Experimental Measurements : Precision, Error, And Truth

This book introduces an integrated conceptual framework of the China Seismic Experimental Site (CSES), describes its scientific challenges and research priorities, and reports preliminary results coming out of observational infrastructure in seismology, tectonophysics, geodesy, geophysics and geochemistry. Preliminary community fault model, community velocity model, and community strain rate model in the CSES are described in this book.

This book introduces an integrated conceptual framework of the China Seismic Experimental Site (CSES), describes its scientific challenges and research priorities, and reports preliminary results coming out of observational infrastructure in seismology, tectonophysics, geodesy, geophysics and geochemistry. Preliminary community fault model, community velocity model, and community strain rate model in the CSES are described in this book.

This book introduces an integrated conceptual framework of the China Seismic Experimental Site (CSES), describes its scientific challenges and research priorities, and reports preliminary results coming out of observational infrastructure in seismology, tectonophysics, geodesy, geophysics and geochemistry. Preliminary community fault model, community velocity model, and community strain rate model in the CSES are described in this book.

This book introduces an integrated conceptual framework of the China Seismic Experimental Site (CSES), describes its scientific challenges and research priorities, and reports preliminary results coming out of observational infrastructure in seismology, tectonophysics, geodesy, geophysics and geochemistry. Preliminary community fault model, community velocity model, and community strain rate model in the CSES are described in this book.

China’s experimental music and sound art scene began to take shape in the post-Tiananmen era in the late 1990s. A few musicians from the mainland’s underground music scene started to experiment with new ways of making music while the music industry co-opted the once revolutionary and independent rock music scene. The Hong Kong based experimental musician Dickson Dee and the U.S. based artist Dajuin Yao introduced Western avant-garde, experimental music to the mainland through the Internet and through the organization of music tours and festivals. The practice and spread of sound art, particularly installation and performative kinds, was made possible partially by venues such as contemporary art galleries and studios that have come to flourish in the cities of Beijing, Shanghai and Guangzhou. Developed outside of academic and official institutions, China’s sound art and experimental music scene encompasses noise music, experimental music, free improvisation, sound performance art, and sound installation.