Distribution-free uncertainty quantification for kernel methods by gradient perturbations

Machine Learning - We propose a data-driven approach to quantify the uncertainty of models constructed by kernel methods. Our approach minimizes the needed distributional assumptions, hence,...     

Energy Recovery in Pressurized Hydraulic Networks

Water Resources Management - This paper aims to evaluate the possibility of using non-utilized hydraulic energy in urban water distribution systems. For this purpose, the viability and possible...     

An effectiveness analysis of altmetrics indices for different levels of artificial intelligence publications

Scientometrics - Altmetrics indices are increasingly applied to measure scholarly influence in recent years because they can reflect the influence of research outputs more timely comparing with...     

Biodegradation of poly(lactic acid)—cassava bagasse composites produced by injection molding

Neat poly (lactic acid) (PLA) and PLA/cassava bagasse (CB) composites were used to produce seedling tubes by extrusion and injection molding. The tubes were buried in simulated soil, and their biodegradation was investigated by weight loss, scanning electron microscopy (SEM), and Fourier transform infrared spectroscopy (FTIR). After 180 days, the composites' biodegradation was higher than neat PLA material, and the higher the CB content, the higher the biodegradation, which caused fissures and voids in the material. The biodegradation of PLA/CB composites increased the phosphorus content in the soil after 180 days. Composites of PLA with CB, an abundant agro-industrial residue in Brazil, are promising because they can reduce the environmental impact due to CB's proper destination, and the composites' costs and biodegradation are faster than pure PLA material. Both the faster biodegradation of the tube and the higher P content are advantageous for seedling tubes.     

Separation of Indium from Acid Sulfate-Containing Solutions by Ion Exchange with Impregnated Resins

Indium separation using ion exchange resins from acidic polymetallic and very diluted solutions are investigated. Since the selectivity of commercial ion exchange resins have proven to be too low for an effective separation from solutions with high content of other metals, Lewatit® TP 208 was impregnated with common extractants to enhance its properties. By resin impregnation with D2EHPA and Cyanex 272, not only the selective indium recovery was reached but also the resin capacity was increased approx. two times. The best loading and elution performance were shown by Cyanex 272-impregnated Lewatit® TP 208, increasing the indium purity in the eluate from 0.75 % to 85 %.     

The Photomontage Activity of Postmodernism

For decades now, Douglas Crimp’s landmark 1980 essay ‘The Photographic Activity of Postmodernism’ has shaped our understanding of modernism’s aftermath, at least as it unfolded in North America and Western Europe. Less remembered, however, is the degree to which the procedures of disjunction, copying, appropriation, and outright theft that he highlighted were epitomised not just by contemporary photography, but by photomontage in particular. This article recovers the debates that led critics such as Crimp, Abigail Solomon-Godeau, Christopher Phillips, Benjamin Buchloh and others to turn to photomontage as one of their principal objects of concern in what became known as the postmodern critique of photography. Why was montage tasked to perform this critical function, particularly by people around the journal October who had not otherwise devoted the balance of their writing to photography’s history? The article suggests that these men and women, along with the contemporary artists they foregrounded, manifested what Mary Anne Doane has called a ‘desire for signification’, a reaction in the late 1970s against the mute theatricality of minimalist and conceptual art. Photomontage reintroduced representation to contemporary art and to the canon of art history. But unlike the reemerging illusionism in painting that also manifested this desire, montage guarded against an uncomplicated realism by highlighting and critiquing operations of representation in a manner that painting no longer could.