13,501 research outputs found
Cadavre Exquis: motion-controlled interactive film
This interactive film, a variation on the surrealist game Cadavre
Exquis, seeks the possibility of subverting the filmic discourse by
exploring psychosomatic processes that may give the viewer
different perceptions of cinematic time, by providing the
possibility of intervening into the narrative in a disruptive way.info:eu-repo/semantics/publishedVersio
Mengxi You, soprano and Fangfei Chen, piano, February 4, 2017
This is the concert program of the Mengxi You, soprano and Fangfei Chen, piano performance on Saturday, February 4, 2017 at 6:00 p.m., at the Concert Hall, 855 Commonwealth Avenue. Works performed were Ellen's erster Gesang, D837 by Franz Schubert, Ellen's zweiter Gesang, D838 by F. Schubert, Ave Maria, D839 by F. Schubert, Fiançailles pour rirw by Francis Poulenc, Vier gesÀnge, Op. 41 by Karol Szymanowski, Mirages, Op. 113 by Gabriel Fauré, and Cinque Canti popolari toscani by Vincenzo Davico. Digitization for Boston University Concert Programs was supported by the Boston University Humanities Library Endowed Fund
Na Li, piano, March 24, 2018
This is the concert program of the Na Li, piano performance on Saturday, March 24, 2018 at 6:00 p.m., at the Concert Hall, 855 Commonwealth Avenue. Works performed were Sonate pour violoncelle et piano by Claude Debussy, Fiançailles pour rire by Francis Poulenc, Viola Sonata No. 1 in F minor, Op. 120 No. 1 by Johannes Brahms, and Doce canciones populares by Carlos Guastavino. Digitization for Boston University Concert Programs was supported by the Boston University Humanities Library Endowed Fund
TEKNIK PERMAINAN CADAVRE EXQUISE DALAM PEMBELAJARAN MENULIS KALIMAT SEDERHANA BAHASA PRANCIS
Le but de cet article est d'Ă©tudier le jeu cadavre exquise dans l'apprentisage dâĂ©crire des phrases simples en française. En ce qui concerne son application, les apprenants peuvent s'exercer Ă la capacitĂ© ses compĂ©tences en Ă©criture de phrases françaises simples en jouant. Le rĂ©sultat de l'Ă©tude montrent que le jeu cadavre exquise peut ĂȘtre mis en Ćuvre pour l'apprentissage de la production orale française mais dans cette Ă©tude les techniques de jeu cadavre exquise appliquĂ© Ă l'apprentissage dâĂ©crire des phrases simples en français. Les apprenants doivent compiler des mots alĂ©atoires dans une phrase qui a une bonne structure de phrase. GrĂące Ă ce jeu, on espĂšre pouvoir motiver les apprenants dans lâapprentissage du français. La technique de jeu cadavre exquise peut ĂȘtre une solution dans le dĂ©veloppement dâun apprentissage ludique dâĂ©crire des phrases simples en français et dans lâexistence dâactivitĂ©s permettant dâacquĂ©rir des compĂ©tences en rĂ©solution de problĂšmes et de travailler ensemble.---------The purpose of this article is to study the exquisite cadaver game in learning to write simple sentences in French. As far as its application is concerned, learners can practice their ability to write simple French sentences by playing techniques. The results of the study show that the exquisite cadaver game can be implemented for learning French oral production but in this study the exquisite cadaver game techniques applied to learning to write simple sentences in French. Where learners must compile random words into a phrase that has a good sentence structure. Impact to this game, we hope to motivate learners in learning French. The exquisite cadaver game technique can be a solution in the development of a fun learning to write simple sentences in French and in the existence of activities to acquire skills in problem solving and to work together
Acquisitions for creativity: 'Produsage' in the metaverse
In this text I will attempt to delineate my thoughts on how virtual economies impact creative output in online virtual builderâs worlds, particularly by examining their relationship to the principles of âprodusageâ, a term coined by Axel Bruns to describe creative, collaborative, and ad hoc engagement with content in user-led electronic online spaces. While this process can be observed in all types of artistic metaverse output, I am particularly focused upon how it may come into effect whilst creating novel representations of âselfâ and identity through the avatar. After a survey of the context and the terms related to my inquiry, I will present an example of it by recounting my observations on how the output of my virtual fashion store alpha.tribe is utilized and transformed by my customers whilst pursuing their own creative endeavors
Faculty recital: Joan Heller, soprano and Terry Decima, piano, September 30, 1986
This is the concert program of the Faculty Recital: Joan Heller, soprano and Terry Decima, piano performance on Tuesday, September 30, 1986 at 8:00 p.m., at the Concert Hall, 855 Commonwealth Avenue. Works performed were Fiancailles Pour Rire by Francis Poulenc, Sieben Fruhe Lieder by Alban Berg, Vision and Prayer by Milton Babbitt, and Mountain Songs by Phillip Rhodes. Digitization for Boston University Concert Programs was supported by the Boston University Humanities Library Endowed Fund
Le cadavre Ă lâintersection du thĂ©Ăątre et du cinĂ©ma dans Lilies et Being at home with Claude
Le cadavre offre une analogie Ă©vocatrice des rapports entre la scĂšne et lâĂ©cran. En effet, le cadavre incarne Ă la fois la nature imaginaire du cinĂ©ma et le caractĂšre paradoxal du jeu thĂ©Ăątral. Lâauteur analyse deux adaptations cinĂ©matographiques de piĂšces quĂ©bĂ©coises, Lilies (1996) de John Greyson et Being at home with Claude (1992) de Jean Beaudin, dans lesquelles le cadavre personnifie la convergence du thĂ©Ăątre et du cinĂ©ma. Lâarticle Ă©tudie les choix quâont fait les cinĂ©astes pour reprĂ©senter le corps mort ou mourant et souligne comment ces choix dĂ©montrent lâaptitude de ces cinĂ©astes Ă porter un regard perspicace sur le processus de traduction mĂ©diatique, et ce, tout en rĂ©ussissant Ă communiquer les thĂšmes principaux des oeuvres originales.This article argues that the cadaver offers an evocative analogy of the relationship between theatre and film. Indeed, the corpse embodies at once the imaginary nature of cinema and the paradoxical quality of stage acting. In his analysis of two adaptations of QuĂ©bec plays in which the cadaver incarnates the convergence of drama and filmâJohn Greyson's Lilies (1996) and Jean Beaudin's Being at home with Claude (1992)âthe author suggests that the choices made by the filmmakers in the representation of the dead or dying body attest to their insights into both the main themes of the original works and the process of adaptation itself
De l'«ĂȘtre» vers l'«avoir Ă©té» : muabilitĂ© du corps humain au moment du dĂ©cĂšs
"Le cadavre â cette dĂ©pouille mortelle, ce corps inanimĂ© devant lequel la fatalitĂ© inĂ©luctable s'est abattue â symbolise Ă la fois un produit de consommation, un objet de culte et une matiĂšre de la science. La premiĂšre acception s'observe au regard du cannibalisme qui permet Ă ses pratiquants de s'approprier les qualitĂ©s de la victime et d'effrayer les ennemis; cette vision occidentale d'un ĂȘtre « sauvage mangeur d'homme » inspire notamment Shakespeare Ă crĂ©er Caliban, personnage malĂ©fique dans la comĂ©die La tempĂȘte. La deuxiĂšme acception renvoie aux rituels funĂ©raires, oĂč le cadavre tend Ă une certaine sacralisation par le procĂ©dĂ© de momification qui, dans l'ancienne Ăgypte, visait Ă prĂ©server le corps du dĂ©funt afin d'assurer l'existence de son Ăąme dans l'au-delĂ . La troisiĂšme acception transpose le cadavre dans le domaine scientifique; il revĂȘt alors une finalitĂ© de « serviabilitĂ© » et constitue un « patrimoine biologique » par la possibilitĂ© de dons d'organes Ă titre gratuit, car justifiĂ©s par un intĂ©rĂȘt altruiste. Une considĂ©ration contemporaine sur le caractĂšre lucratif du don se pose nĂ©anmoins Ă la lumiĂšre des expositions « Bodies » â technique de plastination de l'inventeur Gunther Von Hagen â et de celle projetĂ©e par AndreĂŻ Molodkin, cet alchimiste de la chair humaine â procĂ©dĂ© qui consiste Ă faire cuire des corps humains pour qu'ils deviennent une huile brute. Outre le questionnement relatif Ă la provenance des corps ou des organes exposĂ©s, il est permis de s'interroger sur le vĂ©ritable dessein â mercantile ou scientifique? â poursuivi par ces concepteurs.
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