Sentences with phrase «for spectral lines»

In addition, we use APEX for spectral line mapping to study the complex background around aCen seen in the photometric images.

Not exact matches

For the first time, researchers have found a way to capture fine details of antihydrogen's spectral lines and show they are in fact identical to hydrogen.

HHXRF technology now allows you to conduct spectral fingerprints of your production line to determine the source of the metal contamination for quick action and repair.

ALMA creates both a visual picture and a spectrum for every pixel of its images, producing tens of thousands of spectral lines in every field of view it observes.

In the past decade, as powerful new telescopes capable of observing faint spectral lines have come online, the search for alien molecules has accelerated.

An international advisory committee for the definition of the meter has now recommended the adoption of an atomic standard of length — an orange spectral line of krypton 86.

The challenge for astronomers is to identify that fingerprint among the forest of spectral lines from all the other chemicals in the cloud.

The new discoveries were made with the help of the radial velocity method, which looks for the periodic shifts of certain spectral lines in a star's light that are caused by the gravitational tug of invisible planets which orbit the star.

At the same time, the new model itself is so general that it will offer an interesting starting point for the search for dark matter even if it turns out that the spectral line discovered in 2014 has a different origin.

Actually, as for almost all planetary nebulae, most of the visible light is even emitted in one spectral line only, in the green light at 5007 Angstrom (see our planetary nebula description)!

For example, 59 Cygni is listed as spectral type B1.5 Vnne, [34] indicating a spectrum with the general classification B1.5 V, as well as very broad absorption lines and certain emission lines.

The Caltech comb produces spectral lines in the infrared, making it ideal for studying red dwarf stars, the most common stars in the Milky Way.

Previously classed as spectral type M4.5 e (with emission lines), the object was observed to be four times brighter than would be expected for a dim red dwarf of that type based on a revised parallax measurement of its distance from the Solar System (Ken Croswell, Science@Now, September 6, 2011).

For Spine Of The Earth 2012, Albuquerque is re-imaging her seminal project from 1980 in an entirely new context with an innovative component of suspense that emphasizes the spectral line connecting the Earth's core to the sky above.

CA Spectral Hues, curated by Sharon Bliss, Palo Alto Art Center, Palo Alto, CA Art Market, with Chandra Cerrito Contemporary, San Francisco, CA Building the Art House, curated by Katherine Connell and Emma Spertus, Rosenberg Library, City College of San Francisco, San Francisco, CA Big Idea, curated by Sue Collier, Leslie Ford, Jack McWhorter and JoAnn Rothschild, The Painting Center, New York, NY Along the Lines, Harrington Gallery, curated by Julie Finegan, Pleasanton, CA 2016 Plus +1, Trestle Contemporary Art Gallery, Brooklyn, NY Group show, November - December 2016, Galleri Urbane, Dallas, TX Palette, curated by Kelly Inouye, Theodora Mauro and Lisa Solomon, ampersand international arts, San Francisco, CA Small Works, Trestle Gallery, Brooklyn, NY Art Market, with Chandra Cerrito Contemporary, San Francisco, CA 2015 Therely Bare Redux, Zeitgeist Gallery, Nashville, TN Therely Bare Redux, Clara M Eagle Gallery, University of Tennessee, Murray Territory of Abstraction, Pentimenti Gallery, Philadelphia, PA Out of Storage, Studio 110 Projects, Sausalito, CA Art Market San Francisco, (with Chandra Cerrito Contemporary), San Francisco, CA The Airplane Show, B Sakata Garo, Sacramento, CA 2014 un.bound.ed, curated by Brent Hallard and Don Voisine, Root Division, San Francisco, CA (edition) DOPPLER SHIFT, curated by Mary Birmingham, Visual Arts Center, Summit, NJ (catalogue) The Intuitionists, curated by Heather Hart, Steffani Jemison & Jina Valentine, The Drawing Center, New York, NY (catalogue) First / Last, curated by Heather Phillips, Park Life, San Francisco, CA 2013 DOPPLER, Parallel Art Space, Brooklyn, NY (catalogue) Generations IX: The Red / Pink Show, A.I.R. Gallery, Brooklyn, NY Made In Paint: 2012 Artists in Residence, The Sam & Adele Golden Gallery, New Berlin, NY Rituals of Exhibition II, Light Space Project, H Gallery, Chiang Mai, Thailand Rituals of Exhibition, curated by Giles Ryder and Gilbert Hsiao, Don't Be Selfish, Phayao, Thailand POSTE CONCRET II, curated by Richard van der Aa, ParisCONCRET, Paris, FR 2012 Soft Luminosity, curated by Guido Winkler and Iemke van Dijk, IS Projects, Leiden, NL (edition) Art On Paper 2012, The Weatherspoon Museum of Art, Greensboro, NC (brochure) Islands of Order in a Sea of Chaos, curated by Ruth van Veenen, de Vishal, Haarlem, NL Doppler Stop, Amsterdams Grafisch Atelier, Amsterdam, NL (catalogue) Doppler Stop, Kunst & Complex, Rotterdam, NL Doppler Stop, Fluctuating Images / General Public, Berlin, DE Doppler Stop, trenutak.39 / Museum of Contemporary Art, Zagreb, HR Trade - O - Mat, curated by Kathryn Kenworth, Kala Art Institute, Berkeley, CA 2011 A Romance of Many Dimensions, curated by Brent Hallard, Brooklyn Artists Gym, Brooklyn, NY POSTE CONCRET I, curated by Richard van der Aa, ParisCONCRET, Paris, FR BYO, IS Projects, Leiden, NL Stop & Go Rides Again, touring exhibition curated by Sarah Klein, Z Space, San Francisco, US; Kunst & Complex, Rotterdam, NL; Fluctuating Images / General Public, Berlin, DE; Fluctuating Images / Interventionstraum, Stuttgart, DE An Exchange with Sol Lewitt, Massachussetts Museum of Contemporary Art, North Adams, MA (catalogue) ReTrace, Cesar Chavez Art Gallery, San Francisco State University, San Francisco, CA 2010 TOUCH, curated by Brent Hallard, ParisCONCRET, Paris, FR (catalogue) Factor XX, curated by Jenny Balisle, Los Gatos Museum, Los Gatos, CA (catalogue) The Rule of Typical Things, Gregory Lind Gallery, San Francisco, CA 2009 TRANS: form color, Meridian Gallery, San Francisco, CA (catalogue) TRANSformal, Pharmaka, Los Angeles, CA (brochure) The Grid, curated by JT Kirkland, MP5, Portland, OR 2008 Calculated Color, curated by Jane Lincoln, Higgins Art Gallery, Cape Cod, MA (brochure) The Space Between, curated by Cathy Kimbell, San Jose Institute of Contemporary Art, San Jose, CA (brochure) Close Calls, Headlands Center for the Arts, Sausalito, CA (also 2005, 2004) TOUCH, curated by Brent Hallard, Busdori, Tokyo, Japan Out of the Fog: Artists from Headlands Center for the Arts, curated by Dianne Romaine and Holly Blake, Art works Downtown, San Rafael, CA 2007 TRANS: Abstraktion, Weltraum, Munich, DE (brochure) 7 - 07 Hung Liu curates 7 Women Artists in the year of the Pig, b.Sakata Garo, Sacramento, CA (brochure) Bay Area Currents, The Oakland Art Gallery, Oakland, CA Visual Noise, UMC Gallery, University of Colorado, Boulder, CO The Unknown Quantity, Gregory Lind Gallery, San Francisco, CA Systems & Transmutations, Root Division, San Francisco, CA (catalogue) Still, Contemporary Quarterly, curated by Chandra Cerrito, www.ContemporaryQuarterly.com (brochure) 2006 Suitcase: Bus - Dori, curated by Brent Hallard, Tokyo, JP Summertime, Judy Saslow Gallery, Chicago, IL microcosm, curated by Victoria Wagner, Richmond Art Center, Richmond, CA (brochure) Sketch, The Memorial Union Gallery, University of California at Davis, Davis, CA 2005 Contemporary Perspectives, Museum of Contemporary Art, Santa Rosa, CA 2004 and now they aren't.

So at the centers of the CO2 spectral lines the absorption is so large that the total cross section in a 1 meter path high of 1M ^ 2 of air is about 10M2 for the exact peak of the lines.

If one were to take the model and plot a curve of emission versus wavelength rather than simply summing up the values (integrating over wavelength), it would show a spectral curve of a black body at 288.2 k with the absorption lines of the atmosphere dipping down to the point where there is a spectral curve for a lower temperature at which there is emission going on in the wavelength bands associated with ghg absorption.

Furthermore, on 22 April 1981 Mr. Gilbert Plass wrote that, whilst on the faculty at Johns Hopkins University during that period (1946 - 1955), he became interested in infrared spectroscopy — specifically in regards to pressure broadening of spectral lines (in explaining radiative transfer in the earth's atmosphere)-- and collaborated with Mr. John Strong in the above article because the need for [quote] «mathematical methods» [endquote], applicable to water, carbon dioxide and ozone, was obvious to him then.

Has anyone looked for one with the diligence that early 20th century physicists looked for an explanation of the spectral lines of gases?

Leif's problem is that he knows the sharp spectral lines are there in the solar proxies, but has no explanation for them.

Thus he wrote, for example, «If the redshift of spectral lines due to the gravitational potential should not exist, then the general theory of relativity will be untenable.»

On the other hand, once water is present, its IR spectral lines overlap with those of CO2 and make CO2 less potent a greenhouse gas — for the same reason why the temperature dependence on CO2 concentration becomes logarithmic: the previous molecules have already done much of the effect, anyway.