Se lier, se délier : deux films documentaires face au pardon

Cette étude s’applique à démontrer comment la relation documentaire peut être mise à l’épreuve du pardon dans deux films mettant en scène des bourreaux. Comment est-il possible de concevoir un dispositif cinématographique éthique avec la participation d’anciens criminels ? C’est la question que se sont posée les cinéastes Avi Mograbi et Rithy Panh. L’objectif de cette recherche sera de relever comment le pardon intervient explicitement, mais aussi implicitement, dans la forme documentaire. Il s’agira de comprendre comment ces films, "Z32" et "S21 la machine de mort khmère rouge", s’élaborent socialement, politiquement et esthétiquement du tournage à la réception, afin de cerner le potentiel symbolique et performatif du pardon dans la reconstruction du lien avec autrui.

Et avié una viña rica, de mejor non nos cala” : la representación del palacio de Poro y la viña áurea en el Libro de Alexandre, diálogos intertextuales y funciones literarias

Resumen: Según se narra en el Libro de Alexandre, después de la muerte de Darío III, rey de los persas y opresor de los macedonios, Alejandro comienza su exploración hacia el Oriente profundo, en busca del sátrapa indio, Poro. Al hallar los palacios de este, el macedonio se encuentra con una serie de objetos que podrían integrar un catálogo de maravillas mecánicas y artificiales, entre las que destaca una viña hecha de oro y piedras preciosas que el gobernante oriental posee en los jardines del alcázar (cc. 2126-2131). El trabajo cuyo resumen presento aquí pretende, en primer lugar, develar las funciones intra y extratextuales que posee el episodio, además de –en segunda instancia– defender la idea de la representación de la viña áurea como un motivo recurrente en las descripciones de palacios orientales en la literatura medieval y en obras como la Historia de Proellis, el Roman d’Aeneas y textos que se insertan propiamente en la tradición de libros de viajes, como el Livre des merveilles du monde de Jean de Mandeville.

Com vola un avió. 'Cómo vuela un avión'.

Resumen del vídeo en catalán

El fantasma de l'avió. 'El fantasma del avión'.

Se propone un material de trabajo en torno a la película. Ésta trata de un fantasma que aparece en un avión y siembra el pánico entre los tripulantes. Pero una niña le acepta y se hace amiga de él. Se trabaja la fantasía, la amistad y la tolerancia. Se propone una lluvia de ideas sobre personajes fantásticos y análisis de la película.

Masnavi i Maǹavi, the spiritual couplets of Maulána Jalálu-d'-Dín Muhammad i Rúmí.

Mode of access: Internet.

Sefer Shaʻare torat ha-taḳanot : hu meʼasef le-khol maḥanot ha-taḳanot asher yesodotan mi-yemot [sic] Mosheh, avi ha-neviʼim ʻad ḥatimat ha-Talmud /

v.2 designated as ḥeleḳ rishon, maḥberet shenyah on Hebrew t.p., but as 2. band, 1. theil on added German t.p.

The birds of Yorkshire : being a historical account of the avi-fauna of the county /

Includes index.

Beth Avi-gdor : ḥidushim be-shi[shah] se[darim] Bavli Yerushalami ra[bi] M[osheh] b[en] M[aimon] /

Added t.p. in English: Beth abigdor : novellas on different treatises of the Talmuds.

Field and depot maintenance manual : engine, gasoline, "V" type, air cooled, 12-cylinder, fuel injected, supercharged, -2805-695-6237, (Continental model AVSI-1790-6) and fuel injected, (unsupercharged), -2805-293-9662, (Continental model AVI-1790-8) : end item application, tank, combat, full tracked, 90-mm, M48A2, (TM 9-2350-208) ....

Includes index.

Barriers to the acceptance of road safety programmes among rural road users : developing a brief intervention

Motorised countries have more fatal road crashes in rural areas than in urban areas. In Australia, over two thirds of the population live in urban areas, yet approximately 55 percent of the road fatalities occur in rural areas (ABS, 2006; Tziotis, Mabbot, Edmonston, Sheehan & Dwyer, 2005). Road and environmental factors increase the challenges of rural driving, but do not fully account for the disparity. Rural drivers are less compliant with recommendations regarding the “fatal four” behaviours of speeding, drink driving, seatbelt non-use and fatigue, and the reasons for their lower apparent receptivity for road safety messages are not well understood. Countermeasures targeting driver behaviour that have been effective in reducing road crashes in urban areas have been less successful in rural areas (FORS, 1995). However, potential barriers to receptivity for road safety information among rural road users have not been systematically investigated. This thesis aims to develop a road safety countermeasure that addresses three areas that potentially affect receptivity to rural road safety information. The first is psychological barriers of road users’ attitudes, including risk evaluation, optimism bias, locus of control and readiness to change. A second area is the timing and method of intervention delivery, which includes the production of a brief intervention and the feasibility of delivering it at a “teachable moment”. The third area under investigation is the content of the brief intervention. This study describes the process of developing an intervention that includes content to address road safety attitudes and improve safety behaviours of rural road users regarding the “fatal four”. The research commences with a review of the literature on rural road crashes, brief interventions, intervention design and implementation, and potential psychological barriers to receptivity. This literature provides a rationale for the development of a brief intervention for rural road safety with a focus on driver attitudes and behaviour. The research is then divided into four studies. The primary aim of Study One and Study Two is to investigate the receptivity of rural drivers to road safety interventions, with a view to identifying barriers to the efficacy of these strategies.

Unwrapping an ancient Egyptian mummy using x-rays

This article describes a project to unwrap an ancient Egyptian mummy using X-ray computed tomography (CT). About 600 X-ray CT images were obtained through the mummified body of a female named Tjetmutjengebtiu (or Jeni for short), who was a singer in the great temple of Karnak in Egypt during the 22nd dynasty (c. 945-715 BC). The X-ray CT images reveal details of the remains of body organs, wrappings and jewellery. 3D reconstructions of Jeni’s teeth suggest that she was probably only around 20 years old when she died, although the cause of death cannot be ascertained from the CT scans. The CT images were used to build a 3D model of Jeni’s head which enabled an artist to paint a picture of what Jeni may have looked like during life. A PowerPoint presentation and movie clips are provided as supplementary material that may be useful for teaching.

Genshanmen Urban Centre and Transport Interchange

This project is the result of a collaborative design process involving QUT School of Design, and AREN Consulting and ZIAD (Zheijiang Provincial Institute of Architectural Design and Research). This project is the submission prepared by the above partnership for an invited international design competition, promoted by Hangzhou City, China. ---------- This major urban design and architecture project is for a large transport oriented development on the new Hangzhou Subway system. The development, covering several city blocks, includes the provision of residential, retail, education, commercial, and transport infrastructure; integrated with rail, bus and ferry systems. ---------- The design strategies are based on the development or artificial land forms; the cutting of new canals, raising of the ground plane, and metaphoric reference to the Yellow Mountains (explored in the detail of the central ‘ridge’ of built form). Further to this, the project explores the integration of sustainable technologies and philosophies with large scale building projects in a subtropical context.

Cherbourg time : young black and deadly art 2003-2007

Art is most often at the margins of community life, seen as a distraction or entertainment only; an individual’s whim. It is generally seen as without a useful role to play in that community. This is a perception of grown-ups; children seem readily to accept an engagement with art making. Our research has shown that when an individual is drawn into a crafted art project where they have an actual involvement with the direction and production of the art work, then they become deeply engaged on multiple levels. This is true of all age groups. Artists skilled in community collaboration are able to produce art of value that transcends the usual judgements of worth. It gives people a licence to unfetter their imagination and then cooperatively be drawn back to a reachable visual solution. If you engage with children in a community, you engage the extended family at some point. The primary methodology was to produce a series of educationally valid projects at the Cherbourg State School that had a resonance into that community, then revisit and refine them where necessary and develop a new series that extended all of the positive aspects of them. This was done over a period of five years. The art made during this time is excellent. The children know it, as do their families, staff at the school, members of the local community and the others who have viewed it in exhibitions in far places like Brisbane and Melbourne. This art and the way it has been made has been acknowledged as useful by the children, teachers and the community, in educational and social terms. The school is a better place to be. This has been acknowledged by the children, teachers and the community The art making of the last five years has become an integral part of the way the school now operates and the influence of that has begun to seep into other parts of the community. Art needs to be taken from the margins and put to work at the centre.

Technology, memory and experience : virtual reality, motion capture and early modern theatre

This paper investigates virtual reality representations of performance in London’s late sixteenth-century Rose Theatre, a venue that, by means of current technology, can once again challenge perceptions of space, performance, and memory. The VR model of The Rose becomes a Camillo device in that it represents a virtual recreation of this venue in as much detail as possible and attempts to recover graphic demonstrations of the trace memories of the performance modes of the day. The VR model is based on accurate archeological and theatre historical records and is easy to navigate. The introduction of human figures onto The Rose’s stage via motion capture allows us to explore the relationships between space, actor and environment. The combination of venue and actors facilitates a new way of thinking about how the work of early modern playwrights can be stored and recalled. This virtual theatre is thus activated to intersect productively with contemporary studies in performance; as such, our paper provides a perspective on and embodiment of the relation between technology, memory and experience. It is, at its simplest, a useful archiving project for theatrical history, but it is directly relevant to contemporary performance practice as well. Further, it reflects upon how technology and ‘re-enactments’ of sorts mediate the way in which knowledge and experience are transferred, and even what may be considered ‘knowledge.’ Our work provides opportunities to begin addressing what such intermedial confrontations might produce for ‘remembering, experiencing, thinking and imagining.’ We contend that these confrontations will enhance live theatre performance rather than impeding or disrupting contemporary performance practice. This paper intersects with the CFP’s ‘Performing Memory’ and ‘Memory Lab’ themes. Our presentation (which includes a demonstration of the VR model and the motion capture it requires) takes the form of two closely linked papers that share a single abstract. The two papers will be given by two people, one of whom will be physically present in Utrecht, the other participating via Skype.

Visualisation of complex flows using texture-based techniques

Complex flow datasets are often difficult to represent in detail using traditional vector visualisation techniques such as arrow plots and streamlines. This is particularly true when the flow regime changes in time. Texture-based techniques, which are based on the advection of dense textures, are novel techniques for visualising such flows (i.e., complex dynamics and time-dependent). In this paper, we review two popular texture-based techniques and their application to flow datasets sourced from real research projects. The texture-based techniques investigated were Line Integral Convolution (LIC), and Image-Based Flow Visualisation (IBFV). We evaluated these techniques and in this paper report on their visualisation effectiveness (when compared with traditional techniques), their ease of implementation, and their computational overhead.