299 research outputs found
Lâexposition prĂ©historique de la Galerie de lâHistoire du travail en 1867. Organisation, rĂ©ception et impacts
LâExposition universelle de 1867, outre les exposants industriels de tous pays, prĂ©sente une exposition rĂ©trospective. Connue sous le nom de Galerie de lâHistoire du Travail, elle accueille toutes les Ćuvres antĂ©rieures Ă 1800. Dans un contexte de renforcement des identitĂ©s nationales et de dĂ©bat autour de lâanciennetĂ© de lâHumanitĂ©, plusieurs des nations reprĂ©sentĂ©es vont y exposer les tous premiers vestiges de lâoccupation humaine de leur territoire. Ainsi, la Galerie de lâhistoire du travail est le lieu de la premiĂšre exposition prĂ©historique. OrganisĂ©e par des personnalitĂ©s essentielles des sciences de lâHomme qui sont alors en train de se constituer, liĂ©e Ă dâautres Ă©vĂ©nements essentiels dans la structuration de cette science, elle va jouer un rĂŽle important dans la construction et lâinstitutionnalisation de lâarchĂ©ologie prĂ©historique.The Exposition Universelle of 1867, in addition to industrial exhibitors from around the world, presented a retrospective exhibition. Known by the name Galerie de lâHistoire du Travail, it featured works from before 1800. In the context of the strengthening of national identities and the debate about the age of humanity, several of the nations represented exhibited the earliest vestiges of the human occupation of their territory. Thus, the Galerie de lâHistoire du Travail was the setting for the first prehistoric exhibition. Organised by key figures in the nascent field of social science and linked to other major events in the structuring of this science, it played an important role in the construction and institutionalisation of prehistoric archaeology
NumĂ©ro dâobjet de MickaĂ«l Phelippeau
« Quâest-ce quâĂȘtre interprĂšte pour moi aujourdâhui (je suis entre autres danseur) ? » Partant de cette question liminaire, MickaĂ«l Phelippeau engage en 2003 une recherche artistique qui trouvera diffĂ©rentes rĂ©solutions, photographiques et chorĂ©graphiques. Ă lâinverse des « bi-portraits » lors desquels lâartiste part Ă la rencontre dâautres « professionnels » pour mieux comprendre les spĂ©cificitĂ©s de son mĂ©tier, NumĂ©ro dâobjet crĂ©Ă© en 2011 convoque quatre danseuses sollicitĂ©es pour lâexemplaritĂ© de leurs parcours. InvitĂ©es par le chorĂ©graphe Ă investir lâespace de reprĂ©sentation pour y activer/Ă©voquer leurs souvenirs, leurs regrets, leurs inquiĂ©tudes, leurs fantasmes, ValĂ©rie Castan, Claire Haenni, Sabine Macher et Pascale Paoli ne jouent pas un rĂŽle « fictif » mais incarnent sur scĂšne ce quâelles sont Ă la vie. Si les quatre artistes se prĂȘtent au « jeu » du chorĂ©graphe, elles Ă©mettent Ă plusieurs reprises des rĂ©sistances, des rejets, des dĂ©saccords. Entre subordination consentie de lâinterprĂšte et revendication de lâautonomie du sujet, NumĂ©ro dâobjet donne Ă saisir la complexitĂ© de la place de lâinterprĂšte Ă lâĆuvre en danse contemporaine.âWhat is it to be a performer today (I am among other things a dancer)?â Based on this question, MickaĂ«l Phelippeau starts in 2003 an artistic research that will find different applications, photographic and choreographic. Contrary to the âbi-portraitsâ in which the artist goes to meet other professionals to better understand the specificities of his job, NumĂ©ro dâobjet created in 2011 calls in four dancers requested for the exemplarity or their careers. Invited by the choreographer to occupy the stage to evoke and rouse their memories, regrets, worries and dreams, ValĂ©rie Castan, Claire Haenni, Sabine Macher and Pascale Paoli donât play fictitious characters but play on stage what they are in their life. If the four artists lend themselves to the choreographerâs will, many times they express disagreements, oppositions, rejections. Between subordination accepted by the dancer and demand of autonomy of the subject, NumĂ©ro dâobjet reveals the complexity of the place of the performer in contemporary dance
Ob-scĂšne ou lâexpĂ©rience de lâinterprĂšte mise Ă lâessai
Chercheuse et interprĂšte, Ănora RiviĂšre livre ici un objet chorĂ©graphique non identifiĂ©. IntitulĂ© Ob-scĂšne, rĂ©cit fictif dâune vie de danseur, lâouvrage se prĂ©sente comme une « biographie fictionnelle » qui propose de rendre compte de lâexpĂ©rience de lâinterprĂšte depuis ses diffĂ©rentes places : en plateau, dans la crĂ©ation, dans son quotidien⊠à partir dâentretiens collectifs menĂ©s avec des danseurs de diffĂ©rentes gĂ©nĂ©rations, lâauteur construit un rĂ©cit oĂč la compilation et la transposition ..
Le Sacre du printemps. Mise en perspective des relectures dâYvonne Rainer et de Xavier Le Roy : pour un dĂ©tournement des pratiques et des regards
Depuis sa crĂ©ation en 1913, Le Sacre du Printemps est certainement lâĆuvre de lâhistoire de lâart chorĂ©graphique qui a connu le plus grand nombre de reprises, dâappropriations, de recrĂ©ations. De Maurice BĂ©jart Ă Yvonne Rainer, dâAngelin Preljocaj Ă Xavier Le Roy, le nombre et la diversitĂ© des chorĂ©graphes qui ont souhaitĂ© crĂ©er leur propre version du Sacre mettent en lumiĂšre le potentiel de rĂ©invention dâune Ćuvre dont il subsiste peu de traces.A lâoccasion des cent ans de la crĂ©ation du Sacre, il sâagit ici de faire retour sur deux reprises qui interrogent, au sein mĂȘme de leurs rĂ©solutions spectaculaires les conditions dâexistence, de circulation et dâactualisation dâune Ćuvre (quâelle soit chorĂ©graphique ou musicale) et posent ainsi la question de lâactualitĂ© du Sacre du Printemps. Partant de lâanalyse comparĂ©e de RoS Indexical dâYvonne Rainer et du Sacre du Printemps de Xavier Le Roy (tous deux crĂ©Ă©s en 2007), cet article propose de montrer en quoi le dialogue initiĂ© par ces deux chorĂ©graphes avec lâhistoire de la modernitĂ© chorĂ©graphique via un travail de relecture du Sacre du Printemps offrent des perspectives sur lâĂ©poque contemporaine. Le dĂ©veloppement des pratiques citationnelles participe, non seulement dâun regard rĂ©trospectif de la danse contemporaine sur lâhistoire qui la constitue, mais aussi et surtout, dâun engagement partagĂ© Ă interroger ce qui fait Ćuvre en danse contemporaine
Ce que la reprise fait Ă lâĆuvre chorĂ©graphiqueâ/âSubversion et invention
Si lâannĂ©e 1993 correspond Ă un moment dĂ©cisif oĂč les projets du Quatuor Knust et des Carnets Bagouet mettent en exergue la problĂ©matique de la reprise dans le champ chorĂ©graphique français, les annĂ©es 2000 sont marquĂ©es par la recrudescence et le polymorphisme des pratiques citationnelles. De la citation Ă la reconstitution, en passant par la variation, la recrĂ©ation et lâhommage, la reprise est rĂ©currente, prolifique et composite. Ni genre, ni style, ni attitude, la reprise est un geste qui offre des rĂ©solutions multiples. En revanche, au-delĂ de sa disparitĂ©, elle actualise une mutation substantielle des pratiques dans le champ chorĂ©graphique des annĂ©es 2000, en termes de crĂ©ation et de diffusion de lâĆuvre chorĂ©graphique.If the year 1993 is related to a decisive moment when the projects of the Quatuor Knust and the Carnets Bagouet highlight the re-enactment issue in the French choreographic field, the 2000s are marked by the renewed outbreak and polymorphism of quotational practices. From quotation, to reconstruction, turning to variation, re-stating and tribute, re-enactment is recurrent, prolific and composite. Neither a type, a style, nor an attitude, re-enactment is a gesture that offers multiple resolutions. On the other hand, beyond its disparity, it updates a substantial change of the practises in the choreographic field of the 2000s, in terms of creation and circulation of the choreographic work
Feeling Blue or Seeing Red? Similar Patterns of Emotion Associations With Colour Patches and Colour Terms
For many, colours convey affective meaning. Popular opinion assumes that perception of colour is crucial to influence emotions. However, scientific studies test colourâemotion relationships by presenting colours as patches or terms. When using patches, researchers put great effort into colour presentation. When using terms, researchers have much less control over the colour participants think of. In this between-subjects study, we tested whether emotion associations with colour differ between terms and patches. Participants associated 20 emotion concepts, loading on valence, arousal, and power dimensions, with 12 colours presented as patches (n = 54) or terms (n = 78). We report high similarity in the pattern of associations of specific emotion concepts with terms and patches (r = .82), for all colours except purple (r = .â23). We also observed differences for black, which is associated with more negative emotions and of higher intensity when presented as a term than a patch. Terms and patches differed little in terms of valence, arousal, and power dimensions. Thus, results from studies on colourâemotion relationships using colour terms or patches should be largely comparable. It is possible that emotions are associated with colour concepts rather than particular perceptions or words of colour
Surfaces Implicites Homothétiques
National audienceNous introduisons un nouveau type de surface implicite Ă squelette, Ă©tendant le modĂšle des surfaces de convolution. La principale propriĂ©tĂ© de ces nouvelles surfaces est d'ĂȘtre invariantes par homothĂ©tie, ce qui rend leur utilisation bien plus intuitive : les mĂ©langes ont la mĂȘme allure Ă toutes les Ă©chelles, et nous pouvons contrĂŽler plus prĂ©cisĂ©ment l'Ă©paisseur du volume englobĂ©
Fonctionnement biogéochimique du lac du Bourget : phosphore, phytoplancton calcite et taux de sédimentation
8 pagesInternational audienceThe diversion, in 1980, of the main sewers entering Lake Bourget reduced significantly the nutrient loading and the inlake bioavailable phosphorus concentration, Nevertheless, paradoxically, the lake trophic state has not been clearly improved and blooms of toxic cyanobacteria (Planktothrix rubescens), which threaten the use of water, have been frequently observed since 1996, The main processes occurring in the phosphorus cycle have been studied in successive research projects (1988-1998), based on a joined approach of field survey and mathematical modelling. The settling fluxes of particulate matter and associated phosphorus species have been measured at the year and season scales. These results have highlighted that the sedimentation of particulate phosphorus is a very significant transfer process towards the bottom sediment, essential for the lake water quality restoration. Interplays between phosphorus, two types of major autochthonous particles, phytoplankton and calcite, and metallic oxides have been investigated, Nolwithstanding that, the obtained results were unsuccessful to make totally clear the origin of the phosphorus available for summer primary production, these results suggested that other Iwo-dimension, hydrodynamical processes, have to be considered.Les travaux d'assainissement menés dans le bassin versant du lac du Bourget depuis 1980 ont réduit les apports en nutriments et les concentrations en phosphore directement assimilable par les algues. Néanmoins, paradoxalement, l'état trophique du lac ne s'est pas significativement amélioré, des développements de cyanobactéries toxiques (Planktothrix rubescens) observés réguliÚrement depuis 1996, constituant une menace pour les usages de l'eau, Afin de préciser les processus principaux intervenant dans le cycle du phosphore, plusieurs programmes de recherche successifs, basés sur une double approche de terrain et de modélisation mathématique ont été entrepris de 1988 à 1998, Les flux de sédimentation de la matiÚre particulaire et des formes du phosphore associées ont été quantifiés à l'échelle saisonniÚre et annuelle, mettant en évidence que la sédimentation du phosphore particulaire constituait un important mécanisme de transfert vers le compartiment sédimentaire de fond, essentiel pour la restauration du lac, Les interactions entre le phosphore et, d'une part deux types de particules dominantes de la matiÚre particulaire autochtone, phytoplancton et calcite, d'autre part les oxydes métalliques ont été étudiées. S'il n'a pas été possible d'élucider totalement l'origine du phosphore utilisé pour la production primaire estivale, les résultats obtenus ont conduit à envisager d'autres mécanismes explicatifs, de nature hydrodynamique et bidimensionnelle
Evidence of the Cost of the Production of Microcystins by Microcystis aeruginosa under Differing Light and Nitrate Environmental Conditions
The cyanobacterium Microcystis aeruginosa is known to proliferate in freshwater ecosystems and to produce microcystins. It is now well established that much of the variability of bloom toxicity is due to differences in the relative proportions of microcystin-producing and non-microcystin-producing cells in cyanobacterial populations. In an attempt to elucidate changes in their relative proportions during cyanobacterial blooms, we compared the fitness of the microcystin-producing M. aeruginosa PCC 7806 strain (WT) to that of its non-microcystin-producing mutant (MT). We investigated the effects of two light intensities and of limiting and non-limiting nitrate concentrations on the growth of these strains in monoculture and co-culture experiments. We also monitored various physiological parameters, and microcystin production by the WT strain. In monoculture experiments, no significant difference was found between the growth rates or physiological characteristics of the two strains during the exponential growth phase. In contrast, the MT strain was found to dominate the WT strain in co-culture experiments under favorable growth conditions. Moreover, we also found an increase in the growth rate of the MT strain and in the cellular MC content of the WT strain. Our findings suggest that differences in the fitness of these two strains under optimum growth conditions were attributable to the cost to microcystin-producing cells of producing microcystins, and to the putative existence of cooperation processes involving direct interactions between these strains
Quantitative Analysis of Experimental and Synthetic Microstructures for Sedimentary Rock
A quantitative comparison between the experimental microstructure of a
sedimentary rock and three theoretical models for the same rock is presented.
The microstructure of the rock sample (Fontainebleau sandstone) was obtained by
microtomography. Two of the models are stochastic models based on correlation
function reconstruction, and one model is based on sedimentation, compaction
and diagenesis combined with input from petrographic analysis. The porosity of
all models closely match that of the experimental sample and two models have
also the same two point correlation function as the experimental sample. We
compute quantitative differences and similarities between the various
microstructures by a method based on local porosity theory. Differences are
found in the degree of anisotropy, and in fluctuations of porosity and
connectivity. The stochastic models differ strongly from the real sandstone in
their connectivity properties, and hence need further refinement when used to
model transport.Comment: to appear in Physica A (1999), in prin
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