306,603 research outputs found
A Sound Print on the Human Archive:Interview : Sidsel Nelund and Trinh T. Minh-ha
No full textBorn in Vietnam, Trinh T. Minh-ha is known as a filmmaker, composer and writer. Contributing generously to these art forms, she was also a pioneer in the 1980’s theoretical conceptualisation of the Other, verbalising especially the position of women in developing countries.
Currently, Trinh T. Minh-ha holds the post of Professor of Gender and Women's Studies, and of Rhetoric at the University of California, Berkeley. She has lived, among other places, in Vietnam, USA, France, Senegal, and Japan and this geographic diversity is reflected in her work, in which several countries have been the documentary or fictional stage of her films.
Trinh T. Minh-ha’s early films, Reassemblage (1982) and Naked Spaces - Living is Round (1985) questioned the ethnographic eye in representing reality, whereas the later Surname Viet Given Name Nam (1989) challenged the genre of documentary, while exposing the politics of the interview.
Today, Trinh T. Minh-ha’s work investigates the relation between reality and technology.
The political potential of film and writing is ever apparent in Trinh T. Minh-ha’s work, and she has worked artistically to create tools to be applied in the struggle of liberation for marginalised groups. However, she also moves in circles of documentary, cinema, feminist studies, postcolonial theory, contemporary visual art, literature, and music composition. This interview consists of 4 parts concerning positioning, research, and media, finally coming back to positioning again.<br/
Letter, [Author unclear] to Paulina T. Merritt
No full textHandwritten letter to Paulina Merritt from an unknown author, October 1, 1876.
Bare hand interface for interaction in the video see-through HMD based wearable AR environment
No full textIn this paper, we propose a natural and intuitive bare hand interface for wearable augmented reality environment using the video see-through HMD. The proposed methodology automatically learned color distribution of the hand object through the template matching and tracking the hand objects by using the Meanshift algorithm under the dynamic background and moving camera. Furthermore, even though users are not wearing gloves, extracting of the hand object from arm is enabled by applying distance transform and using radius of palm. The fingertip points are extracted by convex hull processing and assigning constraint to the radius of palm area. Thus, users dont need attaching fiducial markers on fingertips. Moreover, we implemented several applications to demonstrate the usefulness of proposed algorithm. For example
Yesode ḥokhmat ha-ṭevaʻ ha-kelalit : ṿe-gam yediʻot ḥaroshet ha-maʻaśeh ṿi-yediʻot madaʻim shonim /
No full textVols 2-4 have title: Otsar ha-ḥokhmah ṿeha-madaʻ, kolel yesode ḥokhmat ha-ṭevaʻ ha-kelalit. Published by ha-Almanah ṿeha-aḥim Rom.1. Sefer ha-menuḥah ṿeha-tenuʻah -- 2. Sefer ha-Harkavah ṿeha-hafradah -- 3. Sefer Toldot ha-esh ṿeha-mayim -- [4] Sefer Even ha-shoʾevet.Mode of access: Internet
Nomadism in the cinema of Trinh T. Minh-ha
No full textThe concept of nomadism - which stems from Gilles Deleuze and Félix Guattari and evolves into feminist and postcolonial critiques - provides an analytical framework to address the undetermined, multifaceted portrayal of tribal and diasporic women in the cinema of Trinh T. Minh-ha. The thesis explores subject positions in selected films by Trinh through the work of Braidotti (2011) and the "mestiza consciousness" proposed by Anzaldúa (1987), that provide an embedded and embodied philosophical basis for a nomadic film aesthetics and frame of analysis. The border is discussed as a site of encounter across cultures and social demarcations of alterity. The second chapter explores the nomadic film strategies that destabilise the time-space configuration of the film narratives in The Fourth Dimension (2001) and Night Passage (2004). Chapter 3 analyses Trinh‘s tactics that create a politics of "speaking nearby" in Reassemblage (1982) and Naked Spaces - Living is Round (1985), and to what extent a nomadic approach can suspend utterance about Third World women. The last chapter looks at borders between Self and Other, the West and the rest, and how these lines are defied, blurred, or displaced in Tale of Love (1995). The history of "Third Cinema" (Solanas and Gettino 1969) is examined as a prelude to a postcolonial position on a cinema of exile. The notion of "third space" in Homi Bhabha's critique of Third Cinema, "haptic visualities" in Laura Marks and the "crossroads" in Gloria Anzaldúa are evoked to examine "spaces in-between", where the border is deterritorialized
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Nomadism in the cinema of Trinh T. Minh-ha
No full textThe concept of nomadism - which stems from Gilles Deleuze and Félix Guattari and evolves into feminist and postcolonial critiques - provides an analytical framework to address the undetermined, multifaceted portrayal of tribal and diasporic women in the cinema of Trinh T. Minh-ha. The thesis explores subject positions in selected films by Trinh through the work of Braidotti (2011) and the "mestiza consciousness" proposed by Anzaldúa (1987), that provide an embedded and embodied philosophical basis for a nomadic film aesthetics and frame of analysis. The border is discussed as a site of encounter across cultures and social demarcations of alterity. The second chapter explores the nomadic film strategies that destabilise the time-space configuration of the film narratives in The Fourth Dimension (2001) and Night Passage (2004). Chapter 3 analyses Trinh‘s tactics that create a politics of "speaking nearby" in Reassemblage (1982) and Naked Spaces - Living is Round (1985), and to what extent a nomadic approach can suspend utterance about Third World women. The last chapter looks at borders between Self and Other, the West and the rest, and how these lines are defied, blurred, or displaced in Tale of Love (1995). The history of "Third Cinema" (Solanas and Gettino 1969) is examined as a prelude to a postcolonial position on a cinema of exile. The notion of "third space" in Homi Bhabha's critique of Third Cinema, "haptic visualities" in Laura Marks and the "crossroads" in Gloria Anzaldúa are evoked to examine "spaces in-between", where the border is deterritorialized
Co-receptor CD8-mediated modulation of T-cell receptor functional sensitivity and epitope recognition degeneracy
No full textThe interaction between T-cell receptors (TCRs) and peptide epitopes is highly degenerate: a TCR is capable of interacting productively with a wide range of different peptide ligands, involving not only cross-reactivity proper (similar epitopes elicit strong responses), but also polyspecificity (ligands with distinct physicochemical properties are capable of interacting with the TCR). Degeneracy does not gainsay the fact that TCR recognition is fundamentally specific: for the vast majority of ligands, the functional sensitivity of a given TCR is virtually null whereas this TCR has an appreciable functional sensitivity only for a minute fraction of all possible ligands. Degeneracy can be described mathematically as the probability that the functional sensitivity, of a given TCR to a randomly selected ligand, exceeds a set value. Variation of this value generates a statistical distribution that characterizes TCR degeneracy. This distribution can be modeled on the basis of a Gaussian distribution for the TCR/ligand dissociation energy. The kinetics of the TCR and the MHCI molecule can be used to transform this underlying Gaussian distribution into the observed distribution of functional sensitivity values. In the present paper, the model is extended by accounting explicitly for the kinetics of the interaction between the co-receptor and the MHCI molecule. We show that T-cells can modulate the level of degeneracy by varying the density of co-receptors on the cell surface. This could allow for an analog of avidity maturation during incipient T-cell responses
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