that ... our moments were laid out like dominoes, and that they ... fell, one into another and on it went, just days tipping, one into the next, into the next, in a long line between the beginning ... and the end.But I was wrong. It’s not like that at all. Our moments fall around us like rain. Or... snow. Or confetti. (“Silence Lay Steadily”)This brings me to the titular concern: The emerging abstraction of time as a mode of layering and fracturing, a mode performed through this analogy of ‘confetti’ or ‘snow’. The Netflix Hill House revision rearranges time constructs so that any one moment of time may be accessed, much like scrolling back and forth (and in and out) of social media feeds, Internet forums, virtual reality programs and so forth. Each moment, like a flake of ‘snow’ or ‘confetti’ litters the timespace matrix, making an infinite tapestry that exists dimensionally. In the Hill House narrative, all moments exist simultaneously and accessing each moment at any point in the time-stream is merely a process of perception.ConclusionNetflix is optimised as a ‘streaming platform’ which has all but ushered in the era of ‘time-shifting’ predicated on geospatial politics (see Leaver). The current media landscape offers instantaneity, contemporaneity, as well as, arbitrary boundedness on the basis of geopolitics, which Tama Leaver refers to as the “tyranny of digital distance”. Therefore, it is fitting that Netflix’s revision of the Hill House narrative is preoccupied with time as well as spectrality. Above, I have explored just some of the ways that the televisual remake plays with notions of time through a diegetic analysis.However, we should take note that even in its production and consumption, this series, to quote Graham Meikle and Sherman Young, is embedded within “the current phase of television [that] suggests contested continuities” (67). Powell problematises the time-sense of this media apparatus further by reminding us that “there are three layers of temporality contained within any film image: the time of registration (production); the time of narration (storytelling); and the time of its consumption (viewing)” (3-4). Each of these aspects produces what Althusser and Balibar have called a “peculiar time”, that is, “different levels of the whole as developing ‘in the same historical time’ … relatively autonomous and hence relatively independent, even in its dependence, of the ‘times’ of the other levels” (99). When we think of the layers upon layers of different time ‘signatures’ which converge in Hill House as a textual artifact—in its production, consumption, distribution, and diegesis—the nature of contemporary time reveals itself as complex but also fleeting—hard to hold onto—much like snow or confetti.ReferencesAlthusser, Louis, and Étienne Balibar. Reading Capital. London: NLB, 1970.Cobley, Paul. Narrative. Hoboken: Taylor and Francis, 2013.Cubitt, S. “Spreadsheets, Sitemaps and Search Engines.” New Screen Media: Cinema/Art/Narrative. Eds. Martin Rieser and Andrea Zapp. London: BFI, 2002. 3-13.Derrida, Jacques, and Bernard Stiegler. Echographies of Television: Filmed Interviews. 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