1,454 research outputs found
Willensfreiheit
No full textThis book surveys recent debates on freedom of will, incorporating the implications of modern brain research. The author develops an original, capability-based conception of freedom of will. Geert Keil proposes that the well-understood capability for deciding one way or another is reconcilable with the findings of empirical science, but not with the metaphysical doctrine of determinism
Kausalität zwischen Physik und deskriptiver Metaphysik
No full textThe short paper continues a debate on free will, causation and laws of nature between the author and the German philosopher Peter Rohs (opened in a previous issue of the same journal). Both Keil and Rohs are libertarians, but they disagree on a number of metaphysical issues. Keil maintains that causation is a relation between changes, i.e. time-consuming events, not between instantaneous states. Against Davidson’s “principle of the nomological character of causality”, Keil holds that no exceptionless laws subsuming cause-effect pairs exist. He further claims that the primary task of a philosophical theory of causality is to give truth conditions for uncontroversial instances of singular causal statements. This is an exercise in descriptive metaphysics. Causality’s place in advanced physics, by contrast, remains precarious. The paper closes with the incompatibilist claim that deterministic causality, unlike real-world causality, cannot be reconciled with free will
Enhancement of the EGSnrc code egs_chamber for fast fluence calculations of charged particles
No full textMaria Keil, uma operária das artes (1914-2012). Arte Portuguesa do século XX
No full textTese de doutoramento em Letras, área de História, na especialidade de História da Arte, apresentada à Faculdade de Letras da Universidade de CoimbraEstudar a vida e a obra de Maria Keil é analisar a História e a Arte Portuguesas desde a década de 1930, quando a autora começou a sua
actividade, até 2012, ano em que faleceu. Tendo desenvolvido obra em
diversas áreas artísticas, destacando-se as artes gráficas, publicidade,
ilustração, azulejaria, desenho e pintura, Maria Keil definia-se como uma
“operária das artes”. O corpo de trabalho que nos legou é vasto e diversificado,
pleno de beleza, sensibilidade e humanismo, qualidades que caracterizavam a
personalidade e o traço da artista.
Nascida em Silves em Agosto de 1914, com o início da I Guerra
Mundial, Maria da Silva Pires deixou a terra Natal aos quinze anos de idade
por vontade da família aconselhada por Samora Barros, seu professor na Escola
Industrial, e partiu para Lisboa para frequentar a Escola de Belas-Artes. Após a
conclusão do curso geral, de três anos, frequentou o primeiro ano do curso de
pintura com o pintor Veloso Salgado. Entretanto, conheceu na Escola
Francisco Keil do Amaral, na altura aluno de arquitectura, com quem viria a
casar em 1933. O casamento com Keil do Amaral e a aproximação a um
círculo de amizades que incluía alguns dos mais notáveis intelectuais e artistas
da época, fê-la perceber que “na Escola não se aprendia nada”. Na rua, nos cafés, designadamente na Brasileira do Chiado, em casa de amigos, era nesses
locais que de facto se aprendia e se tinha acesso ao que as vanguardas artísticas
internacionais faziam. Longe dos modelos em gesso e do academismo do
ensino oficial das artes, havia um mundo por descobrir cujos ecos chegavam
timidamente a Portugal, através de revistas e livros estrangeiros ou pela boca
dos poucos artistas nacionais que conseguiam viajar e estabelecer-se fora do
país.
Em 1936, Maria Keil começou a colaborar com o Estúdio Técnico de
Publicidade (ETP), fundado por José Rocha, onde trabalhavam, entre outros,
Fred Kradolfer, Botelho, Bernardo Marques, Ofélia Marques e Thomaz de
Mello. No ETP, Maria reaprendeu a desenhar, conheceu uma nova realidade, a
da publicidade, e desenvolveu um grafismo muito próprio, de risco sintético e
estilizado, claramente modernista, que aplicaria, mais tarde, a outras áreas
artísticas.
Esse momento marcou o início da actividade profissional,
multifacetada, da autora. Nas décadas de 1930 e 1940, num contexto político
totalitário, em que a Arte foi colocada ao serviço do regime através da acção do
SPN/SNI, Maria Keil trabalhou, tal como a maioria dos artistas da sua geração,
como decoradora nas exposições internacionais de Paris (1937), Nova Iorque
(1939), São Francisco (1939) e na Exposição do Mundo Português (1940).
Neste âmbito, de referir, ainda, a colaboração com a revista Panorama, a
participação nas Campanhas do “Bom gosto”, a decoração das Pousadas de
Portugal e dos edifícios dos CTT, a realização de figurinos e cenários para a
Companhia de Bailado Verde-Gaio, entre outros. Paralelamente a autora, que sempre se posicionou, tal como o marido e o seu círculo de amizades mais
próximas, do lado da oposição ao regime, chegando a ser presa pela PIDE em
1953 por ter ido receber Maria Lamas ao aeroporto, desenvolveu outros
trabalhos, para clientes privados, muitas vezes amigos pessoais, essencialmente
na área da ilustração. A este propósito, refira-se a forte consciência social e
política de Maria Keil que a levou a defender várias causas, entre as quais, a da
Mulher.
A década de 1950 colocou a azulejaria e a ilustração infantil no seu
caminho, áreas artísticas que desenvolveu de forma notável até ao final da vida.
Casada com o arquitecto responsável pelo projecto do Metropolitano de
Lisboa, Maria fez os painéis de azulejo abstractos, de cariz geométrico, que
decoravam as suas estações. Além do marido, outros arquitectos recorreram ao
seu trabalho na área da azulejaria nos anos de 1950, tendo a autora executado
um conjunto de obras que contribuíram para introduzir decisivamente o
modernismo na azulejaria portuguesa. A partir da década de 1950 e até 2009,
ano da derradeira intervenção de Maria Keil na área da azulejaria, a artista
produziu dezenas de painéis de azulejo, sempre na Fábrica da Viúva Lamego.
A actividade de ilustração infantil começou em 1953, com Histórias da
Minha Rua de Maria Cecília Correia, e continuou, sem parar, até 2010, data em
que ilustrou o livro Florinda e o Pai Natal de Matilde Rosa Araújo, tendo a
autora deixado um legado de cerca de quarenta obras infantis ilustradas.
Paralelamente, Maria Keil foi autora de cartões para tapeçarias, escreveu livros, infantis e para adultos, dedicou-se à fotografia e pintou. A pintura, essencialmente de retratos, embora lhe tenha valido um prémio em 1941, era para a autora uma área de actividade pessoal, que ela não incluía no
seu trabalho profissional, ou seja, Maria Keil não se considerava uma pintora.
No entanto, ao longo da sua vida Maria não deixou de expor, individualmente ou em exposições colectivas, a sua obra de pintura que revela, sobretudo no domínio do retrato, uma elevada qualidade estética e técnica.Studying the life and work of Maria Keil is to analyze the Portuguese
History and Art since the 1930s, when she began working, until 2012, the year
she died. Having developed work until the end of her life, in various artistic
fields, among which stand out the graphic arts, advertising, illustration, tiling,
painting and drawing, Maria Keil defined herself as an “arts worker”. The body
of work she left us is vast and diverse, full of beauty, sensitivity and humanity,
qualities that characterized the personality and trace of the artist.
Born in Silves with the onset of World War I, in August 1914, Maria da
Silva Pires, left her homeland at the age of fifteen-years-old, by decision of her
family advised by Samora Barros, her drawing teacher at the Industrial School,
and left for Lisbon to attend the School of Fine Arts. After completing the
general course of three years, she attended the first year of Painting with the
painter Veloso Salgado. At the school she met Francisco Keil do Amaral, a
student of architecture at the time, with whom she would marry in 1933.
Marriage with Keil do Amaral and approximation to a circle of friends that
included some of the most remarkable intellectuals and artists of the time,
made her realize that "at school no one learned anything". On the street, in
cafes, in particular at Brasileira do Chiado, visiting friends, those were the places where in fact young artists learned and had access to the international
artistic vanguards. Far from plaster models and old methods of art education,
existed a world to discover whose echoes came timidly to Portugal, through
foreign magazines and books or by the words of the few artists who could
travel and settle abroad.
In 1936, Maria Keil began collaborating with Estúdio Técnico de
Publicidade (ETP), founded by José Rocha and where worked, among others,
Fred Kradolfer, Botelho, Bernardo Marques, Ofélia Marques an Thomaz de
Mello. In the ETP, Maria relearned how to draw, met a new reality, publicity,
and developed a very own artwork, with a synthetic risk and stylized, clearly
modernist, that she abandoned no more and applied to other artistic areas. From
there began the multifaceted occupation of the author.
In the 1930s and 1940s, a totalitarian political context in which the art
was placed at the service of the regime through the action of SPN / SNI, Maria
Keil worked, as most artists of her generation, as decorator in international
exhibitions, in Paris (1937), New York (1939) and San Francisco (1939), and
the Portuguese World Exhibition (1940). In this context, has to be mentioned
also the collaboration with the SPN’s magazine Panorama and the
participation in campaigns of "Good Taste", decoration of the Pousadas de
Portugal and public buildings, the creation of performing costumes and sets for
the Ballet Company Verde-Gaio, among others. Alongside, the author, who has
always positioned herself, as her husband and her closest circle of friends,
against the regime, eventually being arrested by the PIDE in 1953 for going to
the airport to receive Maria Lamas, developed other work for private clients, often personal friends, primarily in the field of illustration. In this regard,
should be mentioned the strong social and political consciousness of Maria
Keil that led her to defend various causes, including the Women's.
The 1950 placed the tiles and children's illustration in her way, artistic
areas that she developed remarkably from then until the end of her life. Married
to the architect responsible for the design of the Lisbon Metro, Maria made the
abstract tile panels of geometric nature, which decorated the stations. Besides
her husband, other architects resorted to her work in the area of tiles in the
1950s, having executed several works that contributed decisively to introduce
modernism in Portuguese tiles. From the 1950s and until 2009, the year of last
intervention of Maria Keil in the field of tiles, the artist produced dozens of tile
panels, always in Viúva Lamego Factory.
Maria’s activity in the field of children’s illustration began in 1953,
with Histórias da minha Rua, by Maria Cecilia Correia, and continued nonstop
until 2010, with the illustration of Florinda e o Pai Natal, by Matilde Rosa
Araújo. Maria Keil has left a legacy of nearly forty illustrated books for
children. Meanwhile, Maria Keil was author of tapestries, wrote books for
children and adults, made an experience on photography and painted. Painting,
primarily of portraits, though it was worth a prize in 1941, was for her a
personal thing, that she did not included in her professional work, in other
words, Maria Keil did not considered herself a painter. However, throughout
her life, she has not ceased to exhibit individually or in collective exhibitions, her work of painting, which reveals, especially in the field of portraiture, a high
aesthetic and technical quality
Incarnation theology and its others: female embodiment in fourteenth and fifteenth century English literature
No full textThis dissertation examines the complex interrelations between incarnation theology and notions of the female body across a representative group of later Middle English literary texts. These texts include two dream visions, one Chaucer’s House of Fame, the product of a London author associated with the royal court, the other, the more provincial Pearl; and two dramas, the Marian pageants of the N-Town cycle play, and the Croxton Play of the Sacrament. A number of feminist scholars, including Caroline Bynum and Barbara Newman, have argued that the category of the feminine was crucial to late medieval conceptions of Christ, that the late medieval Christ was often represented as an androgynous or feminized figure, and that such representations created opportunities for particular women to imitate Christ by means of, rather than despite, their female bodies. My dissertation takes this work as its starting point, but my work differs from it by framing the problem as one of poetic representation. The dispersive representational strategies of the drama on the one hand and the intensely visual elaborations of the dream poems on the other consistently complicate any straightforward theological doctrine. This dissertation argues that even when Christ’s body is feminized in these texts, that feminization is usually complicated by other elements of the representation, so that no simple affirmation of female bodies or female authority takes place. Also, Christ’s fleshliness and Mary’s body are not always presented as meek, nurturant and protective; in my chapter on the Play of the Sacrament I argue that these sacred bodies depart from traditional iconography and behave in aggressive and indecorous ways.
In this study, I have drawn upon recent scholarly analyses of the late medieval incarnational aesthetic, anthropological theories of ritual and performance, feminist theories of gender and embodiment, and studies of medieval literary genres, particularly of the dream vision and the Old French fabliau.Ph.D.Includes bibliographical references (p. 176-184)by Aphrodite M. Kei
Exploring Different Levels of Stakeholder Activity in International Institutions. Late Bloomers, Regular Visitors, and Overachievers in Arctic Council Working Groups
No full textKnecht S. Exploring Different Levels of Stakeholder Activity in International Institutions. Late Bloomers, Regular Visitors, and Overachievers in Arctic Council Working Groups. In: Keil K, Knecht S, eds. Governing Arctic Change. Global Perspectives. 1st ed. Basingstoke: Palgrave Macmillan; 2017: 163-185.This chapter illustrates different ‘worlds of commitment’ with regard to how accredited observers participate in Arctic Council Working Groups, and the weight this carries for the institutional effectiveness of the body. Drawing on a dataset that covers the attendance records of Arctic Council member states, Permanent Participants, and observers for the period from 1998 until 2015, the author shows large variation in how stakeholders make use of their right to participate in Working Group meetings. The chapter further seeks to explain the reasons for this variation by comparing the cases of three state observers, namely Germany (the late bloomer), the Netherlands (the regular visitor), and South Korea (the overachiever)
Understanding Federalism and Federation: A Festschrift for Michael Burgess' 65th Birthday
No full text7-Tesla-Ultrahochfeld Magnetresonanztomographie im Kopfund Halsbereich mittels 64-Kanal-Signaldetektion und integrierter paralleler 16-Kanal-Sendespule
No full textDie MRT hat sich als wertvolles Diagnosewerkzeug im klinischen Alltag gezeigt und sich seit seiner Einführung konstant weiterentwickelt. So wurde erst kürzlich der erste MRT durch die United States Food and Drug Administration zur klinischen Nutzung freigegeben. Mit einer höheren Magnetfeldstärke ändern sich die physikalischen Effekte und Parameter, die eine positive (kontrastverstärkende Auswirkung), aber auch eine negative (artefaktverstärkende) Auswirkung auf die Bildgebung haben können. So ist es aus technischen Gründen derzeit noch nicht möglich, eine Ganzkörperaufnahme bei einer Feldstärke von 7 T zu generieren, wie es beispielsweise bei 1,5 T möglich ist. Die derzeitige Bildgebung bei 7 T-MRTs beschränkt sich hauptsächlich auf lokale Bereiche wie z.B. das Gehirn, oder das Fuß-, Arm- oder Kniegelenk. Auf Basis der großen Nachfrage aus dem klinischen Bereich, das Bildfeld zu erweitern, ergibt sich die Fragestellung dieser Dissertation:
Ist es möglich, mit dem aktuellen Stand der Technik unter Berücksichtigung der maximal verfügbaren Sende- und Empfangskanäle, die ein derzeitiges kommerzielles 7 T-MRT bietet, ein Bildfeld zu generieren, welches den Kopf- und Halsbereich abdeckt?
Diese Fragestellung wurde durch die Entwicklung von morphologisch angepassten Signalgeneratoren als auch Signaldetektoren gelöst. Das Bildfeld wurde von der Gehirnregion auf den Halsbereich bei 7 T erweitert. Die entwickelte Hardware wurde entworfen, simuliert, konstruiert, getestet und mit einer kommerziell verfügbaren 7 T Gehirnspule verglichen. Ein Fortschritt zum aktuellen Stand der Technik wurde quantifiziert.
Die neu entwickelten Methoden zur Gestaltung und Konstruktion der Sende- und Empfangsstruktur bei 7 T, als auch die zur Prüfung der Funktionalität verwendete Hardware, wurde direkt in abgewandelter Form bei ähnlichen MRT-Forschungsprojekten bei einer Feldstärke von 3 T verwendet und publiziert.
Zusammenfassend wurde mit diesem Projekt sowohl der Grundstein für die klinische Bildgebung als auch für weitere Forschung im kombinierten Kopf- und Halsbereich bei der 7 T gelegt. Der Einfluss dieses Projekts wird sich voraussichtlich in den nächsten Jahren in klinischen Studien zeigen. Limitierende Faktoren wie beispielsweise die SAR können durch Softwaremaßnahmen und der Ansteuerung der Spulen in weiteren Doktorarbeiten optimiert werden, um den Bildgebungsprozess zu optimieren.Magnetic Resonance Imaging (MRI) has proven to be a valuable diagnostic tool in
everyday clinical practice and has constantly evolved since its introduction. For example,
the first MRI was recently cleared for clinical use by the United States Food and Drug
Administration. With a higher magnetic field strength, the physical effects and parameters
change, which can have a positive (contrast enhancing effect) but also a negative (artifact
enhancing) effect on the imaging process. For example, for technical reasons, it is not
currently possible to generate a whole-body image at a field strength of 7T, as is possible
at 1,5T, for example. Current imaging at 7T MRIs is mainly limited to local areas such
as the brain, foot, arm, or knee joint. Based on the great demand from the clinical field to
extend the Bildfeld /engl.: Field of View (FOV), the research question of this dissertation
arises:
With the current state of the art, considering the maximum available transmit and
receive channels offered by a current commercial 7T-MRI, is it possible to generate a
FOV covering the head and neck region?
This problem was solved by the development of morphologically adapted signal generators
as well as signal detectors. The FOV was extended from the brain region to the neck
region at 7T. The developed hardware was designed, simulated, constructed, tested, and
compared with a commercially available 7T Brain Coil. An advance on the current state
of the art was quantified.
The newly developed methods for designing and constructing the transmit and receive
structure at 7T, as well as the hardware used to test its functionality, have been directly
used and published in modified form in similar MRI research projects at a field strength
of 3T.
In summary, this project has laid the foundation for both clinical imaging and further
research in the combined head and neck region for 7T-MRI. The impact of this project
is expected to be seen in clinical trials over the next few years. Limiting factors such as
SAR can be optimized by software measures and the control of the coils in further PhD
work to optimize the imaging process
Fast fashion's impact on microplastics
No full textPresented at the annual Celebration of Undergraduate Research and Creative Activity while the author was an undergraduate student at Rutgers University-Camden
A Unified Distributed DSP-Based Beam Diagnostics and Global Feedback System for Ramped Electron Storage Rings
No full textIn dieser Arbeit wurde ein verteiltes DSP-basiertes Feedbacksystem zur Echtzeitregelung von Strahlparametern wie Arbeitspunkt und globalem Orbit an gerampten Elektronenspeicherringen entwickelt. Darauf basierend wurde an Bodo, dem gerampten Full-Energy Booster der 1.5 GeV Synchrotronstrahlungsquelle Delta, ein Arbeitspunktfeedback aufgebaut, charakterisiert und erfolgreich in Betrieb genommen, das den transversalen Arbeitspunkt von Bodo waehrend beliebiger Energierampen in Echtzeit korrigiert. Weiterhin wurde mit dem DSP-System ein globales Orbitfeedbackaufgebaut, charakterisiert und erfolgreich kommissioniert, das den Orbit von Bodo mit einer Rate von 4 kHz mit Hilfe derSVD-Methode global korrigiert. Durch die Integration weitererMonitore zur Messung von Strahlverlusten, Strahlstrom, Lebensdauer und Netzgeraetstroemen sowie -spannungen in das DSP-System von Bodo wurde die Moeglichkeit demonstriert, mitdem entwickelten DSP-System 'interdisziplinaere' globale Feedbacks zu implementieren, die verschiedene Eigenschaftendes Elektronenstrahls in Boostern und Speicherringen unter Beruecksichtigung einer Vielzahl verschiedenartiger Monitore in Echtzeit optimieren koennen. Das generische Gesamtkonzeptdes entwickelten Systems erlaubt den zukuenftigen Einsatz an Delta oder an anderen Synchrotronstrahlungsquellen mit nur geringem Anpassungsaufwand bei Hardware und Software. Neben der Entwicklung einer Multiprozessor-VMEbus-DSP-Karte, eines neuartigen FPGA-basierten LWL-Multiprozessor-Netzwerks ('DeltaNet') zum globalen Echtzeit-Messdatentransfer (globales reflektives internes DSP-RAM), des BPM-Datenerfassungssystems sowie weiten Teilen des DSP-/DDS-basierten Arbeitspunktmesssystems wurden in der Arbeit auch die gesamten DSP Software, die Treiber zur Integration in das EPICS-Kontrollsystem sowie die graphischenBenutzeroberflaechen entwickelt. Durch die Entwicklung einerBodo-Strahloptik mit reduzierter Emittanz sowie DSP-basierterAnalyse und Optimierung der Strahlparameter von Bodo waehrendder Energierampe konnte die Fuellzeit des Speicherrings Deltaerheblich reduziert werden.The subject of this thesis is the development of a distributed DSP-based feedback system for the real-time correction of beam parameters like betatron tune and global orbit in ramped electron storage rings. Based on thissystem, a betatron tune feedback for Bodo, the 1.5 GeVfull energy booster of the synchrotron light source Delta,was constructed, characterised and successfully commissioned. The feedback is able to correct the betatrontunes in real-time during arbitrary beam energy ramps. Moreover, a global orbit feedback system was constructed that corrects the Bodo orbit globally in real-time with the SVD method, at a correction rate of 4 kHz. By integratingadditional monitors for beam loss, beam current, lifetime andpower supply currents and voltages into the DSP system, it was demonstrated that the system allows the implementation of global 'interdisciplinary' feedbacks that optimise different beam parameters simultaneously in real-time by using a variety of different monitor types. The generic hardware and software design concept enables the future use of the system at Delta or other synchrotron light sources with minor modifications. The work on this thesis includes the development of a multiprocessor VMEbus DSP board, of a novel FPGA-based fiber optic multiprocessor network ('DeltaNet') for global real-time measurement data transfer (global reflective internal DSP memory), of the BPM data acquisition system and of most parts of the DSP-/DDS-based betatron tune measurement system of Bodo. The software for the DSPs, for their integration into the EPICS control system and for the graphical user interfaces was alsodeveloped during the work on this thesis. The design of a Bodo beam optics with reduced emittance and the DSP-basedanalysis and optimisation of beam parameters during the Bodoenergy ramp allowed a significant reduction of the Deltafilling time
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