Agriculture et environnement : une évaluation de la performance technique et environnementale d'exploitations laitières

2000 ◽  
Vol 143 (2) ◽  
pp. 201-211
Author(s):  
Isabelle Piot-Lepetit ◽  
Monique Le Moing
Keyword(s):  
Performance Technique

COMPARATIVE ANALYSIS OF PERFORMANCE TECHNIQUE ELEMENT EXTENSION LIFT FOR GYMNASTS AND GYMNASTS AT DIFFERENT STAGES OF LEARNING

Globus ◽  
2020 ◽  
Author(s):  
V. Parakhin ◽  
◽  
M. Sobitova ◽  
Keyword(s):  
Comparative Analysis ◽  
Performance Technique ◽  
Stages Of Learning ◽  
Analysis Of Performance

The article describes a comparative analysis of the technique of performing the gymnastic element with extension in gymnasts and gymnasts of different qualifications

scholarly journals Fuzzy Adaptive Prescribed Performance Control for Uncertain Horizontal Platform System with Unknown Control Gain

2015 ◽  
Vol 2015 ◽  
pp. 1-8
Author(s):  
Wei Xiang ◽  
Yeguo Sun ◽  
Chunzhi Yang
Keyword(s):  
Control Method ◽  
Adaptive Controller ◽  
Performance Bounds ◽  
Constrained System ◽  
Prescribed Performance ◽  
Performance Technique ◽  
Control Gain ◽  
Unknown Control ◽  
Platform System ◽  
Fuzzy Adaptive

This paper proposes a fuzzy adaptive control method for uncertain horizontal platform system with unknown control gain, which is capable of guaranteeing the prescribed performance bounds. An error transformation is introduced to transform the original constrained system into an equivalent unconstrained one. Then, based on the error transformation technique and the predefined performance technique, a fuzzy adaptive controller is designed for the unconstrained system. It is shown that all the variables of the resulting closed-loop system are bounded. Finally, an illustrative example is given to demonstrate the effectiveness and usefulness of the proposed method.

scholarly journals ORNAMENTAL MOTIVES OF MODERN DESIGN PRACTICES

2021 ◽  
pp. 59-65
Author(s):  
O. D. Rykhlitska ◽  
O. I. Kosyk
Keyword(s):  
National Culture ◽  
Cultural Practices ◽  
Spiritual Values ◽  
Modern Design ◽  
Design Practices ◽  
Performance Technique ◽  
Cultural Paradigm ◽  
The People ◽  
Emotional Environment ◽  
The World

The article analyzes modern design practices based on symbolic and ornamental motives of folk art and their modern actualization in ethno-artistic areas, reflecting the relationship of traditional aspects with innovative, symbolic translation of cultural experience in time and space, creating symbolic value images, enhancing emotional environment and creating new narratives. Symbols, as the basis of the existence of the people, reflect the ethno- national aspects of culture, is an opportunity to find yourself at the level of relationship with your people, your nation, traditions. The appeal to archetypes is a special methodological perspective in which the meaning of the future is created due to the transformation of the past into a symbol. What is relevant in modern Ukrainian realities is that the whole cultural paradigm is being reconsidered and new ways of national identification are being sought. Embroidery is marked by a special color and incredible ornamentation, complex performance technique, which is reflected in the symbols of sociocultural practices, immersing in the depths of traditional norms and values that encourage to feel, assimilate, preserve and transmit. In modern domestic discourse, design practices are thought of as aimed at transforming the cultural environment into the integrity of cultural and natural components. They serve as a basis for forming an idea of the world and building harmonious relationships with the world. And the use of symbols-amulets and a certain emotional color is a special process of self-identification and the foundation for the revival of national culture and spiritual values, seeing their own place in the global cultural and artistic space. Therefore, the use of ornamental symbols in design practice is the basis for the revival of national culture and spiritual values and the formation of a new promising direction of Ukrainian design. Among the spiritual heritage of Ukraine with its color and incredible ornamentation, complex technique is embroidery, which is reflected in the symbols-codes of modern socio-cultural practices

scholarly journals Types of musical improvisation: a classification discourse

2020 ◽  
Vol 57 (57) ◽  
pp. 178-196
Author(s):  
B.O. Stetsiuk
Keyword(s):  
Music Performance ◽  
Morphological Type ◽  
The Other ◽  
Process Technology ◽  
Musical Space ◽  
Performance Technique ◽  
Musical Improvisation ◽  
Late Renaissance ◽  
Collective Improvisation

This article systemizes the types of musical improvisation according to various approaches to this phenomenon. It uses as the basis the classification by Ernst Ferand, which presently needs to be supplemented and clarified. It was stressed that the most general approach to the phenomenon of musical improvisation is its classification based on the layer principle (folklore, academic music, “third” layer). Within these layers, there are various forms of musical improvisation whose systemization is based on different principles, including: performer composition (collective or solo improvisation), process technology (full or partial improvisation), thematic orientation (improvisation theme in a broad and narrow context), etc. It was emphasized that classification of musical improvisation by types is manifested the most vividly when exemplified by jazz, which sums up the development of its principles and forms that shaped up in the previous eras in various regions of the world and have synthetized in the jazz language, which today reflects the interaction between such fundamental origins of musical thought as improvisation and composition. It was stated that the basic principles for classification of the types of musical improvisation include: 1) means of improvisation (voices; keyboard, string, wind and percussion instruments); 2) performer composition (solo or collective improvisation); 3) textural coordinates (vertical, horizontal, and melodic or harmonic improvisation, respectively); 4) performance technique (melodic ornaments, coloring, diminutiving, joining voices in the form of descant, organum, counterpoint); 5) scale of improvisation (absolute, relative; total, partial); 6) forms of improvisation: free, related; ornamental improvisation, variation, ostinato, improvisation on cantus firmus or another preset material (Ernst Ferand). It was stressed that as of today, the Ferand classification proposed back in 1938 needs to be supplemented by a number of new points, including: 1) improvisation of a mixed morphological type (music combined with dance and verbal text in two versions: a) invariable text and dance rhythm, b) a text and dance moves that are also improvised); 2) “pure” musical improvisation: vocal, instrumental, mixed (S. Maltsev). The collective form was the genetically initial form of improvisation, which included all components of syncretic action and functioned within the framework of cult ritual. Only later did the musical component per se grow separated (autonomous), becoming self-sufficient but retaining the key principle of dialogue that helps reproduce the “question-answer” system in any types of improvisation – a system that serves as the basis for creation of forms in the process of improvisation. Two more types of improvisation occur on this basis, differing from each other by communication type (Y. Lotman): 1) improvisation “for oneself” (internal type, characterized by reclusiveness and certain limitedness of information); 2) improvisation “for others” (external type, characterized by informational openness and variegation). It was emphasized that solo improvisation represents a special variety of musical improvisation, which beginning from the Late Renaissance era becomes dominating in the academic layer, distinguishable in the initial phase of its development for an improvising writing dualism (M. Saponov). The classification criterion of “composition” attains a new meaning in the system of professional music playing, to which improvisation also belongs. Its interpretation becomes dual and applies to the performance and textural components of improvisation, respectively. With regard to the former, two types occur in the collective form of improvisation: 1) improvisation by all participants (simultaneous or consecutive); 2)improvisation by a soloist against the background of invariable fixed accompaniment in other layers of music performance. The following types of improvisation occur in connection with the other – textural – interpretation of the term “composition”, which means inner logical principle of organization of musical fabric (T. Bershadska): 1) monodic, or monophonic (all cases of solo improvisation by voice or on melodic wind instruments); 2) heterophonic (collective improvisation based on interval duplications and variations of the main melody); 3) polyphonic (different-picture melodies in party voices of collective improvisation); 4) homophonic-harmonic (a combination of melodic and harmonic improvisations, typical for the playing on many-voiced harmonic instruments). It was emphasized that in the theory of musical improvisation, there is a special view at texture: on the one hand, it (like in a composition) “configures” (E. Nazaikinskyi) the musical fabric, and on the other hand, it is not a final representation thereof, i.e., it does not reach the value of Latin facio (“what has been done”). A work of improvisation is not an amorphous musical fabric; on the contrary, it contains its own textural organization, which, unlike a written composition, is distinguishable for the mobility and variability of possible textural solutions. The article’s concluding remarks state that classification of the types of musical improvisation in the aspect of its content and form must accommodate the following criteria: 1) performance type (voices, instruments, performance method, composition of participants, performance location); 2) texture type (real acoustic organization of musical space in terms of vertical, horizontal and depth parameters); 3) thematic (in the broad and narrow meanings of this notion: from improvisation on “idea theme” or “image theme” to variation improvisations on “text theme”, which could be represented by various acoustic structures: modes, ostinato figures of various types, melody themes like jazz evergreens, harmonic sequences, etc.).

Performance Technique of Location Registration in System Architecture Evolution

2012 ◽  
Vol 11 (7) ◽  
pp. 898-903
Author(s):  
Azita Laily Yusof ◽  
Mohd Tarmizi Ali ◽  
Norsuzila Ya`acob
Keyword(s):  
System Architecture ◽  
Performance Technique ◽  
Architecture Evolution ◽  
Location Registration

Comparison of environmental performance between plastic and steel fuel tanks

2002 ◽  
Vol 216 (11) ◽  
pp. 1443-1457 ◽  
Author(s):  
C-y Tung ◽  
M H Wang
Keyword(s):  
Life Cycle ◽  
Product Design ◽  
Environmental Performance ◽  
Early Stage ◽  
Environmentally Conscious ◽  
Performance Technique ◽  
Life Cycle Design ◽  
Fuel Tanks ◽  
Environmentally Conscious Design ◽  
Whole Life Cycle

Increasing awareness of environmental burdens has led companies and designers to initiate design for the environment (DFE) programmes, which consider the design of products from the ‘cradle to grave’ and is also known as ‘life-cycle design’. In this paper, the use of a novel environmental performance technique to be used at the early stage of product design is presented. This technique, which is to be used as a framework for green product design, is demonstrated in this paper by evaluating the environmental performance between plastic and steel fuel tanks. The fuel tank comparison can be divided into five steps. In the first four steps, a modified house of quality (HOQ) is used to analyse the performance of fuel tanks in terms of requirements of environmentally conscious design. The final step is an overall assessment that synthesizes the results from the previous four analyses. As a result, the comprehensive environmental effects in the whole life cycle of fuel tanks are captured in the early stage of design.

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