Context. The cosmic web, a complex network of galaxy groups and clusters connected by filaments, is a dynamical environment in which galaxies form and evolve. However, the impact of cosmic filaments ...on the properties of galaxies is difficult to study because of the much more influential local (galaxy-group scale) environment. Aims. The aim of this paper is to investigate the dependence of intrinsic galaxy properties on distance to the nearest cosmic web filament, using a sample of galaxies for which the local environment is easily assessable.} Methods. Our study is based on a volume-limited galaxy sample with \(M_\mathrm{r}\) \(\leq -19\) mag, drawn from the SDSS DR12. We chose brightest group galaxies (BGGs) in groups with two to six members as our probes of the impact of filamentary environment because their local environment can be determined more accurately. We use the Bisous marked point process method to detect cosmic-web filaments with radii of \(0.5-1.0\) Mpc and measure the perpendicular filament spine distance (\(D_{\mathrm{fil}}\)) for the BGGs. We limit our study to \(D_{\mathrm{fil}}\) values up to 4 Mpc. We use the luminosity density field as a tracer of the local environment. To achieve uniformity of the sample and to reduce potential biases we only consider filaments longer than 5 Mpc. Our final sample contains 1427 BGGs. Results. We note slight deviations between the galaxy populations inside and outside the filament radius in terms of stellar mass, colour, the 4000AA break, specific star formation rates, and morphologies. However, all these differences remain below 95% confidence and are negligible compared to the effects arising from local environment density. Conclusions. Within a 4 Mpc radius of the filament axes, the effect of filaments on BGGs is marginal. The local environment is the main factor in determining BGG properties.
The article describes some alterations in singing traditions from the aspect of sociocultural context and viewed from the Estonian perspective, providing a historical and social background of singing ...traditions, including the survey of the `national awakening' process. As particular occasions where singing traditions in relation to cultural identity are studied, two types of festivals have been chosen: a large national festival and a small community festival.
The festivals studied occurred in the summer of 1994. The National Song Festival was arranged for the twenty-second time, that year exceptionally in two towns, Tartu and Tallinn. The community event was the Setu Kingdom Day, celebrated in Obinitsa village. Festival is observed here as cultural performance, characterized by periodicity and recurrence, by impersonal and predictable movement of time. A festival provides an opportunity to study the external orientation of customs, folkloristic phenomena, transformations in the sociocultural context, organized performance and the functional context of singing. In the contemporary society the use of the song as a tool in life-shaping experiences has been replaced in many cases by a spectator experience.
The Estonian events analysed lead to a conclusion that the functions of the festival as cultural performance are equivalent on the community level and on the national level. The festival provides a scenery for manifestations of cultural and national identity, national and ethnic unity. Complementing the transformations in sociocultural context, the observable phenomenon of uttering political ideas and aesthetic images with musical modulations of the voice (i.e. singing) continues to be a significant mechanism, which affects social behaviour. For example, it may serve as a cultural response to the national desire for independence. One noteworthy process in Estonia has been the alteration of music perception resulting in song festival movement, which in turn has had essential impact on the modern nation-building. The environmental adaptation of the historic tradition can be observed in the versatile expressions of cultural acitivities. In contemporary society the traditional aesthetic folklore is cultivated in organized performance groups.
What happens when UNESCO heritage conventions are ratified by a state? How do UNESCO’s global efforts interact with preexisting local, regional and state efforts to conserve or promote culture? What ...new institutions emerge to address the mandate? The contributors to this volume focus on the work of translation and interpretation that ensues once heritage conventions are ratified and implemented. With seventeen case studies from Europe, Africa, the Caribbean and China, the volume provides comparative evidence for the divergent heritage regimes generated in states that differ in history and political organization. The cases illustrate how UNESCO’s aspiration to honor and celebrate cultural diversity diversifies itself. The very effort to adopt a global heritage regime forces myriad adaptations to particular state and interstate modalities of building and managing heritage.
What happens when UNESCO heritage conventions are ratified by a state? How do UNESCO’s global efforts interact with preexisting local, regional and state efforts to conserve or promote culture? What new institutions emerge to address the mandate? The contributors to this volume focus on the work of translation and interpretation that ensues once heritage conventions are ratified and implemented. With seventeen case studies from Europe, Africa, the Caribbean and China, the volume provides comparative evidence for the divergent heritage regimes generated in states that differ in history and political organization. The cases illustrate how UNESCO’s aspiration to honor and celebrate cultural diversity diversifies itself. The very effort to adopt a global heritage regime forces myriad adaptations to particular state and interstate modalities of building and managing heritage.
Context. A significant fraction of the predicted baryons remains undetected in the local universe. We adopted the common assumption that a large fraction of the missing baryons corresponds to the hot ...(log T(K) = 5.5-7) phase of the Warm Hot Intergalactic Medium (WHIM). We base our missing baryons search on the scenario whereby the WHIM has been heated up via accretion shocks and galactic outflows, and is concentrated towards the filaments of the Cosmic Web. Aims. Our aim is to improve the observational search of the poorly detected hot WHIM. Methods. We detect the filamentary structure within the EAGLE simulation by applying the Bisous formalism to the galaxy distribution. In addition, we use the MMF/NEXUS+ classification of the large scale environment of the dark matter component in EAGLE. We then study the spatio-thermal distribution of the hot baryons within the extracted filaments. Results. While the filaments occupy only 5% of the full simulation volume, the diffuse hot intergalactic medium in filaments amounts to 23% \(-\) 25% of the total baryon budget, or 79% \(-\) 87% of all the hot WHIM. The most optimal filament sample, with a missing baryon mass fraction of 82%, is obtained by selecting Bisous filaments with a high galaxy luminosity density. For these filaments we derived analytic formulae for the radial gas density and temperature profiles, consistent with recent Planck SZ and CMB lensing observations within the central \(r\)~ 1 Mpc. Conclusions. Results from EAGLE suggest that the missing baryons are strongly concentrated towards the filament axes. Since the filament finding methods used here are applicable to galaxy surveys, a large fraction of the missing baryons can be localised by focusing the observational efforts on the central 1 Mpc regions of the filaments. Moreover, focusing on high galaxy luminosity density regions will optimise the observational signal.
The basis of wider distribution of choral singing among the country people was established at school and in the church. At the beginning of the 1930s, the development of polyphonic choral singing ...started. The example of choral singing as a form of social activity was taken over from the Baltic Germans among whom a movement of choral societies cultivating polyphonic men- or mixed choruses was widespead on direct influence of German culture. In Germany it was one expression of the national need of Germans to become one nation. In Estonia, in Põlva already in 1855 and 1857 several choruses performed together on what was called a "song-holiday", but the first song-holiday of a county that had a wider response was organised by the local priest Martin Köber in 1863 in Anseküla, where 500 singers participated. In North-Estonia, the first song festival was held two years later in Jõhvi, and in June 1869 the first Estonian nationwide song festival was held in Tartu after two years of pursuing a permission from the authorities. It has been even claimed that Estonians sung themselves into a nation. Since then, song festivals have regularly been taking place.
The song festival is a folk festival, being at the same time both a ritual and a spectacle. The song festival creates a situation where cultural identity and national unity can be demonstrated. The mechanism of this festival is social mobilisation, people come to the festival with their families and friends, more important than the choral experience is communicating with those from close and afar, the need to experience reblendation into the society in a wider sense, the sense of unity with the nation, its history and cultural heritage. Artistic organised performances taking place during the festival that are aimed at the audience demonstrate cultural devotions of the particular community, carrying at the same time three main purposes: the social function to organise the community; the psychological function to express personal and collective emotions; and thirdly, the function to expose, strengthen and create the particular culture (Turner-McArthur 1990, 86).
PDF
