Добірка наукової літератури з теми "Work hard play hard (Motion picture)"

Peace agreements have their honeymoon periods launched by a photo shoot marking the outbreak of ‘peace’. The work of converting the promise and hard-won compromises of a transition into reality is fraught with visible and hidden threats. When can we know a transition is ‘working’? How can we calculate the level of security threat posed to future stability by deep rooted structural inequalities? What role does restorative justice play in these dilemmas? The textual and political site for this analysis is Northern Ireland’s 1998 Agreement. Intersectionality theory aids analysis of the gender dynamics of law and politics in this jurisdiction. We find that political stability has built-in gendered costs and benefits. Local restorative justice initiatives may proactively reduce communal tensions but benefits to women may be less evident. An intersectional assessment brings women’s lives into the picture and moreover explains how transitions work in practice.

Abstract. Optimality concepts related to energy and entropy have long been proposed to govern Earth system processes, for instance in the form of propositions that certain processes maximize or minimize entropy production. These concepts, however, remain quite obscure, seem contradictory to each other, and have so far been mostly disregarded. This review aims to clarify the role of thermodynamics and optimality in Earth system science by showing that they play a central role in how, and how much, work can be derived from solar forcing and that this imposes a major constraint on the dynamics of dissipative structures of the Earth system. This is, however, not as simple as it may sound. It requires a consistent formulation of Earth system processes in thermodynamic terms, including their linkages and interactions. Thermodynamics then constrains the ability of the Earth system to derive work and generate free energy from solar radiative forcing, which limits the ability to maintain motion, mass transport, geochemical cycling, and biotic activity. It thus limits directly the generation of atmospheric motion and other processes indirectly through their need for transport. I demonstrate the application of this thermodynamic Earth system view by deriving first-order estimates associated with atmospheric motion, hydrologic cycling, and terrestrial productivity that agree very well with observations. This supports the notion that the emergent simplicity and predictability inherent in observed climatological variations can be attributed to these processes working as hard as they can, reflecting thermodynamic limits directly or indirectly. I discuss how this thermodynamic interpretation is consistent with established theoretical concepts in the respective disciplines, interpret other optimality concepts in light of this thermodynamic Earth system view, and describe its utility for Earth system science.

The overall control system for an open-frame Remotely Operated Vehicle (ROV) is typically built from three subsystems: guidance, navigation and control (GNC). The control allocation plays a vital role in the control subsystem. Typically, open-frame underwater vehicles have p actuators (thrusters) for the motion in the horizontal plane, and the control allocation problem, in this case, is very complex and hard to visualise, because the normalised constrained control subset is a p-dimensional unit cube. The aim of this paper is to give a clear picture and a geometric interpretation of the problem and to introduce a hybrid method, based on the integration of a weighted pseudoinverse and the fixed-point method. The main idea of the hybrid method is visualised, and the deep geometric insight is provided using a “virtual” ROV in low-dimensional control spaces, including visualisation of the attainable command set, solution lines, control energy spheres and the role of pseudoinverse and fixed-point iterations. The same concepts are then extended to higher-dimensional cases, for open-frame ROV with four X-shaped (vectored) horizontal thrusters, which is one of the most common thruster configurations for commercial ROVs. The proposed hybrid method has been developed, integrated into a generic fault-tolerant ROV control system and evaluated in virtual and real-world environments off the west coast of Ireland using observation-class ROV Latis and work-class ROV Étaín.

Recently, fifth-generation (5G) mobile connectivity has been launched in Bangladesh on a trial-run basis. 5G is a super-speed mobile network that is much faster than the existing fourth-generation (4G) technology. It is excruciatingly hard to deploy a fully functioning 5G in any country regardless of its available resources and technological advancements because of some apparent technological complexity and limitations. In addition, when deploying this technology in developing countries such as Bangladesh, the costs come into play. To cope with the world’s advancement in science and technology, Bangladesh is planning to implement 5G covering the whole country. In this paper, we present the major challenges in implementing a wide area 5G network in Bangladesh and find some possible solutions. This research work has also tried to get a clear picture of the service quality of the existing 4G cellular communication by analyzing some of the mobile operators’ download speeds over 24 hours. In addition, this paper presents the current comparison of Internet facilities in Bangladesh with those of other countries across the globe. To the best of our knowledge, there is no publicly available study that has focused on the deployment of the 5G network in Bangladesh after assessing the current state of the cellular network. Therefore, this study could serve as a guiding resource, providing valuable information for decision-making.

The power of wireless network sensor technologies has enabled the development of large-scale in-house monitoring systems. The sensor may play a big part in landslide forecasting where the sensor linked to the WLAN protocol can usefully map, detect, analyze, and predict landslide distant areas, etc. A wireless sensor network comprises autonomous sensors geographically dispersed for monitoring physical or environmental variables, comprising temperature, sound, pressure, etc. This remote management service contains a monitoring system with more information and helps the user grasp the problem and work hard when WSN is a catastrophic event tracking prospect. This paper illustrates the effectiveness of Wireless Sensor Networks (WSN) and artificial intelligence (AI) algorithms (i.e., Logistic Regression) for landslide monitoring in real-time. The WSN system monitors landslide causative factors such as precipitation, Earth moisture, pore-water-pressure (PWP), and motion in real-time. The problems associated with land life surveillance and the context generated by data are given to address these issues. The Wireless Sensors Network (WSN) and Artificial Intelligence (AI) give the option of monitoring fast landslides in real-time conditions. A proposed system in this paper shows real-time monitoring of landslides to preternaturally inform people through an alerting system to risky situations.

The main question in this article is how and where subversion is possible. As a point of departure the author uses the work of Tiina Rosenberg, a researcher of theatre and gender at Stockholm university, who presents a theory on subversion, or "queer moment", produced by women in male clothing on stage. The article argues against the idea that this genre disturbs the heterosexual normativity and order of gender; instead it seems to reproduce that same order, partially through the relations between the characters and partially through the reason for female cross-dressing presented both within and outside these particular dramaturgies. Three examples are analysed: the stage play Twelfth Night (Shakespeare) and the motion pictures Yentl (Singer/Streisand) and Victor,Victoria! (Edwards, Hoemburg/Edwards). By focusing on both the male character who finds himself attached to the disguised woman, and on the female character who is attracted to the same, the author concludes that while the male character does not question his sexuality but rather the gender of his 'male' friend, the female character is easily led astray by superficial words and clothing and hence reproducing the stereotypical female behaviour. The male character, on the other hand, reproduces male (hetero)- sexuality as potent and capable of 'seeing' through any disguise. Hence, heteronormativity is found to play an important part in the entire dramaturgy-not only in the ending scene where everything is set right through falling disguises and weddings. However, the subversive part of the cross-dressing woman on stage or in film is not completely disregarded and the author presents, by using the theories of Teresa de Lauretis and Judith Butler, a possible identification with a woman in male clothing as a way of expressing a (lesbian) desire based on a fetishist use of male clothing as a symbol of disavowing both female and male fallocentric desire.

This paper is based on a recent field research conducted in nine towns of Karachi which explored nine hundred home-based women workers’ experiences and perceptions and documented the typology of the work accomplished by them. Working under harsh circumstances, caught in the cobweb of poverty and patriarchal forces, the low-paid work of these women forms a link between the walled enclosures of their homes and the economic transactions in the markets outside. The data collected from the home-based women workers, selected randomly, through questionnaires and personal narratives reveal that they do work within the walled spaces of their homes but their lives are neither bounded by space nor they live in isolation. On the contrary, they are well aware of the world outside and understand how forces of corruption and exploitation working under the aegis of capitalist economy play havoc in their lives. Their resolve to confront poverty, to challenge exploitative forces, to toil hard for a better life for their children, and to act as role models for other women, make them as visible partners of efforts geared to have a self-sustained Pakistan. This paper by deconstructing the myth of Pakistani women’s existence as prisoners within their homes, presents a picture of women who through their visible economic contribution are making viable changes in the society. All this, thus transforms the home-based working women who have been consistently, though wrongly portrayed as ‘invisible’ into autonomous beings, visible to those who have an eye to see the reality. The paper also seeks to critically look at the norms of patriarchy, including the traditional codes of observing pardah in the context of women and gender in Pakistan. This paper also develops an argument showing how patriarchal traditions tend to hide all weaker segments of society- men and women, and makes them visible only when their services are required.

It is well-documented that fitness trainers could play an important role in the nutrition-related behaviour of their clients based on their personalised nutrition-related counselling activities, but there are considerable concerns all over the world about the level of their knowledge to become nutritional coaches. In the framework of the current study based on qualitative (focus-group interviews) and quantitative (questionnaire and analysis of responses by multivariable methods, as well as structural equation modelling) methods, it has been proven that (1) theoretically, both the trainers and the dietitians acknowledge the importance of cooperation in the optimisation of coaching efficiency and advisory work due to some “professional jealousness” and differences in professional background, as well as in culture, so it is hard to find a common platform for cooperation, especially in market segments characterised by relative low levels of purchasing power; (2) due to lack of regulation, there is a high heterogeneity of professional competences of trainers in general and their nutritional competences, in particular; (3) the majority of trainers do not have an objective picture on his/her effective nutritional knowledge, and they often offer a much wider scope of services (e.g., nutritional counselling for clients with chronic diseases) which are well beyond their professional knowledge and (4) the dietary guidelines have not become an integral part of professional knowledge, even at the level of specialists. To improve the current—in some cases, dangerous—situation, the following steps should be taken: (1) enhancement of the level of professional qualification of future trainers, integrating the practice-oriented approaches and emphasising the role of teamwork by simulation-based practices; (2) highlighting in a clear way the professional and ethical boundaries of the activities of trainers and (3) working out an efficient incentive system for the continuous professional development of trainers.

Background. M. Gogol’s «Evenings on a Farm Near Dikanka» often attract the attention of theater directors. Thus, in June 2009, the premiere of the play «May night, or Moonlight Witchcraft» directed by Oksana Dmitrieva, took place at the Kharkov Puppet Theater. Trying to reveal the genre nature of the production, theater critics give it such definitions as a fairy tale, musical, fantasy, ethno-folk show, liturgy, mystery play, as well as analyze individual finds of a young director, but the complete picture of the artistic features of this performance is absent yet. In this regard, the purpose of the article is to identify the features of the interpretation of the Gogol story by director O. Dmitrieva. Results. The «May night...» begins with a musical introduction consisting of two themes: the lyrical theme of the pipe with intonations of Transcarpathian melodies (which is connected with the young couple Hanna and Levko and the image of Pannochka) and the theme of hand drums, which reveals the inner strength of the Ukrainian people, as well as demonological beginning associated with the witch-stepmother. The music gives way to the sounds of night nature and the stars appear on the backdrop. Their low location and shape resemble the Christmas stars, with which carolers sing for Christmas. In the dark, the figure of Pannochka appears, wrapped in white cloths remembering a shroud. The unfolding of intersecting clothes above Pannochka’s head, and then their rotation symbolize both the alternation of day and night and the winter solstice. Thus, there are both, the Orthodox and the Pagan features, in depiction of the Ukrainian village. From several notes that the heroine sings, her leitmotif grows up. He fits well on modern arrangements of Ukrainian music, and is easily recognizable on his own. In combination with Pannochka’s sudden gusty movements (as if a bird is trying to break out of the snare, fly up into the sky), it helps to reveal her ambivalent nature: on the one hand, of the martyr, on the other – the representative of evil forces. Pannochka becomes the main character of the performance, and the Moon becomes her attribute, which can turn into the tambourine of shaman, the lyre, the sword, etc. The youth walking scene “on the garden” with the use of the jigging puppet, accompanied by folk songs differs in tempo and rhythm from previous mysteriously lyrical scenes. In the next episode, Pannochka enchants the characters on the stage with moonlight, so the meeting and the dialogue between Hanna and Levko begin to be perceived as a dream of heroes. This is facilitated by both the slow movements of the actors, the lengthy summons into the names of the characters, their flight around the stage, and the dialogue with the Moon that Pannochka props up. The tragic history of Pannochka is depicted first with the help of portraits of its participants on round screens, and then the screens are assembled into the figure of a Witch-Cat. This form also is reminiscent of a Chinese dancing Dragon. The episode with the hand fans depicting the “cat’s claws” is accompanied by alarming drum sound: Pannochka has no repose from the Witch even after death. The village in the new picture is reflected in the ripples of water: the real world is floating, swinging. Hanna and Levko confess their love to each other, however, Kalenik suddenly appears, recalling the Head. The image of the Head is solved by the director using two masks – large and small. At the beginning of the second act, the actors appear on the stage with long poles, which are similar both to the Chinese combat weapon and to the Ukrainian musical instruments “trembits”, allowing the actors to show brilliant plastic technique of “slow-motion”. Stylized masks of animals (cows, goats, pigs, roosters), which the walking lads pulling on themselves are the allusion to the Christmas fests. The lad boys strive to annoy the Head, so Head masks reappear on the scene, but there are already three of them: large, medium and small. With their help, there is a debunking of this character losing his power. The action transferred to the bottom of the pond, as symbolized by stylized fish. The drums and the fans – the cat’s claws – once again remind of the conflict between Pannochka and the Witch. Like in Gogol’s novella, the heroine asks Levko to find the Stepmother-Witch. The marionnette a la planchette and then – a shadow paper doll represent the image of the hero. Thanks to Levko, Mermaids (the original puppets) seize the Witch, and her death is symbolized by a broken rattle-rattle with the image of the cat’s muzzle. Next, the scene action follows by the Gogol’s novella: grateful Pannochka given to Levko the note, Head read it and allowed his son to marry Hanna. The image of Levko is represented here both in the system of the tablet puppet and in the means of the shadow theater. And the long clothes-shrouds acquainted from the first episodes of the play perform a number of new functions: this is the water of the pond, where Pannochka floats, and the paper, on which the note is written, and later – the wedding table. In this way the end of the Pannochka plot line comes. The spiritual verse «The soul with the body was parting» sounds, and in the hands of actress V. Mishchenko, the light paper doll, as the soul of her heroine, seeks up into the sky. Pannochka redeemed her sins, and now her soul can fly to heaven, because Easter has come. The last episode uses the “time-lapse” technique symbolizing the cleansing of the world from evil, and Pannochka’s leitmotif is organically superimposed on the Easter chime of bells. The action ends with a rap on the words “The Angels had opened the windows and they are looking on us” and the news that Easter has come. The final supports an idea that a person’s life moves from Christmas to Easter, from suffering to light, thus closing the spectacle into a ring composition. Conclusions. The original Gogol’s text allowed O. Dmitrieva to show a wide palette of modern possibilities of the puppet theater and the high skill of the actors of the “live plan”. In addition, the interweaving of national and foreign, Orthodoxy and paganism, an appeal to the expressive possibilities of the Ukrainian folk and modern music and to the ballet plastique suggest the postmodern nature of the play «May night, or MoonlightWitchcraft».

The domain of formation evaluation explores how varied a reservoir could be. In the life cycle of a field, from exploration and production to development, as we hone our knowledge to understand the reservoir, we often explore various subdomains of this discipline at various scales. In this issue, we explore three such subdomains at three different scales. Heterogeneity of reservoir properties, as well as the associated uncertainty, from measured to predicted, is best captured when disciplines are studied at different scales, from concepts to models and, finally, to experiences. Paper URTeC 2021-5434 attempts to understand the dynamics of a basin. This research studies the Wolfcamp formation of the Delaware Basin, where quality of the source rock and thermal maturity is deeply governed by the basin tectonics. The western half of the basin, which was relatively stable through geologic time, shows higher maturity in the source rocks than the relatively active eastern half. This known and observed phenomenon has been reported in various works, from vitrinite reflectance studies to the higher gas/oil ratio in producing wells. The authors explore the possibility of higher resident heat flux from igneous activities in the western part of the basin during the Cenozoic that generated these conditions. This, in my opinion, is the absolute big picture. Knowledge like this helps comprehension of why we see what we see. This is not just an academic exercise; it helps address practical problems in constructing facilities, pipelines, and compressor stations when the field enters the development stage. Once basin-scale regional concepts are established, local reservoir-scale models provide the intellectual infrastructure for the perception of reservoir-scale heterogeneities. Models such as these seek answers from various spectra of measurements. From well logs to cores and from structural maps to production histories, the various subdisciplines all play a crucial role in subsequent hypotheses tests. Applying these conceptual models, then, to modern-day analogs provides justification or critiques of the process for the present and has time and again been the key to the past. In paper IPTC 21225, the authors explore the validity of constructing a variable-scale reservoir model of a submarine fluvial/deltaic system from multidisciplinary data sets. The authors integrate these measurements of various resolutions and granularity, enabling the analyses to pan and zoom on the scales of the heterogeneity. After 20-plus years of production in this field, the knowledge here is still invaluable for understanding the reservoir compartmentalization and, thus, determining infill locations. I am intrigued by the complex nature of these depositional systems and the efforts the authors make to understand them. Once the big picture has been established, it becomes time to put the figurative boots on the ground, or the knowledge to work, for drilling wells and producing fluids. The third choice for this issue, paper URTeC 2021-5410, discusses one of those aspects. Pore-pressure prediction is a crucial exercise in this respect, with a very tight margin for error. In early phases of exploration, when well data are limited if not scarce, safe drilling and well construction often rely on the precision of pore-pressure expectancy and prediction models. Subsequently, as the well matures, understanding changes in pore pressure helps design artificial lift systems, if necessary, to optimize production and maximize the life of the field. In this third paper, the authors challenge some of the practiced notions and empirical parameters that are widely used in pore-pressure-prediction models. One of those, the Biot’s coefficient, is hard to measure, rarely available from experiments, and grossly overgeneralized. The authors discuss the implications of these parameters and the resulting excursion from the true value that overassumptions could make. In my opinion, this is a must-read for any geomechanics enthusiast. I hope the readers appreciate the scales of heterogeneity with which formation evaluation is concerned. The purposes here are beyond purely academic, and research often is burdened by a lack of measured data. Uncertainties can be minimized, however, when knowledge is sought by cross-referencing complementary domains and exploring heterogeneity in variable scales.

Anton von Werner’s Im Etappenquartier vor Paris (In quarters before Paris) is based on a sketch done by the painter during the German military campaign against France in October 1870. German soldiers amuse themselves with songs at the piano in a requisitioned manor house near Paris (Brunoy). Attracted by the music, the French concierge and child appear in the doorway. Some mundane activities to further enhance the atmosphere are in progress: lamps are lighted and a fire is kindled in the fireplace. We even know the song that is performed: Schubert’s “Am Meer” (By the sea), with words by Heinrich Heine. Nothing yet anticipates the disillusioned statement of George Steiner that became characteristic of late-twentieth-century reflection on war and culture: “We know now that a man can read Goethe or Rilke in the evening, that he can play Bach and Schubert, and go to his day’s work at Auschwitz in the morning.” In Werner’s painting, war still seems to be an innocent affair that first of all produces mud-stained boots. These boots and the sphere of fraternization that even encompasses the French housekeeper were meant to evoke the impression of sincerity in German soldiers, according to a German art historian. Ultimately converted into a painting, the picture became really popular when it was sold on the German market as a small tapestry after 1895. As the German writer and critic Ludwig Pietsch wrote at the time, “[Such pictures show] the good-natured and sentimental nature of the national character [. . .] which even in the rough and wild times of war and in the midst of an irreconcilable enemy cannot be denied.” Not surprisingly, the French reading of this picture (once or twice on exhibition in Paris) is somewhat different: “The attitudes of the lumpish soldiers with their blusterous posture, their heavy mud-stained boots, are completely in contrast to the refinement of the furniture. The conquerors behave somewhat like vandals. At the right in the doorway, the maid, on whom an officer seems to have designs, watches the scene accompanied by her daughter, who is hardly able to hide her fear.”

Abstract It is hard to project oneself into one’s work. And still philosophers and writers love to do that. Not to speak about painters like Velasquez in “Las Meninas.” They constantly return to this experiment. Charles Baudelaire does it, for example in “Le Jeu,” when he places himself at the corner of the gambling hall. This is an unusual room, hall and belly at the same time time, populated by unreal gamblers, where the faces are dry and the ladies’ jewellery produces metallic sounds: There is always something very fascinating which takes place at the moment when the artist tries to project himself into his own picture. What attracts our attention by such attempts is, of course, the play with perspective, not unlike that in Baroque painting, the tendency towards infinite regress involved in such enterprises, and last, but not least, their ironic possibilities.

Abstract The use of hardened steel in the automotive industry has increased of late. For longevity of the component under fatigue loading, residual stresses play an important role. The fatigue life of a machined component improves when the nature of the residual stress profile generated is compressive. In the present work, the machining forces, tool tip temperature and the nature of the residual stress generated have been studied in Vibrating Assisted Machining (VAM) conditions where the tool vibrates at low amplitude and high frequency. The vibration makes the tool create a constant engagement and disengagement motion with the workpiece. A three-dimensional thermo-mechanical FEM model has been developed to study the effects of VAM on turning of hardened (62 HRC) AISI 52100 steels. The model predicted the radial forces with sufficient accuracy for continuous turning. The air cooling of the tool during disengagement from the workpiece, gives rise to convective heat transfer to the surrounding, resulting in efficient the cooling of the tool. The same has been verified by analysing the effect of vibrating velocity (Vv) on tool tip temperature. The intermittent nature of VAM decreased the average tool tip temperature. The residual stress generated at different cutting speeds under vibration (Vv) was also predicted. For larger Vv, the residual stress profile became more compressive compared to that generated in the conventional hard turning simulations.