Experimental Study on Scale Effects of Bentonite / Sand Mixtures on Gas Migration Properties

1996 ◽  
Vol 465 ◽  
Author(s):  
Toshiyuki Hokari ◽  
Mitsunobu Okihara ◽  
Takashi Ishii ◽  
Takao Ishii ◽  
Hiroyuki Ikuse

ABSTRACTGas migration properties of bentonite/sand mixtures for a large-scale structure were estimated on the basis of laboratory test results obtained with small test specimens. Water and gas migration tests were carried out to clarify scale effects on migration properties of the mixtures.

2014 ◽  
Vol 59 (1) ◽  
pp. 79-92
Author(s):  
Alexander Becker

Wie erlebt der Hörer Jazz? Bei dieser Frage geht es unter anderem um die Art und Weise, wie Jazz die Zeit des Hörens gestaltet. Ein an klassischer Musik geschultes Ohr erwartet von musikalischer Zeitgestaltung, den zeitlichen Rahmen, der durch Anfang und Ende gesetzt ist, von innen heraus zu strukturieren und neu zu konstituieren. Doch das ist keine Erwartung, die dem Jazz gerecht wird. Im Jazz wird der Moment nicht im Hinblick auf ein Ziel gestaltet, das von einer übergeordneten Struktur bereitgestellt wird, sondern so, dass er den Bewegungsimpuls zum nächsten Moment weiterträgt. Wie wirkt sich dieses Prinzip der Zeitgestaltung auf die musikalische Form im Großen aus? Der Aufsatz untersucht diese Frage anhand von Beispielen, an denen sich der Weg der Transformation von einer klassischen zu einer dem Jazz angemessenen Form gut nachverfolgen lässt.<br><br>How do listeners experience Jazz? This is a question also about how Jazz music organizes the listening time. A classically educated listener expects a piece of music to structure, unify and thereby re-constitute the externally given time frame. Such an expectation is foreign to Jazz music which doesn’t relate the moment to a goal provided by a large scale structure. Rather, one moment is carried on to the next, preserving the stimulus potentially ad infinitum. How does such an organization of time affect the large scale form? The paper tries to answer this question by analyzing two examples which permit to trace the transformation of a classical form into a form germane to Jazz music.


1983 ◽  
Vol 40 (6) ◽  
pp. 1025-1034
Author(s):  
Carol L. Colvin ◽  
Raymond J. Townsend ◽  
William R. Gillespie ◽  
Kenneth S. Albert

Author(s):  
Marta B. Silva ◽  
Ely D. Kovetz ◽  
Garrett K. Keating ◽  
Azadeh Moradinezhad Dizgah ◽  
Matthieu Bethermin ◽  
...  

AbstractThis paper outlines the science case for line-intensity mapping with a space-borne instrument targeting the sub-millimeter (microwaves) to the far-infrared (FIR) wavelength range. Our goal is to observe and characterize the large-scale structure in the Universe from present times to the high redshift Epoch of Reionization. This is essential to constrain the cosmology of our Universe and form a better understanding of various mechanisms that drive galaxy formation and evolution. The proposed frequency range would make it possible to probe important metal cooling lines such as [CII] up to very high redshift as well as a large number of rotational lines of the CO molecule. These can be used to trace molecular gas and dust evolution and constrain the buildup in both the cosmic star formation rate density and the cosmic infrared background (CIB). Moreover, surveys at the highest frequencies will detect FIR lines which are used as diagnostics of galaxies and AGN. Tomography of these lines over a wide redshift range will enable invaluable measurements of the cosmic expansion history at epochs inaccessible to other methods, competitive constraints on the parameters of the standard model of cosmology, and numerous tests of dark matter, dark energy, modified gravity and inflation. To reach these goals, large-scale structure must be mapped over a wide range in frequency to trace its time evolution and the surveyed area needs to be very large to beat cosmic variance. Only a space-borne mission can properly meet these requirements.


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