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Term Description Reference
Bins Stellar mass or redshift intervals used to divide galaxies into sub-populations for stacking analysis. S2.1
Layer A subset of a real/mock sky image (or map) attributed to only the sources in the corresponding stellar mass or redshift bin. S2.1, S2.2
Scatter In this paper, we exclusively define "scatter" as the standard deviation of flux density or luminosity in the source population, which is characterized and represented by σS in Equation (4). S2, Appendix A, Equation (4)
(Un)perturbed Fluxes being assigned to the sources in a specific layer are drawn from a distribution with the mean equal to the best-fit value given by SIMSTACK and some (zero) nonzero width defined by the scatter. S2.2, Appendix A, Equation (4)
Real/Mock "Real" refers to the actual sky image, whereas "mock" refers to the image reconstructed using source locations and perturbed mean fluxes from SIMSTACK. More specifically, in our analysis we construct the mock sky image by merging (1) a layer of interest perturbed according to a distribution with a tunable scatter and (2) background layers perturbed by a distribution with a fiducial scatter of 0.3 dex. S2.2, Equations (5), (6)
Base The "base" map, different from the mock image, is obtained by merging (1) an unperturbed layer of interest and (2) background layers perturbed by a distribution with a fiducial scatter of 0.3 dex. S2.2, Equations (5), (6)
Residual The difference between the real or noise-added mock sky image and a "base" one. S2.2, Equations (5), (6)
${D}_{mathrm{real}}$, ${D}_{mathrm{mock}}$ A small cutout image a few pixels by side, where each pixel measures the standard deviation of a data cube obtained by thumbnail-stacking the residual map at the positions of the sources in each i, j layer. S2.2, Equations (5), (6)
The Telegraph
Sunday , November 2 , 2014
Cubism Famous Art

Les Desmoiselles d'Avignon (1907)

Artist: Pablo Picasso
Picasso's painting was shocking even to his closest artist friends both for its content and for its formal experimentation. The subject matter of nude women was not in itself unusual, but the fact that Picasso painted the women as prostitutes in aggressively sexual postures was novel. Their blatant sexuality was heightened by Picasso's influence from non-Western art that is most evident in the faces of three of the women, which are rendered as mask-like, suggesting that their sexuality is not just aggressive, but also primitive. The unusual formal elements of the painting were also part of its shock value. Picasso abandoned the Renaissance illusion of three-dimensionality, instead presenting a radically flattened picture plane that is broken up into geometric shards. For instance, the body of the standing woman in the center is composed of angles and sharp edges. Both the cloth wrapped around her lower body and her body itself are given the same amount of attention as the negative space around them as if all are in the foreground and all are equally important. The painting was widely thought to be immoral when it was finally exhibited in public in 1916. Braque is one of the few artists who studied it intently in 1907, leading directly to his later collaboration with Picasso. Because it predicted some of the characteristics of Cubism, Les Desmoiselles is considered proto or pre-Cubist.
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Cubism Artworks in Focus:

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