Liquid Memory

Jonathan Nossiter, acclaimed filmmaker and former sommelier, had his first taste of wine at the age of three in Paris, from his father's fingertip. For him, wine is "memory in its most liquid and dynamic form," as essential an expression of culture as cinema, books, baseball, painting, even sex. With great wit and passion, he celebrates wine and its enthusiasts—and defends both from those who tell us what to drink and how to think about it. In Liquid Memory, the American expatriate investigates the infinite mysteries of terroir, the historical sense of place that makes wine a living, thrilling expression of cultural identity that can stretch back centuries. The book is a deliriously joyful master class in locating the soul of a wine, and in learning to trust your own palate and desires. Nossiter, who has already created an uproar in the world of wine with his film Mondovino, arms us against the tyranny of snobs, critics, and charlatans who would prevent us from taking part in what should be a gloriously democratic bacchanalia. From the sacred wine shops and three-star restaurants of Paris to the biodynamic vineyards of Burgundy, from the hipster bistros of New York to film locations in Rio de Janeiro and Athens, this singular journey invites us to consider how power, misused, can sometimes mask an absence of taste—and how our own personal taste can combat power in any sphere. A controversial bestseller in Europe, Liquid Memory is sure to rile the establishment, enlighten the thirsty, and reveal the inner life of the world's most mysterious, contradictory, and jubilatory drink.

In this collection of essays, a range of scholars from different disciplines look through the prism of technology at the much-debated notion of cultural memory, analysing how the past is shaped or unsettled by cultural texts including visual art, literature, cinema, photographs and souvenirs.

Sloshing causes liquid to fluctuate, making accurate level readings difficult to obtain in dynamic environments. The measurement system described uses a single-tube capacitive sensor to obtain an instantaneous level reading of the fluid surface, thereby accurately determining the fluid quantity in the presence of slosh. A neural network based classification technique has been applied to predict the actual quantity of the fluid contained in a tank under sloshing conditions. In A neural network approach to fluid quantity measurement in dynamic environments, effects of temperature variations and contamination on the capacitive sensor are discussed, and the authors propose that these effects can also be eliminated with the proposed neural network based classification system. To examine the performance of the classification system, many field trials were carried out on a running vehicle at various tank volume levels that range from 5 L to 50 L. The effectiveness of signal enhancement on the neural network based signal classification system is also investigated. Results obtained from the investigation are compared with traditionally used statistical averaging methods, and proves that the neural network based measurement system can produce highly accurate fluid quantity measurements in a dynamic environment. Although in this case a capacitive sensor was used to demonstrate measurement system this methodology is valid for all types of electronic sensors. The approach demonstrated in A neural network approach to fluid quantity measurement in dynamic environments can be applied to a wide range of fluid quantity measurement applications in the automotive, naval and aviation industries to produce accurate fluid level readings. Students, lecturers, and experts will find the description of current research about accurate fluid level measurement in dynamic environments using neural network approach useful.

This two volume set constitutes the refereed proceedings of the 8th International Conference on Adaptive and Natural Computing Algorithms, ICANNGA 2007, held in Warsaw, Poland, in April 2007. Coverage in the first volume includes evolutionary computation, genetic algorithms, and particle swarm optimization. The second volume covers neural networks, support vector machines, biomedical signal and image processing, biometrics, computer vision.

From James Rosenquist, one of our most iconic pop artists—along with Andy Warhol, Jim Dine, Claes Oldenburg, and Roy Lichtenstein—comes this candid and fascinating memoir. Unlike these artists, Rosenquist often works in three-dimensional forms, with highly dramatic shifts in scale and a far more complex palette, including grisaille and Day-Glo colors. A skilled traditional painter, he avoided the stencils and silk screens of Warhol and Lichtenstein. His vast canvases full of brilliant, surreally juxtaposed images would influence both many of his contemporaries and younger generations, as well as revolutionize twentieth-century painting. Ronsequist writes about growing up in a tight-knit community of Scandinavian farmers in North Dakota and Minnesota in the late 1930s and early 1940s; about his mother, who was not only an amateur painter but, along with his father, a passionate aviator; and about leaving that flat midwestern landscape in 1955 for New York, where he had won a scholarship to the Art Students League. George Grosz, Edwin Dickinson, and Robert Beverly Hale were among his teachers, but his early life was a struggle until he discovered sign painting. He describes days suspended on scaffolding high over Broadway, painting movie or theater billboards, and nights at the Cedar Tavern with Willem de Kooning, Franz Kline, and the poet LeRoi Jones. His first major studio, on Coenties Slip, was in the thick of the new art world. Among his neighbors were Ellsworth Kelly, Robert Indiana, Agnes Martin, and Jack Youngerman, and his mentors Robert Rauschenberg and Jasper Johns. Rosenquist writes about his shows with the dealers Richard Bellamy, Ileana Sonnabend, and Leo Castelli, and about colorful collectors like Robert and Ethel Scull. We learn about the 1971 car crash that left his wife and son in a coma and his own life and work in shambles, his lobbying—along with Rauschenberg—for artists’ rights in Washington D.C., and how he got his work back on track. With his distinct voice, Roseqnuist writes about the ideas behind some of his major paintings, from the startling revelation that led to his first pop painting, Zone, to his masterpiece, F-III, a stunning critique of war and consumerism, to the cosmic reverie of Star Thief. This is James Rosenquist’s story in his own words—captivating and unexpected, a unique look inside the contemporary art world in the company of one of its most important painters.

This publication outlines the understanding of scenographic practice as a combination of numerous theatre-practices that collaborate and include: architecture, lighting, costume, make-up, sound, settings and stage properties, movement, as well as audience participation.