28 resultados para IMAGINARY
Resumo:
This article compares two documentary treatments of the Central Park vigil for John Lennon in 1980: Happy Birthday to John (Jonas Mekas, 1995, 16mm, 18 min.), and Dix minutes de silence pour John Lennon/Ten Minutes Silence for John Lennon (Raymond Depardon, 1980, 16mm, 10 min.). Mekas and Depardon might seem an improbable combination but as the article demonstrates there are affinities, if not direct points of convergence, in outlook and documentary method: both sensibilities have been shaped by migrant experiences, and much of their work, for all its formal and structural differences, is preoccupied with experiences of exile and displacement, rootedness and the meaning of home, the country and the city (and in Mekas’s case, the country in the city). Mekas and Depardon are also Europeans who have developed an intimate social and artistic relationship with New York City; both are concerned with the place of autobiography in their work, using captions, inter-titles, diary entries, photographs, and 1st person commentary to complicate relations between the imaginary and the documentary. In addition to discussing the significance of these preoccupations, and differences in the manner in which both filmmakers witness the apotheosis of Lennon as cultural martyr (and natural New Yorker), the article also examines the phenomenon of public mourning, and how it often displaces its ostensible subject: associatively, in the case of Mekas; incidentally, in the case of Depardon; and intentionally, in the case of the mass media, and popular culture.
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This article introduces the recent sound works of Heidi Fast, a Finnish voice and performance artist. Fast’s creative practice operates between art and philosophy, and articulates several ‘zones of becoming’: what Fast designates as ‘the clinical’, ‘the virtual’ and ‘vocal thought-material’. Using a methodology of routing, the article shows how these zones emerge as aesthetic, ethical and political concerns within Fast’s work. Since 2005, Fast’s sound works have variously taken shape as miniature concerts, social sculptures, imaginary soundscapes and environmental music performances. Drawing upon the writings of theorists who have helped shape her practice, this article argues that Fast uses sound and voice to propose an ‘actualising philosophy’. This philosophy actualises virtualities (unrealised potentials), affecting transformative shifts through tiny mutations in perceptions and behaviours.
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Theoretical and numerical studies are presented of the amplitude modulation of ion-acoustic waves (IAWs) in a plasma consisting of warm ions, Maxwellian electrons, and a cold electron beam. Perturbations parallel to the carrier IAW propagation direction have been investigated. The existence of four distinct linear ion acoustic modes is shown, each of which possesses a different behavior from the modulational stability point of view. The stability analysis, based on a nonlinear Schrodinger equation (NLSE) reveals that the IAW may become unstable. The stability criteria depend on the IAW carrier wave number, and also on the ion temperature, the beam velocity and the beam electron density. Furthermore, the occurrence of localized envelope structures (solitons) is investigated, from first principles. The numerical analysis shows that the two first modes (essentially IAWs, modified due to the beam) present a complex behavior, essentially characterized by modulational stability for large wavelengths and instability for shorter ones. Dark-type envelope excitations (voids, holes) occur in the former case, while bright-type ones (pulses) appear in the latter. The latter two modes are characterized by an intrinsic instability, as the frequency develops a finite imaginary part for small ionic temperature values. At intermediate temperatures, both bright- and dark-type excitations may exist, although the numerical landscape is intertwined between stability and instability regions.(c) 2006 American Institute of Physics.
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While the field known as ‘Whiteness Studies’ has been thriving in Anglophone criticism and theory for over 25 years, it is almost unknown in France. This is partly due to epistemological and political differences, but also to demographic factors — in contrast with the post-plantation culture of the US, for example, whites in Martinique and Guadeloupe are a tiny minority of small island populations. Yet ‘whiteness’ remains a phantasized and a fetishized state in the Antillean imaginary, and is strongly inflected by gender. This article sketches the emergence of ‘white’ femininity during slavery, then examines its representation in the work of a number of major Antillean writers (Condé, Placoly, Confiant, Chamoiseau). In their work, a cluster of recurring images and leitmotifs convey the idealization or, more commonly, the pathologization, of the white woman; these images resonate strongly with Bhabha’s ‘unhomely’, and convey the disturbing imbrication of sex and race in Antillean history.
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Self-potential and spectral induced polarization responses associated with microbial processes involved in sulphate reduction have been monitored in a Perspex Winogradsky column filled with glass beads and growth medium. Salt-bridge is utilized as an electrolytic contact between experiment and control column. Equally spaced SP electrodes are used in combination of Ag-AgCl electrodes to compare electrodic and SP signals associated with the microbial processes involved in sulphate reduction. This study reveals that magnitude of SP varies from 5 to -2 mV and Electrodic potential 0 to -20 mV at the time of domination (day 39) of sulphate reducing bacteria which are very small in comparison to those measured by fixing both measuring and reference Ag-AgCl electrodes in experiment column. We observed that real and imaginary parts of complex conductivities increase with increase in production of H2S and CO in the experiment column. Both real and imaginary parts of surface complex conductivity vary at low frequencies similar to typical growth curve of bacterial population. Sodium lactate as a carbon source, dissolved in Lagan River water was flushed into the column for biostimulation on 144th day. The dissolved oxygen in flushed fluid might have killed the anaerobes in the column and decrease in complex conductivities similar to death phase of bacteria is observed for one week. The results obtained from this experiment should contribute to further understanding the biogeophysical responses involved in complex environments.
Read More: http://library.seg.org/doi/abs/10.1190/segj092009-001.57
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Introduction. Auditory hallucinations exist in psychotic disorders as well as the general population. Proneness to hallucinations, as measured by positive schizotypy, predicts false perceptions during an auditory signal detection task (Barkus, Stirling, Hopkins, McKie, & Lewis, 2007). Our aim was to replicate this result and extend it by examining effects of age and sex, both important demographic predictors of psychosis.
Method. A sample of 76 healthy volunteers split into 15-17 years (n = 46) and 19 years plus (n = 30) underwent a signal detection task designed to detect propensity towards false perceptions under ambiguous auditory conditions. Scores on the Unusual Experiences subscale (UE) of the O-LIFE schizotypy scale, IQ, and a measure of working memory were also assessed.
Results. We replicated our initial finding (Barkus et al., 2007): High scores on positive schizotypy were associated with false perceptions. Younger participants who scored highly on positive schizotypy reported significantly more false perceptions compared to other groups (p = .04). Older participants who had had an imaginary friend reported more false perceptions during the signal detection task (p <. 01).
Conclusions. Younger participants seem most vulnerable to the effects of positive schizotypal traits in terms of a signal detection deficit that underlies auditory hallucinations. Schizotypy may have greatest impact closer to the risk period for development of psychotic disorders.
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This article examines the soundscapes of Ariane Mnouchkine’s Tambours Sur La Digue and explores the concept of acoustic mimesis located in the performance as a dramaturgical strategy to create, aurally, an imagined Far East. In Tambours, mimesis is the performative principle exemplified by the presentation of the mise en scène, and most distinctly Mnouckine’s decision to adapt the Japanese performance tradition of Bunraku through a process of 'reversed' mimicry (in which human bodies simulate the wooden marionettes of the Japanese style). Mimesis pervades the acoustemologies of the performance as it is heard in the extracted sounds, styles, and rhythms of Asian musical modes and movements that consequently become dislocated from context; the sounds become imitated, iconicised and exoticised as sonic signatures as they reify the Orientalist spectacle. The 'oriental' soundscape, reverberating with exotic overtones, becomes the means by which the production creates an imaginary Orient – one in which the Orient Other is silenced, and is resounded only through the musical sensibilities of the Occidental Self.
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This paper presents an ethnographic account of jazz music in Athens. The small scene under scrutiny is mainly populated by professional session instrumentalists of the Greek popular music scene who perform jazz as a side activity for their own pleasure. In the process, they construct a conceptual dichotomy between ‘work’ and ‘play’. Drawing on the author’s extended involvement in this scene, and focusing on private interviews with musicians, this article unveils the discourses of cosmopolitanism invoked through local jazz music making. The ethnographic material presented aims to illustrate how even a small subculture can serve as a terrain for contesting cosmopolitan imaginaries.
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We investigate the basic behavior and performance of simulated quantum annealing (QA) in comparison with classical annealing (CA). Three simple one-dimensional case study systems are considered: namely, a parabolic well, a double well, and a curved washboard. The time-dependent Schrodinger evolution in either real or imaginary time describing QA is contrasted with the Fokker-Planck evolution of CA. The asymptotic decrease of excess energy with annealing time is studied in each case, and the reasons for differences are examined and discussed. The Huse-Fisher classical power law of double-well CA is replaced with a different power law in QA. The multiwell washboard problem studied in CA by Shinomoto and Kabashima and leading classically to a logarithmic annealing even in the absence of disorder turns to a power-law behavior when annealed with QA. The crucial role of disorder and localization is briefly discussed.
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In The City of Collective Memory, urban historian Christina Boyer (1994) defines the image of a city as an abstracted concept, an imaginary (re)constructed form. This urban image is created from many aspects, one of which is the framed and edited views and experiences found in films situated in or about a particular city. In this study, to explore the collective memory of the city of Berlin from an architectural point of view, one film from each of the major historical periods of Berlin since the invention of cinema is examined: pre-WWI, interwar period, the Nazi period, post-WWII, Berlin Wall/Cold War, and the reunification period. Memory-making in the city is studied following the footsteps of the protagonists in the films, concluding that film-making and memory-making make use of similar processes, the editing of fragmented pieces of so-called reality, to create its own reality.
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We have excited mid-infrared surface plasmons in two YBCO thin films of contrasting properties using attenuated total reflection of light and found that the imaginary part of the dielectric function decreases linearly with reduction in temperature. This result is in contrast with the commonly reported conclusion of infrared normal reflectance studies. If sustained it may clarify the problem of understanding the normal state properties of YBCO and the other cuprates. The dielectric function of the films, epsilon = epsilon(1) + i epsilon(2), was determined between room temperature and 80K: epsilon(1) was found to be only slightly temperature dependent but somewhat sample dependent, probably as a result of surface and grain boundary contamination. The imaginary part, epsilon(2), (and the real part of the conductivity, sigma(1),) decreased linearly with reduction in temperature in both films. Results obtained were: for film 1: epsilon(1) = - 14.05 - 0.0024T and epsilon(2) - 4.11 + 0.086T and for film 2: epsilon(1) = - 24.09 + 0.0013T and epsilon(2) = 7.66 + 0.067T where T is the temperature in Kelvin. An understanding of the results is offered in terms of temperature-dependent intrinsic intragrain inelastic scattering and temperature-independent contributions: elastic and inelastic grain boundary scattering and optical interband (or localised charge) absorption. The relative contribution of each is estimated. A key conclusion is that the interband (or localised charge) absorption is only similar to 10%. Most importantly, the intrinsic scattering rate, 1/tau, decreases linearly with fall in temperature, T, in a regime where current theory predicts dependence on frequency, omega, to dominate. The coupling constant, lambda, between the charge carriers and the thermal excitations has a value of 1.7, some fivefold greater than the far infrared value. These results imply a need to restate the phenomenology of the normal state of high temperature superconductors and seek a corresponding theoretical understanding.
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This article focuses on the concept of metaphor as metaphorai, as varied means of transfer and transport, specifically on Góngora's innovative development of the metaphor as a vehicle for experiential transformation and epistemological exploration; ultimately emphasizing a hitherto neglected valorization of affect in the liberation of the imagination. Although Góngora's use of metaphor became a major source of controversy in the debate unleashed by the Polifemo and Soledades during his lifetime, the Generation of 1927 looked to Gongorine metaphor as model and inspiration for their cultivation of imaginary worlds through poetry. By examining the models and concepts that nourished Góngora's innovative engagement with metaphor, shaped readers' responses to the poet's imaginary worlds of metaphor, triggered the recovery and reframing of Gongorine metaphor as springboard for the poetic imagination in the twentieth century, and sheds light on the power of Góngora's metaphor to transform and transmute the world through the exercise of the imagination.