Academic literature on the topic 'Synthesis of inner and outer worlds'

The current classification of animal viruses is largely based on the virus molecular world. Less attention is given to why and how virus fitness results from the success of virus transmission. Virus transmission reflects the infection-shedding-transmission dynamics, and with it, the organ system involvement and other, macroscopic dimensions of the host environment. This study describes the transmission ecology of the world main livestock viruses, 36 in total, a mix of RNA, DNA and retroviruses. Following an iterative process, the viruses are virtually ranked in an outer- to inner-body fashion, by organ system, on ecological grounds. Also portrayed are the shifts in virus host tropism and virus genome. The synthesis of the findings reveals a predictive virus evolution framework, based on the outer- to inner-body changes in the interplay of host environment-transmission modes-organ system involvement-host cell infection cycle-virus genome. Outer-body viruses opportunistically respond to the variation in the external environment. For example, respiratory and enteric viruses tend to be associated with poultry and pig mass rearing. Ruminant and equine viruses tend to be more deep-rooted and host-specific, and also establish themselves in the vital inner-body systems. It is concluded that the framework may assist the study of new emerging viruses and pandemic risks.

The prokaryotic cell is traditionally seen as a “bag of enzymes,” yet its organization is much more complex than in this simplified view. By now, various microcompartments encapsulating metabolic enzymes or pathways are known for Bacteria. These microcompartments are usually small, encapsulating and concentrating only a few enzymes, thus protecting the cell from toxic intermediates or preventing unwanted side reactions. The hyperthermophilic, strictly anaerobic Crenarchaeon Ignicoccus hospitalis is an extraordinary organism possessing two membranes, an inner and an energized outer membrane. The outer membrane (termed here outer cytoplasmic membrane) harbors enzymes involved in proton gradient generation and ATP synthesis. These two membranes are separated by an intermembrane compartment, whose function is unknown. Major information processes like DNA replication, RNA synthesis, and protein biosynthesis are located inside the “cytoplasm” or central cytoplasmic compartment. Here, we show by immunogold labeling of ultrathin sections that enzymes involved in autotrophic CO2 assimilation are located in the intermembrane compartment that we name (now) a peripheric cytoplasmic compartment. This separation may protect DNA and RNA from reactive aldehydes arising in the I. hospitalis carbon metabolism. This compartmentalization of metabolic pathways and information processes is unprecedented in the prokaryotic world, representing a unique example of spatiofunctional compartmentalization in the second domain of life.

Background. Consideration of a composer interpretation is an important sphere for investigation in the Ukrainian musicology. In this article, attention focuses on the interaction of a composer’s artistic individuality (the inner factor) and objective prerequisites of creation a musical piece (the outer factor) in the process of a composer interpretation. Their dialectical interaction is showed on the designed models-scenarios, which display typical situations a composer may encounter in his/ her work. Special attention is paid to differentiation of procedures of the actual composition art and the composer interpretation. The conventional view on the composer interpretation anticipates “the intermediation” between already existing primary source of musical and non-musical origin. In this concept the interpretation plays a significant role in a creation of compositions in “the genre of musical transcription” (Borisenko, 2005; Khutorska, 2009; Moskalenko, 2012). However, the nature of this phenomenon prove itself to be much more complicated and elusive as it’s clear from the studies dedicated to certain personalities (Drach, 2002; Kopytsia, 2018) or the process of composer’s art in general (Mukha, 1979; Schnittke, 1982; Shapovalova, 2008; Varnava, 2017; Chubak, 2017). The objective of the present study is to clarify the dialectical interaction of inner and outer factors of the composer interpretation. The conception of this article is built on the base of such methods as analysis, systematization and structuring, the method of modeling . Research results. The artistic idea itself is an abstract, somewhat blurred image of a future composition. This idea receives its “embodiment” in the text as “a translation from foreign language of the original, which remains intangible” (Schnittke, 1982: 105). The necessity of such “a translation” means that process of musical interpretation is involved not only for the reworking of any artistic piece written by another author, but for the own artistic conception built. However, terms of the composer’s interpretation and the composer’s art are not identical. Composer’s art includes 1) a production of structural musical elements and 2) their synthesis into organized system. The process of interpretation is involved on every stage of composer’s work as a mean of comprehension (understanding, analysis, reflection) of 1) an artistically-imaginative potential, 2) a meaningfulness and 3) an appropriateness to given artistic task of those musical text which the composer produces and synthesizes. The last one ensures a modeling (a setting of certain borders for artistic intent, “a designing”) – a reviewing of plans, a comparison of real and anticipated results etc. The process of interpretation transpires as a dialectical interaction between the composer’s artistic individuality (inner factor) and the objective prerequisites for creation of musical piece (outer factor). The first one has certain parameters, which could be classified as: – professional parameters (the musical individuality): 1) “the power of imagination” (capability to generate ideas and give musical embodiment to them), 2) “musical abilities”, 3) “knowledge and skills” (theoretical, practical and scientific), 4) “the experience” (of musical performance, listening of own / other authors’ compositions), 5) “tools and means” (methods and approaches to work); – non-professional parameters (the personal-artistic individuality): 6) “the motivation” (as a feature of the personality), 7) “the emotionality” (perception and empathy), 8) “the intelligence” (watchfulness, circle of interests); 9) “the outlook” (general attitude to life), 10) “the health” (physical and mental). The objective prerequisites for creation of musical piece (the outer factor) consists of two main components: – the artistic task is appearing due to the need for the musical piece to be made, and it could be 1) given from a third person / a group of people (customer) or 2) initiated by a composer himself / herself (“self-ordering”). – objective circumstances – working conditions, organizational issues, distracting and stressing factors which could influence on the artistic task, speed up or slow down the work, or even pose a threat for a piece creation. A comprehensive coverage of all combinations of objective circumstances is hardly possible within one article (it seems to be more effective to consider this in certain cases). Thus, it’s reasonable to pay the attention to the artistic task, which depends from the customer type and could be classified. And it’s possible to create models of typical scenarios of interaction between the composer and the customer. 1) Scenario no. 1: “own idea – own musical piece”. The composer initiates his / her own project, generates and embody idea. An important feature is that the composer sets the artistic task to himself / herself in case of “self-ordering”, which means that a composer needs to evaluate the work done as from “outside”. This is a significant manifestation of the composer’s interpretation in this situation. Another specific feature is in a strong willing to make a composition as an action of self-expression – he / her become “possessed” with this artistic project which remains in the consciousness as an “unfinished business” must be done. Moreover, a probable risk of failure or / and public disregard does not stop the composer. 1) Scenario no. 2: “given direction from outside – idea – composition”. In this situation the role of the customer (-s) appears, but the artistic task set by him / her / them does not restrain the composer within strict borders. According to “the given direction”, the artist is free to choose stylistics, genre, musical means of expression etc. And this type of customer (he /she might be a performer, a music fan, a festival director or a participant etc.) is interested in creation and performance of this musical piece. So, this sort of the artistic task gives a freedom for selfexpression with partners’ support. Obviously, the project’s success depends from its reliability and objective circumstances. But, the artistic cooperation becomes a valuable experience for the composer and also gains popularity, thus could offer new opportunities for the further career development. 3) Scenario no. 3: “idea of the project author – composer’s interpretation – musical piece”. The composer cooperates with the type of customer who has own idea and own view of artistic task completed. This kind of situation is seemingly common for various commercial projects – music for movies, videogames, theatre shows (an initiative of a theatre), dance music, background music etc. The interaction in the sphere of symphony orchestra music could be also built on these principles. The customer is focused on commercial and / or public success and additional risks are highly unwanted. The composer’s work gains an interesting particularity, because the interaction “composer – customer” becomes more active. In such a case, a collision between artistic interests seems inevitable, because, from the one side, there is the artistic individuality as the inner factor of the composer’s interpretation, and from other side – the objective (for the composer) prerequisites for creation of musical piece, which, at some points, depend on the customer as a source of artistic initiative, thus artistic task and some part of objective circumstances. 4) Scenario no. 4: “teacher – student”. This variant of interaction could contain features of all the scenarios modeled before. An interesting particularity of this situation is that the teacher acts in a role of the customer, who, at the same time, is interested in success of student’s musical project. The teacher will model such artistic tasks which could raise the level of the student as a composer – develop parameters of his artistic individuality (moreover, not only the professional, but the non-professional too). The conflict of artistic interests is possible to appear in described scenarios (in case of self-ordering – the inner conflict). This would lead to significant change of musical projects or even failure. However, this promising topic is better to be investigated in further studies. Conclusions. The comprehension of the interpretational component in composer’s art allows to approach not only to comprehension of single artist’s personality principles of development, but to understanding the process of creation of a musical composition in general. Every written piece is a unique example with its own history of creation and later existence. Though not all of compositions gain public approval, every act of the true artistic self-expression is valuable for the author and raises him / her on a new level as a professional and a person. Because, “the process of author thinking” involves the whole spectrum of person’s experience and is “a way of self-fulfillment of a person who cognizes the world” (Shapovalova, 2008: 9)

Although playing is generally viewed as a childhood universal—an expected and somewhat innocuous part of children's lives—Chicano writers often particularize play's universality by constructing the diverse grounds of childhood play as sites that encapsulate conflicting subject positions. Among the Chicano texts in which playing shares this complexity as a critical locus for the child protagonist is Américo Paredes' George Washington Gómez. Paredes employs narratives of childhood play in a dialectical pattern that elucidates his protagonist's inner and outer conflicts and that also evokes Ramón Saldívar's theory of Chicano literature. While Guálinto Gomez's playworlds reflect both the violence and discrimination that surround him in the real world and highlight his struggles with his dual American and Mexican identity, Paredes provides no synthesis for his protagonist's dialectical dilemma of doubleness.

Experimental modeling of phosphates extraction from model solutions and sludge mixture of regional water treatment facilities is carried out. The sorbents used are Mg – Al layered double hydroxides obtained by method of solid-phase synthesis according to patented technology. The experimental data of the PO43– -ions sorption onto Mg – Al LDH most accurately describes by pseudo-first order kinetic model. The process of phosphate ions sorption onto hydroxide form Mg – Al LDH proceeds in a mixed diffusion mode, not only the outer surface of the material, but also the inner surface of the grains is involved in the sorption process. The sorption capacity of the hydroxide form is 49 mg P/g, which corresponds to the average level of phosphorus removal from wastewater achieved in world practice for synthesized analogues. The use of the oxide form obtained by materials calcination during 600 °С increases the efficiency of municipal effluents dephosphotation.

Mitochondrial biogenesis (synthesis) has been observed to occur in skeletal muscle in response to chronic use. It also occurs in cardiac muscle during growth and hypertrophy, and it may be impaired during the aging process. This review summarizes the literature on the processes of mitochondrial biogenesis at the biochemical and molecular levels, with particular reference to striated muscles. Mitochondrial biogenesis involves the expression of nuclear and mitochondrial genes and the coordination of these two genomes, the synthesis of proteins and phospholipids and their import into the organelle, and the incorporation of these lipids and proteins into their appropriate locations within the matrix, inner or outer membranes. The emphasis is on the regulation of these events, with information derived in part from other cellular systems. Although descriptions of mitochondrial content changes in heart and skeletal muscle during altered physiological states are plentiful, much work is needed at the molecular level to investigate the regulatory processes involved. A knowledge of biochemical and molecular biology techniques is essential for continued progress in the field. This is a promising area, and potential new avenues for future research are suggested. Key words: heart, skeletal muscle, gene expression, heme metabolism, protein import

Abstract Prebiotic molecules, fundamental building blocks for the origin of life, have been found in carbonaceous chondrites. The exogenous delivery of these organic molecules onto the Hadean Earth could have sparked the polymerization of the first RNA molecules in Darwinian ponds during wet-dry cycles. Here, we investigate the formation of the RNA and DNA nucleobases adenine, uracil, cytosine, guanine, and thymine inside parent body planetesimals of carbonaceous chondrites. An up-to-date thermochemical equilibrium model coupled with a 1D thermodynamic planetesimal model is used to calculate the nucleobase concentrations. Different from previous studies, we assume the initial volatile concentrations more appropriate for the formation zone of carbonaceous chondrite parent bodies. This represents more accurately cosmochemical findings that these bodies have formed inside the inner, ∼2–5 au, warm region of the solar system. Due to these improvements, our model represents the concentrations of adenine and guanine measured in carbonaceous chondrites. Our model did not reproduce per se the measurements of uracil, cytosine, and thymine in these meteorites. This can be explained by transformation reactions between nucleobases and the potential decomposition of thymine. The synthesis of prebiotic organic matter in carbonaceous asteroids could be well explained by a combination of (i) radiogenic heating, (ii) aqueous chemistry involving a few key processes at a specific range of radii inside planetesimals where water can exist in the liquid phase, and (iii) a reduced initial volatile content (H2, CO, HCN , and CH2O) of the protoplanetary disk material in the parent body region compared to the outer region of comets.

Artworks produced in this studio-based research (option D) involve exploration of the ‘liquid space’ of the sea, not just in its physical and sensual nature and the way the sea looks, but also with what the sea inspires. They explore the spatial dynamics of underwater terrains, convergences of inner and outer ‘space’, and question if and how the numinous and immaterial might be made manifest in the material. References to the traditional story of Jonah and the Whale operate as a contemporary metaphor for the sea as a site of death and renewal. Through the creation of series of paintings, works on paper and engraved glass overlays, the sea is examined as a synthesis of the complex and diverse on many fluidly interacting levels, including the empirical, experiential and metaphoric. As a poetic space with many levels of resonance, it becomes ground for exploring the creative process, the nature of being and processes of transformation and change within each. Research questions include: What might a contemporary expression of the interaction of the physical and metaphysical self be like? How might a synthesis of abstraction and representation be created in the visual language of painting? How might concepts of unity be reconciled with rhythms of death and renewal, transformation and change? Does unity necessarily mean uniform? A significant aspect of this research has been the generation of artworks on or through field trips to locations by the sea - Cape Leveque in North-east Australia, Heron Island Research Station on the Great Barrier Reef and South Bruny Island in Tasmania. In exploring the interface between abstraction and representation, unity and diversity, and the inner and outer worlds, I have discovered the sea rich ground for reenvisioning these seeming opposites as co-creative, relational and finally inseparable. The ‘Wave’ structure of the Exegesis is more than usually organic in form. Conventional chapters are replaced by multiple and varied sections, each called a WAVE and written in changing ‘voice’. Echoing the shifting rhythms of the sea, and in order to correspond more directly to the way practice-driven research creates meaning, the wave structure reflects the wider concerns of the research to synthesise the unexpected and diverse.

Abstract A particle-sampling probe has been designed and constructed for the continuous collection of nano-powders produced by the plasma spray synthesis (PSS) process. The probe comprises a powder sampling line (inner tube), a quench gas line (outer tube) and a water-cooling jacket surrounding the outer tube. A sample holder is disposed at the exit of the inner tube to hold a standard 3.08 mm diameter TEM copper grid which is used to collect the powders by means of the pumping pressure differential. Quenching gas is introduced to the probe, via the outer tube to quench and entrain the as-synthesized clusters. After each sample collection event, the inner tube can be cleaned in-situ by means of a water injection, and then dried using a compressed gas flow. The results obtained to date indicate that the sampling probe location in the plasma reactor and the quenching gas flow rate employed are the most important parameters involved in the satisfactory operation of the sampling probe.

Sketching of mechanisms identified during the type synthesis process constitutes an important link with the subsequent dimensional synthesis process in the systematic design of mechanisms. Based on the independent loops, a simple and comprehensive method for automatically sketching every type of kinematic chain regardless of the number of links and degrees of freedom is proposed. In the method, a maximal feasible outer-loop is derived by the independent loops addition or subtraction such that all the independent loops become its non-crossing inner loops. During automatic sketching of mechanisms process, the joints of kinematic chain are located on vertices of concentric inscribed regular polygon by outer lane to inner lane in terms of the outer loop and the inner loops. The development and application of this algorithm based on the outer loop and the inner loops relationships are demonstrated with the aid of several mechanism examples.

This paper deals with the kinematic synthesis of volumetric rotary machines, which are generated by the planetary motion of regular curve-polygons. In particular, the synthesis of both outer and inner conjugate profiles has been formulated as envelope of the polycentric profiles of a generating regular curve-polygon with any number of lobes, different radii of the circumcircle and rounded corners. A regular curve-polygon with cusp corners can be obtained as a particular case, like the Reuleaux triangle. Finally, the proposed formulation has been implemented in a Matlab code and several examples are reported.

Numerical simulation was made for high-temperature solar and thermal receivers of pressurized air for solar micro gas turbine system. The solar / biomass hybrid gas turbine was considered to generate 30kW to 100kW power. The gas turbine system was provided with the concentrated solar light from the dish reflector at the solar receiver and the combustion heat from the biomass synthesis gas at the thermal receiver. Numerical model was developed to the solar receiver and the thermal receiver to reveal their thermal potential. The solar receiver was a close loop concentric annuli to receive highly condensed solar light of 1,000kW/m2. The inner cylinder was made of high-temperature resistance ceramic irradiated by the condensed light on the inner side. The liner was inserted between the inner cylinder and the outer shell. The pressurized air passes the many holes of the liner to impinge the outer surface of the irradiation wall. These impinging jets caused high heat transfer coefficient on the irradiation wall and alleviates the thermal distribution in the receiver aisle. The liner and the outer shell were made by the high temperature resistance INCONEL alloy. The thermal receiver was also a close loop annuli. This uses the same part as the solar receiver and the biomass gas combustor combined to it. The combustor comprises of the liner and the center tube, installed to the inside of the ceramic cylinder. The biomass gas was provided to the gap between liner and the center tube, and the oxidant air to the outer side of the liner. The biomass gas was spouted from the many holes of the liner and mixed with the oxidant air. The resulted hot combustion gas impinged directly to the inner side of the ceramic cylinder. The impingement of the hot combustion gas thinned the thermal boundary layer and enhanced the heat transfer on the ceramic wall. The thermal receiver was designed to attain the preferable heat transfer performance by the inner impinging jet of the hot combustion gas as well as the outer impinging jet of the pressurized air. Three dimensional numerical model was developed to the solar receiver and the thermal receiver considered in the present study using ANSYS FLUENT. Parameter study showed that the exit air from the solar receiver was heated above 1200K or higher presently, and was continued to search better condition and better configuration of the system to obtain higher temperature. The numerical simulation revealed that the distance from the jet nozzle (linear holes) and the heat transfer surface is critical to the thermal distribution. The concept of the new solar and thermal receivers was confirmed on their usefulness; the multiple impinging jet effectively enhanced the heat transfer on the ceramic wall of the solar receiver and the thermal receiver to reduce the thermal inhomogeneity near the heat transfer surface with pressure loss of order 800Pa.

This paper discusses the design and implementation of two track-following controllers for dual-stage hard disk drive servo systems. The first controller is designed by combining an outer loop sensitivity-decoupling (SD) controller with an inner loop disturbance observer (DOB). The second is designed by combining mixed H2/H∞ synthesis techniques with an add-on integral action. The designed controllers were implemented and evaluated on a disk drive with a PZT-actuated suspension-based dual-stage servo system. Position error signal (PES) for the servo system was obtained by measuring the slider displacement with an LDV and injecting a simulated track runout.

This paper deals with the design of steering mechanisms in road vehicles. With this aim, the kinematic models of three types of steering linkages are considered and Ackermann steering geometry is used to define the objective function. The proposed method uses a dimensional synthesis technique based on local optimization to obtain the dimensions of the links. The problem is formulated as function generator synthesis, where the inner wheel is supported by the input link and the output link is supported by the outer wheel. The formulation presented in this paper was developed by the authors and it is capable of considering the necessary accuracy conditions in the design of this kind of linkage. Three examples are shown to illustrate the application of the method.