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Ch'ing trade with Japan is well reported not only in familiar Japanese and Dutch sources but in a wealth of Chinese material as well. This chapter assembles a brief survey of the first century of Ch'ing intercourse with Japan, with special reference to the trade in copper and its relationship to the operations of the Chinese mints. Ch'ing China, for a period of nearly forty years, was totally dependent upon Japan for the copper which went into its currency issues. During this period the Chinese mints were consuming about 40,000 piculs of copper annually, all of which was imported from Japan. Though greatly shrunken in volume, the Chinese junk trade with Japan was to endure into the middle of the nineteenth century, when new conditions brought on by the activities of the Western trading nations forced a change in the relationship between the two countries. Keywords: Ch'ing China; Chinese mints; copper; Japan; Junk trade; Western trading nations

This report describes the results made in fulfillment of contract DE-FG26-00BC15190, ''3-D Reservoir and Stochastic Fracture Network Modeling for Enhanced Oil Recovery, Circle Ridge Phosphoria/Tensleep Reservoir, Wind River Reservation, Arapaho and Shoshone Tribes, Wyoming''. The goal of this project is to improve the recovery of oil from the Tensleep and Phosphoria Formations in Circle Ridge Oilfield, located on the Wind River Reservation in Wyoming, through an innovative integration of matrix characterization, structural reconstruction, and the characterization of the fracturing in the reservoir through the use of discrete fracture network models. Fields in which natural fractures dominate reservoir permeability, such as the Circle Ridge Field, often experience sub-optimal recovery when recovery processes are designed and implemented that do not take advantage of the fracture systems. For example, a conventional waterflood in a main structural block of the Field was implemented and later suspended due to unattractive results. It is estimated that somewhere less than 20% of the OOIP in the Circle Ridge Field have been recovered after more than 50 years' production. Marathon Oil Company identified the Circle Ridge Field as an attractive candidate for several advanced IOR processes that explicitly take advantage of the natural fracture system. These processes require knowledge of the distribution of matrix porosity, permeability and oil saturations; and understanding of where fracturing is likely to be well-developed or poorly developed; how the fracturing may compartmentalize the reservoir; and how smaller, relatively untested subthrust fault blocks may be connected to the main overthrust block. For this reason, the project focused on improving knowledge of the matrix properties, the fault block architecture and to develop a model that could be used to predict fracture intensity, orientation and fluid flow/connectivity properties. Knowledge of matrix properties was greatly extended by calibrating wireline logs from 113 wells with incomplete or older-vintage logging suites to wells with a full suite of modern logs. The model for the fault block architecture was derived by 3D palinspastic reconstruction. This involved field work to construct three new cross-sections at key areas in the Field; creation of horizon and fault surface maps from well penetrations and tops; and numerical modeling to derive the geometry, chronology, fault movement and folding history of the Field through a 3D restoration of the reservoir units to their original undeformed state. The methodology for predicting fracture intensity and orientation variations throughout the Field was accomplished by gathering outcrop and subsurface image log fracture data, and comparing it to the strain field produced by the various folding and faulting events determined through the 3D palinspastic reconstruction. It was found that the strains produced during the initial folding of the Tensleep and Phosphoria Formations corresponded well without both the orientations and relative fracture intensity measured in outcrop and in the subsurface. The results have led to a 15% to 20% increase in estimated matrix pore volume, and to the plan to drill two horizontal drain holes located and oriented based on the modeling results. Marathon Oil is also evaluating alternative tertiary recovery processes based on the quantitative 3D integrated reservoir model.

The goal of this project is to improve the recovery of oil from the Circle Ridge Oilfield, located on the Wind River Reservation in Wyoming, through an innovative integration of matrix characterization, structural reconstruction, and the characterization of the fracturing in the reservoir through the use of discrete fracture network models.

Following the spill of 11 million gallons of North Slope crude oil by the Exxon Valdez in Alaska on March 24, 1989, a major cooperative effort to plan for the cleanup of Prince William Sound and the Gulf of Alaska shorelines was undertaken in Valdez, Alaska. All aspects of the spill response—the lightering of oil remaining on the stricken tanker, the containment of free-floating oil, and the unknown miles of remote shoreline to be cleaned up—were much larger than anything in American experience. The event provided unprecedented organizational challenges in shoreline cleanup planning and execution. The scope of the shoreline cleanup and the extended cleanup time anticipated, due to geography, weather, logistics, and other factors, required an organization not specifically identified in the National Contingency Plan or the Alaska regional contingency plan. The Interagency Shoreline Cleanup Committee—an interdisciplinary, interagency cleanup planning group—evolved in Valdez concurrently with the larger response organization implemented under existing contingency plans. As a day-to-day working group serving the needs of the federal on-scene coordinator, it included Exxon, the National Oceanic and Atmospheric Administration, the Alaska Department of Environmental Conservation, federal and state land and resource management agencies, Alaska natives, and commercial fishing and environmental groups. The planning model that evolved was refined and streamlined in early 1990 and carried through the remaining cleanup seasons.

6508 Background: Electronic decision support is increasingly prevalent in clinical practice. Traditional tools map guidelines into an interactive platform. An alternative method builds on experience-based learning. Methods: Memorial Sloan-Kettering (MSK), IBM and WellPoint teamed to develop IBM Watson – a cognitive computing system leveraging natural language processing (NLP), machine learning (ML) and massive parallel processing – to help inform clinical decision making. We made a prototype for lung cancers using manufactured and anonymized patient cases. We configured this tool to read medical language and extract specific attributes from each case to identify appropriate treatment options benchmarked against MSK expertise, anonymized patient cases and published evidence. Treatment options reflect consensus guidelines and MSK best practices where guidelines are not granular enough to match treatments to unique patients. Analysis and building accuracy is ongoing and iterative. Results: 420 manufactured and 525 anonymized patient cases trained the initial models. Early results show accuracy improvement in NLP and ML in identifying treatment options (Table). All treatment plans were guideline adherent. A proportion of cases showed the need to incorporate tailored treatment plans reflecting MSK’s practice beyond guidelines – e.g. 11% of cases required addressing a site of critical metastasis before initiating guideline supported treatment. Conclusions: IBM Watson is extracting information from free text medical records that supports building ML models to assist in selecting treatments for persons with lung cancers. This tool can select treatment options from consensus guidelines, and, through ML, it will identify personalized treatment plans. Training is ongoing to improve individualized decision making and optimize the web-based tool that connects with IBM Watson. [Table: see text]

This chapter traces the formation and the evolution of the bakuhan structure of government from the middle of the sixteenth century to the end of the eighteenth century. The political and social institutions that underlay the bakuhan polity had their origins in the unification movement of the last half of the sixteenth century, especially in the great feats of military consolidation and social engineering achieved by Toyotomi Hideyoshi during the last two decades of the century. The story of the rise of the Tokugawa family to become the foremost military house of Japan follows a pattern common among a whole class of active regional military families who competed for local dominion during the fifteenth and sixteenth centuries. The structure of power over which the Tokugawa shogun ultimately presided was conceived as a balance among several classes of daimyo and the interests of the shogun.

Surface electrical stimulation using the ScoliTron™ device was applied to 40 adolescent patients for treatment of idiopathic scoliosis. Adequate follow-up was available for 30 of these patients. The overall failure rate was 15 of 30 or 50%. Due to curve progression while using the ScoliTron, these patients either went on to a fusion (9 of 15) or were changed to a brace (6 of 15). The remaining 15 patients were considered successes with no curve progression (10 of 30 or 33%) or successful/failures with slight curve progression not requiring a change in treatment (5 of 30 or 17%). None of the various parameters analyzed were found to be useful indicators of successful treatment using the ScoliTron device. Electrical stimulation was found to be ineffective in preventing curve progression for idiopathic scoliosis.

INTRODUCTION The Muromachi bakufu, the second of the three military governments that held power in Japan from 1185 to 1867, was founded between 1336 and 1338 by Ashikaga Takauji (1305–58). The name Muromachi was taken from the district in Kyoto where the Ashikaga residence and administrative headquarters were located after 1378. The end of the regime is dated either 1573, when the last Ashikaga shogun was ousted from Kyoto, or 1597, when the ex-shogun died in exile. The period in Japanese history defined by the existence of the Muromachi bakufu has been judged in two quite contradictory ways. Measured on the basis of effective centralized rule, it has been seen as a time of political weakness and social unrest. Yet in cultural terms it has been recognized as one of Japan's most creative periods of artistic achievement. There is, of course, no necessary contradiction between political instability and cultural brilliance. And modern historians have tended to play down the apparent paradox. They stress instead the significant social and institutional changes of the time: when military government (the bakufu system) came into its own, when the military aristocracy (the buke or samurai estate) became the real rulers of the country, and when profound changes were wrought in the distribution of rights over land and in the organization of the cultivating class. Recent assessments have suggested that even with respect to government effectiveness, the Ashikaga should not be dismissed too lightly. After all, the Muromachi bakufu lasted for more than two hundred years.

Concealed within television and today's electronic technology lies a world of untapped potential. Computer colors joined in harmony with music offer the composer and the artist alike a precious new amalgam of dynamic art resources. Extraordinary possibilities remain untried, unknown, even barely imaginable. Concealed similarly from public view or understanding, certain painters at the start of this century began developing iconoclastic principles of composition in bold color abstraction, revealing potential forms of expression capable of intimate, "spiritual" feeling. To make color "dance" was beyond their reach, but despite the fixed nature of oil on canvas, their painterly forms did seem to deal with abstraction in musical ways. Elementary concepts and aspirations of these artists were perhaps first expressed in a few chosen words by pioneer abstract painter Wassily Kandinsky in this excerpt from his earliest letter to Arnold Sch6nberg, dated January 1911: "In your works, you have realized what I, albeit in uncertain form, have so greatly longed for in music. The independent progress through their own destinies, the independent life of the individual voices in your compositions is exactly what I am trying to find in my painting" (Crawford 1984). Kandinsky's dream of creating a painter's "theory of harmony"-color and line "for their own sake," like Sch6nberg's radical compositional system of 12 tones, all of equal potential-could be identified with many painters thereafter. Each in his or her own way-Kazimir Malevich, Piet Mondrian, Jackson Pollock, Mark Rothko, Robert Motherwell, Willem de Kooning, Franz Kline, Sam Francis, and many others-without solidarity, and inadvertently, have become members of a unique group. With hindsight, one perceives that, to varying degrees, each artist was devoted to a spiritual or a universal concept of the "pure plastic," to the notion of "form and content at one and the same time." These terms frequented Mondrian's essays. Such concepts evolved into a long-standing quest for what I label today simply a "musicalization" of painting. Walter Pater declared that "all art aspires to the condition of music." Kandinsky wrote that those individual voices in Sch6nberg's music were "exactly what I am trying to find in my painting." And so too by an ironic inversion of this quest, Alexander Scriabin and perhaps even Sch6nberg himself envisioned a color counterpoint as partner to their musical ideas. In light of the high esteem accorded painters of this epoch, who would care whether or not their particular aspirations toward some kind of musical form actually might be realized through computer arts of motion? Even today, it remains obscure just how any new art (or music) could come from computing machines. Nevertheless, the impulse to deal creatively with "form and content at one and the same time, " to "aspire to the condition of music" excited the intuitive aspirations of many artists throughout this century. These concepts indeed are about to come to fruition in an altogether different way-dealing with color and tone at one and the same time.

Bij veertig jeugdige patienten werd ter behandeling van idiopathische scoliose elektrostimulatie met oppervlakte-elektroden toegepast met een Scoli-Tron-apparaat. Dertig van deze patienten konden gedurende vier jaar worden gevolgd. Bij vijftien van deze dertig patienten (50%) was sprake van mislukking. In verband met de progressie van de curve gedurende de tijd dat de ScoliTron werd gebruikt, werd bij deze patienten overgegaan tot operatieve fusie (9 van de 15), of gebruik van een beugel (6 van de 15).

A partnership is developing that offers a special complementarity of relationship between musical and visual design. With this new partnership we are learning to compose a unique counterpoint by means of computer algorithms. I would define the algorithms that we use as the routines of computer instructions that generate coordinated color design with music through solid-state operations, as a real-time event. These algorithms can be composed interactively on many of the fast personal computers (PCs). Only recently have computers acquired a musicand graphics-generating capability, which often can be installed in one computer instrument. This has become what we rightfully may call the artist's first universal machine: an instrument for composing time-based audio and visual modalities. Founded upon my own vision of just such a 'universal machine' long before the first computers, my study of colorin-motion began as a search for various germinal aesthetic principals directed toward developing a fine art that might employ that instrument. When I later gained access to computers, my explorations of what I began to call 'digital harmony' gradually revealed to me a world of pure fluid graphics. I uncovered aesthetic concepts that suggested how differential functions within a wide variety of geometric algorithms generate order-disorder graphics in a world of abstract design in motion. A typical order-disorder algorithm might distribute points in a field that would appear to be scattered at random, while moments later (some computer displays later), the points might evolve by differential progression into an obvious pattern of order, forming, perhaps, an elegant rose curve. Order that resolves to disorder, or disorder that resolves to order and repose, is like a musical resolution. The similarities that these tem

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