Academic literature on the topic 'Roger Dion'

Plants and photosynthetic bacteria obtain their energy from sunlight or surrounding radiation. Their photosynthetic membranes are composed of a much elaborated series of antenna molecules based on chlorophylls or bacteriochlorophylls, carotenoids playing multiple roles, various electron transport accessories, and central special pairs. The latter components are the most difficult to mimic with exactitude because the structure−property relationship depends on many factors including interplanar distance, slip angle, substituents, metal, and axial ligand. To this list of factors to control with quasi-perfection, one should also add the thermal activation (i.e., temperature). Over the past 15 years or so (2001–2013), an intensive collaboration with Professor Roger Guilard (Université de Bourgogne, Dijon) dealt with elucidating the role of each parameter to provide the best design of artificial special pairs capable of responding or behaving like the natural special pairs, namely with regards with the antenna effect. The latest feature is one of the defence mechanisms slowing down the rate for the primary electron transfer from the special pair to the electron transport accessories. This review highlights the advances in this challenging area of mimicry of the photophysical events in biological systems, namely the artificial special pairs designed in our laboratory for the antenna processes.

Abstract Implementation of education activities on 2020 for college level has changed because of Covid-19 pandemic. It must be carried by online include an exhibition for the Final Project. Dian Nuswantoro university (UDINUS) as an IT based campus has experience on online education implementation. However, this does not apply to final project exhibition activities which are usually held physically in a gallery, as it has been implemented by Visual Communication Design (DKV) majors at UDINUS for years. This transition is a new thing for DKV academic community, so it becomes the main topic of this article. The research was conducted to obtain points of view and conclusion regarding the response of the academic community to virtual exhibition and its potential on post-pandemic period. This research was carried out at the beginning of the even semester according to the UDINUS academic calendar, namely March 2021 by online. Qualitative and quantitative methods are used to gain data deeper through virtual exhibition observation, literature study, and questionnaires to the academic community randomly. The research adapted the diffusion-innovation theory of Rogers and Shoemaker’s model, which has conclusion that the adaptation of virtual exhibition for the final project of DKV students received positive response and it was accepted as a substitution of physical exhibition, as well as an alternative which can be chosen to hold exhibitions in the post-pandemic period. This research can be developed further, especially to examine the potential of virtual exhibition deeply, that have not been found in this research.Keywords: Covid-19, Visual Communication Design, diffusion-innovation; virtual exhibition, perceptionAbstrak Pelaksanaan kegiatan pendidikan tahun 2020 di tingkat perguruan tinggi mengalami perubahan signifikan akibat pandemi Covid-19. Aktivitas perkuliahan wajib dilaksanakan secara online termasuk pameran karya Tugas Akhir. Universitas Dian Nuswantoro (UDINUS) sebagai kampus berbasis IT memiliki pengalaman dalam pelaksanaan pendidikan secara daring. Namun, hal ini belum berlaku untuk kegiatan pameran Tugas Akhir yang biasanya dilaksanakan secara fisik dalam sebuah galeri, sebagaimana telah diterapkan oleh program studi Desain Komunikasi Visual (DKV) di UDINUS selama bertahun – tahun. Transisi ini merupakan hal baru bagi civitas akademika DKV, sehingga menjadi topik utama artikel ini. Penelitian dilakukan untuk memperoleh pandangan dan kesimpulan terkait respon civitas akademika terhadap pameran virtual serta bagaimana potensinya di masa pasca pandemi. Penelitian ini dilaksanakan pada awal semester genap sesuai kalender akademik UDINUS yakni bulan Maret 2021 serta dilakukan secara online. Metode kualitatif dan kuantitatif digunakan untuk menggali data secara lebih mendalam melalui observasi pameran virtual, studi pustaka, serta penyebaran angket online kepada civitas akademika secara acak. Penelitian mengadaptasi teori difusi-inovasi model Rogers dan Shoemaker, yang menghasilkan kesimpulan bahwa adaptasi pameran virtual dalam Tugas Akhir mahasiswa DKV mendapat respon positif dan diterima sebagai substitusi pameran fisik, serta menjadi alternatif yang bisa dipilih untuk menyelenggarakan pameran di masa pasca pandemi. Penelitian ini bisa dikembangkan lebih lanjut khususnya untuk mengkaji lebih dalam potensi pameran virtual yang belum ditemukan di penelitian ini.Kata Kunci: Covid-19; Desain Komunikasi Visual; difusi-inovasi; pameran virtual; persepsi

Abstract Implementation of education activities on 2020 for college level has changed because of Covid-19 pandemic. It must be carried by online include an exhibition for the Final Project. Dian Nuswantoro university (UDINUS) as an IT based campus has experience on online education implementation. However, this does not apply to final project exhibition activities which are usually held physically in a gallery, as it has been implemented by Visual Communication Design (DKV) majors at UDINUS for years. This transition is a new thing for DKV academic community, so it becomes the main topic of this article. The research was conducted to obtain points of view and conclusion regarding the response of the academic community to virtual exhibition and its potential on post-pandemic period. This research was carried out at the beginning of the even semester according to the UDINUS academic calendar, namely March 2021 by online. Qualitative and quantitative methods are used to gain data deeper through virtual exhibition observation, literature study, and questionnaires to the academic community randomly. The research adapted the diffusion-innovation theory of Rogers and Shoemaker’s model, which has conclusion that the adaptation of virtual exhibition for the final project of DKV students received positive response and it was accepted as a substitution of physical exhibition, as well as an alternative which can be chosen to hold exhibitions in the post-pandemic period. This research can be developed further, especially to examine the potential of virtual exhibition deeply, that have not been found in this research.Keywords: Covid-19, Visual Communication Design, diffusion-innovation; virtual exhibition, perceptionAbstrak Pelaksanaan kegiatan pendidikan tahun 2020 di tingkat perguruan tinggi mengalami perubahan signifikan akibat pandemi Covid-19. Aktivitas perkuliahan wajib dilaksanakan secara online termasuk pameran karya Tugas Akhir. Universitas Dian Nuswantoro (UDINUS) sebagai kampus berbasis IT memiliki pengalaman dalam pelaksanaan pendidikan secara daring. Namun, hal ini belum berlaku untuk kegiatan pameran Tugas Akhir yang biasanya dilaksanakan secara fisik dalam sebuah galeri, sebagaimana telah diterapkan oleh program studi Desain Komunikasi Visual (DKV) di UDINUS selama bertahun – tahun. Transisi ini merupakan hal baru bagi civitas akademika DKV, sehingga menjadi topik utama artikel ini. Penelitian dilakukan untuk memperoleh pandangan dan kesimpulan terkait respon civitas akademika terhadap pameran virtual serta bagaimana potensinya di masa pasca pandemi. Penelitian ini dilaksanakan pada awal semester genap sesuai kalender akademik UDINUS yakni bulan Maret 2021 serta dilakukan secara online. Metode kualitatif dan kuantitatif digunakan untuk menggali data secara lebih mendalam melalui observasi pameran virtual, studi pustaka, serta penyebaran angket online kepada civitas akademika secara acak. Penelitian mengadaptasi teori difusi-inovasi model Rogers dan Shoemaker, yang menghasilkan kesimpulan bahwa adaptasi pameran virtual dalam Tugas Akhir mahasiswa DKV mendapat respon positif dan diterima sebagai substitusi pameran fisik, serta menjadi alternatif yang bisa dipilih untuk menyelenggarakan pameran di masa pasca pandemi. Penelitian ini bisa dikembangkan lebih lanjut khususnya untuk mengkaji lebih dalam potensi pameran virtual yang belum ditemukan di penelitian ini.Kata Kunci: Covid-19; Desain Komunikasi Visual; difusi-inovasi; pameran virtual; persepsi

Colling, Simon B., Ian M. Stanford, Roger D. Traub, and John G. R. Jefferys. Limbic gamma rhythms. I. Phase-locked oscillations in hippocampal CA1 and subiculum. J. Neurophysiol. 80: 155–161, 1998. Gamma oscillations (∼40 Hz) were induced in transverse hippocampal slices by tetanic stimulation of CA1 and/or subiculum. Tetanic stimulation of each site elicited population gamma oscillations in the surrounding tissue <400 μm away. Stimulation of CA1 alone could evoke activity at both CA1 and subiculum. Subicular stimulation, however, did not transmit to CA1. When the rostral end of CA1 was stimulated, gamma oscillations transmitted across <1.5 mm of silent CA1 before reappearing in the subiculum. Tetanic stimulation of CA1 increased [K+]o to 8.2 ± 1.5 mM (mean ± SE). The location of the peak increase corresponded to the site of local gamma generation. Silent areas of CA1 experienced smaller [K+]o increases, to 4.9 ± 0.7 mM. The subiculum, which generated gamma, remained at the baseline 3.0 mM. Although fluctuations in [K+]o may have an impact on the generation of gamma rhythms, they are not necessary for them. Gamma oscillations had similar frequencies in CA1 and subiculum (40.4 ± 2.9 and 43.9 ± 3.1 Hz, respectively). When present in both, the oscillations typically were phase locked with the subiculum lagging by 5.4 ± 1.8 ms. When both CA1 and subiculum were stimulated the lag decreased by 28%. These delays approximate those expected for the conduction velocity of axons between the two regions, here estimated at 0.52 ± 0.07 m/s. Transmission of gamma oscillations from CA1 to subiculum was blocked by the focal addition of the α-amino-3-hydroxy-5-methyl-4-isoxazolepropionic acid-receptor antagonist, 6-nitro-7-sulfamoylbenzo[f]quinoxaline-2,3-dione, to the subiculum. Oscillations induced in CA1 by local tetanic stimulation were blocked by focal application of the γ-aminobutyric acid-A (GABAA) receptor antagonist, bicuculline, to CA1. Focal application of bicuculline to the subiculum blocked gamma due to subicular stimulation but not that due to CA1 stimulation. Bath-applied bicuculline disrupted subicular gamma evoked by subicular stimulation and led to a transient period of epileptiform responses before completely blocking responses. The further addition of the GABAB receptor antagonist, CGP 55845A, reversed this block, restoring the epileptic discharges evoked by tetanic stimulation. This suggests that the subiculum differs from hippocampal CA3 and neocortex, in having a powerful GABAB receptor-dependent mechanism to prevent epileptic discharges. The subiculum generates gamma rhythms both in response to local stimulation and to gamma rhythms evoked in CA1. Subicular gamma differs from that in CA1 in the presence of population spike doublets rather than singlets on many cycles. In both areas, generation of gamma by local stimulation depends on GABAA receptors, suggesting that the subiculum shares the interneuronal network mechanism we proposed for CA1.

If you have a look at the concert schedules around Australia (and elsewhere in the Western world) these days, you could be forgiven for thinking that you've suddenly been transported back in time: there is a procession of old players, playing (mainly) old songs. The Rolling Stones came through a while ago, as did the Eagles, Creedence Clearwater Revival's John Fogerty, and James Brown. Jimmy Page and Robert Plant played updated versions of Led Zeppelin's music, with some new songs strewn in on occasion. The Beach Boys served up a double blast from the past, touring with America ("Horse with No Name") as their opening act. Australian content in this trend is provided by the odd assortment of media darling John Farnham, ex-Grease girl Olivia Newton-John, and former Phantom of the Opera Anthony Warlow, who are touring under the unlikely name of 'The Main Event'; Australian rock legends Cold Chisel have also reformed recently, with a reunion tour to follow. On the more prestigious end of the pop mainstream, The Three Tenors have only had one concert in Australia recently, but publicity-savvy as they have proven themselves to be during the Football World Cup it's a fairly safe bet that they'll be rolling into Sydney Opera House in time for the last Olympics of this millennium, in the year 2000. Thankfully, we've so far been spared of a remaining-Beatles reunion and tour (they did release their Anthology CDs and videos, though), but it wouldn't really come as a surprise anymore. Why this wave of musical exhumations; why now? Admittedly, some of the reunions produced interesting results (Page & Plant's update of Led Zeppelin songs with world music elements comes to mind), but largely the bands involved have restricted themselves to playing old favourites or producing new music that is content with plagiarising older material, and so it's unlikely that the Beach Boys are touring, for example, because they have a strong desire to take surf music to the next level of art. A better explanation, it seems, can be found in the music industry and its structures, and in the way those structures are increasingly becoming inadequate for today's mediascape. For much of this century, popular music in the Western world -- while music itself is a global obsession, the marketing industry largely remains dominated by the West -- has come in waves: to give a broad overview, jazz was outdone by rock'n'roll, which was followed by the British invasion and the British blues revival, leading to the stadium rock of the 1970s (co-existing with disco), which in turn caused the punk revolution that fizzled out into New Wave and the new romantics, which were superseded by Alternative Rock and Britpop. Looking at this succession, it's not difficult to see that the waves have become smaller over time, though: recent styles have failed by far to reach the heights of interest and influence that earlier waves like rock'n'roll and the British invasion achieved. How many people will remember, say, Oasis in three decades; how many will The Beatles? The question seems unfair. This gradual decrease in wave amplitude over the years is directly linked to changes in the media structure in the Western world: earlier, new musical waves swept the few available channels of radio and TV to their full extent; severe bandwidth limitations forced the broadcasters to divert their entire attention to the latest trends, with no air time to be spared for the music of yesteryear. As the number of channels increased, however, so did the potential for variety; today, most cities of sufficient size at least have stations catering for listeners of classical music, over-40s easy listening, mainstream rock, and alternative rock, and perhaps there's also an open-access channel for the more obscure styles; stations for more specific tastes -- all-jazz, all-heavy metal, all-goth -- are now also viable in some cities. As new style waves come in, they might still sweep through the mainstream stations, but will only manage to cause some minor ripples amongst the less central channels. Similar trends exist among music stores, and the music press. The mainstream might remain in the middle of the musical spectrum, therefore, but it's been narrowed considerably, with more and more music fans moving over to the more specialised channels. There is now "an increasingly fragmented international marketplace of popular musics" (Campbell Robinson et al. 272). In media-rich Western nations, this trend is strengthened further by changes to the mediascape brought on by the Internet: the Net is the ultimate enpander of bandwidth, where anyone can add another channel if their needs aren't met by the existing ones. With an unlimited number of specialised channels, with fans deciding their musical diet for themselves instead of having radio DJs or music journalists do it for them, and with the continued narrowing of the mainstream as it loses more and more listeners, new waves of musical styles lose their impact almost immediately now. Whatever your specific tastes, you'll find like-minded people, specialty labels and CD retailers, perhaps even an Internet radio station -- there is now less need than ever to engage with outside trends. Whether that development is entirely desirable remains a point of debate, of course. The paradox for the big old players in the music industry is that the ongoing globalisation of their markets hasn't also led to a globalisation of musical tastes -- largely because of this exponential increase and diversification of channels. Music is a powerful instrument of community formation, and community formation implies first and foremost a drawing of boundaries to everything that isn't part of the community (Turner 2): as musical styles diversify, therefore, there are now more musical taste communities than anyone would care to list. Instead of turning to some mainstreamed, global style of music, listeners are found to turn to the local -- either to the music produced geographically local to them, or to a form of virtually local music, that is, the music of a geographically dispersed, but (through modern communications technologies) otherwise highly unified taste community (Bruns sect. 1 bite 8ff.). There certainly are more such groupings than the industry would care to cater for: the division of their resources in order to follow musical trends in a large number of separate communities is eating into the profits of the large multinationals, while small specialty labels are experiencing a resurgence (despite the major labels' attempts to discourage them). As Wallis & Malm note, "the transformation of the business side of the music industry into a number of giant concerns has not stopped small enterprises, often run by enthusiasts, from cropping up everywhere" (270). The large conglomerates are remarkably ill-prepared to deal with such a plurality of styles: everything in their structure is crying out for a unified market with few, major, and tightly controlled trends. This is where we (and the industry) return to the Beach Boys & Co., then. Partly out of a desire for the good old times when the music business was simple, partly to see if a revival of the old marketing concepts may not reverse the tide once more, the industry majors have unleashed this procession of the musical undead (with only a few notable exceptions) upon us; it is a last-stand attempt to regather the remaining few servicable battleships of the mainstream fleet to grab whatever riches are still to be found there. Judging by ticket prices alone (Page & Plant charged over A$110 per head), there still is money to be made, but these prices also indicate that such 'mainstream' acts are now largely a spectacle for well-to-do over-35s. Amongst younger audiences, the multinationals remain mostly clueless, despite a few efforts to create massively hyped, but musically lobotomised lowest-common-denominator acts, from the Spice Girls to Céline Dion or U2. Most of the acts the major industry players cling to as their main attractions have quite simply lost relevance to all but the most gullible of audiences -- in this context, the advertisment of the travelling Farnham / Newton-John / Warlow show as 'The Main Event' seems almost touching in its denial of reality. It's not like the industry hasn't tried this strategy before, of course: reacting to the fragmented musical world of the early 1970s, with styles from folk to hard rock all equally vying for a share of the audience, the labels created stadium rock -- oversized concerts of overproduced bands who eventually became alienated from their audiences, causing the radical back-to-the-roots revolution of punk. Stadium rock mark II is bound to fail even more quickly and decisively: with most of its proponents not even creating any excitement in the all-important 'young adults' market in the first place, it's the wave that wasn't, and should properly be seen as the best sign yet of the industry's loss of touch with its fragmenting market(s). It's time for new, smaller, and more mobile players to take over from the multinationals, it seems. References Bruns, Axel. "'Every Home Is Wired': The Use of Internet Discussion Fora by a Subcultural Community." 1998. 17 Dec. 1998 <http://www.uq.net.au/~zzabruns/uni/honours/thesis.php>. Campbell Robinson, Deanna, et al. Music at the Margins: Popular Music and Global Cultural Diversity. Newbury Park, Calif.: Sage, 1991. Wallis, Roger, and Krister Malm. Big Sounds from Small Peoples: The Music Industry in Small Countries. London: Constable, 1984. Turner, Graeme. "Rock Music, National Culture and Cultural Policy." Rock Music: Politics and Policy. Ed. Tony Bennett. Brisbane: Institute for Cultural Policy Studies, Griffith U, 1988. 1-6. Citation reference for this article MLA style: Axel Bruns. "Old Players, New Players: The Main Event That Isn't." M/C: A Journal of Media and Culture 1.5 (1998). [your date of access] <http://www.uq.edu.au/mc/9812/main.php>. Chicago style: Axel Bruns, "Old Players, New Players: The Main Event That Isn't," M/C: A Journal of Media and Culture 1, no. 5 (1998), <http://www.uq.edu.au/mc/9812/main.php> ([your date of access]). APA style: Axel Bruns. (1998) Old players, new players: the Main Event that isn't. M/C: A Journal of Media and Culture 1(5). <http://www.uq.edu.au/mc/9812/main.php> ([your date of access]).

Does the individual really matter in the post-modern world, brimming with countless signs and signifiers? My main objective in this writing is to demonstrate how this happens in Verhoeven's films, exploring his central themes and subtext and doing what science fiction does: hold a mirror up to the contemporary world and critique it, asking whether our species' current trajectory is beneficial or hazardous.; Dutch director Paul Verhoeven is a polarizing figure. Although many of his American made films have received considerable praise and financial success, he has been lambasted on countless occasions for his gratuitous use of sex, violence, and contentious symbolism--1995s Showgirls was overwhelmingly dubbed the worst film of all time and 1997s Starship Troopers earned him a reputation as a fascist. Regardless of the controversy surrounding him, his science fiction films are a move beyond the conventions of the big blockbuster science fiction films of the 1980s (E.T. and the Star Wars trilogy are prime examples), revealing a deeper exploration of both sociopolitical issues and the human condition. Much like the novels of Philip K. Dick (and Verhoeven's 1990 film Total Recall--an adaptation of a Dick short story), Verhoeven's science fiction work explores worlds where paranoia is a constant and determining whether an individual maintains any liberty is regularly questionable. In this thesis I am basically exploring issues regarding power. Although I barely bring up the term power in it, I feel it is central. Power is an ambiguous term; are we discussing physical power, state power, objective power, subjective power, or any of the other possible manifestations of the word? The original Anglo-French version of power means "to be able," asking whether it is possible for one to do something. In relation to Verhoeven's science fiction work each demonstrates the limitations placed upon an individual's autonomy, asking are the protagonists capable of independent agency or rather just environmental constructs reflecting the myriad influences surrounding them.
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Positioned between writing and drawing, the diagram is proposed by John Berger as an alternative strategy for articulating encounters with landscape. A diagrammatic approach offers a schematic vocabulary that can compress time and offer a spatial reading of information. Situated within the contemporary field of direct data visualisation, my practice-led research interprets Berger’s ‘Field’ essay as a guide to producing four field | studies within a suburban park in Canberra. My seasonal investigations demonstrate how applying the conventions of the pictorial list, dot-distribution map, routing diagram and colour-wheel reveals subtle ecological and biographical narratives.

This chapter describes Ambassador vanden Heuvel's relationship with the two most important mentors of his early life: Roger Baldwin and General William J. "Wild Bill" Donovan. His friendship with Roger Baldwin – political activist, conscientious objector and founder of the American Civil Liberties Union – lasted from 1947 until Baldwin's death in 1981. His relationship with General Donovan, the most decorated American hero of WWI and the founder of the OSS, included working as Donovan's personal adjutant when Donovan served as ambassador to Thailand 1953-1954, and accompanying him in work for the International Rescue Committee (of which Donovan was Chair) during the Hungarian Revolution of 1956. The chapter includes Ambassador vanden Heuvel's eulogy for Roger Baldwin, his journal entry on the fall of Dien Bien Phu in Vietnam, and his report on the Hungarian Revolution.

The concept of strategic alignment is more than two decades old (McLean and Soden, 1977; IBM, 1981; Earl, 1983; Mills, 1986; Brancheau and Wetherbe, 1987; Parker and Benson, 1988; Henderson and Venkatraman, 1990; Dixon and John, 1991; Niederman, et. al., 1991; Watson and Brancheau, 1991; Liebs, 1992; Luftman, Lewis and Oldach, 1993; Goff, 1993), however it has never been more timely than in today’s fast-paced, dynamic business environment (Papp, 1998; Rogers, 1997). The original alignment model was a largely theoretical construct that studied only a single industry (Henderson & Venkatraman, 1990; Henderson & Thomas, 1992) but has since been adapted for use by virtually any industry looking to integrate their business strategies with their information technology strategies (Papp, 1995; Luftman, Papp, & Brier, 1995).