Blow Up

Using Bradshaw's analogy between rotation and stratification, the growth rate of a turbulent wingtip vortex had been analyzed. From Bradshaw's original expression, the effective Richardson number blows up near the region of maximum azimuthal velocity. According to persistence theory, if the Richardson number is greater than the fourth root of the Reynolds number for a surface stationary with respect to

This article provides vignettes from teaching practice site visits in linguistically diverse South African Foundation Phase classrooms. The purpose is to point to the complexity of encounters between student teachers and learners when neither are first language speakers of English, the instructional language. The vignettes presented here suggest the potential negative social and pedagogical consequences for learners, in part due to teachers’ lack of awareness that language can create a barrier to learning. In noting instances of instructional dissonance, the article concludes by underlining the need for teacher education to include more content relating to the critical role of language in learning as well as to the importance of recognising the rich linguistic and cultural repertoire that learners bring to the multilingual classroom. In addition, teacher graduates’ proficiency in the language of instruction cannot be assumed to be adequate; this requires focused attention in policy documents and in teacher education programmes.

Die historischen und die aktuellen Varianten des Surrealismus entwickeln besonders in Spanien und Lateinamerika – im Rückgriff auf hispanische und präkolumbianische Mythen und Bilderwelten, barocke Traditionen des theatrum mundi, der Groteske, Farce und Satire – intermediale Spielformen, die durch Brüche, Passagen und Zwischenräume gekennzeichnet sind. Der Band tastet das Spektrum der intermedialen Kombinationsmöglichkeiten unter medienästhetischen Perspektiven ab. Im Rekurs auf konkrete Fallstudien zu Borges, Cortázar, Carpentier, Buñuel, Dalí, Frida Kahlo u.a. analysiert er die Zusammenhänge zwischen historischen Spielformen des Surrealismus und neueren Entwicklungen im spanischen und lateinamerikanischen Mediensystem bei Almodóvar, Amenábar und El periférico de Objetos. (Abstract zum Buch)

This paper would like to analyse two films, The Elephant Man (David Lynch, 1981) and Blow up (Michelangelo Antonioni, 1966) and one classic myth, Mary Shelley’s Frankenstein, through the very poignant figure of the voyeur. We will investigate this observer of the unnamable focusing on two characters, two eyewitnesses: the scientist who discovers John Merrick and the photographer who becomes obsessed with finding a corpse in an amplified picture. Both these voyeurs seem to be in search of the bewitching and sublime darkness that lies within, a search that in a way is inaugurated by the Promethean doctor at the break of Modernity. The corporeal distance between monster and voyeur creates the unbearable morbidity that devours our gaze. And at that exact point, the figures are reversed and the voyeur becomes the actual monster. Soon enough, we discover that their perspective as voyeurs becomes ours, because through the cinematic experience the spectator becomes witness of the crime, par...

Resumen:
El cine, la televisión y la fotografía de moda – unida esta última a dos fenómenos económicos y sociales característicos del siglo XX: la moda y la publicidad- contribuyeron decisivamente al creciente proceso de democratización y globalización de la incipiente sociedad de masas que culminó en una nueva concepción de la cultura, la cultura popular. La fotografía de moda y el cine fueron medios de difusión de los modos de vida y tendencias sociales de su tiempo. Esta reproductibilidad fotográfica y cinematográfica influyó notablemente en una nueva forma de entender las obras de arte y, lo más importante, modificó también nuestra forma de percibir imágenes. En este artículo analizamos el lenguaje de las imágenes de fotografía de moda que exponen dos películas que consideramos representativas: Funny Face, de Stanley Donen yBlow Up, de Michelangelo Antonioni, realizadas en las décadas de los cincuenta y sesenta del pasado siglo respectivamente.


Abstract:
Film, television and fashion photography –joined the later to the two distinctive economic and social phenomena of the twentieth century: fashion and advertising- contributed decisively to the growing process of democratization and globalization of the emerging mass society which culminated in a new conception of culture: popular culture. Fashion photography and film media were lifestyles and social trends of this time. This photographic and film reproducibility greatly influenced a new way of understanding art and, most importantly, also changed the way we perceive images. In this paper, we analyze the language of fashion photography images displayed in two films: Funny Face, by Stanley Donen and Blow Up, by Michelangelo Antonioni; made in the decades of the fifties and sixties of last century respectively.

We find successful models of D-brane/anti-brane inflation within a string context. We work within the GKP-KKLT class of type IIB string vacua for which many moduli are stabilized through fluxes, as recently modified to include `realistic' orbifold sectors containing standard-model type particles. We allow all moduli to roll when searching for inflationary solutions and find that inflation is not generic inasmuch as special choices must be made for the parameters describing the vacuum. But given these choices inflation can occur for a reasonably wide range of initial conditions for the brane and antibrane. We find that D-terms associated with the orbifold blowing-up modes play an important role in the inflationary dynamics. Since the models contain a standard-model-like sector after inflation, they open up the possibility of addressing reheating issues. We calculate predictions for the CMB temperature fluctuations and find that these can be consistent with observations, but are generically not deep within the scale-invariant regime and so can allow appreciable values for $dn_s/d\ln k$ as well as predicting a potentially observable gravity-wave signal. It is also possible to generate some admixture of isocurvature fluctuations.

We describe the construction of string theory models with semirealistic spectrum in a sector of (anti) D3-branes located at an orbifold singularity at the bottom of a highly warped throat geometry, which is a generalisation of the Klebanov-Strassler deformed conifold. These models realise the Randall-Sundrum proposal to naturally generate the Planck/electroweak hierarchy in a concrete string theory embedding, and yielding interesting chiral open string spectra. We describe examples with Standard Model gauge group (or left-right symmetric extensions) and three families of SM fermions, with correct quantum numbers including hypercharge. The dilaton and complex structure moduli of the geometry are stabilised by the 3-form fluxes required to build the throat. We describe diverse issues concerning the stabilisation of geometric Kahler moduli, like blow-up modes of the orbifold singularities, via D term potentials and gauge theory non-perturbative effects, like gaugino condensation. This local geometry, once embedded in a full compactification, could give rise to models with all moduli stabilised, and with the potential to lead to de Sitter vacua. Issues of gauge unification, proton stability, supersymmetry breaking and Yukawa couplings are also discussed.

When the coating film around a vertical fibre exceeds a critical thickness hc, the interfacial disturbances triggered by Rayleigh instability can undergo accelerated growth such that localized drops much larger in dimension than the film thickness appear. We associate the initial period of this strongly nonlinear drop formation phenomenon with a self-similar intermediate asymptotic blow-up solution to the long-wave evolution equation which describes how static capillary forces drain fluid into the drop. Below hc, we show that strongly nonlinear coupling between the mean flow and axial curvature produces a finite-amplitude solitary wave solution which prevents local finite-time blow up and hence disallows further growth into drops. We thus estimate hc by determining the existence of solitary wave solutions. This is accomplished by a matched asymptotic analysis which joins the capillary outer region of a large solitary wave to the thin-film inner region. Our estimate of hc = 1.68R3H–2...

The construction of an efficient and reliable re-entry capsule has played and continues to play a fundamental role in the space activities. Current applications include International Space Station sample return, the delivery of networks of small stations to the Martian surface, and the return to Earth of launcher upper stages. Recently (1), (2) attention has been paid to the possibility

This article is an exposition of our algorithm for canonical resolution of singularities in characteristic zero (Invent. Math. 128 (1997), 207--302), with an essentially complete proof of the theorem in the hypersurface case. We define a local invariant for desingularization whose values are finite sequences that can be compared lexicographically. Our invariant takes only finitely many maximum values (at least locally), and we get an algorithm for canonical desingularization by successively blowing up its maximum loci. The invariant can be described by a local construction that provides equations for the centres of blowing up. Our construction is presented here in parallel with a worked example.

The real cohomology of the space of imbeddings of S1 into Rn , n> 3, is studied by using conguration space integrals. Nontrivial classes are explicitly constructed. As a by-product, we prove the nontriviality of certain cycles of imbeddings obtained by blowing up transversal double points in immersions. These cohomology classes generalize in a nontrivial way the Vassiliev knot invariants.

The conflict of the image, which historically oscillates between realist and formative tendencies, is invested by the power that the lens offers the photographer as a means of scrutinizing the captured physical reality and producing an appearance of material reality as not perceptible to the naked eye. This tension between a monstration device whose function of revelation passes through the lens of the camera-cinematograph and the physical reality will guide the reflection. To this end, I will take charge of the treatment of this specific capacity of the cinematographic camera in Blow Up by Michelangelo Antonioni. My problematic will consist in showing how Blow-up gives shape to the concept of the "cinematographic approach" through the disposition of a "medial photo-cinematographic" constellation, which considers together photography and cinema as "technical recording material device, optical-mechanical vision devices recording on a physical matrix (by chemical revelation)". This link between image and physical matrix deploys in Blowup photographic technical transfers such as "enlarging" and "cropping", producing an enlightening towards the unlimited "endlessness" of the technical capacity of enlarging (to blow up) and cropping (to crop), paradoxically opacifying the "readability" of the cliché. This impossibility to "make-see" or "see-true" comes up against the "truth of the instantaneous", singling out oneself the photo-cinematographic approach via the unstaged. Both of these photographic practices are invested by Antonioni in the manner and style of revealing a usually "voyeuristic" viewpoint in the face of the technical configurations and the photographer's own work in his reading of the image. The tension between "desire to see" and "impossibility to read" is resolved by the intensification of the unstaged as the presence of "that which is not staged" releasing the energy of the raw material of the physical reality captured by the technical expertise of the filmmakermediated by the character of the photographer. This is how I will show that Blow-up is not simply a film, but the shaping of a concept.

We study the existence and multiplicity of positive solutions to p-Laplace equations where the nonlinear term depends on a p-power of the gradient. For this purpose we combine Picone’s identity, blow-up arguments, the strong maximum principle and Liouville-type theorems to obtain a priori estimates.

In these notes evidence is presented for intepreting the moduli space of the integrable model associated to $N\!=\!2$ gauge theories with $N\!=\!4$ matter content, in terms of Calabi-Yau manifolds. We restrict to the case of gauge group $SU(2)$, which is compared with the moduli space of the Calabi-Yau manifold $WP_{11226}^{12}$ appearing in the rank three dual pair $(K^{3}\times T^{2} / WP_{11226}^{12})$. The singularity loci of both spaces are maped in a one to one way and, in the weak coupling limit, $N\!=\!2$ $SU(2)$ pure Yang-Mills is obtained in both cases by the same type of blow up. Comments on the interpretation of the strong coupling locus from the perspective of the integrable system are done.