On the Properties of <Emphasis Type="Italic">α</Emphasis>-Unchaining Single Linkage Hierarchical Clustering

In the election of a hierarchical clustering method, theoretic properties may give some insight to determine which method is the most suitable to treat a clustering problem. Herein, we study some basic properties of two hierarchical clustering methods: α-unchaining single linkage or SL(α) and a modified version of this one, SL?(α). We compare the results with the properties satisfied by the classical linkage-based hierarchical clustering methods.     

Theoretical and Conceptual Analysis of the Celebrated 4<Emphasis Type="Italic">π</Emphasis>-Symmetry Neutron Interferometry Experiments

In 1975, two experimental groups have independently observed the \(4\pi \)-symmetry of neutrons’ spin, when passing through a static magnetic field, using a three-blade interferometer made from a single perfect Si-crystal (analogous to the Mach Zehnder interferometer of light optics). In this article, we provide a complete analysis of the experiment, both from a theoretical and conceptual point of view. Firstly, we solve the Schrödinger equation in the weak potential approximation, to obtain the amplitude of the refracted and forward refracted beams, produced by the passage of neutrons through one of the three plates of the LLL interferometer. Secondly, we analyze their passage through a static magnetic field region. This allows us to find explicit expressions for the intensities of the four beams exiting the interferometer, two of which will be interfering and show a typical \(4\pi \)-symmetry, when the strength of the magnetic field is varied. In the last part of the article, we provide a conceptual analysis of the experiment, showing that a neutron’s phase change, when passing through the magnetic field, is due to a longitudinal Stern–Gerlach effect, and not to a Larmor precession. We also emphasize that these experiments do not prove the observability of the sign change of the wave function, when a neutron is \(2\pi \) rotated, but strongly indicate that the latter, like any other elementary “particle,” would be a genuinely non-spatial entity.     

Revisiting <Emphasis Type="Italic">Tom Tom:</Emphasis> Performative Anamnesis and Autonomous Vision in Ken Jacobs’ Appropriations of <Emphasis Type="Italic">Tom Tom the Piper’s Son</Emphasis>

In 1969 the American avant-garde filmmaker Ken Jacobs gained wide recognition with a two-hour long interpretation of a 1905 silent short film. Ever since, the artist has kept on revisiting the same material, each time with a different technological approach. Originally hailed as a prime example of structural filmmaking, Jacobs’ more recent variations on the theme of Tom Tom the Piper’s Son beg for a broader understanding of his methods and the meanings implied. To gain a deeper insight in this on-going mise-en-abyme (and an obsession dominating a large part of his career), this essay expands comments by the artist himself with concepts taken from animation, media-archaeology and Warburg’s Mnemosyne atlas. Rereading a filmic text with minute attention, remediating it from an analogue to an electronic format, and reanimating the original action by adding a variety of intervals: all Jacobs’ strategies are aimed at demonstrating the afterlife of Tom Tom in a contemporary cultural context.     

The Documentary Surreal: Film and Painting in Luciano Emmer’s <Emphasis Type="Italic">La Leggenda di Sant’Orsola</Emphasis> (1948) and Henri Storck’s <Emphasis Type="Italic">Le Monde de Paul Delvaux</Emphasis> (1946)

This article deals with the aesthetics of the art documentary of the 1940s and 1950s, which can be considered as the Golden Age of the genre. Prior to the breakthrough of television in Europe, which would usurp and standardize the art documentary, cinematic reproductions of artworks resulted in experimental shorts that were highly self-reflexive. These films became visual laboratories to investigate the tensions between movement and stasis, the two- and three-dimensional, and the real and the artificial—a film on art was self-consciously presented as an art film. Focusing on La Leggenda di Sant’Orsola (1948) by Luciano Emmer and Le Monde de Paul Delvaux (1946) by Henri Storck, this article also investigates how the animation of the static image by the film medium relates to Surrealist practices.     

The Unseen Déjà-Vu: From Erkki Huhtamo’s <Emphasis Type="Italic">Topoi</Emphasis> to Ken Jacobs’ Remakes

This commentary on Edwin Carels’ essay “Revisiting Tom Tom: Performative anamnesis and autonomous vision in Ken Jacobs’ appropriations of Tom Tom the Piper’s Son” broadens up the media-archaeological framework in which Carels places his text. Notions such as Huhtamo’s topos and Zielinski’s “deep time” are brought into the discussion in order to point out the difficulty to see what there is to see and to question the position of the viewer in front of experimental films like Tom Tom the Piper’s Son and its remakes.     

“天秤”的读音及其与“天平”的关系释疑

“天秤座（宫）”在不强调规范的情况下可以用同义换读的办法称之为“天平座（宫）”，但“秤”并无píng的读音，本音chèng。《汉语大字典》“秤”旧读píng的表述不准确。天文上“天秤”比“天平”使用更早，且更符合天文学术语规范。     

解析“气候变化”

简要介绍了气候变化的基本概念、气候变化的成因以及国际社会为保护全球气候所做努力的进程。各国在保护气候的责任和义务分担以及需要采取的具体行动等方面进行着艰难的谈判,全球应对气候变化的征程依然漫长。     

中医学中"脉"与"经络"概念的源流与翻译

追溯了"脉"与"经络"概念的源流,基于"中医典籍汉英双语语料库"分析了"脉"与"经络"现有的翻译,认为meridian、channel和vessel均可用于表达"经脉"-meridian是世界卫生组织推荐的标准化译语,channel是目前西方流行较广的译语,但二者又均有不足之处:前者是二维的线,与经脉运行气血的功能相矛...     

07式军服标志服饰术语“绶带”应为“穗带”

中国人民解放军07式军服增加了丰富多样的各类标志服饰，并首次向所有军官配发了礼服。其中，礼服上垂挂的金黄色丝带被权威机构和新闻媒体冠以“绶带”之称谓。实际上，“绶带”这一术语的指称对象是错误的，那条金黄色丝带应该叫作“穗带”。     

对“显微摄影”和“缩微摄影”对应外文词的探讨

指出科技书刊中，对“显微摄影”和“缩微摄影”的英文对应词有错译的现象，并对德语和俄语中“显微摄影”有误译成“缩微摄影”这一现象进行了讨论。     

"城市病"英译探究

从汉语术语"城市病"的定义出发,探讨目前国内对该词的种种英译,指出其中的不当之处,并归纳总结出该词的正确译法.     

“师范”英译追根溯源

中国有众多的师范学院、师范大学,然而对“师范”的英译却极其混乱,众说纷纭。文章在对目前“师范”的六种英译版本进行评论的基础上,结合国外师范大学的历史及现状和中国师范大学的特点,重点研究“Normal University”和“Teachers University”的译名之争,提出中国师范大学的英译应该规范、统一,应统一为规范译名——“Normal University”。