407 research outputs found
Perception du temps et du rythme induite par la musique au cinéma
No full textCollection : Encyclopédie raisonnée des techniques du cinémaIIntroduction / Baptiste Creps, Adrien Sassier ; Perception d’un temps plus court par la rapidité du tempo = Perception of a shorter length of time through the use of a rapid tempo / Baptiste Creps, Adrien Sassier ; Temps strié et perception par la densité des événements = Striated time and perception through the density of events / Baptiste Creps, Adrien Sassier ; Perception d’un temps plus long par la rapidité du tempo = Perception of longer time by means of rapid tempo / Baptiste Creps, Adrien Sassier ; Conscience spectatorielle et horloge interne du spectateur = Spectatorial awareness and the viewer’s internal clock / Baptiste Creps, Adrien Sassier ; Renouvellement des éléments par la perception spectatorielle = Renewal of the elements through the viewer’s perception / Baptiste Creps, Adrien Sassier ; La relativité du temps et du rythme par l’équilibre dans l’instant et dans l’ensemble : l’axe horizontal = The relativity of time and rhythm through the equilibrium of the moment and the whole : the horizontal axis / Baptiste Creps, Adrien Sassier ; Complémentarité des flux et superposition de plusieurs tempos : l’axe vertical = The complementary nature of streams and the superimposition of several tempos : the vertical axis / Baptiste Creps, Adrien Sassier ; Absence et exacerbation de l’influence musicale sur la perception du temps = The absence and intensification of musical influence on the perception of time / Baptiste Creps, Adrien SassierS’il va de soi que le temps et le rythme demeurent l’essence inaltérable de toute musique, rappeler que la manière de les articuler et de les structurer forge aussi tout métrage cinématographique n’est pas anodin. Comme l’énonce Ingmar Bergman, « Un film, c’est principalement un rythme; c’est une séquence continue d’inspirations et d’expirations. » Les potentialités de structuration, d’articulation et d’évolution du temps par le prisme rythmique à partir de n’importe quel flux (cadrage et composition du plan, musique, son, dialogues, etc.) sont souvent envisagées en matière d’expérience cinématographique du spectateur au sens le plus large. Nous nous proposons dans ce livre de compléter cette approche par une analyse des discours théoriques sur la perception du temps et du rythme induite précisément par la musique au cinéma. Nous irons à la source même de ces expériences pour mettre en lumière tous les enjeux techniques de la composition pour l’image contribuant à la perception spectatorielle du temps, à savoir les œuvres elles-mêmes, par l’analyse de séquences au sein desquelles la relativité de la perception du temps nous semble une composante essentielle de leur résultante artistique.While it goes without saying that time and rhythm remain the unalterable essence of all music, it is not trivial to remind ourselves that every film is also forged by the way they are articulated and structured. As Ingmar Bergman remarks: “Film is mainly rhythm: it is inhalation and exhalation in continuous sequence.” The possibilities for the structuring, articulation and evolution of time through the prism of the rhythm of any stream (framing and shot composition, music, sound, dialogue, etc.) are often envisaged with respect to the viewer’s experience of cinema in the broadest sense, which is also intrinsically a part of this relativity of perception. We have in this book set ourselves the task of rounding out this approach with an analysis of theoretical discourses on the perception of time and rhythm induced, precisely, by music in cinema. We will go to the very source of these experiences to shine a light on all the technical issues of composing for the image which contribute to the viewer’s perception of time, meaning of the films themselves, by analysing sequences in which the relativity of the perception of time appears to us to be an essential element of the artistic result
Law & Economics Perspectives on Electricity Regulation
No full textThis paper first reviews some of the main contributions of the new institutional economics to the analysis of the process of competitive transformation of network industries. It shows that neoinstitutional analysis is complementary to the microeconomics of rational pricing, since it accounts for the decisive role of an institutional framework adapted to new transactions. It emphasizes the importance of the political reform process, which draws on the conditions of attractiveness and feasibility to define an initial reorganization of property rights in these industries. The paper then analyzes in this light some of the main challenges ahead for electricity regulation: the question of investment in generation capacities and the link to long term contracts, the regulation of wholesale market power, the support to Renewable Energy Sources for Electricity (RES-E) and the design of new regulatory authorities.Electricity Markets; New Institutional Economics; Law & Economics
multi-user sessions materials
No full textSome of the materials recorded during the multi-user collaborative sessions
Credits
Timelapses:
3-tangra_concept_2.mp4 : Tanguy, Clémence
10-paper_summit.mp4: Softyoda, Laurent, Ultr-X, Ikxi, Swann // image reference author: Thomas Gugel
13-all_seing_monolith.mp4: Softyoda, Wuaieyo, Staz, Swann // image reference author: Stuart Wade
14-campsite.mp4: NotFood, Staz, Wuaieyo, Swann // image reference author: Mohamed Chahin
18-surreal_architecture.mp4: Staz, NotFood, Softyoda, Wuaieyo, Oenvoyage, Spacefarer, Tianerad, Fabian, Yoyodespin, Swann // image reference author: Michiel Schrijver
19-abstract_city.mp4: Adrien, Tanguy, Bruno, Gorgio, Axel // image reference author: Quan Pham Tung
20-scene_sky_island.mp4 : Fabian, NotFood, Wuaieyo, Staz, Swann // image reference author: Péng ái
22-xbox-clubs-image.mp4 : NotFood, Wuaieyo, Staz, Deajynn, Swann // image reference author: Alex Pushilin
25-castles.mp4 : Softyoda, Fabian, NotFood, Wuaieyo, Swann // image reference author: Timothy J. Reynolds
27-random_house_5.mp4: NotFood, Wuaieyo, Swann // image reference author: Mohamed Chahin
28-wind_mill_in_nemcice.mp4: Wuaieyo, NotFood, Swann // image reference author: Febin_Raj
33-ancient_gods_threshold.mp4 NotFood, Kysios, Wuaieyo, Swann // image reference author: Elodie Mondoloni
Animation projects results:
34-outrun_result.gif: NotFood, Fabian, Wuaieyo, Ultr-X, Swann
35-mstrd_II_result.gif: Tanguy, Gorgio, Adrien // image reference author: gifmk7
36-elmo_result.gif: Gorgio, Fabian, Tanguy, Adrien
(more to come
The directed switching game on Lawrence oriented matroids
No full textAbstractThe main content of the note is a proof of the conjecture of Hamidoune and Las Vergnas on the directed switching game in the case of Lawrence oriented matroids
A PORTRAIT OF ADRIEN PAUW AT THE STROSSMAYER GALLERY
No full textDosada neiddentificirani »Portret muškarca« iz Strossmayerove galerije u Zagrebu (SG-200) autorica otkriva kao portret nizozemskog državnika Adriaena Pauwa (Amsterdam 1585. - Dan Haag 1653.), jednoga od potpisnika Munsterskoga mira (1648.) Komparativnom analizom autorice dokazuje, da među brojnim Pauwovim portretima najjače usporednice vežu zagrebački portret uz »Portret Adriaena Pauwa« Jana Baptista Florisa (oko 1617. - Antwerpen 1655.). Ta je slika nastala po izgubljenom, ali često u grafički medij proširenom Pauwowom portretu Anselmusa van Hullea (1594. - nakon 1668.), a Florisovo se djelo nalazi u Friedenssaal Gradske viječnice u Munsteru.The figure in The Portrait of a Man at the Strossmayer Gallery (SG200) which until now was unnamed is identified by the author as a likeness of the Dutch statesman Adriaen Pauw (1585-1653). As a rich and notable citizen he was the representative of the provinces Holland and West Friesland in talks which put an end to eighty years of war between the Spanish Crown and the Provinces of the Netherlands. Pauw was one of the signatories of the final document of the Munster Treaty (1648). The author suggests that of the numerous surviving portraits of Pauw the greatest likeness with the portrait in Zagreb is that found in The Portrait of Adrien Pauw by Jan Baptista Floris after Anselmus van Hulle (1594-after 1668?) at the City Hall in Munster
Cello techniques and performing practices in the nineteenth and early twentieth centuries
No full textThis thesis comprises a study of cello performance practices throughout the nineteenth century and into the early decades of the twentieth. It is organised in terms of the increasing complexity of the concepts which it examines, as they are to be found in printed and manuscript music, instrumental methods and larger treatises, early recordings, concert reviews and pictures. Basic posture is considered along with different ways of holding the
bow. The development of the tail-pin shows that even when it was widely used, the older posture was still referred to as a model. Some implications for tone quality and tonal
projection are considered in the light of the shape of the arms. Some connections between the cellist's posture and that recommended by etiquette books are explored. The
functionality of the left hand and arm, and the development of modem scale fingerings, show that there was a considerable period of overlap between newer and older practices, with modern scale fingerings evolving over a long period of time. Similarly, views on the function of the right wrist in bowing are shown to change gradually, moving towards a more active upper arm movement with less extreme flexibility of the wrist. Two central expressive techniques especially associated with string playing arc considered in the context of the cello, namely vibrato and portamento. These topics are examined in the light of written indications in music, recommendations in cello treatises, and the practices evidenced in early recordings. The sources for this study can be brought into an overall
framework of a constant dialogue between `theory', as expressed in verbal instructions to the learner, or general a priori reflections about the cello, and `practice', manifested in performing editions and early recordings, or in individual acts of reception. A wide divergence is noted, both between theory and practice in general, and in terms of different styles of playing observable at any one time. It is suggested that tensions between practice
and critical disapproval can be resolved in terms of Lacanian discourse. Several test cases are used in order to compare several different recordings of the same works. The question of the musical character of the cello is discussed in terms of widespread assumptions about its gendered identity. A wide range of sources suggest that this moved from a straightforwardly `masculine' identity expressed through a controlling, elevated eloquence to a less clearly defined one, incorporating the 'feminine', with a greater stress on uninhibited emotional expression. Some performance implications for this change of view are pursued with respect to specific repertoires. Broad conclusions stress the importance of the diversity of performance practices as opposed to unifying generalisations
Matemática no Brasil: as traduções de Manoel Ferreira de Araújo Guimarães (1777-1838) das obras de Adrien Marie Legendre
No full textEste trabalho aborda a vida e a obra de Manoel Ferreira de Araújo Guimarães (1777-1838), personagem importante para o cenário da História da Matemática Brasileira. Centralizamos nosso estudo nas traduções das obras Éleménts de Geométrie e Traité de Trigonométrie de Adrien Marie Legendre (1752-1833), realizadas por Manoel Ferreira de Araújo Guimarães, como contribuições significativas para o processo de institucionalização do ensino da Matemática no Brasil, no início do século XIX. Analisando essas traduções pudemos compreender os motivos que levaram o tradutor a propor alterações e, a partir da identificação de alguns de seus interlocutores, compreender o que o levou aos trabalhos de Adrien Marie Legendre. Relativamente aos desdobramentos das produções de Manoel Ferreira de Araújo Guimarães, pudemos identificar, direta ou indiretamente, alguns nomes que tiveram acesso a suas traduções. Assim, este trabalho pretende contribuir com os pesquisadores que buscam empreender uma (re)leitura do período, que vai do início a meados do século XIX, relativo ao ensino da matemática no BrasilThis thesis addresses the life and works of Manoel Ferreira de Araújo Guimarães (1777-1838), a major author in the History of Brazilian Mathematics. The study centers on the translation by Manoel Ferreira de Araújo Guimarães of Éleménts de Geométrie e Traité de Trigonométrie, written by Adrien Marie Legendre (1752-1833), as important contributions to the process of institutionalizing the teaching of Mathematics in Brazil at the beginning of the 19th century. The analysis of Guimarães´s translations helped shed light on the reasons that led the translator to propose changes and, based on the identification of some of his interlocutors, understand what directed Guimarães to the works of Adrien Marie Legendre. Regarding further works by the Brazilian mathematician, we have been able to identify, directly or indirectly, scholars who had access to his translated works. Therefore, this study is intended to contribute to researchers who seek to (re)study the period ranging from the beginning to the first half of the 19th century, on the teaching of Mathematics in BrazilCoordenação de Aperfeiçoamento de Pessoal de Nível Superio
Éléments de Géométrie, avec Notes. Par Adrien- Marie Legendre. – O que Afirma o Próprio Autor sobre Sua Obra?
No full textThis paper presents a translation of the preface to the first edition of the book “Éléments de Géométrie, avec Notes,” of Adrien-Marie Legendre (1752-1833), published in Paris, 1794, by Firmin Didot. There was a translation into Portuguese of Legendre’s book by Manoel Ferreira de Araujo Guimarães, published in 1809, at the Regia Officina Typografica, in Rio de Janeiro, without the preface. I present and discuss Legendre’s preface, in the year that commemorates two hundred years of the first publication of Legendre’s book in Portuguese. And as we will see, the preface is an answer to the question: What does the own author affirm about his work?
Keywords: Legendre. Textbook. Contents of School Mathematics. History of School Mathematics.Neste artigo, apresento a tradução do prefácio à primeira edição do livro Éléments de Géométrie, avec notes, de Adrien-Marie Legendre (1752-1833), publicado em Paris, 1794, por Firmin Didot. Houve uma tradução em português do texto de Legendre por Manoel Ferreira de Araújo Guimarães, publicada em 1809 pela Regia Officina Typografica, no Rio de Janeiro, mas sem o prefácio. Apresento e discuto o prefácio original escrito por Legendre no ano em que se comemoram os duzentos anos da primeira impressão do seu livro no Brasil. E o prefácio, como veremos, é uma resposta à pergunta – o que afirma o próprio autor sobre sua obra?
Palavras-Chave: Legendre. Livro-texto. Conteúdos da Matemática Escolar. História da Matemática Escolar
L'Alemant, Adrien
No full textInternational audienceAdrien L’Alemant was a doctor, translator and author of medical texts (theoretical and practical) living in Paris in the early sixteenth century
Jackson, Gordon James. Interview about life in Grand Falls-Windsor.
No full textOral interview with Gordon Jackson, recorded by Adrian Whiffen at 60a Smallwood Drive, Grand Falls-Windsor, February 15th, 1999. Discussion includes: building a house; standard of living; school; rate of pay; work; the forge; church; the mill; entertainment; discussing his son's death; crime
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