Journal articles on the topic 'Motion picture plays'
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1
Djaha, Siti Susanti Mallida. "THE EMERGENCE OF NEW MEDIUM." Notion: Journal of Linguistics, Literature and Culture 1, no. 1 (May 30, 2019): 21. http://dx.doi.org/10.12928/notion.v1i1.712.
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This study aims at finding the development of new medium of drama in English literary history. From the very first emergence of drama, the plays that have been written were performed in the theater and in many kinds of theater were appears to represent some ideas from the society. As time passing by, these kind of theater had a kind of transformation to be the new medium that we called motion picture. This motion picture began with the silent movie, then it became the talking picture, and it was improved to be the cinema. In its development until today, which we had been known as the movie. This new medium emerged to replace the live theater performance especially in Edwardian era.
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Verma, Himangi, Aditya Vidyarthi, Abhijit V. Chitre, Kirti H. Wanjale, M. Anusha, Ali Majrashi, and Simon Karanja Hinga. "Local Binary Patterns Based on Neighbor-Center Difference Image for Color Texture Classification with Machine Learning Techniques." Wireless Communications and Mobile Computing 2022 (August 8, 2022): 1–11. http://dx.doi.org/10.1155/2022/1191492.
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This is a topic that receives a lot of interest since many applications of computer vision focus on the detection of objects in visually appealing environments. Information about an object’s appearance and information regarding the object’s motion are both used as crucial signals in the process of identifying and recognising any given item. This information is used to characterise and recognise the item. The identification of objects based solely on their outward appearance has been the subject of a substantial amount of research. However, motion information in the recognition task has received only a marginal amount of attention, despite the fact that motion plays an essential role in the process of recognition. In order to analyze a moving picture in a way that is both fast and accurate, it is required to make use of motion information in conjunction with surface appearance in a strategy that has been designed. Dynamic texture is a kind of visual phenomenon that may be characterised as a type of visual phenomenon that shows spatially repeated features as well as some stationary properties during the course of time by using methodologies that are associated with machine learning. The design of modern VLSI systems takes into consideration a larger chip density, which results in a processor architecture with several cores that are capable of performing a wide range of functions (multicore processor architecture). It is becoming more challenging to run such complicated systems without the use of electric power. In order to increase the effectiveness of power optimization strategies while maintaining system performance for text data extraction, it has been developed and put into practice power optimization strategies that are based on scheduling algorithms. Over the last twenty years, texture analysis has been an increasingly busy and profitable field of study. Today, texture interpretation plays a vital role in various activities ranging from remote sensing to medical picture analysis. The absence of tools to newline analyze the many properties of texture pictures was the primary challenge faced by the texture analysis approach. Texture analysis may be roughly categorised as texture classification, texture segmentation, texture synthesis, and texture synthesis. Texture categorization is useful in numerous applications, such as the retrieval of picture databases, industrial agriculture applications, and biomedical applications. Texture categorization relies on three distinct methods, namely, statistical, spectral, and structural methods. Statistical methods are based on the statistical characteristics of the image’s grey level. Features are collected using second order statistical order, autocorrelation function, and grey level co-occurrence matrix function.
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Kunze, Oliver, and Fabian Frommer. "The Matrix vs. The Fifth Element—Assessing Future Scenarios of Urban Transport from a Sustainability Perspective." Sustainability 13, no. 6 (March 22, 2021): 3531. http://dx.doi.org/10.3390/su13063531.
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The future of urban transport (including passenger transportation and goods logistics) may develop in significantly different directions. Depending on changes in urban behavior, and depending on decisions made by lawmakers and governmental bodies, as well as by commercial players, this future may show a significantly reduced mobility of people and goods (for example, as depicted in the motion picture The Matrix, where people live immobilized in cocoons) or a significantly increased mobility (for example, as depicted in the motion picture The Fifth Element, where multiple layers of air traffic are added to road and rail traffic). We applied a systems thinking method to create a model for political decision makers and researchers. This model can contribute to a better understanding of the interrelations of societal factors (e.g., behavioral changes in the current COVID-19 situation), technological factors (e.g., the role of data traffic or emerging urban air traffic) and environmental factors (e.g., noise or CO2 emissions) in an urban mobility and logistics system. The research also shows that data traffic has the potential to partially substitute physical passenger and goods traffic under certain circumstances. Thus, data networks should conceptually be regarded as a new mode of transport that plays a role in the urban modal split.
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Park, Sangyoub, and Eui Hang Shin. "Patterns of Market Polarization and Market Matching in the Korean Film Industry." Journal of East Asian Studies 4, no. 2 (August 2004): 285–300. http://dx.doi.org/10.1017/s1598240800001843.
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Despite its embedded ambiguity, conventional wisdom tends to prevail over time. This may be because old adages recurrently embrace some ingredients of truth. As James A. Mathisen highlights, conventional wisdom plays a significant role in constituting knowledge as a starting point. For many people, numerous adages (the rich get richer while the poor get poorer; birds of a feather flock together) are most commonly perceived as true. More interestingly, the accuracy of the two folk wisdoms appears to be more salient in culture-producing industries, including the motion picture industry. Concomitantly, the two adages have long been connected to diverse societal phenomena and sociological knowledge.
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Purwono, Prahoro Yudo. "Citraan pada Kumpulan Puisi Bertema Musim Gugur Karya Goethe." JURNAL Al-AZHAR INDONESIA SERI HUMANIORA 6, no. 2 (September 30, 2021): 107. http://dx.doi.org/10.36722/sh.v6i2.624.
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<p><strong>Imagery plays an important role in literary works, and poetry is no exception. In Goethe's poetry, the romantic era which tries to describe the beauty of nature as the main object is very strong. One of the natural beauties that are trying to be described and famous is autumn in Germany. This natural phenomenon is trying to be described through imagery, so readers need to understand the imagery in poetry to get a clear picture and understand the intent or message in the poem. This study aims to describe the meaning related to imagery and the types of imagery contained in Goethe's poems. The research method used is qualitative with the theory of Pradopo. The results showed that in the process of understanding the images or images contained in poetry, an understanding of the meaning contained in the poem as a whole was needed to get a clear picture. Meanwhile, based on the results of the analysis, found 4 types of imagery in Goethe's autumn-themed poetry, namely visual imagery, auditory imagery, tactile imagery, and motion imagery. The number of each image is 8 visual images, 2 auditory images, 2 tactile images, and 3 motion images.</strong></p><p><strong><strong><em>Keywords</em></strong>–</strong><em>Goethe, Imagery, Poetry</em><em>, Herbsgedichte</em></p>
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Wu, Hui. "Shakespeare in Chinese Cinema." Multicultural Shakespeare: Translation, Appropriation and Performance 10, no. 25 (December 31, 2013): 71–81. http://dx.doi.org/10.2478/mstap-2013-0006.
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Shakespeare’s plays were first adapted in the Chinese cinema in the era of silent motion pictures, such as A Woman Lawyer (from The Merchant of Venice, 1927), and A Spray of Plum Blossoms (from The Two Gentlemen of Verona, 1931). The most recent Chinese adaptations/spinoffs include two 2006 films based on Hamlet. After a brief review of Shakespeare’s history in the Chinese cinema, this study compares the two Chinese Hamlets released in 2006—Feng Xiaogang’s Banquet and Hu Xuehua’s Prince of the Himalayas to illustrate how Chinese filmmakers approach Shakespeare. Both re-invent Shakespeare’s Hamlet story and transfer it to a specific time, culture and landscape. The story of The Banquet takes place in a warring state in China of the 10th century while The Prince is set in pre-Buddhist Tibet. The former as a blockbuster movie in China has gained a financial success albeit being criticised for its commercial aesthetics. The latter, on the other hand, has raised attention amongst academics and critics and won several prizes though not as successful on the movie market. This study examines how the two Chinese Hamlet movies treat Shakespeare’s story in using different filmic strategies of story, character, picture, music and style.
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Miller, Laurence. "Classification of Psychopathology According to a Scientific (Psychology and Psychiatry) and an Artistic (Film Noir) Perspective." Psychological Reports 61, no. 1 (August 1987): 287–99. http://dx.doi.org/10.2466/pr0.1987.61.1.287.
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Psychopathology can be studied from a scientific or artistic perspective. While there are important differences between the two perspectives, similarities also exist. Recognition of these similarities and differences provides a treatment of psychopathology different than that provided by either perspective alone. The classification by the sciences of psychology and psychiatry and the art-form motion picture genre called film noir is discussed. Film noir was chosen because, like psychology and psychiatry, psychopathology plays a central role, and it is presented in a cohesive and consistent manner. Classification is discussed in the context of the Diagnostic and Statistical Manual of Mental Disorders (DSM). If film noir is classified according to DSM, it can be seen that film noir presented almost all of the classes of psychopathology and many of the categories, as well as several other important aspects about psychopathology.
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Rhimi, M. N., R. El-Bahi, and A. W. Cheikhrouhou. "Classical harmonic oscillator approach of a helical-wiggler free-electron laserwith axial guide field." Canadian Journal of Physics 78, no. 12 (December 1, 2000): 1069–85. http://dx.doi.org/10.1139/p00-083.
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Electron beam dynamics in a helical-wiggler free-electron laser (FEL) with a uniform axial guide magnetic field are studied using a three-dimensional Hamiltonian approach. The basic feature of the analysis is the definition of a rotational variable, [Formula: see text], that plays the primordial role in lowering to the half the dimension of the quadratic Hamiltonian as a system of two uncoupled oscillators with definite frequencies and amplitudes. It is through applying this variable in the vicinity of a fixed point that the Heisenberg picture of the dynamics of the particles comes to light, leading thus to the association of the steady-state ideal helical trajectories with arbitrary trajectories. The approach recognized the usual two constants of motion, one being the total energy while the other is the canonical axial angular momentum, Pz'. If the value of the latter is such that a fixed point exists, the Hamiltonian is expanded about the fixed point up to second order. The so-obtained oscillator characteristic frequencies allowed one to study the different modes of propagation and to identify, and then avoid the problematic operating conditions of the FEL concerned. On the other hand, the amplitudes of the oscillations, which do depend on the frequencies, are fortunately found to be constants of motion and then controlled by the boundary conditions (initial conditions). PACS Nos.: 52.40-w, 52.60+h, 42.55.Tb, 52.75Ms
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Wang, Xiaodong, Ying Lyu, Yujia Ji, Ziyi Sun, and Xiaoming Zhou. "Substrate binding in the bile acid transporter ASBTYf from Yersinia frederiksenii." Acta Crystallographica Section D Structural Biology 77, no. 1 (January 1, 2021): 117–25. http://dx.doi.org/10.1107/s2059798320015004.
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Apical sodium-dependent bile acid transporter (ASBT) retrieves bile acids from the small intestine and plays a pivotal role in enterohepatic circulation. Currently, high-resolution structures are available for two bacterial ASBT homologs (ASBTNM from Neisseria meningitides and ASBTYf from Yersinia frederiksenii), from which an elevator-style alternating-access mechanism has been proposed for substrate transport. A key concept in this model is that the substrate binds to the central cavity of the transporter so that the elevator-like motion can expose the bound substrate alternatingly to either side of the membrane during a transport cycle. However, no structure of an ASBT has been solved with a substrate bound in its central cavity, so how a substrate binds to ASBT remains to be defined. In this study, molecular docking, structure determination and functional analysis were combined to define and validate the details of substrate binding in ASBTYf. The findings provide coherent evidence to provide a clearer picture of how the substrate binds in the central cavity of ASBTYf that fits the alternating-access model.
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Hess, Agnieszka, and Joanna Najbor. "Promotion of Polish Cinema Abroad as an Element of Nation Branding. Case Study of “Cold War” (2018) by Pawel Pawlikowski." Sustainability 12, no. 14 (July 13, 2020): 5621. http://dx.doi.org/10.3390/su12145621.
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The subject of this article is nation branding in the culture market, namely the role cinematography plays in creating a nation brand. Sustainability and sustainable development in the film industry is conditioned by variety in cultural promotion channels. The aim of the authors is to prove that appropriately organised cinematography promotion abroad can positively influence the image of a given country. The first section deals with the relationship between media and sustainable development, as well as with theoretical definitions of branding and the nation brand. Subsequently, cinematography in the context of branding is discussed. The core of this work is a case study of film promotion abroad from the institutional perspective of the Polish Film Institute. The promotional strategy for “Cold War” (2018) directed by Paweł Pawlikowski has been analysed, as this motion picture is considered one of the biggest successes of post-1989 Polish cinematography. Factors positively influencing its popularity were analysed alongside their influence on the general perception of Polish cinema abroad. Based on the results of empirical studies, the authors present their discussion of the functional state and the role of Polish cinematography on the global circuit, as well as attempt to verify its importance in relation to sustainability.
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Li, Zheng, Qiu-He Peng, Miao Kang, Xiang Liu, Ming Zhang, Yong-Feng Huang, and Chih-Kang Chou. "Neutrino Rocket Jet Model: An Explanation of High-velocity Pulsars and Their Spin-down Evolution." Astrophysical Journal 931, no. 2 (June 1, 2022): 123. http://dx.doi.org/10.3847/1538-4357/ac6cdd.
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Abstract The fact that the spatial velocity of pulsars is generally higher than that of their progenitor stars has bothered astronomers for nearly 50 years. It has been extensively argued that the high pulsar velocity should be acquired during a natal kick process on a timescale of 100 ms–10 s in the supernova explosion, in which some asymmetrical dynamical mechanism plays a key role. However, a satisfactory picture generally is still lacking. In this study, it is argued that the neutrino rocket model can well account for the high speed as well as the long-term evolution behaviors of pulsars. The neutrinos are emitted from superfluid vortex neutrons through the neutrino cyclotron radiation mechanism. The unique characters of left-handed neutrinos and right-handed antineutrinos resulting from the nonconservation of parity in weak interactions play a major role in the spatial asymmetry. The continuous acceleration of pulsars can be naturally explained by this model, which yields a maximum velocity surpassing 1000 km s−1. The alignment between the spinning axis and the direction of motion observed for the Crab pulsar (PSR 0531) and the Vela pulsar (PSR 0833) can be well accounted for. The observed correlation between the spin-down rate and the period of long-period pulsars with P ≳ 0.5 s can also be satisfactorily explained.
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Jamshidi, Hossein. "Integration of AHP and Regression Analysis in Forecasting Attendance in a Movie Theater." Journal of Management Research 12, no. 2 (March 3, 2020): 14. http://dx.doi.org/10.5296/jmr.v12i2.15771.
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Forecasting the number of attendees in a motion picture has often been considered a wild guess since there are many factors or variables involved in forecasting the numbers. There are many contributing factors to consider when attempting forecasting theatre attendance. Among many possible variables the ones with the most significant impact that are considered in this study are; the day that movie is playing, the time of day that movie plays, the ranking of the movie, the genre of movie, the length of time that the movie has been released and finally whether school is in or out. For the most part, these are quantifiable measures and thus should be able to derive an accurate forecasting module. At first, the aim of this study is to compare all the variables by the decision maker based on the Analytical Hierarchy Process (AHP) and to rank the variables based on the importance according to the AHP process. Once the variables are set, the regression analysis is applied to forecast attendance in a movie theater. Multiple regression analysis is used in this study based on a sample of 711 observations. Using SPSS statistical software, a model is developed to forecast the number of attendees and the model provides R2 = 0.760, which is a strong predictor. Finally, the hypothesis test is conducted to verify the accuracy of the regression model with the actual data and even with a = 0.10 the null hypothesis could not be rejected.
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Omerdic, Edin, Petar Trslic, Admir Kaknjo, Anthony Weir, Muzaffar Rao, Gerard Dooly, and Daniel Toal. "Geometric Insight into the Control Allocation Problem for Open-Frame ROVs and Visualisation of Solution." Robotics 9, no. 1 (January 29, 2020): 7. http://dx.doi.org/10.3390/robotics9010007.
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The overall control system for an open-frame Remotely Operated Vehicle (ROV) is typically built from three subsystems: guidance, navigation and control (GNC). The control allocation plays a vital role in the control subsystem. Typically, open-frame underwater vehicles have p actuators (thrusters) for the motion in the horizontal plane, and the control allocation problem, in this case, is very complex and hard to visualise, because the normalised constrained control subset is a p-dimensional unit cube. The aim of this paper is to give a clear picture and a geometric interpretation of the problem and to introduce a hybrid method, based on the integration of a weighted pseudoinverse and the fixed-point method. The main idea of the hybrid method is visualised, and the deep geometric insight is provided using a “virtual” ROV in low-dimensional control spaces, including visualisation of the attainable command set, solution lines, control energy spheres and the role of pseudoinverse and fixed-point iterations. The same concepts are then extended to higher-dimensional cases, for open-frame ROV with four X-shaped (vectored) horizontal thrusters, which is one of the most common thruster configurations for commercial ROVs. The proposed hybrid method has been developed, integrated into a generic fault-tolerant ROV control system and evaluated in virtual and real-world environments off the west coast of Ireland using observation-class ROV Latis and work-class ROV Étaín.
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Poznin, Vitaly F. "Color in the System of Artistic Means of Cinema." Vestnik of Saint Petersburg University. Arts 11, no. 3 (2021): 410–36. http://dx.doi.org/10.21638/spbu15.2021.304.
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Although the main visual information in film is carried out by the shape of objects, their position in space and their correlation with other objects, color in the motion picture also plays a significant role because the color scale has a strong aesthetic and emotional impact on the viewer. Color is often an organic part of the dramaturgy of film. The exact coloristic solution of a frame, episode or film is able to create the desired atmosphere of action. Different screen chronotopes are often indicated with the help of color — it could be an artistic space of reality, memories, fantasies or a movie character’s dreams. Color helps to convey the subjective perception of reality by the film’s heroes. In a certain context, the color scheme of a film, shot or an individual object, can acquire a metaphorical or symbolic sound. Cinematography initially adopted many of the techniques related to compositional and light-color solutions from painting, which is especially noticeable in the works of directors who pay great attention to the plastic solution of the frame. Today with the introduction into filmmaking of digital technologies, work on the visual solution and color harmonization of the screen image is becoming in many ways similar to the art of an artist. The article analyzes and summarizes the creative experience accumulated by cinema in working with color images and investigates the functional role of color in film, the psychophysiological and emotional impact of color on the viewer, the symbolism of color, and various methods of color solutions in modern films.
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Gupta, Samrat, Saurabh Kumar, and Pradeep Kumar. "EVALUATING THE PREDICTIVE POWER OF AN ENSEMBLE MODEL FOR ECONOMIC SUCCESS OF INDIAN MOVIES." Journal of Prediction Markets 10, no. 1 (September 20, 2016): 30–52. http://dx.doi.org/10.5750/jpm.v10i1.1182.
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The Indian motion picture industry has experienced phenomenal growth during the last few decades and plays an important role in emerging economy of India. This paper integrates three analytical models in order to address the intriguing problem of revenue prediction of movies in Indian film industry. The paper attempts to investigate the determinants leading to the success of indigenous movies in Indian context. Ensemble model has been constructed by integrating the three analytical models (Neural Network, Classification and Regression Tree and Robust Regression) using linear optimization approach. Further, a four-way comparative analysis of these three models along with Ensemble model has been carried out. The predictive power of the models has been evaluated using four performance metrics namely root mean squared error (RMSE), mean absolute error (MAE), mean absolute percentage error (MAPE) and large prediction error (LPE). Analyzing novel and original data of 120 Indian movies released during the period August’06-October’15, this paper inspects the nitty-gritties of Indian film industry and seeks to explain the nuances. The study revealed that factors like hype generated on web by a movie, screens on which the movie is released, rating garnered by movie and its genre are the most influential variables in deciding the box-office performance of a movie. Further we observed, that the neural network model closely competes with ensemble model in terms of predictive accuracy. The ensemble model considerably reduces the predictive errors and yields better results on two of the performance metrics.
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Callies, J., and J. Marotzke. "A simple and self-consistent geostrophic-force-balance model of the thermohaline circulation with boundary mixing." Ocean Science 8, no. 1 (January 27, 2012): 49–63. http://dx.doi.org/10.5194/os-8-49-2012.
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Abstract. A simple model of the thermohaline circulation (THC) is formulated, with the objective to represent explicitly the geostrophic force balance of the basinwide THC. The model comprises advective-diffusive density balances in two meridional-vertical planes located at the eastern and the western walls of a hemispheric sector basin. Boundary mixing constrains vertical motion to lateral boundary layers along these walls. Interior, along-boundary, and zonally integrated meridional flows are in thermal-wind balance. Rossby waves and the absence of interior mixing render isopycnals zonally flat except near the western boundary, constraining meridional flow to the western boundary layer. The model is forced by a prescribed meridional surface density profile. This two-plane model reproduces both steady-state density and steady-state THC structures of a primitive-equation model. The solution shows narrow deep sinking at the eastern high latitudes, distributed upwelling at both boundaries, and a western boundary current with poleward surface and equatorward deep flow. The overturning strength has a 2/3-power-law dependence on vertical diffusivity and a 1/3-power-law dependence on the imposed meridional surface density difference. Convective mixing plays an essential role in the two-plane model, ensuring that deep sinking is located at high latitudes. This role of convective mixing is consistent with that in three-dimensional models and marks a sharp contrast with previous two-dimensional models. Overall, the two-plane model reproduces crucial features of the THC as simulated in simple-geometry three-dimensional models. At the same time, the model self-consistently makes quantitative a conceptual picture of the three-dimensional THC that hitherto has been expressed either purely qualitatively or not self-consistently.
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Callies, J., and J. Marotzke. "A simple and self-consistent geostrophic-force-balance model of the thermohaline circulation with boundary mixing." Ocean Science Discussions 8, no. 4 (August 24, 2011): 1819–63. http://dx.doi.org/10.5194/osd-8-1819-2011.
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Abstract. A simple model of the thermohaline circulation (THC) is formulated, with the objective to represent explicitly the geostrophic force balance of the basinwide THC. The model comprises advective-diffusive density balances in two meridional-vertical planes located at the eastern and the western walls of a hemispheric sector basin. Boundary mixing constrains vertical motion to lateral boundary layers along these walls. Interior, along-boundary, and zonally integrated meridional flows are in thermal-wind balance. Rossby waves and the absence of interior mixing render isopycnals zonally flat except near the western boundary, constraining meridional flow to the western boundary layer. The model is forced by a prescribed meridional surface density profile. This two-plane model reproduces both steady-state density and steady-state THC structures of a primitive-equation model. The solution shows narrow deep sinking at the eastern high latitudes, distributed upwelling at both boundaries, and a western boundary current with poleward surface and equatorward deep flow. The overturning strength has a 2/3-power-law dependence on vertical diffusivity and a 1/3-power-law dependence on the imposed meridional surface density difference. Convective mixing plays an essential role in the two-plane model, ensuring that deep sinking is located at high latitudes. This role of convective mixing is consistent with that in three-dimensional models and marks a~sharp contrast with previous two-dimensional models. Overall, the two-plane model reproduces crucial features of the THC as simulated in simple-geometry three-dimensional models. At the same time, the model self-consistently makes quantitative a conceptual picture of the three-dimensional THC that hitherto has been expressed either purely qualitatively or not self-consistently.
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TRIPPETT, DAVID. "Composing Time: Zeno's Arrow, Hindemith's Erinnerung, and Satie's Instantanééisme." Journal of Musicology 24, no. 4 (2007): 522–80. http://dx.doi.org/10.1525/jm.2007.24.4.522.
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The concept of linear time as an irreversible succession of events dates back to the late 18th century. Though fundamental to the experience of music written thereafter, time's pure linearity was dented by technologies of mechanical reproduction during the early 20th century. Imagining possible temporal zigzags provided modernists such as Paul Hindemith and Renéé Clair with mechanical paradigms through which to explore the manipulation of time and motion——as infinitely divisible properties——in the decade that witnessed Lindbergh's transatlantic flight, the first radio broadcasts, and an increasing addiction to Edison's Duplex Telegraph wire. Apart from the modernism that exists on the historical timeline, this essay looks for a structural homology between historical and musical events in attempting to establish a distinct ““modernism of time”” for the 1920s; it argues that differing concepts of time were reflected in certain pieces from the early 20th century. Hindemith's one-act operatic epigram Hin und Zurüück (1927) plays with conceptions of time as a narrative of reversal from domestic disaster to ““happy beginning.”” The music, running forward and backward, evokes different processes of memory to illustrate this ““Time Axis Manipulation”” as it is intuitively lived by the stage characters. Clair's contrasting Dadaeque film Entr'acte (1924), set to Satie's music, is an illogical picture sequence that also embodies a construction of time, Instantanééisme, but denies that it can be understood. Both works were conceived as proportional, imperfect mirror forms, indicating an implicit temporal reversal, though from antithetical perspectives. Drawing on the master paradigm of Zeno's arrow, this enquiry explores qualities of musical and visual time as both construction and manipulation of the modernist imagination.
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Kucharik, Martin, Zuzana Kosutzka, Jozef Pucik, Michal Hajduk, and Marian Saling. "Processing moving visual scenes during upright stance in elderly patients with mild cognitive impairment." PeerJ 8 (November 18, 2020): e10363. http://dx.doi.org/10.7717/peerj.10363.
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Background The ability to maintain balance in an upright stance gradually worsens with age and is even more difficult for patients with cognitive disorders. Cognitive impairment plays a probable role in the worsening of stability. The purpose of this study was to expose subjects with mild cognitive impairment (MCI) and healthy, age-matched controls to moving visual scenes in order to examine their postural adaptation abilities. Methods We observed postural responses to moving visual stimulation while subjects stood on a force platform. The visual disturbance was created by interposing a moving picture in four directions (forward, backward, right, and left). The pre-stimulus (a static scene for 10 s), stimulus (a dynamic visual scene for 20 seconds) and post-stimulus (a static scene for 20 seconds) periods were evaluated. We separately analyzed the total path (TP) of the center of pressure (COP) and the root mean square (RMS) of the COP displacement in all four directions. Results We found differences in the TP of the COP during the post-stimulus period for all stimulus directions except in motion towards the subject (left p = 0.006, right p = 0.004, and away from the subject p = 0.009). Significant RMS differences between groups were also observed during the post-stimulus period in all directions except when directed towards the subject (left p = 0.002, right p = 0.007, and away from the subject p = 0.014). Conclusion Exposing subjects to a moving visual scene induced greater destabilization in MCI subjects compared to healthy elderly controls. Surprisingly, the moving visual scene also induced significant aftereffects in the MCI group. Our findings indicate that the MCI group had diminished adaptation to the dynamic visual scene and recovery. These results suggest that even mild cognitive deficits can impair sensory information integration and alter the sensory re-weighing process.
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Hirschman, Elizabeth C., and Andrew Pieros. "Relationships among indicators of success in broadway plays and motion pictures." Journal of Cultural Economics 9, no. 1 (June 1985): 35–63. http://dx.doi.org/10.1007/bf02267487.
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Swami, Sanjeev, Martin L. Puterman, and Charles B. Weinberg. "Play It Again, Sam? Optimal Replacement Policies for a Motion Picture Exhibitor." Manufacturing & Service Operations Management 3, no. 4 (October 2001): 369–86. http://dx.doi.org/10.1287/msom.3.4.369.9967.
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Shevchuk, B. M. "«Pictures at an Exhibition» by Modest Mussorgsky: the correlation of melos and colourfulness." Aspects of Historical Musicology 18, no. 18 (December 28, 2019): 243–64. http://dx.doi.org/10.34064/khnum2-18.14.
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Background. The “melos” and “colourfulness” terms are used in various meanings both, in music and fine arts. The ambiguity of these concepts in our time of unlimited possibilities for creative experiment and bold search for new semantic levels, interest in establishing versatile inter-scientific relations allows us to apply innovative analytic methods to the works of art. Among these methods, intermedial inter-disciplinary researches seem to be extremely promising, especially when applied to such traditional, well-established forms of art as academic painting and music. The article uses the innovative method of intermedial research, which consists in attempts to trans-code the elements of the musical semiotic system into a pictorial one and vice versa. B. Asafyev (1987, р. 83) determined the “melos” in music as an abstract notion that unites all the forms of melody and the properties of melodiousness: the qualitative, expressive sides of all kinds of sound correlations as sequences in time. The consistent movement of sounds in a piece of music is called “a line” (for example, a “melodic line”) that gives the reason to see a certain parallel between music and painting. Accordingly, the concept of “melos” in music correlates with the concept of “linearity” (graphics) of a picture. The notion of “colourfulness” was first introduced in the fine arts. The colourfulness is a total of correlations of colour tones, hues, which create a certain unity and are an esthetic reflection of the colour diversity of reality (based on Bilodid, I., 1973, p. 232 and others). In musical science there is no well-established definition of this concept, however, we find such attempts: “Colourfulness [in original –’kolorit’ – translator’s note] (from the Latin ’color’) in music – is the predominant emotional colouring of one or another episode, which is achieved by using various registers, tones, harmonic and other expressive means” (FDSTAR. Electronic music. The site of composers, CJs and DJs). The adjoint concept “colouristics” is used, which is described as follows: “… colouristics – music of subtle and colorful sounds, in which all tones are distinguished (the beginning of the Etude in G sharp minor by Chopin, the scene of the transformation of fishes in the 4th Picture of “Sadko”, bell harmonies by M. P. Mussorgsky, S. V. Rachmaninoff)”(Maklygin, A., 1990, in Musical Encyclopedic Dictionary). The purpose of this article is an attempt to determine the correlation of melos and colourfulness in the musical and fine arts on the example of musical portraits and landscapes from the M. Mussorgsky’s “Pictures at an Exhibition” cycle. Research results. The “Pictures at an Exhibition” piano cycle is created under impression of works by Viktor Hartmann, the artist, architect, and designer. The content of the cycle is a vivid example of music and painting interrelation, therefore it gives an occasion to detailed intermedial analysis to understand the melos and colourfulness correlation in the musical pictures. So, the peculiarities of the melos in “The Gnome” are the quick broken zigzag lines, contains brief chromatic motifs, separated by pauses, grace notes and trills. A special role is given to syncopation, which imitate the Gnome’s limping gait. The texture of M. Mussorgsky’s piece – the octave movement in the party of the right and the left hands without a clearly defined accompaniment can be seen as a musical analogy to colourfulness of V. Hartmann’s sketch with its transparent background. Thus, in Mussorgsky’s play “The Gnome”, melos prevails over colourfulness that coincides with the ratio of melos / color in V. Hartmann’s sketch, since the artist gave preference to drawing creating this picture as monochrome one. “The Old Castle” is extremely colourful, as the composer deals great importance to modal, harmonic and textural factors. In general, it can be argued that the composer inherits the ratio of drawing and colouring in the painting by V. Hartmann, embodying the overall emotional and colourful palette of the picture with the help of tonality (“mysterious” G sharp minor) and texture (basso ostinato as an expression of the statics of the massive old building). Melos prevails over colourfulness and expresses the individuality of images in the “Samuel” Goldenberg and “Schmuÿle”, the musical portrait based on two paintings by V. Hartmann (“Poor Jew”, “Rich Jew in the Fur Hat”). The melodic (linear) component of the work is represented by two musical themes. The first is a characterization of a rich man, in which ascending intonations are used as a symbol of his high social status, by analogy with the proudly raised head and upward glance in the painting by V. Hartmann. The melodic theme of a poor Jew with a downward motion corresponds with the image of the poor man’s stooped figure. “Colour” of the musical portrait, as in the V. Hartmann’s painting, serves only as a background. In the piece “Catacombs. Roman Tomb”, the colorfulness prevails over the melos, The “gloomy” tonality (B minor) and the figurative textural techniques used by the composer (the sound of the melody against the background of tremolo octaves in high register, which can be compared with flickering lantern light in the darkness of the tomb, also juxtaposition of the fragments of the theme in different registers, creating contrasts of light and darkness), clearly reflect the overall colouring of the painting by V. Hartmann. In the musical portrait “The Hut on Hen’s Legs (Baba Yaga)” melos prevails over colorfulness, because it is with the help of melodic means that the portrait of a fairy-tale character is depicted, while the coloristic component of the music in this composition corresponds to the sketch of V. Hartman (where the clock in the house’s form depicted) only partially and plays the role of a landscape background (tremolo and triplets in accompaniment performing a coloristic function). “The Bogatyr (Great) Gates (In the Capital in Kiev)” is based on V. Hartmann’s the architectural and painting project of the city gate. Melos of the composition is presented by three contrasting themes. The graphic drawing of some fragments of these themes associatively correlates with the individual elements of the graphics of V. Hartmann’s picture (the peaked line of the passage in the right hand’s party, the tremolo-like figures). The colourfulness of the piece expresses in part by its texture and tone (E Flat Major, according to N. Rimsky Korsakov, the tone of “walls and cities”). In V. Hartmann’s painting, the drawing prevails over colour; however, M. Mussorgsky rethought the melody / colourful ratio in the piece. Melos conveys only some of the features of the drawing, its most important lines, while textural and coloristic musical means reproduce both, the linear side of the image and colouristics as such, that is, the colouristic component dominates. Conclusions. 1. The melos/colourfulness correlation in M. Mussorgsky’s cycle is regulated as follows: melos prevails over colouring in the pieces “The Gnome”, “Samuel” Goldenberg and “Schmuÿle, “The Hut on Hen’s Legs (Baba Yaga)”; colourfulness prevails over melos in “The Old Castle”, “Catacombs. Roman Tomb”, “The Bogatyr Gate in Kyiv”. 2. The melos / colourfulness correlation in the analyzed pieces from M. Mussorgsky’s cycle corresponds with the melos / colourfulness correlation in the respective V. Hartmann’s paintings. The musical portrait of Baba Yaga in “The Hut on Hen”s legs” is an exception: V. Hartman painted the stylized clock as an example of decorative and applied art, but M. Mussorgsky emphasized the reflection of the fairy-tale image; as well as “The Bogatyr Gate”, where colouristics and volume prevail over grafics and planeness of the architectural sketch. 3. The main expressive means of creating a portrait, as a rule, is the melody (melos), and the landscape – tonality, texture, timbre (colourfulness). The intermedial analysis of the above portraits and landscapes from M. Mussorgsky’s piano cycle confirms this concept.
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Swami, Viren, Stefan Stieger, Jakob Pietschnig, and Martin Voracek. "The disinterested play of thought: Individual differences and preference for surrealist motion pictures." Personality and Individual Differences 48, no. 7 (May 2010): 855–59. http://dx.doi.org/10.1016/j.paid.2010.02.013.
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Rosenstone, Robert. "The Historical Film as a Field, a Mode of Thought (Historying) and a Pack of Tricks We Play Upon the Dead, History is . . . a pack of tricks which we play upon the dead” – Voltaire." Revista Calarma 2, no. 2 (March 30, 2023): 133–44. http://dx.doi.org/10.59514/2954-7261.3107.
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Some forty years ago I wrote my first essay on historical (history) film. At the time, the field of history almost totally ignored the visual media. In the early eighties of the last century, the few historians who wrote about film did so as part of a traditional topic -- such as the history, or economics, or cultural impact of the motion picture industry. Historical journals did not review history films, and any historian who considered a dramatic feature as a possible way of understanding the past would have been considered not to be a serious member of the profession.
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Rosenstone, Robert. "The Historical Film as a Field, a Mode of Thought (Historying) and a Pack of Tricks We Play Upon the Dead, History is . . . a pack of tricks which we play upon the dead” – Voltaire." Revista Calarma 2, no. 2 (March 30, 2023): 133–44. http://dx.doi.org/10.59514/2954-72613107.
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Some forty years ago I wrote my first essay on historical (history) film. At the time, the field of history almost totally ignored the visual media. In the early eighties of the last century, the few historians who wrote about film did so as part of a traditional topic -- such as the history, or economics, or cultural impact of the motion picture industry. Historical journals did not review history films, and any historian who considered a dramatic feature as a possible way of understanding the past would have been considered not to be a serious member of the profession.
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Damanik, Rani, Henny Syafitri, and Laura Mariati Siregar. "APPLICATION OF COGNITIVE THERAPY THROUGH PLAY TO CHILDREN AGED 3-5 YEARS AT ORPHANAGE TERIMAKASIH ABADI." JUKESHUM: Jurnal Pengabdian Masyarakat 1, no. 2 (July 30, 2021): 112–18. http://dx.doi.org/10.51771/jukeshum.v1i2.69.
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Masalah perkembangan kognitif anak merupakan hal yang harus diperhatikan sehingga anak memiliki kemampuan yang lebih kompleks baik kemampuan gerak kasar, gerak halus, bicara dan bahasa serta sosialisasi dan kemandirian. Dimana perkembangan kognitif merupakan kemampuan berfikir untuk menghubungkan, menilai maupun mempertimbangkan suatu kejadian atau peristiwa. Penerapan terapi kognitif melalui terapi bermain pada anak usia 3-5 tahun merupakan solusi dalam meningkatkan kognitif anak. Dengan dilakukannya terapi bermain bertujuan untuk meningkatkan kognitif dan perkembangan anak. Setelah pelaksanaan terapi bermain menghasilkan kemampuan anak dalam berfikir secara kognitif melalui mencuci tangan, tebak gambar dan mewarnai gambar. Kata Kunci : Terapi, Kognitif, Bermain Usia 3-5 Tahun ABSTRACT The problem of children's cognitive development is something that must be considered so that children have more complex abilities, both the ability of gross motion, fine motion, speech and language as well as socialization and independence. Where cognitive development is the ability to think to connect, assess or consider an event or events. The application of cognitive therapy through play therapy for children aged 3-5 years is a solution in improving children's cognitive. By doing play therapy aims to improve the cognitive and development of children. After the implementation of play therapy results in children's ability to think cognitively through washing hands, guessing pictures and coloring pictures. Keywords: Therapy, Cognitive, Play 3-5 Years Old
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Hosokawa, K., H. Owashi, K. Yoshizawa, M. Yoshikoshi, and T. Takahashi. "Improvement of Picture Quality in Variable Play of D-2 VTR: Field Conversion System Using Motion Adaptive Signal Processing." IEEE Translation Journal on Magnetics in Japan 8, no. 9 (September 1993): 638–43. http://dx.doi.org/10.1109/tjmj.1993.4565710.
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Nguyen The, Cuong, and Dmitry Shashev. "Methods and Algorithms for Detecting Objects in Video Files." MATEC Web of Conferences 155 (2018): 01016. http://dx.doi.org/10.1051/matecconf/201815501016.
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Video files are files that store motion pictures and sounds like in real life. In today's world, the need for automated processing of information in video files is increasing. Automated processing of information has a wide range of application including office/home surveillance cameras, traffic control, sports applications, remote object detection, and others. In particular, detection and tracking of object movement in video file plays an important role. This article describes the methods of detecting objects in video files. Today, this problem in the field of computer vision is being studied worldwide.
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Verhoeven, Deb. "Visualising data in digital cinema studies." Alphaville: Journal of Film and Screen Media, no. 11 (August 17, 2016): 92–104. http://dx.doi.org/10.33178/alpha.11.06.
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This article examines the critical role visualisation plays for digital cinema studies and proposes that cinema studies has an equally critical role to play in evaluating and developing visualisation methods. The article reflects on work undertaken in the Kinomatics Project, a multidisciplinary study that explores, analyses and visualises the industrial geometry of motion pictures and which is one of the first “big data” studies of contemporary cultural diffusion. Its examination of global film flow rests on a large dataset of showtime information comprising more than 330 million records that describe every film screening in forty-eight countries over a thirtymonth period as well as additional aggregated box-office data.
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McEwan, Paul, Gwendolyn Waltz, and Peter P. Reed. "Review Articles: D.W. Griffith's the Birth of a Nation: A History of ‘The Most Controversial Motion Picture of All Time.’, Griffith in Context: A Multimedia Exploration of the Birth of a Nation (CD-ROM), the Birth of a Nation, the Griffith Project., Biograph Shorts., Jim Crow, American: Selected Songs and Plays, Slavery and Sentiment on the American Stage, 1787–1861: Lifting the Veil of Black." Nineteenth Century Theatre and Film 37, no. 1 (May 2010): 68–87. http://dx.doi.org/10.7227/nctf.37.1.9.
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Kaczmarek, Jerzy. "Visual sociological research using film and video, on the example of urban studies." Acta Universitatis Lodziensis. Folia Sociologica, no. 73 (June 30, 2020): 5–19. http://dx.doi.org/10.18778/0208-600x.73.01.
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The use of film and video in sociological research, or social sciences in general, has a long and well-established tradition. Motion pictures have, on the one hand, been the object of analysis, as in the case of sociology of film, and, on the other, they have been used as a research tool. Moreover, films can be scientific statements in their own right, as is the case with sociological film.
The use of visual methods based on both still and moving pictures works very well for exploring the physical and social space of the city. The article looks at ways of using films and the actual process of obtaining film data in sociological research. Works featuring urban themes will be considered as special cases to illustrate the author’s reflections. It is noteworthy that early cinema already showed urban space, as exemplified in the films by the Lumière brothers who, incidentally, treated their motion pictures primarily as a scientific tool.
City-related topics appear in research by film sociologists who analysed films featuring urban themes, among other things. Later, sociologists themselves began to use cameras in their studies and teaching. One way of using a camera for these purposes is simply to record observations of certain places and people’s behaviour. These video recordings are subsequently analysed, applying various methods developed in the field of sociology and other sciences. Another technique, well-suited for exploring urban space, is a mobile camera, used for example for video tours, as introduced by Sarah Pink. And, finally, sociological film focusing on the city plays a vital role in social research.
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Orlova, Vasilissa Vladislavovna. "The transformation of female images in the dramaturgy of the 20th century by the example of A. Simukov's plays." Philology. Issues of Theory and Practice 17, no. 7 (July 22, 2024): 2202–9. http://dx.doi.org/10.30853/phil20240310.
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The purpose of the study is to show how the female image has changed in the drama of the 20th century on the example of the work of the Soviet playwright, screenwriter of animated films and motion pictures, teacher of the Gorky Literary Institute and literary teacher A. Vampilov A. Simukov, whose years of creativity span more than half a century. In the article, through a system of end-to-end and archetypal images, a historical and literary excursion is conducted, revealing the prerequisites for creating the image of a new woman in the post-revolutionary period and its subsequent development. Special attention is paid to the author's style of A. Simukov and his contribution to the development of female images in Soviet drama. The scientific novelty of the study lies in the fact that for the first time A. Simukov's plays of different years devoted to the women's issue were comprehensively studied, and it is open to the reader that the playwright, starting with the first works, placed a demiurgic heroine in the space of comedy and tried to humanize her. The results of the study show that A. Simukov reflected in his work the changes that occurred in connection with the women's issue in the public consciousness, and in the psychologization of images he was in many ways the forerunner of the new wave playwrights.
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Shesha, Lamia Saud, and Nadia Yusuf. "The Socio-economic Potential of the Emerging Film Industry in Saudi Arabia." European Journal of Sustainable Development 10, no. 1 (February 1, 2021): 239. http://dx.doi.org/10.14207/ejsd.2021.v10n1p239.
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The Kingdom of Saudi Arabia transformed from a developing Middle Eastern nation into a regional power with ambitious projects in a variety of sectors. In this framework, the government proceeded to legalize cinemas in 2018, with an unprecedented step of issuing seven licenses for major cinema operating businesses. All of the prominent steps designed to promote the film industry align with the broader concept of expanding Saudi Arabia’s cultural and economic boundaries by adopting a path towards modernization and diversification. As the study seeks to investigate the social and economic prospects of the newly-established motion picture sector in the Kingdom of Saudi Arabia, the review is based on the recent commitments and current plans by Saudi authorities and associated organizations. From the socio-economic perspective, the decision to lift the ban on theatres is a crucial milestone, allowing the country to strengthen its entertainment sector. Despite the diversity of suggested strategic plans, the consensus of the Saudi authorities is to stimulate both local and foreign businesses seeking to open new cinemas in Riyadh, Jeddah, and other cities.
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Camprubi, Raquel, and Núria Galí. "Tell Me the Story: Film-themed Guided Tours in London." Tourism Review International 26, no. 4 (December 19, 2022): 353–71. http://dx.doi.org/10.3727/154427222x16438247292418.
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Destinations are constantly searching for new ways to create new products in order to attract visitors. In this context, film-themed guided tours have generated additional attractiveness for screened locations in motion pictures. Previous research has recognized the relevance of guide's performance-role on guided tours. Nevertheless, little attention has been paid to the role storytelling plays in themed tours. Therefore, this article aims to examine how storytelling takes place in film-themed guided tours and which are the factors that influence it. By means of naturalistic participant observation and an inductive thematic analysis, three different film-themed guided tours in London are studied. Findings reveal five influential factors (story, guide's background, guide's skills, support material, and visitors) that offer deeper insights into storytelling in film-themed tours. Future research and managerial implications of the research are also provided.
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Shirinova, Mekhrigiyo, Marifat Rajabova, Zilola Amonova, Hilola Safarova, and Rustambek Qo’ldoshev. "The language of Uzbek films of the independence period in the mirror of morphological standards." E3S Web of Conferences 538 (2024): 05016. http://dx.doi.org/10.1051/e3sconf/202453805016.
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In the article, the language of some Uzbek films shot during the period of independence was selected as a research object and examined from the aspect of morphological norms. During the inspection, it was found that the language of the films also needs to be checked in terms of morphological standards. Both normative and non-normative cases of morphological means were observed in the language of motion pictures. The conclusions based on the observations were presented in diagrams and tables. It was noted that the morphological norm, like other literary language norms, is important in the formation and development of any literary language. It was proven based on examples that the language of movies plays a leading role in this. Conclusions were given that the future elimination of the shortcomings indicated in the examples can contribute to the development of literary language.
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Ioraa, Jacob Shimrumun. "Acting in Nigerian Video Films: A Critique of Lancelot Oduwa Imasuen’s Invasion 1897." QISTINA: Jurnal Multidisiplin Indonesia 1, no. 2 (December 25, 2022): 64–72. http://dx.doi.org/10.57235/qistina.v1i2.206.
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Acting plays a crucial function in the art of motion pictures. The art advance from making the audience participate in the director’s fantasy and take it as actuality. Actors are the most indelible party in a film. It is a fact that people and not technology make film as a form to express the society we live in. A unique act of art acting cannot just be faked. An actor cannot give anything out if the actor has nothing inside. In this paper, we will examine the concept of acting and the role it plays in film. We will then examine it within the context of method acting in Lancelot Oduwa Imasuen’s Invasion 1897 (2014) in order to identify and expose the slopping acting of the white cast. No doubt, the director’s casting is representational by establishing the identity of the actors of the period of the Benin Kingdom over a hundred years ago. Taking note of the above factor, this paper strives to throw the firework on the director as the master craftsman who casts his actor and is the guiding force that make all the decisions. We will then tender hints or clues towards the best bib to harness the actors of period characters by nourishing and nurturing to give a spruce acting.
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Lei, Hanlun, Jian Li, Xiumin Huang, and Muzi Li. "The Von Zeipel–Lidov–Kozai Effect inside Mean Motion Resonances with Applications to Trans-Neptunian Objects." Astronomical Journal 164, no. 3 (August 2, 2022): 74. http://dx.doi.org/10.3847/1538-3881/ac7c6a.
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Abstract Secular dynamics inside mean motion resonances (MMRs) plays an essential role in governing the dynamical structure of the trans-Neptunian region and sculpting the orbital distribution of trans-Neptunian objects (TNOs). In this study, semianalytical developments are made to explore the von Zeipel–Lidov–Kozai resonance inside MMRs. To this end, a semi-secular model is formulated from averaging theory and then a single-degree-of-freedom integrable model is achieved based on the adiabatic invariance approximation. In particular, we introduce a modified adiabatic invariant, which is continuous around the separatrices of MMRs. During long-term evolution, both the resonant Hamiltonian and the adiabatic invariant remain unchanged, thus phase portraits can be produced by plotting level curves of the adiabatic invariant with a given Hamiltonian. The phase portraits provide global pictures to predict long-term behaviors of the eccentricity, inclination, and argument of pericenter. Applications to some representative TNOs inside MMRs (2018 VO137, 2005 SD278, 2015 PD312, Pluto, 2004 HA79, 1996 TR66, and 2014 SR373) show good agreements between the numerically propagated trajectories under the full N-body model and the level curves arising in phase portraits. Interestingly, 2018 VO137 and 2005 SD278 exhibit switching behaviors during their long-term evolution and currently they are inside 2:5 MMR with Neptune.
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Hutcheson, Jamie L. "An Innovative Strategy to Improve Family–Infant Bonding." Neonatal Network 34, no. 3 (2015): 189–91. http://dx.doi.org/10.1891/0730-0832.34.3.189.
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ABSTRACTTo improve family–infant bonding while newborns were separated from their parents, work began to develop a new Childbirth Center policy to guide staff in using Apple’s FaceTime application with patients. Multidisciplinary meetings were held to obtain consent for the use of FaceTime and to protect patient information. We acquired two iPads and the support needed for updates. The staff was educated, and implementation began in January, 2014.This program improved bonding as evidenced by feedback received from the parents who utilized it. Several parents commented on how much they preferred seeing images of their babies in motion breathing and crying instead of just still pictures. Physicians also used FaceTime while talking with parents about plans of care. Since our implementation, we have utilized FaceTime with 46 infants to impact bonding in our Special Care Nursery. This process enhances the delivery of relationship-based care with our patients.
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Nielsen, Gunhild Øeby. "De danske runestens oprindelige plads." Kuml 54, no. 54 (October 20, 2005): 121–44. http://dx.doi.org/10.7146/kuml.v54i54.97313.
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The original location of the Danish rune stones The rune stones have always constituted an important source concerning the Viking Age. However, from the establishment of the humanities and the empirical specialisation in the 19th century until c. 1980, the inscriptions have been the main focus. Recently, a more overall, interdisciplinary approach has been adapted in the study of the rune stones. And whereas the inscriptions are the main source for the philologists, landscape archaeology is most suited for the study of the original location of the rune stones.This article presents aspects concerning the original location of the Danish rune stones. The material is presented using two key words, which the author finds central to the attempt to pin down what was important to that age, namely monumentality, and visibility. After that she discusses the possible relation between Danish rune stones and special sites, primarily thing sites, burial sites, and large farms. The choice of these particular categories are based on a comparison with Swedish conditions. The treatment of the question about the association with special sites may be seen as a movement from the actual source material to the mental landscape of the time.Rather more than 200 rune and picture stones are known from Viking Age Denmark, i.e. the present Denmark and Southern Schleswig, Scania, and Halland, but exclusive Bornholm (Fig. 1). Only twelve of these are still in their assumed original location: The Ø. Løgum-stone in South Jutland (DR 15), and the Färlöv-stone in Scania, both erected during the Early Viking Age; the Glavendrup-stone (DR 209) erected on Northwest Funen during the first part of the 10th century; and the following from the time between c.950 and 1050 – the time span in which most rune stones were erected in Denmark. In Jutland, these are Bække 2 (DR 30), Randbøl (DR 40), Jelling 2 (DR 42), and Sjellebro; and in Scania: Fuglie 1 (DR 259), V. Karaby (DR 321), V. Strö 1 and 2 (DR 334 and 335), and Ö. Vemmenhög (DR 268). Add to these the Malt-stone, originally located by the Kongeå River; and the Snoldelevstone (DR 248) on East Sealand, the original locations of which are known, albeit they are now in the Sønderskov Museum and the National Museum, respectively. In the case of another 64 rune stones, the original location may be pointed out with more or less certainty and precision. These 78 rune stones, about which we have some – more or less precise - information (as opposed to a guessed location), thus make up our her source material.To summarize, the material unambiguously points towards monumentality, visibility, and exposure having been the decisive factors to the rune stone erectors when choosing a location for their monument. The connection with large mounds, stone settings, bridges, and – as is the case with a couple of later stones – stone churches (Lund 2, DR 315 and Nr. Åsum, DR 347) is marked, as is the proximity to what is supposed to be long road stretches and communication points. Also, older monuments such as burial mounds and rock carvings seem to have constituted important links to the past, to the ancestors, and to the tradition. Both the Glavendrup- monument, Klebæk Høje with the Bække-stone 2, and the ship setting in Jelling involved older mounds within the newly established monument, just as the new Christian monument of Harald Bluetooth combined tradition and renewal in a sophisticated manner.At the same time, it is characteristic that the rune stones – and monuments altogether – carried a message meant for the posterity, which was the whole idea behind making them. The material used for the rune stones – granite – symbolises constancy, if anything; the use of inscriptions is another way of securing against oblivion, and as a third and further emphasis of the historical character, the memory inscriptions were often followed by a memory formula (for instance Randbøl DR 40: May these runes for Thorgun live long) or a curse protecting the monument. This very preserving quality of the rune stones – and the motion towards a society with a written language – may have been the seed of the rune stones being increasingly used as a form of legal documents in connection with inheritance, boundaries, etc. Both aspects are known to a limited extent from Danish rune stones (such as the mentioned Gunderup 1), and to a larger degree within the late Norwegian and Swedish rune stone material. This function may also have been attached to the thing sites, where public and binding declarations were made.Not surprisingly, when encircling the message of the rune stones, the preservation of the memorial for the posterity is central. That is its explicit message. Apart from this, the very act of erecting a stone and the person or persons behind this, were essential to the custom. The social act of erecting a stone in memory of a deceased reflects pride, honour, and duty. The location of the stone stresses the fact that visibility and publicity and the coupling of the past and the future were decisive factors to the or Viking Age humans who were looking for a suitable location for their rune stone.Gunhild Øeby NielsenInstitut for Antropologi, Arkæologi ogLingvistik, Aarhus UniversitetTranslated by Annette Lerche Trolle
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Barnes, Heather L. "Digital Curation and Contemporary Documentary Filmmaking." Preservation, Digital Technology & Culture 51, no. 4 (December 1, 2022): 141–54. http://dx.doi.org/10.1515/pdtc-2022-0021.
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Abstract Documentary films have evolved considerably since 1922s Nanook of the North. Fans of nonfiction now stream multi-episode documentaries on platforms like Netflix or catch a feature at one of many documentary-centered film festivals around the world. Inexpensive video cameras and internet distribution have expanded the documentary film universe exponentially. From 1-min films to feature-length theater releases, moviegoers around the world have embraced this diverse and growing genre. To the benefit of aspiring filmmakers, documentaries can now be filmed on a wide array of digital video devices, including smartphones, and edited inexpensively. Given this abundance, it may seem counterintuitive that, from a preservation perspective, the documentary film genre faces substantial risks. Research indicates that independent filmmakers lack access to resources that would ensure the long-term stewardship of their works (Academy of Motion Picture Arts and Sciences 2012). This research project examines documentary film production through the lens of digital curation. It describes filmmakers’ data practices and proposes a data curation model designed to guide filmmakers and film archives in developing data management plans similar to those currently used by researchers in the sciences. The proposed data curation model reflects the influence of the growing research data management field and integrates components related to digital storage, copyright, publishing, context, and file organization.
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E.M., Livshits, and Petrov V.I. "Convective Phenomenes in the Context of Meso-β-scale Convective Structures." Journal of Atmospheric Science Research 7, no. 3 (May 31, 2024): 1–38. http://dx.doi.org/10.30564/jasr.v7i3.6278.
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This review article presents the results of radar studies of convective phenomena in Moldavia and the North Caucasus using Eulerian (ECS) and Lagrangian (LCS) coordinate systems. Application of the Lagrangian approach allowed us to exclude the influence of the tropospheric displacement and to obtain integral grid patterns of thunderstorm-hail processes. These structures are especially well manifested at small wind shears (up to 1 m/sec/km). At large shears, the mesh structures are transformed predominantly into linear structures. The methodology for obtaining integral pictures of radio echoes of thunderstorm processes is described. Intersections of linear elements, which we call faces, occur at nodes. The latter plays a particularly important role in the dynamics and kinematics of convective storms. The latter play a particularly important role in the dynamics and kinematics of convective storms. The development of storms occurs along the facets and at the nodes of meso-β-scale convective structures (MMCS), which explains the mechanisms of splitting and merging of storms: in the first case the facets diverge, in the second case they converge. The relations of motion vectors for different types of storms are obtained. It is shown that the direction of the radio echo canopy coincides with the storm motion trajectory; the evolution vector (propagation) for the most powerful storms deviates from the storm displacement direction by 80°–135°. The structure of the updated band within which the Flanking Line is formed for supercells and multicells is studied. Mnemonic rules have been derived that allow one to infer from instantaneous patterns of anvil orientation and the mutual location of storms whether they are converging or diverging, and to identify left- or right-moving storms. A hypothesis on the internal structure of the cold front of the 2nd kind is stated. The main conclusion of the work is that the evolution of storms is determined by the configuration of meso-β-scale convective structures. This explains various convective phenomena from unified positions. The results are applicable in works on modification of convective cloudiness, for ultra-short-term forecasts of dangerous phenomena, storm warnings of the population, rescue services, etc.
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Kamenieva, Anna. "Stylistic features of the choral concerto “Witchery songs” by M. Shukh." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 55, no. 55 (November 20, 2019): 122–35. http://dx.doi.org/10.34064/khnum1-55.09.
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Background. The current paper provides an intonation and dramaturgical analysis of the choral concerto “Witchery Songs” by a contemporary Ukrainian composer M. Shukh (1952–2018). It reveals stylistic features of the late composition, presents an argument for its affiliation to the meditative sphere enriched with new stylistics, which can be seen in the semantics of contemplation, philosophical and psychological focus (the first movement), the concept of “Light” (the second miniature) as well as composure and blissful sleep (final). Objectives. To reveal stylistic features of the choral concert “Witchery songs” in order to understand the multidimensionality of the late style of M. Shukh (2010). Methods. The methodology of the research is based on the genre, stylistic, structurally functional, intonation-dramaturgicaland semantic scientific approaches. Results. The structure of the cycle includes three miniatures created in different years (1993, 2006 and 2009). The composer combined them into a new author’s concept: the unifier was the image of the author’s contemplation, meditation on various images of O. Kryvoruchko’s poetry, which was related to his spiritual universe. The program title of the cycle “Witchery Songs” chosen by the author is general, borrowed from the dramatic imaginary sphere of the first movement. The first movement “Practising witchery on a Gray Seagull” embodies the image of a seagull appearing in different forms: as a white bird, a symbol of purity, and the grey one, which had been grief-stricken and died, leaving behind baby seagulls. The poetic text is abundant with symbols of death (“black water”, “bitter mountain”), and vice versa, with signs that symbolize hope: “clear field”, “pure wonder”, “white grasses”. At the same time, the name of the movement, its folklore bias and content also point to the image of witchery, which is embodied by M. Schukh in thematism through meditation (means of tempo and timbre dramaturgy, “dark” modal and tonal focus). The metrical organization of the movement attracts attention. If the beginning of the introduction is presented in the 4/4 time, then in the enunciation of the main theme (bar 7) the composer uses an odd meter of 11/8 with the subsequent change to 10/8, 5/8, then 3/4. The frequent change of the metric rhythm indicates the relation of the musical stylistics of this theme to the Ukrainian folk-song tradition. The second movement “Night” contains no specific symbolism of practising witchery: the semantics of the night includes rather a genre model of a nocturne with its onomatopoeia (breeze, bells, stars, moon). A beautiful pattern is perceived as an intermezzo between the dramatic text of the cycle exposition and the celestial lullaby, which elevates the earth’s feelings to the Light. The movement reveals a magical picture of nightlife. The composer embodied this contemplative image by creating light meditation. Major colour, quiet dynamics, slow tempo, and chamber-like use of musical expressiveness all contribute to the basic essence of a meditative state – calmness and relaxation. Meditative onomatopoeia interfuses the whole movement – a light breeze, lighting up the stars. The image of the bell is found in all parts: the first soprano part has a poetic text – “the wind tinkles “, the alto one has mormorando, a singing technique, the second sopranos – syllables “din, don” with sonorous singing of the last “n”. In this part the composer often applies the techniques of free development – glissando, tenuto, rhythmic variety – triples, long delays. In such a way the artist sought to “let the performers go”, creating a meditative image of night silence. In the third movement, “Angelic lullaby,” meditative semantics is multiplied, since the genre of lullaby, like meditation, has a calming effect. Thanks to its name the composer gave the song a higher, deeper meaning. Musically, the composer filled the imagery of the movement with an incredibly expressive theme, onomatopoeic techniques similar to the previous movements: imitation of a breeze, hum of birds, stream overflows. Basically, the theme of the movement unfolds with the help of a spiral-like motion technique, the sound of which contributes to the lulling of a baby to sleep. The rhythmic basis of the theme is coloured by the intonational ostinato. The metro-rhythmic structure plays a special role in the dramaturgy of the movement: the composer often changes time signature, a large number of syncopescolour the musical texture, adding depth and at the same time lightness to the texture, and making the choir sound elusively charming. Conclusions. The semantics of the work is formed by stylistic synthesis (folk elements of the musical language embedded in the poetic text of O. Kryvoruchko; sacral signs – bells, angelic lullabies and onomatopoeia), emphasized at the soundintonational level. Taking into account the program subtitle (Practising witchery), the work, at first glance, seems to be a “cognitive dissonance” in the context of spiritual themes predominance in M. Schukh’s music. However, in the original concept of the composition, the composer clarifies for the thoughtful listener his idea – “modulation” way from mythopoetic (earthy) magic to the sacredness of the spiritual type (blissful sleep). The use of folklore stylistics shows that the artist continued the national tradition of O. Koshits, L. Dychko, Ye. Stankovich and others in the choral genre. Such a genre-stylistic decision is today perceived as an actualization of the appeal to traditional folk art, through the lens of philosophicalreligious poetics of author’s thinking.
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Callahan, Cory, and Janie Hubbard. "Protest and prayer: the Jewish and Catholic presence at Selma." Social Studies Research and Practice 14, no. 2 (September 9, 2019): 238–54. http://dx.doi.org/10.1108/ssrp-02-2019-0008.
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Purpose The recent motion picture Selma infused fresh interest – and controversy – into the political and emotional peak of America’s modern Civil Rights Movement. Ava DuVernay, the film’s director, faced criticism for her exclusion of the Jewish presence from the movie’s portrayal of the March 21, 1965 Voting Rights March. The recent attention presents a teachable moment and new energy for thinking deeply about this pivotal event in America’s past. The paper aims to discuss these issues. Design/methodology/approach The authors provide valuable historical domain knowledge surrounding the 1965 Voting Rights March, present the requisite plans and curriculum resources for implementing wise-practice instructional strategies, and explore the rationale underpinning the inquiry-based activities. Findings The authors share innovative approaches, at the secondary and elementary levels, integrating historical domain knowledge with renewed interest in the 1965 Voting Rights March to create powerful teaching-and-learning experiences. The approaches are innovative because they contain dynamic curriculum materials and reflect wise-practice use of historical photographs within the College, Career, and Civic Life (C3) Framework for Social Studies State Standards. Practical implications The approaches shared here are centered around questioning, a key to student learning. The lessons feature the development of questions, both from teachers and students, as classes work collaboratively to interpret a potentially powerful historical photograph and use historical events to practice thinking deeply about important topics. Originality/value Social studies classrooms are ideal educational spaces to develop and practice the analytical skills and dispositions students need to meet the challenge of critiquing visual information that concerns complex public issues, such as the role of religion in society.
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Isha Mittal. "Use of Women’s Beauty and Makeup in Battle: Unveiling Stereotypes and Strength." Creative Saplings 2, no. 09 (December 26, 2023): 35–45. http://dx.doi.org/10.56062/gtrs.2023.2.09.462.
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Since the earliest writings of Bharatmuni's Natyashastra, an essential text in Indian aesthetics written more than two thousand years ago, women have been essentially connected with beauty and makeup. Shringararasa was mostly associated with women in the Rasa philosophy. This link has persisted and can even be seen in current Hollywood productions. It is interesting how beauty has been portrayed in two distinct manners throughout various historical works of literature, films, and books. On one hand, it has supported stereotypes like child marriage and placed restrictions on women's access to higher education and the workforce. On the other side, beauty has the ability to oppose patriarchy and, in a larger sense, be a tool for engaging in the struggle against oppression and lending support to diverse freedom movements. When faced with these obstacles, women stand out as heroes because they actively destroy patriarchal repressive institutions. Numerous narratives, motion pictures, and stage plays—both fiction and non-fiction—emphasize the extraordinary resilience of women and demonstrate how they employ cosmetics and beauty not just as a means of self-expression but also as instruments of adaptation in feminist movements and combat zones. These tales capture the essence of Goddess Durga, who stands for fortitude and tenacity. This paper analyses both perspectives of beauty, citing various texts, movies, novels, and other media as sources for its arguments. Let us continue the teachings of history, mythology, and film by traversing the complexity of beauty, strength, and resistance. Let us raise the voices of those who question conventions, celebrate diversity, and collaborate to create a society where every individual, regardless of gender, may thrive and contribute to the prosperity of a genuinely inclusive and just world.
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Rakhmanov, S. P., and V. V. Povorotniy. "System dynamics of a pipe pilger CRM working stand." Ferrous Metallurgy. Bulletin of Scientific , Technical and Economic Information 75, no. 6 (July 26, 2019): 725–34. http://dx.doi.org/10.32339/0135-5910-2019-6-725-734.
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Efficiency of the pilger cold rolling of pipes process realization can be increased both by perfection of the rolling process and by a selection of rational parameters of the base technological equipment and the mills functioning regimes. Particular attention should be paid to the increase of reliability of functioning, increase of high-speed and productivity of pipe cold rolling mills (CRMs). Results of the system analysis of dynamics of pipe CRM working stand of various designs presented. A calculation algorithm elaborated and differential equations of the pipe CRM working stand obtained. Pictures of dynamic motions for selected pipe CRM working stand obtained. The analysis of theoretical studies showed, that for stabilization of the stand base elements it is necessary to increase the rigidity of the working stand correspondent elements. It was shown, that the stand rigidity increase reached by arrangement longitudinal bridge of variable thickness, connecting the internal and external structure’ casing. An optimal design roller actuator elaborated. Implementation of the actuator will enable to accomplish the technological process more effectively, since the unit’ elements can adopt all possible inaccuracy of the working stand manufacturing and assembling, as well as housing post deformation. It was ascertained, that the roller actuator of optimal design, above all, plays a role of an emergency gear of the pipe CRM working stand. The studies revealed that increase of productivity and quality of the manufactured products reached mainly by application of the working stand of rational design at the pipe CRM. The industrial running the modified variant of working stand design during eight years to roll hard-deformed steels and alloys confirm its high efficiency at production of precision high quality pipes.
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Rusinova, Elena A., and Elizaveta M. Khabchuk. "The Influence of Traditions of Culture on the Techniques of Sound Directing in Japanese Cinema. Speech and Pause." Journal of Flm Arts and Film Studies 10, no. 2 (June 15, 2018): 74–84. http://dx.doi.org/10.17816/vgik10274-84.
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The article (the end of the publication, beginning: No 1 (35), 2018) analyzes the sound features of Japanese motion pictures created in the second half of the 20th - beginning of the 21st centuries, on the example of the speech expressiveness of screen actors. The peculiarity of the acting game for a long time was one of the obstacles to understanding and accepting Japanese films by the Western audience. The approach of Japanese film actors to taking roles was based on traditions of the theatrical performance. However, theatrical techniques organically entered the artistic structure and became distinctive features of the genre of dzidaigaki (costume-historical film), especially loved by the audience. The main vehicle in the sound design of such films was the actor's speech using an ancient language, differing from modern Japanese by the presence of additional endings and pronouns. The mode of stylization of speech, associated with a special attention to detail, brings the audience closer to the time displayed on screen, adding realism in the perception of the screen event. The article presents stylistic, phonetic, semantic features of actor's speech in Japanese films not only in costume and historical genre, but also in fantasy and animation films. In the latter two genres, the onomatopoeia (sound imaging) plays an important role in creating the sound design of the film, which is so common in Japanese colloquial and written speech that can also be attributed to a peculiar Japanese cultural tradition. Analysis of sound designs of the Japanese films, including the use of onomatopoeia, is the novelty of the work presented. The articles topicality is that analyzing another view of the world can broaden the horizon of seeing a specific creative task that is not even related to the Japanese theme, while opening up new creative opportunities. In addition, the material of the article in some extent fills a gap in Russian cinema studies, related to the theme of sound in Japanese cinema.
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Ruby Dhar, Arun Kumar, and Subhradip Karmakar. "Smart wearable devices for real-time health monitoring." Asian Journal of Medical Sciences 14, no. 12 (December 1, 2023): 1–3. http://dx.doi.org/10.3126/ajms.v14i12.58664.
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Smartwatches have emerged as powerful tools for health monitoring in recent years. These wearable devices combine advanced technology with portability, enabling individuals to track various aspects of their health and well-being conveniently. Heart rate monitoring has several advantages. Many smartwatches are equipped with optical heart rate sensors that continuously monitor a user’s heart rate. This feature provides real-time data on heart rate variations, which can be crucial for identifying irregularities and assessing overall cardiovascular health. Activity tracking: Smartwatches often include accelerometers and gyroscopes that track physical activities such as steps taken, distance traveled, and calories burned. This information can aid in setting and achieving fitness goals. Sleep tracking:Some smartwatches offer sleep tracking features, recording sleep duration, quality, and patterns. These data help users understand their sleep habits and make improvements for better rest. Global positioning system (GPS) and location tracking: Integrated GPS allows users to track their outdoor activities accurately, including running and cycling. This feature not only measures performance but also enhances safety during workouts. Stress monitoring: Certain smartwatches include tools that measure stress levels through heart rate variability analysis. Users can learn to manage stress more effectively based on these data. Electrocardiogram (ECG) and blood pressure monitoring:High-end smartwatches may include ECG and blood pressure monitoring capabilities. These features are particularly useful for individuals with heart conditions or hypertension. Notifications and alerts: Smartwatches can deliver notifications and alerts related to health goals, reminders to move, medication schedules, and emergencies. This functionality enhances user engagement and timely interventions. BENEFITS OF SMARTWATCHES IN HEALTH MONITORINGUnlike periodic doctor visits, smartwatches enable continuous health monitoring. Users can track their vital signs and activities throughout the day, providing a more comprehensive picture of their health. Smartwatches empower individuals to take control of their health. Users can make informed decisions about their lifestyle, exercise, and diet by providing real-time data. Smartwatches equipped with ECG and heart rate monitoring can detect irregularities and abnormalities early on. This early detection can be lifesaving for individuals at risk of heart-related conditions. Activity tracking and goal-setting features motivate users to engage in physical activities and maintain a healthier lifestyle. Achieving fitness goals can lead to increased motivation and adherence to healthier habits. Health data collected by smartwatches can be used to tailor fitness and wellness plans to an individual’s specific needs. This personalized approach can lead to more effective health improvements. LIMITATIONS AND CONSIDERATIONSAccuracy: While smartwatches offer valuable health data, their accuracy may vary. Factors such as skin type,device placement, and motion can affect the precision of measurements. Battery life: Continuous health monitoring can drain a smartwatch’s battery quickly. Users may need to recharge their devices frequently, potentially limiting the monitoring duration. Privacy and data security: Storing sensitive health data on a smartwatch raise concerns about privacy and data security. Manufacturers must implement robust security measures to protect users’ information. User reliance: There is a risk of over-reliance on smartwatches for health information. Users should be encouraged to consult health-care professionals for a comprehensive health assessment. CONCLUSIONSmartwatches have become versatile tools for health monitoring, offering a range of features that empower users to track and improve their well-being. While they have numerous benefits, users should know their limitations and use them as complementary tools in their health-care journey. Manufacturers and health-care providers play a critical role in ensuring the accuracy and security of the health data collected by these devices.
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Pylypchuk, Oleh, Oleh Strelko, and Yuliia Berdnychenko. "PREFACE." History of science and technology 12, no. 2 (December 16, 2022): 194–96. http://dx.doi.org/10.32703/2415-7422-2022-12-2-194-196.
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The issue of the journal begins with an article on French sinology. French sinology takes a special place in the history of the sinological studies development. It was France that became the first country where the transformation of missionary sinology, which was common among a limited circle of researchers (mainly in a religious sphere), into the academic scientific discipline, which had already been taught and studied at a professional level in academic institutions, occurred. The Parisian type of sinology used to dominate the entire world for a long time, including such powerful centers of Chinese studies as Germany, Great Britain, the USA, and China itself. In order to form a complete picture of sinology development in France, the authors singled out and analyzed three historical periods covering the entire history of Chinese studies development, starting from its birth and flourishment to the process of stagnation. Modern scientific communication traditionally uses visual narratives, such as comics, for education, presentation of scientific achievements to a mass audience, and as an object of research. In the article by Oksana Hudoshnyk and Oleksandr P. Krupskyi, offers a three-level characterization of the interaction of comic culture and science in a diachronic aspect. Attention is focused not only on the chronological stages of these intersections, the expression of the specifics of the interaction is offered against the background of scientific and public discussions that accompany the comics–science dialogue to this day. Emphasis is placed on the unique phenomenon of the simultaneous concordance of various stages of the dialogue between comics and science, on the prolonged replication of successful inventions into modern experience, and the active testing of known narratives at new levels of a scientific presentation. The next paper assesses the topicality of Vernadsky's concept of the noosphere, coined over almost twenty years starting in the early 20th century. Emphasizing the uniqueness of Vernadsky's concept of the noosphere as the transformation of the biosphere by a man using reason, we concentrate on the assessment of the utopian or realistic nature of his vision of the future of humanity. Based on the philosophical case-studies analysis, it identifies the ideological roots of the noosphere concept, the development of views on the concept in time, the role of reason and scientific thinking, the opinions of its supporters and critics, and Moiseev's related concept of co-evolution. Lectures de Potentia Restitutiva or Of Spring: Explaining the Power of Springing Bodies (1678) is an important book for the history of science. This book is better known for Hooke’s presentation of the law that bears his name. In the article by Isadora Monteiro, seeks to study the Lectures de Potentia Restitutiva once again to better understand Hooke’s thoughts about the rule which bears his name and his conception of gravity, which the author considered a force. Here Hooke’s definitions of body and motion will be presented, as well as his actual objective when he formulated the so-called Hooke’s Law. As we will see, Hooke intended to create a “philosophical scale” to measure the gravitational attraction between bodies. By considering his previous publications, such as An attempt to prove the motion of the Earth from Observations or Micrographia: or some Physiological Descriptions of Minute Bodies, or even unpublished works such as On the inflection of a direct motion into a curve by supervening Attractive principle, it becomes clear that Hooke was already opening a path toward an understanding of gravity before Newton’s Principia (1687) were published. By taking into account the controversy between Isaac Newton and Robert Hooke, we also intend to strengthen the idea that Hooke was an indispensable contributor to the elaboration of a law of universal gravitation. In 1915, the first occupational therapy school was founded by Jane Addams at Hull House (Chicago, USA). In that process, Addams inspired the first generation of occupational therapists, especially Eleanor Clarke Slagle. Thus, in the article by Rodolfo Morrisonseeks to highlight the contribution of Jane Addams to the development of Occupational Therapy through an in-depth bibliographic review, from primary sources. The next article presents the results of a study of the features of biographical and prosopographic materials about famous mathematicians and natural scientists, published in one of the most authoritative journals “Bulletin of Experimental Physics and Elementary Mathematics”, which was published in Kyiv and Odesa during 1886–1917. In fact, the journal was an unofficial periodical printed branch of the Mathematical Department of the Novorossiysk Society of Naturalists. The aim of the next research is to study the policy efforts conducted by the Indonesian government since the beginning of independence in 1945 to present, in advancing science and technology and innovation. A content analysis approach is employed to identify each stipulated regulation in Indonesia in the form of Laws, Government Regulations, Presidential Regulations, Presidential Decrees, and Presidential Instructions. There are 78 regulations in the field of science and technology and innovation that are analyzed. The results of the analysis are described based on the emergence of regulations and institutional implications generated as part of the ecosystem. In the article by Ihor Annienkov, based on the problem-chronological, comparative-historical, historiographical, and source-research methods, as well as the method of actualization, identifies the extent of borrowing foreign design and technological solutions in the Ukrainian Soviet Socialist Republic for projecting electrical machines in the second half of the 1930s, as well as the reasons for the absence of unambiguous information in historiography regarding the existence of this phenomenon in the republic at this chronological stage. The publication provides a general assessment of the quality of scientific support for the processes of creating electrical machines, establishes the ways of fulfilling the scientific-technical borrowings that were studiedand the dynamics of their development, analyzes their role in the growth of the technical level of products of the Ukrainian electrical machine-building branch. In the article by Mykola Ruban and Andrii Fomin, attempts to investigate the historical circumstances of the mastering and development of the industrial production of rolling stock in Ukraine from 1991 to 2021. In the course of the scientific development of the proposed research, materials from mass-circulation newspapers, industry publications of railway transport, as well as technical studies of employees of manufacturing plants were used. The next discusses the conditions and prerequisites for choosing the location of the plant; considers the stage of the establishment (foundation) of the plant; examines the stage of plant construction and equipping it with technological facilities in detail; analyzes the development and establishment of the plant between 1897 and 1914. A brief analysis of locomotive designs produced by the Kharkiv Locomotive Plant from 1897 to 1914 has been made. The article shows the significance of Consultative Congresses of Traction Engineers for the development of railway machinery both at Kharkiv Locomotive Plant and for the entire railway industry. The purpose of next study is to highlight the peculiarities of the development of the Russian aviation industry during the First World War. The focus is on analyzing production programs and matching their quantitative and qualitative parameters to war requirements. Production plans of leading Russian aviation factories as well as qualitative and quantitative parameters of products have been analyzed in the article.
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Buchok, Lianna. "V. Telychko’s “Children’s Album” as an example of the modern tonal image of the world: peculiarities of the musical vocabulary and melodic ideas." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 49, no. 49 (September 15, 2018): 70–84. http://dx.doi.org/10.34064/khnum2-49.05.
Full textAbstract:
Background. The beginning of the development of musical art in Transcarpathia dates back to the end of the nineteenth century and lasts during the first third of the twentieth century. First of all, it was an interest in the genre of choral music (a synthetic genre based on the merging of the Word and Music), which fully corresponded to the enlightened spirit of life of the Transcarpathians under the political conditions of that time. And only in the second half of the twentieth century intensive blossoming of the varieties of instrumental (kind of «pure») music with its conceptually most complex types of creative thinking and adaptation to the methods of style transformation takes place. The piano music, one of the most abstract forms of the creative process, has revealed its peculiarities in this process. However, the researchers virtually never paid attention to piano pieces for children, which are naturally inferior by their practically necessary and didactically appropriate visual simplicity of musical vocabulary to the works of the so-called large genre. In addition, historically, the creative work of Transcarpathian composers has been considered only as a product of a purely regional significance. Therefore, it is important that the piano works of Transcarpathian composers for children should also be considered in the context of such integrity as the Intentional period of the music history, which has been defined as non-classical and at the same time permeated with the idea of global cultural synthesis Objectives. The essence of the tasks and the purpose is to present the "Child Album" by V. Telychko (the first in Transcarpathia sample of the genre of children’s musical album, 2016) as an example of the creation of the modern intonational image of the world - in its associative diversity and intentionality. Methods. A selection of research methods, namely, analytical (analysis and synthesis, induction and deduction, systematization, classification and generalization), comparative, systemic, phenomenological, functional, has been used in view of the holistic approach – in the spirit of spiritual development of the world. In this regard, the interpretive potential of the concepts of the intonational model and the modal nature of musical themes as types of thinking by sound images is considered methodologically appropriate: both purposefully focus attention of the recipient on the sound «body» and the intonational "soul" of the musical matter in the integrity of the creative idea of the work, and also is didactically productive in terms of comprehension of the architectonics of the world of music as a world of musical ideas. Results. V. Telichko’s "Children’s Album" is a cyclic structure of the linear/plot type, where step-by-step compositional and dramaturgical organization of the whole ensures the principle of successive naming of new, but equal in figurative semantic content pieces. At the same time, it will be superfluous to reflect on the fact that the structure of cycles such as "album" is rarely evaluated as such that it is actually "filled in" (for example, with memorable photos or pictures), and only since then its "white" (from alba) of the blank/empty sheets is filled in with the semantics and the logic of placement of fixed events, phenomena, impressions, etc in a certain order. Against the background of such reflection the memory recalls such "albums" of romantics: all of them are based on the logic of the course of a day lived by a child (for example, P. I. Tchaikovsky). V. Telichko’s principle of collecting pieces "into the album" has such a life-justifiable logic – the gradual flow of events of the day, embodied in a child’s only perception of the world and itself. The semantic code of the composer’s plan is referenced in his dedication: "I devote my love to grandchildren Angelina and Anna" - expressing love for grandchildren, admiring their fantasy and energy, caring for the formation of their worldview on a certain system of values (family, native land, diversity of traditions of the countries of the world , historical memory): the pieces "Morning", "My Mother", "Our Grandmother" represent an idea of an ingenuous and happy feeling of a child in the family; "Anna’s Teddy-Bear", "Angelina’s Hobbyhorse" and "Angelina’s Waltz " represent a lively imagination of children, each of them having a favorite game "theme"; the plays "About Transcarpathia", "Kolomyika", "Tropotyanka", "Long road" and "It’s raining" are outlined by the situation of instructive stories of grandfather about the regionally formed traditions of the Transcarpathians, their spirit and uneasy destiny; while the pieces "On Scotland", "On Slovakia" and "On Japan" outline the interests of somewhat different cognitive significance - the intention to comprehend a certain national "otherness", which has its own color of its culture; in the end, "A Lullaby for Anna" creates, so to say, a backlash against the grand finale-prologue, consisting of the pieces "On Austria" (the cultural center of the European musical classicism) and "On Romania" (regionally closest to Transcarpathia country). Another signifying circumstance of the idea and plan of the cycle refers to the types of performances and personification of images, both as members of the family circle and as a certain social unity: in addition to the versions of solo performance, in a considerable number of plays there is ensemble performance in four and six hands; at the same time, each of the parts is composed as a certain texture layer, which in aggregate (duo, terzetto) gives the effect of an "orchestral" score. However, the most important thing is that for the instrumentalist performer, and for the listener or analyst (who is also a "listener"), the "Children’s Album" by V. Telichko is a test of the ability to perceive musical vocabulary in the form of a certain sound form/idea with which it is necessary to have a relationship according to the algorithm of personal identification. On the one hand, in the musical text there is an opportunity to recognize the classical models of musical vocabulary (cantilena, recitation, motility, general forms of motion, signaling, sound illustration); and on the other - due to the constructive interference of the classical techniques of the creation of musical matter (emancipated dissonance, the non-systemic character of the tonality, etc.) the meanings are accumulated. Another important component of the composer’s plan is to introduce a purely methodical (level of methodical reception) task of developing the technology of the game on the piano into the original sound form/idea, which first of all requires a skillful usage of all the fingers. Conclusions. As a research material the "Children’s Album" by a contemporary composer from Transcarpathia, V. Telichko provides several important and mutually perceptible scientific tasks directly related to musicology and pedagogical practice: testing of the theoretically updated analytical apparatus for tracking the intonational field of music and its thoughts and comprehension of the didactically expedient implementation of its results in the educational sphere; in particular, in terms of the prospective guideline for the development of musicality (a high measure of the ability to self-identification with the musical image) and the piano skills of a child musician.
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Buchok, Lianna. "V. Telychko’s “Children’s Album” as an example of the modern tonal image of the world: peculiarities of the musical vocabulary and melodic ideas." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 49, no. 49 (September 15, 2018): 70–84. http://dx.doi.org/10.34064/khnum1-49.05.
Full textAbstract:
Background. The beginning of the development of musical art in Transcarpathia dates back to the end of the nineteenth century and lasts during the first third of the twentieth century. First of all, it was an interest in the genre of choral music (a synthetic genre based on the merging of the Word and Music), which fully corresponded to the enlightened spirit of life of the Transcarpathians under the political conditions of that time. And only in the second half of the twentieth century intensive blossoming of the varieties of instrumental (kind of «pure») music with its conceptually most complex types of creative thinking and adaptation to the methods of style transformation takes place. The piano music, one of the most abstract forms of the creative process, has revealed its peculiarities in this process. However, the researchers virtually never paid attention to piano pieces for children, which are naturally inferior by their practically necessary and didactically appropriate visual simplicity of musical vocabulary to the works of the so-called large genre. In addition, historically, the creative work of Transcarpathian composers has been considered only as a product of a purely regional significance. Therefore, it is important that the piano works of Transcarpathian composers for children should also be considered in the context of such integrity as the Intentional period of the music history, which has been defined as non-classical and at the same time permeated with the idea of global cultural synthesis Objectives. The essence of the tasks and the purpose is to present the "Child Album" by V. Telychko (the first in Transcarpathia sample of the genre of children’s musical album, 2016) as an example of the creation of the modern intonational image of the world - in its associative diversity and intentionality. Methods. A selection of research methods, namely, analytical (analysis and synthesis, induction and deduction, systematization, classification and generalization), comparative, systemic, phenomenological, functional, has been used in view of the holistic approach – in the spirit of spiritual development of the world. In this regard, the interpretive potential of the concepts of the intonational model and the modal nature of musical themes as types of thinking by sound images is considered methodologically appropriate: both purposefully focus attention of the recipient on the sound «body» and the intonational "soul" of the musical matter in the integrity of the creative idea of the work, and also is didactically productive in terms of comprehension of the architectonics of the world of music as a world of musical ideas. Results. V. Telichko’s "Children’s Album" is a cyclic structure of the linear/plot type, where step-by-step compositional and dramaturgical organization of the whole ensures the principle of successive naming of new, but equal in figurative semantic content pieces. At the same time, it will be superfluous to reflect on the fact that the structure of cycles such as "album" is rarely evaluated as such that it is actually "filled in" (for example, with memorable photos or pictures), and only since then its "white" (from alba) of the blank/empty sheets is filled in with the semantics and the logic of placement of fixed events, phenomena, impressions, etc in a certain order. Against the background of such reflection the memory recalls such "albums" of romantics: all of them are based on the logic of the course of a day lived by a child (for example, P. I. Tchaikovsky). V. Telichko’s principle of collecting pieces "into the album" has such a life-justifiable logic – the gradual flow of events of the day, embodied in a child’s only perception of the world and itself. The semantic code of the composer’s plan is referenced in his dedication: "I devote my love to grandchildren Angelina and Anna" - expressing love for grandchildren, admiring their fantasy and energy, caring for the formation of their worldview on a certain system of values (family, native land, diversity of traditions of the countries of the world , historical memory): the pieces "Morning", "My Mother", "Our Grandmother" represent an idea of an ingenuous and happy feeling of a child in the family; "Anna’s Teddy-Bear", "Angelina’s Hobbyhorse" and "Angelina’s Waltz " represent a lively imagination of children, each of them having a favorite game "theme"; the plays "About Transcarpathia", "Kolomyika", "Tropotyanka", "Long road" and "It’s raining" are outlined by the situation of instructive stories of grandfather about the regionally formed traditions of the Transcarpathians, their spirit and uneasy destiny; while the pieces "On Scotland", "On Slovakia" and "On Japan" outline the interests of somewhat different cognitive significance - the intention to comprehend a certain national "otherness", which has its own color of its culture; in the end, "A Lullaby for Anna" creates, so to say, a backlash against the grand finale-prologue, consisting of the pieces "On Austria" (the cultural center of the European musical classicism) and "On Romania" (regionally closest to Transcarpathia country). Another signifying circumstance of the idea and plan of the cycle refers to the types of performances and personification of images, both as members of the family circle and as a certain social unity: in addition to the versions of solo performance, in a considerable number of plays there is ensemble performance in four and six hands; at the same time, each of the parts is composed as a certain texture layer, which in aggregate (duo, terzetto) gives the effect of an "orchestral" score. However, the most important thing is that for the instrumentalist performer, and for the listener or analyst (who is also a "listener"), the "Children’s Album" by V. Telichko is a test of the ability to perceive musical vocabulary in the form of a certain sound form/idea with which it is necessary to have a relationship according to the algorithm of personal identification. On the one hand, in the musical text there is an opportunity to recognize the classical models of musical vocabulary (cantilena, recitation, motility, general forms of motion, signaling, sound illustration); and on the other - due to the constructive interference of the classical techniques of the creation of musical matter (emancipated dissonance, the non-systemic character of the tonality, etc.) the meanings are accumulated. Another important component of the composer’s plan is to introduce a purely methodical (level of methodical reception) task of developing the technology of the game on the piano into the original sound form/idea, which first of all requires a skillful usage of all the fingers. Conclusions. As a research material the "Children’s Album" by a contemporary composer from Transcarpathia, V. Telichko provides several important and mutually perceptible scientific tasks directly related to musicology and pedagogical practice: testing of the theoretically updated analytical apparatus for tracking the intonational field of music and its thoughts and comprehension of the didactically expedient implementation of its results in the educational sphere; in particular, in terms of the prospective guideline for the development of musicality (a high measure of the ability to self-identification with the musical image) and the piano skills of a child musician.