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with few exceptions, the main French agglomerations are now all equipped with a tramway system, which spans the most symbolic areas of cities with sometimes exceptional built heritage. The fact that this system occupies a dominant position in public space, in political projects or in urban representations, contrasts with the state of deslaboration of the public transport sector in the early 1970s. This considerable time lag deserves an analysis over time. It is the sign that the object in question cannot be understood as a mere transport system that would have modernised an offer of busy buses. The success of tramway, in various respects, must be seen as an object with multiple meanings and which has been able to combine with converging dynamics outside the world of urban mobility. France has thus set up a national tramway school in the sense that it has developed, for the last two decades, a special art in the design and implementation of these projects, which have been deployed in its most important agglomerations. Part of this work was carried out on the issue of the return of the tram. A sign of a first time, on which an analysis must be carried out, without falling into teleology. How did the French agglomerations build with these first trams? Why and how have they been dismantled? What were the dynamics behind the development of a new wave of modern trams? The latter are particularly interesting because of the many facets they present, behind a face which seems to be rather uniform from one city to another. What is the nature of such a project? Is it a transport project? Or urban planning? Or a desire on the part of elected representatives to see a public policy embodied? ; International audience ; with few exceptions, the main French agglomerations are now all equipped with a tramway system, which spans the most symbolic areas of cities with sometimes exceptional built heritage. The fact that this system occupies a dominant position in public space, in political projects or in urban representations, ...

This article examines the growing use of digital-networked images, specifically online self-portraits or "selfies", as deliberate and personal acts of political expression and the ways in which meaning evolves and expands from their presence on the Internet. To understand the role of digital-networked images as a site for engaging in a personal and connective "visual" action that leads to formation of transient communities, the author analyzes the nude self-portrait of the young Egyptian woman Aliaa Magda Elmahdy, which during the Egyptian uprisings in 2011 drew attention across social media. As an object of analysis this image is a prime example of the use of digital-networked images in temporally intentional distribution, and as an instance of political enactment unique to this era. This article also explains the concept of participatory narratives as an ongoing process of meaning formation in the digital-networked image, shaped by the fluidity of the multiple and immediate textual narratives, visual derivatives, re-appropriation, and remixes contributed by other interested viewers. The online circulation of digital-networked images in fact culminates in a flow of ever-changing and overarching narratives, broadening the contextual scope around which images are traditionally viewed.

Participative practices in art and culture have been the subject of a recent enthusiasm in cultural institutions, which can date back to the 1990s, but which is rooted in an earlier history of controversy and experimentation on the relationship between art and social life. From the beginning of the 20th century, Dadaiist artists brought a fictitious lawsuit against Maurice Barrès and offered the public the role of jurors. In the United States and Europe, post-modern dance has increased intervention in public spaces from the 1950s, including non-dancers. More recently, the plastician photographer Spencer Tunik, in collaboration with Greenpeace, is organising a praising in 2007 and photographing hundreds of bare volunteers on the Aletsch glacier to raise awareness of environmental issues. These experiments are now largely appropriate for cultural institutions when they seek to renew their relationship with audiences and populations. They are also the result of the 'new territories of art' (brownfield sites, squats and other places of artistic emergence), which call for a renewed, horizontal and collaborative relationship with local communities. Initially, they had a strong political dimension; they are now characterised by a real social or even ethical shift. ; International audience ; Participative practices in art and culture have been the subject of a recent enthusiasm in cultural institutions, which can date back to the 1990s, but which is rooted in an earlier history of controversy and experimentation on the relationship between art and social life. From the beginning of the 20th century, Dadaiist artists brought a fictitious lawsuit against Maurice Barrès and offered the public the role of jurors. In the United States and Europe, post-modern dance has increased intervention in public spaces from the 1950s, including non-dancers. More recently, the plastician photographer Spencer Tunik, in collaboration with Greenpeace, is organising a praising in 2007 and photographing hundreds of bare volunteers on the ...

300 312 30 3 ; S ; [EN] Many real-world problems are known as planning and scheduling problems, where resources must be allocated so as to optimize overall performance objectives. The traditional scheduling models consider performance indicators such as processing time, cost, and quality as optimization objectives. However, most of them do not take into account energy consumption and robustness. We focus our attention in a job-shop scheduling problem where machines can work at different speeds. It represents an extension of the classical job-shop scheduling problem, where each operation has to be executed by one machine and this machine can work at different speeds. The main goal of the paper is focused on the analysis of three important objectives (energy efficiency, robustness, and makespan) and the relationship among them. We present some analytical formulas to estimate the ratio/relationship between these parameters. It can be observed that there exists a clear relationship between robustness and energy efficiency and a clear trade-off between robustness/energy efficiency and makespan. It represents an advance in the state of the art of production scheduling, so obtaining energy-efficient solutions also supposes obtaining robust solutions, and vice versa. This research has been supported by the Spanish Government under research project MICINN TIN2013-46511-C2-1-P, the European CASES project (No. 294931) supported by a Marie Curie International Research Staff Exchange Scheme Fellowship within the FP7, and the European TETRACOM project (No. 609491) supported by FP7-ICT-2013-10. This research was also supported by the National Science Foundation of China (No. 51175262) and the Jiangsu Province Science Foundation for Excellent Youths under Grant BK2012032. Salido Gregorio, MA.; Escamilla Fuster, J.; Barber Sanchís, F.; Giret Boggino, AS.; Tang, D.; Dai, M. (2015). Energy efficiency, robustness, and makespan optimality in job-shop scheduling problems. AI EDAM. 30(3):300-312. ...

When the First World War began in 1914, Switzerland, which was spared from a military point of view, was facing severe internal tensions. The army was mobilised, borders occupied and the Federal Council declared the country's neutrality. But Switzerland sympathisemajously with the Central Empire, i.e. Germany and Austria-Hungary, while Latin Switzerland is taking part in the Cartel, the alliance of France, Great Britain and Russia. A rich cultural divide crosses Switzerland and shows a real moralous unease. This situation is then used by the amazing powers to launch a propaganda war on an unprecedented scale on the Swiss territory. They are trying by all means to shift public opinionists in favour of them. Both camps set up press reviews and fixtures, finance newspapers and publishing houses, and in the last years of war, also instrumentalise culture by buying many theatres and cinemas and organising major art and crafts expositionsin villes.However, writers and intellectuals, but also politicians, engage from the beginning of hostilities for the internal cohesion of the country and highlight the Swiss perspective (Carl Spitteler). These attempts to bridge the gap between the different parts of the country represent the beginnings of the spiritual national defence, which will be formellementinstituted during the Second World War and will mark the Swiss societyuntil the 1960s. The exhibition "From the fire of propaganda. Switzerland faces the horrific World War" focuses on these cultural aspects of the years of war in Switzerland and illustrates, in a modern scenography, the most recent research through a variety of mediasons that have grown tremendously at that time: newspapers and journals, posters and postcards, photographs and engravings, leaflets and dispatches, manuscripts and books, film extracts and sound documents. The expositionis presented in two institutions: the Museum of Communicationintroduced the topic through ten epvocative media examples. Mr Lavisite continued at the Swiss National Library, ...

Paints with acrylic by aboriginal artists from the Australian Central Desert are now famous around the world, resulting from a complex process of marketing and heritage of aboriginal culture carried out for almost 40 years by various state bodies, undeniable actors, aboriginal and non-aboriginal political leaders and artists. In 2012-2013, the Quai Branly Museum hosted several hundred works, mainly fired panels painted between 1971 and 1972, a retrospective built by Art Gallery of Victoria and Victoria Museum in Melbourne to celebrate the forty years of Papunya Tula (Ryan Batty, 2012). The artist Papunya Tula was founded by abori-gene insiders and Professor Geoffrey Bardon, who was then in place in this old reserve, to provide artists with a structure that would nationally disseminate their works and structure their business practice. Supported by the Labour Government for some aboriginal self-determination, the cooperative became a development model, encouraging other communities in the Northern Territory to develop themselves. ; International audience ; Paints with acrylic by aboriginal artists from the Australian Central Desert are now famous around the world, resulting from a complex process of marketing and heritage of aboriginal culture carried out for almost 40 years by various state bodies, undeniable actors, aboriginal and non-aboriginal political leaders and artists. In 2012-2013, the Quai Branly Museum hosted several hundred works, mainly fired panels painted between 1971 and 1972, a retrospective built by Art Gallery of Victoria and Victoria Museum in Melbourne to celebrate the forty years of Papunya Tula (Ryan Batty, 2012). The artist Papunya Tula was founded by abori-gene insiders and Professor Geoffrey Bardon, who was then in place in this old reserve, to provide artists with a structure that would nationally disseminate their works and structure their business practice. Supported by the Labour Government for some aboriginal self-determination, the cooperative became a development model, ...

In diesem Artikel wird die Alltagswelt aus einer postmodernen Perspektive heraus erforscht. Hierbei werden Nietzsche und Foucault als Vertreter der Postmoderne am meisten Berücksichtigung finden. Es werden die postmodernen Unterschiede zum modernen Alltagsleben erarbeitet und es soll illustriert werden, wie und wodurch sich die postmoderne Alltäglichkeit konstituiert.

"Subversive Formen des Protestes haben seit der Studentenbewegung einen festen Platz im Aktionsrepertoire sozialer Bewegungen. Das Konzept der Spaßguerilla, dass in der Kommune I entwickelt und umgesetzt wurde, war der Versuch, Protest neu zu erfinden und seine Grenzen zu überschreiten. Eine in der Form angelegte Macht- und Repräsentationskritik, Verfremdung und die Anstiftung zur Selbsttätigkeit sind die Wesentlichen Elemente subversiven Protestes. Der Aufsatz versucht, die Entstehung und Entwicklung dieser Protestgattung nachzuzeichnen, ihre Formen zu systematisieren und die dahinter stehenden Überlegungen zusammenzufassen." (Autorenreferat)

In this essay we will refer to categories of Gestalt psychology to explain structural and process-related features of phenomena in the domain of artistic work. In particular we draw on the nexus of the opposing postulates of simplicity and complexity and on the axiom of Gestaltprägnanz in order to explain principles of order of works in the field of arts and music. Gestalt principles are suited for reduction of structural complexity. This turns out as well by characterizing abstract works of art and music of the 20th century.