1,721,125 research outputs found
The World’s First Piano Concertos , Sonnerie. Avie AV0014 2003
No full textExtensive research by internationally renowned pianist David Owen Norris about a peculiar, tiny square piano that dominated the European keyboard market for about 15 years in the late 18th century, led to his discovery of works written specially for the instrument which constitute The World’s First Piano Concertos.The square piano was the brainchild of a German instrument maker name Zumpe who moved to London in 1761, a time that found composers such as J C Bach and C F Abel thriving in the cosmopolitan English city, and when a precocious Mozart met the former during an early tour there. Inspired by Zumpe’s revolutionary invention, these and other leading composers of the day eagerly wrote a number of virtuoso works that, accompanied by a small string ensemble which would not overpower the instrument’s delicate sound, allowed the keyboard soloist to truly shine. Thus, the Piano Concerto was born in London around 1770. These works, neglected since the demise of the square piano, are here brought together with an equally neglected instrument for the first time on CDFirst recording of a Square Piano using the damper levers: first recording of a Square Piano in concerto repertoire: premiere recordings
Interview with Avie Tevanian, Jr., of Westbrook, senior design engineer of Apple
No full textInterview with Avie Tevanian, Jr., of Westbrook, senior design engineer of Apple Computer
New Media as an Area of Dialogue Between Theatre and Film: “There is Still Time.... Brother” by The Wooster Group and “Eavesdrop” by David Pledger and Jeffrey Shaw on the AVIE (Advanced Visualisation and Interaction Environment) Platform
No full textPlatforma AVIE stworzona w Center for Interactive Cinema Research na Uniwersytecie Nowej Południowej Walii w Sydney wyłoniła się w efekcie wieloletnich eksperymentów Jeffreya Shawa, eksplorującego artystyczne możliwości interaktywnych form panoramicznych. Ich odległym źródłem były wczesne prace tego artysty należące do kręgu expanded cinema. Można by więc sądzić, biorąc pod uwagę źródła i finalny kontekst AVIE, że wszystkie zjawiska artystyczne powiązane z AVIE mieszczą się w rozszerzonej formule kina, a samo AVIE jest jedynie najnowszą formą dyspozytywu filmowego. Tymczasem platforma AVIE okazała się nie mniej atrakcyjna dla twórców teatralnych. The Wooster Group oraz David Pledger zrealizowali przy jej użyciu spektakle, które tworzą nowy format wirtualnego teatru, czy też post-teatru. Oba te dzieła, spotykając się we wspólnym kontekście technologicznym, wyrastają jednak z różnych źródeł estetycznych. The Wooster Group wyłania się z tradycji kinofikacji teatru, mającej swe początki w drugiej i trzeciej dekadzie XX w., podczas gdy spektakl Pledgera ma swoje źródła w sztuce intermedialnej drugiej połowy tego samego stulecia. Kluszczyński analizuje specyficzne i wspólne aspekty tych dzieł, interpretuje znaczenie technicznej, wirtualnej ramy dla ich estetycznej charakterystyki oraz kreśli scenariusz przyszłych wspólnych dziejów kina oraz teatru rozwijających się i łączących w środowisku cyfrowym. Interakcja, partycypacja i sprawczość odbiorcza grają w tym scenariuszu nadrzędną rolę.The AVIE platform, developed at the Center for Interactive Cinema Research at the University of New South Wales in Sidney, emerged as a result of many years of experimentation by Jeffrey Shaw, who explored artistic possibilities of interactive panoramic forms. Their distant sources were the early work by this artist belonging to the circle of expanded cinema. One therefore might be tempted to think that considering the source and the final context of AVIE, all artistic phenomena associated with AVIE fall within the formula of expanded cinema, and the AVIE itself is only the latest form of film dispositive. Meanwhile the AVIE platform proved to be no less attractive for theatre artists. The Wooster Group and David Pledger used AvIE in the production of spectacles that make up anew format of visual theatre, or post-theatre. Both of these works meet in a common technological context, yet arise from different aesthetic sources. The Wooster Group emerges from the tradition of cinematification of theater, having its origins in the second and third decade of the 20th century, while Pledger’s spectacle has its origins in intermedia art of the second half of the 20th century. Kluszczyński analyses aspects characteristic for each of these works, and those in common, he interprets the impact of the technical virtual framework for their aesthetic characteristics and paints a scenario of future common history of cinema and theatre, developing and finding common ground in the digital environment. Interaction, participation and agency of the audience play the primary role in this scenario
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Ohio State Fair clown attendant photograph
No full textA man with clown makeup, wearing a suit jacket covered in pins and a hat with a sign reading "Information Ohio State Fair" raises a hand to the camera. The pins read, "God Bless America," "go whole hog," "Is everybody happy? I am," "Employee 1976 1105," and several depict smiley faces or characters. The image was submitted by photographer Avie Biedinger of Cincinnati, Ohio, in the Amateur category of the Spirit of Ohio Bicentennial Photo Contest.
In August 1976, the Ohio American Revolution Bicentennial Advisory Committee (OARBAC) began the Spirit of Ohio Bicentennial Photo Contest as part of a larger effort in Ohio to celebrate the 1976 American Bicentennial. The contest was meant to document "the spirit and character of the people and places which represent Ohio during [the] bicentennial year," and to create a permanent photographic archive of the year's festivity for use by future researchers. Both professional and amateur photographers submitted over 500 photographs for consideration, all taken within the state between January 1 and December 31, 1976
Variations on the Author
Get PDF“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Appropriate Similarity Measures for Author Cocitation Analysis
Get PDFWe provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis
AVIE: A Versatile Multi-User Stereo 360° Interactive VR Theatre
Get PDFThe iCinema Centre for Interactive Cinema Research at UNSW has created a versatile virtual reality theatre that, by combining real-time 360-degree omnistereo projection with surround audio and marker-less motion tracking, provides a highly immersive and interactive environment for up to 20 users. The theatre, codenamed AVIE, serves as the Centre’s principal platform for experiments in interactive and emergent narrative, artificial intelligence, human-computer interfaces, virtual heritage, panoramic video and real-time computer graphics, as well as our primary platform for public exhibition of iCinema projects. This paper briefly discusses the design of the system, technical
challenges, novel features and current and future applications of the system. We believe our system to be the first and only 360 degree cylindrical stereo virtual reality theatre constructed to date
Letter from James D[avie] Butler to John Muir, 1886 [Dec 25] .
Get PDFMy older daughter, Anna, has been visiting both her brothers. _ and yet is now with the young lady who went abroad with her and me.I am still a bookworm, and get dart out of my due sometimes. In the heats was two months near Boston, NYork, or in my native Green Mts.Thank God we all remain well. and my wife\u27s health is better than for many years._But tell me something of your household. wife. children. _ plans. prospects._ WHen shall we see you here? Why dont you see Mrs Cobb, my wife\u27s sister_ still resident in San Jose?-This blessed world you call it, and so do I._ I have just read an hour\u27s paper before our Quinquaginto club - on our Composite nationality - holding that all is working together for good. and showing how.With memories and hopes! Heaven have you in its grace! James D. Butler.01250https://scholarlycommons.pacific.edu/jmcl/36648/thumbnail.jp
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