This article investigates intervallic measurement and the tacit limitations engendered by a prevalent symmetrical perspective of measuring intervals. Various numerical and instrumental limitations and further detail of harmonic and melodic structures, such as Farey sequences, are illustrated. This approach distinguishes itself from a perspective of prime limits, explored by Harry Partch and others. A standardisation of ‘microtonal’ notation is not suggested; rather, the restrictions provided by any such standardisation are re-examined through an objective lens of ratios, to harness the generative potential of numbers. An orchestration-led approach to composition is described, where the tuning limitations of instruments are utilised for idiomatic composition. Tuning practices that ‘evade’ the octave are also discussed, including gamelan, mbira and three scales found by Wendy Carlos. The article concludes with a section on the construction of harmonic systems in the absence of instrumental influences.

Our floristic work in British ancient forests resulted in a description of a frequently reported but misidentified species, Coenogonium nimisii. Its thallus is very similar to Porina rosei, but the apothecia and pycnidia correspond with C. luteum. Sterile collections are not easy to distinguish but the new species differs from P. rosei in several microscopic characters of the isidia. Coenogonium nimisii is so far known from bark and epiphytic bryophytes, rarely mossy rocks, in ancient humid forests of Great Britain and Ireland. The genus Coenogonium is poorly represented by molecular data in the GenBank database. Our preliminary results revealed distinct genetic lineages within two traditionally circumscribed species, C. luteum and C. pineti, which may represent cryptic species.

Early modern Gospel harmonies have received little attention and are mostly studied as poor precursors to modern synoptic criticism. This article reassesses the harmony's significance by reconstructing its development ca. 1500–1700, reaching two conclusions. First, it argues that Gospel harmonies acted as a touchstone for critical intellectual developments such as the rise of scientific chronology. Second, it argues that the harmony's transformation over this period, influenced by multiple overlapping disciplines, resulted in it becoming one of the most creative scholarly genres by the late seventeenth century. This interdisciplinarity was simultaneously the prime attraction of the harmony and the reason for its eighteenth-century decline.

The law and society community was heartbroken to learn in February 2023 that Lauren B. Edelman (“Laurie”) passed away. Laurie obtained her Bachelor of Arts degree from the University of Wisconsin before earning a Juris Doctor degree from University of California, Berkeley and a doctoral degree from Stanford University. She spent the first part of her career as a Professor at the University of Wisconsin Sociology department before joining the University of California, Berkeley Law and Jurisprudence and Social Policy program as the Agnes Roddy Robb Professor of Law and Sociology in 1996.

We study Cayley graphs of abelian groups from the perspective of quantum symmetries. We develop a general strategy for determining the quantum automorphism groups of such graphs. Applying this procedure, we find the quantum symmetries of the halved cube graph, the folded cube graph, and the Hamming graphs.

When it comes to events that have marked turning points in the relationship between global governance and business history, I have focused on the role of international crises to understand the forces shaping relations between firms, states, and global governance frameworks. Such an approach stems from the fact that I am primarily an historian of international relations, and much of my research and writing is concentrated on European and global history in the period from about 1880 to 1950. For me, the origins and course of the two world wars and the Cold War have been as important as crises of capitalism, such as the Great Depression.

Utopia might always prove impossible. But it should not be entirely abandoned as a concept, or as a goal toward which work might be directed. It is hard to see how meaningful change could arise without at least some sense of utopian possibility. The architectural historian Nathaniel Coleman argues in this vein that simply “making-do with reality may be compensatory, but limits possibility, transforming apparent pragmatic agency into its capture by enclosing realism.”1 Dealing with reality—often enough by making do—while keeping an eye on more magical possibilities has sometimes appeared, and has certainly been claimed, as the founding experience of making theatre. Theatres have seemed unique places where much might happen. If they are indeed special places, able to achieve special things, then they are not simply ebullient, but like Foucault's “heterotopias” able to combine dissident elements at the margins. Even when viewed at considerable historical distance, theatrical companies can appear truculent, wayward, and unsettling, even when they remain exploitative, manipulative, hierarchical—as many utopias are.2 Inequities and exclusions based on race, sexuality, gender, and class are not absent from theatrical life. Coleman's point, however, is really to argue that that it ought to be possible to imagine sites and patterns of work that are not already foreclosed by the demands of the market, the law, or other forms of curtailment. It should be equally possible to imagine people coming together, bringing their skills, and working out how they might be combined. Reality and its utopian antithesis might then valuably contradict and coalesce. The combination is never easy. Imperatives, financial and otherwise, loomed large over theatres in Georgian England, as they do today. But improvisation and collective effort could both respond to and yet resist such downward pressures, to make something that is at least potentially dissident, as much a way of working as the work produced.