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Рис. 1. ФиΛогенетические Αеревья хантавируса AMRV и его прироΑного носитеΛя восточноазиатской мыши Apodemus peninsulae Thomas, 1906. А. ФиΛогенетическое Αерево восточноазиатской мыши Apodemus peninsulae, построенное метоΑом «максимаΛьного правΑопоΑобия» (ML) и поΛученное на основе анаΛиза участка гена цитохрома b мтΔНК (744 п.н.). В узΛах ветвΛения указаны бутстреп-поΑΑержки, рассчитанные ΑΛя 1000 повторов. Цветными Λиниями обозначены фиΛогенетические Λинии: Αве Китайские (зеΛеный), Корейская «Korea» (синий), Амурская «Amur» (красный). ПоΛужирным шрифтом выΑеΛены собственные образцы. Названия образцов из GenBank/NCBI быΛи сокращены; B. ФиΛогенетическое Αерево из работы Α. Н. Яшиной с ΑопоΛнениями, построенное метоΑом «бΛижайшего сосеΑа» (NJ) на основе посΛеΑоватеΛьностей фрагмента М-сегмента (2737–2980 н.п.) генома хантавирусов. В узΛах ветвΛения указаны бутстреппоΑΑержки, рассчитанные ΑΛя 1000 повторов. Жирным выΑеΛены иссΛеΑованные РНК изоΛяты (Яшина 2012; Яшина и Αр. 2019) Fig. 1. Phylogenetic trees of AMRV and its natural reservoir host — the Korean field mouse Apodemus peninsulae Thomas, 1906. A. Phylogenetic tree of the Korean field mouse Apodemus peninsulae constructed by the "maximum likelihood" method (ML). The data are obtained from the analysis of the cytochrome b mtDNA gene fragments (744 bp). Bootstrap supports calculated for 1,000 repeats are indicated in the branching nodes. Colored lines indicate phylogenetic lines: two Chinese (green), Korea (blue), and Amur (red). Own samples are highlighted in bold. The names of the samples from GenBank/NCBI have been shortened; B. Phylogenetic tree from L. N. Yashina's work with additions constructed by the neighbour joining method (NJ). It is based on the sequences of an M-segment fragment (2737–2980 bp) of the hantavirus genome. Bootstrap supports calculated for 1,000 repeats are indicated in the branching nodes. The researched RNA isolates are highlighted in bold (Yashina 2012; Yashina et al. 2019) in Variability of the gene cyt b in the Korean field mouse Apodemus peninsulae Thomas, 1906 - a reservoir host of AMRV in the Khasansky District of Primorsky Krai

Рис. 1. ФиΛогенетические Αеревья хантавируса AMRV и его прироΑного носитеΛя восточноазиатской мыши Apodemus peninsulae Thomas, 1906. А. ФиΛогенетическое Αерево восточноазиатской мыши Apodemus peninsulae, построенное метоΑом «максимаΛьного правΑопоΑобия» (ML) и поΛученное на основе анаΛиза участка гена цитохрома b мтΔНК (744 п.н.). В узΛах ветвΛения указаны бутстреп-поΑΑержки, рассчитанные ΑΛя 1000 повторов. Цветными Λиниями обозначены фиΛогенетические Λинии: Αве Китайские (зеΛеный), Корейская «Korea» (синий), Амурская «Amur» (красный). ПоΛужирным шрифтом выΑеΛены собственные образцы. Названия образцов из GenBank/NCBI быΛи сокращены; B. ФиΛогенетическое Αерево из работы Α. Н. Яшиной с ΑопоΛнениями, построенное метоΑом «бΛижайшего сосеΑа» (NJ) на основе посΛеΑоватеΛьностей фрагмента М-сегмента (2737–2980 н.п.) генома хантавирусов. В узΛах ветвΛения указаны бутстреппоΑΑержки, рассчитанные ΑΛя 1000 повторов. Жирным выΑеΛены иссΛеΑованные РНК изоΛяты (Яшина 2012; Яшина и Αр. 2019) Fig. 1. Phylogenetic trees of AMRV and its natural reservoir host — the Korean field mouse Apodemus peninsulae Thomas, 1906. A. Phylogenetic tree of the Korean field mouse Apodemus peninsulae constructed by the "maximum likelihood" method (ML). The data are obtained from the analysis of the cytochrome b mtDNA gene fragments (744 bp). Bootstrap supports calculated for 1,000 repeats are indicated in the branching nodes. Colored lines indicate phylogenetic lines: two Chinese (green), Korea (blue), and Amur (red). Own samples are highlighted in bold. The names of the samples from GenBank/NCBI have been shortened; B. Phylogenetic tree from L. N. Yashina's work with additions constructed by the neighbour joining method (NJ). It is based on the sequences of an M-segment fragment (2737–2980 bp) of the hantavirus genome. Bootstrap supports calculated for 1,000 repeats are indicated in the branching nodes. The researched RNA isolates are highlighted in bold (Yashina 2012; Yashina et al. 2019)

"I made the recording because Iam an amateur recording engineer and also work for a radio station. At the time, Iwas researching for a religious programme, for the radio and by pure chance and good luck, Iwas in the centre of York at the time the street preacher was there. Iam building up a personal library of 'ambient sounds' to use on various radio shows as 'sound effects'. The recording was taken outside St Helen's Church in St Helen's Square, in the centre of York. There was a fairly large crowd walking about, shopping. It was a Saturday. Some people were standing and listening to the man, some were mocking him, others didn't even notice. It was a sunny day, with a slight wind. St Helen's square is a large 'meeting place' for people with seats, flowers and usually musicians. I live in the centre of York and hear a lot of very interesting sounds there, everything from busking musicians, to many foreign languages, church bells, animals and much more. Ireally liked the recording of the preacher as it is quite clear that he passionately believes what he is saying. He was unaware that Iwas recording him. Iwish Ihad captured his whole sermon. He, and other members of his church visit the centre of York quite often, and preach there. Idon't know the name of his church." [Jools/vedas]19 in Collecting Sounds. Online Sharing of Field Recordings as Cultural Practice

"I made the recording because Iam an amateur recording engineer and also work for a radio station. At the time, Iwas researching for a religious programme, for the radio and by pure chance and good luck, Iwas in the centre of York at the time the street preacher was there. Iam building up a personal library of 'ambient sounds' to use on various radio shows as 'sound effects'. The recording was taken outside St Helen's Church in St Helen's Square, in the centre of York. There was a fairly large crowd walking about, shopping. It was a Saturday. Some people were standing and listening to the man, some were mocking him, others didn't even notice. It was a sunny day, with a slight wind. St Helen's square is a large 'meeting place' for people with seats, flowers and usually musicians. I live in the centre of York and hear a lot of very interesting sounds there, everything from busking musicians, to many foreign languages, church bells, animals and much more. Ireally liked the recording of the preacher as it is quite clear that he passionately believes what he is saying. He was unaware that Iwas recording him. Iwish Ihad captured his whole sermon. He, and other members of his church visit the centre of York quite often, and preach there. Idon't know the name of his church." [Jools/vedas]19

"It was recorded on Sunday, morning of the 28th of September as some of the slower runners of the Berlin Marathon made it past Torstrasse near my flat. Iwas out to buy some bread for breakfast, but Iusually bring a camera and my Edirol R-1 recorder whenever Igo out. Since Iwas freshly returned to Berlin Iguess Iwas sensitive to the more antiquated sounds which still survive there, like that of the organ grinder. Iam generally interested in how human beings are replacing the presence of Nature with an artificial environment made entirely by human hands (and thus far more understandable, it is hoped). In this new Human Nature, the sounds of Nature are also Human made. Iwrite about these things, but Ialso use the sounds in my videos and my interactive and generative media work, so generally Iam wandering around building up my archive of media documents for use as material in future works." [Baruch/ gottlieb]17 in Collecting Sounds. Online Sharing of Field Recordings as Cultural Practice

"It was recorded on Sunday, morning of the 28th of September as some of the slower runners of the Berlin Marathon made it past Torstrasse near my flat. Iwas out to buy some bread for breakfast, but Iusually bring a camera and my Edirol R-1 recorder whenever Igo out. Since Iwas freshly returned to Berlin Iguess Iwas sensitive to the more antiquated sounds which still survive there, like that of the organ grinder. Iam generally interested in how human beings are replacing the presence of Nature with an artificial environment made entirely by human hands (and thus far more understandable, it is hoped). In this new Human Nature, the sounds of Nature are also Human made. Iwrite about these things, but Ialso use the sounds in my videos and my interactive and generative media work, so generally Iam wandering around building up my archive of media documents for use as material in future works." [Baruch/ gottlieb]17

"I'm something of an untrained, unofficial cultural anthropologist myself. Ihave a business interviewing people to capture their personal histories. I'm always interested how people fit into their world and how they affect their world. I'm a graphic designer who works in the same building as the printing presses that I recorded. Iwalk past the presses every day on my way to talk to the folks in the prepress department. I'm on friendly but not drinking terms with the pressmen. I'm a friend with the prepress manager. Three Heidelberg presses are installed side by side in an open warehouse-like room. The presses are about twenty feet long and about five feet high. With their series of four humps or mounds where each printing cylinder is located, the presses remind one of giant, gray, mechanical caterpillars. Each press has a cyan cylinder, a magenta cylinder, a yellow cylinder and a black cylinder – so the humps are brightly colored. The presses are well lit by banks of fluorescent lights hanging from the ceiling over each press. When you walk into the press room you hear the sound of rock music blaring from a boom box radio mixed with the general din of the presses. It is only when you walk up to a press like Idid for the recordings that you really start to hear the individual strains of clicking, clacking and mechanical, syncopated chattering. When I made my recordings I was intrigued by the subtle variations in the sounds produced by these machines that aren't apparent when you first walk through the door. The pressmen were kind enough to allow me to walk right up to the presses and poke my microphone quite close to the rotating press cylinders. Iuse a Danish Pro Audio microphone about the size of a pencil eraser. An extremely sensitive mic with the capacity for capturing loud sounds such as the presses up close. Rotating the mic to one side or the other focused on the unique sounds coming from one cylinder or the other." [Kevin/KMerrell]18 in Collecting Sounds. Online Sharing of Field Recordings as Cultural Practice

"I'm something of an untrained, unofficial cultural anthropologist myself. Ihave a business interviewing people to capture their personal histories. I'm always interested how people fit into their world and how they affect their world. I'm a graphic designer who works in the same building as the printing presses that I recorded. Iwalk past the presses every day on my way to talk to the folks in the prepress department. I'm on friendly but not drinking terms with the pressmen. I'm a friend with the prepress manager. Three Heidelberg presses are installed side by side in an open warehouse-like room. The presses are about twenty feet long and about five feet high. With their series of four humps or mounds where each printing cylinder is located, the presses remind one of giant, gray, mechanical caterpillars. Each press has a cyan cylinder, a magenta cylinder, a yellow cylinder and a black cylinder – so the humps are brightly colored. The presses are well lit by banks of fluorescent lights hanging from the ceiling over each press. When you walk into the press room you hear the sound of rock music blaring from a boom box radio mixed with the general din of the presses. It is only when you walk up to a press like Idid for the recordings that you really start to hear the individual strains of clicking, clacking and mechanical, syncopated chattering. When I made my recordings I was intrigued by the subtle variations in the sounds produced by these machines that aren't apparent when you first walk through the door. The pressmen were kind enough to allow me to walk right up to the presses and poke my microphone quite close to the rotating press cylinders. Iuse a Danish Pro Audio microphone about the size of a pencil eraser. An extremely sensitive mic with the capacity for capturing loud sounds such as the presses up close. Rotating the mic to one side or the other focused on the unique sounds coming from one cylinder or the other." [Kevin/KMerrell]18

"I am a journalist myself, working for a public radio and television in the Netherlands. As a radio reporter Ivisited Bangladesh just after the cyclone Sidr hit the coastal area in November 1997 (…) Itravelled to the islands on a boat. On that boat were two boatmen and one of them started singing while we were sailing. As Igeotagged this song you can see exactly where it was. Iwas staying at that time in Pirojpur, took a taxi to the river and got a boat. Along tall typical motorboat. It was a journey of three-quarters of an hour during which he sang two songs." [Jeroen/zeshoog]12 in Collecting Sounds. Online Sharing of Field Recordings as Cultural Practice

"I am a journalist myself, working for a public radio and television in the Netherlands. As a radio reporter Ivisited Bangladesh just after the cyclone Sidr hit the coastal area in November 1997 (…) Itravelled to the islands on a boat. On that boat were two boatmen and one of them started singing while we were sailing. As Igeotagged this song you can see exactly where it was. Iwas staying at that time in Pirojpur, took a taxi to the river and got a boat. Along tall typical motorboat. It was a journey of three-quarters of an hour during which he sang two songs." [Jeroen/zeshoog]12

opencc-by-4.0Nov 2022View details →

zenodo36/100

Data for MILP algorithm for control strategy optimisation of a hybrid solar thermal plant consisting of two different solar fields working for two processes at different temperatures, a three tanks storage and a boiler for SHIP applications

This repository contains the results of simulations exposed in the article MILP algorithm for control strategy optimisation of a hybrid solar thermal plant consisting of two different solar fields working for two processes at different temperatures, a three tanks storage and a boiler for SHIP applications. Notebooks for easy plotting of the results are contained in this repository. The README.txt contains light explainations regarding how to use those notebooks. This article is yet to be published at the time of writing.

MAPS 27A–C in Synopsis of the Amphibians of Equatorial Guinea based upon the Authors' Field Work and Spanish Natural History Collections

MAPS 27A–C. Distribution maps for Equatorial Guinean records of (A) Wolterstorffina parvipalmata; (B) Arlequinus krebsi; (C) Hyperolius kuligae.

MAPS 26A–C in Synopsis of the Amphibians of Equatorial Guinea based upon the Authors' Field Work and Spanish Natural History Collections

MAPS 26A–C. Distribution maps for Equatorial Guinean records of (A) Amnirana amnicola; (B) Amnirana lepus; (C) Chiromantis rufescens.

MAPS 23A–C in Synopsis of the Amphibians of Equatorial Guinea based upon the Authors' Field Work and Spanish Natural History Collections

MAPS 23A–C. Distribution maps for Equatorial Guinean records of (A) Phrynobatrachus sandersoni; (B) Hymenochirus boettgeri; (C) Xenopus allofraseri.

MAPS 22A–C in Synopsis of the Amphibians of Equatorial Guinea based upon the Authors' Field Work and Spanish Natural History Collections

MAPS 22A–C. Distribution maps for Equatorial Guinean records of (A) Phrynobatrachus batesii; (B) Phrynobatrachus calcaratus; (C) Phrynobatrachus cornutus.

MAPS 25A–C in Synopsis of the Amphibians of Equatorial Guinea based upon the Authors' Field Work and Spanish Natural History Collections

MAPS 25A–C. Distribution maps for Equatorial Guinean records of (A) Ptychadena aequiplicata; (B) Aubria subsigillata; (C) Amnirana albolabris.

MAPS 24A–C in Synopsis of the Amphibians of Equatorial Guinea based upon the Authors' Field Work and Spanish Natural History Collections

MAPS 24A–C. Distribution maps for Equatorial Guinean records of (A) Xenopus calcaratus; (B) Xenopus mellotropicalis; (C) Xenopus parafraseri.

MAPS 28A–C in Synopsis of the Amphibians of Equatorial Guinea based upon the Authors' Field Work and Spanish Natural History Collections

MAPS 28A–C. Distribution maps for Equatorial Guinean records of (A) Geotripetes seraphini; (B) Herpele squalostoma (the insular record of Elobey Island is not showed).

MAPS 20A–C in Synopsis of the Amphibians of Equatorial Guinea based upon the Authors' Field Work and Spanish Natural History Collections

MAPS 20A–C. Distribution maps for Equatorial Guinean records of (A) Petropedetes newtonii; (B) Petropedetes palmipes; (C) Petropedetes parkeri.

MAPS 21A–C in Synopsis of the Amphibians of Equatorial Guinea based upon the Authors' Field Work and Spanish Natural History Collections

MAPS 21A–C. Distribution maps for Equatorial Guinean records of (A) Petropedetes vulpiae; (B) Phrynobatrachus africanus; (C) Phrynobatrachus auritus.

MAPS 19A–C in Synopsis of the Amphibians of Equatorial Guinea based upon the Authors' Field Work and Spanish Natural History Collections

MAPS 19A–C. Distribution maps for Equatorial Guinean records of (A) Opisthothylax immaculatus; (B) Phlyctimantis cf. leonardi; (C) Petropedetes cameronensis.

MAPS 18A–C in Synopsis of the Amphibians of Equatorial Guinea based upon the Authors' Field Work and Spanish Natural History Collections

MAPS 18A–C. Distribution maps for Equatorial Guinean records of (A) Hyperolius phantasticus; (B) Hyperolius platyceps; (C) Hyperolius tuberculatus.

MAPS 8A–C in Synopsis of the Amphibians of Equatorial Guinea based upon the Authors' Field Work and Spanish Natural History Collections

MAPS 8A–C. Distribution maps for Equatorial Guinean records of (A) Leptopelis brevirostris; (B) Leptopelis calcaratus; (C) Leptopelis millsoni.

FIGURE 24. A in Synopsis of the Amphibians of Equatorial Guinea based upon the Authors' Field Work and Spanish Natural History Collections

FIGURE 24. A. Chiromantis rufescens (Monte Alén National Park, Río Muni). Photo IDlR.; B. Chiromantis rufescens, foam nests (Monte Alén National Park, Río Muni). Photo IDlR.

MAPS 4A–C in Synopsis of the Amphibians of Equatorial Guinea based upon the Authors' Field Work and Spanish Natural History Collections

MAPS 4A–C. Distribution maps for Equatorial Guinean records of (A) Cardioglossa escalerae; (B) Cardioglossa gracilis; (C) Cardioglossa gratiosa.