Stochastic ground motion simulation with geological site effects in damage asessment

Damage assessment of structures with a mechanical non linear model demands the representation of seismic action in terms of an accelerogram (dynamic analysis) or a response spectrum (pushover analysis). Stochastic ground motion simulation is largely used in regions where seismic strong-motion records are available in insufficient number. In this work we present a variation of the stochastic finite-fault method with dynamic corner frequency that includes the geological site effects. The method was implemented in a computer program named SIMULSIS that generate time series (accelerograms) and response spectra. The program was tested with the MW= 7.3 Landers earthquake (June 28, 1992) and managed to reproduce its effects. In the present work we used it to reproduce the effects of the 1980’s Azores earthquake (January 1, 1980) in several islands, with different possible local site conditions. In those places, the response spectra are presented and compared with the buildings damage observed.

Cinematic motion by hand

The general goal of my research is to find out what is questioned whenever an animated film is made by an author who chooses to have maximum control over the device automatisms. I am trying to understand in what ways that specific kind of film relates with Cinema and the History of Art as a whole and, more specifically, how its filmic discourse is built within cinematic codes, workings and machinery. This paper, in particular, aims to establish that each time an author makes a film by suspending both automatic ‘motion’ and image recording functions—that which is often known as “cameraless” film—a process is initiated that simultaneously questions not only Cinema, within both expression and technology, but also the ontological position this same technology occupies in current media.

"Picture yourself in my place": Fitzgerald em Hollywood

Esta dissertação estuda a intertextualidade entre as obras literárias de F. Scott Fitzgerald e a escrita para cinema nos anos formativos de Hollywood das décadas de 1920 e 30, assim como a influência da sétima arte não só nos romances de Fitzgerald, como em alguma literatura norte-americana da época. Por outro lado, considerando o trabalho de Fitzgerald como argumentista em Hollywood, analisa-se alguns dos guiões em que colaborou, comparando a linguagem cinematográfica da sua prosa com a literária do seu cinema. Na experiência e obra de Fitzgerald está representada uma questão paradigmática sobre a eterna relação de amor e ódio, influência e angústia, ou “angústia da influência” (para tomar emprestado o conceito de Harold Bloom), entre a literatura e o cinema, ao mesmo tempo que nos leva a parafrasear a pergunta de Michel Foucault: o que é um autor no cinema?