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The 2007 ESO Instrument Calibration workshop brought together more than 120 participants with the objective to a) foster the sharing of information, experience and techniques between observers, instrument developers and instrument operation teams, b) review the actual precision and limitations of the applied instrument calibration plans, and c) collect the current and future requirements by the ESO users. These present proceedings include the majority of the workshop’s contributions and document the status quo of instrument calibration at ESO in large detail. Topics covered are: Optical Spectro-Imagers, Optical Multi-Object Spectrographs, NIR and MIR Spectro-Imagers, High-Resolution Spectrographs, Integral Field Spectrographs, Adaptive Optics Instruments, Polarimetric Instruments, Wide Field Imagers, Interferometric Instruments as well as other crucial aspects such as data flow, quality control, data reduction software and atmospheric effects. It was stated in the workshop that “calibration is a life-long learning process”'. In this sense, this book will be a reference point for all future efforts to improve instrument calibration procedures in astronomy.
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This book contains lectures on 3D spectroscopy techniques and data. from the seventeenth Winter School of the Canary Islands Astrophysics Institute.
A l'aide de nombreuses images, l'auteur décrit et explique dans un langage accessible à tous ce que le ciel nous révèle, à l’œil nu ou grâce aux télescopes et aux sondes spatiales : le Soleil, la Lune, les 8 planètes et leurs satellites, les comètes, les astéroïdes, les étoiles filantes, les étoiles et la voie Lactée ; mais aussi, en y regardant de plus près, les exoplanètes, les trous noirs, les galaxies et le Big Bang, témoin de l’origine de notre Univers. Le ciel n'aura plus de secret pour vous et vous pourrez faire partager votre savoir avec vos proches.
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"The complexities and paradoxes of the Bulgarian film industry during the era of Communist rule (1945-1989) are explored.... This influential industry was mobilized for the needs of the state. During its creation and development, cultural institutions and those involved in film production operated within a relatively closed system, based on rewards and punishments imposed by the Communist bureaucratic apparatus. Sub-textual content in films produced in Bulgaria during this period highlights the attitude of the elite towards the regime. Understanding this multifaceted relationship helps explain why so many intellectuals found the film industry to be an attractive field in which to work, and decided to remain loyal to the regime instead of leaving or openly rebelling against it. This work challenges the historiographical perception that the arts in the Eastern Bloc during the Cold War were largely unsuccessful vehicles of propaganda and dissent. By using a comparative methodological approach, the cinema arts in the East and West are shown following similar paths despite the Iron Curtain."--Provided by publisher.