Restauración del sonido fílmico

La restauración fílmica del audio es un proceso bastante complejo y se ha indagado poco en este campo. Antes de restaurar cualquier archivo, se debe preservar y conservar los archivos de la mejor manera posible. La preservación son las medidas que se deben tomar para garantizar el acceso permanente y la conservación asegura le existencia del archivo en su forma más original. Mientras que la restauración se basa en el estudio de los posibles deterioros que sufren los soportes fílmicos en el tiempo y los procesos que existen para corregirlos. La restauración siempre debe conservar la mayor originalidad posible, es decir debe mantener el audio como originalmente se expuso por primera vez. En la primera etapa, se identifican los posibles deterioros que se producen en los archivos, si conocemos en qué momento fue grabada la películas y cómo fue grabada, es decir con que máquina se realizó la grabación y el soporte fílmico en el que está grabado. Tanto las máquinas como los soportes han ido evolucionando a lo largo de la historia. El estudio de los soportes fílmicos nos permite conocer las degradaciones que sufren a lo largo del tiempo los archivos y por consecuencia, conocer las posibles restauraciones. Para intentar evitar degradaciones mayores, se intenta preservar y conservar en condiciones óptimas para el soporte. Según el soporte del archivo, tendrá unas condiciones típicas de temperatura, humedad, ventilación… en las cuales el material se conserva de la mejor manera. Tras estos pasos, se procede a restaurar. La restauración más típica es con materiales fotoquímicos, pero es bastante compleja y por tanto, en el proyecto se analiza la restauración tras digitalizar los archivos fílmicos. Para poder digitalizar correctamente los archivos, debemos tener presentes las normas y reglas de digitalización que están establecidas. La digitalización permite identificar las alteraciones típicas que aparecen en los materiales fílmicos, gracias a la herramienta del espectrograma podemos conocer las posibles soluciones de restauración para cada alteración. Las alteraciones que podemos encontrar e identificar son: · Zumbidos e Interferencias. · Siseo y Silbido. · Crujidos. · Pops y Clics. · Wow. · Lagunas o Abandonos. · Ruidos intermitentes. · Reverberación. La última parte del proyecto, una vez que se tienen todas las alteraciones típicas de los archivos fílmicos identificadas, se procede al estudio de cada una de ellas con las herramientas del espectrograma y se realiza el estudio de una manera más técnica. Con el espectrograma se determinan las herramientas que solucionan cada alteración como Reverb para la reverberación, Decrackle para los crujidos… y en el marco técnico se determina las características que tiene cada herramienta, es decir el tipo de filtro, ventana… que se puede utilizar para poder restaurar el audio de cada alteración. La restauración digital es un campo aún por investigar, pero se debería de empezar a concienciar que es una solución factible. Que este tipo de restauración puede mantener el sonido original y no va a modificar los archivos, como muchas veces se piensa. Ya que el paso del tiempo, poco a poco, ira degradando y destruyendo los soportes fílmicos en los que se encuentran, y el principal objetivo que se pretende conseguir es que los materiales fílmicos perduren a lo largo de la historia. ABSTRACT. The film audio restoration is a fairly complex process and little research has been done in this field. Before restoring any files, you must preserve and keep the files in the best way possible. The preservation is the measures to be taken to ensure continued access to and preservation ensures existence of the file in its original form. The restoration is based on the study of possible damage suffered by the film media in time and the processes that exist to correct them. The restoration must always retain the most original as possible, i.e. to keep the audio as originally discussed for the first time. In the first stage, potential impairments that occur in the files are identified, if you know what time it was recorded the movies and how it was recorded, i.e. that machine recording and film media on which is recorded took place. Both machines as media have evolved throughout history. The study of film media lets us know the suffering degradations over time and result files, make possible restorations. To try to prevent further degradation, are intended to preserve and keep in good condition for support. Depending on the media file, will have typical conditions of temperature, humidity, ventilation... in which the material is preserved in the best way. After these steps, we proceed to restore. The most typical is with photochemical restoration materials, but is rather complex and therefore the restoration project is analyzed after scanning film archives. To successfully scan the files must be aware of the rules and regulations are established digitization. Digitization allows identifying the typical alterations that appear in the film materials, thanks to the tool spectrogram we know the possible restoration solutions for each alteration. The alterations that can find and identify are: · Buzz and Interference. · Hiss and Hissing. · Crackle. · Pops and Clicks. · Wow and Flutter. · Audio Dropouts. The last part of the project, when we have all the typical alterations identified film archives, proceed to the study of each of them with the tools of spectrogram and the study of a more technical way is done . With the spectrogram tools that solve every alteration as Reverb for reverb, Decrackle for cracks... and the technical framework the features that each tool is determined, i.e. the type of filter, window... that can be used are determined for to restore the audio of each alteration. Digital restoration is an area for future research, but should start aware that it is a feasible solution. This type of restoration can keep the original sound and will not modify files, as is often thought. Since the passage of time, gradually degrading and destroying anger film media in which they are, and the main objective to be achieved is that the film materials endure throughout history.

Luz industrial e imagen tecnificada: de Moholy Nagy al C.A.V.S. (Center for Advanced Visual Studies)

El desarrollo de la tecnología de la luz implicará la transformación de la vida social, cultural y económica. Tanto las consideraciones espaciales del Movimiento Moderno, como los efectos producidos por la segunda Guerra Mundial, tendrán efectos visibles en las nuevas configuraciones espaciales y en la relación simbiótica y recíproca que se dará entre ideología y tecnología. La transformación en la comprensión de la articulación espacial, asociada al desarrollo tecnológico, afectará al modo en que este espacio es experimentado y percibido. El espacio expositivo y el espacio escénico se convertirán en laboratorio práctico donde desarrollar y hacer comprensible todo el potencial ilusorio de la luz, la proyección y la imagen, como parámetros modificadores y dinamizadores del espacio arquitectónico. Esta experimentación espacial estará precedida por la investigación y creación conceptual en el mundo plástico, donde los nuevos medios mecánicos serán responsables de la construcción de una nueva mirada moderna mediatizada por los elementos técnicos. La experimentación óptica, a través de la fotografía, el cine, o el movimiento de la luz y su percepción, vinculada a nuevos modos de representación y comunicación, se convertirá en elemento fundamental en la configuración espacial. Este ámbito de experimentación se hará patente en la Escuela de la Bauhaus, de la mano de Gropius, Schlemmer o Moholy Nagy entre otros; tanto en reflexiones teóricas como en el desarrollo de proyectos expositivos, arquitectónicos o teatrales, que evolucionarán en base a la tecnología y la modificación de la relación con el espectador. El espacio expositivo y el espacio escénico se tomarán como oportunidad de investigación espacial y de análisis de los modos de percepción, convirtiéndose en lugares de experimentación básicos para el aprendizaje. El teatro se postula como punto de encuentro entre el arte y la técnica, cobrando especial importancia la intersección con otras disciplinas en la definición espacial. Las múltiples innovaciones técnicas ligadas a los nuevos fundamentos teatrales en la modificación de la relación con la escena, que se producen a principios del siglo XX, tendrán como consecuencia la transformación del espacio en un espacio dinámico, tanto física como perceptivamente, que dará lugar a nuevas concepciones espaciales, muchas de ellas utópicas. La luz, la proyección y la creación de ilusión en base a estímulos visuales y sonoros, aparecen como elementos proyectuales efímeros e inmateriales, que tendrán una gran incidencia en el espacio y su modo de ser experimentado. La implicación de la tecnología en el arte conllevará modificaciones en la visualización, así como en la configuración espacial de los espacios destinados a esta. Destacaremos como propuesta el Teatro Total de Walter Gropius, en cuyo desarrollo se recogen de algún modo las experiencias espaciales y las investigaciones desarrolladas sobre la estructura formal de la percepción realizadas por Moholy Nagy, además de los conceptos acerca del espacio escénico desarrollados en el taller de Teatro de la Bauhaus por Oskar Schlemmer. En el Teatro Total, Gropius incorporará su propia visión de cuestiones que pertenecen a la tradición de la arquitectura teatral y las innovaciones conceptuales que estaban teniendo lugar desde finales del s.XIX, tales como la participación activa del público o la superación entre escena y auditorio, estableciendo en el proyecto una nueva relación perceptual entre sala, espectáculo y espectador; aumentando la sensación de inmersión, a través del uso de la física, la óptica, y la acústica, creando una energía concéntrica capaz de extenderse en todas direcciones. El Teatro Total será uno de los primeros ejemplos en los que desde el punto de partida del proyecto, se conjuga la imagen como elemento comunicativo con la configuración espacial. Las nuevas configuraciones escénicas tendrán como premisa de desarrollo la capacidad de transformación tanto perceptiva, como física. En la segunda mitad del s.XX, la creación de centros de investigación como el CAVS (The Center for Advanced Visual Studies,1967), o el EAT (Experiments in Art and Technology, 1966), favorecerán la colaboración interdisciplinar entre arte y ciencia, implicando a empresas de carácter tecnológico, como Siemens, HP, IBM o Philips, facilitando soporte técnico y económico para el desarrollo de nuevos sistemas. Esta colaboración interdisciplinar dará lugar a una serie de intervenciones espaciales que tendrán su mayor visibilidad en algunas Exposiciones Universales. El resultado será, en la mayoría de los casos, la creación de espacios de carácter inmersivo, donde se establecerá una relación simbiótica entre espacio, imagen, sonido, y espectador. La colocación del espectador en el centro de la escena y la disposición dinámica de imagen y sonido, crearán una particular narrativa espacial no lineal, concebida para la experiencia. Desde las primeras proyecciones de cine a la pantalla múltiple de los Eames, las técnicas espaciales de difusión del sonido en Stockhausen, o los experimentos con el movimiento físico interactivo, la imagen, la luz en movimiento y el sonido, quedan inevitablemente convertidos en material arquitectónico. ABSTRACT. Light technology development would lead to a social, cultural and economic transformation. Both spatial consideration of “Modern Movement” and Second World War effects on technology, would have a visible aftereffect on spatial configuration and on the symbiotic and mutual relationship between ideology & technology. Comprehension adjustment on the articulation of space together with technology development, would impact on how space is perceived and felt. Exhibition space and scenic space would turn into a laboratory where developing and making comprehensive all illusory potential of light, projection and image. These new parameters would modify and revitalize the architectonic space. as modifying and revitalizing parameters of architectonic space. Spatial experimentation would be preceded by conceptual creation and investigation on the sculptural field, where new mechanic media would be responsible for a fresh and modern look influenced by technical elements. Optical experimentation, through photography, cinema or light movement and its perception, would turn into essential components for spatial arrangement linked to new ways of performance and communication. This experimentation sphere would be clear at The Bauhaus School, by the hand of Gropius, Schlemmer or Moholy Nag among others; in theoretical, theatrical or architectural performance’s projects, that would evolve based on technology and also based on the transformation of the relationship with the observer. Exhibition and perfor-mance areas would be taken as opportunities of spatial investigation and for the analysis of the different ways of perception, thus becoming key places for learning. Theater is postulated as a meeting point between art and technique, taking on a new significance at its intersection with other disciplines working with spatial definition too. The multiple innovation techniques linked to the new foundations for the theater regarding stage relation, would have as a consequence the regeneration of the space. Space would turn dynamic, both physically and perceptibly, bringing innovative spatial conceptions, many of them unrealistic. Light, projection and illusory creation based on sound and visual stimulus would appear as intangible and momentary design components, which would have a great impact on the space and on the way it is experienced. Implication of technology in art would bring changes on the observer as well as on the spatial configuration of the art spaces2. It would stand out as a proposal Walter Groupis Total Theater, whose development would include somehow the spatial experiments and studies about formal structure of perception accomplished by Moholy Nagy besides the concepts regarding stage space enhanced at the Bauhaus Theater Studio by Oskar Schlemmer. Within Total Theater, Groupis would incorporate his own view about traditional theatric architecture and conceptual innovations that were taking place since the end of the nineteenth century, such as active audience participation or the diffusing limits between scene and audience, establishing a new perception relationship between auditorium, performance and audience, improving the feeling of immersion through the use of physics, optics and acoustics, creating a concentric energy capable of spreading in all directions. Total Theater would be one of the first example in which, from the beginning of the Project, image is combined as a communicating element with the spatial configuration. As a premise of development, new stage arrangement would have the capacity of transformation, both perceptive and physically. During the second half or the twentieth century, the creation of investigation centers such as CAVS (Center for Advanced Visual Studies, 1967) or EAT (Experiments in Art and Technology, 1966), would help to the interdisciplinary collaboration between art and science, involving technology companies like Siemens, HP, IBM or Philips, providing technical and economic support to the development of new systems. This interdisciplinary collaboration would give room to a series of spatial interventions which would have visibility in some Universal Exhibitions. The result would be, in most cases, the creation of immersive character spaces, where a symbiotic relationship would be stablished between space, image, sound and audience. The new location of the audience in the middle of the display, together with the dynamic arrangement of sound and image would create a particular, no lineal narrative conceived to be experienced. Since the first cinema projections, the multiple screen of Eames, the spatial techniques for sound dissemination at Stockhausen or the interactive physical movement experimentation, image, motion light and sound would turn inevitably into architectural material.

Pressure radiation from a perforated duct exit region

Acknowledgements The authors are grateful to the following bodies that provided financial support for the project: (i) China Scholarship Council, (ii) National Natural Science Foundation of China (Grant no. U1334201) and (iii) UK Engineering and Physical Sciences Research Council (Grant no. EP/G069441/1).

Análise in vitro da morfologia e da resistência de união da resina composta à dentina erodida e irradiada com laser de Er:YAG com largura de pulso super curta

Lesões dentais por erosão têm sido cada vez mais presentes na prática clínica. A restauração direta com resina composta é uma das opções de tratamento para lesões severas, em que há comprometimento estético/funcional. Com o aprimoramento da tecnologia, a utilização do laser para pré-tratamento da superfície dentinária, antes do condicionamento ácido, tem sido considerada como método alternativo para melhorar a adesão das resinas compostas às superfícies erodidas. Assim, o objetivo deste estudo in vitro foi avaliar a influência da irradiação com laser de Er:YAG (2,94 ?m), de pulso super-curto, na adesão da resina composta à superfície dentinária erodida. Quarenta e seis discos de dentina foram obtidos a partir de 46 dentes terceiros molares humanos. A dentina oclusal planificada de 40 molares humanos teve metade de sua face protegida com fita UPVC (dentina hígida), enquanto na outra metade foi produzida uma lesão de erosão através da ciclagem em ácido cítrico (0,05 M, pH 2,3, 10 minutos, 6x/dia) e solução supersaturada (pH 7,0, 60 minutos entre os ataques ácidos). Metade das amostras foi irradiada com o laser de Er:YAG (50 ?s, 2 Hz, 80 mJ, 12,6 J/cm2) e a outra não (grupo controle). Em cada grupo de tratamento (laser ou controle) (n=10), um sistema adesivo autocondicionante foi utilizado e, então, confeccionados 2 cilindros de resina composta, tanto do lado erodido como no hígido (total de 4 cilindros), os quais foram submetidos à avaliação da Resistência de União através do ensaio de microcisalhamento (1 mm/min), após armazenamento em saliva artificial por 24 h. A análise do padrão de fratura foi realizada em microscópio óptico (40x). Por meio da Microscopia Eletrônica de Varredura (MEV), a morfologia das superfícies dentinárias hígida e submetida ao desafio erosivo, antes e após o tratamento com laser de Er:YAG (n=3), foi avaliada. Os valores obtidos de resistência de união (MPa) foram submetidos ao teste ANOVA e de comparações múltiplas de Tukey (p<0,05) e as análises das eletromicrografias foram feitas de forma descritiva. A análise morfológica da superfície mostrou alterações significativas na dentina hígida irradiada e na submetida à ciclagem erosiva, irradiada ou não. Quanto à resistência de união, houve diferença entre os 4 substratos analisados, sendo: dentina hígida irradiada (12,77±5,09 A), dentina hígida não irradiada (9,76±3,39 B), dentina erodida irradiada (7,62±3,39 C) e dentina erodida não irradiada (5,12±1,72 D). Houve predominância de padrão de fratura do tipo adesiva. Com base nos resultados e nos parâmetros de irradiação utilizados neste estudo, pode-se concluir que a erosão reduz a adesão em dentina e que o tratamento da superfície dentinária com laser de Er:YAG de largura de pulso super curta aumenta a adesão no substrato erodido ou hígido.

Coast of New England from Narragansett Bay, Rhode Island to Cape Cod, Massachusetts, Nautical Chart, 1779 (Image 1 of 2) (Raster Image)

This layer is a georeferenced raster image of the untitled, historic nautical chart: [Coast of New England from Narragansett to Cape Cod] (sheet originally published in 1779). The map is [sheet 5] from the Atlantic Neptune atlas Vol. 3 : Charts of the coast and harbors of New England, from surveys taken by Samuel Holland and published by J.F.W. Des Barres, 1781. Scale [ca. 1:130,000]. This layer is image 1 of 2 total images of the two sheet source map, representing the eastern portion of the map. Covers Nantucket, Nantucket Sound and portions of Cape Cod and Martha's Vineyard, Massachusetts. The image is georeferenced to the surface of the earth and fit to the 'World Mercator' (WGS 84) projected coordinate system. All map collar information is also available as part of the raster image, including any inset maps, profiles, statistical tables, directories, text, illustrations, or other information associated with the principal map. This map shows coastal features such as harbors, inlets, rocks, channels, points, coves, shoals, islands, and more. Includes also selected land features such as cities and towns. Relief is shown by hachures; depths by soundings and shading. This layer is part of a selection of digitally scanned and georeferenced historic maps from The Harvard Map Collection. The entire Atlantic Neptune atlas Vol. 3 : Charts of the coast and harbors of New England has been scanned and georeferenced as part of this selection.

An outline of German historical grammar,

"The present book is far from being a mere new edition of [the author's 'The sound and history of the German language'] ... In a sense ... [it] may be considered a precursor of the author's comprehensive grammar of the Germanic languages."--Pref.

Miscellany. Lane collections pamphlets.

Binder's title.

Municipal bulletin no. 3; 8.

"Bulletins relating to municipal affairs, especially finances, and intended to promote a sound and efficient administration of city and town government in Massachusetts will be issued from time to time."

Stories by foreign authors.

Spanish: [v.10] The tall woman, by P.A. de Alarcón. -- The white butterfly, by J. Selgas. -- The organist, by G.A. Becquer. -- Moors and Christians, by P.A. de Alarcón. -- Bread cast upon the waters, by Fernan Caballero.

In ancient Albemarle /

History of the "Albemarle region", of northeastern North Carolina, the peninsula bordered by the Chowan River, Albemarle Sound and the Atlantic Ocean.

Writing Prose Like A Poet: An Exploration of Poetic Technique in Very Short Prose

Thesis (Master's)--University of Washington, 2016-06

Building Resonance

Thesis (Master's)--University of Washington, 2016-06

Formal analysis of human-computer interaction using model checking

Experiments with simulators allow psychologists to better understand the causes of human errors and build models of cognitive processes to be used in human reliability assessment (HRA). This paper investigates an approach to task failure analysis based on patterns of behaviour, by contrast to more traditional event-based approaches. It considers, as a case study, a formal model of an air traffic control (ATC) system which incorporates controller behaviour. The cognitive model is formalised in the CSP process algebra. Patterns of behaviour are expressed as temporal logic properties. Then a model-checking technique is used to verify whether the decomposition of the operator's behaviour into patterns is sound and complete with respect to the cognitive model. The decomposition is shown to be incomplete and a new behavioural pattern is identified, which appears to have been overlooked in the analysis of the data provided by the experiments with the simulator. This illustrates how formal analysis of operator models can yield fresh insights into how failures may arise in interactive systems.

EDUCAÇÃO E CONTROLE SOCIAL NA PRIMEIRA DÉCADA REPUBLICANA

O presente trabalho tem como objetivo o estudo da rebeldia negra nos anos antecedentes a escravidão e suas conseqüências, tanto social como educacional. O fato da Província de São Paulo ter se tornado uma grande exportadora de café fez dela um forte centro escravocrata. Não se pode negar a influência de quatro séculos de escravidão, nem tão pouco seus efeitos sobre a nação. Em 13 de maio de 1888 fora decretada a abolição, e esta medida lançou nas ruas uma multidão de negros livres sem qualquer perspectiva de futuro. Não foram preparados para viver em liberdade, a sociedade não estava organizada para recebê-los como trabalhadores livres e pagar por seu trabalho. Ao olhar de muitos eram tidos como preguiçosos, vadios e desordeiros. Nunca foram tratados como iguais, mas sim como uma raça medíocre e inferior, onde a imoralidade e os excessos chegam a um ponto irreversível, caso não sejam controlados. Diante dessa situação, fazia-se necessário traçar planos para conter os excessos e o furor da grande massa de libertos soltos pelas ruas, torna-se de extrema urgência a utilização de meios diversos a fim de manter o controle social, inculcando na mente da população negra os malefícios causados pelas revoltas, o dever de trabalhar, o abandono dos vícios. Para tanto, os intelectuais, políticos e os grandes exportadores (que representavam o poder econômico da época), passam a utilizar-se de diversos meios para propagação dos valores republicanos, jornais, conferências políticas, boletins e também o sistema educacional. Por meios de livros de leitura, artigos em revistas educacionais, adição de novas disciplinas no currículo escolar e até mesmo a ação do professor em sala de aula visavam a docilização dos costumes do povo. Os republicanos que assumiram o poder político do país não estavam apenas preocupados em educar os poucos que tinham acesso à escolarização, mas também, através do exemplo, educar e acalmar os ânimos dos negros vadios e preguiçosos que não podiam freqüentar a escola. Daí resulta tamanha preocupação com o estabelecimento de regras, organização, respeito e punições no ambiente escolar recém reestruturado (AU)

Failure analysis of cold-formed steel sections

The purlin-sheeting system has been the subject of numerous theoretical and experimental investigations over the past 30 years, but the complexity of the problem has led to great difficulty in developing a sound and general model. The primary aim of the thesis is to investigate the failure behaviours of cold-formed zed and channel sections for use in purlin-sheeting systems. Both the energy method and finite strip method are used to develop an approach to investigate cold-formed zed and channel section beams with partial-lateral restraint from the metal sheeting when subjected to a uniformly distributed transverse load. The stress analysis of cold-formed zed and channel section beams with partially-lateral restraint from the metal sheeting when subjected to a uniformly distributed transverse load is investigated firstly by using the analytical model based on the energy method in which the restraint actions of the sheeting are modelled by using two springs representing the translational and rotational restraints. The numerical results have showed that the two springs have significantly different influences on the stresses of the beams. The influence of the two springs has also been found to depend on the anti-sag bar and the position of the loading line. A novel method is presented for analysing the elastic local buckling behaviour of cold-formed zed and channel section beams with partial-lateral restraint from metal sheeting when subjected to a uniformly distributed transverse load, which is carried out by inputting the cross sectional stresses with the largest compressive stress into the finite strip analysis. By using the presented novel method, individual influences of warning stress, partially lateral restraints from the sheeting and the dimensions of the cross section and position of the loading line on the buckling behaviour are investigated.