137 research outputs found
Codes and the Cartier Operator
Get PDFA part of this work has been done when the author was a Post Doc researcher supported by the French ANR Defis program under contract ANR-08-EMER-003 (COCQ project)International audienceIn this article, we present a new construction of codes from algebraic curves. Given a curve over a non-prime finite field, the obtained codes are defined over a subfield. We call them Cartier Codes since their construction involves the Cartier operator. This new class of codes can be regarded as a natural geometric generalisation of classical Goppa codes. In particular, we prove that a well-known property satisfied by classical Goppa codes extends naturally to Cartier codes. We prove general lower bounds for the dimension and the minimum distance of these codes and compare our construction with a classical one: the subfield subcodes of Algebraic Geometry codes. We prove that every Cartier code is contained in a subfield subcode of an Algebraic Geometry code and that the two constructions have similar asymptotic performances. We also show that some known results on subfield subcodes of Algebraic Geometry codes can be proved nicely by using properties of the Cartier operator and that some known bounds on the dimension of subfield subcodes of Algebraic Geometry codes can be improved thanks to Cartier codes and the Cartier operator
On log global Cartier transform of higher level (Algebraic Number Theory and Related Topics 2013)
No full text"Algebraic Number Theory and Related Topics 2013". December 9～13, 2013. edited by Tadashi Ochiai, Takeshi Tsuji and Iwao Kimura. The papers presented in this volume of RIMS Kôkyûroku Bessatsu are in final form and refereed.This is a research announcement of the paper [O] by the author. We explain the construction and an outline of the proof of the log global Cartier transform of higher level, which is a log and higher level version of the global Cartier transform of Ogus-Vologodsky
L’invention d’un nouveau monde canadien-français dans La grande épopée de Jacques Cartier d’Eugène Achard
No full textS’inspirant des travaux de Robert Melançon sur la dysphorie, l’euphorie et la mythification qui structurent la représentation du Nouveau Monde dans les relations de voyage de Jacques Cartier, l’auteur de ce texte analyse la suite romanesque pour la jeunesse La grande épopée de Jacques Cartier, écrite par Eugène Achard de 1935 à 1942, dans laquelle le paysage est investi d’une identité canadienne-française qu’il n’avait pas au moment de la découverte.Taking inspiration from Robert Melançon’s work on the dysphoria, euphoria and mythification structuring the representation of the New World in the account of Jacques Cartier’s travels, the author of this text analyzes La grande épopée de Jacques Cartier, a series of novels for young people written by Eugène Achard between 1935 and 1942, in which the landscape is invested with a French Canadian identity that it lacked at the time of the discovery.Inspirándose en los trabajos de Robert Melançon sobre la disforia, la euforia y la mitificación que estructuran la representación del Nuevo Mundo en los relatos de viaje de Jacques Cartier, el autor de este texto analiza la serie novelesca destinada a los jóvenes, titulada La grande épopée de Jacques Cartier (La gran epopeya de Jacques Cartier), escrita por Eugène Achard entre 1935 y 1942, en la cual el paisaje está investido de una identidad canadiense francesa que no tenía en el momento del descubrimiento
Cartier and Baron's practical illustrated waltz instructor, ball room guide, and call book. Giving ample directions for dancing every kind of square and round dances, together with cotillons -- including the newest and most popular figures of "the German."
No full textThe author of this manual claims that many books on dance lack simple explanations; this work is advertised as an answer to that criticism. The author has dispensed with "all unnecessary verbiage and figures of speech" in describing round dances and figures for the German (also know as the cotillon). Nearly half the book is devoted to quadrilles and calls for the prompter
Gene therapy for leukodystrophies
No full textLeukodystrophies (LDs) refer to a group on inherited diseases in which molecular abnormalities of glial cells are responsible for exclusive or predominant defects in myelin formation and/or maintenance within the central and, sometimes, the peripheral nervous system. For three of them [X-linked adrenoleukodystrophy (X-ALD), metachromatic (MLD) and globoid cell LDs], a gene therapy strategy aiming at transferring the disease gene into autologous hematopoietic stem cells (HSCs) using lentiviral vectors has been developed and has already entered into the clinics for X-ALD and MLD. Long-term follow-up has shown that HSCs gene therapy can arrest the devastating progression of X-ALD. Brain gene therapy relying upon intracerebral injections of adeno-associated vectors is also envisaged for MLD. The development of new gene therapy viral vectors allowing targeting of the disease gene into oligodendrocytes or astrocytes should soon benefit other forms of LDs. © The Author 2011. Published by Oxford University Press. All rights reserved
L’attimo fuggente e ‘geometrico’ nelle fotografie di Henri Cartier-Bresson / The Fleeting and ‘Geometric’ Moment in Henri Cartier-Bresson’s Photographs
No full textHenri Cartier-Bresson (22 agosto 1908 -3 agosto 2004) è stato un fotografo francese che ha saputo fondere la fotografia con la geometria. Considerato il padre della "fotografia di strada” (street photography) o di “veri e propri reportage di vita”, in molti dei suoi scatti è possibile ritrovare il rapporto aureo. Le fotografie che seguono il percorso della diagonale aurea hanno, infatti, molta più forza, così come quelle che al loro interno presentano linee di una griglia phi. In sostanza le fotografie che funzionano meglio sono quelle che contengono geometria. Analizzare il genio di Cartier-Bresson è, quindi, senz’altro un compito arduo, ma è relativamente semplice poter percepire e ricostruire, nelle sue fotografie, il rapporto tra composizione e geometria, in particolare nell’esemplificazione del rettangolo aureo e nella spirale aurea. Anche l’applicazione della regola dei terzi e della griglia phi è presente fortemente negli scatti di Cartier-Bresson.
Probabilmente Henri Cartier-Bresson non pensava coscientemente a questo quando scattava, ma era innata in lui una tale capacità visiva e una tale organizzazione degli elementi della scena secondo equilibri compositivi automatici. Questa innata capacità derivava certamente dalla sua esperienza, dalla sua sensibilità e dalla sua immaginazione, senza dimenticare il suo interesse per il disegno e la pittura. Henri Cartier-Bresson, così come altri fotografi celebri, si serve, oltre che della proporzione aurea, della regola dei terzi e della griglia phi, anche di altri ingredienti nella composizione: forme triangolari, linee, cornici naturali, ripetizione di elementi, ingredienti utili per costruire un dato effetto e un preciso equilibrio alla scena. L’importante è attendere per lo scatto il “momento decisivo” in cui si sente accadere qualcosa, come dice lo stesso Henri Cartier-Bresson: «A volte capita di temporeggiare, di ritardare, di aspettare che qualcosa accada. A volte si ha la sensazione che ci siano tutte le basi per un'immagine, tranne una cosa che sembra mancare. Ma quale cosa?».
Forse qualcuno entra improvvisamente nel vostro campo visivo. Seguite i suoi progressi attraverso il mirino. Aspettate e aspettate, poi finalmente premete il pulsante e partite con la sensazione (anche se non sapete perché) di avere davvero qualcosa. In seguito, per dimostrarlo, si può prendere una stampa di questa foto, tracciarvi sopra le figure geometriche che si presentano all'analisi, e si osserverà che, se l'otturatore è stato rilasciato nel momento decisivo, si è fissato istintivamente uno schema geometrico senza il quale la fotografia sarebbe stata informe e priva di vita”. Il presente contributo vuole analizzare con “un esame post mortem” alcune immagini dell’autore per mettere in luce gli aspetti salienti della sua composizione geometrica.Henri Cartier-Bresson (Aug. 22, 1908 - Aug. 3, 2004) was a French photographer who successfully merged photography with geometry. Considered the father of "street photography" or "true life reportage”, the golden ratio can be found in many of his shots. Photographs that follow the path of the golden diagonal or the lines of a phi grid have much more power. In the first instance, the photographs that work best are those that contain geometry. Analyzing the genius of Cartier-Bresson is, therefore, undoubtedly a daunting task, but it is relatively easy to be able to perceive and reconstruct, in his photographs, the relationship between composition and geometry, particularly in the exemplification of the golden rectangle and the golden spiral.
The application of the rule of thirds and the phi grid is also strongly present in the photographs of Cartier-Bresson. Henri Cartier-Bresson probably did not consciously think about this when he was shooting, but such a visual ability and organization of the elements of the scene according to automatic compositional balances was innate in him.
This innate ability certainly came from his experience, sensitivity, and imagination, not to mention his interest in drawing and painting. Henri Cartier-Bresson, as well as other famous photographers, makes use not only of the golden ratio, the rule of thirds and the phi grid, but also of other elements in composition: triangular shapes, lines, natural frames, repetition of elements, useful ingredients to build a given effect and a precise balance to the scene.
The important thing is to wait for the shot to be taken at the "decisive moment" when you feel something happening, as Henri Cartier-Bresson himself said «Sometimes it happens to stall, to delay, to wait for something to happen. Sometimes you get the feeling that there is all the basis for an image, except for one thing that seems to be missing. But what one thing? Perhaps someone suddenly enters your field of vision.
You follow his progress through the viewfinder. You wait and wait, then finally press the button, and leave with the feeling (though you don't know why) that you really have something. Later, to demonstrate this, you can take a print of this photograph, trace over it the geometric figures that present themselves to analysis, and you will observe that, if the shutter was released at the decisive moment, you instinctively fixed a geometric pattern without which the photograph would have been formless and lifeless». This paper aims to analyze with "a postmortem examination" some of the images of the author to highlight the major aspects of his geometric composition
Une larme sur la joue du temps : le Retour d’Henri Cartier-Bresson
Get PDFEn août 1944, le photographe Henri-Cartier Bresson qui a déjà filmé des événements de la libération de Paris, est chargé de se rendre en Allemagne par le Mouvement National des Prisonniers de Guerre et Déportés (MNPGD) pour réaliser un film sur les prisonniers et déportés récemment libérés par les armées alliées. Avec l’appui du commissariat aux Prisonniers, Déportés et Réfugiés et avec la collaboration du service d’information de guerre américain il peut partir en avril-juin 1945. Le film se distingue des actualités américaines sur les Personnes Déplacées car Cartier-Bresson poursuit un double objectif : pour répondre à la demande politique du MNPGD et au ministère des Prisonniers, Déportés et Réfugiés il doit mettre l’accent sur le fait que les presque 2 millions de Français en Allemagne sont pris en charge, soignés. Lui-même ancien déporté (et évadé), comme l’auteur du commentaire, Claude Roy et le musicien, Robert Lannoy, entend introduire des « contre-images » à valeur thérapeutique pour le public, montrant notamment que les déportés organisent la justice dans les camps libérés et montrer qu’ensuite, par centaines de milliers, ils se mettent en route de leur propre chef pour rentrer dans leurs pays d’origine.In August 1944, the photographer Henri Cartier-Bresson, having already filmed the liberation of Paris, is asked by the MNPGD (National Movement of Prisoners of War and Deportees) to go to Germany in order to make a film about prisoners of war and deportees recently liberated by the allied forces. With the support of the Commissariat for Prisoners, Deportees and Refugees, and the collaboration of the American war information service, Cartier-Bresson makes this trip in April-June 1945. The film distinguishes itself from the American newsreels about displaced persons, as Cartier-Bresson is pursuing two distinct objectives. In order to respond to the political demands of the MNPGD, and of the Ministry for Prisoners, Deportees and Refugees, he must highlight the fact that almost two million Frenchmen in Germany are being taken care of and looked after. As a former deportee (and fugitive) himself – along with the author of the commentary, Claude Roy, and the musician, Robert Lannoy – Cartier-Bresson wants to show the public “counter-images” of a therapeutic nature, which will demonstrate how the deportees organised a justice system in the liberated camps, and then set off, in their hundreds of thousands, on the route back to their countries of origin
Le calendrier du facteur. Les significations sociales d'un échange anodin
No full textThe Postman's Calendar. The Social Meanings of an Ordinary Exchange. The author takes a look at this familiar yet relatively unexamined form of exchange, showing that it can take on a variety of social meanings. Asa, tradition in keeping with an anonymous administrative or: gift/counter-gift relationship, it enables the construction of "postmen'' as a group, by relativising the hierarchy of post office positions and promoting the image of their work as centred on "human contact, thereby overshadowing : the working-class dimension of the job. When viewed as a succession of class interactions in which the amount of money that is given carries with it a social judgement, the exchange ; of calendars ultimately offers postmen a particular experience of society.■ Marie Cartier : Le calendrier du facteur. Les significations sociales d'un échange anodin - En envisageant cet échange familier mais peu étudié, l'auteure montre que ce dernier revêt des significations sociales variées. Tradition inscrite dans une relation administrative : anonyme ou don/contre don, il permet à une échelle collective de construire le groupe des facteurs en relativisant la hiérarchie postale : des positions et en promouvant l'image d'un «métier de contacts» éclipsant la dimension ouvrière du travail. Envisagée , comme une succession d'interactions de . classe où les sommes d'argent données véhiculent des jugements sociaux, l'échange des calendriers est finalement pour les facteurs, à la source d'une expérience particulière de la société.Cartier Marie. Le calendrier du facteur. Les significations sociales d'un échange anodin. In: Genèses, 41, 2000. Comment décrire les transactions, sous la direction de Susanna Magri. pp. 63-84
Design on the Wing: Collaborative Work with Nature
No full text"Organized as a dialogue between nature and design, this book explores design ideas, opportunities, visions and practices through relating and uncovering experience of the natural world.
Presented as an edited collection of 25 wide-ranging short chapters, the book explores the possibility of new relations between design and nature, beyond human mastery and understandings of nature as resource and by calling into question the longstanding role for design as agent of capitalism. The book puts forward ways in which design can form partnerships with living species and examines designers’ capacities for direct experience, awe, integrated relationships and new ways of knowing. It covers: New design ethics of care ; Indigenous perspectives ; Prototyping with nature" -- publisher summaryPeer reviewedchapte
Le Ville Jacques-Cartier de Louis Hamelin : Infrastructures et infrahistoire du récit au Québec
No full textCet article porte sur la représentation du Ville Jacques-Cartier des années 1960 dans La constellation du Lynx. L’hypothèse est que dans le roman historique de Louis Hamelin l’accroissement de la documentation factuelle (ce qui s’est vraiment passé) dépend d’un accroissement proportionnel du mythe territorial québécois (le lieu où ça se serait vraiment passé). Le premier est un travail de reconstruction, le second d’imagination. En découle une figure de l’écrivain québécois très attaché aux lieux et qui se présente comme affabulateur scrupuleux ou comme conteur cherchant un surcroît d’authenticité dans les marges géographiques. Figure dont la critique de la fin des années 2000 s’est éprise et dont Hamelin serait le préfigurateur.This article focuses on the representation of 1960s Ville Jacques-Cartier in La constellation du Lynx. Its hypothesis is that in a Louis Hamelin historical novel, the increase in factual information (what really happened) depends on a corresponding increase in the Quebec territorial myth (the place where it is thought to really have happened). The first is a work of reconstruction, the second of imagination. The result is the figure of a Québec writer who is very attached to places and presents himself as a scrupulous author of tall tales or a storyteller looking for more authenticity in geographical margins. This figure, which critics of the late 2000s have found compelling, would seem to be prefigured by Hamelin.Este artículo se refiere a la representación de la ciudad Ville Jacques-Cartier de los años 1960 en La constellation du Lynx. La hipótesis es que, en la novela histórica de Louis Hamelin, el incremento de documentación fáctica (lo que sucedió realmente) depende de un aumento proporcional del mito territorial quebequense (el lugar en que habría sucedido de verdad). El primero es un trabajo de reconstrucción, y el segundo de imaginación. De ello se desprende una figura del escritor quebequense muy vinculado a los lugares y que se presenta como un fabulador escrupuloso o como un narrador que busca un aumento de autenticidad en las márgenes geográficas. Es una figura de la cual se prendó la crítica de finales de los años 2000 y cuyo prefigurador sería Hamelin
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