ABSTRACT The composer Tomasz Sikorski (1939–1988) was a key figure in Polish postwar music during the communist period, although he fell into oblivion shortly after his death. The article reconstructs the crucial elements of his unique style, moving from the specific to the general: from the piece Untitled as a case study, through phase shifting as a technique prominent in pieces for multiple pianos, repetition as a compositional procedure to create form, and to the reduction of material as a large-scale strategy. A detailed description of select pieces (Diaphony, For Strings, Solitude of Sounds) and critics' reviews reveal some significant paradoxes: the apparent repetition is rather a multiplication or even a variation of the source material; the phase shifting is quite unorthodox, with many rests and irregularities. Although Sikorski was interested in open forms, he did not use minimalist elements to create a hypnosis of suspended time—he seemed to have strived to develop new ways of listening, focusing on subtle changes, pauses, and echoes. His main point of reference was the sound itself and its perception, rather than form as process or structural reduction.

We, the Editors and Publisher of Pharmaceutical Development and Technology, are retracting the following article: Uner, B., Baranauskaite Ortasoz, J., & Tas, C. (2024). Development of thermosensitive liposome-containing in-situ gel systems for intranasal administration of thiocolchicoside and in vivo evaluation in a rabbit model. Pharmaceutical Development and Technology, 29(6), 582–595. https://doi.org/10.1080/10837450.2024.2364707 Following publication, concerns were raised by a third party regarding the apparent repetition of data in Figure 7. When requested to provide all the raw data for the paper, the authors responded, however, the data provided did not address the concerns raised. As a result of these concerns, the Editor no longer has confidence in the validity of the findings in the article, and therefore we are retracting the article from the journal. The author has agreed to retract the article OR The author does not agree with the retraction. We have been informed in our decision-making by our editorial policies and the COPE guidelines. The retracted article will remain online to maintain the scholarly record, but it will be digitally watermarked on each page as ‘Retracted’.

Puccini’s Madama Butterfly (1904) was a notorious failure at its world premiere: condemned by Italian critics for its “decorative” surfaces and apparent repetition of earlier Puccinian tropes. The first of the composer’s two operas based on works by American playwright David Belasco, the opera was soon revised and received its belated New York Metropolitan Opera premiere in 1907 as part of a festival of the composer’s works organized in his presence. The decision to visit New York was timely: not only had Belasco’s source play been premiered there in 1900, but New York was by then emerging as the global center of the operatic gramophone industry, with recordings of Puccini’s works made in Camden, New Jersey, frequently featuring performers from the Metropolitan Opera. This development echoed wider operatic power shifts between Italy and the United States at this time, which informed evolving attitudes to new sound reproduction technology on both sides of the Atlantic. This article re-examines Madama Butterfly from the perspective of Puccini’s 1907 tour. In particular, it focuses on the composer’s interactions with the U.S. gramophone industry during and before his New York visit, examining them in relation to broader questions of the Italian operatic future and ideas of Italian vocality. While Madama Butterfly has long been addressed in relation to its Orientalist depiction of Japan, reframing Puccini’s Belasco-inspired opera within this transatlantic context can illuminate the fraught cultural politics of the gramophone industry, as well as their intersection with the wider musical dramaturgy of Puccini’s opera. Ultimately, I argue, Madama Butterfly emerges as a vital document of a changing auditory culture ca. 1900, as well as of an ambivalent colonial imagination.

Abstract Martin Heidegger notoriously linked industrial agriculture and the Holocaust in a lecture given at Bremen while he was still banned from teaching under denazification measures. What has largely been overlooked is that Derrida also compared the two: in 1997, in an address given at the third Cerisy conference devoted his work. This apparent repetition will be understood within the broader framework of his reading of Heidegger and, in particular, with what the latter says concerning technology. It will be argued that while Derrida views industrial agriculture as a series of technical issues, each demanding of particular attention, Heidegger sees its only as an instance of Technik. Most significantly, while the latter’s philosophy offers no resources for treating it as demanding an ethical response, for Derrida our relation to animals should be guided by compassion.

Modal testing is routinely applied to tyres for the identification of structural parameters and prediction of their vibration response to excitations. The present work focuses on the more demanding case of modal testing with the aim of constructing a full mathematical model of a tyre, appropriate for use in a generic time-based simulation. For this purpose, the less common free–free boundary condition is employed for the wheel, while the tyre belt is excited in all three directions, namely radial tangential and lateral. To improve efficiency, a novel partial identification method is developed for the mode shapes, whereby measured and predicted frequency responses are matched around distinct resonance peaks, while eliminating the effect of out-of-band modes. Axial symmetry of the tyre requires high purity mode shapes to avoid angular dependency of the tyre’s response. For this reason, experimental mode shapes are digitally filtered and combined with their orthogonal counterparts. Processed data reveal apparent repetition of selected mode shapes, and this is attributed to rim deflection.

The nuclear disaster at Fukushima in March 2011 has led to a burst of research on the role of uncertainty in social and scientific knowledge production. This line of research is not limited to the special uncertainties of radioactive contamination. In fact, from the 1960s to today, a loosely affiliated group of antipollution thinkers and activists have been exploring the relationship of human society to its environment in extremely creative and fruitful ways. Beginning with the methylmercury poisoning called “Minamata disease” of the 1950–70s, this group began what they called “Minamata studies” (Minamatagaku, 水俣学) as a way to develop new modes of analysis and remediation of toxic sites. This article focuses on the key category of the lived site, the genba (現場), and the role it plays in the politics and medicine of environmental disease. Finally, this article explores an apparent repetition compulsion at work in the series of toxic disasters in modern Japanese history from Ashio to Fukushima.

Design Innovation from PV-Module to Building Envelope: Architectural Layering and Non Apparent Repetition

Dmitrij Prigov's Iterative Poetics

In 947 Cao Yuanzhong, military commissioner of the Hexi region and the de facto ruler of Dunhuang, began the construction of Cave 61 at Mogao in northwestern China. The structure's architecture, location, and pictorial program bear a remarkable degree of similarity to the caves of his predecessors. The apparent repetition of the earlier designs has led past scholars to dismiss Cave 61 and the art of the time as formulaic and sterile. A closer look at Cave 61 reveals that this project was in fact motivated by a new understanding and practice of artistic appropriation in tenth-century Dunhuang.

The manuscript Venice, Biblioteca del Museo Correr, Correr 336, part 4, is devoted principally to a compilation of Latin music theory texts dealing with hexachords (including coniunctae ) and mutation, intervals, and modal theory, all presented without attribution. The compiler claims to have made the collection for his own use and that of pupils; thus it represents the interests of a musician who was also a teacher and who chose material that he considered practical, organized in a way he intended to be useful. Though oddly placed initials and captions, the lack of attributions, and apparent repetition of topics initially present a chaotic appearance, unraveling the visual clues reveals two main sections: Ars cantandi is a comprehensive survey of the art of plainchant; Manus is at once a review and an exhortation to pupils to commit the information presented to memory. Identification of and comparison with the compiler’s sources (including the bulk of the Berkeley manuscript’s first treatise, and the Divina auxiliante gratia , drawn from the Lucidarium of Marchetto of Padua) has made it possible to determine what portions of pre-existing material the compiler included, what he omitted, what he changed, and how he imposed a design on his borrowed material that, far from contradicting itself, presents differences between early and later practice, between theory and its practical application.

A Tale of Three Zoras:Barbara Johnson and Black Women Writers Hortense J. Spillers (bio) Talking about Zora Neale Hurston is like approaching the Sphinx—so much riddle, so many faces, and all of it occurring on fairly high holy ground since Alice Walker's remarkable discovery a couple of decades ago.1 But Barbara Johnson's criticism cracks the code on Her Majesty and brings the sign vehicle—"Zora Neale Hurston"—to the table of juxtapositions and comparisons. There is the iconic Hurston, whose positioning between the Harlem Renaissance2 and the post-World War II writers gives her a priority of status that marks the woman artist's entry into literary modernism. The latter, in its variety of contexts and alignments, opened the way to certain experimental forms for these writers and might not have been completed as a systematic gesture before the late sixties and early seventies, when this generation of practitioners was free to create antiheroic figures and to probe the limits of representability. In short, with Zora Neale Hurston a window is pried open, a breeze blows through, and by the time of Toni Morrison's Beloved, an opening has become a prospect, a landscape of vistas of possibility. We can think of Hurston, then, as an enabler, who was not particularly encouraged by the literary politics of her age, from first to last; whether by the "maledom" of Harlem Renaissance avenues to reward and achievement, or by the paradigm shift of race politics in the 1950s,3 Hurston seems to have been equipped with the uncanny ability to create a kind of chaos, to behave outside the parameters of fashion, and to create dimensions of the mythical about her as she modeled versions of self. In her role as classically trained anthropologist and folklorist, Hurston is considered today one of the major theoreticians of black culture.4 Her collections of lore, a [End Page 94] motherlode of a southern-centered orality,5 of the countryside, are fruitfully poised against the displaced metaphysical traditions of discourse that we especially associate with figures like Alain Locke and W. E. B. DuBois.6 As it now appears, the oppositional currents that run between the Hurstonian and the DuBoisian figurations have yet to be reconciled: the latter is text-based, and the former exceeds the abiding centrality of the word. Barbara Johnson argues in A World of Difference that Hurston "tried to explain the difference between a reified 'art' and a living culture in which distinctions between spectator and spectacle, rehearsal and performance, experience and representation are not fixed" [159]. For Hurston, folklore was "'the arts of the people before they find out that there is such a thing as art.'" For Hurston, unlike DuBois, for example, black culture was not a project in the modality of Bildung, or the Hegelian notion, but, rather, a repertoire of gestures that might be said to belong to a second skin—the kinetic thing that is done or said. From our current perspective, what Hurston called "folklore" and what offered the occasion for the ethnographic foray might be given other names, though renaming these acts and gestures of the everyday does not make it any easier to reconcile the conceptual split in black culture theory between textuality and orality, or between "urban" and "countryside." But all of these locutions have been essentially eviscerated by radical changes in the availability and transmission of consumer goods that have rendered US local and indigenous cultures virtually indistinguishable from Jackson, Mississippi to Boston, Massachusetts. Take any interstate network across the land, east to west, or north to south: between McDonald's and the food/gas mart, scattered along ten- to twenty-mile sequences of roadway, one is quite astonished at the sameness and homogeneity of motifs that have translated particularity into an item of commerce and exchange. At one time, the critics were calling this outcome the postmodern flow, but my own hunch is that this apparent repetition and replication of the same are riddled with a variety of timbres and accents, still, that the Hurston ear was so sharp to articulate and define six decades ago. And in that intricate choreography between the life...

I do not believe that any reflection on rehabilitation is possible without keeping in mind the picture of the psychotic who cannot be cured, who is the principal user of day-care centers: a person who tends to transform the catastrophe of psychosis into a neatly stabilized way of life, a way of organizing survival, oras Racamier (1980) expressed it into a paradoxical way of existing without existing. We well know that, in confronting chronicity, one of the principal tasks of anyone working in mental health is to keep psychotics alive in their own minds, seeking with them to give some significance [to their lives] that will surmount the frustration, the pain, and the boredom of apparent repetition of the same thing, to maintain a capacity for imagination and, at the same time, for patience and waiting in the face of the continuous questions, never answered, that are raised whenever one peers into their psychotic worlds. The hard core of the problem confronting psychiatric services in attending to that dual reality of the world without and the world within a problem that makes psychiatric work an undertaking different from a purely psychotherapeutic or a purely social project is, in terms of both the feelings involved and the more practical question of how to organize such services, the chronicity of psychotic disorders. It is a problem from the past that lingers in the present. In the past, however, the asylum gave an answer or rather, the nonanswer with which we are familiar, ratifying the depersonalization that is an inherent part of mental illness. Whereas the incurable psychotic has been taken as the classic case for demonstrating the antitherapeutic nature of the asylum as an institution, the

Anyone who has followed the political development of Argentina over the last year has feelings divided between astonishment at its exceptional character and a strong impression of deja vu. Rarely, no doubt, has a 'strong' regime managed so well to bring about its own demise. Perhaps never before has Argentine society reached such a level of entropy or come so close to disintegration and loss of its identity. But at the same time, the familiar sequence of political developments is again taking place, with unrelieved monotony. 'History repeating itself' is not just a trite figure of speech. The ending of the present military interlude, notwithstanding its terrorist phase, the tragic adventure of the South Atlantic, the near-collapse of the economy and the settling of scores between the three services, is following step by step a well-trodden path. Like their predecessors of the period 1966-73, the messianic but not over-humble leaders of the 'process of national reorganization' found themselves, after promising not to return power to the civilians until all the country's problems had been 'put right', obliged to embark hurriedly upon the phase of institutional normalization. Disagreements within the military authorities and the sombre toll of six years of absolute power had made inevitable an inglorious retreat by the 'saviours of the motherland'. Dialogue with parties gripped, after years of ostracism, by a sudden electoral frenzy, the efforts of the military to impose conditions and safeguards on the functioning of a re-established democracy: these are just so many recurrent features of a cyclical political history. However, these seven years (1976-83) do not resemble their counterpart of the preceding decade (1966-73) and one may wonder about the lasting after-effects which they may have on society and the State. The political shock treatment, the violence of the authorities, has no precedent in recent Argentine history and has gone hand in hand with an economic shock treatment. And the country is still affected by these remedies of which one may reasonably think that they were much worse than the ills which they were supposed to cure. But it would be surprising if such shocks to the system had not modified political attitudes and behaviour. How could the underlying nature and the socio-political structures of a system heavily influenced by the military' not have been brought into question in any way nor have undergone the slightest change? When one considers all that the regime is answerable for, and its social cost, it is doubtful whether the apparent repetition of the political rituals can bring back the same expectations as in the past. Are not the isolation of the government today and its inability to mobilize the civilian backing indispensable for its survival clear proof that calling in the military has lost its attraction? The barely tolerated appearance of an antimilitarism which is as new as it is uncontrollable leads one to think that, according to the traditional phrase,

We describe a quantitative model capable of explaining the results of all reported investigations of the counting of interaural and monaural click sequencies. The model is developed by means of three convergent operations: (a) reanalyzing absolute-estimation data of apparent repetition rates of interaural and monaural sequences, (b) deriving interaural and monaural counting times from numerosity-judgement data, and (c) analyzing the time that observers needed to respond to the end of interaural and monaural sequences. The combined evidence demonstrates that the perceived onset asynchrony (POA) between interaural events is 24 msec longer than that between monaural events. The model has three components: (a) a "stimulus clock," which represents the stimulus onset synchrony (SOA) between events; (b) a "memory clock," which represents the POA between events, and (c) a "counting clock," which represents the counter increment time. The transfer functions between the three clocks are deduced from empirical data. Other proposals to explain interaural click counting results (attention switching, streaming by locus, counterincrement deficit) are discussed and rejected.

The brick fragment illustrated in the accompanying photograph is the property of Mr. J. G. Hobson of Empingham, Leicestershire, U.K., and is published by his kind permission. The fragment measures 15*X11*X9.5 cms., and the stamp on the edge of the brick measures 9.5X6.1 cms. It was found some 25 years ago, about two kilometers north of the ziggurat at Aqar Quf, Dur-Kurigalzu. The inscription partially duplicates Iraq Supp. 1944 fig. 15 DK,-44,' which is listed as Q.5.8 in Brinkman, MSKH 1. The differences in the arrangement of lines 2/3 and 5/6 show that this brick was not made with the same stamp as DK,-44. In the following transliteration restorations are taken from DK,-44. In lines 1-2 the sign bi has two different forms. In line 3, Sakkana is written G'IlR.DINGIR. The apparent repetition of u4-bi-a in lines 1 and 7 is unexpected, but lines 7 and 9 remain unintelligible. The restoration of line 3 on the new fragment shows that the bricks, and the rebuilding of the citywall, are to be attributed to Kurigalzu II.

The reassociation kinetics of pea (Pisum sativum L.) DNA fragments (300 nucleotides) were measured with hydroxylapatite. The most slowly reassociating fragments do so with a rate constant of 2 X 10(-4) L mol-1s-1, as determined from experiments with total DNA as well as with a tracer enriched for slowly renaturing sequences. This rate is about 1000 times slower than that observed for Escherichia coli DNA included as an internal kinetic standard, indicating a kinetic complexity of 4.5 X 10(9) nucleotide pairs or 4.6 pg of DNA per haploid nucleus. This estimate is in good agreement with previous chemical and cytophotometric measurements. The majority (85%) of the 300 nucleotide fragments contain repetitive sequences. While the reassociation of repetitive DNA could be modeled with two theoretical second-order components, the data did not specify a unique solution. The reassociation kinetics of isolated high- and low-frequency fractions indicate that repetitive sequence families in pea DNA probably cover a broad range of frequencies ranging from 100 to 10 000 or more copies per haploid genome. Single-copy sequences account for about 30% of the DNA, but because of extensive interpersion of repetitive sequences only about 15% of 300 nucleotide fragments reassociate with single-copy kinetics. From studies of hydroxylapatite binding as a function of fragment length, we conclude that the major class of single-copy sequences has a modal length of about 300 nucleotides. Long tracer reassociation kinetics indicate that sequences with an apparent repetition frequency of about 10 000 copies are interspersed at intervals of less than 1300 nucleotides throughout 75% of the genome. At a detection limit of about 3%, we find no single-copy sequences longer than 1000 nucleotides.

Walther von der Vogelweide’s “Sô die bluomen ûz dem grase dringent” is usually presented as an adaptation of a commonplace of Minnesang, the assertion that the joys inspired by a courtly lady are superior to those of spring. Such an interpretation accounts neither for Walther’s detailed presentation of the comparison between nature and the lady nor for the apparent repetition of his theme in the final stanza. The poet’s careful use of stylistic and thematic parallels, particularly similes derived from the medieval view of nature, transform the traditionally brief commonplace into a hierarchical conception of being which pervades the entire poem. Simultaneously. Walther’s adaptation of his theme necessitates the “repetition,” which self-consciously involves both his audience and the preceding stanzas in a further comparison, emphasizing the role of the poet in creating and perpetuating the fictions of Minnesang and its system of values.

Reassociation kinetics of sheared hexaploid wheat DNA in 0.18 M Na+ at 60 °C show the presence of three major classes of nucleotide sequences; (1) a very rapidly reannealing fracton that comprises about 4 to 10% of the genome and reanneals virtually instantly. This fraction contains sequences which appear to be randomly distributed through at least 40% of the genome; they may be palindromic sequences; (2) a heterogeneous intermediate reannealing fraction comprising about 70–80% of the genome which consists of families with apparent repetition frequencies ranging from about 100–100000; and (3) a slow reannealing fraction. These fractions have been isolated and studied separately. Seventy percent of the slow reannealing fraction (12 to 20% of the genome) was found to contain sequences present in approximately six copies per hexaploid genome. The single copy sequences in the three constituent diploid genomes of hexaploid wheat appear to show near complete homology to one another.

Subjects compared the apparent repetition rates of trains of dichotically alternating clicks, presented at 1–40/sec, with the apparent rates of monotic trains. All dichotic rates were underestimated, the degree of underestimation varying from a few percent at 1/sec to 35%–40% from about 7.5/sec onward. The latter rate corresponds to the switching rates producing minimal intelligibility of speech presented alternately to the two ears. Unlike the results of switched-speech experiments, however, the present results appear to be unequivocally interpretable as indicating a difficulty in integrating dichotically alternating inputs into a single percept.