Une étude générique du metteur en scène au théâtre:son émergence et son rôle moderne et contemporain

The theatre director (metteur en scene in French) is a relatively new figure in theatre practice. It was not until the I820s that the term 'mise en scene' gained currency. The term 'director' was not in general use until the I880s. The emergence and the role of the director has been considered from a variety of perspectives, either through the history of theatre (Allevy, Jomaron, Sarrazac, Viala, Biet and Triau); the history of directing (Chinoy and Cole, Boll, Veinstein, Roubine); semiotic approaches to directing (Whitmore, Miller, Pavis); the semiotics of performance (De Marinis); generic approaches to the mise en scene (Thomasseau, Banu); post-dramatic approaches to theatre (Lehmann); approaches to performance process and the specifics of rehearsal methodology (Bradby and Williams, Giannachi and Luckhurst, Picon-Vallin, Styan). What the scholarly literature has not done so far is to map the parameters necessarily involved in the directing process, and to incorporate an analysis of the emergence of the theatre director during the modem period and consider its impact on contemporary performance practice. Directing relates primarily to the making of the performance guided by a director, a single figure charged with the authority to make binding artistic decisions. Each director may have her/his own personal approaches to the process of preparation prior to a show. This is exemplified, for example, by the variety of terms now used to describe the role and function of directing, from producer, to facilitator or outside eye. However, it is essential at the outset to make two observations, each of which contributes to a justification for a generic analysis (as opposed to a genetic approach). Firstly, a director does not work alone, and cooperation with others is involved at all stages of the process. Secondly, beyond individual variation, the role of the director remains twofold. The first is to guide the actors (meneur de jeu, directeur d'acteurs, coach); the second is to make a visual representation in the performance space (set designer, stage designer, costume designer, lighting designer, scenographe). The increasing place of scenography has brought contemporary theatre directors such as Wilson, Castellucci, Fabre to produce performances where the performance space becomes a semiotic dimension that displaces the primacy of the text. The play is not, therefore, the sole artistic vehicle for directing. This definition of directing obviously calls for a definition of what the making of the performance might be. The thesis defines the making of the performance as the activity of bringing a social event, by at least one performer, providing visual and/or textual meaning in a performance space. This definition enables us to evaluate four consistent parameters throughout theatre history: first, the social aspect associated to the performance event; second, the devising process which may be based on visual and/or textual elements; third, the presence of at least one performer in the show; fourth, the performance space (which is not simply related to the theatre stage). Although the thesis focuses primarily on theatre practice, such definition blurs the boundaries between theatre and other collaborative artistic disciplines (cinema, opera, music and dance). These parameters illustrate the possibility to undertake a generic analysis of directing, and resonate with the historical, political and artistic dimensions considered. Such a generic perspective on the role of the director addresses three significant questions: an historical question: how/why has the director emerged?; a sociopolitical question: how/why was the director a catalyst for the politicisation of theatre, and subsequently contributed to the rise of State-funded theatre policy?; and an artistic one: how/why the director has changed theatre practice and theory in the twentieth-century? Directing for the theatre as an artistic activity is a historically situated phenomenon. It would seem only natural from a contemporary perspective to associate the activity of directing to the function of the director. This is relativised, however, by the question of how the performance was produced before the modern period. The thesis demonstrates that the rise of the director is a progressive and historical phenomenon (Dort) rather than a mere invention (Viala, Sarrazac). A chronological analysis of the making of the performance throughout theatre history is the most useful way to open the study. In order to understand the emergence of the director, the research methodology assesses the interconnection of the four parameters above throughout four main periods of theatre history: the beginning of the Renaissance (meneur de jeu), the classical age (actor-manager and stage designer-manager), the modern period (director) and the contemporary period (director-facilitator, performer). This allows us properly to appraise the progressive emergence of the director, as well as to make an analysis of her/his modern and contemporary role. The first chapter argues that the physical separation between the performance space and its audience, which appeared in the early fifteenth-century, has been a crucial feature in the scenographic, aesthetic, political and social organisation of the performance. At the end of the Middle Ages, French farces which raised socio-political issues (see Bakhtin) made a clear division on a single outdoor stage (treteau) between the actors and the spectators, while religious plays (drame fiturgique, mystere) were mostly performed on various outdoor and opened multispaces. As long as the performance was liturgical or religious, and therefore confined within an acceptable framework, it was allowed. At the time, the French ecclesiastical and civil authorities tried, on several occasions, to prohibit staged performances. As a result, practitioners developed non-official indoor spaces, the Theatre de fa Trinite (1398) being the first French indoor theatre recognized by scholars. This self-exclusion from the open public space involved breaking the accepted rules by practitioners (e.g. Les Confreres de fa Passion), in terms of themes but also through individual input into a secular performance rather than the repetition of commonly known religious canvases. These developments heralded the authorised theatres that began to emerge from the mid-sixteenth century, which in some cases were subsidised in their construction. The construction of authorised indoor theatres associated with the development of printing led to a considerable increase in the production of dramatic texts for the stage. Profoundly affecting the reception of the dramatic text by the audience, the distance between the stage and the auditorium accompanied the changing relationship between practitioners and spectators. This distance gave rise to a major development of the role of the actor and of the stage designer. The second chapter looks at the significance of both the actor and set designer in the devising process of the performance from the sixteenth-century to the end of the nineteenth-century. The actor underwent an important shift in function in this period from the delivery of an unwritten text that is learned in the medieval oral tradition to a structured improvisation produced by the commedia dell 'arte. In this new form of theatre, a chef de troupe or an experienced actor shaped the story, but the text existed only through the improvisation of the actors. The preparation of those performances was, moreover, centred on acting technique and the individual skills of the actor. From this point, there is clear evidence that acting began to be the subject of a number of studies in the mid-sixteenth-century, and more significantly in the seventeenth-century, in Italy and France. This is revealed through the implementation of a system of notes written by the playwright to the actors (stage directions) in a range of plays (Gerard de Vivier, Comedie de la Fidelite Nuptiale, 1577). The thesis also focuses on Leoni de' Sommi (Quatro dialoghi, 1556 or 1565) who wrote about actors' techniques and introduced the meneur de jeu in Italy. The actor-manager (meneur de jeu), a professional actor, who scholars have compared to the director (see Strihan), trained the actors. Nothing, however, indicates that the actor-manager was directing the visual representation of the text in the performance space. From the end of the sixteenth-century, the dramatic text began to dominate the process of the performance and led to an expansion of acting techniques, such as the declamation. Stage designers carne from outside the theatre tradition and played a decisive role in the staging of religious celebrations (e.g. Actes des Apotres, 1536). In the sixteenth-century, both the proscenium arch and the borders, incorporated in the architecture of the new indoor theatres (theatre a l'italienne), contributed to create all kinds of illusions on the stage, principally the revival of perspective. This chapter shows ongoing audience demands for more elaborate visual effects on the stage. This led, throughout the classical age, and even more so during the eighteenth-century, to grant the stage design practitioner a major role in the making of the performance (see Ciceri). The second chapter demonstrates that the guidance of the actors and the scenographic conception, which are the artistic components of the role of the director, appear to have developed independently from one another until the nineteenth-century. The third chapter investigates the emergence of the director per se. The causes for this have been considered by a number of scholars, who have mainly identified two: the influence of Naturalism (illustrated by the Meiningen Company, Antoine, and Stanislavski) and the invention of electric lighting. The influence of the Naturalist movement on the emergence of the modem director in the late nineteenth-century is often considered as a radical factor in the history of theatre practice. Naturalism undoubtedly contributed to changes in staging, costume and lighting design, and to a more rigorous commitment to the harmonisation and visualisation of the overall production of the play. Although the art of theatre was dependent on the dramatic text, scholars (Osborne) demonstrate that the Naturalist directors did not strictly follow the playwright's indications written in the play in the late nineteenth-century. On the other hand, the main characteristic of directing in Naturalism at that time depended on a comprehensive understanding of the scenography, which had to respond to the requirements of verisimilitude. Electric lighting contributed to this by allowing for the construction of a visual narrative on stage. However, it was a master technician, rather than an emergent director, who was responsible for key operational decisions over how to use this emerging technology in venues such as the new Bayreuth theatre in 1876. Electric lighting reflects a normal technological evolution and cannot be considered as one of the main causes of the emergence of the director. Two further causes of the emergence of the director, not considered in previous studies, are the invention of cinema and the Symbolist movement (Lugne-Poe, Meyerhold). Cinema had an important technological influence on the practitioners of the Naturalist movement. In order to achieve a photographic truth on the stage (tableau, image), Naturalist directors strove to decorate the stage with the detailed elements that would be expected to be found if the situation were happening in reality. Film production had an influence on the work of actors (Walter). The filmmaker took over a primary role in the making of the film, as the source of the script, the filming process and the editing of the film. This role influenced the conception that theatre directors had of their own work. It is this concept of the director which influenced the development of the theatre director. As for the Symbolist movement, the director's approach was to dematerialise the text of the playwright, trying to expose the spirit, movement, colour and rhythm of the text. Therefore, the Symbolists disengaged themselves from the material aspect of the production, and contributed to give greater artistic autonomy to the role of the director. Although the emergence of the director finds its roots amongst the Naturalist practitioners (through a rigorous attempt to provide a strict visual interpretation of the text on stage), the Symbolist director heralded the modem perspective of the making of performance. The emergence of the director significantly changed theatre practice and theory. For instance, the rehearsal period became a clear work in progress, a platform for both developing practitioners' techniques and staging the show. This chapter explores and contrasts several practitioners' methods based on the two aspects proposed for the definition of the director (guidance of the actors and materialisation of a visual space). The fourth chapter argues that the role of the director became stronger, more prominent, and more hierarchical, through a more political and didactic approach to theatre as exemplified by the cases of France and Germany at the end of the nineteenth-century and through the First World War. This didactic perspective to theatre defines the notion of political theatre. Political theatre is often approached by the literature (Esslin, Willett) through a Marxist interpretation of the great German directors' productions (Reinhardt, Piscator, Brecht). These directors certainly had a great influence on many directors after the Second World War, such as Jean Vilar, Judith Molina, Jean-Louis Barrault, Roger Planchon, Augusto Boal, and others. This chapter demonstrates, moreover, that the director was confirmed through both ontological and educational approaches to the process of making the performance, and consequently became a central and paternal figure in the organisational and structural processes practiced within her/his theatre company. In this way, the stance taken by the director influenced the State authorities in establishing theatrical policy. This is an entirely novel scholarly contribution to the study of the director. The German and French States were not indifferent to the development of political theatre. A network of public theatres was thus developed in the inter-war period, and more significantly after the Second World War. The fifth chapter shows how State theatre policies establish its sources in the development of political theatre, and more specifically in the German theatre trade union movement (Volksbiihne) and the great directors at the end of the nineteenth-century. French political theatre was more influenced by playwrights and actors (Romain Rolland, Louise Michel, Louis Lumet, Emile Berny). French theatre policy was based primarily on theatre directors who decentralised their activities in France during both the inter-war period and the German occupation. After the Second World War, the government established, through directors, a strong network of public theatres. Directors became both the artistic director and the executive director of those institutionalised theatres. The institution was, however, seriously shaken by the social and political upheaval of 1968. It is the link between the State and the institution in which established directors were entangled that was challenged by the young emerging directors who rejected institutionalised responsibility in favour of the autonomy of the artist in the 1960s. This process is elucidated in chapter five. The final chapter defines the contemporary role of the director in contrasting thework of a number of significant young theatre practitioners in the 1960s such as Peter Brook, Ariane Mnouchkine, The Living Theater, Jerzy Grotowski, Augusto Boal, Eugenio Barba, all of whom decided early on to detach their companies from any form of public funding. This chapter also demonstrates how they promoted new forms of performance such as the performance of the self. First, these practitioners explored new performance spaces outside the traditional theatre building. Producing performances in a non-dedicated theatre place (warehouse, street, etc.) was a more frequent practice in the 1960s than before. However, the recent development of cybertheatre questions both the separation of the audience and the practitioners and the place of the director's role since the 1990s. Secondly, the role of the director has been multifaceted since the 1960s. On the one hand, those directors, despite all their different working methods, explored western and non-western acting techniques based on both personal input and collective creation. They challenged theatrical conventions of both the character and the process of making the performance. On the other hand, recent observations and studies distinguish the two main functions of the director, the acting coach and the scenographe, both having found new developments in cinema, television, and in various others events. Thirdly, the contemporary director challenges the performance of the text. In this sense, Antonin Artaud was a visionary. His theatre illustrates the need for the consideration of the totality of the text, as well as that of theatrical production. By contrasting the theories of Artaud, based on a non-dramatic form of theatre, with one of his plays (Le Jet de Sang), this chapter demonstrates how Artaud examined the process of making the performance as a performance. Live art and autobiographical performance, both taken as directing the se(f, reinforce this suggestion. Finally, since the 1990s, autobiographical performance or the performance of the self is a growing practical and theoretical perspective in both performance studies and psychology-related studies. This relates to the premise that each individual is making a representation (through memory, interpretation, etc.) of her/his own life (performativity). This last section explores the links between the place of the director in contemporary theatre and performers in autobiographical practices. The role of the traditional actor is challenged through non-identification of the character in the play, while performers (such as Chris Burden, Ron Athey, Orlan, Franko B, Sterlac) have, likewise, explored their own story/life as a performance. The thesis demonstrates the validity of the four parameters (performer, performance space, devising process, social event) defining a generic approach to the director. A generic perspective on the role of the director would encompass: a historical dimension relative to the reasons for and stages of the 'emergence' of the director; a socio-political analysis concerning the relationship between the director, her/his institutionalisation, and the political realm; and the relationship between performance theory, practice and the contemporary role of the director. Such a generic approach is a new departure in theatre research and might resonate in the study of other collaborative artistic practices.

Active vibration control at machinery feet

The unmitigated transmission of undesirable vibration can result in problems by way of causing human discomfort, machinery and equipment failure, and affecting the quality of a manufacturing process. When identifiable transmission paths are discernible, vibrations from the source can be isolated from the rest of the system and this prevents or minimises the problems. The approach proposed here for vibration isolation is active force cancellation at points close to the vibration source. It uses force feedback for multiple-input and multiple-output control at the mounting locations. This is particularly attractive for rigid mounting of machine on relative flexible base where machine alignment and motions are to be restricted. The force transfer function matrix is used as a disturbance rejection performance specification for the design of MIMO controllers. For machine soft-mounted via flexible isolators, a model for this matrix has been derived. Under certain conditions, a simple multiplicative uncertainty model is obtained that shows the amount of perturbation a flexible base has on the machine-isolator-rigid base transmissibility matrix. Such a model is very suitable for use with robust control design paradigm. A different model is derived for the machine on hard-mounts without the flexible isolators. With this model, the level of force transmitted from a machine to a final mounting structure using the measurements for the machine running on another mounting structure can be determined. The two mounting structures have dissimilar dynamic characteristics. Experiments have verified the usefulness of the expression. The model compares well with other methods in the literature. The disadvantage lies with the large amount of data that has to be collected. Active force cancellation is demonstrated on an experimental rig using an AC industrial motor hard-mounted onto a relative flexible structure. The force transfer function matrix, determined from measurements, is used to design H and Static Output Feedback controllers. Both types of controllers are stable and robust to modelling errors within the identified frequency range. They reduce the RMS of transmitted force by between 30?80% at all mounting locations for machine running at 1340 rpm. At the rated speed of 1440 rpm only the static gain controller is able to provide 30?55% reduction at all locations. The H controllers on the other hand could only give a small reduction at one mount location. This is due in part to the deficient of the model used in the design. Higher frequency dynamics has been ignored in the model. This can be resolved by the use of a higher order model that can result in a high order controller. A low order static gain controller, with some tuning, performs better. But it lacks the analytical framework for analysis and design.

Modelling the dynamics of cutting during turning

This thesis presents an approach to cutting dynamics during turning based upon the mechanism of deformation of work material around the tool nose known as "ploughing". Starting from the shearing process in the cutting zone and accounting for "ploughing", new mathematical models relating turning force components to cutting conditions, tool geometry and tool vibration are developed. These models are developed separately for steady state and for oscillatory turning with new and worn tools. Experimental results are used to determine mathematical functions expressing the parameters introduced by the steady state model in the case of a new tool. The form of these functions are of general validity though their coefficients are dependent on work and tool materials. Good agreement is achieved between experimental and predicted forces. The model is extended on one hand to include different work material by introducing a hardness factor. The model provides good predictions when predicted forces are compared to present and published experimental results. On the other hand, the extension of the ploughing model to taming with a worn edge showed the ability of the model in predicting machining forces during steady state turning with the worn flank of the tool. In the development of the dynamic models, the dynamic turning force equations define the cutting process as being a system for which vibration of the tool tip in the feed direction is the input and measured forces are the output The model takes into account the shear plane oscillation and the cutting configuration variation in response to tool motion. Theoretical expressions of the turning forces are obtained for new and worn cutting edges. The dynamic analysis revealed the interaction between the cutting mechanism and the machine tool structure. The effect of the machine tool and tool post is accounted for by using experimental data of the transfer function of the tool post system. Steady state coefficients are corrected to include the changes in the cutting configuration with tool vibration and are used in the dynamic model. A series of oscillatory cutting tests at various conditions and various tool flank wear levels are carried out and experimental results are compared with model—predicted forces. Good agreement between predictions and experiments were achieved over a wide range of cutting conditions. This research bridges the gap between the analysis of vibration and turning forces in turning. It offers an explicit expression of the dynamic turning force generated during machining and highlights the relationships between tool wear, tool vibration and turning force. Spectral analysis of tool acceleration and turning force components led to define an "Inertance Power Ratio" as a flank wear monitoring factor. A formulation of an on—line flank wear monitoring methodology is presented and shows how the results of the present model can be applied to practical in—process tool wear monitoring in • turning operations.

Development of an integrated reverse osmosis-greenhouse system driven by solar photovoltaic generators

The development of a system that integrates reverse osmosis (RO) with a horticultural greenhouse has been advanced through laboratory experiments. In this concept, intended for the inland desalination of brackish groundwater in dry areas, the RO concentrate will be reduced in volume by passing it through the evaporative cooling pads of the greenhouse. The system will be powered by solar photovoltaics (PV). Using a solar array simulator, we have verified that the RO can operate with varying power input and recovery rates to meet the water demands for irrigation and cooling of a greenhouse in north-west India. Cooling requires ventilation by a fan which has also been built, tested and optimised with a PV module outdoors. Results from the experiments with these two subsystems (RO and fan) are compared to theoretical predictions to reach conclusions about energy usage, sizing and cost. For example, the optimal sizing for the RO system is 0.12–1.3 m2 of PV module per m2 of membrane, depending on feed salinity. For the fan, the PV module area equals that of the fan aperture. The fan consumes <30 J of electrical energy per m3 of air moved which is 3 times less than that of standard fans. The specific energy consumption of the RO, at 1–2.3 kWh ?m-3, is comparable to that reported by others. Now that the subsystems have been verifi ed, the next step will be to integrate and test the whole system in the field.

Estimation of TFP growth:a semiparametric smooth coefficient approach

This article uses a semiparametric smooth coefficient model (SPSCM) to estimate TFP growth and its components (scale and technical change). The SPSCM is derived from a nonparametric specification of the production technology represented by an input distance function (IDF), using a growth formulation. The functional coefficients of the SPSCM come naturally from the model and are fully flexible in the sense that no functional form of the underlying production technology is used to derive them. Another advantage of the SPSCM is that it can estimate bias (input and scale) in technical change in a fully flexible manner. We also used a translog IDF framework to estimate TFP growth components. A panel of U.S. electricity generating plants for the period 1986–1998 is used for this purpose. Comparing estimated TFP growth results from both parametric and semiparametric models against the Divisia TFP growth, we conclude that the SPSCM performs the best in tracking the temporal behavior of TFP growth.

Video-based, real-time multi-view stereo

We investigate the problem of obtaining a dense reconstruction in real-time, from a live video stream. In recent years, multi-view stereo (MVS) has received considerable attention and a number of methods have been proposed. However, most methods operate under the assumption of a relatively sparse set of still images as input and unlimited computation time. Video based MVS has received less attention despite the fact that video sequences offer significant benefits in terms of usability of MVS systems. In this paper we propose a novel video based MVS algorithm that is suitable for real-time, interactive 3d modeling with a hand-held camera. The key idea is a per-pixel, probabilistic depth estimation scheme that updates posterior depth distributions with every new frame. The current implementation is capable of updating 15 million distributions/s. We evaluate the proposed method against the state-of-the-art real-time MVS method and show improvement in terms of accuracy. © 2011 Elsevier B.V. All rights reserved.

Editorial

This special issue covers the significant activities and outputs of the European Commission funded Bioenergy Network of Excellence that has recently completed its six year programme of work. Networks of Excellence (NoE) were intended to address fragmentation of R&D in the European Research Area by integrating resources and expertise needed to enhance Europe’s global competitiveness in key areas. The Bioenergy NoE consortium consists of eight key bioenergy R&D institutes in Europe and covered the entire field of bioenergy. Within the project, the overall strategy to achieve integration followed a well defined process of firstly identifying barriers, then evaluating RTD goals for their removal, followed by a detailed examination of how integration could be realistically achieved and implemented in the longer term. This is described in the first paper by Sipilä and Wilén. The rest of the contents of this special issue are devoted to collaborative outputs of the various joint research activities undertaken during the project that cover biomass, conversion technology, and finally policy and education. Progress was influenced by a number of additional EU instruments launched during the project including the European Industrial Technology Platforms and ERA-NET Bioenergy. These led to the EIBI (European Industrial Bioenergy Initiative) and particularly EERA Bioenergy (European Energy Research Alliance – Bioenergy), which is very effectively continuing the work of Bioenergy NoE by establishing a framework for continued cooperation and collaboration. The project resulted in a high level of interaction and collaboration in European R&D which is being further developed and expanded within EERA Bioenergy. The value of Bioenergy NoE can thus be clearly seen in the exciting programme of research activities being developed in EERA Bioenergy. During the past six years Bioenergy NoE partners have produced over 1000 publications including reports, papers and poster communications. This special issue of Biomass and Bioenergy includes results from a selection of outputs from Bioenergy NoE.

Toward an organizational cognitive neuroscience

The research strategy adopted in this article is to connect two different discourses and the ideas, methods, and outputs they contain—these being cognitive neuroscience and organization theory. The main contribution of the article is to present an agenda for the field of organizational cognitive neuroscience. We define what is meant by the term, outline its background, identify why it is important as a new research direction, and then conclude by drawing on Damasio's levels of life regulation as a framework to bind together existing organizational cognitive neuroscience. The article begins by setting the wider debate behind the emergence of organizational cognitive neuroscience by revisiting the nature–nurture debate and uses Pinker to demonstrate that the connection between mind and matter has not been resolved, that new directions are opening up to better understand human nature, and that organizational cognitive neuroscience is one fruitful path forward.

Optical microbubble resonator

We develop a method for fabricating very small silica microbubbles having a micrometer-order wall thickness and demonstrate the first optical microbubble resonator. Our method is based on blowing a microbubble using stable radiative CO2 laser heating rather than unstable convective heating in a flame or furnace. Microbubbles are created along a microcapillary and are naturally opened to the input and output microfluidic or gas channels. The demonstrated microbubble resonator has 370 µm diameter, 2 µm wall thickness, and a Q factor exceeding 10. © 2010 Optical Society of America.

Fuzzy assessment of performance of a decision making units using DEA:a non-radical approach

Data Envelopment Analysis (DEA) is recognized as a modern approach to the assessment of performance of a set of homogeneous Decision Making Units (DMUs) that use similar sources to produce similar outputs. While DEA commonly is used with precise data, recently several approaches are introduced for evaluating DMUs with uncertain data. In the existing approaches many information on uncertainties are lost. For example in the defuzzification, the a-level and fuzzy ranking approaches are not considered. In the tolerance approach the inequality or equality signs are fuzzified but the fuzzy coefficients (inputs and outputs) are not treated directly. The purpose of this paper is to develop a new model to evaluate DMUs under uncertainty using Fuzzy DEA and to include a-level to the model under fuzzy environment. An example is given to illustrate this method in details.

On the boundedness of the SORM DEA models with negative data

Emrouznejad et al. (2010) proposed a Semi-Oriented Radial Measure (SORM) model for assessing the efficiency of Decision Making Units (DMUs) by Data Envelopment Analysis (DEA) with negative data. This paper provides a necessary and sufficient condition for boundedness of the input and output oriented SORM models.

AquaLog : an ontology-driven question answering system for organizational semantic intranets

The semantic web vision is one in which rich, ontology-based semantic markup will become widely available. The availability of semantic markup on the web opens the way to novel, sophisticated forms of question answering. AquaLog is a portable question-answering system which takes queries expressed in natural language and an ontology as input, and returns answers drawn from one or more knowledge bases (KBs). We say that AquaLog is portable because the configuration time required to customize the system for a particular ontology is negligible. AquaLog presents an elegant solution in which different strategies are combined together in a novel way. It makes use of the GATE NLP platform, string metric algorithms, WordNet and a novel ontology-based relation similarity service to make sense of user queries with respect to the target KB. Moreover it also includes a learning component, which ensures that the performance of the system improves over the time, in response to the particular community jargon used by end users.

AquaLog : an ontology-driven question answering system to interface the semantic web

The semantic web (SW) vision is one in which rich, ontology-based semantic markup will become widely available. The availability of semantic markup on the web opens the way to novel, sophisticated forms of question answering. AquaLog is a portable question-answering system which takes queries expressed in natural language (NL) and an ontology as input, and returns answers drawn from one or more knowledge bases (KB). AquaLog presents an elegant solution in which different strategies are combined together in a novel way. AquaLog novel ontology-based relation similarity service makes sense of user queries.

Interval data without sign restrictions in DEA

Conventional DEA models assume deterministic, precise and non-negative data for input and output observations. However, real applications may be characterized by observations that are given in form of intervals and include negative numbers. For instance, the consumption of electricity in decentralized energy resources may be either negative or positive, depending on the heat consumption. Likewise, the heat losses in distribution networks may be within a certain range, depending on e.g. external temperature and real-time outtake. Complementing earlier work separately addressing the two problems; interval data and negative data; we propose a comprehensive evaluation process for measuring the relative efficiencies of a set of DMUs in DEA. In our general formulation, the intervals may contain upper or lower bounds with different signs. The proposed method determines upper and lower bounds for the technical efficiency through the limits of the intervals after decomposition. Based on the interval scores, DMUs are then classified into three classes, namely, the strictly efficient, weakly efficient and inefficient. An intuitive ranking approach is presented for the respective classes. The approach is demonstrated through an application to the evaluation of bank branches. © 2013.

Optical microbubble resonator

We develop a method for fabricating very small silica microbubbles having a micrometer-order wall thickness and demonstrate the first optical microbubble resonator. Our method is based on blowing a microbubble using stable radiative CO2 laser heating rather than unstable convective heating in a flame or furnace. Microbubbles are created along a microcapillary and are naturally opened to the input and output microfluidic or gas channels. The demonstrated microbubble resonator has 370 µm diameter, 2 µm wall thickness, and a Q factor exceeding 10. © 2010 Optical Society of America.