Perceiving the Mosaic: Form in the Mashups of DJ Earworm

2020 ◽  
Author(s):  
Jeffrey Scott Yunek ◽  
Benjamin K Wadsworth ◽  
Simon Needle
Keyword(s):  
Formal Analysis ◽  
History Of ◽  
Mosaic Form

Abstract The formal analysis of mashups is generally overlooked because their structures are assumed to be derived from one or more of their component tracks. This article explores the generation of original formal structures in one of the most well-known and complex mashup artists, DJ Earworm. We show that the form of his mashups can neither be derived from a singular work nor be analyzed by their thematic or harmonic construction. Instead, verse–chorus forms are revealed by correlating mashup sections to the formal origins of their borrowed material, which is based on the composer’s writings and interviews, a history of formal correlation in the mashup genre, and multiple analyses.

scholarly journals Associative Blockchain for Decentralized PKI Transparency

Cryptography ◽  
2021 ◽  
Vol 5 (2) ◽  
pp. 14
Author(s):  
Xavier Boyen ◽  
Udyani Herath ◽  
Matthew McKague ◽  
Douglas Stebila
Keyword(s):  
Formal Analysis ◽  
Fraud Detection ◽  
Public Key Infrastructure ◽  
Public Key ◽  
The Internet ◽  
Security Model ◽  
User Adoption ◽  
Browser Extension ◽  
History Of ◽  
Client Side

The conventional public key infrastructure (PKI) model, which powers most of the Internet, suffers from an excess of trust into certificate authorities (CAs), compounded by a lack of transparency which makes it vulnerable to hard-to-detect targeted stealth impersonation attacks. Existing approaches to make certificate issuance more transparent, including ones based on blockchains, are still somewhat centralized. We present decentralized PKI transparency (DPKIT): a decentralized client-based approach to enforcing transparency in certificate issuance and revocation while eliminating single points of failure. DPKIT efficiently leverages an existing blockchain to realize an append-only, distributed associative array, which allows anyone (or their browser) to audit and update the history of all publicly issued certificates and revocations for any domain. Our technical contributions include definitions for append-only associative ledgers, a security model for certificate transparency, and a formal analysis of our DPKIT construction with respect to the same. Intended as a client-side browser extension, DPKIT will be effective at fraud detection and prosecution, even under fledgling user adoption, and with better coverage and privacy than federated observatories, such as Google’s or the Electronic Frontier Foundation’s.

scholarly journals Alexandre Dumas’s Works in the Art of Alexandre Benois

2019 ◽  
Vol 16 (2) ◽  
pp. 184-195
Author(s):  
Anna E. Zavyalova
Keyword(s):  
Formal Analysis ◽  
Creative Work ◽  
Court Culture ◽  
Louis Xiv ◽  
Artistic Process ◽  
Alexandre Dumas ◽  
Literary Source ◽  
Literary Sources ◽  
History Of ◽  
Louis Xv

The article studies the problem of interpretation of literary source in visual creative work of A.N. Benois. There are identified and analyzed new sources of his works — historical novels by A. Dumas, père. The question about the role of the novels by Alexandre Dumas devoted to the history of France of the 17th and 18th centuries in creative work of Alexandre Benois has never become the object of research. The re­levance of this article is determined by this fact. The scientific novelty of this article lies in revea­ling new literary sources of creative work of A. Benois — Dumas’s novels “Joseph Balsamo (Doctor’s Notes)” (1846—1848), “Louis XIV and his Century” (1844), “Louis XV and his Epoch” (1849) — and determining parallels between them and art practice of the artist: painting, graphics and art of book. The author analyses content of the ar­tist’s memories, his literary works, diaries, as well as diaries by E. Lanceray, and complements these information details by a comparative textological analysis of Benois’s memoirs and Dumas’s no­vels in Russian translations. This method allows to deepen the formal analysis of A. Benois’s works (primarily the two Versailles series) and partially reveal the mechanism of complex figurative synthesis in the artistic consciousness at the turn of the 19th—20th centuries, on the basis of which they were created, to expand the existing perceptions about the literary sources of the artist’s creative work. The author concludes that the no­vels by Dumas “Joseph Balsamo”, “Louis XIV and his Century” had an influence on the artist’s perception of the theme of court culture and Versailles in the historical, cultural and natural aspects. It was reflected in the appeal to the plot of “fish feeding” in the late 1890s, in the formation of the images of Versailles and King Louis XIV in old age. The article also finds that the novel “Joseph Balsamo” had an influence on Benois’s creation of Trianon’s everyday image in the past. At the same time, the artist turned to the interpretation of the image of Marquise de Pompadour as “sultana” under the influence of Dumas’s novel “Louis XV and his Epoch”. In addition, the three musketeers — characters of Dumas’s novel with the same name — are placed in the drawing of the title page of Benois’s “Versailles” album. It is important that it does not come about direct illustration of the novels, but about an artistic process of creating a figurative system of images and forming the artist’s stylistics.

Introduction

2021 ◽  
pp. 1-18
Author(s):  
Jordan Schonig
Keyword(s):  
Film Studies ◽  
Formal Analysis ◽  
Film Theory ◽  
Gestalt Psychology ◽  
Film Criticism ◽  
Philosophical Intuition ◽  
History Of ◽  
Generic Structures ◽  
Temporal Flow ◽  
Film Form

The Introduction examines why “movement” is often invoked as a term in film criticism and film theory but is rarely analyzed as an aspect of film form. The reason for this is twofold. First, because film theory has largely examined movement only as a defining property of the cinematic medium, movement is rarely singled out in film criticism. Second, because film theory has inherited the philosophical intuition that form is primarily spatial rather than temporal, formal analysis in film studies tends to break up the temporal flow of film into static units, such as in shot breakdowns and frame analyses. In film studies, then, “form” and “movement” are conceptually incompatible. As a means of thinking motion and form together, the Introduction proposes the concept of “motion forms,” generic structures, patterns, or shapes of motion. The Introduction then explores the philosophical roots of the motion form in phenomenology and Gestalt psychology, and explains how such a way of thinking about cinematic motion differs from other phenomenological approaches in film studies. Finally, the introduction outlines the six chapters of the book, each of which investigates a particular motion form that emerges throughout the history of cinema.

“I Bid Thee Arise!”: Reverse-Editing and Reversal Miracles in Carl Theodor Dreyer’s Ordet

2012 ◽  
Vol 16 (1-2) ◽  
pp. 100-121
Author(s):  
Justin Ponder
Keyword(s):  
Formal Analysis ◽  
Conceptual History ◽  
History Of ◽  
Theological Argument

AbstractMany scholars have analyzed Carl Theodor Dreyer’sOrdetfor its unusual camera movements, long takes, and reverse-editing. Some have gone so far as to link these cinematic devices toOrdet’s narrative focus on miracles, exploring connections between the film’s form and its content. This essay attempts to bridge the gap between formal analysis and theological analysis. It examines the film’s representation of miracles against the conceptual history of miracles, considering the extent to which we may regard the film as a theological argument, making visual assertions as important and fruitful as verbal ones.

The Last Shall Be First: Aesthetics and Politics in Black Film and Media

2017 ◽  
Vol 71 (2) ◽  
pp. 38-45 ◽  
Author(s):  
Racquel Gates
Keyword(s):  
Film Studies ◽  
Formal Analysis ◽  
People Of Color ◽  
Critical Study ◽  
Aesthetics And Politics ◽  
Black Film ◽  
Film And Television ◽  
Racial Ideologies ◽  
Film And Media Studies ◽  
History Of

There has been a shift away from formal and textual analysis in the field of film and media studies. These methodologies are seen as passé, “old school,” or even overly simplistic (and no doubt some of this work may warrant these critiques). Yet, I suspect that, as with the celebration of style in Moonlight (Barry Jenkins, 2016), here, too, other politics are at play. In some ways, to reject formal analysis is to subconsciously reject the earlier era of film studies that treated the study of black film (and eventually television) as marginal or inconsequential. In other ways, this move away from formal analysis is also an acknowledgement of the incredibly rich and multifaceted terrain that black representations cover: the critical study of industrial practices, labor, and global strategies—to list some of the most popular topics in the field right now—are all essential to any understanding of the complicated subject of black film and media. Questions of style, though, cannot be separated from questions of politics. Aesthetics bear the indelible imprint of racial ideologies. This is tricky territory, then, and requires scholars to tread carefully. The celebration of certain “beautiful” aesthetics can serve to reinforce an established taste politics that has traditionally dictated an aesthetic marginalization and degradation for people of color throughout the history of the medium. I intend these questions as provocations rather than condemnations. I am not suggesting that high-quality images are simply indicators of whiteness or that low-quality ones are inherently more authentic for representing blackness. On the contrary, I am fascinated by the power that style holds, especially as it pertains to the black image, and how the implementation of that style can form a powerful critique of the film and television industries' longtime racism. At the same time, I want a more rigorous, thoughtful, critical interrogation of how these images come to be, what they signify, and how they train viewers to read race in ways that extend beyond narrative. In proposing an emphasis on aesthetic and formal analysis, I am suggesting, not a “return” to traditional film studies approaches, but instead, a study of black images that was never “there” in the first place.

Model-based reasoning in financial domains

1992 ◽  
Vol 7 (4) ◽  
pp. 323-343 ◽  
Author(s):  
Walter Hamscher
Keyword(s):  
Formal Analysis ◽  
Accounting Information ◽  
Classical Physics ◽  
Model Based ◽  
Internal Structures ◽  
Significant Research ◽  
Qualitative Models ◽  
History Of ◽  
Business Entities ◽  
The Many

AbstractFinance is a challenging yet appropriate domain for model-based reasoning, an area of research otherwise grounded in classical physics. Among the many features that suggest a model-based approach are that firms have formal internal structures, business entities have idealizable behaviours, and there is a history of formal analysis of business problems. This article discusses the motivations and foundations of the model-based approach, and surveys several existing artificial intelligence programs that exploit its advantages. The survey shows that there are ample opportunities for useful systems and significant research in this area. However, accomplishing either of these goals depends crucially upon moving beyond qualitative models based only on accounting information, which tend not to capture the actual complexities of the domain.

scholarly journals Sisyphean Unproductivity in Narrative Film

2021 ◽  
Vol 25 (3) ◽  
pp. 296-320
Author(s):  
Juan Velasquez
Keyword(s):  
Film Studies ◽  
Formal Analysis ◽  
Labour Productivity ◽  
Chantal Akerman ◽  
Charles Chaplin ◽  
History Of ◽  
Narrative Film ◽  
Human Desire ◽  
The Relationship

This article examines the relationship between labour, productivity and film. The purpose of this intervention is to suggest that narrative film can show us the unproductive tendencies that humans carry within them but that cannot always make themselves known. These leisurely desires erupt as musicality, ecstasy, and the undoing of the self when we carry out the repetitive gestures of work. This article compares Camus's freedom and Georges Bataille's sovereignty as they share an interest in anti-futurity and anti-productivity and it uses these concepts to propose worker's ecstatic escapes from labour as Sisyphean unproductivity. Using this theoretical framework, I carry out a comparative and formal analysis of Sisyphus (Marcell Jankovics, 1974), Modern Times (Charles Chaplin, 1936), The Apartment (Billy Wilder,1960) , Saut ma ville (Chantal Akerman, 1971) and Dancer in the Dark (Lars von Trier, 2000). While the field of film studies has highlighted the role of cinema as a tool for propagating ideologies of productivity, the scenes examined suggest that film also has a history of subverting ideologies of productivity through repetitive, Sisyphean unproductivity. By updating the plight of the Greek hero to 20th and 21st century capitalism, these directors uncover a fundamental, yet impossible, human desire for non-productive activities This re-centering of the unproductive could be useful in future academic re-categorizations of the working class through its desires to not work, that is, it provides preliminary materials for understanding class identities through their deformation, and not just their formation.

scholarly journals A Conceptual Analysis Of Ancient Ecuadorian Faces Carved In Spondylus Shells

2021 ◽  
Author(s):  
Javier Burgos ◽  
Carolina Sierra ◽  
Alonso Restrepo de León ◽  
Hugo Sotomayor
Keyword(s):  
Geographical Distribution ◽  
Mathematical Theory ◽  
Conceptual Analysis ◽  
Formal Analysis ◽  
Economic Value ◽  
Social Meaning ◽  
History Of ◽  
Regional Cultures ◽  
Representation Of Knowledge

Shells, probably like no other product of nature, have played an important role in the history of mankind. The pre-Hispanic civilizations of Ibero-America also used certain type of shells profusely in their religious ceremonies, in particular, in Ecuador there were two species of main importance, the Spondylus princeps and the Spondylus calcifer broadly employed to manufacture ornaments that possess a strong symbolic, religious and social meaning and that were almost exclusively used by ruling classes. Among these ornaments, the faces carved on the Spondylus shells are little known. In the present study, we chose a total of fifteen (15) pieces from the Pastor Restrepo Lince´s archaeomalacology collection to understand the possible uses of these objects, through the interpretation of the gestures represented on the faces, their dimensions, and their geographical distribution in pre-Hispanic Ecuador. To achieve the proposed objective, we approach the present investigation from the perspective of the formal analysis of concepts, which is a mathematical theory of representation of knowledge, finding that these faces carved in Spondylus, were used daily or in special ceremonial occasions and that its use was common in all the regional cultures of ancient Ecuador, from the oldest such as Valdivia, and for more than 2000 years, indicating a long tradition of the use of Spondylus as an object of great symbolic and economic value until the arrival of the Spanish

Dominants, Subdominants, and Recedents: A Formal Analysis of Transformations in the Canonical Representation of 19th Century German Philosophy

2020 ◽  
Vol 30 (6) ◽  
pp. 173-206
Keyword(s):  
19Th Century ◽  
Graphical Representation ◽  
Formal Analysis ◽  
Canonical Representation ◽  
History Of Philosophy ◽  
Distant Reading ◽  
German Philosophy ◽  
Original Works ◽  
History Of ◽  
Visualization Techniques

The history of philosophy was a persistent interest in 19th century Germany. Ulrich Schneider lists 148 original works in the history of philosophy by 114 authors published from 1810 through 1899. The scale of this historiographic tradition makes it suitable for analysis through digital humanities techniques (“distant reading,” formal analysis, and innovative visualizations). This paper uses that body of publications to show how the canon of the history of German philosophy in the 19th century was formed and how it evolved. In order to uncover patterns in the attention devoted to particular 19th century philosophers, the authors undertook a formal analysis of 77 tables of contents from German textbooks in the history of philosophy. They used the results of their analysis to classify philosophers into three groups with metaphorical labels drawn from ecology: dominant, subdominant, and recedent. In addition to confirming the dominance of the “Big Four” (Kant, Fichte, Schelling, and Hegel), the analysis provides a more nuanced picture of the period under consideration. For example, during the 1830s and 1840s, opinions about the significance of certain philosophers became highly polarized. In some textbooks Johann Friedrich Herbart was completely ignored, while in others his ideas were explored in more pages than those of Hegel. Kant’s writings attracted increasing attention after 1860. His share of pages increased as the number devoted to most other philosophers was dwindling. Fichte, Schelling and Hegel lose nearly half of their pages and fall closer to the subdominant category that included Herbart, Schleiermacher, and Schopenhauer. Original visualization techniques provide a graphical representation of the changes in the canon of 19th century German philosophy.

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