Sentences with phrase «station site moves»

They require digitisation of old paper - based records, as well as the identification and quality assurance for inconsistencies created by weather station site moves, changes in the surroundings, technology development and random errors.

Not exact matches

The National Science Foundation — sponsored network, called the National Ecological Observatory Network, or NEON, will link 20 field stations selected to provide data from 20 distinct U.S. biomes as well as 40 portable stations that can be moved from site to site.
Along one string of sites, or «stations,» that stretches from Antarctica to the southern Indian Ocean, researchers have tracked the conditions of AABW — a layer of profoundly cold water less than 0 °C (it stays liquid because of its salt content, or salinity) that moves through the abyssal ocean, mixing with warmer waters as it circulates around the globe in the Southern Ocean and northward into all three of the major ocean basins.
This is in part due to the creative manner in which free schools have converted existing sites to suit their needs; for example Heyford Park free school is located on a former RAF airbase in Oxfordshire and has even incorporated the base's history into the curriculum, whilst Sir Isaac Newton Sixth Form has just completed its move into Norwich's disused fire station.
Circumstances that would justify a relocation include the demolition of the colony site and no way to shift the cats over to a safer adjacent spot by gradually moving their feeding station.
For example, the Mass MoCA installation in the shape of an eye or the spray painted sites between downtown's 30th Street Station and North Philadelphia's Amtrak Station, including abandoned buildings and landscapes that can be seen from the moving train.
David Walsh, Elizabeth Pearce, Jane Clark 2013 ISBN 9780980805888 Lindsay Seers, George Barber, Frieze, January 2013 One of Many, Adrian Dannatt, Artist Comes First, Jean - Marc Bustamante (ed), Toulouse International Art Festival (exhibition catalogue), June 2013 All the World's a Camera: Notes on non-human photography, Joanna Zylinska, Drone ISBN 978 -2-9808020-5-8 (pg 168 - 172) 2013 Lindsay Seers, Artangel at the Tin Tabernacle - Jo Applin, ArtForum, December 2012 Lindsay Seers, Martin Herbert, Art Monthly, October 2012 Exhibition, Ben Luke, Evening Standard, (pg 60 - 61) 20 September 2012 Lindsay Seers @ The Tin Tabernacle, Sophie Risner, Whitehot Magazine, September 2012 Artist Profile: Lindsay Seers, Beverly Knowles, this is tomorrow, 12 September 2012 Dream Voyage on a Ghost Ship, Richard Cork, Financial Times, (pg 15) 11 September 2012 Nowhere Less Now, Amy Dawson, Metro (pg 56) 7 September 2012 Voyage of Discovery, Helen Sumpter, Time Out, (pg 42) 6 - 12 September 2012 Nowhere Less Now, Rachel Cooke, The Observer, (pg 33) 2 September 2012 Divine Interventions, Georgia Dehn, Telegraph Magazine, 25 August 2012 Eine Buhne fur das Ich, Annette Hoffmann, Der Sonntag, 25 March 2012 Das Identitätsvakuum - Dietrich Roeschmann, Badische Zeitung, 27 March 2012 Ich ist ein anderer - Kunstverein Freiburg - Badische Zeitung, 21 March 2012 Action Painting - Jacob Lundström, FLM NR.16, March 2012 Dröm - fabriken - Peter Cornell, Kultur, 21 February 2012 Vita duken lockar Konstnärer - Fredrik Söderling, Dagens Nyheter (pg 4 - 5) 15 February 2012 Personligen Präglad - Clemens Poellinger, SvD söndag, (pg 4 - 5) 12 February 2012 Uppshippna hyllningar till - Helena Lindblad, Dagens Nyheter (pg 8 - 9) 9 February 2012 Bonniers Konsthall - Sara Schedin, Scan Magazine, (pg 48 - 9) Febuary 2012 Ausstellungen - Monopol, (pg 120) February 2012 Modeprovokatörer plockas up par museerna - Susanna Strömquist, Dagens Nyheter (pg 8 - 9) January 2012 Promosing in Kabelvåg - Seers» «Cyclops [Monocular] at LIAF, Kjetil Røed, Aftenposten, 10 September 2011 Reconstructing the Past - Lindsay Seers» Photographic Narrative, Lee Halpin, Novel ², May / June 2011 Lindsay Seers, Oliver Basciano, Art Review, May 2011 Lindsay Seers, Jen Hutton, ArtForum Picks (online), April 2011 Lindsay Seers: an impossibly oddball autobiography, Murray Whyte, The Toronto Star, 13 April 2011 The Projectionist, David Balzer, Eye Weekly, 6 April 2011 dis - covery, exhibition catalogue, 2011 Lindsay Seers: It has to be this way ², Paul Usherwood, Art Monthly, April 2011 Lindsay Seers: Gateshead, Robert Clark, Guardian: The Guide, February 2011 It has to be this way ², 2011, novella published by Matt's Gallery, London Neo-Narration: stories of art, Mike Brennan, modernedition.com, 2010 Steps into the Arcane, ISBN 978 -3-869841-105-2, published 2010 It has to be this way1.5, novella 2010, published by Matt's Gallery, London Jarman Award, Laura McLean - Ferris, The Guardian, September 2009 Top Ten, ArtForum, Summer 2009 Reel to Real - On the material pleasure of film, Colin Perry, Art Monthly, July / August 2009 Remember Me, Tom Morton, Frieze, June / July / August 2009 It has to be this way, 2009, published by Matt's Gallery, London Lindsay Seers at Matt's Gallery, Gilda Williams, ArtForum, May 2009 Lindsay Seers: It has to be this way — Matt's Gallery, Chris Fite - Wassilak, Frieze, April 2009 Lindsay Seers: it has to be this way, Rebecca Geldard, Art Review, April 2009 Review of Altermodern - Tate Triennial 2009, Jorg Heiser, Frieze, April 2009 Tate Triennial: «Altermodern» — Tate Britain Feb 3 — April 26, 2009, Colin Perry, Art Monthly, March 2009 Lindsay Seers: It has to be this way (Matt's Gallery, London), Jennifer Thatcher, Art Monthly, March 2009 No sharks here, but plenty to bite on, Tom Lubbock, The Independent, 6 February 2009 Lindsay Seers: Tate Triennial 2009: Altermodern, Nicolas Bourriaud, Tate Channel, 2009 «Altermodern» review: «The richest and most generous Tate Triennial yet», Adrian Searle, The Guardian, Feb 2009 Critics» Choice for exhibition at Matt's Gallery, Time Out London, January 29 — February 4 2009 In the studio, Time Out London, January 22 — 28 2009 Lindsay Seers Swallowing Black Maria at SMART Project Space Amsterdam, Michael Gibbs, Art Monthly, Oct 2007 Human Camera, June 2007, Monograph book Published by Article Press Lindsay Seers, Gasworks, London, Pil and Galia Kollectiv, Art Papers (USA), February 2006 Review of Wandering Rocks, Time Out London, February 1 — 8, 2006 Aften Posten, Norway, Front cover and pages 6 + 7 for show at UKS Artistic sleight of hand — «Eyes of Others» at the Gallery of Photography, Cristin Leach, Irish Times, 25 Nov 2005 There is Always an Alternative, Catalogue (Dave Beech / Mark Hutchinson) 2005 Wunderkammer, Catalogue, The Collection, October 2005 Lindsay Seers» «We Saw You Coming»;» 20,000 Leagues Under the Sea»; 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A cooler annual mean temperature record than its nearby stations can be seen for the recent decades since the station was moved to the new site due to the more frequent days with fog.
So a station moving from a location with good siting to a location with poor siting could cause a bias in the temperature record.
From the site you referenced: «To save space on this server, only the data adjusted for urbanization effects are available here (i.e., this data has also been adjusted for time - of - observations, station moves, and instrument changes).»
We also expect to move the vessel along the coast to other sites in the region such as Cape Jules, Port Martin and perhaps the French station of Dumont D'Urville.
------------------------------------ And here's what the proxies vs. the highly adjusted instrumental data that have been hopelessly corrupted by removing thousands of rural stations and keeping urban stations, moving rural sites to airports, «mostly made up» SH sea surface temperatures, cooling down the 1930s and 1940s artificially to remove 0.5 C from the early 20th century warming... look like.
This does look like a better site, but no doubt its temperature readings were calibrated by Ringway before they moved the station.
You end up averaging a N. Hemisphere site that moves nearer to water (moderating temps) with a S. Hemisphere added station (say, at an airport) and masking the changes in both regions.
Wattts: If it were me, I'd throw out most of the the USHCN and co-op stations with problematic records rather than try to salvage them with statistical fixes, and instead, try to locate the best stations with long records, no moves, and minimal site biases and use those as the basis for tracking the climate signal.
If it were me, I'd throw out most of the the USHCN and co-op stations with problematic records rather than try to salvage them with statistical fixes, and instead, try to locate the best stations with long records, no moves, and minimal site biases and use those as the basis for tracking the climate signal.
For example, changes in time of observation, adjustment for a move of a station that was previously sited next to a heat source to a better location (that now allows the station to be classed as Class 1 or 2), switch to a different temperature measurement device or system, etcetera, could explain why smaller classes of raw data don't track well with the overall trend calculated from homogenized station trend data.
These surface networks have had so many changes over time that the number of stations that have been moved, had their time of observation changed, had equipment changes, maintenance issues, or have been encroached upon by micro site biases and / or UHI using the raw data for all stations on a national scale or even a global scale gives you a result that is no longer representative of the actual measurements, there is simply too much polluted data.
You may need Google translate to read this but in essence it talks about the temp differences between the old station siting in the Bilt, Netherlands and the moved station.
Other notable PHA - detected adjustments are minimum (and more modest maximum) temperature shifts associated with a widespread move of stations from inner city rooftops to newly - constructed airports or wastewater treatment plants after 1940, as well as gradual corrections of urbanizing sites like Reno, Nevada.
Suppose the station move is just to move it away from airport expansion, to restore an established station back to Class 1 siting.
First, network changes have caused stations to move from climatologically warmer sites to climatologically cooler sites nearby over time.
A summary fact sheet of temperature adjustments for Deniliquin demonstrates the use of parallel or overlapping observations to adjust for a site move and upgrade to an automatic weather station in 1997.
(It only became standard practice to associate a significant site move with a change in the identifying station number in the 1990s.
In a second stage, those locations which were classified as urban fringe, and those which were formerly urban but are no longer (e.g. where a station has moved out of a town), were tested for minimum temperature trends which were anomalously large relative to non-urban sites in the region.
Many site moves of this type took place in the 1990s, due in combination to the Bureau's roll - out of the automatic weather station network and the corporatisation of Australia Post, which made post offices a less viable proposition as observation sites.
The most common reason for a station needing adjustment is a site move in the 1940 - 60 period.
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