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Gordon, David Jones, 1478433
No full textThis record was harvested from a previous catalogue system and will be withdrawn in 2025. Information in this record may be superseded or incomplete. Visit this record in UMA's new catalogue at: https://archives.library.unimelb.edu.au/nodes/view/388192Surname: GORDON. Given Name(s) or Initials: DAVID JONES. Military Service Number or Last Known Location: 1478433. Missing, Wounded and Prisoner of War Enquiry Card Index Number: 37127.210962
Item: [2016.0049.20485] "Gordon, David Jones, 1478433
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1. Paintings as a Source of Musical Form, 2. A Portfolio of Compositions
Full text linkPart 1:While paintings, drawings, and sculptures have inspired composers and musicians since ancient times, before the modern era, they were rarely used specifically to generate musical material or forms. However, in the late 19th and early 20th centuries, new technologies allowed avant-garde movements to increasingly incorporate the actual structure and language of visual art into music. The development of film and the advent of digital computers enabled new interdisciplinary and transdisciplinary approaches to music, hardly imaginable in the past.This paper investigates the use of visual art to generate musical material and form. In particular, it studies the use of algorithmic processes, aided by computers, to translate visual elements in paintings, such as line, color and shape, into musical parameters, such as rhythm, pitch, harmony and timbre. The first chapter provides a brief overview of historical methods for obtaining musical content and structure from paintings. The following chapter analyzes four of the author’s compositions that derive musical material and form from paintings, including two instrumental works, a fixed media electronics piece, and a live audiovisual performance.Part 2:A Portfolio of Composition
Postulats de conversation
No full textGordon David, Lakoff George, Beffa Marie-Lise. Postulats de conversation. In: Langages, 8ᵉ année, n°30, 1973. Logique et langage, sous la direction de Ryszard Zuber. pp. 32-55
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe 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
La coopération franco-britannique en Afrique: une façon de renforcer ou de contourner l'UE?
No full textLa coopération entre la France et le Royaume-Uni en Afrique: Des capacités sous-utilisées
No full text
Variations on the Author
Full text link“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
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