No / We investigated the brightness (i.e., perceived luminance) of isolated L- and M-cone pulses to seek a perceptual correlate of our previous reports that M-on electroretinograms resemble L-off responses, implying the operation of post-receptoral opponent processing. Using triple silent substitutions, cone increments were generated in a 4-primary ganzfeld, masked by random positive or negative luminance bias. The results show that M-cone increments decrease in brightness, while L-cone increments increase. These differences became smaller as field size reduced; this was not eccentricity or area dependent. We speculate about early retinal input into brightness perception.

Metaphor as tool is a concept that has increasing analysis and support in the past several years. Long before the wealth of contemporary analysis, Rachel Carson produced Silent Spring, a book hailed as the motivation for a new environmental movement in the United States. The use of metaphor in Silent Spring is most apparent in the title. The title's focus, however poignant, even moving and motivating, is complemented by a rich set of metaphorical entailments and implications that reinforce and strengthen the title's metaphor and represent systemic forces and practices that lead to and prevent a spring of silence. Carson skillfully appropriated marketing metaphors used by chemical companies to sell insecticides and pesticides. She transformed these metaphors into powerful criticisms of indiscriminate chemical practices, forcefully undercutting industry arguments for chemicals as a means of guaranteeing "control." The effects of Carson's metaphors, built on a strong, complex foundation of scientific studies, invite reader participation and interaction as outlined by Lakoff and Johnson. The metaphors further entertain, educate, explain, describe in the sense of Wittgenstein's language games, and tightly integrate action and language. More fundamentally, her metaphors helped to establish a systems view and nature-oriented paradigm for analyzing, and resolving environmental issues and problems in the United States, creating a framework for debate and policy development and implementation, in the vein of Schon's and Rein's arguments for framing and policy design. The metaphors also set a stage for personal motivation by connecting individual human homes to nature and the global environment. / Master of Science

In use today are ‘normal’ DC-DC switching regulators with considerable switching noise and ringing, which is bad for noise-sensitive applications. This project involves a solution based on ‘Silent Switchers’ to prove its effectiveness in reducing noise. This idea is then coupled into identifying the susceptibility of a PLL synthesizer to ensure we understand the sensitivity of this type of component and if this can be used with a silent switcher. A particular PLL synthesizer evaluation board is currently powered by linear regulators, which is used as a basis for comparing results. A new board involving silent switchers is designed and manufactured. Phase noise measurements are done to evaluate if silent switchers are a suitable alternative for power supply. / Idag används ’vanliga’ DC-DC switching regulatorer med betydande kopplingsbrus och ringningar, vilket är dåligt för bruskänsliga applikationer. Detta projekt innefattar en lösning baserad på Silent Switchersför att bevisa dess effektivitet när det gäller att minska bruset från dessa regulatorer. Denna lösning används sedan till att identifiera känsligheten hos en PLL-synthesizer för att se till att vi förstår känsligheten hos denna typ av component och om den kan användas med en Silent Switcher". Som referens för studien används ett särskilt PLL-synthesizer- utvärderingskort, drivet av linjära regulatorer. Ett nytt kort med Silent Switchers"istället för linjära regulatorer har konstruerats och tillverkats. Fasbrusmätningar görs på båda korten för att utvärdera om Silent Switchers"är ett lämpligt alternativ för denna applikation.

Dans cette thèse, j'ai considéré d'un point de vue théorique deux problèmes importants pour les futures plateformes dîtes Exascales : les restrictions liées à leur fiabilité ainsi que les contraintes énergétiques. En première partie de cette thèse, je me suis intéressé à l'étude de placements optimal de ces checkpoints dans un but de minimisation de temps total d'exécution. En particulier, j'ai considéré les checkpoints périodiques et coordonnés. J'ai considéré des prédicteurs de fautes capables de prévoir, de manière imparfaite, les fautes arrivant sur la plateforme. Dans ce contexte, j'ai conçu des algorithmes efficaces pour résoudre mes problèmes. Dans un deuxième temps, j'ai considéré des fautes silencieuses. Ces fautes ne peuvent être détectées qu'uniquement par un système de vérification.Dans le cas où une de ces fautes est détectée, l'utilisateur doit retourner au point de sauvegarde le plus récent qui n'a pas été affecté par cette faute, si un tel point existe ! Dans ce contexte, j'ai à nouveau proposé des algorithmes optimaux au premier ordre, mixant points de sauvegarde et points de vérification. Dans la seconde partie de cette thèse, j'ai considéré des problèmes énergétiques liés à ces mêmes plateformes. Ces problèmes critiques doivent être reliés aux problèmes de fiabilité de la partie précédente. Dans ce contexte, j'ai couplé des techniques de baisse de consommation énergétique à des techniques d'augmentation de fiabilité comme la reexécution, la réplication ainsi que le checkpoint. Pour ces différents problèmes, j'ai pu fournir des algorithmes dont l'efficacité a été montrée soit au travers de simulations, soit grâce à des preuves mathématiques. / This thesis deals with two issues for future Exascale platforms, namelyresilience and energy.In the first part of this thesis, we focus on the optimal placement ofperiodic coordinated checkpoints to minimize execution time.We consider fault predictors, a software used by system administratorsthat tries to predict (through the study of passed events) where andwhen faults will strike. In this context, we propose efficientalgorithms, and give a first-order optimal formula for the amount ofwork that should be done between two checkpoints.We then focus on silent data corruption errors. Contrarily to fail-stopfailures, such latent errors cannot be detected immediately, and amechanism to detect them must be provided. We compute the optimal periodin order to minimize the waste.In the second part of the thesis we address the energy consumptionchallenge.The speed scaling technique consists in diminishing the voltage of theprocessor, hence diminishing its execution speed. Unfortunately, it waspointed out that DVFS increases the probability of failures. In thiscontext, we consider the speed scaling technique coupled withreliability-increasing techniques such as re-execution, replication orcheckpointing. For these different problems, we propose variousalgorithms whose efficiency is shown either through thoroughsimulations, or approximation results relatively to the optimalsolution. Finally, we consider the different energetic costs involved inperiodic coordinated checkpointing and compute the optimal period tominimize energy consumption, as we did for execution time.

The Basilica Notre-Dame Choir accompanying screenings of The Hunchback of Notre Dame at the Regent in 1924, imaginative community prologues before Mary Pickford’s Pollyanna at the Russell in 1920, and costumed opera soloists singing alongside the showing of The Bohemian Girl at the Imperial in 1926: the history of Ottawa’s silent cinemas is an exciting mix of film, theatre, technology, music, and community. Unfortunately, Ottawa’s musical history in the early 1900s has been, by and large, forgotten, and local cinema histories are relatively sparse. In much the same manner that Ottawa theatres incorporated both North American and local elements into their programming, this thesis demonstrates that an examination of the musicians of local cinemas can not only provide information to understand the development of silent film music practices in general, but also unveil a network of musicians and a series of important histories. This thesis reconstructs parts of Ottawa’s silent film music history using a number of methodologies (digital research, archival research, and social network mapping) and primary sources (IATSE union documents, Department of Labour strike documents, newspapers, and trade journals). It also analyses several screenings where music and film were uniquely combined and introduces key figures in Ottawa’s silent film music scene (including violinist Rudolph Pelisek and organist Amédée Tremblay), showing how their training provided prestige to cinemas and how their involvement in military, religious, and communal activities added to cinemas’ appeal. ----- Le Chœur de la Basilique Notre-Dame accompagnant les présentations du film The Hunchback of Notre Dame au Regent en 1924, les prologues communautaires inventifs avant le Pollyanna de Mary Pickford au Russell en 1920, et les soloistes d’opéra chantant à côté de la projection de The Bohemian Girl à l’Imperial en 1926: l’histoire des cinémas muets d’Ottawa est un mélange excitant de film, théâtre, technologie, musique et communauté. Malheureusement, le passé musical d’Ottawa au début du vingtième siècle a été largement oublié, et les histoires locales du cinéma sont relativement rares. De la même façon que les théâtres d’Ottawa incluaient à la fois des éléments locaux et nord-américains dans leur programmation, cette thèse démontre qu’un examen des musiciens des cinémas locaux peut non seulement procurer des renseignements pour comprendre le développement de la musique du cinéma muet en général, mais encore lever le voile sur un réseau de musiciens et une série de récits d’importance. Cette thèse reconstruit des aspects de l’histoire de la musique du du cinéma muet à Ottawa en utilisant un plusieurs méthodologies (la recherche numérique, la recherche en archives, et la cartographie des réseaux sociaux) et de sources primaires (documents du syndicat ouvrier IATSE, documents de grève du ministère fédéral du Travail, quotidiens, et revues spécialisées). La thèse analyse aussi quelques instances uniques de combinaison de musique et de film, et présente des personnages clé de la scène musicale du cinéma muet d’Ottawa (incluant le violoniste Rudolph Pelisek et l’organiste Amédée Tremblay), tout en montrant comment leur formation procurait du prestige aux cinémas, et comment leur implication dans des activités militaires, religieuses, et communautaires ont ajouté à la popularité des cinémas.

Heterochromatin is a silenced chromatin region essential for maintaining genomic stability in eukaryotes and for driving developmental processes in higher organisms. A hallmark of heterochromatin is the presence of specialized architectural proteins that alter chromatin structure to inhibit transcription and recombination. Although it is generally assumed that heterochromatin is highly condensed, surprisingly little is known about the structure of heterochromatin or its dynamics in solution. In budding yeast, heterochromatin assembly at telomeres and the HM silent mating type loci requires the Sir proteins: Sir3, believed to be the major structural component of SIR heterochromatin, and the Sir2/4 complex, responsible for SIR recruitment to silencing regions and deacetylation of lysine 16 of the histone H4 tail, a mark associated with active chromatin. A combination of sedimentation velocity, atomic force microscopy, and nucleosomal array capture was used to characterize the stoichiometry and conformation of SIR nucleosomal arrays. The results indicate that Sir3 interacts with nucleosomal arrays with a stoichiometry of two Sir3 monomers per nucleosome, and that Sir2/4 may additionally bind at a ratio of one per nucleosome. Despite Sir3’s ability to repress transcription in vivo and homologous recombination in vitro in the absence of Sir2/4, Sir3 fibers were found to be significantly less compact than canonical magnesium-induced 30 nanometer fibers. However, heterochromatin fibers composed of all three Sir proteins did adopt a more condensed, globular structure. These results suggest that heterochromatic silencing is mediated both by the creation of more stable nucleosomes and by the steric exclusion of external factors.

Denna rapport utreder möjligheterna att använda restprodukter som ljudisolering i lägenhetsskiljande mellanbjälklag av trä med spännvidd 6 m. Ett steg mot att uppfylla Sveriges byggindustris nollvision för koldioxidutsläpp är att bygga mer i trä och att återanvända/återvinna restprodukter. Det svenska entreprenadföretaget Skanska har vid sina krossanläggningar ett överskott av material i form av bergkross 0 - 0,2 mm och krossad restbetong. I denna rapport har en prototyp av ett träbjälklag tagits fram med influenser från byggtekniken från sekelskiftet 1800–1900 med avseende på nyttjandet av tung fyllningsmassa som ljudisolering i träbjälklag. Den framtagna bjälklagsprototypen uppfyller de krav som ställts i BBR efter dimensionering enligt Eurokoderna med hänsyn till brand, hållfasthet, svikt och nedböjning. Enligt en simulering i SEAWood, ett verktyg för akustiksimulering som är under utveckling vid RISE Research Institutes of Sweden, uppfylls även kraven på ljudisolering, detta stöds av de analyser som gjorts av mätresultat från liknande bjälklag. Fyllningsmaterialets höga vikt medför att prototypen är ett lågfrekvent bjälklag, detta kombinerat med att simuleringen endast är en indikation på ljudisoleringsegenskaper gör att det kommer krävas praktiska tester för att fastställa prototypens ljudisolerande och dynamiska egenskaper. Den framtagna bjälklagsprototypen är lämplig att prefabricera tack vare en konstruktion med få ingående delar. Att prefabricera bjälklaget har utöver de ekonomiska fördelar det medför stora fördelar ur ett arbetsmiljöperspektiv och är även fördelaktigt ur fuktsynpunkt. För att uppskatta bjälklagets miljöpåverkan gjordes en enklare jämförelse med ett prefabricerat betongbjälklag som visade att utsläppen av koldioxidekvivalenter fram till bruksfasen var mer än dubbelt så stor för betongbjälklaget än för prototypbjälklaget. / This report investigates the possibilities of using residual products as sound insulation in apartment separating timber floors with a span of 6 m. One step towards meeting the Swedish construction industry's zero vision for carbon dioxide emissions is to build more using timber and to reuse/recycle residual products. The Swedish building contractor Skanska has at its quarries a surplus of material in the form of crushed rock of the 0 - 0.2 mm fraction and crushed residual concrete. In this report, a prototype of a timber floor has been produced with influences of construction technology from the turn of the 19 th century regarding the use of heavy filling as sound insulation in timber floors. The developed floor prototype complies with the requirements set in BBR after dimensioning according the Eurocodes regarding fire safety, strength, sagging and deflection. According to a simulation in SEAWood, a tool for acoustic simulation which is under development at RISE Research Institutes of Sweden the requirements for sound insulation are also met, which is supported by analyzes made by comparing with data on similar timber floors. The high mass of the filling material implies that the prototype is a low frequency floor, this in conjunction with the simulation only being an indication of sound insulation properties, it will require practical tests to determine the prototypes sound insulating and dynamic properties. The developed floor prototype is suitable for prefabrication thanks to a design with few components. Prefabrication of the floor has in addition to the economic benefits it brings great benefits from a working environment perspective and is also beneficial from a moisture point of view. To estimate the environmental impact of the timber flooring, a simple comparison was made with a prefabricated concrete floor which showed that carbon dioxide emissions up to the using phase were more than twice that of the concrete floor than for the prototype floor.

No description available.

The thesis revisits film and film-culture history in Sweden, Denmark and Norway with a view to discourses and practices of the inter- and trans-Scandinavian in the silent era. Excluding the earliest films, but including the transition to synchronised sound, it covers the period of the 1900s to 1930 with emphasis on the 1910s and 1920s. The thesis identifies notions about the relations between the Scandinavian and the national by means of a number of case studies based on textual historical sources. As a consistent Scandinavian perspective on this period is new, the investigation substantially supplements and revises the individual national film histories of these countries. It adds missing context to national developments and makes visible border phenomena such as transnational collaborations and co-producing practices. The thesis finds that film production in Scandinavia in the silent era was orientated towards one of two poles, at times combined or in a state of negotiation: international economic ambitions or national cultural aspirations. The latter was frequently conceptualised as northern, Nordic and Scandinavian. ‘Scandinaviannesses’ performed when drawing on nature, folklore, literature and heritage, not least that of Norway, were employed for use in and out of Scandinavia by means of strategies of ‘double-entry book-keeping’.  During the period, the notion of location underwent changes from an illusory, theatrical device to an inherently meaningful entity carrying identities infused with the Scandinavian. Examining the effects of shared comprehension of language and a shared recent history of Scandinavist ideas, the thesis identifies instrumental notions of kindredness and senses of cultural proprietorship extending to the output of the neighbouring countries. These notions were mobilised selectively within film culture and motivated practical transnational collaboration from the side of the authorities as well as in trade organisations.

Tyliosios Lietuvos revoliucijos projektą sudaro trys lygiavertės dalys: pirmoji – Pilnametražis dokumentinis filmas/ kino poema, 7 h, hdv. Lietuvos nepriklausomas kinas. 2009/2013. Antra dalis – tai sklaida klasikinėje bei internetinėje žiniasklaidoje apie projekto tikslus, autoriaus interviu. Trečioji – ,,Tyliosios Lietuvos revoliucijos“ sklaida socialiniame tinkle „Facebook“ .Visos šios dalys glaudžiai susisijusios ir sudaro nedalomą vienį. / Silent revoliution of Lithuania project is divided into three equal parts: the first - a full-length documentary / movie poem, 7 h, HDV. Production of Lithuanian independent cinema. 2009/2013. The second part - it's a classic and dissemination of online media about the objectives of the project, the author interviews. Third - 'The Silent Revolution in Lithuania "scatter on Facebook." All parts of the project consists of an indivisible unity. / Каролис Янкус Karolis Jankus Родился в 1974 году в Вильнюсе, Литва, СССР. Литовский режиссер, продюсер, скульптор и писатель. В 1992-1998 гг. - учился в Вильнюсской академии художеств на скульптура. В 1997 году стажировка в Париже на студии "Media et Media". В 2001-2003 гг. - получал стипендию от Министерства культуры Литвы, хотя он изучал скульптуру,но больше всего известен как создатель короткометражных фильмов. Участвует в групповых выставках современного искусства. Также вместе с Дейма Келясам написал роман "Слепой" (Blinda) Принимает участие в различных международных кинофестивалях.