Tableau

As the temperature and the diurnal temperature range (DTR) influence our life in many fields like agriculture and health, changes in either parameter may affect our current and future plans in such areas. This paper investigates the variability of temperature and DTR in the Levant and the Arabian Peninsula (172 stations in 12 countries) in different study periods of 10, 25, 40, 50, and 60 years. The data were tested for homogeneity using four standard tests, and we used the nonparametric statistics Mann-Kendall and Theil-Sen to calculate trend significance, direction, and magnitude in time series. Our results show a significant warming trend in 45-60% of the region with an average increase of 0.65, 0.43, and 0.30 °C/decade for the 25-, 40-, and 50-year study periods. The highest number of stations that have a significant increase in temperature occurs in spring and summer. On the other hand, decreasing DTR trends occur in about 31% of the region, mostly in the south of the Arabian Peninsula at 0.60 °C/decade. This work, additionally, provides an interactive online tool that shows the trends and temperature on zoomable maps, charts, and other visuals to station level. This tool could benefit researchers and strategic planners for the studied region. In many stations, we found that there are a significant increase in temperature and a decrease in DTR which reflect a severe change in the climate that should be considered in future planning. We recommend expanding this study to cover precipitation and other meteorological factors. Highlights • We have studied the trends of temperature (T) and diurnal temperature range (DTR) for the Arabian Peninsula, the Levant, and Iraq. • We used the nonparametric statistics Theil-Sen and Mann-Kendall and compared them to the normal linear slope. • We performed the study for five different periods (10-60 years) and compared the results. • For each of the T and DTR, we studied the trends for maximum, minimum, and average seasonal values over years. • We have provided an online visualization tool that shows the trends on maps, line charts, and fountain charts for the benefit of the readers of the journal. Electronic supplementary material The online version of this article (https://doi.

"This essay explores the worktables of architects, especially architecture students, as crucial sites of dramatic knowledge construction. More than an instrumental platform for drawing operations, the space and occasion of worktables provide an immersive, allusive, and speculative environment for rehearsing architectural performances, negotiating divergent desires, and conjuring meaningful worlds. As this essay argues through a demonstrative matrix of examples, the architect’s worktable serves as a miniature theatre: a physically intimate place, which – when inhabited imaginatively – suggestively opens up as an expansive social space of dramatic transformation, mediation, and revelation. Moreover, the table surface and setting perform as in-situ archives, preserving – through traces of interaction and circumstantial evidence – a partial record of the very design practices they support."

In this paper we give relational semantics and an accompanying relational proof system for a variety of intuitionistic substructural logics, including (intuitionistic) linear logic with exponentials. Starting with the (Kripke-style) semantics for F L as discussed in [13], we developed, in [11], a relational semantics and a relational proof system for full Lambek calculus. Here, we take this as a base and extend the results to deal with the various structural rules of exchange, contraction, weakening and expansion, and also to deal with an involution operator and with the operators ! and ? of linear logic. To accomplish this, for each extension X of F L we develop a Kripke-style semantics, RelKripke X semantics, as a bridge to relational semantics. The RelKripke X semantics consists of a set with distinguished elements, ternary relations and a list of conditions on the relations. For each extension X, RelKripke X semantics is accompanied by a Kripke-style valuation system analogous to that in [13]. Soundness and completeness theorems with respect to F L X hold for RelKripke X-models. Then, in the spirit of the work of Orlowska [16], [17], and Buszkowski & Orlowska [4], we develop relational logic RF L X for each extension X. The adjective relational is used to emphasize the fact that RF L X has a semantics wherein formulas are interpreted as relations. We prove that a sequent Γ → α in F L X is provable iff, a translation, t(γ 1 • ... • γn ⊃ α)ǫvu, has a cut-complete proof tree which is fundamental. This result is constructive: that is, if a cut-complete proof tree for t(γ 1 • ... • γn ⊃ α)ǫvu is not fundamental, we can use the failed proof search to build a relational countermodel for t(γ 1 • ... • γn ⊃ α) and from this, build a RelKripke X countermodel for γ 1 • ... • γn ⊃ α. 1

In 2020 the world has generating 52 times the amount of data as in 2010, and 76 times the number of information sources. Being able to use this data provides huge opportunities and to turn these opportunities into reality, people need to use data to solve problems. Unfortunately in the midst of a global pandemic, when people throughout the world are looking for reliable, trustworthy information about COVID-19(Coronavirus). In this scenario tableau play the vital role, because Tableau is an extremely powerful tool for visualizing massive sets of data very easily. It has an easy to use drag and drop interface. You can build beautiful visualizations easily and in a short amount of time. Tableau supports a wide array of data sources. COVID-19(Coronavirus) analytics with Tableau, you will create dashboards that help you identify the story within our data, and we will better understand the impact of COVID-19 (Coronavirus). In this paper comprehensive review about Tableau. The Tableau are the tools which deals with the big data analytics also it generates the output in visualization technique i.e., more understandable and presentable. Its features include data blending, real-time reporting and collaboration of data. In the end, this paper gives the clear picture of growing COVID-19(Coronavirus) data and the tools which can help more effectively, accurately and efficiently.

We give a novel deterministic tableau-based satisfiability algorithm for Hybrid Propositional Dynamic Logic (i.e. PDL with nominals) with satisfaction statements, denoted as HPDL @.

The algorithm builds tableaux which are essentially and-or graphs, in which there are two kinds of nodes: sentential nodes that represent partial descriptions of worlds of a model and unification nodes that deal with nominals. The algorithm prevents world cycles of eventualities within a sentential node by examining in advance the reduction formulas that occur by the application of the usual static rules. Without being necessary to examine global properties of a tableau in multiple subsequent passes, the algorithm detects unfulfilled eventualities and unifies the contents of nodes due to nominals on-the-fly, as the tableau is built.

The main technical achievement of this work is the determination of the necessary information that a sentential node should have so that its reuse will be possible. This allows us to partially cache the sentential nodes of a tableau and as a result, we can ensure the termination of the algorithm and restrict the expansion of a tableau in a more effective way. The set of the cached nodes changes dynamically in the sense that the nodes that have been added to it might be removed due to loop dependencies. Each saturated sentential node is available for possible reuse up to the point that the information of a cached node becomes out of date due to loops and as a result, the algorithm does not allow its reuse anymore.

The algorithm runs in double exponential time in the general case, as loop dependencies restrict the caching of nodes. In the case of iteration-free formulas, we can guarantee that loops do not occur and thus, all the nodes are free from dependencies. Therefore, all the saturated sentential nodes are cached and the algorithm works in single exponential time. Moreover, in the general case, despite the iteration operator, since all the saturated sentential nodes which are not involved in a loop are cached, the algorithm has the potential to achieve acceptable performance.

In this essay, the author discovers an intriguing anomaly in Pathé’s early catalogs—the presence and yet absence of “tableaux vivants.” From 1897 until 1907, Pathé Frères produced no less than about fifty films consisting in realizations (Martin Meisel) of famous paintings. Although numerous and impressive, these living pictures set on screen and in motion are unspoken in the promotional documents of the period. In the Pathé catalogs, these “re-animated paintings” do not have their own category; instead, they are scattered throughout other “genres” of film. Pathé’s description of them also changes over time—the pictorial references seem to disappear. This growing silence may be a result of the legal climate of that time, shaken by the first copyright complaints in film and phonograph industry. Or it may be related to the way realistic and historical paintings of that time were taken for accurate documents and not for an artist’s vision. But it may also be the new “era of reproductive technology” that freed works (intended to be reinterpreted through all media) from any “original” identity. Anyway this “secret” seems to conceal the key of Pathé Frères’ early success: a cinema production conceived as a cinema of reproduction.

Tableaux vivants, which invade contemporary art and cinema, as well as music videos, series, advertisements and social network posts in the 2000s-2010s, are to be considered beyond simple postmodernity. While they do not abandon subversion, these artworks reenactments reveal a desire for artistic “reenchantment” cultivating a fascination for the original images, the techn(olog)ical challenge of their reproduction, and the socio-cultural impact of their updating.

In Phenomenology of Perception (1945) Maurice Merleau-Ponty’s warns against considering depth and breadth as interchangeable. Rather than following Merleau-Ponty’s thinking, this article considers the productive potential of equating depth with breadth, citing works by British painters Jane Harris, Beth Harland and John Wilkins. The tableau is proposed in this context as a holding apparatus, one that facilitates and contains a switch and shift between positions and dimensions. Holding is considered in three key ways: holding back, holding fast and holding attention, each one describing both the internal mechanisms of the tableau and its external relations with an observer. This holding characteristic is put forward as part of the constraints and potential of addressing a pictorial form, and connected to Michael Fried’s writing, and the absorbed and diverted attention described by Jonathan Crary. George Berkeley’s theories of vision are discussed via Merleau-Ponty, with breadth offered as a sideways version of depth, exposing the space between things and implying a repositioning of an observer to facilitate visibility. Although Meleau-Ponty outlines this exchangeability in order to discount it, this flexibility between one position and another, thinking oneself into a position rather than being there, is considered here as an active part of a pictorial practice, one that can inform a stand off between oppositional terms.

Introducción a la VIsualización de datos: Visualización de datos: influencias, conceptos, procesos, tipos; ¿ Cómo alcanzar una visualización efectiva ?; Tips para mejorar tus gráficos; Herramientas para la visualización de datos; Tableau Public; Conectando a las fuentes de datos, Comprobar calidad y estructura de los datos, Crear visualizaciones simples, Creando un Dashasboard (DB). Caso práctico.

This is a study of the first cinematic appearances of the naked body. Nudity emerged in early cinema using a pictorial alibi. Models posing in the artist’s studio were a key topic, but tableaux vivants, namely films that imitate paintings, were a privileged site for nakedness. Such series as the Biograph Living Pictures (1899-1903), Pathé Scènes grivoises (1897-902), Gaumont Vieilles Estampes (1907) and Aktskulpturen – Studienfilm für bildende Künstler (Oskar Messter, 1903) constitute our main field of investigation. These films reflect a fascinating ambivalence between what Kenneth Clark distinctly termed “nakedness” (associated with the illicit and obscene exposure) and “nudity” (identified as an artistic category, addressing ideal beauty and legitimate contemplation). On one hand (the “naked” one), a pornographic quality characterized these films. Their exhibition of a naked body, in motion, transgressed the Victorian boundaries of modesty and reopened the censorship debate which had been raging in music-halls about staged tableaux vivants. An exalted voyeurism (using devices such as mirrors or revolving pedestals which allowed a complete vision of the bare body) directly linked this first cinematic nakedness with contemporary pornographic photography. On the other (“nude”!) hand, these films reproduced paintings, claiming (more or less sincerely) the artistic quality of the portrayed body. Various strategies were combined with this pictorial imitation in order to idealize the nude body, from the covering and smoothing flesh-colored leotard to the graceful posing and slow motion of the model. On the basis of the prolific ambiguity of Jonathan Auerbach’s concept of “early film body”, referring as much to the filmed body as to the “body” of film, this paper finally questions these naked “incarnations” as a way of asserting early cinema as a transgression of painting.

Regional Income and Expenditure Budget (APBD) is a very important thing in the progress of a region. APBD is an indicator of public welfare level in a region. Data of APBD that is shared on the official website data.go.id is still hard to read and understood, and for that reason the author will compare the budget value of APBD in every province, district, and city by using visualization. The method the author used is Visual Data Mining by creating an APBD visualization dashboard according to provinces, districts, and cities. Tableau Software is used to create the dashboard because Tableau allows an interactive, easy-to-use dashboard for analyzing lots of data. Besides, Tableau is already supported by many platform such as web based, iPhone app, also Android app, and this application is one of the common for visualization so there are a lot of sources to get more information and to develop visualization. The result of this research could help the government in reevaluating the APBD financial budget in every region in Indonesia. This research can help the people to know the APBD budget applied in every region.

Autour de 1900, une "tableau-mania" règne dans les théâtres et les music-halls et vient imprégner le cinéma émergent. Tandis que la terminologie même de "living picture" vient s'entrecroiser avec celle des "moving pictures", les tableaux vivants et les films se croisent et s'affilient dans les programmes, et certains films vont directement capter des tableaux vivants scéniques. Mais c'est surtout dans la manière dont les premiers films vont reconstituer des scènes picturales, et ainsi s'approprier les principes mêmes du tableau vivant, pour en transposer l'intermédialité, l'hybridité entre stase et mouvement, enfin l'édification artistique. Car c'est avec ces films qui imitent les tableaux qu'émerge, bien avant le "Film d'Art", les premiers discours et revendications esthétiques du cinématographe. En rencontrant le tableau vivant, le film a forgé ses fondements "artistiques".

Selon Ray Harryhausen, maître des effets spéciaux cinématographiques, « Gustave Doré aurait été un grand chef opérateur […] il regardait les choses avec le point de vue de la caméra ». L’œuvre de Doré a marqué de manière indélébile l’imaginaire filmique depuis ses origines. Peu de films sur la Bible, depuis la Vie et Passion de Jésus Christ produit par Pathé en 1902, qui ne se réfèrent à ses illustrations, ni d’adaptation cinématographique de Dante ou encore de Don Quichotte qui ne l’aient pris comme modèle, de Georg Wilhelm Pabst et Orson Welles à Terry Gilliam. Il n’est pas de films sur la vie londonienne et victorienne qui n’empruntent leurs décors aux visions de Londres, un pèlerinage, qu’il s’agisse de David Lean, de Roman Polanski ou de Tim Burton. Nombre de scènes oniriques, fantastiques, fantasmagoriques ont puisé dans l’œuvre graphique de Doré, depuis le Voyage dans la lune de Georges Méliès en 1902. Si dans le domaine du dessin animé ou de l’animation, la dette de Walt Disney envers Doré est immense, ses forêts « primitives », notamment celles d’Atala, ont aussi servi aux différentes versions de King Kong, de l’original de 1933 au film de 2005 de Peter Jackson qui s’était déjà appuyé sur l’œuvre de Doré dans Le Seigneur des anneaux. Ce chapitre du catalogue de l’exposition "Gustave Doré : l’imaginaire au pouvoir" présentée au Musée d’Orsay à Paris et au Musée des Beaux-Arts du Canada à Ottawa, qui prend corps dans un choix d'extraits de films "accrochés" à côté des gravures, montre comment, depuis la dette explicite de Jean Cocteau dans La Belle et la bête (1945) jusqu'aux réminiscences doréennes du personnage de Chewbacca dans la Guerre des Etoiles, le cinéma a « gravé » Doré dans l’imaginaire du XXe siècle.

"In 1983, the artist Daniel Spoerri created "Lunch on the Grass", a work designed to be excavated decades later. between archeology and contemporary art ...

En 1983, le plasticien Daniel Spoerri crée "Le déjeuner sous l'herbe", une oeuvre conçue pour être fouillée quelques décennies plus tard entre archéologie et art contemporain..."

Cet article étudie la place de la citation dans les films muets qui se sont approprié le récit évangélique. On se penchera d'abord sur les modalités de référence au texte biblique dans les intertitres, en analysant le statut énonciatif conféré aux diverses mentions par des phénomènes typographiques, linguistiques ou stylistiques. On considérera ensuite l'image pour découvrir qu'elle se nourrit de références d'ordre iconographique, et procède au niveau visuel d'un même jeu citationnel. Cette référence ostentatoire à un hypotexte canonique sera envisagée en termes d'ennoblissement moral et artistique, à une époque où le cinéma est seulement en phase d'institutionnalisation culturelle.