Search results for: microform

Authors: Manijeh Ghahroudi Tali, Ladan Khedri Gharibvand

Abstract:

Gavkhouni lagoon, in the South East of Isfahan (Iran), is one of the pluvial lakes and legacy of Quaternary era which has emerged during periods with more precipitation and less evaporation. Climate change, lack of water resources and dried freshwater of Zayandehrood resulted in increased entropy and activated a dynamic which in turn is converted to Playa. The morphometry of 61 polygonal clay microforms in wet zone soil, 52 polygonal clay microforms in pediplain zone soil and 63 microforms in sulfate soil, is evaluated by fractal model. After calculating the microforms’ area–perimeter fractal dimension, their turbulence level was analyzed. Fractal dimensions (DAP) obtained from the microforms’ analysis of pediplain zone, wet zone, and sulfate soils are 1/21-1/39, 1/27-1/44 and 1/29-1/41, respectively, which is indicative of turbulence in these zones. Logarithmic graph drawn for each region also shows that there is a linear relationship between logarithm of the microforms’ area and perimeter so that correlation coefficient (R2) obtained for wet zone is larger than 0.96, for pediplain zone is larger than 0.99 and for sulfated zone is 0.9. Increased turbulence in this region suggests morphological transformation of the system and lagoon’s conversion to a new ecosystem which can be accompanied with serious risks.

Keywords: fractal, Gavkhouni, microform, Iran

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Authors: Dutica Luminita

Abstract:

For the music composer Myriam Marbe the musical time and memory represent 2 (complementary) phenomena with conclusive impact on the settlement of new musical ontologies. Summarizing the most important achievements of the contemporary techniques of composition, her vision on the microform presented in The Concert for Daniel Kientzy, saxophone and orchestra transcends the linear and unidirectional time in favour of a flexible, multi-vectorial speech with spiral developments, where the sound substance is auto(re)generated by analogy with the fundamental processes of the memory. The conceptual model is of an archetypal essence, the music composer being concerned with identifying the mechanisms of the creation process, especially of those specific to the collective creation (of oral tradition). Hence the spontaneity of expression, improvisation tint, free rhythm, micro-interval intonation, coloristic-timbral universe dominated by multiphonics and unique sound effects. Hence the atmosphere of ritual, however purged by the primary connotations and reprojected into a wonderful spectacular space. The Concert is a work of artistic maturity and enforces respect, among others, by the timbral diversity of the three species of saxophone required by the music composer (baritone, sopranino and alt), in Part III Daniel Kientzy shows the performance of playing two saxophones concomitantly. The score of the music composer Myriam Marbe contains a deeply spiritualized music, full or archetypal symbols, a music whose drama suggests a real cinematographic movement.

Keywords: archetype, chronogenesis, concert, multiphonics

Procedia PDF Downloads 501