499 research outputs found
ALEX: Improving SIP Support in Systems with Multiple Network Addresses
The successful and increasingly adopted session initiation protocol (SIP) does not adequately support hosts with multiple network addresses, such as dual-stack (IPv4-IPv6) or IPv6 multi-homed devices. This paper presents the Address List Extension (ALEX) to SIP that adds effective support to systems with multiple addresses, such as dual-stack hosts or multi-homed IPv6 hosts. ALEX enables IPv6 transport to be used for SIP messages, as well as for communication sessions between SIP user agents (UAs), whenever possible and without compromising compatibility with ALEX-unaware UAs and SIP servers
Conectividad tridimensional durante el verano en el norte del Golfo de California
Connectivity studies in the Gulf of California are an important tool for improving the use and management of the gulf’s natural resources. The goal of this work was to study the three-dimensional connectivity in the northern Gulf of California during two representative months of summer when most local marine species spawn. Passive particles were advected for eight weeks in a three-dimensional current field generated by a three-dimensional baroclinic numerical model. The results indicate that the locations of greatest particle retention were the Upper Gulf and the Seasonal Eddy. The Seasonal Eddy corresponded to the area of largest particle catchment because the continental coastal current carries most particles released in the Midriff Archipelago region; subsequently these particles were entrained in the seasonal cyclonic eddy, causing most of them to remain within it. We conclude that the continental coastal current and the Seasonal Eddy control the connectivity patterns in the northern Gulf of California.Los estudios de conectividad en el Golfo de California (GC) son una herramienta importante para mejorar el uso y la gestión de los recursos naturales del golfo. El objetivo de este trabajo fue estudiar la conectividad tridimensional en el norte del Golfo de California (NGC) durante dos meses representativos de verano, ya que es la temporada con mayor desove de especies marinas. Se advectaron partículas pasivas durante ocho semanas en un campo de corrientes tridimensional generado por un modelo numérico baroclínico tridimensional. Los resultados indicaron que los lugares con mayor retención de las partículas fueron el Alto Golfo (UG) y el Remolino Estacional (SE). A su vez, SE fue el área de máxima captación de partículas debido a que la corriente costera continental transporta la mayoría de las partículas liberadas en las localidades ubicadas en la zona de las Grandes Islas, posteriormente estas partículas son atrapadas por el remolino ciclónico estacional lo que provocó que la mayoría de las partículas liberadas se queden dentro de éste. Por último, concluimos que la corriente costera continental y el remolino estacional controlan los patrones de conectividad en el NGC
Émile Cohl et la bohème
Émile Cohl participe à la fin du xixe siècle à la bohème. Disciple d’André Gill, son « maître à croquer », il fait partie des groupes non conformistes Hydropathe et Incohérent. Aux côtés des Farces d’Alfred Jarry, des Monologues de Charles Cros, des Fables-express d’Alphonse Allais, co-existent déjà les trucages d’images d’Émile Cohl qui se basent sur la parodie et le calembour visuel. Cet article permet de comprendre les influences de la bohème sur l’artiste. La connaissance de l’esprit absurde et ludique de ce courant, réinvesti dans les animations de Cohl, éclaire son travail filmique.At the end of the nineteenth century, Émile Cohl is part of the bohemian scene. A disciple of André Gill, his ‘sketch master’, he belongs to the non-conformist groups the Hydropaths and the Incoherents. Alongside the Farces of Alfred Jarry, the Monologues of Charles Cros, the express-Fables of Alphonse Allais, there exist already the trick images of Émile Cohl, which are based on parody and visual puns. This article allows us to understand the Bohemian influences on the artist, and shows how our knowledge of the absurd and playful spirit of this current, reinvested in Cohl’s animation, can throw light on his film work
Written pages in the exile language
El ensayo explora textos de Augusto Roa Bastos, un escritor modélico respecto de una experiencia de exilio compleja, siempre refigurada en su escritura. Si cualquier exilio geográfico implica un exilio de la lengua (Roa escribió su narrativa completa lejos del Paraguay), su propio sistema cultural se ve marcado, desde el dominio colonial hispánico, por una situación de “diglosia” como exilio (lingüístico/cultural) constitutivo. Por ello apelo al concepto “lenguaje del exilio” y reviso desde un texto poético a una serie de relatos, ciertas imágenes y metáforas que se alzan como signos del trabajo de Roa sobre el castellano, una retórica que propicia el trazo de líneas y núcleos de resonancia y anclaje o escritura superpuesta, entramada a la convencional.This essay explores Augusto Roa Bastos’s texts, an exemplary writer when we focus on exile as a complex experience that comes up in writing. If geographic exile is an exile from one's own language (Roa Bastos wrote his best narrative while living outside Paraguay), his cultural system is marked by a “diglossic” situation as constitutive exile (both linguistic and cultural). Thus, the concept “language of exile” becomes useful in the explanation of a poetic text and some narratives, images, and metaphors that we consider signs of Roa Bastos’s outstanding work in relation to Spanish, a distinctive writing style woven in the fabric of the conventional one
Qu’est-ce que le cinéma « Humain » …?
À partir de l’enquête de Henry Poulaille sur « la valeur sociale du cinéma » parue en 1928 dans le journal Mon Ciné, cet article souligne le concept oublié de « cinéma Humain » défendu à cette occasion par l’auteur prolétarien. Deux exemples majeurs, valorisés par Poulaille, illustrent selon lui cette conception, ceux de Charlie Chaplin et Henny Porten. À partir de certains textes de l’écrivain sur ces deux artistes, l’essai creuse l’idée de cinéma « Humain », devenu très rapidement synonyme de cinéma « Social », qui prend sa source dans les principes socialistes utopiques du groupe de « L’Art social » créé à la fin du XIXe siècle. L’article s’efforce d’étudier ce lien historique et idéologique entre Henry Poulaille et cette vision artistique originale, en exposant ses aspects caractéristiques fondés sur l’éducation et l’universalisme.What is “Human” cinema… ? Reconsideration of a Cinematic Conception Defended by Henry Poulaille. Taking Henry Poulaille’s survey on “the social value of the cinema” (Mon Ciné, 1928) as its point-of-departure, the article focuses on the forgotten concept of “Human cinema” defended by the proletarian author. Poulaille draws upon two major examples to illustrate this notion, that of Charlie Chaplin and Henny Porten. Starting with some of the writer’s texts on these two artists, the essay investigates the idea of “Human” cinema, which very quickly became synonymous with “Social” cinema, inspired by the utopian Socialist principles of the group L’Art Social created at the end of the 19th century. The article seeks to explore this historical and ideological bond between Henry Poulaille and the original artistic vision he applied to the cinema, by exposing its characteristic aspects founded on education and universalism
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