Twin Peaks como alegoria daimónica cinematográfica

For a long time the allegorical activity was considered dogmatic and equated with artistic fossilization, archaic religious propensity and lack of creativity. However, Walter Benjamin (1928) and Paul De Man (1969), among other illustrious thinkers, came to its defense, exalting, instead, its cryptic, hybrid and abstract nature, which, incidentally, are the main characteristics of modern art. “Twin Peaks – Fire Walk with Me” (David Lynch, 1992) is a wonderful object of analysis, despite being one of the most misunderstood films in the history of cinema. The fact that its narrative is a prequel to the cult television series “Twin Peaks” and incorporates many of the characters of that show, explicitly denigrating the moral image of the protagonist, Laura Palmer, brought about an intense rejection by the fans of the series, as well as the indifference of the cinephilic community in general. However, one must go deeper, in order to understand Lynch’s brave accomplishment and its artfulness. Indeed, the opus is a powerful cinematic allegory because it contains a double layer of metaphorical meaning, one of them being explicitly metacinematic. Thus, besides assuming itself as a filmic daimonic allegory, occurring in a spiritual universe of Good versus Evil, the film is also an authorial discourse on cinema itself. More specifically, it is an allegory of spectatorship, according to Robert Stam’s definition, where the existence and crossing over to “another side” duplicates the architecture of movie theatres and the psychic processes involved in film viewing.

May the Giant Be With You: Twin Peaks Season Two, Episode One and the Television Auteur

The premiere of Season Two of Twin Peaks garnered some of the highest ratings of the series, with celebrated filmmaker and co-creator David Lynch stepping back into the director’s chair. Yet, within this episode many traditional television conventions are flouted, and in response the following week the ratings dropped dramatically. From its slow-paced opening scenes in which an old man admonishes the wounded, bleeding protagonist to drink his warm milk before it gets cold, followed by a vision of a giant speaking in riddles, this episode not only tested its audience’s patience but also seemed to set out to deliberately confuse them. In this essay I will explore how this episode is an example of auteur television, an episode in which the director expresses a consistency of style and theme that is similar to their other work, as well as examine how Lynch’s approach to televisual aesthetics has influenced the way that contemporary film directors have crossed over into the television medium. However, when taking into account the differences in the two media of film and television notions of authorship, with regards to the position of the director, become complicated, especially when considering contemporary television and the rise of the showrunner as key creative force. Even when looking back at Lynch’s contribution to Twin Peaks it becomes clear that the series was deeply collaborative, with Lynch absent during parts of the filming. Yet, when examining the extensive material that has been written about Twin Peaks there is still a continuing tendency to place Lynch as the sole author. The placement of Lynch as author can be argued in relation to the episodes he directed (as will be explored below in relation to the first episode of Season Two), but cannot be attributed to him alone when considering the series as a whole. Finally, I will discuss how the figure of the television auteur has become a central element of television reception rather than production, an integral part of a viewer’s search for narrative meaning in a medium where complexity and mystery are now expected and enjoyed. Just as fans scrambled to uncover the many secrets and mysteries of Twin Peaks by looking to Lynch’s other works for answers, a similar process is experienced by fans of television shows existing today.

Telephones, Voice Recorders, Microphones, Phonographs: A Media Archaeology of Sonic Technologies in Twin Peaks

This article argues that sonic technologies, such as telephones, voice recorders and phonographs, alongside more (audio)visual ones such as flickering fluorescent lights, videos, and the television sets are crucial to the world of Twin Peaks, and constitute this world as both a communications network with portals to the unknown, and an accumulation of recordings of ghosted voices and entities, perhaps finding its ultimate expression in the backwards reprocessed speech in the Black Lodge. This lodge can be understood as a space in which there are nothing but recordings, albeit now on a cosmic, spiritual and demonic level. Using a media archaeological approach to these devices in the series, this paper will argue that they were already operating by a media archaeological logic, generating the world of Twin Peaks as a haunted archive of sonic and other mediations.

One-dimensional quantum walk with unitary noise

The effect of unitary noise on the discrete one-dimensional quantum walk is studied using computer simulations. For the noiseless quantum walk, starting at the origin (n=0) at time t=0, the position distribution P-t(n) at time t is very different from the Gaussian distribution obtained for the classical random walk. Furthermore, its standard deviation, sigma(t) scales as sigma(t)similar tot, unlike the classical random walk for which sigma(t)similar toroott. It is shown that when the quantum walk is exposed to unitary noise, it exhibits a crossover from quantum behavior for short times to classical-like behavior for long times. The crossover time is found to be Tsimilar toalpha(-2), where alpha is the standard deviation of the noise.

Integration of forest fire management with SDI: user requirements.

Dissertation submitted in partial fulfilment of the requirements for the Degree of Master of Science in Geospatial Technologies.

Forest fire detection with a small fixed wing autonomous aerial vehicle

In this work a forest fire detection solution using small autonomous aerial vehicles is proposed. The FALCOS unmanned aerial vehicle developed for remote-monitoring purposes is described. This is a small size UAV with onboard vision processing and autonomous flight capabilities. A set of custom developed navigation sensors was developed for the vehicle. Fire detection is performed through the use of low cost digital cameras and near-infrared sensors. Test results for navigation and ignition detection in real scenario are presented.

Specifications for triple-expansion twin-screw propelling engines, with boilers and auxiliary machinery, for an armored cruiser about 9100 tons cruising displacement, to make a speed of twenty knots per hour at a displacement of 8150 tons.

Mode of access: Internet.

Dispatching fire trucks with the aid of a computer /

Thesis (M. S.)--University of Illinois at Urbana-Champaign.

History of the St. Louis fire department, with a review of great fires, and sidelights upon the methods of fire-fighting from ancient to modern times, from the lesson of the vast importance of having efficient firemen may by drawn.

Mode of access: Internet.

Economics Building Fire [Exterior with fire escape]

Built in 1856. First chemical laboratory at a state university. Building served medical students and others as both laboratory and classroom. Situated just west and south of the original medical building. Additions made to the one-story building in 1861, 1866, 1868, 1874. In 1880 a two-story addition was added with subsequent additions in 1889 and 1901. Became Economics Building in 1908. Pharmacology occupied north wing 1908-1981. Destroyed by fire Christmas Eve 1981. Exterior with fire escape.

Evolutionary Technique of Shorter Route Determination of Fire Brigade Following to Fire Place with the Optimized Space of Search

In this paper the technique of shorter route determination of fire engine to the fire place on time minimization criterion with the use of evolutionary modeling is offered. The algorithm of its realization on the base of complete and optimized space of search of possible decisions is explored. The aspects of goal function forming and program realization of method having a special purpose are considered. Experimental verification is executed and the results of comparative analysis with the expert conclusions are considered.

David Bowie, brinquedos adultos e outras dimensões estranhas do universo de Twin Peaks

The article is based fundamentally on the authors' participation in the International Conference “I’ll See You Again in 25 Years: The return of Twin Peaks and generations of cult TV”, held on 21 and 22 May 2015, at the School of Arts and Media, at the University of Salford in England. Starting from there, it makes an irregular discussion of issues and working angles around the television series launched in 1990, a work by David Lynch and Mark Frost. Some issues gain particular attention: 1) the relations of the series to the album Outside (1995) by David Bowie; 2) the population of adult toys related to the series, as derivative products, driven by fans in their most playful exercises of affection and remembrance. Despite the article’s intentionally adopted tone of an “academic report”, it can evoke rich theoretical questions in a field of objects that are in a complex upgrade process and have to be subsequently treated according to more regular methodological procedures, seeking further theoretical and epistemological clarifications

Random walk with restart over dynamic graphs

Random Walk with Restart (RWR) is an appealing measure of proximity between nodes based on graph structures. Since real graphs are often large and subject to minor changes, it is prohibitively expensive to recompute proximities from scratch. Previous methods use LU decomposition and degree reordering heuristics, entailing O(|V|^3) time and O(|V|^2) memory to compute all (|V|^2) pairs of node proximities in a static graph. In this paper, a dynamic scheme to assess RWR proximities is proposed: (1) For unit update, we characterize the changes to all-pairs proximities as the outer product of two vectors. We notice that the multiplication of an RWR matrix and its transition matrix, unlike traditional matrix multiplications, is commutative. This can greatly reduce the computation of all-pairs proximities from O(|V|^3) to O(|delta|) time for each update without loss of accuracy, where |delta| (<<|V|^2) is the number of affected proximities. (2) To avoid O(|V|^2) memory for all pairs of outputs, we also devise efficient partitioning techniques for our dynamic model, which can compute all pairs of proximities segment-wisely within O(l|V|) memory and O(|V|/l) I/O costs, where 1<=l<=|V| is a user-controlled trade-off between memory and I/O costs. (3) For bulk updates, we also devise aggregation and hashing methods, which can discard many unnecessary updates further and handle chunks of unit updates simultaneously. Our experimental results on various datasets demonstrate that our methods can be 1–2 orders of magnitude faster than other competitors while securing scalability and exactness.