Sacred foundations of A. Scriabin's fret system in relation to O. Messian's modality

The purpose of the article is to understand the archetypal root of the whole-tone constructions of Fret structures of A. Scriabin and A. Messian in reflecting the detachment from the harmonic system that is relevant for the twentieth century in favor of a linear-melodic approach, determined by the archaic structures of the Indo-Iranian melodic basis. The methodology of the research is a cultural and historical concept in the traditions of A. Losev, in which certain means of expressing art are tested by the cultural genesis and cultural ideas of the time. We use analytical, comparative-historical, and genre-nominative musicological approaches based on aesthetic, cultural, and philosophical positions. The hermeneutical lines of the intonation approach in musicology in the traditions of B. Asafyev and B. Yavorsky in Ukraine, which are in contact with the verbal-centrist approach to music in the French tradition and are clearly expressed by J.-J. Rousseau and his followers of the level of Y. Kristeva, are also important for the work. The scientific novelty is determined by the primacy of the author of the study in the statement of the origins of the sacred determination of Fret thinking and O. Scriabin, and O. Messian in the cultural incentives of Indo-Iranian archaism. This stimulated "scythism" in the Slavic art world of the early twentieth century and Celtic-eastern references to the developments of C. Debussy, determining the Indo-philosophical orientation of Fr. Messian's franciscanism. Conclusions. Cultural and social sources of interval-fret constructions by A. Scriabin and A. Messian point in both cases to the Iranian-Indian basis of European archaism, which in the French composer finds a frank bias towards Hindu-philosophical and rhythmic borrowing. IN O. Scriabin paradoxically closes the search for Scythian-Iranian roots of archaic semantic positions, multi-vector discussed in the circles of Russian Futurists (led by N. Kulbin) and Polish Symbolists. The semitone-whole-tone melodic basis, which encourages support for the quart in A. Scriabin and K. Debussy, fueled the discovery of a new modality of A. Messian, which established in the vanguard of the second wave Scriabin's "nerve" as a mysterious and liturgical interpretation of the musical expression in "Light" by K. Stockhausen, the memorial symbolism of L. Nono and absurdist abstractionism of the works of P. Boulez, others.

A Note on Causation versus Correlation in an Extreme Situation

Recently, it has been shown that the information flow and causality between two time series can be inferred in a rigorous and quantitative sense, and, besides, the resulting causality can be normalized. A corollary that follows is, in the linear limit, causation implies correlation, while correlation does not imply causation. Now suppose there is an event A taking a harmonic form (sine/cosine), and it generates through some process another event B so that B always lags A by a phase of π/2. Here the causality is obviously seen, while by computation the correlation is, however, zero. This apparent contradiction is rooted in the fact that a harmonic system always leaves a single point on the Poincaré section; it does not add information. That is to say, though the absolute information flow from A to B is zero, i.e., TA→B=0, the total information increase of B is also zero, so the normalized TA→B, denoted as τA→B, takes the form of 00. By slightly perturbing the system with some noise, solving a stochastic differential equation, and letting the perturbation go to zero, it can be shown that τA→B approaches 100%, just as one would have expected.

Modelo de predicción de riesgo en recursos hídricos para agricultura de precisión

En los últimos años la agricultura de precisión a tomado mucha relevancia en la búsqueda de optimizar recursos y obtener mejores resultados, dia a dia se trabaja sobre nuevas tecnologías que permitan llegar al productor para obtener dichas mejoras. En los cultivos que requieren una alta demanda de agua, como es el de arroz, se aplican diferentes técnicas de riego para lograr bajar la demanda hídrica y seguir obteniendo altos rindes. No obstante, se siguen presentando dificultades para realizar un monitoreo óptimo y en tiempo real. El presente trabajo se desarrolla en el IDTILAB de la Facultad de Ciencia y Tecnología de UADER (Concepción del Uruguay, Entre Ríos), en conjunto con la seccional de INTA (Instituto Nacional de Tecnología Agropecuaria, Concepción del Uruguay), y presenta un modelo de comportamiento y prototipo innovador para monitorear cultivos de precisión en tiempo real. Fundado en lo más reciente de la minería de datos temporal, emplea una extensión de los conocidos Sistemas Armónicos (HS por sus siglas en inglés) (Lopez de Luise D. 2013) denominada Sistemas Armónicos difusos (Fuzzy Harmonic System, FHS) (Lopez de Luise D. 2013a , 2013b) (Bel W. 2018) que constituye un heurístico simple y liviano capaz de detectar y predecir los eventos críticos de estrés hídrico en los lotes de los cultivos de arroz. Se presenta el prototipo funcional de KRONOS.AgroData y KRONOS.AgroMonitor que implementa el modelo FHS adaptado para la predicción del nivel de riesgo de sequía en los lotes de riego en cultivos de arroz de la zona de San Salvador ubicada en (Entre Ríos) y en la zona de INTA, Concepción del Uruguay (Entre Ríos). Este prototipo está realizado con tecnología Arduino para la adquisición de datos y tecnologías web como React®, NextJS®, NodeJS® y MQTT®. El diseño permite evaluar el rendimiento y eficiencia del modelo propuesto en un entorno real de prueba de campo donde intervienen variables de diverso tipo (climatológicas, variaciones de humedad en suelo, nivel hídrico en suelo, PH, entre otras). De los estudio de campo y los análisis estadísticos que se muestran en este trabajo, se puede afirmar que el modelo derivado permite determinar intervalos de muestreo y riego mucho más adecuados que los tradicionales, y evaluar satisfactoriamente los rindes y condiciones de cultivo.

Existence of Positive Solution for a Nonlinear Weighted Bi-Harmonic System of Elliptic Partial Differential Equations via Fixed-Point Argument

In this paper, we establish an existence criterion of positive solution for a nonlinear weighted bi-harmonic system of elliptic partial differential equations in the unit ball in Nn ( dimensionaleuclideanspace) The analysis of this paper is based on a topological method (a fixed-point argument). Initially, we establish a priori solution estimates, and then use a fixed-point theorem for deducing the existence of positive solutions. Finally, we prove a non-existence criterion as the complement of existence criterion. GANIT J. Bangladesh Math. Soc.Vol. 40 (2020) 54-70

Symmetry resolved entanglement in gapped integrable systems: a corner transfer matrix approach

We study the symmetry resolved entanglement entropies in gapped integrable lattice models. We use the corner transfer matrix to investigate two prototypical gapped systems with a U(1) symmetry: the complex harmonic chain and the XXZ spin-chain. While the former is a free bosonic system, the latter is genuinely interacting. We focus on a subsystem being half of an infinitely long chain. In both models, we obtain exact expressions for the charged moments and for the symmetry resolved entropies. While for the spin chain we found exact equipartition of entanglement (i.e. all the symmetry resolved entropies are the same), this is not the case for the harmonic system where equipartition is effectively recovered only in some limits. Exploiting the gaussianity of the harmonic chain, we also develop an exact correlation matrix approach to the symmetry resolved entanglement that allows us to test numerically our analytic results.

The Webern in Mozart: Systems of Chromatic Harmony and Their Twelve-Tone Content

Toward the end of his 2012 book, Audacious Euphony, Richard Cohn asks, “how does music that is heard to be organized by diatonic tonality [as in the age of Mozart] become music that is heard to be organized in some other way [as in the age of Webern]”? In the present article, a theory different from Cohn’s is offered as answer. The theory’s three sub-theories, harmonic hierarchy, within-key chromaticism, and “solar” key distance, lead to a distinction between four types of harmonic systems: the strictly diatonic, the first- and second-order chromatic, and the restricted twelve-tone system. As its name implies, the latter harmonic system allows for twelve-tone levels, though under a restriction (termed Principle of Diatonic Fusion) that holds “the Webern in Mozart” in check.