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The idea that nobles could embody deities through impersonation was crucial to representations of power among the Classic-period Maya (a.d. 250–900). The final section of the Sabana Piletas Hieroglyphic Stairway (Campeche, Mexico), featuring a tripartite record of deity impersonation, is one of the clearest Late Classic manifestations of this tradition. However, the third impersonation formula has remained difficult to read, hindering its integration into broader discussions. This article offers a new epigraphic analysis, focusing on the three impersonated deities and the prepositional constructions that mark the contexts of impersonation. This article identifies the third deity as a form of Jun Ajaw whose impersonation emphasizes the ballgame, complementing two other impersonations that foreground warfare (the Sun God) and lordship (the Water Serpent). Comparing this passage to parallels on the Cuychen vase (Belize) and the Xultun murals (Guatemala), I argue that such groupings of impersonation formulae serve to conceptually demarcate key aspects of rulership. With its unique triplet of extended impersonation formulae, the Sabana Piletas inscription exemplifies how Late Classic texts could use impersonation to articulate what it meant to be a ruler, notably placing the ballgame in the same ideological register as waging war and governing.
This article brings the influential work of literary theorist and ecophilosopher Timothy Morton into dialogue with (eco)musicological discourse through interpretive analysis of Sarah Kirkland Snider’s choral-orchestra work Mass for the Endangered (2018). Specifically, I examine two key concepts in Morton’s work, the ecological thought and dark ecology. I read both through the lens of object-oriented ontology (OOO), a contemporary philosophical movement that has shaped Morton’s thinking about environmental issues for more than a decade. While Morton’s ideas have gained some recognition within music studies, their application as tools for thinking about music remains largely unexplored, and this article addresses that gap. I argue that whatever ecological awareness Snider’s Mass bestows on its listeners stems from the ecological thought and that the work stylizes this awareness in the mode of dark ecology. I demonstrate how Morton’s concepts and OOO can meaningfully contribute to thinking ecologically about music.
John Williams’s score to Steven Spielberg’s Lincoln (2012) offered the composer unique opportunities to explore an American-associated hymn style and topic, and his own patriotism. By examining precedents of the composer’s hymn style and through close analysis of themes and cues, this article investigates how Williams’s patriotism influenced the score, how it is distanced from the Coplandesque frame used to commonly categorize film music that signifies the American, and how hymns function to shape audioviewers’ reception of Lincoln. It presents Williams as a composer of America rather than a composer for film by arguing that Williams’s historically fantasized hymns functioned to deify Lincoln, to support a reverential attitude to the past within and beyond the film, and thus that his score reveals a personal patriotic imperative to serve both film and country. After a preliminary survey of the hymn topic within Williams’s oeuvre, the article’s first section establishes musical aesthetic functionality, defining and analyzing the hymn style to demonstrate mythopoetic function and reveal stylistic heritage. The second section contextualizes Williams’s musical simplicity with reference to aesthetic currents of American music history and the concerns for authenticity during film production. The final section presents a reading of the film’s sentimental finale, discussing how the coda reveals the wider purpose and positionality of Williams’s score through the lens of musical mythopoetics.
We investigate the effect of the transverse aspect ratio ($B$) of a thermogravitational column (TGC) on the stability of a binary fluid mixture with a negative separation ratio ($\psi$), which generates an adverse vertical density gradient. In extended systems, this configuration is unstable and limits separation. Here we show that confinement fundamentally alters this behaviour and can fully suppress the instability. Combining linear stability analysis of the three-dimensional basic state, three-dimensional simulations and experiments, we identify $B$ as the key control parameter. Linear stability analysis yields a correlation for the critical aspect ratio $B_{\textit{c}}(\psi )$ separating unstable and stable regimes. For $B \lt B_{\textit{c}}$, the system remains in a quiescent state despite the presence of the adverse density stratification. Energy budget analysis shows that confinement enhances transverse diffusive transport, preventing the growth of long-wave instabilities that dominate in extended systems. Direct numerical simulations confirm the predicted transition and reveal the nonlinear evolution towards convection when $B \gt B_{\textit{c}}$. Experiments performed with different mixtures, Tol$|$Ch 0.50$|$0.50, Tol$|$EtOH 0.80$|$0.20 and Tol$|$MeOH 0.8420$|$0.1520, and geometries using two independent $\mu$TGCs ($B$ = 5.88 and $B$ = 1.69) validate the theoretical predictions. These results demonstrate that transverse confinement provides a robust and tunable mechanism for controlling thermogravitational stability.
In this article, I deconstruct the concept of musical talent to demonstrate the ways in which it serves as a “power-over” structure fueled by exclusive and ableist criteria rooted in eugenic values. I begin by deconstructing musical talent into four distinct, yet interconnected entities—a cultural construct, ideology, lived reality, and form of cultural capital—that work together to enforce normative and ableist expectations for sounded and bodily performance. Building upon the work of scholars in disability studies, music education, musicology, and critical race studies, I analyze how this ableism was encoded into musical talent tests that came to dominate music education research throughout the twentieth century as a result of the eugenics movement. Though such assessments have declined in popularity in U.S. music education, I assert that the ideology of musical talent promoted through these tests still shapes understandings of who is musically valuable today. In contrast to this hierarchical model, I offer a new theoretical framework for conceptualizing musical value through neurodivergent musicality, which is guided by four main tenets. Neurodivergent musicality (1) centers neurodivergent experience in all its diversity; (2) challenges dominant ableist aesthetics; (3) resists fetishization of neurodivergence and historical images of the idiot savant; and (4) generates power-to-and-power-with through collaborative musical exchange. Finally, I offer practical suggestions for how music educators might support neurodivergent musicality through existing and newly created programming. Ultimately, I suggest that expanding definitions of musical value to embrace neurodivergent musicality can transform music education settings into liberatory spaces for disabled musicians.
An experimental investigation is conducted to examine aeroacoustic instabilities in high-speed rectangular dual-impinging jets (DIJs), with a focus on the modal dynamics responsible for tonal noise generation. Comparisons are made with a circular baseline over expanded Mach numbers M = 1.0–1.2, impinging distances h/D = 2–3 and a fixed centre-to-centre spacing of S/D = 3.5. Time-resolved wall-pressure fields on the impingement plate and far-field sound are measured synchronously using fast-response pressure-sensitive paint and microphones. Dominant impingement tones and their associated surface-pressure patterns are identified and linked using cyclostationary spectral proper orthogonal decomposition and coherent output power analysis. Both circular and rectangular DIJs exhibit an annularly symmetric impingement mode whose tonal frequency is broadly consistent with classical single-loop jet–plate feedback scaling. In the rectangular configuration, this mode develops an elliptical footprint and a reduced dual-jet interference region, leading to attenuation of the corresponding tone relative to the circular case. In addition, rectangular DIJs support a flapping antisymmetric plate-pressure mode characterised by alternating pressure-wave orientations and a four-stage evolution over the oscillation cycle. This mode is associated with a prominent tone at Strouhal number St = 0.42, which departs from the integer harmonics of the baseline feedback loop. Finally, a co-resonance framework is employed to interpret why the geometry-enabled tone is strongly amplified under the present dual-jet conditions. Overall, these results demonstrate that transitioning from circular to rectangular nozzles redistributes modal dominance in high-speed DIJs and reorganises the balance between attenuated harmonic peaks and an additional geometry-enabled tone.
Controversy exists regarding whether grain morphology reduces or enhances the drag of a single grain in creeping flows. Further complication occurs when orientation dependence of aspherical grains comes into play. To bridge this gap, this study investigates numerically the drag on fractally rough grains depicted by spherical harmonics. Rough shapes could induce drag reduction, indicated by a lower mean value of drag coefficients $C_{\!D}$ at various rotation angles, compared with that of the corresponding smooth sphere. Moreover, the derived power law between $C_{\!D}$ and the projected area $A_{\!p}$ perpendicular to the flow direction, expressed as $C_{\!D}\propto {A_{\!p}}^{-0.8}$ for spheroidal and triaxial-ellipsoidal grains, remains valid for irregular shapes. Such a rotational dependence helps to explain the paradox where drag enhancement is consistently encountered in settling grain experiments prevalent in geophysics. The macroscopic observations are elucidated by microanalysis on the fluid–grain contact pressure differences relative to the volume-equivalent sphere, revealing that the net drag reduction is mainly rooted in the frictional drag. By gaining a deeper understanding of the drag force on rough grains, this research provides valuable insights into particle–fluid interactions in creeping flows, and holds promising implications for unresolved simulations of fluid–particle systems.
Kawasaki disease is a systemic vasculitis of unknown aetiology that is usually seen in children younger than five years of age. In our study, the demographic, clinical, laboratory, and echocardiographic characteristics of children diagnosed with Kawasaki disease were evaluated, and patients were compared between complete and incomplete Kawasaki disease, as well as according to the presence or absence of coronary artery involvement.
Methods:
This retrospective study included 35 paediatric patients diagnosed with Kawasaki disease. Patients were classified as having complete Kawasaki disease or incomplete Kawasaki disease and were further stratified based on the presence or absence of coronary artery involvement. Laboratory parameters were compared between patients with and without coronary artery involvement before treatment and one week after treatment.
Results:
The study included 35 patients, 71.4% of whom were male (n = 25). Complete Kawasaki disease was diagnosed in 68.6% of patients, and coronary artery involvement was detected in 37.1%. Patients with complete Kawasaki disease had more frequent extremity changes (p = 0.011), higher C-reactive protein (p = 0.014), and lower alanine aminotransferase levels (p = 0.014) than those with incomplete Kawasaki disease. Patients with coronary artery involvement were younger (p = 0.001), had longer hospitalisation (p = 0.020), prolonged fever before intravenous immunoglobulin treatment (p = 0.003), and delayed defervescence (p = 0.028) compared to patients without coronary artery involvement. Before treatment, erythrocyte sedimentation rate (p = 0.033), lymphocyte (p = 0.022), and platelet (p = 0.001) were higher in patients with coronary artery involvement, whereas no significant differences were observed after treatment.
Conclusion:
Patients with coronary artery involvement in Kawasaki disease were younger and exhibited more pronounced inflammatory findings compared with those without involvement; however, these inflammatory differences disappeared after treatment. This finding supports the importance of early and effective treatment during the acute phase.
As insects flap their wings, they generate complex wake structures critical to their aerodynamic force production. Specific flow structures such as the leading-edge vortex have been studied for decades; however, a complete understanding of the transient dynamics and energy exchange mechanisms in insect wakes remains elusive. To help bridge this gap, we employ data-driven reduced-order modelling techniques to identify a simple and interpretable model for a hovering hawkmoth’s wake. We begin by using an in-house immersed-boundary-method computational fluid dynamics solver to simulate hovering hawkmoth flight. We then perform dynamic mode decomposition to distil the resulting flow field into a set of time-varying modes. Finally, we employ sparse regression to identify a model capturing the driving modes’ temporal evolution, ranging from quiescent flow to periodic steady state. Notably, the model takes the form of a Stuart–Landau oscillator with higher-order nonlinear terms. The presence of a limit-cycle dynamics suggests a balance between energy input from wing motion and energy lost due to advective energy transfer and viscous dissipation. Using an impulse-based wake survey method, we show that this model provides an accurate estimation (mean absolute error within 3.5 % of body weight) of the hawkmoth’s long-term lift production. These findings highlight the significance of stability and energy transfer in flapping-flight aerodynamics, offering a framework for future studies of biological flight systems. Furthermore, by linking the wake dynamics to simple dynamic equations, this work provides inspiration for the design and control of bio-inspired micro-aerial vehicles.
This study develops wavenumber–frequency spectrum models for wall-pressure fluctuations in turbulent boundary layers on flat plates and cylinders in compressible flow. Through non-dimensionalisation and solution of the momentum and continuity equations, a unified physical framework integrating near-field pressure and far-field acoustic regions is established, extending Lighthill’s acoustic analogy. Starting from the fluctuating pressure governing equation, Mach number effects in the acoustic region are explicitly introduced for the first time, and unified analytical expressions across the full wavenumber range are derived for both geometries. The proposed models achieve high-precision prediction across the entire wavenumber domain. Validation is performed via cylinder wind tunnel experiments at Mach $0.12$–$0.18$ and flat-plate direct numerical simulation (DNS) at Mach $0.1$–$0.5$. Compared with classical models such as Chase II, Smol’yakov and Corcos, the present model shows better agreement with experimental and DNS data, particularly in low-wavenumber and acoustic regions, improving prediction accuracy by more than $10$ dB. Key findings: (i) acoustic amplitude highly correlates with Mach number, while the convective ridge does not; (ii) the acoustic of flat-plate boundary is defined by $k_{1}^{2} + k_{3}^{2} - (k_{0} - Mak_{1})^{2} = 0$, where $k$ is the wavenumber and $Ma$ is the Mach number; (iii) the cylinder model degenerates to the flat-plate form as the curvature radius approaches infinity, with curvature effects confined mainly to the acoustic region and large circumferential wavenumbers. This work provides a physically self-consistent and practical engineering spectral model with significantly enhanced predictive capability under compressible-flow conditions.
Although thousands of prehistoric standing stones have been recorded across Iberia, the lack of associated detailed contextual data allows ongoing debate about their possible functions. Following the chance discovery of a ‘diademated’ stela in 2018, excavations at Las Capellanías (Cañaveral de León, Huelva), in south-west Spain, led to the discovery of two more stelae and facilitated the compilation of vital contextual information. Here, the authors explore the association between these stelae, Bronze and Iron Age burials and an ancient routeway, revealing reuse, temporal persistence, geographical connectivity and cultural hybridisation in the widening networks of prehistoric Iberia.
Frankie “Half Pint” Jaxon was a Black, queer musician active from the 1910s through the 1930s. His work is characterized by captivating transformations of both musical elements and the gender and sexual dimensions of songs. A discussion of his recording of “My Daddy Rocks Me” reveals Jaxon not only reimagining the song but also raising the voice of the sissy character in the blues and presenting queer desire as rapturous and transgressive. While studies of queer aspects of the blues have focused on female musicians like Ma Rainey, this article is the first to examine the music of a queer Black male musician.
The article examines the artistic project Esploratori dell’Infinito as a paradigmatic case of intermedial theatre grounded in a research-through-practice methodology, in which sound, music, voice, text and scenic space operate on an equal ontological and functional footing. Rather than a narrative transposition or the layering of heterogeneous media onto a pre-existing dramaturgical framework, the work is conceived as a perceptual device whose dramaturgy arises from the dynamic interplay of multiple semiotic systems.
Central to the analysis is the role of sound and music, not as a decorative or illustrative layer but as autonomous dramaturgical material capable of producing space, meaning and imagination. Drawing on practices of musique concrète, soundscape composition, electroacoustic processing and the live performance of acousmatic music, the project fosters an embodied listening that transforms the spectator into a co-author of the performative event. The article situates this process within current theories of intermedial adaptation, listening modes and sonic spaces, arguing that Esploratori dell’Infinito advances a counter-model to linear production logics and proposes an operative framework for genuinely integrated sonic dramaturgy.