The first significant publication devoted entirely to Trevor Jones’s work, The Screen Music of Trevor Jones: Technology, Process, Production, investigates the key phases of his career within the context of developments in the British and global screen-music industries. This book draws on the direct testimony of the composer and members of his team as well as making use of the full range of archival materials held in the University of Leeds’s unique Trevor Jones Archive, which was digitized with support from the Arts and Humanities Research Council. Through a comprehensive series of chapters covering Jones’s early career to his recent projects, this book demonstrates how Jones has been active in an industry that has experienced a prolonged period of major technological change, including the switchover from analogue to digital production and post-production techniques, and developments in computer software for score production and sound recording/editing. This is a valuable study for scholars, researchers and professionals in the areas of film music, film-score production and audio-visual media.
Based on Neil Gaiman’s novel of the same name, Stardust (2007) was aninstant hit with fans of fantasy and science-fiction. The film follows the adventures of a young man who crosses through a gap in a wall which separates England from a magical kingdom. The fantastical atmosphere required by the narrative is maintained by the scale and grandeur of much of the musical score, written by rising British composer Ilan Eshkeri. Trained in the craft by composers Michael Kamen, Ed Shearmur, and Hans Zimmer, Eshkeri more than lived up to the task of producing music for one of his first feature films. In Ilan Eshkeri’s Stardust: A Film Score Guide, Ian Sapiro carefully examines both Eshkeri’s music for the filmand the working habits of the composer himself. An introduction to Eshkeri establishes the context within which he developed as a film-score composer, followed by an analysis of his musical style and his scoring strategies, particularly for the film Stardust. Eshkeri’s collaborative partnerships with music producer Steve McLaughlin, contractor/conductor Andy Brown, orchestrator Robert Elhai, and copyist Vic Fraser are also discussed, in addition to Eshkeri’s relationship with Stardust director Matthew Vaughn. Eshkeri’s involvement in the musical identity of the film during the production phase is also evaluated, as are developments in the score in the context of a new conceptual model of film-score production in the UK. With complete cooperation from Eshkeri, who provided the author privileged access to primary materials, Sapiro presents a unique look into the art of film scoring. The first detailed investigation of this composer and his music, Ilan Eshkeri’s Stardust: A Film Score Guide is sure to be of interest to film and music scholars and fans.
Scoring the Score is the first scholarly examination of the orchestrator’s role in the contemporary film industry. Orchestrators are crucial to the production of a film’s score, yet they have not received significant consideration in film-music research. This book sheds light on this often-overlooked yet vital profession. It considers the key processes of orchestrating and arranging and how they relate, musical and filmic training, the wide-ranging responsibilities of the orchestrator on a film-scoring project, issues related to working practices, the impact of technology, and the differences between the UK and US production processes as they affect orchestrators. Drawing on interviews with American and British orchestrators and composers, Scoring the Score aims to expose this often hidden profession through a rigorous examination of the creative process and working practices, and analysis of the skills, training and background common to orchestrators. It will appeal to scholars, students, and practitioners of film music.
This concise, elegantly written paperback volume on the essential elements of sociology is perfect as the sole textbook for a brief introductory course or as a core text to be supplemented with other readings.
The purpose of this book is to introduce you in considerable detail to what we call the ‘co-operative enterprise’, and to explore with you the broader question of why co-operatives are important in today’s world. This is not a “how to” book, in the normal sense. It is however (we hope) an excellent foundation upon which to broaden your understanding and appreciation of co-operative forms of enterprise, not only in your country - but around the globe. You will learn why co-operation works and also see why sometimes it may not work, and you will learn about best practices and success factors within co-operatives. If you are an employee, a manager, or an elected official within a co-operative, you will also learn about why and how leadership and management effectiveness are different in co-operative forms of enterprise. The book is divided into five parts. The first part is called “Setting the Stage”, and contains two chapters. The first chapter introduces the reader to the nature of co-operation, while the second chapter looks at the evolution of co-operation all the way from social movements to business systems of enterprise. The second part is entitled “How Co-operatives Are Different” and begins by presenting what we call the “co-operative value proposition”. The third and fourth chapters provide details on the difference between the co-operative sector, the private sector, and the public sector. Chapter Five describes why and how leadership and management effectiveness are different in a co-operative. The third part is entitled “Co-operatives Today” and it includes three chapters. Chapter Six describes “National and International Co-operative Development”, and Chapter Seven looks at the role co-operatives have played and are playing in “Wealth Creation, Community Development ,and Poverty Reduction” around the globe. The last chapter in this section describes the “Pivotal Role for Government in Enabling Development.” Part Four is entitled “Building a Better World” and it includes three chapters. The first chapter, Chapter Nine is entitled “Some Strategies and Tactics for Success”. Chapter Ten is entitled “Towards a World Vision for Co-operatives”. Chapter Eleven is “The Challenges and Opportunities Ahead”, and it invites and challenges readers - and all co-operators - to seriously imagine what the future might be for co-operative forms of enterprise. No small undertaking to be sure! Just for fun we have included a final part called “Everything Else Co-operative” into which we cram additional co-operative website links and interesting content which we think you might like and which didn’t exactly seem to fit anywhere else. You decide! We also include some of our parting after thoughts (post scripts) in this section.
High pressure technology is used so extensively that it is almost impossible to catalogue the manyways in which our lives are enhanced by it. From pneumatic tires and household water supplies tomaterials such as crystals, plastics, and even synthetic diamond, there are countless materialsfabricated or shaped using high pressure technology. High Pressure Technology (in two volumes)presents the most up-to-date information available on the main features of this broad technology andthe processes which utilize it.Volume I: Equipment Design, Materials, and Properties covers three broad areas: the general operationof high pressure systems, including standard operating procedures and safety codes and measures;the technology of high pressure systems, such as components, vessel design, and materials of construction;and applied science at high pressure, including the properties of fluids and solids andmechanical properties. Volume II: Applications and Processes covers processes at high pressure andencompasses such topics as: catalytic chemical synthesis; polymerization; phase changes; criticalphenomena; liquefaction of gases; synthesis of single-crystal materials, diamond, and superhardmaterials; isostatic compacting; isostatic hot-pressing; hydrostatic forming of metals; hydraulic cutting;and applications of shock techniques.Written by recognized authorities in industry, government laboratories, and universities, High PressureTechnology is essential reading for the industrial practitioner, high pressure engineer, and researchscientist. In addition, it is a valuable textbook for students in mechanical, chemical, and materialsengineering courses.
São Paulo, the New Metropolis with a French University -- Atlantic Crossings and Disciplinary Reformulation -- Getting to Know Brazil -- The New Country behind the Methodology -- Four Approaches to Global and Social-Scientific Crisis -- Brazil and the Reconstruction of the French Social Sciences -- Racial Democracy, Métissage, and Decolonization between Brazil and France.
Statistical analysis of shapes of 3D objects is an important problem with a wide range of applications. This analysis is difficult for many reasons, including the fact that objects differ in both geometry and topology. In this manuscript, we narrow the problem by focusing on objects with fixed topology, say objects that are diffeomorphic to unit spheres, and develop tools for analyzing their geometries. The main challenges in this problem are to register points across objects and to perform analysis while being invariant to certain shape-preserving transformations. We develop a comprehensive framework for analyzing shapes of spherical objects, i.e., objects that are embeddings of a unit sphere in ℝ, including tools for: quantifying shape differences, optimally deforming shapes into each other, summarizing shape samples, extracting principal modes of shape variability, and modeling shape variability associated with populations. An important strength of this framework is that it is elastic: it performs alignment, registration, and comparison in a single unified framework, while being invariant to shape-preserving transformations. The approach is essentially Riemannian in the following sense. We specify natural mathematical representations of surfaces of interest, and impose Riemannian metrics that are invariant to the actions of the shape-preserving transformations. In particular, they are invariant to reparameterizations of surfaces. While these metrics are too complicated to allow broad usage in practical applications, we introduce a novel representation, termed square-root normal fields (SRNFs), that transform a particular invariant elastic metric into the standard L2 metric. As a result, one can use standard techniques from functional data analysis for registering, comparing, and summarizing shapes. Specifically, this results in: pairwise registration of surfaces; computation of geodesic paths encoding optimal deformations; computation of Karcher means and covariances under the shape metric; tangent Principal Component Analysis (PCA) and extraction of dominant modes of variability; and finally, modeling of shape variability using wrapped normal densities. These ideas are demonstrated using two case studies: the analysis of surfaces denoting human bodies in terms of shape and pose variability; and the clustering and classification of the shapes of subcortical brain structures for use in medical diagnosis. This book develops these ideas without assuming advanced knowledge in differential geometry and statistics. We summarize some basic tools from differential geometry in the appendices, and introduce additional concepts and terminology as needed in the individual chapters.
In drawing upon the work of Jacques Derrida, Edmund Husserl and Martin Heidegger and aligning it with a new trend in interdisciplinary phenomenology, Ian Andrews provides a unique look at the role of chance in art and its philosophical implications. His account of how the composer John Cage and other avant-garde creatives such as Marcel Duchamp, Tristan Tzara, Sol LeWitt and Ed Ruscha used chance in their work to question the structures of experience and prompt a new engagement with these phenomena makes a truly important contribution to Continental philosophy. Chance, Phenomenology and Aesthetics will appeal to scholars and advanced students in the disciplines of phenomenology, deconstruction and hermeneutics, as well as being compelling reading for anyone interested in pursuing sound studies, art theory and art history through an interdisciplinary post-phenomenological lens.
A thoroughly revised and updated edition of this introduction to modern statistical methods for shape analysis Shape analysis is an important tool in the many disciplines where objects are compared using geometrical features. Examples include comparing brain shape in schizophrenia; investigating protein molecules in bioinformatics; and describing growth of organisms in biology. This book is a significant update of the highly-regarded Statistical Shape Analysis by the same authors. The new edition lays the foundations of landmark shape analysis, including geometrical concepts and statistical techniques, and extends to include analysis of curves, surfaces, images and other types of object data. Key definitions and concepts are discussed throughout, and the relative merits of different approaches are presented. The authors have included substantial new material on recent statistical developments and offer numerous examples throughout the text. Concepts are introduced in an accessible manner, while retaining sufficient detail for more specialist statisticians to appreciate the challenges and opportunities of this new field. Computer code has been included for instructional use, along with exercises to enable readers to implement the applications themselves in R and to follow the key ideas by hands-on analysis. Offers a detailed yet accessible treatment of statistical methods for shape analysis Includes numerous examples and applications from many disciplines Provides R code for implementing the examples Covers a wide variety of recent developments in shape analysis Shape Analysis, with Applications in R will offer a valuable introduction to this fast-moving research area for statisticians and other applied scientists working in diverse areas, including archaeology, bioinformatics, biology, chemistry, computer science, medicine, morphometics and image analysis.
This book is the Bible for anyone who needs to manage large data collections. It's required reading for our search gurus at Infoseek. The authors have done an outstanding job of incorporating and describing the most significant new research in information retrieval over the past five years into this second edition." Steve Kirsch, Cofounder, Infoseek Corporation "The new edition of Witten, Moffat, and Bell not only has newer and better text search algorithms but much material on image analysis and joint image/text processing. If you care about search engines, you need this book: it is the only one with full details of how they work. The book is both detailed and enjoyable; the authors have combined elegant writing with top-grade programming." Michael Lesk, National Science Foundation "The coverage of compression, file organizations, and indexing techniques for full text and document management systems is unsurpassed. Students, researchers, and practitioners will all benefit from reading this book." Bruce Croft, Director, Center for Intelligent Information Retrieval at the University of Massachusetts In this fully updated second edition of the highly acclaimed Managing Gigabytes, authors Witten, Moffat, and Bell continue to provide unparalleled coverage of state-of-the-art techniques for compressing and indexing data. Whatever your field, if you work with large quantities of information, this book is essential reading--an authoritative theoretical resource and a practical guide to meeting the toughest storage and access challenges. It covers the latest developments in compression and indexing and their application on the Web and in digital libraries. It also details dozens of powerful techniques supported by mg, the authors' own system for compressing, storing, and retrieving text, images, and textual images. mg's source code is freely available on the Web.
Arguing about matters of public policy is ubiquitous in democracies. The ability to resolve conflicts through peaceful contestation is a measure of any well-ordered society. This book challenges the assumption that arguing is mere lip service with no real impact on the behavior of states or the structure of the international system.
Since the mid-twentieth century, conspiracy has pervaded our collective worldview, shaped by events such as the assassination of John F. Kennedy, the Vietnam War, Watergate, the Iran-Contra affair, and 9/11. Everything Is Connected examines how artists from the 1960s to the present have explored both the covert operations of power and the mutual suspicion between governments and their citizens. Featured are works by some thirty artists—including Sarah Charlesworth, Emory Douglas, Hans Haacke, Rachel Harrison, Jenny Holzer, Mike Kelley, Mark Lombardi, Cady Noland, Trevor Paglen, Raymond Pettibon, Jim Shaw, and Sue Williams—in media ranging from painting, drawing, and photography to video and installation art. Whether they uncover webs of deceit hidden in the public record or dive headlong into paranoid fever dreams, these artists use their work to take a powerful and proactive stance against the political corruption, consumerism, bureaucracy, and media manipulation that are hallmarks of contemporary life. p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 14.0px Verdana}
Based on Neil Gaiman’s novel of the same name, Stardust (2007) was aninstant hit with fans of fantasy and science-fiction. The film follows the adventures of a young man who crosses through a gap in a wall which separates England from a magical kingdom. The fantastical atmosphere required by the narrative is maintained by the scale and grandeur of much of the musical score, written by rising British composer Ilan Eshkeri. Trained in the craft by composers Michael Kamen, Ed Shearmur, and Hans Zimmer, Eshkeri more than lived up to the task of producing music for one of his first feature films. In Ilan Eshkeri’s Stardust: A Film Score Guide, Ian Sapiro carefully examines both Eshkeri’s music for the filmand the working habits of the composer himself. An introduction to Eshkeri establishes the context within which he developed as a film-score composer, followed by an analysis of his musical style and his scoring strategies, particularly for the film Stardust. Eshkeri’s collaborative partnerships with music producer Steve McLaughlin, contractor/conductor Andy Brown, orchestrator Robert Elhai, and copyist Vic Fraser are also discussed, in addition to Eshkeri’s relationship with Stardust director Matthew Vaughn. Eshkeri’s involvement in the musical identity of the film during the production phase is also evaluated, as are developments in the score in the context of a new conceptual model of film-score production in the UK. With complete cooperation from Eshkeri, who provided the author privileged access to primary materials, Sapiro presents a unique look into the art of film scoring. The first detailed investigation of this composer and his music, Ilan Eshkeri’s Stardust: A Film Score Guide is sure to be of interest to film and music scholars and fans.
Scoring the Score is the first scholarly examination of the orchestrator’s role in the contemporary film industry. Orchestrators are crucial to the production of a film’s score, yet they have not received significant consideration in film-music research. This book sheds light on this often-overlooked yet vital profession. It considers the key processes of orchestrating and arranging and how they relate, musical and filmic training, the wide-ranging responsibilities of the orchestrator on a film-scoring project, issues related to working practices, the impact of technology, and the differences between the UK and US production processes as they affect orchestrators. Drawing on interviews with American and British orchestrators and composers, Scoring the Score aims to expose this often hidden profession through a rigorous examination of the creative process and working practices, and analysis of the skills, training and background common to orchestrators. It will appeal to scholars, students, and practitioners of film music.
The first significant publication devoted entirely to Trevor Jones’s work, The Screen Music of Trevor Jones: Technology, Process, Production, investigates the key phases of his career within the context of developments in the British and global screen-music industries. This book draws on the direct testimony of the composer and members of his team as well as making use of the full range of archival materials held in the University of Leeds’s unique Trevor Jones Archive, which was digitized with support from the Arts and Humanities Research Council. Through a comprehensive series of chapters covering Jones’s early career to his recent projects, this book demonstrates how Jones has been active in an industry that has experienced a prolonged period of major technological change, including the switchover from analogue to digital production and post-production techniques, and developments in computer software for score production and sound recording/editing. This is a valuable study for scholars, researchers and professionals in the areas of film music, film-score production and audio-visual media.
This will help us customize your experience to showcase the most relevant content to your age group
Please select from below
Login
Not registered?
Sign up
Already registered?
Success – Your message will goes here
We'd love to hear from you!
Thank you for visiting our website. Would you like to provide feedback on how we could improve your experience?
This site does not use any third party cookies with one exception — it uses cookies from Google to deliver its services and to analyze traffic.Learn More.