Based on the observational data, the variations of Intraseasonal Oscillation (ISO) of the daily temperatures and its relationships to the high temperature in summer over the lower reaches of the Yangtze River Valley (LYRV) were studied for the period of 1979-2011. It is found that the daily temperatures over LYRV in May-August was mainly of periodic oscillations of 1525, 3060 and 6070 days, and the interannual variation of the intensity of its 3060-day oscillation had a strongly positive correlation with the number of days with daily highest temperature over 35 ℃ in July-August. Low frequency components of daily temperature in the LYRV, and the principal components of the Eastern Asian 850 hPa low frequency temperature, over a time period ranging from 1979 to 2000, were used to establish the Extended Complex Autoregressive model (ECAR) on an extended-range forecast of the 3060-day low frequency temperature over the LYRV. A 11-year independent real-time extended-range forecast was conducted on the extended-range forecast of low frequency component of the temperature over the LYRV in May-August, for the period ranging from 2001 to 2011. These experimental results show that this ECAR model, which is based on a data-driven model, has a good forecast skill at the lead time of approximately 23 days, with a forecast ability superior to the traditional autoregressive (AR) model. Hence, the development and variation of the leading 3060-day modes for the Eastern Asian 850 hPa low frequency temperatures and temporal evolutions of their relationships to low frequency components of the temperature over the LYRV in summer are very helpful in predicting the persistent high temperature over the LYRV at a 20 to 25 days lead. 相似文献
We analyzed the spatial local accuracy of land cover (LC) datasets for the Qiangtang Plateau, High Asia, incorporating 923 field sampling points and seven LC compilations including the International Geosphere Biosphere Programme Data and Information System (IGBPDIS), Global Land cover mapping at 30 m resolution (GlobeLand30), MODIS Land Cover Type product (MCD12Q1), Climate Change Initiative Land Cover (CCI-LC), Global Land Cover 2000 (GLC2000), University of Maryland (UMD), and GlobCover 2009 (Glob-Cover). We initially compared resultant similarities and differences in both area and spatial patterns and analyzed inherent relationships with data sources. We then applied a geographically weighted regression (GWR) approach to predict local accuracy variation. The results of this study reveal that distinct differences, even inverse time series trends, in LC data between CCI-LC and MCD12Q1 were present between 2001 and 2015, with the exception of category areal discordance between the seven datasets. We also show a series of evident discrepancies amongst the LC datasets sampled here in terms of spatial patterns, that is, high spatial congruence is mainly seen in the homogeneous southeastern region of the study area while a low degree of spatial congruence is widely distributed across heterogeneous northwestern and northeastern regions. The overall combined spatial accuracy of the seven LC datasets considered here is less than 70%, and the GlobeLand30 and CCI-LC datasets exhibit higher local accuracy than their counterparts, yielding maximum overall accuracy (OA) values of 77.39% and 61.43%, respectively. Finally, 5.63% of this area is characterized by both high assessment and accuracy (HH) values, mainly located in central and eastern regions of the Qiangtang Plateau, while most low accuracy regions are found in northern, northeastern, and western regions.
In this paper, we critically examine the role of artistic locational choices and practices in the context of gentrification processes in urban renewal contexts. We characterize gentrification as a form of domestication of space, and explore the extent to which artistic choices and practices relate to such process with reference to the deontological dilemma of legitimization within the art system vs. responsible empowerment of vulnerable local constituencies. We illustrate our argument with an analysis of the High Line Art project, and show how this can be considered as a textbook example of art-driven space domestication leading to brutal forms of gentrification. We comment on the threat that this provides to the social credibility of artistic practices as an agency of responsible social change. 相似文献