Parametric microwave noise generator Patent

Radio frequency noise generator having microwave slow-wave structure in gas discharge plasm

Active, Disorienting, and Transitional: The Aesthetic of Boredom(s) in the Multimedia Works of Nam June Paik (1932-2006)

The term boredom has a long and complex history. Boredom has been a topic of interest for both critical theorists and artists from various disciplines since antiquity. In the sixties, the meaning of the term boredom took on new significance as several art critics employed the term “boredom” to describe contemporary artworks. One artist from this period did not hesitate to describe his artworks as boring: Nam June Paik (1932-2006), a multimedia artist known for his avant-garde installations, sculptures, videos, and films. In my study, I argue that an aesthetic of boredom underlies certain works by Paik that employ particular artistic strategies, inducing a constant shift between physical, spatial, and temporal boundaries. Taking a chronological approach, my study focuses on three seminal works by Paik: Zen for Film (1964, film/installation), Global Groove (1973, video), and The More the Better (1988, video/sculpture). In my first chapter, I argue that Paik’s minimalist work Zen for Film puts the viewer in an ambiguous viewing position, allowing the viewer to establish multiple relationships with the installation site that induce an aesthetic of what I call “active boredom.” Then, I turn to Paik’s Global Groove, arguing that its aesthetic of “disorienting boredom” embraces elements of both structure and fragmentation. Finally, in my third chapter, I examine the multiple sets of aesthetic and ideological tension generated by Paik’s The More the Better within the historical context of South Korea’s political transition in 1988—these sets of tension constitute an aesthetic of “transitional boredom.” An aesthetic of boredom promises to provide a new understanding of today’s contemporary artworks, including literary works, films, and videos. My study aims to achieve the following two goals: the development of a distinct aesthetic of boredom, and a new understanding of Paik’s interdisciplinary works through the lens of such an aesthetic category

Implementing the syntax of japanese numeral classifiers

While the sortal constraints associated with Japanese numeral classifiers are wellstudied, less attention has been paid to the details of their syntax. We describe an analysis implemented within a broadcoverage HPSG that handles an intricate set of numeral classifier construction types and compositionally relates each to an appropriate semantic representation, using Minimal Recursion Semantics

Two Works by Isang Yun and Byungdong Paik for Harpsichord or Piano: Analysis and Performance Guide

The harpsichord is no longer an instrument of the past. Since its revival in the nineteenth century, it has coexisted with the piano as one of the most important keyboard instruments. Modern composers all over the world have written music not only for the piano but also for the harpsichord. Composers and performers from non-Western countries have become interested in writing and playing music for the harpsichord. South Korean composers like Isang Yun and Byungdong Paik tend to mix their country’s musical style with Western compositional techniques. Yun’s Shao Yang Yin and Paik’s Three Bagatelles demonstrate the blending of Western modern compositional techniques with traditional Korean musical style. The harpsichord music by Yun and Paik show that the separation of old and new, traditional and modern, and Korean and Western is meaningless. Isang Yun’s Shao Yang Yin (1966) was intended from the start to be performed on either the harpsichord or the piano. The two contrasting characters from Taoist teaching – Yang and Yin – inspired Yun to create a mood and dynamics that change frequently. Yun uses a twelve-tone technique in this composition, as well as what he termed a “main-tone technique,” in which one note is decorated by surrounding notes and ornaments. Byungdong Paik composed his Three Bagatelles for the piano in 1973 and arranged it for the harpsichord fifteen years later, adding new sections of music in the first and second movements and an Intermezzo for improvisation between the second and third movements. Unlike Yun, Paik did not use twelve-tone technique in his Bagatelles, but instead focused on the basic musical elements of harmony, rhythm, and melody. He also uses a pivotal tone technique, in which a single note appears and is maintained until the end. Because both works can be performed either on the harpsichord or piano, different practice and performance approaches are required. Each instrument requires a different approach to the expression of dynamics and tone quality. Musical analysis of these two works helps the performer interpret the composer’s intention correctly before practice and performance. Performers should recognize the difference between the harpsichord and the piano, understand the strengths and weaknesses of their instrument, and strive to create the most effective and expressive sound on each. Thus, applying appropriate practice methods in accordance with musical context is essential to a successful performance

Nam June Paik, cybernetics and machines at play.

Nam June Paik's playful, imperfect and often ambiguous use of cybernetics has left an important legacy for contemporary media art. Paik's works demonstrate that it is essential to temper aesthetics with ethics in order to question the utopian dreams of the very materials electronic artists work with. Paik's works also suggest a new way to think about the machine in art. This paper focuses on the impacts of communication and control in the machine (and subsequently the network) in Paik's Robot K-456 and suggests a reconceptualization of Paik's cybernetic machine as a machinic process enmeshed in communication systems

Effect of distortion on the buckling strength of stiffened panels

This paper predicts the behaviour of stiffened plates with different distortion levels in order to address a rational structural design procedure as pre-existing and fabricationrelated (like weld-induced) initial geometrical distortion is of great importance in structural design point of view. The considered range of scantlings, the distortion typesand levels were chosen, based on panels used at BVT Surface Fleet Ltd., where the type 45 destroyer were under construction. An analytical relation is presented based on Perry's column approach to establish the variation of buckling strength against the geometrical distortion. A parametric form of non linear finite element analysis using ABAQUS has been carried out under axial loading condition to predict the behaviour and the buckling strength. The effect of residual stress is not considered in this study. A new strength parameter is proposed to represent buckling strength which takes into account the inelastic post-buckling behaviour of the structure. The results from FE analysis are plotted in non-dimensional terms and arrived at some important conclusions

El inefable sendero del budismo zen electrónico: Nam June Paik

Nam June Paik conoce en 1958 en Alemania al músico vanguardista John Cage, quien estaba profundamente interesado en el budismo zen. Este compositor norteamericano no sólo convencerá al artista coreano para que oriente su carrera musical hacia la vanguardia, sino que impulsará su interés por el budismo zen. También, su temprana unión con Beuys, Maciunas y otros artistas del movimiento Fluxus le dieron la necesaria libertad para introducirse en el arte más experimental desde principios de los años 60. Paik no sólo ha indagado teóricamente en el budismo zen, sino que incluso mantiene algunas de sus prácticas, aunque no se considere un practicante ortodoxo. Su objetivo es recrear una serie de creencias personales que no sean idénticas al budismo, siendo incluso su relación con esta práctica más bien crítica. A partir de aquí y desde los años 60, genera toda una serie de trabajos con referencias a esta visión religiosa, caso de Zen for Touching, donde se evocan asociaciones formales que contradicen el verdadero uso de los objetos; la performance cromática Zen for Head; y la película Zen for film, donde sólo se proyecta luz blanca y partículas acumuladas de polvo en suspensión, que son recogidas por la película y tomadas por la luz del proyector; entre otros proyectos electrónicos, donde constantemente se intenta relacionar la mentalidad oriental con la visión occidental. (A

Ultimate compressive strength of deteriorated steel web plate with pitting and uniform corrosion wastage

Steel structural members are likely exposed to corrosive environments, and thus corrosion is one of the dominant life-limiting factors of steel structures. Extensive studies on the effectsof pitting and uniform corrosion on the strength performance of steel structural members under a wide variety of loading conditions have been undertaken to assess the relationship between pitting corrosion intensity and residual strength. The aim of this study is to investigate the ultimate compressive strength characteristics of steel web plate elements with pit and uniform corrosion wastage. A series of ABAQUSnonlinear elastic-plastic large deformation finite element analyses are carried out on I-shapedsection steel girder models with varying pittingcorrosion intensities. Artificial pitting of different intensities is considered on the web plates and a uniform loading applied vertically on the upper flange section. The ultimate load-carrying capacity of deteriorated models with different levels of uniform thickness loss is also studied. The results are applied to assessing the ultimate compressive strength of web plates with different pitting corrosion intensities and a uniform loss thicknessby developing design formulae that represent the average loss thickness versus the ultimate load-carrying capacity

John Cage y su influencia en la obra del video artista Nam June Paik

In 1958, the Korean artist Nam June Paik (*1932; †2006) meets in Germany John Cage (*1912; †1992), avant-garde musician, who was deeply interested in the Zen Buddhism. The meeting with Cage was vital, because the North American composer will convince him to orient his career towards the artistic avant-garde, giving up his facet like classic pianist. The philosophy of Cage is refl ected in compositions like “4’ 33’’, from 1952, where the spectator doesn’t listen the sound of the piano, because this isn’t played, but he listens a silence that is interrupted by the environmental sound. There are several versions of this piece, marking the silences by means of processes at random with the “I Ching”. In this sense, the silence used by John Cage is related to the vacuity of the Zen Buddhism. Also, Paik makes use of silence in numerous works, like “1963 TV Clock”, where 24 colour television sets are manipulated, feeling at the same time the silence, interrupted again by the own momentary circumstances of the spectator. This same infl uence of the Zen Buddhism in the music of Cage is observed when argues that the music composed of melodies has the same value than the sound understood by us like noises. This aspect, among others, infl uenced to Paik, whose video images are defi ned like attributes of traditional works that don’t impress to the audience, but they suggest variable conditions. Some of his works related to Cage’s philosophy have been “Hommage à John Cage” from 1959; “Study for pianoforte” from 1960; and “Global Grove” from 1973, where Paik uses as a collage the images of his avant-garde collaborators John Cage, Allen Ginsberg and Merce Cunningham.En 1958, el artista coreano Nam June Paik (*1932; †2006) conoce en Alemania a John Cage (*1912; †1992), músico vanguardista, quien estaba profundamente interesado en el budismo zen. Su encuentro con Cage fue vital, ya que el compositor norteamericano convencerá a éste para que oriente su carrera hacia la vanguardia artística, dejando su faceta de pianista clásico. La filosofía de Cage queda reflejada en composiciones como 4’33’’, de 1952, donde el espectador no escucha el sonido del piano, ya que este no es tocado, sino un silencio que es entrecortado por el sonido ambiental. Hay varias versiones de esta pieza, marcándose los silencios mediante procesos al azar con el sistema del “I Ching”. En este sentido, el silencio empleado por John Cage se relaciona con la vacuidad del budismo zen. Igualmente, Paik hace uso del silencio en numerosos trabajos, como en “TV Clock” de 1963, donde se observan 24 televisiones manipuladas a color, a la vez que se siente el silencio, nuevamente entrecortado por las propias circunstancias momentáneas del espectador. Esta infl uencia del budismo zen en la música de Cage se observa cuando argumenta que la música compuesta de melodías tiene el mismo valor que el sonido dedicado por nosotros como ruidos. Este aspecto, entre otros, influyeron a Paik, cuyas video imágenes se definen como atributos de trabajos tradicionales que no impresionan a la audiencia, sino que sugieren condiciones variables. Algunas de sus obras relacionadas con la filosofía de Cage han sido “Hommage à John Cage” en 1959; “Estudio para pianoforte” de 1960; y “Global Grove” de 1973, donde Paik trabaja a modo de collage las imágenes de sus colaboradores vanguardistas John Cage, Allen Ginsberg y Merce Cunningham