We show that Lusztig's canonical basis for the degree two part of the Grassmannian coordinate ring is given by \({\rm SL}_k\) web diagrams. Equivalently, we show that every \({\rm SL}_2\) web immanant of a plabic graph for \({\rm Gr}(k,n)\) is an \({\rm SL}_k\) web invariant.

Mathematics Subject Classifications: 05E10, 14M15, 20C30

Keywords: Grassmannians, webs, canonical basis, Catalan

Shoreline habitats and infrastructure are currently being affected by sea level rise (SLR) and impacts will only worsen as global temperatures continue to rise. Decisions made by governments and individuals to adapt to SLR will have profound consequences for coastal ecosystems, transportation systems, and urban settings.

Federal guidance for adaptation relies on predictive models to guide planning. This includes planning for the recovery of endangered species in the face of SLR, which is mandated by the federal Endangered Species Act. FHWA and other federal organizations have recognized that new monitoring methods will be needed in order to collect new kinds of data and at a finer scale and wider extent. California among other states, provides extensive step-by-step guidance on how to plan for SLR, including the use of predictive models, and identifies the need for monitoring as well. Despite the recognized need for monitoring methods, no detailed guidance is given at the state level in California or federal level for how to do this.

Measurement of sea level has historically been achieved by using tide gauges and global satellite altimetry. There is no consistent method or system for measuring and recording shoreline change over large areas and at fine resolution other than infrequent and expensive LiDAR overflights that do not capture seasonal fluctuations. This policy brief summarizes findings from the project which utilizes a method to monitor shoreline and infrastructure changes in response to SLR using a network of time-lapse cameras.

View the NCST Project Webpage

As roads and other developed land uses proliferate, the resulting habitat fragmentation and loss of wildlife connectivity hinder animals’ ability to forage, establish new territories, and maintain genetic diversity. Wildlife crossing structures such as culverts and bridges theoretically can reduce these impacts by allowing species to effectively cross highways. However, previous research has shown that traffic presence and density can disrupt wildlife use of highway crossing structures, and that noise and light from human activities can affect animal behavior. Researchers at the University of California, Davis, Road Ecology Center measured traffic noise and light levels and placed motion- and heat-triggered cameras at 26 bridges and culverts along four interstate highways, 11 state highways and one major county road across California. The presence and behavior of animals at these highway crossing structures were compared to those detected at sites unaffected by roads to understand the effects of noise and light from a highway on wildlife behavior. This policy brief summarizes findings from that research and provides policy implications.

View the NCST Project Webpage

Como una contribución a la tradición quincemayista de España y a la primera novela gráfica del artista, la publicación de Lo que (me) está pasando (2015) por Miguel Brieva (1974, Sevilla) requiere un análisis dual. La obra es una meditación autoconsciente que comenta la tradición artística del propio autor a la vez que explora el papel de la cultura del cómic pos-15-M en la crítica política y espacial actual. Aquí Brieva continúa el compromiso social de producción cultural anterior y enfatiza más concretamente el potencial de modos de crítica colectivos frente a la enajenación y la colonización del espacio llevados a cabo por el capitalismo contemporáneo.

As a contribution to the quincemayista tradition in Spain and the artist’s first graphic novel, the publication of Lo que (me) está pasando (2015) by Miguel Brieva (1974, Sevilla) prompts a dual analysis. The work is a self-conscious meditation that comments on the artist’s own artistic tradition at the same time that it explores the role of post-15-M comics culture in the political and spatial critique of the present moment. Here Brieva continues the social commitment of his previous cultural production and emphasizes more concretely the potential of collective modes of critique in confronting the alienation and the colonization of space carried out by contemporary capitalism.