Journal articles on the topic 'Performance art – france'
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Valls-Russell, Janice. "Footsbarn." Cahiers Élisabéthains: A Journal of English Renaissance Studies 96, no. 1 (April 5, 2018): 117–30. http://dx.doi.org/10.1177/0184767818767542.
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This article takes as its starting point the Footsbarn Travelling Theatre’s move from Britain to France in the early 1980s. It argues that this relocated Footsbarn in a political, geocultural and linguistic context that reinforced their idiosyncratic approach to Shakespeare and Molière. Focusing on performances in southern France and drawing on textual and visual archives as well as interviews and spectator-responses, the article offers insights into the ways exposure to non-Anglophone audiences enriched the company’s art forms through exchanges with different cultures, enabling it to elaborate a language of performance that also relocates Shakespeare.
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HAINES, JOHN. "Living troubadours and other recent uses for medieval music." Popular Music 23, no. 2 (May 2004): 133–53. http://dx.doi.org/10.1017/s0261143004000133.
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This essay aims to expand on existing narratives of medieval music performance by exploring recent interpretations of the troubadours. Recent advances in the field of ethnomusicology, popular music and medieval music reception suggest the need to view medieval music performance in ways other than the conventional narrative of early music performance. This article focuses on the troubadours, originally song-makers in the late medieval Midi, or South of France. Based on my interviews with recent ‘living troubadours’ in the United States and France, I present evidence for multifarious musical interpretations of the art de trobar, or medieval troubadour art. Living troubadours under consideration here include Eco-Troubadour Stan Slaughter from Missouri and Occitan rap group Massilia Sound System from Marseille. The latter claim a special distinction as living descendants of the original troubadours; the former views himself as more remotely related to medieval music. And while all the different musicians considered here offer widely contrasting interpretations of the medieval art de trobar, they do have in common certain recent musical influences, along with a view of folk music as an open-ended, and musically flexible category. All of these artists are also united in their belief that the essence of folk song is an urgent message which, though it may range from recycling to anti-centralist politics, consistently controls the musical medium. What the groups considered here have in common with traditional early music groups is their creative use of contemporary influences to evoke for their audience the Middle Ages.
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Järvinen, Hanna. "Historical materiality of performance: On the costumes ofThe Rite of Spring(1913)." Studies in Costume & Performance 5, no. 2 (December 1, 2020): 153–73. http://dx.doi.org/10.1386/scp_00023_1.
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By focusing on surviving costumes of the 1913 production ofThe Rite of Spring, this article asks how a close examination of costumes and their role in historical performance practice can change our understanding of a canonical work of art. It argues for methodological pluralism in examining material remains together with manuscript annotations, images and reviews of the production rarely considered in previous research and, consequentially, for a critical examination of all previous claims, including the so-called reconstruction (1987) ofThe Rite of Spring. Compared with designs and costumes of other productions by the Ballets Russes company, those of the 1913 production explain much of the contradictory ways in which the work figured in discourses relating to art and modernism in France and Russia at the time. Most importantly, the costumes exemplify a particular tradition of making theatre that has been obscured by the prevailing Orientalist view of the Ballets Russes company that is hegemonic in what is claimed to be ‘known’ aboutThe Rite of Springand its reception.
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Radzetskaya, Olga Vladimirovna. "Viola in french music of the first half of the 20th century: performance and pedagogy." Culture. Art. Education, no. 1 (December 26, 2022): 72–79. http://dx.doi.org/10.37816/2949-1762-2022-1-1-72-79.
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The article presents the history of viola performance in the musical art of France in the late XIX –early XX centuries, associated with the formation of the national pedagogical school and the appearance of several famous works of chamber and ensemble repertoire. T. Laforge, P. Monte, A. Kazadezus, L. Bailly, P.-L. Neubert, M. Vieux, in many respects were the initiators of this process, which reflected technical and artistic merits of the instrument in the light of bright cultural transformations of the era, in the variety of ideas and meanings, their realization in the works of modern French composers.
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Marks, Laura U. "Calligraphic Animation: Documenting the Invisible." Animation 6, no. 3 (September 21, 2011): 307–23. http://dx.doi.org/10.1177/1746847711417930.
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Calligraphic animation shifts the locus of documentation from representation to performance, from index to moving trace. Animation is an ideal playing field for the transformative and performative qualities that Arabic writing, especially in the context of Islamic art, has explored for centuries. In Islamic traditions, writing sometimes appears as a document or a manifestation of the invisible. Philosophical and theological implications of text and writing in various Islamic traditions, including mystic sciences of letters, the concept of latency associated with Shi‘a thought, and the performative or talismanic quality of writing, come to inform contemporary artworks. A historical detour shows that Arabic animation arose not directly from Islamic art but from Western-style art education and the privileging of text in Western modern art – which itself was inspired by Islamic art. A number of artists from the Muslim and Arab world, such as Mounir Fatmi (Morocco/France), Kutlug Ataman (Turkey), and Paula Abood (Australia) bring writing across the boundary from religious to secular conceptions of the invisible. Moreover, the rich Arabic and Islamic tradition of text-based art is relevant for all who practice and study text-based animation.
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Dzivaltivskyi, Maksym. "CHORAL GENRE AND STYLE IN THE CONTEXT OF THE MODERN ART STUDIES." 1 1, no. 1 (September 2020): 50–57. http://dx.doi.org/10.34142/27091805.2020.1.01.08.
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Object. The purpose of this article is to systematize art schools in relation to the definitions of choral genre and choral style. Methods. Traditional research methods: comparative analysis of scientific and musicological literature, analytical, historical, retrospective have been used. Results. Choral performance, as a part of the professional musical art, has evolved with the general principles of the development of the professional art in general. For many centuries certain norms have been developed in the choral performance practice. They corresponded to aesthetic ideas about the vocal sound quality. Approaches to the performance manner have been improved, the basic principles of professional training of choral singers have been approved. Of course, each national choral school has its own features in the performance style which reflects the temperament of the people, their character, traditions and other qualities. These subtle nuances that characterize the performance style are primarily associated with the peculiarities of the language of different peoples, its phonetics. For example, stable vocal traditions have been developed in the musical cultures of Italy, France, Germany, Bulgaria, Hungary, Poland, Ukraine, Russia and other countries. However, in the XXth century, the trend towards eclecticism, the synthesis of cultural traditions, their interaction were so strong that the features which previously sharply distinguished one national school from another largely smoothed out. Therefore, the basic principles of vocal skills, which are to develop proper singing breathing, sound production, sound production and other vocal techniques, remain common to any choir. Conclusions. The great artistic possibilities of a unique musical “instrument” – a choir have been in the center of composers’ attention for several centuries. In addition, the great variety of forms of the professional choral performance has made it one of the most common types of musical art.
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Al-Shamma’a, Abdullrahman A., Hammed O. Omotoso, Fahd A. Alturki, Hassan M. H. Farh, Abdulaziz Alkuhayli, Khalil Alsharabi, and Abdullah M. Noman. "Parameter Estimation of Photovoltaic Cell/Modules Using Bonobo Optimizer." Energies 15, no. 1 (December 26, 2021): 140. http://dx.doi.org/10.3390/en15010140.
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In this paper, a new application of Bonobo (BO) metaheuristic optimizer is presented for PV parameter extraction. Its processes depict a reproductive approach and the social conduct of Bonobos. The BO algorithm is employed to extract the parameters of both the single diode and double diode model. The good performance of the BO is experimentally investigated on three commercial PV modules (STM6-40 and STP6-120/36) and an R.T.C. France silicon solar cell under various operating circumstances. The algorithm is easy to implement with less computational time. BO is extensively compared to other state of the art algorithms, manta ray foraging optimization (MRFO), artificial bee colony (ABO), particle swarm optimization (PSO), flower pollination algorithm (FPA), and supply-demand-based optimization (SDO) algorithms. Throughout the 50 runs, the BO algorithm has the best performance in terms of minimal simulation time for the R.T.C. France silicon, STM6-40/36 and STP6-120/36 modules. The fitness results obtained through root mean square (RMSE), standard deviation (SD), and consistency of solution demonstrate the robustness of BO.
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M, Paithane Pradip. "Effective Forecasting of Key Features in Hospital Emergency Department." Advances in Robotic Technology 2, no. 1 (March 14, 2024): 1–3. http://dx.doi.org/10.23880/art-16000113.
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Efficiently forecasting the demands within a hospital’s Emergency Department (ED) is critical for optimal resource allocation and patient care management. This study focuses on leveraging deep learning techniques to predict various types of ED patient flows, facilitating informed decision-making by ED managers. The rising success of deep learning networks in modeling timeseries data makes them a compelling choice for patient flow forecasting. In this context, we investigate and compare seven deep learning models-Deep Belief Network (DBN), Restricted Boltzmann Machines (RBM), Long Short-Term Memory (LSTM), Gated Recurrent Unit (GRU), combined GRU and Convolutional Neural Networks (CNN-GRU), LSTM-CNN, and Generative Adversarial Network based on Recurrent Neural Networks (GAN-RNN)—to accurately forecast patient flow within a hospital’s emergency department. To enable traffic flow forecasting, a forecaster layer is introduced for each model. Real-world patient flow data spanning different ED services (biology, radiology, scanner, and echography) at Lille regional hospital in France serve as a case study to evaluate these models. Four effectiveness metrics are employed to assess and compare the forecasting methods. The outcomes demonstrate the superior performance of deep learning models in predicting ED patient flows compared to conventional shallow approaches like ridge regression and support vector regression. Significantly, the Deep Belief Network (DBN) stands out, achieving an averaged mean absolute percentage error of approximately 4.097.
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Proust, Serge. "Portrait of the Theatre Director as an Artist." Cultural Sociology 13, no. 3 (April 8, 2019): 338–53. http://dx.doi.org/10.1177/1749975519837400.
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In France, the theatrical field is split between a commercial pole and a public pole. Within the latter, theatre directors occupy a central position. They monopolize public subsidies, run theatre-related institutions and receive most of the symbolic rewards. As a result of their efforts, theatre direction has gained recognition as a work of art, but at the cost of conflicts with actors and playwrights. Furthermore, thanks to government intervention, they have neutralized the need to adjust to private demand. However, their success is still limited by several factors. Theatre directors are subjected to several types of axiological criticism revolving around their excessive integration into the state apparatus. Artification is largely dependent on state intervention, and above all, the immaterial and temporary nature of a theatrical performance contradicts the western conception of the work of art, which is understood as something enduring (as with paintings and books).
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Feruglio, Valérie, Camille Bourdier, Marc Delluc, Pascal Mora, Norbert Aujoulat, and Jacques Jaubert. "Rock art, performance and Palaeolithic cognitive systems. The example of the Grand Panel palimpsest of Cussac Cave, Dordogne, France." Journal of Anthropological Archaeology 56 (December 2019): 101104. http://dx.doi.org/10.1016/j.jaa.2019.101104.
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Maire, Hélène, Emmanuèle Auriac-Slusarczyk, Bernard Slusarsczyk, Marie-France Daniel, and Cathy Thebault. "Does One Stand to Gain by Combining Art with Philosophy? A Study of Fourth-Year College (13/14 Years of Age) Philosophical Writings Produced Within the PreCPhi/Philosophemes Corpus." Journal of Education and Learning 7, no. 4 (May 15, 2018): 1. http://dx.doi.org/10.5539/jel.v7n4p1.
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Creative thinking is sometimes neglected by schools. Introducing philosophy in schools represents a commitment to balancing the development of logical and creative thinking, currently exercised only orally. In the present study, the focus is on writing. Firstly, the value of authentic pupil writings is underscored. The pupils and students studied wrote texts for “Adolescence et Société”, a magazine produced by researchers. 100 students’ works, written by philosophizing students in fourth-year college in France, culled from the PreCPhi/Philosophemes Corpus (1,300 texts collected from 43 classrooms) were studied in order to measure the progress of philosophizing students between a pre-test and a post-test following the introduction of a pedagogical tool that unites Art with Philosophy, Philo & Carto. Their writing skills were measured according to the following five dimensions: linguistic, philosophical, cognitive, reflective and creative. Performance measures, calculated on group averages and applied to the group’s variance between the pre- and the post-tests, were related to each dimension. Linguistic performance (presence of an introduction and conclusion) did not progress, remaining subject to pupils’ academic level. Philosophical, cognitive, creative and reflective performance increased significantly, or at least confirmed the trend. Reasoning, metaphors, conceptual differences and discourse ownership increased, while anecdotal examples decreased. These increases were accompanied by an increase in the post-test variance: gaps between the strongest and the weakest performances widened, except in the case of questioning, personal examples and generation of doubt, which were at the core of the effect produced. The study validates the fact that the Art and Philosophy link promises unprecedented educational prospects with regard to the production of early quality philosophical writings. This will require validation with other samplings.
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Wang, Sherrie, François Waldner, and David B. Lobell. "Unlocking Large-Scale Crop Field Delineation in Smallholder Farming Systems with Transfer Learning and Weak Supervision." Remote Sensing 14, no. 22 (November 13, 2022): 5738. http://dx.doi.org/10.3390/rs14225738.
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Crop field boundaries aid in mapping crop types, predicting yields, and delivering field-scale analytics to farmers. Recent years have seen the successful application of deep learning to delineating field boundaries in industrial agricultural systems, but field boundary datasets remain missing in smallholder systems due to (1) small fields that require high resolution satellite imagery to delineate and (2) a lack of ground labels for model training and validation. In this work, we use newly-accessible high-resolution satellite imagery and combine transfer learning with weak supervision to address these challenges in India. Our best model uses 1.5 m resolution Airbus SPOT imagery as input, pre-trains a state-of-the-art neural network on France field boundaries, and fine-tunes on India labels to achieve a median Intersection over Union (mIoU) of 0.85 in India. When we decouple field delineation from cropland classification, a model trained in France and applied as-is to India Airbus SPOT imagery delineates fields with a mIoU of 0.74. If using 4.8 m resolution PlanetScope imagery instead, high average performance (mIoU>0.8) is only achievable for fields larger than 1 hectare. Experiments also show that pre-training in France reduces the number of India field labels needed to achieve a given performance level by as much as 10× when datasets are small. These findings suggest our method is a scalable approach for delineating crop fields in regions of the world that currently lack field boundary datasets. We publicly release 10,000 Indian field boundary labels and our delineation model to facilitate the creation of field boundary maps and new methods by the community.
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Powers, Holiday. "Those Who Will Join Us." Nka: Journal of Contemporary African Art 2023, no. 53 (November 1, 2023): 88–98. http://dx.doi.org/10.1215/10757163-10904104.
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“Those Who Will Join Us” reviews Bouchra Khalili’s multimedia installation The Circle (2023) in the context of Sharjah Biennial 15. The Circle was commissioned by Sharjah Art Foundation and won one of the biennial prizes, and suggests larger questions about what it means to be in the world, how we might remake the world, and what the role of art could be within this. The installation, which includes archival images and small televisions around a large two-channel video projection, is an investigation of the Movement of Arab Workers (MTA) and its theater groups, Al Assifa and Al Halaka. These agitprop t heater groups, formed by North African migrant workers and students like the rest of the MT A, were active in Paris and the south of France between 1973 and 1978. Khalili’s work particularly focuses on the 1974 presidential run of D jellali Kamal, a pseudonym for an anonymous Al Assifa member whose candidacy was seen as an extended public performance meant to reveal the ways in which migrants were denied civil rights.
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Minenko, Anatolii. "“School” of trombone playing as a means of developing European trombone art of the 19th century." Aspects of Historical Musicology 28, no. 28 (December 28, 2022): 38–63. http://dx.doi.org/10.34064/khnum2-28.03.
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Statement of the problem. The historical context of the influence of trombone players on the performance style of European schools has not yet been studied despite the widespread use of method books “The schools of trombone playing” by all musicians, from amateurs to professionals. However, in the past, leading teachers and methodologists mainly from conservatories presented the performance trends of that time and developed new ones in their works, which guided the further development of the future generations’ performers. Recent research and publications. The issue of method books and their influence on European trombone schools was actively studied at the end of the 20th century (Guion, 1988; Lapie, 1995; Weiner, 1993, 1995, 1999 a, b). In this context, an important place belongs to the article “Slide trombone training and method books in France (1794–1960)” (Sluchin & Lapie, 1997), which contains a lot of information about method books of that period, the evolution of European trombone schools, the contribution of method books authors to the development of trombone playing in the nineteenth century and a detailed analysis of the most influential authors. The most significant recent works are dissertations that examine the history of the Paris Conservatory, the creativity of prominent trombone teachers and their works on methodology (Velázquez, 2019; Carlson, 2015). Ukrainian researchers have not studied this issue yet. The purpose of the article is to study the influence of the method books “The schools of trombone playing” on European trombone art. Research methodology. The focus of the research is to study the most famous and innovative method books of the nineteenth century. The article applies the historical and chronological approach as the leading one in the study and organization of the research material; comparative approach to find the main differences between these “schools”; systematic and analytical approach to identify the most significant differences and their influence on the development of trombone mastery; historical and cultural approach to study the process of formation of national European trombone schools. The novelty of the study is manifested in the chronological classification of all known trombone schools in the nineteenth century and a detailed analysis of the most influential ones. Results and conclusion. Having analyzes the most significant European schools of trombone playing from the very first work by A. Brown, written in 1794, to the work by J. B. Arban, we have traced the process of historical development of the technical skills of musicians and identified the sources of the European method of trombone performance. In this context, the role of France is revealed as outstanding, because the first trombone class opened at the Paris Conservatory led to the emergence of the first original “school of playing”. This was followed by a whole cascade of similar works, first in France and then in other European countries. During the nineteenth century, thanks to the aforementioned method books and the Paris Conservatory, the French had a constellation of trombone players, including: Leo Arnaud, Michel Becquet, Henri Couillaud, Paul Deliss, AntoineDieppo, VincoGlobokar, AndréLafosse, DanielLassalle, JacquesMédecin, Fabrice Millischer, Nicolas Moutier, Jérôme Naulais, Alfred Alexandre Quentin, and many others. After the French success, Germany took the initiative and, thanks to the work of Franz-Josef Fröhlich, created its own school of tromboneplaying with a large number of performers, such as Friedrich August Bellecke, Johannes Culottes, Karl Traugott Queisser, Friedrich Schenker, and Paul Weschke. Thanks to A. Wirth, in the 1870s, a British method of trombone playing emerged, and hence a number of British performers of the XIX–XX centuries, including Byron Fulcher, Lance Green, Gustav Holst, Chris Houlding, Lindsay Schilling, John Kenny, Dave Stewart, and Roger Argente.
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Cooper, Elena. "Book Review: Becoming Property: Art, Theory and Law in Early Modern France and Copyright and the Value of Performance, 1770–1911." Law, Culture and the Humanities 16, no. 3 (September 30, 2020): 504–7. http://dx.doi.org/10.1177/1743872120937591.
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Lovett/Codagnone and Tom Zook. "Your Hero Is a Ghost, 2010." TDR/The Drama Review 56, no. 3 (September 2012): 2–3. http://dx.doi.org/10.1162/dram_a_00205.
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Stainless steel, wood, conduit, black paint, speakers, sound. Photo by Jason Mandella, courtesy Sculpture Center, New York, and the artists Lovett/Codagnone, an artist team based in New York, have worked together since 1995 using photography, performance, video, sound, and installation. Their ongoing exploration of relations of power, as manifested in explicit cultural signifiers as well as clandestine or unconscious practices, investigates the way power comes to play within social structures (relationships, family) to focus on intimacy and the construction of desire. Recent solo exhibitions: Museo Marino Marini, Florence, 2012; LA><ART, Los Angeles, 2012; September Galerie, Berlin, 2011; Sculpture Center, New York, 2010; Sara Meltzer Gallery, New York, 2009; MoMA PS1, New York, 2007–2008. Their performances have been presented at the ICA Philadelphia (2010); Judson Memorial Church, New York (2010); and the ICA Boston (2007). Their work has been shown in galleries and museums in France, Germany, Italy, and The Netherlands. Supplemental media related to this piece can be found at www.mitpressjournals.org/doi/suppl/10.1162/DRAM_a_00205
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Kharroubi, Abderrazzaq, Zouhair Ballouch, Rafika Hajji, Anass Yarroudh, and Roland Billen. "Multi-Context Point Cloud Dataset and Machine Learning for Railway Semantic Segmentation." Infrastructures 9, no. 4 (April 9, 2024): 71. http://dx.doi.org/10.3390/infrastructures9040071.
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Railway scene understanding is crucial for various applications, including autonomous trains, digital twining, and infrastructure change monitoring. However, the development of the latter is constrained by the lack of annotated datasets and limitations of existing algorithms. To address this challenge, we present Rail3D, the first comprehensive dataset for semantic segmentation in railway environments with a comparative analysis. Rail3D encompasses three distinct railway contexts from Hungary, France, and Belgium, capturing a wide range of railway assets and conditions. With over 288 million annotated points, Rail3D surpasses existing datasets in size and diversity, enabling the training of generalizable machine learning models. We conducted a generic classification with nine universal classes (Ground, Vegetation, Rail, Poles, Wires, Signals, Fence, Installation, and Building) and evaluated the performance of three state-of-the-art models: KPConv (Kernel Point Convolution), LightGBM, and Random Forest. The best performing model, a fine-tuned KPConv, achieved a mean Intersection over Union (mIoU) of 86%. While the LightGBM-based method achieved a mIoU of 71%, outperforming Random Forest. This study will benefit infrastructure experts and railway researchers by providing a comprehensive dataset and benchmarks for 3D semantic segmentation. The data and code are publicly available for France and Hungary, with continuous updates based on user feedback.
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TYRE, JESS. "Music in Paris during the Franco-Prussian War and the Commune." Journal of Musicology 22, no. 2 (2005): 173–202. http://dx.doi.org/10.1525/jm.2005.22.2.173.
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ABSTRACT The years 1870––71 marked the beginning of dramatic changes in French political and cultural life. A few short months witnessed defeat to Germany in the Franco-Prussian War and the fall of the Second Empire, as well as the rapid rise of the Paris Commune and its subsequent violent suppression through the establishment of republican government. The Parisian musical world, while severely affected by the events of war and deprived of performers and audiences, did not come to a standstill. Indeed, these years ushered in a remarkable increase in the number of institutions and concert societies dedicated to supporting French music and to making what would become the standard repertoire more accessible to the average citizen. Music heightened reactions to the turmoil of war and revolution in Paris at this crucial moment in France's history. Because of their stringent governmental control and largely middle- and working-class audiences, entertainments organized initially by wartime concert societies, and then under the aegis of the Commune, provide us with the greatest opportunity for understanding the political and social contexts in which music operated. Through investigation of the contemporary French press it can be shown that: (1) the perceived function of musical performance was adjusted to suit the practical and symbolic needs of a besieged city; (2) all the factions competing for power during the war and the post-war insurrection in Paris appropriated the connotations of civilization, social stability, and good taste that surrounded ““art music””; (3) the Commune's sudden rejection of the Austro-German musical tradition marked a brief but significant moment in which nationalistic preoccupations supplanted historically cosmopolitan attitudes toward foreign art. The study concludes with a meditation on Alfred Roll's painting of the execution of a Communard trumpeter, in which we find one of the strongest images relating war and rebellion to music in the France of 1871.
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Рюмина, Е. А. "Expansion of space: continuity in the development of the idea of space-time between the first and second waves of the Russian avant-garde." Iskusstvo Evrazii [The Art of Eurasia], no. 3(26) (September 30, 2022): 190–205. http://dx.doi.org/10.46748/arteuras.2022.03.016.
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Цель статьи — проследить преемственность в развитии идеи и понятия пространства-времени между «первой волной» и «второй волной» русского авангарда, пользуясь методом «прибавочного элемента» К. Малевича. Развитие именно этих идей и понятий оказалось решающим для искусства всего XX века и далее, продолжая распространяться на новые его формы, включая инсталляции, перформансы и digital art. Трансформация этих идей и понятий оказалась такой же важной, как открытие в эпоху Ренессанса пространственного измерения в изображении — перспективы. Апеллируя к теоретическим работам К. Малевича, а также к философскому и научному контексту его времени и XX века, исследование демонстрирует онтологическую преемственность по существу идей первых русских супрематистов и дальнейшее развитие их сегодня. В статье эта преемственность показана на примере творчества двух живых классиков второй волны русского авангарда 1960–1970-х годов — Сергея Бордачёва и Александра Юликова. Работы обоих художников находятся в коллекциях Третьяковской галереи, Русского музея, музея Циммерли (США) и центра Помпиду (Франция). The article aims to demonstrate the continuity in the first and second Russian avant-garde art regarding the development of the space-time concept. The general method applied in my research follows the theory of “surplus element” developed by Malevich. His ideas and concepts had become a key contribution to the art of the 20th century and continued to influence such novel artistic phenomena as installation, performance and digital art. Transformation of these ideas and concepts appeared to be equally important as the discovery of visual perspective in the art of the Renaissance. Addressing the theoretical works of Kazimir Malevich as well as the philosophical and academic context of his time and the 20th century in general, this article reveals essential ontological links between the first and second Russian avant-garde art, the ideas of the early Russian Suprematists and their evolution today. This is achieved on the example of some living classics of the second Russian avant-garde such as Sergey Bordachev and Alexander Yulikov; works by both artists are in the collections of the Tretyakov Gallery (Moscow, Russia), Saint-Petersburg Russian Museum (Russia), Zimmerli Museum (New Brunswick, USA) and Georges Pompidou Center (Paris, France).
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Stahurschi, Alina. "Comparative criminal law elements regarding the offense provided for in article 208 Criminal Code of the Republic of Moldova." Supremacy of Law, no. 1 (December 2023): 48–55. http://dx.doi.org/10.52388/2345-1971.2023.1.05.
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In order to carry out a complex study of the “Attraction of minors to criminal activity or their determination to commit immoral acts” offence, in various aspects and regulations constitutes the examination of the criminal legislation of other countries, which allows us to carry out a comparative analysis between domestic and foreign criminal legal norms. The performance of the comparative criminal law study allows the taking over of good practices from the foreign legislation as well as the modification of the national legislation for the liquidation of the existing loophole in the domestic criminal legislation. The study of the elements of comparative criminal law regarding the offense provided for in art. 208 of the Criminal Code of the Republic of Moldova are based on the criminal legislation of the following countries: the United States of America, Germany, Holland, Spain, Switzerland, France, Ukraine, Russia, etc.
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Taillardat, Maxime, Anne-Laure Fougères, Philippe Naveau, and Olivier Mestre. "Forest-Based and Semiparametric Methods for the Postprocessing of Rainfall Ensemble Forecasting." Weather and Forecasting 34, no. 3 (June 1, 2019): 617–34. http://dx.doi.org/10.1175/waf-d-18-0149.1.
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Abstract To satisfy a wide range of end users, rainfall ensemble forecasts have to be skillful for both low precipitation and extreme events. We introduce local statistical postprocessing methods based on quantile regression forests and gradient forests with a semiparametric extension for heavy-tailed distributions. These hybrid methods make use of the forest-based outputs to fit a parametric distribution that is suitable to model jointly low, medium, and heavy rainfall intensities. Our goal is to improve ensemble quality and value for all rainfall intensities. The proposed methods are applied to daily 51-h forecasts of 6-h accumulated precipitation from 2012 to 2015 over France using the Météo-France ensemble prediction system called Prévision d’Ensemble ARPEGE (PEARP). They are verified with a cross-validation strategy and compete favorably with state-of-the-art methods like analog ensemble or ensemble model output statistics. Our methods do not assume any parametric links between the variables to calibrate and possible covariates. They do not require any variable selection step and can make use of more than 60 predictors available such as summary statistics on the raw ensemble, deterministic forecasts of other parameters of interest, or probabilities of convective rainfall. In addition to improvements in overall performance, hybrid forest-based procedures produced the largest skill improvements for forecasting heavy rainfall events.
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Hooper, Deborah. "Christine and the Queens and the art of the cover version: interpretations, audience, place." Contemporary French Civilization 48, no. 4 (December 16, 2023): 353–71. http://dx.doi.org/10.3828/cfc.2023.21.
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More than many pop artists, Christine and the Queens performs cover versions of familiar songs, often on live TV or radio shows. His selections frequently are interpretations of hits from the 1980s and 1990s. However they are more than the chance to share a nostalgic trip with the audience. In France, he often chooses familiar songs by much-loved singers from the French tradition, thus reassuring them of his Frenchness, despite his growing position on the world stage. On platforms overseas, he often selects huge hits by global anglophone stars, so claiming his place amongst the most successful international British and American performers, albeit that he is French. Using interviews, reviews, and music videos, my research looks in detail at two examples of cover versions by Christine and the Queens, one in French and one in English, exploring why these songs were selected for these particular moments. First, I examine his performance of Mylène Farmer’s “California” on Taratata Live in September 2018. In choosing this song, Chris aligns himself not only with one of the most provocative and daring French singers, but also one deeply supportive of the LGBTQ+ community. The track, with its topics of escape and reinvention in Los Angeles, has resonance for Chris’s own experience, and the original video shares themes of transactional sex and power with Christine and the Queens’s own video for “5 Dollars.” Next, I consider his performance of George Michael’s “Freedom! ’90” at the Global Citizen in September 2021. Chris sets himself alongside a very high-profile, gay artist who battled to reclaim his musical and personal identity after an early career in a worldfamous, highly commercial pop duo. In doing so, he lays out his desire to break from the shackles of the success of his first album, Chaleur humaine , and to have the freedom to evolve, as an artist and in his place as a trans man.
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Cripps, Jody, Ely Lyonblum, and Anita Small. "Signed Music in the Deaf Community." Journal of Festive Studies 4, no. 1 (February 23, 2023): 191–215. http://dx.doi.org/10.33823/jfs.2022.4.1.144.
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In the spring of 2019, the first signed musical stage production was performed at Festival Clin d’Oeil—the world’s largest deaf arts festival that brings thousands to Reims, France, biennially. Surrounded by visual and performing arts, an invited delegation from Canada debuted the musical The Black Drum internationally, incorporating physical theater, signed music, projection, and dance. Signed music is an inter-performance art that demonstrates musical elements by culturally deaf individuals who have explored creating musical performances with their hands and bodies. These performances operate according to a distinct artistic style, incorporating elements of signed languages; rhythmic hand, facial, and/or body motions; and media video arts. This article offers insight into the performers’ process and development of a deaf-created signed musical for an international audience, the ways signed music galvanizes community and identity through self-expression, and the impact of The Black Drum on an international audience at Festival Clin d’Oeil. Through ethnomusicological analysis and reflection with perspectives as insider-outsider-mediator, signed music has been researched by the authors and observed throughout the development of The Black Drum in preparation for its Canadian and European premieres. The festival setting is a place where new types of performances are welcomed and evaluated for their acceptance into the community. Responses from audience members and performers revealed that signed music is an emerging genre of its own.
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Barrell, R. J., and Fiona Eastwood. "Chapter II. The World Economy." National Institute Economic Review 124 (May 1988): 21–35. http://dx.doi.org/10.1177/002795018812400103.
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Output growth in 1987 appears to have been very strong generally in the major seven economies. Provisional national income data for the fourth quarter in France, Germany and Japan have all indicated a stronger performance than we anticipated in our last Review in February. Our November forecast of Japanese growth in 1987 was 1¼ per cent too low, and as further information has become available we have revised up our forecasts for growth in 1988 and 1989 by 1½ to 2 per cent per annum. The Japanese have been willing to respond to US pressure and adopt art expansionary fiscal stance, and investment growth has also been rapid. We have also revised our forecast of US growth in 1988 and 1989. We are now expecting growth in the US to be ½ a per cent higher in 1988 than we were in February, but because we are now more pessimistic about imports we are forecasting a slowdown in activity into 1989.
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Podmazova, Polina B. "“Le père-créateur” of modern school of violin playing: marking the anniversary of Giovanni B. Viotti." Contemporary Musicology, no. 2 (2020): 27–49. http://dx.doi.org/10.56620/2587-9731-2020-2-027-049.
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The article focuses on one of the key figures in the world of music at the turn of the 18th/19th centuries, an acknowledged leader of French school of violin playing—G.B. Viotti. The study is the first attempt of Russian musicology to highlight the role of Viotti as the founder of the modern school of violin playing. Viotti's performing art with its large-scale and expressive manner of playing that reveals all the possibilities of violin as an instrument as well as ample opportunity for its artistic presentation, is vividly reflected in the genre of the solo violin concerto. His vision of the genre served as a model for the next generation of violin composers. Viotti's traditions of creativity have extended throughout Europe. In France, they were developed by his closest followers—R. Kreutzer, P. Rode, P. Baillot, who embodied them in their joint work—the famous "Méthode de violon" (1802) of the Paris Conservatory. A. Robberechts became their successor in the Franco-Belgian violin school, while F.W. Pixis developed Viotti’s tradition in the Czech school. Viotti's principles are rooted in German violin art thanks to the composing and performing activities of L. Spohr. At the new stage in the development of violin performance, a great contribution to the preservation and development of Viotti’s tradition was made by J. Joachim and L. Auer. The two outstanding teachers brought up more than one generation of famous violinists. N. Paganini, L. van Beethoven, F. Mendelssohn, H. Vieuxtemps, H. Wieniawski, E. Lalo, A. Dvořák, P. Tchaikovsky, A. Glazunov, J. Sibelius, as well as S. Prokofiev, D. Shostakovich, and A. Khachaturian borrowed, rethought and interpreted the creative ideas of Viotti's concerts and the traces of these ideas are found in their violin works. The paper offers a fresh look at the activities of the greatest violinist of the past and evaluates Viotti's contribution to the formation of the best traditions of violin playing.
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Ho Tong Minh, Dinh, and Yen-Nhi Ngo. "Compressed SAR Interferometry in the Big Data Era." Remote Sensing 14, no. 2 (January 14, 2022): 390. http://dx.doi.org/10.3390/rs14020390.
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Modern Synthetic Aperture Radar (SAR) missions provide an unprecedented massive interferometric SAR (InSAR) time series. The processing of the Big InSAR Data is challenging for long-term monitoring. Indeed, as most deformation phenomena develop slowly, a strategy of a processing scheme can be worked on reduced volume data sets. This paper introduces a novel ComSAR algorithm based on a compression technique for reducing computational efforts while maintaining the performance robustly. The algorithm divides the massive data into many mini-stacks and then compresses them. The compressed estimator is close to the theoretical Cramer–Rao lower bound under a realistic C-band Sentinel-1 decorrelation scenario. Both persistent and distributed scatterers (PSDS) are exploited in the ComSAR algorithm. The ComSAR performance is validated via simulation and application to Sentinel-1 data to map land subsidence of the salt mine Vauvert area, France. The proposed ComSAR yields consistently better performance when compared with the state-of-the-art PSDS technique. We make our PSDS and ComSAR algorithms as an open-source TomoSAR package. To make it more practical, we exploit other open-source projects so that people can apply our PSDS and ComSAR methods for an end-to-end processing chain. To our knowledge, TomoSAR is the first public domain tool available to jointly handle PS and DS targets.
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Puttaramaiah, Ashwini Kumari, and Purushothaman Geethanjali. "Ensemble of constraint handling techniques for PV parameter extraction using differential evolutionary algorithms." International Journal of Power Electronics and Drive Systems (IJPEDS) 13, no. 3 (September 1, 2022): 1645. http://dx.doi.org/10.11591/ijpeds.v13.i3.pp1645-1653.
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The depletion of fossil fuels and rising environmental concerns have paved the way for the development of clean renewable energy sources. Photovoltaic (PV) cells are represented by electrical equivalent circuits. Finding the right circuit model parameters for PV cells is critical task. Estimating accurate parameters helps in better performance assessment, control, efficiency calculation and maximum power point tracking. This manuscript describes a new approach for obtaining PV system parameters using ensemble of constraint handling techniques (ECHT) with evolutionary algorithms (EA). Four distinguished technologies of solar PV cells are considered to estimate the parameters with best accuracy. Experiments reveal that ECHT outperforms each individual constraint handling approach by competing with state-of-the-art algorithms. The experimental data for these Kyocera cells is compared with estimated values obtained from the proposed algorithm using MATLAB 2021B for different irradiation. The performance plots show excellent match between the real and simulated values. The root mean square error (RMSE) values for research tax credit RTC France were found to be 7.325513*10-4 and Kyocera processing the normalize RMSE of 0.414%. On comparison with recent algorithms the proposed method achieves the lowest root mean square error (RMSE) meeting the main objective of proposed work.
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Peng, Rui. "China’s conservatories are the highest national level piano education: historiography of the issue." Aspects of Historical Musicology 29, no. 29 (December 29, 2022): 217–36. http://dx.doi.org/10.34064/khnum2-29.12.
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Background. The spread of piano music in China at the beginning of the century, the formation of the foundations of piano teaching methods, the creative international exchange of experience with representatives of performing schools of different countries – these are the stages at which Chinese pianism was formed. The article examines the process of formation of Chinese professional piano pedagogy on the example of the activities of the most significant higher educational institutions and the network of music schools in China. The performing, pedagogical, methodical and organizational activities of representatives of the Chinese piano school are analyzed. The peculiarities of various piano schools in the personalities of leading Chinese pianists are specified in terms of their education, concert-tour activities and participation in international competitions, performance manner and repertoire selection, pedagogical activities, and their contribution to the modern world piano school is determined. Objectives. The purpose of the article is a scientific generalization of the historical experience of the formation and dynamics of the development of the highest degree of the Chinese piano school – conservatory, which led to an unprecedented rise of piano art in the country. Methods. The main methods used in the article were: analytical, theoretical, historical, historical-typological comparative analysis. Results. The historical dynamics of Chinese piano art is related to the professionalization of performance and composer creativity. This process is provided by the largest higher music educational institutions in China – Sichuan, Harbin, Shenyang, and Xinhai Conservatories. Many Chinese pianists, who returned to China after studying abroad and gained performance experience, joined the teaching staff of higher music educational institutions in China. Some of the musicians, returning from abroad, started new musical educational institutions. Such enthusiasts opened the Shanghai, Tianjin, and Beijing conservatories, as well as music departments at several universities. The most significant contribution to the development of piano art in China belongs to the Beijing Piano School, represented by the Beijing Central Conservatory of Music (CCMP). Many pianists, having left China, continued their activities on concert stages and in educational institutions of other countries – the USA, Canada, England, France, Italy. Each of them, with their concert performance and pedagogical successes, confirmed the high professionalism and high-quality level of musical education obtained in international educational institutions, the talent, experience and pedagogical talent of their mentors. Conclusions. Thus, the rapid rate of growth of the level of piano performance in China was ensured by activities aimed at the country’s exit from a thousandyear isolation, and a strict consistent orientation towards the achievement of world piano culture. A decisive factor in the achievements of Chinese piano performance in the 21st century is the focus on high results in mastering mastery.
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Jawadi, Fredj, Nabila Jawadi, and Virginie Dechamps. "European Microfinance Institutions and Information and Communication Technologies." Journal of Electronic Commerce in Organizations 8, no. 3 (July 2010): 38–48. http://dx.doi.org/10.4018/jeco.2010070104.
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The development of microfinance programs in Europe has increased due to the establishment of a large number of small businesses, increase in unemployment, high inflation rates and an impoverished population, which all constitute stimulating conditions of microfinance development. In addition, technological factors consisting of advances in information and communication technologies have contributed to the expansion of microfinance institution (MFI) activities among European citizens. They have facilitated the access to MFI products while also enhancing performance through cost reduction and better services to clients. In this regard, the purpose of this paper is to map state of the art Microfinance Institutions products distribution, its evolution in Europe and exploring how ICT (Information and Communication Technologies) contribute to this evolution while helping European MFI commercialize their products. The authors’ developments are illustrated through examples that include interviews conducted with MFI professionals and clients in France. The interviewees remark on the importance of such products to reduce social differences and foster economic development and the contribution of ICT to facilitate their distribution to reach larger clients.
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McGowan, Margaret M. "The Arts Conjoined: a Context for the Study of Music." Early Music History 13 (October 1994): 171–98. http://dx.doi.org/10.1017/s0261127900001340.
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The conditions of artistic production in late sixteenth-century France required musicians and poets, composers and painters, choreographers and performers to work together. They shared the same objectives and they worked from the same aesthetic principles. Their common experience suggests that, as historians and analysts, we can enlighten the study of one art form – music or the dance, for example – by placing it within the context of others, assessing their interaction and their shared purpose. If this assumption is accepted we must consider issues of production, that is those practical matters concerning technique and the varied conditions of performance; we must examine the audience's expectations of those events which drew together the arts into a single spectacle or in a sequence of festivals and which relied for their inspiration on intellectual currents nourished through renewed acquaintance with ancient sources; and we need to assess the nature of the works themselves, their impact on the status of the artist (broadly defined), and on the social and political benefit for the patrons. There is inevitably much overlap across these three areas of production, expectation and outcomes, yet, in the discussion which follows, attempts will be made to keep them separate.
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Vernyhor, Dmytro. "Ukrainian Dance – Global Hallmark (Dedicated to the Anniversary of the National Honoured Dance Ensemble of Pavlo Virsky)." Diplomatic Ukraine, no. XIX (2018): 757–66. http://dx.doi.org/10.37837/2707-7683-2018-47.
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The article is concerned with life and creative path of P. Virskyi and the ensemble he leads in the context of cultural diplomacy. The author analyses that the aspiration to create realistic and folk plays by nature has influenced the artist in his exploring and further developing the folk dance. Therefore, applying the experience of folk talents, Virskyi was committed to create characters of Ukrainian stage dance, expanded and enriched its expressiveness. Pavlo Virskyi directed some choreographic performances already in the first days of his activity as choreographer, but his actual work on the formation of the Ukrainian stage dance started in 1936, particularly following successful performance of the outstanding theatrical play “Zaporozhets za Dunaiem” (Eng. A Zaporizhian (Cossack) Beyond the Danube).In 1937, Virskyi and Bolotov organized the first ever in Ukraine folk dance ensemble and quit Taras Shevchenko National Opera and Ballet Theatre of Ukraine, where they headed a ballet group. The choreographers involved in the ensemble skilled young people as well as a team of experienced ballet dancers, among whom was M. Ivashchenko − their old friend and companion, brilliant performer of folk dances. Later B. Tairov and I. Kurylov engaged in choreographic process. The ensemble captured people’s attention, successfully performing at the VI World Festival of Youth and Students in Moscow in the summer of 1957. The group of youngsters of the ensemble attained the title of winners of the VI World Festival and was awarded gold medals and the first-place diploma (soloists V. Kotliar, L. Zastrozhnova, H. Chapkis, N. Birka, L. Sarafanov, B. Mokrov, V. Holyk). Artists of the dance ensemble of the Ukrainian SSR performed for the audience from many countries of the world: Poland, Czechoslovakia, China, Vietnam, Cuba, Angola, France, Austria, Portugal, Spain, Belgium, USA, Canada, Mexico, Argentina, Brazil, Peru, Chile, Colombia, Venezuela. All of the countries equally acknowledged the ensemble. The troupe performances abroad not only were a great success, but also sparked a massive political resonance. The national press continuously wrote about the unsurpassed art created by renowned Ukrainian choreographer P. Virskyi and his invaluable contribution to the development of Ukrainian folk dance choreography. V. Korniichuk, Honoured Journalist of Ukraine, author of the article “To pioneer of Ukrainian folk dance” noticed the festive concert dedicated to the 90-annivarsary of P. Virskyi’s birth. In his speech before the concert, Y. Stanishevskyi, Doctor of Arts, Honoured Art Worker of Ukraine, member of the International Academy of Dance, declared, “P. Virskyi is a distinguished master of choreography, director and pioneer of Ukrainian folk dance, who not only formed a unique dance group, but also glorified Ukraine on all continents by the high art.” Keywords: cultural diplomacy, Ukrainian folk dance, art, artistic view, Virskyi.
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Nechesnyi, Ihor. "Etienne Ozi – «a great bassonist of incredible talent»." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 68, no. 68 (November 28, 2023): 33–53. http://dx.doi.org/10.34064/khnum1-68.02.
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Statement of the problem. Etienne Ozi stands out as a bassoonist due to his significant creative achievements in various spheres of his multifaceted activities. As a bassoonist soloist, he successfully debuted in the “Concerts Spirituels” and for more than two decades was actively performed in front of Parisians in the best halls of the capital. An equally significant achievement of Ozі as a teacher was the preparation of the first instructional manual for the specialists “Nouvelle méthode de basson adoptue par le Conservatoire” (1803), which remained the main official publication of the Paris Conservatory for many years. The composer’s work also became an important part of the bassoon repertoire, which was actively used by him and his students in performing and teaching activities. Despite the importance of E. Ozi’s contribution to all spheres of bassoon art, the artist’s multifaceted creative activity still has not been properly assessed by modern researchers and requires a more detailed study. Recent research and publications. Among the works of domestic scientists, there are hardly any publications dedicated to E. Ozi’s creative activity. An outstanding Ukrainian musician, teacher and scientist V. M. Apatsky (2017) in his fundamental reference publication «Bassoon from A to Z» covers only individual episodes of the musician’s biography. The figure of the French artist is considered more deeply by foreign researchers, among which it is necessary to single out the dissertation and monograph of H. E. Griswold «Etienne Ozi (1754–1813): Bassoonist, Teacher, and Composer» (1979), in which E. Ozi’s work is revealed in sufficient detail. However, over the forty-year period of its existence, a certain updating of historical materials took place, which requires clarification and correction of some facts. Among the latest publications, which in one way or another highlight E. Ozi’s work, it is worth mentioning O. Tiffou’s monograph «The French Bassoon in the 19th Century. Theory and Repertoire» (2022) and Á. D. Moreno’s thesis «Bassoon Playing in Perspective. Character and Performance Practice from 1800 to 1850» (2013). In each of the studies, the authors partly consider individual aspects of the musician’s creative work according to the chosen research direction. Objectives, methods, and novelty of the research. The purpose of the study is to identify the main directions of Etienne Ozi’s performance and his role in the process of formation of the French bassoon school of the late 18th – early 19th centuries. The scientific novelty of the paper is determined by disclosing little-known facts of E. Ozi’s performance and his contribution to the formation of the French bassoon school. The study of E. Ozi’s performance required the use of a number of methods, such as historical to reveal the ideological and socio-economic factors of influence of the French Revolution on the development of musical art; historiography analyses to study and interpret musical and critical sources of the 18th century, chronological one to determine the time sequence of E. Ozi’s main concert performances; contextual and biographical approaches to highlight important stages of the artist’s creative work. Research results. The process of becoming Ozi as a performer is related to military brass bands, which, due to the lack of special musical educational institutions in France in the 18th century, remained the only place, where it was possible to learn to play wind instruments. Then, successful bassoon lessons under the leadership of the outstanding German bassoonist G. V. Ritter opened him the door to the concert stage. From 1779, he became an active performer-soloist of the prestigious “Concerts Spirituels” in the royal palaces. After the French Revolution and the overthrow of the monarchy, E. Ozi continued a successful performing and teaching career in the Paris Conservatory, the orchestras of the Théâtre Italien, Théâtre Feydeau and Théâtre de la République et des Arts. An important achievement of the talented musician was a convincing victory in the competition of nominees for the post of soloist of the Grand Opéra Théâtre, which allowed him to take the most prestigious place for a bassoonist in France. Conclusion. E. Ozi is one of the first French musicians who presented the bassoon as a solo instrument and created a multi-genre concert repertoire for it. Regular performances at the most prestigious halls of Paris allowed him to confidently occupy a leading positions not only among the French, but also European bassoonists. Active performing activity of E. Ozi and his fruitful teaching practice at the Paris Conservatory had a crucial influence on the development of European bassoon art of the late 18th and early 19th centuries.
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Dorado Rueda, Fernando, Jaime Durán Suárez, and Alejandro del Real Torres. "Short-Term Load Forecasting Using Encoder-Decoder WaveNet: Application to the French Grid." Energies 14, no. 9 (April 28, 2021): 2524. http://dx.doi.org/10.3390/en14092524.
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The prediction of time series data applied to the energy sector (prediction of renewable energy production, forecasting prosumers’ consumption/generation, forecast of country-level consumption, etc.) has numerous useful applications. Nevertheless, the complexity and non-linear behaviour associated with such kind of energy systems hinder the development of accurate algorithms. In such a context, this paper investigates the use of a state-of-art deep learning architecture in order to perform precise load demand forecasting 24-h-ahead in the whole country of France using RTE data. To this end, the authors propose an encoder-decoder architecture inspired by WaveNet, a deep generative model initially designed by Google DeepMind for raw audio waveforms. WaveNet uses dilated causal convolutions and skip-connection to utilise long-term information. This kind of novel ML architecture presents different advantages regarding other statistical algorithms. On the one hand, the proposed deep learning model’s training process can be parallelized in GPUs, which is an advantage in terms of training times compared to recurrent networks. On the other hand, the model prevents degradations problems (explosions and vanishing gradients) due to the residual connections. In addition, this model can learn from an input sequence to produce a forecast sequence in a one-shot manner. For comparison purposes, a comparative analysis between the most performing state-of-art deep learning models and traditional statistical approaches is presented: Autoregressive-Integrated Moving Average (ARIMA), Long-Short-Term-Memory, Gated-Recurrent-Unit (GRU), Multi-Layer Perceptron (MLP), causal 1D-Convolutional Neural Networks (1D-CNN) and ConvLSTM (Encoder-Decoder). The values of the evaluation indicators reveal that WaveNet exhibits superior performance in both forecasting accuracy and robustness.
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Maulin, Maëva, Daniel Eck, Nicolas Estre, Emmanuel Payan, Alix Sardet, David Tisseur, and Grégoire Kessedjian. "Design of a High-Energy and High-Resolution detector for X-ray computed tomography." EPJ Web of Conferences 253 (2021): 11001. http://dx.doi.org/10.1051/epjconf/202125311001.
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The Nuclear Measurement Laboratory (LMN) at CEA Cadarache in France is developing a high-energy tomograph reaching energies up to 21 MeV with high dose rates. It allows performing tomographies on massive objects (5 tons, 140 cm diameter) with a multimillimetric spatial resolution. For the control of absence of cracks, bubbles or defects in the concrete coating of some CEA waste drums, the laboratory needs a “high-resolution” version of this tomograph. The purpose of this study is to design an imaging detector able to provide a high spatial resolution on large objects with high dose resistance and scanning times of a few hours. To achieve this design, several steps are necessary and will be presented: – A first step consists in characterizing the current detection elements of the tomograph, such as the camera and its lens with experimental measurements. This enables to compare performance of these elements with that available on the market and to consider a replacement. – Then, the scintillator is selected according to experimental measurements on few scintillator types and a state of the art. – Next, the detector configuration is optimized to achieve the higher spatial resolution. Throughout these steps, we present the design of a highresolution detector with a spatial resolution around 300 µm for a 10%contrast.
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Abdel-Basset, Mohamed, Reda Mohamed, Attia El-Fergany, Mohamed Abouhawwash, and S. S. Askar. "Parameters Identification of PV Triple-Diode Model Using Improved Generalized Normal Distribution Algorithm." Mathematics 9, no. 9 (April 28, 2021): 995. http://dx.doi.org/10.3390/math9090995.
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To simulate the behaviors of photovoltaic (PV) systems properly, the best values of the uncertain parameters of the PV models must be identified. Therefore, this paper proposes a novel optimization framework for estimating the parameters of the triple-diode model (TDM) of PV units with different technologies. The proposed methodology is based on the generalized normal distribution optimization (GNDO) with two novel strategies: (i) a premature convergence method (PCM), and (ii) a ranking-based updating method (RUM) to accelerate the convergence by utilizing each individual in the population as much as possible. This improved version of GNDO is called ranking-based generalized normal distribution optimization (RGNDO). RGNDO is experimentally investigated on three commercial PV modules (Kyocera KC200GT, Ultra 85-P and STP 6-120/36) and a solar unit (RTC Si solar cell France), and its extracted parameters are validated based on the measured dataset points extracted at generalized operating conditions. It can be reported here that the best scores of the objective function are equal to 0.750839 mA, 28.212810 mA, 2.417084 mA, and 13.798273 mA for RTC cell, KC200GT, Ultra 85-P, and STP 6-120/36; respectively. Additionally, the principal performance of this methodology is evaluated under various statistical tests and for convergence speed, and is compared with a number of the well-known recent state-of-the-art algorithms. RGNDO is shown to outperform the other algorithms in terms of all the statistical metrics as well as convergence speed. Finally, the performance of the RGNDO is validated in various operating conditions under varied temperatures and sun irradiance levels.
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Attia, S., M. C. Santos, M. Al-Obaidy, and M. Baskar. "Leadership of EU member States in building carbon footprint regulations and their role in promoting circular building design." IOP Conference Series: Earth and Environmental Science 855, no. 1 (October 1, 2021): 012023. http://dx.doi.org/10.1088/1755-1315/855/1/012023.
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Abstract European countries are working towards carbon neutrality of the building sector. Regulations and initiatives, including the European Green Deal, aim at promoting circular buildings and low carbon design. Therefore, this paper seeks to investigate the role of legislation in paving the way towards achieving the circularity of buildings design and construction. A systematic literature review is conducted to compare the current regulations in different EU member states that address carbon emissions and life cycle thinking to achieve circularity. The study aims to demonstrate how the low-carbon emissions regulations in leading countries can lead to making the construction sector’s circularity. The research is focused on five leading EU member states in low carbon buildings, including Denmark, Finland, France, the Netherlands, and Sweden. The study compares the performance indicators, metrics, and target thresholds found in the five selected states’ regulations and examines them across a circularity assessment framework developed earlier by the authors. This paper provides insights on low emission building regulations state-of-the-art. Moreover, it offers a better understanding of the relationship between low-carbon emissions regulations and building circularity. The article explains the role of the legislative landscape and its impact on circular building design practices. Key findings from the study will assist the European Commission to identify policy options to support the uptake of “Circular economy principles for buildings design” in European, national and local policies.
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Trukhacheva, Elena Andreevna, and Karina Vramovna Vartanova. "French Musical: history and specificity of the genre." Философия и культура, no. 8 (August 2021): 21–35. http://dx.doi.org/10.7256/2454-0757.2021.8.36651.
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French Musical is “younger” than the Broadway, popular; however, there is yet no serious scientific approach towards its examination. The subject of this research is nationalization of the French Musical in historical and genre contexts. The goal is to disclose role of French Musical as a relatively young genre on the theoretical level. The article employs the interdisciplinary approach, which involves the scientific theories and concepts from other fields; historical-culturological approach, which reveals the factors contributing to assimilation of French culture with the traditions of other cultures; systemic approach aimed at examination of professional performance in French Musical as a result of development of the genre in late XX – early XXI centuries. The scientific novelty consists in introduction of the previously missing biographical materials and new information on the establishment and development of the genre of French Musical and its national specificity. The theoretical significance lies in characterization of the concepts of “French Musical”, “popular culture”, “interpretation of classical music”, “musical performance” in the context of art history knowledge, as well as methodology of science. The practical significance lies in broader understanding of the role of establishment and proliferation of French Musical, comparison of the use of chanson and jazz in the Musicals of France and the United States. The main result consists the statement that French Musical contains the key to understanding the French people, their thought pattern, and tastes. This genre allows them to express and defend their values and uniqueness.
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Verbois, Hadrien, Yves-Marie Saint-Drenan, Vadim Becquet, Benoit Gschwind, and Philippe Blanc. "Retrieval of surface solar irradiance from satellite imagery using machine learning: pitfalls and perspectives." Atmospheric Measurement Techniques 16, no. 18 (September 19, 2023): 4165–81. http://dx.doi.org/10.5194/amt-16-4165-2023.
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Abstract. Knowledge of the spatial and temporal characteristics of solar surface irradiance (SSI) is critical in many domains. While meteorological ground stations can provide accurate measurements of SSI locally, they are sparsely distributed worldwide. SSI estimations derived from satellite imagery are thus crucial to gain a finer understanding of the solar resource. Inferring SSI from satellite images is, however, not straightforward, and it has been the focus of many researchers in the past 30 to 40 years. For long, the emphasis has been on models grounded in physical laws with, in some cases, simple statistical parametrizations. Recently, new satellite SSI retrieval methods have been emerging, which directly infer the SSI from the satellite images using machine learning. Although only a few such works have been published, their practical efficiency has already been questioned. The objective of this paper is to better understand the potential and the pitfalls of this new family of methods. To do so, simple multi-layer-perceptron (MLP) models are constructed with different training datasets of satellite-based radiance measurements from Meteosat Second Generation (MSG) with collocated SSI ground measurements from Météo-France. The performance of the models is evaluated on a test dataset independent from the training set in both space and time and compared to that of a state-of-the-art physical retrieval model from the Copernicus Atmosphere Monitoring Service (CAMS). We found that the data-driven model's performance is very dependent on the training set. Provided the training set is sufficiently large and similar enough to the test set, even a simple MLP has a root mean square error (RMSE) that is 19 % lower than CAMS and outperforms the physical retrieval model at 96 % of the test stations. On the other hand, in certain configurations, the data-driven model can dramatically underperform even in stations located close to the training set: when geographical separation was enforced between the training and test set, the MLP-based model exhibited an RMSE that was 50 % to 100 % higher than that of CAMS in several locations.
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Lehert, P., P. Arvis, C. Avril, N. Massin, J. Parinaud, G. Porcu, C. Rongières, P. Sagot, R. Wainer, and T. D’Hooghe. "A large observational data study supporting the PROsPeR score classification in poor ovarian responders according to live birth outcome." Human Reproduction 36, no. 6 (April 16, 2021): 1600–1610. http://dx.doi.org/10.1093/humrep/deab050.
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Abstract STUDY QUESTION Can the Poor Responder Outcome Prediction (PROsPeR) score identify live birth outcomes in subpopulations of patients with poor ovarian response (POR) defined according to the ESHRE Bologna criteria (female age, anti-Müllerian hormone (AMH), number of oocytes retrieved during the previous cycle (PNO) after treatment with originator recombinant human follitropin alfa? SUMMARY ANSWER The PROsPeR score discriminated the probability of live birth in patients with POR using observational data with fair discrimination (AUC ≅ 70%) and calibration, and the AUC losing less than 5% precision compared with a model developed using the observational data. WHAT IS KNOWN ALREADY Although scoring systems for the likelihood of live birth after ART have been developed, their accuracy may be insufficient, as they have generally been developed in the general population with infertility and were not validated for patients with POR. The PROsPeR score was developed using data from the follitropin alfa (GONAL-f; Merck KGaA, Darmstadt, Germany) arm of the Efficacy and Safety of Pergoveris in Assisted Reproductive Technology (ESPART) randomized controlled trial (RCT) and classifies women with POR as mild, moderate or severe, based upon three variables: female age, serum AMH level and number of oocytes retrieved during the previous cycle (PNO). STUDY DESIGN, SIZE, DURATION The external validation of the PROsPeR score was completed using data derived from eight different centres in France. In addition, the follitropin alfa data from the ESPART RCT, originally used to develop the PROsPeR score, were used as reference cohort. The external validation of the PROsPeR score l was assessed using AUC. A predetermined non-inferiority limit of 0.10 compared with a reference sample and calibration (Hosmer–Lemeshow test) were the two conditions required for evaluation. PARTICIPANTS/MATERIALS, SETTING, METHODS The observational cohort included data from 8085 ART treatment cycles performed with follitropin alfa in patients with POR defined according to the ESHRE Bologna criteria (17.6% of the initial data set). The ESPART cohort included 477 ART treatment cycles with ovarian stimulation performed with follitropin alfa in patients with POR. MAIN RESULTS AND THE ROLE OF CHANCE The external validation of the PROsPeR score to identify subpopulations of women with POR with different live birth outcomes was shown in the observational cohort (AUC = 0.688; 95% CI: 0.662, 0.714) compared with the ESPART cohort (AUC = 0.695; 95% CI: 0.623, 0.767). The AUC difference was −0.0074 (95% CI: −0.083, 0.0689). This provided evidence, with 97.5% one-sided confidence, that there was a maximum estimated loss of 8.4% in discrimination between the observational cohort and the ESPART cohort, which was below the predetermined margin of 10%. The Hosmer–Lemeshow test did not reject the calibration when comparing observed and predicted data (Hosmer–Lemeshow test = 1.266688; P = 0.260). LIMITATIONS, REASONS FOR CAUTION The study was based on secondary use of data that had not been collected specifically for the analysis reported here and the number of characteristics used to classify women with POR was limited to the available data. The data were from a limited number of ART centres in a single country, which may present a bias risk; however, baseline patient data were similar to other POR studies. WIDER IMPLICATIONS OF THE FINDINGS This evaluation of the PROsPeR score using observational data supports the notion that the likelihood of live birth may be calculated with reasonable precision using three readily available pieces of data (female age, serum AMH and PNO). The PROsPeR score has potential to be used to discriminate expected probability of live birth according to the degree of POR (mild, moderate, severe) after treatment with follitropin alfa, enabling comparison of performance at one centre over time and the comparison between centres. STUDY FUNDING/COMPETING INTEREST(S) This analysis was funded by Merck KGaA, Darmstadt, Germany. P.L. received grants from Merck KGaA, outside of the submitted work. N.M. reports grants, personal fees and non-financial support from Merck KGaA outside the submitted work. T.D.H. is Vice President and Head of Global Medical Affairs Fertility, Research and Development at Merck KGaA, Darmstadt, Germany. P.A. has received personal fees from Merck KGaA, Darmstadt, Germany, outside the submitted work. C.R. has received grants and personal fees from Gedeon Richter and Merck Serono S.A.S., France, an affiliate of Merck KGaA, Darmstadt, Germany, outside the submitted work. P.S. reports congress support from Merck Serono S.A.S., France (an affiliate of Merck KGaA, Darmstadt, Germany), Gedeon Richter, TEVA and MDS outside the submitted work. C.A., J.P., G.P. and R.W. declare no conflict of interest. TRIAL REGISTRATION NUMBER N/A
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Kadygrov, N., G. Broquet, F. Chevallier, L. Rivier, C. Gerbig, and P. Ciais. "On the potential of the ICOS atmospheric CO<sub>2</sub> measurement network for estimating the biogenic CO<sub>2</sub> budget of Europe." Atmospheric Chemistry and Physics 15, no. 22 (November 18, 2015): 12765–87. http://dx.doi.org/10.5194/acp-15-12765-2015.
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Abstract. We present a performance assessment of the European Integrated Carbon Observing System (ICOS) atmospheric network for constraining European biogenic CO2 fluxes (hereafter net ecosystem exchange, NEE). The performance of the network is assessed in terms of uncertainty in the fluxes, using a state-of-the-art mesoscale variational atmospheric inversion system assimilating hourly averages of atmospheric data to solve for NEE at 6 h and 0.5° resolution. The performance of the ICOS atmospheric network is also assessed in terms of uncertainty reduction compared to typical uncertainties in the flux estimates from ecosystem models, which are used as prior information by the inversion. The uncertainty in inverted fluxes is computed for two typical periods representative of northern summer and winter conditions in July and in December 2007, respectively. These computations are based on a observing system simulation experiment (OSSE) framework. We analyzed the uncertainty in a 2-week-mean NEE as a function of the spatial scale with a focus on the model native grid scale (0.5°), the country scale and the European scale (including western Russia and Turkey). Several network configurations, going from 23 to 66 sites, and different configurations of the prior uncertainties and atmospheric model transport errors are tested in order to assess and compare the improvements that can be expected in the future from the extension of the network, from improved prior information or transport models. Assimilating data from 23 sites (a network comparable to present-day capability) with errors estimated from the present prior information and transport models, the uncertainty reduction on a 2-week-mean NEE should range between 20 and 50 % for 0.5° resolution grid cells in the best sampled area encompassing eastern France and western Germany. At the European scale, the prior uncertainty in a 2-week-mean NEE is reduced by 50 % (66 %), down to ~ 43 Tg C month−1 (26 Tg C month−1) in July (December). Using a larger network of 66 stations, the prior uncertainty of NEE is reduced by the inversion by 64 % (down to ~ 33 Tg C month−1) in July and by 79 % (down to ~ 15 Tg C month−1) in December. When the results are integrated over the well-observed western European domain, the uncertainty reduction shows no seasonal variability. The effect of decreasing the correlation length of the prior uncertainty, or of reducing the transport model errors compared to their present configuration (when conducting real-data inversion cases) can be larger than that of the extension of the measurement network in areas where the 23 station observation network is the densest. We show that with a configuration of the ICOS atmospheric network containing 66 sites that can be expected on the long-term, the uncertainties in a 2-week-mean NEE will be reduced by up to 50–80 % for countries like Finland, Germany, France and Spain, which could significantly improvement (and at least a high complementarity to) our knowledge of NEE derived from biomass and soil carbon inventories at multi-annual scales.
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Ali, Muhaddisa Barat, Irene Yu-Hua Gu, Mitchel S. Berger, Johan Pallud, Derek Southwell, Georg Widhalm, Alexandre Roux, Tomás Gomez Vecchio, and Asgeir Store Jakola. "Domain Mapping and Deep Learning from Multiple MRI Clinical Datasets for Prediction of Molecular Subtypes in Low Grade Gliomas." Brain Sciences 10, no. 7 (July 18, 2020): 463. http://dx.doi.org/10.3390/brainsci10070463.
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Brain tumors, such as low grade gliomas (LGG), are molecularly classified which require the surgical collection of tissue samples. The pre-surgical or non-operative identification of LGG molecular type could improve patient counseling and treatment decisions. However, radiographic approaches to LGG molecular classification are currently lacking, as clinicians are unable to reliably predict LGG molecular type using magnetic resonance imaging (MRI) studies. Machine learning approaches may improve the prediction of LGG molecular classification through MRI, however, the development of these techniques requires large annotated data sets. Merging clinical data from different hospitals to increase case numbers is needed, but the use of different scanners and settings can affect the results and simply combining them into a large dataset often have a significant negative impact on performance. This calls for efficient domain adaption methods. Despite some previous studies on domain adaptations, mapping MR images from different datasets to a common domain without affecting subtitle molecular-biomarker information has not been reported yet. In this paper, we propose an effective domain adaptation method based on Cycle Generative Adversarial Network (CycleGAN). The dataset is further enlarged by augmenting more MRIs using another GAN approach. Further, to tackle the issue of brain tumor segmentation that requires time and anatomical expertise to put exact boundary around the tumor, we have used a tight bounding box as a strategy. Finally, an efficient deep feature learning method, multi-stream convolutional autoencoder (CAE) and feature fusion, is proposed for the prediction of molecular subtypes (1p/19q-codeletion and IDH mutation). The experiments were conducted on a total of 161 patients consisting of FLAIR and T1 weighted with contrast enhanced (T1ce) MRIs from two different institutions in the USA and France. The proposed scheme is shown to achieve the test accuracy of 74 . 81 % on 1p/19q codeletion and 81 . 19 % on IDH mutation, with marked improvement over the results obtained without domain mapping. This approach is also shown to have comparable performance to several state-of-the-art methods.
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Kadygrov, N., G. Broquet, F. Chevallier, L. Rivier, C. Gerbig, and P. Ciais. "On the potential of ICOS atmospheric CO<sub>2</sub> measurement network for the estimation of the biogenic CO<sub>2</sub> budget of Europe." Atmospheric Chemistry and Physics Discussions 15, no. 10 (May 20, 2015): 14221–73. http://dx.doi.org/10.5194/acpd-15-14221-2015.
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Abstract. We present a performance assessment of the European Integrated Carbon Observing System (ICOS) atmospheric network for constraining European biogenic CO2 fluxes (hereafter Net Ecosystem Exchange, NEE). The performance of the network is assessed in terms of uncertainty in the fluxes using a state-of-the-art mesoscale atmospheric inversion system assimilating hourly averages of atmospheric data to solve for NEE at 6 h and 0.5° resolution. The performance of the ICOS atmospheric network is also assessed in terms of uncertainty reduction compared to typical uncertainties in the flux estimates from ecosystem models that are used as prior information by the inversion. The uncertainty in inverted fluxes is computed for two typical periods representative of summer and winter conditions in July and in December 2007, respectively. These computations are based on a robust Observing System Simulation Experiments framework. We analyze the uncertainty in two-week mean NEE as a function of the spatial scale, with a focus on the model native grid scale (0.5°), the country scale and the European scale (including western Russia and Turkey). Several network configurations, going from 23 to 66 sites, and different configurations of the prior uncertainties and atmospheric model transport errors are tested in order to assess and compare the improvements that can be expected in the future from (1) the extension of the network, (2) improved prior information or (3) improved transport models. Assimilating data from 23 sites (a network comparable to present day capability) with the estimate of errors from the present prior information and transport models, the uncertainty reduction on two-week mean NEE should range between 20 and 50% for 0.5° resolution grid cells in the best sampled area encompassing eastern France and western Germany. At the European scale, the prior uncertainty in two-week mean NEE is reduced by 50% (66%), down to ∼ 43 Tg C month-1 (resp. 26 Tg C month-1) in July (resp. December). Using a larger network of 66 stations, the prior uncertainty of NEE is reduced by the inversion by 64% (down to ∼ 33 Tg C month-1) in July and by 79% (down to ∼ 15 Tg C month-1) in December. When the results are integrated over the well-observed western European domain, the uncertainty reduction shows no seasonal contrast. The effect of decreasing the correlation length of the prior uncertainty, or of reducing the transport model errors compared to their present configuration (when conducting real-data inversion cases) can be larger than that of the extension of the measurement network in areas where the 23 stations observation network is the densest. We show that with a configuration of the ICOS atmospheric network containing 66 sites that can be expected on the long-term, the uncertainties in two-week mean NEE will be reduced by up to 50–80% for countries like Finland, Germany, France and Spain, which could bring a significant improvement of (and at least a high complementarity to) our knowledge about NEE derived from biomass and soil carbon inventories at multi annual scales.
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Wilk, Ł., D. Mielczarek, W. Ostrowski, W. Dominik, and J. Krawczyk. "SEMANTIC URBAN MESH SEGMENTATION BASED ON AERIAL OBLIQUE IMAGES AND POINT CLOUDS USING DEEP LEARNING." International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLIII-B2-2022 (May 30, 2022): 485–91. http://dx.doi.org/10.5194/isprs-archives-xliii-b2-2022-485-2022.
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Abstract. The use of deep machine learning methods for semantic classification of city mesh models is one of the current trends in geoscience development. Thanks to the thriving development of Convolutional Neural Networks (CNNs) it is now achievable to conduct fully automated process of building aforementioned 3D model by means of photogrammetric techniques and supplement it with additional semantic information obtained by Artificial Intelligence (AI) algorithms. In order to guarantee the comprehensiveness of said information it is essential to use an extensive range of 3D data including oblique aerial imagery and aerial laser scanning (ALS). Such comprehensive 3D mesh models may be later implemented in many Digital Twin class solutions additionally supported with modern GIS systems and its algorithms. To proof the validity of this thesis, the article showcases results of research conducted using deep learning based solutions tested on two datasets - real-world data in the form of oblique aerial images and ALS point clouds acquired in Bordeaux, France using novel Leica CityMapper-1 multisensoral system and large-scale dataset from SUM: A Benchmark Dataset of Semantic Urban Meshes. Both subalgorithms make use of CNNs as its core-feature. To perform accurate classification of oblique aerial scenes PSP-Net architecture accelerated by techniques of transfer learning has been used. Second algorithm destined for ALS point clouds utilizes CNN as well, but in this case implementation is based on proprietary architecture. The results of the experiments demonstrate that the utilizing these two mutually complementary solutions to extract new semantic information for city mesh models in proposed manner compared with the state-of-the-art methods achieves competitive classification performance.
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Wen, Lekang, Jun He, and Xu Huang. "Mountain Segmentation Based on Global Optimization with the Cloth Simulation Constraint." Remote Sensing 15, no. 12 (June 7, 2023): 2966. http://dx.doi.org/10.3390/rs15122966.
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Mountains are an important research object for surveying, mapping, cartography, space science, and ecological remote sensing. Automatic mountain segmentation is one of the most critical techniques in large-scale mountain analyses. However, several factors limit the segmentation accuracy, such as the complexity of mountains, the noise of geospatial data, and the confusion in distinguishing non-mountainous objects with similar features. In order to improve the accuracy of mountain segmentation against these limiting factors, we impose the cloth constraint over the digital elevation model (DEM) with the underlying assumption that the mountain has a sizeable relative elevation and slope. We propose a robust mountain segmentation method with the cloth simulation constraint. The core algorithm extracts the relative elevation of the region using a cloth simulation filtering algorithm by transforming the mountain segmentation problem into an optimization problem based on the global energy function consisting of the relative elevation and slope. Experiments on a wide range of Earth and lunar elevation datasets with some of the aforementioned limitations show that the proposed method can extract complex mountain baselines, avoid the misclassification of lunar craters, and significantly improve the robustness and accuracy of mountain segmentation. Compared to three state-of-the-art methods (the Lunar Mountain Detection Method, the Landform Mask Method in SNAP™ from European Space Agency (located in Paris, France), and the Multiscale Segmentation Method in eCognition™ from Definiens Imaging (located in Munich, Germany), the F1 and IoU improved by 14.70% and 20.46% on average and 29.07% and 38.94% at most, respectively, which validates that the proposed method has a better all-around performance.
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Ravaglia, Fournier, Bac, Véga, Côté, Piboule, and Rémillard. "Comparison of Three Algorithms to Estimate Tree Stem Diameter from Terrestrial Laser Scanner Data." Forests 10, no. 7 (July 18, 2019): 599. http://dx.doi.org/10.3390/f10070599.
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Terrestrial laser scanners provide accurate and detailed point clouds of forest plots, which can be used as an alternative to destructive measurements during forest inventories. Various specialized algorithms have been developed to provide automatic and objective estimates of forest attributes from point clouds. The STEP (Snakes for Tuboid Extraction from Point cloud) algorithm was developed to estimate both stem diameter at breast height and stem diameters along the bole length. Here, we evaluate the accuracy of this algorithm and compare its performance with two other state-of-the-art algorithms that were designed for the same purpose (i.e., the CompuTree and SimpleTree algorithms). We tested each algorithm against point clouds that incorporated various degrees of noise and occlusion. We applied these algorithms to three contrasting test sites: (1) simulated scenes of coniferous stands in Newfoundland (Canada), (2) test sites of deciduous stands in Phalsbourg (France), and (3) coniferous plantations in Quebec, Canada. In most cases, the STEP algorithm predicted diameter at breast height with higher R2 and lower RMSE than the other two algorithms. The STEP algorithm also achieved greater accuracy when estimating stem diameter in occluded and noisy point clouds, with mean errors in the range of 1.1 cm to 2.28 cm. The CompuTree and SimpleTree algorithms respectively produced errors in the range of 2.62 cm to 6.1 cm and 1.03 cm to 3.34 cm, respectively. Unlike CompuTree or SimpleTree, the STEP algorithm was not able to estimate trunk diameter in the uppermost portions of the trees. Our results show that the STEP algorithm is more adapted to extract DBH and stem diameter automatically from occluded and noisy point clouds. Our study also highlights that SimpleTree and CompuTree require data filtering and results corrections. Conversely, none of these procedures were applied for the implementation of the STEP algorithm.
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MacQueen, Hector L. "Giancarlo Frosio, Reconciling Copyright with Cumulative Creativity: The Third Paradigm Katie Scott, Becoming Property: Art, Theory and Law in Early Modern France Will Slauter, Who Owns the News?: A History of Copyright Derek Miller, Copyright and the Value of Performance 1770-1911 Elena Cooper, Art and Modern Copyright: The Contested Image." American Journal of Legal History 61, no. 1 (March 1, 2021): 126–38. http://dx.doi.org/10.1093/ajlh/njaa034.
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Ting, Liu. "Aesthetic principles of interpretation of early arias in the vocalist’s concert repertoire: air de cour." Aspects of Historical Musicology 27, no. 27 (December 27, 2022): 73–96. http://dx.doi.org/10.34064/khnum2-27.05.
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Statement of the problem. Nowadays, there has been a high demand for historically informed performance, including in the educational process. However, a young performer often faces not only technical problems, but also a lack of understanding of the performance style. So, the relevance of the topic of the article is caused by urgent needs of modern concert and stage practice related to historically oriented performance as well as by the task of modern music education to introduce the Baroque styles into the educational process of vocal performers. The article offers the experience of musicological reception of the early aria genre using the example of the French “air de cour” as the personification of European Baroque aesthetics. The genre, which is little known to both Ukrainian and Chinese vocalists, is considered from the standpoint of a cognitive approach, which involves a combination of practical singing technology with the understanding of the aesthetic guidelines of the baroque vocal style as an original phenomenon. One of the manifestations of it is the “sung dance” (singing in ballet) as the embodiment of artistic synthesis rooted in the musical and theatrical practice of France during the time of Louis XIV with its luxurious court performances, a bright component of which were “airs de cour”. To reveal the chosen topic it was necessary to study scientific literature in such areas as the issues of performing early vocal music (Boiarenko, 2015), the history and modernity of vocal art (Shuliar, 2014; Hnyd, 1997; Landru-Chandès, 2017); peculiarities of the air de cour genre, which are highlighted with varying degrees of detailing in different perspectives in the works of European and American scholars: 1) in publications on the synthetic opera and ballet genres in the time and at the court of Louis XIV, in particular ballet-de-cour (Needham, 1997; Christout, 1998; Verchaly, 1957; Harris-Warwick, 1992; Cowart, 2008); 2) special studies (Durosoir, 1991; Khattabi, 2013; Brooks, 2001); 3) monographs on Baroque music (Bukofzer, 1947); 4) reference articles by authoritative musicologists (Baron, 2001, the editors of Encyclopaedia Britannica and others). A study that would focus on the aesthetic principles of the modern vocal interpretation of air de cour as a sample of the early aria genre has not been found. Research results. Air de cour, the origins of which are connected with the secular urban song (voix-de-ville) in arrangements for voice and lute and lute transcriptions of polyphonic vocal works of the Renaissance, was popular in France, and later, in Europe at the end of the 16th and 17th centuries. As part of the popular synthetic theatrical spectacle – ballet-de-cour, which combined dance, music, poetry, visual and acting arts and flourished at the court of Louis XIV as an active means of sacralizing the king’s person, “air de cour” even in its name (which gradually replaced “voix-de-villes”) alludes to the social transformations of the French Baroque era with its courtly preferences. With the transition to an aristocratic environment, the link of the genre with its folk roots (squareness, metricity, melodic unpretentiousness) weakens, giving way to the refined declamation style of musique mesurée; the strophic repetitions of the melody with a new text are decorated by the singers with unique ornamentation (broderies), which is significantly different from the Italian. The poetic word and music complement the art of dance since air de cour has also adapted to ballet numbers, providing great opportunities for various forms of interaction between singing and dancing and interpretation on the basis of versioning – the variable technique of combinations, which were constantly updated. Vocal numbers in ballets were used to create various musical imagery characteristics. When choosing singers, the author of the music had to rely on such criteria as the range and timbre of the voice. As leaders, the creators of airs de cour used high voices. This is explained by the secular direction of the genre, its gradual separation from the polyphonic traditions of the past era: the highest voice in the polyphony, superius, is clearly distinguished as the leading one in order to convey the meaning of the poetic declamation, to clearly hear the words, turning the polyphonic texture into a predominantly chordal one with the soprano as the leading voice. Hence, the modern performing reproduction of air de cour, as well as the early aria in general, requires a certain orientation in the characteristics of the expressive possibilities of this particular singing voice; for this purpose, the article provides a corresponding classification of sopranos. So, despite the small vocal range and the external simplicity of the air de cour form, the vocalist faces difficult tasks, from deep penetration into the content of the poetic text and reproduction of the free declamatory performance style to virtuoso mastery of the technique of ornamental singing and a special “instrumental” singing manner inherited from Renaissance polyphonic “equality” of vocal and instrumental voices. Conclusions. What are the aesthetic principles of vocal music of the European Baroque period that a vocalist should take into account when performing it? First of all, it is an organic synthesis of music, poetry and choreography. The connection of singing with dance plasticity is inherent in many early vocal works. Hence the requirement not only to pay attention to the culture ofrecitation, pronunciation of a poetic text, understanding of key words-images, which precedes any performance interpretation of a vocal work, but also to study the aesthetic influences of various arts inherent in this or that work of Baroque culture. Air de cour differs from the German church or Italian opera aria as other national manifestations of the psychotype of a European person precisely in its dance and movement plasticity. Therefore, the genre of the early aria requires the modern interpreter to understand the socio-historical and aesthetic conditions of its origin and existence and to rely on the systemic unity (polymodality) of vocal stylistics. The prospect of research. There are plenty of types of vocal and dance plasticity in early arias; among them, rhythmic formulas and dance patterns of sicilianas, pavanes, and tarantellas prevail; movement rhythm (passacaglia). And they received further rapid development in the romantic opera of the 19th century. This material constitutes a separate “niche” and is an artistic phenomenon that is practically unstudied in terms of historical and stylistic integrity, continuity in various national cultures, and relevance for modern music and theatre art.
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Cooke, Anne-Karin, Cédric Champollion, and Nicolas Le Moigne. "First evaluation of an absolute quantum gravimeter (AQG#B01) for future field experiments." Geoscientific Instrumentation, Methods and Data Systems 10, no. 1 (March 24, 2021): 65–79. http://dx.doi.org/10.5194/gi-10-65-2021.
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Abstract. Quantum gravimeters are a promising new development allowing for continuous absolute gravity monitoring while remaining user-friendly and transportable. In this study, we present experiments carried out to assess the capacity of the AQG#B01 in view of future deployment as a field gravimeter for hydrogeophysical applications. The AQG#B01 is the field version follow-up of the AQG#A01 portable absolute quantum gravimeter developed by the French quantum sensor company Muquans. We assess the instrument's performance in terms of stability (absence of instrumental drift) and sensitivity in relation to other gravimeters. No significant instrumental drift was observed over several weeks of measurement. We discuss the observations concerning the accuracy of the AQG#B01 in comparison with a state-of-the-art absolute gravimeter (Micro-g-LaCoste, FG5#228). We report the repeatability to be better than 50 nm s−2. This study furthermore investigates whether changes in instrument tilt and external temperature and a combination of both, which are likely to occur during field campaigns, influence the measurement of gravitational attraction. We repeatedly tested external temperatures between 20 and 30 ∘C and did not find any significant effect. As an example of a geophysical signal, a 100 nm s−2 gravity change is detected with the AQG#B01 after a rainfall event at the Larzac geodetic observatory (southern France). The data agreed with the gravity changes measured with a superconducting relative gravimeter (GWR, iGrav#002) and the expected gravity change simulated as an infinite Bouguer slab approximation. We report 2 weeks of stable operation under semi-terrain conditions in a garage without temperature-control. We close with operational recommendations for potential users and discuss specific possible future field applications. While not claiming completeness, we nevertheless present the first characterization of a quantum gravimeter carried out by future users. Selected criteria for the assessment of its suitability in field applications have been investigated and are complemented with a discussion of further necessary experiments.
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Agu, Kenneth Obinna. "Impacts of workplace cultural differences on innovation and economic growth in Europe." Studia Mundi - Economica 8, no. 1 (2021): 87–101. http://dx.doi.org/10.18531/studia.mundi.2021.08.01.87-101.
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Cultural differences and innovativeness are multi-faceted social phenomenon with innumerable manifestations. Majority of studies have indicated the positive impact of culture. There are some research findings which concluded that culture has a negative impact mainly due to language barriers of diverse cultural workforce which led to low level of communication, in turn led to low level of innovation. Hence the impact of culture on innovation and economic development is debated. Innovation takes place as an art of exercises routed into cultural view points and attitudes. With European Union struggling economies and financial crises, social integration and human capital mobility are key solutions to create innovation and innovative solutions. This study is, therefore aimed at examining the impacts of workplace cultural differences (in a form of human capital mobility) on innovation and economic growth in Europe. Accordingly, Germany, France, Belgium, and Luxembourg were purposively selected based on the higher number of diversified workforce available in companies located in these countries, in order words human capital mobility. Hence, data was collected using a questionnaire random sample of 392 employees (98 from each country) were selected. Consequently, though small portion of the respondents mentioned the negative impact of cultural diversity, the majority of the respondents and the results of the in-depth interview implied that cultural diversity brings people together and enables them to be creative and enhance their innovative performance. Mobility of skilled human capital is an attribute of culturally diverse workforce in a certain company which enable them to share knowledge and skills which in turn improve their innovative capacity. Therefore, this study concluded that cultural diversity has a significant positive impact on innovation and hence on the economic growth. But the barriers that may be seen at workplace due to cultural differences should be properly managed and prior training sessions to newly employed personnel and a platform where all the employees can get an opportunity to introduce themselves and ease their communication should be arranged.
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Peyrin-Biroulet, L., S. Adsul, J. Dehmeshki, and O. Kubassova. "DOP58 An artificial intelligence–driven scoring system to measure histological disease activity in Ulcerative Colitis." Journal of Crohn's and Colitis 16, Supplement_1 (January 1, 2022): i105. http://dx.doi.org/10.1093/ecco-jcc/jjab232.097.
Full textAbstract:
Abstract Background Histological remission is increasingly regarded as an important and deep therapeutic target for ulcerative colitis (UC). Assessment and scoring of histological images is a tedious procedure, that can be imprecise and prone to inter- and intra-observer variability. Therefore, a need exists for an automated method that is accurate, reproducible and reliable. This study aimed to investigate whether an artificial intelligence (AI) system developed using image processing and machine learning algorithms could measure histological disease activity based on the Nancy index. Methods A total of 200 histological images of patients with UC from a database at University Hospital, Vandoeuvre-lès-Nancy, France were used for this study. The novel AI system was used to fully characterise histological images and automatically measure Nancy index. The in-house AI algorithm was developed using state-of-the-art image processing and machine learning algorithms based on deep learning and feature extraction. The cell regions of each image, followed by Nancy index, were manually annotated and measured independently by 3 histopathologists. Manual and AI-automated measurements of Nancy index score were done and assessed using the intraclass correlation coefficient (ICC). Results The 200-image dataset was divided into 2 groups (80% was used for training and 20% for testing). ICC statistical analyses were performed to evaluate AI tool and used as a reference to calculate the accuracy (Table 1). The average ICC amongst the histopathologists was 89.33 and average ICC between histopathologists and AI tool was 87.20. Despite the small number of image data, the AI tool was found to be highly correlated with histopathologists. Conclusion The high correlation of performance of the AI method suggested promising potential for IBD clinical applications. A standardised and validated histological AI-driven scoring system can potentially be used in daily IBD practice to eliminate the subjectivity of the pathologists and assess the disease severity for treatment decision.