COVID-19 Pandemic Assessment by Night-Lights

Author(s):  
Demetris Stathakis ◽  
Leonidas Liakos ◽  
Pavlos Baltas
Keyword(s):  
2021 ◽  
Vol 13 (14) ◽  
pp. 7782
Author(s):  
Wenjing Zeng ◽  
Yongde Zhong ◽  
Dali Li ◽  
Jinyang Deng

The recreation opportunity spectrum (ROS) has been widely recognized as an effective tool for the inventory and planning of outdoor recreational resources. However, its applications have been primarily focused on forest-dominated settings with few studies being conducted on all land types at a regional scale. The creation of a ROS is based on physical, social, and managerial settings, with the physical setting being measured by three criteria: remoteness, size, and evidence of humans. One challenge to extending the ROS to all land types on a large scale is the difficulty of quantifying the evidence of humans and social settings. Thus, this study, for the first time, developed an innovative approach that used night lights as a proxy for evidence of humans and points of interest (POI) for social settings to generate an automatic ROS for Hunan Province using Geographic Information System (GIS) spatial analysis. The whole province was classified as primitive (2.51%), semi-primitive non-motorized (21.33%), semi-primitive motorized (38.60%), semi-developed natural (30.99%), developed natural (5.61%), and highly developed (0.96%), which was further divided into three subclasses: large-natural (0.63%), small natural (0.27%), and facilities (0.06%). In order to implement the management and utilization of natural recreational resources in Hunan Province at the county (city, district) level, the province’s 122 counties (cities, districts) were categorized into five levels based on the ROS factor dominance calculated at the county and provincial levels. These five levels include key natural recreational counties (cities, districts), general natural recreational counties (cities, districts), rural counties (cities, districts), general metropolitan counties (cities, districts), and key metropolitan counties (cities, districts), with the corresponding numbers being 8, 21, 50, 24, and 19, respectively.


2021 ◽  
Author(s):  
Syed Abul Basher ◽  
Jobaida Behtarin ◽  
Salim Rashid
Keyword(s):  

Author(s):  
D. Stathakis

Forecasting urban expansion models are a very powerful tool in the hands of urban planners in order to anticipate and mitigate future urbanization pressures. In this paper, a linear regression forecasting urban expansion model is implemented based on the annual composite night lights time series available from National Oceanic and Atmospheric Administration (NOAA). The product known as 'stable lights' is used in particular, after it has been corrected with a standard intercalibration process to reduce artificial year-to-year fluctuations as much as possible. Forecasting is done for ten years after the end of the time series. Because the method is spatially explicit the predicted expansion trends are relatively accurately mapped. Two metrics are used to validate the process. The first one is the year-to-year Sum of Lights (SoL) variation. The second is the year-to-year image correlation coefficient. Overall it is evident that the method is able to provide an insight on future urbanization pressures in order to be taken into account in planning. The trends are quantified in a clear spatial manner.


2017 ◽  
pp. 49-51
Author(s):  
Mailani Neal
Keyword(s):  

2020 ◽  
pp. 77-98
Author(s):  
Charlotte E. Howell

Friday Night Lights (NBC, 2006–2011) and Rectify (SundanceTV, 2013–2016) exemplified containing Christianity’s middlebrow appeal through displacement onto the cultural specificity of a realistically portrayed American South within a quality television drama. These two shows represent Christianity as both the dominant faith of their characters and as a characteristic part of Southern culture. Creatives used the milieu of an “authentic” American South to shift religion away from themselves and their quality-audience expectations, maintaining acceptability within the dominant non-Christian culture of television production. This displacement safely contained religion within the creatives’ production culture, allowing them to acknowledge Christianity’s religious content, but only within the peculiar particularity of the American South.


Science ◽  
2001 ◽  
Vol 292 (5526) ◽  
pp. 2393i-2393
Keyword(s):  

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