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George Wiseman of rediscovered CPS technology and uses A Battery Charger that uses 50% less wattage to charge lead acid batteries. Capacitive Battery Charger & Capacitive Transformer . reporting on the booklet. George Wiseman, the author, calls it a capacitive transformer. Details how to build the world’s most efficient battery charger for less than $5 in parts. concept is both easy to understand and build. by George Wiseman.
If you look at the area geoege the current graphs, it shows that you get back about two thirds of the energy put into the circuit. I have worked in electronics for over 50 years and I would never use that circuit for anything unless I wanted to kill something.
I like scribble Patrick don’t. This charger works wonderfully so far. BTW still using the cap charger and will do so until something better comes along.
Comments The CBC is still doing a 5. Would you prefer a standard 12v input for the charger such as a wall wart or second 12v battery possibly connected to a standard charger or a v input?.
Maybe this is obvious to those who have experimented with cells, but it was not obvious to me until I had my brainwave. The results, as seen by the accompanying graphs, show that the LED remained alight for the full time while the power was off in between charging cycles. Wisdman how to make good diagrams using paint which I do also. Wisemsn Posted by nvisser That is a very dangerous circuit and should not be posted on an open forum like this.
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Ni-Cads and their ilk. There has been some complaints recently about the content of the monthly meetings and the newsletter. How many more to be.
So in this case the battery AH rate has been calculated by drawing a current of mA over 20 hours. There is infinitely more that we do not know, than we know. An endless ‘sameness’ that’s everywhere.
I am considering adding resistors across the capacitors to keep them discharged once disconnecting. It’s in the works. I like your concept.
That is not a capacitive transformer. Eagle-Research eNotices Stay informed on our latest news!
Capacitive Battery Charger & Capacitive Transformer – Energetic Forum
Provides authorized access to updated information, for this product, in the Resources Web Pages. I still do the job.
I doubt I can do better but I can try. Find all posts by totoalas. There’s a lovely little green and blue ball that needs help very quickly! I think that was George’s whole point. Originally Posted by nvisser. I believe most microwave oven caps have a built in resistor. This give you your discharge current over the 20HR time.
The meeting finished at about 11 PM with supper and chats following until the curfew of 12 midnight. Originally Posted by Armagdn03 That is not a wisfman transformer. COM did speak with him We have to remember however that this money has to last us until the subscriptions run out next June!
I try my damnedest to find out why. Experiments with capacitive reactance as a means of producing a simple constant dc current source from AC mains input. The only thing I haven’t figured out not being an EE is how to make a voltage regulating circuit to control charging for example, turn off at A simple modification of the Capacitive Battery Charger which allows a capacitive power supply to act in the same georfe as battdry inductive power supply transformer.
My issue probably relates to everyone here and I got tired of inefficient heavy chargers with absolutely no flexibility.
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Written by an editor and the author of Cut by Cut: How to Edit your Film or Video, way to work and why I am happy that Gael Chandler’s Film Editing: Great. This second edition of Cut by Cut: Editing Your Film or Video covers the current landscape of postproduction process, taking the reader step by step through the. Film Editing by Gael Chandler, , available at Book Depository with free delivery worldwide.
Chandler has been nominated twice for a Rilm Emmy for comedy editing. Gael has edited every type of genre on every medium: She has written a handful of feature screenplays, one of which won the Scriptwriters Networks’ Producers Outreach Program contest. Her first book was Cut by Cut: How to Edit Your Film or Video. Additionally, she has created numerous online courses on a variety of subjects, including editing.
Cut by Cut: Editing Your Film Or Video – Gael Chandler – Google Books
Would you like to tell us about a lower price? If you are a seller for this product, would you like to suggest updates through seller support? Great Cuts Every Filmmaker and Movie Lover Must Know makes the invisible art of editing visible by using nearly colorful frames from popular, recent films. The frames, accompanied by brisk descriptions, make it perfectly suited for quick study readers who like to ‘gaze’ rather than ‘graze’ and don’t want to read a book. Written by an editor and the author of Cut by Cut: How to Edit your Film or Video, it shows how editors can make or break a movie.
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Film Editing : Gael Chandler :
A Perspective on Film Editing, 2nd Edition. The Art Of The Cut: Editing Your Film or Video. Master Shots Vol 3: Master Shots Vol 1, 2nd edition: Film Directing Shot by Shot: About the Author Chandler has been nominated twice for a Cable Emmy for comedy editing. Michael Wiese Productions October 1, Language: Start reading Film Editing on your Kindle in under a minute. Don’t have a Kindle? Try the Kindle edition and experience these great reading features: Share your thoughts with other customers.
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Film Editing : Great Cuts Every Filmmaker and Movie Lover Must Know
I was a TV Minor in School. I am in my 40’s and have seen a lot of movies in my lifetime. This book is written for a 1st year film student. I say written but its mostly just notes on different cuts. It was fiom an introduction to the theory of movie edits.
I was really looking for more of a critique of edits and a list of do and don’ts. Fikm majority of pics are in black and white and the resolution is very low because it came from video I gave it 3 stars because I did learn a couple of things, but for the most part filj you are young and new to moves I would not recommend for the purpose of trying to learn how to make raw footage into a well cut movie.
When we watch a film we are usually carried along with the story and not very conscious of what goes into capturing edlting attention. We usually aren’t aware of how the film was made, and when we are it’s usually a sign that it wasn’t made very well.
Chadler a lot of pictures and not too many words this book gives film buffs a huge insight into how movies work, especially how hundreds of small pieces of film, usually just a few seconds long, are put together to keep the story going forward. Putting these chanfler together is called editing and Chandler is good at explaining it. Knowing the names will make you more aware of what you are seeing and make you sound smarter the editin time you are talking about a movie.
Kindle Edition Verified Purchase. This is by far one of the best movie-making books I’ve read, from the perspective of a novice attempting to learn the trade through books and courses.
I’ve read repeatedly about filming an action from a distance, close-up on the hands, close up on the face, side shot, POV shot, but this book actually tells you why and when. Very good, highly recommended, full of illustrations and examples. This provides an ambitious and generalized overview on the most common cuts editinf in filmmaking. Unlike some others, I like the screen grabs. Why tell me about it when you can show me the picture?
Plus, I’d rather see it than read it. Interestingly, I didn’t care much for the author’s other book, Cut by Cut, but I editong like this one much better. However, there are some things that didn’t make ediging, and I’m not sure the author explains why she chose the types of cuts she did and why she categorized them the way she did.
To give her credit, I would say she was attempting to break new ground and create a visual compendium of “cuts,” but in doing so, I think she created some false chsndler, which are misleading, confusing, or simply make no sense. Many of the cuts she describes accurately, but several seem miscategorized.
I think she should have made a disclaimer that not every editor agrees on the terminology she uses or the classification system she uses as well.
For instance, in Chapter 2, she makes the bold assertion that “Match cuts comprise the vast majority of cuts editors make.
Well, it is if you accept her expansive definition of what constitutes a “match” cut. Traditionally, a match cut is usually for a cut where two things dissolve into one another because there is some graphic similarity between them.
For instance, a classic match cut is in Space Odyssey when the caveman throws a bone in the air and it transitions into an orbiting spaceship. But in her book, she calls a cut a “match cut” if it matches in screen direction, eyeline direction, angle, framing, shape,and even lighting and color.
The idea of a match cut on color is especially perplexing because the way she presents a color match has to do with color correcting of an entire film or scene and nothing really to do with editing per se.
She also has a section on Rogue Cuts that really seem more like just errors in editing versus “cuts” you would need to know. For instance, one of the cuts she says you need to know is the “bad cut. Is that a type of cut?
It just seems like an error because obviously somebody thought it was a good cut or it wouldn’t have been made in the first place. And at some level, a bad cut is a certain type of cutmaybe it is a straight cut or dissolve. She also seems to have muddled the distinction between a shot type and a cut, essentially classifying the shot type as the cut type. In this way, the book becomes theoretically and technically murky because she seems to have her own classification system for many of the cuts.
I think this book is due for a revision and should be thought out more rigorously than she cgandler to have done it. The book does not really go into great depth at any level of editing, but mostly provides a simplified visual overview. Again, she is to be commended for putting this compendium together, but it is not without its shortcomings, some of which are major.
Another little pet peeve I had about the book is that each chapter ends with what is called a “wrap up. It just stood out as filler in my mind. And as an editor, she should know fluff when she sees it, so these sections should have been cut out and deleted altogether. One person found this helpful. If this is a topic of interest to you, it’s worth having in your library.
This is a great book and it helped me in school a lot thank you. If you are looking to learn basic editing methods and the terminology of movie editing with multiple visual examples for each technique, this book is for you. With a plethora of examples from cbandler as well as a variety of movies released in the last decade, the book gave me a starting point for watching movies more edditing. Great text book and came in great condition. See all 23 reviews.
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On the Rights Track: Aktivitete edukimi mbi te drejtat njerezore te femijeve demokracine pjesemarrese dhe qytetarine aktive. Paths of education to children human rights,participatory democracy and active citizenship. Per nje zbatim sa me njeiut mire te ligjit ne mbrojtje te vikimave te dhunes ne bjeriut nga organet e drejtesise. For a better implementation of the law on protection of domestic violences victims by the Judiciary. Proceedings of the fourth regional meeting of NGO coalitions for the the rights of the child in Europe.
Raport Monitorimi I shkalles se Njohes dhe Zbatimit te strategjise se punesimit dhe formimit profesional nen kendveshtrimin e perkatesise gjinore.
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Restorative Justice for women and young girls who have been victims of violence. Standartet nderkombetare ne lidhje njwriut dhunen ne familje dhe zbatimi I tyre ne vendet e Ballkanit Perendimor. International Standards on violence against the family and there implementation in the Western Balkans. Strategia Kombetare per permiresimin e kusteve te jeteses se minoritetit Evropiwne. Analiza e procesit te decentralizimmit ne arsimin parauniversitar ne kuadrin e projektit.
EL ARTE COMO ARTIFICIO; Autor. Shklovski. INTEGRANTES: Antonieta Ontiveros Ruiz; Adriana López Núñez; Gabriela G. Agis Mendoza. Dra. Flor de María. 16; Louis Vax, Arte y literatura fantásticas (Buenos Aires: Eudeba, ), p. 6. 2. Victor Shklovski, “El arte como artificio” in Teoría de la literatura de los. Shklovski, Viktor (). El arte como artificio (). In Todorov, Tzvetan (Ed.), Teoría de la literatura de los formalistas rusos. Argentina: Siglo XXI, pp.
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Possible worlds in philosophy 11 2. Can video games tell stories?
In my mind, I am a game developer. But in my heart, I am a gamer. The bulky toy catalog of an important shopping center in Barcelona was the favorite reading for all children and the big worry for all parents.
But ineverything would change. Backed by its success in Japan and the United Statesthe Nintendo Entertainment System NES took up half a page in the toy catalog and was launched with a quirky game about a plumber who must save a princess from a monster. A plumber named Mario. On May 23, — almost 25 years later — the prestigious Princess of Asturias Award in the Communications and Humanities category went to Shigeru Miyamoto, arguably the most famous video game designer in history.
And, along with this, the female audience and families have seen new ways of gaming, with Wii, social media and mobile platforms, suited to their preferences and tastes. Thus, the video game is to this day a cultural object that participates equally with other actors in the public imagination.
In addition, the technical and artistic development, transmedia power and popularity of its universes, has allowed video games to transform its first and simplest gaming mechanics into vast, rich online fictional worlds open to different gaming experiences. The 20th century has been, without a doubt, the great era of communication after the experimentation and technical progress of the 19th century. With the development and consolidation of film, radio and television into the mass media industry, came the arrival of the Internet at the end of the 90s as a symbol of globalization.
All of these mediums, including more traditional media like the press, have been objects of study in Spanish academia to a greater or lesser extent. However, the careful study of the past quarter century and the first decade of the current 21st century shows that one of the most important communicative, aesthetic, narrative and cultural expressions has been systematically ignored by academia: Data emphasizes this curiosity even further. Television is losing its audience because of the Internet as well as the growing consumption of video games by children and adults especially by women and the elderlywho are attracted to video games that foster language learning, improve health or exercise the brain and intellect.
And contemporary action films are increasingly influenced, aesthetically and narratively, by the great productions of Nintendo, Sony and Microsoft.
Regardless of the reasons that have ostracized the study of video games in Spain, it must be noted that its epistemological standing is currently in a state of remarkable emergency.
Both in Europe especially in Nordic countries and the United States, video games have become an object of essential study to understand communication in the 21th century Egenfeldt Nielsen et al. Thanks to these contributions, electronic entertainment has gradually started to build a theoretical basis that sheds light on this unexplored and complicated terrain.
Within this context of academic emergency, we propose an approach to video games from a seldom used perspective, even in the field of communication studies: The Possible World Theory was born within a long philosophical tradition, especially after contributions from Samuel Kripke and Analytical Philosophy, which aims to explain the role that the possible and the necessary play in the existence of mankind.
In this case, possible worlds were those conceived in stories and poems and, therefore, fiction was constructed as a true space of action, complex and rich with nuance. But much has changed since the era of arcades filled with new gaming machines and youth spending hours playing emblematic titles like Space Invaders Taito Corporation, or Pac-Man Namco, Today, video games have not only developed playability and graphic-sound capacity, but also have managed to build fictional worlds similar to film, theater or literature.
Therefore, games make up real possible worlds inserted into the logic of fiction and contribute in a critical way to the current cultural imagination of contemporary society. Above all, video games are fictional and cultural objects. That being said, this present work proposes a theoretical-practical focus based on the fictionality, interactivity and ludic perspective of the medium to analyze the construction of possible fictional worlds in electronic entertainment, or what we shall refer to as the configuration of ludofictional worlds in video games.
viktor shklovski el arte como artificio pdf writer
This research is chiefly based on three major knowledge areas and their conceptual features. First is Philosophy, the idea of possible worlds and conflicts with fiction.
Second is literary and audiovisual Narratology with the controversial concepts of mimesis, fiction and narration. In any case, and to avoid losing focus on research with interdisciplinary guiding principles, the Theory of Fiction is determined as the central axis, specifically the analysis of semantic and pragmatic components of fictional worlds in an essentially interactive relationship, i. Therefore, in this book, contemporary video games are considered complex fictional worlds that participate, as cultural objects, in inserted relationships zrtificio current social, economic, and political frameworks.
However, the design of a theoretical framework and a methodological system for the analysis of ludofictional worlds must pass some preliminary phases of research: In this sense, it is essential to use them in the preliminary chapters with an interdisciplinary approach formulated by Analytical Philosophy, Language Philosophy, Narratology and various contributions from the field of Literature and Film Studies.
In this way, we artifucio establish sbklovsky uphold a concrete meaning of each one of the concepts at hand.
After establishing the concrete meaning of each term, and along with the contribution of some key theoretical concepts, including Possible Worlds, Indexicality and Metalepsis, we will make a global adaptation of the concept of video games as objects of study. In this sense, traditional fictional worlds will be conceived as active game spaces, a model made by previous design game design with a prescribed ludic experience game playwhich may be expanded by activity unanticipated by players play.
This relational model between game design, game play and play form the nucleus of the Theory of Ludofictional Worlds. The complexity of current video games and the many possible scientific approaches lead us to construct a theoretical-practical model with three different dimensions that may necessitate distinct levels of analysis, but that simultaneously show interrelation in their meaning.
Xhklovsky this way, ludofictional worlds may be studied from a Macrostructural Static Dimension, a Microstructural Dynamic Dimension and a Metaleptic Dimension.
The Macrostructural Static Dimension involves understanding the ludofictional world as a formal system of linking together possible worlds. Thus, it becomes especially useful to analyze the global structure of each video game and the use of narrative worlds cutscenes and ingame scenes in the structure of the ludic experience. In this way, this dimension emphasizes the idea that ludofictional worlds are predetermined spaces for action and relationships with other fictional beings that may sometimes become the central axis of the ludic experience.
The final level of meaning, the Metaleptic Dimension, replaces the idea of interactivity by proposing the narratological concept of metalepsis as the connection between the fictional world and the external user who is provided with certain mechanisms to participate in it. Thus, artiificio perspective studies the physical and symbolic systems between the player and the world and vice versa, the internal leaps between different fictional levels and the sporadic and extraordinary disruptions to fictional boundaries that some characters may undergo.
The pessimist fears it is true. Thus, it is convenient to start our theoretical framework with a reflection on the idea of worlds and the implications that they have on the fields of Philosophy and Literature, as well as the study of video games. The idea of worlds is one of the most complex and flexible concepts in the history of thought.
From a strictly physicalist perspective, the world is seen as a totality and the organization of all things that exist on planet Earth, while in the Humanities, the world is seen as a system that integrates ways of thinking — the Christian world, the pagan world — or imaginary elements — the world of Emma Bovary, the world of Sherlock Shklovsmy.
In the same way, the idea of worlds helps divide history into concrete periods — the world of Romanticism, the Greco-Roman world — or link different elements involving the same key player — the world of Mozart, the world of Chaplin.
As we can see, this multifaceted concept presents some common elements in all its applications: These constructs, especially those related to political and social thought, are essential for understanding our reality as immediate, just as they are involved in our daily choices.
For example, the idea of slavery plays a very different role in the Western world today than it played in the Roman cultural world: As a matter of fact, many worlds are conceived in opposition to other worlds. The proto-democratic world of flourishing Athens was overtly contrary and opposed to the autocratic and strict Spartan world, while the world of science defended by Galileo could not coexist with the Theocentric framework of the hegemonic Renaissance Catholic Church.
Thus, from Greek and religious teachings to new forms of digital communication, humanity has constructed collective imaginary worlds of different natures and scopes to design, spread and maintain certain worlds, but also to analyze and oppose them. Agtificio a social perspective, popular language has also taken hold of the idea of worlds to distinguish what is common practice or accepted in the structure of the real or actual world from that which commo from the norm.
Thus, in Mathematics, worlds help explore distinctions and contradictions among paradigms, while in the field of artistic studies, representation and the syklovsky of referentiality make up the central elements of contemporary debates. Faced with the Aristotelian structure of beginning, middle and end — which had established the dominance of a certain narrative over any other kind — other ways of considering space and time gradually became introduced; non-linear structures.
These new narrative methods emphasized those possible stories that never appeared in traditional structures Branigan,p. At the same time, Chaos Theory Prigogine and Stengers, brought the idea of possible worlds to life in the field of science by highlighting the tendency towards irreversible chaos and, thus, the rejection of a single substantial and consistent reality in time.
Along with the idea that other worlds are possible, contingency that is, the potential that things can or cannot be also put sequential structures into question and, therefore, the traditional concept of time as a linear and ordered system. The fragmentation of time is essential to the emergence of new non- linear narrative forms in digital mediums, especially in film and video games. In this section, and as a preliminary component to a theory of video games as ludofictional worlds, a theoretical overview of the possible is put forth.
Therefore, the structuring and complexity of the possible within the idea of possible worlds is explored, both from the shklovksy of Philosophy — with different relationships between the real and the possible, and the complexity that non-real characters and le introduce to fiction — and its application to the field of Literary Wrte and theoretical-methodological concepts.
This discipline made classic logic adaptable to formulating new concepts regarding the realities of our world that had difficulty fitting into this vision. In this way, it set up the contingent states of things that are only actual in our reality from the realm of the possible. On one hand, possible worlds establish certain links between each other, called accessibility relations, which allow transitivity between them.
On the other hand, possible worlds consist of two fundamental attributes: As we can deduce, the attribute of completeness necessarily implies the attribute of consistency, and vice versa.
We shall see as such in the following example: If —P were true, we would xomo have, on one side, a contradiction that P and —P are true at the same time — John is and is not a physician — and incompleteness — in world W there is the same physician and non-physician John. For this reason, the idea of possible worlds has been established, for this new school of philosophy, as a valid system for analyzing truth conditions in statements subject to modal operators in possible and alternative relational systems.
In this way, possible worlds are constructions of how things could have been if they 1. In scientific works of Philosophy, it is common to shklovsjy examples with consecutive numbering between parentheses. Here we have chosen to do the same with the aim of respecting this tradition.
They distinguished between being and existence. Depending on how such questions are answered, philosophers have grouped themselves as either possibilists, where the possible remains above the real; hyperactualists, where possible worlds either do not exist or their existence is irrelevant; and actualists, where the current world remains above possible ones. Considering the scope of this book and to avoid distractions and theoretical confusion, only an analysis of the first group will be addressed.
Therefore, possibilism admits possible but non-existent worlds and objects. To clarify, we shall imagine the following example: From a possibilist perspective, the statement is not limited to establishing a simple possibility which, conversely, many philosophers, possibilists or otherwise, could accepti.
In fact, possibilism goes one step further by considering that aliens pre-exist while they are, and if subsequently they exist for eo for example, because they land on our planetit would not invalidate the previous statement. Therefore, the possibility itself already exists or better, pre- exists and the real world understood as the actual world is simply the whklovsky of the choice between one of many.
Second, classic possibilism defends the independence of possible worlds without a priori casual relations existing among them, nor hierarchies of any kind since, otherwise, we would find ourselves facing actualist positions, as we shall shklovsyk later. Or, in other words, a possibilist possible world is a system of complete, self-sufficient and autonomous states of things.
This acknowledgement of pre-existence and independence, along with the ideas of being and existence, is key for understanding the approaches of the two main representatives of possibilism: Gottfried Leibniz and David Lewis. Leibniz suffered the ridicule of his rationalist colleagues for his reflections on possible worlds and the existence of God.
As a result, the term Panglossian defines somebody who displays naivety before the vicissitudes of the world in which he lives. In any case, the greatest problem related to Leibnizian possibilism lies in the erroneous interpretations that have grown stronger with time3.
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