Rapporti tra opera e fruitore nelle origini dell’installazione sonora (1900–1966)

One feature that defines sound installation as a genre is the participation of the user. Upon entering the space of a work, the user assumes an active role. Thereby the work takes on a theatrical and formative dimension: an art initially defined through space reveals its temporality. This essay analyzes the theatrical dimension, that is, the \u201cmodal structure,\u201d of works up to 1967, the first period of the sound installation genre. Both interactive and non-interactive works are considered. The analysis shows various models of theatricality for the first years of the genre, during which a diversity of origins and genealogy is reflected. What is common to these experiments is that they seek to involve the viewers, a strategy whose roots lie in the aesthetics and experiments of the first half of the twentieth century, but which since 1955 has become conspicuous

Bringing Authoritative Models to Computational Drama (Encoding Knebel’s Action Analysis)

Maria Knebel is one of the most influential scholars in the field of Drama Analysis. Her work with Stanislavsky has been foundational in the history of theatre: she devised the method of Action Analysis to read the play as a score of actions to be executed by the actors. This paper aims at encoding Knebel\u2019s principles in a formal representation using a computational ontology (Drammar) to prove its expressiveness and to test its efficacy in a production point of view. As an example we use Knebel\u2019s analysis of Pogodin\u2019s Kremlin Chimes

Interactive chart of story characters’ intentions

This paper presents a visualization of stories that aligns the hierarchy of story units and the hierarchy of characters\u2019 intentions, respectively, with the story text, subdivided into chunks. The solution takes inspiration from the design introduced by the movie narrative charts, and presents an interactive tool

Provably efficient machine learning for quantum many-body problems

Classical machine learning (ML) provides a potentially powerful approach to solving challenging quantum many-body problems in physics and chemistry. However, the advantages of ML over more traditional methods have not been firmly established. In this work, we prove that classical ML algorithms can efficiently predict ground state properties of gapped Hamiltonians in finite spatial dimensions, after learning from data obtained by measuring other Hamiltonians in the same quantum phase of matter. In contrast, under widely accepted complexity theory assumptions, classical algorithms that do not learn from data cannot achieve the same guarantee. We also prove that classical ML algorithms can efficiently classify a wide range of quantum phases of matter. Our arguments are based on the concept of a classical shadow, a succinct classical description of a many-body quantum state that can be constructed in feasible quantum experiments and be used to predict many properties of the state. Extensive numerical experiments corroborate our theoretical results in a variety of scenarios, including Rydberg atom systems, 2D random Heisenberg models, symmetry-protected topological phases, and topologically ordered phases.Comment: 10 pages, 12 figures + 57 page appendi

Investigation of ATON (kaifeng) Company :From crisis to vitality

福建亚通新材料科技股份有限公司是家专业从事高分子材料管道系统研究开发与制造生产的企业。2010年初，其全资子公司亚通塑胶（开封）有限公司（下称亚通开封公司）因突发事件陷入危机。新任子公司总经理面临危机的考验，采取适当措施，带领企业走出危机实现生机。 本文是在领导力理论、战略管理理论及市场营销理论的框架下，针对对亚通开封公司的问题进行分析和研究，在调查和研究企业实体和相关理论的基础上，采用宏观和微观、定性和定量相结合的方法，具体研究了企业在一年内发生的从被动到主动、从亏损到盈利、从人心涣散到充满活力的实际经验，用实证研究反映企业从危机四伏到焕发新机的转变。 本文首先阐述了领导力对亚通开封公司...Fujian ATON Advanced Materials Science and Technology Co., Ltd (company) is a high technology enterprise specialized in manufacturing, research and development of high molecular materials and relative products. ATON plastics (kaifeng) Co., Ltd is a subsidiary of parent company founded in Kaifeng. In early of 2010, the GM of kaifeng company established a new company as a competitor of ATON, took a...学位：工商管理硕士院系专业：管理学院工商管理教育中心（MBA中心）_工商管理硕士(MBA)学号：1792008115112

Fully-attentive and interpretable: vision and video vision transformers for pain detection

Pain is a serious and costly issue globally, but to be treated, it must first be detected. Vision transformers are a top-performing architecture in computer vision, with little research on their use for pain detection. In this paper, we propose the first fully-attentive automated pain detection pipeline that achieves state-of-the-art performance on binary pain detection from facial expressions. The model is trained on the UNBC-McMaster dataset, after faces are 3D-registered and rotated to the canonical frontal view. In our experiments we identify important areas of the hyperparameter space and their interaction with vision and video vision transformers, obtaining 3 noteworthy models. We analyse the attention maps of one of our models, finding reasonable interpretations for its predictions. We also evaluate Mixup, an augmentation technique, and Sharpness-Aware Minimization, an optimizer, with no success. Our presented models, ViT-1 (F1 score 0.55 +- 0.15), ViViT-1 (F1 score 0.55 +- 0.13), and ViViT-2 (F1 score 0.49 +- 0.04), all outperform earlier works, showing the potential of vision transformers for pain detection

An Attempt at Creating Total Theatre. Scene del potere by Domenico Guaccero

When approaching Scene del potere – ‘azione scenica’ conceived and developed by Domenico Guaccero over the span of nearly a decade (1961–1968) and staged for the first and only time on 30 December 1968 at Palermo’s Teatro Biondo – there is a high risk of being overwhelmed by the preparatory materials alone. The bulk of the textual and scenic-dramaturgical preliminary materials that leads from the first draft, tentatively titled Il potere, to the 1965 Scene del potere and its Palermo debut, is of a multifold entity. Its amount of sources, formative elements and programmatic intent is both fascinating and confusing in its labyrinthine combinations. Let it suffice to point out that the textual and scenic-dramaturgical preparatory materials consist of more than one hundred pages of handwritten and typed notes, summaries, sketches, drawings, newspaper and magazine clippings. The Fondo Domenico Guaccero also preserves letters regarding the inception and outcomes of the project, a ‘skeleton’ score of the preliminary draft Il potere and a handwritten copy of 1968’s final score of Scene del potere. Among these sources we can also find a photocopy of the score with side-notes by Egisto Macchi. It is therefore no wonder that the essays written on Scene del potere have mainly focused on the groundwork and on the composer’s programmatic intent. Given such considerations, the present article aims at offering an in-depth examination of Scene del potere, seen not as its initiatory process but observed in its completion: the final version of 1968. Through a detailed study of the score, it is possible to determine whether and how the composer’s programmatic intent found its fulfilment in the ultimate outcome of his work