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In many cities across the United States, incidences of coyote encounters (Canis latrans) and human-coyote conflicts are rising. This is especially true for cities in Southern California, where conflicts including pet attacks have been recorded since the 1960s. The only coyote-related human fatality in the United States occurred in Southern California in 1981 and, although no fatal attacks have occurred since, coyote bites to humans are still occurring. Coyote attacks on pets appear to be common in Southern California; however, data are lacking in this area of human-coyote conflicts. This paper examines data from multiple sources that record human-coyote conflicts in Southern California. Coyote reports have been more frequently received by the entities involved in this analysis as their recording time progresses, with data from 243 cities and unincorporated areas suggesting that the majority of reports (68%) are related to non-conflict events. Conflicts were significantly higher in the pup-rearing season compared to the breeding season. There appears to be spatial clustering of coyote reports from Los Angeles County; however, complex analysis is needed to determine the relationship between frequency of complaints and land use in all of the counties to help determine what is driving human-coyote conflicts in Southern California.

In many cities across the United States, incidences of coyote encounters (Canis latrans) and human-coyote conflicts are rising. This is especially true for cities in Southern California, where conflicts including pet attacks have been recorded since the 1960s. The only coyote-related human fatality in the United States occurred in Southern California in 1981 and, although no fatal attacks have occurred since, coyote bites to humans are still occurring. Coyote attacks on pets appear to be common in Southern California; however, data are lacking in this area of human-coyote conflicts. This paper examines data from multiple sources that record human-coyote conflicts in Southern California. Coyote reports have been more frequently received by the entities involved in this analysis as their recording time progresses, with data from 243 cities and unincorporated areas suggesting that the majority of reports (68%) are related to non-conflict events. Conflicts were significantly higher in the pup-rearing season compared to the breeding season. There appears to be spatial clustering of coyote reports from Los Angeles County; however, complex analysis is needed to determine the relationship between frequency of complaints and land use in all of the counties to help determine what is driving human-coyote conflicts in Southern California.

The purpose of this work is to determine the necessity of a near real time ocean modeling capability such as the Naval Oceanographic Office's (NAVOCENANO) Modular Ocean Data Assimilation System (MODAS) model in shallow water (such as the Yellow Sea) mine hunting applications using the Navy's Comprehensive Acoustic Simulation System/Gaussian Ray Bundle (CASS/GRAB) Mode. Sound speed profiles inputted into CASS/GRAB were calculated from observational (MOODS) and climatological (GDEM) data sets for different seasons and regions of four different bottom types (sand, gravel, mud and rock). The CASS/GRAB model outputs were compared to the outputs from corresponding MODAS data sets. The results of the comparisons domonstrated in many cases a significant acoustic difference between the alternate profiles. These results demonstrated that there is a need for a predictive modeling capability such as MODAS to address the mine warfare (MIW) needs in the Yellow Sea region. There were some weaknesses detected in the profiles the MODAS model produces in the Yellow Sea, which must be resolved before it can reliably address the MIW needs in the region, NAVOCEANO, Stennis Space Center, MS 39522-5001, Approved for public release; distribution is unlimited.

Joan Flasch Artists' Book Collection

This recording is a project developed for the 2008 Whitney Biennial. It features '"B" (For Bartelby)' by musician and writer Alex Waterman and a newly recorded radio edit version of 'Refracted Light Through Armory Show' by Dan Fox. The performance aims to funnel, or channel, a variety of cross-disciplinary cultural production practices through the form of a "cubist variety show." Liner notes vary in form between narrative, poetry, and script; 12" red vinyl LP with sleeve., Joan Flasch Artists' Book Collection

"Initiated by a series of events and discussions during the exhibition Gest at the Stanley Picker Gallery, Kingston University, this book GEST: LABORATORY OF SYNTHESIS #1, includes a range of essays and interviews bringing together philosophers, artists, theorists and critics to discuss new approaches to art writing. It operates in the widening gap between the mainstream art magazine and the academic journal in order to create new conjunctions and productive disjunctions between theory and practice out of which new voices and new modes of art writing emerge." -- Publisher's website.

"Initiated by a series of events and discussions during the exhibition Gest at the Stanley Picker Gallery, Kingston University, this book GEST: LABORATORY OF SYNTHESIS #1, includes a range of essays and interviews bringing together philosophers, artists, theorists and critics to discuss new approaches to art writing. It operates in the widening gap between the mainstream art magazine and the academic journal in order to create new conjunctions and productive disjunctions between theory and practice out of which new voices and new modes of art writing emerge." -- Publisher's website.

"This anthology traces humour's role in transforming the practice and experience of art, from the early twentieth-century avant-gardes, through Fluxus and Pop, to the diverse, often uncategorizable works of some of the most influential artists today" -- p. [4] of cover.

"This anthology traces humour's role in transforming the practice and experience of art, from the early twentieth-century avant-gardes, through Fluxus and Pop, to the diverse, often uncategorizable works of some of the most influential artists today" -- p. [4] of cover.

Purpose: Although posttraumatic pneumothoraces (PTXs) are common and potentially life threatening, the supine chest radiograph (CXR) is an insensitive test for their detection. Computed tomography (CT) often identifies occult pneumothoraces (OPTXs). Previous descriptions of OPTX topography have been poor. Our purpose was to define their distribution and aid in the targeting of thoracic ultrasound. Methods: Posttraumatic supine CXRs and CTs were reviewed for occult, overt, and residual PTXs. PTXs were compared according to their apical, basal, anterior, lateral, medial, and posterior components. A comparative size index was calculated. Results: Among 761 patients, 338 CT scans revealed 103 PTXs in 89 patients; 55% were OPTXs. OPTXs were apical (57%), basal (41%), anterior (84%), lateral (24%), and medial (27%), with 0% posterior. Conclusions: CXR missed over half of all PTXs. OPTXs had a greater anterior versus lateral (nearly 4-fold) and both basal and apical versus lateral (2-fold) distribution. OPTXs are often located at easily accessible sonographic windows.

The purpose of this work is to determine the necessity of a near real time ocean modeling capability such as the Naval Oceanographic Office's (NAVOCEANO) Modular Ocean Data Assimilation System (MODAS) model in shallow water (such as the Yellow Sea) mine hunting applications using the Navy's Comprehensive Acoustic Simulation System(Gaussian Ray Bundle (CASS/GRAB) model. Sound speed profiles inputted into the CASS/GRAB were calculated from observational (MOODS) and climatological (GDEM) data sets for different seasons and regions of four different bottom types (sand, gravel, mud, and rock). The CASS/GRAB model outputs were compared to the outputs from corresponding MODAS data sets. The results of the comparisons demonstrated in many cases a significant acoustic difference between the alternate profiles. These results demonstrated that there is a need for a predictive modeling capability such as MODAS to address the Mine Warfare (MIW) needs in the Yellow Sea region. There were some weaknesses detected in the profiles the MODAS model produces in the Yellow Sea, which must be resolved before it can reliably address the MIW needs in that region.

The purpose of this work is to determine the necessity of a near real time ocean modeling capability such as the Naval Oceanographic Office's (NAVOCENANO) Modular Ocean Data Assimilation System (MODAS) model in shallow water (such as the Yellow Sea) mine hunting applications using the Navy's Comprehensive Acoustic Simulation System/Gaussian Ray Bundle (CASS/GRAB) Mode. Sound speed profiles inputted into CASS/GRAB were calculated from observational (MOODS) and climatological (GDEM) data sets for different seasons and regions of four different bottom types (sand, gravel, mud and rock). The CASS/GRAB model outputs were compared to the outputs from corresponding MODAS data sets. The results of the comparisons domonstrated in many cases a significant acoustic difference between the alternate profiles. These results demonstrated that there is a need for a predictive modeling capability such as MODAS to address the mine warfare (MIW) needs in the Yellow Sea region. There were some weaknesses detected in the profiles the MODAS model produces in the Yellow Sea, which must be resolved before it can reliably address the MIW needs in the region

Illustrated lining papers

Illustrated lining papers

Songs with piano acc. and guitar chords, "All of the songs ... have been ... coupled with one or more works from the collections of the Metropolitan Museum of Art in New York"--P. 5, "Guitar chord diagrams": p. [80], Includes index

Includes index, Illustrations from the collections of the Metropolitan Museum of Art

Includes index, Illustrations from the collections of the Metropolitan Museum of Art

Songs with piano acc. and guitar chords, "All of the songs ... have been ... coupled with one or more works from the collections of the Metropolitan Museum of Art in New York"--P. 5, "Guitar chord diagrams": p. [80], Includes index