We show that on a $\sigma $-finite measure-preserving system $X = (X,\nu , T)$, the non-conventional ergodic averages

$$ \begin{align*} \mathbb{E}_{n \in [N]} \Lambda(n) f(T^n x) g(T^{P(n)} x) \end{align*} $$

$f \in L^{p_1}(X)$

$g \in L^{p_2}(X)$

$1/p_1 + 1/p_2 \leq 1$

$2$

$\Lambda $

$1$

$\mu $

Independent Christian Churches were an important aspect of African anticolonial activism, but the political afterlives of these movements in the immediate postcolonial period have been broadly overlooked. This article studies the African Independent Pentecostal Church, focusing on its entanglement with the politics of reconciliation and state-building in a decolonising Kenya. During the 1950s Mau Mau uprising, the church lost its entire portfolio of land, churches, and schools. The article explores how church adherents sought to re-establish themselves on these holdings. These contests reveal that churches were political agents engaged in debates about the boundaries of postcolonial political community and the nature of post-conflict reconciliation. Churches’ roles as landowners and education providers meant denominational rivalries masked political struggles over justice for past violations. Embedded in intra-ethnic conflicts, churches negotiated with elites seeking to establish ethnic constituencies. Through this conflict and compromise, the brokered nature of the postcolonial nation-building project is revealed.

Bodies in possession and in revolt are often framed as being “caught” by some other entity—a spirit, a force, or a memory. Cases of rebellion involve a loss of intentionality of movement, unlike a subject who wills and decides. What is the political significance of the illegibility of such movements, before they are consigned to taxonomies and diagnoses that render them pathological, criminal, or demonic? What thinking about dance might this permit?

In March 1830, travelling troupe director Henri Delorme staged the local premiere of Daniel Auber’s grand opéra La muette de Portici in the northern French town of Valenciennes. The production marks a turning point in the circulation of operatic repertoire across France, kickstarting a thriving but as yet unacknowledged phenomenon of touring grand opéra that persisted into the 1860s and beyond. In this article, I reconstruct the artistic and working practices of this phenomenon, and demonstrate how the arrival of the genre in the northern touring circuit allowed local individuals, such as the director, theatre-goers and local critics, to voice their expectations – in musical, dramatic and staging terms – of the appropriate artistic parameters for the emerging genre when seen from a provincial perspective. I suggest that grand opéra’s adjusted scale, status and performance practices on tour had the potential to reconfigure the genre’s meaning for nineteenth-century French audiences and theatrical performers as local agents negotiated shifting sets of centre–periphery dynamics, at once seeking operatic imitation of the capital and rejecting it in favour of locally defined practices and values.

Simultaneous localization and mapping technology is the basis for multi-robot systems to complete navigation, path planning, and autonomous exploration in complex, dynamic, and Global Positioning System (GPS)-denied environments. This paper reviews the current status and progress of multi-robot simultaneous localization and mapping (SLAM) technology based on LiDAR. First, this paper studies the basic principles of LiDAR SLAM. It analyzes the system model construction of LiDAR SLAM, including the mobile robot coordinate system model, kinematic model, sensor model, map presentation, LiDAR SLAM framework, and classic algorithms. Then, this paper discusses the basic framework of collaborative SLAM, analyzes the key issues such as data association, loop closure detection, and global graph optimization in collaborative SLAM, and conducts a detailed literature review on the solutions to key problems in sub-fields of multi-robot SLAM such as frontier detection, task allocation, map fusion, and compares the advantages and disadvantages of various algorithms. Finally, this paper outlines the challenges and future research directions of multi-robot LiDAR SLAM.

This article considers an underinvestigated aspect of Vesuvian iconography in the seventeenth and eighteenth centuries: the use of artistic and realistic images to represent the appearance of a landscape before and after an eruption. This was done without any of the diagrammatic images that became increasingly popular with the development of the new earth sciences. My analysis reconstructs Vesuvian iconography from this specific perspective, beginning with its origins—through an analysis of five engravings by Nicolas Perrey depicting the dramatic eruption of Vesuvius in 1631—and tracing its later developments up to the eighteenth century and the work of William Hamilton.

Ostracods from the late Mississippian–early Pennsylvanian (late Serpukhovian–Bashkirian) from the Calingasta–Uspallata Basin, Precordillera Argentina, are studied for the first time. The analyzed successions (Hoyada Verde, El Paso, Leoncito, and Yalguaraz formations) document the most widespread glacial event in southwestern Gondwana during the Late Paleozoic Ice Age. One new species, Aechmina cuyanensis new species, is defined, and seven species are described, two of which are new records for South America. The distribution of Carboniferous ostracods in the Argentine basins (Calingasta–Uspallata, Río Blanco, and Tepuel–Genoa) is discussed, highlighting the interesting record of this fauna in levels between or below diamictites and its absence in the mudstone interval with no evidence of glaciation. The association is characterized by ornamented palaeocopids, one binodicopid, and some metacopid species corresponding to the Assemblage III of the Eifelian Mega-Assemblage, indicating a slightly hypoxic and very calm environment between the fair-weather wave base and the storm wave base.

UUID: https://zoobank.org/68fda8dc-be98-4a03-b369-a696b7d7ad99