Добірка наукової літератури з теми "SCAU Studio (Firm)"

Antrian merupakan suatu kondisi dimana jumlah pelanggan yang dilayani lebih banyak daripada jumlah kasir atau mesin pelayanan, hal itu menyebabkan terjadinya antrian atau queue, yang menyebabkan kurang efisiennya pelayanan juga membuat pelanggan merasa kesal dan kecewa. Banyak perusaaan jasa atau pelayanan biasanya mengalami kendala disini, seperti halnya pada unit Bioskop Y yang ada di kota Gresik. Setiap weekend juga bertepatan saat film tertentu dengan ranting yang tinggi menyebabkan sering terjadinya antri yang sangat panjang baik diloket pelayanan langsung maupun yang scan barcode. Untuk mengatasi masalah tersebut dilakukan simulasi antrian menggunakan software Arena. didapat kesimpulan pada antrian tiket langsung jika sebelum perbaikan nilai waiting time sebesar 26.6 menit dan utilitas sebesar 0.95 dan untuk scan barcode sebelum perbaikan nilai waiting time sebesar 21 menit dan utilitas sebesar 0.72 maka setelah perbaikan tiket langsung didapat nilai waiting time sebesar 0.72 dan nilai utilitas sebesar 0.47 dan untuk scan barcode didapat nilai waiting time sebesar 0.73 dan nilai utilitas sebesar 0.38 dimana teradi efektivitas pelayanan maupun tingkat utilitas pegawai yang normal

This article examines the blockbuster ‘announcement’ trailer. As teasers-for-the-teaser-trailer, these ephemeral texts invite audiences to look forward to an upcoming film while also calling on them to look back to a previous cinematic encounter. Moreover, their specific reveal-conceal structure also encourages fans to scan the text for clues (to look inward) while making connections to previous texts (to look outward). Building on Jonathan Gray’s concept of ‘speculative consumption’, wherein audiences ‘create an idea of what pleasures any one text will provide’, this article refers to this textual construction and affective sensation as speculative nostalgia, asserting that it is constitutive of today’s blockbuster culture. When situated into the contexts of their industrial and spectatorial temporality, announcement trailers prove to be rich sites for examining blockbusters, not only as intertextual commodities which spread far and wide, but also as inter-temporal commodities in which specific temporal structures are shaped, shared, revised, and felt.

Abstract: This lengthy conversation with Renée Baker engages with her multi-modal practice as a visual artist and composer of sound scores for silent films, particularly the “race movies” Body and Soul (dir. Oscar Micheaux, 1925) , The Scar of Shame (dir. Frank Peregini, 1927), and Borderline (dir. Kenneth MacPherson, 1930). Baker contends that these films render more complex and nuanced readings of black life and community than Hollywood renderings and that they contributed to the recovery of Black history .

Hepatoma merupakan kanker hati primer yang paling umum. Pentingnya mendiagnosa penyakit untuk menentukan terapi pengobatan sebelum kanker berstadium lanjut merupakan hal yang penting. Salah satu Pemeriksaan untuk mendeteksi Hapoma adalah CT Scan Abdomen Tiga Fase. Penggunaan rekontruksi 1.5mm, pemberian media kontras intravena dan scan delay pada pemeriksaan CT Scan Abdomen Tiga Fase di Instalasi Radiologi Rsud Arifin Achmad Provinsi Riau berbeda dengan Romans (2011) dan Nasseth (2000). Penelitian ini bertujuan untuk mengetahui prosedur pemeriksaan CT Scan Abdomen Tiga Fase, teknik pemberian media kontras, dan informasi diagnostik yang dihasilkan. Jenis Penelitian yang dilakukan adalah penelitian kualitatif dengan pendekatan studi kasus. Pengambilan data dengan cara observasi,wawancara tiga orang radiografer, satu dokter radiologi, satu orang perawat radiologi serta dokumentasi. Pengolahan data dilakukan dengan cara koding terbuka kemudian dianalisis untuk memperoleh kesimpulan. Pengambilan data dilakukan pada bulan Juni sampai bulan Juli 2023. Prosedur pemeriksaan CT Scan Abdomen Tiga Fase Suspect Hepatoma di Instalasi Radiologi RSUD Arifin Achmad Provinsi Riau meliputi persiapan pasien, persiapan alat dan teknik pemeriksaan yaitu : memposisikan pasien, entri data pada monitor konsole, pemilihan protokol dan parameter scanning, melakukan scanning pre kontras, pemasukkan media kontras, scanning post kontras, rekonstruksi citra, pencetakan film jika dibutuhkan dan pembacaan hasil radiograf oleh dokter spesialis radiologi. Jenis media kontras yang digunakan pada pemeriksaan adalah media kontras iodium dengan konsentrasi 300 mg/mL. dengan jumlah media kontras 80 mL/kg atau 1.5 mL/kg dikali berat badan pasien ditambah 50 ml NaCl dengan penggunaan flowrate 2,5 mL/detik, delay scan fase arteri 30 detik, fase vena 20 detik, dan fase parenkim/delayed 3 menit menggunakan mesin injektor

This article analyses the connection between Italian and Colombian cinema through the novels and films of Colombian author and filmmaker Fernando Vallejo (1942–present). It examines Vallejo’s autofictional novel, Los caminos a Roma (The Roads to Rome) (1988) where he recounts his experience as a student at Rome’s Centro Sperimentale di Cinematografia in 1966, criticizes Italian neorealism and auteurism, and articulates his embryonic idea to create a film set during Colombia’s civil war. In his critique of Italian cinema, I argue that Vallejo embodies a certain hostility towards European film, its institutions and especially Italian neorealism that was percolating in the Latin America of the 1960s and 1970s. Exploring the historiography of Italy’s relationship with Latin American cinema, I remark on an emergent (and problematic) privileging of Italian neorealism as a prototype for New Latin American Cinema (NLAC) and consider how Vallejo’s filmmaking was shaped in opposition to Italian archetypes.

All critics declare not only their judgment of the work but also their claim to the right to talk about it and judge it. In short, they take part in a struggle for the monopoly of legitimate discourse about the work of art, and consequently in the production of the value of the work of art. (Pierre Bourdieu 36). As it becomes blindingly obvious that ‘cultural production’, including the cinema, now underpins an economy every bit as brutal in its nascent state as the Industrial Revolution was for its victims 200 years ago, both critique and cinephilia seem faded and useless to me. (Meaghan Morris 700). The music’s loud, the lights are low. I’m at a party and somebody’s shouting at me. “How many films do you see every week?” “Do you really get in for free?” “So what should I see next Saturday night?” These are the questions that shape the small talk of my life. After seven years of reviewing movies you’d think I’d have ready answers and sparkling rehearsed tip-offs to scatter at the slightest quiver of interest. And yet I feel anxious when I’m asked to predict some stranger’s enjoyment – their 15-odd bucks worth of dark velvet pleasure. Who am I to say what they’ll enjoy? Who am I to judge what’s worthwhile? As editor of the film pages of The Big Issue magazine (Australian edition), I make such value judgments every day, sifting through hundreds of press releases, invitations and interview offers. I choose just three films and three DVDs to be reviewed each fortnight, and one film to form the subject of a feature article or interview. The film pages are a very small part of an independent magazine that exists to provide an income for the homeless and long-term unemployed people who sell it on the streets of Melbourne, Sydney, Brisbane, Adelaide and Perth. And no, homeless people don’t go to the movies very often but our relatively educated and affluent city-dwelling readers do. The letters page of the magazine suggests that readers’ favourite pages are the Vendor Portraits – the extraordinary and sobering photographs and life stories of the people who are out there on the streets selling the magazine. Yet the editorial policy is to maintain a certain lightness of touch amidst the serious business. Thus, the entertainment pages (music, books, film, TV and humour) have no specific social justice agenda. But if there’s a new Australian film out there that deals with the topic of homelessness, it seems imperative to at least consider the story. Rather than offering in-depth analysis of particular films and the ways I go about judging them, the following diary excerpts instead offer a sketch of the practical process of editorial decision-making. Why review this film and not that one? Why interview this actor or that film director? And how do these choices fit within the broad goals of a social justice publication? Created randomly, from a quick scan of the last twelve months, the diary is a scribbled attempt to justify, or in Bourdieu’s terms, “legitimate” the critical role I play, and to try and explain how that role can never be fully defined by an aesthetic that is divorced from social and political realities. August 2004 My editor calls me and asks if I’ve seen Tom White, the new low-budget Australian film by Alkinos Tsilimidos. I have, and I hated it. Starring Colin Friels, the film follows the journey of a middle-aged middle-class man who walks out of his life and onto the streets. It’s a grimy, frustrating film, supported by only the barest bones of narrative. I was bored and infuriated by the central character, and I know it’s the kind of under-developed story that’s keeping Australian audiences away from our own films. And yet … it’s a local film that actually dares to tackle issues of homelessness and mental illness, and it’s a story that presents a truth about homelessness that’s borne out by many of our vendors: that any one of us could, except by the grace of God or luck, find ourselves sleeping rough. My editor wants me to interview Colin Friels, who will appear on the cover of the magazine. I don’t want to touch the film, and I prefer interviewing people whose work genuinely interests and excites me. But there are other factors to be considered. The film’s exhibitor, Palace Films, is offering to hold charity screenings for our benefit, and they are regular advertising supporters of The Big Issue. My editor, a passionate and informed film lover himself, understands the quandary. We are in no way beholden to Palace, he assures me, and we can tread the fine line with this film, using it to highlight the important issues at hand, without necessarily recommending the film to audiences. It’s tricky and uncomfortable; a simple example of the way in which political and aesthetic values do not always dance so gracefully together. Nevertheless, I find a way to write the story without dishonesty. September 2004 There’s no denying the pleasure of writing (or reading) a scathing film review that leaves you in stitches of laughter over the dismembered corpse of a bad movie. But when space is limited, I’d rather choose the best three films every fortnight for review and recommendation. In an ideal world I’d attend every preview and take my pick. They’d be an excitingly diverse mix. Say, one provocative documentary (maybe Mike Moore or Errol Morris), one big-budget event movie (from the likes of Scorsese or Tarantino), and one local or art-house gem. In the real world, it’s a scramble for deadlines. Time is short and some of the best films only screen in one or two states, making it impossible for us to cover them for our national audience. Nevertheless, we do our best to keep the mix as interesting and timely as possible. For our second edition this month I review the brilliant documentary Metallica: Some Kind of Monster (Joe Berlinger and Bruce Sinofsky), while I send other reviewers to rate Spielberg’s The Terminal (only one and a half stars out of five), and Cate Shortland’s captivating debut Australian feature Somersault (four stars). For the DVD review page we look at a boxed set of The Adventures of Tintin, together with the strange sombre drama House of Sand and Fog (Vadim Perelman), and the gripping documentary One Day in September (Kevin MacDonald) about the terrorist attacks at the 1972 Munich Olympic Games. As editor, I try to match up films with the writers who’ll best appreciate them. With a 200-word limit we know that we’re humble ‘reviewers’ rather than lofty ‘critics’, and that we can only offer the briefest subjective response to a work. Yet the goal remains to be entertaining and fair, and to try and evaluate films on their own terms. Is this particular movie an original and effective example of the schlocky teen horror thriller? If so, let’s give it the thumbs up. Is this ‘worthy’ anti-globalisation documentary just a boring preachy sermon with bad hand-held camera work? Then we say so. For our film feature article this edition, I write up an interview with Italian director Luigi Falorni, whose simple little film The Weeping Camel has been reducing audiences to tears. It’s a strange quiet film, a ‘narrative documentary’ set in the Gobi desert, about a mother camel that refuses to give milk to her newborn baby. There’s nothing political or radical about it. It’s just beautiful and interesting and odd. And that’s enough to make it worthy of attention. November 2004 When we choose to do a ‘celebrity’ cover, we find pretty people with serious minds and interesting causes. This month two gorgeous film stars, Natalie Portman and Gael Garcia Bernal find their way onto our covers. Portman’s promoting the quirky coming of age film, Garden State (Zach Braff), but the story we run focuses mainly on her status as ambassador for the Foundation of International Community Assistance (FINCA), which offers loans to deprived women to help them start their own businesses. Gabriel Garcia Bernal, the Mexican star of Walter Salle’s The Motorcycle Diaries appears on our cover and talks about his role as the young Che Guevara, the ultimate idealist and symbol of rebellion. We hope this appeals to those radicals who are prepared to stop in the street, speak to a homeless person, and shell out four dollars for an independent magazine – and also to all those shallow people who want to see more pictures of the hot-eyed Latin lad. April 2005 Three Dollars is Robert Connelly’s adaptation of Elliot Perlman’s best-selling novel about economic rationalism and its effect on an average Australian family. I loved the book, and the film isn’t bad either, despite some unevenness in the script and performances. I interview Frances O’Connor, who plays opposite David Wenham as his depressed underemployed wife. O’Connor makes a beautiful cover-girl, and talks about the seemingly universal experience of depression. We run the interview alongside one with Connelly, who knows just how to pitch his film to an audience interested in homelessness. He gives great quotes about John Howard’s heartless Australia, and the way we’ve become an economy rather than a society. It’s almost too easy. In the reviews section of the magazine we pan two other Australian films, Paul Cox’s Human Touch, and the Jimeoin comedy-vehicle The Extra. I’d rather ignore bad Australian films and focus on good films from elsewhere, or big-budget stinkers that need to be brought down a peg. But I’d lined up reviews for these local ones, expecting them to be good, and so we run with the negativity. Some films are practically critic-proof, but small niche films, like most Australian titles, aren’t among these Teflon giants. As Joel Pearlman, Managing Director of Roadshow Films has said, “There are certain types of films that are somewhat critic-proof. They’ve either got a built-in audience, are part of a successful franchise, like The Matrix or Bond films, or have a popular star. It’s films without the multimillion-dollar ad campaigns and the big names where critics are far more influential” ( Pearlman in Bolles 19). Sometimes I’m glad that I’m just a small fish in the film critic pond, and that my bad reviews can’t really destroy someone’s livelihood. It’s well known that a caning from reviewers like David Stratton and Margaret Pomeranz (ABC, At the Movies), or the Melbourne Age’s Jim Schembri can practically destroy the prospects of a small local film, and I’m not sure I have the bravery or conviction of the value of my own tastes to bear such responsibility. Admittedly, that’s just gutless tender-heartedness for, as reviewers, our responsibility is to the audience not to the filmmaker. But when you’ve met with cash-strapped filmmakers, and heard their stories and their struggles, it’s sometimes hard to put personal compassion aside and see the film as the punter will. But you must. August 2005 It’s a busy time with the Melbourne International Film Festival just finishing up. Hordes of film directors accompany their films to the festival, promoting them here ahead of a later national release schedule, and making themselves available for rare face-to face interviews. This year I find a bunch of goodies that seem like they were tailor-made for our readership. There are winning local films like Sarah Watt’s life-affirming debut Look Both Ways; and Rowan Woods’ gritty addiction-drama Little Fish. There’s my personal favourite, Bahman Ghobadi’s stunning and devastating Kurdish/Iranian feature Turtles Can Fly; and Avi Lewis’s inspiring documentary The Take, about Argentine factory workers who unite to revive their bankrupt workplaces. It’s when I see films like this, and get to talk to the people who bring them into existence, that I realize how much I value writing about films for a publication that doesn’t exist just to make a profit or fill space between advertisements. As the great American critic Jonathan Rosenbaum has eloquently argued, most of the worldwide media coverage concerning film is merely a variation on the ‘corporate stories’ that film studios feed us as part of their advertising. To be able to provide some small resistance to that juggernaut is a wonderful privilege. I love to be lost in the dark, studying films frame by frame, and with reference only to some magical internal universe of ‘cinema’ and its endless references to itself. But as the real world outside falls apart, such airless cinephilia feels just plain wrong. As a writer whose subject is films, what I’m compelled to do is to come out of the cinema and try to use my words to convey the best of what I’ve seen to my friends and readers, pointing them towards small treasures they may have overlooked amidst the hype. So maybe I’m not a ‘pure’ critic, and maybe there’s no shame in that. The films I’ll gravitate towards share an almost indefinable quality – to use Jauss’s phrase, they reconstruct and expand my “horizon of expectation” (28). Sometimes these films are overtly committed to a cause, but often they’re just beautiful and strange and fresh. Always they expand me, open me, make me feel that there’s more to the world than expected, and make me want more too – more information, more freedom, more compassion, more equality, more beauty. And, after all these years in the dark, I still want more films like that. Endnotes As of August 2005, the role of DVD editor of The Big Issue has been filled by Anthony Morris. According the latest Morgan Poll, readers of The Big Issue are likely to be young (18-39), urban, educated, and affluent professionals. Current readership is estimated at 144,000 fortnightly and growing. References Bolles, Scott. “The Critics.” Sunday Life. The Age 10 Jul. 2005: 19. Bourdieu, Pierre. The Field of Cultural Production: Essays on Art and Literature. Ed. Randal Johnson. Cambridge: Polity Press, 1993. Jauss, Hans Robert. Toward an Aesthetic of Reception. Trans. Timothy Bahti. Minnesota: U of Minnesota P, 1982. Morris, Meaghan. “On Going to Bed Early: Once Upon a Time in America.” Meanjin 4 (1998): 700. Rosenbaum, Jonathan. “Junket Bonds.” Chicago Reader Movie Review (2000). 2 Sept. 2005 http://www.chicagoreader.com/movies/archives/2000/1000/00117.html>. The Big Issue Australia. http://www.bigissue.org.au/> 10 Oct. 2005. Citation reference for this article MLA Style Siemienowicz, Rochelle. "Diary of a Film Reviewer: Intimate Reflections on Writing about the Screen for a Popular Audience." M/C Journal 8.5 (2005). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0510/01-siemienowicz.php>. APA Style Siemienowicz, R. (Oct. 2005) "Diary of a Film Reviewer: Intimate Reflections on Writing about the Screen for a Popular Audience," M/C Journal, 8(5). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0510/01-siemienowicz.php>.

The doppelgänger (literally ‘double-goer’) of 18th and 19th century European literature and lore is a sinister likeness that dogs and shadows a protagonist heralding their death or descent into madness – a ‘spectral presentiment of disaster’ (Schwartz 84). Recently the term ‘digital doppelgänger’ has been adopted by the English-speaking entertainment and technology press to refer to a digital image of an actor or performer; whether that image is a computer-generated wire-frame model, an amalgamation of old film footage and artistry, or a three dimensional laser scan of the face and body’s topography. (Magid, Chimielewski) This paper examines some of the implications of this term and its linkage to a set of anxieties about the relationship between the self and its image. According to Friedrich Kittler, media of recording and storing bodily data are central to how many of us imagine identity today. Technologies such as photography and film ushered in a ‘technological rechristening of the soul’ (149). Kittler contends that these image technologies have had an impact on identity by creating ‘mechanised likenesses [that] roam the databanks that store bodies’ (96). In this context the use of the term ‘digital doppelgänger’ suggests some kind of perceived disruption to the way identity and image, or original and copy, relate. For example, a short article in Variety, ‘Garner finds viewing her digital doppelgänger surreal’, promotes the release of the videogame version of the television show Alias. But instead of the usual emphasis on the entertainment value of the game and its potential to extend the pleasures of the televisual text, this blurb focuses on the uncanniness of an encounter between the show’s lead, Jennifer Garner, and the digitally animated game character modelled from her features (Fritz 2003). An actor’s digital likeness can be made to perform actions that are beyond the will or physicality of the actor themselves. Such images have a variety of uses. In action cinema the digital likeness often replaces the actor’s stunt double, removing much of the risk previously borne by the human body in filming explosions, car chases and acrobatic leaps. Through its multiplication or manipulation the digital doppelgänger can expand the performative limits of the actor’s body and face. These figures also have an important role in video game versions of popular action or science fiction films such as the Wachowski brothers’ Matrix trilogy. The digital doppelgänger therefore extends the capabilities of the human performer’s image, bestowing ‘superhuman’ qualities and granting it entry to interactive media forms. The most serendipitous use of these images, however, is in the completion of films where an actor has died in mid-production, as when, for instance, Oliver Reed famously passed on during the filming of Ridley Scott’s Gladiator. In such cases the image literally substitutes for the once-living; its digitally animated gestures and expressions filling in for an inanimate body that can express and gesture no longer and never will again. The history of doppelgängers and doubles, you see, is intimately bound up with human mortality and the origins of image making. According to Otto Rank, the earliest connotations of the double in Indo-European lore were benign, entailing the immortality of the self. This incarnation stems from animistic beliefs in the manifestation of the soul in shadows, reflections and images (49-77) and is intimately connected to the magical origins of figurative representation. Andre Bazin argues that the most enduring form of image magic has been that concerned with rendering the subject immortal. In his essay ‘The Ontology of the Photographic Image’, he emphasises that the basic psychological impulse beneath the origins of the plastic arts was a desire to snatch mortal things from the indifferent flow of time – to cheat death through the creation of a substitute, a double, for the living body (9). However, by the post-Enlightenment era, Western belief in the preservative powers of the double had eroded, and subsequently, the meaning of this figure in folktales and literature came to be inverted. The double or doppelgänger became a spectral projection of the self, an ‘uncanny harbinger of death’ (Freud 324-5). Meanwhile, even as the haunted image persists as a motif in short stories, novels and film, rationally: No one believes any longer in the ontological identity of model and image, but all are agreed that the image helps us to remember the subject and to preserve him from a second spiritual death (Bazin 9). Photographic and filmic images have aided Western cultures in keeping the dead in view, saving them from being totally forgotten. These images are filled in or animated by the subjective memory of the viewer. The digital likeness, however, is birthed in a computer and made to gesture in the performer’s stead, promising not just a ‘technological rechristening of the soul’, but the possibility of future career resurrection. Ron Magid reports: Cyberware president David Addleman is hopeful that all stars will eventually stockpile their data, like the suspended bodies in Coma, just waiting for the day when technology will resurrect them for as yet undreamed-of projects. (Magid) This reference to the 1970s horror film, Coma, with its connotations of lifeless bodies and sinister scientific procedures, brings to mind unconscious forms, zombies awaiting resurrection, an actor’s image as puppet, a mindless figure forced to gesture at the control of another. These are fears of decorporealised detachment from one’s own likeness. It is a fear of the image being in exile from its referent, being endowed with the semblance of life though digital processes. In this fear we can hear the echoes of earlier anxieties about the double. But these fears also revisit earlier responses to the cinematic recording of the human image, ones that now may seem quaint to us in a culture where people fantasise of becoming media celebrities and indeed queue in their thousands for the chance. To put this into some historical perspective, it is worth noting how the figure of the double played a part in some responses to then new cinema technologies in the late 19th and early 20th centuries. Yuri Tsivian writes of the unease expressed in the early 1900s by Russian performers when encountering their own moving image on screen. For some the root of their discomfort was a belief that encountering their projected moving image would play havoc with their own internal self-image. For others, their unease was compounded by non-standardised projection speeds. Until the mid to late 1910s both camera and projector were cranked by hand. It was common for a projectionist to lend some haste to the action on the screen in order to finish work at the auditorium early. Early Russian writers on film were well aware of the projectionist’s role in transforming ‘calm fluent gesture’ into a ‘jerky convulsive twitch’, and making the ‘actors gesture like puppets’ (cited in Tsivian 53-54). Luigi Pirandello’s novel Shoot! from 1916 dealt with a cinema actress traumatised by the sight of her own ‘altered and disordered’ screen image (59-60). A playwright, Pirandello condemned the new media as reducing the craft of the living, breathing stage-actor to an insubstantial flickering phantom, a ‘dumb image’ subtracted from a moment of live action before the camera (105-6). Walter Benjamin refers to Pirandello’s novel in ‘The Work of Art in the Age of Mechanical Reproduction’, recognising it as one of the first discourses on the relationship between the actor and their screen image. For Benjamin the screen actor is in exile from their image. He or she sends out his or her shadow to face the public and this decorporealised shadow heralds a diminishment of presence and aura for the audience (222). Benjamin suggests that in compensation for this diminishment of presence, the film industry ‘responds to the shrivelling of the aura with an artificial build-up of the “personality” outside the studio’ (224). The development of star-image discourse and celebrity works to collapse the split between person and decorporealised shadow, enveloping the two in the electrified glow of interconnected texts such as roles, studio publicity, glamour photography, interviews, and gossip. Star personality, celebrity scandal and gossip discourse have smoothed over this early unease, as have (importantly) the sheer ubiquity and democracy of mediated self-images. The mundane culture of home video has banished this sense of dark magic at work from the appearance of our own faces on screens. In the context of these arguments it remains to be seen what impact the ‘digital doppelgänger’ will have on notions of public identity and stardom, concepts of cinematic performance and media immortality. Further research is also required in order to uncover the implications of the digital double for the image cultures of indigenous peoples or for cinema industries such as Bollywood. As for the term ‘digital doppelgänger’ itself, perhaps with ubiquity and overuse, its older and more sinister connotations will be gradually papered over and forgotten. The term ‘doppelgänger’ suggests a copy that threatens its original with usurpation, but it may be that the digital doppelgänger functions in a not dissimilar way to the waxwork models at Madame Tussauds – as a confirmation of a celebrity’s place in the media galaxy, wholly reliant on the original star for its meaning and very existence. References Bazin, A. “The Ontology of the Photographic Image.” What is Cinema? Ed./Trans. Hugh Gray. Berkeley & London: U of California P, 1967. 9-16. Benjamin, W. “The Work of Art in the Age of Mechanical Reproduction.” Illuminations. Ed. Hannah Arendt. Trans. Harry Zohn. London: Fonatan, 1992. 211-44. Chimielewski, D. “Meet Sunny’s Digital Doppelganger.” The Age (5 January 2005). http://www.theage.com.au/news/Film/Meet-Sunnys-digital-doppelganger/2005/01/04/1104601340883.html>. Freud, S. “The ‘Uncanny.” The Standard Edition of the Complete Psychological Works of Sigmund Freud. Trans. Ed. James Strachey, Anna Freud et al. Vol. xvii (1917-19). London: Hogarth Press and Institute of Psychoanalysis, 1955. 219-52. Fritz, B. “Garner Finds Viewing Her Digital Doppelganger Surreal.” Variety (27 August 2003). http://www.variety.com/index.asp?layout=upsell_article&articleID=VR1117891622&cs=1>. Kittler, F. Gramophone, Film, Typewriter. Trans. and intro. Geoffrey Winthrop-Young and Michael Wutz. Stanford, California: Stanford UP, 1999. Magid, R. “New Media: Invasion of the Body Snatchers.” Wired News (March 1998). http://www.wired.com/news/culture/0,1284,10645,00.html>. Parisi, P. “Silicon Stars: The New Hollywood.” Wired (December 1995): 144-5, 202-10. http:www.wired.com/news/culture/0,1284,10645,00.html>. Pirandello, L. Shoot! (Si Gira) The Notebooks of Serafino Gubbio, Cinematographer Operator. Trans. C.F. Scott Moncrieff. New York: E.P. Dutton and Co.,1926. Rank, O. The Double: A Psychoanalytical Study. Trans./ed. Harry Tucker, Jr. North Carolina: U of North Carolina P, 1971. Schwartz, H. The Culture of the Copy: Striking Likenesses, Unreasonable Facsimiles. New York: Zone, 1996. Tsivian, Y. Early Russian Cinema and Its Cultural Reception. Trans. A. Bodger. Ed. R. Taylor. Chicago and London: U of Chicago P, 1998. Citation reference for this article MLA Style Bode, Lisa. "Digital Doppelgängers." M/C Journal 8.3 (2005). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0507/07-bode.php>. APA Style Bode, L. (Jul. 2005) "Digital Doppelgängers," M/C Journal, 8(3). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0507/07-bode.php>.

Images 1-6: Photographs by Rachelle Viader Knowles (2012)This article discusses the cross-cultural, augmented artwork Parallel Worlds, Intersecting Moments (2012) by Rachelle Viader Knowles and Judy Anderson, that premiered at the First Nations University of Canada Gallery in Regina, on 2 March 2012, as part of a group exhibition entitled Critical Faculties. The work consists of two elements: wall pieces with black and white Quick Response (QR) codes created using traditional beading and framed within red Stroud cloth; and a series of videos, accessible via scanning the beaded QR codes. The videos feature Aboriginal and non-Aboriginal people from Saskatchewan, Canada telling stories about their own personal experiences with new technologies. A QR code is a matrix barcode made up of black square modules on a white square in a grid pattern that is optically machine-readable. Performance artist and scholar Rebecca Caines was invited by the artists to participate in the work as a subject in one of the videos. She attended the opening and observed how audiences improvised and interacted with the work. Caines then went on to initiate this collaborative writing project. Like the artwork it analyzes, this writing documents a series of curated experiences and conversations. This article includes excerpts of artist statements, descriptions of artists’s process and audience observation, and new sections of collaborative critical writing, woven together to explore the different augmented elements of the artwork and the results of this augmentation. These conversations and responses explore the cross-cultural processes that led to the work’s creation, and describe the results of the technological and social disruptions and slippages that occurred in the development phase and in the gallery as observers and artists improvised with the augmentation technology, and with each other. The article includes detail on the augmented art practices of storytelling, augmented reality (AR), and traditional beading, that collided and mutated during this project, exploring the tension and opportunity inherent in the human impulse to augment. Storytelling through Augmented Art Practices: The Creation of the WorkJUDY ANDERSON: I am a Plains Cree artist from the Gordon’s First Nation, which is located in Saskatchewan, Canada. As a Professor of Indian Fine Arts at the First Nations University of Canada, I research and continue to learn about traditional art making using traditional materials creating primarily beaded pieces such as medicine bags and drum sticks. Of particular interest to me, however, is how such traditional practices manifest in contemporary Aboriginal art. In this regard I have been greatly influenced by my colleague and friend, artist Ruth Cuthand, and specifically her Trading series, which reframed my thinking about beadwork (Art Placement), and later by the work of artists like Nadia Myer, and KC Adams (Myer; KC Adams). Cuthand’s incredibly successful series taught me that beadwork does not only beautify and “augment” our world, but it has the power to bring to the forefront important issues regarding Aboriginal people. As a result, I began to work on my own ideas on how to create beadworks that spoke to both traditional and contemporary thoughts.RACHELLE VIADER KNOWLES: At the time we started developing this project, we were both working in leadership roles in our respective Departments; Judy as Coordinator of Indian Fine Arts at First Nations University, and myself as Head of Visual Arts at the University of Regina. We began discussing ways that we could create more interconnection between our faculty members and students. At the centre of both our practices was a dialogic method of back and forth negotiation and compromise. JA: Rachelle had the idea that we should bead QR codes and make videos for the upcoming First Nations and University of Regina joint faculty exhibition. Over the 2011 Christmas holiday we visited each other’s homes, beaded together, and found out about each other’s lives by telling stories of the things we’ve experienced. I felt it was very important that our QR codes were not beaded in the exact same manner; Rachelle built up hers through a series of straight lines, whereas mine was beaded with a circle around the square QR code, which reflected the importance of the circle in my Cree belief system. It was important for me to show that even though we, Aboriginal and non-Aboriginal people, have similar experiences, we often have a different approach or way of thinking about similar things. I also suggested we frame the black and white beaded QR codes with bright red Stroud cloth, a heavy wool cloth originating in the UK that has been used in North America as trade cloth since the 1680s, and has become a significant part of First Nations fabric traditions.Since we were approaching this piece as a cross-cultural one, I chose the number seven for the amount of stories we would create because it is a sacred number in my own Plains Cree spiritual teachings. As such, we brought together seven pairs of people, including ourselves. The participants were drawn from family and friends from reserves and communities around Saskatchewan, including the city of Regina, as well as colleagues and students from the two university campuses. There were a number of different age ranges and socioeconomic backgrounds represented. We came together to tell stories about our experiences with technology, a common cross-cultural experience that seemed appropriate to the work.RVK: As the process of making the beadworks unfolded however, what became apparent to me was the sheer amount of hours it takes to create a piece of “augmentation” through beading, and the deeply social nature of the activity. We also worked together on the videos for the AR part of the artwork. Each participant in the videos was asked to write a short text about some aspect of their relationship to technology and communications. We took the short stories, arranged them into pairs, and used them to write short scripts. We then invited each pair to perform the scripts together on camera in my studio. The stories were really broad ranging. My own was a reflection of the profound discomfort of finding a blog where a man I was dating was publishing the story of our relationship as it unfolded. Other stories covered the loss of no longer being able to play the computer games from teenage years, first encounters with new technologies and social networks, secret admirers, and crank calls to emergency services. The storytelling and dialogue between us as we shared our practices became an important, but unseen layer of this “dialogical” work (Kester).REBECCA CAINES: I came along to Rachelle’s studio at the university to be a participant in a video for the piece. My co-performer was a young woman called Nova Lee. We laughed and chatted and talked and sat knee-to-knee together to film our stories about technology, both of us focusing on different types of Internet relationships. We were asked to read one line of our story at a time, interweaving together our poem of experience. Afterwards I asked her where her name was from. She told me it was from a song. She found the song on YouTube on Rachelle’s computer in the studio and played it for us. Here is a sample of the lyrics: I told my daddy I'd found a girlWho meant the world to meAnd tomorrow I'd ask the Indian chiefFor the hand of Nova LeeDad's trembling lips spoke softlyAs he told me of my life twangs then he said I could never takeThis maiden for my wifeSon, the white man and Indians were fighting when you were bornAnd a brave called Yellow Sun scalped my little boySo I stole you to get even for what he'd doneThough you're a full-blooded Indian, son I love you as much as my own little fellow that's deadAnd, son, Nova Lee is your sisterAnd that's why I've always saidSon, don't go near the IndiansPlease stay awaySon, don't go near the IndiansPlease do what I say— Rex Allen. “Don’t Go Near the Indians.” 1962. Judy explained to Rachelle and I that this was a common history of displacement in Canada, people taken away, falling in love with their relatives without knowing, perhaps sensing a connection, always longing for a home (Campbell). I thought, “What a weight for this young woman to bear, this name, this history.” Other participants also learnt about each other this way through the sharing of stories. Many had come to Canada from other places, each with different cultural and colonial resonances. Through these moments of working together, new understandings formed that deeply affected the participants. In this way, layers of storytelling form the heart of this work.JA: Storytelling holds an incredibly special place in Aboriginal people’s lives; through them we learned the laws, rules, and regulations that governed our behaviour as individuals, within our family, our communities, and our nations. These stories included histories (personal and communal), sacred teachings, the way the world used to be, creation stories, medicine stories, stories regarding the seasons and animals, and stories that defined our relationship with the environment, etc. The stories we asked for not only showed that we as Aboriginal and non-Aboriginal people have the same experiences, but also work in the way that a traditional story would. For example, Rachelle’s story taught a good lesson about how it is important to learn about the individual you are dating—had she not, her whole life could have been laid out to any who may have come across that man’s blog. My story spoke to the need to look up and observe what is around you instead of being engrossed in your own little world, because you don’t know who could be lifting your information. They all showed a common interest in sharing information, and laughing at mistakes and life lessons.Augmented Storytelling and Augmented RealityRC: This work relies on the augmented reality (AR) qualities of the QR code. Pavlik and Bridges suggest AR, even through relatively limited tools like a QR code, can have a significant impact on storytelling practices: “AR enriches an individual’s experience with the real world … Stories are put in a local context and act as a supplement to a citizen’s direct experience with the world” (Pavlik and Bridges 21). Their research shows that AR technologies like QR codes brings the story to life in a three dimensional and interactive form that allows the user a level of participation impossible in traditional, analogue media. They emphasize the different viewing possible in AR storytelling as: The new media storytelling model is nonlinear. The storyteller conceptualizes the audience member not as a consumer of the story engaged in a third-person narrative, but rather as a participant engaged in a first-person narrative. The storyteller invites the participant to explore the story in a variety of ways, perhaps beginning in the middle, moving across time, or space, or by topic. (Pavlik and Bridges 22) In their case studies, Pavlik and Bridges show AR has the “potential to become a viable storytelling format with a diverse range of options that engage citizens through sight, sound, or haptic experiences… to produce participatory, immersive, and community-based stories” (Pavlik and Bridges 39). The personal stories in this artwork were remediated a number of different ways. They were written down, then separated into one-line fragments, interwoven with our partners, and re-read again and again for the camera, before being edited and processed. Marked by the artists clearly as ‘Aboriginal’ and ‘non Aboriginal’ and placed alongside works featuring traditional beading, these stories were marked and re-inscribed by complex and fragmented histories of indigenous and non-indigenous relations in Canada. This history was emphasized as the QR codes were also physically located in the First Nations University of Canada, a unique indigenous space.To view this artwork in its entirety, therefore, two camera-enabled and internet-capable mobile devices were required to be used simultaneously. Due to the way they were accessed and played back through augmented reality technologies, stories in the gallery were experienced in nonlinear fashions, started part way through, left before completion, or not in sync with the partner they were designed to work with. The audience experimented with the video content, stopping and starting it to produce new combinations of words and images. This experience was also affected by chance as the video files online were on a cycle, after a set period of time, the scan would suddenly produce a new story. These augmented stories were recreated and reshaped by participants in dialogue with the space, and with each other. Augmented Stories and Improvised CommunitiesRC: In her 1997 study of the reception of new media art in galleries, Beryl Graham surveys the types of audience interaction common to new media art practices like AR art. She “reveals patterns of use of interactive artworks including the relation of use-time to gender, aspects of intimidation, and social interaction.” In particular, she observes “a high frequency of collective use of artworks, even when the artworks are designed to be used by one person” (Graham 2). What Graham describes as “collective” and “social,” I see as a type of improvisation engaging with difference, differences between audience members, and differences between human participants and the alien nature of sophisticated, interactive technologies. Improvisation “embodies real-time creative decision-making, risk-taking, and collaboration” (Heble). In the improvisatory act, participants participate in active listening in order to work with different voices, experiences, and practices, but share a common focus in the creative endeavour. Notions such as “the unexpected” or “the mistake” are constantly reconfigured into productive material. However, as leading improvisation studies scholar Ajay Heble suggests, “improvisation must be considered not simply as a musical or creative form, but as a complex social phenomenon that mediates transcultural inter-artistic exchanges that produce new conceptions of identity, community, history, and the body” (Heble). I watched at the opening as audience members in Parallel Worlds, Intersecting Moments paired up, successfully or unsuccessfully attempted to scan the code and download the video, and physically wrapped themselves around their partner (often a stranger) in order to hear the quiet audio in the loud gallery. The audience began to help each other through the process, to improvise together. The QR code was not always a familiar or comfortable object. The audience often had to install a QR code reader application onto their own device first, and then proceed to try to get the reader to work. Underfunded university Wi-Fi connections dropped, Apple ID logins failed, devices stalled. There were sudden loud cries when somebody successfully scanned their half of the work, and then rushes and scrambles as small groups of people attempted to sync their videos to start at the same time. The louder the gallery got, the closer the pairs had to stand to each other to hear the video through the device’s tiny speakers. Many people looked over someone else’s shoulder without their knowledge. Sometimes people were too close for comfort and behavior was negotiated and adapted. Sometimes, the pairs gave up trying; sometimes they borrowed each other’s devices, sometimes their phone or tablet was incompatible. Difference created new improvisations, or introduced sudden stops or diversions in the activities taking place. The theme of the work was strengthened every time an improvised negotiation took place, every time the technology faltered or succeeded, every time a digital or physical interaction was attempted. Through the combination of augmented bead practices used in an innovative way, and augmented technology with new audiences, new types of improvisatory responses could take place.Initially I found it difficult to not simplify and stereotype the processes taking place, to read it as a metaphor of the differing access to resources and training in Aboriginal and non-Aboriginal communities, a clear example of the ways technology-use marks wealth and status. As I moved through the space, caught up in dialogic, improvisatory encounters, cross-cultural experiences broke down, but did not completely erase, these initial markers of difference. Instead, layers of interaction and information began to be placed over the Aboriginal and non-Aboriginal identities in the gallery. My own assumptions were placed under pressure as I interacted with the artists and the other participants in the space. My identity as a relative newcomer to Saskatchewan was slowly augmented by the stories and experiences I shared and heard, and the audience members shifted back and forth between being experts in the aspects of the stories and technologies that were familiar, and asking for help to translate and activate the stories and processes that were alien.Augmented Art PracticesJA: There is an old saying, “if it doesn’t move, bead it.” I think that this desire to augment with the decorative is handed down through traditional thoughts and beliefs regarding clothing. Once nomadic we did not accumulate many goods, as a result, the goods we did keep were beautified though artistic practices including quilling and eventually beadwork (painting too). And our clothing was thought of as spiritual because it did the important act of protecting us from the elements, therefore it was thought of as sacred. To beautify the clothing was to honour your spirit while at the same time it honoured the animal that had given its life to protect you (Berlo and Phillips). I think that this belief naturally grew to include any item, after all, there is nothing like an object or piece of clothing that is beaded well—no one can resist it. There is, however, a belief that humans should not try to mimic perfection, which is reserved for the Creator and in many cases a beader will deliberately put a bead out of place.RC: When new media produces unexpected results, or as Rachelle says, when pixels “go out of place”, it can be seen as a sign that humans are (deliberately or accidently) failing to use the digital technology in the way it was intended. In Parallel Worlds, Intersecting Moments the theme of cross cultural encounters and technological communication was only enhanced by these moments of displacement and slippage and the improvisatory responses that took place. The artists could not predict the degree of slippage that would occur, but from their catalogue texts and the conversations above, it is clear that collective negotiation was a desired outcome. By creating a QR code based artwork that utilized augmented art practices to create new types of storytelling, the artists allowed augmented identities to develop, slip, falter, and be reconfigured. Through the dialogic art practices of traditional beading and participatory video work, Anderson and Knowles began to build new modes of communication and knowledge sharing. I believe there could be productive relationships to be further explored between what Judy calls the First Nations “desire to bead” whilst acknowledging human fallibility; and the ways Rachelle aims to technologically-augment conversation and storytelling through contemporary AR and video practices despite, or perhaps because of the possibility of risk and disruptions when bodies and code interact. What kind of trust and reciprocity becomes possible across cultural divides when this can be acknowledged as a common human quality? How could beads and/or pixels being “out of place” expose fault lines and opportunities in these kinds of cross-cultural knowledge transfer? As Judy suggested in our conversations, such work requires active engagement from the audience in the process that does not always occur. “In those instances, does the piece fail or people fail the piece? I'm not sure.” In crossing back and forth between these different types of augmentation impulses, and by creating improvisatory, dialogic encounters in the gallery, these artists began the tentative, complex, and vital process of cultural exchange, and invited participants and audience to take this step with them and to work “across traditional and contemporary modes of production” to “use the language and process of art to speak, listen, teach and learn” (Knowles and Anderson).ReferencesAdams, K.C. “Cyborg Hybrid \'cy·borg 'hi·brid\ n.” KC Adams, n.d. 16 Nov. 2013 ‹http://www.kcadams.net/art/arttotal.html›. Allen, Rex. “Don't Go Near the Indians.” Rex Allen Sings and Tells Tales of the Golden West. Mercury, 1962. LP and CD.Anderson, Judy, and Rachelle Viader Knowles. Parallel Worlds, Intersecting Moments. First Nations University of Canada Gallery; Slate Gallery, Regina, Saskatchewan, 2012. Art Placement. “Ruth Cuthand”. Artists. Art Placement, n.d. 16 Nov. 2013 ‹http://www.artplacement.com/gallery/artists.php›.Berlo, Janet Catherine, and Ruth B. Phillips. Native North American Art. Oxford: Oxford University Press, 1998. Campbell, Maria. Stories of the Road Allowance People. Penticton, B.C.: Theytus Books, 1995. Critical Faculties. Regina: University of Regina and First Nations University of Canada, 2012. Graham, Beryl C.E. “A Study of Audience Relationships with Interactive Computer-Based Visual Artworks in Gallery Settings, through Observation, Art Practice, and Curation”. Dissertation. University of Sunderland, 1997. Heble, Ajay. “About ICASP.” Improvisation, Community, and Social Practice. University of Guelph; Social Sciences Humanities Research Council of Canada, n.d. 16 Nov. 2011 ‹http://www.improvcommunity.ca/›.Kester, Grant. Conversation Pieces: Community and Communication in Modern Art. Berkeley: University of California Press, 2004. Knowles, Rachelle Viader. Rachelle Viader Knowles, n.d. 16 Nov. 2013 ‹http://uregina.ca/rvk›.Myre, Nadia. Nadia Myre. 16 Nov. 2013 ‹http://nadiamyre.com/NadiaMyre/home.html›. Pavlik, John G., and Frank Bridges. “The Emergence of Augmented Reality (AR) as a Storytelling Medium in Journalism.” Journalism & Communication Monographs 15.4 (2013): 4-59.

碩士
國立臺灣海洋大學
光電科學研究所
92
Abstract In this thesis, we study nonlinear optical properties of optoelectronic ZnO and Au nanometer thin films with different thickness under different laser powers by z-scan in which we use a pulsed laser (wavelength=532 nm, pulse width=0.71 ns, repetition rate=15.29 KHz) as the light Source. In addition, we fit experimental data of Au thin film of different thickness to get nonlinear absorption/refraction coefficients β/γ. Interestingly, we add a measurement device in our experimental setup to detect reflective optical signal of Au/ZnO thin films with different thickness.

碩士
國立海洋大學
食品科學系
88
To explore the utilization of jack mackerel ( Decapterus maruadsi ), an intermediate moisture foods ( IMF ) of jack mackerel fillets ( 5 cm×4 cm×1.5 cm ) were prepared by immersing in different salinity solutions, smoking liquid and followed by drying with far-infrared ( FIR ). When the fillets were immersed in 10～15 % NaCl solution for 60 min, the salinity of the fillets could reach to 3.2±0.1 %、water activity ( aw ) of the fillets could reach to 0.88±0.02 and then immersed in a smoking liquid ( aw =0.63±0.02, pH=3.27±0.01 ) at 5℃ for 4 days. The immersed fillets can get the best color, flavor, and texture. The immersed fillets were dried by a FIR dryer with a heat plate distance of 12.5 cm (above and below) and the surface temperature of FIR heater at 180℃. The IMF products, with 40±1% of moisture and aw of 0.72±0.02, were obtained by employing the drying time of 60±1 min. The FIR and hot-air drying ( HAD ) of IMF products were then packed by a vacuum packager and stored at 5 and 25℃ for 30 days, respectively. Various quality characteristics: aw, moisture content, pH value, volatile basic nitrogen ( VBN ), Hunter L, a, b value, Hue, Saturation, color difference, aerobic plate count (APC), yeast and mold count, and the presence of coliforms ,and lipid stability: peroxide value (POV), acid value (AV), thiobarbituric acid value (TBA), fatty acid, EPA and DHA decrease were monitored during storage period. Results of quality characteristics and lipid stability of liquid smoked jack mackerel fillets by FIR of IMF products were better than HAD. From above, the IMF of liquid smoked jack mackerel fillets by FIR is worth expanding to a new product. To comprehend about quality characteristics and lipid stability of liquid smoked jack mackerel fillets by FIR. Various quality characteristics: aw, moisture content, pH value, volatile basic nitrogen ( VBN ), Hunter L, a, b value, Hue, Saturation, color difference, aerobic plate count (APC), yeast and mold count, and the presence of coliforms, and lipid stability: peroxide value (POV), acid value (AV), thiobarbituric acid value (TBA), fatty acid, EPA and DHA decrease were monitored during storage period. Results of quality characteristics and lipid stability of 10 % NaCl liquid smoked jack mackerel fillets by FIR of IMF products stored at 5 ℃ were better than 15 % NaCl liquid smoked jack mackerel fillets by FIR of IMF products stored at 25 ℃. According to these results, liquid smoked jack mackerel fillets by FIR of IMF products could be stored at 5 ℃ for 4 months.

Die ganze Welt erzählt. Sie tut es zu unterschiedlichsten Zwecken und in unterschiedlichsten Medien, in unterschiedlichen Kulturräumen und Zeiten. Wenn man die Funktionen von Erzählungen untersucht, wird schnell klar: Eines der faszinierendsten Probleme, dem man sich aus interdisziplinärer Perspektive im Kontext der Erzählforschung zuwenden kann, betrifft die Differenz zwischen Erzählungen, die einen Wahrheitsanspruch erheben, und solchen, die ihre Fiktionalität zur Schau stellen - aber auch wie in Erzählungen Faktuales und Fiktives sich überschneidet, mischt und gegenseitig spiegelt. Das ist nicht nur auf der Gegenstandsebene des Erzählten ein komplexes Feld, sondern auch auf der Ebene des Erzähltextes. Unterschiedlich sind zudem die Zugangsweisen derjenigen wissenschaftlichen Disziplinen, die sich mit dem Erzählen befassen: So hat etwa die Literaturwissenschaft Theorien der Fiktionalität entwickelt; die Psychologie wiederum interessiert sich für Identitäts- und Selbst-Konstruktionen anhand von Erzählungen; die Geschichtswissenschaft und die Ethik ringen immer wieder um Fragen nach Wahrheit und Fiktion. Studien zum Film und anderen Medien der Gegenwart sind mit einem Zeitgeist konfrontiert, der die Unterscheidung zwischen Fiktionalität und Faktualität strategisch und weitreichend aushebelt. Solchen Interferenzen, Kongruenzen und Differenzen von faktualen und fiktionalen Erzählungen wendet sich das von der Deutschen Forschungsgemeinschaft finanzierte Graduiertenkolleg 1767 mit dem Titel "Faktuales und fiktionales Erzählen" seit 2012 zu. Der vorliegende erste Band der Buchreihe des Graduiertenkollegs bietet einen Überblick über verschiedene interdisziplinäre Herangehensweisen zum Thema Faktualität und Fiktionalität, die sich innerhalb eines Spektrums von Literatur- und Kulturwissenschaften, Theologie und Arabistik, Philosophie, Psychologie, Geschichtswissenschaft sowie der Unternehmensberatung verorten lassen.

To bring agility in supply chain operations is a critical factor for firms in order to meet customers' requirements in an effective and productive manner. Several researchers have been argued that agility has become a prime driver of competitiveness. However, agility with respect to supply chain was not extensively studied, especially less attention was paid to empirical work. This article attempts to fulfill such need by investigating the relationship between supply chain agility (SCA) and organizational performance (OP) in the context of Iran. Primary data were collected through surveys distribution to 500 SC managers of all levels in Iranian SMEs. Subsequently, hypotheses were tested through SPSS and Structure Equation Modeling (SEM). The findings revealed a positive relationship between SCA and OP along with positive relationships of each dimension of SCA (e.g., alertness, decisiveness, flexibility, accessibility, and swiftness). This article ensures that organizational OP might be improved by focusing SCA in the today's competitive environment.

We present an investigation on the intensity-dependent nonlinear absorption in WSe 2 thin-film using Z-scan technique. Our study reveals that the WSe2 thin-film exhibits strong saturable absorption behaviour induced by Pauli-blocking effect.

Electrodeposition techniques is used for the deposition of nickel oxide thin film electrodes. In the present work, we report electrodeposition of nickel oxide thin film on the conducting stainless steel (SS) substrates for the application of electrochemical supercapacitor. X-ray diffraction confirms simple cubic crystal structure with polycrystalline nature of the deposited NiO sample that exhibits hydrophilic nature confirmed from the wettability study. The Scanning Electron Microscope (SEM) observed dense with cracky morphology. UV spectrum exhibits 3.55eV band gap of samples. The capacitive characteristics of the deposited thin film are investigated in 1M KOH electrolyte using cyclic voltammetry (CV). The supercapacitive properties of NiO are strongly affected by the scan rate. The maximum specific capacitance obtained is 162 F/g at 2 mV/s scan rate.

The optical constants of thin-film materials can be determined from measurements of the reflectance R and the transmittance T of a single layer film deposited on a transparent substrate. If the film is homogeneous and absorbing and is thick enough to have several maxima and minima, the index n and extinction coefficient k can be determined from T alone using the envelope method. If the film is inhomogeneous but nonabsorbing, the degree of inhomogeneity and index can be determined from R alone. This determination is based on the assumption that the inhomogeneous index of the film varies smoothly from a value of n1 at the outer surface of the film to a value of n2 at the substrate surface of the film. When the film is both inhomogeneous and absorbing, both R and T are necessary for the determination of the optical properties. The solution is most easily obtained in terms of the degree of inhomogeneity α = √(n2/n1. If the absorption in the film is <5 %, α can be determined from the reflectance scan independently of n and k. Then, n and k can be determined from the transmittance scan using the measured value of α. For more highly absorbing films, the values of n and k can be used to obtain a more accurate measure of α and the procedure can be iterated to find the best solution. The algorithm is applied to films of Sc2O3 which were measured as part of a comprehensive study presented at the 1983 OSA Annual Meeting.1

Abstract Fabry-Perot (F-P) resonators were built from two superconductive YBa2Cu3O7-δ (YBCO) films separated by a spacer. Each film of 35 nm thickness was deposited on a Si substrate ≈0.2 mm thick. A slow-scan Michelson interferometer was employed to measure the transmittance of the resonator in the far-infrared frequency region from 10 to 90 cm−1 at temperatures between 10 and 300 K. Measurements showed that in the normal state the peak (or resonant) transmittance decreases with temperature, whereas in the superconducting state it can increase with decreasing temperature. The transmittance of the resonator was calculated using properties of individual reflectors obtained previously. When the effect of partial coherence is taken into consideration, the calculated transmittance is in good agreement with the experiments. Furthermore, the maximum possible resonant transmittance was predicted based on an optimization analysis considering the interference effects. The effect of the YBCO film thickness on the transmittance peaks was also studied, showing that the resonant transmittance decreases but the finesse increases as the film thickness is increased. This study should help improve the future design of F-P resonators based on HTSC thin films.

ABSTRACT Background: Efficiency while paying attention to service quality is the top priority of the hospital. The efficiency in radiology installations has also not gone unnoticed. The implementation of Picture Archiving and Commucating System (PACS) and Radiology Information System (RIS) is one of the efforts to control costs in radiology installations, especially in consumables’ efficiency (BHP). Bukittinggi National Stroke Hospital (RSSN), as one of the vertical hospitals located in the City of Bukittinggi, West Sumatra, has become a precursor to the implementation of PACS and RIS in this province. This study aimed to determine effect of material using ct scan and mri after use of picture archiving and communicating system and radiology information system at radiological installation of Bukittinggi national hospital, West Sumatra. Subjects and Method: This was a descriptive study conducted at Radiological Installation Of Bukittinggi National Hospital, West Sumatra from July 2020. The data were collected by observation and monthly report data. Results: The results of the analysis of the use of PACS and RIS had a significant impact on the cost efficiency of BHP CT scans and MRIs in the RSSN radiology installation reaching 97.9%. Conclusion: Transfer of CT scan and MRI results from film to DVD-R for internal RSSN patients with considerable efficiency. Keyword: PACS, RIS, cost control, BHP Correspondence: Widya. Postgraduate Administrative Studies, Faculty of Public Health, Universitas Indonesia. Pondok Cina, Kecamatan Beji, Kota Depok, Jawa Barat 12345. Email: mnwidya@gmail.com. Mobile: (021) 7864975 DOI: https://doi.org/10.26911/the7thicph.05.23

The possibility of disk failure, a common failure mode conventional HDDs, was studied in conditions supposed contact recording systems. For this purpose, transparent pin-on-disk wear tests were performed on thin-film magnetic disks with sliding load less than 5 mN. We found that visible wear scar did not appear on disk surfaces. Wear debris were found be buried on the disk surfaces. This showed that the reduction of head wear and vibration are two main problems to be solve for future hard disk drives. We then studied effects of disk lubricant and tape burnishing of disk surface on pin wear. The results showed the higher the molecular weight of lubricants, the lower the pin wear, and tape burnishing reduced pin wear.

The principle of operation of the modulated transmission elipsometer (MTE) stress measurement technique and some specific thin film and bulk material systems that have been studied using the MTE are discussed. The MTE is an optical setup that uses a highly sensitive polarization modulation technique and an x-y galvanometer scanner for high speed mapping of internal stress birefringence in transparent optical materials. The MTE can measure stress generated retardances of the order of 0.01-160 nm in areas of from 50 × 50 μm to 100 × 100 mm. This system also has the unique ability to recognize and actively subtract optical component stress by imparting a controlled retardance bias on the laser beam. The output can be displayed as a line scan, 3-D plot, or a color contour plot. The MTE has been used to observe internal stress in dielectric thin film/substrate systems such as Cu, Ta2O5, and Si, in various transparent substrate materials. Thin film multilayers of MgF2 and ZnS on BK-7 substrates have been examined for stress as a function of predeposition and postdeposition parameters. The effects of stress on transparent Cu thin films on a glass substrate were studied by repeatedly stress mapping the system for varying levels of current through the Cu. Stress research has also been done on bulk materials such as strengthened glass, polymers, Nd:doped laser glass, and electrooptic crystals. The MTE has allowed us to compile a continually growing data base on the causes and effects of internal stress in thin film and bulk materials.

Chalcogenide glasses (ChG) have been shown to be very promising candidates for optical information storage and infrared communication systems [1]. The high photosensitivity of these materials in the visible (near bandgap for ChG) spectral band allows the fabrication of various photoinduced structures for integrated optical circuits [2]. The characterization of the light-induced complex refractive index changes (Δn) in ChG and the realization of new applications represent the goal of the present work. Namely, we report, we believe for the first time, the dynamic separation of different photoexcitation modes in ChG, and the holographic fabrication of one (1D) and two (2D) dimensional microlens networks. We study the ChG film refractive index (n), absorption (α) and thickness (d) photomodulation processes, both in steady state and in transient excitation regimes. We use dynamic holography [3] and Z-scan techniques [4] for this study. These techniques provide important information concerning both the dynamical and the steady-state excitation behavior of our ChG films. Different physical and photochemical mechanisms are responsible for the complex behavior of ChG [3] and their understanding and control is an important challenge for the possible applications.

Accurate identification of the relationships between permafrost extent and landscape patterns helps develop airborne geophysical or remote sensing tools to map permafrost in remote locations or across large areas. These tools are particularly applicable in discontinuous permafrost where climate warming or disturbances such as human development or fire can lead to rapid permafrost degradation. We linked field-based geophysical, point-scale, and imagery surveying measurements to map permafrost at five fire scars on the Tanana Flats in central Alaska. Ground-based elevation surveys, seasonal thaw-depth profiles, and electrical resistivity tomography (ERT) measurements were combined with airborne imagery and light detection and ranging (LiDAR) to identify relationships between permafrost geomorphology and elapsed time since fire disturbance. ERT was a robust technique for mapping the presence or absence of permafrost because of the marked difference in resistivity values for frozen versus unfrozen material. There was no clear relationship between elapsed time since fire and permafrost extent at our sites. The transition zone boundaries between permafrost soils and unfrozen soils in the collapse-scar bogs at our sites had complex and unpredictable morphologies, suggesting attempts to quantify the presence or absence of permafrost using aerial measurements alone could lead to incomplete results. The results from our study indicated limitations in being able to apply airborne surveying measurements at the landscape scale toward accurately estimating permafrost extent.

This research project examines the current state of the practice for disaster public communication, the distrust of government, the training available to public information officers, and the literature available to guide the design of effective public outreach messaging, especially for rapid on-set events. Growing distrust in government had led to lack of public confidence in public agency messaging during emergencies, yet public agency public information officers are using multiple pathways, including both traditional and social media resources, to try to reach impacted communities effectively. The introduction explains the development of wildfire events in the West and their context. A literature review displays the sociological and political research that guides the development of public outreach, warning and evacuation. The findings display the SCU Complex Fire and CZU Complex Fire of 2020 as case studies of outreach efforts during rapid onset wildfire events and explains techniques of data scraping that could enhance public messaging. The analysis categorizes a variety of best practices in disaster communications. The project concludes with a white paper outlining a pathway toward creating a cell phone app that would provide event, time and location specific information about a disaster event, using official sources and social media.