Stanley Kubrick

Pezzotta, Elisa

doi:10.2307/j.ctt2tvpmq

Cited by 3 publications

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“…In forthcoming publications we will extend the results in this paper to account a variation of cosmological parameters [126], as well as extending the test of one-loop galaxy bias to the one-loop bispectrum [110].…”

Section: Discussionmentioning

confidence: 71%

Testing one-loop galaxy bias: Power spectrum

Eggemeier,

Scoccimarro,

Crocce

et al. 2020

Preprint

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We test the regime of validity of one-loop galaxy bias for a wide variety of biased tracers. Our most stringent test asks the bias model to simultaneously match the galaxy-galaxy and galaxy-mass spectrum, using the measured nonlinear matter spectrum from the simulations to test one-loop effects from the bias expansion alone. In addition, we investigate the relevance of short-range nonlocality and halo exclusion through higher-derivative and scale-dependent noise terms, as well as the impact of using co-evolution relations to reduce the number of free fitting parameters. From comparing validity and merit of these assumptions we find that a four-parameter model (linear, quadratic, cubic nonlocal bias, and constant shot noise) with fixed quadratic tidal bias provides a robust modeling choice for the auto power spectrum of the less massive halos in our set of samples and their galaxy populations (up to kmax = 0.35 h/Mpc for a sample volume of 6 (Gpc/h) 3 ). For the more biased tracers it is most beneficial to include scale-dependent noise. This is also the preferred option when considering combinations of the auto and cross power spectrum, which might be relevant in joint studies of galaxy clustering and weak lensing. We also test the use of perturbation theory to account for matter loops through gRPT, EFT and the hybrid approach RESPRESSO. While all these have similar performance, we find the latter to be the best in terms of validity and recovered mean posterior values, in accordance with it being based partially on simulations.

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Section: Discussionmentioning

confidence: 71%

Testing one-loop galaxy bias: Power spectrum

Eggemeier,

Scoccimarro,

Crocce

et al. 2020

Preprint

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“…The force of emotion When it comes to conceptualizing the second part of the folk scenario (emotion as cause of a response), Kövecses has argued that the general-level metaphor emotion is a force might be instantiated by several specific-level metaphors. 97 One of the best known and most studied metaphors in this regard is what the author labels the emotion is internal pressure inside a container metaphor. In this metaphor people are conceptualized as containers for emotions with the substance inside the container corresponding to the emotion.…”

Section: Inferences True Of Forced Movement Inferences True Of Causationmentioning

confidence: 99%

“…As Pezzotta convincingly has demonstrated through a discussion of various examples, many spoken lines in Kubrick's films, notably The Shining, are full of repetition with actors often repeating in their responses sentences and words that were already uttered by the speech of others. 97 This repetition should not only be regarded as a way for actors to easily memorize their dialogue-and thus reach the conceptual essence more effortlessly-but also as a symptom of Kubrick's aesthetic resistance against the propositional and linguistic view of meaning, as elaborated in the introduction. By including these verbal reiterations, Kubrick manages to stress the materiality of the speech.…”

Section: The Other Minds Problem Performance and Active Analysismentioning

confidence: 99%

Film as Embodied Art

Coëgnarts¹

2019

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List of Illustrations ixList of Illustrations xii 4.25. The cat and mouse game between General Mireau and General Broulard from Paths of Glory (part three). 4.26. A, exclusion of Mireau, B, entry of Mireau, C, exit of Broulard, and D, inclusion of Broulard. 4.27. A complex mirror shot in The Shining. 4.28. Danny "enters the lion's den" in The Shining. 4.29. Wendy and Danny are caught in the "labyrinth" of Jack's mind (The Shining). 4.30. Enclosing of the mirror image of Alice in Eyes Wide Shut. 4.31. Alice tells Bill about the naval officer in Eyes Wide Shut. 4.32. Alice tells Bill her dream in Eyes Wide Shut. 5.1. Representing narrative absorption through A, entry, and B, enclosure. 5.2. Musico-visual alliance in 2001: ascending inclusion as accompanied by Johan Strauss's The Blue Danube (sheet music excerpts for horns and cello, respectively). 5.3. First statement and beginning of second statement of Richard Strauss's Also sprach Zarathustra as used inMoon-Watcher's epiphany scene from 2001: the riddle remains unsolved. 5.4. Continuation of second statement and unfoldment of the third statement of Richard Strauss's Also sprach Zarathustra as used in Moon-Watcher's epiphany scene from 2001: the riddle is solved. 5.5. Aligning dialogue and music in The Shining: Danny and Jack are having a talk on the bed as we hear the third movement from Bartók's Music for Strings, Percussion and Celesta. 5.6. The use of the third movement from Bartók's Music for Strings, Percussion and Celesta in The Shining (part one). Used by permission of Jeremy Barham. 5.7. The use of the third movement from Bartók's Music for Strings, Percussion and Celesta in The Shining (part two). Used by permission of Jeremy Barham. 5.8. The appearance of the high note G in Ligeti's Musica ricercata, as aligned with the image of Bill seeing the mask on the pillow (Eyes Wide Shut). 5.9. The repetition of the G note in Ligeti's Musica ricercata, as aligned with the increase of emotional intensity inside Bill as inflicted upon him by his perception of the mask (Eyes Wide Shut). 5.10. The return of the lower main theme in Ligeti's Musica ricercata, as aligned with Bill's downward entry into the frame (Eyes Wide Shut). 5.11. The high Gs pierce through the semitones in Ligeti's Musica ricercata, as aligned with Bill's emotional collapse (Eyes Wide Shut). 5.12. The disappearance of the high Gs and the release of tension in Ligeti's Musica ricercata, as aligned with Bill's vow to confess everything to Alice (Eyes Wide Shut). TABLESI.1. The film as language metaphor. I.2. The thought as language metaphor. 1.1. Situational continuity along the dimensions of time, space and causality (after Zwaan, Magliano and Graesser). 1.2. The literary source material of Kubrick's work.List of Illustrations xiii 1.3. The screenplay credits of Kubrick's films. 1.4. The use of narration in Kubrick's films. 1.5. The literal skeleton for our conception of event structure (after Narayanan). 2.1. Some sensory-perceptual systems (after Evans and Green). 2.2. A partial list of image s...

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Ethics of Honor: Postgentlemen’s Narratives and Affects of Alterity

Mooney

2022

The Making and Mirroring of Masculine Subjectivities

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Stanley Kubrick

Cited by 3 publications

References 0 publications

Testing one-loop galaxy bias: Power spectrum

Testing one-loop galaxy bias: Power spectrum

Film as Embodied Art

Ethics of Honor: Postgentlemen’s Narratives and Affects of Alterity

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