FAUST: Dataset and Evaluation for 3D Mesh Registration
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Boston Symphony Orchestra Concert Programs, Season 113, 1993-1994
Boston Symphony Orchestra Twentieth Anniversary Season 19 9 3-94 *,* 'K> ye €B€L the architects of ti m e beluQO Soft and elegant. Hand sculpted in Switzerland exclusively in 18 karat gold. Water resistant Five year international limited warranty. Intelligently priced. E.B. HORN Jewelers Since 1839 Positively The Best Value In Jewelry 429 WASHINGTON ST BOSTON 02108 ALL MAJOR CREDIT CARDS ACCEPTED • BUDGET TERMS MAIL OR PHONE ORDERS 542-3902 • OPEN MON. AND THURS. TIL 7 Seiji Ozawa, Music Director One Hundred and Thirteenth Season, 1993-94 Trustees of the Boston Symphony Orchestra, Inc. J. P. Barger, Chairman George H. Kidder, President Mrs. Lewis S. Dabney, Vice-Chairman Nicholas T. Zervas, Vice-Chairman Mrs. John H. Fitzpatrick, Vice-Chairman William J. Poorvu, Vice-Chairman andTreasurer David B. Arnold, Jr. Nina L. Doggett George Krupp Peter A. Brooke Dean Freed R. Willis Leith, Jr. James F. Cleary Avram J. Goldberg Mrs. August R. Meyer John F. Cogan, Jr. Thelma E. Goldberg Molly Beals Millman Julian Cohen Julian T. Houston Mrs. Robert B. Newman William F. Connell Mrs. BelaT. Kalman Peter C. Read William M. Crozier, Jr. Allen Z. Kluchman Richard A. Smith Deborah B. Davis Harvey Chet Krentzman Ray Stata Trustees Emeriti Vernon R. Alden Archie C. Epps Irving W. Rabb Philip K. Allen Mrs. Harris Fahnestock Mrs. George Lee Sargent Allen G. Barry Mrs. John L. Grandin Sidney Stoneman Leo L. Beranek Mrs. George I. Kaplan John Hoyt Stookey AbramT. Collier Albert L. Nickerson John L. Thorndike Nelson J. Darling, Jr. Thomas D. Perry, Jr. Other Officers of the Corporation John Ex Rodgers, Assistant Treasurer Michael G. -
Audio Signal Processing in Faust
Audio Signal Processing in Faust Julius O. Smith III Center for Computer Research in Music and Acoustics (CCRMA) Department of Music, Stanford University, Stanford, California 94305 USA jos at ccrma.stanford.edu Abstract Faust is a high-level programming language for digital signal processing, with special sup- port for real-time audio applications and plugins on various software platforms including Linux, Mac-OS-X, iOS, Android, Windows, and embedded computing environments. Audio plugin formats supported include VST, lv2, AU, Pd, Max/MSP, SuperCollider, and more. This tuto- rial provides an introduction focusing on a simple example of white noise filtered by a variable resonator. Contents 1 Introduction 3 1.1 Installing Faust ...................................... 4 1.2 Faust Examples ...................................... 5 2 Primer on the Faust Language 5 2.1 Basic Signal Processing Blocks (Elementary Operators onSignals) .......... 7 2.2 BlockDiagramOperators . ...... 7 2.3 Examples ........................................ 8 2.4 InfixNotationRewriting. ....... 8 2.5 Encoding Block Diagrams in the Faust Language ................... 9 2.6 Statements ...................................... ... 9 2.7 FunctionDefinition............................... ...... 9 2.8 PartialFunctionApplication . ......... 10 2.9 FunctionalNotationforOperators . .......... 11 2.10Examples ....................................... 11 1 2.11 Summary of Faust NotationStyles ........................... 11 2.12UnaryMinus ..................................... 12 2.13 Fixing -
A Discussion of Goethe's Faust Part 1 Rafael Sordili, Concordia University
Sordili: Nothingness on the Move Sordili 1 Nothingness on the Move: A Discussion of Goethe's Faust Part 1 Rafael Sordili, Concordia University (Editor's note: Rafael Sordili's paper was selected for publication in the 2013 Agora because it was one of the best three presented at the ACTC Student Conference at Shimer College in Chicago in March 2013.) In the world inhabited by Faust, movement is a metaphysical fact: it is an expression of divine will over creation. There are, however, negative consequences to an existence governed by motion. The most prevalent of them is a feeling of nothingness and nihilism. This essay will discuss the relations between movement and such feelings in Goethe's Faust.1 It is my thesis that the assertion of his will to life, the acceptance of his own limitations, and the creation of new personal values are the tools that will ultimately enable Faust to escape nihilism. Metaphysics of Motion Faust lives in a world in which motion is the main force behind existence. During the Prologue in Heaven, three archangels give speeches in praise of the Creator, emphasizing how the world is in a constant state of movement. Raphael states that the movement of the Sun is a form of worship: "The sun proclaims its old devotion / [. .] / and still completes in thunderous motion / the circuits of its destined years" (246-248). For Gabriel, the rotation of the earth brings movement to all the elements upon its surface: "High cliffs stand deep in ocean weather, / wide foaming waves flood out and in, / and cliffs and seas rush on together / caught in the globe's unceasing spin" (251-258). -
110273-74 Bk Boito EC 02/06/2003 09:04 Page 12
110273-74 bk Boito EC 02/06/2003 09:04 Page 12 Great Opera Recordings ADD 8.110273-74 Also available: 2 CDs BOITO Mefistofele Nazzareno de Angelis Mafalda Favero Antonio Melandri Giannina Arangi-Lombardi Chorus and Orchestra of La Scala, Milan 8.110117-18 Lorenzo Molajoli Recorded in 1931 8.110273-74 12 110273-74 bk Boito EC 02/06/2003 09:04 Page 2 Ward Marston Great Opera Recordings In 1997 Ward Marston was nominated for the Best Historical Album Grammy Award for his production work on BMG’s Fritz Kreisler collection. According to the Chicago Tribune, Marston’s name is ‘synonymous with tender loving care to collectors of historical CDs’. Opera News calls his work ‘revelatory’, and Fanfare deems him Arrigo ‘miraculous’. In 1996 Ward Marston received the Gramophone award for Historical Vocal Recording of the Year, honouring his production and engineering work on Romophone’s complete recordings of Lucrezia Bori. He also BOITO served as re-recording engineer for the Franklin Mint’s Arturo Toscanini issue and BMG’s Sergey Rachmaninov (1842-1918) recordings, both winners of the Best Historical Album Grammy. Born blind in 1952, Ward Marston has amassed tens of thousands of opera classical records over the past four decades. Following a stint in radio while a student at Williams College, he became well-known as a reissue producer in 1979, when he restored the earliest known stereo recording made by the Bell Telephone Laboratories in 1932. Mefistofele In the past, Ward Marston has produced records for a number of major and specialist record companies. -
Faust's Self-Realization from a Buddhist Perspective
FAUST'S belong to the devil. The legend spread SELF-REALIZATION to England, where an English poet, Christopher Marlowe, attracted by the FROM A BUDDHIST motive, wrote The History of Dr. PERSPECTIVE Faustus, a tragedy about a man who sells his soul to the devil. It was the English pupet show based on the Faustus Pornsan Watananguhn Jecrendo which Goethe saw in his home- town of Frankfurt when he was young 1 and which inspired him to write The Abstract Tragedy of Faust later in his life. The aim of this paper is to investigate In the opinion of most German literary the differences between "self- realiza critics, Faust reflects the autobiography tion" within Christian-western philoso of this 1:>crreat German Poet. It is believed phy and Faust's self-realization in that Goethe must have read the story of Goethe's tragedy as received and inter Faust and been impressed by the preted in a Buddhist society. Further, the anxiety of a protagonist's thirsty to know article examines in what way the author what a man can not know. The desire to Goethe shows an ironical and critical increase his self-confidence and to attitudes towards Faust's life and how confirm himself through a better can Faust be redeemed from the guilt knowledge of the cosmos and the world and set himself free from the "karma's" leads to Faust's encounter with the devil. law of cause and effect. He gradually comes to depend on the evil spirit. Goethe started to compose Faust's Self-realization from a the Tragedy of Faust when he was 20 Buddhist Perspective during the literary period of "Storm and Stress" in the 18th century and In the 1 sth century, a young boy named completed this lifework, with many Johann Wolfgang Goethe found a small intervals, at the age of 82. -
11-08-2018 Mefistofele Eve.Indd
ARRIGO BOITO mefistofele conductor Opera in prologue, four acts, Carlo Rizzi and epilogue production Robert Carsen Libretto by the composer, based on the play Faust by set and costume designer Michael Levine Johann Wolfgang von Goethe lighting designer Thursday, November 8, 2018 Duane Schuler 7:30–11:00 PM choreographer Alphonse Poulin First time this season revival stage director Paula Suozzi The production of Mefistofelewas made possible by a generous gift from Mr. and Mrs. Julian H. Robertson, Jr., and Mrs. and Mrs. Wilmer J. Thomas, Jr. Additional funding by The Rose and Robert Edelman Foundation, Inc. general manager Peter Gelb jeanette lerman-neubauer Production co-owned by the music director Yannick Nézet-Séguin Metropolitan Opera and San Francisco Opera 2018–19 SEASON The 68th Metropolitan Opera performance of ARRIGO BOITO’S mefistofele conductor Carlo Rizzi in order of vocal appearance mefistofele Christian Van Horn faust Michael Fabiano wagner Raúl Melo margherita Angela Meade marta Theodora Hanslowe elena Jennifer Check* This performance pantalis is being broadcast Samantha Hankey DEBUT live on Metropolitan Opera Radio on nereo SiriusXM channel 75 Eduardo Valdes and streamed at metopera.org. Thursday, November 8, 2018, 7:30–11:00PM KAREN ALMOND / MET OPERA A scene from Chorus Master Donald Palumbo Boito’s Mefistofele Musical Preparation Dan Saunders, Joshua Greene, Joel Revzen, and Natalia Katyukova* Assistant Stage Directors Eric Einhorn and Shawna Lucey Projection Image Developer S. Katy Tucker Stage Band Conductors Gregory Buchalter and Jeffrey Goldberg Italian Coach Hemdi Kfir Prompter Joshua Greene Met Titles Sonya Friedman Children’s Chorus Director Anthony Piccolo Scenery, properties, and electrical props constructed in Grand Théâtre de Genève, San Francisco Opera Scenic Studio, and Metropolitan Opera Shops Costumes constructed by Grand Théâtre de Genève, San Francisco Opera Costume Shop, and Metropolitan Opera Costume Department Wigs and Makeup executed by Metropolitan Opera Wig and Makeup Department This performance uses pyrotechnic effects. -
The Faust Branch of the Anthroposophical Society in America
The Faust Branch of the Anthroposophical Society in America This local branch of the national Society has been serving the greater Sacramento area for over forty years. Applications for membership in the General Anthroposophical Society and in the Faust Branch may be obtained by contacting Ronald Koetzsch at [email protected] or by speaking to any member of the Faust Branch coordinating committee. Member’s dues are $45, payable in September. Supporting Member dues are $85 and entitle one to free admission to lectures. Donor dues are $130 and entitle one to free admission to lectures and special events. Dues and contributions help pay for mailing and printing costs, room rentals, honoraria for lecturers and artists, as well as festival celebrations. Donations beyond the membership fees are gratefully received to support the programs and activities that benefit the entire community. Those with special financial circumstances are encouraged to speak with a member of the coordinating committee. Themes for the Year 2020-2021 We will begin our year with a focus on Michael, time spirit of our age. Various topics of the day will be presented in this context. We will continue to bring attention to the individuality of Raphael and his various incarnations in this 100th anniversary of his death. The healing imaginations of the First Goetheanum will also be studied. Fall Presenters Include: ANDREW LINNELL - Lecturer, Author, Co-Founder of MysTech. President of Boston Branch of the Anthroposophical Society REV. SANFORD MILLER - Priest of the Christian Community of Sacramento DAVID GERSHAN, M.D. – Anthroposophical Physician, Family Practice in San Francisco CYNTHIA HOVEN, M.A. -
DOCTOR FAUSTUS Also from Routledge: ROUTLEDGE · ENGLISH · TEXTS GENERAL EDITOR · JOHN DRAKAKIS WILLIAM BLAKE: Selected Poetry and Prose Ed
DOCTOR FAUSTUS Also from Routledge: ROUTLEDGE · ENGLISH · TEXTS GENERAL EDITOR · JOHN DRAKAKIS WILLIAM BLAKE: Selected Poetry and Prose ed. David Punter EMILY BRONTË: Wuthering Heights ed. Heather Glen ROBERT BROWNING: Selected Poetry and Prose ed. Aidan Day BYRON: Selected Poetry and Prose ed. Norman Page GEOFFREY CHAUCER: The Tales of The Clerk and The Wife of Bath ed. Marion Wynne-Davies JOHN CLARE: Selected Poetry and Prose ed. Merryn and Raymond Williams JOSEPH CONRAD: Selected Literary Criticism and The Shadow-Line ed. Allan Ingram JOHN DONNE: Selected Poetry and Prose ed. T.W. and R.J.Craik GEORGE ELIOT: The Mill on the Floss ed. Sally Shuttleworth HENRY FIELDING: Joseph Andrews ed. Stephen Copley BENJONSON: The Alchemist ed. Peter Bement D.H.LAWRENCE: Selected Poetry and Non-Fictional Prose ed. John Lucas ANDREW MARVELL: Selected Poetry and Prose ed. Robert Wilcher JOHN MILTON: Selected Longer Poems and Prose ed. Tony Davies JOHN MILTON: Selected Shorter Poems and Prose ed. Tony Davies WILFRED OWEN: Selected Poetry and Prose ed. Jennifer Breen ALEXANDER POPE: Selected Poetry and Prose ed. Robin Sowerby SHELLEY: Selected Poetry and Prose ed. Alasdair Macrae SPENSER: Selected Writings ed. Elizabeth Porges Watson ALFRED, LORD TENNYSON: Selected Poetry ed. Donald Low OSCAR WILDE: The Importance of Being Earnest ed. Joseph Bristow VIRGINIA WOOLF: To The Lighthouse ed. Sandra Kemp WILLIAM WORDSWORTH: Selected Poetry and Prose ed. Philip Hobsbaum Doctor Faustus by Christopher Marlowe Edited by JOHN D.JUMP London and New York This edition first published 1965 by Methuen & Co. Ltd This edition published in the Taylor & Francis e-Library, 2005. -
The Devil Himself
THE DEVIL HIMSELF: AN EXAMINATION OF REDEMPTION IN THE FAUST LEGENDS by KRISTEN S. RONEY (Under the Direction of Katharina M. Wilson) ABSTRACT Careful readers can see Faust everywhere; he continues to appear in film, in politics, and in various forms of popular culture. From Hrotsvit, to Spies, to Marlowe, Goethe, Mann, Mofolo and even Levin’s Rosemary’s Baby, Faust is a fascinating subject because he is so human; the devil (in whatever form he takes— from poodle to bald androgyne) is representative of our desires—many of which we are fearful of expressing. He fascinates because he acts on the very desires we wish to repress and reveals the cultural milieu of desire in his damnation or redemption. It is from this angle that I propose to examine the Faust legends: redemption. Though this dissertation is, ideally, part of a much larger study on the redemption topoi in literature, Faust exemplifies the problems and definitions. Studied most often as a single text subject, say Goethe’s Faust or Gilman’s “The Yellow Wallpaper,” redemption lacks significant research on its own grounds, despite it prevalence in literature, except where it is encoded within the discussion of the function of literature itself. I propose, instead, that Redemption has a four related, but separate, uses in literature and literary interpretation involving sacred, secular, political, and aesthetic redemptions. In order to elucidate the matter, I will use the Faust legends and the appearance of redemption within them. INDEX WORDS: Redemption, Faust, Rosemary’s Baby, Frankenstein, Manfred, Hrotsvit, Doctor Faustus, Mephisto, Aesthetics, Walter Benjamin, Penitential THE DEVIL HIMSELF: AN EXAMINATION OF REDEMPTION IN THE FAUST LEGENDS by KRISTEN S. -
Doctor Faustus (1592-93) Faustus Rise and Fall - Act 1 Sc
C. MARLOWE (1564 – 1593) DOCTOR FAUSTUS (1592-93) FAUSTUS RISE AND FALL - ACT 1 SC. 5 (p. 105-106) FAUST: Mefistofele, prendi questa donazione: anima e corpo. Ma a una condizione, che si rispetti ogni accordo, ogni dettaglio che abbiamo stipulato. MEPHISTOPHELES: Faustus, giuro sull'inferno e su Lucifero di mantenere tutte le promesse che abbiamo stabilito tra di noi. FAUST: Allora ascolta mentre le leggo. Alle condizioni seguenti: Prima, che Faust sia uno spirito in forma e sostanza. Seconda, che Mefistofele lo serva e obbedisca ai suoi comandi. Terza, che esegua per lui o gli dia qualsiasi cosa. Quarta, che rimanga invisibile nella sua stanza o in casa. Ultima, che appaia al sottoscritto Johann Faust quando, come e in che modo questi preferisca. Io, Johann Faust di Wittenberg, dottore, col presente atto cedo corpo e anima a Lucifero, Principe dell'Oriente, e al suo ministro Mefistofele, e inoltre do loro pieno potere, trascorsi ventiquattro anni e senza violazione degli accordi di cui sopra, di venire a prendersi o portare il suddetto Johann Faust, corpo e anima, carne e sangue, nella loro dimora, dovunque sia. Firmato Johann Faust. MEPHISTOPHELES: Parla, Faust, riconosci questo come un tuo atto legittimo? FAUST: Sì, prendi! E il diavolo te ne compensi. MEPHISTOPHELES: E ora, Faust, chiedimi ciò che vuoi. FAUST: Per prima cosa voglio chiederti dell'inferno. Dimmi, dov'è il posto che gli uomini chiamano inferno? MEPHISTOPHELES: Sotto i cieli. FAUST: Sì, come tutto il resto. Ma dove? MEPHISTOPHELES: Nelle viscere degli elementi. Dove siamo torturati e restiamo per sempre. L'inferno non ha limiti, non è circoscritto in un unico luogo. -
Goethe's Archaeology of the Modern Curse (Orest, Faust, Manfred)
Zurich Open Repository and Archive University of Zurich Main Library Strickhofstrasse 39 CH-8057 Zurich www.zora.uzh.ch Year: 2016 Goethe’s Archaeology of the Modern Curse (Orest, Faust, Manfred) Berndt, Frauke ; Meixner, Sebastian ; Mahler, Anthony DOI: https://doi.org/10.1353/mln.2016.0041 Posted at the Zurich Open Repository and Archive, University of Zurich ZORA URL: https://doi.org/10.5167/uzh-159263 Journal Article Accepted Version Originally published at: Berndt, Frauke; Meixner, Sebastian; Mahler, Anthony (2016). Goethe’s Archaeology of the Modern Curse (Orest, Faust, Manfred). MLN (Modern language notes), 131(3):601-629. DOI: https://doi.org/10.1353/mln.2016.0041 Goethe’s Archaeology of the Modern Curse (Orest, Faust, Manfred) Frauke Berndt, Sebastian Meixner, Anthony Mahler MLN, Volume 131, Number 3, April 2016 (German Issue), pp. 601-629 (Article) Published by Johns Hopkins University Press DOI: https://doi.org/10.1353/mln.2016.0041 For additional information about this article https://muse.jhu.edu/article/632257 Access provided by UZH Hauptbibliothek / Zentralbibliothek Zürich (5 Dec 2018 18:23 GMT) Goethe’s Archaeology of the Modern Curse (Orest, Faust, Manfred) ❦ Frauke Berndt & Sebastian Meixner Today the curse has disappeared from epistemological memory. We curse people and things without an institution that would guarantee its success. Because of this, curses also cannot fail; instead, they have degenerated into profanities and insults. The curse has become his- torical. The current interdisciplinary ensemble of cultural studies has explored an archaeology of the curse based on speech-act theory.1 In this context, there has primarily been an interest in pre-modern literature and especially for Shakespeare’s royal dramas, in which the institutions of the curse serve as the background.2 But even Johann Wolfgang Goethe—the Enlightenment humanist and classicist—can impart significant insights into the archaeology of the curse since his dramas show how the institutions constitutive of the curse have changed. -
Faustus and Faust: a Comparative Analysis
ISSN 1923-1555[Print] Studies in Literature and Language ISSN 1923-1563[Online] Vol. 20, No. 1, 2020, pp. 48-54 www.cscanada.net DOI:10.3968/11492 www.cscanada.org Faustus and Faust: A Comparative Analysis HU Min[a],* [a]PhD, and Associate Professor in Southwest University of Political all humans possess by nature a craving for knowledge Science & Law, Chongqing, China. (Forster, 1981, p.1). There is a variety of knowledge: * Corresponding author. technical, practical, or theoretical, etc. But the kind Received 28 November 2019; accepted 17 January 2020 of knowledge in question is, in Forster’s terms, “the Published online 26 February 2020 external world and what can be done with it” (1981, p.1). This knowledge is tantamount to power in that the Abstract more knowledgeable you are, the more powerful you Marlowe’s Faustus and Goethe’s Faust are the most become. However, knowledge was then believed to be outstanding of all Faust characters. Created by different at the mercy of the Lord God, who tells Adam in the writers, the two characters are contrasted sharply with Garden of Eden, “you must not eat from the tree of the each other: While both started as rebels at religious knowledge of good and evil, for when you eat of it you dogma, Faustus ended up distinguishing himself from will surely die” (Genesis 2, 17). Finite mortals were Faust by ignoring his human limits and pursuing the understood to be kept from infinite knowledge, which unattainable. This difference is a reflection of the contrast only God knows.