Bibliografías temáticas / Lucier

Literatura académica sobre el tema "Lucier"

Autor: Grafiati

Publicado: 4 de junio de 2021

Última modificación: 20 de febrero de 2023

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Artículos de revistas sobre el tema "Lucier"

Barlow, Melinda. "Mary Lucier". Woman's Art Journal 22, n.º 2 (2001): 59. http://dx.doi.org/10.2307/1358925.

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DAVIS, RANDAL. "‘… and what they do as they're going …’: sounding space in the work of Alvin Lucier". Organised Sound 8, n.º 2 (agosto de 2003): 205–12. http://dx.doi.org/10.1017/s1355771803000116.

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This paper considers the early work of Alvin Lucier and its often problematic positioning between concert and installation work as a means of questioning how installation might be defined. Following an introductory survey of Lucier's work, a history of installation in the visual arts is traced through the debate, initiated by Michael Fried, on the ‘theatricality’ of minimalism. Fried's condemnation of the role of the viewer in what he termed ‘literalist’ art became, contrary to his intentions, a central element in thinking about installation work. Fried's position was recently engaged again by Hal Foster in positing a particular phenomenology of minimalist work, which is seen to be directly relevant to the example of Lucier. Having thus established the relevance of this phenomenology to the consideration of sound installations, whether they are themselves minimal works or not, discussion returns to the problematic example of Lucier, and the conclusion that the boundary between concert and installation works may always be permeable, that a precise morphology of installation will remain elusive.

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Ice, George G., Larry L. Irwin y T. Bently Wigley. "Remembering Alan Lucier". Journal of Forestry 112, n.º 4 (1 de julio de 2014): 383–84. http://dx.doi.org/10.5849/jof.14-051.

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Aschour, Didier. "Alvin Lucier, un phénomène sonore". Chimères 47, n.º 1 (2002): 155–60. http://dx.doi.org/10.3406/chime.2002.2459.

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Curtis, Charles. "Alvin Lucier: A Performer's Notes". Leonardo Music Journal 22 (diciembre de 2012): 87–88. http://dx.doi.org/10.1162/lmj_a_00111.

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Lerman, Richard. "Thoughts on Alvin Lucier and Performance". Leonardo Music Journal 22 (diciembre de 2012): 88. http://dx.doi.org/10.1162/lmj_a_00113.

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Spisak, April. "Year of the Reaper by Makiia Lucier". Bulletin of the Center for Children's Books 75, n.º 3 (2021): 99. http://dx.doi.org/10.1353/bcc.2021.0598.

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Atkinson, Amy. "A Death-Struck Year by Makiia Lucier". Bulletin of the Center for Children's Books 67, n.º 8 (2014): 414. http://dx.doi.org/10.1353/bcc.2014.0249.

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Jacques, Wesley. "Isle of Blood and Stone by Makiia Lucier". Bulletin of the Center for Children's Books 71, n.º 8 (2018): 344–45. http://dx.doi.org/10.1353/bcc.2018.0276.

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Lucier, Alvin. "On Stuart Marshall: Composer, Video Artist and Filmmaker, 1949–1993". Leonardo Music Journal 11 (diciembre de 2001): 51–52. http://dx.doi.org/10.1162/09611210152780674.

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Alvin Lucier reminisces about his former student and colleague Stuart Marshall. Marshall's sound works investigated such phenomena as the threshold of hearing and the displacement of sound environments, through scores that combined participants and equipment in incongruous ways, with instructions based on seemingly contradictory statements, creating unexpected groupings and responses.

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Tesis sobre el tema "Lucier"

Eitel, Verena. "The Empress of Sound - 5 Soli für/von Alvin Lucier". Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2014. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-140729.

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Der Komponist und Klangkünstler Alvin Lucier ist einer der Mitbegründer der Live Electronic Music-Szene der 60er Jahre in den USA. Vergangenes Jahr feierte er seinen 80. Geburtstag. Im Dezember 2009 widmete sich das SOLOLALA Festival, eine Veranstaltungsreihe des ausland Berlin unter der Leitung von Gregor Hotz, Alvin Luciers Solo-Stücken. Fünf seiner Stücke wurden hierfür von fünf Performerinnen neu interpretiert, darunter zwei seiner bekanntesten, "Music for Solo Performer" (1965) und "I Am Sitting in a Room" (1970). Der Beitrag führt Interviews und Statements der Beteiligten – Performerinnen, Techniker, Lichtdesignerin und Kurator – zusammen. In dieser Vielstimmigkeit wirft er den Blick auf das Solo als Teamarbeit, die Aufführungspraxis in Musik und Performancekunst und fragt nach der inspirierenden Essenz von Luciers langjährigem Schaffen.

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Eitel, Verena. "The Empress of Sound - 5 Soli für/von Alvin Lucier". Hochschule für Musik und Theater Leipzig, 2012. https://slub.qucosa.de/id/qucosa%3A4375.

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Der Komponist und Klangkünstler Alvin Lucier ist einer der Mitbegründer der Live Electronic Music-Szene der 60er Jahre in den USA. Vergangenes Jahr feierte er seinen 80. Geburtstag. Im Dezember 2009 widmete sich das SOLOLALA Festival, eine Veranstaltungsreihe des ausland Berlin unter der Leitung von Gregor Hotz, Alvin Luciers Solo-Stücken. Fünf seiner Stücke wurden hierfür von fünf Performerinnen neu interpretiert, darunter zwei seiner bekanntesten, 'Music for Solo Performer' (1965) und 'I Am Sitting in a Room' (1970). Der Beitrag führt Interviews und Statements der Beteiligten – Performerinnen, Techniker, Lichtdesignerin und Kurator – zusammen. In dieser Vielstimmigkeit wirft er den Blick auf das Solo als Teamarbeit, die Aufführungspraxis in Musik und Performancekunst und fragt nach der inspirierenden Essenz von Luciers langjährigem Schaffen.

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Gauthier-Rahman, Nicolas. "Esthétique(s) de la métamorphose : Alvin Lucier, performance et propagation". Thesis, Paris Est, 2018. http://www.theses.fr/2018PESC2194.

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Cette thèse présente une analyse problématisée de la démarche musicale très particulière du compositeur nord-américain Alvin Lucier (1931), désignée comme performance musicale. Que voudra Lucier après une césure compositionnelle de dix ans après avoir été pourtant lauréat de prix de composition ? Quel est son bagage et quels sont donc ses enjeux compositionnels, notamment par rapport au contexte de l'avant-garde de l'époque ? Quel est d'ailleurs son rapport au modèle européen ? Cette étude montre alors la très grande originalité de Lucier, artiste connu mondialement, mais finalement peu dans le détail, inscrite dans le contexte général de l'art performatif américain, peu abordé également en musicologie française hormis les collaborations de Cage avec Cunningham, Rauschenberg ou Tudor qui seront vus ici en compagnie de bien d'autres personnalités du théâtre, de la danse, des arts plastiques, notamment dans des moments exceptionnels de rencontres tels les soirées des 9 Evenings ou celles données dans le loft de Yoko Ono. L'approche de Lucier permet de percevoir ainsi frontalement, en plus des aspirations d’une génération d'artistes qui a 30 ans au seuil des années 1960 très revendicatrices politiquement et socialement, une perception nouvelle de l'objet d'art, délaissé pour le mouvement, et qui voit alors Lucier se porter vers une scène, vers une scène du son, vers une musique qui soit scène de l'audition, vers donc une scène proprement performative. D'où vient le son, quelles en seraient ses coordonnées dont Lucier est bien rétif à accepter la certitude, quel le lieu exact de l'audition, telles sont des questions récurrentes chez Lucier et de la récurrence desquelles il fait art et, bien entendu, musique. S'il manie en conséquence un étonnant mélange de sciences physiques, d'éthologie, d'alchimie, de poésie, d'aléatoire, il en ressort une conception propre et passionnante de la causalité, de l'environnement, de l'écologie, lesquelles seront à percevoir également dans leurs contextes d'apparition. Imperceptiblement, pas à pas, mais radicalement, Lucier sort la musique du champ musical strict bien avant le sound art, dont il devenu postérieurement une icône, ou avant le fied recording qu'il déborde, en ouvrant la musique à prendre à égalité d'inspiration et même en homologues les sciences, physiques et cosmologiques notamment, les animaux, un art à l’aveugle, voire une pensée ésotérique si tant qu'elle offre un modèle unificateur au-delà des apparences des choses. En effet, la nature ondulaire du son permet à Lucier de franchir les portes (du son) et de constituer une problématique perpétuelle de la propagation et de la conversion où le performer interroge, en forme d'art, les trajets, translations et métamorphoses du son dans des canaux différents. Ceux-ci peuvent être ceux de la mémoire, des milieux physiques environnants, ou même encore des formes puisque Lucier, moderne alchimiste, peut promouvoir un son plus que sonore, un son physique, un son visuel, voire un son de l'inaudible, en tous les cas un son circulant et qui rend perméables des dimensions hétérogènes. Devant ces conversions physiques et mentales qui sont, de fait, des bouleversements, c’est donc toute une aventure intellectuelle inédite, et qui a des grandes répercussions sur la musique d'aujourd'hui, que cette thèse veut mettre à l'honneur en couvrant la très longue carrière de Lucier, toujours bien actif
This PhD dissertation describes how north american composer Alvin Lucier (1931) found his path in composing music once he figured out his previous musical training lead him to an aesthetic dead end. Not without good sense of humor Lucier had to cope with lack of inspiration for almost a decade and focused mainly on conducting a contemporary music choir before he could take up a new composing perspective. His art, that one might define as performance art, has a form obviously different from what is commonly called (art) performance and is related to an art trend that was rising up within the Fifties and the Sixties. Lucier's music belongs to this history of american experimental and performative art, a topic barely known in french musicology at the exception of Cage's famous collaborations with either Cunningham, Rauschenberg or Tudor. These oversteppings of the bounds of the music field of the time as well Lucier's music itself indeed must be looked into at the light of the works of young artists who were often friends and working on common projects, be they dancers, musicians, painters or sculptors. All have altered the meaning of the word "to perform". Lucier amazing example helps to catch a glimpse on some artists who were on their thirties at the turning of the Sixties while their works help in turn to understand how in his case Lucier has considered music (and hearing) as if taking place on a stage. Where does a sound come from, on what stage, where hearing really takes place, these questions could be Lucier's ultimate seek motives. If his musical thinking therefore seems to deal with various matters as diverse as chance procedures, physics, ethology, poetry, alchemy his conception of what causality, environment or ecology are proves very consistant. All were new topics that must be now carefully driven back to their original backgrounds. To sum it up now in one sentence, the physical aspect of sound as a wave including a wavelenght that can be felt by the human body in different sensorial ways gave Lucier the opportunity, or so to say, the excuse to create a sound propagation art where sound is as much physically reflected as mentally thought over along the many conversions Lucier provokes. For Lucier sound is a puzzling question whom he surveys in all its manifestations be they its trajectories, transformations or even its metamorphosis so far as Lucier seems a modern alchemist willing to make the sound visible, haptic, or audible if litterally inaudible. Besides being a still active, highly influent composer and a seminal sound art icon, Lucier's long career displays thus a complete intellectual adventure that deserves to be pointed out in its most relevant and breaking features

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Chung, Hsiang Ying. "A sound encounter of en creux : in-between Roni Horn, Alvin Lucier, and Robert Smithson". Thesis, Goldsmiths College (University of London), 2014. http://research.gold.ac.uk/10903/.

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This practice-led Ph.D. research consists of a body of work and its contextual analysis and reflection through the creative practice of Roni Horn, Robert Smithson and Alvin Lucier. Initiated with the following questions: why do I hear sound when there is no sound to hear? What is it to cause the impression of something that is not present? which emerged from my own practice and my chance encounter of Horn’s work, the aim of this writing intends to explore and adumbrate the notion of en creux evoked and circumscribed in and through sound as a creative medium in the light of the practice of Roni Horn, Robert Smithson and Alvin Lucier. Five pieces of artwork have been developed, analysed and discussed as case studies alongside with the foregoing artists’ work and aesthetic thinking. In order to tease out the constituents of an encounter of en creux, each case study focuses the examination and investigation on different aspects of Horn’s creative strategy of doubling, Smithson’s dialectic of Site and Nonsite and Lucier’s I am sitting in a room, and in turn, their aesthetic and critical influence on my approach to use sound in the pursuit of the subject in question. The primary concern of this practice-led research is not to develop and define sound as specific aesthetic object impinging on in its environment, but as specific aesthetic agent in which the form and the content constantly modifies and contains each other, and as an aesthetic agent through which specific circumstances are created in time and space. The creative practice of this research project is thus modulating between these three artists’ practice while the critical reflection and the analysis of the work produced is triangulated by their conceptual and aesthetic thinking. Five pieces of artwork, varying from stereo recordings, installations, performance and textual instructions, are selected and discussed as case studies in the written thesis. These include Spring Piece (2009), 2 p.m. (2009), Folding (2009-10), Hear One Near and Think of the Other (2011) and Measurement No.1 D NAB (2011-). Being both the source and the outcome of the critical findings and analysis, these works are considered as doubling to the written thesis, and vice versa.

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Blamey, Peter J. "Sine waves and simple acoustic phenomena in experimental music : with special reference to the work of La Monte Young and Alvin Lucier /". Thesis, View thesis, 2008. http://handle.uws.edu.au:8081/1959.7/25659.

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This thesis explores a series of relationships between music and acoustics in order to develop a basis for discussing and critiquing aesthetics in post-Cagean experimental music. Specifically, it examines the acoustic and aesthetic theories that inform the practice of American composers La Monte Young and Alvin Lucier. One particular theme - the sine wave - emerges, both as a prominent feature in the work of these two composers, and also as a nexus point between music and acoustics. Pursuing this theme, the thesis begins by looking at issues in the science, technology, and ideology of acoustics in relation to the study of musical sound in the late nineteenth century. It then aims to situate the sine wave historically, culturally and technologically within a range of scientific and aesthetic practices in operation in the first half of the twentieth century. Finally, it explores the deployment of concepts from the field of acoustics by artists of the avant-garde, and considers what contribution these factors played in broadening the developing discourse of sound within the arts. These discussions then inform detailed investigations into the work of both Lucier and Young, examining their use of sine waves to explore and produce simple acoustic phenomena.

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Blamey, Peter J. "Sine waves and simple acoustic phenomena in experimental music with special reference to the work of La Monte Young and Alvin Lucier /". View thesis, 2008. http://handle.uws.edu.au:8081/1959.7/25659.

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Thesis (Ph.D.)--University of Western Sydney, 2008.
A thesis presented to the University of Western Sydney, College of Arts, School of Humanities and Languages, in fulfilment of the requirements for the degree of Doctor of Philosophy. Includes bibliographies.

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Hördegård, Jakob. "I am Speaking into a Chapel". Thesis, KTH, Arkitektur, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-280167.

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The project examines, in an experimental way, how differences in massing, aperture, and sectioning are affecting the natural resonant frequency of an architectural space. An investigation of boxes with these different qualities resulted in more than 200 minutes of sound material. By creating visual representations of the sounds, a catalogue and scheme for amassment of the boxes, could be organized. With the knowledge of how resonant frequency in prehistoric megalithic structures could have been used to support ritual chanting and the parallel to historic and contemporary religious buildings, a chapel was designed. Each room of the chapel has its own reign of resonant frequencies, with the third node being generated from my own voice and a monologue. Since the sound is a big part of the project, the main representation of the project is a series of soundscapes of each room of the chapel. This illustrates that architecture should not always only be looked at, but also listened to.

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Chevrier, Lucie. "Modulation de l'expression de MYCN et de SNAP-25 au cours de la différenciation induite par le neuropeptide VIP dans des lignées de neuroblastome humain". Poitiers, 2008. http://theses.edel.univ-poitiers.fr/theses/2008/Chevrier-Lucie/2008-Chevrier-Lucie-These.pdf.

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Les neuroblastomes sont des tumeurs pédiatriques pouvant subir une régression spontanée ou une différenciation en leur homologue bénin. Le neuropeptide vasoactive intestinal peptide (VIP) est connu pour réguler la prolifération ou la différenciation de nombreuses cellules tumorales. In vitro, le VIP induit la différenciation de cellules de neuroblastome. Dans le travail décrit ici, les effets du VIP sur la modulation de l'expression de MYCN et de SNAP 25 (synaptosomal-associated protein of 25 kDa) ont été étudiés. Le gène MYCN code un facteur de transcription et est amplifié dans 22% des neuroblastomes. Cette amplification est associée à un mauvais pronostic. Les analyses par RT-PCR quantitative et par western-immunoblotting réalisées dans cette étude indiquent que le VIP diminue l'expression de MYCN, en particulier dans les cellules de neuroblastome humain IMR-32 présentant une amplification du gène MYCN. Cet effet du VIP a ensuite été comparé à celui de l'acide rétinoïque, molécule capable d'induire une différenciation associée à une diminution de l’expression de MYCN. L'acide rétinoïque est actuellement utilisé dans la thérapie des formes les plus graves de ces cancers. Le VIP et l'acide rétinoïque diminuent l'expression de MYCN de façon complémentaire dans le temps. Des co-traitements montrent que ces deux molécules agissent en synergie sur la régulation de l’expression de MYCN. SNAP-25 est une protéine SNARE (soluble N-ethylmaleimide-sensitive factor attachment protein (SNAP) receptor) impliquée dans la fusion membranaire associée à divers processus dont l'élongation neuritique. Les résultats obtenus dans la lignée de neuroblastome humain SH-SY5Y indiquent que le VIP augmente l'expression de la protéine SNAP-25 ainsi que le taux d’ARNm des deux isoformes SNAP-25a et SNAP-25b. Les expériences d'interférence de l’ARN réalisées mettent en évidence l'implication de SNAP-25 dans la neuritogénèse induite par le VIP. Ces travaux sur la modulation par le VIP de l'expression de MYCN et de SNAP-25 permettent une meilleure compréhension des mécanismes moléculaires de la différenciation induite par ce neuropeptide dans des cellules de neuroblastome humain. Ils suggèrent que le VIP, en favorisant une différenciation associée à une diminution de l'expression de MYCN, pourrait présenter un intérêt dans la thérapie des formes les plus graves de neuroblastomes
Neuroblastomas are pediatric tumors which can undergo spontaneous regression or differentiation into a benign form. The neuropeptide vasoactive intestinal peptide (VIP) is known to control proliferation or differentiation of numerous tumoral cells. In vitro, VIP induces differentiation of neuroblastoma cells. In the present work, the effects of VIP on the modulation of MYCN and of SNAP-25 (synaptosomal-associated protein of 25 kDa) expression were studied. The MYCN gene encodes a transcription factor and is amplified in 22% of neuroblastomas. This amplification is associated with poor prognosis. The quantitative RT-PCR and western immunoblotting analyses performed in this study indicate that VIP decreases MYCN expression, especially in the human MYCN-amplified IMR-32 cell line. This effect of VIP was next compared to that of retinoic acid, a molecule able to induce differentiation in association with a decrease of MYCN expression. Retinoic acid is at present used in therapy for aggressive forms of neuroblastoma. VIP and retinoic acid decrease MYCN expression with complementary kinetics. Cotreatments indicate that these two molecules act in synergy to regulate MYCN expression. SNAP-25 is a SNARE (soluble N-ethylmaleimide-sensitive factor attachment protein (SNAP) receptor) protein involved in membrane fusion that is associated with various processes such as neuritic elongation. The results obtained in the human neuroblastoma cell line SH-SY5Y indicate that VIP increases the expression of SNAP-25 protein as well as the level of both SNAP-25a and SNAP-25b mRNA isoforms. RNA interference experiments show that SNAP-25 is involved in VIP-induced neuritogenesis. These studies on the modulation of MYCN and SNAP-25 expression by VIP allow a better understanding of the molecular mechanisms of VIP-induced differentiation in human neuroblastoma cells. They suggest that VIP, which induces differentiation in association with a decrease of MYCN expression, might have a therapeutic potential for the treatment of aggressive forms of neuroblastoma

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Belot, Robert. "Lucien Rebatet". Paris, EHESS, 1990. http://www.theses.fr/1990EHES0056.

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Müller-Kelwing, Karin. "Lucie Walter". Böhlau Verlag, 2020. https://slub.qucosa.de/id/qucosa%3A75055.

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Libros sobre el tema "Lucier"

Melinda, Barlow, ed. Mary Lucier. Baltimore, MD: Johns Hopkins University Press, 2000.

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Alvin Lucier : a celebration. Middletown, Conn: Wesleyan University Press, 2011.

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Lucifer. Zagreb: Moderna vremena, 2000.

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Vondel, Joost van den. Lucifer. Bath, England: Absolute Classics, 1990.

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Carey, Mike. Lucifer. New York: DC comics, 2001.

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Scott, Hampton, Kieth Sam, Gaiman Neil, Dringenberg Mike y Carey Mike, eds. Lucifer. New York: DC Comics, 2001.

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Cordy, Michael. Lucifer. London: Bantam, 2001.

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Cordy, Michael. Lucifer. Osney Mead, Oxford: Isis Large Print, 2002.

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Vuillème, Jean-Bernard. Lucie. Carouge-Genève: Editions Zoé, 1995.

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Lucie. Saint-Lambert, Québec: Héritage, 1990.

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Capítulos de libros sobre el tema "Lucier"

Möller, Hartmut. "Lucier, Alvin Augustus Jr." En Metzler Komponisten Lexikon, 443–44. Stuttgart: J.B. Metzler, 1992. http://dx.doi.org/10.1007/978-3-476-03421-2_174.

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Möller, Hartmut. "Lucier, Alvin Augustus Jr." En Komponisten Lexikon, 346–47. Stuttgart: J.B. Metzler, 2003. http://dx.doi.org/10.1007/978-3-476-05274-2_172.

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Wild, Gerhard. "Goldmann, Lucien". En Kindlers Literatur Lexikon (KLL), 1. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_3819-1.

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Martres, M. J. y David M. Rust. "d’Azambuja, Lucien". En Biographical Encyclopedia of Astronomers, 528–29. New York, NY: Springer New York, 2014. http://dx.doi.org/10.1007/978-1-4419-9917-7_343.

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Smoller, Laura Ackerman, Michelle Chapront‐Touzé, Mihkel Joeveer, Ian T. Durham, M. J. Martres, David M. Rust, Jacques Lévy et al. "d'Azambuja, Lucien". En The Biographical Encyclopedia of Astronomers, 273–74. New York, NY: Springer New York, 2007. http://dx.doi.org/10.1007/978-0-387-30400-7_343.

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Feldman, Richard S., Melissa Sapio, Miloslava Kozmová, David C. Devonis, Eugene I. Taylor, David C. Devonis, Leah Fredman et al. "Sève, Lucien". En Encyclopedia of the History of Psychological Theories, 988–89. New York, NY: Springer US, 2012. http://dx.doi.org/10.1007/978-1-4419-0463-8_49.

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Leenhardt, Jacques. "Goldmann, Lucien". En Encyclopedia of Contemporary Literary Theory, editado por Irena Makaryk, 340–41. Toronto: University of Toronto Press, 1993. http://dx.doi.org/10.3138/9781442674417-106.

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Kontou, Tatiana, Victoria Mills y Richard Menke. "Lucifer match". En Victorian Material Culture, 161–74. London: Routledge, 2022. http://dx.doi.org/10.4324/9781315400303-35.

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Klein, Yvonne M. "Lucie Aubrac (Lucie Bernard) (b. 1912)". En Beyond the Home Front, 210–16. London: Palgrave Macmillan UK, 1997. http://dx.doi.org/10.1007/978-1-349-25497-2_37.

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Weyers, Wolfgang. "Lucien-Marie Pautrier". En Pantheon of Dermatology, 845–50. Berlin, Heidelberg: Springer Berlin Heidelberg, 2013. http://dx.doi.org/10.1007/978-3-642-33224-1_142.

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Actas de conferencias sobre el tema "Lucier"

Cyngler, Richie. "Music for Various Groups of Performers (After Lucier)". En C&C '17: Creativity and Cognition. New York, NY, USA: ACM, 2017. http://dx.doi.org/10.1145/3059454.3073725.

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Lecarpentier, Erwan, Paul Templier, Emmanuel Rachelson y Dennis G. Wilson. "LUCIE". En GECCO '22: Genetic and Evolutionary Computation Conference. New York, NY, USA: ACM, 2022. http://dx.doi.org/10.1145/3512290.3528838.

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Jütte, Marcus, Volker Knierim, Kai Polsterer, Michael Lehmitz, Clemens Storz, Walter Seifert y Nancy Ageorges. "The LUCIFER control software". En SPIE Astronomical Telescopes + Instrumentation, editado por Nicole M. Radziwill y Alan Bridger. SPIE, 2010. http://dx.doi.org/10.1117/12.857022.

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Baillon, P. "Lucien Montanet 1930 – 2003". En HADRON SPECTROSCOPY: Tenth International Conference on Hadron Spectroscopy. AIP, 2004. http://dx.doi.org/10.1063/1.1799671.

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Hofmann, Reiner, Holger Mandel, Walter Seifert, Andreas Seltmann, Niranjan A. Thatte, Daigo Tomono y Harald Weisz. "Cryogenic MOS-unit for LUCIFER". En Astronomical Telescopes and Instrumentation, editado por Masanori Iye y Alan F. M. Moorwood. SPIE, 2003. http://dx.doi.org/10.1117/12.460892.

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Mandel, H. G., I. Appenzeller, W. Seifert, H. Baumeister, R. J. Dettmar, C. Feiz, H. Gemperlein et al. "LUCIFER status report: Summer 2006". En SPIE Astronomical Telescopes + Instrumentation, editado por Ian S. McLean y Masanori Iye. SPIE, 2006. http://dx.doi.org/10.1117/12.671067.

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Mandel, Holger, Immo Appenzeller, Walter Seifert, Harald Baumeister, Peter Bizenberger, Ralf-Juergen Dettmar, Hans Gemperlein et al. "LUCIFER status report, summer 2004". En SPIE Astronomical Telescopes + Instrumentation. SPIE, 2004. http://dx.doi.org/10.1117/12.551302.

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Mandel, Holger, Walter Seifert, Reiner Hofmann, Marcus Jütte, Rainer Lenzen, Nancy Ageorges, Dominik Bomans et al. "LUCIFER status report: summer 2008". En SPIE Astronomical Telescopes + Instrumentation, editado por Ian S. McLean y Mark M. Casali. SPIE, 2008. http://dx.doi.org/10.1117/12.787203.

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Hofmann, Reiner, Hans Gemperlein, Bernhard Grimm, Marcus Jutte, Holger Mandel, Kai Polsterer y Harald Weisz. "The cryogenic MOS unit for LUCIFER". En SPIE Astronomical Telescopes + Instrumentation. SPIE, 2004. http://dx.doi.org/10.1117/12.551137.

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Fournier, Georges R., Deni Bonnier, J. Luc Forand y Paul W. Pace. "LUCIE ROV-mounted laser imaging system". En San Diego '92, editado por Gary D. Gilbert. SPIE, 1992. http://dx.doi.org/10.1117/12.140673.

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Informes sobre el tema "Lucier"

Nahum García Martínez [, A., P. Castrillo Maortua y P. Echart Orús. Moral Sympathy and the “Lucifer Effect”. Evil and Redemption in Breaking Bad. Revista Latina de Comunicación Social, enero de 2019. http://dx.doi.org/10.4185/rlcs-2019-1336en.

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Nahum García Martínez [, A., P. Castrillo Maortua y P. Echart Orús. La simpatía moral y el “efecto Lucifer”. Mal y redención en Breaking Bad. Revista Latina de Comunicación Social, enero de 2019. http://dx.doi.org/10.4185/rlcs-2019-1336.

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Michael Ferro, Michael Ferro. Lucid Key to Staphylinidae Subfamilies. Experiment, junio de 2013. http://dx.doi.org/10.18258/0674.

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Novichkova, Tatiana. Political administrative map of Saint Lucia. Editado por Nikolay Komedchikov, Alexandr Khropov y Larisa Loginova. Entsiklopediya, mayo de 2014. http://dx.doi.org/10.15356/dm2016-07-26-1.

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Peter Michael Mross, Peter Michael Mross. Development of a reliable lucid dream induction technique. Experiment, febrero de 2017. http://dx.doi.org/10.18258/9092.

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Biddle, Jeff y Daniel Hamermesh. Beauty, Productivity and Discrimination: Lawyers' Looks and Lucre. Cambridge, MA: National Bureau of Economic Research, noviembre de 1995. http://dx.doi.org/10.3386/w5366.

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Sullivan, Andrew J. General Lucius D. Clay: Operational Leadership in a Post-Combat Environment. Fort Belvoir, VA: Defense Technical Information Center, mayo de 2009. http://dx.doi.org/10.21236/ada503127.

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Glegg, Stewart A. Santa Lucia Escarpment Model Sound Propagation Measurements with a Sediment Layer. Fort Belvoir, VA: Defense Technical Information Center, septiembre de 1999. http://dx.doi.org/10.21236/ada629862.

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Schlabach, Rod, Joshua Thomas, Noah Weaverdyck y Michael Johnson. Lucid Energy Inc. In-Conduit Hydropower. Final Research Performance Progress Report. Office of Scientific and Technical Information (OSTI), enero de 2013. http://dx.doi.org/10.2172/1062389.

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Foley, R. D. y J. W. Crutcher. Results of the preliminary radiological survey at the former Diamond Magnesium Company site, Luckey, Ohio (DML001). Office of Scientific and Technical Information (OSTI), febrero de 1990. http://dx.doi.org/10.2172/7169410.

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