SMOS L-VOD showed higher sensitivity to AGB compared to NDVI and K/X/C-VOD (VOD measured at 19, 10.7 and 6.9 GHz). For vegetation classes other than evergreen broadleaf forest, the annual mean of L-VOD spans a range from 0 to 0.7 and it is linearly correlated with the average annual precipitation. In contrast, the relationship linking L-VOD to tree height ( R = 0.87) was close to linear. The relationships between L-VOD and the AGB data sets were linear per land cover class but with a changing slope depending on the class type, which makes it a global non-linear relationship. Overall, we found a strong ( R > 0.85) correlation with no clear sign of saturation between L-VOD and four AGB data sets. For all relationships, SMOS-IC showed the lowest dispersion and highest correlation. Three different SMOS L-band VOD (L-VOD) data sets (SMOS level 2, level 3 and SMOS-IC) were compared with data sets on tree height, visible/infrared indexes (NDVI, EVI), mean annual precipitation and above-ground biomass (AGB) for the African continent. This study is devoted to the characterization of a new VOD data set obtained from SMOS (Soil Moisture and Ocean Salinity) satellite observations at L-band (1.4 GHz). The vegetation optical depth (VOD) measured at microwave frequencies is related to the vegetation water content and provides information complementary to visible/infrared vegetation indices. His is an art that moves beyond parochial squabbles to “play” the game of life, and reach that place where each one of us is able to ask themselves about what he terms, with a touch of humor, “the unspoken things that clutter up our memories,” or the Feticcio problematic.Abstract. The work of Ernest Dükü also contains a socio-political dimension in fact, the viewer who takes the time to immerse himself in it will see that it is anchored in a very contemporary debate that explores religious syncretisms in order to transcend them. The use of cords and string in his work can be seen as nod toward the work of the Ivorian artist Christian Lattier. As his work developed, it was enriched by artistic traditions from across the continent, including Ancient Egypt, and pre-historic parietal art. His first paintings were largely abstract creations, based around Akan signs. Niangoran Bouah, the “Master of Akan ideograms,” will lead him to dive deeper into the study of symbols. He lives and works between Paris and Abidjan, where he teaches at the École d’Architecture d’Intérieur de l’Institut National Supérieur des Arts et de la Culture (INSAAC).ĭükü’s interest in the creative arts began in his earliest childhood, when he was introduced to the language of symbols by his mother. Born in Bouake, Côte d’Ivoire, in 1958, Ernest Dükü graduated from the École Nationale de Beaux-Arts in Abidjan in 1982, before continuing his studies in France, first studying interior design at the École Nationale des Art Décoratifs, then at the Université de Paris I, Panthéon/Sorbonne, where he earned a DEA in the Esthetics and Science of Art in 1990, and finally at the École d’Architecture de Paris, La Défense, graduating with a Diplôme du gouvernement (Achitecte DPLG) in 1991.
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