Synthesis of program angular motions of the Earth remote sensing spacecraft with high spatial resolution

The article considers a spacecraft for remote sensing of the Earth with high-resolution or ultra-high-resolution optical-electronic equipment. During the shooting process, the recorded image constantly moves through the photodetector matrix at a non-constant and/or excessive velocity, which is not suitable for this photodetector. The purpose of the article is to synthesize a method for the control of the orientation and stabilization of the remote sensing spacecraft, which will provide a strictly specified velocity of the image motion on the photodetector. It is proposed to find such a law of motion (functional dependences of the angular rate of the remote sensing spacecraft on time), which will allow, when applied in the control loop, to compensate for the image motion velocities that are unsuitable for this photodetector. The method used consists in time differentiation of the fundamental equation of space photogrammetry in the guiding cosines, as well as in differentiation of the matrix of guiding cosines. This provides a transition between the guiding cosines in the space of images and the space of objects. The result obtained in the article is the derived equation of space photogrammetry in kinematic form, as well as the functional dependences of angular rate on time. In the present article, a mathematical model of scanning images of the Earth’s landscapes with the help of remote sensing spacecraft is compiled. The obtained functional dependences can be applied in the development of on-board algorithms for controlling the orientation and stabilization of the remote sensing spacecraft. When implementing orientation and stabilization control in the on-board computer based on the obtained functional dependencies, a strictly specified speed of image movement in the focal plane of the on-board shooting equipment can be provided, and, consequently, the quality of the scanned image is improved by improving the function of transmitting the modulation of the kinematic “smudge” (blurring) of the image.

mTOR controls endoplasmic reticulum–Golgi apparatus trafficking of VSVg in specific cell types

Background Mammalian/mechanistic target of rapamycin (mTOR) complexes are essential for cell proliferation, growth, differentiation, and survival. mTORC1 hyperactivation occurs in the tuberous sclerosis complex (TSC). mTORC1 localizes to the surface of lysosomes, where Rheb activates it. However, mTOR was also found on the endoplasmic reticulum (ER) and Golgi apparatus (GA). Recent studies showed that the same inputs regulate ER-to-GA cargo transport and mTORC1 (e.g., the level of amino acids or energy status of the cell). Nonetheless, it remains unknown whether mTOR contributes to the regulation of cargo passage through the secretory pathway. Methods The retention using selective hooks (RUSH) approach was used to image movement of model cargo (VSVg) between the ER and GA in various cell lines in which mTOR complexes were inhibited. We also investigated VSVg trafficking in TSC patient fibroblasts. Results We found that mTOR inhibition led to the overall enhancement of VSVg transport through the secretory pathway in PC12 cells and primary human fibroblasts. Also, in TSC1-deficient cells, VSVg transport was enhanced. Conclusions Altogether, these data indicate the involvement of mTOR in the regulation of ER-to-GA cargo transport and suggest that impairments in exocytosis may be an additional cellular process that is disturbed in TSC.

O Oxímoro

THE OXYMORON is study for a 3rd degree Portuguese movie based in real facts. How to explain pedagogically the narrative, morphology and administrative limitations that restrain the production of image/movement objects in Portugal in the last 70 years.Results, discontinuities and formal aestheticization of the Critical/Admiration v. Public/Disgust interaction related with the cinematographic production supported by the Portuguese state.As an analytical study of the sociological, sexual, political, aesthetic and cultural information of Portuguese spirit manifestations in the images/movement socialized by film production in Portugal, it points out the framework of the unique cultural ability in the world to suspend time and postpone consumption with a product/image of high moral suffering that explodes extravagantly in contradictions.THE OXYMORON became an investigation for a film/essay about how the language of Portuguese cinema brought it closer to the effect that paintings produced in the viewer before the appearance of cinema. Using a montage of fragments of Portuguese films, recreation of scenes, re-enactments of movie stories and author perspective account, the film informs us about this offbeat filmography characteristics that became (along with architecture) the main Portuguese cultural export in the 20th century.

Cinematic Art (History) and Mieke Bal's Thinking in Film

The article focuses on Mieke Bal’s theoretical considerations of art in terms of film and movement in general. This cinematic frame offers her a conceptual framework for “thinking in film”, a way to rethink not only diverse forms of art, moving and still images, but also, as I argue, methodological models for art history. The text begins with a general outline of the tensions and relations between art history and film/film studies, with a discussion of several cases of the theoretical application of film in the field of art history. Bal’s case, the main subject of the article, is perhaps the most consistent and theoretically advanced attempt at reconceptualizing diverse aspects of art in interdisciplinary, cinematic terms within a larger phenomenon which might called a theoretical dimension of the “cinematic turn”. While I acknowledge the importance and complementary nature of Bal’s artistic practice as a video artist with her theoretical work, due to the limited space of this article, the focus of my text is on her writing. I closely trace and discuss a variety of Bal’s texts, predominantly written over the last 20 years, in which she theorizes and analyzes works in which movement is either explicit, such as video or video installation or implicit, such as painting. In her crucial, relevant books, Thinking in Film. The Politics of Video Installation According to Eija-Liisa Athila (2013) or Emma&Edvard Looking Sideways: Loneliness and the Cinematic, Bal, referring to a number of scholars and thinkers, but most prominently and consistently to Henri Bergson, points to four kinds of movement: literal or represented movement of/in the image, movement related to perception, affective movement and, finally, its political dimension, all of which are discussed in this article. Video installation is an art form which for Bal becomes the best concretization (a contact space) of all of the above aspects of movement, activating “thinking in film”. This involves new reformulations of spatial and temporal dimensions of art, with such concepts as heterochrony and timespace. Moreover, with reference to video art, Bal coined the notion of “migratory aesthetics”, where migration not only literally concerns migrants and immigration but offers a platform to reflect on and renegotiate the issues of movement, stagnation, the everyday and their political dimensions. Last but not least, film, according to Bal, also offers a useful framework for analyzing the experience of art exhibitions. In discussing Bal’s work, I argue that her “cinematic”, conceptual travels in art offer a radical opening of a number of art historical categories and procedures, and I propose to regard her project of “thinking in film” as indicative of a larger changes across disciplines already visible in her earlier work in the 1990s, which involve the productive redefinition of historical and temporal experience, mobilization of perception and the body, relational mode of thinking and vision, affective dimension of experiencing art and the acknowledgment of agency both on the part of the viewer and the artwork.

Distancias. Hacia un régimen estético-político de la imagen-movimiento = Distances. Towards an Aesthetic and Political Image-Movement Regime

Se interpelan las tensiones en las distancias entre sentidos estéticos y discursos políticos a partir de analizar las revoluciones técnicas y estéticas que se produjeron en la cinematografía de la década de 1920. Para ello se analizan tres largometrajes: Metrópolis, de Fritz Lang (1927), Berlín. Sinfonía de una ciudad, de Walter Ruttmann (1927) y El hombre de la cámara, de Dziga Vértov (1929). En ellos la ciudad se presenta como escenario donde los cuerpos se mueven, narrado por un conjunto de imágenes cuyo montaje se proyecta como el compás armónico de un régimen estético-político de la imagen-movimiento. En el hiato entre educar con la mirada y educar la mirada se trasluce la distancia entre lo que Jacques Rancière denomina como la «estética de la política» y la «política de la estética». Lo cual, confrontándolo con Walter Benjamin, posibilita observar las distancias entre imágenes, entre técnicas, entre originalidades y reproducciones, entre la estética y la política.AbstractThe aim is to analyze the distances between aesthetic senses and political speeches by technical and aesthetical cinematography revolutions happened in the 1920s. This is observed at three feature films: Metropolis (Fritz Lang, 1927), Berlin. Symphony of a Metropolis (Walter Ruttmann, 1927) and The Man with a Movie Camera (Dziga Vértov, 1929). At those films the city is exhibited as a scenario where bodies are moving, narrated by a set of images whose assembly is projected as the harmonic compass of an aesthetic-political regime of the image-movement. In the hiatus between educating with the gaze and educating the gaze itself, the distance between what Jacques Rancière called as the «aesthetics of politics» and the «politics of aesthetics» is studied. Confronting this with Walter Benjamin’s theory, it is possible to observe the distances between images, between techniques, between originality and reproduction and between aesthetics and politics.

THE DIRECTING ANIMATION FILM ENTITLED SI JOE

The re-introduction of the Nusantara folklore is very important because it is a form of the original culture of the archipelago and a national identity. An animated film work that tells the story of a parody about Timun Mas folklore is expected to be able to reintroduce a folklore from Central Java by adding novelty to the portrayal of the characters and stories. The making of this work aims to create a 2.5D animated film with the theme of folklore with new packaging. The artistic creation doing by the director is to combine and move 2D animation in a 3D space perspective, so that 2.5D animation is created. 2.5D animation was created using a virtual camera so that it produces better image movement than an ordinary 2D animation. This animation work that explores the folklore of the archipelago shows success in aspects of the uniqueness and impression in the visualization and novelty of the story. This animated film can bring back the old story so it is enjoyable to watch by millennial audiences.

Teaching experimental film: On the practical and analytic treatment of avant-garde cinema

This article highlights the potential of experimental and avant-garde cinema in film educational contexts. In the first part, Stefanie Schlüter evaluates her practical experience in working with 10- to 11-year-old schoolchildren. Based on reflections by Peter Kubelka, Stan Brakhage and others, she emphasizes the act of engaging with film material (scratching, painting) as a genuine haptic and perceptual experience. In the second part, Volker Pantenburg reframes classical avant-garde films by Gary Beidler, Peter Tscherkassky and Morgan Fisher as valuable, implicitly didactic 'lessons of cinema'. In a playful and elaborate way, these films perform and display basic qualities of the moving image: movement and stillness, materiality and narration, format and affect.