Many recent studies have shown that we are generally unable to accurately replicate recorded ground motions at most borehole array sites using available subsurface geotechnical information and ...one-dimensional (1D) ground response analyses (GRAs). When 1D GRAs fail to accurately predict recorded site response, the site is often considered too complex to be effectively modeled as 1D. While three-dimensional (3D) numerical GRAs are possible and believed to be more accurate, there is rarely a 3D subsurface model available for these analyses. The lack of affordable and reliable site characterization methods to quantify spatial variability in subsurface conditions, particularly regarding shear wave velocity (Vs) measurements needed for GRAs, has pushed researchers to adopt stochastic approaches, such as Vs randomization and spatially correlated random fields. However, these stochastically generated models require the assumption of generic, or guessed, input parameters, introducing significant uncertainties into the site response predictions. This article describes a new geostatistical approach that can be used for building pseudo-3D Vs models as a means to rationally account for spatial variability in GRAs, increase model accuracy, and reduce uncertainty. Importantly, it requires only a single measured Vs profile and a number of simple, cost-effective, horizontal-to-vertical spectral ratio (H/V) noise measurements. Using Gaussian geostatistical regression, irregularly sampled estimates of fundamental site frequency from H/V measurements (f0,H/V) are used to generate a uniform grid of f0,H/V across the site with accompanying Vs profiles that have been scaled to match each f0,H/V value, thereby producing a pseudo-3D Vs model. This approach is demonstrated at the Treasure Island and Delaney Park Downhole Array sites (TIDA and DPDA, respectively). While the pseudo-3D Vs models can be used to incorporate spatial variability into 1D, two-dimensional (2D), or 3D GRAs, their implementation in 1D GRAs at TIDA and DPDA is discussed in a companion paper.
Common procedures used to account for spatial variability of shear wave velocity (Vs) in one-dimensional (1D) ground response analyses (GRAs), such as stochastic randomization of Vs or increasing ...small-strain damping, have been shown to improve seismic site response predictions relative to 1D GRAs where no attempts are made to account for spatial variability. However, even after attempting to account for spatial variability using common procedures, 1D GRAs often still yield results that are different than ground motions recorded at many downhole array sites. When 1D predictions differ from observations, the site is typically considered to be too spatially variable to effectively use 1D GRAs. While there is no doubt that some sites are indeed too variable for 1D GRAs, it is also possible that simple 1D analyses could still be effectively used at many sites if spatial variability is accounted for through a more rational, site-specific approach. In this study, an H/V geostatistical approach for building pseudo-3D Vs models is implemented to account for spatial variability in 1D GRAs. The geostatistical approach is used to generate a uniform grid of Vs profiles that have been scaled to match fundamental site frequency estimates from horizontal-to-vertical spectral ratio (H/V) noise measurements. In this article, 1D GRAs are performed for each grid point and the results are statistically combined to reflect the average site response and its variability. This 1D application is demonstrated at the Treasure Island and Delaney Park Downhole Array sites, where it is shown to produce superior fits to the small-strain recorded site response relative to existing approaches used to account for spatial variability in 1D GRAs. Using the proposed approach, we also investigate the lateral area that is likely influencing site response at each site and show that it could extend to significant distances (as much as 1 km) from the boreholes.
This paper explores the concept of PlaySpace for literature as a shared spatial structure generated out of the adult-child dynamic at the heart of Children’s Fiction. It counters the negative dynamic ...between adult and child articulated by Rose, Lesnik-Oberstein and others, with a positive spatial dynamic for imaginative play and growth in which the child needs the adult as much as the adult needs the child. This shared space can function both positively and negatively. If PlaySpace requires the necessary frame of a protective adult for the child to be spatially secure, and thus play freely, then what happens when that figure is not present or turns out not to be what he or she appeared to be? The second half of the paper explores the concept further in relation to Robert Louis Stevenson’s Treasure Island, one of the earliest examples of fiction explicitly written for a child readership as a “story for boys” (Stevenson, 1894 1925, p. 123). Treasure Island immediately problematises this psycho-spatial dynamic in and through Jim’s relationship to the island, and the reader’s relationship to Jim.
Oznog the great and powerful Morris, Paul
Porn studies (Abingdon, UK),
10/1/2016, 2016-10-00, Letnik:
3, Številka:
4
Journal Article
Recenzirano
I am an American gay pornographer. That is the lens through which I see and understand things. For both straight and gay males, the sex in pornography is meaningful to the extent that it works ...against the predetermined structures associated with 'functional' sex. While there are similarities in the behaviours of gay and straight males in porn sex, the meanings of the specific syllabic gestures of the sex are different. For straight men, the allure of unfettered, unlimited sex derives from the fact that each heterosexual man exists in society as a proxy for the children he may generate. For gay men, sex is devoid of this generative remove. In this Forum piece I examine the ways in which queer porn functions by arousing the viewer, and then presenting behaviours, institutions and ideas with which the viewer can identify.
Nonlinear site response analyses are generally preferred over equivalent linear analyses for soft soil sites subjected to high-intensity input ground motions. However, both nonlinear (NL) and ...equivalent linear (EQL) analyses often result in large shear strain estimates (3–10%) at soft sites, and these large strains may generate unusual characteristics in the predicted surface ground motions, such as irregular time histories and atypical spectral shapes. One source of unusual ground motion predictions may be attributed to unrealistically low shear strengths implied by commonly used modulus reduction curves. Therefore, modulus reduction and damping curves can be modified at shear strains greater than approximately 0.1% to provide a more realistic soil model for site response. However, even after these modifications, nonlinear and equivalent linear site response analyses still may generate unusual surface acceleration time histories and Fourier amplitude spectra at soft soil sites when subjected to high-intensity input ground motions. In this study, we use equivalent linear and nonlinear 1D site response analyses for the well-known Treasure Island site to demonstrate challenges associated with accurately modeling large shear strains, and subsequent surface response, at soft soil sites.
•Performed site response analysis using data from Treasure Island.•Modified dynamic soil properties to account for uncharacteristic response spectra.•Predicted surface motions are uncharacteristic relative to recordings.
Can John Silver in Treasure Island be simply labeled as "evil"? This paper aims to tap into this problem from the perspective of neuroethics. Silver's evil fails to obscure his impressive traits as ...poetical talktiveness, frugality, self-discipline and his trust in others, which is physically based on his maturely developed Theory of Mind; Besides, the witness and imagination of buccaneers' judicial execution of hanging frequently activate Silver's mirror neurons. With the mimesis of hanging in his brain, the blended sensation of horror, depression and regret buzzes in his mind. As a result, Silver sets up a principle of survival, with some altruistic behaviors as disguises, thus presenting a character before readers with moral ambiguity and the duality of human nature, which can be identified as Stevenson's strategies to break away from the western literary tradition and a future feeling as modernity.
Previous research on the content of gay bareback pornography has focused on one studio, Treasure Island Media (TIM), and argued that the materials produced by this studio provide a portrayal of gay ...masculinity that reframes aspects of hegemonic masculinity. This portrayal has four major aspects: descriptions of bottoms as athletic, descriptions of bareback sex as risky, a focus on semen as sacred, and models with ordinary bodies. I analyzed the content of 91 Sean Cody videos to determine the extent to which these aspects were also depicted in the videos produced by another studio, one that differed in some ways from TIM. My findings indicated that the Sean Cody videos did not provide the same portrayal. Implications for the study of gay bareback pornography are discussed.
The pirate tropes that pervade popular culture today can be traced in large part to Robert Louis Stevenson’s 1883 novel, Treasure Island. However, it is the novel’s afterlife on film that has ...generated fictional pirates as we now understand them. By tracing the transformation of the author’s pirate captain, Long John Silver, from N. C. Wyeth’s illustrations (1911) through the cinematic performances of Wallace Beery (1934) and Robert Newton (1950), this paper demonstrates that the films have created a quintessentially “American pirate”—a figure that has necessarily evolved in response to differences in medium, the performances of the leading actors, and filmgoers’ expectations. Comparing depictions of Silver’s dress, physique, and speech patterns, his role vis-à-vis Jim Hawkins, each adaptation’s narrative point of view, and Silver’s departure at the end of the films reveals that while the Silver of the silver screen may appear to represent a significant departure from the text, he embodies a nuanced reworking of and testament to the author’s original.
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