bluuebunny/crossref_metadata_2025_split huggingface dataset:
Evaluation of freezing pre-treatments for the lyophilisation of apple
Authors: Antal Tamás , Sikolya László , Kerekes Benedek 
Published: June 2014

Abstract
The effect of freezing rate on the quality of dried Jonagold and Idared (Malus domestica Borkh.) was studied. Apple slices underwent various pre-treatments, i.e. freezing in household freezer (freezing speed/rate: 0,5◦C/min), contact plate freezing (2◦C/min) and vacuumfreezing (3◦C/min). The quality of the freeze-dried product was then evaluated in terms of water activity (aw), hardness, color and rehydration. The texture and color experiments were carried out with texture analyser and colorimeter. The aw of apple slices was measured by aw apparatus. It was found that drying time was influenced by freezing rate. The freezing in household freezer (slow freezing rate) significantly reduces the duration of the freeze-drying process and consequently the process costs. The slow freezing rate allows the growth of large ice crystals at the beginning of the freeze-drying process; this fact should consequently lead to larger pores and injured cell walls and thus to shorter freeze-drying time. Quality of the freezing in household freezer product was assessed as higher than the quality of the other freezing pre-treated material. Slow freezing rate resulted softer texture and higher rehydration capacity than that of other pre-treated samples. In all cases, slow freezing speed lead to lower final moisture content, total color difference and water activity. Freeze-dried samples prepared with higher freezing rates (3◦C/min) were the most white in color because small pores, originated by sublimation of small ice crystals formed by fast freezing.
Climate and pedological factors of slump development on a Transylvanian example
Authors: Fazakas Csaba 
Published: June 2014

Abstract
Areas endangered by slump formation in the M˘agherani Basin, part of the Nirajului Hills (Romania), are studied in the present paper. Time periods considered dangerous regarding the development of slumps and the degree of risk were determined. Pedological conditions of the model area are assessed based on field and laboratory measurements, self-constructed maps and literature data. These factors could have contributed to the formation of slump phenomena in the model area.
Application of molecular markers in medicinal plant studies
Authors: Pourmohammad Alireza 
Published: June 2014

Abstract
The World Health Organization has estimated that more than 80% of the world’s population in developing countries depends primarily on herbal medicine for basic healthcare needs. Approximately two thirds of the 50 000 different medicinal plant species in use are collected from the wild and only 10% of medicinal species used commercially are cultivated. DNA-based molecular markers have utility in the fields like taxonomy, physiology, embryology, genetics, etc. DNA-based techniques have been widely used for authentication of plant species of medicinal importance. The geographical conditions affect the active constituents of the medicinal plant and hence their activity profiles. Many researchers have studied geographical variation at the genetic level. Estimates of genetic diversity are also important in designing crop improvement programmes for the management of germplasm and evolving conservation strategies. The DNA-based molecular marker helps in the improvement of medicinal plant species. DNA markers are more reliable because the genetic information is unique for each species and is independent of age, physiological conditions and environmental factors.
On the Pro-competitive Effects of Regional Trading Agreements
Authors: Viaene Jean-Marie , Moraga-González José L. 
Published: June 2014

Abstract
We explore the pro-competitive effects of trade policies in a model where a competitive fringe of domestic firms compete with a foreign duopoly exporting vertically differentiated goods. We show that discriminatory nonuniform tariff policies are preferred over the Most Favored Nation (MFN) clause because, besides extracting rents from foreign firms, they foster competition in the market. Regional Trading Agreements (RTAs), which favor members relative to non-members, are examples of such nonuniform tariff policies.
Constructivist Views of Cooperation along the Border
Authors: Fábiàn Attila 
Published: June 2014

Abstract
The present essay makes an attempt to examine the sociocultural field with a constructivist approach, which gives an opportunity to interpret the concept of “border” in a discursive way. This approach emphasises the importance of the role of the ideas and values related to the creation and the development of cross-border regions. The essay places great emphasis on security and cultural communities that are necessary for cross-border cooperation and sustainable regionalism. According to constructivism, security means the communities are in a mutual multi-level connection and people try to avoid conflicts with dialogue, cooperation and socialization. A cultural community along a border is a community created by border societies whose members mutually influence each other. Because of these two aspects, a good neighbourly relation can develop along the border, which may have beneficial effects on the economy of the whole country
Revisiting Michael Snow’s Wavelength, after Deleuze’s Time-Image
Authors: Potempski Jacob 
Published: June 2014

Abstract
Michael Snow’s Wavelength (1967) is one of the most written about avant-garde films. It has served as “a blue screen in front of which a range of ideological and intellectual dramas have been played out,” as Elizabeth Legge put it in a book-length study of the film, whose recent publication testifies to the continuing relevance of the film (Legge 2009). This paper takes Annette Michelson’s article, Toward Snow, one of the first and most often cited encounters with Snow’s cinema, as its point of departure (Michelson 1978). Michelson sees the film as a reflection which reveals the cinema as a temporal narrative medium. Drawing on Husserl’s phenomenology of time-consciousness, she argues that this reflection on the medium is at the same time a reflection on the structures of consciousness. However, the paper also draws on the work of Gilles Deleuze, whose two-volume study of the cinema has opened up new possibilities for thinking about time and the cinema (Deleuze 1983, 1985). The paper is not an interpretation of Deleuze. It appropriates and puts to work his idea that the cinema is not essentially a narrative medium; but a medium that disrupts linear time, making visible a non-chronological dimension of time, which fragments the subject and exposes it to liminal situations. Wavelength, I argue, reverses the flow of time, to make visible an abyss at the heart of time, which shatters the unity of the subject
From a Tactile Epistemology to the Ontology of Affect: Two Readings of Deleuze’s Time-Image in Film and New Media Theory
Authors: Bak Árpád 
Published: June 2014

Abstract
The paper compares how two theorists of media arts, Mark B. N. Hansen and Laura U. Marks, interpret the relation of Deleuze’s time-image to corporeality. Both argue that some novel types of images - in film and media art - engage the body in new and also more intensive ways than traditional cinema did. While they remain committed to Bergson’s theory of perception, their works offer different readings of how the Bergsonian concepts of Deleuze’s film philosophy can be applied to new media: on the one hand, to the non-signifying, affective properties of Hansen’s digital image in contemporary media arts, and on the other, to Marks’s - in the last instance, memory-signifying - haptic image, which she discussed initially in connection with video art and experimental film. In New Philosophy for New Media (2004), Hansen asserts that “Deleuze’s neo-Bergsonist account of the cinema carries out the progressive disembodying of the [body]”, which “reaches its culmination in […] what he calls the ‘time-image,’” and calls for “a rehabilitation of Bergson’s embodied concept of affection.” While Marks also offers some criticism on Deleuze, she suggests that his “theory of timeimage cinema permits a discussion of the multisensory quality of cinema,” and undertakes to examine “how the body may be involved in the inauguration of time-image cinema.” Besides arguing that both tendencies are present in Deleuze to varying degrees, I attempt to contextualize the divergences in their lines of thought by looking at the types of media and selection of works they examine, as well as the possible theoretical commitments that might guide these selective strategies
(Re)framing Movement in Stan Brakhage’s Visions in Meditation N°1
Authors: Simon Emőke 
Published: June 2014

Abstract
Considered as one of the main figures of the avant-garde lyrical cinema, Stan Brakhage questions perception. His language of inquiry constantly confronts the spectator with the limits of visual experience of the world and the multiple possibilities of their transgression. Critically addressing one of his short films, Visions in Meditation n°l (1989),1 this analysis aims to discuss the way movement may become a principle of perception, that is to say, according to Gilles Deleuze’s definition - a mode of transgressing the frame of representation. Reappropriating the cinematographic grammar and submitting it to a vibrating movement, Brakhage invents a rhythm which paves the way for a transcendental experience, meanwhile proposing a reflection on the meditative possibilities of the film in terms of the image in meditation. Gilles Deleuze’s way of thinking of cinema in Cinema 1: Movement-image, as well as Slavoj Žižek’s writings on cinema, allows one to consider movement in its cinematographic and philosophical meaning, a project which in Brakhage’s case seems to be primordial
The Never-ending Disaster: 9/11 Conspiracy Theory and the Integration of Activist Documentary on Video Websites
Authors: Pedersen Peter Ole 
Published: June 2014

Abstract
The article examines how documentary film is transformed when distributed through video sharing web sites. The conspiracy-theoretical production Loose Change (2005, 2006, 2007, and 2009) is used as a case study of how the mediation process connected with net-based distribution affects the materiality of film and alters our conception of both visual evidence and genre. With a point of departure in the media theory of Jay David Bolter and Richard Grusin and their twin concepts of immediacy and hypermediacy it is discussed how the film culture on the internet develops new media institutions and establishes what could be described as “live” archives. A concluding reflection illustrates how this type of film is part of an ongoing media-determined and cultural transformation of the documentary genre, a process that places its historical and political content halfway between fact and fiction
The Vertigo of the Single Image: From the Classic Narrative “Glitch” to the Post-Cinematic Adaptations of Paintings
Authors: Pethő Ágnes 
Published: June 2014

Abstract
As a possible cross section of cinematic narratology and the theory of intermediality the following essay assesses some of the effects of foregrounding the single, intermedial image within film. Specific figurations of intermediality that are experienced via the consciousness of single images, or some kind of “imageness” (i.e. as “intermedial references”) are presented as well as the modes in which they can interact with the narrative structure of a film. This interaction ranges from a momentary interference with the narrative structure of a film to disrupting it altogether; it may consist in constituting the gravity centre of a plot, or even in becoming the “canvas” for a palimpsest of narrative modes and narratives
Michael Powell’s The Thief of Bagdad and Abbas Kiarostami’s A Taste of Cherry: Two Faces of Orientalism
Authors: Weber Alan S. 
Published: June 2014

Abstract
British director Michael Powell (1905-1990) and Iranian director Abbas Kiarostami (1940-) share several technical similarities in their filmmaking, most notably an interest in the visual language of still photography, painting and other visual arts, specifically light and colour. They also often comment on the art of film-making and the subject position of the audience as voyeur within their films. With respect to Orientalism - the philosophical and cultural construction that the West overlaid on the East - Powell and Kiarostami can be profitably compared. Powell appears to have accepted uncritically the notion that the East could be characterized by exotic and sensuous otherness, an attitude that is revealed in his approach to The Thief of Bagdad (1940) as escapist fantasy and Black Narcissus (1946) as a farewell to India. Kiarostami, on the other hand, a “real Oriental,” not only rejected the Orientalist paradigm (while simultaneously drawing on its original language and symbols), but also refused to respond to it in the way that other Muslim artists, particularly in the post-Iranian Revolution period, consciously attempted to build a nonwestern cinematic art. His Taste of Cherry (1997), however, does draw on some of the same cultural elements that were borrowed and distorted by the European intellectuals who promulgated the Orientalist and postcolonial world-view
The “Deep Focus Construction” of Selected Characters within Cecil B. DeMille’s The Ten Commandments (1923 & 1956) and Elsewhere
Authors: Kozlovic Anton Karl 
Published: June 2014

Abstract
Legendary producer-director Cecil B. DeMille was a progenitor of Paramount Pictures, a seminal cofounder of Hollywood, and the master of the American biblical epic; but whose pioneering achievements and filmic practices still remain grossly unappreciated today. One of his aesthetic trade secrets was the “deep focus construction” of his on-screen characters, that is, the engineering of pertinent correspondences between his characterizations and the actors’ idiosyncratic traits and/or previous roles to deepen the naturalistic resonance of authenticity. A brief review of the critical literature and an examination of selected DeMille films, particularly The Ten Commandments (1923 & 1956), was performed to illustrate this casting principle; utilizing humanist film criticism as the guiding analytical lens. It was concluded that DeMille was a far defter biblical filmmaker than hitherto appreciated. Further research into DeMille Studies is highly warranted, warmly recommended and already long overdue
Halloween and the Limits of Cinematic Meaning
Authors: Kalmár György 
Published: June 2014

Abstract
The article reads John Carpenter’s Halloween (1978) from the perspective of the (im)possibilities of cinematic meaning. The horror film seems to be an especially fruitful field for such studies, since its aestheticpsychological mechanism usually aims at destroying the kind of spectatorial position necessary, at least according to semiotic and postsemiotic theory, for the generation and reading of meaningful signs. Placing the film in the theoretical context of such scholars as Roland Barthes, Jacques Lacan, Kaja Silverman, Steven Shaviro and Todd McGowan, I attempt to analyse the ways the film disables the production of semiotic meaning and rewrites some of the well-established concepts of film theory. I call into play Barthes’s concept of the punctum, McGowan’s cinema of intersection, Lacan’s later theory of the sinthome, Silverman’s post-Lacanian ideas about the cinematic gaze and the spaces of spectatorship, and Shaviro’s provocative insights about affective cinema so as to indicate how a film may prove its quality precisely at the points where it does not make sense
Arts and Advertising: Aesthetics of Early Commercial Television in Finland
Authors: Keinonen Heidi 
Published: June 2014

Abstract
Finnish television was launched by a commercial company in 1956. TES-TV, the first television station, was later followed by a programming company called Tesvisio and joined by the television channel of YLE, the Finnish Broadcasting Company. The TES-TV/Tesvisio years are a unique period in television history, since they witnessed the creation of a connection between commercial television and the arts. In this article I aim to study early Finnish television aesthetics by analyzing television as art and also the relations between television and other art forms. My focus is on the representations of high and low culture and the search for a television style. TES-TV aired both popular programmes and high culture, like ballet, while on Tesvisio, these cultural extremities were gradually replaced by a middle-brow culture. The early programming included both filmed and live material, which had a contribution to the evolution of Finnish television aesthetics. The television style was further developed by Tesvisio’s first professional set designer and his experimental work. Therefore I claim that in these commercial companies television was seen as an art form in its own right, not only as a mediator of art
Seeing to Believe – Sensing to Know From Film Form to Perceptual Environment
Authors: Spielmann Yvonne 
Published: June 2014

Abstract
Keynote talk given at the “Cinema of Sensations” International Conference organized by the Sapientia Hungarian University of Transylvania, in Cluj-Napoca, Romania, between the 25th and 27th of May, 2012. (The photos of Yvonne Spielmann illustrating the article were taken by Ágnes Pethő and Ferenc Boné, and are reproduced here with their permission.)
Avoid Contact with the Eyes and Skin, May Cause Irritation: Agnès Varda’s La Pointe courte (1954)
Authors: Hardy Francesca Minnie 
Published: June 2014

Abstract
When, through highly atypical financial and creative means, French filmmaker Agnès Varda’s first feature film The Pointe Courte (La Pointe courte, 1954) first appeared on cinema screens, a fragment of contemporary commentators thought it hampered by “defects,” “blunders,” and “follies.” Its perceived infirmity compounded further by a “rather irritating intellectual dryness,” implying contact with the film may cause itching. A more material, rather than intellectual engagement with the film, then, may offer a means to overcome such reservations; a piste this article pursues. In doing so, I draw on the thought of contemporary French thinker Jean-Luc Nancy and his proposition that all images are flowers and the mobilised look such thinking engenders which oscillates between an optical gaze and a haptic graze. A look mobilized thanks to the contact it makes with wood’s textured, internal ornament and which undoes the material myopia by which the film’s existing critical landscape has itself been hampered.
The New Realistic Trend in Contemporary World Cinema: Ramin Bahrani’s Chop Shop as a Case Study
Authors: Canet Fernando 
Published: June 2014

Abstract
In the last two decades there has been an international resurgence of realistic films, i.e., films directed by filmmakers who believe in the ontological power of reality and, at the same time, in the capacity of the medium’s expressive scope for building a story without undermining the viewer’s impression of reality. On the one hand, this new movement is a rehabilitation of the cinematic Realism that throughout the history of film has touted cinema as an open window to the real world, a view particularly exemplified by Italian Neo-Realism. On the other hand, this new trend has given new life to the Realist film theories championed mainly by André Bazin and Siegfried Kracauer. Bazin defines the Realist style as “all narratives means tending to bring an added measure of reality to the screen” (1971, 27). In the article titled Neo-Neo Realism (2009), A. O. Scott discusses a number of filmmakers whom he categorizes within the new Realist trend in contemporary American independent cinema. Among these is Ramin Bahrani, director of the film Chop Shop (2007). Bahrani is a USborn filmmaker of Iranian origin, based in New York. Abbas Kiarostami is one of his main points of reference. Kiarostami, as Scott notes, “refined the old Neorealist spirit through the 1990s and into the next decade.” Bahrani himself acknowledges this influence with his desire to make “an Iranianstyle movie here in New York.”
Unsettling Melodies: a Cognitive Approach to Incongruent Film Music
Authors: Willemsen Steven , Kiss Miklós 
Published: June 2014

Abstract
Incongruent film music is a soundtrack, either diegetic or nondiegetic, which expresses qualities that stand in contrast to the emotions evoked by the events seen. The present article aims at covering two interconnected areas; the first is comprised of a critical recapitulation of available theoretical accounts of incongruent film music, whilst the second part of the paper offers an alternative, embodied-cognitive explanation of the audio-visual conflict which arises from this particular type of incongruence. Rather than regarding it as a phenomenon that works through disrupting conventions, we stress a perceptual-cognitive reason behind incongruence’s emotional strangeness.
Online data clustering algorithms in an RTLS system
Authors: Németh Tamás , Nagy Sándor , Imreh Csanád 
Published: June 2014

Abstract
This paper proposes and evaluates solutions for an online clustering problem and gives a mathematical model for it. The problem at hand occurs often in the fusion of data streams for example in real time locating systems. The goal is to gather as much incoming information from several sources as possible but also minimize the delay before the next processing step can be executed. The key characteristic is that the data is available in a bursty fashion, in the special case of an RTLS according to the locating cycles. After an introduction of the background a general mathematical model for the problem is given, and then two basic algorithms referred to as NWT and CWT are analyzed by the method of competitive analysis. Each turning out to deliver an optimal solution under different constraints. Then an experimental evaluation follows based on a simulation involving the CWT and the algorithm referred to as VWT. The later is giving a configuration free solution for the problem.
The s-monotone index selection rule for criss-cross algorithms of linear complementarity problems
Authors: Csizmadia Zsolt , Illés Tibor , Fico Adrienn 
Published: June 2014

Abstract
In this paper we introduce the s-monotone index selection rules for the well-known criss-cross method for solving the linear complementarity problem (LCP). Most LCP solution methods require a priori information about the properties of the input matrix. One of the most general matrix properties often required for finiteness of the pivot algorithms (or polynomial complexity of interior point algorithms) is sufficiency. However, there is no known polynomial time method for checking the sufficiency of a matrix (classification of column sufficiency of a matrix is co-NP-complete).
Following the ideas of Fukuda, Namiki and Tamura, using Existentially Polynomial (EP)-type theorems, a simple extension of the crisscross algorithm is introduced for LCPs with general matrices. Computational results obtained using the extended version of the criss-cross algorithm for bi-matrix games and for the Arrow-Debreu market equilibrium problem with different market size is presented.
Yang-Mills lattice on CUDA
Authors: Forster Richárd , Fülöp Ágnes 
Published: June 2014

Abstract
The Yang-Mills fields have an important role in the non- Abelian gauge field theory which describes the properties of the quarkgluon plasma. The real time evolution of the classical fields is given by the equations of motion which are derived from the Hamiltonians to contain the term of the SU(2) gauge field tensor. The dynamics of the classical lattice Yang-Mills equations are studied on a 3 dimensional regular lattice. During the solution of this system we keep the total energy on constant values and it satisfies the Gauss law. The physical quantities are desired to be calculated in the thermodynamic limit. The broadly available computers can handle only a small amount of values, while the GPUs provide enough performance to reach out for higher volumes of lattice vertices which approximates the aforementioned limit.