METSTOR: A GIS to look for potential CO2 storage zones in France

AbstractThe METSTOR project offers a methodology to look for potentially interesting CO2 storage areas in France at the initial stage, before the “site selection” step. Our tool, embodied in a Geographic Information System, is based on an interactive map of CO2 storage capacities. Other relevant information layers are included. The geographic layers are complemented with a series of online technical notices. It seems to be the first open online GIS that offers policy makers, businesses and the public at large an integrated access to that necessary information. Our prototype, limited mainly to the Paris Basin, is released online at www.metstor.fr

VIBROMETRIE HOLOGRAPHIQUE CHAMP LARGE A 100 KHZ

International audienceCet article présente une méthode de vibrométrie holographique numérique, avec configuration en ligne, pour la mesure de vibrations plein champ à une fréquence d'images très élevée. Les résultats expérimentaux démontrent la pertinence de l'approche proposée en fournissant une mesure de vibrations sur un diamètre de plus de 20 cm à une fréquence d'acquisition de 100 kHz

VIBROMETRIE HOLOGRAPHIQUE CHAMP LARGE A 100 KHZ

International audienceCet article présente une méthode de vibrométrie holographique numérique, avec configuration en ligne, pour la mesure de vibrations plein champ à une fréquence d'images très élevée. Les résultats expérimentaux démontrent la pertinence de l'approche proposée en fournissant une mesure de vibrations sur un diamètre de plus de 20 cm à une fréquence d'acquisition de 100 kHz

(Re)visions of the Outre-mer

Cinéma colonial is regarded by certain scholars as a highly conventionalised and commercialised film practice that grants spectators a sense of control over the potentially threatening colonial Other, and Belgian director Jacques Feyder has been subject to particularly harsh criticism in this regard. This article argues that Feyder’s Le Grand Jeu (1934), which depicts a young legionnaire’s relationship with a cabaret singer who bears an uncanny resemblance to a previous lover who jilted him in Paris, challenges dominant tendencies in portrayals of gender and colonialism in French cinema of the 1930s. Drawing on the relationship between Laura Mulvey’s theorisation of the male gaze and E. Ann Kaplan’s understanding of the imperial gaze, this article considers two core aspects of Feyder’s film. First, it illustrates how narrative sequences structured around the male protagonist’s point of view simultaneously grant insight into his vision of women and critically distance the spectator from his manipulative relationship with Irma. Second, it demonstrates that the framing of the protagonist’s gaze is linked with broader questions regarding French white objectification of indigenous Algerian women in a fashion that reflexively exposes the ideological underpinnings of cinéma colonial and French colonial culture of the interwar period more broadly in ways that French cinema of the 1930s largely elided