Gone with the wind: Ventjet is a new engineering model for atmospheric dispersion

2021 ◽  
Author(s):  
Derek Miller ◽  
Elena Vyazmina ◽  
Amy Shen ◽  
Elizabeth Lutostansky
Keyword(s):  
Atmospheric Dispersion ◽  
Engineering Model ◽  
Gone With The Wind

An engineering model for clinical psychology

1969 ◽  
Author(s):  
Richard I. Lanyon ◽  
Anthony Broskowski
Keyword(s):  
Clinical Psychology ◽  
Engineering Model

Informationsqualität in der Produktentwicklung: Modellbasiertes Systems Engineering mit expliziter Berücksichtigung von Unsicherheit/Information Quality in Product Engineering: Model-Based Systems Engineering in Explicit Consideration of Uncertainty

Konstruktion ◽  
2020 ◽  
Vol 72 (11-12) ◽  
pp. 76-83
Author(s):  
Jens Pottebaum ◽  
Iris Gräßler
Keyword(s):  
Systems Engineering ◽  
Information Quality ◽  
Engineering Model ◽  
Model Based ◽  
Product Engineering ◽  
Explicit Consideration ◽  
Model Based Systems Engineering

Inhalt Unscharfe Anforderungen, verschiedene Lösungs-alternativen oder eingeschränkt gültige Simulationsmodelle sind Beispiele für inhärente Unsicherheit in der Produktentwicklung. Im vorliegenden Beitrag wird ein modellbasierter Ansatz vorgestellt, der das industriell etablierte Denken in Sicherheitsfaktoren um qualitative Aspekte ergänzt. Modelle der Informationsqualität helfen, die Unsicherheit von Ent- wicklungsartefakten beschreibend zu charakterisieren. Mittels semantischer Technologien wird Unsicherheit so wirklich handhabbar – nicht im Sinne einer Berechnung, sondern im Sinne einer qualitativen Interpretation. Dadurch entsteht wertvolles Wissen für die iterative Anforderungsanalyse, die Bewertung alternativer System-Architekturen oder für die Rekonfiguration von Simulationen.

Music Director Differences

2017 ◽  
Author(s):  
Nathan Platte
Keyword(s):  
Gone With The Wind ◽  
Included Trial ◽  
Franz Waxman

In the productions leading up to Gone with the Wind, Selznick tried working with different composers to cultivate a sustainable partnership. These efforts included trial productions with Alfred Newman (The Prisoner of Zenda) and Oscar Levant (Nothing Sacred), and ultimately led to Selznick’s hiring Lou Forbes as a permanent music director in 1937. Forbes’s responsibilities included securing permissions to use preexistent music, assembling preview scores (known now as “temp tracks”), supervising final scores, serving as a liaison between Selznick and the composer, monitoring recording sessions, and watching the budget. This chapter surveys the films leading up to Forbes’s tenure and his initial productions, which involved coordinating the collective efforts of multiple composers, including Hugo Friedhofer, Max Steiner, Robert Russell Bennett, and Franz Waxman. Forbes’s thoughtful contributions to films like Intermezzo illuminate the otherwise neglected role of the Hollywood music director.

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