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Artigos de revistas sobre o tema "Coincidence in motion pictures"

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Autor: Grafiati

Publicado: 25 de julho de 2024

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1

Vojtík, Jan, e Richard Kotal. "Convergence Properties of Quasiclassical Trajectory Calculations on Dynamics of Autoionization Event in He(23S)-D2 Penning Ionization". Collection of Czechoslovak Chemical Communications 62, n.º 2 (1997): 154–71. http://dx.doi.org/10.1135/cccc19970154.

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An analysis of the degree of convergence of theoretical pictures of the dynamics of the autoionization event He(23S)-D2(v" = 0) -> [He...D2+(v')] + e is presented for a number of batches of Monte Carlo calculations differing in the number of the trajectories run. The treatment of the dynamics consists in 2D classical trajectory calculations based on static characteristics which include a quantum mechanical treatment of the perturbed D2(v" = 0) and D2+(v') vibrational motion. The vibrational populations are dynamical averages over the local widths of the He(23S)-D2(v" = 0) state with respect to autoionization to D2+(...He) in its v'th vibrational level and the Penning electron energies are related to the local differences between the energies of the corresponding perturbed D2(v" = 0)(...He*) and D2+(v')(...He) vibrational states. Special attention is paid to the connection between the requirements on the degree of convergence of the classical trajectory picture of the event and the purpose of the calculations. Information is obtained regarding a scale of the trajectory calculations required for physically sensible applications of the model to an interpretation of different type of experiments on the system: total ionization cross section measurements, Penning ionization electron spectra, subsequent 3D classical trajectory calculations of branching ratios of the products of the postionization collision process, and interpretation of electron ion coincidence measurements of the product branching ratios for individual vibrational levels of the nascent Penning ion.

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2

Ruban, Dmitry A. "Did plate tectonics control the generic diversity of Jurassic brachiopods? One point of view". Geologos 24, n.º 1 (1 de março de 2018): 79–84. http://dx.doi.org/10.2478/logos-2018-0006.

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Abstract Possible plate tectonic controls on faunal diversity dynamics have been discussed in the geological literature for around 50 years. The new model of plate tectonic processes is here linked to Jurassic generic diversity (simple α-diversity) of brachiopods. This comparison offers three observations, four hypotheses and three unresolved issues. Most importantly, changes in the global plate root mean square speed coincided with brachiopod diversity dynamics, which can be explained hypothetically by either environmental disturbance triggered by more active plate motion or activity of any process (such as eustasy) tied to plate tectonic mechanisms and with an impact on marine benthic communities. It is also established that global generic diversity dynamics of brachiopods during the Jurassic coincided with the regional picture as established for the Northern Caucasus and the Swiss Jura Alps; this coincidence is difficult to explain with regard to plate tectonics. These and other speculative considerations do not clarify the role of the plate tectonic factor in Jurassic generic diversity dynamics of brachiopods, and, thus, they indicate important issues for further research.

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3

Yu, Gongchen, Mingpo Yang, Peng Yu e Michael Christopher Dorris. "Time compression of visual perception around microsaccades". Journal of Neurophysiology 118, n.º 1 (1 de julho de 2017): 416–24. http://dx.doi.org/10.1152/jn.00029.2017.

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Even during fixation, our eyes are in constant motion. For example, microsaccades are small (typically <1°) eye movements that occur 1~3 times/second. Despite their tiny and transient nature, our percept of visual space is compressed before microsaccades (Hafed ZM, Lovejoy LP, Krauzlis RJ. Eur J Neurosci 37: 1169–1181, 2013). As visual space and time are interconnected at both the physical and physiological levels, we asked whether microsaccades also affect the temporal aspects of visual perception. Here we demonstrate that the perceived interval between transient visual stimuli was compressed if accompanied by microsaccades. This temporal compression extended approximately ±200 ms from microsaccade occurrence, and depending on their particular pattern, multiple microsaccades further enhanced or counteracted this temporal compression. The compression of time surrounding microsaccades resembles that associated with more voluntary macrosaccades (Morrone MC, Ross J, Burr D. Nat Neurosci 8: 950–954, 2005). Our results suggest common neural processes underlying both saccade and microsaccade misperceptions, mediated, likely, through extraretinal mechanisms.NEW & NOTEWORTHY Here we show that humans perceive the duration of visual events as compressed if they are accompanied by microsaccades. Despite the tiny and transient nature of microsaccades, time compression extended more than ±200 ms from their occurrence. Moreover, the number, pattern, and temporal coincidence of microsaccades relative to visual events all contribute to this time misperception. Our results reveal a detailed picture of how our visual time percepts are altered by microsaccades.

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4

Young, Linda. "Motion Pictures". SMPTE Journal 105, n.º 4 (abril de 1996): 177–78. http://dx.doi.org/10.5594/j15829.

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5

Masson, Alan J. "Motion Pictures". SMPTE Journal 108, n.º 2 (fevereiro de 1999): 75–78. http://dx.doi.org/10.5594/j17112.

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6

Masson, Alan J. "Motion Pictures". SMPTE Journal 107, n.º 1 (janeiro de 1998): 11–13. http://dx.doi.org/10.5594/j17616.

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7

Bonnaud, Irène, Suzanne Doppelt, Christophe Triau e Sacha Zilberfarb. "Motion pictures". Vacarme 15, n.º 2 (2001): 60. http://dx.doi.org/10.3917/vaca.015.0060.

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8

Burns, Edward J. "Motion Pictures". SMPTE Journal 97, n.º 4 (abril de 1988): 268–74. http://dx.doi.org/10.5594/j00667.

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9

Young, Linda. "Motion Pictures". SMPTE Journal 106, n.º 1 (janeiro de 1997): 9–11. http://dx.doi.org/10.5594/j09530.

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10

Ricotta, Frank J. "Motion Pictures". SMPTE Journal 104, n.º 4 (abril de 1995): 186–88. http://dx.doi.org/10.5594/j09609.

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11

Ricotta, Frank J. "Motion Pictures". SMPTE Journal 103, n.º 4 (abril de 1994): 211–15. http://dx.doi.org/10.5594/j09688.

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12

Antonoff, Michael. "Motion Pictures". Scientific American 296, n.º 5 (maio de 2007): 24–25. http://dx.doi.org/10.1038/scientificamerican0507-24.

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13

Mitchison, Tim J. "Motion pictures". Nature 357, n.º 6373 (maio de 1992): 32. http://dx.doi.org/10.1038/357032a0.

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14

Gomery, Douglas. "Motion Pictures". Communication Booknotes 16, n.º 5 (maio de 1985): 49. http://dx.doi.org/10.1080/10948008509488306.

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15

Gomery, Douglas. "Motion Pictures". Communication Booknotes 17, n.º 1 (janeiro de 1986): 7–9. http://dx.doi.org/10.1080/10948008609488219.

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16

Gomery, Douglas. "Motion Pictures". Communication Booknotes 17, n.º 9-10 (setembro de 1986): 98–107. http://dx.doi.org/10.1080/10948008609488269.

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17

Gomery, Douglas. "Motion Pictures". Communication Booknotes 18, n.º 7-8 (julho de 1987): 63–69. http://dx.doi.org/10.1080/10948008709488193.

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18

Gomery, Douglas. "Motion Pictures". Communication Booknotes 18, n.º 9-10 (setembro de 1987): 93–99. http://dx.doi.org/10.1080/10948008709488203.

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19

Gomery, Douglas. "Motion Pictures". Communication Booknotes 19, n.º 5 (setembro de 1988): 95–103. http://dx.doi.org/10.1080/10948008809488155.

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20

Block, Eleanor, James K. Bracken, Eleanor S. Block e Bruce A. Austin. "Motion Pictures". Communication Booknotes Quarterly 29, n.º 1 (janeiro de 1998): 52–60. http://dx.doi.org/10.1080/10948009809361557.

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21

Levine, Niall, John A. Lent e Bruce Austin. "Motion pictures". Communication Booknotes Quarterly 29, n.º 2 (março de 1998): 88–96. http://dx.doi.org/10.1080/10948009809361564.

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22

Austin, Bruce A., Eleanor Block, Chris Sterling, Robert Huesca e Gary R. Edgerton. "Motion pictures". Communication Booknotes Quarterly 29, n.º 4 (setembro de 1998): 196–203. http://dx.doi.org/10.1080/10948009809361586.

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23

Austin, Bruce A., Niall Levine e Chris Sterling. "Motion pictures". Communication Booknotes Quarterly 30, n.º 4 (setembro de 1999): 227–31. http://dx.doi.org/10.1080/10948009909361637.

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24

Blasko, Edward J. "Motion Pictures". SMPTE Journal 95, n.º 4 (abril de 1986): 413–19. http://dx.doi.org/10.5594/j17960.

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25

Iosifian, S. A., e V. A. Petrovskii. "Motion Pictures". Russian Education & Society 37, n.º 10 (outubro de 1995): 11–22. http://dx.doi.org/10.2753/res1060-9393371011.

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26

Baptista, John L. "Motion Pictures". SMPTE Journal 101, n.º 4 (abril de 1992): 231–34. http://dx.doi.org/10.5594/j02302.

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27

Baptista, John L. "Motion Pictures". SMPTE Journal 102, n.º 4 (abril de 1993): 289–94. http://dx.doi.org/10.5594/j03791.

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28

Baptista, John L. "Motion Pictures". SMPTE Journal 100, n.º 4 (abril de 1991): 225–31. http://dx.doi.org/10.5594/j04767.

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29

Khrennikov, Andrei. "Bild Conception of Scientific Theory Structuring in Classical and Quantum Physics: From Hertz and Boltzmann to Schrödinger and De Broglie". Entropy 25, n.º 11 (20 de novembro de 2023): 1565. http://dx.doi.org/10.3390/e25111565.

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We start with a methodological analysis of the notion of scientific theory and its interrelation with reality. This analysis is based on the works of Helmholtz, Hertz, Boltzmann, and Schrödinger (and reviews of D’Agostino). Following Helmholtz, Hertz established the “Bild conception” for scientific theories. Here, “Bild” (“picture”) carries the meaning “model” (mathematical). The main aim of natural sciences is construction of the causal theoretical models (CTMs) of natural phenomena. Hertz claimed that a CTM cannot be designed solely on the basis of observational data; it typically contains hidden quantities. Experimental data can be described by an observational model (OM), often based on the price of acausality. CTM-OM interrelation can be tricky. Schrödinger used the Bild concept to create a CTM for quantum mechanics (QM), and QM was treated as OM. We follow him and suggest a special CTM for QM, so-called prequantum classical statistical field theory (PCSFT). QM can be considered as a PCSFT image, but not as straightforward as in Bell’s model with hidden variables. The common interpretation of the violation of the Bell inequality is criticized from the perspective of the two-level structuring of scientific theories. Such critical analysis of von Neumann and Bell no-go theorems for hidden variables was performed already by De Broglie (and Lochak) in the 1970s. The Bild approach is applied to the two-level CTM-OM modeling of Brownian motion: the overdamped regime corresponds to OM. In classical mechanics, CTM=OM; on the one hand, this is very convenient; on the other hand, this exceptional coincidence blurred the general CTM-OM structuring of scientific theories. We briefly discuss ontic–epistemic structuring of scientific theories (Primas–Atmanspacher) and its relation to the Bild concept. Interestingly, Atmanspacher as well as Hertz claim that even classical physical theories should be presented on the basic of two-level structuring.

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30

Jennifer Tebbe-Grossman. "Medicine’s Motion Pictures". Film & History: An Interdisciplinary Journal of Film and Television Studies 39, n.º 1 (2009): 98–99. http://dx.doi.org/10.1353/flm.0.0076.

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31

Cho, Minhaeng. "Molecular motion pictures". Nature 444, n.º 7118 (novembro de 2006): 431–32. http://dx.doi.org/10.1038/444431a.

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32

Hunter, Jefferson. "Pictures and Motion Pictures in the 1940s". Hopkins Review 7, n.º 1 (2014): 93–111. http://dx.doi.org/10.1353/thr.2014.0001.

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33

Nimis, Erika. "“Motion pictures” in Nigeria". Visual Anthropology 14, n.º 3 (setembro de 2001): 293–99. http://dx.doi.org/10.1080/08949468.2001.9966836.

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34

Bardell, Eunice Bonow. "Pharmacists in Motion Pictures". American Journal of Health-System Pharmacy 45, n.º 1 (1 de janeiro de 1988): 179–83. http://dx.doi.org/10.1093/ajhp/45.1.179.

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35

Leach-Murray, Susan. "SWANK Motion Pictures, Inc." Technical Services Quarterly 35, n.º 1 (27 de novembro de 2017): 115–16. http://dx.doi.org/10.1080/07317131.2017.1385299.

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36

Copeland, V. Natasha E. "Pictures in Motion or Motion Pictures: Sembène’s Natural Products Steal the Show". Études littéraires africaines, n.º 30 (17 de novembro de 2014): 58–76. http://dx.doi.org/10.7202/1027347ar.

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Dans ses films Xala (1974) et Ceddo (1977), Sembène redéfinit l’usage des sculptures traditionnelles en bois, tout en demeurant fidèle aux métaphysiques sahéliennes dans ses innovations esthétiques, littéraires ou cinématographiques. Des masques, un bâton ou une canne jouent à l’écran un rôle qui, en raison de leur propre vitalité et de leur étroite association avec divers personnages, capte l’attention du public autant que le font les héros des films. Sembène oppose, dans la trame de ses films, la force vitale de ces objets africains à celle d’artefacts, symboles de l’Occident. Sculptés par l’homme, les objets africains restent en relation avec l’environnement dont leur substance est tirée ; Sembene établit de surcroît, entre lieux et personnages, des liens profonds, notamment entre les arbres, le bois et les hommes.

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37

Porée, Marc. "Poets' lives in motion (pictures)". Études anglaises 66, n.º 4 (2013): 511. http://dx.doi.org/10.3917/etan.664.0511.

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38

Ba Tu Truong, S. Venkatesh e C. Dorai. "Scene extraction in motion pictures". IEEE Transactions on Circuits and Systems for Video Technology 13, n.º 1 (janeiro de 2003): 5–15. http://dx.doi.org/10.1109/tcsvt.2002.808084.

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39

Baecker, Dirk. "The Reality of Motion Pictures". MLN 111, n.º 3 (1996): 560–77. http://dx.doi.org/10.1353/mln.1996.0032.

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40

Marta Zarzycka and Bettina Papenburg. "Motion Pictures: Politics of Perception". Discourse 35, n.º 2 (2013): 163. http://dx.doi.org/10.13110/discourse.35.2.0163.

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41

Yeazell, Ruth Bernard. "Sex, Lies, and Motion Pictures". Henry James Review 25, n.º 1 (2004): 87–96. http://dx.doi.org/10.1353/hjr.2004.0012.

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42

Blackstone, Erwin A., e Gary W. Bowman. "Vertical Integration in Motion Pictures". Journal of Communication 49, n.º 1 (1 de março de 1999): 123–39. http://dx.doi.org/10.1111/j.1460-2466.1999.tb02785.x.

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43

Nebeker, F. "Motion pictures [Scanning Our Past]". Proceedings of the IEEE 101, n.º 4 (abril de 2013): 1020–25. http://dx.doi.org/10.1109/jproc.2013.2244752.

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44

Wartenberg, T. E. "The Philosophy of Motion Pictures". British Journal of Aesthetics 49, n.º 1 (1 de janeiro de 2009): 83–85. http://dx.doi.org/10.1093/aesthj/ayn053.

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45

Gazley, Aaron, Gemma Clark e Ashish Sinha. "Understanding preferences for motion pictures". Journal of Business Research 64, n.º 8 (agosto de 2011): 854–61. http://dx.doi.org/10.1016/j.jbusres.2010.09.012.

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46

"Motion Pictures". SMPTE Journal 94, n.º 4 (abril de 1985): 369–81. http://dx.doi.org/10.5594/j14054.

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47

"MOTION PICTURES". Communication Booknotes Quarterly 31, n.º 1 (março de 2000): 43–54. http://dx.doi.org/10.1207/s15326896cbq3101_10.

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48

"MOTION PICTURES". Communication Booknotes Quarterly 31, n.º 2 (junho de 2000): 138–44. http://dx.doi.org/10.1207/s15326896cbq3102_11.

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49

"MOTION PICTURES". Communication Booknotes Quarterly 31, n.º 4 (dezembro de 2000): 258–65. http://dx.doi.org/10.1207/s15326896cbq3104_06.

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50

"MOTION PICTURES". Communication Booknotes Quarterly 32, n.º 1 (março de 2001): 27–31. http://dx.doi.org/10.1207/s15326896cbq3201_05.

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