<p class="Body"><span lang="EN-US">The early 2020 eastern (evening) elongation of Venus was a particularly favourable one for northern hemisphere observers, and the early 2022 western (morning) elongation was favourable for southern observers. A number of observers in both hemispheres achieved IR imaging at around 1000nm of the night-time surface of Venus when in crescent phase. This presentation reviews the equipment and methods used by successful imagers of the night side, including the sky criteria necessary (altitude, solar altitude and phase), and the results obtained.</span></p> <p class="Body"><span lang="EN-US">&#160;</span></p> <p class="Body"><span lang="EN-US">IR narrowband images taken around 1000nm show relief on the night-time surface of the planet due to differential cooling; the mountain-tops cool faster than the valleys and so emit less IR radiation. In several bands this radiation is not fully absorbed by the atmosphere and can be detected with small earth-based telescopes (at least 200mm aperture) so long as the sky is dark enough, light scatter from the illuminated planet in telescope and camera is minimised, and there is sufficient blocking of shorter wavelengths. This has been demonstrated since 2009. The signal detected by this method is not 100% correlated with surface relief, but seems to be modulated by some atmospheric effects also.</span></p> <p class="Body"><span lang="EN-US">&#160;</span></p> <p class="Body"><span lang="EN-US">There is a key observational trade-off of sky darkness against altitude of the planet. Acceptable results are not obtained until the signal from the surface is at least 50% above the noise due to the sky background, but below 10&#186; altitude the noise is increased to unacceptable levels by atmospheric absorption.</span></p> <p class="Body"><span lang="EN-US">&#160;</span></p> <p class="Body"><span lang="EN-US">The design of the sensor is found to be critical. Most sensors marketed to amateurs have too much internal scatter at these wavelengths to be usable at such low s/n ratios. However, good results have been obtained with a number of commercial cameras.</span></p> <p class="Body"><span lang="EN-US">&#160;</span><span lang="EN-US">The relationships between Venus&#8217;s rotation period and Earth and Venus&#8217; orbital periods conspire to mean that essentially only one range of longitudes is imageable at all eastern elongations, and another at all western elongations. One reason for doing this work is the possibility that Venus could still have active vulcanism. If it does, and if it were on a large enough scale, this technique could potentially reveal. it. Observations in the period in question, however, did not generate any evidence of this being the case.</span></p> <p class="Body"><span lang="EN-US"><img src="" alt="" /></span></p>
What is compelling about the work of Tia DeNora is her ability to create lucid connectivity between music as a cultural resource, a commercial 'product' and the intrinsic, intelligible and subjective meaning given to such composition by individuals. This latter theorization of internalization of music and performance is refreshing given that it is free of the occasional propensity of sociology to base analysis of music as an appendage of youth subculture. With DeNora we have a sensuous reappraisal, an almost psychoanalytic approach that encapsulates our everyday consumption of music as stimulus of mood and taste. We consume music as part of our identity maintenance -both as individuals and as a society. In this new volume, After Adorno, she continues the theme of music as a central aesthetic facet of modern societies; focus is placed firmly on the theory of music as utility.DeNora approaches the work of Adorno as neither an 'acolyte or opponent', but in seeking discernible insight into new methodologies of the sociology of music, music as the conduit of pure emotion and the validity of theorizations on the value of music and social control. The author's approach 'brings to life' postulations on the effects of music and empirically 'tests' such assumptions, providing refreshing reappraisals of the impact of Adorno's work on music and having sincere resonance within the domain of untested social theory. I began to understand the assertion that music, according to Adorno, is an intrinsic factor in the construction of the social -and how this factor can often be subconscious, occasionally didactic and potentially dangerous. Edification, via music, of the masses is one thing, but the somewhat darker frameworks of social control are another. Music, suggests Adorno via repetition and popularization (often mutual, of course), pacifies the listener and nullifies the ability to differentiate emotions and responses to the received composition. DeNora's insight clarifies the standpoint of the theorist, with the reader able to understand the ideas surrounding music as a reflection of unconscious human social structures; the almost ontological essence that controls patterns of cognate ordering -from feelings, perception, attention spans and habits of one's consciousness.What follows is a fascinating travelogue of reason, with Adorno's approach guiding the argument on the instinctive, passive and crucial element of music as the foundation of cognition (including a striking discussion of music and memory in Chapter 3). There is further evaluation of how music can 'channel emotion' -with the author noting a correlation between producer and listener and a critique of Adorno's insistence that such a relationship be practically dissected into types of consumer. DeNora suggests that such rigidity should be disposed of and the listener considered reflexive. Thus, she continues to re-theorize such a relationship between music and emotion as being intrinsically linked to an idea of social reality, connected
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