299 research outputs found
Multiple processes generate productivity–diversity relationships in experimental wood-fall communities
No full textEnergy availability has long been recognized as a predictor of community structure, and changes in both terrestrial and marine productivity under climate change necessitate a deeper understanding of this relationship. The productivity–diversity relationship (PDR) is well explored in both empirical and theoretical work in ecology, but numerous questions remain. Here, we test four different theories for PDRs (More-Individuals Hypothesis, Resource-Ratio Theory, More Specialization Theory, and the Connectivity–Diversity Hypothesis) with experimental deep-sea wood falls. We manipulated productivity by altering wood-fall sizes and measured responses after 5 and 7 years. In November 2006, 32 Acacia sp. logs were deployed at 3203 m in the Northeast Pacific Ocean (Station Deadwood: 36.154098° N, 122.40852° W). Overall, we found a significant increase in diversity with increased wood-fall size for these communities. Increases in diversity with wood-fall size occurred because of the addition of rare species and increases of overall abundance, although individual species responses varied. We also found that limited dispersal helped maintain the positive PDR relationship. Our experiment suggests that multiple interacting mechanisms influence PDRs
A SPECTROMETER FOR POLARIZED TWO---PHOTON ABSORPTION SPECTRA OF LIQUIDS
No full textP. R. Monson and W. M. McClain, J. Chem. Phys., June 1970.""Author Institution: Department of Chemistry, University of CaliforniaIn the presence of very intense light (e.g. ruby laser light), molecules can absorb two photons simultaneously, even though neither photon alone could be absorbed by the molecule. The selection rule for this process is the reverse of the one photon rule: for two photon transitions, is allowed and is forbidden. Thus two-photon absorption spectra reveal the presence of molecular excited states which are hidden to ordinary spectroscopy. A two-photon absorption spectrometer has been built which allows the measurement of all three of the molecular parameters governing the two-photon absorption of randomly oriented molecules. This is accomplished by the use of both linearly and circularly polarized light in the spectrometer, as described in a previous theoretical The design of the spectrometer allows particularly accurate measurement of the ratios of the three absorption parameters, since these ratios enter into the application of two exact symmetry which permit one to determine the symmetry of the upper state in allowed two-photon transitions
[Mrs. Abbie Walker's 1st grade Class Southside Elementary]
No full textPhotograph of a first grade class standing in three rows on a porch in front of the school. 1st Row L-R: Terry Millard, Deborah McLin, Terry Jimmerson, Mark Halstead, Jeff Young, Jana Barnett, Craig Buck, Karen Whitton
2nd Row L-R: Rhonda Merrell, Bobby Squire, Linda Saxon, Tommy Collins, Jerry Gilmore, Paul Lewis, Russell McClain
3rd Row L-R: Merrell Overton, John Gilchriest, Cathy Rogers, Kenneth Kirkham, Unidentified, Vickie Blankenship, Sharon Hill, Dennis Dover.
4th Row L-R: Elmer E. Langham, Southside Principal & Mrs. Abbie Walker, Teache
The use of click tracks for drum production within the Extreme Metal genre
No full textThis paper explores the use of click-tracks and the benefits they enable for drum production within the extreme metal genre. The paper will focus on the drum production of ‘Sink’, the second album by French act Kaizen that was produced, engineered and mixed by the first author of this paper and released through Sony in 2005.
This paper will reflect the first author’s eight years experience producing within the metal genre including releases through Sony and Universal. He has worked with the likes of Colin Richardson, Andy Sneap and Jens Bogren. Contributions with various producers, as well as professional musicians from the genre will be included in this paper.
For extreme metal acts, accuracy is more important than vibe, feel or groove in the drum performance. The kick drum work and the beats, patterns, subdivisions and syncopation involved demand the very highest standard of precision and accuracy to facilitate the tightest possible production. The use of a click track provides an essential central reference point in forcing a drummer to tighten up his beats and parts and allows the producer to accurately assess this, which enables a precise standard of drum performance.
However, to take advantage of these benefits, the use of a click needs to be a central aspect of pre-production. Here, a producer will often need to be involved, for example in the mapping out of the song’s tempi, and the recording of guide tracks for the drummer to rehearse to. The drummer’s rehearsal time to the clicks and guides are a vital element of pre-production and their importance cannot be overstated.
Additionally, due to the particularly fast kick drum patterns involved (double kick drums/double kick pedals are a prerequisite) and the often rhythmically intricate and complex nature of the drum parts, it is normal for the drum tracks heard on a finished production to not entirely be as performed. Often a variety of kick-pattern building, drum editing and quantisation methods will have been employed to produce very tight drum performances. This is one of the particular production challenges of the genre, and ultimately the use of clicks when recording the drums facilitates these methods and the tools involved.
This paper looks at these issues in the context of the drum production of the album ‘Sink’. On commencing recording of the drum tracks it became obvious that the drummer was unable to perform the vast majority of the double bass drum work for the often-complex parts. Measures were therefore taken to minimise any bleed of the kick drums onto the other microphones, so that the entire performance of the footwork involved could be built with samples. In essence, the tightness, accuracy and consistency of the final drum performance could not have been achieved without the use of a click-track during tracking.
Clearly, the impact of these measures resulted in a complete lack of authenticity of the perceived kick drum performance of this album. In a genre where authenticity and musical virtuosity are often viewed as paramount, the artists were keen that this ‘fake’ element of the production was not made public knowledge in the fear that it would affect album sales, and the band sacked the drummer involved following the completion of the album.
However, under the circumstances, this kick building was the most appropriate solution to getting the album completed on time, within budget and with a strong standard of production
Practices and promises of Facebook for science outreach: Becoming a "Nerd of Trust".
No full textArguably, the dissemination of science communication has recently entered a new age in which science must compete for public attention with fake news, alternate facts, and pseudoscience. This clash is particularly evident on social media. Facebook has taken a prime role in disseminating fake news, alternate facts, and pseudoscience, but is often ignored in the context of science outreach, especially among individual scientists. Based on new survey data, scientists appear in large Facebook networks but seldom post information about general science, their own scientific research, or culturally controversial topics in science. The typical individual scientist's audience is large and personally connected, potentially leading to both a broad and deep engagement in science. Moreover, this media values individual expertise, allowing scientists to serve as a "Nerd of Trust" for their online friend and family networks. Science outreach via social media demands a renewed interest, and Facebook may be an overlooked high-return, low-risk science outreach tool in which scientists can play a valuable role to combat disinformation
Likes, comments, and shares of marine organism imagery on Facebook
No full textSeveral calls to action urge scientists and science communicators to engage more with online communities. While these calls have been answered by a high percentage of scientists and science communicators online, it often remains unclear what are the best models for effective communication. Best practices and methods for online science communication can benefit from experimental and quantitative research addressing how and when users engage with online content. This study addresses with quantitative and predictive models a key question for the popular, but often-ignored in science communication, social media platform Facebook. Specifically, this study examines the impact of imagery through quantification of likes, comments, and shares on Facebook posts. Here, I show that a basic quantitative model can be useful in predicting response to marine organism imagery on Facebook. The results of this online experiment suggest image type, novelty, and aesthetics impact the number of likes, shares, and comments on a post. In addition, the likes, shares, and comments on images did not follow traditional definitions of “charismatic megafauna”, with cephalopods and bony fishes receiving more interactions than cartilaginous fishes and marine mammals. Length and quality of caption did not significantly impact likes, comments, or shares. This study provides one of the first quantitative analysis of virality of scientific images via social media. The results challenge previously held conceptions of social media scientific outreach including increasing emphasis on imagery selection and curation, notions of which taxa the public connect with, and role of captions for imagery
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