Glass Of Wine Research Articles

32-Year-Old-Woman With Abdominal Pain

32-Year-Old-Woman With Abdominal Pain

Using computed tomography and 3D printing to construct custom prosthetics attachments and devices

BackgroundThe prosthetic devices the military uses to restore function and mobility to our wounded warriors are highly advanced, and in many instances not publically available. There is considerable research aimed at this population of young patients who are extremely active and desire to take part in numerous complex activities. While prosthetists design and manufacture numerous devices with standard materials and limb assemblies, patients often require individualized prosthetic design and/or modifications to enable them to participate fully in complex activities.MethodsProsthetists and engineers perform research and implement digitally designs in collaboration to generate equipment for their patient’s rehabilitation needs. 3D printing allows for these devices to be manufactured from an array of materials ranging from plastic to titanium alloy. Many designs require form fitting to a prosthetic socket or a complex surface geometry. Specialty items can be scanned using computed tomography and digitally reconstructed to produce a virtual 3D model the engineer can use to design the necessary features of the desired prosthetic, device, or attachment. Completed devices are tested for fit and function.ResultsNumerous custom prostheses and attachments have been successfully translated from the research domain to clinical reality, in particular, those that feature the use of computed tomography (CT) reconstructions. The purpose of this project is to describe the research pathways to implementation for the following clinical designs: sets of bilateral hockey skates; custom weightlifting prosthetic hands; and a wine glass holder.ConclusionThis article will demonstrate how to incorporate CT imaging and 3D printing in the design and manufacturing process of custom attachments and assistive technology devices. Even though some of these prosthesis attachments may be relatively simple in design to an engineer, they have an enormous impact on the lives of our wounded warriors.

Wine’s time: duration, attunement, and diffraction

Time, if addressed through non-linear and speculative perspectives concerned by aesthetics and aesthetic objects, is a promising space to develop a fresh approach to perception. That is, that the emergence of perception is embedded in material relations. Here, we take the scenario of two people sharing a glass of red wine to demonstrate how the concatenation of material events sets the rhythm that creates the sensation of time passing. In doing so, we aim to explore what processes and events within the sharing of wine partake in the perception of time and allow the sensation of time passing be a shared experience. We begin with the notion of “Duration” proposed by Henri Bergson as a philosophical framework to explore the material bases of the process of perception, specifically the concrete perception of time passing. Then, to point out the possibilities of an empirical analysis concerned with multiple scales of reality, we turn to advances in affect studies and new materialism. Specifically, we draw on the notion of “diffraction” as proposed by Karen Barad to explore cross-modal interchanges of properties at the quantum scale, and the idea of “attunement” inspired by the work of developmental psychologist Daniel Stern to address the scale of organic social interaction.

The Nordic House in Reykjavík, Iceland: A House with a Big Heart for Children and Literature

The Nordic House in Reykjavík, Iceland: A House with a Big Heart for Children and Literature Marloes Robijn (bio) Click for larger view View full resolution Photo: Mats Wibe Lund [End Page 36] Surrounded by sea on three sides and guarded by the majestic mountain range Esja, the city of Reykjavík is a capital in a rather non-metropolitan way. Small in scale and with a pond frequented by Arctic birds for a central square, the city gets its capital allure from the international vibe of its numerous events and the variety of cultural festivals it hosts. One of the venues taking a leading role in the city’s richness of activities is the Nordic House, situated in the nature reserve across the road from the city center. The same modest size as Reykjavík, the house is as vibrant, varied, and international as the city itself. The Nordic House, built in 1968, is a cultural institution designed by acclaimed Finnish architect Alvar Aalto (1898–1976). Visitors from all over the world find their way to the Nordic House to admire this distinctive representative of Aalto’s architecture. It features typical motifs that can be found in Aalto’s well-known masterpieces. Due to the use of organic shapes and natural materials, such as bended wood and copper combined with tile and brick, the building is in harmony with its environment [End Page 37] and function. The blue rooftop merges with the mountain range to the south, and the brightness, transparency, and warmth of the interior reflect the objective of the Nordic House. The institution was the first of its kind and is operated by the Nordic Council of Ministers—an intergovernmental body with representatives from Denmark, Finland, Iceland, Norway, and Sweden as well as Greenland, the Faroe Islands, and Åland. The goal of the Nordic House, which is to foster and support cultural connections between Iceland and the other Nordic countries, is manifested in a diverse program of cultural activities and events. A Focus on Children and Young People In the heart of the house, with its high ceiling and fan-shaped book well, is the library, which has books and media in all the Scandinavian languages along with Sami, Greenlandic, and Finnish. Furthermore, the house contains an art lending section, an auditorium, exhibition spaces, and a cozy children’s library and playing area, where storytelling hours in Danish, Norwegian, Swedish and Finnish take place. On a regular day, activities can be as varied as follows: In the morning, a school class gets a guided tour through the house, while a seminar on Nordic environmental issues is opened by the President of Iceland. Later, the auditorium might be used for a film screening or children’s theatre, while tourists and locals visit the exhibitions, the restaurant, or the gift shop. People drop in at the library to study, borrow books, or enjoy the architecture. In the children’s library, children are playing, reading, and discovering books in familiar or new languages. In the evening, you might see guests sipping from a glass of wine during a literature night with a Nordic writer, or the auditorium could be filled with long-haired youngsters at a concert with Norwegian medieval instruments or young people of all ages enjoying Danish hip-hop. The Nordic House participates in the major festivals held in Reykjavík and produces its own exhibitions, festivals, and events—covering a broad spectrum of topics, with a focus on sustainability, children and youth, and literature. Click for larger view View full resolution Photo: Mats Wibe Lund Today, the Nordic House has sister organizations in the Faroe Islands, Greenland, Åland, and Finland. All five institutions work under the auspices [End Page 38] of the Nordic Council of Ministers, following its strategy for Nordic cultural co-operation. One of the current strategy’s five main topics focuses on children and young people. In addition, children and youth are a priority target group within the overall strategy of the Nordic Council. Based on the UN Convention on the Rights of the Child, the Council of Ministers seeks to respect, protect, and promote the rights and perspectives of children and young...

Galaxy Television: Melding Worlds or Cultural Big Bang?

Suitable for MBA, EMBA, GEMBA, and executive education programs, this case explores the early days of a potential global leader's career. Emily Goh joined Galaxy Television, an Arab television start-up, as the head of corporate planning and worked in Rome for 10 months. She was heading back to Los Angeles to produce a television special on the Academy Awards. Her team included Arab on-air talent and producers, British production technicians, an Italian accountant, and American production support staff. Given the mix of cultures represented on her team, Goh wondered how she could generate the trust and cohesion the members would need for fruitful collaboration. Would there be a difference in the team dynamic now that they were in Los Angeles rather than in Rome? Would she herself behave differently? More broadly, Goh wondered whether she could continue to tackle the challenges inherent in living abroad and working for a multinational company. Was the melange of cultures in the pressure cooker of a multinational start-up company too much change? Was Galaxy's array of cultures too disparate to blend and lead? Could she find a way to meld her worlds and those at Galaxy? Or would Galaxy Television be her “big bang”? Excerpt UVA-OB-1022 Aug. 10, 2011 GALAXY TELEVISION: MELDING WORLDS OR CULTURAL BIG BANG? The Alitalia flight from Rome to Los Angeles had leveled off, and Emily Goh settled into her first-class seat, glass of wine in hand. She thought back 10 months to when she had been on the same flight in the opposite direction. Goh had moved to Rome to join an Arab television start-up as the head of corporate planning. Her excitement and anticipation of the impending adventure kept her up for that 14-hour flight. This time, however, she had the long flight home to decompress and reassume her American identity—to return to comfortable, more familiar surroundings than she had experienced in the cauldron that was Galaxy Television. Although the trip back home was for business, Goh was looking forward to spending time with her family and close friends in Los Angeles before producing a television special on the Academy Awards with the Galaxy team that would arrive in a week. Her team included Arab on-air talent and producers, British production technicians, an Italian accountant, and American production support staff. The Academy Awards' high visibility with customers, potential studio partners, and competitors meant the production was a priority for Galaxy. As such, her boss, the CEO, designated Goh as the project's team leader. A successful show would position the company as the leading Arab television network and a proven producer of quality, original entertainment programming. . . .

Paying Homage

Paying Homage Iris Lee Stoler (bio) Woman at the Cusp of Twilight Daniel Shapiro Dos Madres Press www.dosmadres.com/shop/woman-at-the-cusp-of-twilight-by-daniel-shapiro/ 112 Pages; Print, $17.00 Reading Daniel Shapiro's Woman at the Cusp of Twilight is similar to leafing through someone's family photo album. Most of the subjects are no longer living, and the chronology is mixed up, but the faces (and stories behind them) are inviting and real. This gives pleasure. Shapiro introduces his poetic tribute to his maternal relations with a family tree, which for me, was both positive and negative. I began by scrupulously referring back to it as I read each poem, bookmark at the ready, wanting to orient myself to all the relationships and events in their lives. However, at about one-third of the way through, I decided this method was keeping me from appreciating each poem on its own merits. And there are many merits. This book differs from Shapiro's previous book of poems, The Red Handkerchief (2014), which is lyrical and imagistic and strongly first-person. That book does contain several poetic odes to family members, but the poems dwell mostly on romantic and sexual themes. (One, "Your Name Means 'Forever'," is reminiscent of Cavafy in its elegiac, nostalgic quality.) In this book, Shapiro, as curator of this family portrait, modestly conceals the "I" for the sake of leading the reader into the lives of the characters. The voice is more-or-less evenly divided between omniscient distant narrator and direct address to an individual. The work is nicely varied; there are ten concrete poems (a wine glass, Coney Island parachute, a potato, among others), several dramatic monologues, and one ekphrastic piece ("Abe, Cast in Sepia"). Most poems focus on Shapiro's parents, aunts and uncles; a few on his grandparents; and one (a sad tale of a dead child) invokes his great grandparents. Aging, dreams deferred and eventually renounced (his mother's dance career), sibling issues, marriage, and one unhappy divorce: these are some of his subjects. In "So Much in Love" Shapiro directly addresses his mother about her lost career. He addressed this more successfully in the poem "Dance" in The Red Handkerchief, where his lineation and language fly; here the language and structure are flatter, filled with not-so-interesting details. I found this so in a minority of other poems where he seems to want to give information by "reminding" the recipient of the poem of past events. When this happens, it takes precedence over his usual concern with sight and sound, as in "Max and the Memory of Elke." But now on to all the good stuff. Concrete poetry is so tricky. It can so easily turn to visual kitsch. Shapiro's concrete poems are delightful. "The Cemetery at Torrey Pines," which contains the line that is the title of the book, is a tree-trunk-shaped description of his mother at the grave of her mother. The last line makes subtle reference once again to his mother's aborted dance career: It's the treethat appears to be dancing, rooted butswaying with abandon in the breeze. [End Page 20] "Parachute Jump" attempts perhaps a bit too much, but the unpunctuated, free-floating (pun intended) lines relate perfectly to the subject matter. (Full disclosure: I grew up in Coney Island; partiality is possible here.) Shapiro is excellent in matching his lineation and metrics to his subject matter. The abrupt short lines in "Hannah" appropriately signify the drama, tension and tragedy of the story. "The Peach Tree" is a memory piece which needs to be read out loud to get the benefit of the tempo: That branch jutting over the fenceladen with fruit— but when he looks back, no one's there,only the tangy scent of peacheshangs in the air. "Rhapsody in the Sun (Esther's Dream)" is all about Grandma meeting up with George Gershwin, and appropriately, the language swings: Scintillations. Above the water,pale-green willows hung their long hair down. It's all lovely –until the turn: Because the unbenign presence growing insidecrowded out...

The Lizard

The Lizard Julia Specht (bio) “And here’s the washing machine.” “Wow,” said Laura. “Yeah,” Ann said. She grinned and fidgeted with the beads on her caftan. “We feel a little guilty about it. Cause, you know, the water consumption—” “Sure, electricity,” said Laura. “Yeah,” said Ann. “But still, you know?” She ran her fingertips over the mottled white finish. “When’s the last time you saw a washing machine in New York?” “At the laundromat,” said Laura. “No,” said Ann. “No, I mean like, in an apartment—” “Oh,” said Laura. “Yeah, I can’t remember.” For the rest of the housewarming party, they all tried, but no one could stop talking about the new washing machine. They said everything that could possibly be said. Harriet said that they’d have to find a way to hang their clothes to dry, since there wasn’t a dryer, but Yuri said that everyone should be doing that anyway because honestly it’s just better for the environment. Uma said they should get little baskets for detergent and softener and things, and proceeded to talk for a full fifteen minutes about some little woven fabric containers she saw at the farmers market last weekend. Laura kept asking questions about hoses and pipes and plumbing. “I almost want to take off my clothes and wash them right now,” she said. Everyone laughed into their wine glasses. “How are you affording this place?” asked Yuri. “It’s actually not that expensive,” said Clara. “Wait, how?” said Lizzie. “I don’t believe that.” Clara hesitated. “There’s kind of a, um…extenuating circumstance?” “No, ha, no,” said Ann. “Now isn’t the best time to talk about this.” “They’re our friends, Ann. It’s not that big a deal to tell them.” The two women stared at each other for a moment. “Fine, if you really want to,” said Ann. Clara smiled and turned to the room. “It’s really not a big deal,” [End Page 35] she said. “But, the real estate agent told us – oh, I don’t know if it’s even worth mentioning; it’s not that important.” “Oh come on,” said Yuri. “What is it?” said Laura. “There’s a lizard,” said Ann. The lizard weighs three hundred and twelve pounds. The lizard is covered in scales the color of a cloudy November afternoon in New Hampshire. The lizard has six eyes, all of which serve a distinct anatomical purpose. At the end of its tail is a human hand, which twitches and grasps and is mostly decorative, but which seems to be the thing that scares potential tenants the most. The lizard’s name is Algoroth, but it has never told anyone this, mostly because no one has ever asked. The lizard has lived in Apartment 2A of 89 Montgomery since a séance gone bad on July 12th, 1916. Management has attempted several methods to remove the lizard, including but not limited to forceful eviction, exorcism, assassination, legal proceedings, and asking nicely. Due to the presence of the lizard, Apartment 2A sat vacant for many years, until an enterprising young landlord decided to take advantage of rising property values and refurbish the unit. “It’ll be just like having a dog,” Clara said to Ann before they signed the lease. The realtor informed them about the lizard in advance, with the same chipper, fake-solemn tone she used to tell them about the leaky faucet and the outdated light fixtures. “Is it an actual lizard?” Ann asked the realtor. “Like an iguana or something?” “Not precisely,” chirped the realtor. “Maybe more a…oh, I don’t know! It’s not normal, if that’s what you’re asking. It doesn’t leave. Maybe it’s a ghost.” “Is it, like, a demon?” Ann asked. “Oh, wow, no, that’s…no, that’s so severe!” said the realtor, laughing. “I guess, if you wanted to use that word you could, but yikes.” “Has it ever hurt anybody?” Clara asked the realtor. “Not severely,” the realtor said. “No, I mean, it… burned someone, I think, once, like, 50 years ago? But that’s such a long time, [End...

Mackerel, and: Maid Poem #2

Mackerel, and: Maid Poem #2 Jan-Henry Gray (bio) MACKEREL Today was mackerel, nets full of them. Silver as christmas thistle, their fins a foil origami in the sea. Down in the market, bronzed women sell bits of shell, Prices hand-scrawled on cardboard with charcoal with chalk. In the bars where only Spanish is spoken, There is talk of the new cannery. The subject of the season thrills the oldest women. Remembering when they were little, they gather and giggle. Some are missing teeth, others have silver crowns. They have shouldered strong children. The women sit, eat, and wipe bread crumbs from the table with the backs of their broad forearms onto their laps and onto the floor for no one to clean up. A woman walks in with a wooden box of shelling beans. They are large pods, gray-green, flatter than favas. Behind the women, in an empty kitchen, a pot of salted water boils. salt the water see how it tastes like the ocean Between my hands, I toy with a cup empty for half an afternoon. The plate of beans is brought to the table: Steaming, whole, without labor. Tonight is mackerel. Cold potatoes. Squat glasses of purple wine. See how they eat the beans. See how they peel the pods back. [End Page 114] MAID POEM #2 We were shown how to eat with our hands, how to pick the meat between bones, how to feel for the small slivers hidden in fish, how to gather food with four fingers and push it into our mouths with our thumbs. There were no knives at our table, those were kept in the back kitchen, with the maids. They ate when we ate. They stayed back when we went to church, to tend to the chickens, to care for the youngest, always sick. We knew their names, the smell of their skin. Shame I can’t name them now. My mother remembers them all and each, which maid was paired with which child and which one (only one) would come with us when we went to the mountain to ride horses in the fog. [End Page 115] Jan-Henry Gray Jan-Henry Gray was born in the Philippines, grew up in California, and was a chef in San Francisco before receiving his mfa in poetry from Columbia College Chicago. A recipient of a Jack Kent Cooke Graduate Arts Award and the Undocupoets Fellowship, Jan’s work is in the Rumpus, Tupelo Quarterly, Fourteen Hills, and Puerto del Sol. Copyright © 2017 Center for Literary Publishing

Spirited Skies Project: Silica Aerogel Domes for the Habitat of the Future

The hypothesis of this paper is the examination of dome constructions using the space technology nanomaterial silica aerogel as insulating material. Silica aerogels are nanomaterials with excellent thermal insulations properties because 99.98% of their volume can be pure air. Insulation’s origin is the Latin insula ‘island’, an “isolated land” we could say. Planet Earth is a “space island”, in other words an oasis enveloped by its atmosphere: a layer of gases named sky surrounds our planet and protects life from genetic damage by ultraviolet solar radiation. By imitating nature -and in order to protect themselves-humans create garments and architectures. The primary function for garments and architecture is to insulate and to protect the human body. Silica aerogels could be considered as the eco friendly “plastic” of the 21st century because they can find application in any field. As aerogels are phenomenal energy savers they could be the paradigmatic materials for designing the insulation for future sustainable space habitats. Aerogels represent one of the most promising materials for thermally insulating buildings of the future, since the material demonstrates high performance, exhibiting thermal conductivities of 10-20 mW/(mK) in insulated, commercial products not used in a vacuum. Aerogels, when manufactured, can exhibit varying degrees of opacity, including both translucency and transparency, thereby enabling a diverse variety of applications for insulation in buildings that might require access to daylight or exploit sunlight for energy. Silica aerogel is the material-epicentre of all of the author’s multidisciplinary research. During the interactive presentation we will propose the design of small glass domes entitled Spirited Skies and Heaven in a Glass where silica aerogel was poured into jacketed glass beakers and micro clouds were settled in between the glazing. We suggest that the artificial clouds set on the transparent or translucent shell of these future space domes may relieve astronauts of their nostalgia of Earth, our home planet. With the same intention we also propose for a future space mission to utilise water (or wine) glasses with blue and gold skyscapes in double walled glass utensils.

The Spirituality of Wine by Gisela Kreglinger

Reviewed by: The Spirituality of Wine by Gisela Kreglinger Thomas McElligott The Spirituality of Wine. By Gisela Kreglinger. Michigan: William B. Eerdmans Publishing Company, 2016. 257pp. $24.00 Is this some kind of joke? We know that drinking wine can lighten our spirits, but can it make us “spiritual”? Does the fermentation of grapes actually do more than make the drinker gently intoxicated? (98) Sommeliers often compare the taste of wine to fruits, vegetables, chocolates, and other foods—but to the spiritual? How would one taste the “spirituality” of a wine? [End Page 271] Kreglinger divides her study into two parts: “Sustenance” and “Sustainability.” She supports her argument for the spirituality of wine in the five chapters of the first section of her book by arguing that the spirituality of wine grows out of an understanding of the role of wine in the Bible, the history of the development of the use of wine in the life of Christians, the centrality of wine in the Eucharist, and the presence of wine at Christian festival days to enhance joy in celebration. Finally, she explores the important roles that the senses of taste and smell play in identifying those qualities in a well-crafted wine that invite a contemplation of wine as a gift of God’s creation (118). Kreglinger interprets her study of the multiple biblical references to wine and the history of the integration of wine in the life of Christians as an appreciation of all of life as being in “a profound relationship with God and in deep fellowship with God’s creation” (35). She appreciates the Lord’s Supper as the prayer that employs the mind, the senses, and the imagination to accept Christ’s redemptive presence in the bread and wine as “the fruit of the very earth that God made . . . and anchors our spirituality in creation” (67). Our five senses, Kreglinger states in the fifth chapter of Part One, are “an extravagant gift from God” (100). She describes how to use these senses to savor the flavors of a sip of well-crafted wine as it enters the mouth and awakens the palate. It “reveals to us something of God’s abundant generosity” and savoring it “can become a prayer” (110). Does prayer here mean thoughtfully partaking of a glass of wine in a kind of “mindfulness” in which the taster recalls the work of the vintner, the work of nature, and finally, God? She does not say. The “sustenance” of the spirituality of wine discussed in Part One depends upon the attentive taster who brings to the enjoyment of a glass of wine the biblical, historical, and sacramental connections of wine and human life. That seems to be a theological appreciation of wine. In fact, Kreglinger understands spirituality as “a strain of Christian theology”(1). The second part of Kreglinger’s argument, summarized below, shows how the vintner comes to the spirituality of wine through a careful dedication, almost devotion, to every aspect of the craft of the vintner. Kreglinger develops her argument in these final five chapters of Part Two, “Sustainability,” by introducing the reader to the kind of attention several vintners from Germany, France, and the United States pay to every aspect of the crafting of their wine. They regard their work as a vocation because every aspect of their work presents them with questions and challenges about how they need to live in relation to what they are doing (121). These vintners live the spirituality of wine because of the way their work transforms them. The German vintner Armin Störrlein described his work as “a cooperation with God’s creation” in which the wine he produces respects the God-given natural environment of the vineyard from which the resulting wine is a gift of God (133). Jason Lett, an Oregonian vintner, offered that the crafting of his wine brings him “a deep sense of the interconnectedness of life” (136). Russ Raney, another Oregonian vintner, understands “the land and the vine is a God-given mandate and calls him to a life of gratitude.” He conceives of the vintner as the responsible custodian of the land so that the wine that eventually...

A Small but Perfect Happiness

A Small but Perfect Happiness Edward Hamlin (bio) Click for larger view View full resolution Thunderstorm photo by Thomas Bresson; photo of young woman by martinak [End Page 134] The photos arrived at all hours, nearly always catching Sandra by surprise. She might be sorting through her mother's things when the phone burbled with another text, or trying to weed the riotous mint from her myrtle beds, or dozing in defeat on the sunroom daybed, the afternoon [End Page 135] having gotten away from her. Without her mother in the house it was often too quiet, but these were not interruptions she welcomed. Vrrrt, the intrusive little messenger would trill, and she'd know that another photo was waiting, or three, or ten, or even a bit of rocky video filmed as the sender weaved down cobbled lanes or stepped over clods in vineyard rows. Often enough the photos were of her son's Italian girlfriend, Francesca, posed against some achingly pretty Tuscan backdrop—a vineyard fence artfully tangled with grapes, or the whitewashed wall of a rustic trattoria, or, more distressingly, their disorderly bed under the green-shuttered window that opened onto hills terraced with cypress trees. Nearly always there was a glass of wine tucked into the scene. The girl was photogenic and winsome and an irresistible subject, without a doubt. But the intimacy of the photos embarrassed Sandra. It was obvious that the girl was posing for her American boyfriend—certainly not for his mother—and there was almost always a hint of arousal about her, of sex just concluded or sex soon to commence. In one series the girl's comfortable breasts were plainly visible through her cotton top, their areolae small and dark as pennies, her lips parted over perfect teeth in a smile that could only be meant for a lover. These pictures could make them a lot of money, Sandra had thought as she scrolled through them, money they could use right about now. Then she'd felt mercenary and low for thinking it. What a sour reaction—it said something about her, this practical reflex, hinting at a Sandra she didn't recognize. For an hour she'd felt ugly and small and was glad there was no one around to witness it. The photos kept coming, relentless as the August heat. She wanted them to stop. They were nothing more than lovely photos of a lovely girl, but still. What business did Curt have sharing them with his sixty-year-old mother back in the Chicago suburbs? Did he realize how many years it had been since a man had looked at her with such desire? (He was twenty-two; the question was hardly worth asking.) Besides, if there was something in his desire for this girl that wounded his mother, it certainly wasn't any of his business. With a sort of brio she'd text back, What a lovely girl! or She's a keeper, Curt, as much to prove something to herself as to cheer him on. What kind of mother wouldn't want her son to share his joy? But this, of course, only encouraged him to send more images of his lover, goaded on by her seeming enthusiasm. Sometimes a picture would come and Sandra would toss the phone onto the couch or into the grass as if it were suddenly electrified. She [End Page 136] loved Curt, but it didn't mean she needed to look at women through his eyes, to drink them in as a young man would. She'd rather not know the details of how young men thought. Sometimes she switched the phone off just to have a break from the stream of images and texts, knowing that when she switched it on again it would catch up within seconds, the pulse of Curt's impressions blasting down the line from across the Atlantic, insistent as his desire. ______ It wasn't that she disliked Francesca, not at all. In fact, Sandra liked her very much. When she and Curt had passed through Chicago in March, en route to Florence, she'd been charming, an attentive, well-bred girl who...

玻璃酒杯声波激振的原理及其影响因素的探讨

本文采用臂力棒模型解释了声波激振的微观机理，并讨论了高阶的振动模式。通过五组实验，探讨液面的高度、液体的密度、黏度、温度和酒杯的尺寸五个主要因素对共振频率的制约作用，结果表明，液面高度、液体的密度与酒杯的共振频率呈负相关，其结果与理论模型较好地吻合；同时发现液体的黏度、温度与酒杯的共振频率呈负相关，且不同尺寸的酒杯对液面高度、液体温度的敏感度不同。 In this paper, the arm force rod model is built to illustrate the microscopic mechanism of acoustic excitation and the vibrational modes of higher order are discussed ulteriorly. Five main factors, the height of the liquid level, liquid density, viscosity, temperature and the size of the wine glasses, are analyzed through experiments. The result shows the relationship between liquid levels or its density and frequency of wine glasses are negatively correlated and their value verifies the theoretical model well. Except that, the result also shows liquid viscosity and temperature are negatively correlated with the frequency, and the sensitivity of different size of wine glass to the liquid level and temperature is different.

Women have better olfactory perception for wine aromas

The objective of this work was to verify the influence of the gender on the olfactory perception of aromas found in the wines, as well as to identify the aromatic groups most perceived by men and women. Twenty different aromas of different aromatic classes described in the wines were used: fruity, spices, wood, herbaceous, floral, buttery, defects. The different aromatic groups were packed in Erlenmeyer glasses wrapped with aluminum paper in order to avoid the visualization of the aromas by the participants. Fifty people, 25 men and 25 women, aged between 21 and 65 years, were ramdomly separated in groups of 10 people to participate of the evaluation. The influence of the gender on the ability to identify aromas was verified. Women matched 56.8% of the aromas, while men matched 44.6%. In relation to the aromatic class, a greater index of the feminine gender in all the aromatic classes was verified, being spices the group of aromas that women most perceived, with 80.6% of hits, followed by the floral aromas with 50% accuracy. For men, the aromatic class with the highest index of accuracy was also the spices, however, with a success rate of 58.4%, followed by the herbaceous group with 38.2% of correct answers. Both females and males obtained high scores for the group of wine defects (acetic acid and ethyl acetate), 85.2% and 81.0%, respectively, overcoming the other aromatic classes. Buttery aromas were the ones least recognized by women, with 30.8% of hits, whereas the least perceived aroma for men were the floral ones, with no hits observed in any group of participants. The results found in this study show that there are differences in olfactory perception between men and women, and this factor, in addition to the wine service temperature, wine glass type, olfactory memory, must also be considered in sensory analysis. Female gender has a greater ability to identify aromas in relation to the male gender, since women have a greater number of cells in the olfactory bulb, which is the brain region responsible for smell detection.

Rituals

Rituals William Virgil Davis (bio) One on One A sudden rush from above and then a flurryof feathers as the two came together in mid-air,clashed, and fell to the dirt, whirlwinding it.Then he, the hunter, roosted on his helpless prey. I was not twenty feet away, up on a ladder to fillthe feeder. We all three froze. The hawk staredhard at me as he flexed his talons in the robin’s back.Beneath him the dying bird lifted its broken neck slightly with each last breath. The hawk held tight,squeezing tighter and harder until there was the finalcollapse of this small ceremony. His wide eyes hadheld mine through the whole ordeal. It was as if he wanted me not only to see, to witness, but to attest.And then it had finished. He made a final clasp,and took his trophy and, in one beautiful maneuver,lifted with the dead one and flew off into oblivion. Homage to Wallace Stevens’s Interior Paramour Was it in Oslo or Copenhagen that we firstfound favor for the earliest candle of the evening,first of all of those that were later to be lighted, in sequence, round and around the rooms where wesat thinking our thoughts and sharing them with othersin the faint light that faded to full dark in the corners [End Page 5] of those cold rooms, that winter away, far furthernorth than we had been before? The warmed wineand the dimmed light, as we accustomed ourselves to them, as we thought our thoughts or spoke themopenly, seemed to adjust to the temper of our minds,to add something almost palpable to the conversation. And when someone, reminding all of us of you,quietly said, “Yes, God and the imagination are one,”we took our time to think that through all over again. And then, at last, there was only the silence and the slowlyguttering candles. And then a second serving of winewas silently delivered, with cheese and assorted crackers. A Winter Afternoon It is as ordinary as a bowl of flowersset in the exact center of a tableused for other things, for food and conversation, or the simple sittingwith a book in one’s hand or a glassof wine, with evening coming on along the horizon, through the barrentrees, flashing in the glass, causingit to shimmer with such struck light that it continues to tingle in the air,in the mind, long after any revelationhas dissipated in the growing gloom of that late winter afternoon, whenyou sat alone with long thoughts. [End Page 6] A Winter Remembered This winter I remember the weatherthat took you in, an icy rain, a lidof fog on the tops of the trees. We drove the long miles out of the city,into the open country, passing patchesof snow on the hillsides shielded from the sun and littering the low placesnear the road where it wristed aroundtilted fence posts, the barren trees, moving further out through long lanesof silence, to the place at the top of the hill,where we stopped. Too many of us had been hunched in the hearse, somefacing backwards. We watched fromthe windows, draining with an icy rain, and hardly spoke. Then, when we finallyarrived, everything was already ready.Several men stood a short distance off, under a large oak, leaning hardon their shovels, anxious for us to leave,to let them finish what they’d begun. We watched and listened to what wassaid, and nodded to the others whonodded to us, and then moved slowly [End Page 7] away, reentered the cars and were gone.Although we put your body in the earththat day—many years ago now— even then we knew that your spirit,so quickly lost to us, was still outthere somewhere in the cold icy air. [End Page 8] William Virgil Davis William Virgil Davis’s most recent book is Dismantlements of Silence: Poems Selected and New. He is professor of English and writer-in-residence at Baylor...

The observation and evaluation of extensional filament deformation and breakup profiles for Non Newtonian fluids using a high strain rate double piston apparatus

Summary This paper reports a new design of experimental double piston filament stretching apparatus that can stretch fluids to very high extensional strain rates. Using high speed photography, filament deformation and breakup profiles of a strategically selected range of fluids including low and higher viscosity Newtonian liquids together with a viscoelastic polymer solution, biological and yield stress fluids were tested for the first time at extensional strain rates in excess of 1000 s−1. The stretching rate was sufficiently high that observation of low viscosity Newtonian fluid stretching, end pinching and break was observed during the stretching period of the deformation, whereas for a higher Newtonian viscosity, filament thinning and breakup occurred after the cessation of piston movement. Different fluid rheologies resulted in very different thinning and breakup profiles and the kinetics, in particular of yield stress fluids showed a striking contrast to Newtonians or viscoelastic fluids. Surprisingly all the tested fluids had an initial sub millisecond “wine glass” profile of deformation which could be approximately captured using a simple parabolic mass balance equation. Subsequent deformation profiles were however very sensitive to the rheology of the test fluid and where the final breakup occurred before or after piston cessation. In certain cases the thinning and break up was successfully matched with a 1D numerical simulation demonstrating the way numerical modelling can be used with the fluids correct rheological characterization to gain physical insight into how rheologically complex fluids deform and breakup at very high extensional deformation rates.

From the coliseum to the convention centre: a reflection on the current state of medical education conferences and conference-goers.

The advancement of knowledge and development of policy in the field of medical education require critical academic discourse among the most intelligent medical educators; and critical academic discourse requires coffee. In this essay, we reflect on the state of professional development conferences in the field of medical education and the rituals that surround their success. Having begun in ancient Greece, symposia were ripe with debauchery. Today, sedated by the light brown walls of hotel conference centres, symposia are more serious endeavours, engaging men and women in the sometimes turbulent waters of epistemological debate. The abstract submission process (summed up by: 'Yay! It was accepted for presentation' [Deep breath] 'Oh no…it was accepted for presentation'), the 'juggling act' of parent attendees, the acting prowess of abstract presenters and the unapologetic approach to buffet eating are all by-products of the collision of true intellects among medical education scholars. We hold these rituals in high regard and argue that they are required to advance the field of medical education. These rituals bind the walls supporting true progressive thought and innovative research, all fuelled by the glass of wine purchased with that one coveted drink ticket.

Chronic Hepatitis E in a Case of Chronic Lymphocytic Leukemia: A Rare Presentation of Chronic HEV in a Non-transplant Patient

A 72-year-old French man with chronic lymphocytic leukemia (CLL) evaluated for continued unexplained jaundice, elevated transaminases, and fatigue for five months. His initial labs were remarkable for elevated transaminases [AST 134 U/L, ALT 216 U/L] and mild hyperbilirubinemia [1.4 mg/dL]. A liver biopsy revealed chronic hepatitis with mild portal fibrosis, focal mild periportal fibrosis, and steatosis. The pattern of lymphocytic staining was not compatible with CLL, and immunochemistry was negative for CLL. There were no intracytoplasmic inclusions, negative for alpha 1 AT deficiency, no Mallory bodies, and negative for Prussian blue stain. His past medical history was most significant for CLL first diagnosed 10 years prior to the initial hepatology visit. Rituxan based chemotherapy was started 4 years ago. Medical history is also notable for coronary artery disease s/p PCI with stents at age 68. He had an appendectomy during childhood and a cholecystectomy at 67 years old. He consumes one glass of wine every other day and has a former 50 pack year smoking history. He endorsed occasional consumption of undercooked pork and beef tartare every couple months, which is a delicacy in his home in Marseilles, France. His last visit to Southwestern France was 6 years ago, and his last foreign travel was on a cruise trip to Central America 1 years ago. There was no clinically apparent hepatomegaly or splenomegaly. An initial laboratory work-up was unrevealing, including hepatitis A, B and C serologies & viral count, ASMA, AMA, ANA, ferritin, and ceruloplasmin. However, Hepatitis E Ab Ig M was detected positive on the initial hepatology clinic visit. The test was repeated and positive again one month later. Samples sent for HEV RNA detection at the CDC lab was positive. The patient was confirmed to have Chronic Hepatitis E and started on ribavirin 600mg twice daily for 3 months. Previously known as a self-limiting acute infection, hepatitis E virus (HEV) has been found to cause chronic hepatitis, particularly in post organ transplant patients from Southwestern France on immunosuppressive therapy and especially in those consuming undercooked pork. While awareness of chronic Hepatitis E is growing, it is not commonly reported outside of post-transplant recipients. Chronic hepatitis E should be considered in the differential for all immunosuppressed patients with similar epidemiological risk factors and unexplained chronic hepatocellular disease.

Using wine glasses, strings, and bars to teach resonance at the undergraduate and graduate levels

At Brigham Young University, two of the acoustics courses taught in the Physics and Astronomy Department focus on resonance topics. One of the undergraduate courses is a general education, descriptive acoustics course on musical instruments, speech, hearing, and audio. One of the graduate level courses using a differential equations approach to wave motion and resonances on strings, bars, membranes, and plates. In both of these courses, taught at very different levels, the concept of resonance is explored and analyzed. This presentation will discuss various demonstrations used in these classrooms and discuss how they are used in the learning development of the students. Demonstrations include wine glasses, strings, and bars.

Changes in Wine Ethanol Content Due to Evaporation from Wine Glasses and Implications for Sensory Analysis.

The relative proportion of water and ethanol present in alcoholic beverages can significantly influence the perception of wine sensory attributes. This study therefore investigated changes in wine ethanol concentration due to evaporation from wine glasses. The ethanol content of commercial wines exposed to ambient conditions while in wine glasses was monitored over time. No change in wine ethanol content was observed where glasses were covered with plastic lids, but where glasses were not covered, evaporation had a significant impact on wine ethanol content, with losses from 0.9 to 1.9% alcohol by volume observed for wines that received direct exposure to airflow for 2 h. Evaporation also resulted in decreases in the concentration of some fermentation volatiles (determined by gas chromatography-mass spectrometry) and a perceptible change in wine aroma. The rate of ethanol loss was strongly influenced by exposure to airflow (i.e., from the laboratory air-conditioning unit), together with certain glass shape and wine parameters; glass headspace in particular. This is the first study to demonstrate the significant potential for ethanol evaporation from wine in wine glasses. Research findings have important implications for the technical evaluation of wine sensory properties; in particular, informal sensory trials and wine show judging, where the use of covers on wine glasses is not standard practice.

Defect Reduction in the CO<sub>2</sub> Laser Cutting of Glassware Rim

Defects in glassware are unacceptable in terms of product strength and aesthetics. The unsmooth cut rim of glassware can often be found in the laser trimming of excessive part after blow molding process. Such defect is basically not safe to use and has to be rejected from the production, thereby inevitably increasing the manufacturing cost and time. Hence, this research aims to reduce the defect in glassware rim induced by the laser cutting process. A wine glass was used as a workpiece sample in this study. Laser power, laser cutting time and workpiece rotational speed were tested and optimized to reduce the defects by using the response surface methodology. The optimum condition for the laser cutting of wine glass was found to be 225-W laser power, 2.4-s cutting duration and 335-rpm rotational speed.