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We propose a protocol to evaluate and analyze year-long simulations of global storm-resolving models (GSRMs). The proposed protocol complements an earlier 40-day simulation protocol under the DYAMOND (DYnamics of the Atmospheric general circulation Modeled On Non-hydrostatic Domains) project to allow the analysis of the seasonal cycle and associated climatic relevant phenomena. This intercomparison aims to reveal how GSRMs, which can simulate mesoscale convective systems (MCSs) in the global domain, reproduce atmospheric large-scale structures related to convection beyond month-long simulations. The intercomparison for one-year simulations is conducted by either atmosphere-only models or atmosphere–ocean coupled models with atmospheric horizontal mesh sizes less than 5 km. We recommend the continuous four seasons from March 2020 to February 2021 as a target period for the intercomparison but with options for many groups to join more flexibly. The output variables are collected at 0.25° resolution, and archives of a small set of native grid variables are encouraged to analyze tropical cyclones and MCSs. Through the proposed global storm-resolving simulation, we will evaluate the climatological distributions of the atmospheric large-scale circulations, such as the Intertropical Convergence Zone (ITCZ), monsoon, midlatitude jets, their time evolution, and the upscale impacts on them. We present sample analyses from a one-year simulation using the 3.5 km mesh Nonhydrostatic Icosahedral Atmospheric Model (NICAM), revealing the realistic zonal contrast of tropical precipitation, no double ITCZ structure, the reasonable midlatitude jet position and intensity but a weak bias of storm track activities, and a warm bias over the Eurasia during boreal winter. We also clarify the cross-scale interaction, such as the effects of cold pools on mean precipitation over the Maritime Continent through the precipitation diurnal cycle and the effects of resolved gravity waves on midlatitude mean flows. The proposed one-year simulation protocol is referred to as the "Sendai Protocol." This protocol is not unique or definite for evaluating GSRMs; we prospect a hierarchical set of experiments from short-term to multi-year simulations as GSRM intercomparisons. [ABSTRACT FROM AUTHOR]

The objective of the present case report is to describe Icon resin infiltration as a treatment option for postorthodontic white spot lesions (WSLs). A 23-yearold male patient complained of white spots on his maxillary anterior teeth that caused him significant esthetic concern in terms of his smile and affected his self-esteem. During the anamnesis, the patient reported that he noticed white spots directly after the brackets were removed after orthodontic treatment, which had not yet been completed. Based on the information obtained through the anamnesis and the clinical examination, the spots were deemed to be remineralized WSLs. The proposed treatment consisted of supervised at-home tooth whitening through bleaching in combination with microabrasion and resin infiltration. The clinical results were successful, showing significant improvement in terms of esthetics and the patient's self-esteem after only a single session of resin infiltration with Icon material. Treatment optimization and gain in clinical time were clearly demonstrated as well as the preservation of tooth tissue compared with other treatments. [ABSTRACT FROM AUTHOR]

Atmospheric blocking is a key dynamical phenomenon in the mid‐ and high latitudes, able to drive day‐to‐day weather changes and meteorological extremes such as heatwaves, droughts and cold waves. Current global circulation models struggle to fully capture observed blocking frequencies, likely because of their coarse horizontal resolution. Here we use convection permitting, nested idealized model simulations for quantifying changes in blocking frequency and Rossby wave breaking compared to a coarser resolution reference. We find an increase in blocking frequency poleward and downstream of the area with increased resolution, while the exact regions depend on the blocking index. These changes are probably due to a more accurate representation of small‐scale processes such as diabatic heating, which affect Rossby wave breaking and blocking formation downstream. Our results thus suggest an improved representation of blocking in the next generation of high‐resolution global climate models. Plain Language Summary: Atmospheric blocking is a persistent weather pattern associated with high‐pressure anomalies that is able to drive meteorological extremes such as heatwaves and drought in summer, and cold waves in winter. Having blocking well represented in state‐of‐the‐art climate models is of paramount importance, however these models fail in simulating the frequency of blocking events, likely because their grid resolution is not high enough for resolving small scale physical processes important for the development of blocking episodes. Here we use very‐high resolution model simulations for quantifying blocking frequencies and the mechanisms driving these episodes. Our simulations are idealized, in the sense that they do not fully represent the Earth's system but allow us to focus on key physical mechanisms driving the blocking events. Our results show that using a very‐high resolution enhances blocking frequencies when compared to a lower resolution grid. The findings point toward the importance that unresolved physical processes play in generating blocking events that can only be simulated at very‐high resolution and can be of importance for the next generation of climate models. Key Points: Blocking frequency increases downstream and poleward of sea‐surface temperature front with convection permitting atmospheric resolutionThe specific region of increased blocking depends on the blocking indexChanges in diabatic heating and Rossby wave breaking play a fundamental role for the blocking enhancement [ABSTRACT FROM AUTHOR]

Joseph Ratzinger points to the dialogical nature of the human being. Indeed, the human is by nature called to live in relationships, and for him/her social life is a natural environment of existence. This need, which humans discover within themselves, has its source in Communio Trinitatis, the profound communion of the three Divine Persons. In essence, God is not a loner but an eternal dialogue of love. As evidence of this, He created the human being in His image and likeness. The human's role model lives in a relationship of love. Hence, the individual also discovers a deep need within him/herself for interpersonal communication. In this respect, it is healing for a person to live in a relationship. Firstly, because the dialogue of faith with God is true healing and salvation for the human being. Secondly, relationships with other humans also have an enriching impact on their personality. However, J. Ratzinger stresses that isolation alienates people and even leads to illness or death. Meanwhile, a living relationship with God and other people transforms the human person and ensures personal growth. [ABSTRACT FROM AUTHOR]

In this study, we explored the impact of tilted designs of anthropomorphic app icons on users' perceptions of icon vividness across three experiments. In Experiment 1, tilting with an angle of 45° to the left increased perceived icon vividness. In Experiment 2, sequential icon tilt angles at 30° intervals manipulation showed that small tilt angles (e.g., 30° to the left or right) enhanced participant perceptions of dynamism and vividness, and participants perceived greater vividness in anthropomorphic app icons with slight tilting, driven by this increased dynamism. In Experiment 3, we excluded the effect of the completeness of icons on these participants' evaluations and affirmed that slightly tilting designs was an effective visual strategy for improving perceived vividness to attract users. [ABSTRACT FROM AUTHOR]

Accurate determination of the ionospheric parameters is one of the important objectives of the Ionospheric Connection Explorer (ICON) mission. Recent analyses of the current ICON Level 2.5 (L2.5) data product have shown that the ionospheric parameters (e.g., the peak electron density, n m F 2 , and the peak height, h m F 2 ) that are retrieved from the nighttime OI 135.6 nm emission observed by ICON's Far Ultraviolet (FUV) imager exhibit a systematic bias when compared to external radio measurements. In this study, we demonstrate that the bias was introduced by Tikhonov regularization that was used for the FUV Level 1 data inversion to generate the L2.5 data product. To address the bias, we develop a Bayesian framework for accurate determination of the nighttime ionospheric parameters through the Maximum A Posteriori (MAP) estimation. We show through analysis of synthetic observations that the key to an accurate MAP estimation is to construct a series of prior distributions associated with different h m F 2 using climatological empirical models. Implementation of the MAP estimation with this series of prior distributions to the ICON FUV observations and comparison of the ionospheric retrievals with external radio measurements verify that the Bayesian method can reduce the systematic bias to a negligible level of ∼1% in the retrieved n m F 2 and ∼1 km in the retrieved h m F 2 . Our study provides a novel method for FUV remote sensing data analysis and an improved data set for ionospheric research. [ABSTRACT FROM AUTHOR]

In his Death and Disaster series, Andy Warhol's Byzantine Catholic upbringing and beliefs take shape in his portraits of celebrities and unnamed disaster victims alike. While previous scholarship on the series describes Warhol's representation of death as consumerist, callous, and contributing to spectacle culture driven by mass media, my work instead focuses on Warhol's adoption and transformation of the Byzantine iconic tradition. In choosing to appropriate tabloid images of otherwise anonymous fatalities in the Disaster series, Warhol dignifies disaster victims as the secular martyrs of a rapidly modernizing world, where we are often mere casualties sacrificed in the name of industrial progress. Through his utilization of Byzantine visual language, Warhol's Death and Disaster works venerate victims of tragedy, moving them away from their former lives as tabloid spectacles and instead positioning them as secular icons of the twentieth century—their images memorialized as the saints and martyrs of our time. [ABSTRACT FROM AUTHOR]

Populist leaders are often described as "strongmen," receiving a somewhat two-dimensional Western press coverage that cannot explain their local popularity. Based on visual and textual analysis of Hungarian Prime Minister Viktor Orbán's Facebook, we argue that he has a more complex social media persona. Orbán's Facebook shows him as (1) a fighter against a variety of enemies, (2) a symbolic condensation of the nation, (3) a relatable politician with (4) a gentleness toward children and animals, and (5) a strong competence in elite political contexts. Orbán uses his charismatic authority on Facebook to draw the boundaries of the Hungarian nation, presenting himself as the iconic representation of "Hungarian-ness." The building blocks of his image are constantly being adapted to the current political situation and to shifts in public opinion. The Orbán image is, thus, a fluid and pragmatic material with only a few core principles and its popularity remains steadfast despite the brand's contradictions. Understanding the appeal of Orbán's self-representation may help us better grasp populist regimes' variation and success worldwide. [ABSTRACT FROM AUTHOR]

This study uses satellite measurements of plasma densities and thermospheric winds to analyze the effects of the November 2021 geomagnetic storm on ionospheric pre‐midnight topside plasma bubbles over South America. Using observations from the Ionospheric Connection Explorer (ICON) and the Global‐scale Observations of the Limb and Disk (GOLD) satellites, we find that pre‐midnight topside plasma bubbles were inhibited over eastern South America during the recovery phase of the storm. This is particularly notable because of the otherwise high occurrence rate of plasma bubbles at these longitudes during this season. This inhibition coincided with the recovery phase of the geomagnetic storm, marked by a northward turning of the z‐component of the interplanetary magnetic field (IMFBz) and quiet‐time values of the SuperMAG Auroral Electrojet Index (SME). We observed a westward turning of the zonal wind before the bubble inhibition, so we conclude the inhibition of topside plasma bubbles is likely related to a westward disturbance dynamo electric field (DDEF) causing a downward E×B $\mathbf{E}\times \mathbf{B}$ drift and suppress the growth of the instability responsible for bubble development. Contrary to theoretical predictions, we do not observe notable changes to the meridional wind during the event. These results provide new insights into the ionosphere‐thermosphere system's response to geomagnetic storms and highlight the role of wind patterns in inhibiting ionospheric irregularities, contributing to better predictive models for these phenomena. Plain Language Summary: Geomagnetic storms negatively affect communication and navigation systems by producing unpredictable changes in ionospheric densities. Plasma bubbles are irregularities in the ionosphere that occur mainly in the equatorial region and may be affected by geomagnetic storms. Studying plasma bubbles is crucial because they can significantly reduce the performance of communication and navigation systems, leading to signal loss or degradation. We conducted a study on how a geomagnetic storm in November 2021 affected the occurrence of pre‐midnight plasma bubbles over South America. Using data from two satellites (ICON and GOLD), we observed that these plasma bubbles disappeared during the storm's recovery phase. Our analysis suggests that this inhibition is likely linked to changes in wind patterns in the ionosphere. Specifically, a westward wind created conditions that prevented the generation of plasma bubbles. This study offers new insights into how winds during geomagnetic storms affect the ionosphere and helps improve predictions for communication and navigation systems affected by these disruptions. Key Points: Pre‐midnight topside plasma bubbles are inhibited over eastern South America during the recovery phase of a geomagnetic stormZonal wind measurements show evidence of wind‐driven electric fields inhibiting plasma bubble formationAlthough theoretical predictions also anticipate changes in the meridional wind, they are not observed [ABSTRACT FROM AUTHOR]

The paper inquires into the dating and provenance of a particular ‘Mother of God Eleousa’ from a Muscovite private collection. Is this icon a work of Italian or Byzantine art? The icon went through commercial restoration in Moscow, which could have distorted its painting and complicated the tasks of its dating and attribution. Numerous interventions and tinting, especially on the damaged face of the Mother of God, were clearly visible as early as the winter of 2021–2022; now most of these have been removed, although still not completely. The aim of that restoration was probably to create the illusion of a purely Byzantine icon for commercial purposes. The author suggests that the icon is not a Byzantine monument, but was created by an Italian master guided by a Byzantine model. Byzantine influence is present in this icon as much as it was inherent in Italian art of the 13th century and widespread in various artistic centers of this time. The icon’s origin could be Sicily or South of Italy. However, additional detailed research is needed to definitely confirm such attribution. So far, Italian provenance seems to be best substantiated. The versions of dating to the end of the 13th century or to the first quarter of the same century both do not seem convincing. The reminiscences of Late Comnenian art cannot be considered as a decisive dating indicator because their presence had been found during a very long period of time, including monuments of the late 13th century. Preliminary dating points at the middle of the 13th century or even at the period between the 1230s and 1260s. Мы касаемся в публикации лишь двух, основных, с нашей точки зрения, тем: произведением итальянского или византийского искусства является икона «Богоматерь Умиление» из московского частного собрания и каковы могут быть основные вехи для её датировки. Икона пережила в Москве коммерческие реставрации, что могло исказить её живопись. Ещё зимой 2021-2022 гг. были хорошо видны многочисленные вмешательства и тонировки, особенно на пострадавшем лике Богоматери, большая часть из них теперь удалена, хотя и до сих пор не полностью. Задачей той реставрации, вероятно, было создать иллюзию чисто византийской иконы в коммерческих целях. Предварительно можно заключить, что обсуждаемая икона не является византийским памятником, но создана итальянским мастером. Возможно, итальянский художник создавал её, ориентируясь на византийский образец. В её стиле нет чисто византийских черт, византийское влияние присутствует в ней настолько, насколько оно было присуще итальянскому искусству XIII в. и распространено в разных центрах и в разные периоды этого столетия. Версия о происхождении иконы с Сицилии или с юга Италии вполне правдоподобна, возможно, она верна. Однако для окончательного обоснования такой атрибуции нужно провести дополнительное детальное современное исследование. Пока определение иконы как итальянского произведения представляется наиболее осторожным и взвешенным. Датировки памятника концом XIII в. или первой четвертью столетия не представляются убедительными. Реминисценции позднекомниновского искусства встречаются ещё очень долго, в том числе и в памятниках конца XIII в., их присутствие не может рассматриваться как датирующий признак. Предварительная датировка, как нам представляется, может быть связана с серединой XIII в. или ширес периодом между 1230-ми и 1260-ми годами.

The paper examines some iconographic and stylistic features of the panel with the Virgin Eleousa from a private collection, exhibited at the Mikhail Abramov Museum of Russian Icons in October 2023 – February 2024. An exquisite artistic language of the icon indicates that the painter skillfully used typical Byzantine techniques. However, some undoubtedly italianizing intonations are also evident. Thus, closest analogies to somewhat amorphous facial features of the Virgin can be found in Italian panels of the mid-13th century. Broad, fleshy faces of the angels, depicted in medallions on either side of the Virgin’s halo, are endowed with almost sensual expressiveness. They demonstrate closeness to some works of Italian art dated back to the second half of the 13th – early 14th centuries. Considering painter’s virtuoso mastery of the entire arsenal of Byzantine art, presence of Western elements should be explained by the influence of a mixed Latin-Greek cultural environment. The Sicilian origin of the panel seems most plausible. A number of icons and mosaics preserved in Sicily from the 13th to the early 14th centuries reveal close stylistic similarities with the works of Constantinopolitan art. Their attribution raises significant difficulties: they could have been created either by visiting Byzantine masters or by their local disciples – Greeks or Italians. Icon’s classicizing style retains only a faint echo of late Comnenian mannerism. Calmness of refined draperies, rounded volumes and, especially, facial types give us every reason to date the panel approximately to the middle of the 13th century. В исследовании рассматриваются некоторые иконографические и стилистические особенности иконы «Богоматерь Умиление» из частного собрания, экспонировавшейся в Музее русской иконы имени Михаила Абрамова в октябре 2023 – феврале 2024 года. Рафинированный художественный язык памятника свидетельствует о том, что исполнивший его живописец органично владел приёмами византийского изобразительного искусства. Иконе присущи, однако, и несомненные итальянизирующие интонации. Так, ближайшие аналогии несколько аморфному рисунку лика Богоматери могут быть найдены в итальянских станковых произведениях середины XIII столетия. Широкие полнокровные лики ангелов, представленных в медальонах по обе стороны от нимба Марии, наделены почти чувственной выразительностью и демонстрируют близость некоторым византинизирующим итальянским произведениям второй половины XIII – раннего XIV вв. Принимая во внимание тот факт, что мастер виртуозно владеет всем арсеналом формальных приёмов византийской живописи, присутствие отдельных западных элементов должно объясняться созданием иконы в смешанной греко-латинской культурной среде. Наиболее вероятным кажется предположение о её сицилийском происхождении. Ряд памятников, сохранившихся на Сицилии от XIII – начала XIV вв., обнаруживает стилистическую близость константинопольским произведениям, поэтому их атрибуция вызывает существенные затруднения: они могли создаваться как приезжими византийскими мастерами, так и их местными учениками – греками или италийцами. Классицизирующий стиль иконы сохраняет лишь лёгкие отголоски экспрессии позднекомниновского маньеризма, а успокоенная отточенность драпировок, круглящаяся объёмность форм и, в особенности, типы ликов дают все основания для её датировки временем около середины XIII века.

In the brief study of the icon in the private collection heavily worn but distinguished by high artistic quality the author comes to the conclusion that it was probably painted in the Mediterranean in the 1st half of the 13th century by an Italian artist. The use of the widespread iconography of the Virgin Eleousa and its somewhat unique stylistic features do not allow (at least at present) for a more precise attribution. В ходе краткого исследования, посвящённого иконе «Богоматерь Умиление» из частного собрания, довольно сильно потёртой, но отличающейся высоким художественным качеством, автор приходит к выводу, что она, вероятно, была создана в Средиземноморском регионе в первой половине XIII века итальянским мастером. Использование традиционной иконографии Богоматери Умиление и стилистические особенности, которым пока не удалось найти близких аналогий, не позволяют уточнить эту атрибуцию.

The origin of this ‘Eleousa’ icon is unknown. In 1949, the image was in a private collection in Rome. The icon suffered losses. The board was sawed off at the bottom; the background was re-primed; the layers of paint are incompletely preserved. The iconography of the image is Byzantine and the manner of painting complies with Byzantine canons. However, the holy faces and naked body parts are statuesque and impress the viewer with their materiality. A likely provenance is Sicilian, artist’s familiarity with Byzantine tradition being the strongest evidence. The master was likely influenced by stone sculpture, flourishing in Sicily and Southern Italy in the first half of the 13th century. Such imitation of sculptures in painting was well known to contemporary Roman artists, e.g., Pietro Cavallini and Jacopo Torriti. Происхождение иконы «Умиление» из московского частного собрания неизвестно. В 1949 г. образ находился в частном собрании в Риме. Памятник дошёл до нас с утратами. Доска иконы снизу и её поля опилены, фон заново загрунтован, красочные слои сохранились не полностью. Иконография образа византийская, типы ликов и манера письма исполнены преимущественно по византийским канонам. Однако лики и обнажённые части тела впечатляют своей статуарностью и вещественностью. Мы предполагаем местом создания иконы Сицилию. Решающим аргументом является органическое знание художником византийской традиции. Также можно предположить влияние скульптуры на художника-иконописца, что связано с высоким художественным уровнем каменной пластики на Сицилии и в Южной Италии в первой половине XIII в. Подобное подражание скульптурному образу было характерно для художников Рима, Пьетро Каваллини и Якопо Торрити, но уже во второй половине XIII века.

Abstract The word ‘icon’ usually refers to a symbol, a famous person admired by all, or a religious image used for worship. Twentieth and twenty-first century icons are also sacred images of secular societies that help construct collective identities and delineate the zeitgeist. Places can also be considered icons if looked through social semiotic lenses. Through Kress and van Leeuwen (2006) and O’Toole’s (1990; 1994; 2004) re-conceptualisations of Halliday’s Systemic Functional Linguistics (1994) and the concept of Bonding Icons (Stenglin 2008a; 2008b; 2012), this paper investigates the ways in which the New York City DragCon 2019 became a rallying and bonding place that both abstractly, through its website, and concretely, through the actual event, gave people a sense of belonging. The main goal of the study is to underline the extent to which the rallying and bonding is money-driven and to highlight the ties between consumerism and the concept of ‘icons selling icons’.

Abstract Background Hemodynamic monitoring is a cornerstone of critical care; in fact, the techniques available for this purpose are either unreliable or operator-dependent or intermittent (echocardiography) and invasive (thermodilution). Objectives: To evaluate the effectiveness of electrical cardiometry (EC) in assessing hemodynamics in pediatric postoperative cardiac intensive care unit (ICU) and the agreement between EC and trans-thoracic echocardiography (TTE) as bedside tools for hemodynamic monitoring and early diagnosis of cardiovascular compromise. We included 70 pediatric patients from the postoperative cardiac ICU. All participants underwent history-taking and clinical examination. emphasising vital signs, manifestations or signs of hemodynamic instability, calculation of RACH score and vasoactive inotropic score. EC was applied for all patients, and TTE. Results The study included 40 males and 30 females with a mean age of 2.6 ± 3.49 years, ranging between 2 weeks and 13 years, with a male to female ratio of 1.3:1. The median of EC parameters were comparable to TTE parameters stroke volume (SV) (9 vs. 8 p = 0.2), stroke index (SI) (23.5 vs. 22 p = 0.2), cardiac output (CO) (1.25 vs. 1.1 p = 0.3), and cardiac index (CI) (3.2 vs. 3.15 p = 0.2). Hemodynamic parameters correlated significantly between EC and echocardiography, with significantly observed agreement between them. Four equations were postulated successfully based on a linear regression model to predict echocardiographic hemodynamic parameters in comparable groups of children, i.e., SV, SI, CO, and CI. Conclusion EC is an excellent alternative to echocardiography in hemodynamic assessment of cardiac patients in the postoperative ICU.

Starting with The City in the City, the manifesto that Ungers wrote in 1977 together with Rem Koolhaas during the Berlin Summer School on the Urban Villa, the article analyses its critical influence on the theorization of the city, referring to its recent critical reissue (Hertweck, Marot 2013). In an in-depth analysis of the various versions of this text, common elements in the two authors’ thinking – Ungers and Koolhaas – emerge, but also differences, particularly on the notions of city within the city, green archipelago and urban island. Through interviews made with Ungers’ collaborators, come out different impressions of this experience: for Koolhaas, “the most fascinating aspect of that undertaking was its site-specificity, the simple fact that Ungers had taken Berlin, West Berlin, as a laboratory”; for Hans Kollhoff, it was “an interesting exercise, but it was clear to him [Ungers] that it had no chance of being converted into reality.” Considering other parallel design and theoretical experiences carried out by Ungers at almost the same time, it emerges how the radical nature of this manifesto – which sought to provide a solution to Berlin’s shrinking condition through a green archipelago of formalized islands – had to confront the historic layout, which still existed despite its fragmented situation. The scale of the urban block is experimented with in different experiments, based on morphological variations. The urban island is slowly transformed into an urban insula, as practiced in the critical reconstruction introduced during the Berlin IBA by Kleihues, in which Ungers will be one of the main protagonists.

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В статье изучается деятельность костромских иконописцев во второй трети XVII века, что является логическим продолжением ранее опубликованных исследований автора. Выявлен ряд мастеров данного периода, составлена хроника их творческой деятельности. Определены устойчивые черты костромской школы иконописи на иконах второй трети XVII века. Для решения поставленных задач применен ряд методов: сравнительно-исторический — для сопоставления источников о работе костромичей в храмах и монастырях; историко-генетический — для изучения изменения состава артелей; системный — в исследовании структуры артели; историко-статистический — при установлении численности храмов и монастырей, количества купленных икон. В результате исследования установлено, что во второй трети XVII века костромские иконописцы принимали участие в росписи семи храмов, из них в шести сохранились фрески. Стены Успенского собора Кирилло-Белозерского монастыря расписаны в 1641 году артелью под руководством Любима Агеева. Поскольку Иоаким Агеев является родоначальником «костромской стенописной школы», то роспись Успенского собора Кирилло-Белозерского монастыря представляется отправной точкой исследования развития стенописи и произведений мастеров, принадлежавших костромской школе иконописи. Для фресок Успенского собора характерны следующие черты: использование различных оттенков красного и голубого цвета; сочетание красного, коричневого, зеленого цветов; античные лики и особенности изображения волос, белые вохрения, пробела. Этим фрескам также свойственны орнамент на полях одежды в виде цветов (звездочек), кружков, треугольников, а на самой одежде — в виде стеблей цветов с листьями и бутонами. При этом орнамент не заполняет всё пространство одеяния. Эти черты костромской школы иконописи прослеживаются далее в следующих памятниках: в иконе «Рождество Богородицы, со сценами жития» Ферапонтова монастыря, написанной в 1642 году; в пятичастном деисусе, датированном серединой XVII века: «Спас Вседержитель», «Богоматерь», «Иоанн Предтеча», «Архангел Михаил», «Архангел Гавриил» (Свято-Троицкий Ипатьевский мужской монастырь), части икон праотеческого, пророческого и деисусного ряда иконостаса Троицкого собора Свято-Троицкого Ипатьевского мужского монастыря.

In recent decades, there has been a significant increase at the number of studies aimed at the research into archaeological sites dating back to the period of active development of Siberian territories by Russian explorers. The indication of this process is the commenced Christianization of local indigenous population. The study of the burial objects of the Late Medieval and Modern Times allowed assembling representative collections of staurographic materials. The items retrieved during the study of the Num-hibya-siheri VIa burial ground reflect specific features of the use of Christian symbols in the funeral rite. Therefore, this site is considered to be an early Christian monument left behind by indigenous population of the Taz Subarctic, formed under the influence of Christian ideas that spread in the region in the 18th — early 20th century. The Num-hibya-siheri VIa burial ground is located on the right bank of the Num-hibya-siheri creek on the territory of the Mameyev Cape stow, which is 12.5 km south-east of the village of Tazovsky and 2.4 km north-west of the village of Gaz-Sale of the Yamalo-Nenets Autonomous Okrug, the Tyumen Oblast. In 2017–2018, Tazovsky Archaeological Expedition of the Institute of the Problems of Northern Development of the Tyumen Scientific Research Center (Siberian Branch of the Russian Academy of Sciences) uncovered 286 m2 of the site. Within the studied area, nine underground pits were investigated, containing the burial of an adult (?) and children (8) aged from newborn infants up to 5- to 7-year-olds. The main components of the funeral rite and inventory testify to the familiarity of the people, who left this burial ground behind, with Christian customs and Christian ritualism. The deceased children are buried in wooden coffins placed inside composite wooden structures, on their backs, with their heads oriented to the western side of the horizon. The interred children are accompanied by an icon pendant with an image of St. Nicholas the Wonderworker and crosses dedicated to the Great Martyr Barbara and crucified Jesus. The features of the funeral rite and the placement of the articles indicate an initial stage of the Christianization of autochthonous population, combining both Christian and pagan components in the process of burying children. A good preservation of the wooden funerary structures allowed selection of wood samples for dendrochronological (tree-ring) analysis, as a result of which the time interval of the functioning of the Num-hibya-siheri VIa burial ground was determined within the second quarter of the 19th — early 20th century.

The present work is focused on the validation of the urban canopy scheme TERRA-URB, implemented in ICON weather forecast model. TERRA-URB is used to capture the behavior of urbanized areas as sources of heat fluxes, mainly due to anthropogenic activities that can influence temperature, humidity, and other atmospheric variables of the surrounding areas. Heat fluxes occur especially during the nighttime in large urbanized areas, characterized by poor vegetation, and are responsible for the formation of Urban Heat and Dry Island, i.e., higher temperatures and lower humidity compared to rural areas. They can be exacerbated under severe conditions, with dangerous consequences for people living in these urban areas. For these reasons, the need of accurately forecasting these phenomena is particularly felt. The present work represents one of the first attempts of using a very high resolution (about 600 m) in a Numerical Weather Prediction model. Performances of this advanced version of ICON have been investigated over a domain located in southern Italy, including the urban metropolitan area of Naples, considering a week characterized by extremely high temperatures. Results highlight that the activation of TERRA-URB scheme entails a better representation of temperature, relative humidity, and wind speed in urban areas, especially during nighttime, also allowing a proper reproduction of Urban Heat and Dry Island effects. Over rural areas, instead, no significant differences are found in model results when the urban canopy scheme is used. [ABSTRACT FROM AUTHOR]

This study aims to comprehensively analyze five weather forecasting models obtained from the Open-Meteo historical data repository, with a specific emphasis on evaluating their impact in predicting wind power generation. Given the increasing focus on renewable energy, namely, wind power, accurate weather forecasting plays a crucial role in optimizing energy generation and ensuring the stability of the power system. The analysis conducted in this study incorporates a range of models, namely, ICOsahedral Nonhydrostatic (ICON), the Global Environmental Multiscale Model (GEM Global), Meteo France, the Global Forecast System (GSF Global), and the Best Match technique. The Best Match approach is a distinctive solution available from the weather forecast provider that combines the data from all available models to generate the most precise forecast for a particular area. The performance of these models was evaluated using various important metrics, including the mean squared error, the root mean squared error, the mean absolute error, the mean absolute percentage error, the coefficient of determination, and the normalized mean absolute error. The weather forecast model output was used as an essential input for the power generation prediction models during the evaluation process. This method was confirmed by comparing the predictions of these models with actual data on wind power generation. The ICON model, for example, outscored others with a root mean squared error of 1.7565, which is a tiny but essential improvement over Best Match, which had a root mean squared error of 1.7604. GEM Global and Gsf Global showed more dramatic changes, with root mean squared errors (RMSEs) of 2.0086 and 2.0242, respectively, indicating a loss in prediction accuracy of around 24% to 31% compared to ICON. Our findings reveal significant disparities in the precision of the various models used, and certain models exhibited significantly higher predictive precision. [ABSTRACT FROM AUTHOR]

The constraint of computational power and the huge number of degrees of freedom of the atmosphere means a sampling uncertainty exists in probabilistic ensemble forecasts. In our previous study, the uncertainty could be quantified, creating a convergence measure which converges proportional to n−1/2 in the limit of large ensemble size n. This power law can then be extrapolated to determine how sampling uncertainty would decrease with larger ensemble sizes and hence find the necessary ensemble size. It is unknown, however, how the sampling uncertainty depends on different weather regimes. This study extends the previous idealised ensemble developed, by including weak and strong forcing convective weather regimes, to look at how sampling uncertainty convergence differs in each. Two 5,000‐member ensembles were run, with weak and strong forcing respectively. Comparisons with a kilometre‐scale weather prediction model ensured realistic weak and strong forcing regimes by comparing the rain, convective available potential energy (CAPE), convective adjustment timescale, and distribution shapes throughout the diurnal cycle. Differences in distribution shape between the regimes led to differences in the convergence measure. Large differences in spread between weak and strong forcing runs throughout the 24 hr period led to large differences in sampling uncertainty of the mean and standard deviation, which could be quantified according to well‐known equations. The timing of these differences was case‐dependent. For extreme statistics such as the 0.95 quantile and for cases where there was precipitation, the moisture variables for the weak forcing case had the largest sampling uncertainty and required the most members for convergence proportional to n−1/2. This was due to the tails of the weak forcing moisture variables containing the least amount of density. Different ensemble sizes will hence be required depending on whether one is in the weak or strong forcing convective weather regime. [ABSTRACT FROM AUTHOR]

This article examines the shifting iconographical meaning and purpose of the Latin phrase ecce homo in visual art in the later Middle Ages. As told in John 19: 4–5, ecce homo was the terse two-line sentence exclaimed by Pontius Pilate as he presented Christ to the people of Jerusalem: "Behold, [the] man!" Beginning in the early fifteenth century, it became common for artists in Northern and Central Europe to integrate the phrase ecce homo directly into depictions of this presentation scene, first in narrative-images and eventually in stand-alone devotional icons. Initially, these brief inscriptions served to visualize Pilate's climactic two-word speech. In the latter half of the century, however, ecce homo became unmoored from its original scheme. What once had a precise narrative function had, by 1500, expanded to become a message directed at the viewer, an epithet for the specific aspect of Christ represented in the narrative, and a title for the narrative itself. This unmooring happened in conjunction with a shift in the function of the figure of Christ within these images and the adaptation of this type of figure into an en buste portrait. Research presented in this article, the first to address these inscriptions in any way, affords new insight into long-standing questions about the typological relationship linking narrative-images and icons. The article challenges the "genetic" model of typological development established by Erwin Panofsky and Sixten Ringbom, both of whom used the iconography of the Ecce Homo as a case study for how to explain the pictorial forms of devotional images in late medieval and early modern art. [ABSTRACT FROM AUTHOR]

The article presents an attempt to search for a different path to a philosophy of Byzantine iconography, which, through the construct of virtual transcendentalism, heuristically allows to understand the icon as a poster of the logos development of Byzantine doctrinal thought in the context of the logos development of European philosophy, summarized by the concept of logodynamism (a new term introduced by the author), which embeds medieval Christian thought in the logos environment from Heraclitus, Parmenides through Plato and Aristotle to modern European philosophy and enables the search for modern ways of understanding Christian phenomena, such as Byzantine iconography. The article brings out the connection of the icon with the archetypal and contemporary forms of the poster through the idea of message and image as a cultural phenomenon and thus achieves a different ontological status for the icon, making sense of its positioning in the contemporary cultural environment. [ABSTRACT FROM AUTHOR]

Using two case studies, we analyze the effects of explicitly resolving polar lows in a global climate model (ICON‐Sapphire) with a high resolution of 2.5 km on the upper ocean and sea ice. We aim to understand the mechanism of how polar lows form in a global coupled model and how they interact with the upper ocean and sea ice. When polar lows form at the sea ice edge, they induce marine cold air outbreaks that lead to large heat loss from the ocean. This heat loss contributes to dense water formation in the Iceland and Greenland Seas, which replenishes the climatically important Denmark Strait Overflow Water (DSOW). The high wind speeds of polar lows open leads and polynyas in the sea ice cover, such as the Sirius Water Polynya in northeastern Greenland. Heat loss in polynyas is compensated for by the formation of new ice, and the rejected brine densifies the water on the Greenland shelf. In the Labrador Sea, polar lows intensify cold air outbreaks from the sea ice and rapidly deepen the ocean mixed layer. Resolving polar lows and kinematic features in the sea ice improves the realism of climate models, in particular the surface heat loss and the dense water formation in (sub)polar oceans. Plain Language Summary: We show for the first time that resolving polar lows (strong storms over polar oceans) in a global climate model, which has a high resolution of 2.5 km, leads to strong heat loss from the ocean near the sea ice edge and from leads and polynyas, which are open water areas in an otherwise closed ice cover. Heat loss and salt rejection during ice formation contributes to dense water formation along the sea ice margin and in polynyas above the Greenland shelf. Resolving polar lows and kinematic features in the sea ice improves the realism of climate models, in particular the surface heat loss and the dense water formation in (sub)polar oceans. Key Points: First explicit simulation of polar lows in a globally coupled climate simulation with kilometer‐scale (2.5 km) resolution in all componentsPolar lows lead to considerable heat loss from the ocean near the sea ice edge and from leads and polynyas in the sea ice coverPolar lows are important for water mass transformation in the western Iceland and Greenland Seas, in the Labrador Sea, and within polynyas [ABSTRACT FROM AUTHOR]

The review of Miroslav Dachev's book "Miraculous Icons of the Theotokos on Mount Athos" (Athoniada Library Series, Volume 9, 2023) is focused on the semiotic analysis of the miraculous images of the Mother of God in the Theotokos on Mount Athos. To explain the essence of the miracle, the place, time, name, and voice of the miraculous icons of the Holy Mother are examined individually. Additionally, their photographic images are included in the dialogue among all of them - one of the greatest achievements of Dachev's analysis. [ABSTRACT FROM AUTHOR]

Sporadic E (Es) layers are plasma irregularities significantly affecting radio communication and navigation systems. And, their dominant formation mechanism at mid‐latitudes, known as the wind shear theory, suggests that they serve as indicators of the atmosphere‐ionosphere coupling processes in the mesosphere and lower thermosphere region. On 15 January 2022, the Hunga Tonga‐Hunga Ha'api submarine volcanic eruption provided a unique opportunity to investigate the Es layer responses to lower atmospheric perturbations. Using the FORMOSAT‐7/COSMIC‐2 radio occultation and ground‐based ionosonde observations, this study reveals the spatial‐temporal behaviors of the Es layers after the Hunga volcanic eruption. The results show that significant Es layer perturbations occurred over the northwest of the epicenter ∼4 hr after the eruption and lasted for approximately ∼22 hr. We also calculated the geographical distribution of the vertical ion convergence (VIC) using neutral winds obtained from the Michelson Interferometer for Global High‐resolution Thermospheric Imaging on the Ionospheric Connection Explorer (ICON) satellite. A comparison of the geographical distribution of positive VIC and Es layer perturbations shows a good agreement, which indicates that the enhanced Es layers are caused by strong VIC associated with the atmospheric perturbations due to the eruption. This study presents observational evidence for coupling between the Es layer and lower atmospheric perturbations, which can be helpful for understanding the occasionality and variability of Es layer occurrence. Plain Language Summary: The sporadic E (Es) layer is like the cloud in the air, but it is composed of metal ions and appears at altitudes of 90–120 km. Its occurrence can cause uneven distribution of plasma density in the ionosphere and affects the performance of the Global Navigation Satellite System and HF communications. The occurrence, intensity, and disappearance of the Es layers can be significantly modulated by the atmospheric waves. The Hunga Tonga‐Hunga Ha'api submarine volcanic eruption provided an opportunity to investigate the global Es layer responses to upward propagating atmospheric waves. This study found that the Es layers were significantly enhanced over the northwest of the epicenter ∼4 hr after the eruption and revealed that the enhanced Es layers are mainly caused by strong vertical ion convergence (VIC) associated with the atmospheric perturbations due to the eruption. Key Points: The Hunga volcanic eruption induced significant sporadic E layer perturbations in the mesosphere and lower thermosphere (MLT) regionEnhanced Es layers mainly appeared over the northwest of the epicenter ∼4 hr after the eruptionThe geographical distributions of Es layer perturbations and calculated vertical ion convergence (VIC) show a close similarity [ABSTRACT FROM AUTHOR]

Copyright of Canadian Journal of Anaesthesia / Journal Canadien d'Anesthésie is the property of Springer Nature and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This research aims to examine eschatological verses in Surah Al-Waqiah using Charles Sanders Peirce's semiotic theory, focusing on the relationship between the representamen (sign) and the object it represents. Peirce classified signs into three distinct categories: icon, index, and symbol. The study, conducted as library research using descriptive qualitative methods, employs content analysis for data interpretation. Upon analysis, it identifies eight verses featuring icons where the sign closely resembles the object it represents, such as depicting the universe's destruction as akin to the end of the world. It also identifies nine verses containing indices that clarify cause-and-effect relationships on the Day of Judgement, including the elevation or debasement of groups based on their worldly status and the consequences of indulgence and major sins leading to hellfire. Furthermore, 17 verses use symbols with conventional relationships, such as the "right" and "left" groups to represent categories of individuals in the afterlife and fruit-bearing trees representing perpetual pleasure in heaven. Peirce’s semiotics offers a new perspective for understanding the Quran's message concerning eschatological events that will occur on the Day of Judgement.

This paper explores the life and art of Svyatoslav Voinov (1890–1920), a modernist painter and a drawing artist from St. Petersburg, barely remembered today but nevertheless a remarkable example of both art and spirituality of his time. Both paintings and drawings of Voinov lay bare a distinctive character of the period when symbolism and modernism crossed ways. His art offers a glimpse on a unique creative atmosphere of the period of the Russian Revolution and the Civil War (1917–1922), the time when his most significant work was done. Voinov’s art is typical for religious currents in the Russian art of early 20th century. It is closely linked to their preceding formative period but was also influenced by the modernist discovery of the aesthetic value of Russian icons. Voinov’s art is rooted in a complex synthesis of traditional icon-painting and symbolism grafted with newer expressionistic and futuristic trends, such a synthesis being typical for quite a few Russian artists of the period. What makes Voinov and his art unique is that he aspired to cross the boundaries of purely secular spirituality and offered an original and effective example of how modern visuality can work together with ancient tradition of icon painting. Voinov transcends the contours of narrative formulas of religious themes and boldly moves towards the theology in paint. The drawings and compositional sketches of Svyatoslav Voinov were examined by the author in the collections of the State Russian Museum (St. Petersburg, Russia). Some of the drawings are published here for the first time. Статья посвящена творчеству Святослава Владимировича Воинова (1890–1920), петербургского живописца и графика, малоизвестного сегодня, но яркого представителя искусства 1910‑х годов. Цель статьи – вернуть забытое имя оригинального религиозного художника эпохи модернизма, на основе архивных материалов реконструировать его художественное мировоззрение и рассмотреть ряд наиболее значительных произведений с помощью комплекса традиционных искусствоведческих методик в контексте религиозного направления конца XIX – первой трети XX веков. Задачи статьи – проанализировать живопись и графику Святослава Воинова, выявить специфику художественных процессов, которые на рубеже XIX–XX вв. шли в русском искусстве на пересечении символизма и модернизма, наметить специфическую ситуацию в искусстве эпохи Гражданской войны (1917–1922), в период которой были созданы наиболее значительные произведения художника. Святослав Воинов является представителем религиозного направления в отечественном искусстве начала ХХ века и продолжает традиции предшествующего периода его развития. Но он и прокладывает новые пути, связанные с модернизмом и произошедшим во второй половине XIX – начале XX веков открытием эстетической ценности древнерусской иконы. В статье рассматриваются факты биографии художника, культурный и общественный контекст его творчества, живописные и графические произведения, хранящиеся в Государственном Русском музее. Искусство Воинова основано на сложном синтезе искусства иконы, символизма и новейших направлений: футуризма, экспрессионизма, что в целом характерно для ряда отечественных мастеров рубежа XIX–XX вв. Уникальность творчества Святослава Воинова в том, что оно выходит за рамки сугубо светского религиозного искусства. Предлагая оригинальный и актуальный на тот момент пример синтеза древних церковных традиций и современной визуальности, выработанной к началу ХХ века, Воинов преодолевает границы сюжетного решения религиозной темы и устремлён к богословствованию в красках.

Abstract Background To evaluate the effect of the low-viscosity Icon resin infiltrate application on the color change of white spot enamel lesions (WSLs) over 3-, 6-, and 12-m follow-up periods. Methods Ninety-six teeth diagnosis with WSLs using the ICDAS scoring system in 49 participants were assessed for their color change using the Icon resin infiltration technique. The Icon kit was applied to WSLs as instructed by the manufacturer. Icon-Etch (15% hydrofluoric acid) was applied to the lesions for 2 min, and then, it was rinsed off with copious amount of water for 30 s. Then, Icon-Dry (99% ethanol) was applied to the etched lesions for 30-s followed by the application of the Icon resin infiltrate that was light cured for 40 s. Color change assessment was performed using Vita Easyshade V spectrophotometer at baseline and immediately after Icon resin infiltration, then at 3-, 6-, and 12-m follow-up periods. Analysis of the data was performed using the test of repeated measure ANOVA and the paired sample t test. Results There was a statistically significant difference in ∆E between the different follow-up periods at immediate, 3-m, 6-m, and 12-m. The highest mean value was found in the immediate follow-up period, while the lowest mean value was found in 12-m follow-up period. Conclusions Low-viscosity Icon resin infiltration has the ability for immediate diffusion into the WSLs giving an immediate improvement in the esthetic outcome of the WSLs. However, its long-term outcomes might not be consistent for the color change of the WSLs.

Abstract This preregistered ex vivo investigation examined the dentinal hybrid layer formation of a resinous infiltrant (Icon), with reference to both thickness (HLT) and homogeneity when combined with modified tunnel preparation (occlusal cavity only) and internal/external caries infiltration. The adhesives Syntac and Scotchbond MP were used as controls (Groups 1 and 3) or in combination with Icon (Groups 2 and 4). A split-tooth design using healthy third molars from 20 donors resulted in 20 prepared dentine cavities per experimental group. The cavity surfaces (n = 80) were etched (37% H3PO4), rinsed, and air-dried. Rewetting with ethanol was followed by application of the respective primers. After labeling with fluorescent dyes, either Syntac Adhesive/Heliobond or Scotchbond MP Adhesive was used alone or supplemented with Icon. HLT, as evaluated by scanning electron microscopy, did not significantly differ (P > 0.05), and confocal laser scanning microscopy revealed homogeneously mixed/polymerized resin-dentine interdiffusion zones in all groups. Icon can be successfully integrated into an ethanol-wet dentine bonding strategy, and will result in compact and homogeneous hybrid layers of comparable thickness considered equivalent to the non-Icon controls, thus allowing for preservation of the tooth’s marginal ridge and interdental space in the case of internal/external infiltration of proximal caries.

Background: To evaluate the effect of the low-viscosity Icon resin infiltrate application on the color change of white spot enamel lesions (WSLs) over 3-, 6-, and 12-m follow-up periods. Methods: Ninety-six teeth diagnosis with WSLs using the ICDAS scoring system in 49 participants were assessed for their color change using the Icon resin infiltration technique. The Icon kit was applied to WSLs as instructed by the manufacturer. Icon-Etch (15% hydrofluoric acid) was applied to the lesions for 2 min, and then, it was rinsed off with copious amount of water for 30 s. Then, Icon-Dry (99% ethanol) was applied to the etched lesions for 30-s followed by the application of the Icon resin infiltrate that was light cured for 40 s. Color change assessment was performed using Vita Easyshade V spectrophotometer at baseline and immediately after Icon resin infiltration, then at 3-, 6-, and 12-m follow-up periods. Analysis of the data was performed using the test of repeated measure ANOVA and the paired sample t test. Results: There was a statistically significant difference in ∆E between the different follow-up periods at immediate, 3-m, 6-m, and 12-m. The highest mean value was found in the immediate follow-up period, while the lowest mean value was found in 12-m follow-up period. Conclusions: Low-viscosity Icon resin infiltration has the ability for immediate diffusion into the WSLs giving an immediate improvement in the esthetic outcome of the WSLs. However, its long-term outcomes might not be consistent for the color change of the WSLs. [ABSTRACT FROM AUTHOR]

Using the latest coupled geospace model Multiscale Atmosphere‐Geospace Environment (MAGE) and observations from Jicamarca Incoherent scatter radar (ISR) and ICON ion velocity meter (IVM) instrument, we examine the pre‐reversal enhancement (PRE) during geomagnetic quiet time period. The MAGE shows comparable PRE to both the Jicamarca ISR and ICON observations. There appears to be a discrepancy between the Jicamarca ISR and ICON IVM with the later showed PRE about two times larger (∼40 m/s). This is the first time that MAGE is used to simulate the PRE. The results show that the MAGE can simulate the PRE well and are mostly consistent with observations. Key Points: The Multiscale Atmosphere‐Geospace Environment is able to simulate the pre‐reversal enhancement (PRE) very wellThe PRE was a persistent feature on different time scales (day, hour, and minute) during this fall equinox time periodJicamarca Incoherent scatter radar observed PRE is about half of size of that by the ICON ion velocity meter [ABSTRACT FROM AUTHOR]

Copyright of Alsun Beni-suef International Journal of Linguistics, Translation & Literature / Mağallaẗ Kulliyyaẗ Alsun Banī Swaīf Al-Dawliyyaẗ Li Luġawīyāt wa Al-Tarğamaẗ wa Al-Adab is the property of Beni Suef University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Sanat ve Tasarim Dergisi is the property of Ankara Haci Bayram Veli University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

To investigate the geometric accuracy of the radiation focal point (RFP) and cone-beam computed tomography (CBCT) over long-term periods for the ICON Leksell Gamma Knife radiosurgery system. This phantom study utilized the ICON quality assurance tool plus, and the phantom was manually set on the patient position system before the implementation of treatment for patients. The deviation of the RFP position from the unit center point (UCP) and the positions of the four ball bearings (BBs) in the CBCT from the reference position were automatically analyzed. During 544 days, a total of 269 analyses were performed on different days. The mean ± standard deviation (SD) of the deviation between measured RFP and UCP was 0.01 ± 0.03, 0.01 ± 0.03, and −0.01 ± 0.01 mm in the X, Y, and Z directions, respectively. The deviations with offset values after the cobalt-60 source replacement (0.00 ± 0.03, −0.01 ± 0.01, and −0.01 ± 0.01 mm in the X, Y, and Z directions, respectively) were significantly (p = 0.001) smaller than those before the replacement (0.02 ± 0.03, 0.02 ± 0.01, and −0.02 ± 0.01 mm in the X, Y, and Z directions, respectively). The overall mean ± SD of four BBs was −0.03 ± 0.03, −0.01 ± 0.05, and 0.01 ± 0.03 mm in the X, Y, and Z directions, respectively. Geometric positional accuracy was ensured to be within 0.1 mm on most days over a long-term period of more than 500 days. [ABSTRACT FROM AUTHOR]

This preregistered ex vivo investigation examined the dentinal hybrid layer formation of a resinous infiltrant (Icon), with reference to both thickness (HLT) and homogeneity when combined with modified tunnel preparation (occlusal cavity only) and internal/external caries infiltration. The adhesives Syntac and Scotchbond MP were used as controls (Groups 1 and 3) or in combination with Icon (Groups 2 and 4). A split-tooth design using healthy third molars from 20 donors resulted in 20 prepared dentine cavities per experimental group. The cavity surfaces (n = 80) were etched (37% H3PO4), rinsed, and air-dried. Rewetting with ethanol was followed by application of the respective primers. After labeling with fluorescent dyes, either Syntac Adhesive/Heliobond or Scotchbond MP Adhesive was used alone or supplemented with Icon. HLT, as evaluated by scanning electron microscopy, did not significantly differ (P > 0.05), and confocal laser scanning microscopy revealed homogeneously mixed/polymerized resin-dentine interdiffusion zones in all groups. Icon can be successfully integrated into an ethanol-wet dentine bonding strategy, and will result in compact and homogeneous hybrid layers of comparable thickness considered equivalent to the non-Icon controls, thus allowing for preservation of the tooth's marginal ridge and interdental space in the case of internal/external infiltration of proximal caries. [ABSTRACT FROM AUTHOR]

In human–computer interaction interfaces, icons serve as highly symbolic elements that convey information and significantly influence the performance of visual search and other tasks. Thus, the selection of appropriate colors plays a crucial role in the design of human–computer interfaces. This study aimed to investigate the effects of icon color combinations on human visual search task performance across various cognitive load conditions. The experiment was divided into two parts, involving a cognitive load test experiment and an icon search task, wherein the former required participants to select the target icon from 16 de-colored icons, and the latter involved selecting the target icon from 16 color combinations of 8 colors (background colors: black, red, blue, and purple; foreground colors: white, yellow, green, and turquoise). A total of 20 participants (11 females and 9 males, all aged between 18 and 24 years) were recruited for this experiment to perform both tasks sequentially. Through a comprehensive consideration of factors such as the NASA-TLX scale, retrieval time, etc., the experimental results revealed that cognitive load increased with time pressure, resulting in varying optimal color combinations for different cognitive load levels. Additionally, background colors did not affect task response time under different cognitive loads, whereas white foreground color was superior to turquoise foreground color in a medium cognitive load environment. Meanwhile, our results recommend prioritizing white-on-black as the preferred color combination, given that it demonstrated excellent cognitive performance in all three cognitive load environments. Conversely, white-on-blue is not recommended as a color combination for the design of high cognitive load environments. Concerning medium cognitive load environments, yellow-on-red or white-on-purple color combinations were preferred. Finally, in low cognitive load environments, white-on-purple is recommended as the primary color combination. Overall, this study provides a theoretical reference for the future design of interactive interface icons across various contexts. [ABSTRACT FROM AUTHOR]

Copyright of Ideas y Valores is the property of Universidad Nacional de Colombia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In this study, we utilize ICON observations from 2019 to 2022 to analyze the variability of vertical plasma drift and its relationship with the neutral winds. The results reveal that there are 19% of downward plasma drifts at 13–17 LT, which changes with seasons and longitudes. The downward plasma drift occurs less frequently compared to the contemporaneous counter electrojet during solstices. We identify the relationship between vertical plasma drifts and north foot magnetic zonal and meridional wind profiles at 90–300 km altitudes. As the vertical plasma drifts become small or downward, the zonal winds display diverse variations at the altitudes; that is, the disturbances are eastward at 95–120 km altitudes, westward at 120–160 km altitudes, and eastward above 180 km altitudes, while the meridional winds present weak changes in all altitudes. Additionally, we discuss the possible roles of the E‐ and F‐region dynamos on the vertical plasma drifts. Plain Language Summary: The neutral wind in the Earth's upper atmosphere drives the ionospheric ions to cross the geomagnetic field lines and produces the dynamo effects in the E‐ and F‐regions. The electric field is created due to the divergence free of the total electrical current. The zonal electric field drives the ionospheric plasma to drift upward and downward due to the horizontal field lines, and influences the structures of low latitude ionosphere. One open question is that the vertical plasma drift shows the significant day‐to‐day variability and sometimes remarkably deviates from the climatological pattern during the quiet times. The ICON satellite provides the simultaneous observations of the plasma drifts and neutral winds in low latitudes, which provides us a good chance to investigate the day‐to‐day variability of the vertical plasma drift and its relationship to the neutral wind, as we discuss in the manuscript. Key Points: The equatorial vertical plasma drifts show large variability and 19% downward plasma drift at 13–17 LTThe occurrence of the downward plasma drift presents a significant longitudinal and seasonal variationsThe E‐ and F‐region zonal winds play vital roles on the large variability and the occurrence of the downward plasma drift [ABSTRACT FROM AUTHOR]

Two ∼2‐week Ultra‐Fast Kelvin Wave (UFKW) events centered on days 158(203) during 2021 are investigated using winds, temperatures, plasma drifts and electron densities (Ne) measured by the Ionospheric CONnections (ICON) mission. Eastward‐propagating longitudinal wave‐1 (s = −1) structures with periods 2.5–4.0d, thought to mainly reflect Ultra‐Fast Kelvin waves (UFKWs), reveal ±45 ms−1 zonal winds (U) at 100 km for both events. Height‐latitude structures of the 3.0(3.5)d‐period UFKWs are obtained for the first time for both temperature (T, 94–120 km) and U (94–280 km) between 12°S and 39°N latitude. Maximum values of 36(29) ms−1 for U and 12(15)K for T occur at 102(106) km altitude and within ±3° latitude. The U‐T peak height displacement remains unexplained. Vertical wavelengths are in the range 36–43 km for both U and T during both events. Concurrent with the E‐region dynamo winds, topside (580 km) F‐region field‐aligned (±20–40 ms−1), meridional (±5–10 ms−1) and vertical (±5–10 ms−1) drift and Ne (±20–40%) 2.5–4.0d s = −1 variations are also measured. These key elements of atmosphere‐ionosphere (A‐I) coupling, contemporaneously measured for the first time, are relevant to testing the internal consistency of A‐I models. The mean wind propagation environment of the UFKWs is also quantified, showing no appreciable effects on the UFKW structures, consistent with modeling and theory. Plain Language Summary: Atmospheric Ultra‐Fast Kelvin waves (UFKWs) are eastward‐ and vertically propagating oscillations with periods less than 1 week that are centered on the equator and confined to low latitudes. They are part of a whole spectrum of waves forced by the spatial‐temporal variability of the heat of condensation ("latent heating") that is released when rising moist air forms rain droplets, mainly in the tropics. At high altitudes UFKW reach large amplitudes due to the decrease in ambient density with height. Their growth is curtailed by the viscosity of the atmosphere near 102 km altitude where they reach maximum amplitudes. Here they interact with ionized particles (the ionosphere) and generate electric fields that ultimately drive ionospheric variability at higher altitudes (>200 km), thus presenting an element of "space weather" to navigation and communications systems. In this paper, UFKWs measured in connection with the ICON mission are used to reveal, for the first time, the height and latitudinal structures of temperatures and winds associated with UFKWs in this dissipative regime, and their corresponding effect on the ionosphere. These results can thus serve to assess the internal consistency of models that seek to simulate atmosphere‐ionosphere coupling and related space weather effects induced by the wave spectrum excited in the lower atmosphere. Key Points: First coincident UFKW winds and temperature structures covering 94‐120 km,12°S‐39°N latitude are reportedFirst UFKW wind profiles in the 100‐280 km altitude dissipative regime are reportedFirst contemporaneous measurements of ionosphere response and driving UFKW E‐region dynamo winds are reported [ABSTRACT FROM AUTHOR]

This article discusses the observation of vertical coupling during a major sudden stratospheric warming (SSW) event in 2020/2021. The study focuses on the response of the thermospheric winds and temperature to the SSW using observations from NASA's ICON and GOLD satellites. The results show significant changes in winds and temperature during the SSW, with enhanced northward and westward winds in the thermosphere and a drop in temperature around 150 km. These changes are likely caused by the SSW-induced changes in atmospheric wave propagation and dissipation conditions. The study highlights the manifestation of long-range vertical coupling in the atmosphere during major SSW events. [Extracted from the article]

This research is concerned with studying (Manifestations of war in the works of the artist Muhammad Mahraldin). It is divided into four chapters. The first chapter is to state the problem of the research that is represented by the question (Are there effects of war on the drawings of the artist (Muhammad Mahraldin)? And how did he depict Manifestations of war in his painted works?) and its importance and need for it. Then identifying the goal of the research in (revealing Manifestations of war in the works of the artist Muhammad Mahraldin), followed by establishing the boundaries (temporal, spatial, and thematic), and then the terms related to the title. The second chapter identified two substantive sections within the theoretical framework, according to what reading the research requires, is as follows (the first topic: embodiment of war and its manifestations in Iraqi art, the second topic: the embodiment of Manifestations of war in Iraqi art). The third chapter is devoted to research procedures, by clarifying the studies society, and the chosen sample (4 samples), the observational analysis tool, and identifying its methodology, and analyzing the sample. The fourth chapter includes: 1. The artist’s psychological influence appears through the structural formulations of the painting in making it a virtual environment by interweaving abstract shapes. The conclusions include: 1. It becomes clear that the artist Mahraldin was influenced by the products of the wars that took place in Iraq and the pressures they represented on the artists.

Статья посвящена графическому наследию художницы-иконописца Ю.Н. Рейтлингер (1898–1988), которое хранится в фондах Музея древнерусской культуры и искусства имени Андрея Рублёва и Дома русского зарубежья имени Александра Солженицына. В исследовании ставится цель обобщить и систематизировать сведения о графических работах художницы периода эмиграции с 1921 по 1946 год, а также ввести в научный оборот практически неизвестные графические произведения, созданные после возвращения на родину, в период с 1959 до начала 1980-х годов. Исследование строится на обширном фонде архивных материалов Ю.Н. Рейтлингер — ее записных книжках, духовном дневнике, письмах, комментированной автобиографии, воспоминаниях художницы и ее друзей. Эти источники служат серьезным дополнением к уже опубликованным документам и сведениям о творчестве Ю.Н. Рейтлингер, которое с 2000 года изучалось известными исследователями (Г.В. Поповым, Б.Б. Поповой, Н.П. Белевцевой, Л.А. Мнухиным, Э.Л. Лаевской, Л. Лернером и др.). Систематизация графического наследия художницы позволила существенно дополнить имеющийся корпус научных трудов, которые в своей значительной части посвящены творчеству Ю.Н. Рейтлингер как художника-иконописца. Не фокусируя внимание на иконных работах сестры Иоанны, автор тем не менее обращает внимание на изменение ракурса исследования ее иконописного наследия, что связано с возрождением традиции церковного искусства в России за последние 30 лет. Выдвигавшийся художницей тезис о «творческой иконе» в 1920-х годах нашел свое продолжение почти сто лет спустя в современной отечественной «авторской иконе».