Traces

Full, edited and annotated transcript of a one-day conversation, held in Amani Hill Research Station in 2015, with a group of elderly scientific workers from Tanzania, who between the 1960s and 80s had worked in the East African Malaria Research Institute in Amani, Tanzania, which today is part of the National Medical research Institute. Complement to the Article on "Remembering Africanization" (Africa, 2020)

This is an approach to the pursuit of the traces left by slavery in the society of the oriental bank of the River Uruguay, the vicissitudes of its occurrence and the persistence of beliefs (Orixá) and music (Candombe), which are the base of the identity of people of African descent in Uruguay, as shown specially in their " Calls " and carnival celebrations.

Resumen:
Se trata de una aproximación al seguimiento de las huellas que ha dejado la esclavitud en la sociedad de la Banda Oriental del Río Uruguay, las vicisitudes de su permanencia y la presencia de sus creencias (Orixás) y su música (Candombe), que son la base de la identidad de los afrodescendientes en Uruguay, y que se manifiestan especialmente en sus " Llamadas " y Fiestas de Carnaval.

— Electrical machines are devices that change either mechanical or electrical energy to the other and also can alternate the voltage levels of an alternating current. The need for electrical machines cannot be overemphasized since they are used in various applications in the world today. Its design is to meet the specifications as stated by the user and this design has to be an economical one. The design therefore revolves around designing the machine to meet the stipulated performance required, the cost available and the lasting life of the machine. This work aims to eliminate the tediousness involved in the manual hand calculations of designing the machines by making use of a graphical user interface and using iterations in situations where the data would have been assumed.

Las rutas comerciales entre los diferentes territorios de la Corona de Aragón no sólo consiguieron facilitar el comercio entre ellos, sino que permitieron la movilidad de los profesionales de las artes a través de los diversos territorios. Es el caso de Pedro Pizarro, un cantero de ascendencia francesa que, asentado en el Bajo Aragón, pudo llevar a cabo una serie de encargos tanto en territorios de la diócesis zaragozana como de la tortosina, algo que pone de manifiesto la gran conexión entre estos territorios más allá de las fronteras artificialmente impuestas.
The commercial routes between the different territories of the Crown of Aragón not only facilitated the commerce among them, but they also allowed the mobility of art professionals among the different territories. This is the case of Pedro Pizarro, a quarry worker of French origin that, established in the Bajo Aragón, could accomplish a series of assignments in the territories of the dioceses of Zaragoza and Tortosa, something that brings to light the great conexion between these territories beyond the artificially imposed borders

The article explores the ethical and political relationship between Jonathan Safran Foer’s 'Extremely Loud and Incredibly Close' and the photographs of those who fell (or leapt) from the World Trade Center on 11 September 2001. Drawing on Judith Butler’s theorization of the ethics of vulnerability, the article briefly outlines ongoing debates around the photography of atrocity in order to suggest that rather than reaffirm tropes of American exceptionalism and victory culture in the wake of the 9/11 attacks, Foer’s novel and its engagement with the falling body may prompt readers to consider ethical recognition and responsibility to others.

Note: This is an introduction to visual narrative for artists as much as (or more than) narratologists. It sums up all the elements I deem most important in narratology and then focuses on narratives in space, mainly in installation art.
Excerpt: I think that the world and art lost something when the fine arts surrendered narrative to directors, novelists, politicians, and marketing departments, for narrative is an especially primeval form of communicating knowledge, one that touches us quite deeply as human beings. This is why I want to address the question of narration in the context of a text on space in Transmedia Art. […] Narrative is par excellence a transmedia phenomenon and stories can be transported to various media. This is why many criteria defining narrative are medium independent. […] When somebody says a work “narrates” something, we notice that the term “narrate” is usually being used as a synonym for “communicate.” But narrative is actually a very specific form of communication that differs, say, from description or argumentation. […] In the art world, the term “story” is often used where there isn’t one. Clearly, the idea of narration is attractive enough to talk a great deal about it, but artists have lost interest in actual narrative or the ability to narrate. To the extent that definitions of narration are attempted in the art context at all, they usually remain vague, intuitive, and unsatisfactory.
[…] There is a great deal of observation, construction, marking, structuration, categorization, surveillance, description, labeling, showing, presenting and experimenting, but only rarely does narration take place, and there are never any stories. […] Modern art is narratophobic. And yet, for centuries art was primarily narrative in nature. Narrative was first dismissed in the 19th century, when it was claimed that storytelling is actually at home in language, not in the image. […] One might think that spatial narration is not as efficient as filmic or linguistic narration, because due to medium-specific omissions it presents things not as clearly and we as beholders have to think and imagine more, it might well be that it has an even more powerful effect on us for that very reason. […] The gaps should not be so great that the receivers do not even want to imagine something, or that they have the feeling they could not fill in the gaps. Otherwise the work, for all its reticence, would not tell anything at all. As mere things in space irrelevant to us, the objects then remain “rigid and silent,”14 something we experience all too often. […] Beside theatrical figure-based narrative, less prominently, in a certain sense under the radar of art theory and thus virtually untheorized, a second type of visual and spatial narrative has developed: the trace-based narrative. Trace-based narratives are narratives based on the interpretation of traces. Just like the linguistically communicated narrative and figure-based narratives, the result of trace-based narratives is by definition the representation of action or events. […] While figure-based narrative is an artifact, trace-based narratives surface in everyday life whenever a trace turns into a narrative. Trace-based narrative can either be intended as such, when, for example, artists depict traces or leave traces, or they emerge when somebody tells a story based on a trace. […] Works of contemporary art are sometimes trace-based narratives. Daniel Spoerri’s Snare-Pictures, for which he affixes the remains of lavish meals to a canvas using synthetic resin, tell stories through traces.33 While figure-based narrative is a decidedly artistic phenomenon, trace-based narrative creates a link to the world outside of art. […]

This article approaches Joel Meyerowitz’s Ground Zero photography in 'Aftermath' through a theorization of aesthetics and the event. I attempt to move beyond the common scholarly claim that Meyerowitz’s images of ruins and destruction have simply functioned as government propaganda for the War on Terror. I draw from Jill Bennett’s recent work on aesthetics and Gilles Deleuze’s 'The Logic of Sense' in order to conceptualize photography as an affective and aesthetic encounter with the event in its becoming. I contend that Meyerowitz’s more recent publication of his photography in 'Aftermath' enables affective encounters through sublime and uncanny aesthetics. Approaching aesthetics as an affective encounter, a kind of sense event that is distinctive through its abstraction of the historical event, I argue that an examination of the affective dimensions of ruins might map the potential for viewers of Meyerowitz’s photographs to be caught between multiple and contradictory histories and geographies, memories and temporalities, affects and imaginings. I outline how the aesthetics of Meyerowitz’s 'Aftermath' aligns with reactionary politics, but I also attempt to recover some of the ethical possibilities in these aesthetics, which are overwritten through the dominant discourses surrounding Ground Zero. Ultimately, I maintain that Meyerowitz’s 'Aftermath' confronts viewers with the repressed imagery of ruins of destruction, imagery that uncannily communicates political anxieties, which both serve and run counter to the intense memorialization and victory culture narrativization of Ground Zero.

Traces are a source of memory and meanwhile of future. They produce wealth and monetary culture, tell stories, tes- tify facts, pass on ethics, exalt aesthetics. Traces give rise to stories, which, in turn, suggest and shape products, ser- vices, actions and events. All together they feed the imagi- nary, producing social and cultural value. Thus, new traces are generated through a process of belonging and transfor- mation. A circular design dimension, which indicates three spreading directions: a first linked to culture and events, a second linked to people and actions, a third linked to the economy and to products.
Traces, Territories, Design, Events, Reuse

Since the existence of mankind on earth, imagery had an important role in creating art. And the figure was one of the main expressions for realizing the imagery. Since ancient times until now ceramic is a material for main activities of life, like production of everyday life goods, religions, artistic expression. Ceramic which was discovered in Neolithic Period is an important material that mankind used for artistic expression. It has played a great role in formation of civilization, culture and art. Ceramic figures which were produced starting from the discovery of this material until today evolutes and develops in technical and expressional manner. At this stage of mentioned evolution (today) the ancient pieces are references for some of the contemporary artists. Some of the contemporary artists who live in the same physical geography of these ancient civilizations and make figurative artwork have the traces of ancient ceramic figures in their work.

The recursive and non-recursive comb filters are commonly used as decimators for the sigma delta modulators. This paper presents the analysis and design of low power and high speed comb filters. The comparison is made between the recursive and the non-recursive comb filters with the focus on high speed and saving power consumption. Design procedures and examples are given by using Matlab and Verilog HDL for both recursive and non-recursive comb filter with emphasis on frequency response, transfer function and register width. The implementation results show that non-recursive comb filter has capability of speeding up the circuit and reducing power compared to recursive one when the decimation ratio and filter order are high. Using Modified Carry Look-ahead Adder for summation and also apply pipelined filter structure makes it more compatible for DSP application.

Silence is crucial to our social world. Responding to the growing scholarly interest among anthropologists and historians in more in-depth engagements with social silence, in this special issue we argue for a theorization of silences that is at once more robust and open to the particular; a theorization, we suggest, that embraces multivocality, unintelligibility, and uncertainty of interpretation. We ask what it means to trace silences, and to include traces of silence in our ethnographic representations. What qualifies as silence, and how does it relate to articulation; to voice, visibility and representation? How can silences be sensed and experienced viscerally as well as narratively? And how do we think with and start interpreting silences in the face of potential unknowability? The contributions to this special issue suggest that tracing silences, through a range of modes and methods, and in the historical, social and political ways in which they emerge and are enacted in the particularities of people’s lives, is a crucial task for historians and anthropologists alike.

Fast Fourier transform (FFT) is widely applied in OFDM trance-receiver communications system. Hence Efficient FFT algorithm is always considered. This paper proposed FPGA realization of high resolution high speed low latency floating point adder/subtractor for FFT in OFDM trance-receiver. The design was implemented for 32 bit pipelined adder/subtractor which satisfied IEEE-754 Standard for floating-point Arithmetic. The design was focused on the trade-off between the latency and speed improvement as well as resolution and silicon area for the chip implementation. In order to reduce the critical path and decrease the latency, the novel structure was designed and investigated. Consequently, synthesis report indicated the latency of 4 clock cycles due to each stage operated within just one clock cycle. The unique structure of designed adder well thought out resulted 6691 equivalent gate count and lead us to obtain low area on chip. The synthesis Xilinx ISE software provided results representing the estimated area and delay for design when it is pipelined to various depths. The report shows the minimum delay of 3.592 ns or maximum frequency of 278.42 MHz.

In September 2009 the content of trace metals in natural banks of Meca-Lozas (Tacna), Tancona and Punta Coles
(Moquegua), in an area where the temperature was assessed was less than seasonal patt ern in the presence
of Cold Coastal Waters throughout the water column. Traces of copper, lead and cadmium in water from
three natural banks, did not exceed Environmental Quality Standards for Water Environment Conservation
(Group 4). Traces of copper, lead, cadmium and zinc sediments did not exceed the Probable Eff ect Level
stipulated in Table Coastal Protection of the US, except for copper exceeded the standard in a season (136.99
mg / g ) de Meca-Las Lozas. Only trace amounts of copper in the three natural banks and eviscerated bodies
of Thaisella chocolata (black snail), Fissurella sp. (lapa), Concholepas concholepas (chanque) and Aulacomya atra (choro) exceeded the allowable limit international stipulated by the FAO, the largest concentration of 1782.27
mg / g in the species Fissurella sp. Meca-Lozas sampled. It is concluded that the species that bioaccumulate
more copper traces are Fissurella sp., Thaisella chocolata, Concholepas concholepas and Aulacomya atra.

Digital traces are increasingly being used as evidence in criminal trials. Web searches, for example, are sometimes presented as evidence to support an accusation of involvement in a criminal project. While these searches are valuable tools in investigations, their numerous limitations severely limit their usefulness in securing convictions. After outlining the three main types of web searches, we discuss the limitations involved in using Google searches as evidence and suggest ways to ensure that the results of Google searches can provide probative evidence.

Since 2015, the expression the "funnel effect of immigration" has been used to describe the drastic increase in numbers of people arriving in Italy, turning the peninsula into the main gateway to Europe. This expression also points to the contradictions at the heart of the European Union's decisions on how to manage the "refugee crisis" and the frontline role played by the Italian government and civil society. I reflect upon the disembarkation procedures that people rescued at sea go through when they arrive at Italian ports. I approach the sbarco (disembarkation) as an assemblage of techniques that mirror sovereign power's modalities. I then trace the emergence of worlds beyond the scrutiny of the port, such as the shantytowns in Southern Italy, and artists' installations created with the debris left over from the shipwrecks. By paying attention to minor details that exceed the sbarco in the form of traces, a different account of movement and experience may become possible.

El pleito interpuesto por Manuel Casanova y Francisco López ante la Real Audiencia de Aragón contra el gremio de albañiles de Zaragoza en 1764, sobre la realización de los exámenes para acceder a esa institución, permite conocer cómo era la formación de los profesionales de la construcción de la ciudad del Ebro a través de los exámenes y las trazas que se adjuntaron a la causa, en una época en la que estos procedimientos iban a comenzar a decaer en favor de los presupuestos emanados desde las Academias.
The lawsuit filed by Manuel Casanova and Francisco Lopez before the Royal Audience of Aragon against the guild of construction workers of Zaragoza in 1764, relating to the realization of the exams to access this institution, allows to know how the training of the construction professionals of the city of the Ebro was through the exams and the traces that were attached to the lawsuit, in a period in which these procedures were going to start to decline in favour of the presuppositions emanated from the Academies.

De la transformation de la formation des enseignant-e-s aux refontes successives des dispositifs d’education prioritaire, les quinze dernieres annees ont ete marquees par une transformation rapide et profonde des conditions de scolarite et d’enseignement. Ces evolutions ont ete analysees par la production scientifique prenant pour objets l’ecole et l’education. Les sociologues et les chercheurs et chercheuses en sciences de l’education ont examine les dispositifs d’ouverture sociale (Allouch ...

This paper is part of the production of our research team, directed by Mg. Carmen Palou de Mate 1 , located at the College of Education, in the National Comahue University, in Patagonia, Argentina. Our current project is entitled: "What does High School teach? A study of its traces through the voices of its graduates." We have interviewed more than 40 high school graduates from Patagonia using a semi-structured interview format. We will present an experience in which, as the first step in the qualitative analysis process, we used concept maps as a tool that allowed us to structure and systematize the interviews and to facilitate our communal reflection process, as researchers. We worked with eight of the interviews to construct concept maps from the bottom up, i.e. from the most specific (the sayings of a high school graduate) to a more general level in which we looked for the concepts that each of the quotes suggested as significant. This allowed us to have a clear visual...

A new on-chip implementation of Fast Fourier Transform (FFT) based on Radix 2 is presented. The pipeline and parallel approaches are combined to introduce a new high speed FFT algorithm which increases resolution by using floating point calculations in its structures. The design has the merits of low complexity and high speed performance. Furthermore, latency reduction is an important issue to implement the high speed FFT on FPGA. The proposed FFT algorithm shows the latency of   11 log 2 2  N N. Moreover, this algorithm has the advantage of low mean squared error (MSE) of 0.0001 which is preferable to Radix 2 FFT.

This paper derives from my doctoral project on the contemporary intellectual revue Lignes, created in 1987. My thesis aims to produce an account of the French intellectual left over the last 25 years, filling in significant gaps in current Anglophone scholarship. Today, my scope will be more limited: I will introduce Lignes and its editor Michel Surya, who, known primarily for his biography of Georges Bataille,  has amassed a considerable oeuvre spanning fiction, literary criticism, intellectual history and political analysis. Of particular interest here is his concern to theorise his own revue and the kind of space for thought it provides, from which I will develop a conception of Lignes as a repository of traces, functioning via constellations of proper names.

"El presente trabajo publica la contratación de un retablo dedicado a las Ánimas, hoy desaparecido, para la iglesia de Calaceite (Teruel). Fue convenida en 1558 con dos pintores procedentes de Tortosa, Joan Desí y el flamenco Godefroy van Steynemolen. Su principal aliciente es que incluye un boceto de la pieza que, aunque muy sencillo, incrementa la corta nómina de trazas conocidas en el Aragón del Quinientos. Pero además documenta la expansión del modelo levantino de los retablos de esa advocación y fija el nombre del interviniente flamenco, difícil de reconocer con certeza en las menciones locales, lo que permite relacionarlo con la familia Steynemolen, originaria de Malinas, algunos de cuyos miembros tuvieron una cierta relevancia en el mundo de las letras y las artes del siglo XVI, incluso en un escenario cercano: la ciudad de Zaragoza.

This work presents a contract to make an altarpiece, today lost, consecrated to the Souls of Purgatory for a church in Calaceite (Teruel). That contract was signed by two painters from the city of Tortosa: Joan Desi and a Flemish artist called Godefroy van Steynemolen. The most interesting thing in the document is that it includes a design for the altarpiece. Though it is very simple, it is one of the few preserved ones in Aragon at that time and, besides, it shows the success of that eastern pattern for altarpieces. But there is another interesting thing in that document: the Flemish artist’s autograph. It lets us know his right name, in order to identify him in other Spanish documents, as a member of the Steynemolen family, from the city of Mechelen. Some of whose members had a certain importance in the world of arts and humanism in XVIth century, even in the nearby city of Saragosse."

Dibujar es una manera de atrapar un lugar, explorar e imaginar su espacio, convertirlo en nuestro para siempre. El dibujo es también un proyecto realizado sobre el paisaje, una manera de contar y descubrir su historia. Esta es la historia de un proyecto inacabado que se inicia con el dibujo de un trozo de paisaje donde posteriormente se asentará el hotel Xenia, en Delphi, del arquitecto griego Dimitris Pikionis. En su viaje exploratorio hacia ese paisaje en proceso, se propone acciones que ponen en contacto la identidad y la memoria de un lugar, descubriendo algo más que la impronta de su imagen. Un paisaje es, para Pikionis, una naturaleza observada a través de una acción. [ENG]Drawing is a way to catch a place to explore and imagine your space, make it ours forever.
Drawing is also a project on the landscape, a way to count and discover its history. This is the story of a unfinished project that begins with a drawing of a piece of landscape where he later settled the Xenia hotel in Delphi, the Greek archtect Dimitris Pikionis. In hisexploratory trip to this landscape is proposed as actions which bring the identity and memory of a place, discovering more than the imprint of his image. A landscape is to Pikionis, nature seen through action.

we document and analyze some episodes and circumstances surrounding the figure of the spanish sculptor and painter Gaspar Becerra (1520-1568). His marriage in Roma with Paula Velázquez, the return to Spain and relations with the aragones sculptor Pedro Vilar. We prove his contacts with Florence and potential jobs for the genoese family Spinola. Finally we show some aspects of their belongings as traces, drawings, art materials, etc.

Notre travail de recherche explore de maniere comparee le developpement du neuromarketing aux Etats-Unis et en France. Nous commencons par analyser la litterature sur le neuromarketing. Nous utilisons comme cadre theorique et methodologique l’Actor Network Theory (ANT) ou Theorie de l’Acteur-Reseau (dans le sillage des travaux de Bruno Latour et Michel Callon). Nous montrons ainsi comment des actants « humains et non-humains »: acteurs-reseaux, traces (publications) et controverses forment les piliers d’une nouvelle discipline telle que le neuromarketing. Notre approche hybride « qualitative-quantitative », nous permet de construire une methodologie appliquee de l’ANT: analyse bibliometrique (Publish Or Perish), text mining, clustering et analyse semantique de la litterature scientifique et web du neuromarketing. A partir de ces resultats, nous construisons des cartographies, sous forme de graphes en reseau (Gephi) qui revelent les interrelations et les associations entre acteurs, t...

La question de l’usage de concepts anachroniques en histoire antique semblait reglee (Loraux, 2005)… jusqu’a ce que soit formule le programme d’histoire ancienne du CAPES et de l’agregation, qui porte cette annee sur « les diasporas grecques du detroit de Gibraltar a l’Indus (viiie siecle avant notre ere – fin du iiie siecle avant notre ere) ». Le terme diaspora est nouveau dans le champ de l’historiographie de la Grece antique et il offre un point de ...

How does Google predict flu peaks before public health authorities do? Why are these predictions wrong at times? How did Walmart link a spike in the sales of Pop-Tarts to hurricane forecasts? Why are people's inadvertent little gestures more revealing of their authentic character than any formal posture they may carefully construct? How can a single piece of unintentional information be infinitely more informative than thousands of public records? What kind of data does Netflix use to profile its customers? What did the historian Marc Bloch mean by «witnesses in spite of themselves»?

In the attempt to provide scientifically sound answers and stimulate analytically innovative discussion, the conference focuses on a particular but significant theme in the social sciences: the concepts of "footprint" and "trace". Usually associated with the digital world, the very idea of footprints clearly gives the image of what one leaves behind without being aware of it. A sort of indentation, a by-product of other (differently focused and oriented) actions that remains empirically imprinted on reality-a footstep, an impression, an epiphenomenon. Under this light, the difference between information that is intentionally communicated (given) and information that is accidentally exuded (given off) seems to be a profound one, which identifies two deeply different kinds of communicative content (that is, signs and signals). Trace-like information, i.e. information that was not meant to be informative, is much sought after, and this is particularly true in the age of digital capitalism. The opportunity to interpret those trails that people leave behind themselves,  brushing social reality «against the grain» (i.e. against the reasons and intentions of the people involved, to
borrow Walter Benjamin’s expression), opens new scenarios for social theory and applied social research: what are the stakes? What are the risks? What is the potential of this approach?

Given the multifaceted objectives involved in exploring these issues, the conference intends to bring together heuristic aspects and ethical dimensions, scientific analysis and political considerations, empirical perspectives and theoretical foundation. At the same time, the main purpose is to hold together cultural analysis and social theory, communication and Internet studies, big-data informed research and computational social science. We encourage inter- and cross-disciplinary thinking and research to address all the issues relevant to the general theme. Contributions from sociology, communication studies, data science, anthropology, computational social science, history, semiotics, media and Internet studies – among others – are welcome.

Background: Many household personal care products such as soaps, cosmetics, shampoos, toothpastes and deodorants are profusely sold in
most of pharmacies and grocery stores. Most of the customers excessively use them without knowing their main contents or what could be
behind the label of each product. One of the hidden ingredients is triclosan (TCS), which is a broad-spectrum antimicrobial agent widely used
in many personal care and household cleaning products. Some household personal care product manufacturers may use TCS as an ingredient
without indicating it in the list of ingredients. This may lead to several toxic effects of TCS when is used excessively whether orally (as
toothpastes) or topically (as soaps and cosmetics).
Purpose: Our study aims to investigate the presence of TCS in five soap bars from different brands marketed in the UAE.
Methods: Five soap bar products of commonly used brands marketed in UAE were purchased from local pharmacies and subjected to
qualitative and quantitative characterization using Fourier transform infrared spectroscopy (FTIR) and high performance liquid
chromatography (HPLC). The FTIR spectra of isolated TCS in each soap was compared to the spectrum of standard TCS which was
previously obtained using the FTIR. The HPLC chromatographic conditions such as mobile and stationary phases were optimized using
standard TCS to determine the optimum retention time at which TCS is retained. The chromatograms of the soaps were qualitatively compared
to the standard TCS and quantitatively calculated according to the calibration curve of standard TCS.
Results: The FTIR spectra of the studied five soaps showed characteristic peaks that indicate the presence of TCS traces. Under the
chromatographic conditions, TCS appeared in all chromatograms of the examined soaps at the same retention time that matches with the
standard TCS chromatogram. However, the exact quantity of TCS varied from one soap to another.
Conclusion: More efforts should be addressed to improve the safety and efficacy to ensure they are TCS-free. This can be achieved by
restricted inspection of all OTC products that were or will be entered to the market.

The need for wireless communication has driven the communication systems to high performance. However, the main bottleneck that affects the communication capability is the Fast Fourier Transform (FFT), which is the core of most modulators. This study presents on-chip implementation of pipeline digit-slicing multiplier-less butterfly for FFT structure. The approach taken; in order to reduce computation complexity in butterfly, digit-slicing multiplier-less single constant technique was utilized in the critical path of Radix-2 Decimation In Time (DIT) FFT structure. The proposed design focused on the trade-off between the speed and active silicon area for the chip implementation. The new architecture was investigated and simulated with MATLAB software. The Verilog HDL code in Xilinx ISE environment was derived to describe the FFT Butterfly functionality and was downloaded to Virtex II FPGA board. Consequently, the Virtex-II FG456 Proto board was used to implement and test the design on the real hardware. As a result, from the findings, the synthesis report indicates the maximum clock frequency of 549.75 MHz with the total equivalent gate count of 31,159 is a marked and significant improvement over Radix 2 FFT butterfly. In comparison with the conventional butterfly architecture, design that can only run at a maximum clock frequency of 198.987 MHz and the conventional multiplier can only run at a maximum clock frequency of 220.160 MHz, the proposed system exhibits better results. The resulting maximum clock frequency increases by about 276.28% for the FFT butterfly and about 277.06% for the multiplier. It can be concluded that on-chip implementation of pipeline digit-slicing multiplier-less butterfly for FFT structure is an enabler in solving problems that affect communications capability in FFT and possesses huge potentials for future related works and research areas.

L'écriture n'a pas été toujours présente dans l'histoire de l'humanité. Elle est apparue dans les sociétés Antiques depuis quelques milliers d'années sous diverses formes : pictogramme, idéogramme etc. Avant l'apparition de l'écriture, l'oralité dominait la quasi-totalité des cultures. Dans la Gaulle Antique, l'éducation des celtiques était orale. La transmission des savoirs se faisait essentiellement par le biais de la parole. Il n'existait aucun support pour ces connaissances si ce n'est que la mémoire humaine.  Si un homme meurt, son savoir meurt avec lui aussi; sauf si celui-ci a eu le soin de transmettre ses connaissances aux autres.

Art is a language which tries to convey abstract information. The main element of art is the uniqueness of the transmitted message. A Masterpiece is the correct execution of a unique and unrepeatable creative idea. Thus, creativity is the main object of artistic labor, but it goes beyond the objectives of academic education. Artistic creativity is halfway between memory and imagination, how these two elements plays in art creation is the subject of this work.

Résumé :

Une opération d’archéologie préventive sur une nécropole du Haut Moyen Âge à Erstein (Bas-Rhin), menée par l’Institut national de recherches archéologiques préventives (Inrap), a révélé une sépulture dont le squelette, celui d’un homme jeune, présentait cinq traces d’origine anthropique. Elles sont toutes situées sur le côté gauche du squelette infracrânien. Leur étude permet de proposer la reconstitution d’un acte de violence.

Abstract :

The French National Institute for Preventive Archaeological Research (Inrap) lead a preventive archaeological excavation in the cemetery in Erstein (Bas-Rhin ; France), dating from the early Middle Ages. A skeleton of a young man was discovered. Traces of injuries were found only on the left side of the postcranial skeleton. The study allowed a reconstruction of this case of violence.