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This paper explores the significance of female representation in Lee Jang-ho’s film adaptation of Choi In-ho’s novel, Byeoldeul-ui gohyang, within the context of 1970s South Korean literature and film. Both the novel and the film gained immense popularity as symbols of emerging youth culture, contributing significantly to the history of Korean popular culture. They played a crucial role in revitalizing the struggling film industry by catalyzing the hostess literature and film boom of the 1970s. However, despite their cultural impact, assessments of the novel and film remain mixed. This study focuses on analyzing the portrayal of the female character, O Gyeong-a, who has been both the source of their popularity and the subject of various criticisms. This paper particularly highlights the innovative elements introduced by director Lee Jang-ho, demonstrating that, contrary to popular and even academic belief that the film objectifies Gyeong-a to the extent of exploitation, it instead effectively problematizes and challenges the prevalent objectification of women in 1970s patriarchal Korean society. Furthermore, this study argues that the film marks a seminal moment in Korean cinema, showcasing the cultural adaptability and vibrancy of Korean visual media. [ABSTRACT FROM AUTHOR]

Car trailers are quite a popular means of transport and are offered in many versions, from single axle light trailers with a maximum permissible weight of 750 kg, through two- or more-axle specialized trailers. The issues of research car trailers focus on two directions: testing the driving properties and analysing the strength of the supporting frame system. Issues related to the construction of light trailers are often common to trailers used in agriculture or general transport. In this article, based on a mass-produced car trailer, an analysis was carried out regarding the choice in the technology of making the supporting structure consisting of a lower frame and an upper frame. The term upper frame should be understood as the structure on which the lifted load box rests. The costs of materials, assembly and technological possibilities of small-scale production were taken into account. In addition, strength analyses of the numerical models were carried out for critical areas of the frame during operation. After considering the unit costs for each of the analysed assembly technologies, it was shown that riveting would be the cheapest. However, the most suitable method of assembly is welding, as it allows the use of standard profiles.

In this essay, I analyze the extent to which repetition can be considered creative in the context of penitential poetry, and what the ramifications are of that pairing for our own understandings of that poetry. When sin is inherited and confessions were guided by eminently repeatable formulae, how does penitential poetry come into being for the first time and enter penitential discourse as a "makyng" that is created or made yet already received, already repeated and circulating at the moment of its birth? The carol, I argue, presents a good place to address that question: its idiosyncratic formal components present a site of creativity and repetition between text and audience, a conjunction which anticipates the dynamics of filmic montage as conceived by Sergei Eisenstein. This aspect of the carol also invites us to explore how authority is created and received in the present moment, bereft of the difference from the present moment so often involved in constructing auctoritas. In conversation with Eisenstein, the medieval penitential carol ultimately becomes a site to reconsider how poetic form can simultaneously uphold and dismantle hierarchical relationships between creators and audiences. In so doing, the penitential carol invites us to re-approach our own critical "makyngs," which effectively channel the work of medieval poetic form from centuries past. [ABSTRACT FROM AUTHOR]

This article examines the role of the female film editor in the production of German silent cinema, turning to the depiction of editing in a little-known short comedy from 1926, Wenn die Filmkleberin gebummelt hat (When the Film Editor Dawdled, dir. O. F. Mauer), also known as Tragödie einer Uraufführung (Tragedy of a World Premiere). This film, about a distracted editor who mixes revue film and newsreel footage to produce an avant-garde montage film, hands authority over the film to the editor while suggesting that the film she has produced is simply a mistake. Situating the film within discourse on silent-film production practices and Weimar-era montage techniques, the article uses the film as a magnifying glass through which to consider female labor and its relationship to mediation and aesthetic form. It shows how the film offers a remarkable—and relatively early—feminist theory of montage as disruption that hinges on unruly women workers. [ABSTRACT FROM AUTHOR]

Assembly influences on the long‐term load‐bearing capacity of glass/PTFE fabrics Membrane structures are designed for a service life of between 20 and 25 years. In Germany, a combined ZiE/vBG is required for every membrane structure – whether small or large – which is based on strength and stiffness parameters that are determined on the new material depending on each individual batch. Hereby, strength‐reducing influences are certainly taken into account via reduction factors, but effects from assembly are not sufficiently covered. Glass/PTFE fabrics in particular are sensitive to installation influences such as handling during transport, handling and temperature during the laying of the fabric and weathering, so that long‐term damages in form of cracks in glass/PTFE membrane structures might occur, which (can) result in premature replacement of the entire covering. Investigations into the influence of weathering in combination with handling/installation‐related creases in glass/PTFE fabrics have shown that certain types of creases in glass/PTFE fabrics must be avoided, while others do not (necessarily) have a detrimental effect on the long‐term load‐bearing capacity of the fabric itself. This contribution provides an overview of the current state of knowledge on the influence of weathering and creases on the long‐term load‐bearing capacity of glass/PTFE fabrics as well as recommendations for the correct installation of such membrane structures in order to avoid long‐term damages. [ABSTRACT FROM AUTHOR]

This paper proposes a comparative study of Edoardo Sanguineti's poem Novissimum Testamentum (1982) and Luciano Berio's musical work Canticum Novissimi Testamenti (1989-1991). In order to do so, this research takes as its of departure the relevance given to montage, both as a compositional procedure and as a critical tool. This exposition identifies some key aspects of the poetics of montage conceived, respectively, by Sanguineti and Berio during the Seventies and Eighties. Along with it, it studies the textual and thematic manifestations of montage all along the poem as well as the sonic elaborations of montage in the musical piece. Lastly, it proposes an assesment of the artistic and critical timeliness of both works. [ABSTRACT FROM AUTHOR]

Copyright of Artnodes is the property of Universitat Oberta de Catalunya and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Car trailers are quite a popular means of transport and are offered in many versions, from single axle light trailers with a maximum permissible weight of 750 kg, through two- or more-axle specialized trailers. The issues of research car trailers focus on two directions: testing the driving properties and analysing the strength of the supporting frame system. Issues related to the construction of light trailers are often common to trailers used in agriculture or general transport. In this article, based on a mass-produced car trailer, an analysis was carried out regarding the choice in the technology of making the supporting structure consisting of a lower frame and an upper frame. The term upper frame should be understood as the structure on which the lifted load box rests. The costs of materials, assembly and technological possibilities of small-scale production were taken into account. In addition, strength analyses of the numerical models were carried out for critical areas of the frame during operation. After considering the unit costs for each of the analysed assembly technologies, it was shown that riveting would be the cheapest. However, the most suitable method of assembly is welding, as it allows the use of standard profiles. [ABSTRACT FROM AUTHOR]

Copyright of Ñawi: Arte, Diseño y Comunicación is the property of Escuela Superior Politecnica del Litoral and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Just a mystery box? Curtain wall of the Ronald O. Perelman Center of Performing Arts in New York A new New York landmark – the Ronald O. Perelman Center for the Performing Arts – rises in stony elegance alongside the World Trade Center. A unique, four‐sided facade of 7200 m2 encloses the ascetic, box‐shaped building. Rolled structural steel beams, split in two locations, were used for this purpose. Lap joint plates, secured with countersunk screw connections are mounted on the roof in order to comply with the architectural intention. All strap joints are designed at the limit of feasible edge distances and without raised contours, in order to bridge the substantial tolerance jump between the massive main structure and the filigree facade. But what questions arise when planning and manufacturing such an exposed building envelope? For steel production, the team not only had to overcome bureaucratic hurdles between DIN and ASTM/AWS, but also met the highest requirements for assembly quality, since all visible areas are mercilessly exposed. A first test setup in Germany helped to unmask significant pitfalls. The identified tolerances in the holes could be minimized in the structure with noteworthy precision and attention to detail. Thanks to this effort, almost 5000 individual glass panes, mounted on mega panels, reached their individual and pre‐planned final positions on the building surface – a logistics chain from the quarry where the marble stone was cut to the construction site in Lower Manhattan. Only the following essay shows where the devil is in the detail of such an architecturally challenging project. [ABSTRACT FROM AUTHOR]

In this article, I consider the philosophical question of chance in the context of a comparative discussion of two early twentieth-century intellectuals, Ludwig Wittgenstein (1889–1951) and Walter Benjamin (1892–1940), contemporaries who deliberately involved themselves in the risks of chance in the time of a hazardous historical epoch. In different ways they chose or liked to live on the edge, which invites us to consider how within that context they responded to chance in their own work. This might encourage us to think of their work not in terms of biography as narrative or the life-work made meaningful, but to consider something of the dialectical relation between the two as the irruption of chance moves in and out of their lives, their writing, the roles that it plays there and in our reading of them, starting with chance's most intimate, intimidating and ineffaceable effect, the destruction of meaning itself. The essay concludes by arguing that Benjamin conceived the Passagen Werk as his retranslation of Proust into the realm of history, employing the method developed by Eisenstein for his film of Marx's Capital. Wittgenstein, in turn, offers a model of how to read the Passagen Werk as if it were a film. [ABSTRACT FROM AUTHOR]

Copyright of Central Asian Journal of Art Studies is the property of Central Asian Journal of Art Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This introductory text unfolds and interprets some key elements from Eisenstein's Paris Diary, contextualizing his encounters and providing further details for understanding the filmmaker's fragmentary and sometimes cryptic diary as an autotheoretical practice. Written from the perspective of one immersed in the artistic and intellectual Paris of 1929 and 1930—as evidenced by Eisenstein's encounters with Colette, Tristan Tzara, Gertrude Stein, André Malraux, Filippo T. Marinetti, Abel Gance, Jean Cocteau, Louis Aragon, Paul Éluard, Kiki de Montparnasse, Darius Milhaud, and others—the diary highlights the importance of his exchange with the avant-garde micro-cinematographer Jean Painlevé, as well as his theoretical and political kinship with the heterodox Surrealist group around the journal Documents. The introduction investigates the way in which Eisenstein's Paris Diary both documents daily events and serves as an ephemeral depository for the author's theoretical ideas on filmmaking and montage, seeing these in terms of such late works as Method, Montage, and Disney. [ABSTRACT FROM AUTHOR]

The author discusses his translation of Sergei Eisenstein's Capital Diaries, focusing on such topics as Eisenstein's reflections on his own writing, the context of literary modernism in which he wrote, and the strains on psyche and syntax that the diaries reveal. It discusses the range of literary sources that Eisenstein made use of in the diaries, in particular the works of James Joyce and Velimir Khlebnikov. Also discussed are the challenges of translating the diaries, which constitute, all at once, a record of daily life, a series of cultural and political critiques, and a compendium of material the Soviet filmmaker planned to use in his (ultimately unrealized) film based on Karl Marx's Das Kapital. The diaries served as a workshop for refining various concepts and methods such as montage and dialectical thinking, and this too is addressed. [ABSTRACT FROM AUTHOR]

An efficient and dynamic role-based access-control (RBAC) model is presented in this work which utilizes access-control for internet of things (IoT) nodes while minimizing storage and computational overhead. Also, for the identification of the malicious packets at the gateway server, a machine learning method has been presented. In addition, a framework for data management techniques in the IoT environment is designed to ensure efficient and secure storage, management, and processing of IoT data. The results have been evaluated by using the Montage and Cybershake workload in terms of energy consumption, processing time, detection accuracy and misclassification rate. The results show that the proposed secure framework for effective workload resource management (SFE-WRM) attains better performance in comparison to the reliable and energy-efficient route selection (REERS) and FTA-WRM method. Also, by using the security method, the proposed method provides better security to the IoT nodes during the data aggregation and processing of the workload. The ultimate aim of this work is to provide a solution for the development of a secure and efficient IoT environment that can address critical security challenges and enable the widespread adoption of IoT devices and services. [ABSTRACT FROM AUTHOR]

Cloud computing (CC) is a popular distributed computing technology that is virtualized, scalable, and provides resources and services on demand through subscription-based models. Cloud Service Providers (CSPs) deliver these services, primarily catering to a vast range of business and scientific applications. CC is used to evaluate large-scale scientific applications, often implemented as scientific workflows (SWs). This paper highlights the wide range of applications using CC, including image processing, data mining, and healthcare systems, all of which require efficient and accessible cloud services. These applications often have strict deadlines and consume significant energy, emphasizing the need for low-energy resource utilization. The paper proposes a Replication-based Resource Provisioning and Constrained-aware Task Scheduling (R2PCT) Framework for Cloud Workflows to address these challenges. The framework aims to manage resources efficiently in a multilevel environment and schedule tasks using replication-based fault-tolerant techniques while considering deadline and budget constraints. To evaluate its effectiveness, simulations were conducted on WorkflowSim for Montage and CyberShake workflows. The proposed R2PCT strategy performs better than the existing state-of-the-art strategy, reducing execution time by an average of 52%, minimizing execution cost by 34%, and decreasing energy consumption by 35% compared to the existing R-DEAR strategy for Montage SWs. For CyberShake workflows, the proposed R2PCT strategy performs better than existing methods, reducing execution time by an average of 59%, minimizing execution cost by 38%, and decreasing energy consumption by 60% compared to the existing R-DEAR strategy.

„Die eiserne Maske der Freiheit“: Hans Magnus Enzensberger and Karl Marx During the 1960s and 1970s the poetic reception of Karl Marx begins to increase in Germany. In this regard, it can be observed that Hans Magnus Enzensberger’s poetic and essayistic reception of Marx is not only quite complex, but also unorthodox. By focusing on the anthology „Gespräche mit Marx und Engels,“ edited by Enzensberger, his comedy „Der Untergang der Titanic“ and his poem „Karl Heinrich Marx,“ the diverse forms of reference to this philosopher are analyzed. It can be demonstrated that Enzensberger uses the montage technique masterly to avoid one-dimensional confessions.

Background: Transcranial alternative current stimulation (tACS) refers to a promising non-invasive technique to improve brain functions. However, owing to various stimulation parameters in the literature, optimization of the stimulation is warranted. In this study, the authors aimed to compare the effect of tACS electrode montages on occipital responses. Methods: In three montage sessions (i.e., Oz-Cz, Oz-cheek, and sham), 10 healthy young adults participated, receiving 20-min 2-mA alpha-tACS. Pattern- reversal visual evoked potentials (VEPs) were measured before tACS (T0), immediately after (T20), and 20 min (T40) after tACS. Normalized changes in time-domain features (i.e., N75, P100 amplitudes, and P100 latency) and frequency-domain features [i.e., power spectral density in alpha (PSDα) and beta (PSDβ) bands] were evaluated. Results: In contrast to our hypothesis, the occipital response decreased immediately (T20) after receiving the 20-min tACS in all montages in terms of P100 amplitude (p = 0.01). This reduction returned to baseline level (T0) in Oz-cheek and sham conditions but sustained in the Oz-Cz condition (T40, p = 0.03) after 20 min of tACS. The effects on N75 amplitude and P100 latency were statistically insignificant. For spectral analysis, both PSDα and PSDβ were significantly increased after tACS at T20, in which the effect sustained until T40. However, there was no differential effect by montages. There was no significant difference in the occurrence of sensations across the montages. The effectiveness of the blinding is supported by the participants' rate of guessing correctly. Conclusion: This study revealed an immediate inhibitory effect of tACS, regardless of the montages. This inhibitory effect sustained in the Oz-Cz montage but faded out in other montages after 20 min. [ABSTRACT FROM AUTHOR]

Traffic clearance of the river Rhine bridge Schierstein, an environmentally friendly and sustainable building On 13. August 2023, the second superstructure of the river Rhine bridge Schierstein was approved for traffic by Federal Minister Volker Wissing. The longest Hessian road bridge over the Rhine with a length of 1285 m connects the state capitals Wiesbaden and Mainz. This bridge has an important function in the development of the economic areas of Hesse and Rhineland‐Palatinate. The building forms the so‐called Mainzer Ring as part of the A643 with the A60 from highway triangle Mainz together with the federal motorways A671 and A66. The fulfillment of the special boundary conditions with regard to nature conservation, design, robustness, entertainment, traffic, assembly and economy placed the highest demands on all parties involved. The following report explains the measures taken to implement these requirements. [ABSTRACT FROM AUTHOR]

The Mill Bridge in Besigheim In the small town of Besigheim, north of Stuttgart, a footbridge was built over the river Enz in front of the historic, heritage‐listed cityscape. With a curved span of approximately 70 m and inclined hanger cables only connected to the outer edge of the superstructure, the one‐sided, self‐anchored suspension bridge offers pedestrians a direct connection from the Enz Park to the medieval city‐centre, and cyclists a smoothly transfer from one river bank to the other. Although the new footbridge is a highly technical lightweight structure, it takes account of the local context and carefully embraces the adjacent historic watermill. As a result, the bridge enhances the park and associated riverside playground in both form and function, allowing visitors to experience the river and the historic cityscape in a new way. [ABSTRACT FROM AUTHOR]

Basic and detail design of the Ruhr‐ und Harborcanal bridge in Duisburg The Oberbürgermeister Karl Lehr bridgesection in Duisburg is one of the four Ruhr crossings and has an overarching function for urban traffic and in particular for the industrial location around the port of Duisburg. As a result of the increased load from general traffic and freight traffic from the port, the bridge turned into a bottleneck. In order to cope with the increasing traffic load and increase its capacity, the existing traffic areas of the bridges needed to be expanded. A basic overhaul and extension of the existing, partly very old bridge structures, was ruled out due to their design and structural condition. Therefore, all structures along the bridge section will be replaced by new structures in the same position. This article explains the key aspects of the design and execution planning of the Ruhr and Harborcanal bridges, provides insights into the structural implementation and provides compact information about the overall project. [ABSTRACT FROM AUTHOR]

This article introduces the concepts and becomings that arise from the idea of collage as a loving and creative journey that has as its aim the composition and re-composition of the self and the world. The meanings of collage are exposed; We review the main names of collage in modern art, combining the thoughts of different authors who embrace difference as a tenet based on the fragments and splinters created by modernity. The similarities and differences between collage and montage are made explicit, as well as the way that collections of objects connect with the motion of cutting, searching and pasting, knowing that the process is as or more significant than the final product. This article also outlines and proposes a review of concepts and historiographical dependencies, even from Amerindian and African knowledge, which precede the establishment of collage as a technique in the field of art. [ABSTRACT FROM AUTHOR]

The method developed by Sergei Eisenstein, through which he manages to chain and give meaning to a series of cinematographic shots, reveals the importance of editing, as it allows us to reveal sensations and affectations, that is, a pathos that refers to interests. vitals, fears, desires and nostalgia from different places and times that burst forth in a dazzling way in the form of an image. In terms of memory, there is similarly a montage of images, through which the past is represented. Therefore, this article develops some reflections about the film Battleship Potemkin, and at the same time raises the possibility of transferring a series of characteristics of the Eisenstenian montage to memory processes. [ABSTRACT FROM AUTHOR]

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Copyright of Pós: Revista do Programa de POS-Graduacao Em Artes - EBA/UFMG is the property of Pos - Programa de Pos-graduacao em Artes (PPG-Artes) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Acotaciones: Investigación y Creación Teatral is the property of Real Escuela Superior de Arte Dramatico and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In web service composition, the combination of multiple individual services to create complex workflows introduces additional challenges, and task scheduling is a crucial aspect that significantly impacts the overall system performance. The main challenge in web service composition task scheduling arises from the varying nature of services, which may have diverse processing requirements, data dependencies, and execution times. Hence, to address these challenges, the existing work have proposed many methods. But, as cloud environments often host these web services, the dynamic nature of cloud resources and the unpredictability of workloads add another layer of complexity to the task scheduling process. Due to this the existing works have attempted very less work on providing an efficient replanning task based on real-time changes in resource availability. Hence, this paper proposes a novel approach to cloud workload task scheduling in web service composition that incorporates efficient replanning and time complexity analysis called as Web service composition-efficient re-planning (WSC-ERP). The proposed approach takes into account various factors, such as task dependencies, and resource availability, to generate an optimized schedule that minimizes execution time and maximizes resource utilization. The WSC-ERP has been evaluated using the Montage scientific workload. The results show that the WSC-ERP provides better performance in terms of executional time, power sum, power average, energy consumption and reliability when compared with the Energy-Minimized Scheduling (EMS), and Evolutionary Computing based Web Service Composition (EC-WSC). The results show that the WSC-ERP has showed an improvement of 80.27% and 78.45% for average execution time, 89.98% and 87.49% for average power sum, 63.44% and 41.93% for average power average, 92.58% and 87.87% for average energy consumption, 4.97% and 4.07% for average reliability when compared with the existing EMS and EC-WSC models respectively. [ABSTRACT FROM AUTHOR]

• EEG source imaging (ESI) solutions obtained from a targeted density montage are similar to the ones calculated from a high-density montage. • This targeted density montage will alleviate HD-EEG's time and resource demand, making ESI more accessible to epilepsy centers. • Tangentially oriented foci show a statistically significant higher distance than radially oriented foci. High-density (HD) electroencephalography (EEG) is increasingly used in presurgical epilepsy evaluation, but it is demanding in time and resources. To overcome these issues, we compared EEG source imaging (ESI) solutions with a targeted density and HD-EEG montage. HD-EEGs from patients undergoing presurgical evaluation were analyzed. A low-density recording was created by selecting the 25 electrodes of a standard montage from the 83 electrodes of the HD-EEG and adding 8–11 electrodes around the electrode with the highest amplitude interictal epileptiform discharges. The ESI solution from this "targeted" montage was compared to that from the HD-EEG using the distance between peak vertices, sublobar concordance and a qualitative similarity measure. Fifty-eight foci of forty-three patients were included. The median distance between the peak vertices of the two montages was 13.2 mm, irrespective of focus' location. Tangential generators (n = 5/58) showed a higher distance than radial generators (p = 0.04). We found sublobar concordance in 54/58 of the foci (93%). Map similarity, assessed by an epileptologist, had a median score of 4/5. ESI solutions obtained from a targeted density montage show high concordance with those calculated from HD-EEG. Requiring significantly fewer electrodes, targeted density EEG allows obtaining similar ESI solutions as traditional HD-EEG montage. [ABSTRACT FROM AUTHOR]

This article problematizes vision in practices of identification. It draws on the metaphor of the 'interface' to emphasize that vision emerges 'in between' eyes, faces, bodies, objects and ideas of belonging and otherness. As such, vision can be a material and political technology that enacts certain people as racial others. To attend to the materiality and politics of vision and its messy relationship with race, I bring together three European stories in which faces are drawn, seen or identified, while race hides or surfaces in intriguing ways. Through these stories we learn that race is saturated with affect and is recalled in objects and bodies. In addition, this article offers a novel methodological approach. It employs the eyes of the reader not only to read but also to watch. Vision itself becomes a technology, this time not to produce or reinforce, but to disturb and perhaps even undo ideas of racial otherness. Through the use of experimental montage, I attend to the complexities and incongruities of seeing faces and race without settling on a single narrative. I actively engage the eyes of the viewer to argue that vision is always relational and partial and therefore, it can also be harnessed to undo racial otherness by fragmenting, multiplying and affecting. [ABSTRACT FROM AUTHOR]

In visual cognition research, saliency refers to the prominence of specific elements in a scene. Moreover, saliency guidance is part of a filmmaker's toolset to build narratives and guide the audience into emotive responses. This article compares two Convolutional Neural Network (CNN) saliency mapping models with viewers' eye-position mapping to investigate the potentiality of automated saliency mapping in moving image studies by analyzing saliency's role during cinema's transition from one-shot to multiple-shot. Although the exact moment when montage and editing methods appeared cannot be identified with precision, findings suggest one of the reasons for this transition was saliency guidance, hence its preponderance. [ABSTRACT FROM AUTHOR]

This paper uses the psychoanalytic concept of the uncanny to develop a new perspective on crisis, one that challenges its associations with turning points and opportunities. The study highlights the immanence of crisis in organizational life. Crises under consideration include the historic Covid-19 global pandemic, and examples of crisis in public sector organizations shaped by neoliberalism. Engaging with the work of Julia Kristeva, the uncanny is explored as an integral part of our subjectivities, one which disrupts our social stabilities and patterns of organizing. A montage of autoethnographic vignettes is assembled to illustrate the eruption of the uncanny unconscious, a dynamic that unsettles our routine impositions of order and control. Examining crisis through the lens of the uncanny brings to the fore the elusive and affective aspects of socio-political and organizational life. This perspective draws us away from an understanding of crisis as a passing phenomenon or as an opening that can be instrumentalized for cunning managerial purposes. Instead, it suggests the more radical insight that crisis is a condition of organizing. [ABSTRACT FROM AUTHOR]

Copyright of Pixo: Revista de Arquitetura Cidade e Contemporaneidade is the property of Pixo Revista de Arquitetura Cidade e Contemporaneidade and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Pixo: Revista de Arquitetura Cidade e Contemporaneidade is the property of Pixo Revista de Arquitetura Cidade e Contemporaneidade and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Pixo: Revista de Arquitetura Cidade e Contemporaneidade is the property of Pixo Revista de Arquitetura Cidade e Contemporaneidade and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Pixo: Revista de Arquitetura Cidade e Contemporaneidade is the property of Pixo Revista de Arquitetura Cidade e Contemporaneidade and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Among the many ways in which Herta Müller engages in reconstructing historical memory in her prose is her extensive use of poetic devices. This article will focus on illustrating the role of words-images and the collage technique, in short, on the functioning of the visual medium, with its varied signifying potential, in conjunction with words, according to a logic in which the montage encapsulates a fragmentary, exploded, alienated identity. This study will therefore shed light on some central aspects of Herta Müller’s prose concerning the problematic layering of the characters’ consciousness. These are victims of the most lacerating historical traumas that marked the 20th century and they often appear within the frames of an autobiographical narrative that does not separate ethics from imagination, or the representation of the wounds of history from poeticism and fiction.

This article investigates the politics of the image and montage in the literature and filmmaking as an experimentation with an ethical bet on research in Human Sciences. In the light of Walter Benjamin’s concept of montage, as well as DidiHuberman’s analysis of image as taking a position, it problematizes the insurmountable distance between the subject and the object, the fracture between form and content, ethics and aesthetics in research in the face of the intolerable of an ordinary world. The questions are presented through fragments that deal with the intertwining between body, memory, revolt, and creation, to emphasize the ethical bet of the montage not only as a balm for the body suffocated by the abject, but as the oxygen necessary for the multiplication of paths, senses, overcoming limits for the creation of resistance to the numbness of thought.

In may 2022, at the Centre d’Histoire et Théorie des Arts (EHESS), Giorgio Fichera and Clara Lieutaghi met Giovanni Careri to discuss the Journal Images re-vues at its origins and the intellectuel milieu in whitch it was created. The discussion also aroused the main theoritical topics at the bottom of Careri’s reflexions and writings as they irrigate the debates whithin the Journal and among its members.

The conceit that humans are exceptional and a species apart from nature continues to dominate traditional forms of curriculum in higher education. This article considers how an ethological curriculum might be used to disrupt current imaginaries informing prevailing higher education curricula practices in its rejection of a metaphysics of individualism that is foundational to traditional curriculum studies. An ethological curriculum thinks with more-than-human forms of life in relational ways to consider how we might work differently in higher education. The article offers four propositions as launching points, inflections or forces which can potentiate an ethological curriculum - cultivating attunement, attentiveness and noticing; becoming-with; rendering each other capable; and engaging response-ably. [ABSTRACT FROM AUTHOR]

A short essay on the life of images and sounds in John Akomfrah's Vertigo Sea; on radical montage as the reinvention of relationality and the index of errantry; and on ghosts and justice beyond equivalence. [ABSTRACT FROM AUTHOR]

This paper argues for a shift in disciplinary identity from 'comparative literature' into 'comparative media literacies'. The shift is necessitated by the fact that within a few decades, every student and practitioner of literature will be a digital native who negotiates culture from the perspective of the digital mind. In the digital mind informational availability replaces inquiry, reality is a montage from a variety of media, and the past no longer matters. Print literature is now a residual medium, just as oral literature becomes residual with the advent of writing. Comparatists should identify the essential elements of literature (which most likely does not include that it be written down in letters), see where these inhabit other media, and teach literature as an intermedial phenomenon. The essay uses Clive Scott's intermedial translations as an analogy for comparative scholarship, and provides examples of how literature travels between media. [ABSTRACT FROM AUTHOR]

One of the most challenging tasks in the internet of things-cloud-based environment is the resource allocation for the tasks. The cloud provides various resources such as virtual machines, computational cores, networks, and other resources for the execution of the various tasks of the internet of things (IoT). Moreover, some methods are used for executing IoT tasks using an optimal resource management system but these methods are not efficient. Hence, in this research, we present a resource-efficient workload task scheduling (RWTS) model for a cloud-assisted IoT environment to execute the IoT task which utilizes few numbers of resources to bring a good tradeoff, achieve high performance using fewer resources of the cloud, compute the number of resources required for the execution of the IoT task such as bandwidth and computational core. Furthermore, this model mainly focuses to reduce energy consumption and also provides a task scheduling model to schedule the IoT tasks in an IoT-cloud-based environment. The experimentation has been done using the Montage workflow and the results have been obtained in terms of execution time, power sum, average power, and energy consumption. When compared with the existing model, the RWTS model performs better when the size of the tasks is increased. [ABSTRACT FROM AUTHOR]

More and more works testify to the pictorial turn which marks francophone literary production since the end of the twentieth century, "immersed in the world of the modern images and mass media," as Magali Nachtergael pointed out. The textual and visual regimes are thus no longer inscribed in a logic of competition but arranged in a perspective of co-adjunction, of fertile crossings. From this perspective, we examine Affranchissements (2020) by Muriel Pic; this "wandering-book" is structured in six parts which deploy a nonlinear narrative, brimming with many visual materials and where everything starts from "the magical grimoire of a stamp album" and from a "debt to be paid." This article analyzes this fundamentally hybrid book which, in a decompartmentalization of semiotic regimes, activates a poetic plurimateriality and makes of the literary space a—political—place of renewal of the real, of a redrawing of the material and symbolic space, as Jacques Rancière would say. [ABSTRACT FROM AUTHOR]

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In dialogue with studies about montage in Romanian cinema, I argue that films such as Kapitalism: our improved formula (Solomon, 2010) and Do not expect too much from the end of the world ( Jude 2023) offer a dialectical technique that is structurally different from “intermedial collage” (Pethő 2022, 39). While such dialectical technique has abandoned three key elements that were part of Sergei Eisenstein’s conception of montage (totality, qualitative changes, and contradictions), it provides an aesthetic that anchors montage in an ideology critique, which is based on a political standpoint. I argue that the new montage deploys cuts that gesture to a partial perspective (against totality), delays and dead time (rather than qualitative changes) and works with inherent self-blockages as a condition of possibility to cinematic transformation (as opposed to contradictions). Given their interest in literature and new media, this experimental orientation constitutes an alternative not only to traditional forms (avant-garde collage or Soviet dialectics) but also to the New Romanian Wave’s focus on the essence of cinema (Solomon 2016, 48). [ABSTRACT FROM AUTHOR]

Purpose: Speech is characterized by dynamic acoustic cues that must be encoded by the auditory periphery, auditory nerve, and brainstem before they can be represented in the auditory cortex. The fidelity of these cues in the brainstem can be assessed with the frequency-following response (FFR). Data obtained from older adults—with normal or impaired hearing—were compared with previous results obtained from normal-hearing younger adults to evaluate the effects of age and hearing loss on the fidelity of FFRs to tone glides. Method: A signal detection approach was used to model a threshold criterion to distinguish the FFR from baseline neural activity. The response strength and temporal coherence of the FFR to tone glides varying in direction (rising or falling) and extent ( 1 3 , 2 3 , or 1 octave) were assessed by signal-to-noise ratio (SNR) and stimulus–response correlation coefficient (SRCC) in older adults with normal hearing and with hearing loss. Results: Significant group mean differences in both SNR and SRCC were noted—with poorer responses more frequently observed with increased age and hearing loss—but with considerable response variability among individuals within each group and substantial overlap among group distributions. Conclusion: The overall distribution of FFRs across listeners and stimulus conditions suggests that observed group differences associated with age and hearing loss are influenced by a decreased likelihood of older and hearing-impaired individuals having a detectable FFR response and by lower average FFR fidelity among those older and hearing-impaired individuals who do have a detectable response. [ABSTRACT FROM AUTHOR]

The following text is about montage, which can be understood as the plastic assembly of parts as an expansion of the collage into three-dimensional space. The task required to invent unknown things. The text describes the design and learning processes of artistic project work in which new things were created from materials and objects. The learning perspectives of this experimental montage also include ethical aspects that contribute to the students’ personality development. [ABSTRACT FROM AUTHOR]

Combining images, comparing and linking them in chains, clusters and texts is a cultural practice that was not invented with digitisation. It dates back to the nineteenth century, when the invention of photography facilitated the task of copying artworks and other cultural material, and putting them in different contexts. Later, with the invention of the moving image, the gesture of montage was developed as an entirely new device of narration and thinking. Alain Bergala refers to this cultural practice when he proposes, in The Cinema Hypothesis, the combination of film clips as a film-pedagogical praxis as well as a research method. This article investigates the theoretical, cultural and practical aspects of this method, in revisiting a wide range of writings by Jacques Rancière, Roland Barthes, André Malraux and Wsewolod Pudowkin, as well as materials from Aby Warburg’s Bilderatlas and the found footage film Why Don’t You Love Me? by Christoph Girardet and Matthias Müller (1999). Furthermore, by comparing an extract from Grigris by Mahamat-Saleh Haroun (2013) to Sandro Botticelli’s The Birth of Venus (1485/6), the didactic potential of this method is explored. The article thus considers the pedagogical, aesthetic, cultural and filmic aspects of the practice of ‘montage’ in its most basic sense: the combination of (audio)visual material. [ABSTRACT FROM AUTHOR]

Copyright of Revue Archéologique de Picardie is the property of Revue Archeologique de Picardie and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

• Functional connectivity estimates and graph metrics based on source EEG depend on electrode density. • Compared to high-density, low-density EEG gives skewed graph metric estimation. • The reproducibility of graph metrics across electrode densities depends on the inverse solution. Using EEG to characterise functional brain networks through graph theory has gained significant interest in clinical and basic research. However, the minimal requirements for reliable measures remain largely unaddressed. Here, we examined functional connectivity estimates and graph theory metrics obtained from EEG with varying electrode densities. EEG was recorded with 128 electrodes in 33 participants. The high-density EEG data were subsequently subsampled into three sparser montages (64, 32, and 19 electrodes). Four inverse solutions, four measures of functional connectivity, and five graph theory metrics were tested. The correlation between the results obtained with 128-electrode and the subsampled montages decreased as a function of the number of electrodes. As a result of decreased electrode density, the network metrics became skewed: mean network strength and clustering coefficient were overestimated, while characteristic path length was underestimated. Several graph theory metrics were altered when electrode density was reduced. Our results suggest that, for optimal balance between resource demand and result precision, a minimum of 64 electrodes should be utilised when graph theory metrics are used to characterise functional brain networks in source-reconstructed EEG data. Characterisation of functional brain networks derived from low-density EEG warrants careful consideration. [ABSTRACT FROM AUTHOR]