Journal articles on the topic 'Apocalypse now (Motion picture)'

Two immersive projection environments, both unconventional, both exploring different methods of 3D and panoramic imaging, and both produced as art installations, are described. Displacements (1980–1984) recreated an interior living space using a panoramic motion picture method and relief projection. Be Now Here (1995–1997) recreated outdoor public plazas using a panoramic motion picture method, stereopsis, and four channel sound. Both installations were unusual in that no intentions existed for anything more general or useful than the installations themselves as individual artworks.

One phenomenon dominates the history of motion pictures: at one time or another, a single country has emerged as the most creative and vital source of film making on the international scene. It is almost as if a spotlight moved across the stages of the world, pausing now here, now there, to illuminate the work of an entire group of artists. This was perhaps understandable in the Soviet Union during the mid-Nineteen-Twenties, when a new government actively encouraged experimentation in all the arts, and particularly the art of the motion picture.

Gregory Bateson and Margaret Mead intended to use a combination of text, still photographs, and motion picture film in the report of their study of character development in Bali, but found this technically impossible. Multimedia computational devices have now made it possible to do what they could not do, making the three media (in Latour's terms) ‘combinable on a flat surface.’ We were compelled to economize on motion-picture film, and disregarding the future difficulties of exposition, we assumed that the still photography and the motion-picture film together would constitute our record of behavior. (Notes to the Photographs, in Bateson and Mead, 1942 (italics Bateson's)) If inventions are made that transform numbers, images and texts from all over the world into the same binary code inside computers, then indeed the handling, the combination, the mobility, the conservation and the display of the traces will all be fantastically facilitated. When you hear someone say that he or she ‘masters’ a question better, meaning that his or her mind had enlarged, look first for inventions bearing on the mobility, immutability or versatility of the traces; and it is only later, if by some extraordinary chance, something is still unaccounted for, that you may turn towards the mind. (Latour, 1986 (italics Latour's)).

Market access is becoming the single most significant factor affecting collaborations between Hollywood feature film producers and their Chinese partners. The current import quota system approves only 34 films each year, which are then distributed by the state-run China Film Group, which also controls the release date for each title. The best way for a foreign filmmaker to manage these uncertainties is to fashion a co-production deal with a mainland counterpart, such as Dalian Wanda Group, which is now nearing completion of a huge studio complex in Qingdao, a project that has been greeted sceptically by industry critics. This essay assesses the ambitious logic behind this project, situating it in the broader context of the globally networked production infrastructure that has emerged over the past 20 years, one that generally favours Hollywood producers at the expense of local partners. It illustrates why the Wanda studio may in fact succeed and why foreign producers are growing ever more willing to collaborate with Chinese partners.

The authors deal with the classic paradox of ethical theories, “Hume’s guillotine,” based on the contradiction in morality between what is and what should be. At the same time, the theological justification of moral principles is beyond this criticism, because the sacred commandments “by definition” combine what is and what should be, overcoming the “secular” gap between being and duty, and thus “the problem of transition from description to evaluation is removed.” Modern ways of removing this contradiction, revealed by Hume, are considered from several points of view. Special attention is paid to the analogy between the development of ethical and mathematical theories, a synergistic approach to the formation of ethics, as well as to the ethical choice associated with the development of digital reality, which humanity will face soon. A synergistic approach can be viewed as a bridge “over the abyss of two cultures - natural science and humanities.” Now it has become clear that there can be many logics, geometries, versions of analysis of infinitely small, etc. Ethics can also be constructed and then put into practice. A classic example is the ethical code of King Lycurgus. Separate ethical systems are not able to ensure the survival of humanity under extreme conditions. Existence of general ethical rules in global crises allows many to survive. Without them, everyone would die. True amazement is the fact that the eight Dyakonov phase transitions in human history completely coincide with the crises periodicity presented in the text of the Apocalypse, where crises are figuratively called “beasts.” Then a vivid picture is given, a picture of the civilization transformation into a post-singular state, which goes beyond the horizon of scientific forecast.

Thanks to the Kurt Wallander novels of Henning Mankell, the Lisbeth Salander novels of Stieg Larsson, and their motion picture and television adaptations, crime fiction by Finnish and Scandinavian writers has soared in popularity with American readers over the past few years. In her Encyclopedia of Nordic Crime Fiction, Mitzi M. Brunsdale sets out to survey the growing field while offering a historical analysis of its development and importance. She argues that the region’s crime fiction “largely deals with the serious societal problems resulting from originally well-intentioned Nordic welfare state policies now proving problematic,” and believes that it “has enormous relevance to today’s dangerous world” (1).

This work expands previous efforts, within the classical theories of Special and General Relativity, to include tachyons (faster-than-light particles) along with ordinary (slower-than-light) particles at any energy. The objective here is to construct a Hamiltonian that includes both the particles and the gravitational field that they produce. We do this with a linear approximation for the Einstein field equations; and we also assume a time-independent gravitational metric implied by a static picture of the particles’ motion. The resulting formulas will allow serious modeling to test the idea that cosmic background neutrinos may be tachyons, which can produce the observed gravitational effects now ascribed to some mysterious Dark Matter.

AbstractThe following article is based on a presentation given as part of Symposium X—Frontiers of Materials Research on December 4, 2002, at the 2002 Materials Research Society Fall Meeting. The cinema is just over 100 years old. From the beginning of motion pictures in the mid-1890s, the materials used for films have been at the heart of cinema technology. The material first used was cellulose nitrate film—unrivaled in its mechanical, physical, and aesthetic qualities, and also dangerously flammable. In the 1950s, cellulose nitrate was replaced, for safety reasons, by cellulose triacetate. Today, polyester film is widely used; nevertheless, the fact remains that the majority of the world's film heritage exists on two main material formats, cellulose nitrate and cellulose triacetate, both of which decay over time. Film archivists are engaged in a race to save historic film footage from being lost forever. Digital technology, now widely used in cinema, does not resolve the issue of the long-term preservation of films because digital formats are still evolving. This article discusses the materials used in motion-picture technology over the years, the mechanisms active in film decomposition, and international efforts to preserve and restore historic films.

<p><span style="font-size: medium;"><em>9 Summers 10 Autumns</em> (2011) is an inspirational autobiographical novel about a young man from a small city of Batu who later succeeded in pursuing his dream by working in the United States. The novel was written according to Iwan Setyawan’s life story and it has been made into a movie by the same name in 2013. Two years later, the movie was adapted into an augmented motion picture hinted illustrative book which is said to be the first kind to appear in Indonesia that combines novel, comic, app and film together. Somehow this phenomenon has also contributed to the rising trend of films adapted into books in Indonesia, such as <em>Assalamualaikum Beijing</em> (2015), <em>What’s Up with Love?</em> (2016), and others. This study caters for Iwan Setyawan’s strategy in achieving legitimacy in the arena of Indonesian Literature and his American Dream Ideals that are depicted within the book. The discussion is carried out within the perspectives of Pierre Bourdieu’s field of cultural production theory as well as sociology of literature approach in highlighting the phenomenon of transformation from novel into film and eventually into augmented motion picture hinted illustrative book. Later, the study discovers that it has changed the image of Indonesian art and literary world in which such prestigious legitimacy can now be achieved through commercial strategies, making it seem dynamic but at the same time questionable in its most authentic sense. </span></p>

Reading is an important skill for developing second language competence. The success of a learning a second language is by taking the power of reading. In the classroom, we will face many techniques applied to the students under the expectation that they are able to or easy to understand the lesson. For a teacher, it is necessary to find new teaching media to overcome the problems and not to forget to motivate the students. In this paper, the writer wants to know the effect of picture as a media to improve students’ reading comprehension. The purpose of this research is to find out whether the use of pictures can improve students’ reading comprehension or not. To make the students easily understand about the reading material, teacher needs to have a teaching media. Then, the writer chooses visual media that is picture to increase students’ reading mastery. Pictures are considered as the best media in teaching reading because using picture as a teaching media are able to give the students a clear illustration regarding the correlated topics in texts, tell the students what is going on, and what are the persons in the text are talking about. Nowadays, the pictures and the technologies are becoming more and more advanced. In this decade, we can already materialize a more advanced picture that added by motion and sounds by using simple applications provided in home personal computer. Moreover, the students now are quite used and interested to apply any high tech media. Based on the result of discussion, it can be concluded that pictures are theoretically can be a good media to help the students enhancing their reading comprehension. Therefore in this view, it is justifiable to hypothetically conclude that using pictures for strengthening students’ visual sense can help them to understand a text.

Lois Weber gave many speeches during her career as a film writer-director, but until now our knowledge of them has been limited to journalistic summaries and brief quoted excerpts. The current article advances our understanding of this dimension of Weber's career (and helps restore her “voice,” in a sense) by providing the text of an entire speech, reconstructed from five primary sources. Weber discussed a wide range of film topics in this public talk, which she delivered to the Los Angeles Woman's Club in July 1913. They included censorship issues, film's educational possibilities, her interest in greater authenticity in films, and her desire to uplift films and to correct the misinformation surrounding what she called “the glamour and danger of motion picture work.” It typifies the many speeches she gave to audiences made up of women who shared her interest in raising the standards of Hollywood and its products.

AbstractIn the first application of the developing plate tectonic theory to the pre-Pangaea world 50 years ago, attempting to explain the origin of the Paleozoic Appalachian–Caledonian orogen, J. Tuzo Wilson asked the question: ‘Did the Atlantic close and then reopen?’. This question formed the basis of the concept of the Wilson cycle: ocean basins opening and closing to form a collisional mountain chain. The accordion-like motion of the continents bordering the Atlantic envisioned by Wilson in the 1960s, with proto-Appalachian Laurentia separating from Europe and Africa during the early Paleozoic in almost exactly the same position that it subsequently returned during the late Paleozoic amalgamation of Pangaea, now seems an unlikely scenario. We integrate the Paleozoic history of the continents bordering the present day basin of the North Atlantic Ocean with that of the southern continents to develop a radically revised picture of the classic Wilson cycle The concept of ocean basins opening and closing is retained, but the process we envisage also involves thousands of kilometres of mainly dextral motion parallel with the margins of the opposing Laurentia and Gondwanaland continents, as well as complex and prolonged tectonic interaction across an often narrow ocean basin, rather than the single collision suggested by Wilson.

The extraordinary announcement, coming from the Federal University of Agriculture, Abeokuta, that ace filmmaker Kelani will now be based there as a Fellow is heartwarming. The news reveals the warmth and uniqueness of the University’s boundless imaginations and the humanistic vision of its Vice-Chancellor, Professor Kolawole Salako. The news of this deserving appointment follows on the heels of Kelani receiving the prestigious Leopold ́ Sédar Senghor Prize for African Cultural Creativity and Impact in July, 2019 at the annual TOFAC event at Babcock University. In that same month, he was also inducted into the American Oscars—the Academy of Motion Picture, Arts and Sciences. All of these accolades are well-deserved. Kelani has spent his career putting things—people, ideas, cultures, traditions, and ideologies—inside the cinematographic frame. It is a most exciting thing to see him too bursting out of every frame with all these multiple achievements that celebrate him Ìrókò!

Abstract In May 1976, a devastating earthquake of magnitude Ms 6.5 occurred in Friuli, Italy, resulting in 976 deaths, 2000 injured, and 60,000 homeless. It is notable that, at the time of the earthquake, only one station was installed in the affected region. The resulting lack of information, combined with a dearth of mitigation planning for responding to such events, lead to a clear picture of the impact of the disaster being available only after a few days. This region is now covered by nearly 100 seismological and strong-motion stations operating in real time. Furthermore, 30 average-cost strong-motion stations have been recently added, with the goals of improving the density of real-time ground-motion observations and measuring the level of shaking recorded at selected buildings. The final goal is to allow rapid impact estimations to be made to improve the response of civil protection authorities. Today, considering the higher density seismological network, new efforts in terms of the implementation and testing of earthquake early warning systems as a possible tool for mitigating seismic risk are certainly worthwhile. In this article, we show the results obtained by analyzing in playback and using an algorithm for decentralized onsite earthquake early warning, broadband synthetic strong-motion data calculated at 18 of the stations installed in the region, while considering the magnitude and location of the 1976 Friuli earthquake. The analysis shows that the anisotropy of the lead times is related not only to the finite nature of the source but also to the slip distribution. A reduction of 10% of injured persons appears to be possible if appropriate mitigating actions are employed, such as the development of efficient automatic procedures that improve the safety of strategic industrial facilities.

Abstract Documentary films have evolved considerably since 1922s Nanook of the North. Fans of nonfiction now stream multi-episode documentaries on platforms like Netflix or catch a feature at one of many documentary-centered film festivals around the world. Inexpensive video cameras and internet distribution have expanded the documentary film universe exponentially. From 1-min films to feature-length theater releases, moviegoers around the world have embraced this diverse and growing genre. To the benefit of aspiring filmmakers, documentaries can now be filmed on a wide array of digital video devices, including smartphones, and edited inexpensively. Given this abundance, it may seem counterintuitive that, from a preservation perspective, the documentary film genre faces substantial risks. Research indicates that independent filmmakers lack access to resources that would ensure the long-term stewardship of their works (Academy of Motion Picture Arts and Sciences 2012). This research project examines documentary film production through the lens of digital curation. It describes filmmakers’ data practices and proposes a data curation model designed to guide filmmakers and film archives in developing data management plans similar to those currently used by researchers in the sciences. The proposed data curation model reflects the influence of the growing research data management field and integrates components related to digital storage, copyright, publishing, context, and file organization.

AbstractIn the fresh reading proposed here of the still not satisfactorily interpreted passages in Metaphysics Ε2-3, Aristotle emerges as making a case against determinism based on a robust notion of the accident. Accidental beings are uncaused causes and have their rightful place in Aristotle's ontology. The resulting physical indeterminism is here used as a litmus test for the exegetical practice of the great Commentator, Averroes, whose self-proclaimed, and later proverbial, loyalty to Aristotle's text will be shown to give way to idiosyncratic interpretations at times. His explanations of Metaphysics Ε2-3 are sparse and no less obscure than Aristotle's text. It is only when read together with his commentaries on the Physics, to which he explicitly refers twice in his Long commentary on Metaphysics Ε2-3, that a surprising picture emerges. Averroes recycles the notion of the accident, now reconceptualised in cosmological terms, and – putting it to the opposite use of Aristotle's – weaves it into an original theory of motion that integrates both supra- and sublunar realms into a deterministic framework of uninterrupted causal chains, thus safeguarding the principle of Divine providence.

From the 1910s through the 1930s, the American naturalist and photographer Arthur C. Pillsbury made time-lapse and microscopic films documenting what he, in common parlance, called the “miracles of plant life”. While these films are now mostly lost, they were part of Pillsbury’s prolific work as a conservationist and traveling film lecturer who used his cameras everywhere from Yosemite National Park to Samoa to promote both public understanding of plants and a desire to protect the natural world. Guiding this work was Pillsbury’s belief that the nonhuman optics of the film camera, which revealed the animacy of plants, could also incite viewers to sympathize with them. In the context of the early American conservation movement, that sympathy stemmed in complicated ways from longstanding transcendental and pastoral ideas of nature that were entangled with imperialist visions of controlling nature. With an eye to that context, I show that Pillsbury’s filmmaking was not simply about using motion picture technologies to shape attitudes toward plants and nature more broadly; it was also about using nature to think through the techno-scientific possibilities of the cinema in the early part of the twentieth century.

Three years after the start of the Great Depression, and shortly after A Franklin Roosevelt assumed the presidency, Terry Ramsaye, editor of the motion picture industry's major trade journal, wrote an editorial entitled “New Deal, Superman and Today.” No doubt many readers thought the world had turned upside down. For years civic reformers had attacked the movies for incarnating the dangers of city life: consumption, class mixing, and a sexual revolution. Now Ramsaye assumed the critic's stance, seeing hard times as divine retribution for the industry's folly. Atop the editorial pulpit, he condemned the Hollywood producers as equal to the monopolists whose speculation and grandiose illusions brought about the stock market crash in 1929. Even more dangerous, film producers spread lavish ideals through the powerful medium of sound films, which were displayed in sumptuous theatres that corrupted public life. After three years of bankruptcies and theatre closings, Ramsaye saw a New Deal pointing the way toward business and cultural reform. Like an old-fashioned revivalist, he then exhorted Hollywood to shed the foreignstyled theatre and create models more in touch with national traditions, “more a part of the town and less something that was imposed by outside Supermen.”

Existing accounts of Myanmar’s film industry available to English speakers are more than twenty years out of date. Opening with a brief overview of cinema in Myanmar since 2000, this article is based on a recent visit to the Myanmar Motion Picture Development Department and the Yangon Film School, on conversations with staff, students and alumnae of these institutions and of the National University of Arts and Culture, and with local independent filmmakers. The purpose of my visit was to begin the groundwork needed to answer basic questions: Who are the women making films in Myanmar today? Where are they trained? What are the conditions in which they work? What kind of films they make? How do they fund production? How do their films circulate? And finally: Is there a women’s cinema in Myanmar? What follows thus outlines the context in which women in Myanmar make films today and introduces the work of a small number of them. I conclude with reflections on three short films: A Million Threads (2006, by Thu Thu Shein), Now I am 13 (2013, by Shin Daewe), and Seeds of Sadness (2018, by Thae Zar Chi Khaing), two of which can be found online (at http://yangonfilmschool.org/___-free-yfs-film / and https://www.youtube.com/watch?v=vX0LUZQcMCQ ).

Abstract: Image restoration is the process of restoring the original image. It can be challenging to eliminate image blur in a variety of contexts, including photography, radar imaging, and the removal of motion blur brought on by camera shaking. Image noise is unintentional signal that enters an image from a sensor,such as a thermal or electrical signal or an external factor like rain or snow. The image degradation may be caused by transmission noise, object motion, resolution restrictions, coding artefacts, camera shake, or a combination of these factors. In order to distinguish between HF and LF artefacts, image decomposition is employed to divide the deformed image into a texture layer and a structure layer (Low Frequency LF Component) The current approach utilises the frequency characteristics of various forms of artefactsthrough a configurable deep neural network structure. Therefore, by changing the architecture, the same method may be applied to a number of picture restoration tasks. A quality enhancement network that uses residual and recursive learning is suggested for decreasing the artefacts with comparable frequency characteristics. Residuallearning is used to enhance performance and speed up the training process. Recursive learning is used to both improve performance and drastically cut down on the amount of training parameters. This Project aims to build systems for reconstructing the old images from under sampled one and mismatched Pixels to form a proper image to increase its visible quality and its pixels quality by using a Deep Neural network Models and it can improve the integration of various feature representations from many photos. Result Shows Improved Training accuracy of 92%.When compared to the two-frame designs now in use, the multi-frame architecture will be used which prevents repetitive computations caused by multiple inferences when aligning multiple images

Since early 2007, many ambitious DSC manufactures in Japan have paid special attention for built in digital effects, in order to create better quality of picture, such as: Face Detection, Smile Shutter Mode, Full frame CCD, Anti Shake system, Live View, CMOS sensor..., which were highly appreciated by many photo fans around the world, and created hot-selling record on favorite model. In fact, these fancy “Digital Technologies” could be standardized in selected new cameras right now. In late 2009, new artificial intelligence image chips such as: back-illuminated CMOS image sensor, 30x Optical Zoom (or more), Full HD Video, Sweep Panorama, Interchangeable Unit Camera System,Super High Speed ISO, Super Steady, Motion Remover.., have been promoted in new generation of camera. It could change not only the performance of new camera (DSC/DC) but to challenge the current DV market seriously, and may inspire new record-high selling again. In our experiment, we collect more than 300 cases from the telephone survey during Sep, 2010 and Dec, 2010. Total of 220 cases comply with the conditions. To probe mainly into the relationship between new generation DC Confidence level and 3 potential customers: Amateur Photographer (AP), Senior Photographer (SP), and college student (CS). That is the reason what we are probe into this highly competitively market with brilliant creative design, and hope to offer an objective suggestion for both industry and education administers.

This report is a continuation of three earlier reviews (Marsden 1996a, 1996b, 1998) that included a summary of our orbital knowledge of the Kuiper Belt. Presented at conferences held in the middle of 1994, 1995 and 1996, respectively, these reviews showed the steadily developing picture of a system dominated by the platinos, librating in the 2:3 mean-motion resonance with Neptune, and the cubewanos, a somewhat more distant population of nonlibrating objects with low orbital eccentricities. The existence of a 3:4 Neptune librator and a 3:5 Neptune librator was also suspected. These librators have now been confirmed, and a possible 4:7 librator and possible second 3:5 librator have also been found. The known and suspected multiple-opposition librators are listed in Table 1. Here it is important to note that the orbital semimajor axes a (in AU), eccentricities e and inclinations i (in degrees with respect to the 2000.0 ecliptic) are mean values that eliminate the large 12-year and 30-year periodicities arising from the indirect perturbations by Jupiter and Satum on sun-centered orbits. The numbers in parentheses are the semimajor axes (in AU) corresponding to the resonances. Following the absolute magnitude H, the entries “Nep.” and “Ura.” show the minimum distances (in AU) from Neptune and Uranus (the latter being of course quite small for the most eccentric 2:3 Neptune librators) within several millennia of the present time.

ABSTRACTMajor large-scale research projects in the early years of developmental psycholinguistics were English-based, yet even then numerous studies were available or under way in a range of different languages (Ferguson & Slobin, 1973). Since then, the field of cross-linguistic child language research has burgeoned in several directions. First, rich information is now available on the acquisition of dozens of languages from around the world in numerous language families, spearheaded by the five-volume series edited by Slobin (1985–1997) and complemented by in-depth examination of specific constructions – e.g. causative alternation, motion verbs, passive voice, subject elision, noun compounding – in various languages, culminating in an in-depth examination of the acquisition of ergativity in over a dozen languages (Bavin & Stoll, 2013). A second fruitful direction is the application of carefully comparable designs targeting a range of issues among children acquiring different languages, including: production of early lexico-grammatical constructions (Slobin, 1982), sentence processing comprehension (MacWhinney & Bates, 1989), expression of spatial relations (Bowerman, 2011), discourse construction of oral narratives based on short picture series (Hickmann, 2003) and longer storybooks (Berman & Slobin, 1994), and extended texts in different genres (Berman, 2008). Taken together, research motivated by the question of what is particular and what universal in child language highlights the marked, and early, impact of ambient language typology on processes of language acquisition. The challenge remains to operationalize such insights by means of psychologically sound and linguistically well-motivated measures for evaluating the interplay between the variables of developmental level, linguistic domain, and ambient language typology.

Visitors to the United States Library of Congress will find it in the midst of major expansions of three kinds – expansions to preserve what otherwise might be lost, to protect what it already has, and to make what it has more readily and widely accessible. One current kind of expansion takes the form of constructing a new complex of four buildings in the side of a mountain near the city of Culpeper in the state of Virginia, about an hour's drive from the library's main facilities in Washington, DC. This complex, named the Library of Congress Packard Center for Audio-Visual Conservation, will provide safe storage and new preservation and access systems for the film, video, and sound collections – 5.7 million items – administered by the library's Motion Picture, Broadcasting, and Recorded Sound Division. The library's second major current expansion consists of constructing off-site storage modules for other collections on the site of Fort Meade, a US Army installation in the state of Maryland, less than an hour's drive from Washington, DC. On this site, the library and its partners are finishing the third and fourth of a projected 13, high-density storage modules, designed to extend the life of parts of the library's holdings by a factor of six. The third major current expansion of the Library of Congress is on the Internet, where the library's website now offers some 10 million digitized items. Through financial and other partnerships, the library will continue to add to its online resources, and is working with UNESCO on a project to create a World Digital Library. This will be a collaborative virtual repository through which libraries worldwide provide access to rare, primary source materials, illustrating cultures in all parts of the globe, for the potential benefit of people everywhere.

We study the influence of hydrodynamic, thermodynamic and interparticle forces on the diffusive motion of a Brownian probe driven by a constant external force through a dilute colloidal dispersion. The influence of these microscopic forces on equilibrium self-diffusivity (passive microrheology) is well known: all three act to hinder the short- and long-time self-diffusion. Here, via pair-Smoluchowski theory, we explore their influence on self-diffusion in a flowing suspension, where particles and fluid have been set into motion by an externally forced probe (active microrheology), giving rise to non-equilibrium flow-induced diffusion. The probe’s motion entrains background particles as it travels through the bath, deforming the equilibrium suspension microstructure. The shape and extent of microstructural distortion is set by the relative strength of the external force $F^{\mathit{ext}}$ to the entropic restoring force $kT/a_{\mathit{th}}$ of the bath particles, defining a Péclet number $\mathit{Pe}\equiv F^{\mathit{ext}}/(2kT/a_{\mathit{th}})$; and also by the strength of hydrodynamic interactions, set by the range of interparticle repulsion ${\it\kappa}=(a_{\mathit{th}}-a)/a$, where $kT$ is the thermal energy and $a_{\mathit{th}}$ and $a$ are the thermodynamic and hydrodynamic sizes of the particles, respectively. We find that in the presence of flow, the same forces that hinder equilibrium diffusion now enhance it, with diffusive anisotropy set by the range of interparticle repulsion ${\it\kappa}$. A transition from hindered to enhanced diffusion occurs when diffusive and advective forces balance, $\mathit{Pe}\sim 1$, where the exact value is a sensitive function of the strength of hydrodynamics, ${\it\kappa}$. We find that the hindered to enhanced transition straddles two transport regimes: in hindered diffusion, stochastic forces in the presence of other bath particles produce deterministic displacements (Brownian drift) at the expense of a maximal random walk. In enhanced diffusion, driving the probe with a deterministic force through an initially random suspension leads to fluctuations in the duration of probe–bath particle entrainment, giving rise to enhanced, flow-induced diffusion. The force-induced diffusion is anisotropic for all $\mathit{Pe}$, scaling as $D\sim \mathit{Pe}^{2}$ in all directions for weak forcing, regardless of the strength of hydrodynamic interactions. When probe forcing is strong, $D\sim \mathit{Pe}$ in all directions in the absence of hydrodynamic interactions, but the picture changes qualitatively as hydrodynamic interactions grow strong. In this nonlinear regime, microstructural asymmetry weakens while the anisotropy of the force-induced diffusion tensor increases dramatically. This behaviour owes its origins to the approach toward Stokes flow reversibility, where diffusion along the direction of probe force scales advectively while transverse diffusion must vanish.

Context. The Galilean satellites have very complex orbital dynamics due to the mean-motion resonances and the tidal forces acting in the system. The strong dissipation in the couple Jupiter–Io is spread to all the moons involved in the so-called Laplace resonance (Io, Europa, and Ganymede), leading to a migration of their orbits. Aims. We aim to characterize the future behavior of the Galilean satellites over the Solar System lifetime and to quantify the stability of the Laplace resonance. Tidal dissipation permits the satellites to exit from the current resonances or be captured into new ones, causing large variation in the moons’ orbital elements. In particular, we want to investigate the possible capture of Callisto into resonance. Methods. We performed hundreds of propagations using an improved version of a recent semi-analytical model. As Ganymede moves outwards, it approaches the 2:1 resonance with Callisto, inducing a temporary chaotic motion in the system. For this reason, we draw a statistical picture of the outcome of the resonant encounter. Results. The system can settle into two distinct outcomes: (A) a chain of three 2:1 two-body resonances (Io–Europa, Europa–Ganymede, and Ganymede–Callisto), or (B) a resonant chain involving the 2:1 two-body resonance Io–Europa plus at least one pure 4:2:1 three-body resonance, most frequently between Europa, Ganymede, and Callisto. In case A (56% of the simulations), the Laplace resonance is always preserved and the eccentricities remain confined to small values below 0.01. In case B (44% of the simulations), the Laplace resonance is generally disrupted and the eccentricities of Ganymede and Callisto can increase up to about 0.1, making this configuration unstable and driving the system into new resonances. In all cases, Callisto starts to migrate outward, pushed by the resonant action of the other moons. Conclusions. From our results, the capture of Callisto into resonance appears to be extremely likely (100% of our simulations). The exact timing of its entrance into resonance depends on the precise rate of energy dissipation in the system. Assuming the most recent estimate of the dissipation between Io and Jupiter, the resonant encounter happens at about 1.5 Gyr from now. Therefore, the stability of the Laplace resonance as we know it today is guaranteed at least up to about 1.5 Gyr.

Bartók’s American estate dates its origins to 1943, when he entrusted his music manuscript collection to the care of two fellow Hungarian emigrés, Gyula Báron and Victor Bator, both then living in the United States. After his death in 1945 the estate devolved into their care, in accord with the legal provisions of the will. For the next 22 years it was carefully managed by Bator, a lawyer and businessman who lived in New York City for the rest of his life. The onset of Cold War politics in the late 1940s presented numerous challenges to the estate, out of which emerged the tangled thicket of rumor, litigation, misunderstanding, confusion, and personal animosity that has been the American Bartók estate’s unfortunate legacy since the 1950s.As one of Hungary’s most significant cultural assets located outside the country’s borders, the American Bartók estate has since 1981 been under the control and careful supervision of Peter Bartók, now the composer’s only remaining heir. All but forgotten is the role Victor Bator played in managing the estate during the difficult years after World War II, when its beneficiaries became separated by the Iron Curtain, setting in motion legal and emotional difficulties that no one in the immediate family could have predicted. Equally overlooked is the role he played in enhancing the collection to become the world’s largest repository of Bartók materials.A considerable amount of Bator’s personal correspondence related to the early years of the Bartók estate has recently come to light in the U.S. Together with U.S. court documents and information gleaned from recent interviews with Bator’s son, Francis Bator, still living in Massachusetts, and the late Ivan Waldbauer, we can now reconstruct with reasonable accuracy the early history of Bartók’s estate. A strikingly favorable picture of Bator emerges. Bartók, it turns out, chose his executors wisely. A cultivated and broadly learned man, by the late 1920s Victor Bator had gained recognition as one of Hungary’s most prominent legal minds in the field of international business and banking law. His professional experience became useful to the Bartók estate as the Communist party gradually took hold of Hungary after World War II, seizing assets and nationalizing property previously belonging to individual citizens. His comfort in the arena of business law also thrust him into prominence as a public advocate for increased fees for American composers in the late 1940s - a matter of tremendous urgency for composers of serious music at the time. By reconstructing Bator’s professional career prior to 1943 his actions as executor and trustee become more understandable. We gain new insight into a figure of tremendous personal importance for Bartók and his family.

The North Anatolian Fault is a 1200 km long strike-slip fault system connecting the East Anatolian convergent area with the Hellenic subduction zone and, as such, represents an intracontinental transform fault. It began forming some 13–11 Ma ago within a keirogen, called the North Anatolian Shear Zone, which becomes wider from east to west. Its width is maximum at the latitude of the Sea of Marmara, where it is 100 km. The Marmara Basin is unique in containing part of an active strike-slip fault system in a submarine environment in which there has been active sedimentation in a Paratethyan context where stratigraphic resolution is higher than elsewhere in the Mediterranean. It is also surrounded by a long-civilised rim where historical records reach well into the second half of the first millennium BCE (before common era). In this study, we have used 210 multichannel seismic reflexion profiles, adding up to 6210 km profile length and high-resolution bathymetry and chirp profiles reported in the literature to map all the faults that are younger than the Oligocene. Within these faults, we have distinguished those that cut the surface and those that do not. Among the ones that do not cut the surface, we have further created a timetable of fault generation based on seismic sequence recognition. The results are surprising in that faults of all orientations contain subsets that are active and others that are inactive. This suggests that as the shear zone evolves, faults of all orientations become activated and deactivated in a manner that now seems almost haphazard, but a tendency is noticed to confine the overall movement to a zone that becomes narrower with time since the inception of the shear zone, i.e., the whole keirogen, at its full width. In basins, basin margins move outward with time, whereas highs maintain their faults free of sediment cover, making their dating difficult, but small perched basins on top of them in places make relative dating possible. In addition, these basins permit comparison of geological history of the highs with those of the neighbouring basins. The two westerly deeps within the Sea of Marmara seem inherited structures from the earlier Rhodope–Pontide fragment/Sakarya continent collision, but were much accentuated by the rise of the intervening highs during the shear evolution. When it is assumed that below 10 km depth the faults that now constitute the Marmara fault family might have widths approaching 4 km, the resulting picture resembles a large version of an amphibolite-grade shear zone fabric, an inference in agreement with the scale-independent structure of shear zones. We think that the North Anatolian Fault at depth has such a fabric not only on a meso, but also on a macro scale. Detection of such broad, vertical shear zones in Precambrian terrains may be one way to get a handle on relative plate motion directions during those remote times.

The September 7,1999 earthquake sequence hit the northwestern part of the basin of Athens (area between Aigaleo and Parnis Mt.), causing a large number of deaths and injuries, as well as extensive damage to structures. The major area represents a small basin which is covered by thick post-alpine formations, which are extended talus cones and, to a lesser extent, neogene lacustrine and fluvial deposits. The latter have been blanketed by the talus and the alluvial deposits at the north of the area. The basin is flanked by a hill range, where the non-metamorphic alpine carbonates of the "Sub-Pelagonian" Unit and an allocthonous tectonic melange that belongs to the "Athenian nappe" outcrop. The talus cones, with a thickness that ranges from a few m. to 100 m., contain frequent lateral transitions alternations of cohesive or semi-cohesive scree and loose deposits -sand, pebbles, gravel, clay, etc. The alluvial deposits consist of clay, red soils and conglomerates is clay matrix and have a thickness between a few m. and 20-30 m. The rieogene deposits comprise relatively compacted phacies of marls, marly limestones, clays and conglomerates. The alpine formations of both the autochton and the allocthon consist largely of carbonate rocks (limestones and marbles) and, to a lesser extend, of clastic deposits (sandstones, shales, schists, and graywackes). The main tectonic feature in the area is the contact between the two alpine units, located at the eastern margin. Besides this tectonic discontinuity, numerous other faults were located, either at the basin flanks, or within the postalpine formations. All these faults determined by a large number of boreholes. They are neotectonic structures that belong to two sets, one with NNW-SSE strike and 60°-80° WSWward or ESE-ward dips, and a second one with ESE-WNW strike and 60°-80° northerly or southerly dips. In fact, these faults are directly related to the creation and evolution of the small neogene basin, which is now buried under the talus scree and the alluvial deposits. It is a complex structure, since it incorporates smaller-scale horsts and grabens. The whole picture is in good accordance with the one we get from the greater area. The damage is located within a broad, NNE-SSW trending zone that covers the central and eastern parts of the area. The correlation of this picture with the geological and structural data from the studied area showed that the most serious damage took place on loose foundation formations, which were either the unconsolidated members of the talus cones, or the alluvial deposits. However, this was not the only factor that affected the damage distribution, since the heaviest damage was located (i) along the trace of the tectonic contact between the two alpine units, (ii) at the areas with higher fault density, usually close to the basin margins, but also locally within the basin. These faults were not reactivated in the September earthquake, but "channeled" the seismic energy into specific zones, which also holds, at a larger scale, for the greater meizoseismal area. Hanging wall effects, effects of sedimentary basins, basin edge effects and focusing effects are also probably to have played a significant part, at the locations where the fault geometry and the basin structure performed as reflectors, magnifying the effects of shaking and thus maximizing the strong ground motion values. Besides, the fact that the heaviest damage is located at the central and eastern part of the basin, where the fault fabric is denser and the faults better expressed, is not accidental.

Innovative approach to reveal the relationship between matter and consciousness has been proposed. It is shown that the relevance of the problem is determined today by new discoveries of the natural sciences which cannot be explained from the standpoint of the existing categorical apparatus and features of the development of modern human civilization. Individual and collective awareness of the physical picture of the world and the place of individuals in it began to significantly lag behind the achieved level of research in natural sciences. Earlier, mankind was simply interested in the laws of nature as such, but the question arises now: why are they exactly like these, and not different? Do they contain any "intelligence"? What forces keep in equilibrium the world given to us in our sensation? The analysis of space physics in the present context is, first of all, an analysis of the primacy or secondariness of being, matter and information. According to the author's assumption, we move in time on the scale of informational exploration of the world in the opposite direction with respect to the information which becomes exhausted on the periphery of the world, but not on the scale of distances.With this view of the physics of the process, we can imagine that it is not galaxies that are moving apart, but information contained in the radiation from other galaxies has a redshift effect. The farther away a galaxy, the more exhausted is the information, the less it is and the slower time should go by. The red shift (cosmological, the Doppler effect) in the spectrum of galaxies can be a consequence of hunger for information on the horizon of the events of the development of the Universe. So, the galactlic dispersal must take place in all directions, which provides an equilibrium between space, time, mass, and information. In this, motion does not act as a form of existence of matter. The form of the existence of matter is the information about it. In this case, radiation is the energy form of information about the object of radiation. Therefore, space boundary cannot be the presence of physical objects. The boundary of space is the availability of information about space, its growth or 'burnout', which is equivalent to the dispersal of galaxies or their collapse. The information expires, the purpose of the existence of our material-spatial dimension will end. In our opinion, the paradox of our knowledge may consist in the fact that galaxies are moving away from one another on the information scale rather than on the physical one, and we perceive the real world in the form of information about it. In terms of primacy, it is our thinking and being that are secondary in relation to information which in its entirety covers and extends its influence on the entire space. If this were not the case, space would have lost its stability, becoming chaos. Consequently, it should be concluded that information is a highly organized system capable of "self-awareness and thinking".

Background. M. Gogol’s «Evenings on a Farm Near Dikanka» often attract the attention of theater directors. Thus, in June 2009, the premiere of the play «May night, or Moonlight Witchcraft» directed by Oksana Dmitrieva, took place at the Kharkov Puppet Theater. Trying to reveal the genre nature of the production, theater critics give it such definitions as a fairy tale, musical, fantasy, ethno-folk show, liturgy, mystery play, as well as analyze individual finds of a young director, but the complete picture of the artistic features of this performance is absent yet. In this regard, the purpose of the article is to identify the features of the interpretation of the Gogol story by director O. Dmitrieva. Results. The «May night...» begins with a musical introduction consisting of two themes: the lyrical theme of the pipe with intonations of Transcarpathian melodies (which is connected with the young couple Hanna and Levko and the image of Pannochka) and the theme of hand drums, which reveals the inner strength of the Ukrainian people, as well as demonological beginning associated with the witch-stepmother. The music gives way to the sounds of night nature and the stars appear on the backdrop. Their low location and shape resemble the Christmas stars, with which carolers sing for Christmas. In the dark, the figure of Pannochka appears, wrapped in white cloths remembering a shroud. The unfolding of intersecting clothes above Pannochka’s head, and then their rotation symbolize both the alternation of day and night and the winter solstice. Thus, there are both, the Orthodox and the Pagan features, in depiction of the Ukrainian village. From several notes that the heroine sings, her leitmotif grows up. He fits well on modern arrangements of Ukrainian music, and is easily recognizable on his own. In combination with Pannochka’s sudden gusty movements (as if a bird is trying to break out of the snare, fly up into the sky), it helps to reveal her ambivalent nature: on the one hand, of the martyr, on the other – the representative of evil forces. Pannochka becomes the main character of the performance, and the Moon becomes her attribute, which can turn into the tambourine of shaman, the lyre, the sword, etc. The youth walking scene “on the garden” with the use of the jigging puppet, accompanied by folk songs differs in tempo and rhythm from previous mysteriously lyrical scenes. In the next episode, Pannochka enchants the characters on the stage with moonlight, so the meeting and the dialogue between Hanna and Levko begin to be perceived as a dream of heroes. This is facilitated by both the slow movements of the actors, the lengthy summons into the names of the characters, their flight around the stage, and the dialogue with the Moon that Pannochka props up. The tragic history of Pannochka is depicted first with the help of portraits of its participants on round screens, and then the screens are assembled into the figure of a Witch-Cat. This form also is reminiscent of a Chinese dancing Dragon. The episode with the hand fans depicting the “cat’s claws” is accompanied by alarming drum sound: Pannochka has no repose from the Witch even after death. The village in the new picture is reflected in the ripples of water: the real world is floating, swinging. Hanna and Levko confess their love to each other, however, Kalenik suddenly appears, recalling the Head. The image of the Head is solved by the director using two masks – large and small. At the beginning of the second act, the actors appear on the stage with long poles, which are similar both to the Chinese combat weapon and to the Ukrainian musical instruments “trembits”, allowing the actors to show brilliant plastic technique of “slow-motion”. Stylized masks of animals (cows, goats, pigs, roosters), which the walking lads pulling on themselves are the allusion to the Christmas fests. The lad boys strive to annoy the Head, so Head masks reappear on the scene, but there are already three of them: large, medium and small. With their help, there is a debunking of this character losing his power. The action transferred to the bottom of the pond, as symbolized by stylized fish. The drums and the fans – the cat’s claws – once again remind of the conflict between Pannochka and the Witch. Like in Gogol’s novella, the heroine asks Levko to find the Stepmother-Witch. The marionnette a la planchette and then – a shadow paper doll represent the image of the hero. Thanks to Levko, Mermaids (the original puppets) seize the Witch, and her death is symbolized by a broken rattle-rattle with the image of the cat’s muzzle. Next, the scene action follows by the Gogol’s novella: grateful Pannochka given to Levko the note, Head read it and allowed his son to marry Hanna. The image of Levko is represented here both in the system of the tablet puppet and in the means of the shadow theater. And the long clothes-shrouds acquainted from the first episodes of the play perform a number of new functions: this is the water of the pond, where Pannochka floats, and the paper, on which the note is written, and later – the wedding table. In this way the end of the Pannochka plot line comes. The spiritual verse «The soul with the body was parting» sounds, and in the hands of actress V. Mishchenko, the light paper doll, as the soul of her heroine, seeks up into the sky. Pannochka redeemed her sins, and now her soul can fly to heaven, because Easter has come. The last episode uses the “time-lapse” technique symbolizing the cleansing of the world from evil, and Pannochka’s leitmotif is organically superimposed on the Easter chime of bells. The action ends with a rap on the words “The Angels had opened the windows and they are looking on us” and the news that Easter has come. The final supports an idea that a person’s life moves from Christmas to Easter, from suffering to light, thus closing the spectacle into a ring composition. Conclusions. The original Gogol’s text allowed O. Dmitrieva to show a wide palette of modern possibilities of the puppet theater and the high skill of the actors of the “live plan”. In addition, the interweaving of national and foreign, Orthodoxy and paganism, an appeal to the expressive possibilities of the Ukrainian folk and modern music and to the ballet plastique suggest the postmodern nature of the play «May night, or MoonlightWitchcraft».

The original location of the Danish rune stones The rune stones have always constituted an important source concerning the Viking Age. However, from the establishment of the humanities and the empirical specialisation in the 19th century until c. 1980, the inscriptions have been the main focus. Recently, a more overall, interdisciplinary approach has been adapted in the study of the rune stones. And whereas the inscriptions are the main source for the philologists, landscape archaeology is most suited for the study of the original location of the rune stones.This article presents aspects concerning the original location of the Danish rune stones. The material is presented using two key words, which the author finds central to the attempt to pin down what was important to that age, namely monumentality, and visibility. After that she discusses the possible relation between Danish rune stones and special sites, primarily thing sites, burial sites, and large farms. The choice of these particular categories are based on a comparison with Swedish conditions. The treatment of the question about the association with special sites may be seen as a movement from the actual source material to the mental landscape of the time.Rather more than 200 rune and picture stones are known from Viking Age Denmark, i.e. the present Denmark and Southern Schleswig, Scania, and Halland, but exclusive Bornholm (Fig. 1). Only twelve of these are still in their assumed original location: The Ø. Løgum-stone in South Jutland (DR 15), and the Färlöv-stone in Scania, both erected during the Early Viking Age; the Glavendrup-stone (DR 209) erected on Northwest Funen during the first part of the 10th century; and the following from the time between c.950 and 1050 – the time span in which most rune stones were erected in Denmark. In Jutland, these are Bække 2 (DR 30), Randbøl (DR 40), Jelling 2 (DR 42), and Sjellebro; and in Scania: Fuglie 1 (DR 259), V. Karaby (DR 321), V. Strö 1 and 2 (DR 334 and 335), and Ö. Vemmenhög (DR 268). Add to these the Malt-stone, originally located by the Kongeå River; and the Snoldelevstone (DR 248) on East Sealand, the original locations of which are known, albeit they are now in the Sønderskov Museum and the National Museum, respectively. In the case of another 64 rune stones, the original location may be pointed out with more or less certainty and precision. These 78 rune stones, about which we have some – more or less precise - information (as opposed to a guessed location), thus make up our her source material.To summarize, the material unambiguously points towards monumentality, visibility, and exposure having been the decisive factors to the rune stone erectors when choosing a location for their monument. The connection with large mounds, stone settings, bridges, and – as is the case with a couple of later stones – stone churches (Lund 2, DR 315 and Nr. Åsum, DR 347) is marked, as is the proximity to what is supposed to be long road stretches and communication points. Also, older monuments such as burial mounds and rock carvings seem to have constituted important links to the past, to the ancestors, and to the tradition. Both the Glavendrup- monument, Klebæk Høje with the Bække-stone 2, and the ship setting in Jelling involved older mounds within the newly established monument, just as the new Christian monument of Harald Bluetooth combined tradition and renewal in a sophisticated manner.At the same time, it is characteristic that the rune stones – and monuments altogether – carried a message meant for the posterity, which was the whole idea behind making them. The material used for the rune stones – granite – symbolises constancy, if anything; the use of inscriptions is another way of securing against oblivion, and as a third and further emphasis of the historical character, the memory inscriptions were often followed by a memory formula (for instance Randbøl DR 40: May these runes for Thorgun live long) or a curse protecting the monument. This very preserving quality of the rune stones – and the motion towards a society with a written language – may have been the seed of the rune stones being increasingly used as a form of legal documents in connection with inheritance, boundaries, etc. Both aspects are known to a limited extent from Danish rune stones (such as the mentioned Gunderup 1), and to a larger degree within the late Norwegian and Swedish rune stone material. This function may also have been attached to the thing sites, where public and binding declarations were made.Not surprisingly, when encircling the message of the rune stones, the preservation of the memorial for the posterity is central. That is its explicit message. Apart from this, the very act of erecting a stone and the person or persons behind this, were essential to the custom. The social act of erecting a stone in memory of a deceased reflects pride, honour, and duty. The location of the stone stresses the fact that visibility and publicity and the coupling of the past and the future were decisive factors to the or Viking Age humans who were looking for a suitable location for their rune stone.Gunhild Øeby NielsenInstitut for Antropologi, Arkæologi ogLingvistik, Aarhus UniversitetTranslated by Annette Lerche Trolle

THE WORLD ACCORDING TO PHYSICS by Jim Al-Khalili. Princeton, NJ: Princeton University Press, 2020. 336 pages. Hardcover; $16.95. ISBN: 9780691182308. *The World According to Physics is Jim Al-Khalili's "ode to physics" (p. vii). While Al-Khalili has been publishing popular science for over twenty years, this is his first attempt to provide the layperson a cohesive overview of physics as a whole, linking together relativity, quantum mechanics, and thermodynamics into one unified (or rather, not yet unified) picture of the cosmos. "Ode" is appropriate, for the author's unrelenting adoration of his subject is apparent throughout; this is a child's dream fulfilled, and in many ways is a broader summa of the world according to the mature Al-Khalili, bringing together not only physics, but also his views on truth, society, and our future. *Khalili opens with a discussion of how the human mind craves narrative. Yet science has displaced much of the old myths and religions: "Contrary to what some people might argue, the scientific method is not just another way of looking at the world, nor is it just another cultural ideology or belief system. It is the way we learn about nature through trial and error, through experimentation and observation, through being prepared to replace ideas that turn out to be wrong or incomplete with better ones, and through seeing patterns in nature and beauty in the mathematical equations that describe these patterns. All the while we deepen our understanding and get closer to that "truth"--the way the world really is" (p. 2). *While physics is not just another "story," it does have a cosmic scale that gives it a captivating wonder of its own, providing the basis for chapter 2 ("Scale"). Physics encompasses the infinitely small (e.g., subatomic particles) as well as the infinitely large (e.g., the expansion of spacetime at the farthest reaches of existence). Further, its scope is not merely all of space but all of time as well, getting within decimal points of the first instant after the big bang, while providing prophetic approximations of how the cosmos might end. While Al-Khalili does not play his cards this early, his later chapters (pp. 242-43 in particular) will reveal that this extensive scope establishes physics as the most fundamental discipline, the reigning queen of the sciences. *The deeper project begins in chapter 3 ("Space and Time"). Al-Khalili wishes to display the underlying skeleton that comprise the unification project of physics, charting each merger until the final matchup is made (similar to a playoff line-up, where 16 teams soon become 8, then 4, then 2, then 1). Just as Newton wedded heaven and Earth through gravity, Einstein wedded space and time, explaining a diversity of phenomena with ever-simpler equations. While Al-Khalili's popular explanations of special and general relativity are merely adequate, his grasp of the broader narrative of unification in which these theories stand is incredibly useful, helping the layman see the trajectory of the book and physics as a whole, even when they cannot understand each individual step. *While chapter 3 unified space and time, chapter 4 ("Energy and Matter") unifies the energy and mass which warp said spacetime. Yet the unifications of relativity hit a snag when they come to "The Quantum World" (chapter 5) and to "Thermodynamics and the Arrow of Time" (chapter 6). While Einstein seems to rule over the kingdom of all things great, quantum mechanics rules over all things small, and no one has managed to negotiate a treaty just yet. Things do not work "down there" as they do "up here"; the laws of the macro are not the laws of the micro. Further, thermodynamics suggests that there is a directionality to time--for things move toward greater entropy--yet it is unclear how this can be made consistent with relativistic time or the conceptual reversibility of time in the quantum world. *Al-Khalili then moves in chapter 7 ("Unification") to possible reconciliations of these issues. He does an admirable job of explaining how the electromagnetic and weak nuclear forces were unified into the electroweak force, as well as explaining the ongoing attempt to unify the strong force with the electroweak force in a grand unified theory. This would leave only the holy grail: the attempt to unify gravity with the other three forces. String theory attempted such a unification by appealing to ten dimensions, yet by the 1990s there were five different string theories, which themselves needed to be unified, spawning M Theory (which required an additional eleventh dimension). An opposing contender soon arrived in loop quantum gravity. While string theory posits a quantum particle (the graviton) that exists within spacetime, loop quantum gravity inverts the order, making space more fundamental than a quantized particle within space, and so quantizing spacetime itself. These quanta of space are then "looped" together, determining the shape of spacetime. *Having unveiled the best approximations at a unified theory in physics today, Al-Khalili then ventures in chapter 8 to evaluate the subsequent state of the subject. He expresses frustration that no definitive proof has adjudicated between possible theories of everything, and that such unification seems further away now than it did thirty years ago. Even major discoveries, such as the Higgs boson, have mostly confirmed what we already suspected for decades, rather than genuinely pushing the envelope. Yet while he has given plenty of reason to be sceptical, Al-Khalili then lists recent developments that show that plausible models of quantum gravity continue to come forward, for example, Witten's M-Theory or Maldacena's gauge/gravity duality. Further, physics continues to make substantial technological contributions to daily life. This leads naturally into chapter 9 ("The Usefulness of Physics"). Particular attention is paid to the future possibilities of quantum computing for physics, medicine, AI, and a whole host of other multi-disciplinary simulations and processes that quantum superpositions would allow (for superpositions enable a greater degree of complexity in contrast to binary). *Al-Khalili concludes with a final chapter ("Thinking like a Physicist") about how physics and the scientific method can and should help govern public discourse. In this chapter, the true aim of his project comes to light, suggesting he is not providing a picture of the world according to physics, but the world as it simply is: "One day we may find a new theory of quantum gravity, but it will never predict that my ball will take twice or half as long as Newton's equation of motion predicts. That is an absolute truth about the world. There is no philosophical argument, no amount of meditation, no spiritual awakening or religious experience, or gut instinct or political ideology that could ever have told me that a ball dropped from a height of five metres would take one second to hit the ground. But science can tell me" (p. 276). *While Al-Khalili claimed in the preface that he would try to avoid metaphysical questions (p. xiii), he inevitably (and at times, self-consciously) stumbles back upon them, making ontological claims about the world-in-itself. Indeed, even his quest for unification is arguably based on a philosophical presupposition that unity is more fundamental than diversity, a tradition which came to fruition in Neoplatonism and Christian monotheism. While Al-Khalili acknowledges the need for philosophy and science to communicate (p. xiv), in practice he seems to treat philosophy as a useful tool for science when it hits a roadblock (e.g., for unpacking the implications of quantum mechanics) rather than a discipline in its own right that has the ability to question the underlying epistemic and ontological assumptions of science itself. As such, while his manner is more open and humble than your average humanist/materialist (he was elected president of the British Humanist Association in 2012), his actual beliefs do not seem to have absorbed much at all of the philosophical or theological complexity required for the sorts of claims he is making: "The human condition is bountiful beyond measure. We have invented art and poetry and music; we have created religions and political systems; we have built societies, cultures, and empires so rich and complex that no mere mathematical formula could ever encapsulate them. But, if we want to know where we come from, where the atoms in our bodies were formed--the "why" and "how" of the world and universe we inhabit--then physics is the path to a true understanding of reality. And with this understanding, we can shape our world and our destiny" (p. 281). *Ultimately, if one wants a helpful primer on physics, Al-Khalili provides a passionate and serviceable introduction. While his explanations of some topics were perhaps too much for newcomers, his weaving together of subjects often treated in isolation helps get things back on track, providing a grander narrative for lost readers to latch on to. Yet, if one is looking to see how this narrative fares as an all-encompassing account of the "why" and "how" of our world, then there are superior accounts available on the market. Indeed, thousands of years of writing and prayer have already sought out and encountered the One at the heart of creation. *Reviewed by Jonathan Lyonhart, University of Cambridge, Sidney Sussex College, Cambridge, UK CB2 3HU

THE WORLD ACCORDING TO PHYSICS by Jim Al-Khalili. Princeton, NJ: Princeton University Press, 2020. 336 pages. Hardcover; $16.95. ISBN: 9780691182308. *The World According to Physics is Jim Al-Khalili's "ode to physics" (p. vii). While Al-Khalili has been publishing popular science for over twenty years, this is his first attempt to provide the layperson a cohesive overview of physics as a whole, linking together relativity, quantum mechanics, and thermodynamics into one unified (or rather, not yet unified) picture of the cosmos. "Ode" is appropriate, for the author's unrelenting adoration of his subject is apparent throughout; this is a child's dream fulfilled, and in many ways is a broader summa of the world according to the mature Al-Khalili, bringing together not only physics, but also his views on truth, society, and our future. *Khalili opens with a discussion of how the human mind craves narrative. Yet science has displaced much of the old myths and religions: "Contrary to what some people might argue, the scientific method is not just another way of looking at the world, nor is it just another cultural ideology or belief system. It is the way we learn about nature through trial and error, through experimentation and observation, through being prepared to replace ideas that turn out to be wrong or incomplete with better ones, and through seeing patterns in nature and beauty in the mathematical equations that describe these patterns. All the while we deepen our understanding and get closer to that "truth"--the way the world really is" (p. 2). *While physics is not just another "story," it does have a cosmic scale that gives it a captivating wonder of its own, providing the basis for chapter 2 ("Scale"). Physics encompasses the infinitely small (e.g., subatomic particles) as well as the infinitely large (e.g., the expansion of spacetime at the farthest reaches of existence). Further, its scope is not merely all of space but all of time as well, getting within decimal points of the first instant after the big bang, while providing prophetic approximations of how the cosmos might end. While Al-Khalili does not play his cards this early, his later chapters (pp. 242-43 in particular) will reveal that this extensive scope establishes physics as the most fundamental discipline, the reigning queen of the sciences. *The deeper project begins in chapter 3 ("Space and Time"). Al-Khalili wishes to display the underlying skeleton that comprise the unification project of physics, charting each merger until the final matchup is made (similar to a playoff line-up, where 16 teams soon become 8, then 4, then 2, then 1). Just as Newton wedded heaven and Earth through gravity, Einstein wedded space and time, explaining a diversity of phenomena with ever-simpler equations. While Al-Khalili's popular explanations of special and general relativity are merely adequate, his grasp of the broader narrative of unification in which these theories stand is incredibly useful, helping the layman see the trajectory of the book and physics as a whole, even when they cannot understand each individual step. *While chapter 3 unified space and time, chapter 4 ("Energy and Matter") unifies the energy and mass which warp said spacetime. Yet the unifications of relativity hit a snag when they come to "The Quantum World" (chapter 5) and to "Thermodynamics and the Arrow of Time" (chapter 6). While Einstein seems to rule over the kingdom of all things great, quantum mechanics rules over all things small, and no one has managed to negotiate a treaty just yet. Things do not work "down there" as they do "up here"; the laws of the macro are not the laws of the micro. Further, thermodynamics suggests that there is a directionality to time--for things move toward greater entropy--yet it is unclear how this can be made consistent with relativistic time or the conceptual reversibility of time in the quantum world. *Al-Khalili then moves in chapter 7 ("Unification") to possible reconciliations of these issues. He does an admirable job of explaining how the electromagnetic and weak nuclear forces were unified into the electroweak force, as well as explaining the ongoing attempt to unify the strong force with the electroweak force in a grand unified theory. This would leave only the holy grail: the attempt to unify gravity with the other three forces. String theory attempted such a unification by appealing to ten dimensions, yet by the 1990s there were five different string theories, which themselves needed to be unified, spawning M Theory (which required an additional eleventh dimension). An opposing contender soon arrived in loop quantum gravity. While string theory posits a quantum particle (the graviton) that exists within spacetime, loop quantum gravity inverts the order, making space more fundamental than a quantized particle within space, and so quantizing spacetime itself. These quanta of space are then "looped" together, determining the shape of spacetime. *Having unveiled the best approximations at a unified theory in physics today, Al-Khalili then ventures in chapter 8 to evaluate the subsequent state of the subject. He expresses frustration that no definitive proof has adjudicated between possible theories of everything, and that such unification seems further away now than it did thirty years ago. Even major discoveries, such as the Higgs boson, have mostly confirmed what we already suspected for decades, rather than genuinely pushing the envelope. Yet while he has given plenty of reason to be sceptical, Al-Khalili then lists recent developments that show that plausible models of quantum gravity continue to come forward, for example, Witten's M-Theory or Maldacena's gauge/gravity duality. Further, physics continues to make substantial technological contributions to daily life. This leads naturally into chapter 9 ("The Usefulness of Physics"). Particular attention is paid to the future possibilities of quantum computing for physics, medicine, AI, and a whole host of other multi-disciplinary simulations and processes that quantum superpositions would allow (for superpositions enable a greater degree of complexity in contrast to binary). *Al-Khalili concludes with a final chapter ("Thinking like a Physicist") about how physics and the scientific method can and should help govern public discourse. In this chapter, the true aim of his project comes to light, suggesting he is not providing a picture of the world according to physics, but the world as it simply is: "One day we may find a new theory of quantum gravity, but it will never predict that my ball will take twice or half as long as Newton's equation of motion predicts. That is an absolute truth about the world. There is no philosophical argument, no amount of meditation, no spiritual awakening or religious experience, or gut instinct or political ideology that could ever have told me that a ball dropped from a height of five metres would take one second to hit the ground. But science can tell me" (p. 276). *While Al-Khalili claimed in the preface that he would try to avoid metaphysical questions (p. xiii), he inevitably (and at times, self-consciously) stumbles back upon them, making ontological claims about the world-in-itself. Indeed, even his quest for unification is arguably based on a philosophical presupposition that unity is more fundamental than diversity, a tradition which came to fruition in Neoplatonism and Christian monotheism. While Al-Khalili acknowledges the need for philosophy and science to communicate (p. xiv), in practice he seems to treat philosophy as a useful tool for science when it hits a roadblock (e.g., for unpacking the implications of quantum mechanics) rather than a discipline in its own right that has the ability to question the underlying epistemic and ontological assumptions of science itself. As such, while his manner is more open and humble than your average humanist/materialist (he was elected president of the British Humanist Association in 2012), his actual beliefs do not seem to have absorbed much at all of the philosophical or theological complexity required for the sorts of claims he is making: "The human condition is bountiful beyond measure. We have invented art and poetry and music; we have created religions and political systems; we have built societies, cultures, and empires so rich and complex that no mere mathematical formula could ever encapsulate them. But, if we want to know where we come from, where the atoms in our bodies were formed--the "why" and "how" of the world and universe we inhabit--then physics is the path to a true understanding of reality. And with this understanding, we can shape our world and our destiny" (p. 281). *Ultimately, if one wants a helpful primer on physics, Al-Khalili provides a passionate and serviceable introduction. While his explanations of some topics were perhaps too much for newcomers, his weaving together of subjects often treated in isolation helps get things back on track, providing a grander narrative for lost readers to latch on to. Yet, if one is looking to see how this narrative fares as an all-encompassing account of the "why" and "how" of our world, then there are superior accounts available on the market. Indeed, thousands of years of writing and prayer have already sought out and encountered the One at the heart of creation. *Reviewed by Jonathan Lyonhart, University of Cambridge, Sidney Sussex College, Cambridge, UK CB2 3HU

This research studies about flouting maxim in The B.F.G movie. The research concerns on finding the flouting maxims in The B.F.G movie. This research employed mainly descriptive qualitative method to support in interpreting and analysing the data. The data of this research were utterances produced by Sophie and BFG as main characters in The B.F.G movie. The context of the research was the dialogues of the movie. The data sources of this research were The B.F.G and its script. Meanwhile, the primary instrument of this research was the researcher ourselves. The data were collected by downloading the movie and the script, watching the movie, and then collecting the data which reflects the phenomena of maxim flouting. The paper examines the use of flouts in different situations and explores in what situations the different characters flout the maxims for any conversation. The results show that there were 10 flouting maxims of quantity (42%); 10 flouting maxims of relevance (42%); 2 flouting maxims of quality (8%); and 2 flouting maxims of manner (8%). Hence the total number of flouting maxims is 24. These results suggest that the use of flouts has to do with their different personalities and communities.Keywords: Cooperative Principle, Grice’s Maxim, Flouting MaximHow to Cite: Ulfah-1, R.A.A.N.U.-1., Afrilia, R-2. (2018). An Analysis of Fluting Maxim in BFG Movie. Project, X (X), XX-XX. INTRODUCTIONCommunication is a medium to convey meaning from one to another. As stated by Yule (2006) that communication involves word recognition and meaning recognition. There could be hidden intention in some utterances. Failing to recognize those intentions may lead to misunderstanding and even a dispute. Nevertheless, listener is not always to be in guilt. Sometimes in communication, the speaker may provide incomplete or unclear utterance hence the listener found difficulties to comprehend. Thus it is claimed that language as a tool for communication serves as an instrument to maintain a good relationship between the speaker and the hearer. Dealing with language and communication, cooperative principle proposed by Grice serves as means to achieve effective communication. It is described that speakers and listeners must give contribution as required by each other so that both of them may come to the same understanding of the meaning they are trying to convey. Grice elaborates four conversational maxims: maxim of relevance, maxim of quantity, maxim of quality, and maxim of manner. During conversation, speakers may break the rule of the maxims. The flouting of the maxims may occur in daily life or in movies. Movies as one of literary works mostly functions to entertain the audience. The flouting maxims in movies may be intentionally created to achieve the purpose of entertaining. The BFG is one fantasy adventure film released in 2016 by Walt Disney. It tells about the journey of two different species, a human (Sophie) and a giant (that Sophie called Big Friendly Giant). Since they are from different group of communities, their communication may run ineffective. This study aims at analyzing the flouting maxims occurred in The BFG movie.The Cooperative Principle Cooperative Principle is the basic principle in pragmatics. The Cooperative Principle is principle of conversation that was proposed by Grice. He called The Cooperative Principle as when we try to talk to be cooperative by elevating. He says, “make your conversational contribution such as is required, at the stage at which it occurs, by the accepted purpose or direction of talk exchange in which you are engaged.” Within this principle, he intended four maxims.(Grundy, 1998) (in Ginarsih, 2014)Grice’s MaximMaxim of RelevanceMaxim of relation: This maxim may seem clear in the first look but as Grice himself mentioned it is very difficult to define it exactly: "Though the maxim itself is terse, its formulation conceals a number of problems that exercise me a good deal: questions about what different kinds and focuses of relevance there may be, how these shift in the course of a talk exchange, how to allow for the fact that subjects of conversations are legitimately changed, and so on. I find the treatment of such questions exceedingly difficult, and I hope to revert to them in later work." Grice ( in Kheirabadi, 2012).Maxim of Quantity Maxim of quantity requires that participants of a conversation give their contribution as is required in terms of the quantity of information. To say beyond the quantity of information needed in the conversation is to break the maxim. In making their contribution to the conventional talk, participants should gauge the amount information that is really sought for and give it as much as is necessary. They should not make their contribution either more informative or less informative. (Seken, n.d.2015)Maxim of QualityMaxim of quality requires conventional participants to say things that are true or things that they believe to be true. That is, they do not say anything than they believe to be false or anything of which they do not have any evidence. In other words, to comply with this maxim, a speaker in a conventional exchange must speak on the basis of facts, or he/she must have factual evidence by which to sufficiently support what he/she says as truth. (Seken, n.d.2015)Maxim of Manner Utterances may conform to the maxims or may disobey them by infringing, opting out, and flouting or violating. The infringement of the maxims is because of the speaker‟s imperfect knowledge of linguistic. When speakers decided to be uncooperative, they opt out of observing the maxims. ( Thomas 1995 in Jafari, 2013) Maxim Flouting Flouting a maxim is the case when a speaker purposefully disobeys a maxim at the level of what is said with the deliberate intention of generating an implicature. In this case, the speaker’s choice not to observe the maxim by the words he/she utters may be related to the some motive (such as politeness, style of speaking, etc.) (Seken, n.d.2015).According to Thomas (1995:64 in Mohammed & Alduais, 2012) flouting a maxim occurs where a participant in a conversation chooses to ignore one or more of the maxims by using a conversational implicature. Ignoring maxims by using conversational implicatures means that the participant adds meaning to the literal meaning of the utterance. He further explains the conversational implicature that is added when flouting is not intended to deceive the recipient of the conversation, but the purpose is to make the recipient look for other meaning. Moreover Black (2006:25 in Mohammed & Alduais, 2012) explains that a speaker who flouts maxims is actually aware of the Cooperative Principles and the maxims. In other words, it is not only about the maxims that are broken down but that the speaker chooses an indirect way to achieve the cooperation of the communication.Types of Flouting Maxim In ( Grice’s theory in Nur & Fatmawati, 2015) there are four types of maxim flouting. They are quantity maxim flouting, quality maxim flouting, relevance maxim flouting, and manner maxim flouting. Quantity Maxim FloutingWhen a speaker flouts the maxims under the category of Quantity, she/he blatantly gives either more or less information than the situation demands.For example: A : The other giants. Are they nice, like you a nice?B : No, I regret to say that the guys would eat you alive bite. My twenty four foot, but not in Giant country, and that's where you are. In Giants country now.In the example above, it is not appropriate, because when A asks the B about another giant, B does not answer according to the question. He give more information that not needed by A.Quality Maxim Flouting Thomas (in Fami 2015:15) said that flout maxim of quality occur when the speaker say something which is blatantly untrue or for which he/she lack adequate evidence.For example:A : Not as it happens to me, it is most terrible speakB : Well, I think you speak beautifullyIn the example above, B say untrue or lie. She do this, because she doesn’t want B sad with his speaking.Relevance Maxim FloutingFlouting of maxim relevance, (Ginarsih 2014, n.d.) said that by changing the subject or by failing the address the topic directly is encountered very frequently. For example:A : You mean of my life. For the rest of my life?B : Hey, do not you cold?In this case B did not answer according to the question, B changes the topic of conversation. Manner Maxim FloutingAccording to (Ginarsih 2014, n.d.) The maxim under the category of manner is exploited by giving ambiguity and obscure expressions, failure to be brief and orderly. It is often trying to exclude a third party, as in this sort of exchange between husband and wife.A : Where are you off to?B : I was thinking of going out to get some of that funny white stuff for somebody.A : OK, but don’t be long – dinner is nearly readyB speaks in an ambiguous way, saying “that funny white stuff” and“somebody”, because he is avoiding saying “ice cream” and “her/his Daugther”, so that his little daughter does not become excited and ask for the ice cream before her meal. Sometimes the speakers play with words to heighten the ambiguity, in order to make a point.Movie(Chandra Yuliasman 2014) Movie is happen based on script, but it reflect to our daily life activity mostly. That is why the researcher interested to use movie as media to increase the researcher understanding about flouting maxim. Movie also affect masses in childhood and youth. Movie is also called a film or motion picture, is a series of still or moving images. Based on the theories above, the researcher chose “The BFG (Big Friendly Giant)” as the object of the research.The B.F.GThe B.F.G is a 2016 American fantasy adventure film directed and produced by Steven Spielberg, written by Melissa Mathison and based on the 1982 novel of the same name by Roald Dahl. In the film, an orphan human girl be friends a benevolent giant, dubbed the "Big Friendly Giant", who takes her to Giant Country, where they attempt to stop the man-eating giants that are invading the human world. The writers chose The B.F.G, because in the film contain about friendship and courage, in that movie also have morality and ethics quotes. Steven Spielberg is known for his quality films, such as Jurrasic Park. He has also received three Oscars, and received a Life Achievement Award from the American Film Institute (AFI). Steven hooked some Hollywood actresses to play in the movie B.F.G, such as: Mark Rylance (B.F.G), Ruby Barnhill (Sophie), Penelope Wilton, Jemani Clement, Rebecca Hall, Rafe Spall, and Bill Hader. Steven Spielberg films this In the premiere of premiere The BFG managed to triumph in the Top 10 Box Office by collecting revenues of USD 31 million. Although not a chance to taste the top of the Box Office but The BFG still loved by his fans, especially for lovers of fantasy and adventure movies.METHODThis research uses a descriptive qualitative method to analyse the flouting maxim in The B.F.G movie directed by Steven Spielberg. According to Holloway (in Nur & Fatmawati, n.d.) qualitative research is a form of social inquiry focusing on the interpretation of experience and the world by people.” Therefore, this research is conducted systematically through the technique of data collecting and data analysis. The data are taken from the script, the writers analysed of flouting maxim of quantity, maxim of quality, maxim of relation, and maxim of manner based on Grice’s theories, being used to choose the most frequently method among them, the writer used percentage category based on Multihajz’s formula, in Selvia (2014) as follows: P = Percentage F = Frequency n = Number of Maxims RESULTS AND DISCUSSIONResultsThere are 24 conversations from 100 conversations that found in The B.F.G Movie between the main characters, Sophie and B.F.G that flouted the Grice’s cooperative principle. They flouted the maxim of quantity, the maxim of quality, the maxim of relation, and the maxim of manner. In the calculation the writers employed percentage technique as described below:Table 1The Classification of Maxim:NoTypes of MaximQuantityPercentage1.The Maxim of Quantity1042 %2. The Maxim of Quality28 %3The Maxim of Relevance1042 %4The Maxim of Manner28 %Total24100 %From the classification above, it could be seen clearly that among four types of maxim in conversation between the main characters, Sophie and B.F.G in “The B.F.G” Movie, the maxim of Quantity and Relevance were the most identifiable types. First is Quantity. There are 10 conversations or cover 42 %. The second was the maxim of Relevance; there are 10 conversations or cover 42 %. The third was maxim of Quality; there are 2 conversations or cover 8 %. The fourth was the maxim of Manner; there are 2 conversations or cover 8 %. Based on the table above, here are the explanations of each maxim that the main character, Sophie and B.F.G flouted in The B.F.G Movie. The maxim of quantitySophie : The other giants. Are they nice, like you a nice?B.F.G : No, I regret to say that the guys would eat you alive bite. My twenty four foot, but not in Giant country, and that's where you are. In Giants country now.Analysis: It is not appropriate, because when Sophie asks the BFG about another giant, the BFG does not answer according to the question. He give more information that not needed by Sophie.Sophie : We can’t have secrets. I'll tell you mine. I sneak around at night too, and that still sometimes theft and lying. So I’m alone at the time. I've never had a best friend, I told you all thatB.F.G : We got over.Analysis: The BFG did not give the right reasons to reply to a statement from Sophie.Sophie : You should not let them treat you like that. You should notB.F.G : Live with nine giant eats beans. They take so I return. Murmur good dreams. It's what I can do, I do something. I do something.Analysis: The BFG ignored Sophie’s suggestion of another giant treating the BFG badly and he changed the subject.Sophie : No I’m not.B.F.G : Yes you here. If you are a human being and human being is a strawberry cream for giants. They are the prey of those giants out there, so you stay in a nice safe place right here. Analysis: BFG answer does not fit with the context of the conversation at that time.B.F.G : Someone called me a big, friendly giant. How should I call you? Sophie : My name is SophieAnalysis: Sophie does not understand about a nickname, so she just answers with her name only "Sophie".B.F.G: So you're an orphan?Sophie: Yes. You took me to an orphanage. You did not know?Analysis: Sophie did not give the right reasons to reply to a statement from B.F.G.B.F.G: I did not know that. Are you happy there?Sophie: No! I hate that. The lady who runs it is incompetent and she’s crazy rules and you get punish a lot.Analysis: In this conversation, Sophie should answer yes or no , because the question is are you happy there ?.Sophie : Being is not be ing .What is that green thing ?B.F.G : Frobscuttel. All giant drink frobscottel.Analysis: BFG answer does not fit with the context of the conversation at that time.Sophie : Where are you going now ?B.F.G : A dreams blow .It's what I do next.Analysis: BFG answer does not fit with the context of the conversation at that time. In this conversation Sophie asks where, it means that ask about place.Sophie : But why did you bring me here? Why did you take me?B.F.G : I had did to take you, because the first thing you, you would do spread the news you actually saw a giant and then there would be a big fuss and all human beans would be looking for the giant dresses all excited, and then I would be locked up in a cage to look at me with all the noisy hypo-fat and crocodiles and giraffes. And then there would be a huge hunt for all the boy giantsAnalysis: The BFG gives too much give reason to Sophie, should the BFG give Sophie a simple and precise reason for the question.The maxim of RelevanceSophie : Then, who are you? What kind of monster are you?B.F.G : You as me wrongAnalysis: BFG does not honestly reply to Shopie that he is a giant kind.Sophie : You mean of my life. For the rest of my life. B.F.G : Hey, do not you cold?Analysis: BFG did not answer according to the questionSophie : What did you work? B.F.G : And now she asks me to tell you very big secrets.Analysis: BFG did not answer according to the questionSophie : Flesh head ,he comes to eat me, my blood will be on your hands. B.F.G : Everything about you going against my better judgment.Analysis: BFG tries to make Shopie calm by diverting the conversationSophie : Look at all the stars! B.F.G : Often when it is clear I hear distant music living of the stars in the skyAnalysis: When Shopie wants to show something, BFG answer it with things that are not appropriate.Sophie: Really? B.F.G : You think I'm kidding, right? Analysis: BFG should simply answer "yes" or "no".Sophie : Are there bad dreams here too? B.F.G : It will a TrogglehumperAnalysis: BFG did not answer the question correctly.Sophie : Make them all happy. BFG, your father and your mother taught you about dreams? B.F.G : The Giants do not have mothers or fathers. Analysis: BFG should simply answer “has” or “has not”.Sophie : What is the Sophie’s dream? B.F.G : A golden Phizzwizard. I had not seen in a while. Analysis: BFG does not explain what dreams Sophie will experience.Sophie : You snapped me.B..F.G : Well, you are right. After all, you're just a little thing. I can’t help thinking what your poor mother and father must be …Analysis: BFG should simply answer "yes" and "no", and not discuss the unnecessaryThe maxim of QualityB.F.G : You do, you really do?Sophie : Simply beautifully.Analysis: In this situation of conversation, Sophie gives untrue respond to B.F.G or she lies, because she didn’t want make B.F.G sad with B.F.G’s sentence.B.F.G : Not as it happens to me, it is most terrible speak.Sophie : Well, I think you speak beautifully.Analysis: In this conversation, Sophie say untrue or lie. She did it, because she didn’t want B.F.G sad with his statement.The maxim of mannerSophie : Blood bottler ? B.F.G : Yes and butcherSophie : The butcher. Please don’t eat me.Analysis: BFG does not explain in detail about Bottler.Sophie : But then I wake up.B.F.G : And you wake up.Sophie : But not here.Analysis: There is no alignment in the conversationDiscussionThe writer found total numbers of flouting maxim that produce by main character in “The B.F.G” movie those were 24 utterances. Then divided into four types of flouting, they were quality which had 10 data or 42%, quantity had 2 data or 8%, relevance had 10 data or 42% and manner had 2 data or 8%. Thus the most frequent category of flouting maxim produce is the main character was maxim of quality and maxim of relevance. It means that in this movie, The BFG tended to conduct his flouted utterance for move the conversations. CONCLUSIONThe aim of this research is to find out the flouting maxim by the main characters in “The B.F.G” movie. The result show the most frequent category of flouting maxim by the main character was quality and relevance. It indicates that based on the maxim of quantity, there are some conversations that giving more or less information. Based on the semantics theory it is wrong, because giving more information than the need is flouting the maxim of quantity. For the maxim of relevance, there are some conversations that are not relevance, it is related with Ginarsih statement relevance maxim flouting by changing the subject or by failing the address the topic directly is encountered very frequently. There are only two flouting maxims of quality and manner was less frequent. It indicates mostly the conversation in The B.F.G movie is cooperative. It is different with the previous study, from Iniyanti, A et.al (2014) they found two flouting maxims, there are: maxim of relation and maxim of manner. And from Al-Qaderi (2015) he found that the maxim of quantity was most frequently flouted.After the research, the researcher took a conclusion that even the famous movie, the flouting maxims are can’t be avoid. ACKNOWLEDGMENTSPlace Acknowledgments, including information on the source of any financial support received for the work being published. Place Acknowledgments, including information on the source of any financial support received for the work being published.

Contrary to popular belief, motion picture piracy is not a modern phenomenon.2 Indeed, Hollywood studios have been engaged in a continuous battle against pirates ever since theatres began showing films in the late nineteenth century.3 One of the earliest methods of motion picture piracy, for example, was the “bicycling of prints,” a practice by which a theatre operator would literally transport film reels between multiple theatres by bicycle to avoid the cost of licensing reels for each.4 With the advent of the Internet, however, the rate of motion picture piracy has increased exponentially. While truly measuring the extent of such illegal activity is impossible, recent estimates by the Motion Picture Association of America (“MPAA”) suggest that somewhere between 300,000 and 350,000 motion pictures are illegally downloaded from the Internet every day.5 With Hollywood studios already losing four billion dollars in potential profits each year to analog piracy,6 the continuous growth of digital piracy threatens the very existence of the motion picture industry. It is no surprise, then, that industry trade organizations like the MPAA are now feverishly searching for an effective way to address the problems posed by digital piracy.

H.264/AVC standard of the ITU-T Video Coding Experts Group and the ISO/IEC Moving Picture Experts Group. The H.264/AVC standardization is now achieving signicant improvement in rate-distortion efciency for digital systems worldwide. This paper provides an overview of the technical features of H.264/AVC, describing its baseline proles, motion estimation for inter, and intra prediction. To improve the human perceptual quality of videos deblocking lter and perceptual quality assessments are described in detail.

The objective of this paper is to utilize a webcam to lively track the region of interest (ROI), in particular, the hand locale, in the picture extend and recognize hand motion, we use skin colour discovery and also morphology to delete the unnecessary background information from the picture, and afterward use foundation subtraction to recognize the ROI. Next, to stay away from foundation effects on items or commotion influencing the ROI, we utilize the kernelized connection channels (KCF) calculation to follow the identified ROI. The picture size of the ROI is at that point resized to 28x28 and afterward sent into the profound convolutional neural system (CNN), so as to distinguish various hand signals. Two profound CNN designs are created right now are altered from DenseNet . At that point, the above procedure of following and acknowledgment is rehashed to accomplish a moment impact, and the framework's execution proceeds until the hand is removed from the camera.

AND NOW A WORD ABOUT BIOGRAPHY During the Fifties the number of books published dealing seriously with the cinema, including biographies of filmmakers, was never more than a trickle. Students of film and its enthusiasts looked forward eagerly to new volumes coming out along with the very few journals devoted to the thoughtful consideration of motion pictures: (Sight and Sound (BFI)), Film (UCLA). Television was seldom in the publishing picture at that time other than in commercial magazines. What literature became available about film during these years was easy to keep up with; there was time to read the books and magazines thoroughly, and without having to spend an entire pay cheque every week to purchase them. Contrast this situation with today; the trickle is a constantly running tide, film and tv books in English of all kinds pour from the regular presses, at one end, and from the...

AbstractIn this article, a framework for hadronic rescattering in the general-purpose Pythia event generator is introduced. The starting point is the recently presented space–time picture of the hadronization process. It is now extended with a tracing of the subsequent motion of the primary hadrons, including both subsequent scattering processes among them and decays of them. The major new component is cross-section parameterizations for a range of possible hadron–hadron combinations, applicable from threshold energies upwards. The production dynamics in these collisions has also been extended to cope with different kinds of low-energy processes. The properties of the model are studied, and some first comparisons with LHC $$\mathrm {p}\mathrm {p}$$ p p data are presented. Whereas it turns out that approximately half of all final particles participated in rescatterings, the net effects in $$\mathrm {p}\mathrm {p}$$ p p events are still rather limited, and only striking in a few distributions. The new code opens up for several future studies, however, such as effects in $$\mathrm {p}$$ p A and AA collisions.

Gigantic volumes of content information are open in web. The fundamental rich assets of sentiments are from discussions, website evaluations, news and blog. Our point is to group the slants of clients focuses at mining the surveys of clients for a motion picture by removing the information naturally and characterize the conclusions into positive or negative sentiments. With the brisk making of Internet applications, incline course of action would have colossal opportunity to help people customized assessment of customer's notions from the web information. Customized feeling mining will benefit to the two clients and sellers.Up to now, it is as yet an entangled assignment with incredible test. Specifically, there is an abundance of content written in regular language accessible online that would turn out to be significantly more helpful to us were we ready to viably total and process it consequently by using the NLP techniques. The comments are pre-processed using NLP techniques like tokenization, stop word removal & stemming.Machine learning algorithms are used in opinion mining for product review data set to train the system based on the rules of the algorithm utilized where it is tested with test data set, both these train & test data sets are labelled unbalanced opinions.

A very popular technique of 3D vision now-a-days is holography which has many advantages over the stereoscopic 3D vision. The same technique can be implemented on RADAR to take high resolution 3D picture of the target and to track with very minute displacement. As this does not employ parallax method, so binocular antenna can be replaced by a single antenna. Again in this thesis another new concept, gated range, is implemented, i.e., the target can be detected within a certain range on spatial domain so that it can focus to the target and the clutter has no effect on it. Narrow virtual transmit pulses are synthesized by differencing long-duration, staggered pulse repetition interval (PRI) transmit pulses. PRI is staggered at an intermediate frequency IF. Echoes from virtual pulses form IF-modulated interference patterns with a reference wave. Samples of interference patterns are IF-filtered to produce high spatial resolution holographic data. PRI stagger can be very small, e.g., 1-ns, to produce a 1-ns virtual pulse from very long, staggered transmit pulses. Occupied Bandwidth (OBW) can be less than 10 MHz due to long RF pulses needed for holography, while spatial resolution can be very high, corresponding to ul tra-wideband (UWB) operation, due to short virtual pulses. X-Y antenna scanning can produce range-gated surface holograms from quadrature data. Multiple range gates can produce stacked-in-range holograms. Motion and vibration can be detected by changes in interference patterns within a range-gated zone.

A very popular technique of 3D vision now-a-days is holography which has many advantages over the stereoscopic 3D vision. The same technique can be implemented on RADAR to take high resolution 3D picture of the target and to track with very minute displacement. As this does not employ parallax method, so binocular antenna can be replaced by a single antenna. Again in this thesis another new concept, gated range, is implemented, i.e., the target can be detected within a certain range on spatial domain so that it can focus to the target and the clutter has no effect on it. Narrow virtual transmit pulses are synthesized by differencing long-duration, staggered pulse repetition interval (PRI) transmit pulses. PRI is staggered at an intermediate frequency IF. Echoes from virtual pulses form IF-modulated interference patterns with a reference wave. Samples of interference patterns are IF-filtered to produce high spatial resolution holographic data. PRI stagger can be very small, e.g., 1-ns, to produce a 1-ns virtual pulse from very long, staggered transmit pulses. Occupied Bandwidth (OBW) can be less than 10 MHz due to long RF pulses needed for holography, while spatial resolution can be very high, corresponding to ul tra-wideband (UWB) operation, due to short virtual pulses. X-Y antenna scanning can produce range-gated surface holograms from quadrature data. Multiple range gates can produce stacked-in-range holograms. Motion and vibration can be detected by changes in interference patterns within a range-gated zone.

Completely Automated Public Turing test to tell Computers and Humans Apart (CAPTCHA) is a challenge response tactics for identifying whether intervened user is human or bot. It is a benchmark task in the field of artificial intelligence that acquires capabilities to secure a webpage or database from programmed loop. There are various ways to attempt such tests i.e. distorted text recognition, motion text recognition, picture identification, mathematical calculation and AI problems as gaming CAPTCHA. Nowadays CAPTCHA is well thought-out as a broadly employed technique which is exploited by web services to prevent their system from unusual relay attacks. It is basically a Turing test required to differentiate whether the accessed client is either a human being or a robot. CAPTCHA is a trending approach where user needs to play an artificial game which is based on some logics that can be understood by human and almost impossible for robots. Gaming CAPTCHA is trending now where user is required to understand the task and perform as it required. But dragging an object towards target area on the basis of object recognition is not a big deal either for human or bots. It is required to put some intellectual efforts that automated programs do not understand. Proposed system is able to provide highly secured technique that easily differentiates human and bots. Proposed CAPTCHA is based on situation reaction test where user is required to take fundamentally correct decision as per the situation. Situation reaction based CAPTCHA is a new and effective approach where hard AI problem proposed that only possible for human and almost impossible for bots. Robot is always weak in correct decision making especially in real life situations that is why situation reaction CAPTCHA plays an important role in the field of turing test.