Enjeux de la lecture institutionnelle de scénarios de longs métrages de fiction au Québec

Ce que nous proposons de faire dans ce mémoire est de s’attarder au phénomène spécifique de la lecture des scénarios dans le contexte institutionnel québécois. Nous analyserons un corpus de cent soixante douze rapports de lecture de scénarios de longs métrages de fiction rédigés entre 1972 et 2004. Il n’existe, à notre connaissance, aucune étude portant spécifiquement sur un corpus de rapports de lecture. Dans un premier temps, nous situerons le rôle et la place du scénario dans l’histoire de la production de films de fiction québécoise, entre acceptation et refus. Ensuite, nous nous intéresserons à la manière dont concrètement les scénarios sont lus : par qui, comment, dans quelles conditions, avec quels objectifs. Enfin, en utilisant une analyse par théorisation ancrée (grounded theory), nous identifierons, à partir des commentaires émis dans les rapports, cinq entités sur lesquelles le lecteur se fonde pour formuler son jugement. Il s’agit du scénariste, du scénario proposé, du lecteur lui-même, du film à faire et du spectateur présumé que nous nommerons fictif. Nous en conclurons que le lecteur de scénario occupe une fonction de médiateur entre un texte et son auteur d’une part et un futur film et son spectateur réel d’autre part. Cette médiation est le lieu de convergence de différentes attentes, celles des lecteurs, des auteurs, des producteurs et des institutions.

On Seliger and Whitham`s variational principle for hydrodynamic systems from the point of view of `fictitious particles`

FAPESP, the Sao Paulo State Research Foundation[04/04611-5]

Higher order finite elements and the fictitious domain concept for wave propagation analysis

Magdeburg, Univ., Fak. für Maschinenbau, Diss., 2014

Creació automàtica de gràfics estadístics a partir de dades de soroll d’Europa amb tecnologies Open Source en el visor Noise Map Viewer de l’ETC-LUSI

El projecte ha consistit en la creació de gràfics estadístics de soroll d’Europa de forma automàtica amb tecnologies Open Source dins el visor Noise Map Viewer per Europa de l’ETC-LUSI. La llibreria utilitzada per fer aquest procés ha estat JFreeChart i el llenguatge de programació utilitzat ha estat Java (programació orientada a objectes) dins l’entorn de desenvolupament integrat Eclipse. La base de dades utilitzada ha estat PostgreSQL. Com a servidors s’han fet servir Apache (servidor HTTP) i Tomcat (servidor contenidor d’aplicacions). Un cop acabat el procés s’ha integrat dins de MapFish canviant el codi JavaScript corresponent de la web original.

ExpressionView--an interactive viewer for modules identified in gene expression data.

SUMMARY: ExpressionView is an R package that provides an interactive graphical environment to explore transcription modules identified in gene expression data. A sophisticated ordering algorithm is used to present the modules with the expression in a visually appealing layout that provides an intuitive summary of the results. From this overview, the user can select individual modules and access biologically relevant metadata associated with them. AVAILABILITY: http://www.unil.ch/cbg/ExpressionView. Screenshots, tutorials and sample data sets can be found on the ExpressionView web site.

The connectome viewer toolkit: an open source framework to manage, analyze, and visualize connectomes.

Advanced neuroinformatics tools are required for methods of connectome mapping, analysis, and visualization. The inherent multi-modality of connectome datasets poses new challenges for data organization, integration, and sharing. We have designed and implemented the Connectome Viewer Toolkit - a set of free and extensible open source neuroimaging tools written in Python. The key components of the toolkit are as follows: (1) The Connectome File Format is an XML-based container format to standardize multi-modal data integration and structured metadata annotation. (2) The Connectome File Format Library enables management and sharing of connectome files. (3) The Connectome Viewer is an integrated research and development environment for visualization and analysis of multi-modal connectome data. The Connectome Viewer's plugin architecture supports extensions with network analysis packages and an interactive scripting shell, to enable easy development and community contributions. Integration with tools from the scientific Python community allows the leveraging of numerous existing libraries for powerful connectome data mining, exploration, and comparison. We demonstrate the applicability of the Connectome Viewer Toolkit using Diffusion MRI datasets processed by the Connectome Mapper. The Connectome Viewer Toolkit is available from http://www.cmtk.org/

From gold money to fictitious money

ABSTRACT In the nineteenth century, money appear primarily as gold. In the twenty-first century, it appears as strictly fiduciary money. It is known that Marx said very clearly that the golden money was the effective basis of the monetary and credit system. Had the historical development finally shown that his theory of value and money would be false? Marxists have struggled continually with this problem. This paper tries to show that exist a simple and good answer to this crucial question. It comes just developing a little the dialectics of commodities and money found on Marx's Capital.

The interpretation of music videos : an interactive relationship between medium and viewer

There is a great deal of evidence to support the examination of an interactive relationship between the medium and the viewer in the interpretation of mainstream media. The exact nature of this relationship, however, is not well understood. The current study was carried out to assess the variables that may help explain why certain people interpret media, such as music videos, differently than others. Jensen's concept of reception analysis describes the relationship between the medium and the audience, and thus remains a strong focus within this study. Differences in the interpretation of music videos were investigated as a function of Absorption, gender role, screen size, age and viewing experience. Multiple regression analyses uncovered independent predictions of sexuality and violence scores by absorption and experience, as well as an interaction between absorption and screen size in the sexuality rating of the music videos.

Dielmo 3D Viewer based on NASA World Wind

Partiendo de la versión Java del software libre NASA World Wind, DIELMO ha desarrollado el software Dielmo 3D Viewer que permite la creación de escenarios virutales en 3D que se convierten en clientes IDE y que permiten un mejor conocimiento del territorio, tratando la tercera dimensión con el máximo rigor

File Transfer Protocol

The discourse surrounding the virtual has moved away from the utopian thinking accompanying the rise of the Internet in the 1990s. The Cyber-gurus of the last decades promised a technotopia removed from materiality and the confines of the flesh and the built environment, a liberation from old institutions and power structures. But since then, the virtual has grown into a distinct yet related sphere of cultural and political production that both parallels and occasionally flows over into the old world of material objects. The strict dichotomy of matter and digital purity has been replaced more recently with a more complex model where both the world of stuff and the world of knowledge support, resist and at the same time contain each other. Online social networks amplify and extend existing ones; other cultural interfaces like youtube have not replaced the communal experience of watching moving images in a semi-public space (the cinema) or the semi-private space (the family living room). Rather the experience of viewing is very much about sharing and communicating, offering interpretations and comments. Many of the web’s strongest entities (Amazon, eBay, Gumtree etc.) sit exactly at this juncture of applying tools taken from the knowledge management industry to organize the chaos of the material world along (post-)Fordist rationality. Since the early 1990s there have been many artistic and curatorial attempts to use the Internet as a platform of producing and exhibiting art, but a lot of these were reluctant to let go of the fantasy of digital freedom. Storage Room collapses the binary opposition of real and virtual space by using online data storage as a conduit for IRL art production. The artworks here will not be available for viewing online in a 'screen' environment but only as part of a downloadable package with the intention that the exhibition could be displayed (in a physical space) by any interested party and realised as ambitiously or minimally as the downloader wishes, based on their means. The artists will therefore also supply a set of instructions for the physical installation of the work alongside the digital files. In response to this curatorial initiative, File Transfer Protocol invites seven UK based artists to produce digital art for a physical environment, addressing the intersection between the virtual and the material. The files range from sound, video, digital prints and net art, blueprints for an action to take place, something to be made, a conceptual text piece, etc. About the works and artists: Polly Fibre is the pseudonym of London-based artist Christine Ellison. Ellison creates live music using domestic devices such as sewing machines, irons and slide projectors. Her costumes and stage sets propose a physical manifestation of the virtual space that is created inside software like Photoshop. For this exhibition, Polly Fibre invites the audience to create a musical composition using a pair of amplified scissors and a turntable. http://www.pollyfibre.com John Russell, a founding member of 1990s art group Bank, is an artist, curator and writer who explores in his work the contemporary political conditions of the work of art. In his digital print, Russell collages together visual representations of abstract philosophical ideas and transforms them into a post apocalyptic landscape that is complex and banal at the same time. www.john-russell.org The work of Bristol based artist Jem Nobel opens up a dialogue between the contemporary and the legacy of 20th century conceptual art around questions of collectivism and participation, authorship and individualism. His print SPACE concretizes the representation of the most common piece of Unicode: the vacant space between words. In this way, the gap itself turns from invisible cipher to sign. www.jemnoble.com Annabel Frearson is rewriting Mary Shelley's Frankenstein using all and only the words from the original text. Frankenstein 2, or the Monster of Main Stream, is read in parts by different performers, embodying the psychotic character of the protagonist, a mongrel hybrid of used language. www.annabelfrearson.com Darren Banks uses fragments of effect laden Holywood films to create an impossible space. The fictitious parts don't add up to a convincing material reality, leaving the viewer with a failed amalgamation of simulations of sophisticated technologies. www.darrenbanks.co.uk FIELDCLUB is collaboration between artist Paul Chaney and researcher Kenna Hernly. Chaney and Hernly developed together a project that critically examines various proposals for the management of sustainable ecological systems. Their FIELDMACHINE invites the public to design an ideal agricultural field. By playing with different types of crops that are found in the south west of England, it is possible for the user, for example, to create a balanced, but protein poor, diet or to simply decide to 'get rid' of half the population. The meeting point of the Platonic field and it physical consequences, generates a geometric abstraction that investigates the relationship between modernist utopianism and contemporary actuality. www.fieldclub.co.uk Pil and Galia Kollectiv, who have also curated the exhibition are London-based artists and run the xero, kline & coma gallery. Here they present a dialogue between two computers. The conversation opens with a simple text book problem in business studies. But gradually the language, mimicking the application of game theory in the business sector, becomes more abstract. The two interlocutors become adversaries trapped forever in a competition without winners. www.kollectiv.co.uk

Some aspects of the dynamics of fictitious Earth's satellites

In this work we study the dynamics of fictitious satellites of the Earth. In the first part we do not consider the effect of the Moon and study the dynamics in the restrict three-body model, i.e., a massless satellite under the effect of the gravitational force of an oblate Earth and that of the Sun. We show that a satellite starting with an almost circular orbit suffers very large variations of eccentricity, depending on the initial inclination of the orbit with respect to the reference plane. As the eccentricity may be driven to very large values (approximate to0.9) mutual collisions between satellites or collisions with the planet may occur. In the second part, we include the gravitational effect of the Moon. In this case, we find two regions with large variations of eccentricity due to the presence of the Moon. Consequently, in both scenarios, we find some large regions of the phase space where the long-term stability of some fictitious Earth's satellites is not possible. (C) 2001 Elsevier B.V. Ltd. All rights reserved.

Dynamics of some fictitious satellites of Venus and Mars

The dynamics of some fictitious satellites of Venus and Mars are studied considering only solar perturbation and the oblateness of the planet, as disturbing forces. Several numerical integrations of the averaged system, taking different values of the obliquity of ecliptic (a), show the existence of strong chaotic motion, provided that the semi major axis is near a critical value. As a consequence, large increase of eccentricities occur and the satellites may collide with the planet or cross possible internal orbits. Even starting from almost circular and equatorial orbits, most satellites can easily reach prohibitive values. The extension of the chaotic zone depends clearly on the value ε, so that, previous regular regions may become chaotic, provided ε increases sufficiently. © 1999 Elsevier Science Ltd. All rights reserved.