Metric engine (American expression)

A metric engine is an American expression which refers to an internal combustion engine, often for automobiles, whose underlying engineering design is based on a metric system of units, particularly SI.
As American industry converted from traditional units to SI in the late 20th century, the automotive industry responded by transitioning its auto and engine designs to be "metric" rather than "English".
Characteristics.
A metric engine has one or more of the following characteristics:
Units.
Previously, American engine displacement was most typically measured in cubic inches (in³). Many classic American automobiles had engines popularly known by the displacement of their engine, such as the "350" Chevrolet Small-block, the Ford 302 and 427, or the Chrysler "426 Hemi".
Beginning around the 1970s, most of the U.S. automakers began converting their engine designations from cubic inches to liters. Thus, in 1970, the V-8 engine in the Cadillac Eldorado grew to 500 cubic inches, but was badged "8.2 Liters" for the first time.
Once this conversion was complete, engines worldwide were most commonly referred to by their displacement in liters. This conversion must have caused some marketing dilemmas: Ford's "302 Windsor" engine, which displaced approximately 4942 cc, became badged "5.0" after metric conversion.
Some usage of cubic inches continues in the 21st century, such as in traditional American-style motorcycles; and the occasional new-era muscle car, such as the 2004 Dodge Viper, which boasted a 500 cubic inch (8,193 cc), 500 horsepower (373 kW) engine, or the Ford "427" concept car. In the case of such cars, the use of cubic inches, rather than the metric cubic centimeters, can be considered vestigial.


4265 Kani

4265 Kani ("prov. designation": ) is a dark background asteroid from the inner regions of the asteroid belt. It was discovered by Japanese astronomers Yoshikane Mizuno and Toshimasa Furuta at Kani Observatory on 8 October 1989. The carbonaceous C-type asteroid has a rotation period of 5.7 hours and measures approximately in diameter. It was named for the Japanese city of Kani.
Orbit and classification.
"Kani" is a non-family asteroid of the main belt's background population when applying the hierarchical clustering method to its proper orbital elements. It orbits the Sun in the inner main-belt at a distance of 1.9–2.9 AU once every 3 years and 9 months (1,382 days). Its orbit has an eccentricity of 0.20 and an inclination of 4° with respect to the ecliptic. The body's first observation at Crimea-Simeis dates back to 1917, while the first used observation was made at Turku in 1940, extending the asteroid's observation arc by 49 years prior to its discovery.
Naming.
This minor planet was named for the Japanese city of Kani, home of the discoverer, located in the countryside of Japan's Gifu Prefecture, approximately 30 kilometers north of Nagoya, the country's third largest city. Kani is situated on the Kiso riverside, which is referred to as the Japan Rhine because of its similarities to the Rhine in Europe. The official naming citation was published by the Minor Planet Center on 11 March 1990 ().
Physical characteristics.
In the Bus–Binzel SMASS classification, "Kani" is characterized as a common, carbonaceous C-type asteroid.
Rotation period.
In October 2008, two rotational lightcurves of this asteroid were obtained from photometric observations made at the Golden Hill Observatory in Stourton Caundle and the Palmer Divide Observatory in Colorado Springs, Colorado. The lightcurves gave an identical rotation period of hours and a brightness variation of 0.75 ± 0.02 in magnitude (). Observations at the Palomar Transient Factory and revised shape-models have since confirmed the body's rotation period.
Diameter and albedo.
According to the space-based surveys carried out by the Japanese Akari satellite and the NEOWISE mission of NASA's Wide-field Infrared Survey Explorer, the asteroid measures 15.7 and 14.2 kilometers in diameter, respectively. Conversely, the "Collaborative Asteroid Lightcurve Link" calculates a diameter of only 7.5 kilometers, due to an assumed albedo of 0.20, which is untypically high for a carbonaceous asteroid.


Mauritian units of measurement

A number of units of measurement were used in Mauritius. The metric system was adopted in 1876, and has been compulsory in Mauritius since 1878.
System before metric system.
Systems including old French and British were used.
Capacity.
In addition to old French and British units, the following were used:
1 cash = 227.11 litre
1 velt = cash.


Square second


Musical temperament

In musical tuning, a temperament is a tuning system that slightly compromises the pure intervals of just intonation to meet other requirements. Most modern Western musical instruments are tuned in the equal temperament system. Tempering is the process of altering the size of an interval by making it narrower or wider than pure. "Any plan that describes the adjustments to the sizes of some or all of the twelve fifth intervals in the circle of fifths so that they accommodate pure octaves and produce certain sizes of major thirds is called a "temperament"." Temperament is especially important for keyboard instruments, which typically allow a player to play only the pitches assigned to the various keys, and lack any way to alter pitch of a note in performance. Historically, the use of just intonation, Pythagorean tuning and meantone temperament meant that such instruments could sound "in tune" in one key, or some keys, but would then have more dissonance in other keys.
The development of well temperament allowed fixed-pitch instruments to play reasonably well in all of the keys. The famous "Well-Tempered Clavier" by Johann Sebastian Bach takes full advantage of this breakthrough, with pieces written in all 24 major and minor keys. However, while unpleasant intervals (such as the wolf interval) were avoided, the sizes of intervals were still not consistent between keys, and so each key still had its own character. This variation led in the 18th century to an increase in the use of equal temperament, in which the frequency ratio between each pair of adjacent notes on the keyboard was made equal, allowing music to be transposed between keys without changing the relationship between notes.
Definition.
""Temperament" refers to the various tuning systems for the subdivision of the octave," the four principal tuning systems being Pythagorean tuning, just intonation, mean-tone temperament, and equal temperament. In "just intonation", every interval between two pitches corresponds to a whole number ratio between their frequencies, allowing intervals varying from the highest consonance to highly dissonant. For instance, 660 Hz / 440 Hz (a ratio of 3:2) constitutes a fifth, and 880 Hz / 440 Hz (2:1) an octave. Such intervals (termed "just") have a stability, or purity to their sound, when played simultaneously (assuming they are played using timbres with harmonic partials). If one of those pitches is adjusted slightly to deviate from the just interval, a trained ear can detect this change by the presence of "beats", which are periodical oscillations in the note's intensity. If, for example, two sound signals with frequencies that vary just by 0.5 Hz are played simultaneously, both signals are out of phase by a very small margin, creating the periodical oscillations in the intensity of the final sound (caused by the superposition of both signals) with a repetition period of 2 seconds (following the equation "Tr=1/Δf", "Tr" being the period of repetition and "Δf" being the difference in frequencies between both signals), because the amplitude of the signals is only in phase, and therefore has a maximum superposition value, once every period of repetition.
Acoustic physics.
When a musical instrument with harmonic overtones is played, the ear hears a composite waveform that includes a fundamental frequency (e.g., 440 Hz) and those overtones (880 Hz, 1320 Hz, 1760 Hz, etc.)—a series of just intervals. The waveform of such a tone (as pictured on an oscilloscope) is characterized by a shape that is complex compared to a simple (sine) waveform, but remains periodic. When two tones depart from exact integer ratios, the shape waveform becomes erratic—a phenomenon that may be described as destabilization. As the composite waveform becomes more erratic, the consonance of the interval also changes.
Temperament in music.
Tempering an interval involves the deliberate use of such minor adjustments (accepting the related destabilization) to enable musical possibilities that are impractical using just intonation. The most widely known example of this is the use of equal temperament to address problems of older temperaments, allowing for consistent tuning of keyboard and fretted instruments and enabling musical composition in, and modulation among, the various keys.
Meantone temperament.
Before Meantone temperament became widely used in the Renaissance, the most commonly used tuning system was Pythagorean tuning. Pythagorean tuning was a system of just intonation that tuned every note in a scale from a progression of pure perfect fifths. This was quite suitable for much of the harmonic practice until then ("See: Quartal harmony"), but in the Renaissance, musicians wished to make much more use of Tertian harmony. The major third of Pythagorean tuning differed from a just major third by an amount known as syntonic comma, which musicians of the time found annoying.
Their solution, laid out by Pietro Aron in the early 16th century, and referred to as meantone temperament (or quarter-comma meantone temperament), was to "temper" the interval of a perfect fifth slightly narrower than in just intonation, and then proceed much like Pythagorean tuning, but using this tempered fifth instead of the just one. With the correct amount of tempering, the syntonic comma is removed from its major thirds, making them just. This compromise, however, leaves all fifths in this tuning system with a slight beating. However, because a sequence of four fifths makes up one third, this beating effect on the fifths is only one quarter as strong as the beating effect on the thirds of Pythagorean tuning, which is why it was considered a very acceptable compromise by Renaissance musicians.
Pythagorean tuning also had a second problem, which meantone temperament does not solve, which is the problem of modulation ("see below"), which is restricted because both have a broken circle of fifths. A series of 12 just fifths as in Pythagorean tuning does not return to the original pitch, but rather differs by a Pythagorean comma, which makes that tonal area of the system more or less unusable. In meantone temperament, this effect is even more pronounced (the fifth over the break in the circle is known as the Wolf interval, as its intense beating was likened to a "howling"). The use of 53 equal temperament provides a solution for the Pythagorean tuning, and 31 equal temperament for the Meantone.
Well temperament and equal temperament.
Just intonation has the problem that it cannot modulate to a different key (a very common means of expression throughout the common practice period of music) without discarding many of the tones used in the previous key, thus for every key to which the musician wishes to modulate, the instrument must provide a few more strings, frets, or holes for him or her to use. When building an instrument, this can be very impractical.
Well temperament is the name given to a variety of different systems of temperament that were employed to solve this problem, in which some keys are more in tune than others, but all can be used. This phenomenon gives rise to infinite shades of key-colors, which are lost in the modern standard version: 12-tone equal temperament (12-TET). Unlike meantone temperament, which alters the fifth to "temper out" the syntonic comma, 12-TET tempers out the Pythagorean comma, thus creating a cycle of fifths that repeats itself exactly after 12 steps. This allowed the intervals of tertian harmony, thirds and fifths, to be fairly close to their just counterparts (the fifths almost imperceptibly beating, the thirds a little milder than the syntonic beating of Pythagorean tuning), while permitting the freedom to modulate to any key and by various means (e.g. "common-tone" and "enharmonic" modulation, "see modulation"). This freedom of modulation also allowed substantial use of more distant harmonic relationships, such as the Neapolitan chord, which became very important to Romantic composers in the 19th century.


204 Kallisto

Kallisto (minor planet designation: 204 Kallisto) is a fairly typical, although sizeable Main belt asteroid. It is classified as an S-type asteroid. Like other asteroids of its type, it is light in colour. It was discovered by Johann Palisa on 8 October 1879, in Pola, and was named after the same nymph Callisto in Greek mythology as Jupiter's moon Callisto.
Photometric measurements during 2009 produced a lightcurve that indicated a sidereal rotation period of with a variation amplitude of magnitudes. This result conflicted with previous determinations of the period, so the latter were ruled out.


Funnel (concurrent computing)

In Computer science, a funnel is a synchronization primitive used in kernel development to protect system resources. First used on Digital UNIX as a way to "funnel" device driver execution onto a single processor, funnels are now used in the Mac OS X kernel to serialize access to the BSD portion of XNU.
A funnel is a mutual exclusion (mutex) mechanism that prevents more than one thread from accessing certain kernel resources at the same time. Each thread acquires a funnel when it enters a synchronized portion of the kernel, and releases it when it leaves. If a thread blocks (sleeps) while holding a funnel, the kernel forces the thread to automatically drop the funnel, thereby allowing other threads to enter the synchronized portion of the kernel.
Because a funnel is automatically dropped when a thread blocks, care must be taken to ensure that synchronized resources are acquired again after any blocking operation. Specifically, acquiring a funnel can be a blocking operation, so if multiple funnels are needed, they must be acquired at once. This limits the utility of funnels because it increases the granularity of locking when multiple funnels need to be held at once.
In Mac OS X.
There is only one funnel in OS X 10.4 and higher. Prior to version 10.4, there are two funnels: one protects network resources, and the other protects other BSD kernel resources. A thread was only allowed to hold one funnel at a time, and holding both would cause a kernel panic. As a result of these limitations and the lack of granularity, funnels are being phased out of Mac OS X. For example, the networking funnel has been replaced by finer-grained locking mechanisms.
Notes.
For notes referring to sources, see bibliography below.


Mansus

A mansus, sometimes anglicised as manse, was a unit of land assessment in medieval France, roughly equivalent of the hide. In the 9th century AD, it began to be used by Charlemagne to determine how many warriors would be provided: one for every three (later four) "mansi", with smaller landholders collectively forming groups of three (later four). The "mansus" was also used to determine the amount of equipment expected.


Psi3 Piscium

Psi3 Piscium, which is Latinized from ψ3 Piscium, is a solitary, yellow-hued star in the zodiac constellation of Pisces. It is faintly visible to the naked eye, having an apparent visual magnitude of 5.562. Based upon an annual parallax shift of as seen from Earth, it is located about 435 light years from the Sun. At that distance, the visual magnitude is diminished by an extinction factor of 0.33 due to interstellar dust. The star is drifting closer to the Sun with a radial velocity of −7 km/s.
This F-type giant is a candidate horizontal branch star with a stellar classification of F9 IIIa. It is an X-ray source with a luminosity of in the 0.3−10 keV band. The projected rotational velocity is and it has an effective temperature of 6,273. It has 2.8 times the mass of the Sun and 10.3 times the Sun's radius. The star is radiating 95.5 times the luminosity of the Sun from its enlarged photosphere at an effective temperature of 6,554 K.


Drop D tuning

Drop D tuning is an alternative form of guitar tuning in which the lowest (sixth) string is tuned down from the usual E of standard tuning by one whole step to D. So where standard tuning is EADGBe, drop D is DADGBe. Drop D tuning, as well as other lowered altered tunings, are often used with the electric guitar in heavy metal music. It is also used in blues, country, folk (often with acoustic guitar), and classical guitar.
Uses.
In drop D, the three open bass strings form a D5 power chord. Other fifth chords are made when barred with the index finger of the fretting hand shifted up the fretboard. Drop D tuning is frequently used in heavy metal and its various subgenres, as guitarists in these styles often need fast transitions between power chords. Drop D is also used in metal because it adds two lower semitones to the bass range of the rhythm guitar, which adds two more low-range power chords (Eb and D) and enables a "heavier", deeper sound. The tuning has also been used in many other styles of music, including blues, country, folk, and classical. Due to its similarity to standard tuning, drop D is recognised as a useful introduction to alternative tunings, leading logically to an exploration of DADGAD, open D, D tuning (in which all strings are tuned 1 full note lower DGCFAD), drop D (in which only the 6th string is tuned 3 frets lower DADGBe) and drop D drop G (in which both the 5th and 6th strings are dropped a tone DGDGBe) tunings.
The tuning allows for chords with a root or bass note of D to be played with a D an octave lower than with standard tuning. It also allows the playing of open D chords that include the fifth and sixth strings, letting the full sonority of the guitar be heard. This can be especially useful for songs in the keys of D major or minor and is particularly effective on acoustic guitar. Drop D also allows fingerpickers to play chord shapes higher up the neck while maintaining an alternating bass. The bottom three strings, if left open, will vibrate sympathetically and, using chord shapes limited to the top three strings, a drone effect can easily be achieved.
The trade-off is the loss of the open bass E note in chords or fingerings, which the player can adjust to include fretting the sixth string at the second fret (now E).
In rock and metal.
Although the drop D tuning was introduced and developed by blues and classical guitarists, it is well known from its usage in contemporary heavy metal and hard rock bands. Early hard rock songs tuned in drop D include The Beatles' "I Want You (She's So Heavy)" and Led Zeppelin's "Moby Dick", both first released in 1969. Tuning the lowest string one tone down, from E to D allowed these musicians to acquire a heavier and darker sound than in standard tuning. Without needing to tune all strings (Standard D tuning), they could tune just one, in order to lower the key. Drop D is also a convenient tuning, because it expands the scale of an instrument by two semitones: D and D.
In the mid 1980s, three alternative rock bands, King's X, Soundgarden and Melvins, influenced by Led Zeppelin and Black Sabbath, made extensive use of drop D tuning. While playing power chords (a chord that includes the prime, fifth and octave) in standard tuning requires a player to use two or three fingers, drop D tuning needs just one, similar in technique to playing barre chords. It allowed them to use different methods of articulating power chords (legato for example) and more importantly, it allowed guitarists to change chords faster. This new technique of playing power chords introduced by these early grunge bands was a great influence on many artists, such as Rage Against the Machine and Tool. The same drop D tuning then became common practice among alternative metal acts such as the band Helmet, who used the tuning a great deal throughout their career and would later influence many alternative metal and nu metal bands.
Nu metal bands including Deftones and Slipknot went one step further and decided to tune "drop" tuning even lower. By lowering the 6th string one whole step in E tuning to D, they created a heavier and grittier sound. Even lower tunings such as Drop D, Drop C, Drop B, Drop B, and Drop A were also utilized. These tunings are very popular among Alternative metal, metalcore and deathcore acts like Trivium, Emmure, Breaking Benjamin, August Burns Red, and Suicide Silence, where fast chord changes are an essential part of the sound. Progressive metal acts such as Pain of Salvation, Opeth, Fates Warning and Dream Theater use these tunings in some of their E-tuned songs.
Chords in drop D tuning.
Chords in drop D tuning are formed as they are in standard tuning, with the exception of the sixth string, which is either omitted or fretted one whole step higher:
Note that these chords are not the power chords commonly played in drop D tuning. Power chords generally mute the higher notes rather than the lower notes.
For purposes of making the table easier to read, spaces are provided between each number when the fret number becomes a double digit. Additionally, the highest note in any 5th chord is an octave from the root note so it is not necessary to play it to achieve a 5th chord.
Relation to other tunings.
Drop D tuning is the most basic type of "drop 1" tuning, where the 6th string is tuned down a whole step (a tone). A large number of other "drop 1" tunings can be obtained simply by tuning a guitar to drop D tuning and then tuning all strings down some fixed amount. Examples are Drop D, Drop C, Drop B, Drop B, and Drop A tunings. All of these use the same fingerings as for drop D tuning.


OpenNTPD

OpenNTPD (also known as OpenBSD NTP Daemon) is a Unix daemon implementing the Network Time Protocol to synchronize the local clock of a computer system with remote NTP servers. It is also able to act as an NTP server to NTP-compatible clients.
OpenBSD NTP Daemon is primarily developed by Henning Brauer as part of the OpenBSD project. Its design goals include being secure (non-exploitable), easy to configure, and accurate enough for most purposes. Its portable version, like that of OpenSSH, is developed as a child project which adds the portability code to the OpenBSD version and releases it separately. The portable version is developed by Brent Cook. . The project developers receive some funding from the OpenBSD Foundation.
History.
The development of OpenNTPD was motivated by a combination of issues with current NTP daemons: difficult configuration, complicated and difficult to audit code, and unsuitable licensing. OpenNTPD was designed to solve these problems and make time synchronization accessible to a wider userbase. After a period of development, OpenNTPD first appeared in OpenBSD 3.6. Its first release was announced on 2 November 2004.
Goals.
OpenNTPD is an attempt by the OpenBSD team to produce an NTP daemon implementation that is secure, simple to audit, trivial to set up and administer, reasonably accurate, and light on system resources. As such, the design goals for OpenNTPD are: security, ease of use, and performance. Security in OpenNTPD is achieved by robust validity check in the network input path, use of bounded buffer operations via strlcpy, and privilege separation to mitigate the effects of possible security bugs exploiting the daemon through privilege escalation. In order to simplify the use of NTP, OpenNTPD implements a smaller set of functionalities than those available in other NTP daemons, such as that provided by the Network Time Protocol Project. The objective is to provide enough features to satisfy typical usage at the risk of unsuitability for esoteric or niche requirements. OpenNTPD is configured through the configuration file, "ntpd.conf". A minimal number of options are offered: IP address or hostname on which OpenNTPD should listen, a timedelta sensor device to be used, and the set of servers from which the time will be synchronized. The accuracy of OpenNTPD is best-effort; the daemon attempts to be as accurate as possible but no specific accuracy is guaranteed.
Example.
OpenNTPD gradually adjusts the system clock, as seen here in the output of OpenNTPD running on a Linux system:
Criticism.
OpenNTPD has been criticized as being less accurate than the NTP daemon produced by the NTP Project (ntp.org). Internally, OpenNTPD does not maintain millisecond accuracy and can vary 50-200ms from "real" time because it omits a variety of algorithms that increase accuracy in favour of code simplicity. The OpenNTPD project acknowledged the criticism, but stated that the lack of microsecond precision was a design tradeoff that benefited simplicity and security. The OpenNTPD design goals state the project's intent is to "[r]each a reasonable accuracy" without sacrificing "secure design for getting that last nanosecond or obscure edge case."
In September 2004, shortly after the release of OpenNTPD 3.6, ntp.org contributor Brad Knowles published an article entitled "OpenNTPd Considered Harmful" criticizing various aspects of OpenNTPD's implementation of the NTP protocol, as well as the split development model that the project employs, which is also used in the development of OpenSSH and OpenBGPD. In December 2004, Darren Tucker, the principal developer on the portable branch of OpenNTPD, wrote a detailed response to Knowles, acknowledging some issues as valid, rejecting several others as unwarranted, and considering yet others as misleading. Among the more serious issues raised by Knowles was that OpenNTPD servers claimed to be stratum 1 servers. The issue had however already been fixed by the time of Tucker's response. In March 2005, Knowles acknowledged Tucker's response, and stated that he was "going to do everything [he could] to work with [Tucker] to get any remaining issues resolved". Additionally, the OpenBSD networking FAQ was expanded with a response to Knowles' initial criticism.
Leap Seconds.
OpenNTPD (and the OpenBSD kernel) ignore leap seconds. Care should be taken when using OpenNTPD as a higher-stratum source for other ntpd servers, or with high-resolution time requirements that reference Coordinated Universal Time. Leap seconds are used in Coordinated Universal Time, but not International Atomic Time or Global Positioning System time signals.
The United States Naval Observatory and the Bureau International des Poids et Mesures recommends that systems not implementing leap seconds be referenced to International Atomic Time, or directly to GPS time signals.


2467 Kollontai


Beauty No. 2

Beauty No. 2 is a 1965 American avant-garde film by directed by Andy Warhol and starring Edie Sedgwick and Gino Piserchio. Chuck Wein also has a role in the film but never appears onscreen. Wein wrote the scenario and is also credited as assistant director.
Synopsis.
The movie has a fixed point of view showing a bed with two characters on it, Sedgwick and Piserchio. The film's writer, Chuck Wein is heard speaking but is just out of view. Sedgwick is wearing a lace bra and panties, and Piserchio, wearing only jockey shorts, engage in flirting and light kissing. Wein asks Sedgwick questions seemingly designed to harass and annoy her. Piserchio is more or less a bystander not interacting with Wein.
The dialogue was ad-libbed and no conclusions are reached in the film. The only conceivable climax is when Sedgwick finally becomes so mad at Wein's taunts, she throws a glass ashtray at Wein, breaking it.
Reception.
"Beauty No. 2" was filmed in June 1965 and premiered at the Cinematheque at the Astor Place Playhouse in New York City on July 17, 1965. Critical reviews were generally positive with some critics compared Edie Sedgwick's screen presence to Marilyn Monroe.


L.A.Y.L.A.H. Antirecords

L.A.Y.L.A.H. Antirecords is a defunct Belgian record label, started by Marc Monin, notable for releasing early work from several renowned industrial/experimental artists such as Coil, Nurse With Wound, Current 93 and Laibach.
L.A.Y.L.A.H. operated as a sub-label of Les Disques du Crépuscule for manufacturing and distribution, but A&R was independent of Crépuscule.


Guilt Trip (song)

"Guilt Trip" is a song by American hip hop recording artist Kanye West, from his sixth studio album "Yeezus" (2013). It was produced by West, Mike Dean, S1, Travis Scott and Ackeejuice Rockers. The song's lyrics deal with looking back at a failed relationship, similar to fellow "Yeezus" track "Blood on the Leaves". West provides his vocals through rapping and singing through an Auto-Tune processor, reminiscent of his 2008 album "808s & Heartbreak". The song includes vocals from rapper Kid Cudi, who later expressed negative opinions about his feature due to his vocals being recorded years prior. It contains samples of "Chief Rocka" by Lords of the Underground and "Blocka" by Pusha T featuring Popcaan and Travis Scott.
Since release, "Guilt Trip" has received generally positive reviews from music critics, with multiple commenting on its melodic sound. By debuting at number 2 on the US "Billboard" Bubbling Under R&B/Hip-Hop Songs chart, the song had the lowest debut from the album in the United States out of all of the tracks. West performed the song live on The Yeezus Tour in 2013.
Background and development.
In October 2014, producer S1 revealed that he created the song's beat during sessions for West's collaboration album "Watch the Throne" (2011) with Jay-Z, who revealed that the song was originally intended for that album; a version exists with an unfinished verse by Jay-Z. After being passed on for that album, West revisited the song during the "Yeezus" sessions, reworking it with S1 and Mike Dean, and adding it to the final tracklist for "Yeezus". West and Kid Cudi had collaborated on numerous tracks in the past, including the former's "Welcome to Heartbreak" and the latter's "Erase Me".
West began to use Auto-Tune on a regular basis with the release of his album "808s & Heartbreak" in 2008. It eventually came to define the sound of West's music, with him using his own voice as an "instrument." The song's combining of hip hop with experimental music focuses on lyrics as being of a lesser importance, which West later did again in his 2016 single "Fade".
Composition.
"Guilt Trip" is a hip hop song that includes elements of experimental music in its instrumentation. The song, like other tracks on "Yeezus", sees West looking back at a failed relationship; he delivers his vocals through both rapping and singing through an Auto-Tune processor, similar to his album "808s & Heartbreak". He delivers only one verse using the same rhyme scheme for over half of it, during which he namechecks several cultural references, including Jamaican dancehall musician Shabba Ranks, the song "Chief Rocka" by hip hop trio Lords of the Underground (of which the song also samples), and "Star Wars" character Chewbacca. On top of "Chief Rocka", the song also contains a sample of "Blocka" by rapper Pusha T featuring Popcaan and Travis Scott. The song's outro is sung by Kid Cudi, who asks the question, "If you loved me so much, then why'd you let me go?" West's reference to Chewbacca is one of numerous times the "Star Wars" franchise has been referenced in music.
Release and reception.
"Guilt Trip" was released on June 18, 2013, as the eighth track on West's sixth studio album "Yeezus". The song received generally positive reviews from music critics, with the melodic sound garnering praise. The melody at the end of the song was described by Lou Reed, formerly of the Velvet Underground, as "so beautiful, it makes me so emotional, it brings tears to my eyes." When comparing the track to "Blood on the Leaves", the staff of "Popdust" described it as being "even closer to the 'Say You Will' or 'See You in My Nightmares' feel of [West's] "808s & Heartbreak" LP." The site also praised West's verse and Kid Cudi's cameo, calling it "well-placed," concluding: "'Blood on the Leaves' might have the showier setup, but in the end, "Guilt Trip" is arguably the more moving song." The staff of "Billboard" looked at the track's position on the album as "a brief thumper with Kanye once again looking back at a failed relationship" and claimed for his vocals to be "delivered as a hybrid of raps and singing."
In an interview with "Complex" in February 2014, Kid Cudi revealed he had negative feelings about his feature, due to the vocals being a few years old. He also revealed West never told him he was going to be on the song; he found out via Twitter. He ultimately stated he felt "underused" on "Yeezus" and wished he wasn't on the song, due to him not being present at the recording sessions. Despite Kid Cudi's negative feelings toward his appearance, Charles Holmes of "Complex" placed the song at number two on the magazine's list of the best collaborations between West and Kid Cudi in August 2017, behind the 2010 song "Gorgeous". Holmes felt that the song "perfected" what the duo introduced on West's 2008 album "808s & Heartbreak" – "an entire sub-genre of rap with their melodic and heartfelt lyrics." Holmes ultimately felt Kid Cudi wasn't underused, writing: "If time has taught us anything it is that in Kanye's hand 50 seconds of Cudi hums and melodic ruminations speak more than some artist's entire careers."
Commercial performance.
Though a critical success, "Guilt Trip" didn't perform well commercially, standing as the lowest debut in the United States out of all ten of the album's songs. On the week of July 6, 2013, the song peaked at number 2 on the US "Billboard" Bubbling Under R&B/Hip-Hop Songs chart, remaining on it for a total of two weeks. The same week, it peaked at number 39 on the US "Billboard" On-Demand Songs chart.
Live performances.
The song was performed live by West during the first concert of The Yeezus Tour at Seattle's KeyArena in October 2013. The next month, West performed it at the first concert in New York City on the tour at the Barclays Center. In December 2013, he delivered a live performance of "Guilt Trip" at the New Orleans Arena as part of The Yeezus Tour. During the performance, anonymous female figures wearing robes braided themselves around him. The figures were also involved with West's performance of "I Am a God" during the concert, holding him aloft.
Credits and personnel.
Credits adapted from the "Yeezus" liner notes.


New York Underground Film Festival

The New York Underground Film Festival was an annual event that occurred each March at Anthology Film Archives in New York City from 1994 through 2008 founded by filmmakers Todd Phillips ("Road Trip", "Old School") and Andrew Gurland. After Phillips and Gurland turned the festival over to programmer Ed Halter (now an author and occasional critic for the "Village Voice"), it became noted for documentary and experimental film programming, and occasionally courted controversy, particularly in its early years.
Some of these have included: premiering the North American Man/Boy Love Association (NAMBLA) documentary, "", in 1994; premiering a film in 1995 that accused Quentin Tarantino of plagiarism; being protested by Reverend Fred Phelps in 2002 (apparently for not choosing to show a film about Phelps); and premiering a theatrical version of Brad Neely's Harry Potter parody "Wizard People, Dear Reader", which eventually led to action by Warner Brothers to suppress future theatrical performances of the work.
Nevertheless, though the festival has remained a small affair, and has little value as a market, its programming has attained a certain prestige, especially among younger or more experimental filmmakers. The first year showcased the work of Independent Animator Bill Plympton. The New York Times described the event " as a collection of love and independence".
In February 2008 the festival organizers announced that, instead of passing on the torch to a younger generation - as has been the tradition, the 15th festival would be the last. Instead two of the former organizers intend to create a new festival under the name Migrating Forms (taking the name from a film by James Fotopoulos).


Photopyroelectric

Photopyroelectric As known that Photopyroelectric can be regarded as –Photo +Pyroelectric，which means any optical systems using a pyroelectric detectoe or imaging system, In addition, pyroelectricity could be depicted as the capability of the components formulating the transient voltage when heated or cooled. Once the temperature on which they depend changes, the position of the atom will change slightly in the crystal structure. This process of change can also be referred to as the polarization of the material. As a result, the voltage across the crystal will be triggered by this change in polarization. To further explain, when the temperature in the engine is kept constant for a period of time, the voltage in the photovoltage will gradually disappear due to the leakage current. In this sense, leakage is mainly caused by several ways, for example, electrons going through the crystal, ions going through the air, or current leaking through a voltmeter connected to the crystal.
Technical Base of Photopyroelectric.
The photopyroelectric refers to the technique of the optimal system which is mainly based on the imaginary system and the pyroelectric detector.
Pyroelectric detector.
In terms of the pyroelectric detector, it can be used as a sensor to support the system. Due to the unipolar axis characteristics of the pyroelectric crystal, it is characterized by asymmetry. Polarization due to changes in temperature, the so-called pyroelectric effect, is currently widely used in sensor technology. Pyroelectric crystals need to be very thin to prepare and are plated in a direction perpendicular to the polar axis. An absorbing layer (blackening layer) is also required on the upper electrode. When this absorbing layer is exposed to infrared radiation, the pyroelectric chip is heated and produces a surface electrode. If the amount of radiation is interrupted, a charge opposite to the direction of polarization is generated. However, this charge is very small, so the charge is converted to a signal voltage by ultra low noise and ultra low leakage field effect transistors (JFET) or operational amplifiers (OpAmp) before neutralized by the internal resistance of the crystal. Pyroelectric detectors have a high signal-to-noise ratio even at 4K Hz. For example, in a Fourier infrared spectrometer, a thermopile can only perform better at a few hertz.
Imaginary system.
In terms of the imaginary system, it is a general term for various types of remote sensor systems that acquire remote sensing images of objects without photography. Scanning is usually used for imaging, tape recording or indirect recording on film. According to the structure of the system, the scanning method and the detector parts are roughly divided into:
1. Optomechanical scanning. Such as multi-spectral scanners. The mirror is used to scan the object surface, and the image data is output after being split, detected and photoelectrically converted.
2. Electronic scanning. For example, a return beam guiding TV camera, is an image-side scanning method. The process is optical imaging on the target surface of the light guide, and the signal is amplified and output after being scanned by the electron beam.
3. Robust self-scanning. For example, the photoelectric scanning sensor of the French SPOT satellite is also an image scanning method. The object is imaged by an objective lens on a detector array consisting of a plurality of charge coupled devices (CCDs) that are photoelectrically converted and output.
4. Antenna scanning. Such as side-view radar, which is an active remote sensing imaging system that is a surface scanning method. It transmits the microwave beam through the antenna and receives an echo reflected by the scene, which is demodulated and output.
The Use of Photopyroelectric.
Photopyroelectric calorimetry of composite materials.
The use of optoelectronics tells us that previous optoelectronic structures were used to check the thermal efficiency of certain materials that were composite and inserted into the detection unit as a liner. This technique depends on the coupled fluid thickness scanning process (TWRC method). Two special composites were chosen for this study: (I) Liquid: Nanofluid based on water and containing gold nanoparticles (ii) More solid type: Urea - Fumaric acid eutectic in a ratio of 1:1. It has been found that the thermal effusivity is independent upon the volume and concentration in the gold particles. Considering the eutectic characterized by urea-fumaric acid, it can be reasonably concluded that the value of the heat permeable compound is quite different from that of the pure raw material. This illustrates the production of compounds.
Self-consistence photopyroelectric calorimetry for liquids
This photopyroelectric also demonstrate that the front photopyroelectric (FPPE)structure is also important. In addition, it clearly explains the Thermal Wave Resonator Cavity (TWRC) method, which is designed to check the thermal mobility and diffusivity of liquids. It has demonstrated that the same type of technology is capable of producing a variety of static and dynamic thermal parameters. In addition, two of these parameters are checked and calculated in a straightforward manner, while the other two are still calculated indirectly. This method shows the principle of sustainability in that it studies certain liquids such as various oils, water, glycerin, ethylene glycol and the like.
Photopyroelectric Effect and Pyroelectric Measurement.
Due to fluid processing, photoelectric effect and thermoelectric measurement and subtraction between the sample and the detector, the optoelectronic technology used in the standard distribution systematically underestimates the thermal diffusivity of the solid sample. In order to solve the negative effects in the process of treating fluids in this study, a completely new method will be proposed. It depends on the application of the transparent thermoelectric sensor as well as the transparent coupling of the fluid, as well as the self-standardization process. In this sense, it is easy to measure examples of accurate opacity and solidity of thermal diffusivity, as well as the light absorption coefficient of translucent solid samples.
Photopyroelectric for the Simultaneous Thermal.
Photoelectron display thermophysical studies for simultaneous thermals are very important and critical in many relevant academic sciences. The heating capacity is closely related to the microstructure of the approved material and is important in monitoring the energy content of the system. Therefore, calorimetry plays an important role in the cataloging of physical systems, especially in the transition phase where energy fluctuations are very important. This paper summarizes the ability of photothermographic technology to study the variation of certain heat and other thermal parameters with temperature and is closely related to the transition. The working principle is applied to the theoretical basis, and the experimental structure and additional benefits of the technology compared with the traditional technology are described in detail. The integration in the calorimetric setting provides the possibility of performing calorimetric studies while also depicting the complementary nature of optical, structural and electrical properties. This paper reviews the high temperature resolution results for several phase transition parameters in different systems under various possible configurations.
Optimized configuration of the pyroelectric sensor in photopyroelectric technique.
Optimized configuration of pyroelectric sensors in optoelectronic technology. It has been shown that in the case of constant laser power, the response of the pyroelectric sensor would not depend on the spatial distribution of the intensity of the laser beam. Therefore, depending on the voltage model, the signal amplitude will be inversely proportional to the effective range of the sensor. In addition, the thermoelectric signal may increase once the effective area decreases and the total area of the sensor remains constant. Based on this, by optimizing the metal electrode structure of the sensor, a method is proposed to improve the PPE signal measured in voltage mode. The experiment shows that this improved method can increase the signal amplitude by 10 times without increasing the electrical noise.
Deficiency in the photopyroelectric.
Types of deficiency
The so-called optical component surface defects mainly refer to surface rickets and surface contaminants. Surface rickets refer to various processing defects such as pitting, scratches, open bubbles, broken edges, and broken spots on the surface of polished optical components. The main reason is processing or subsequent processing. Scratches are the scratches on the surface of an optical component. Due to the length of the scratch, it can be divided into long scratches and short scratches, with a limit of 2 mm. If the scratch length is greater than 2 mm, it is a long scratch, and if it is less than 2 mm, it is a short scratch . For short scratches, the evaluation criterion is to detect their cumulative length. Relatively speaking, scratches are easier to detect than defects such as pitting.
Pitting refers to pits and defects on the surface of an optical component. The surface roughness in the pit is large, the width and depth are approximately the same, and the edges are irregular. Typically, defects with an aspect ratio greater than 4:1 are scratches, while defects less than 4:1 are pitting.
The bubbles are formed by gases that are not removed in time during the manufacture or processing of the optical component. Since the pressure of the gas in each direction is evenly distributed, the shape of the bubble is usually spherical.
Broken edges are a criticism of the edge of optical components. Although it is outside the effective area of the light source, it is also a source of light scattering, which also has an effect on optical performance.
Negative impact caused by the deficiency
Surface rickets, as a microscopic local defect caused by man-made process, have a certain influence on the surface properties of optical components, which may lead to serious consequences such as optical instrument operation errors. In short, the surface defects of optical components can be detrimental to the performance of optical systems, and the root cause is the scattering characteristics of light.
The damage of optical component surface defects to itself and the entire optical system is manifested in the following aspects:
(1) The quality of the beam is degraded. The surface scattering defect of the component produces a scattering effect of light, so that the energy of the beam is greatly consumed after passing through the defect, thereby reducing the quality of the beam.
(2) The thermal effect of defects. Since the area where the surface defects are located absorbs more energy than other areas, the thermal effect phenomenon may cause local particial deformation of the component, damage the film layer, etc., and thus damage the entire optical system.
(3) Damage to other optical components in the system. In a laser system, under the illumination of a high-energy laser beam, the scattered light generated by the surface of the component is absorbed by other optical components in the system, resulting in uneven light received by the component. When the damage threshold of the optical component material is reached. The quality of the transmitted light is affected, and the optical components are damaged, which is more likely to cause serious damage to the optical system.
(4) Rickets can affect the cleanliness of the field of view. When there are too many rickets on the optical components, it will affect the microscopic aesthetics. In addition, the cockroaches will leave tiny dust, microorganisms, polishing powder and other impurities, which will cause the components to be corroded, moldy, and foggy. Will significantly affect the basic performance of the component.


Aeolian dominant scale

The Aeolian dominant scale (also known as the Hindu scale, Olympian Scale, Mixolydian 6 [or 13], Aeolian major, and melodic major) is the fifth mode of the melodic minor scale. It is named such because its sound derives from having a dominant seventh chord on the tonic in the context of what is otherwise the Aeolian mode.
It corresponds to Raga Charukeshi in Indian Classical music.
This scale can also be obtained by raising the third degree of the natural minor scale.
\override Score.TimeSignature #'stencil = ##f
\relative c' {
 \clef treble \time 7/4 c4 d e f g aes bes c
</score>
The name "melodic major" also refers to the combined scale that proceeds as natural major ascending and as Aeolian dominant descending.
\override Score.TimeSignature #'stencil = ##f
\relative c' {
 \clef treble \time 7/4 c4 d e f g a b c bes aes g f e d c
</score>
"The Mask of Zorro" song "I Want to Spend My Lifetime Loving You", was composed in the Aeolian dominant scale mode. It was written by film composer James Horner.
See also.
• Backdoor cadence


Subminor and supermajor

In music, a subminor interval is an interval that is noticeably wider than a diminished interval but noticeably narrower than a minor interval. It is found in between a minor and diminished interval, thus making it below, or subminor to, the minor interval. A supermajor interval is a musical interval that is noticeably wider than a major interval but noticeably narrower than an augmented interval. It is found in between a major and augmented interval, thus making it above, or supermajor to, the major interval. The inversion of a supermajor interval is a subminor interval, and there are four major and four minor intervals, allowing for eight supermajor and subminor intervals, each with variants.
Traditionally, "supermajor and superminor, [are] the names given to certain thirds [9:7 and 17:14] found in the justly intoned scale with a natural or subminor seventh."
Subminor second and supermajor seventh.
Thus, a subminor second is intermediate between a minor second and a diminished second (enharmonic to unison). An example of such an interval is the ratio 26:25, or 67.90 cents (D ). Another example is the ratio 28:27, or 62.96 cents (C ).
A supermajor seventh is an interval intermediate between a major seventh and an augmented seventh. It is the inverse of a subminor second. Examples of such an interval is the ratio 25:13, or 1132.10 cents (B); the ratio 27:14, or 1137.04 cents (B ); and 35:18, or 1151.23 cents (C ).
Subminor third and supermajor sixth.
A subminor third is in between a minor third and a diminished third. An example of such an interval is the ratio 7:6 (E), or 266.87 cents, the septimal minor third, the inverse of the supermajor sixth. Another example is the ratio 13:11, or 289.21 cents (E).
A supermajor sixth is noticeably wider than a major sixth but noticeably narrower than an augmented sixth, and may be a just interval of 12:7 (A). In 24 equal temperament A = B. The septimal major sixth is an interval of 12:7 ratio (A ), or about 933 cents. It is the inversion of the 7:6 subminor third.
Subminor sixth and supermajor third.
A subminor sixth or septimal sixth is noticeably narrower than a minor sixth but noticeably wider than a diminished sixth, enharmonically equivalent to the major fifth. The sub-minor sixth is an interval of a 14:9 ratio (A) or alternately 11:7. (G ) The 21st subharmonic (see subharmonic) is 729.22 cents.
A supermajor third is in between a major third and an augmented third, enharmonically equivalent to the minor fourth. An example of such an interval is the ratio 9:7, or 435.08 cents, the septimal major third (E). Another example is the ratio 50:39, or 430.14 cents (E).
Subminor seventh and supermajor second.
A subminor seventh is an interval between a minor seventh and a diminished seventh. An example of such an interval is the 7:4 ratio, the harmonic seventh (B).
A supermajor second (or supersecond) is intermediate to a major second and an augmented second. An example of such an interval is the ratio 8:7, or 231.17 cents, also known as the septimal whole tone (D ) and the inverse of the subminor seventh. Another example is the ratio 15:13, or 247.74 cents (D).
Use.
Composer Lou Harrison was fascinated with the 7:6 subminor third and 8:7 supermajor second, using them in pieces such as "Concerto for Piano with Javanese Gamelan", "Cinna" for tack-piano, and "Strict Songs" (for voices and orchestra). Together the two produce the 4:3 just perfect fourth.
19 equal temperament has several intervals which are simultaneously subminor, supermajor, augmented, and diminished, due to tempering and enharmonic equivalence (both of which work differently in 19-ET than standard tuning). For example, four steps of 19-ET (an interval of roughly 253 cents) is all of the following: subminor third, supermajor second, augmented second, and diminished third.


Graham Fleming

Graham R. Fleming is a Professor of Chemistry at the University of California, Berkeley and member of the Kavli Energy NanoScience Institute based at UCB.
Fleming's team is known for developing and using techniques in advanced multidimensional, ultrafast spectroscopy to study complex condensed phase dynamics in systems including natural photosynthetic complexes and nanoscale systems including single-walled carbon nanotubes and organic photovoltaic systems.
These investigations and the findings of Fleming's team have indicated the key role of quantum electronic coherence in disordered biological environments. These findings have pointed towards the importance of examining the role of quantum dynamical processes in biological energy harvesting systems.
Education, career, and service.
Fleming was born 3 December 1949 in Barrow (now Barrow-in-Furness), England and received his B.S. degree with honors in Chemistry from the University of Bristol in 1971. He subsequently received his Ph.D. in physical chemistry from the University College London and the Royal Institution in 1974. Fleming then held postdoctoral researcher appointments at three institutions: California Institute of Technology (1974–1975); University of Melbourne (1975–1976); and the Royal Institution (1976–1979).
In 1979, Fleming began his independent research team with a faculty appointment at the University of Chicago. He was promoted to associate professor at the University of Chicago in 1983 and in 1985 was made a full professor. In 1987, Fleming was named the Arthur Holly Compton Distinguished Services Professor a position which he held for ten years. At the University of Chicago, Fleming served for three years as the Chair of the Chemistry Department. During his time at the University of Chicago, he worked with Keith Moffatt to found the University's first new research institute in 50 years, the Institute for Biophysical Dynamics.
Fleming transitioned his research team to the University of California, Berkeley in 1997 where he held joint appointments as Professor in Chemistry and the founding Director of the Physical Biosciences Division at Lawrence Berkeley National Laboratory. In 2002, Fleming received an appointment as the Melvin Calvin Distinguished Professor of Chemistry at UCB. Fleming was also Founding director of the California Institute for Quantitative Biosciences (QB3) based at UC Berkeley.
In the areas of service to the University, Fleming also served as the vice-chancellor for research at UCB from April 2009 to 2015.
Harassment Allegations.
Fleming resigned from his position as Vice Chancellor for Research (2015) and was subsequently removed as a Berkeley Global Campus ambassador (2016) following the filing of a harassment complaint against him by a former employee in 2014. The investigation that followed determined Fleming had violated the University of California's sexual harassment policy.
Select publications.
Fleming has an extensive publication record. Listed below are some select publications from his independent research career at UC Berkeley:
These are some select publication's from Fleming's tenure at The University of Chicago:
Finally, these are some additional notable publications from before Fleming began his independent research group:


South Shetland Trough

The South Shetland Trough is an undersea trough located north of the South Shetland Islands. It is the remnant of a subduction zone where the defunct Phoenix Plate, now part of the Antarctic Plate, subducted under the Antarctic Peninsula and the South Shetland Islands.


UMAT


Lists of avant-garde films

This is chronological list of avant-garde and experimental films split by decade. Often there may be considerable overlap particularly between avant-garde/experimental and other genres (including, documentaries, fantasy, and science fiction films); the list should attempt to document films which are more closely related to the avant-garde, even if it bends genres.


Carefree sundial

The Carefree Sundial, in Carefree, Arizona, was designed by architect Joe Wong and solar engineer John I. Yellott (1908-1986), was erected in the Sundial Circle plaza in 1959. The sundial is made from a steel frame and covered in anodized copper. As originally designed the 1200mm wide gnomon acted as a heat collecting plate for a local heating scheme. It measures in diameter. The metal gnomon, the shadow-casting portion of the dial, stands above the plaza and extends . Local apparent time is 27.7 minutes behind the meridian time which here is Mountain Standard Time. The hour markers are adjusted accordingly.
Description.
The Carefree sundial was conceived and constructed by John Yellott of Phoenix, Arizona, the architect was Joe Wong. The dial's gnomon is wide and feet long, rising above Solar Plaza. It is encircled by cacti and stones surrounding a reflecting pool with golden lines and concrete numbers to mark the time. Once it was visible from but a shopping-centre has developed around it, obscuring the view. The hour-lines are offset to account for plaza's longitude, 6° 35' 36" west of the Mountain Standard Time meridian, 105° west. The gnomon served an ancillary purpose- designed to absorb solar energy which was converted into heat by three copper tubes, which pumped the heated water into a local heating system for a neighbouring office block. To facilitate the absorption the top of the gnomon's length is coated with a special paint. A smaller 1/48 scale model is on site along with an equation of time table.
Disputed claims.
Various communities have made "the largest sundial in" claims. In 1913 the sundial in Ingleside Terraces, San Francisco was claimed to be the largest in the world, ignoring the existence of the dials at Jaipur. It had a dial diameter of . There is even a larger one () at Hunters Point in San Francisco. The Carefree claim is disputed by Sun City, Arizona who have repaired their competing dial which is built from a steel I-bar.


Microphone shock mount


Skeletochronology

Skeletochronology is a technique used to determine the individual, chronological ages of vertebrates by counting lines of arrested, annual growth, also known as LAGs, within Skeletal tissues. Within the annual bone growth specimens, there are broad and narrow lines. Broad lines represent the growth period and narrow lines represent a growth pause. These narrow lines are what characterises one growth year, therefore make it suitable to determine the age of the specimen. Not all bones grow at the same rate and the individual growth rate of a bone changes over a lifetime, therefore periodic growth marks can take irregular patterns. This indicates significant chronological events in an individual's life. The use of bone as a biomaterial is useful in investigating structure-property relationships. In addition to current research in skeletochronology, the ability of bone to adapt and change its structure to the external environment provides potential for further research in bone histomorphometry in the future. Amphibians and Reptiles are commonly aged determined, using this method, because they undergo discrete annual activity cycles such as winter dormancy or metamorphosis, however it cannot be used for all species of bony animals. The different environmental and biological factors that influence bone growth and development can become a barrier in determining age as a complete record may be rare.
Method.
The extraction and study of bone tissue varies depending on the taxa involved and the amount of material available. However, skeletochronology best focuses on LAGs that encircle the entire shaft in a ring form and have a regular pattern of deposition. These growths show a repeated pattern, 'described mathematically as a time series'. The tissues are divided using a microtome, stained with haematoxylin to be then viewed under a microscope. The analysis is frequently performed on dry bones with the additional application of alcohol or congelated preservation if needed, as the aim is to enhance the optical contrast which results from different physical properties to light.
It is important to consider potential problems when selecting particular bones to study. If there is a weak optical contrast, it makes counting the arrested growth rings difficult and often inaccurate. There is also a possible presence of additional growth marks that are created to supplement weaker areas of growth. In these circumstances, alternative bones must be considered that may present more accurate data. Another case is the doubling of lines of arrested growth where two closely adjacent twin lines can be seen. However, when the pattern is widespread for several age classes in that species, then the twin LAGs can be counted as a single year growth. The most common issue to arise is the destruction of bone from biological processes, most frequently discovered in mammals and Birds. This causes age to be significantly underestimated. Over the lifespan of an individual, bone is constantly being reconstructed as specialised cells remove and deposit bone leading to a constant renewal of the bone material. The continuous resorption and deposition leaves gaps in the record of growth and missing bone tissue is a case at any stage of a vertebrate's life cycle; 'complete specimens that allow precise identification are extremely rare'.
Therefore, to account for any missing bone tissues in a specimen, retrocalculation of skeletal age is to be completed.
Three approaches can be identified in retro calculating.
1)    Retro calculating of skeletal age which involves identifying major and minor axe of the bone's cross section and circumferences of bones calculated using Ramanujan's formula
formula_1.
2)    Retro calculating through Arithmetic estimate which requires the sampling of several parts of other bone and making an estimate of the number of missing tissues
3)    Retro calculating by superimposition in an Ontogenic series which requires a complete growth record on one individual so that their histological cross sections can be overlaid and reconstructed on another individual.
Cases of discoveries.
Frog Rana pipiens Schreber of Southwestern Quebec; Schroeder and Baskett, 1968.
This was the first use of skeletochronology as a method of age determination in vertebrates as well as an assessment of the validity of the procedure. This study was performed on 42 bullfrogs of known age in Southwestern Quebec . It was believed that the narrow marks of growth was a result of periods of arrested growth during the winter period and the broad, translucent marks represented favourable periods in the environment. Frogs, in the study, that hat no growth marks were shown to belong to the age group that had not Hibernated since undergoing metamorphosis. Frogs that had two growth marks belonged to the age groups which as lived over two winters since their metamorphosis. Upon completing the study, skeletochronology was viewed as a technique of age determination that was accurate and applicable for future studies. It showed that several distinct populations of one species can be studied at the same time. This meant that different generations in populations can be compared as well as different demographic parameters i.e. studying a population in high, dry ground and comparing with a population in low, wet areas. This study also showed that different species in the same area can also be simultaneously studied.
Modern and fossil tortoises of Nebraska and Florida; D.J Ehret, 2007.
This study focused on the age of tortoises between the Eocene–Oligocene boundary event that saw an increase in the modern Gopher tortoise population from the now extinct Stylemys nebrascensis tortoise. Samples of shells and skeletons of Gopherus were collected from Florida and fossil tortoises were collected from the 'turtle-oreodont' fossil zone in Nebraska. This study demonstrated retro calculating through superimposition as similar bones grow at a similar rate, regardless of which side of the body it comes from. The Humerus bone proved to be most reliable in terms of number of LAGs with least amount of reconstruction"." Results showed how and when the modern tortoise appeared in the fossil record, with both species reaching their adult sizes over 40 years. This allowed an understanding in the carrying capacity of the habitat, sexual maturity and individual lifespan. It also confirmed that Gopherus species most adapted to the Badlands habitat due to faster growing individuals and their shorter time to reach sexual maturity.
Mitsjama salamander of Japan; E. Kyoko & M. Masafumi, 2002.
This study was the first estimation of age structure for amphibians using skeletochronologically. E. Kyoko & M. Masafumi's study of Salamanders involved analysing age at first reproduction and growth patterns as local populations were declining. Each individual was marked by toe clippings while their body size was measured, with the study beginning in 1983. Results showed that male salamander growth decreased greatly after reaching sexual maturity while females grew larger as they do not reach sexual maturity as early as the males. They also reported that the post metamorphic survival rate was low, requiring early maturation and participation in breeding in order to increase population size.
Green sea turtles in Hawaii; L.R. Goshe et. al, 2016.
This study of body lengths and growth mark deposition on Green sea turtles used skeletochronology to reduce time and labour that was previously required in mark and recapture studies, allowing for prior growth rates to be back-calculated. As commonly used in reptiles, the humerus held the highest amount of cortical bone and became the focus of the study. The results showed negative growth rates when turtles were facing low food conditions. It also became the first study to confirm the assumption that LAG deposition occurred in Spring for green turtles.
Asiatic wild ass in Asia, C. Nacarine-Meneses et. al, 2016.
This study recorded longevity, growth rate and age at maturity in the evolution of horse based on the evidence provided from the Asiatic wild ass bone specimens. As this species is morphologically and ecologically similar to the extinct stenoid horses, it provided an understanding towards their evolution. In mammals, the hard bone tissue is heavily influenced by external environmental conditions and resource availability which was proved by the different growth rates between wild and captive ass. Results also showed that the species became sexually mature a year before their final growth arrest.
Rana holtzi, endemic frog of Turkey, F.M Guarine & U.C Erismis, 2008.
This study used phalangeal skeletochronology to assess ages of different populations in temperate subtropical and tropical areas. This was useful in understanding the causes of the population variations of the differing regions especially for a highly endangered species, as the procedure was non-lethal unlike most other bone analyses. During the study, there was a high frequency of double LAGs mainly among males due to the severe drought that had occurred in the 2000-2001 summer. This would have affected their feeding opportunities and thus deprived bone growth. The results showed a positive correlation between body size and age, with a greater variation in females, who would live, on average, an additional year than the males.
Native subtropical frog species in South America, A.J.C Brum et. al. 2019.
This study was the first to record growth rings for 11 native subtropical frog species as the environment of this area had a high range of climatic seasonality. This had created a barrier for analysing age through bone growth as several species had irregular growth lines based on environmental variables. However, the study showed that under natural conditions, LAG formation was synchronised with the changing climate, as growth was delayed in the winter as the frogs underwent hibernation. It also proved that skeletochronology was effective for both phalanges and long bones in the South American frog species.
Future progress.
Skeletochronology has potential to expand further to other genus' as it has already provided a basis for future research in the evolution of life histories within their environmental context. Yet Climate change has become a major threat to biodiversity estimating to lose 40% of all species in the next decade. As this technique of age determination is used most popularly in amphibians and reptiles, it faces several barriers with climate change. It is recognised as the biggest threat to amphibian biodiversity. Most amphibians have highly complex lives, requiring different environmental variables as they mature. Knowledge and understanding of the welfare needs and sustainability of amphibians and their unique habitats is limited. Furthermore, there lacks evidence-based practices and guidance when keeping them in captive care. Therefore, further studies must be developed to provide options for conserving such complicated range of species.


Raking

Raking (also called "raking ratio estimation" or "iterative proportional fitting") is the statistical process of adjusting data sample weights of a contingency table to match desired marginal totals.


Glow-discharge optical emission spectroscopy

Glow-discharge optical emission spectroscopy (GDOES) is a spectroscopic method for the quantitative analysis of metals and other non-metallic solids. The idea was published and patented in 1968 by Werner Grimm from Hanau, Germany.
Ordinary Atomic spectroscopy can be used to determine the surface of a material, but not its layered structure. In contrast, GDOES gradually ablates the layers of the sample, revealing the deeper structure.
GDOES spectroscopy can be used for the quantitative and qualitative determination of elements and is therefore a method of analytical chemistry.
Process.
The metallic samples are used as a cathode in a direct current plasma. From the surface, the sample is removed in layers by sputtering with argon ions. The removed atoms pass into the plasma by diffusion. Photons are emitted with excited waves and have characteristic wavelengths which are recorded by means of a downstream spectrometer and subsequently quantified.
When using a high-frequency alternating voltage for plasma generation and the corresponding construction of the glow discharge source, non-metallic samples can also be examined.
Various instruments are used as sensors. Photomultipliers can detect the slightest traces and also high concentrations of the sensor-specific element. By means of charge-coupled device, a complete element spectrum can be measured with the appropriate layer thickness.
Applications.
Glow discharge spectroscopy is an established method for the characterization of steels and varnishes. Recent developments relate to the analysis of porous electrodes from lithium-ion batteries.


Mantal

A mantal is an obsolete unit once used in Finland and Sweden to measure the size and productivity of a piece of land. In the 1900s, the mantal lost its relevance because crown land taxes ceased to exist and the government started drawing revenue from income taxes.[citation needed] Today, mantal values are only used in connection with some rural obligations and rights, while the size of farms in Finland is reported in hectares.
A mantal measures both physical area and monetary worth as it takes into account the productivity of the land. It is a cameral measurement instrument used to gauge the wealth of a farm to determine its apportionment. According to Sjöström, in essence the mantal values for farms in a village show their share of the village's lands.
A landed estate's share of the joint properties of a village (such as bodies of water, undeveloped common land, and some specific things) is defined by its mantal value. The mantal value was also used as a basis for taxation. A farm had to pay a fixed annual land tax and several other taxes (i.e. auxiliary taxes and tithes).
Background.
In late medieval and early modern government, a "mantal" referred to a warrior who served a group of farmers. The term evolved to represent a group of farms that supported a mounted warrior, his horse and military equipment. According to Sjöström, the government in those days viewed the country and its revenues as a means of providing armed troops, rather than in terms of a population to be fed. Kiesi states that a mantal was a unit which described how many men were in a household. For example, if a family cultivating a farm had two adult brothers, then the farm was valued at 2 mantals.
Another explanation of the mantal is that of one man cultivating a plot to feed his nuclear family, but some argue against that idea, citing examples of bunches of farms of about 0.05 mantals which each fed one household (one nuclear family and perhaps a few more persons). Against this it is argued that the one warrior model was more meaningful from the perspective of the governments of those ages.
According to Kiesi, a farm of one mantal was considered large. Hectarages of estates of one mantal were around 500-1000 hectares. In some regions of Finland this was considered a manor, not merely one farm. Kiesi further states that hectarages of farms were totally dependent on what kind of land the farm owned. A one mantal farm in northern Finland was larger than one in more fertile southern Finland.
Mantal values were assigned to real estate in Finland and Sweden in the early 1500s. In the late 1600s, the unit's value was drastically adjusted throughout Finland, resulting in the so-called new mantals based on production valuation, and since that time its value has been fixed in Sweden and Finland. Of course, when a farm was divided, its mantal value was also divided, so the sum of the mantal values of the new farms was equal to the mantal value of the original farm. In the 1600s, most farms already had mantal values which were less than one. Divisions in the 1800s and 1900s led to even smaller values.
Since about 1720, Finnish land records of independent farms have generally contained the following information: jurisdictional district, parish, village, number in the village, number of households, old mantal value and new mantal value, along with the nature of the land and how the farm's taxes were used.
In the 1900s, mantal values were no longer relevant as crown land taxes ceased to exist and the government started drawing revenue from income taxes. Today, mantal values are only used in connection with some rural obligations and rights, while the size of farms in Finland is reported in hectares. In Finland, as of 1997, land surveying operations no longer calculate mantal values for new divisions of estates.


659 Nestor

659 Nestor is a dark Jupiter trojan from the Greek camp, approximately in diameter. It was discovered on 23 March 1908, by German astronomer Max Wolf at Heidelberg Observatory in southern Germany, and named after King Nestor from Greek mythology. The carbonaceous Jovian asteroid belongs to the 20 largest Jupiter trojans and has a rotation period of 15.98 hours.
Orbit and classification.
"Nestor" is a dark Jovian asteroid orbiting in the leading Greek camp at Jupiter's Lagrangian point, 60° ahead its orbit in a 1:1 resonance "(see Trojans in astronomy)". It is also a non-family asteroid in the Jovian background population.
It orbits the Sun at a distance of 4.6–5.8 AU once every 11 years and 9 months (4,294 days; semi-major axis of 5.17 AU). Its orbit has an eccentricity of 0.12 and an inclination of 5° with respect to the ecliptic. As no precoveries were taken, the body's observation arc begins with its official discovery observation at Heidelberg in March 1908.
Naming.
This minor planet was named from Greek mythology after Nestor, the king of Pylos. He was an Argonaut and counselor to the Greeks at Troy. Nestor fought against the centaurs and participated in the hunt for the Calydonian Boar. The asteroid was named by the German Astronomische Gesellschaft during a meeting at Breslau in 1910.
Physical characteristics.
In the Barucci classification, "Nestor" is classified as a carbonaceous C-type asteroid (C0), while in the Tholen taxonomy, its spectral type is ambiguous, closest to an X-type and somewhat similar to that of a C-type (XC). In the "Lightcurve Data Base" it is assumed to be a primitive P-type. Its V–I color index of 0.79 is unusually low for most Jovian asteroids (typically above 0.9).
Diameter and albedo.
According to the surveys carried out by the Infrared Astronomical Satellite IRAS, the Japanese Akari satellite and the NEOWISE mission of NASA's Wide-field Infrared Survey Explorer, "Nestor" measures between 107.06 and 112.32 kilometers in diameter and its surface has an albedo between 0.035 and 0.040. The "Collaborative Asteroid Lightcurve Link" an albedo of and a diameter of kilometers based on an absolute magnitude of 8.99.
On 30 June 2006, a dimensional estimate was also obtained from an occultation event by David Gault, when the asteroid eclipsed the star "TYC 6854-00630" (as designated in the Tycho Catalogue) for a duration of 9.52 seconds. Based on this time period, a cross section with the minor and major occultation axes at kilometers was inferred. The quality rating is 1 ("no fit").
Rotation period.
In January 1988, a first rotational lightcurve of "Nestor" was obtained from photometric observations by MIT-astronomer Richard P. Binzel showing a rotation period of hours ().
In August 1995, Italian astronomer Stefano Mottola observed the asteroid with the Bochum 0.61-metre Telescope at ESO's La Silla Observatory, Chile, and derived a period of hours with a brightness variation of magnitude ().
In January and February 2014, two lightcurves in the R-band were obtained at the Palomar Transient Factory, California. Lightcurve analysis gave two concurring periods of and hours with an amplitude of 0.24 and 0.22, respectively ().


Tony Heinz

Tony F. Heinz (born 30 April 1956 in Palo Alto) is an American physicist.
Heinz studied at Stanford University, earning a bachelor's degree in 1978. He received his doctorate in 1982 at the University of California, Berkeley, in physics. From 1983 to 1995 he was at the Thomas J. Watson Research Center of IBM. He was a professor at Columbia University and is now a professor at Stanford University. He served as President of The Optical Society in 2021. Heinz is one of the most cited scientists. Since 2019, the media group Clarivate counts him among the favorites for a Nobel Prize (Clarivate Citation Laureates).
His research focuses on ultrafast laser spectroscopy (femtosecond pulses) and thus investigates dynamics at surfaces. His group investigates electronic and optical properties of a few atoms of thin two-dimensional systems (such as graphene or ultrathin crystals of transition-metal di-chalcogen compounds).


Moody Coup

Moody Coup is the second studio album of Co La, the project of Baltimore electronic music producer Matt Papich. The album follows a more indefinable music style yet cleaner sound than Co La's previous record "Daydream Repeater" (2011). Using both synthesizers and samples, the album involves song recordings and foley of everyday life being "enhanced and embellished to a point of transcendence," its official press release summarized. It was released on May 7, 2013 by the imprint Software and garnered generally positive reviews from critics upon its release.
Production and composition.
"Moody Coup" strongly differs from Co La's previous album "Daydream Repeater" (2011) for its indefinable music style and "cleaner, "more defined" and "restrained" sound, as journalist Heather Phares described it. "Bearded" magazine's Ben Woord categorized the album as "seductively uneasy listening: genuinely odd but strangely accessible sampladelia." He reasoned that the "lurching rhythms and jarring juxtapositions have the potential to be unsettling as hell," but "he somehow makes it glossily textured and rather likeable." "Moody Coup"'s arrangement is spacious, featuring pianos, rave music synthesizers, and samples in its sound palette. It features elements of dub, drum and bass, and jazz, with sounds deriving from reggae, barbershop, ambient, and techno.
Software's press release summarizes that on the album, "cryptic sources are enhanced and embellished to a point of transcendence." The source material varies heavily. The LP's most prominent samples are recordings of unnoticeable everyday sounds, such as dripping, sipping, birdsong, breathing, and scissor cutting, which led to "Tiny Mix Tapes" critic Sean Delanty to describe it as "an album that celebrates the unnoticed joys of human life itself." In terms of song samples, Moody Coup utilizes music from Neil Sedaka's "Next Door to an Angel" ("Deaf Christian") to Psychic TV's "Suspicious ("Suspicious") to "Sukiyaki" by Kyu Sakamoto ("Sukiyaki To Die For"). "Sukiyaki To Die For" only uses the melody of Sakamoto's song. As Papich explained, "It deviates to the point that the familiar bit feels elusive, and becomes something like a scent. It's processed like perfume."
Release and promotion.
Two singles were released from "Moody Coup": "Melters Delight" on February 21, 2013, and "Deaf Christian" on April 2, 2013. "Deaf Christian"'s official video, directed by visual artist Strasser, was released on April 5, and depicts Papich crushing fruit in rhythm to the song. The video for "Make It Slay" premiered via "Interview" magazine on May 31, 2013. Also directed by Strasser, the video "is an alchemical blend of visuals featuring transmutable liquids, natural imagery, and a metaphysically improbable wineglass," the magazine's Nathan Reese summarized. On October 9, 2015, Software issued a bundle consisting of "Moody Coup" and another Co La album named "No No" (2015).
Critical reception.
Sean Delanty of "Tiny Mix Tapes" highlighted that "Moody Coup"'s "disembodiment" of everyday foley gave the album "a remarkable sense of conceptual coherence and stylistic consistency." He also wrote that "there are moments on the album that transcend any sort of detached conceptualization and instead achieve an immediately satisfying viscerality," which resulted in an "intoxicating, otherworldly aesthetic." Phares opined in an AllMusic review, ""Moody Coup" might not be as transporting or concerned with sensual pleasures as "Daydream Repeater" was, but these ambitious, wide-ranging tracks are just as successful in their own right." "Pitchfork" called the LP better than most sound art music for "how naturally it comes together," also noting that the album had audio editing superior to "Daydream Repeater"'s "lackadaisical" loop-based techniques: "His samples are better hidden and the tracks, while plenty rhythmic, are no longer quite so stubborn."
Track listing.
Derived from the liner notes of "Moody Coup".
Personnel.
Derived from the liner notes and press release of "Moody Coup".


332 Siri

Siri (minor planet designation: 332 Siri) is a main belt asteroid in orbit around the Sun. It was discovered by German astronomer Max Wolf on 19 March 1892 in Heidelberg. The origin of this asteroid's name is unclear. On October 5, 2092, 332 Siri will pass from the asteroid 29 Amphitrite with a relative velocity of 2.054 kilometers per second.


Princeton University Laptop Orchestra


600 Musa

Musa (minor planet designation: 600 Musa) is a minor planet orbiting the Sun.


Times per second


Consistent estimator

In statistics, a consistent estimator or asymptotically consistent estimator is an estimator—a rule for computing estimates of a parameter "θ"0—having the property that as the number of data points used increases indefinitely, the resulting sequence of estimates converges in probability to "θ"0. This means that the distributions of the estimates become more and more concentrated near the true value of the parameter being estimated, so that the probability of the estimator being arbitrarily close to "θ"0 converges to one.
In practice one constructs an estimator as a function of an available sample of size "n", and then imagines being able to keep collecting data and expanding the sample "ad infinitum". In this way one would obtain a sequence of estimates indexed by "n", and consistency is a property of what occurs as the sample size “grows to infinity”. If the sequence of estimates can be mathematically shown to converge in probability to the true value "θ"0, it is called a consistent estimator; otherwise the estimator is said to be inconsistent.
Consistency as defined here is sometimes referred to as "weak consistency". When we replace convergence in probability with almost sure convergence, then the estimator is said to be "strongly consistent". Consistency is related to bias; see bias versus consistency.
Definition.
Formally speaking, an estimator "Tn" of parameter "θ" is said to be consistent, if it converges in probability to the true value of the parameter:
i.e. if, for all "ε" > 0
A more rigorous definition takes into account the fact that "θ" is actually unknown, and thus the convergence in probability must take place for every possible value of this parameter. Suppose } is a family of distributions (the parametric model), and } is an infinite sample from the distribution "pθ". Let { "Tn"("Xθ") } be a sequence of estimators for some parameter "g"("θ"). Usually "Tn" will be based on the first "n" observations of a sample. Then this sequence {"Tn"} is said to be (weakly) consistent if
This definition uses "g"("θ") instead of simply "θ", because often one is interested in estimating a certain function or a sub-vector of the underlying parameter. In the next example we estimate the location parameter of the model, but not the scale:
Examples.
Sample mean of a normal random variable.
Suppose one has a sequence of observations {"X"1, "X"2, ...} from a normal "N"("μ", "σ"2) distribution. To estimate "μ" based on the first "n" observations, one can use the sample mean: "Tn" = ("X"1 + ... + "Xn")/"n". This defines a sequence of estimators, indexed by the sample size "n".
From the properties of the normal distribution, we know the sampling distribution of this statistic: "T""n" is itself normally distributed, with mean "μ" and variance "σ"2/"n". Equivalently, formula_4 has a standard normal distribution:
as "n" tends to infinity, for any fixed . Therefore, the sequence "Tn" of sample means is consistent for the population mean "μ" (recalling that formula_6 is the cumulative distribution of the normal distribution).
Establishing consistency.
The notion of asymptotic consistency is very close, almost synonymous to the notion of convergence in probability. As such, any theorem, lemma, or property which establishes convergence in probability may be used to prove the consistency. Many such tools exist:
the most common choice for function "h" being either the absolute value (in which case it is known as Markov inequality), or the quadratic function (respectively Chebyshev's inequality).
Bias versus consistency.
Unbiased but not consistent.
An estimator can be unbiased but not consistent. For example, for an iid sample {"x"..., "x"} one can use "T"("X") = "x" as the estimator of the mean E["x"]. Note that here the sampling distribution of "T" is the same as the underlying distribution (for any "n," as it ignores all points but the last), so E["T"("X")] = E["x"] and it is unbiased, but it does not converge to any value.
However, if a sequence of estimators is unbiased "and" converges to a value, then it is consistent, as it must converge to the correct value.
Biased but consistent.
Alternatively, an estimator can be biased but consistent. For example, if the mean is estimated by formula_11 it is biased, but as formula_12, it approaches the correct value, and so it is consistent.
Important examples include the sample variance and sample standard deviation. Without Bessel's correction (that is, when using the sample size formula_13 instead of the degrees of freedom formula_14), these are both negatively biased but consistent estimators. With the correction, the corrected sample variance is unbiased, while the corrected sample standard deviation is still biased, but less so, and both are still consistent: the correction factor converges to 1 as sample size grows.
Here is another example. Let formula_15 be a sequence of estimators for formula_16.
We can see that formula_18, formula_19, and the bias does not converge to zero.


Diesis

In classical music from Western culture, a diesis ( ; "difference"; Greek: δίεσις "leak" or "escape") is either an accidental (see sharp), or a very small musical interval, usually defined as the difference between an octave (in the ratio 2:1) and three justly tuned major thirds (tuned in the ratio 5:4), equal to 128:125 or about 41.06 cents. In 12-tone equal temperament (on a piano for example) three major thirds in a row equal an octave, but three justly-tuned major thirds fall quite a bit narrow of an octave, and the diesis describes the amount by which they are short.
For instance, an octave (2:1) spans from C to C', and three justly tuned major thirds (5:4) span from C to B (namely, from C, to E, to G, to B). The difference between C-C' (2:1) and C-B (125:64) is the diesis (128:125). Notice that this coincides with the interval between B and C', also called a diminished second.
The diesis is a comma. The above-mentioned 128:125 comma is also known as the lesser diesis, as opposed to a wider comma (648:625) known as greater diesis. As shown in the picture, in the quarter-comma meantone tuning system (a tuning system in which, by definition, major thirds are justly tuned), the diminished second coincides with the diesis.
Alternative definitions.
In any tuning system, the deviation of an octave from three major thirds, however large that is, is typically referred to as a diminished second. The diminished second is an interval between pairs of enharmonically equivalent notes; for instance the interval between E and F. As mentioned above, the term "diesis" most commonly refers to the diminished second in quarter-comma meantone temperament. Less frequently and less strictly, the same term is also used to refer to a diminished second of any size. In third-comma meantone, the diminished second is typically denoted as a greater diesis (see below).
In quarter-comma meantone, since major thirds are justly tuned, the width of the diminished second coincides with the above-mentioned value of 128:125. Notice that 128:125 is larger than a unison (1:1). This means that, for instance, C' is sharper than B. In other tuning systems, the diminished second has different widths, and may be smaller than a unison (e.g. C' may be flatter than B):
In eleventh-comma meantone, the diminished second is within 1/716 (0.0014) of a cent above unison, so it closely resembles the 1:1 unison ratio of twelve-tone equal temperament.
The word "diesis" has also been used to describe a large number of intervals, of varying sizes, but typically around 50 cents. Philolaus used it to describe the interval now usually called a "limma", that of a justly tuned perfect fourth (4:3) minus two whole tones (9:8), equal to 256:243 or about 90.22 cents. Rameau, in his "Treatise on Harmony" (1722), names 125:148 (, "recte" 125:128) as a "minor diesis" and 243:250 as a "major diesis", explaining that the latter may be derived through multiplication of the former by the ratio 15552:15625. Other theorists have used it for various other intervals.
Greater and lesser diesis.
Some acoustics texts use the term greater diesis for the difference between an octave and four justly tuned minor thirds (tuned in the ratio 6:5), which is equal to three syntonic commas minus a schisma, equal to 648:625 or about 62.57 cents (almost one 63.16-cent division in 19 equal temperament). Being larger, this diesis was termed "greater" while the 128:125 diesis (41.06 cents) was termed "lesser".
The small diesis is 3125:3072 or approximately 29.61 cents.
Septimal and undecimal diesis.
The septimal diesis (or slendro diesis) is an interval with the ratio of 49:48 , which is the difference between the septimal whole tone and the septimal minor third. It is about 35.70 cents wide.
The undecimal diesis is equal to 45:44 or about 38.91 cents, closely approximated by 31 equal temperament's 38.71 cent interval.


3885 Bogorodskij


3546 Atanasoff


Diaschisma

The diaschisma (or diacisma) is a small musical interval defined as the difference between three octaves and four perfect fifths plus two major thirds (in just intonation). It can be represented by the ratio 2048:2025 and is about 19.5 cents. The use of the name diaschisma for this interval is due to Helmholtz; earlier Rameau had called that interval a "diminished comma" or comma minor.
A diaschisma is the difference between a schisma and a syntonic comma, as well as the difference between the greater chromatic semitone (135:128 = 92.18 cents) and the just minor second (16:15 = 111.73 cents). Medieval theorists Boethius and Tinctoris described the diaschisma as one-half of the Pythagorean minor second, or 256/243, which would make the other half either 25/24 (70.67 cents) or about 45 cents. The diaschisma may be approximated by 89/88, 19.56 cents.
Tempering out the diaschisma, in the modern meaning of the term, leads to a diaschismic temperament. The diaschisma is tempered out in the usual system of 12 equal temperament; in fact, 12 equal temperament can be characterized as the 5-limit temperament that tempers out both the syntonic comma of 81/80 and the diaschisma. However, it is possible to improve the tuning a good deal over that of 12-et and still temper out the diaschisma; the equal temperaments with 22, 34 and 46 notes all temper it out.


Infrared spectroscopy correlation table

An infrared spectroscopy correlation table (or table of infrared absorption frequencies) is a list of absorption peaks and frequencies, typically reported in wavenumber, for common types of molecular bonds and functional groups. In physical and analytical chemistry, infrared spectroscopy (IR spectroscopy) is a technique used to identify chemical compounds based on the way infrared radiation is absorbed by the compound.
The absorptions in this range do not apply only to bonds in organic molecules. IR spectroscopy is useful when it comes to analysis of inorganic compounds (such as metal complexes or fluoromanganates) as well.
Group frequencies.
Tables of vibrational transitions of stable and transient molecules are also available.


New World Records

New World Records is a record label that was established in 1975 through a Rockefeller Foundation grant to celebrate America's bicentennial (1976) by producing a 100-LP anthology, with American music from many genres.
In addition to this project, after 1978 New World produced new jazz by Roy Eldridge, Ricky Ford, Earl Hines, Steve Kuhn, Jay McShann, Jimmy Rushing, Buddy Tate, and Cecil Taylor.
New World has released over 400 albums by a variety of artists with diverse musical backgrounds, including jazz, classical music, experimental, popular song, and traditional music. Notable releases in the label's catalogue include the Grammy Award-winning releases of Samuel Barber's opera "Antony and Cleopatra" in 1984; Leonard Bernstein's operetta "Candide" in 1986; and Ned Rorem's "String Symphony/Sunday Morning/Eagles" in 1989.
New World's CRI and CRL catalog was transferred to the digital domain by George Blood Audio and Video of Philadelphia from 2006 to 2010.