Academic literature on the topic 'Feldman'
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Journal articles on the topic "Feldman"
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Shen, Chen. "The Feldman-ness in Rothko Chapel: Context, Emphasis, and Meaning." BCP Education & Psychology 7 (November 7, 2022): 261–71. http://dx.doi.org/10.54691/bcpep.v7i.2644.
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Rothko Chapel is Morton Feldman's most distinctive piece. The processes of musical development in this work also deviate from traditional Feldman. Contrary to the emphasis on the uniqueness of Rothko Chapel that several scholars have explored. Firstly, this paper provides a detailed account of Feldman’s oeuvre and its analytical difficulties, followed by an overview of existing approaches to the analysis of Rothko Chapel. And finally, this paper selected fragments from Rothko Chapel and analyzed the compositional techniques of Rothko Chapel and its Feldman-ness.
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Ilić, Ivan. "MORTON FELDMAN: INTERVIEW WITH FRANÇOISE ESSELIER (1970)." Tempo 69, no. 271 (January 2015): 48–56. http://dx.doi.org/10.1017/s0040298214000928.
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AbstractThis interview with American composer Morton Feldman (1926–1987) has never before been available in English. Recorded in Paris in 1970, when Feldman's music was just at the point of significant change, it was published (in French) by the interviewer, critic Françoise Esselier, in the short-lived journal VH 101 which she co-ran with the Austrian critic Otto Hahn, in a translation by Nicole Tisserand. The original recording seems not to have survived. Here re-translated into English by the pianist and Feldman specialist Ivan Ilić, the interest of its content makes it a valuable addition to the literature on Feldman.
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Volans, Kevin. "WHAT IS FELDMAN?" Tempo 68, no. 270 (September 4, 2014): 7–14. http://dx.doi.org/10.1017/s0040298214000321.
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AbstractThis article is a reflection on aspects of the compositional practice and aesthetics of the American composer Morton Feldman (1926–1987) as viewed from the perspective of a fellow composer. Writing as a colleague immersed in Feldman's work for more than three decades, Kevin Volans discusses Feldman's concepts of time and form; his approach to touch on the piano, and to instrumentation and tone colour generally; his relationship with the visual arts; his notational practices with regard to pitch and rhythm; his anti-conceptualist standpoint, and much else.
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BOUTWELL, BRETT. "Morton Feldman's Graphic Notation: Projections and Trajectories." Journal of the Society for American Music 6, no. 4 (November 2012): 457–82. http://dx.doi.org/10.1017/s1752196312000363.
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AbstractIn the winter of 1950–51 Morton Feldman composed a series of pieces titled Projections in a new notation of his own invention. The first-known graphically scored works of the postwar era, the Projections were immediately championed by Feldman's friend John Cage in the language of his budding philosophy of non-intention, a framework of thought largely alien to Feldman. In later years, Feldman instead explained the Projections through the discourse of abstract-expressionist painting, substituting its model of willful creative action for Cage's Zen-inspired doctrine of aesthetic indifference. Yet the story behind his graphic notation is more tangled still, for its sources included both Edgard Varèse and Stefan Wolpe, composers whose spatialized vision of sound influenced Feldman's new conception of the creative act. An examination of the origin and reception of the Projections offers insight into the forces that catalyzed experimental notation in postwar New York and the rationales that were ultimately ascribed to it.
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MASON, ELINOR. "The Nature of Pleasure: A Critique of Feldman." Utilitas 19, no. 3 (September 2007): 379–87. http://dx.doi.org/10.1017/s0953820807002646.
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In these remarks on Feldman's recent book, Pleasure and the Good Life, I concentrate on Feldman's account of pleasure as attitudinal. I argue that an account of pleasure according to which pleasure need not have any feel is implausible. I suggest that Feldman could avoid this problem but retain the advantages of his attitudinal hedonism by giving an account of the attitude ‘taking pleasure in’ such that the attitude has a feel.
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Fourie, William. "Morton Feldman - Morton Feldman, Morton Feldman Piano. Philip Thomas. Another Timbre, AT144 × 5." Tempo 75, no. 295 (December 17, 2020): 102–3. http://dx.doi.org/10.1017/s0040298220000741.
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Markovits, Andrei S. "Gerald Feldman." German Politics and Society 25, no. 4 (December 1, 2007): v—vi. http://dx.doi.org/10.3167/gps.2007.250401.
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This is not the place for me to express my boundless admiration forthe scholarship of our dear friend and colleague, Gerald Feldman,who passed from this world far too early in the fall of 2007. Norwould I find it appropriate to address my personal friendship withGerry in these pages. I have done both elsewhere and—most importantto me—privately to Gerry's widow, Norma. Nevertheless, I dofind it more than appropriate to mention Gerry's involvement withGerman Politics and Society. I was deeply moved and much honoredby Jeff Anderson's request to do so.
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Newman, Chris. "Morton Feldman." Tempo, no. 163 (December 1987): 52. http://dx.doi.org/10.1017/s0040298200023731.
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Carlson, Erik. "Consequentialism, Distribution and Desert." Utilitas 9, no. 3 (November 1997): 307–18. http://dx.doi.org/10.1017/s0953820800005392.
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This paper criticizes the ‘justice-adjusted’ consequentialist theory recently put forward by Fred Feldman. I argue that this theory violates two crucial requirements. Another theory, proposed by Peter Vallentyne, is similarly flawed. Feldman's basic ideas could, however, be developed into a more plausible theory. I suggest one possible way of doing this.
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Smith, Nicola Walker. "Feldman on Wolff and Wolff on Feldman: Mutually Speaking." Musical Times 142, no. 1876 (2001): 24. http://dx.doi.org/10.2307/1004619.
Full textDissertations / Theses on the topic "Feldman"
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Cline, David. "Morton Feldman : dimensions of graph music." Thesis, Goldsmiths College (University of London), 2011. http://research.gold.ac.uk/6405/.
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This thesis is the first substantial overview of the group of indeterminate musical works by Morton Feldman that he referred to as ‘graphs’. Despite the ever-expanding body of scholarly research on Feldman’s music, the seventeen published and three surviving, unpublished graphs that he produced over a period of seventeen years (1950- 67) have been largely ignored. This is the first substantial overview of the series and most of the graphs that he produced are discussed in detail for the first time in these pages. I argue that these works have been unjustly neglected, and that they are, in fact, of considerable interest from several musicological perspectives. To illuminate various ‘dimensions’ of these works, I explore their history, influence, evolution, conceptual foundations, compositional structure and, also, some of the ways in which they have been interpreted by performers. Key topics discussed include: Feldman’s original and distinctive notation, which he regarded as a transparent window onto sounds; his belief in the directness of his own relationship to sounds and the priority sounds should enjoy in a composition; his ‘all over’ method of working, which he actively developed as a way of minimising continuities; his concept of ‘weight’ and his interest in producing a holistic balance between weights; his use of collage-like methods, elastic forms and superimposition in the compositional process; his tendency, in some scores, to include numerical patterns, which he subsequently sought to expel; and the influence of abstract expressionist painting on his ideology and graph music.
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Panzner, Joseph Edward. ""Writing for the ear" : four key words in the writings and interviews of Morton Feldman." Connect to resource, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1230731320.
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Nascimento, João Paulo Costa do [UNESP]. "O sublime de Lyotard e a música de Morton Feldman." Universidade Estadual Paulista (UNESP), 2017. http://hdl.handle.net/11449/152693.
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O filósofo francês Jean-François Lyotard (1924-1998) desenvolve uma estética calcada no conceito de sublime a partir de seus escritos sobre arte pertencentes às décadas de 1980 e 1990. Tais formulações são pertencentes ao seu período filosófico caracterizado como virada kantiana, embasado na leitura da filosofia crítica de Kant, porém, com nuances de influência burkeana. O presente trabalho tem por objetivo investigar os conceitos descritores desta estética do sublime de Lyotard, bem como a maneira como eles são utilizados no comentário de questões da música, em especial, das vanguardas musicais do século XX. Pretende-se problematizar o papel da música na constituição da estética de Lyotard, bem como o alcance e adequação dos compositores elencados pelo filósofo como exemplos de autores comprometidos com os valores do sublime. Apresenta-se por hipótese principal a afirmação de que o sublime de Lyotard encontra uma adequação privilegiada e singular na obra do compositor norte-americano Morton Feldman (1926-1987), devido à busca pelo despojamento do espírito-sujeito-consciência presente tanto na obra do filósofo quanto na obra ensaística e musical do compositor. Como consequência, conclui-se que uma crítica musical que deseja abordar as presentes questões do sublime demanda uma escrita ensaística que ecoa uma filosofia do acontecimento, evocando a abertura de determinação da linguagem em favor de uma maneira (e não um método) de investigação de tipo reflexiva, nos termos da leitura que Lyotard realiza da Crítica da Faculdade do Juízo de Kant.
The French philosopher Jean-François Lyotard (1924-1998) develops an aesthetic based on the concept of sublime from his writings on art from the decades of 1980 and 1990. Such formulations belong to his philosophical period characterized as Kantian turn, based on the reading of Kant's critical philosophy, but with nuances of Burke's influence. The present work aims to investigate the descriptive concepts of Lyotard’s aesthetic of the sublime, as well as the way they are used in the commentary of music issues, especially those of the musical avant-gardes of the twentieth century. It is intended to problematize the role of music in the constitution of Lyotard's aesthetics, as well as the scope and appropriateness of the composers listed by the philosopher as examples of authors committed to the values of the sublime. The main hypothesis is the assertion that Lyotard's sublime finds a privileged and singular fit in the work of the American composer Morton Feldman (1926-1987), due to the search for the divestiture of the spirit-subject-consciousness present both in the work of the philosopher and in the essayist and musical work of the composer. As a consequence, it is concluded that a musical critique that wants to address the present issues of the sublime demands an essayist writing that echoes a philosophy of the event, evoking the opening of language determination toward a manner (and not a method) of reflexive type of investigation, in terms of Lyotard's reading of the Kant’s Critique of the Faculty of Judgment.
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Nascimento, João Paulo Costa do. "O sublime de Lyotard e a música de Morton Feldman /." São Paulo, 2017. http://hdl.handle.net/11449/152693.
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Orientadora: Lia Vera TomásBanca: Ricardo Nascimento Fabbrini
Banca: Mário Rodrigues Videira
Banca: Marcos José Cruz Mesquita
Banca: Mauricio Funcia de Bonis
Resumo: O filósofo francês Jean-François Lyotard (1924-1998) desenvolve uma estética calcada no conceito de sublime a partir de seus escritos sobre arte pertencentes às décadas de 1980 e 1990. Tais formulações são pertencentes ao seu período filosófico caracterizado como virada kantiana, embasado na leitura da filosofia crítica de Kant, porém, com nuances de influência burkeana. O presente trabalho tem por objetivo investigar os conceitos descritores desta estética do sublime de Lyotard, bem como a maneira como eles são utilizados no comentário de questões da música, em especial, das vanguardas musicais do século XX. Pretende-se problematizar o papel da música na constituição da estética de Lyotard, bem como o alcance e adequação dos compositores elencados pelo filósofo como exemplos de autores comprometidos com os valores do sublime. Apresenta-se por hipótese principal a afirmação de que o sublime de Lyotard encontra uma adequação privilegiada e singular na obra do compositor norte-americano Morton Feldman (1926-1987), devido à busca pelo despojamento do espírito-sujeito-consciência presente tanto na obra do filósofo quanto na obra ensaística e musical do compositor. Como consequência, conclui-se que uma crítica musical que deseja abordar as presentes questões do sublime demanda uma escrita ensaística que ecoa uma filosofia do acontecimento, evocando a abertura de determinação da linguagem em favor de uma maneira (e não um método) de investigação de tipo reflexiva, nos termos da lei... (Resumo completo, clicar acesso eletrônico abaixo)
Abstract: The French philosopher Jean-François Lyotard (1924-1998) develops an aesthetic based on the concept of sublime from his writings on art from the decades of 1980 and 1990. Such formulations belong to his philosophical period characterized as Kantian turn, based on the reading of Kant's critical philosophy, but with nuances of Burke's influence. The present work aims to investigate the descriptive concepts of Lyotard's aesthetic of the sublime, as well as the way they are used in the commentary of music issues, especially those of the musical avant-gardes of the twentieth century. It is intended to problematize the role of music in the constitution of Lyotard's aesthetics, as well as the scope and appropriateness of the composers listed by the philosopher as examples of authors committed to the values of the sublime. The main hypothesis is the assertion that Lyotard's sublime finds a privileged and singular fit in the work of the American composer Morton Feldman (1926-1987), due to the search for the divestiture of the spirit-subject-consciousness present both in the work of the philosopher and in the essayist and musical work of the composer. As a consequence, it is concluded that a musical critique that wants to address the present issues of the sublime demands an essayist writing that echoes a philosophy of the event, evoking the opening of language determination toward a manner (and not a method) of reflexive type of investigation, in terms of Lyotard's reading of the Kant'... (Complete abstract click electronic access below)
Doutor
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Harris, Joshua Kimball. "“Sunken Monadnock”: a Composition for Flute, Clarinet, Bassoon, Violin, Violoncello, Electric Guitar, Piano, Percussion, Three Female Vocalists, and Computer." Thesis, University of North Texas, 2013. https://digital.library.unt.edu/ark:/67531/metadc407859/.
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Sunken Monadnock is a scripted combination of three modular musical surfaces. The word “surface” is borrowed from Morton Feldman, who compared the aural surface of music to the canvases of the action painters of the American Abstract Expressionists, and contrasted it with the work’s subject, or organizational structure. Composers’ transition toward a focus on surface through indeterminate compositional techniques, according to Feldman, parallels the development of modernist abstract art. “Sunken Monadnock: Composing with Visual Metaphors” is a companion critical essay that takes the surface/subject metaphor as a starting point for analyzing Sunken Monadnock.Other visual metaphors that inspired Sunken Monadnock, and are discussed in the essay, include Shakir Hassan Al Said’s mystical semiotics, Jasper Johns’s crosshatch prints, and Wassily Kandinsky’s theory of abstraction. The circle and spiral, especially, play influential roles in Sunken Monadnock as reflected by musical applications of repetition, rotation, compression/rarefaction, and endlessness. The void in the circle’s center also comes into play. The nature of the work’s formal counterpoint requires an innovative approach to the score, which consists of five sections, each of which reflects a different approach to the aural surface (i.e., to the traversal of time). The two outer sections are traditionally scored, but the three sections in the middle—labeled “Surfaces” are played simultaneously by three subsets of the ensemble. The piece is approximately 22 minutes long.
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Zvěřina, Petr. "Pozdní skladby Mortona Feldmana." Doctoral thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2017. http://www.nusl.cz/ntk/nusl-369712.
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In my dissertation, I’m trying to establish a theoretical model for better understanding of processes that occur in Morton Feldman’s late works (e.g. Piano and String Quartet, For Bunita Marcus etc.). These compositions are extremely long and not climax-oriented, we can observe „repetition“ of limited amount of musical material, there is no „general“ compositional system, musical sections can be freely interchanged or combined, acoustical qualities of tone material are emphasized. These attributes are interconnected, they are creating a specific type of „musical assemblage“ that I define as rhizomatic form (in reference to Deleuzo-Guattarian concept of the rhizome). First of all, I’m elaborating Feldman’s own texts and current studies about his music. Subsequently, I’m discussing Feldman’s compositional procedures in the context of post-war musical avantgard (The New York School, Anton Webern, Pierre Boulez and Karlheinz Stockhausen, musique informelle). Main part of my dissertation is dedicated to rhizomatic form; before the discussion of this term, I’m focusing on related topics: compositional and acoustic reality, difference and repetition, speed and intensity. I’m constantly trying to confront my findings with Feldman’s early works (e.g. Intermission 5 and 6). I’m also comparing composer’s overall attitude towards musical structure with methods and techniques of abstract expressionists (e.g. Mark Rothko, Jackson Pollock) and novelists like Samuel Beckett and Franz Kafka. Following the concept of rhizomatic form, I’m trying to analyze Feldman’s composition Patterns in a Chromatic Field for violoncello and piano.
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Rampin, Dantas Neves. "A musica de Morton Feldman sob a otica de sua compreensão da pintura do expressionismo abstrato." [s.n.], 2008. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284696.
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Orientador: Denise Hortencia Lopes GarciaDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Esta pesquisa reflete a relação entre a música do compositor norte americano Morton Feldman e o grupo de pintores do Expressionismo Abstrato The New York School of Visual Arts - partindo da ótica do próprio compositor. Abordamos a maneira como Feldman trabalhou concepções advindas da pintura na composição técnica e estética em sua música. Para discorrer sobre este tema, a dissertação apresenta uma breve contextualização histórica da década de 50, do século passado, momento do encontro de Feldman com os pintores. Em seguida, apresentamos as concepções desenvolvidas por Feldman em sua música derivadas da pintura. Para tanto, apresentaremos análises que nos permitam compreender como estas concepções se concretizam musicalmente através da história notacional do compositor. Do ponto de vista metodológico a pesquisa se vale das declarações do próprio compositor, de pesquisas que abordam o trabalho composicional de Morton Feldman e da análise de obras. Priorizamos a análise da peça Crippled Symmetry, já que ela apresenta uma das notações mais originais produzidas por Feldman, o que nos inspirou a composição de Sombras Sobre o Encoberto 11, peça que apresentamos neste trabalho como resultado composicional desta pesquisa. Nas considerações finais, além do resultado de Sombras Sobre o Encoberto 11, discutimos como as concepções utilizadas por Feldman a partir da pintura pode ser amplamente explorada como base composicional singular.
Abstract: This research is about the relation between the music of the American composer Morton Feldman and the group of painters of Abstract Expressionism The New York School of Visual Arts - from the point of view of himself. It will focus the way Feldman developed concepts drawn from painting in the technique and aesthetics of his music. Thus the dissertation presents a historical account of the 1950s, when Feldman and the painters met. Then we present concepts Feldman drew from painting and developed in his music. We provide analyses which allow us to understand how such concepts work musically throughout Feldman's notational history. The method of this research is based on Feldman's statements, researches about his compositional work and the analysis of pieces. Crippled symmetry, whose notation is among the most original devised by Feldman, undergoes extensive analysis. It has also been the inspiration for the composition of our work Sombras sobre o Encoberto II, We present this piece as the compositional outcome of this research. In addition to this piece, the conclusion shows how the concepts Feldman drew from painting can be vastly explored as a unique basis for the composition of music.
Mestrado
Mestre em Música
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Cerveró, Beta Joan Josep. "Hibridaciones entre música y pintura: la relación de Morton Feldman y Mark Rothko en Rothko Chapel." Doctoral thesis, Universitat Politècnica de València, 2017. http://hdl.handle.net/10251/90572.
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The present dissertation ("Hybridisations between music and painting: the relationship of Morton Feldman and Mark Rothko in Rothko Chapel") has as main objective to examine the technical approach, the stylistic resources and the degree of interdisciplinary relation that establishes between the work of the American composer Morton Feldman (1926 - 1987) Rothko Chapel (1971) and the work of the same painter, also American, Mark Rothko (1903 - 1970), realized in Houston, Texas.
By linking the pictorial and architectural work with the musical - due to the "autobiographical character" attributed by the composer to his piece - the research addresses its degree of hybridization, the rhetorical, narrative or imitative processes used and the possibility of classification of This interdisciplinary convergence within the scope of musical ekphrasis.
Because of this, the work developed, which has a transdisciplinary character, focuses basically on the study, analysis and comparison - through similarities and / or references - of the musical and pictorial work within the North American artistic and sonorous context of Mid twentieth century. However, while the musical proposal is approached with a technical and systematic criterion of analysis of the score - from a melodic, harmonic, organological, agogical, dynamic and structural point of view, the pictorial intervention is examined not only as a site project -specific - number of paintings or panels, size, shape and technique of the same, arrangement in the architectural space, specific treatment of light - but also as a plastic disc inserted in the artistic and vital trajectory of its author.
The comparative study is completed with textual and biographical contributions, especially related to Morton Feldman, given the importance they have in order to locate Rothko Chapel in a context that, beyond strictly musical, reflects the pictorial influence that the work had Of Rothko in the compositional methods of our musician.
Finally, the thesis is accompanied by a self-recorded CD on Rothko Chapel, a recording that is also accessible through an online platform. Through the same it is wanted that the interpretation made allows to contrast the proposals, the results and the conclusions obtained during the investigation process.La presente tesis doctoral ("Hibridaciones entre música y pintura: la relación de Morton Feldman y Mark Rothko en Rothko Chapel") tiene como objetivo principal examinar el planteamiento técnico, los recursos estilísticos y el grado de relación interdisciplinar que se establece entre la obra del compositor estadounidense Morton Feldman (1926 - 1987) Rothko Chapel (1971) y el trabajo homónimo del pintor, también estadounidense, Mark Rothko (1903 - 1970), realizado en Houston, Texas. Al vincular la obra pictórica y arquitectónica con la musical -debido al "carácter autobiográfico" que el mismo compositor le atribuye a su pieza-, la investigación aborda su grado de hibridación, los procesos retóricos, narrativos o imitativos utilizados y la posibilidad de clasificación de esta convergencia interdisciplinar dentro del ámbito de la écfrasis musical. Debido a ello, el trabajo desarrollado, que posee un carácter transdisciplinar, se centra básicamente en el estudio, análisis y comparación -a través de similitudes y/o referencias- de la obra musical y de la pictórica dentro del contexto artístico y sonoro norteamericano de mediados del siglo XX. Ahora bien, mientras que la propuesta musical es abordada con un criterio técnico y sistemático de análisis de la partitura -desde un punto de vista melódico, armónico, organológico, agógico, dinámico y estructural-, la intervención pictórica es examinada no solo como proyecto site-specific -número de cuadros o paneles, tamaño, forma y técnica de los mismos, disposición en el espacio arquitectónico, tratamiento específico de la luz-, sino también como discurso plástico inserto en la trayectoria artística y vital de su autor. El estudio comparativo realizado se completa con aportaciones textuales y biográficas, especialmente vinculadas a Morton Feldman, dada la importancia que estas poseen de cara a ubicar Rothko Chapel en un contexto que, más allá de lo estrictamente musical, recoge la influencia pictórica que tuvo la obra de Rothko en los métodos compositivos de nuestro músico. Finalmente, la tesis se acompaña con una grabación propia en CD de Rothko Chapel, grabación que también es accesible través de una plataforma en línea. A través de la misma se desea que la interpretación efectuada permita contrastar las propuestas, los resultados y las conclusiones obtenidas durante el proceso de investigación.
La present tesi doctoral ("Hibridacions entre música i pintura: la relació de Morton Feldman i Mark Rothko en Rothko Chapel") té com a objectiu principal examinar el plantejament tècnic, els recursos estilístics i el grau de relació interdisciplinària que s'estableix entre l'obra del compositor nord-americà Morton Feldman (1926 - 1987) Rothko Chapel (1971) i el treball homònim del pintor, també nord-americà, Mark Rothko (1903 - 1970), realitzat en Houston, Texas. En vincular l'obra pictòrica i arquitectònica amb la musical -a causa de el "caràcter autobiogràfic" que el mateix compositor li atribueix a la seua peça-, la recerca aborda el seu grau d'hibridació, els processos retòrics, narratius o imitatiUs utilitzats i la possibilitat de classificació d'aquesta convergència interdisciplinària dins de l'àmbit de la écfrasis musical. A causa d'açò, el treball desenvolupat, que posseeix un caràcter transdisciplinar, se centra bàsicament en l'estudi, anàlisi i comparació -a través de similituds i/o referències- de l'obra musical i de la pictòrica dins del context artístic i sonor nord-americà de mitjan el segle XX. Ara bé, mentre que la proposta musical és abordada amb un criteri tècnic i sistemàtic d'anàlisi de la partitura -des d'un punt de vista melòdic, harmònic, organológico, agógico, dinàmic i estructural-, la intervenció pictòrica és examinada no solament com a projecte site-*specific -nombre de quadres o panells, grandària, forma i tècnica dels mateixos, disposició en l'espai arquitectònic, tractament específic de la llum-, sinó també com a discurs plàstic inserit en la trajectòria artística i vital del seu autor. L'estudi comparatiu realitzat es completa amb aportacions textuals i biogràfiques, especialment vinculades a Morton Feldman, donada la importància que aquestes posseeixen de cara a situar Rothko Chapel en un context que, més enllà de l'estrictament musical, arreplega la influència pictòrica que va tenir l'obra de Rothko en els mètodes compositius del nostre músic. Finalment, la tesi s'acompanya amb un enregistrament propi en CD de Rothko Chapel, enregistrament que també és accessible través d'una plataforma en línia. A través de la mateixa es desitja que la interpretació efectuada permeta contrastar les propostes, els resultats i les conclusions obtingudes durant el procés de recerca.
Cerveró Beta, JJ. (2017). Hibridaciones entre música y pintura: la relación de Morton Feldman y Mark Rothko en Rothko Chapel [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/90572
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Engen, Haakon [Verfasser], Tania [Akademischer Betreuer] Singer, Tania [Gutachter] Singer, and Barrett Lisa [Gutachter] Feldman. "On the Endogenous Generation of Emotion / Haakon Engen ; Gutachter: Tania Singer, Lisa Feldman Barrett ; Betreuer: Tania Singer." Leipzig : Universitätsbibliothek Leipzig, 2017. http://d-nb.info/1240701608/34.
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Nakamatsu, Javier. "Synthetic polymers. Technology, properties, applications / D. Feldman y A. Barbalata. London: Chapman & Hall, 1996. 370 p." Revista de Química, 2013. http://repositorio.pucp.edu.pe/index/handle/123456789/100485.
Full textBooks on the topic "Feldman"
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Feldman, Aline. Aline Feldman: Woodcuts. London: Thumb Gallery in association with Gordon Cooke, 1989.
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Thomson, Andrew H. The Feldman method. [Chicago, Ill.]: Longman Financial Services Pub., 1989.
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Herbert, Feldman, Feldman Herbert, and Feldman Herbert, eds. The Herbert Feldman omnibus. Karachi: Oxford University Press, 2001.
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Dediu, Dan. Episoade și viziuni: Ludovic Feldman. București: Editura Muzicală a Uniunii Compozitorilor și Muzicologilor din România, 1991.
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Sawchuk, Kim. Nichola Feldman-Kiss: Mean body. Ottawa: Carleton University Art Gallery, 2006.
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1951-, DeLio Thomas, ed. The music of Morton Feldman. New York: Excelsior Music Pub. Co., 1995.
Find full textBook chapters on the topic "Feldman"
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Cosslett, Clare. "Arthur Feldman." In Lawyers at Work, 245–59. Berkeley, CA: Apress, 2012. http://dx.doi.org/10.1007/978-1-4302-4504-9_14.
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Schmidt, Dörte. "Feldman, Morton." In Metzler Komponisten Lexikon, 246–48. Stuttgart: J.B. Metzler, 1992. http://dx.doi.org/10.1007/978-3-476-03421-2_96.
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Mörchen, Raoul. "Morton Feldman." In Kammermusikführer, 204–8. Stuttgart: J.B. Metzler, 1998. http://dx.doi.org/10.1007/978-3-476-03514-1_38.
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Schmidt, Dörte. "Feldman, Morton." In Komponisten Lexikon, 190–91. Stuttgart: J.B. Metzler, 2003. http://dx.doi.org/10.1007/978-3-476-05274-2_95.
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McGrath, John. "Beckett and Feldman." In Samuel Beckett, Repetition and Modern Music, 86–123. Abingdon, Oxon ; New York, NY : Routledge, 2018.: Routledge, 2017. http://dx.doi.org/10.4324/9781315607566-6.
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Jarlskog, Cecilia. "Källén-Yang-Feldman Formalism." In Portrait of Gunnar Källén, 343–48. Cham: Springer International Publishing, 2013. http://dx.doi.org/10.1007/978-3-319-00627-7_71.
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Timmons, Ashley Michael. "Feldman-Cousins Confidence Intervals." In Springer Theses, 121–34. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-63769-3_7.
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Basu, Dipak, and Victoria Miroshnik. "Feldman–Mahalanobis Model of Development Planning." In Imperialism and Capitalism, Volume II, 87–120. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-54891-9_5.
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Hagemann, Harald. "Feldman and the Strategy for Economic Growth." In Springer Studies in the History of Economic Thought, 235–47. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-99052-7_11.
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Abe, Masayuki, and Serge Fehr. "Adaptively Secure Feldman VSS and Applications to Universally-Composable Threshold Cryptography." In Advances in Cryptology – CRYPTO 2004, 317–34. Berlin, Heidelberg: Springer Berlin Heidelberg, 2004. http://dx.doi.org/10.1007/978-3-540-28628-8_20.
Full textConference papers on the topic "Feldman"
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Payan, Yohan. "A 2D Biomechanical Model of the Human Tongue." In ASME 1998 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 1998. http://dx.doi.org/10.1115/imece1998-0306.
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Abstract This study aims to evaluate the impact of anatomical, morphological and biomechanical properties of one of the main articulator, namely the tongue, onto the kinematic properties of speech movements. For this, a 2D biomechanical Finite Element model of the tongue was developed. It integrates four extrinsic muscles and three intrinsic ones. This model is controled according to the Equilibrium Point Hypothesis, proposed by Feldman (1966, 1986). The deformations of the model are computed, in order to simulate Vowel-to-Vowel transitions. The articulatory patterns synthesized with this model are then compared to data collected on a male native speaker of French. Emphasis is put on the potential influence of biomechanical tongue properties on to measurable kinematic features.
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Gradov, Oleg V., Margaret A. Gradova, Alexey L. Iordanskii, Anatoliy A. Olkhov, and Svetlana N. Kholuiskaya. "Isopotential Mapping of Electron Beam Induced Dielectric Charging of the PHB Nonwoven Fabric Structures Using Sobel-Feldman Gradient Operator." In 2020 7th International Congress on Energy Fluxes and Radiation Effects (EFRE). IEEE, 2020. http://dx.doi.org/10.1109/efre47760.2020.9242099.
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Arrebola Parras, Simón. "EL ARCHIVO: ENTRE LA MEMORIA INDIVIDUAL Y LA MEMORIA SOCIAL." In III Congreso Internacional de Investigación en Artes Visuales :: ANIAV 2017 :: GLOCAL. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/aniav.2017.5857.
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Existe una confrontación entre la memoria y la historia que denota el afán del ser humano por no asumir su carácter perecedero. En torno a la capacidad por recordar, diversos autores expresan sus diferentes puntos de vista, ya que no todos consideran a la memoria como una construcción social que se conforma a partir de una parte individual. Esta confrontación entre lo colectivo y lo individual de la memoria surge del grado de objetividad que pueda llegar a acontecer en cada uno de los puntos de vista que se derivan de un determinado acontecimiento. De esta manera encontramos que por una parte, la historia se ha venido asociando a la memoria objetivada por encargarse de recuperar un pasado a partir de una serie de vestigios conservados y pertenecientes a un colectivo. Y por otro lado, la memoria autobiográfica participa de la subjetividad porque los acontecimientos se diseccionan y se vuelven a recomponer debido a intereses personales. Entre estos dos extremos, encontramos como muchas representaciones artísticas han tratado de preservar y registrar la memoria, ayudándose de la escritura y del registro, y que se dan tanto en modalidades analógicas como digitales. Para ello se han valido de uno de los paradigmas del arte del siglo XX y XXI considerados por el historiador del arte Benjamin Buchloh: el archivo. Diversos autores van a trabajar desde esta práctica para realizar reconstrucciones artísticas cuyo campo de acción van a abarcar tanto lo social como lo individual, sin llegar a enfrentar estos dos ámbitos. Para ello recurriremos a los trabajos realizados por Hans-Peter Feldman, Zoe Leonard o Christian Boltanski que se mueven entre estos dos niveles.http://dx.doi.org/10.4995/ANIAV.2017.5857
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Chen, Kai, and Richard A. Foulds. "The Mechanics of Perturbed Upper Limb Movement Control." In ASME 2010 International Mechanical Engineering Congress and Exposition. ASMEDC, 2010. http://dx.doi.org/10.1115/imece2010-37201.
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The dependence of muscle force on muscle length gives rise to a “spring - like” behavior which has been shown to play an important role during movement. This study extended this concept and incorporated the influential factors of the mechanical behavior of the neural, muscular and skeletal system on the control of elbow movement. A significant question in motor control is determining how information about movement is used to modify control signals to achieve desired performance. One theory proposed and supported by Feldman et. is the equilibrium point hypothesis (EPH). In it the central nervous system (CNS) reacts to movement as a shift of the limb’s equilibrium posture. The EPH drastically simplified the requisite computations for multi-joint movements and mechanical interactions with complex dynamic objects in the context. Because the neuromuscular system is spring-like, the instantaneous difference between the arm’s actual position and the equilibrium position specified by the neural activity can generate the requisite torques, avoiding the complex “inverse dynamic” of computing the torques at the joints. Moreover, this instantaneous difference serves as a potential source of movement control related to limb dynamics and associated movement-dependent torques when perturbations are added. In this paper, we have used an EPH model to examine changes to control signals for arm movements in the context of adding perturbations in format of forces or torques. The mechanical properties and reflex actions of muscles crossing the elbow joint were examined during a planned 1 radian voluntary elbow flexion movement. Brief unexpected torque/force pulses of identical magnitude and time duration (4.5 N flexion switching to 50 N extension within 120ms) were introduced at various points of a movement in randomly selected trials. Single perturbation was implemented in different trials during early, mid, stages of the movement by pre-programmed 6DOF robotic arm (MOOG FCS HapticMaster). Changes in movement trajectory induced by a torque/ force perturbation determined over the first 120 ms by a position prediction formulation, and then a modified and optimization K-B-I (stiffness-damping-inertia) model was fit to the responses for predicting both non-perturbed and perturbed movement of elbow. The stiffness and damping coefficients estimate during voluntary movements were compared to values recorded of different subjects during trials. A least square nonlinear optimization model was designed to help determine the optimized impedance a subject could generate, and the identified of adapted of K-B-I in perturbed upper limb movements confirmed our assumption.
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Geambazu, Serin. ""Yeni Instanbul": the expansion of a global city." In 55th ISOCARP World Planning Congress, Beyond Metropolis, Jakarta-Bogor, Indonesia. ISOCARP, 2019. http://dx.doi.org/10.47472/mwhr1573.
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The spread of neo-liberal political and economic ideology and the proliferation of global capital have created new opportunities and challenges for cities everywhere (Sassen 2012). Within the urban planning discourse, it is generally assumed that globalization leads to the same type of transformations and urban development trends everywhere in the world. However, it cannot create a certain prototype for spatial development or a new spatial order for cities. Rather, it gives a variety of spatial patterns, also called "global urban forms". Recently, these forms have identified themselves spatially within a series of "mega-projects", their intensity being felt in today's global cities, North-American and West-European, but with a domino effect, especially in the cities situated at the periphery of these capitalist economies. Total global megaproject spending is assessed at USD 6-9 trillion annually, or 8 percent of total global GDP, which denotes the biggest investment boom in human history. Never has systematic and valid knowledge about mega projects therefore been more important to inform policy, practice, and public debate in this highly costly area of business and government. It is argued that the conventional way of managing mega projects has reached a "tension point," where tradition is challenged and reform is emerging (Flyvbjerg, 2011). These kind of projects often take place within fragmented and entrepreneurial forms of governance (Harvey 1989; Healey 1997; Gordon 1997a, 1997b; Feldman 1999; Feinstein 2001; Granath 2005; Butler 2007) represented by public-private partnerships, in a societal environment of increased capital mobility and inter-urban competition (Malone 1996). Hence, it is argued, that mega projects have been examples of new governance styles and policy targets, but also object of intensive local planning debates and conflicts based on different actors (authorities, planners, residents, environmental groups, developers, etc.) holding an equal number of views (Hoyle, 2002) which are often difficult to reconcile. Strongly linked to the 2023 Vision of Turkey, the 3rd airport, Istanbul Airport is one of the mega projects that will bring Turkey among top 10 economically powerful countries. Istanbul Airport distinguishes itself from a myriad of other build-operate-transfer projects by its governance dynamics and planning process. The study employs discourse analysis through which extracts lesson from the decision-making process that will inform planners in Istanbul and beyond.
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LUIZA DE SOUSA BARBOSA, MARIA, and CIDELI DE PAULA COELHO. "Indução de parto distócico com Am-c em uma gata – Relato de caso." In Congresso Online Acadêmico de Medicina Veterinária. Congresse.me, 2022. http://dx.doi.org/10.54265/epyc8801.
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Este artigo tem por objetivo relatar o uso da homeopatia em um caso de emergência de parto distócico em uma gata. O trabalho de parto demanda demasiada energia da mãe para o processo, A maior parte das gatas recusa-se a alimentar-se 24 a 48 horas antes do parto (JOHNSON, 1994), favorecendo a fadiga. A inércia uterina é a causa mais comum de distocia e pode ocorrer de duas formas: a primária resulta em falha de expulsão de qualquer neonato, acreditando-se que seja uma falha intrínseca em estabelecer um nível progressivo e funcional de contratilidade do miométrio; já a secundária resulta em interrupção do trabalho de parto já iniciado e assim falha na expulsão da ninhada completa (DAVIDSON; FELDMAN, 2003). De acordo com Little (2015) a inércia uterina primária (incapacidade de iniciar as contrações uterinas) ou secundária (fadiga uterina) é o fator mais comum que contribui para a maioria das distocias de gatas. A inércia primária pode ter como causas como obesidade, estimulação uterina inadequada devida à pequena quantidade de fetos, a distensão excessiva do miométrio por grande quantidade de fetos, hipocalcemia e doença uterina. Já a secundária pode ser causada por fadiga uterina após uma expulsão de uma ninhada muito numerosa. Foi atendida no Município de Mauá uma gata de 2 anos, 2,3 kg de peso em bom escore corpóreo, secundípara, onde pela manhã pariu 2 filhotes, bem de estado geral, mamando e com todos os estímulos preservados. Apresentando cuidados maternos, 2 episódios de epistaxe de uma narina, sem apetite passou o resto do dia incomodada, com abdômen abaulado. Após 15 horas da expulsão dos fetos os tutores foram buscar atendimento veterinário. Ao exame físico em palpação abdominal detectado presença de corpo sólido em região mesogástrica cranial de cornos uterino e outro em região caudal. Em palpação vaginal ausência de secreção, hipersensibilidade vulvar, cérvix dilatada e não havia feto posicionado. Foi confirmado pelo exame ultrassonográfico presença de 2 fetos em sofrimento com 160 bpm. Foi administrado 3 glóbulos de Amonium carbonicum 6cH e após 8 horas a gata terminou o trabalho de parto expulsando os outros 2 fetos. Os filhotes e a mãe passam bem. Amc é um remédio para quem está exausto, justamente como a gata na hora de parir. Conclui-se que este medicamento tem seu uso comprovado em indução de parto distócico de gatas PALAVRAS-CHAVE: ammonium carbonicum, Distocia Fetal, Felinos, Homeopatia
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da Costa, Eldessandra Santos. "LUTO INFANTIL: estratégias para acolhimento em período pandêmico." In Congresso Online de Psicologia Clínica. CONGRESSE ME, 2021. http://dx.doi.org/10.54265/qpkh5488.
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Com a Covid-19, o contexto cultural típico da morte sofreu mudanças drásticas. Os rituais de despedida que antes eram particulares e variavam de acordo com as diversas culturas existentes, passaram a ter cenários semelhantes. Os familiares de vítimas da Covid-19 foram privados, dentre outros aspectos, do ritual de despedia (velório), tornando a questão ainda mais complexa. A perda é um processo difícil e doloroso. Para a criança esse processo poderá ser ainda mais complicado, pois sua compreensão da morte é limitada, dificultando a elaboração do luto, suas etapas e estratégias para a superação dessa fase tão natural, mas pouco discutida na sociedade brasileira. No atual cenário, com o Covid-19, essa problemática rompe a barreira do que era classificado como típico e nos lança um novo desafio no espaço da psicoterapia infantil, sendo assim, cabe a nós profissionais da psicologia, buscarmos subsídios para promover esse acolhimento. Nesse contexto, o presente estudo objetiva discutir a compreensão sobre a morte e o luto segundo a perspectiva do desenvolvimento infantil, e apontar recursos lúdicos e psicoterapêuticos que possam ser usados no acolhimento de crianças enlutadas em período pandêmico. A escolha do método é de base descritivo-bibliográfica e a abordagem psicoterapêutica é a Terapia Cognitivo-Comportamental. As fontes teóricas são as autoras: Carmem Beatriz Neufeld e Aline Henriques Reis (Trabalhando o luto com crianças); Elizabeth Kubler-Ross (Sobre a Morte e o Morrer); e Diane E. Papalia e Ruth D. Feldman (Desenvolvimento Humano). Os resultados indicam que as manifestações de luto em crianças, dependem do desenvolvimento cognitivo e emocional de cada uma delas. Os quatro pilares sobre os quais se fundam a elaboração do luto por parte das crianças refere-se: Universal – a compreensão de que todos os seres vivos morrem um dia; Irreversibilidade – o fato de que, uma vez morto, não se pode voltar à vida; Cessação da vida corporal – a compreensão de que a morte envolve o fim de todas as funções corporais e dos órgãos; Causalidade – a noção de que é precisamente a cessação das funções corporais que causa a morte. Os recursos disponíveis são diversos: Contar histórias, rodas de conversas, acolhimento de escuta individualizado, identificação dos sentimentos/pensamentos, desenho livre e/ou direcionado, contar ou escrever uma história, entre outros. Concluise que a criança durante seu desenvolvimento tem percepção diferente da morte, bem como a elaboração do luto. O acolhimento da criança enlutada poderá ser de extrema importância para que ela possa desenvolver a compreensão desse fenômeno, bem como pode auxiliá-la na elaboração do luto e em seu desenvolvimento biopsicossocial. PALAVRAS-CHAVE: Covid-19, Desenvolvimento infantil, Luto, Morte
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Eidam, Hendryk. "Abschlussveranstaltung Feldschwarm - Feldtag: Landnetz trifft Feldschwarm." In LANDNETZ trifft Feldschwarm - Landwirtschaft von morgen, heute erleben. Technische Universität Dresden, 2021. http://dx.doi.org/10.25368/2021.81.
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Khairiyah, M. H. Siti, M. Z. Nurul Zfarina, M. N. Mohd Hanysyam, and I. Fauziah. "Entomofaunal diversity of Hymenoptera in FELDA Besout 6 oil palm plantation." In 2012 IEEE Symposium on Business, Engineering and Industrial Applications (ISBEIA). IEEE, 2012. http://dx.doi.org/10.1109/isbeia.2012.6422941.
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Mohd Hanysyam, M. N., I. Fauziah, M. H. Siti Khairiyah, K. Fairuz, Z. Mohd Rasdi, M. Z. Nurul Zfarina, S. Elna Elfira, R. Ismail, and R. Norazliza. "Entomofaunal Diversity of insects in FELDA Gunung Besout 6, Sungkai, Perak." In 2013 IEEE Business Engineering and Industrial Applications Colloquium (BEIAC). IEEE, 2013. http://dx.doi.org/10.1109/beiac.2013.6560123.
Full textReports on the topic "Feldman"
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Doyle, Derek. Accelerating Feldman-Cousins on NOvA using NERSC Supercomputers. Office of Scientific and Technical Information (OSTI), June 2018. http://dx.doi.org/10.2172/1477992.
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Doyle, Derek. Accelerating Feldman-Cousins for NOvA using NERSC Supercomputers. Office of Scientific and Technical Information (OSTI), January 2018. http://dx.doi.org/10.2172/1508016.
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Gradov, O. V., M. A. Gradova, A. A. Olkhov, A. L. Iordanskii, and S. N. Kholuiskaya. Isopotential Mapping of Electron Beam Induced Dielectric Charging of the PHB Nonwoven Fabric Structures Using Sobel-Feldman Operator. Peeref, October 2022. http://dx.doi.org/10.54985/peeref.2210p7395240.
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Czowalla, Lucas, Dahlia Busch, Andrea Fromberg, Peter Gwiasda, Mathias Wilde, and Martin Lanzendorf. Neuere Entwicklungen zur Integration von Fahrrad und Öffentlichem Verkehr in Deutschland: Überblick zum Stand des Wissens und der Praxis. Goethe-Universität, Institut für Humangeographie, October 2017. http://dx.doi.org/10.21248/gups.40314.
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Die Verknüpfung des Fahrrades mit dem Öffentlichen Verkehr (ÖV) kann den Umweltverbund stärken, den Übergang von einem Verkehrssystem auf das andere erleichtern und eine attraktive Alternative zum motorisierten Individualverkehr schaffen. Die vorliegende Arbeit repräsentiert den ersten umfassenden Projektbericht innerhalb des Forschungsprojektes „Verbesserte Integration des Fahrrads in den öffentlichen Verkehr – Systematische Erschließung von Handlungsoptionen und Bewertung von Best-Practices“. Ziel dieser Publikation ist eine aktuelle Aufarbeitung des Standes der Forschung und der Praxis zu diesem Thema. Nach einer systematischen Darstellung wichtiger Forschungsstränge, werden zunächst Ergebnisse aus dem „Mobilität in Deutschland“-Datensatz hinsichtlich intermodaler Rad‐ÖV‐Nutzungsmuster präsentiert. Aufbauend darauf werden Datengrundlagen und generelle Erfordernisse an Erhebungsmethoden diskutiert, um die inter- und multimodale Verkehrsmittelnutzung tatsächlich beurteilen zu können. Die Darstellung des aktuellen Standes in der Praxis wird anhand von drei Schwerpunkt-Feldern vorgenommen: Bike and Ride Abstellanlagen an Haltestellen des ÖV, Radmitnahme in den Fahrzeugen des ÖV und Fahrradverleihsysteme. Dabei werden sowohl infrastrukturelle Maßnahmen als auch Betreiberkonzepte und Marketingaspekte behandelt. Ein weiteres Kapitel beschäftigt sich mit den Chancen und Herausforderungen im Zuge der fortschreitenden Digitalisierung und der Verbreitung von mobilen Endgeräten.