scholarly journals A computational model for microcirculation including Fahraeus-Lindqvist effect, plasma skimming and fluid exchange with the tissue interstitium

2018 ◽  
Vol 35 (3) ◽  
pp. e3165 ◽  
Author(s):  
Luca Possenti ◽  
Simone di Gregorio ◽  
Fannie Maria Gerosa ◽  
Giorgio Raimondi ◽  
Giustina Casagrande ◽  
...  
Keyword(s):  
Computational Model ◽  
Fluid Exchange ◽  
Plasma Skimming

scholarly journals Computational Model to Predict Tissue Concentration of Drugs Delivered via Intravital Fluid Exchange Devices

2020 ◽  
Vol 34 (S1) ◽  
pp. 1-1
Author(s):  
Richard J. Sové ◽  
Gaylene M. Russell McEvoy ◽  
Graham M. Fraser
Keyword(s):  
Computational Model ◽  
Tissue Concentration ◽  
Fluid Exchange

Inference making and memory for text: A computational model

2001 ◽  
Author(s):  
Paul Van Den Broek ◽  
Yuhtsuen Tzeng ◽  
Sandy Virtue ◽  
Tracy Linderholm ◽  
Michael E. Young
Keyword(s):  
Computational Model ◽  
Inference Making ◽  
Memory For Text

Computational Model of Novel Popout

1992 ◽  
Author(s):  
William A. Johnston ◽  
Kevin J. Hawley ◽  
James M. Farnham
Keyword(s):  
Computational Model

“Quasi industre giardiniero”

2016 ◽  
Vol 33 (4) ◽  
pp. 522-568
Author(s):  
Cory M. Gavito
Keyword(s):  
Complex Nature ◽  
Editorial Process ◽  
Fluid Exchange ◽  
Oral Transmission ◽  
Musical Practices

Among the roughly 150 Italian songbooks published between 1610 and 1665 with the guitar tablature known as alfabeto, about thirteen are anthologies. These anthologies often advertise the role of a compiler who has gathered together music by diverse authors. The extent to which compilers also functioned as authors and editors is not well understood. This essay considers the case of Giovanni Stefani, a compiler who, in the preface to his Scherzi amorosi of 1622, describes the anthology as a collection of his choosing that contains “varie compositioni de Virtuosi della prima classe” (various compositions of first-class virtuosos). Intriguingly, none of the settings Stefani prints (in both this alfabeto anthology and two others) include attributions. Since the 1880s, scholars have been preoccupied with matters of transmission and attribution, unearthing a network of textual and musical concordances. This article expands the nexus of Stefani’s songs and their concordant sources, revealing an array of examples that range from identical copies to “partial” concordances that take over motives, phrases, refrains, or harmonic schemes. These examples indicate that in preparing his anthologies, Stefani mined a corpus of existing prints and manuscripts while also relying heavily on oral transmission. The complex nature of Stefani’s approach, taken together with his complete avoidance of composer attributions, points toward an editorial process shaped by a fluid exchange between oral and written musical practices.

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