Search Results

DATA REDUCTION AND PROBLEM KERNELS

Rolf Niedermeier

in Invitation to Fixed-Parameter Algorithms

This chapter presents one of the most basic and most important techniques for developing fixed-parameter algorithms: data reduction and problem kernelization. It starts with some basic definitions ... More

This chapter presents one of the most basic and most important techniques for developing fixed-parameter algorithms: data reduction and problem kernelization. It starts with some basic definitions and facts, in particular defining the notion of reduction to a problem kernel (kernelization for short). After having presented some simple examples, the chapter continues with several specific kernelization results, including problem kernels for problems such as Maximum Satisfiability, Cluster Editing, Vertex Cover, 3-Hitting Set, and Dominating Set in Planar Graphs. The chapter concludes with some initial results on lower bounds for problem kernel sizes and a general summary.Less

DEPTH-BOUNDED SEARCH TREES

Rolf Niedermeier

in Invitation to Fixed-Parameter Algorithms

This chapter presents the second very basic design technique for fixed-parameter algorithms: depth-bounded search trees. It starts with simple observations and some basic definitions and facts, ... More

This chapter presents the second very basic design technique for fixed-parameter algorithms: depth-bounded search trees. It starts with simple observations and some basic definitions and facts, including recurrences and branching vectors as a tool for analysing search tree sizes. It continues giving several specific search tree results, including outlines of problems such as Cluster Editing, Vertex Cover, Hitting Set, Closest String, and Dominating Set in Planar Graphs. Moreover, it discusses how to interleave search tree and kernelization procedures to further speed up computation, and it proposes a way to generate automatically search trees (also analysing their sizes) using Cluster Deletion as an illustrative example.Less

The Business of Movies

Joseph McBride

in Hawks on Hawks

This chapter discusses the correlation between Hawks’ personal taste in films and the commercial success of films. He describes the editing and producing films as well as the economics of ... More

This chapter discusses the correlation between Hawks’ personal taste in films and the commercial success of films. He describes the editing and producing films as well as the economics of filmmaking—distribution, unions, previewing, concerns about running time, and cutting scenes. He also comments on filmmaking today.Less

My Life as Editor

Jeffrey J. Williams

in How to Be an Intellectual: Essays on Criticism, Culture, and the University

This is a personal essay recounting the author's experience editing a literary journal, "The Minnesota Review." It talks about the everyday activities of an editor, as well as the general philosophy ... More

This is a personal essay recounting the author's experience editing a literary journal, "The Minnesota Review." It talks about the everyday activities of an editor, as well as the general philosophy of editing. It discusses the shifting focus of criticism through the 1990s and 2000s, notably the waning of literary theory and rise of cultural studies.Less

Other People’s Words

Jeffrey J. Williams

in How to Be an Intellectual: Essays on Criticism, Culture, and the University

This chapter gives advice on editing. It is framed in a mocking tone, inveighing against academic habits such as excessive citation and jargon. However, despite its mockery, it calls for better ... More

This chapter gives advice on editing. It is framed in a mocking tone, inveighing against academic habits such as excessive citation and jargon. However, despite its mockery, it calls for better editing and affirms the value of good writing.Less

Editing

Gary D. Rhodes and Robert Singer

in Consuming Images: Film Art and the American Television Commercial

Chapter 5 covers editing, paying particular attention on Average Shot Lengths (ASLs) and the influential role that the TV commercial has played in how they have decreased in Hollywood feature ... More

Chapter 5 covers editing, paying particular attention on Average Shot Lengths (ASLs) and the influential role that the TV commercial has played in how they have decreased in Hollywood feature filmmaking. This chapter also explores the ways in which the TV commercial has approached cutting on camera movement, or, in not using any editing, letting a single image remain onscreen for the entire running time, a practice associated with 19th century cinema and reinvigorated for product sales. The chapter also examines the TV commercial’s ability to eschew standard Hollywood editing practices, opting for decidedly non-classical approaches, as in the exclusive use of close-ups to tell a story.Less

Green Realism: Limits, Linkages, and Outcomes

Graham Bullock

in Green Grades: Can Information Save the Earth?

Chapter 7 synthesizes the results from the previous chapters in a discussion of the idea of information realism and its cousin, green realism. It acknowledges the valid points that the optimist and ... More

Chapter 7 synthesizes the results from the previous chapters in a discussion of the idea of information realism and its cousin, green realism. It acknowledges the valid points that the optimist and pessimist sides of the debate have made about the role of information-based governance strategies, while also highlighting the shortcomings of these two opposing perspectives. It outlines three possible futures for information-based governance strategies – one that heeds the concerns of skeptics and lessons learned discussed in this book, one that ignores them, which will lead to their further loss of support and effectiveness, and a third that is based on the insights of information realism presented in the book. In particular, the chapter highlights the importance of creating linkages between information-based governance strategies and traditional regulation-based approaches and efforts to change industry norms more broadly. It returns to the green decision scenarios posed in Chapter 1, and offers specific recommendations for designers, users, and policymakers who are interested in improving the effectiveness of information-based environmental governance strategies.Less

Paradise Finding Aids

Nicholas Allred

in Scholarly Milton

Discusses early verbal indices or concordances to Paradise Lost, especially the expanding series in the editions printed by Jacob Tonson from 1695 to 1711, frequently reprinted in later ... More

Discusses early verbal indices or concordances to Paradise Lost, especially the expanding series in the editions printed by Jacob Tonson from 1695 to 1711, frequently reprinted in later eighteenth-century editions, and Alexander Cruden’s concordance published in 1741. Examining these indexes not only illuminates “the habits of reading involved in making and using them” but also “can disclose structures in the poem that we have perhaps forgotten how to see, and even throw our contemporary critical practices into relief.” Tonson’s 1695 “Table” of generic ingredients, expanded into the subject “Index” of 1711, was composed mainly of descriptions (which disappear as a separate heading), “underscore[ing] how a finding aid can enlist the print codex to circumvent the epic’s basic ordering principle: the story”; instead, the index “processes epic into something like lyric.” Employing book and line numbers rather than page numbers, Alexander Cruden’s 1741 Verbal Index to Milton’s Paradise Lost assumes that Paradise Lost, “like the Bible, had achieved enormous market penetration: the verbal index was designed for readers already equipped with copies in scores of different editions.” Thus “the verbal index helped Paradise Lost not only enter the lexicon,” as it “allowed readers to make the poem’s language their own,” but also helped to “define the lexicon through its pivotal role in Samuel Johnson’s Dictionary.”Less

Political Diplomacy, Personal Conviction, and the Fraught Nature of Milton’s Letters of State

Edward Jones

in Scholarly Milton

Discusses the considerable challenges facing the editors of the letters of state for the Clarendon Complete Works. These include the difficulty of ascertaining the degree of Milton’s authorship of ... More

Discusses the considerable challenges facing the editors of the letters of state for the Clarendon Complete Works. These include the difficulty of ascertaining the degree of Milton’s authorship of state letters which were subject to revision by other agents of the Commonwealth, a problem only partially remedied by scholars’ ability to distinguish Milton’s Latin from that of other government employees. The discovery of additional manuscript collections unknown to earlier editors provides additional challenges, as does the fact that the final published versions of the letters often revise and alter Milton’s Latin. It is dangerous to assume that Milton’s own political convictions are substantially reflected in the state lettersLess

Hearing Cutting

Wickham Clayton

in SEE! HEAR! CUT! KILL!: Experiencing Friday the 13th

This chapter discusses the death sequences and murder set-pieces in the Friday the 13th films to show how the combination of sound and editing work together to create perspective. First, the chapter ... More

This chapter discusses the death sequences and murder set-pieces in the Friday the 13th films to show how the combination of sound and editing work together to create perspective. First, the chapter looks at the idea of ‘unverified diegetic sound,’ which is a noise that comes from within the film (not from the score) where viewers do not see the source of the sound. Then, the chapter considers different approaches to using unverified diegetic sound with editing to show the killer’s perspective, the victim’s perspective, an omniscient perspective, and combinations of different perspectives within the death sequences.Less

Post-Production

Victor Svorinich

in Listen to This: Miles Davis and "Bitches Brew"

This chapter examines the complex post-production process of Bitches Brew. Miles Davis utilized state-of-the-art recording equipment, massive editing work, and a variety of special effects to get his ... More

This chapter examines the complex post-production process of Bitches Brew. Miles Davis utilized state-of-the-art recording equipment, massive editing work, and a variety of special effects to get his sound. His involvement during post-production illustrates how artistically invested he was with the album and offers key insights regarding his infamous relationship with famed producer Teo Macero.Less

Hitchcock, music and the mathematics of editing

Charles Barr

in Partners in Suspense: Critical Essays on Bernard Herrmann and Alfred Hitchcock

Drawing on new archival work on Hitchcock’s films, this chapter contextualises Hitchcock’s authorship around a metaphor of ‘musicality’. Plotting the structure and shot lengths of Hitchcock’s work, ... More

Drawing on new archival work on Hitchcock’s films, this chapter contextualises Hitchcock’s authorship around a metaphor of ‘musicality’. Plotting the structure and shot lengths of Hitchcock’s work, it argues that Hitchcock’s conception of editing was dictated by a structural ‘musicality’ that runs throughout his silent works, demonstrating the influence of Griffith and Eisenstein, into the partnership with Herrmann and beyond, to the Herrmann-inspired work with John Williams in Family Plot. The chapter traces this historical aspect of Hitchcock’s authorship, and its interactions with the work of several composers, including Herrmann, to demonstrate how the mathematics of Hitchcock’s editing can be argued to be a musical structure that runs throughout the body of his work. Charting these structures as musical notation, the chapter demonstrates that ‘music’ was a central component of Hitchcock’s work, despite his numerous collaborations with different composers, of which Herrmann is a privileged case, and can be charted right from his silent work to his final works.Less

Strange Shadows/Marred Screens

Barbara Maria Stafford

in Ribbon of Darkness: Inferencing from the Shadowy Arts and Sciences

William Kentridge’s virtuoso use of textured image supports in his dense macabre silhouettes doubly shocks: first, because thickness disturbs our conditioned expectations of lightness and, second, ... More

William Kentridge’s virtuoso use of textured image supports in his dense macabre silhouettes doubly shocks: first, because thickness disturbs our conditioned expectations of lightness and, second, because it acknowledges a material realm beyond the human. Kentridge’s multifaceted video projections serve as an introduction to other marred surfaces from other times, before the advent of thin monitors and flawless smart-device displays. This essay then shifts from analyzing such sculptural supports to considering the ultimate enfleshed screen. Historically, the body incarnate found its ideal embodiment in porcelain female skin. Yet it, too, could not evade the stamp of mortality, the stealthy imprint of original sin. This blotching birthmark, minutely analysed in Nathaniel Hawthorne’s twice-told tale, becomes the overt sign of human carnality in the fatal stigmata of AIDS. Allusively captured in Daniel Goldstein’s Icarian Series, the scars and sores of San Francisco’s gay men emerge, pressed into the leatherwork bench covers of the gyms they frequented. Bringing our existential realities in alignment with the contemporary desire to erase physical flaws, this essay reflects on the emerging use of Bio-and Neuro-Markers, gene editing, CRISPR technology, and recombinant plastic surgery.Less

Happiness: The Suburb and Film Style

Timotheus Vermeulen

in Scenes from the Suburbs: The Suburb in Contemporary US Film and Television

The second chapter examines the ways in which Todd Solondz’ 1998 controversial ensemble film Happiness uses editing, composition, and tone to create a particular spatiality and sense of place – which ... More

The second chapter examines the ways in which Todd Solondz’ 1998 controversial ensemble film Happiness uses editing, composition, and tone to create a particular spatiality and sense of place – which will be called, following the philosopher Peter Sloterdijk, foam. Suburbs are often criticised for lacking a sense of place. The argument in this Chapter is that in Happiness placelessness functions specifically as a distinct and unmistakable sense of place. The argument is divided into three parts. In the first section the ways in which editing is used to maintain narrative coherence and visual consistency while simultaneously creating a sense of geographical dislocation, discontinuity, and isolation is observed. The second section analyses two scenes in terms of their composition, demonstrating that these scenes are composed visually as well as in terms of the plot in such a way so as to create a space that is at once communal and isolated, transitory and permanent. Finally, the third section discusses how the film negotiates stylistic register and diegesis in order to create a particular tone, or feeling, that the film associates directly with its environment.Less

Women Journalists and Periodical Spaces

Joanne Shattock

in Women, Periodicals and Print Culture in Britain, 1830s-1900s: The Victorian Period

In this essay, Joanne Shattock discusses Margaret Oliphant’s mid-century work at Blackwood’s Edinburgh Magazine alongside the work of two lesser-known journalists: Mary Howitt (1799–1888) and Eliza ... More

In this essay, Joanne Shattock discusses Margaret Oliphant’s mid-century work at Blackwood’s Edinburgh Magazine alongside the work of two lesser-known journalists: Mary Howitt (1799–1888) and Eliza Meteyard (1816–79). All three contributed copy to ‘mainstream publications on a range of subjects far beyond those often assumed to be the preserve of women journalists in the period,’ with each woman also making her own distinctive contribution to Victorian journalism: Howitt as an editor, Meteyard as a pioneering figure in the nascent field of investigative journalism, and Oliphant as one of the most prolific reviewers of the period (p. 303). Shattock’s analysis of their careers demonstrates the productive and individuated ways in which female journalists carved out a space for their work and their voices in the masculine sphere of journalism.Less

Editing Woolf: Considering Companions

Jessica Berman, Jane Goldman, Susan Sellers, Bryony Randall, and Madeleine Detloff

in Virginia Woolf and the World of Books

This chapter contains accounts from Woolf scholars who have edited her works and/or companion guides.

Compilers and Transposers

David Weiss Halivni

in The Formation of the Babylonian Talmud

This chapter explores the role of Compilers and Transposers in the formation of the Babylonian Talmud. The Compilers gather passages from different academies and set them in the order now found in ... More

This chapter explores the role of Compilers and Transposers in the formation of the Babylonian Talmud. The Compilers gather passages from different academies and set them in the order now found in the tractates of the Talmud. They added brief glosses and did some minimal editing, but they could not rework the traditions they received to any significant degree. The Compilers were active at the very end of the Stammaitic era, 730-770 CE. The Transposers transferred material from one Talmudic passage to another. They were active throughout the Talmudic era, beginning in Amoraic times, and up to the end of the Stammaitic era. The author categorizes transpositions into five types.Less

Forests of the Heart

Paul Berry

in Brahms Among Friends: Listening, Performance, and the Rhetoric of Allusion

An orchestral arrangement and a pair of revealing annotations in Brahms’s library bear witness to persistent fascination with Franz Schubert’s Greisen-Gesang, D 778, and especially with a pivotal ... More

An orchestral arrangement and a pair of revealing annotations in Brahms’s library bear witness to persistent fascination with Franz Schubert’s Greisen-Gesang, D 778, and especially with a pivotal introspective moment that Schubert had assembled via judicious text-editing and sensitive manipulation of a traditional horn fifths gesture. Virtually the same words and music then reappeared at an analogous point in Brahms’s O kühler Wald, Op. 72 No. 3, whose text laments the dissolution of memory and music alike. Correspondence and other documents imply that, if perceived allusively, the borrowing would have carried particularly dark and vivid implications for the baritone Julius Stockhausen, whose friendship with the composer had become increasingly scarred by the loss of their former collaborative intimacy. Because Brahms arguably concealed his borrowing from Julius, however, his motives for including it in the first place remain more opaque than in previously examined examples—and arguably more self-critical in orientation.Less