text:
Cast : Jim Lovell, Russell Schweickart, Eugene Cernan	Release : November 1, 1989	Director : Al Reinert	Genre : History, Documentary	Country : USA	Stream Now	Tim's Rating : Bang for your Buck :
For All Mankind (1989)
Posted by Tim Brayton Posted on Jul - 20 - 2019 0 Comments
We choose to go to the Moon
The opening of For All Mankind, the extraordinary 1989 found footage documentary assembled by director Al Reinert and editor Susan Korda, serves as something of a thesis statement for the rest of the film's 80 minutes. Over black, we hear two things: President John F. Kennedy declaiming passages from his wonderful 12 September 1962 speech in support of landing American men on the surface of Earth's moon and returning them home safely, and there is... I almost don't know what to call it. It's just bass, a deep rumble that bleeds into the sound of the crowd cheering Kennedy, but is heartier and more guttural and deeper, filling all the space in the theater with a blanket of sonic vibration (or the living room, or whatever place you watch this movie on the biggest screen available with the best available speakers - this film, as they say, should be played loud). And then the images show up: Kennedy's speech cross-cuts with footage of Apollo rockets launching as he describes the extraordinary technology, much of it not even invented, that will facilitate the moon landing. That sound, then, is maybe the engine of a rocket, or maybe it is a musical interpolation designed to make us feel the visceral power of those rockets, but either way, the actual fact of the sound isn't as important as what it does. Because what it does is a something down in the pit of your gut and all down your arms to your fingertips & your legs to your toes (seriously, this film should be played loud). And so we get two things contrasted: Kennedy's words are sensible, concrete, specific, material, pragmatic; he speaks in the post-WWII tones of doing things through Good Honest Science. Meanwhile, the rest of the soundtrack is pure emotional grandiosity; it is not even rhetorically inspiring in the way that Kennedy's most beautiful passages are, but more spiritual and transporting, awestruck not in the way we are at impressive feats of technology, but in the way we are impressed at the face of God.
That is the central tension that Reinert will mine, basically without pause, for the rest of the movie. For All Mankind consists primarily of three different things. One of these is a substantial collection of archival footage held by NASA from the ten Apollo missions between December 1968 and November 1972, and the archival audio accompanying it (the later documentaries In the Shadow of the Moon, from 2007, and Apollo 11, from 2019, would have even bigger archives to play with, and Reinert and Korda borrowed footage from the Gemini program as well, but you never think about these things while the movie is playing). Another is a series of interviews Reinert conducted starting in 1976, with 13 of the Apollo program astronauts. The third is a score composed by ambient music superstar Brian Eno in 1983 for the first version of this project, a different assemblage of the footage, without the interviews, titled Apollo. The film has been assembled into a thing somewhat more like a synopsis rather than a nuts-and-bolts documentary: the launch, flight to the moon, landing, flight back, and re-entry are all summarised through the footage of several different flights, while we hear male voices, distinct but unidentified (the film famously doesn't provide any title cards identifying who is speaking; the Criterion Collection home video releases, at least, provide the option to turn on a subtitle track providing that information, but it seems wholly against the spirit of the thing to use that function), talking about their experience, less a collection of individuals than as a collective personality of The Apollo Astronaut.
If you're counting, this summary was made up of three different forms of audio and only one form of video, which is the secret about For All Mankind that doesn't get nearly enough attention. The film was sold, and received, on the basis of its extraordinary images, many of which had never been seen before, and there's absolutely no doubt that those images are amazing. Those images, after all, were shot on the surface of the fucking Moon (the film ends with its solitary joke: a credit reading "Filmed on location by the United States National Aeronautics and Space Administration")
But any dopey hack could slop together amazing footage and have it be amazing. The reason For All Mankind is a marvelous film, rather than just a marvelous slideshow, is its soundtrack. Those three elements - archival audio, interviews, Eno's music - circle around each other, shifting in prominence from point point, sometimes with one or two of three pieces dropping out partially or entirely, challenging each other and offering counterpoint. It's the Kennedy opening, over and over again, for a whole feature film. In the archival audio, we hear the blunt pragmatic stuff, spitting out data points, technical instructions, descriptions of math problems, and all the things that happen when you are responsible, in real time, for sending a fucking big metal tube into the sky on the back of an explosion and not murdering the three man strapped to it. It is not romantic about space flight because it can't be. The interviews are less blunt, but they're no less pragmatic - these men are not terribly invested in thinking of themselves as heroes or pioneers, just technicians doing a job and going about it with a bit of good humor to leaven the tension of it all. And we see that in the footage, too, which over-emphasises footage of the astronauts goofing off, singing, playing in zero-gravity. There is, in both, a sense of slightly confused amusement at the fact that these men all went to the surface of the fucking Moon, or at least flew in a lunar fucking orbit. But there is no weight. They eschew weight.
And that's where Eno comes in. For All Mankind would be a completely different movie without its music - it would, in fact, be fairly like In the Shadow of the Moon, which has the same unromantic pragmatism in its own interviews, conducted with many of the same men years later. And I admire the shit out of that movie, but it's certainly my least favorite of the "big three" Apollo documentaries, in part because it's so very sensibile. That is a word that's hard to apply to For All Mankind once the Eno music hits. The score is, to be hideously objective and intellectual about it, corny dated bullcrap. It comes from that place in the early 1980s where all dreamy electronica came, the same worldview of floating ethereal future-stuff that produced, say, Walt Disney World's EPCOT Center (the For All Mankind score, in fact, plays in certain parts of EPCOT as background music, and this could not possibly feel more appropriate). It is silly and terrifyingly earnest in its application of synthesizers, an odd thing to be earnest about. But let us say, just for the sake of it, that maybe we should not be hideously objective and intellectual, but instead that we should give ourselves over to the music and the movie, and if we do that - or, anyway, if I do that, and I'm the one writing this review - it transforms For All Mankind into something indelible and rapturous and otherworldly in the most profound possible way. When I think about space, I think about this soundtrack, and I somehow did so before I ever even heard the soundtrack; the first time I watched the film, my immediate, instinctive response to the music was, "yes, that's excactly it". The score floats, letting pure notes stretch and drift across one's ears, feeling untrammeled by weight or atmosphere or anything physical at all. It is one of the few genuinely awesome scores in cinema history, working not with bombast and grandeur, like the deafening Richard Strauss timpani that kicks off 2001: A Space Odyssey (and is referenced here), but with the ethereal - the "music of the spheres", if we want to go back that far.
So we have, on the one hand, lots of pragmatism and plainspokenness; we have on the other, images of sunrises over the lunar surface, images of the Earth rendered as a small slice of colored light in a black infinity, while Eno's music soars above and through them. "This was a job and we did it", say the astronauts. "But you are aware, are you not, that you went to the fucking Moon?" wails and sobs and laughs the musical score. It's an incredibly productive tension, one that makes For All Mankind a great document of one of the primary conflicts of Western history since the end of World War II: our sensible materialism and knowledge, our understanding of how the universe functions that has allowed us to great the most astonishing miracles, running aground on the deep need of humans, mandated by evolution, to find things worshipful and spiritual and grand - to find those miracles miraculous, basically. "We went to the moon", says the film, "and it was a major achievement of physics"; "yes, we went to the moon", the film agrees, "and it was a major achievement of the human spirit".
For All Mankind has its very definite shortcomings: it is, for one thing, a terrible way to learn anything about the Apollo program, with its complete allergy to even the most insubstantial amount of context. It's also prone to a heavy-handed literalism about which piece of footage to apply to which piece of audio, in a way that just underscores how much more work the soundtrack is doing than the imagery, no matter how mind-blowing the images are. But for holding such a perfect balance between its admiration for a scientific process and its almost mystical desire to romanticise and obfuscate the process, it's a masterpiece anyway. The film's subject isn't the Apollo program, it's what the Apollo program makes us feel, how we can find the transcendent in the resolutely physical. And that's, like, the whole project of modernism right there, baked into 80 wonderful minutes that don't seem even a tiny bit aware that they're doing any such thing.
Categories: documentaries, space
Extremely Wicked, Shockingly Evil and Vile (2019)
Roar (1981)


Art is a lifelong passion for Mrs Conticello; an ever-evolving and ever-changing subject that touches all aspects of our lives. Mrs Conticello spent many years engaged in art activities during the time she lived and worked in England. She earned a BA Honours degree in Visual Arts at the University of the Arts, London, studying at the prestigious Camberwell College campus. Mrs Conticello loves to teach art because of the limitless possibilities to reach young minds. As an art educator, she encourages curiosity, confidence in ideas, critical awareness, development of technical skills, learning by doing and truly having fun whilst creating works of art.


Public health organizations work hard to get meaningful results for the populations they serve with each new awareness initiative or behavior change campaign. We know what they're up against. KW2 specializes in behavior change marketing and public health campaigns. In fact, since 1986 we've contributed to more life-changing and life-saving efforts than any other communications company in the state of Wisconsin. In our past and current work for dozens and dozens of public health campaigns, ranging from debunking myths and reducing stigma surrounding HIV, to reducing Wisconsin's adult smoking rates, we've achieved proven results.
Yes, funding can be tight, with most public health and public sector budgets typically not stretching far enough to cover campaign evaluation. State and federal entities conduct large-scale studies to get public health data, but due to methodologies, funding and other complexities, these results are typically not tied to any particular organization's efforts. And because of the complexity of public health research and reporting, the results are usually published a year or more after a campaign has concluded.
Did the campaign reach the community it needed to reach?
Is the community more aware of the message now than they were before?
Was there any positive behavior change impact, temporary or lasting, as a result of this campaign?
Here are KW2's five proven strategies for evaluating the effectiveness of public health campaigns (plus one bonus).
Most public health campaigns address a need for a specific community or at-risk population. Before developing campaign messaging and creative, the behavior change and public health experts at KW2 form relationships with community leaders and activists to gather key insights. Through interviews and conversations, these networks help us set benchmarks and evaluate our efforts before, during and after a campaign.
Community connections produce anecdotal evidence of our campaign reach and impact. While the response is not statistically significant like survey results, it can be a meaningful way to not only gauge the success of our message and outreach, but also to form meaningful relationships with community leaders.
KW2 has used phone, mailed and online surveys to gather information from a core sample of an intended audience before and after a campaign has run, asking Wisconsin residents aided and unaided awareness questions about the campaign or issue. A successful campaign will result in a statistically significant increase in awareness.
When KW2 runs traditional media campaigns like radio, TV, bus shelter banners, or digital ads, our media partners provide reliable, audited numbers. This data shows what percentage of our intended audience was exposed to our messaging, in addition to how many times (frequency). When we evaluate these metrics, we make sure we've effectively reached our core population without spilling too much into other audiences.
What channels (paid and earned) led people to your campaign website.
Campaign-specific metrics, like locating a clinic on an interactive map, sharing an image on social medial or submitting a pledge to make a life change.
Shared and downloaded content, or other metrics to show if a message has been amplified.
Unique visitors vs. repeat visitors.
Demographics of visitors (such as location or age).
During message testing, create and test a hashtag or set of branded vocabulary to use throughout the life of the campaign. Set up a social listening service (choose from low-cost options like Google Alerts, Hootsuite or Sprout Social to know when people are talking about your campaign terms). Seeing social buzz and online conversations about your campaign is a great way to prove an effective reach. We encourage monitoring the use of key phrases before, during, and for a trailing period after a campaign has ended to get a true picture of how much of an impact the campaign has online.
Sometimes, community members and the general public see our campaigns and they just can't help themselves. Parents call the organizations we work with just to tell them our ad hit close to home. One Milwaukee resident sent Facebook Friend requests to people who worked on a campaign because she felt so touched by the message she saw. A post-doctorate student saw one of our campaigns and asked if they could contribute research. While these results are not statistically significant, they help us take the temperature on how our ads are perceived.
The measurement strategies above vary in cost, scientific reliability, scalability and breadth, but we believe a combination of quantitative and qualitative analysis helps prove the effectiveness of any public health or behavior change campaign.


Manufacturers selling in foreign markets often do not completely pass on the effects of fluctuations in exchange rates to the prices of their products. Our paper addresses this puzzle and studies the effects of the international distribution channel on exchange rate pass-through. We develop an exchange rate pass-through model that takes into account the role of an intermediary between a domestic manufacturer and its consumers in a foreign market. We find that the magnitude of the pass-through depends on the presence of an incentive problem in the distribution channel. When there is no incentive problem, pass-through is complete; however, when there is an incentive problem, pass-through depends on various characteristics of the intermediary and the market setting. Our analysis underscores the importance of considering the role of international distribution channels and suggests directions for further work on exchange rate pass-through.
Ramarao Desiraju & Milind M. Shrikhande, Exchange rate pass-through and the role of international distribution channels, Federal Reserve Bank of Atlanta, FRB Atlanta Working Paper 96-22, 1996.
This item with handle RePEc:fip:fedawp:96-22 is also listed on EconPapers and IDEAS.


Easy to install on a civic. Comes with a 3 prong connector you just stick it in the factory plug. Really took no more than 10 minutes except i wanted to make sure the wires are cleanly tied with zip ties. Overall very happy and much better light driving at nights. The high beam work but its halogen, but thats ok i don't use high beam that much.
H4 bulbs are also known as HB2 and 9003. H4 bulbs are a dual filament bulb used in many applications ranging from headlight housing for vehicles, motorcycles to replacement bulbs for off road lighting. H4 bulbs have a metal base with 3 flat metal prongs from the back. Since H4 bulbs are dual filament, they will do low beam and high beam portion of a vehicles headlight operation.
When a conversion is done to HID for H4 bulbs, there are 2 types: Single beam which will convert only the low beam to HID with a halogen lamp built onto the bulb for high beam portion. Anoter type is called bi-xenon which will do both low and high beam, but doing so by shift 1 HID bulb within the bulb structure by a small electrical motor.
H4 bulbs by default in halogen form have wattage: 60/55W with a P43t-38 type base.


Christine T. • Ağustos 18, 2018Everything bagels are fantastic... heavy on the everything mix and you can get in whole wheat and egg versions as well.
Time Out New York • Kasım 13, 2015Black Seed's rolling out honey-boiled rounds topped with tobiko cream cheese and beet lox, as well as new sandwiches including smoked salmon with arugula, crème fraîche and a fried-caper omelette.
Soliloquy Marketing • Eylül 4, 2013Definitely try the OJ smoothie and one of their unique vegetarian sandwiches. Solid place to work/study while having a coffee. Great service and vibes. Worth checking out if you're in the area.
Viv • Ekim 13, 2013Get the Japanese breakfast. Great value, variety and so tasty. You get a choice of whitefish or salmon. $10 at the time of writing.
Steven A. • Temmuz 1, 2014You have to get the cereal milk soft serve with the crunch topping. The corn cookies and b'day cake truffles were also awesome!
Ranu R. • Kasım 21, 2018Mud with oat milk or iced coffees in the summer. Great Tompkins bagels and breakfast foods. Love the staff and vibe of this place, perfect to stop at before jumping on the F train.
Murat Y. • Nisan 16, 2016They serve Stumptown Coffee at its best! Many food options such as bagels, pastries and sandwiches -- anything I've tried was really tasty. And their ice cream sandwiches. ... mmmh!
Luis L. • Kasım 19, 2014Grilled chicken sandwich on whole wheat bread was excellent. I really like the cozy atmosphere and the 90s Alternative music playing in the background.
Lillian L. • Ocak 12, 2013Beats half the gelato I've had in Italy.... Flavors are strong and texture is creamy. Try the rosewater, pistachio, and the sorbets!
Ramya S. • Mayıs 31, 2013Tasty earl grey tea and fruity cereal macaroon. Banana pudding is delicious too!
Tavo D. • Nisan 28, 2018The vegan chicken scrambled tofu is yummy. Really good carrot, spinach and celery juice. All for 16 bucks. Very filling.
Pablo S. • Nisan 2, 2015Insane iced soy milk chai and tasty scallion cream cheese poppyseed bagel!
Edward F. • Eylül 6, 2010The 4 market veggie for $14 go great as an entree or as a starter! A must!!
Kara T. • Eylül 1, 2016A chill coffee shop with ample seating, good food and wine and beer on tap...I love it.
Serena W. • Aralık 5, 2013If it's not crowded, kickback with a book and cozy up next to a cushioned bay window. Staff are super fun and sing great!
Aaron G. • Kasım 25, 2012The new chicken sausage wrap is legit!
M. R. • Mart 15, 2015One of the best bodegas you'll find in the city. Great staff, clean, no cats, and full of surprises. They have beautiful flowers, Lactaid milk, Abita Purple Haze, and Wege pretzels. Customer for life!
Nadia B. • Temmuz 13, 2012Iced French Vanilla is the way to go. Staff friendly and nice.
Kyle S. • Ağustos 7, 2011Solid sandwiches and grocery selection in the back. And one of the few delis left that take credit cards. Life saver after a night of drinking.


text:
World Passing By
Kevin McGloughlin
RESYNTHESIS
Max Cooper and I discussed ideas about space-time before embarking on the Resynthesis project. We were on the same page for the most part, though, working with Max is always insightful and he enlightened me with some really fascinating ideas about space - time. I was delighted to once again collaborate, especially with reference to 'time', which is such a relatable and unavoidable part of everyone and everything. The track is really beautiful, I saw the visuals in the music quite clearly from the offset. I could hear the 'time stretching' in the melodies and synths and I was greatly inspired by it. My aspiration in this piece was to create a journey for the viewer, a passage through space and time, in an effort to represent time as a dimensional structure. I aimed to convey existence as a solid component of time, an effort to glimpse the idea that our past still exists out there in a stretched, distorted dwelling.. I wanted to capture a human / mortal essence of time, displaying brief impressions of human interactions and activity, traveling in time. All the fundamental assets were captured employing photography and realtime footage. I stretched time in both 3d and 2d space using a wide variety of time displacement techniques, ranging from 'in camera' work to quite laborious post production work. Fun Fact..Some of the clips contain exactly one googol videos playing simultaneously. (using a method I devised some time ago*, ie.the second last very short clip) Most of footage/photography was shot in Dublin Ireland, with additional shots from Co. Sligo. Working with Max always makes for an interesting time.
Max Cooper
"I had a lot of high speed train journeys recently and I love watching the wires seemingly dance around outside the window. I wondered if we could be getting fooled by a similar process during our usual experience of time, and thought it would be an interesting project for a music video set to the music created during the same journeys. The wires outside the window are static but they appear to move because of our motion past them. Perhaps our usual experience of movement could be explained by a similar process, where time is a physical dimension into which everything grows, with the present as the surface of this inflating structure. It ties in to a lot of physics ideas which are very common, and I thought it could make for an interesting music video, if I could find someone who might be able to pull it off! Luckily for me, one of my favourite visual artists, Kevin McGloughlin had already been experimenting with linked techniques and ideas, and he's gone to town on it with a multitude of techniques and editing precision to create something pretty special. And yes, there's certainly a nod to the original time-stretch slitscan effects of Kubrick's 2001. I wanted to show the transition from our normal experience of time to a stretched out past as a physical structure when viewed from an alternative perspective outside of the dimensions we're usually constrained to. One other interesting thing about this model of time is that it helps with some mind-pickling metaphysical conundrums around the sense in which the past exists. In this model it literally exists out there behind us as a physical 4D structure. If we could travel outside of our growing surface somehow and went back to the past it wouldn't be much fun though, we'd just find solid lifeless stretched out versions of ourselves. For the music I wanted to bring these ideas of frozen moments of the past into play, and no better excuse to get stuck in with the Prophet 6 on some lush classic analogue synth sounds for the main chord sequence, and plenty of nob noodling for a dance of modulating sounds around the main sequence. I wanted to keep it fairly sparse to let the chord patch be central, and just focus on trying to make every element, including the percussion, warp a little, so you can either listen to the track from a distance and hear the harmonic ideas, or delve in to find all sorts more hiding in there. Kevin did an amazing (and painstaking) job of warping the video to sync with the audio detailing."
Featured on the new EP 'World Passing By'. Out now: https://lnk.to/WorldPassingByEP If you'd like to receive exclusive music, mixes, video and news you can sign up to the site at www.maxcooper.net/#join
VEIL OF TIME
The film for Max Coopers 'Veil of Time' is the story of two people travelling in time together.
I wanted to represent how limited our mortal timeline is, how precious and important the moments we share truly are, and convey an intertwined timespan relative to the world that surrounds us.
The 'love story' unveiled itself almost unknowingly while I aimed at these aspects of time. My initial endeavour for the film was to capture human movement and explore ways to interpret time by displacing the motion, however the 'narrative' became more substantial than the techniques and as a consequence, I focussed my efforts in that respect.
The film features performances from Eoin McGloughlin and Morgan Bonel and was shot in County Sligo, Ireland, using a Sony FS700.
As ever, I was totally honoured to work on this commission with Max and Co.
Max Cooper:
"I always thought this music created the feeling of an enveloping weight grounding the body, something relaxing but dense and inescapable.
I started work on it many years ago as a chord progression which I used for the intro of a live set. So when I started this EP around interpretations of time, I dug out the old chord sequence as a starting point for 'Veil of Time', where I wanted to try and convey this inescapable and consuming nature of time, as well as its role in facilitating beauty through a simple process of change.
It's a simple piece of music, just some chords augmented with field recordings from Turkey, and some hints of a synth melody. It's supposed to be something to bring you out of all the complexities of the information barrage and back down to a basic experience.Kevin McGloughlin has made another of his masterpieces with this idea too, something of an abstract time-stretching love story

redpajama_set_name: RedPajamaCommonCrawl


text:
\section*{Methods}
\noindent
\textbf{Samples.}
Both ALS and FLASH experiments used samples
microfabricated on silicon nitride membranes supported in a silicon
window frame.
The URA and test pattern for the ALS experiments were
fabricated using Center for X-ray Optics nanowriter, Lawrence Berkeley
National Lab. Polymethyl methacrylate, a positive resist, was
patterned on Si$_3$N$_4$ membrane substrate and subsequently gold
electroplated (10 nm Au). Patterning dose was achieved in a fraction of a second, enabling potential mass production.

\noindent
Following glutaraldehyde fixation, Spiroplasma cells
were air dried from a solution containing S. melliferum on a Si3N4
window covered by a 10 nm poly-l-lysine. The URA was fabricated next
to a Spiroplasma cell using focused ion beam milling at the National
Center for Electron Microscopy.

\noindent
\textbf{Data.}
At the ALS, diffaction patterns
were collected using a coherent portion of a soft x-ray beam ($\lambda$=2.3
nm) from an undulator source selected by a 5 $\mu$m pinhole. The hologram
was collected with an in-vacuum back illuminated CCD (1300X1340 20 $\mu$m
pixels) placed at 200.5 mm from the specimen. The direct beam is
blocked by a beamstop placed in front of the detector to prevent
damage to the camera. The beamstop is moved during data collection to
recover a large portion of the diffraction pattern. Total collection
time was 5 seconds. At FLASH the same CCD is placed at 54.9. mm from
the specimen and collects elastically scattered X-rays filtered by a
graded multilayer mirror. A hole in the mirror allows the direct beam
through, removing the need for a beamstop.

\noindent
\textbf{Reconstruction.}
The autocorrelation map, obtained by Fourier transform of the
diffraction pattern, was multiplied by a binary mask 0 in the region
outside the cross correlation between the object and the URA (the hologram).
). The reconstruction was performed by applying the same processing
used for pinhole camera images, by replacing the recorded intensity
image with the masked complex valued cross correlation term.
A cyclical convolution with a URA decodes the hologram.
The URA autocorrelation is a delta function
in periodic or cyclical systems, not when surrounded by empty
space. To mimic the cyclical correlation, a mosaic of 3X3 binary URAs
is convolved with the holographic cross term.
 The reconstruction procedure retrieves the hologram of the
object to a resolution determined by the size the URA elements (at
sub-array spacing resolution). However when the spacing between dots
is larger than the dots, the array no longer scatters optimally the
available light, decreasing the SNR.
 The signal is proportional to the number of elements in the array,
and the noise is proportional to the square root of the number of
elements used to
deconvolve the image. Only 2X2 URAs contribute to the reconstructed
image since the holographic term is at most twice the size as the
array itself (the object is smaller than the array).  The mosaic URAs
are made of +1 and -1 (instead of 1 and 0) terms, yielding an
additional factor of $\sqrt{2}$ the noise. The signal to noise ratio
therefore increases as $snr_n=snr_1 \frac{\sqrt{n}}{2\sqrt{2}}$.  For a phase
URA the signal to noise ratio would increase by a factor of 2.

\noindent
\textbf{Phase retrieval.}
The reference points in the URA and a few dust particles where fixed
in space throughout the optimization process, facilitating phase
retrieval optimization\cite{marchesini:rsi}. The addition of a redundant linear
constraint yields more reliable reconstructions, de facto increasing
the resolution of the retrieved complex valued images. The rest of the
illuminated sample was reconstructed with dynamic support\cite{marchesini:prb}.
 The reproducibility of the image  as a function of spatial frequency\cite{shapiro:pnas} drops at 75 nm resolution.

redpajama_set_name: RedPajamaArXiv