86,671 research outputs found
Variations on the Author
No full text“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
[Newspaper Clipping: Author Claims Evidence of Second JFK Assassin #1]
No full textNewspaper article titled "Author Claims Evidence of Second JFK Assassin." The article states that author Richard J. Whalen concluded "that there is circumstantial evidence to support the theory of a second assassin in the shooting of President John F. Kennedy.
GOVERT FLINCK: DAS PORTRÄT VON SASKIA IN MIMARA - MUSEUM
No full textStilske, morfološke i ikonografske osobine Rembrandtu pripisanoga, signiranoga i datiranoga (Rembrandt f. 1635) Portreta Saskije iz Muzeja Mimara u Zagrebu, autorica komparira s poznatima Rembrandtovim prikazima Saskjie iz istoga vremena iz Petrograda, Dresdena i Amsterdama. Uočene razlike u likovnoj obradi kao i specifično prenošenje rembrandtovskih elemenata doveli su je do zaključka da je riječ o tipičnom djelu Goverta Flincka, Rembrandtova učenika, iz vremena oko 1636. godine. Tu tvrdnju dokazuje pomnim komparacijama sa Flinckovim slikama, srodnim zagrebačkome portretu, iz Chatsworth-a, Berlina i Lausannee.Die Verfasserin schreibt auf Grund komparativer Analyse das Bild, eintragen im Zagreber Mimara-Museum als ein Werk von Rembrandt Harmensz. Van Rijn: "Saskia", 61 auf Leinwand, Inv. Nr. 1559, signiert und datiert: Rembrandt f 1635, Herkunft: unbekannt, an Govert Flinck zu. Es wurde, vermutlich, nach dem Flora-Bild Rembrandts von 1634 in der Petersburger Eremitage abgebildet, solange federgeschmucktes Barett, Körperstellung und Schmuck hatten nach Dresdener Rembrandts Saskia von 1633 und vielen Mannerbildnissen Rembrandts entworfen werden konnen. Eine gewisse Ahnlichkeit in Haltung der Gestalt, Geschmeide und weissem Hemd besteht such auf dem Amsterdamer Brustbild Rembrandts: Saskia van Uylenburgh von 1633. Es handelt sich um ein Vanitas-Bildnis. Wenn man es mit den obenerwahnten Rembrandt-Darstellungen von Saskia in Dresden und Petersburg kompariert, wird, ohne Zweifel, ein grosses Malerqualitatsgefalle bemerkt: ihm fehlen Leichtigkeit flimmemder Lichtfuhrung, Feinheit des Farbenabstufen, Zartheit von Haut und Stoff, Verschmelzen der Gestalt mit der Umgebung, weiche geistvoll gestellte Schatten und neckisch schief aufgesetzte Feder sowie Aufblitzen der, mit der Pinselspitze, aufgetragenen Farben, die Rembrandt seinen Schopfungen zu verleihen wusste. Im Vergleich zu ihnen ist unsere Gestalt holzig, sie hat fettige dunkelgraue Umrisslinien, die Feder hebt sich steif empor und auf der linken Seite des Gesichtes sind die Schatten besonders schwach ausgefuhrt, die in dunkelbrauen tiefen Flecken Qbergehen, wahrend das Kolorit gleichformig olivgrun ist. Saskia im Mimara-Museum hat weder Innenstrahlung von Rembrandt-Saskias noch Aufbau des Bildes mit funkelnder Farbennuancierung, sondem kann es eine solide Ausfuhrung der deutlich beschrankten Volumen festgestellt werden, sowie der hellen und dunkelen breit aufgetragenen Farben. Die Zusammensetzung ist einfach, in Form eines Dreiecks auf dem neutralen Hintergrund. Der Augenblick der Dame ist auf den Beobachter gerichtet, wie auf dem Dresdener Bild - aber was fur einen Unterschied; die Augen von Dresdener Saskia blinzeln neckisch aus dem Schatten und kokettieren mit dem Zuschauer auf allmšhlich ironische Weise, solang uns unsere Gestalt teilnahmslos ansieht. Gleichfalls, bleibt es die Rembrandts Wendung von Kopf in einer und Korper in der anderen Richtung aus, womit er eine besondere Gespanntheit der Kontur erreicht, bis sie auf dem Zagreber Bild still fliesst. Das Portrat im Mimara-Museum weist - in Palette, Weise der Lichuhrung, Gestalten von Volumen und Schatten, Korperstellung, Umrisslinien sowie in Malart von Gesichtszugen - tipische Eigenschaften der Erschaffung von Govert Flinck (Kleef, 1615 - Amsterdam, 1660) in seiner rembrandtesker Phase (bis 1640). Wenn man Saskia im Mimara-Museum mit der Flincks 'Frau mit Turban und Schleier" in Chatsworth kompariert, werden gleiche Slmerkzeichen erkannt: Gestaltstellung im Dreiviertelprofil nach rechts aufgenommen auf dem neutralen Hintergrund, Weise der Lichtfuhrung, deutliche Abgrenzung von Schatten und Licht auf dem Gesicht, Hals und auf der Bluse, sehr ahnliches Gestalten von Nase, Mund, Kinn, Unterkinn, Rembrandtgarderobe, merkwurdigerweise geschnittenes linkes Auge, starrer Augenblick, breite dicke Pinselauftrage, Schulterkontur, die schnell absinkt, ununterbrochene Umrisslinie, die still fliesst und plastische Formen, die voneinander abgehoben sind. Die Stilparallelen zu Zagreber Saskia sind auch zwei Flincks Rembrandt-Bildnisse: an Govert Flinck zugeschriebenes Brustbild Rembrandts" in Berliner Gameldegalerie, das E. van de Wetering um 1633 datiert, und ihr naher Govert Flincks Junger Mann mit Federbarett und Halsberge' in der Prlvatsammlung in Lausanne von 1636. Ausser Stilahnlichkeiten, Federbarett, Korperstellung und olivgrune Tone, tragt Rembrandt in Berlin, wie unsere Saskia, reich gegliederte Goldkette. Das Portrat in Lausanne, ohne Goldkette, aber mit ahnlichem Haarfall, der rechtes Ohr mit Ohrring abdeckt, mit gleicher weisser Feder auf dem Barett und mit naher Schattengebung auf dem Gesicht, konnte als Pendant von Zagreber Saskia begriffen werden. Mit Rucksicht darauf, datiert die Verfasserin das Bildnis von Saskia im Mimara-Museum in Zagreb um 1636 und zahlt es zu den Standardwerken und schliesst dass dieser "Standard", in der hollandischen Malerei des 17. Jahrhunderts, sehr hoch war
Also By The Same Author: AKTiveAuthor, a Citation Graph Approach to Name Disambiguation
No full textThe desire for definitive data and the semantic web drive for inference over heterogeneous data sources requires co-reference resolution to be performed on those data. In particular, name disambiguation is required to allow accurate publication lists, citation counts and impact measures to be determined. This paper describes a graph-based approach to author disambiguation on large-scale citation networks. Using self-citation, co-authorship and document source analyses, AKTiveAuthor clusters papers, achieving precision of 0.997 and recall of 0.818 over a test group of eight surname clusters
John F. Kennedy telegram to Roosevelt
No full textJersey Homesteads (later the Borough of Roosevelt) was established in the 1930s as an agro-industrial cooperative community. It was established specifically for urban Jewish garment workers, many of whom had emigrated from Europe. President John F. Kennedy sent a telegram to the citizens of Roosevelt, New Jersey, apologizing for not being able to attend the memorial dedication in honor of former President Franklin Delano Roosevelt. (Jersey Homesteads became Roosevelt in 1945 in honor of the president.) President Kennedy expressed his gratitude to the people of Roosevelt for constructing the memorial, and commented that it will serve as a constant reminder of Roosevelt's good works
Logarithmic variance profiles and the corresponding f-1 spectra of temperature fluctuations in turbulent Rayleigh-Bénard convection
No full textWe report experimental results for the temperature variance 2(z) and the corresponding frequency spectra P(f) in turbulent Rayleigh-Bénard convection (RBC) in a cylindrical sample of aspect ratioT= D/L = 1:00 (D = 1:12 m is the diameter and L = 1:12 m the height). The measurements were conducted in the Rayleigh-number range 1011 < Ra < 1:35 1014 and Pr ' 0:8. For Ra = 1:35x1014, 2(z) could be described well by a logarithmic dependence on the vertical position z in a range of z 1 < z < z 2 with z 1 ' 70 and z 2 = 0:1L. Here L=(2Nu) is the thickness of a thin thermal sublayer adjacent to the horizontal plate where the heat flux (denoted by the Nusselt number Nu) is carried mostly by thermal diffusion. In the log layer, we found that the temperature spectra had a significant frequency range over which P(f) f with close to 1. As Ra decreased, increased so that the log layer became thinner. At Ra = 2:05 1011, z 2 < z 1 and therefore there was no range for a log layer. Correspondingly, the temperature spectrum near the horizontal plate did not have the f1 scaling form either
Maine author Franklin F. Gould recalls his first glimpse of the outside world
No full textMaine author Franklin F. Gould recalls his first glimpse of the outside world as he relates how, as a young farm boy in the late 1800\u27s, he drove his father\u27s horses on an errand to an icebound river
Mapping the Discipline of the Olympic Games An Author-Cocitation Analysis
No full textThe authors conducted an author cocitation analysis on prominent authors writing about the Olympics during the 1990s. Author cocitation is an established bibliometric technique that can be used to measure the relative similarities of topics written about by the cited authors. This enables a visual representation of the “intellectual space” of the discipline, in this case the Olympics, to be created for the period under review. So core and peripheral research areas are identified, along with their major contributors. The representation appears as a two-dimensional cluster-enhanced map. Subject expertise was then applied to the results to place labels on the generated clusters of authors and their topics
Sous-facteurs de L(F∞) d'indice 4cos2π/n,n≥3
No full textLet Q be a factor of type II1, λ a number in the Jones discrete series {4cosπ/m:m≥3}, and {ei} the Jones projections associated with λ. Denote by A2n and A1n the finite-dimensional von Neumann algebras generated, respectively, by {1,e2,⋯,en} and {1,e1,⋯,en}, with the corresponding traces. The author shows that, for n sufficiently large, the index of the inclusion An=(Q⊗A2n)∗A2nA1n⊂(Q⊗A2n+1)∗A2n+1A1n+1=An+1 is equal to λ (here ∗ denotes the reduced, amalgamated free product of the algebras in question). Using the random matrix model of Voiculescu, he proves that if Q is the von Neumann algebra L(F∞) of the free group with infinitely many generators, then An is isomorphic to L(F∞).
The two facts together imply the existence, for any λ in the Jones discrete series, of an irreducible subfactor of L(F∞) of index λ. This constitutes the first example of a nonhyperfinite, non-Γ II1 factor such that its Jones invariant is fully computable (the existence of nonirreducible subfactors of L(F∞) for any index ≥4 is a simple consequence of known results)
The construction of Karen Karnak: The multi-author-function
No full textThis thesis is situated within the comparatively recent developments of Web 2.0 and the emergence of interactive WikiMedia, and explores the mode of authorship within a Read/Write culture compared to that of a Read/Only tradition. The hypothesis of this study is that the role of the audience has become merged with the author, and as such, represents new functions and attributes, distinct from a more conventional concept of authorship, in which the roles of audience and author are more separate. Read/Write and participatory culture, as defined by this study, is focused on collaboration, and includes the influences of D.I.Y. culture, Open-Source practices and the production of text by multiple authors. Multi-authorship presents a re-thinking of several concepts which support the notion of the individual author, since the focus of multi-authorship is not on attribution and ownership of a finished text, but on the continued malleability of a text. Modes of multi-authorship, demonstrated in the use of the pseudonyms Alan Smithee and Karen Eliot, represent declarative authors whose names signify multiple origins, whilst concurrently indicating a distinct body of work. The function of these names form an important context to this study, since primary research involves the construction of an experimental mode of multi-authorship utilising WikiMedia technology and the interaction of thirty nine participants, who are invited to create a body of work under the collective pseudonym Karen Karnak. The data generated by this experiment is analysed using aspects of Michel Foucault's author-function to identify and determine power structures inherent in the WikiMedia context. The interplay of power structures, including concepts such as identity, ownership and the body of work, affect the resulting mode of authorship and contribute to the construction of Karen Karnak, suggesting further areas of research into the emerging multi-author
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