No abstract

‘TAM 112’ (Reg. No. CV‐1101, PI 643143), a hard red winter wheat (Triticum aestivum L.) cultivar with experimental designation TX98V9628, was developed and released by Texas A&M AgriLife Research in 2005. TAM 112 is an F4–derived line from the cross U1254‐7‐9‐2‐1/TXGH10440 made at Vernon, TX, in 1992. U1254‐7‐9‐2 is a USDA–ARS germplasm line from the Plant Science and Entomology Research unit, Manhattan, KS, and TXGH10440 is a sibling selection of the cultivar TAM 110. TAM 112 is an awned, medium‐early maturing, semidwarf wheat with red glumes. It was released primarily for its excellent grain yield potential particularly in dryland environments of the southern Great Plains; resistance to stem rust (caused by Puccinia graminis Pers.:Pers. f. sp. tritici Eriks. & E. Henn.), powdery mildew [caused by Blumeria graminis (DC.) E.O. Speer f. sp. tritici Em. Marchal], and greenbug [Schizaphis graminum (Rondani)]; and good milling and bread‐baking characteristics. Compared with existing hard red winter wheat cultivars at the time of release, TAM 112 is most similar to TAM 110 with respect to area of adaptation and disease and insect resistance, but it has significantly higher yield and better bread‐baking characteristics than TAM 110. Licensed to Watley Seed Company for marketing, TAM 112 is currently one of the most popular hard red winter wheat cultivars adapted to the dryland production system in the Texas High Plains and similar areas in the southern Great Plains.

No abstract

The increased number of staged spectacles on Gothic themes around 1800 is directly related to structural factors affecting the physical and legal configuration of contemporary theater.

Parameter mapping sonification is the most widely used technique for representing multi-dimensional data in sound. However, it is known to be unreliable when used for detecting information in some types of data. This is generally thought to be the result of the co-dependency of the psychoacoustic dimensions used in the mapping.Positing its perceptual basis in a theory of embodied cognition, the most common approach to overcoming this limitation involves techniques that afford the interactive exploration of the data using gross body gestures. In some circumstances, such exploration is not possible and, even when it is, it may be neither necessary nor sufficient.This article explores some other possible reasons for the unreliability of parameter mapping sonification and, drawing from the experience of expressive musical performance, suggests that the problem lies not in the parametric approach per se, nor in the lack of interactivity, but in the extent to which the parameters employed contribute to coherent gestalts. A method for how this might be achieved that relies on the use of micro-gestural information is proposed. While this is speculative, the use of such gestural inflections is well known in music performance, is supported by findings in neuroscience and lends itself to empirical testing.