The reference temperatures of a large number of triple point of water cells collected from manufacturing sources around the world have been compared at the BIPM and in twelve national laboratories. This allowed an assessment to be made of the reproducibility of the realizations of the triple point of water and the equivalence of the experimental procedures. The results show that, in most cases, the temperatures of the cells agree to within ± 0,1 mK. In some cases, however, much larger differences and temperature changes were observed, for which no obvious explanation has so far been found. The results also provide a comparison of a large number of national reference cells.

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S INCE BERLIN WAS ELECTED AS REUNITED GERMANY'S NEW capital, in 1991, the city has been exploring its future through a complex investigation of its past while vigorously asserting its cosmopolitan newness. 1 Nowhere is this process more visible than in the city's characteristic, perhaps even unique, fascination with a ubiquitous practice I term "architectural citation." I refer to a specific type of eclectic building design, most notably the Reichstag's late-nineteenth-century facade combined with its postmodern glass dome and new interior; the plans for a partial rebuilding of the Stadtschloß; the Sony Center at Potsdamer Platz, framing remnants of the Grand Hotel Esplanade; the replicated facade of the new Hotel Adlon near the Brandenburg Gate; and the FriedrichstadtPassagen, evoking the Kaisergalerie, a premier symbol of Berlin's status as the capital of the German empire after 1873. When read in the context of present and past cultural discourses (newspaper articles, Web pages, advertisement pamphlets, literary responses, critical theory), these designs variously inscribe contemporary architectural styles with allusive reinventions of previous cultural manifestations and discourses, incorporate actual remnants of older edifices, or use partial reconstruction for new social purposes. Architectural citation, I should emphasize, is different from projects such as the Museum Island, the Berlin Cathedral, and even the front sections of the New Synagogue on Oranienburger Straße, victims of World War II destruction or of neglect by the German Democratic Republic that have now benefited from relatively conventional principles of restoration

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What predestines music to be able to transgress geo-cultural boundaries? I argue that music’s sensuous, bodily-affective immediacy requires a mode of cross-cultural translation via what I call auditory resonance—the spontaneous attunement of listeners with the sonic presence of music through media-technological transmission despite vestiges of cultural colonialism and other sociopolitical barriers. I trace such resonance effects from German Romanticism through our global present, focusing especially on the conversations between two Japanese cultural figures, the conductor Seiji Ozawa and the novelist Haruki Murakami. These texts show that the category of auditory resonance is more suitable for addressing European music’s global significance than its traditional claims to transcultural universality. Keywords: Music, resonance, immediacy, presence, media technologies, cultural translation, Wilhelm Heinrich Wackenroder, Walter Benjamin, Seiji Ozawa, Haruki Murakami