It has been reported that propagation of very low frequency (VLF) waves in the Earthionosphere waveguide might provide an indication of imminent earthquakes [Hayakawa et al., 1996; Molchanov et al., 1998]. Narrow-band data from Inubo, Japan, suggested that transmissions from Omega Japan, 1000 km away, might be influenced by pre-earthquake processes. The terminator time (TT) was defined as the time where a minimum occurred in the received phase (or amplitude) during sunrise and sunset. A few days before an earthquake the TT was observed to deviate significantly from the monthly averages, producing a longer “VLF day.” The TT effect has been explained through some rather simple modeling by a 1–2 km drop in the VLF reflection height at the lower ionospheric boundary. In this study we apply more realistic propagation models to show that the changes in VLF reflection height associated with earthquakes would have to be considerably larger (∼4–11 km) than those suggested previously in order to produce the reported effect. If the reported TT changes were caused by alterations in the VLF reflection height associated in some manner with an imminent earthquake, these effects would be commensurate with the effects of a solar flare. However, this would lead to changes in received amplitude (or phase) that would be significant at all times, and not just during the day/night transition. Hence it is not at all clear that a simple height-lowering explanation for the TT effect is correct.
Cold plasma mass density profiles in the plasmasphere have been determined for the geomagnetically quiet day of 19th August 2000 using the cross-phase technique applied to ground-based magnetometer data from the SAMNET, IMAGE and BGS magnetometer arrays. Cross-phase derived mass densities have been compared to electron densities derived from both ground-based VLF receiver measurements, and the IMAGE satellite RPI. The cross-phase results are in excellent agreement with both the VLF and IMAGE observational results, thus validating the cross-phase technique during quiet times. This is the first such coordinated multi-instrument study, and has enabled very few heavy ions to be inferred in the plasmasphere for L > 3.45 on this day. The observational results were compared to plasma mass densities from the SUPIM model and were found to be in excellent agreement. IMAGE EUV data also verified the existence of azimuthal structure in the outer quiet-time plasmasphere.
Authorities Back to overview,Home naval-today Canadian government boosts OSI Maritime’s ECPINS program with CAD$1.8 million View post tag: ECPINS The Canadian government will help OSI Maritime Systems speed up the development of its electronic chart precise integrated navigation system for warships (ECPINS) through an investment of $1.8 million (approx. US$1.4).Navdeep Bains, Canadian Minister of Innovation, Science, and Economic Development and Minister responsible for Western Economic Diversification Canada, made the announcement today during a visit to OSI Maritime Systems Ltd. in Burnaby, B.C.The British Columbia company will also upgrade its tactical software to comply with the latest standards of the North Atlantic Treaty Organization (NATO). The federal contribution will be matched by OSI.OSI’s software is currently in service on more than 600 warships and submarines operated by 20 navies, including the Royal Canadian Navy. The upgraded version of ECPINS is designed to improve navigational safety as well as situational awareness for naval warships and submarines.This investment is the first of several projects to be announced under the Western Innovation (WINN) Initiative. The program provides $100 million in repayable contributions to small- and medium-sized companies in Western Canada.“Canadian companies, such as OSI, are working hard to bring their products to market. The Government of Canada is proud to support a product that will improve safety and tactical awareness for naval submarines around the world. These projects also promote economic growth and create high-quality jobs in Canada.” Minister Bains said. View post tag: OSI Maritime Systems Share this article Canadian government boosts OSI Maritime’s ECPINS program with CAD$1.8 million View post tag: Canada September 21, 2016
Evansville Teachers Federal Credit Union paid out nearly $4 million to its members through consumer checking counts alone in 2018.The $3,797,732 returned to members through ETFCU’s premier checking accounts represent a 61 percent increase over the 2017 total. That included a return of 3% APY on balances of up to $20,000 for members who use Vertical Checking (up from a maximum of $15,000 in 2017); reward points on debit card purchases plus bonus ScoreCard reward points each month to Platinum Rewards Checking members, who can redeem for brand-name merchandise, travel, gift cards and more; and ATM-fee reimbursement anywhere worldwide up to $15 on both accounts.“Our mission is to provide the best value for our members,” ETFCU President and CEO Bill Schirmer wrote in a letter to members. “We do this through innovative products and services that provide real benefits on a monthly basis.”Members received $2,299,956 in interest on Vertical Checking, $1,099,583 in redeemable points for Platinum Rewards Checking, and $393,193 in ATM-fee reimbursements.ETFCU, which was recognized as Best in State for Banking and Credit Unions by Forbes in 2018, has grown to more than 205,000 members with assets of $1.8 billion. Schirmer was honored with the Indiana Credit Union League’s Professional Achievement Award in 2018, marking a first for an Evansville-based credit union leader.The credit union operates six offices in Evansville, along with Indiana locations in Fort Branch, Mount Vernon, Newburgh, Princeton and Vincennes, and Kentucky locations in Henderson and Owensboro (2). An office will open in Washington, Indiana, in the spring. For more information about ETFCU and its programs, go to etfcu.org. FacebookTwitterCopy LinkEmail
More than 1,700 Degrees and Certificates to be Awarded at Tonights Ivy Tech Southwest Commencement Commencement Speaker is U.S. Senator Joe DonnellyEVANSVILLE, IN- Ivy Tech Community College Southwest will award its graduates credentials at its 2017 Commencement Ceremony on Friday, May 12, at 7 p.m. at the Ford Center. A total of more than 1,700 certificates, technical certificates, associate of science and associate of applied science degrees will be awarded to more than 1,000 students. Approximately 365 individuals will take part in the ceremony on Friday.Where: The Ford Center, Evansville, INWhen: Friday, May 12, 2017 at 7 p.m. (CST)Commencement Speaker: U.S. Senator Joe DonnellyHonorary Degree: Glen Muehlbauer, Vice President of Human Resources, Koch EnterprisesSpecial Guests: Dr. Russell Baker, Vice President of Academic Affairs and University Transfer Division, Ivy Tech Community CollegeThe public is encouraged to attend the free event and no tickets are required.Ivy Tech Community College estimates that nearly 19,375 credentials will be awarded at commencement ceremonies throughout the state taking place from May 6 to May 20. In addition to earning credentials, Ivy Tech students have earned thousands of credits to transfer to four-year institutions throughout the state, saving those students more than $38 million dollars in tuition costs.FOOTNOTE:-Student with wheelchair lift built by other students will receive diploma in standing position-Local industry leader to receive honorary degree for assisting Ivy Tech with business partnerships to develop Skill Up Program-Two student speakers – one a student graduating at age 18 from Associate Accelerated Program (ASAP); and one a student who already has bachelor’s degree and was in med school, then came to Ivy Tech — give their unique perspectivesFacebookTwitterCopy LinkEmail
Ocean City’s Kelsey White finishes in second place in the 100 yard freestyle. By LESLEY GRAHAMThe Ocean City High School boys and girls swim teams defeated the visiting Absegami Braves on Tuesday afternoon by a score of 117-54 and 129-39, respectively.For the Red Raiders, the wins bring the boys swim team record to 4-3, while the girls improve to 4-1-1 on the season.The boys rebounded after a tough loss to St. Augustine Prep last Friday to dominate Absegami. Ocean City won eight of the 11 events, posting a 1-2-3 finish in both the 100 yard backstroke as well as the 100 yard breaststroke.Jack Baker helps Ocean City go 1-2-3 with a second place finish in the 100 yard backstroke.Pat Armstrong, a freshman for the Red Raiders, won both his individual races, the 50 and 100 yard freestyle. He was also a part of both winning relays for Ocean City in the 200 yard medley and 200 yard freestyle.Absegami won the 100 yard butterfly, the 400 yard freestyle and the final event of the afternoon, the 400 yard freestyle relay.On the girls side of the meet, Ocean City turned in nine first place finishes, as well as sweeping the 200 yard IM, the 50 yard freestyle and the 100 yard freestyle.Absegami secured top place finishes in the 100 yard butterfly and the 100 yard backstroke.Brynn Bowman glides to a win for the Red Raiders in the 100 yard breaststroke.For the Red Raiders, freshman Vanna Kelly won the 100 and 200 yard freestyle events and also swam in the winning 400 yard freestyle relay.Ian Keyser, head coach for the girls program, said he was proud of the way his team swam despite not having a meet for the past two weeks.“Coming off winter break, and not having a meet for a solid two weeks, I was really impressed by the girls performance this afternoon,” Keyser said. “We have had a few girls already qualify for the Meet of Champions (the state meet for swimming) so we have had some early success this season and plan to keep working towards our goals.”Both Ocean City teams are back in the pool Tuesday, Jan. 14, at Millville High School.Red Raider Ethan McCarron swims to victory in the 100 yard breaststroke.
Tom Hamilton is a busy man. Somehow, in between performances with Joe Russo’s Almost Dead, Electron, Billy and The Kids, and releasing a new album with his band, American Babies, Hamilton was able to put together a tribute to Bruce Springsteen – a beloved rock and roll legend who doesn’t generally get much attention from the jam band world. Acting as the band leader, Hamilton conducted the American Babies along with guest appearances from a slew of musicians – Jackie Greene, Ross James, Katie Jacoby, and the Superslick Horns – through a spot on musical impersonation of Springsteen throughout the night.Many of Springsteen’s songs sound like simple and straightforward rock songs, but there are a lot of moving parts involved. It was really fun watching Hamilton conduct the entire ensemble while also doing a Springsteen impression on the mic. At times, he put down the guitar to walk around stage and sing like The Boss, although there was no power slides or crowd surfing. You could tell these songs had been rehearsed – most songs sounded pretty close to the album versions, and the older Springsteen loving crowd seemed to approve of renditions by dancing and singing a long.It’s tough to find places to really provide true jams within Springsteen’s catalog. The solos are iconic at this point, there’s not much space to truly go off and improv. But, when given the chance, these musicians all know how to do it, providing some of the night’s highlights. The Ghost of Tom Joad, which works well as a jam vehicle, was probably the best of the night, including some incredible interplay between Hamilton and violinist Katie Jacoby, who really stole the show and came across as a star. The Boss and the E Street Band aren’t the easiest band to replicate on stage, but through Hamilton’s tight conducting and dedication to the material, this show worked extremely well. With more shows to come, hopefully the band takes some of these songs into new directions and really owsn them. Hopefully this project will continue to evolve and take a life of its own in the future.Check out videos below, and a full audio stream can be streamed via taper Eric McRoberts. The Ghost Of Tom JoadBadlands Load remaining images
moe. decided to make their abbreviated fall tour closer in Asheville one to remember for the locals and refugees of Hurricane Matthew alike. Their entire run has seen the band challenging themselves with tricky set lists and the musical gymnastics inherent in finding new ways to flow from one tune to the next. Thankfully for diehard fans and first timers alike, moe. was more than up for the task they’d set themselves.The New Mountain Ampitheater in Asheville, North Carolina is an imaginative stretch of the term, using a tree-lined lot next to the venue proper to host a series of outdoor shows over the warm summer months. The town itself is home to several college campuses and has long been a hot bed of the live music scene. With Hurricane Matthew zeroing in on the east coast and cancelling shows in the region music fans and storm refugees alike streamed into the city to escape the weather and get out and dance their blues away.When the set kicked off with the old-school classic “Bear Song”, savvy fans anticipated shenanigans and were quickly rewarded when the band took a left turn into the song “Assfinger.” The entire run has been filled with musical sandwiches and while the move wasn’t a shock, it was a welcomed move that showed a willingness to swing for the fences by moe. that is wonderful to see. The fun didn’t stop there however as they took an extended instrumental exploration that eventually wound it’s way into “Ricky Marten.”Guitarists Al Schnier and Chuck Garvey were a perfect mixture of focused and playful, grinding when needed but not afraid to bend a note farther than needed. With the first set dominated by early favorites the pair were playing around in very familiar territory and yet still managed to find new ways to engage the audience and themselves. Even the most satisfied composers can lose passion after 25 years of playing the same song, but the guitarist…hell, the entire band… was grinning with delight as they crossed freshly created musical divides.A new wrinkle was introduced when the band kept the non-stop jam going as they flowed into “Time Ed.” Bassist Rob Derhak tested his vocal range with the falsetto highs and baritone lows while continuing to work his instrument to it’s fullest degree. Slapping strings and pounding the body for resonance, Derhak wrung every last drop of funky power out of the beleaguered bass while smiling ear to ear at the results. Upon reaching the first big solo break, the tempo and sound itself started to morph and the band gracefully left the confines of “Time Ed” for some crowd-pleasing “Head.”Adding cliffhangers as they went the high speed, “Head” got the people off their seats towards the back of the venue and raging from the stage to the back gates. When familiar elements of “Bear Song” started creeping in around the edges, the cheers were deafening through the piece and long after the conclusion. The band had made it through the entire high wire, crowd-pleasing set seamlessly and had even left themselves a musical task for finishing.Returning to the stage, Garvey responded to calls for songs with a promise to do just that. “It IS why we’re here” he said with a grin. The languid drum intro to “Water” wound the crowd up and got a bit of a sing-a-long going. The harmony guitar duet between Garvey and Schnier was particularly intricate and impressive. Hearkening back to the unity of the first set, the band slipped into “Montego” without missing a beat and before giving the song an actual proper ending.Thanks to the efforts of our own videographer Rex Thomson we have some incredible highlights from the second set to share, starting with the opening double play:Though they elected to come to a full stop, moe.’s next blast of wickedness, “Crab Eyes,” started off like a rocket so there really was no time for fans to catch their breath. Between the soaring guitar lines being laid down and the stop and start razor sharp drumming of Vinnie Amico, the version of the song laid down was one of the more impressive in recent memory. You can watch the fun for yourself below:The always-stirring “Wind It Up” was up next. The spirit of the song is powerful, with it’s long slow build towards a frenzy that literally takes control of the listener, body and soul. While headbanging to the rhythm, the band passionately implores the audience, “Be on my side, I’m on your side.” For a band known for their levity, this message and it’s complete earnestness is a clarion call for unity that is impossible to ignore.That spirit isn’t confined to the stage or the band members mind you. moe. has one of the tightest knit road crews in the business. One of their most visible team members, guitar tech Frank Robbins, showed the kind heart that has made chanting his name a favorite pass time of fans across the country. Robbins noticed a young girl in the front row shielding her ears from the sonic onslaught and quickly fished out a pair of ear plugs and delivered them to her. That simple combination of awareness and caring exemplifies not just him, but the entire team and their mission to make the world a better place through music.Now ready to continue her first moe. show, the young girl faced the band who was preparing to launch into what would be the final stanza of music in the set, a half hour three song blast that started with “The Road.” Winding through the songs confines percussionist Jim Loughlin became more animated, adding flourishes and accents and generally acting as the seasoning on top of a rich meaty musical stew.Again, seemingly dead set on following their muse in whatever direction it led, the band abandoned the finale of “The Road” for the new confines of “McBain.” Managing to complete the rocker after over a dozen minutes of thick funky jams punctuated by massive xylophone and vibraphone solos work by Loughlin, moe. seemed to remember their unfinished “Time Ed” from the first set out of nowhere and worked their way back into the tune, giving it, and the set a truly satisfying conclusion.Check out the 33 minute-plus set ending three song jam below:Coming back onstage for his traditional “al.nouncements” segment, Schnier thanked the fans for braving the weather and apologized again for the cancellations of the final two shows. He read notes from the crowd celebrating anniversaries, birthdays, and plain old messages of love and appreciation from the sea of loving faces. With the outdoor music curfew coming up, moe. held a quick huddle and changed their encore plans to a crowd pleasing double header of covers, House Of Pain‘s “Jump Around” and Pink Floyd‘s “In The Flesh (Part 2).”Granted, these are not songs people would normally associate with each other or contemplate pairing. Thankfully, moe. is known for thinking outside of the box, and with some inspired rapping and singing on occasion vocalist Loughlin’s part the show ended to a resounding round of applause, cheers and calls for “Just one more song!” Sadly, their pleas went unheard for now, but who knows what the future holds. There is, after all, “The Road” left to finish, though in their hearts, moe. fans hope the road is never done for the five guys called moe.Check out their encore below, and don’t forget to check out moe. when they come your way sometime soon!
Can you love the art but hate the artist? That vexing question, a thorn in the side of critics and connoisseurs for generations, has resurfaced repeatedly in recent months in the wake of the #MeToo movement.New Yorker music critic Alex Ross ’90 waded into the discussion on Thursday at Harvard’s Paine Hall, an airy performance space where a frieze spells out the names of some history’s most revered men of music. Delivering the Music Department’s 2018 Louis C. Elson Lecture, Ross homed in on one of those men, German composer Richard Wagner, a titan of 19th-century culture whose creative genius has long been complicated, and often overshadowed, by his anti-Semitism.For 10 years, Ross has been at work on “Wagnerism: Art in the Shadow of Music,” a book that explores the composer’s influence on artistic, intellectual, and political life.“It’s a massive subject because Wagner may be, for better or worse, the most widely influential figure in the history of music,” said Ross, who counts Baudelaire, Du Bois, Eliot, Kandinsky, and Mann among the artists and writers who fell under the composer’s spell.“Wagnerian” has become a synonym for “grandiose, bombastic, overbearing, or simply very long,” added Ross, noting that the term has been applied to everything from monsoons to “Fight Club” to “the tantrums of Tennessee Williams, according to Tennessee Williams himself.”“Yet of the various Wagnerisms, the one with which most people are familiar is the Nazi version,” said Ross, referring to Hitler’s embrace of the composer’s work.Alex Ross, music critic of the New Yorker, delivers the Louis C. Elscon lecture at Paine Music Hall. Jon Chase/Harvard Staff PhotographerIf that idea is indisputable, Ross thinks it is less clear whether Wagner’s anti-Semitism laid the foundation for Hitler’s hate. He also questioned the depth of Wagner’s presence in Nazi culture.Hitler was introduced to Wagner early in his life, but his radicalism didn’t begin to take shape until years later, during his service as a German soldier in World War I. And though his rhetoric may have echoed Wagnerian ideas, there’s little evidence that the Nazi leader “absorbed Wagner’s more challenging themes,” said Ross, who sees the composer’s political influence as “greatly overstated.”Instead of dwelling on this disconnect, the author is most interested in “how the cult of art resonates into our own time and how we might learn from its persistence.”The prevalence of Wagner’s music in popular culture, including its use in films such as the racist epic “Birth of a Nation” and the Vietnam saga “Apocalypse Now,” has “a jolting effect,” said Ross, and makes us “think about the ways in which the darker side of the American genius employs its own art, a cult of popular art, to exercise its power.”The reality of Wagner’s ugly political views means he can no longer be idealized, said Ross. Yet, “to equate him with Hitler ignores the complexity of his achievement and in the end does little more than grant Hitler a posthumous victory. The necessary ambivalence of Wagnerism today can play a constructive role: It can teach us to be generally more honest about the role that art plays in the world.“In Wagner’s vicinity, we cannot claim to fantasies of the pure, autonomous work of art. We cannot forget how art unfolds in time and unravels in history. And so Wagner is liberated from the mystification of great art. He becomes something more unstable, perishable, and mutable. Incomplete in himself, he requires the most active and critical kind of listening.”One audience member wondered how Ross can continue to enjoy the composer’s work in light of his anti-Semitism. Ross said he is haunted by the same question “every time I see Wagner.”Whether it’s a “Heil” heard onstage or some particularly disturbing language in a libretto, all of Wagner’s operas contain a moment that “jolts me out of whatever kind of dreamlike immersion in the drama and the music I have achieved.”Even so, while it may be a loss not to be able to experience Wagner today as a 19th-century listener did — with a “kind of total bewitchment” — current and future generations have a chance to approach the music with a deeper, more nuanced understanding, Ross said.“I think this disturbing kind of intervention of reality and history might make for almost a deeper experience, certainly a more complex one. And so we shift from a kind of adoration and immersion to an experience that has this critical dimension to it. So we are always aware, we are always a little wary of Wagner. We should be.”
Harvard Yard woke from summer slumber on Monday even as a heat wave bore down on the region, with first-years taking a break from hefting boxes and suitcases into their dorms to exchange greetings with fellow members of the Class of 2022.Students and their families were welcomed by two other first-years — President Larry Bacow and Edgerley Family Dean of the Faculty of Arts and Sciences Claudine Gay. Bacow and Gay joined Danoff Dean of Harvard College Rakesh Khurana and Dean of Students Katherine (Katie) O’Dair on their traditional walk around the Yard. Together, the group chatted with first-years and their parents.As the temperature climbed toward 90 degrees, teams of peer advisers and College staff were quick to provide assistance to the 1,655 students who make up the class. A record 16.6 percent of class members are the first in their families to attend college, compared with 14.9 percent last year. The group is 50.3 percent male, 49.7 percent female. African-Americans make up 14.5 percent of the class, Asian Americans 22.7 percent, Latinos 10.8 percent, and Native Americans and Native Hawaiians 2.3 percent.The first day of classes is Sept. 4. The new First-Year Retreat and Experience program was among several pre-orientation options available to students.