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The design and use of metamaterials have shown exciting applications in electrical engineering, physics, optics, and other science fields that are expanding our physical understanding and leading to unprecedented performance of many standard devices such as antennas, microwave circuits, and sensors. The manufacturing of metamaterials, while ingenious, has typically been exotic and depended on the inclusion of sub-wavelength particles in a host medium to tailor the effective characteristics of a material. This work verifies a much more simple approach to realizing a kind of metamaterial, the epsilon-near-zero (ENZ) metamaterial. The intriguing aspect of this metamaterial is that while it is simple to realize, it is a novel approach to many practical applications such as the tunneling energy through highly discontinuous bends and abruptions, cloaking of sensors, miniaturization of microwave components, and design of highly directive antennas. Further, the physics and mathematical formulation of these ENZ materials is both intriguing and counterintuitive. / text

Sonata duodecima for violin and continuo / Isabella Leonarda -- Fuzzy bird for alto saxophone and piano / Takashi Yoshimatsu -- Sonata in A major, K.526 / Wolfgang Amadeus Mozart -- Sonata for English horn and piano / Paul Hindemith -- From Histoire du tango / Astor Piazzolla / text

There is a discrepancy in the current literature concerning the stage of development in which horn flies arrest during pupal diapause. A study was therefore conducted to describe the morphologies of horn fly pupae and its central nervous system (CNS) throughout nondiapause pupal development and diapause. Morphologies of diapausing pupae and CNS indicated that developmental arrest occured early in pupal development during the interval between head eversion and pupal-adult apolysis. Morphological descriptions are necessary for defining compariable tissues between nondiapausing insects and diapausing insects. These tissues can then be used for molecular differential analysis to determine genes specific to either diapause or nondiapause. One such differential analysis technique, subtractive hybridization, was used to isolate putative diapause up-regulated genes from the horn fly. Seven different cDNAs were closed and partially sequenced. Comparisons of the cDNA sequences with known DNA and protein sequences indicated homology with transferrin, cytochrome oxidase I, Kunitz family serine protease inhibitor, tyrosine hydroxylase (TH), and carboxylensterase. Two cDNAs did not have homology to entries in DNA and protein databases. Northern blot analyses were used to study expression of each gene by probing total RNA extracted from whole pupae throughout nondiapause pupal development and diapause. Expression of TH was also determined in total RNA extracted from CNS tissue of nondiapausing and diapausing pupae. Cytochrome oxidase was equally expressed in nondiapause and diapause destined pupae, and therefore not considered to be a diapause up-regualted gene. Expression patterns differed slightly for each of the remaining clones; however, expression tended to be highest in diapause destined pupae during pupation compared to nondiapausing pupae. These genes and their products are involved in many aspects of insect phsiology including metamorphosis, melanization and sclerotization of the puparium and cellular defense. The possible functions of these genes and products are discussed in the context of the diapause process. / xii, 92 leaves : ill. ; 28 cm.

No description available.

This thesis considers the links between identity and landscape in key works by American artist Roni Horn, focusing on a selection of her photo-installations and books. In particular it argues that Horn approaches landscape as a performative category through which to address the performativity of identity, and that in doing so her work privileges the viewer as an embodied participant. Drawing on a feminist approach grounded in phenomenology, the thesis locates androgyny as a key structuring principle in the artist’s work. Identifying herself as neither male nor female, Horn employs the notion of in-between-ness to negotiate gender binaries of male/female and to describe the indeterminate and contingent nature of androgynous being. Importantly, the thesis argues that Horn addresses these issues of identity by staging experiences in her work that invite the viewer to perform the very processes by which identity is defined and played out. This strategy is examined through concepts of doubling, the sublime, horizons and dwelling, each of which in their own way involve a sense of orientation and disorientation that gestures toward the in-between-ness of androgyny. The thesis also considers the tensions between visuality and embodiment in Horn’s work. Her use of photographic images within an installation practice is one that establishes a complex set of relations between the opticality of the photograph and the actuality of ‘real’ space. It is argued that the experiential potential of Horn’s photo-installations and books is only realised through the dialectical relation between visuality and embodiment in which both are equally privileged. / Full thesis with illustrations can be requested via Inter-Library Loan.

The purpose of the project was to arrange and catalog the holdings of the archive of the International Horn Society at Bracken Library in Muncie, Indiana. This project required: (1) the devising and implementing of a logical system of arrangement consistent with accepted archival practice, (2) the filing of the holdings in archival boxes, and (3) the compilation of a guide composed of annotated container lists, for use as a finding aid.The guide is divided into six parts: (1) Introduction, (II) Brief History of the Society, (III) Scope and Content Note, (IV) Container Lists, (V) Suggestions for Further Research, and Appendices. The Appendices include two lists useful as an index, and a partial list of contents of the Max Pottag Collection.The International Horn Society was founded in 1970 to foster interest in the French horn, and the archive of the Society was established in 1976. The bulk of the present holdings was collected by Robert Marsh during the academic year 1977-1978, and dates from 1969 through 1977. Among the types of materials found in the archive are correspondence, photographs, tape recordings and phonograph records. Source material on many of the world's most eminent hornists is found in this archive.

Mawson is a piece for computer realized quadraphonic tape, and Mertz is a duo for clarinet and horn. The pieces were written in celebration of the accomplishments of the 1911-1914 Mawson Antartic Expedition. The compositions are totally serialized, with a hexachord derived from Cartesian coordinates of Antartic locations used as source material. This hexachord was rotated and cyclically transformed to control attack, rhythm, pitch, and dynamics.Performance materials can be obtained from the Electronic Systems for Music Syntheses studio at Ball State University. / School of Music

This thesis investigates logical formalizations of Castelfranchi and Falcone's (C&F) theory of trust [9, 10, 11, 12]. The C&F theory of trust defines trust as an essentially mental notion, making the theory particularly well suited for formalizations in multi-modal logics of beliefs, goals, intentions, actions, and time. Three different multi-modal logical formalisms intended for multi-agent systems are compared and evaluated along two lines of inquiry. First, I propose formal definitions of key concepts of the C&F theory of trust and prove some important properties of these definitions. The proven properties are then compared to the informal characterisation of the C&F theory. Second, the logics are used to formalize a case study involving an Internet forum, and their performances in the case study constitute grounds for a comparison. The comparison indicates that an accurate modelling of time, and the interaction of time and goals in particular, is integral for formal reasoning about trust. Finally, I propose a Horn fragment of the logic of Herzig, Lorini, Hubner, and Vercouter [25]. The Horn fragment is shown to be too restrictive to accurately express the considered case study.

The focus of this dissertation is a comprehensive study of the life and work of Giovanni Puzzi, nineteenth-century Britain's most celebrated virtuoso of the horn. In his hands, the horn -- hitherto largely known to England's aristocracy as an obstreperous member of the orchestra or popular form of pleasure garden entertainment became a sought-after attraction at London's most fashionable and exclusive concerts. An examination of Puzzi's activities as an orchestral player and as a soloist in a wide variety of public and private concerts chronicles his rise to celebrity and establishes his position in London's concert life. Equally impressive was Puzzi's sustained prosperity in a notoriously difficult business. Key to this triumph was his multifaceted exploitation of the Italian opera. Through his activities as an agent, impresario and arranger he allied himself as a fixer and performer with his era's most lucrative musical commodity: the singers of the Italian opera. In the large body of music that he arranged and composed to capitalise on audience fascination with virtuosity and opera, Puzzi has provided the only substantial record of horn playing in Britain during the nineteenth century. The majority of fhe manuscripts considered in this dissertation are drawn from a private collection and have not been previously studied or published. This material, in conjunction with Puzzi's surviving instruments and critical accounts of his playing, has been utilised to reconstruct and assess the main attributes of his virtuosity. This dissertation shows that Puzzi was responsible for establishing the preference for French style instruments and performance technique in England and that he was the first exponent of the British school of horn playing that reached its culmination in Dennis Brain. While virtuoso string players, pianists and singers have attracted much attention from scholars and biographers, this dissertation is the first full length historical study of a nineteenth-century horn virtuoso to be written.