Google TechTalks March 10, 2006 Austin Henderson Abstract: The past decades have seen huge improvements in computer systems but these have proved difficult to translate into comparable improvements in the usability and social integration of computers. I believe that the problem is a deeply rooted set of assumptions about how computer systems should be designed, and about who should be doing that design. Human organizations are continually evolving to meet changing circumstances of resource and need. Central to the problem is the approach that technologists adopt to the design of "systems": by training, interest and practice, they instinctively separate the technical system from its context of...

You can watch the high quality version if you like (click "watch in high quality"). A demonstration of the elegance with which the Lagrange Formalism allows you to derive the differential equations of motion of any mechanical system with a conservative potential. In the video I derive the differential equation of a point-mass in a y=x^n constraint and a normal gravity potential. Then i show the solutions for n = {2, 6, 50}. Hope you enjoy(ed) it!

canadian animation

formalism

fighting against institutional formalism through ephemerality

This is the part 2 of a 3-part series that discuss on how we can use Semantic Web technologies for modeling Domain Model of Rule-based Business Application. In this part I'm presenting OWL DL formalism can be integrated with Logic programs formalism to write rules on top of ontologies.

How many church goers have encountered God? An encounter is life altering and unforgetable, Those who taste of the power of the life to come will nota be content with religious formalism

With the release of Richard Linklatter's feature-length cartoon version of a Philip K. Dick novel, I thought it a good opportunity to turn, however briefly, to what is still, to me, the gold standard in animated cinema. People who apply the term 'Surreal' to films produced in the early 30s by Max and Dave Fleischer are really missing the point. Indeed there are elements that correspond to that swell in the tidepool of European formalism, but to say that it's a defining characteristic (or even an important one) is to, in the same breath, dismiss everything that made their work so unique. As is plain in even a gem as dark as their 1931 film Bimbo's Initiation, the Fleischers were not just following the aesthetic footprints of Old World models, they were running on the freedom granted them by the knowledge that the only restraint on their vision was the limits of their ability. Nothing else accounts for the exhilaration in the center of their finest work. This was a time when popular art accomodated the strange and the unkempt and the lurid and the beautiful far more easily than any point since, a circumstance that brought forth the wild ether in which something like 'Bimbo's Initiation' could be created. There's more joy and horror in thses seven minutes than in all the latter-day cartoon emanations of the last quarter-century. Tom Sutpen

Lecture 7 of Leonard Susskind's Modern Physics course concentrating on Quantum Mechanics. Recorded February 25, 2008 at Stanford University. This Stanford Continuing Studies course is the second of a six-quarter sequence of classes exploring the essential theoretical foundations of modern physics. The topics covered in this course focus on quantum mechanics. Leonard Susskind is the Felix Bloch Professor of Physics at Stanford University. Complete playlist for the course: http://youtube.com/view_play_list?p=189C0DCE90CB6D81 Stanford Continuing Studies: http://continuingstudies.stanford.edu/ About Leonard Susskind: http://www.stanford.edu/dept/physics/people/faculty/susskind_leonard.html Stanford University channel on YouTube: http://www.youtube.com/stanford

This is the part 3 of a 3-part series that discuss on how we can use Semantic Web technologies for modeling Domain Model of Rule-based Business Application. In this part I'm presenting how the formalism developed in the first 2 parts can be used as the foundation of a Model Driven Archtecture.

Session 2: why study film?, realism and formalism, mathematics as an abstract art form, film and photography, Beauty and the Beast, Cocteau, Citizen Kane View the complete course: http://ocw.mit.edu/24-213F04 License: Creative Commons BY-NC-SA More information at http://ocw.mit.edu/terms More courses at http://ocw.mit.edu

James Kalm bikes between galleries for a Thursday night Chelsea trifecta. Juergen Teller Ukraine at Lehman Maupin brings the erotic and fashionable to his interpretation of the Ukraine. This exhibition is an expanded version of a series that was commissioned for the 52nd Venice Biennale. At Andrew Kreps, Ruth Root challenges the received doctrine of Geometric Abstraction. Using a sensitively expressive color range and layers of enamel paint on aluminum sheets, she bends edges, warps forms, and applies a whimsical outlook to pictorial formalism. The reformation of Brooklyn's Redhook waterfront is the subject of Greg Lindquist's series "Industry" featured at Elisabeth Harris Gallery. Using a gamut of gray tones metallic pigment and metal surfaces, Lindquist documents the ominous mood engendered by unbridled development.

Christ has bidden His people watch for the signs of His advent and rejoice as they should behold the tokens of their coming King. "When these things begin to come to pass," He said, "then look up, and lift up your heads; for your redemption draweth nigh." He pointed His followers to the budding trees of spring, and said: "When they now shoot forth, ye see and know of your own selves that summer is now nigh at hand. So likewise ye, when ye see these things come to pass, know ye that the kingdom of God is nigh at hand." Luke 21:28, 30, 31. But the spirit of humility and devotion in the church has given place to pride and formalism, love for Christ and faith in His coming have grown cold. Absorbed in worldliness and pleasure seeking, the professed people of God have been blinded to the Saviour's instructions concerning the signs of His appearing. The doctrine of the second advent has been neglected; the scriptures relating to it have been obscured by misinterpretation, and to a great extent, ignored and forgotten. Especially is this the case in the churches of America. The freedom and comfort enjoyed by all classes of society, the ambitious desire for wealth and luxury, beget an absorbing devotion to money-making, the eager rush for popularity and power, which seems to be within the reach of all, leads men to center their interests and hopes on the things of this life, and to put far in the future that solemn day when the present order of things should pass away. When the Saviour pointed out to His followers the signs of His return, He foretold the state of backsliding that would exist just prior to His second advent. There would be, as in the days of Noah, the activity and stir of worldly business and pleasure seeking--buying, selling, planting, building, marrying, and giving in marriage--with forgetfulness of God and the future life. For those living at this time, Christ's admonition is: "Take heed to yourselves, lest at any time your hearts be overcharged with surfeiting, and drunkenness, and cares of this life, and so that day come upon you unawares." "Watch ye therefore, and pray always, that ye may be accounted worthy to escape all these things that shall come to pass, and to stand before the Son of man." Luke 21:34, 36. The condition of the church at this time is pointed out in the Saviour's words in the Revelation: "Thou hast a name that thou livest, and art dead." And to those who refuse to arouse from their careless security, the solemn warning is addressed: "If therefore thou shalt not watch, I will come on thee as a thief, and thou shalt not know what hour I will come upon thee." Revelation 3:1, 3. Galactic Federation of Light First Contact Project World Evacuation Cropcircles REVOLUTION is Now love liebe truth wahrheit maya alien et ufo evakuierung 2012 dna dimension galactic Consciousness Bewusstsein fifth dimension God Jesus Christ paradise kingdom of heaven New Golden Age of Aquarius Pleiadians Sheldan Nidle Mayan Calendar Bibel ovni нло круги на полях инопланетяне cropcircles kornkreise Shambhala Agharta Third Reich Atlantis

Dutch filmmaker Peter Delpeut, who inventively embroidered found footage into his own narratives in "Lyrical Nitrate" and "The Forbidden Quest," uses hand-tinted photographs from the late 19th century to evoke a tine and place in "Felice...Felice..." Shot entirely in an Amsterdam studio, the somber romantic drama's rather cold formalism may shut out some fest audiences, but those that stick around long enough for it to kick in on an emotional level will find much to admire. Pic was warmly received as the official opener of this year's Rotterdam Film Festival. Delpeut's tragic love story about the cultural chasm between East and West was inspired by the pictures taken by turn-of-the-century Japanese photographers Hikoma Uenoand Renjo Shimooka and Western visitors of the time such as Baron von Stilfried and Felice Beato. The latter is the protagonist of this fictionalized "Madame Butterfly" variant; his hopeless quest to reconjure a lost love is narrated via a letter to his brother back in Holland. Six years after abandoning his bought bride O-Kiku (Kumi Nakamura) in Nagasaki, photographer and explorer Beato (Johan Leysen) returns to Japan and attempts to track the woman, who has retreated further sand further into his memory. Finding their former home empty he continues on to places they once lived in or visited, traveling across a country now increasingly remote and unfathomable to him. The journey is punctuated by encounters with people who knew them, but the reticence and immovability of the Japanese only adds to Felice's frustration. The restraint and lethargic pacing of Delpeut's direction allow attention to drift to the film's craftsmanship rather than its drama. Working with actors for the first time, Delpeut elicits intense highly focused performances, most notably from solemn lead Leysen, and from Proett and veteran Yoshi Oida ("The Pillow Book") as O-Kiku's troubled father. Similar in some ways to Tran Anh Hung's "The Scent of Green Papaya," which also created an Asian environment in a European studio, the film's artifice is very much part of its spell. Editor Menno Boerema's work is especially fine in giving a non-static life to the subtly colored photographs that trace Felice's journey and link the studio scenes. -- Variety, February 23 - March 1, 1998 Director: Peter Delpeut Screenplay: Peter Delpeut Production Company: Pieter van Huystee Films/Ariel Film Producers: Pieter van Huystee/Suzanne van Voorst Line producer: Hetty Krapels Photography: Walther Vanden Ende Musical score: Loek Dikker Editor: Menno Boerema Art director: Vincent de Pater Costumes: Jany Temime CAST Johan Leysen: Felice Beato Toshie Ogura: Ume Rina Yasima: O-Take Noriko Sasaki: Hana Kimu Nakamura: O-Kiku Yoshi Oida: Matsukichi Noriko Proett: O-Koma Netherlands, 1:1.66, colour (Drama, 1998, color, 99 min) 5 reels, Dolby SR 2850 metres, 25 f/p/s http://www.pvhfilm.nl

Terence McKenna and Rupert Sheldrake in conversation about the formative mechanics of life and the mystery of time.

Jane Vorburger dances in my "Sight & Sound" project at NYU Film School. Music was composed by me. Prof. Nick Tanis selected this film for the "Sight & Sound Showcase" that semester.

A music video produced for Danish art rock band The Drama: www.myspace.com/thedrama. Copyright 2007 Tarfilm Thank you: Klaus Andreas "Don" Jørgensen; Jonas Holm; Mie Jensen; Klaus P; Hanne & Leif Larsen; Sissel, Søren & Jane Jensen; Else Jenny Hedegaard; Mette Lauridsen; Lars Pilgaard; Elena, Jonas & Kasper; Georg Vang; Jonna Kande; Irene Schultz; Mathias Egebæk-Carlsen; Jens Anders Nielsen; Mads Hansen; Marianne Danielsen; Allan Nielsen; Richard Raskin; Kirsten Pedersen; Universtitesbaren; AAK; Cavi; Keld & Claus Damkjer; Kenneth Thomsen; Poul Erik Jensen; René Buur Sønderborg; Adi Jensen; Jon Auring Grimm; The Drama.

The inspiration for The Insect Musicians comes from this Oriental poetic tradition. In the West there has been the odd exwnple of nature and formalism colliding in music, e.g. "The Flight of the Bumblebee", and recently Messaien's transcriptions of bird song, rather more beautiful. But they are always perfortned on instruments of the modem orchestra, and only bear an awkward timbral relationship with the songs they would imitate. Now, for the first time, digital technology allows the sampling and manipulation of any natural sound source. Man can now see nature in a new light, and relate to it in complementary, creative ways. The insect produces sounds which go far beyond the boundaries of natural perception: m their pitch (which is often too high); in their rhythms (which are often too fast); and in their timbres (which can be too complex). i) Only a few of the insects are ever heard by man, and still fewer in the industrialized West. Best known, of course, are the crickets, grasshoppers, and cicadae. But a great many others produce sounds of communication and by virtue of their other activities. One of most important roles of the new technology is to bring these silent songs into the human acoustic and time scale. ii) Furthermore, by being able to sample and use the sound itself, and variations of it, we have the possibility of the creation of new instruments, entire new orchestras of timbres. iii) And in the microscopic analysis of the sounds and their organization (Rhythm) we find suggested new structures of musical syntax and semantics. Though it is notable that from the first listening one will notice a few greater affinity between certain ethnic ("primitive") musics and natural sonorities. The Insect Musicians is therefore both very new and, at the same time, very old. It is nature and hyper-nature in a sort of indivisible whole. Despite the high degree of digital manipulation, all the new "instruments" are able to retain the essential character (or "Nature") of their source mtact. If the approach has been to approximate certain ethnic (including European) mstruments, it is mainly due to this "Nature" strongly suggesting it in the first place. And of course it is only one approach. It is perhaps most significant to ask how much man has in the past imitated these natural sonorities in the creation of his own instruments and musics.

It has been a common trait of mankind since time immemorial that whenever a guide from God appeared to redirect their steps into the will and plan of God; they demanded supernatural proofs from these men of God, instead of accepting message on its merit. For example, when Jesus Christ (pbuh) began to preach to his people - "the children of Israel" - to mend their ways and to refrain from mere legalistic formalism and imbibe the true spirit of the laws and commandments of god, his 'people' demanded miracles from him to prove his bona fides ( his authenicity , his genuineness), as recorded in the Christian scriptures: Then certain of the scribes and the Pharisees answered, saying master, we would have a sign ( miracle ) from thee. But he answered and said unto them, "an evil and adulterous generation seeketh after a sign (miracle) and there shall no sign be given to it, but the sign of the prophet Jonas ( Matthew 12:38-39 holy bible) Though on the face of it, Jesus (pbuh) refuses to pamper the Jews here, in actual fact, he did perform many miracles as we learn from the gospel narratives. The bible is full of supernatural events accredited to the prophets from their Lord. In reality all those 'signs' and 'wonders' and 'miracles' were acts of God, but since those miracles were worked through his human agents, we describe them as the miracles of prophets (i.e. Moses or Jesus (pbuh) by those hands they were performed). Some six hundred years after the birth of Jesus (pbuh), Muhammad (pbuh) the messenger of God was born in Makkah in Arabia. When he proclaimed his mission at the age of forty, his fellow countrymen, the mushriks (polytheists) of makkah made an identical request for miracles, as had the Jews, from their promised Messiah. Text book style, it was as if the Arabs had taken a leaf from the Christian records. History has a habit of repeating itself! And they say: why are not signs sent down to him from his lord? (holy Qu`ran 29:50)

"He who turns away his ear from listening to Torah, even his prayer is an abomination." (Mishlei [Proverbs] 28:9) * turning away means an intentional ignoring or rejecting.

shortened youTube edition Conversation with famous artist, Bruce McLean, about art in general and about setting up the Dan Devlin Show. with intervention by anti-neo-formalist artist, Herzog Dellafiore. Bruce McLean Sheridan DeMyers Daniel Devlin

In this show, sculptures by Bourgeois and Benglis, mostly completed between 1967 and 1974, coexist in surprising harmony despite their completion by two very separate artists within a shifting political and artistic landscape. The decade has since culminated in a continued search for identity, defined in part by Postmodernism and its divergent offspring. The rejection of Modernism's utopian autonomy fostered a theoretical and conceptual playground among artists and critics; the rebellion echoed further in the outspoken political activism of the public sphere. Working within this charged artistic atmosphere, at the cusp of changes to come, Bourgeois and Benglis created material-savvy sculptures more attune to messy abstraction and process-oriented gesture than to conceptual formalism. Their sculptural manifestations explored autobiographical experience and the female subject (not object). Robert Pincus-Witten, in his catalogue essay, positions Bourgeois and Benglis not under the overarching definition of Postmodernism, but rather within a more finely characterized Postminimalism, citing their acceptance of Abstract Expressionism's "transcendent potential" and their physical, hands-on, material explorations.

On the relationship between production and criticism.

The full exploitation of suspense and tension highlights Hitchcock's artistic debt to Eisenstein. Will the nanny be shot? For how long can the baby carriage teeter on the top step before it begins its fall? The tracking camera shot which introduces the runaway pram increases the scene's tempo so that the pram runs at double time against the march of the soldiers, also raising the dramatic stakes. The final climactic destruction of innocence - the death of the baby and the attack on the conciliatory, bespectacled old woman by the sabre wielding cossack to whose better nature she vainly appeals - puts paid to any notion that verbal persuasion in powerless isolation can ever be an effective part of any revolutionary's armoury against monstrous reactionary forces. Eisenstein's next film, October, was based on Ten Days that Shook the World, journalist John Reed's eyewitness account of the period leading up to the 1917 revolution. Released in 1928, the film takes the director's experiments in juxtaposition to new heights When Eisenstein went to Hollywood in 1928 he was feted by movie moguls and powerbrokers like Douglas Fairbanks, Chaplin and Paramount's Jesse Lasky, all hailing him as the genius who would teach the philistines who populated this commercial hell how to make film. Eistenstein churned out scripts by the cartload, but Paramount failed to green light any of them for actual production. Eventually Eisenstein accepted the financial backing of novelist Upton Sinclair and commenced filming Que Viva Mexico! but Sinclair pulled the plug following one too many interventions by Stalin. Eisenstein's near complete work was sold to studios for use as stock footage. He returned to the Soviet Union in 1932, finding a vastly different climate to the one he had left. Proletkult had petered out. Few of his friends remained active. Many of them had been purged. So, years after making October, Eisenstein was denounced as a Formalist. The Formalism movement used the method of defamiliarisation - making objects strange in order to make them seem more real. Eisenstein's technique expressed their idea that mere reproduction is never valid unless it is a deviation from the norm, a risky thing to do under Stalin. Subsequently he directed Old And New, which advanced the arguments of Stalin's collectivisation policy. Toeing Stalin's nationalistic line with Alexander Nevsky (1938) at a time when the Soviet state was gearing up for war with Germany, Eisenstein portrayed medieval Russian knights as heroic defenders of the motherland. Ivan The Terrible I (1944) depicts a tough but misunderstood tyrant battling single handed against the evil Boyar conspiracy, the enemy within. Eisenstein's brilliant earlier technique has congealed: the storytelling is stolid and turgid; the performances verge on self parody. The 1,376 editing cuts of The Battleship Potemkin, double that of the average film, give way to long, repetitive shots of actors mugging to camera. In 1946, with Eisenstein recovering from a near fatal heart attack, his work print of Ivan the Terrible II was screened and critically mauled. Finally released in 1958, during Khrushchev's 'thaw' and ten years after Eisenstein's death, its antiquated style rendered it an ill received dinosaur. Eisenstein threw in the towel shortly before he died in 1948, weakened by poor health and the stultifying political climate in which he was trying to work. What, then, remains of Eisenstein's legacy? Without the Russian Revolution we might never have heard of him at all. He was at his most inventive and innovative during the initial throes of the revolution, in unprecedented conditions of mass creative liberation. In the early days state finance allowed him to pursue his ideas to their limits, whereas even Griffith encountered great difficulty in securing backing for his films in the US. Griffith and his successors eventually defined the art of film for the mass market, if not for the masses; but whilst little of Eisenstein's work transcended brilliant experimentation, it was nevertheless Eisenstein who embodied the promise of the fulfillment of human potential under socialism.

LaLaLa HumanSteps explore variations within the linear formalism of ballet in Exauce/Salt