Impact of Pyrotechnics over the Architectonic Heritage

[EN] The use of pyrotechnics near to the historical heritage such as walls, facades, church, or fortifications of a city is nowadays a topic of discussion. There is not a clear legislation about the use of pyrotechnics near to these buildings and how they can be affected by the expansive wave generated by the use of harquebusiers, fireworks, and cannons during the simulation of a battle. For this reason, this paper presents some practical tests that measure the vibroacoustic effect when these types of pyrotechnics are used near to the architectonical heritage. In order to collect these data, we have used several sound level meters and accelerometers placed on two different scenarios. The first one was placed near to the beach and the other one was placed in a building of a narrow alley. The tests were carried out during the festival of Moors and Christians of Villajoyosa (Spain) which is a famous festival. Along these tests, we reproduce the worse cases that may affect the building, using harquebusiers shots, fireworks, and cannons shots. Results show that the house placed near to the beach does not suffer important vibroacoustic impacts. However, the old building placed in the alley is very affected.Lloret, AT.; Sendra, S.; Lloret, J.; Cereceda, ML.; Alba Fernández, J. (2017). Impact of Pyrotechnics over the Architectonic Heritage. Journal of Sensors. 2017:1-11. doi:10.1155/2017/7214975S111201

Vibroacoustic Impact on the Architectonic Heritage When Using Replicas of 16th Century Weapons

The recreation of historical battles next to old buildings, walls, churches, fortifications or historical facades belonging to the historical heritage of a city, has always been a source of controversy and discussion. In the absence of a clear legislation about how these buildings can be affected by the use of blunderbusses and pyrotechnics, it is necessary to carry out practical experiments to test the effect of these celebrations on these buildings. For this reason, this paper presents a set of practical experiments where the vibroacoustic effect of using weapons such as blunderbusses and harquebuses is analyzed. To gather these measurements, we have used several sound level meters and 3-axis accelerometers placed on the facade of an old building. The tests have been carried out at the Moors and Christians festival of Villajoyosa (Spain) which is internationally famous for this festival. In order to carry out the tests, six harquebusiers shot their firearms and the sensors placed along the facade of the building at different height collected the data. The results of these devices allow us to study the vibroacoustic impact on the facade depending on the height

Lighting in urban heritage: case study of Chiapa de Corzo, Chiapas, Mexico

As human thought was developing, likewise, the technology used for illumination was growing. But a haul through history, reviewing its pages and analyzing it, inherently brings up old and new question, like: Is it possible to alter negatively the image of historic buildings and monuments through inadequate lighting to the degree of distorting the perception that people have of the work? and if so, what are the causes that generate it? Do the light designers take into consideration criteria to protect not only historic buildings and monuments, but also the environment? What are the consequences that may generate the inadequate lighting of urban heritage to the environment? What are the factors to consider for a proper illumination of urban heritage? The answers to these questions will help lay the foundation for proper illumination of the urban heritage, avoiding at the maximum the light pollution and the effects that it generates, seeking a balance and harmonious reconciliation between the technology, urban heritage and environment, taking as a framework and the case study the urban heritage of a city from the colonial era in southern Mexico, with pre-Hispanic roots and where today you can still see through its streets and buildings an atmosphere of mysticism reflection of their folklore and traditions, this city is known as Chiapa de Corzo, Chiapas

Pinkerton Short-Circuits the Model Penal Code

I show that the Pinkerton rule in conspiracy law is doctrinally and morally flawed. Unlike past critics of the rule, I propose a statutory fix that preserves and reforms it rather than abolishing it entirely. As I will show, this accommodates authors like Neil Katyal who have defended the rule as an important crime fighting tool while also fixing most of the traditional problems with it identified by critics like Wayne LaFave. Pinkerton is a vicarious liability rule that makes conspirators criminally responsible for the foreseeable crimes of their coconspirators committed in furtherance of the conspiracy. It has two big problems: (1) Doctrinally, it breaks the logic of the many state criminal codes that are based on the Model Penal Code. (2) Ethically, it infringes the culpability constraint on the criminal law by imposing excessive punishments on defendants who did not even consciously suspect that their coconspirators would commit additional crimes that were not the object of the conspiracy. These problems are most acute in Texas, where Pinkerton can be combined with capital murder charges to produce automatic life without parole sentences. The Texas example is an extreme illustration of the problem of unintended consequences when state legislators tinker with the carefully drafted, interlocking provisions of a model code. The new statute I propose would put the penal code back in order and respect the culpability constraint. In the latter aspect, it is informed by leading work in philosophical ethics on blameworthiness and culpability

Sound and Image: Experimental Music and the Popular Horror Film (1960 to the present day)

This study investigates the functional relationship between sound and image within a particular generic and historical context - experimental music and the popular horror film, from 1960 to the present day. The study responds to a significant gap in the literature that requires sustained and in-depth academic attention. Despite recent expansion, the field of film music studies has yet to deal with alternative functional models that challenge the overall applicability of the dominant narrative-based theoretical framework. Recent scholarship suggests that a proper theoretical comprehension of horror film music's primary function requires a refocusing of the hermeneutic emphasis upon dimensions of the cinematic (or audio-visual) sign that can be described as `nonrepresentational.' This study applies a relatively new psychoanalytical framework to explain how the post-1960 horror film deploys these non-representational elements, incorporating them into an overall cinematic strategy which indexes the transition towards a post-classical cinematic aesthetics. More specifically, this study assessesju st how efficiently experimental musical styles and techniques aid the reconfiguration of the syntactical components of horror film to these very ends. Using three case study directors, this study focuses upon major developments in musical style and cinematic technology, describing the ways in which these have facilitated this cinematic strategy. A particularly useful contribution to the knowledge is made here via the study's explanation as to how the particular psychoanalytical framework applied can illuminate the functional and theoretical relationships often posited between both the formal and subjective dimensions of the post-1960 horror film experience. The conclusions reached suggest this theoretical explication of post-1960 horror film music's function can now take its place alongside previously dominant narrative frameworks. Given the influential status of the horror genre, the findings of this investigation prove useful for comprehending the increasing heterogeneity of postclassical film music in general, and the functional relationship(s) of sound and image in particular

FIELD, Issue 88, Spring 2013

https://digitalcommons.oberlin.edu/field/1093/thumbnail.jp

Sound and image : experimental music and the popular horror film (1960 to the present day)

This study investigates the functional relationship between sound and image within a particular generic and historical context - experimental music and the popular horror film, from 1960 to the present day. The study responds to a significant gap in the literature that requires sustained and in-depth academic attention. Despite recent expansion, the field of film music studies has yet to deal with alternative functional models that challenge the overall applicability of the dominant narrative-based theoretical framework. Recent scholarship suggests that a proper theoretical comprehension of horror film music's primary function requires a refocusing of the hermeneutic emphasis upon dimensions of the cinematic (or audio-visual) sign that can be described as `nonrepresentational.' This study applies a relatively new psychoanalytical framework to explain how the post-1960 horror film deploys these non-representational elements, incorporating them into an overall cinematic strategy which indexes the transition towards a post-classical cinematic aesthetics. More specifically, this study assessesju st how efficiently experimental musical styles and techniques aid the reconfiguration of the syntactical components of horror film to these very ends. Using three case study directors, this study focuses upon major developments in musical style and cinematic technology, describing the ways in which these have facilitated this cinematic strategy. A particularly useful contribution to the knowledge is made here via the study's explanation as to how the particular psychoanalytical framework applied can illuminate the functional and theoretical relationships often posited between both the formal and subjective dimensions of the post-1960 horror film experience. The conclusions reached suggest this theoretical explication of post-1960 horror film music's function can now take its place alongside previously dominant narrative frameworks. Given the influential status of the horror genre, the findings of this investigation prove useful for comprehending the increasing heterogeneity of postclassical film music in general, and the functional relationship(s) of sound and image in particular.EThOS - Electronic Theses Online ServiceGBUnited Kingdo

Ronald Stevenson, composer-pianist : an exegetical critique from a pianistic perspective

This exegetical critique makes a conceptual summation of Ronald Stevenson’s life’s work for the piano and his contributions as a composer‐pianist. Chapters one and two provide a profile of Stevenson as a pianist, examining the aesthetic and musical concerns that defined his long career, as well as precedents and antecedents of his pianism. Of particular interest are the ways that Stevenson coalesces aspects of the ‘grand manner’ and his obsession with a pianistic bel canto style. Chapter three examines Stevenson’s remarkable output in terms of piano transcriptions. His conceptualization of this as ‘capturing the essence’ of the original composer is used to mount a defense of this erstwhile unfashionable genre, examining the ways that Stevenson’s output blurs the line between transcription and composition. Chapter four offers a detailed examination of the art of pedalling in Stevenson’s own work, particularly the use of the sostenuto pedal, and the ways that he exploited more complex forms of combination pedalling in his compositions and transcriptions. Chapter five examines the ways that Stevenson’s works abound with socio‐political referencing and historical allusions, with particular attention to the Passacaglia on DSCH—a work that constituted such a political provocative act that it resulted in a police raid. Chapter six further interrogates aspects of the Passacaglia, its embodiment of the miniature and the monumental, and the ways that it personifies the culmination and summation of Stevenson as both a pianist and composer

An inquiry into Kenneth Frampton's 'Critical Regionalism' : Charles Correa's Gandhi Memorial Museum & Balkrishna Doshi's Gandhi Labor Institute

Department: Architecture

Fire Safety in Historical Theatres (Italian-Style)

The research starts from a punctual knowledge of the theatrical typology under many aspects and in-depth analysis: from the recognition of the monumental value and qualification of a historical theater, collective heritage to be preserved for future generations, we’ll investigate environmental, typological, distributive, functional, material and constructive characters in the earliest designing phases and after the adjustment and transformation interventions occurred. The main aim is identifying all the parts that are at risk of fire, the equipment implementation done to lower such a risk, with the purpose of suggesting adequate systems intended to gain a major level of fire protection in a historical theater. In theatres, as for every building, we must guarantee the “primary safety”, human lives safeguard, as well as the “secondary” one, that is to say the protection of the edifice and its intrinsic value. Beginning from the state of the studies and general and specialist documents on theatrical architecture, Italian and supranational, it be investigated the components subjected to a high risk of fire, the safety routes and fast evacuation systems. We compare the fire prevention regulations written during times in various countries, and identifying significant cases of study in order to evaluate the most appropriate actions to gain security and to reduce the risk. By means of tests and fire risk assessment, we characterize the materials used, as well as new ones, to enhance resistance to fire, the possible emergency routes, the static safe places, the existing fire systems implementation, as well as a fast emergency services access. We consider guidelines and protocols to a better design of fire systems in a historical theatre, considering both the safety of people and the building-monument. The scientific goal that aimed this research, is applying a multidisciplinary approach to recognize the original characters of the historical theatres, certifying a quality that won’t compromise their valorization. The fire systems strengthening design, to protect people and objects from possible fires, must be interpreted in its scientific, cultural and operative valences in order to gain a high fire-protection performance, without renouncing to the monumental aspect, both spatial and material-constructive. In the first chapter; historical outline, changes in the buildings of historical theaters, focusing on fire safety, has been studied and studied. And some of these fires have been described. The second chapter; Italian theater, is devoted to the any aspects of historical theaters. The parts of these buildings that are most exposed to fire risk have been identified and discussed about how fire safety can be improved. The topic of chapter three is fire safety regulations, in this section, the developments and the completion of the rules are mentioned over time. The comparison and Analysis between Performance Based Approach and Prescriptive have been done, and why performance based approach in the case of historical theaters should be 3 adopted. Fourth chapter is talking about fire risk management and the process that must be conducted to manage fire at historic theaters. Chapter Five introduces the frames method, one of the most comprehensive and up-to-date fire risk assessment software. In this section, we have tried to categorize and describe all the issues affecting fire risk. In chapter Six, the last season, two case studies have been evaluated and studied. The Niccolini Theater and The Pergola Theater, both located in the historical district of Florence city. One of the main reasons for choosing these two theaters was having full details of them, and also the authorities of these theaters were already working on their fire safety and had a safety plan. At the end of this chapter we suggest some solution for improving fire safety in historical theaters and reducing the fire risk level