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Retrograde metamorphic rocks provide key insights into the pressure–temperature (P–T) evolution of exhumed material, and resultant P–T constraints have direct implications for the mechanical and thermal conditions of subduction interfaces. However, constraining P–T conditions of retrograde metamorphic rocks has historically been challenging and has resulted in debate about the conditions experienced by these rocks. In this work, we combine elastic thermobarometry with oxygen isotope thermometry to quantify the P–T evolution of retrograde metamorphic rocks of the Cycladic Blueschist Unit (CBU), an exhumed subduction complex exposed on Syros, Greece. We employ quartz-in-garnet and quartz-in-epidote barometry to constrain pressures of garnet and epidote growth near peak subduction conditions and during exhumation, respectively. Oxygen isotope thermometry of quartz and calcite within boudin necks was used to estimate temperatures during exhumation and to refine pressure estimates. Three distinct pressure groups are related to different metamorphic events and fabrics: high-pressure garnet growth at ∼1.4–1.7 GPa between 500–550 ∘C, retrograde epidote growth at ∼1.3–1.5 GPa between 400–500 ∘C, and a second stage of retrograde epidote growth at ∼1.0 GPa and 400 ∘C. These results are consistent with different stages of deformation inferred from field and microstructural observations, recording prograde subduction to blueschist–eclogite facies and subsequent retrogression under blueschist–greenschist facies conditions. Our new results indicate that the CBU experienced cooling during decompression after reaching maximum high-pressure–low-temperature conditions. These P–T conditions and structural observations are consistent with exhumation and cooling within the subduction channel in proximity to the refrigerating subducting plate, prior to Miocene core-complex formation. This study also illustrates the potential of using elastic thermobarometry in combination with structural and microstructural constraints, to better understand the P–T-deformation conditions of retrograde mineral growth in high-pressure–low-temperature (HP/LT) metamorphic terranes.

Abstract. The mid-Pliocene warm period (mPWP; ∼3.2 million years ago) is seen as the most recent time period characterized by a warm climate state, with similar to modern geography and ∼400 ppmv atmospheric CO2 concentration, and is therefore often considered an interesting analogue for near-future climate projections. Paleoenvironmental reconstructions indicate higher surface temperatures, decreasing tropical deserts, and a more humid climate in West Africa characterized by a strengthened West African Monsoon (WAM). Using model results from the second phase of the Pliocene Modelling Intercomparison Project (PlioMIP2) ensemble, we analyse changes of the WAM rainfall during the mPWP by comparing them with the control simulations for the pre-industrial period. The ensemble shows a robust increase in the summer rainfall over West Africa and the Sahara region, with an average increase of 2.5 mm/d, contrasted by a rainfall decrease over the equatorial Atlantic. An anomalous warming of the Sahara and deepening of the Saharan Heat Low, seen in >90 % of the models, leads to a strengthening of the WAM and an increased monsoonal flow into the continent. A similar warming of the Sahara is seen in future projections using both phase 3 and 5 of the Coupled Model Intercomparison Project (CMIP3 and CMIP5). Though previous studies of future projections indicate a west–east drying–wetting contrast over the Sahel, PlioMIP2 simulations indicate a uniform rainfall increase in that region in warm climates characterized by increasing greenhouse gas forcing. We note that this effect will further depend on the long-term response of the vegetation to the CO2 forcing. International audience

Frequent occult or conspiracy circles long enough—especially those centered around the paranormal and ufology—one begins to notice a trend. UFO sightings or alien abductions, fair folk conducting séances, leprechauns frantically hiding their coveted gold, and other odd occurrences, are seldom happenings found in populated areas. Indeed, for the skeptic, the fact of isolation with a lack of witnesses is the single most powerful weapon in their arsenal. “If such-and-such event really did occur, why are there no witnesses? Why did it happen in the abandoned church? Why do all your sightings happen in the most remote of locations?” she asks. The secluded, hidden locations of these events is not happenstance, however. It is not a tool to explain away anomalies. Rather, these things must occur in secluded, run-down areas because secluded locations are thresholds between the world of appearances and the world of things as they are. They are areas where the supposedly ‘hard,’ ‘natural,’ and ‘immutable’ boundaries of the world break down. They are the wave wracked shores of Kant’s Island of Reason, his terra firma slowly being eroded.

Cet article retrace le contexte et le développement du projet A Social Edition of the Devonshire Manuscript, consistant en l’édition électronique (Wikibook) en collaboration d’un manuscrit du XVIe siècle de mélanges poétiques connu sous le nom de Devonshire Manuscript (BL MS Add. 17 492). Ce projet a été initié en 2001, lorsque le Dr Ray Siemens a dirigé un groupe de recherche explorant les possibilités de publier une édition numérique du Devonshire Manuscript. Depuis, le projet a pris plusieurs formes, et celui intitulé A Social Edition of the Devonshire Manuscript en est sa forme la plus récente issues des diverses expériences du groupe. Il doit être souligné que A Social Edition of the Devonshire Manuscript, sera bientôt publié en version imprimée par Iter et les Medieval and Renaissance Texts and Studies (MRTS). This article describes the context and development of A Social Edition of the Devonshire Manuscript, a collaboratively created Wikibook edition of the sixteenth-century verse miscellany known as the Devonshire Manuscript (BL MS Add. 17,492). This project began in 2001 when Dr. Ray Siemens led a group of researchers in an exploration of how to create a digital edition of the Devonshire Manuscript. Since then, the project has transitioned through many forms and formats, and A Social Edition of the Devonshire Manuscript is the most recent output of these academic experiments. Of note, a print version of A Social Edition of the Devonshire Manuscript is forthcoming from Iter and Medieval and Renaissance Texts and Studies (MRTS).

Memories and Records: The Vaccine Archive explore les souvenirs individuels et collectifs de la vaccination à travers les frontières géographiques. Cet article décrit le développement de The Vaccine Archive et analyse la culture visuelle des vaccins se manifestant dans les collections d’archives. En examinant les archives des vaccins, l’auteur fait valoir que la culture visuelle de la vaccination renforce les stéréotypes et la peur associés aux vaccins, formant et diffusant la mémoire collective des vaccins. Memories and Records: The Vaccine Archive explores both individual and collective memories of vaccination across geographic borders. This paper outlines the development of The Vaccine Archive and analyzes the visual culture of vaccines manifested in the archive collections. In examining the vaccine archives, the author argues that the visual culture of vaccination reinforces stereotypes and fear associated with vaccines, forming and disseminating the collective memory of vaccines.

The Anatomy Table est un ouvrage imprimé qui aborde de façon thématique la perte de confiance du public dans la science, ainsi que la désinformation entourant les interventions scientifiques dans les soins de santé, comme la vaccination. S’appuyant sur l’histoire de l’illustration anatomique en faisant référence au célèbre livre anatomique du XVIe siècle d’Andrea Vesalius, A Propos de la fabrique du corps humain, cet ouvrage combine cela avec des dessins contemporains qui suggèrent l’anatomie mais qui ont une qualité imaginaire et absurde, indiquant aux lecteurs que les dessins ne sont pas des représentations précises de l’anatomie humaine. En plus de réfléchir à cette oeuvre et au processus de collaboration, Caulfield, Caulfield et Holst discutent du défi de lutter contre la désinformation dans les soins de santé aujourd’hui. Le travail a été créé grâce au dialogue collaboratif entre Sean Caulfield, professeur au Département d’art et de design à l’Université de l’Alberta, Timothy Caulfield, titulaire de la Chaire de recherche du Canada en droit et politique de la santé à l’Université de l’Alberta, et Johan Holst, scientifique principal travaillant auparavant à l’Institut norvégien de la santé publique à Oslo et depuis août 2016, expert en vaccins au siège du CEPI (Coalition for Epidemic Preparedness Innovations), situé à Oslo, en Norvège. The Anatomy Table is a print-based work that thematically addresses the loss of public trust in science, as well as misinformation surrounding science-informed interventions in health care, such as vaccination. Drawing on the history of anatomical illustration by referencing Andrea Vesalius’s famous 16th-century anatomical book, On the Fabric of the Human Body, the work combines this with contemporary drawings that suggest anatomy but which have an imagined, nonsensical quality, indicating to viewers that the drawings are not accurate representations of human anatomy. In addition to reflecting on this piece and the process of collaboration, Caulfield, Caulfield, and Holst discuss the challenge of countering misinformation in healthcare today. The work was created through collaborative dialogue between Sean Caulfield, a professor in the Department of Art and Design at the University of Alberta, Timothy Caulfield, Canada Research Chair in Health Law and Policy at the University of Alberta, and Johan Holst, senior scientist previously working at the Norwegian Institute of Public Health in Oslo and from August 2016 being a vaccine expert at the Headquarter of CEPI (Coalition for Epidemic Preparedness Innovations), situated in Oslo, Norway.

Cet article examine l’influence de l’art sur les politiques publiques de vaccination, avec un accent particulier sur l’art contemplatif, conçu pour nous amener à regarder les problèmes différemment, et l’art de plaidoyer, plaidant pour des politiques publiques ou des programmes assez spécifiques. En fin de compte, il fait valoir que, parce que choisir entre les politiques publiques est influencé par les idées et les émotions, l’art peut avoir une influence indirecte lorsqu’il est combiné avec l’action des mouvements sociaux, du moins ceux construits autour de maladies spécifiques. This article examines the influence of art on global vaccination policy, with a special focus on contemplative art, designed to get us to look at issues differently, and advocacy art, making the case for quite specific policies or programs. Ultimately it argues that because policy choices are influenced by ideas and emotions, there is room for art to be indirectly influential when combined with action by social movements, at least those built around specific diseases.

Shadowpox: The Antibody Politic est une installation interactive basée sur un jeu qui rend visible les forces que nos décisions de vaccination exercent non seulement sur notre santé personnelle, mais sur la santé des autres. Moitié réalité, moitié fantaisie scientifique, ce jeu vidéo sur tout le corps combine des données statistiques du monde réel avec des effets numériques animés de suivi de mouvement pour imaginer une maladie évitable par la vaccination composée d'ombres virales. L'auteur explique comment ses choix de conception initiaux étaient enracinés dans un malentendu généralisé: l'idée que nos décisions de vaccination ont des conséquences purement individuelles et privées. Une fois qu'elle a pris conscience de son propre angle mort, la conception du jeu et le monde de la science-fiction Shadowpox plus large dont il faisait partie ont été mis au point, montrant l'immunité communautaire comme une métaphore du pouvoir que nous avons chacun de faire des choix qui auront un effet destructeur ou constructif sur le monde qui nous entoure. Shadowpox: The Antibody Politic is a game-based interactive installation that renders visible the forces our immunization decisions exert not just on our personal health but on the health of others. Part fact, part science fantasy, this full-body video game combines real-world statistical data with motion-tracking, live-animated digital effects to imagine a vaccine-preventable disease composed of viral shadows. The author explains how her initial design choices were rooted in a widespread misunderstanding: that our vaccination decisions have purely individual and private consequences. Once she became aware of her own blind spot, the game’s design, and the wider Shadowpox science fiction storyworld of which it was a part, came into focus, framing community immunity as a metaphor for the power we each have to make choices that will have a destructive or constructive effect on the world around us.

Intéressée par les idées et les problèmes liés à l’accessibilité et aux vaccins, Annemarie Hou, directrice exécutive et experte en plaidoyer au siège de l’ONUSIDA, et Patrick Mahon, artiste et conservateur universitaire, ont travaillé en collaboration pour créer Design for a Dissemunization Station (D4DS). Une installation composée de deux structures de tente, D4DS comprenait des stations d’écoute et fournissait des sons ambiants évoquant le mouvement d’un vaccin dans le corps. Le terme hybride «dissémunisation» a été utilisé pour révéler des idées concernant la distribution des vaccins et les informations connexes. Hou et Mahon réfléchissent sur le projet et évaluent son succès en ce qui concerne les aspects de la collaboration. Design for a Dissemunization Station (D4DS) is a collaboration between Annemarie Hou, Executive Director a.i. of the United Nations Office for Partnerships and was then a UNAIDS building-based executive and advocacy expert interested in ideas and problems surrounding accessibility and vaccines, and Patrick Mahon, a university-based artist and curator. An installation consisting of two tent structures, D4DS included listening stations and provided ambient sounds suggestive of a vaccine moving through the body. The hybrid term “dissemunization” was used to reveal ideas concerning distribution of vaccines and related information. Hou and Mahon reflect on the project and assess its success with respect to aspects of collaboration.

Cet échange dialogique discute du développement et des résultats d’une installation interactive qui utilise des effets numériques animés en direct pour projeter un «virus de l'ombre» sur le corps du joueur. Le projet a été développé par Alison Humphrey, alors boursière Vanier et doctorante à l’Université York en études cinématographiques et médiatiques, en collaboration avec Caitlin Fisher, directrice du Immersive Storytelling Lab de l’Université York, et Steven J. Hoffman, directeur du Global Strategy Lab et directeur scientifique des Instituts de recherche en santé du Canada et de la santé publique et des populations, avec le soutien du directeur technique et codeur créatif LaLaine Ulit-Destajo, de l’épidémiologiste Susan Rogers Van Katwyk, et du programmeur de sites Web Sean Sollé, dans le cadre du projet interdisciplinaire de trois ans , et a culminé avec une exposition à l’ONUSIDA lors de la 70e Assemblée mondiale de la santé à Genève, en Suisse. This dialogic exchange discusses the development and outcomes of an interactive installation that uses live-animated digital effects to projection-map viral “shadowpox” onto the player’s body. The project was developed by Alison Humphrey, then a Vanier Scholar and York University PhD candidate in cinema and media studies, in collaboration with Caitlin Fisher, director of York University’s Immersive Storytelling Lab, and Steven J. Hoffman, director of the Global Strategy Lab and scientific director of the Canadian Institutes of Health Research’s Institute of Population and Public Health, with support from technical director and creative coder LaLaine Ulit-Destajo, epidemiologist Susan Rogers Van Katwyk, and website programmer Sean Sollé, as part of the three-year interdisciplinary project , and culminated with an exhibition at UNAIDS during the 70th World Health Assembly in Geneva, Switzerland.