Intermediate Transposition Research Articles

“He would do nothing in the office”: Work and alienation in cinematic adaptations of Herman Melville’s Bartleby.

This paper analyzes the representation of the office workplace in filmic adaptations of Melville’s short story “Bartleby, the Scrivener”. Following a brief overview of film adaptations of Melville’s short story, this article will discuss Miro Bilbrough’s (2001) and Gerard Amsellem’s (2013) short films, Andreas Honneths (2010) experimental interpretation as well as Laura Naylor and Kristen Kee’s (2017) stop-motion movie. By, for instance, analyzing how the movies try to replicate the first-person narration, find visual images for Melville’s uncinematic descriptive prose, or underline the thematic importance of writing by incorporating different forms of written text, I will firstly examine techniques of intermedial transposition. Since the filmmakers deploy the setting to reimagine or modernize the story, the set design is to be regarded as an essential part of the adaptation process. Paying particular attention to the usage of space, the visual presentation of physical and metaphorical walls, as well as the utilization of non-human entities as ‘actors,’ I will seek to demonstrate how the movies under study reflect contemporary office environments and dynamics of work culture. Updating the nineteenth-century quills and inkpots to modern office technology, for example, allows the directors to reflect upon how electronic communication can cause or reinforce isolation. Different concepts of alienation serve as an essential theoretical framework for the movies. The adaptations concern themselves with social disconnect, engage in questions of ecological alienation, or focus on a political and socioeconomic interpretation of Bartleby’s passive resistance to productivity and consumption.

Intermediality in the Metamorphoses

Abstract This article provides an intermedial re-reading of Ovid’s Metamorphoses, treating a wide range of passages from Echo and Narcissus in Book 2 to the final sphragis which rounds off Book 15. As its title indicates, the Metamorphoses is at heart a poem about transformations. It is therefore imbued with a sense of dynamism and volatility, which in turn renders it a fertile source of represented intermedial transposition. This chapter explores three processes relating to this wider concept: ‘creation’, where a medial product is woven, painted, or sculpted, ‘human-to-media transformations’, which provide a subversive take on intermediality due to their negative connotations, and ‘meta-intermediality’, through which Ovid comments on media and their narratological potential within the wider poem. By thus problematising medial communication, Ovid identifies and advocates a hierarchy of art forms based on their effectiveness as monumentalising devices: within this system, engravings – owing to their permanence – take precedence over woven or written products. This tendency comes to the fore in the final book of the Metamorphoses, in which Ovid links his poetry to the Fates’ records on ‘brass and solid iron’ (Ov. Met. 15.808–815). In so doing, he does not only assert the authority which his work possesses as a prophecy for Rome’s greatness, but also appoints himself as a renowned bard for the ages.

From the “Mutual Illumination of the Arts” to “Studies of Intermediality”

This article offers an overview of the development of the interdisciplinary study of the interrelations of the arts and media during the past one-hundred years. From a focus on the binary relations of literature and the visual arts, music, and film these investigations turned into what came to be called “Interarts Studies” with a new tendency to include the interrelations of non-verbal arts and also to study configurations of a decidedly non-artistic nature. In the 1990s this would lead to the reconception of the arts as well as the applied arts and some non-artistic genres as media and their interrelations as intermediality. Simultaneously there began full-fledged attempts to construct a theoretical foundation for the study of intermediality (and transmediality) as a humanistic field, emphasizing media combination, intermedial reference, and intermedial transposition, especially adaptation. This article highlights developments in the German- and English-language discourse on these matters.

A Dynamic Neural Gradient Model of Two-Item and Intermediate Transposition.

Transposition is a tendency for organisms to generalize relationships between stimuli in situations where training does not objectively reward relationships over absolute, static associations. Transposition has most commonly been explained as either conceptual understanding of relationships (Köhler, 1938) as nonconceptual effects of neural memory gradients (as in Spence's stimulus discrimination theory, 1937 ). Most behavioral evidence can be explained by the gradient account, but a key finding unexplained by gradients is intermediate transposition, where a central (of three) stimulus, "relationally correct response," is generalized from training to test. Here, we introduce a dynamic neural field (DNF) model that captures intermediate transposition effects while using neural mechanisms closely resembling those of Spence's original proposal. The DNF model operates on dynamic rather than linear neural relationships, but it still functions by way of gradient interactions, and it does not invoke relational conceptual understanding in order to explain transposition behaviors. In addition to intermediate transposition, the DNF model also replicates the predictions of stimulus discrimination theory with respect to basic two-stimulus transposition. Effects of wider test item spacing were additionally captured. Overall, the DNF model captures a wider range of effects in transposition than stimulus discrimination theory, uses more fully specified neural mechanics, and integrates transposition into a wider modeling effort across cognitive tasks and phenomena. At the same time, the model features a similar low-level focus and emphasis on gradient interactions as Spence's, serving as a conceptual continuation and updating of Spence's work in the field of transposition.

Caminhos cruzados entre intermidialidade, star system e música no Ébrio de Gilda de Abreu

Em 1935, o tenor Vicente Celestino lançou a música O Ébrio. Aproveitando o grande sucesso alcançado, a canção foi transposta para o universo do teatro, do cinema, da literatura e da telenovela ao longo de 30 anos. O artigo toma a intermidialidade, o conceito de transposição e o star system como ferramenta de análise do filme O Ébrio de Gilda de Abreu. A partir da construção da persona de Celestino, na materialidade do filme, no eu lírico da canção e na representação da vida midiática do ator, o objetivo é demonstrar como a presença em cena do astro nas sequências musicais junto à transposição intermidiática se fazem presentes na forma cinematográfica. O estudo demonstra como a presença em cena do astro nas sequências musicais fornece um fator de compensação à ausência do hic et nunc.

FPGA Implementation of Multiplierless DCT/IDCT Chip

The advance of mobile electronics technology has produced handheld appliances allowing both wireless voice and data communications. One of the most important operations in the realm of digital signal and image processing is the 2-D Discrete Cosine Transform. This paper presents a multiplierless two dimensional Discrete Cosine Transform/Inverse Discrete Cosine Transform (DCT/IDCT) based on the transpose method. In this method the 2-D DCT is obtained by taking two 1-D DCTs in series. The input data is first divided into NxN blocks and the row-wise 1-D DCT of each block is taken, the intermediate transposition is then determined and a column-wise 1-D DCT is ascertained which gives the 2-D DCT of the data. The hardware implementation is parallel, pipelined and decomposed the coefficients matrix into four power of two term(i.e:16 ) to perform shift and add operations instead of multipliers(i.e 16); it costs only 1,443 slice , and runs at maximum frequency of 82.8 MHz with a very high process throughput of 991.2 Megabits/sec when synthesized onto Spartan3-E XC3S500 FPGA device. The proposed 2-D DCT/IDCT design achieving the most demanding real-time requirements of CODEC standardized frame resolutions and rates.

5164670 Multidimensional magnetic resonance system using selective discrete fourier transformation (SDFT)

Magnetic resonance data is generated as a set of digital signals in the time domain. Each signal represents a multiplicity of parameters (for example two or three dimensions in the frequency domain). Transformation of such multiparameter (multidimensional) time domain signals into the frequency domain to provide multidimensional spectra (in frequency or in space for resonance imaging) utilizes discrete Fourier transformation in a spectral region of interest by calculating matrix products of data points corresponding to successively spaced values of the time domain signal in sequence with data signals corresponding to successive frequency points to obtain the output spectra. To increase the efficiency of the calculations "zero padding" may be accomplished directly in the frequency domain reconstructing more or less data points there than the corresponding number of the acquired time domain points, to increase or decrease digital resolution. Small information rich regions of the spectra (e.g., 2D and 3D NMR spectra) may be produced, without reconstruction of the other part of the spectra, directly from the time domain data, with no intermediate transposition step, and greatly reduced computational resources (e.g., disk input/output (I/O)).