Journal articles on the topic 'Ecole polytechnique (France). Bibliothèque'

The important role played by the Ecole Polytechnique in the resurgence of science in France after the French Revolution, and its progress ever since, has led to much historical work on its foundation and development. Some of these studies have brought historians to the school's archives; and there chaos has awaited them, for they found the main collections of documents sorted into containers which were nominally classified by calendar year but in fact could contain materials pertaining to various other times. In addition, very many other documents were stored without classification. Thus exhaustive study of the school's history has been difficult, not to say impossible.

The MEthane Remote sensing Lidar missioN (MERLIN), currently in phase C, is a joint cooperation between France and Germany on the development of a spatial Integrated Path Differential Absorption (IPDA) LIDAR (LIght Detecting And Ranging) to conduct global observations of atmospheric methane. This presentation will focus on the status of a LIDAR mission data simulator and processor developed at LMD (Laboratoire de Météorologie Dynamique), Ecole Polytechnique, France, for MERLIN to assess the performances in realistic observational situations.

For two days, October 25–26, 1991, about forty scholars—mostly, but not exclusively, historians—sat around a conference table in the Alumni Room of the prestigious Ecole Polytechnique in Paris and discussed “Tradition and the Working Class, 1850–1950.” We came from nine countries (the largest delegations were from France and the United States) to participate in the third of what has become a tradition in itself among historians of the working class, an international colloquium sponsored by ILWCH and the French social history journal. Le Mouvemem social, and supported as well by the Maison des Sciences de l'Homme. CNRS. and DAGIC.

French interest in India and neighbouring regions dates back to the 17th century. Oriental studies developed as a distinct discipline through the 19th century, stimulated in France by French colonial activities in Indochina, and culminating at the end of the century in the emergence of Oriental art and archaeology as a subject in its own right. The Commission Archéologique de l’Indochine was established in 1898, and became the Ecole Francaise d’Extrême-Orient (EFEO) in 1901 with responsibility for listing and protecting antiquities in the French colonies; its library in Paris constitutes a major resource. France’s relationship with Afghanistan facilitated French archaeological activities in that country until 1975; archaeological finds enabled the Musée Guimet to extend its scope and to become a museum of Asiatic art, and its library became and remains the major library in Paris so far as Asian art is concerned. The library of the Ecole du Louvre supports courses on Asian art, while the Bibliothèque Nationale and such libraries as the Bibliothèque Forney also contain valuable collections. Photographic collections in some of these institutions have not been so well looked after as books, and their condition is a matter of concern. Unpublished archival materials are also held in some of the same institutions. The resources of a number of smaller, specialised institutes are currently being brought together in a new building under the name ‘Institute d’Asie du Collège de France’, while some other collections are being linked with the library of the EFEO to create a ‘Bibliothèque d’Asie’. Meanwhile it remains to be seen whether the new Bibliothèque Nationale des Arts will include the arts of Asia within its scope. No library in France has responsibility for modern Indian art. (An English translation follows the text in French).

The historic site of the French national library is currently being renovated in order to become a major centre for art documentation and special collections. It will incorporate three separate institutions: the specialist departments of the Bibliothèque nationale de France, the library of the Institut national d’histoire de l’art, and the library of the Ecole nationale des Chartes. Completion of the project is scheduled for 2017.

AbstractThe use of laser-accelerated protons as a particle probe for the detection of electric fields in plasmas has led in recent years to a wealth of novel information regarding the ultrafast plasma dynamics following high intensity laser-matter interactions. The high spatial quality and short duration of these beams have been essential to this purpose. We will discuss some of the most recent results obtained with this diagnostic at the Rutherford Appleton Laboratory (UK) and at LULI - Ecole Polytechnique (France), also applied to conditions of interest to conventional Inertial Confinement Fusion. In particular, the technique has been used to measure electric fields responsible for proton acceleration from solid targets irradiated with ps pulses, magnetic fields formed by ns pulse irradiation of solid targets, and electric fields associated with the ponderomotive channelling of ps laser pulses in under-dense plasmas.

When the Bibliothèque Nationale moves into the new Bibliothèque de France, leaving behind only six specialised departments, the opportunity will arise to use the buildings of the Rue de Richelieu site to bring together a group of art history libraries and research centres. Priority will be given to the remaining Departments of the Bibliothèque Nationale, which need more space than they presently occupy; they will be joined by the inter-university library of art and archaeology from the Rue Michelet, the central library of the national museums, from the Louvre, and the older collections of the Ecole Nationale Supérieure des Beaux-Arts. The architectural holdings of the latter might be identified as the foundation for a major architectural collection to satisfy the demand for such a library in Paris. The collections thus brought together will not be merged, but will be exploited by means of shared services, including a union catalogue, and will be developed by means of a common acquisitions policy This concentration of resources on one site will not in itself constitute a ‘national art library’, but will provide a central node for a wider network. (An English version follows the original French text).

Auguste Bravais by his fundamental work on lattice has pioneered modern crystallography. He was born in 1811 in Annonay (France) at a short distance from Lyon and Saint-Etienne. He was then educated at the College Stanislas in Paris and entered the École Polytechnique in Paris in 1829. In 1832, he joined the French Navy as an officer and took part at scientific explorations to the Algerian Coast and Northern Europe. In 1837 he defended a PhD in Astronomy at the Faculty of Sciences in Lyon where he became Professor in 1841 to teach mathematics in astronomy. Then, in 1845, he moved at Ecole Polytechnique in Paris to take the chair of Physics, which he held till 1856. He published his first studies dealing with crystal lattice in 1849 in a short paper [1] and later wrote a book where he developed his theory fully based on geometrical theorems [2]. He died prematurely in 1863 exhausted by the loss of his only son. Like many scientists of that time Auguste Bravais was universalist and has been successively astronomer, geologist, mathematician, physicist, mineralogist, and crystallographer as well as an explorer from Lapland to the top of Mont Blanc [3]. In this communication, the steering committee Lyon-Saint-Etienne will recall the contribution of Auguste Bravais to crystallography and will show some aspect of his life that may be less known in our community.

In an age in which so much information is communicated through images, libraries can no longer exclude the ‘new technology of the image’. It is essential for libraries to respond to the challenge of the media, and to recognise, for example, the importance of television, which has a very visible and vital presence in the Bibliothèque publique d’information at the Pompidou Centre in Paris. Ever since the invention of photography, France has been the home of a lively tradition of active, innovative interest in photography. This is reflected in the existence of the Centre national de la photographies and the Ecole nationale de la photographie, in collections and exhibitions of photographs, and recently in the use made of videodiscs, by both museums and libraries, as a means of storing images and making them accessible. Telecommunications offer the prospect of online access to a network linking image collections together as a single visual resource. The most serious obstacles to be overcome are neither technological nor financial: the legal question of copyright has to be addressed, while the muted interest of historians does not as yet represent an overwhelming demand for such a service, and much may depend on librarians to stimulate the enthusiasm of potential users.

The aim of this article is to establish a comparison in the degree of efficiency of European universities in the management of the labour insertion of their graduates. The methodology used is the data envelopment analysis (DEA). This type of analysis enables the measurement of the relative efficiency of different organizational units in situations where there is information about multiple inputs and outputs of resources. We define one hundred and twenty-six Decision Making Units (DMU) corresponding to each of the European universities analysed in our study. Developed analysis has allowed to determine the position that each of them occupies in relation to an efficiency frontier. Obtained results have allowed identifying 13 universities that show a score 100. In the interval 99-90 are 5. Between 89-80, we have 7. Between 79-70, 7. For the interval 69-60, 13. Between 59-50 are 19. Between 49-40, 20. Between 39-30, 13. And finally between 29-20 there are 19. The universities with a score of 100 belongs to France (Ecole polytechnique and Ecole des Ponts ParisTech), Italy (Politecnico di Torino), Portugal (Universidade Nova de Lisboa), Spain (University of Navarra and University Carlos III of Madrid), Sweden (Chalmers University of Technology), Switzerland (University of St. Gallen) and United Kingdom (University of Cambridge and University of Oxford). These universities represent the optimum of efficiency if they are compared with the others analysed. The universities that have to improve the employability of its graduates by more than 74% to reach the optimum of efficiency are mostly in the United Kingdom and Sweden, but there are in other regions as Austria, Belgium, Denmark, Germany and Netherlands. Among the main conclusions of this study, we would like to highlight how European university students present employment levels above those workers with lower levels of education. This data points to the high level of general efficiency achieved by university education in improving the degree of employability of its students.

Abstract. Road traffic is a serious problem in the Chamonix Valley, France: traffic, noise and above all air pollution worry the inhabitants. The big fire in the Mont-Blanc tunnel made it possible, in the framework of the POVA project (POllution in Alpine Valleys), to undertake measurement campaigns with and without heavy-vehicle traffic through the valley, towards Italy (before and after the tunnel re-opening). Modelling in POVA should make it possible to explain the processes leading to episodes of atmospheric pollution, both in summer and in winter. Atmospheric prediction model ARPS 4.5.2 (Advanced Regional Prediction System), developed at the CAPS (Center for Analysis and Prediction of Storms) of the University of Oklahoma, enables to resolve the dynamics above a complex terrain. This model is coupled to the TAPOM 1.5.2 atmospheric chemistry (Transport and Air POllution Model) code developed at the Air and Soil Pollution Laboratory of the Ecole Polytechnique Fédérale de Lausanne. The numerical codes MM5 and CHIMERE are used to compute large scale boundary forcing. Using 300-m grid cells to calculate the dynamics and the reactive chemistry makes possible to accurately represent the dynamics in the valley (slope and valley winds) and to process chemistry at fine scale. Validation of campaign days allows to study chemistry indicators in the valley. NOy according to O3 reduction demonstrates a VOC controlled regime, different from the NOx controlled regime expected and observed in the nearby city of Grenoble.

Abstract. Road traffic is a serious problem in the Chamonix Valley, France: traffic, noise and above all air pollution worry the inhabitants. The big fire in the Mont-Blanc tunnel made it possible, in the framework of the POVA project (POllution in Alpine Valleys), to undertake measurement campaigns with and without heavy-vehicle traffic through the Chamonix and Maurienne valleys, towards Italy (before and after the tunnel re-opening). Modelling is one of the aspects of POVA and should make it possible to explain the processes leading to episodes of atmospheric pollution, both in summer and in winter. Atmospheric prediction model ARPS 4.5.2 (Advanced Regional Prediction System), developed at the CAPS (Center for Analysis and Prediction of Storms) of the University of Oklahoma, enables to resolve the dynamics above a complex terrain. This model is coupled to the TAPOM 1.5.2 atmospheric chemistry (Transport and Air POllution Model) code developed at the Air and Soil Pollution Laboratory of the Ecole Polytechnique Fédérale de Lausanne. The numerical codes MM5 and CHIMERE are used to compute large scale boundary forcing. This paper focuses on modelling Chamonix valley using 300-m grid cells to calculate the dynamics and the reactive chemistry which makes possible to accurately represent the dynamics in the Chamonix valley (slope and valley winds) and to process chemistry at fine scale. The summer 2003 intensive campaign was used to validate the model and to study chemistry. NOy according to O3 reduction demonstrates a VOC controlled regime, different from the NOx controlled regime expected and observed in the nearby city of Grenoble.

The research work hereby presented, emerges from the urge to answer the well-known question of how the uncertainty of intermittent renewable sources affects the performance of a microgrid and how could we deal with it. More specifically, we want to evaluate what could be the impact in performance of a microgrid that is intended to serve a smart-building (powered by photovoltaic panels and with battery energy storage), when the uncertainty of the photovoltaic-production forecasts is considered in the energy management process through the use of quantile forecasts. For this, several objectives (or services) are targeted based in a two-step (double-objective) energy management framework, which combines optimization-based and rule-based algorithms. The performance is evaluated based on some particular services, namely: energy cost, carbon footprint, grid peak power, and grid commitment; with the latter being a novel service proposed in the domain of microgrids. Simulations are performed whlie using data of a study-case microgrid (Drahi-Xnovation center, Ecole Polytechnique, France). The use of quantile forecasts (obtained with an analog-ensemble method) is tested as a mean to deal with (i.e., decrease) the uncertainty of the solar PV production. The proposed energy management framework is compared with basic reference strategies and the results show the superior performance of the former in almost all of the proposed services and forecasting scenarios. The fact of how optimizing for some services during the scheduling (i.e., grid commitment) can be highly detrimental for the performance of the non-targeted services, is an interesting finding of this work. The differences regarding the optimal forecasting eccentricity (i.e., the forecasting quantile) required when optimizing for the different services and seasons of the year is also considered an important conclusion of the study. This fact highlights the usefulness of the quantile forecasting approach in an energy management system, as a tool to deal with the intrinsic uncertainty of PV power production.

In most member states of the European Union a major failing of the innovation system is that inventions generated at universities and other higher education institutes are too rarely commercialized by the creation of new, innovative firms. One reason for this can be found in the accumulation of obstacles that prevent academic researchers with a technology-based business idea from setting up their own company. Such obstacles include a lack of knowledge in business management and negotiation skills, the unknown market potential of products and services, high financial risks and the widespread fear of failure. In this article a new and innovative support scheme is described, based on the concept of ‘pre-incubation’ and set up by the Institute for Innovation Transfer at the University of Bielefeld. The core of the concept is a university-associated facility, the pre-incubator, which is a new device for managing the spin-off process. The innovative feature of the pre-incubator is a specific management, legal and insurance structure that allows academic researchers to test the feasibility of their business ideas before they take the risk of setting up a company. The legal entity of the pre-incubator forms an umbrella under which potential entrepreneurs, guided and controlled by the management staff, can test their products on the market, thus gaining valuable business experience. This experience, in addition to continuous training and coaching, is expected to increase the sustainability of the future company. In addition the article outlines how the concept of pre-incubation is currently implemented at the Universidad Politecnica de Valencia in Spain and the Ecole Polytechnique in France within the framework of the EC-funded innovation project USINE (University Start-up of International Entrepreneurs). An analysis from the University of Strathclyde in Scotland, which monitors the transfer process of the pre-incubation scheme within the project, concludes the article by identifying the features of the pre-incubator that set it apart from other tried and tested mechanisms. The adaptability of the model to different national contexts is also discussed, as are the benefits and costs to stakeholders and the ways in which they can measure ‘success’.

Background information Sandscript was programmed with the web application « Tchat-scene », created by Carol-Ann Braun and the computer services company Timsoft (). It organizes a data-base of raw material into compositions and sequences allowing to build larger episodes. Multimedia resources are thus attributed to frames surrounding the chat space or to the chat space itself, thus “augmented” to include pre-written texts and graphics. Sandscript works best on a PC, with Internet Explorer. On Mac, use 0S9 and Internet Explorer. You will have to download a chat application for the site to function. Coded conversation General opinion would have it that chat space is a conversational space, facilitating rather than complicating communication. Writing in a chat space is very much influenced by the current ideological stance which sees collaborative spaces as places to make friends, speak freely, flip from one “channel” to another, link with a simple click into related themes, etc. Moreover, chat users tend to think of the chat screen in terms of a white page, an essentially neutral environment. A quick analysis of chat practices reveals a different scenario: chat spaces are highly coded typographical writing spaces, quick to exclude those who don’t abide by the technical and procedural constraints associated with computer reading/writing tools (Despret-Lonné, Gentès). Chatters seek to belong to a “community;” conversely, every chat has “codes” which restrict its membership to the like-minded. The patterns of exchange characteristic of chats are phatic (Jakobson), and their primary purpose is to get and maintain a social link. It is no surprise then that chatters should emphasize two skills: one related to rhetorical ingenuity, the other to dexterity and speed of writing. To belong, one first has to grasp the banter, then manage very quickly the rules and rituals of the group, then answer by mastering the intricacies of the keyboard and its shortcuts. Speed is compulsory if your answers are to follow the communal chat; as a result, sentences tend to be very short, truncated bits, dispatched in a continuous flow. Sandscript attempts to play with the limits of this often hermetic writing process (and the underlying questions of affinity, participation and reciprocity). It opens up a social space to an artistic and fictional space, each with rules of its own. Hyper-linked dialogue Sandscript is not just about people chatting, it is also about influencing the course of these exchanges. The site weaves pre-scripted poetic content into the spontaneous, real-time dialogue of chatters. Smileys and the plethora of abbreviations, punctuations and icons characteristic of chat rooms are mixed in with typographical games that develop the idea of text as image and text as sound — using Morse Code to make text resonate, CB code to evoke its spoken use, and graphic elements within the chat space itself to oppose keyboard text and handwritten graffiti. The web site encourages chatters to broaden the scope of their “net-speak,” and take a playfully conscious stance towards their own familiar practices. Actually, most of the writing in this web-site is buried in the database. Two hundred or so “key words” — expressions typical of phatic exchanges, in addition to other words linked to the idea of sandstorms and archeology — lie dormant, inactive and unseen until a chatter inadvertently types one in. These keywords bridge the gap between spontaneous exchange and multimedia content: if someone types in “hi,” an image of a face, half buried in sand, pops up in a floating window and welcomes you, silently; if someone types in the word “wind,” a typewritten “wind” floats out into the graphic environment and oscillates between the left and right edges of the frames; typing the word “no” “magically” triggers the intervention of an anarchist who says something provocative*. *Sandscript works like a game of ping-pong among chatters who are intermittently surprised by a comment “out of nowhere.” The chat space, augmented by a database, forms an ever-evolving, fluid “back-bone” around which artistic content is articulated. Present in the form of programs who participate in their stead, artists share the spot light, adding another level of mediation to a collective writing process. Individual and collective identities Not only does Sandscript accentuate the multimedia aspects of typed chat dialogues, it also seeks to give a “ shape” to the community of assembled chatters. This shape is musical: along with typing in a nickname of her choice, each chatter is attributed a sound. Like crickets in a field, each sound adds to the next to create a collective presence, modified with every new arrival and departure. For example, if your nick is “yoyo-mama,” your presence will be associated with a low, electronic purr. When “pillX” shows up, his nick will be associated with a sharp violin chord. When “mojo” pitches in, she adds her sound profile to the lot, and the overall environment changes again. Chatters can’t hear the clatter of each other’s keyboards, but they hear the different rhythms of their musical identities. The repeated pings of people present in the same “scape” reinforce the idea of community in a world where everything typed is swept away by the next bit of text, soon to be pushed off-screen in turn. The nature of this orchestrated collective presence is determined by the artists and their programs, not by the chatters themselves, whose freedom is limited to switching from one nick to another to test the various sounds associated with each. Here, identity is both given and built, both individual and collective, both a matter of choice and pre-defined rules. (Goffman) Real or fictitious characters The authors introduce simulated bits of dialogue within the flow of written conversation. Some of these fake dialogues simply echo whatever keywords chatters might type. Others, however, point else where, suggesting a hyper-link to a more elaborate fictionalized drama among “characters.” Sandscript also hides a plot. Once chatters realize that there are strange goings on in their midst, they become caught in the shifting sands of this web site’s inherent duality. They can completely lose their footing: not only do they have to position themselves in relation to other, real people (however disguised…) but they also have to find their bearings in the midst of a database of fake interlocutors. Not only are they expected to “write” in order to belong, they are also expected to unearth content in order to be “in the know.” A hybridized writing is required to maintain this ambivalence in place. Sandscript’s fake dialogue straddles two worlds: it melds in with the real-time small talk of chatters all while pointing to elements in a fictional narrative. For example, “mojo” will say: “silting up here ”, and “zano” will answer “10-4, what now? ” These two characters could be banal chatters, inviting others to join in their sarcastic banter… But they are also specifically referring to incidents in their fictional world. The “chat code” not only addresses its audience, it implies that something else is going on that merits a “click” or a question. “Clicking” at this juncture means more than just quickly responding to what another chatter might have typed. It implies stopping the banter and delving into the details of a character developed at greater length elsewhere. Indeed, in Sandscript, each fictional dialogue is linked to a blog that reinforces each character’s personality traits and provides insights into the web-site’s wind-swept, self-erasing world. Interestingly enough, Sandscript then reverses this movement towards a closed fictional space by having each character not only write about himself, but relate her immediate preoccupations to the larger world. Each blog entry mentions a character’s favorite URL at that particular moment. One character might evoke a web site about romantic poetry, another one on anarchist political theory, a third a web-site on Morse code, etc… Chatters click on the URL and open up an entirely new web-site, directly related to the questions being discussed in Sandscript. Thus, each character represents himself as well as a point of view on the larger world of the web. Fiction opens onto a “real” slice of cyber-space and the work of other authors and programmers. Sandscript mixes up different types of on-line identities, emphasizing that representations of people on the web are neither “true” nor “false.” They are simply artificial and staged, simple facets of identities which shift in style and rhetoric depending on the platform available to them. Again, identity is both closed by our social integration and opened to singular “play.” Conclusion: looking at and looking through One could argue that since the futurists staged their “electrical theater” in the streets of Turin close to a hundred years ago, artists have worked on the blurry edge between recognizable formal structures and their dissolution into life itself. And after a century of avant-gardes, self-referential appropriations of mass media are also second nature. Juxtaposing one “use” along another reveals how different frames of reference include or exclude each other in unexpected ways. For the past twenty years much artwork has which fallen in between genres, and most recently in the realm of what Nicolas Bourriaud calls “relational aesthetics.” Such work is designed not only to draw attention to itself but also to the spectator’s relation to it and the broader artistic context which infuses the work with additional meaning. By having dialogue serve as a hyper-link to multimedia content, Sandscript, however, does more. Even though some changes in the web site are pre-programmed to occur automatically, not much happens without the chatters, who occupy center-stage and trigger the appearance of a latent content. Chatters are the driving force, they are the ones who make text appear and flow off-screen, who explore links, who exchange information, and who decide what pops up and doesn’t. Here, the art “object” reveals its different facets around a multi-layered, on-going conversation, subjected to the “flux” of an un-formulated present. Secondly, Sandscript demands that we constantly vary our posture towards the work: getting involved in conversation to look through the device, all while taking some distance to consider the object and look at its content and artistic “mediations.” (Bolster and Grusin, Manovitch). This tension is at the heart of Sandscript, which insists on being both a communication device “transparent” to its user, and an artistic device that imposes an opaque and reflexive quality. The former is supposed to disappear behind its task; the latter attracts the viewer’s attention over and over again, ever open to new interpretations. This approach is not without pitfalls. One Sandscript chatter wondered if as the authors of the web-site were not disappointed when conversation took the upper hand, and chatters ignored the graphics. On the other hand, the web site’s explicit status as a chat space was quickly compromised when users stopped being interested in each other and turned to explore the different layers hidden within the interface. In the end, Sandscript chatters are not bound to any single one of these modes. They can experience one and then other, and —why not —both simultaneously. This hybrid posture brings to mind Herman’s metaphor of a door that cannot be closed entirely: “la porte joue” —the door “gives.” It is not perfectly fitted and closed — there is room for “play.” Such openness requires that the artistic device provide two seemingly contradictory ways of relating to it: a desire to communicate seamlessly all while being fascinated by every seam in the representational space projected on-screen. Sandscript is supposed to “run” and “not run” at the same time; it exemplifies the technico-semiotic logic of speed and resists it full stop. Here, openness is not ontological; it is experiential, shifting. About the Authors Carol-Ann Braun is multimedia artist, at the Ecole Nationale Superieure des Telecomunications, Paris, France. EmaiL: carol-ann.braun@wanadoo.fr Annie Gentes is media theorist and professor at the Ecole Nationale Superieure des Telecomunications, Paris, France. Email: Annie.Gentes@enst.fr Works Cited Adamowicz, Elza. Surrealist Collage in Text and Image, Dissecting the Exquisite Corpse. Cambridge: Cambridge University Press, 1998. Augé, Marc. Non-lieux, Introduction à une Anthropologie de la Surmodernité. Paris: Seuil, 1992. Bolter, Jay David and Richard Grusin. Remediation, Understanding New Media. Cambridge: MIT Press, 2000. Bourriaud, Nicholas. Esthétique Relationnelle. Paris: Les Presses du Réel, 1998. Despret-Lonnet, Marie and Annie Gentes, Lire, Ecrire, Réécrire. Paris: Bibliothèque Centre Pompidou, 2003. Goffman, Irving. Interaction Ritual. New York: Pantheon, 1967. Habermas, Jürgen. Théorie de l’Agir Communicationnel, Vol.1. Paris: Fayard, 1987. Herman, Jacques. “Jeux et Rationalité.” Encyclopedia Universalis, 1997. Jakobson, Roman.“Linguistics and Poetics: Closing statements,” in Thomas Sebeok. Style in Language. Cambridge: MIT Press, 1960. Latzko-Toth, Guillaume. “L’Internet Relay Chat, Un Cas Exemplaire de Dispositif Socio-technique,” in Composite. Montreal: Université du Québec à Montréal, 2001. Lyotard, Jean-François. La Condition Post-Moderne. Paris: les Editions de Minuit, 1979. Manovitch, Lev. The Language of New Media. Cambridge: MIT Press, 2001. Michaud, Yves. L’Art à l’Etat Gazeux. Essai sur le Triomphe de l’Esthétique, Les essais. Paris: Stock, 2003. Citation reference for this article MLA Style Braun, Carol-Ann & Gentes, Annie. "Dialogue: a hyper-link to multimedia content." M/C: A Journal of Media and Culture <http://www.media-culture.org.au/0406/05_Braun-Gentes.php>. APA Style Braun, C. & Gentes, A. (2004, Jul1). Dialogue: a hyper-link to multimedia content.. M/C: A Journal of Media and Culture, 7, <http://www.media-culture.org.au/0406/05_Braun-Gentes.php>