bluuebunny/crossref_metadata_2025_split huggingface dataset:
Radiation Dry Bias Correction of Vaisala RS92 Humidity Data and Its Impacts on Historical Radiosonde Data
Authors: Wang Junhong , Zhang Liangying , Dai Aiguo , Immler Franz , Sommer Michael , Vömel Holger 
Published: October 2012

Abstract
The Vaisala RS92 radiosonde is the most widely used type of sonde in the current global radiosonde network. One of the largest biases in the RS92 humidity data is its daytime solar radiation dry bias (SRDB). An algorithm [referred to as NCAR radiation bias correction (NRBC)] was developed to correct the SRDB based on a more complicated algorithm developed by the Global Climate Observing System (GCOS) Reference Upper-Air Network (GRUAN). The NRBC to relative humidity (RH) is a function of the measured RH and temperature, and the temperature solar radiation correction. The latter varies with pressure, season, and time of the day. The RH correction has a mean magnitude of about 2%–4% and 6%–8% in the lower–midtroposphere and upper troposphere, respectively. The NRBC is evaluated against the GRUAN-corrected RS92 data and the ground-based GPS-estimated precipitable water (PW). The corrected RH agrees with the GRUAN data within ±0.5% on average, with standard deviations of about 1%–2% and 2%–6% in the lower–midtroposphere and upper troposphere, respectively. The NRBC leads to reduced mean biases, and better agreement with the GPS PW and its diurnal cycle. The NRBC has been applied to historical radiosonde data at 65 stations. The radiosonde humidity data, both with and without the NRBC, are homogenized using the method of Dai et al. (2011). The NRBC results in consistently elevated RHs throughout the whole record in the homogenized data. This could have a significant impact on global reanalysis products when they are assimilated into the reanalysis models. However, the NRBC has insignificant effects on the long-term trends as the correction is primarily for mean biases.
An Adaptive Dealiasing Method Based on Variational Analysis for Radar Radial Velocities Scanned with Small Nyquist Velocities
Authors: Xu Qin , Nai Kang 
Published: October 2012

AbstractPrevious velocity–azimuth display (VAD)-based methods of dealiasing folded radial velocities have relied heavily on the VAD uniform-wind assumption and, thus, can fail when the uniform-wind assumption becomes poor around azimuthal circles in a vertical layer and the Nyquist velocity is small (≤12 m s−1). By using the two-step, alias-robust variational (AR-Var) analysis in place of the alias-robust VAD (AR-VAD) analysis for the reference check, the previous AR-VAD-based dealiasing method is improved to an AR-Var-based dealiasing method adaptively for radar radial velocities scanned with small Nyquist velocities. The method has been tested with severely aliased velocity data scanned by the Oklahoma KTLX radar. The robustness and satisfactory performance of the AR-Var-based dealiasing are exemplified by the results obtained for a severe winter ice storm scanned with the Nyquist velocity reduced to 11.51 m s−1.
Make the Stones Shout: Contemporary museums and the challenge of culture
Authors: Marshall Christopher R. 
Published: October 2012

AbstractContemporary museums continue to play a vital role in articulating powerful statements of national and cultural identity for broad and diverse audiences. Focusing on a range of global case studies – from recently instituted displays at the Asian Civilisations Museum in Singapore to the National Museum of the American Indian in Washington DC and from the British Museum in London to the National Gallery of Victoria in Melbourne – the author will consider some of the key challenges facing contemporary museums in their efforts to incorporate new insights and approaches to presenting art and culture in contemporary contexts. A particular focus will be provided on the problem of the repatriation/reunification of ancient sculptures and artworks, of which the Parthenon sculptures is a major case.
Western Desert Iconography: Rock art mythological narratives and graphic vocabularies
Authors: McDonald Jo , Veth Peter 
Published: October 2012

AbstractThe travels of the ancestral beings known as Wati Kutjarra (two lizard-men) are central to Western Desert cosmology. The results of their actions, markings and transmogrified forms are often seen in socially ‘open’ domains and cover and connect features over huge tracts of land. On the central Canning Stock Route of Western Australia there are detailed ethnographic records and ongoing observances of Wati Kutjarra by custodians at a number of ranges and water holes where pigment rock art occurs in shelters. At these same locales archaeological excavations have yielded ochres and occupational deposits which suggest these places have acted as aggregation locales through long periods of time. In this paper we explore the dynamics and genesis of socially constituted desert iconography through time.
Art History and Translation
Authors: Whyte Iain Boyd , Heide Claudia 
Published: October 2012

AbstractThis text reflects on the insights gained in the process of launching Art in Translation, the first journal dedicated to the best writing from around the world on the visual arts in English translation.When art history gained academic currency in the later nineteenth century, it was doubly inflected by language. The subject matter was articulated along linguistic divisions, often reflecting national boundaries. At the same time, schools of art writing developed in the major European languages. According to the standard historiography, German was the dominant language of the discipline in the early years, superseded in the second half of the twentieth century by English. This account insists both on an agreed canon of art writing and on a hierarchical relationship between linguistic areas. From a post-colonial perspective both these positions must be challenged. A more differentiated reading suggests that in spite of the hegemonic power of these principle languages, art history has always been more fragmented, diverse, and written in many more languages. While the hegemony of the English language works against diversity, it offers as a global language the opportunity to communicate across linguistic boundaries. This text addresses the politics of translation in art history: the benefits and dangers of English-language domination. How does translation and its avoidance affect the flow of knowledge and the exchange of ideas? Is it possible, via the act of translation, to encourage a more pluralist and polyglot art history? Beyond these ideological dimensions, this article also investigates the ways in which translation theory enables a rigorous critical methodology that can advance thinking about visual culture.
Visual Culture of the Indian Ocean: India in a polycentric world
Authors: Asher Frederick M. 
Published: October 2012

AbstractWhat India produced others wanted. Others therefore wanted India. Although this by no means entirely explains India’s role in a polycentric world, it explains a great deal. It also helps us understand India as a fulcrum, at least within Indian Ocean trade. That is, the means by which India’s visual products became known and then coveted as well as the means by which India absorbed visual products from other centers of the world long before the age of call centers and other forms of outsourcing by which India engages in the present-day polycentric world.My article for Diogenes examines four periods in India’s history that present opportunities to explore India’s role in a polycentric world as documented by visual examples. The first is the third-century BCE Maurya empire, which emerged in response to Alexander’s march toward the east. While we have some written documentation for India’s engagement with the Mediterranean, shared motifs and even the export of luxury goods beautifully fashioned from ivory document the engagement of two of the most important civilizations of the time. The second is the powerful seafaring and sea-trading Chola empire, which left its mark across Southeast Asia with the expansion of Buddhism and Hinduism, with scripts based on those of India, and with a Hindu temple of the thirteenth century, one very possibly designed and carved by Indian artists, whose remains are still to be seen in Quanzhou, China, the Zayton of Marco Polo’s writing. The third is India’s role in producing export textiles designed specifically for markets outside of India, for example, those of Southeast Asia but extending to the so-called Paisley prints and the plethora of words for textiles derived from Indian languages, e.g. Calico and Seersucker. Finally, the article examines Mughal paintings that incorporate European works and European artists, including Rembrandt, who copied Mughal paintings.
The image of the megalopolis – understanding the complex visual construction of Mexico City
Authors: Krieger Peter 
Published: October 2012

AbstractThe image of the city has always been an important source and tool for defining cultural communities that dwell within. Distinctive street patterns as well as the building scenographies in different cultures and periods document the technological, economic, and cultural capacities of the cities’ inhabitants. From Aristotle’s practical philosophy up to the current tourist view of the city, where the relics of the past – cathedrals, castles, or town halls – serve as symbolic attractors, the heterogeneous image of the city reveals interesting insights into the history of civilization. Beyond the abstract data used in economic or social sciences research – numbers of inhabitants, income, productivity, and other statistical information – the image (and also the imaginaries) of the city with its high cultural complexity is a topic of research for critical art history which offers unexpected and refreshing material for a transdisciplinary dialogue on the city as the most essential form of human culture. Since the beginning of the 21 st century, the city form and image have changed considerably, in quantitative and qualitative terms. The increasing number and size of the world’s megalopolises (cities with more than 10 millions inhabitants), mainly in Latin America, Asia, and Africa, marks a new epoch of city culture with different structural and aesthetic parameters than those of traditional Old European cities.This article reviews, first, the new visual constructions of the megalopolis, second, its transformation into artistic and documentary images (photograph, film, digital art, etc.), and third, how they are catalysed into collective mental imaginaries. As an example, I examine Mexico City, a megalopolis of about 20 million inhabitants where cultural fragments of the prehispanic past, the colonial period, and the modern epoch have left their visual traces, to constitute a vital collage; one that has many contrasts as well as the occasional clash in cross-cultural processes. Supported by the recent tendencies of Bildwissenschaft (visual studies), this article tries to develop new perspectives of research on the critical phenomena at the beginning 21 st century from within the current polycentric and hyperurbanized world.
The Presence of Cross-Cultural Pasts in the Art History of Central Europe
Authors: Lővei Pál 
Published: October 2012

AbstractCentral Europe is a mixture of multi-ethnical regions, with a stormy past and many cross-cultural connections. The 19th and 20th centuries saw the birth of several nation-states that used cultural heritage constructs to legitimize their existence, demonstrating their long history and supposed cultural superiority. Characteristics of the minds of the different nations were searched for in the field of art history, too. The old and new states published series of “national” art histories in the second half of the 20th century.Simultaneous with these “national” art histories was the contradictory notion of using art to promote a unified Europe. Instigated by the political changes of 1989/90, collective actions were brought to the region in the form of several international exhibitions, presenting topics such as Baroque art in Central Europe or “Central Europe around 1000”. Organized through international cooperation is the preparation of a nine-volume hand book on the history of art in Eastern-Central Europe, discussed in a European context.A novelty of the convention of the Council of Europe (Faro 2005) is the definition of “heritage community”. According to it groups and/or individuals have the right to express their affinity to any part of European heritage, independently of ownership and localization, and anybody, alone or within a community, may belong to several heritage communities. Interpretations can and will be different, but the right to have access to material and sources of the common heritage has already started to be accepted.
Portraying The Ptujska Gora Pilgrims
Authors: Ciglenečki Marjeta 
Published: October 2012

AbstractThe pilgrimage church at Ptujska Gora, built around 1400 and devoted to the Virgin of Mercy, is recognized as one of the most highly regarded and valued examples of cultural heritage in Slovenia. Pilgrims, of course, began to determine the nature of the site from the beginning of the 15 th century on and a significant number of images depicting the pilgrims to Ptujska Gora have been produced over the centuries. These images provide valuable insight into the demographic shifts in the quintessential Ptujska Gora pilgrim over time. In the 15 th century, noblemen and clergymen were portrayed as donators, closely connected to the Virgin (for example, the relief in the main altar with 82 figures under the cloak of the Virgin, and the predella of the altar of Our Lady of the Rosary and the frescoes in the Cross Chapel). In the 17 th and 18 th century it is appar-ent that the most devoted pilgrims came from the middle classes (see the copper engraving by Wolfgang Kilian, depicting eight miracles). From the 19 th century on, peasants and pilgrims from the lower classes attracted the attention of artists (such as Alois Kasimir and France Mihelič). Up until the 1970s, the pilgrims to Ptujska Gora typically reflected the structure of socialist society in which religion was unwelcome; their images were systematically recorded by the photographer Stojan Kerbler.
Paradigms of the Beholder. The Perception of Art in a Global Age: Over Here – Over There
Authors: Schneemann Peter J. 
Published: October 2012

AbstractThis article demonstrates how art history investigates the perception of art at a moment when a main axiom of effect and understanding of an object turns out to be variable; the question of the “where?”Today the old hermeneutical problem of historical distance is replaced with a geographical challenge, namely that of geographical distance. Not only does the beholder travel more extensively than ever, but also the artwork itself, the object of interpretation, shifts from one context to another. Thus, the beholder often does not fit within the original context in which the work was produced and is therefore constantly looking at “the other”.The author discusses contemporary art and new frameworks of understanding that have become more complex in evoking expectations about the art work as a reference system, as they relate to the beholder’s own position to places far away. Concepts which again imply a universal language of art again (e.g. neuroscience) have to be contrasted with both the artist and the audience’s desire for the specific, the different.
Art History in the Cinema Age
Authors: Dufrêne Thierry 
Published: October 2012

AbstractIn the art biennales of today, video has become, like it or not, a universal tool, a sort of “green card” for today’s art. It forms a convenient platform, especially when used with subtitles and especially for the artists of emerging countries, as long as they have access to this technique.Could the art history film equally become a language shared by the community of art historians? This type of film is characterised by the collaboration of a filmmaker and an art historian, such as occurred when Roberto Longhi and Umberto Barbaro together produced their film Carpaccio in 1948. Erwin Panofsky, Rudolf Arnheim and Carlo Argan have analysed cinema in this regard. Others have practised it in undertaking art history: Kenneth Clark is one example. Another is Carlo Ragghianti, who made 20 critofilms between 1948 and 1964 which he defined as “a reading and a critical analysis of artistic language realised through the visual language of cinema”.Is our contemporary era, marked as it is by the globalisation of art and the proliferation of films on art (documentaries, “art films”, experimental films, biopics), beginning thus to create its own art history? If so, of which sort?This art history through film has a comparative intention, marked by a re-reading of the art of the past, in the way that Bill Viola, for example, is enlivening painting. It has the potential to transform connoisseurship by enabling a new relationship to emerge between the eye and the artwork, but it is also a post-colonial history which bursts the boundaries between ethnographic films like those of Flaherty or Les Maîtres fous of Jean Rouch (1954) or Les Statues meurent aussi of Chris Marker and Alain Resnais, and films of today’s highly ritualised “performance art” manifestations. As well it brings consideration to new approaches, such as those of the neuro-sciences and questions the force of images (David Freedberg) and their “agency” (Gell). Henri Storck has written: “The eye of the camera is much more powerful than our own”.In his book L’Intemporel (1973), Malraux wrote that “the museum of the audio-visual” had replaced the “museum of the imaginary”. With video and digital art, the art history film has entered a new era, while still remaining an important element of the teaching of art history, as had been wished for from very early on since the 1950s by the art historian Pierre Francastel.Already in the 1960s UNESCO played an important part in searching out and compiling an inventory of resources relating to film on art. Such investigation needs to be resumed today. But above all, it is the history of the “art history film” which still remains to undertaken at a time when the challenges of a now polycentred world are sketching out a different future.
Altered regional blood flow distribution in Mas-deficient mice
Authors: Botelho-Santos Giancarla Aparecida , Bader Michael , Alenina Nathalia , Santos Robson Augusto Souza 
Published: October 2012

Background: We have recently shown that the acute infusion of angiotensin-(1–7) [Ang-(1-7)] or chronic increase in plasma Ang-(1-7) produces important changes in regional blood flow in rats. Methods: To further assess whether these changes are related to Mas, in this study hemodynamic measurements were performed in Ang-(1-7) receptor Mas knockout C57BL/6 (Mas-KO) mice and age-matched wild type (WT) control mice, using fluorescent microspheres. Results: Mean arterial pressure in urethane-anesthetized Mas-KO mice (12–16 weeks old) did not differ from that in WT mice (79 ± 2 and 80 ± 2 mmHg respectively). However, pronounced differences were observed in other hemodynamic measurements. Mas-KO mice exhibited a significant decrease in stroke volume (0.03 ± 0.01 versus 0.05 ± 0.01 ml/beat in WT) and decreased cardiac index (0.81 ± 0.08 versus 1.24 ± 0.24 ml/min/g in WT). Strikingly, Mas-KO mice exhibited a marked increase in vascular resistance and a decrease in blood flow in the kidney, lung, adrenal gland, mesentery, spleen and brown fat tissue. The decrease in blood flow ranged from 34% (spleen) to 55% (brown fat tissue). Conclusion: These results suggest that the Ang-(1-7)/Mas axis plays an important role in regional and systemic hemodynamic adjustments in mice.
Structure-function analysis indicates that sumoylation modulates DNA-binding activity of STAT1
Authors: Grönholm Juha , Vanhatupa Sari , Ungureanu Daniela , Väliaho Jouni , Laitinen Tuomo , Valjakka Jarkko , Silvennoinen Olli 
Published: October 2012

Abstract

Background
STAT1 is an essential transcription factor for interferon-γ-mediated gene responses. A distinct sumoylation consensus site (ψKxE) 702IKTE705 is localized in the C-terminal region of STAT1, where Lys703 is a target for PIAS-induced SUMO modification. Several studies indicate that sumoylation has an inhibitory role on STAT1-mediated gene expression but the molecular mechanisms are not fully understood.

Results
Here, we have performed a structural and functional analysis of sumoylation in STAT1. We show that deconjugation of SUMO by SENP1 enhances the transcriptional activity of STAT1, confirming a negative regulatory effect of sumoylation on STAT1 activity. Inspection of molecular model indicated that consensus site is well exposed to SUMO-conjugation in STAT1 homodimer and that the conjugated SUMO moiety is directed towards DNA, thus able to form a sterical hindrance affecting promoter binding of dimeric STAT1. In addition, oligoprecipitation experiments indicated that sumoylation deficient STAT1 E705Q mutant has higher DNA-binding activity on STAT1 responsive gene promoters than wild-type STAT1. Furthermore, sumoylation deficient STAT1 E705Q mutant displayed enhanced histone H4 acetylation on interferon-γ-responsive promoter compared to wild-type STAT1.

Conclusions
Our results suggest that sumoylation participates in regulation of STAT1 responses by modulating DNA-binding properties of STAT1.
Secreted frizzled-related protein 4 expression is positively associated with responsiveness to Cisplatin of ovarian cancer cell lines in vitro and with lower tumour grade in mucinous ovarian cancers
Authors: Saran Uttara , Arfuso Frank , Zeps Nikolajs , Dharmarajan Arunasalam 
Published: October 2012

AbstractBackgroundOvarian cancer is one of the most lethal malignancies in women, as it is frequently detected at an advanced stage, and cancers often become refractory to chemotherapy. Evidence suggests that dysregulation of pro-apoptotic genes plays a key role in the onset of chemoresistance. The secreted Frizzled-Related Protein (sFRP) family is pro-apoptotic and also a negative modulator of the Wnt signalling cascade. Studies have demonstrated that the re-expression of sFRPs, in particular sFRP4, is associated with a better prognosis, and that experimentally induced expression results in cell death.ResultsIn vitroexperimental models determined that sFRP4 was differentially expressed in chemosensitive (A2780) and chemoresistant (A2780 ADR and A2780 Cis) ovarian cell lines, with chemosensitive cells expressing significantly higher levels of sFRP4. Transfection of the chemoresistant cell lines with sFRP4 significantly increased their sensitivity to chemotherapy. Conversely, silencing of sFRP4 expression in the chemosensitive cell line resulted in a corresponding increase in chemoresistance. Comparison of sFRP4 expression in tumour biopsies revealed a positive trend between sFRP4 expression and tumour grade, with mucinous cyst adenocarcinomas exhibiting significantly decreased sFRP4 levels compared to mucinous borderline tumours.ConclusionsThis study indicates a role for sFRP4 as a predictive marker of chemosensitivity in ovarian cancer and suggests that this pathway may be worth exploiting for novel therapies.