Transparent memory testing based on dual address sequences

An effectiveness of the application of classical non-destructive tests for testing storage devices and their main disadvantages, among which there are great time complexity and low diagnostic ability, are analysed. The concept of double address sequence 2A is defined and the examples of their formation based on counter address sequences and Gray code are provided. The basic element of non-destructive tests with the use of double address sequences is synthesized and its detecting and diagnostic abilities for different storage devices defects are explored. There are two new non-destructive tests of memory devices March_2A_1 and March_2A_2 and an estimation of their time complexity and efficiency of failure detection are given. A significantly lower time complexity of the proposed tests and their high diagnostic ability in comparison with classical non-destructive tests are shown.

Art in the Age of Globalisation: Dialogue of Cultures (Ural Opera Ballet Theatre’s Production of the Opera Tri Sestry)

The article explores the dialogics of art and the role of art as a tool of dialogue between cultures on the example of the Ural Opera Ballet Theatre’s recent stage production of the opera Tri Sestry (Three Sisters), which demonstrates a successful interaction between different cultural traditions.Interpreting Chekhov’s play from a late 20th century perspective, Hungarian composer Peter Eötvös presented new responses to the questions that tormented the play’s characters one hundred years ago. In his work, which blends French and German avant-garde techniques with structural elements drawn from film narrative and the Japanese Noh theatre tradition, he added a radically new dimension to Chekhov’s play. As a result, he was able to open up latent meanings the play within the great time space proposed by the Russian philosopher Mikhail Bakhtin. In turn, Christopher Alden (USA), the Artistic Director of the Ural Opera Ballet production, merged voices from different artistic traditions into a new contemporary musical image.

Boks w kadrze. Wybrane strategie inscenizacyjne w polskich filmach o boksie z lat sześćdziesiątych i siedemdziesiątych XX wieku

In his article, Dominik Wierski analyses and interprets selected staging strategies in Polish films about boxing. The films cited in the text were made in the 1960s and 1970s. It was a dynamic period in Polish cinematography, but also a great time for Polish boxing. The author wonders how filmmakers showed space related to boxing - training rooms, changing rooms, stands and the boxing ring. Selected films, belonging to the most important examples of Polish filmmakers’ insight into the world of boxing, are analyzed in the terms of their use of colors, sound, camera travel, rhythm and pace etc. The purpose of the text is to answer the question of whether Polish films of the ‘60s and ‘70s developed an integral way of discussing boxing and showing its most characteristic spaces.

Visiting Austrian Salzburg

The article talks about my own travel experience, which happened last year in the winter holidays in advent time. My boyfriend and I visited Salzburg with a Tourist Agency for the first time. It was a one-day trip by bus. It was a pleasant experience. We had a great time there regardless of the low temperature. We saw many sights and interesting points and learnt something new about Salzburg. We got to experience the city in the night-time and the Christmas market happening as well. What we noticed about this trip is that Salzburg was not so decorated in advent time when comparing it with Vienna, which was our previous trip. We found out through the whole time that there was enormous crowd of people present. Because of the crowd we had to supply our own food and drinks, because restaurants were all full. We had to keep an eye on our personal items as well.Despite this, I would recommend Salzburg because of soaking up the Christmas atmosphere and experiencing the city'senergy.

The image of Ukraine in the symphonic frescoes «Taras Bulba» by Sergey Turneev

Introduction. The choice of the researchtheme and material was determined by the fact that the author of the article played the percussion part in the performance of the symphonic frescos «Taras Bulba» by S. P. Turnieiev in 2016. A true creator seeks to unite in his work the subconscious, intuitive and conscious rational. Thence there is a need to conceptualize the performance of the piece in unity with the composer’s concept and present thought process in the form of scientific reflection. Theoretical Background. The theoretical basis of the research was the works representing three directions in the study of picturesque in musical art: 1) the picturesque principle of composition in an epic symphony: works by I. Alieksieieva, V. Valkova, N. Vynokurova; 2) genre of symphonic picturesque: research by O. Yendutkina (Shyriaieva); 3) history and typology of picturesque and pictorial images of music: Ph.D. thesis by N. Rybak. The purpose of the research is to identify the image features of Ukraine in the symphonic frescos «Taras Bulba» by S. P. Turnieiev in accordance with the specific embodiment of civic lyrics in the work. Methods. The epic drama «Taras Bulba» by L. Toma (after M. Hohol), for the performance of which S. P. Turnieiev wrote music and afterwards created symphonic frescos, is a dialogue in the ‘Great Time’ (Bakhtin’s concept). The proposed symphonic work reflects the national world picture. Therefore, the author of the article refers to the scientific model of I. Romaniuk, adapting it to the character of the musical piece. The latter represents the principle of the Synthesis of the Arts at the newest stage of cultural development. Results. The principle of picturesque in S. Turnieiev’s Symphonic Frescos joins reception of picturesque as a phenomenon and as a concept and manifests itself in different semantic connotations; 1) picturesque as an artifact of fine art (through the fresco of the Virgin, the visual series of the peice); 2) picturesque as an attribute of the performance (through the connection with the music for the drama performance); 3) the picturesque principle as a factor of establishing links between the visual and other types of art (through the poetic word and visual series expressed in music); 4) the picturesque principle of thinking and composition implemented in the epic symphony (interaction of “narration” and show) is implicitly present in the symphonic frescos; 5) the picture of the world in accordance with the definition of I. Romaniuk, who defines this concept in the chosen discourse. S. Turnieiev’s work is interpreted in the cultural context of the «Great Time». The development of culture is possible due to the continuity, which I. Romaniuk considers as a «criterion of the Ukrainian world picture». The formation of continuity in the perception of the national world picture by different generations of the Ukrainians (I. Romaniuk ‘s concept) is carried out through dialogue in the «Great Time» owing to the «Great Memory» of the people of Ukraine (Bakhtin’s concept). The image of Ukraine unites the perception of the homeland from two points of view: emotional and sensual, on the one hand, and social – as an awareness of the existential realities of the Ukrainians with their value assessments of everyday life and the inner entity of a person, on the other hand. Timpani (tulumbas) used to be an irreplaceable attribute of the Cossack’s troops. S. P. Turnieiev’s statement that the hero of the work is the Cossacks with Taras Bulba as one of them implies the personification of the protagonist by the timbre of the timpani. On the other hand, at a more generalized level of personalization, the role of the timpani can be defined as a symbolic embodiment of the whole Cossacks, rather than an individual representative. Conclusions. Thus, the picturesque in the analyzed work is manifested through the innovative embodiment of the concept of artistic synthesis and reproduction of the mental picture of the world. The latter is determined by the continuity of the Ukrainian cultural paradigm, its values and spiritual landmarks and at the same time it resonates with the civil lyrics of L. van Beethoven. The principle of show, illustration of the poetic word by music, is combined in S. Turnieiev’s work with a symphonic generalization, due to which the piece is perceived as akin to Beethoven’s concepts. The connection with the music for drama performance, which was the basis for the creation of the symphonic frescos, is maintained through thinking in pictures which make up the stage process. The work presents the sound images of percussion instruments extensively. In particular, the timpani play a meaningful conceptual role as expression of personification – the Cossacks as a community, on the one hand, and Taras Bulba as a victorious warrior, the protagonist of symphonic frescos, on the other hand. As a research prospect, the author of the article offers further investigation of the sound images of percussion instruments (in expressive and conceptual terms) in the works of modern Ukrainian composers.

Epilogue

The epilogue rounds out the argument of the volume by considering the declining cultural authority of the novel, the value of history versus the history of the arts, Bakhtin’s most famous aphorism, the concept of great time, and the explanatory power of Bakhtin’s approach to the novel as a distinct form of discourse.