206 research outputs found
Jack, Rene and Neil
No full textMr Jack and Mrs Rene Hawley and Neil, taken at Tomahawk Billabong, Hooker Creek Native Settlement, Northern Territory.Kettle, Ellen.Date:195
Kettle Logic
No full textCopyright © The Author 2021. This article unearths the political logic of the police kettle. Rather than add to the mundane debate about civil liberties or models of policing, this article argues that the kettle reveals nothing less than the police war at the heart of modernity. This is a police war carried out as a logic of containment against the enemy within—within the kettle and within society. The kettle is a microcosm of the police war of containment
Interpreting basal sediments and plant fossils in kettle lakes: insights from Silver Lake, Michigan, USA
No full textWe report on pollen, plant macrofossils, and associated lithostratigraphy of a sediment core extracted from the base of Silver Lake, a kettle in northern Lower Michigan, USA, which reveal a complex deglacial scenario for ice block melting and lake formation, and subsequent plant colonization. Complementary multivariate statistical and squared-chord distance analyses of the pollen data support these interpretations. The basal radiocarbon age from the core (17,540 cal yr BP) is rejected as being anomalously old, based on biostratigraphic anomalies in the core and the dateâ s incongruity with respect to the accepted regional deglaciation chronology. We reason that this erroneous age estimate resulted from the redeposition of Middle Wisconsin- age fossils by the ice sheet, mixed with the remains of plants that existed as the kettle lake formed at ca. 10,940 cal yr BP by ice block ablation. Thereafter, the kettle lake became a reliable repository of Holocene- age fossils, documenting a mature boreal forest that existed until 10,640 cal yr BP, followed by a pine-dominated mixed forest, an early variant of the mixed conifer- hardwood forest that persists to the present day. Our study demonstrates that researchers investigating kettle lakes, a common depositional archive for plant fossils in deglaciated landscapes, should exercise caution in interpreting the basal (late Pleistocene/early Holocene- age) part of lake sediment cores.The accepted manuscript in pdf format is listed with the files at the bottom of this page. The presentation of the authors' names and (or) special characters in the title of the manuscript may differ slightly between what is listed on this page and what is listed in the pdf file of the accepted manuscript; that in the pdf file of the accepted manuscript is what was submitted by the author
Experiments on the Origin of Kettle-holes
No full textAbstractSeveral theories exist on the origin of kettle-holes in pro-glacial outwash deposits. The most widely accepted origin involves the melting of buried ice. The author carried out some experiments in which ice blocks were placed on or in outwash sediments in a tank in order to determine which mechanisms of ice melt would be most likely to give rise to kettle-hole features. The largest kettle-holes were produced by the melting of buried ice blocks; smaller transient depressions were formed from ice blocks melting in streams of flowing water; while, rather than depressions, ridges resembling pingos and moraines were created by ice blocks melting on a dry or saturated gravel surface.</jats:p
Experiments on the Origin of Kettle-holes
No full textAbstractSeveral theories exist on the origin of kettle-holes in pro-glacial outwash deposits. The most widely accepted origin involves the melting of buried ice. The author carried out some experiments in which ice blocks were placed on or in outwash sediments in a tank in order to determine which mechanisms of ice melt would be most likely to give rise to kettle-hole features. The largest kettle-holes were produced by the melting of buried ice blocks; smaller transient depressions were formed from ice blocks melting in streams of flowing water; while, rather than depressions, ridges resembling pingos and moraines were created by ice blocks melting on a dry or saturated gravel surface.</jats:p
Anytime Algorithms for ROBDD Symmetry Detection and Approximation
No full textReduced Ordered Binary Decision Diagrams (ROBDDs) provide a dense and memory efficient representation of Boolean functions. When ROBDDs are applied in logic synthesis, the problem arises of detecting both classical and generalised symmetries. State-of-the-art in symmetry detection is represented by Mishchenko's algorithm. Mishchenko showed how to detect symmetries in ROBDDs without the need for checking equivalence of all co-factor pairs. This work resulted in a practical algorithm for detecting all classical symmetries in an ROBDD in O(|G|3) set operations where |G| is the number of nodes in the ROBDD. Mishchenko and his colleagues subsequently extended the algorithm to find generalised symmetries. The extended algorithm retains the same asymptotic complexity for each type of generalised symmetry. Both the classical and generalised symmetry detection algorithms are monolithic in the sense that they only return a meaningful answer when they are left to run to completion. In this thesis we present efficient anytime algorithms for detecting both classical and generalised symmetries, that output pairs of symmetric variables until a prescribed time bound is exceeded. These anytime algorithms are complete in that given sufficient time they are guaranteed to find all symmetric pairs. Theoretically these algorithms reside in O(n3+n|G|+|G|3) and O(n3+n2|G|+|G|3) respectively, where n is the number of variables, so that in practice the advantage of anytime generality is not gained at the expense of efficiency. In fact, the anytime approach requires only very modest data structure support and offers unique opportunities for optimisation so the resulting algorithms are very efficient. The thesis continues by considering another class of anytime algorithms for ROBDDs that is motivated by the dearth of work on approximating ROBDDs. The need for approximation arises because many ROBDD operations result in an ROBDD whose size is quadratic in the size of the inputs. Furthermore, if ROBDDs are used in abstract interpretation, the running time of the analysis is related not only to the complexity of the individual ROBDD operations but also the number of operations applied. The number of operations is, in turn, constrained by the number of times a Boolean function can be weakened before stability is achieved. This thesis proposes a widening that can be used to both constrain the size of an ROBDD and also ensure that the number of times that it is weakened is bounded by some given constant. The widening can be used to either systematically approximate an ROBDD from above (i.e. derive a weaker function) or below (i.e. infer a stronger function). The thesis also considers how randomised techniques may be deployed to improve the speed of computing an approximation by avoiding potentially expensive ROBDD manipulation
A sneaky kettle: Emotionally durable design explored in practice
No full textEmotionally durable design is a genre of sustainable design that aims at reducing consumption and waste by enhancing the durability of the relationship established between users and products. Several design strategies and theories have been published on this topic; nevertheless, it is still underexposed in practice. This paper presents a case study of an emotionally durable kettle, which is used to explore the topic in design practice. We build onto the existing ideas on emotional durability using the insights from the case study and propose five product qualities for emotionally durable products: involvement, animacy, adapt to self-identity, evoke memories, and rewarding.Industrial DesignIndustrial Design Engineerin
Early Postglacial Environment of a Small Kettle in Mercer County, Ohio
No full textAuthor Institution: Soil Conservation Service, Defiance, Ohio and Bowling Green State University, Bowling Green, OhioExcavation of a series of pits in a filled kettle at St. Charles Seminary, in southeastern Mercer County, revealed nine to twelve feet of lacustrine silty-clay sediments above clayrich till. Near the bottom, in the middle of the kettle, the sediments were mostly clays, and contained organic material. Fragments of Picea (spruce) and a few specimens of the mollusks, Helisoma anceps striatum, Gyraulus altissimus, and Amnicola limosa, from the bottom imply an open kettle (lake) in a boreal climate at this time of initial sedimentation. Sediments immediately above this level contained Thuja (northern white cedar), which could indicate either boreal or somewhat less cold conditions. Strata higher in the section were more silty and contained some seepage, but lacked any organic material. Soils of the Montgomery series have developed in the fill of the kettle; soils in the surrounding ground moraine are in the Blount and Morley series
Backyard Sculpture: Gnomon One 2019
No full textBackyard Sculpture, Group Exhibition at Domo Baal London, curated by Neil Gall and David Gates, 21.6.19- 20.7.16Exhibiting Artists:Ailbhe Ní Bhriain, Alice Wilson, Alison Wilding, Andrew Curtis, Andrew Logan, Aubrey Haskard, Benjamin Houlihan, Brendan Reid, Carl D'Alvia, Carol Robertson, Cathy De Monchaux, Chantal Powell, Clare Mitten, Dan Knight, David Gates, Derek Jarman, Derrick Guild, Drew Edwards, Eduardo Paolozzi, Edward Chell, Eric Bainbridge, Finn Thomson, Gavin Turk, Ian Dawson, International Lawns, Jack Lavender, James Rielly, Jen Binnie, Jock McFadyen, Joel Tomlin, John Chilver, Lothar Götz, Mark Francis, Matt Calderwood, Matt Hale, Maud Cotter, Mel Kendrick, Mhairi Vari, Michelle Segre, MillsPower, Neil Gall, Neil Zakiewicz, Nicky Hirst, Peter László Péri, Phyllida Barlow, Rachel Adams, Richard Woods, Roger Ackling, Rosa Nguyen, Rupert Ackroyd, Simon English, Stefan Löffelhardt, Stephen Nelson, Tash Kahn, The Rural College of Art, Trevor Sutton.Domo Baal is delighted to present Backyard Sculpture: a collection assembled by David Gates & Neil Gall inside and outside the gallery, opening on the first day of Summer. Gall & Gates present an exhibition that looks at sculpture that was not sent to the fabricators … probably. Sculpture that might have a junk/backyard aesthetic, sculpture that might actually be junk alongside sculpture that is well made but looks like junk. Sculpture that might refer to the garden in a literal way. Some sculpture will be placed in the front yard and some in the backyard and some in the gallery.Gall writes:A 'proper' curatorial team might run with the idea of 'Backyard Sculpture' along a historical timeline starting with Picasso's early cubist/guitar cardboard sculptures (circa 1912) moving up the 20th Century with Julio Gonzales through to Jean Tinguely, David Smith maybe onto Richard Stankiewicz perhaps taking a detour onto early Cy Twombly and Rauschenberg finding time to spend some time in England looking up Paolozzi … and what about this guy, George Fullard? … I mean there is a lot out there that might be termed 'Backyard' in the world of sculpture … ok, here we go, what do I mean by 'Backyard Sculpture'? Does it mean sculpture that is made from junk/scrap metal, anything other than marble or bronze, well partly but not really.David Gates and Neil Gall (me), as you probably know are not curators and it’s an idiosyncratic/artists approach that has resulted in this 'assemblage'. All artists have other artist friends or have at least relationships with other like–minded types … so friendship and chance encounters have largely been the guiding principles in bringing this bunch of stuff together.The idea for the show started through musings on the humble beginnings, back garden sculpting really of 20th Century SculptGods Henry Moore and Anthony Caro. There is a great photo of Caro standing proudly next to 'Woman in Pregnancy' in his garden in Hampstead in 1955 but what's really great is that Shelia (Girling, painter and also Mrs Caro) can be seen in the kitchen window doing the dishes … or maybe filling the kettle to make a cuppa for the thirsty 'man' sculptor. And as you probably know, Moore cast his early lead works (mid to late 1930's) in the garden of his Kentish cottage, 'Burcroft' assisted by Bernard Meadows (amusingly described as the 'boy' in a letter to friends at the time), using a saucepan on a Primus stove to liquify the raw material before pouring into a mould. By the time I'd read a John Berger essay on Peter Laszlo Peri, with Berger spying odd sculptures in another Hampstead garden, sometime in the late 1940's before he'd made the acquaintance of their maker, there was more than a germ of a show 'idea'.Something about sculpture that was a little less than heroic, perhaps suburban even, sculpture that was certainly not sent to the fabricators, art that might be epitomised as an art of 'make–do' with a 'can–do' kind of attitude.David Gates spent a year working on the Ray Johnson archive (Johnson of course being a kind of junk poet himself) he recalls seeing signs for 'Backyard Wrestling' on his journeys to and from Manhattan. So here you have the origins of the show title … and also another geographic point of reference, somewhere beyond North London.I always imagine that NY artists let it all hang loose as the city heats up during the summer and head up–state where they unleash their creative energy to make strange, probably hippyish junk sculptures, away from the pressures of the commercial artworld and making stuff that is, if not unsellable then at least probably pretty difficult to.We have brought together art that has a largely D.I.Y feel, much of it might have a junk aesthetic but not necessarily. Some works such as Gavin Turks simply 'refer' to the garden part of our show title, Clare Mitten's sculpture is both junky and plant–like, Derek Jarman is in the mix for similar reasons.Picasso is not in the show but I like to think of him as a Junk–King–Overlord, he was the guy you did not want moving in next door. The Picassos (apart from a brief bourgeois period with Olga) always brought the neighbourhood down … all those animals, goats, dogs and junk, all that crap he needed to feed off … he was a terrible hoarder, ultimate neighbour from Hell.Both myself (sorry neighbours) and David Gates do our own Backyard casting, we had hoped to collaborate on some works, next time I guess, Backyard Sculpture … the sequel.(Neil Gall, North London, June 2019
Pot, kettle: Nonliteral titles aren’t (natural) science
No full text© 2020 The Author. Published by MIT Press. This is an open access article available under a Creative Commons licence.
The published version can be accessed at the following link on the publisher’s website: https://doi.org/10.1162/qss_a_00078Researchers may be tempted to attract attention through poetic titles for their publications,
but would this be mistaken in some fields? Whilst poetic titles are known to be common in
medicine, it is not clear whether the practice is widespread elsewhere. This article
investigates the prevalence of poetic expressions in journal article titles 1996-2019 in 3.3
million articles from all 27 Scopus broad fields. Expressions were identified by manually
checking all phrases with at least 5 words that occurred at least 25 times, finding 149 stock
phrases, idioms, sayings, literary allusions, film names and song titles or lyrics. The
expressions found are most common in the social sciences and the humanities. They are also
relatively common in medicine, but almost absent from engineering and the natural and
formal sciences. The differences may reflect the less hierarchical and more varied nature of
the social sciences and humanities, where interesting titles may attract an audience. In
engineering, natural science and formal science fields, authors should take extra care with
poetic expressions, in case their choice is judged inappropriate. This includes interdisciplinary
research overlapping these areas. Conversely, reviewers of interdisciplinary research
involving the social sciences should be more tolerant of poetic licens
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