© 2017. The American Astronomical Society. All rights reserved.We present new observations of the low-mass companion to HD 984 taken with the Gemini Planet Imager as a part of the GPI Exoplanet Survey campaign. Images of HD 984 B were obtained in the J and H bands. Combined with archival epochs from 2012 and 2014, we fit the first orbit to the companion to find an 18 au orbit with a 68% confidence interval between 14 and 28 au, an eccentricity (...) of 0.18 with a 68% confidence interval between 0.05 and 0.47, and an inclination of 119°with a 68% confidence interval between 114°and 125°. To address the considerable spectral covariance in both spectra, we present a method of splitting the spectra into low and high frequencies to analyze the spectral structure at different spatial frequencies with the proper spectral noise correlation. Using the split spectra, we compare them to known spectral types using field brown dwarf and low-mass star spectra and find a best-fit match of a field gravity M6.5 ±1.5 spectral type with a corresponding temperature of K. Photometry of the companion yields a luminosity of log=2.88 ± 0.07 dex with DUSTY models. Mass estimates, again from DUSTY models, find an age-dependent mass of 34 ±1 to 95 ±4 M Jup. These results are consistent with previous measurements of the object. (shrink)

The following article is the result of a collaboration between a painter and a woman philosopher. They worked previously on an experimental documentary film about objects and art objects, which was realized at Palais de Tokyo. The painter had illustrated in black and white fictions of philosophy, written during a festival on lost films organized by UNdocumenta in South Korea, and then he made photographs of oil paintings of the English translation. This article about painting and philosophical ethics is their (...) first common text. It aims to show that there is no interdiscipline or passage known between the philosophical work and the painting. The philosopher can not imitate the recognition of the painter nor the painter to repair the philosophical non-encounter. The question then is: What can ethics in this non-symmetrical space? Rather than being a product of philosophy, it is what organizes this space between recognition and non-encounter. It is an ethics for philosophy, rather than the other way around. Ethics force to greet the other philosophers without the grudge of the loss necessary to the invention and allows the painter to know the distances that make him feel the recognition. This ethical space is unknown and can not be covered by the artist's philosophy of access or pre-nomination by indexes. Ethics is this unknown, i.e. it is a sense-without-sign, it is without rules-said but process of indexation and acceptance of the loss. (shrink)

Resumen: Este artículo propone una reflexión acerca de una colección de ukiyo-e del Archivo Central Andrés Bello de la Universidad de Chile. La anchura del problema es extendida en dos constelaciones exploratorias: por una parte, indagar lo controvertible, aparentemente, de interrogar el objeto japonés desde las lógicas disciplinares occidentales, es decir, por medio de la dicotomía Occidente-Oriente. De otra parte, caracterizar cómo esta tensión inicial fue desatendida o invertida, como un paradigma de lo social en el ukiyo-e y, con ello, (...) el principio de asociatividad de las imágenes en el espacio del museo.: This article proposes a reflection about a collection of ukiyo-e from the Archivo Central Andrés Bello of the Universidad Chile. The breadth of the problem is extended on two exploratory constellations: on the one hand, to inquire the controversy, apparently, to interrogate the Japanese object from Western disciplinary logics, that means, through the West-East dichotomy. On the other hand, to characterize how this initial tension was neglected or inverted, as a social paradigm on ukiyo-e, and with it, the principle of associativity of the images in the space of the museum. (shrink)

Cet ouvrage est une réédition numérique d’un livre paru au XXe siècle, désormais indisponible dans son format d’origine.