Abstract: Every year, on the occasion of the National Day of Spain, the Armed Forces hold a major parade in Madrid, in which thousands of soldiers march with their weapons before the King, the government authorities and a large audience. The ceremony is a performance where the military express their current identity after a process of reforms that have transformed them from being a central pillar of the Franco regime to part of the democratic order. Analysis of the parade is framed within the search for new ways to conduct ethnographic research into the military, for which new observation spaces must be developed. This article postulates that the military parade of the National Day of Spain is one such space which can be transformed into a place for fieldwork on the Spanish military world.

Abstract: The floats became ever more splendorous as city culture blossomed. The Kyoto City team used the nominations for “Masterpieces of the Oral and Intangible Heritage of Humanity” as a model. This seeks to understand United Nations Educational, Scientific and Cultural Organization’s (UNESCO’s) entry into Japanese heritage politics in the context of those decades, including the prewar years. The decade of 1965–1975 was a period of reform within the field of heritage policy for multiple reasons. The inscription of the floats parade in the Representative List of the Intangible Cultural Heritage of Humanity by UNESCO in 2009 came at the end of this long process of domestic heritage-making, and took a form that was determined by the solutions that had already been negotiated in preceding decades. UNESCO is primarily associated with inbound tourism, and many actors see excessive tourism as a threat, echoing the 1960s debate on the festival’s decline into a mere “show.”.

Abstract: The invention discloses a vehicle parade forming method. According to the method, vehicles carries out vehicle parade running on the basis of an internet of vehicles system, and completes inter-vehicle communication on the basis of vehicle-mounted communication equipment; by utilizing vehicle-mounted global positioning systems (GPS), the vehicles can obtain required road position information; by utilizing vehicle-mounted sensors, the working states of driving and brake systems of the vehicles can be obtained; a vehicle parade establishes a reasonable parade sequence for the vehicle parade running by utilizing navigation information and own route planning of the vehicles; and meanwhile, the joining and quit of new member vehicles in the vehicle parade are optimally completed on the basis offuel consumption by utilizing the brake/driving state information of the vehicles and the existing parade state of the vehicle parade. In the process, the factors such as road grade, vehicle route planning and the like are considered, so that the advantages of saving the fuel consumption of the vehicles in the vehicle parade running and improving the road passage efficiency are maximized.

Abstract: Literature on agenda-building dynamics has neglected to assess the impact of contextual factors on the interplays between the issue attention of political actors and of the media. I fill the void b...

Abstract: In this interview, singer and songwriter Paulinho da Viola comments on the documentary Partido alto (1976–1982) and his friendship with director Leon Hirszman. He also describes the origins of partido-alto as a variety of samba, the transformations of samba schools in the 1960s and 70s and his relationship with audiovisual media during this time period, including the music documentary Saravah (Pierre Barouh, 1972) and televised music festivals. A crucial figure in the history of samba, Paulinho da Viola was born in Rio de Janeiro in 1942. As a son of a middle-class choro guitar player, he soon became interested in the samba that was played in the slums, most notably Samba School Portela in the Rio de Janeiro neighbourhood of Oswaldo Cruz. Paulinho’s career, which started in the 1960s and continues today, combines a plethora of vital song releases such as “Foi um rio que passou em minha vida” (“A River Broke into My Life”, 1970) and “Dança da solidão” (“The Dance of Loneliness”, 1972) that helped rejuvenate samba, with a political stance that vindicates the roots of this music genre as a popular community practice. In line with his political beliefs, in 1970 Paulinho used his popularity to endorse the first album by Velha Guarda da Portela, a band of senior singer-songwriters who had been marginalised by the music industry. In the mid-1970s, Paulinho became increasingly critical with the gradual commodification of samba and Carnival in Rio de Janeiro, to the point of breaking up with Portela Samba School when traditional composers, such as those from Velha Guarda, were ignored by the directorship. His involvement with Hirszman’s Partido alto was strongly attuned with that moment in his career, because partido-alto contains a variety of archaic, improvised samba that contrasts with commercial, commodified practices. He worked as a consultant, interviewer and narrator for that film, as well as a performer, alongside his admired colleagues from Velha Guarda da Portela.

Abstract: By 1986, the Prince-pioneered Minneapolis sound had become increasingly co-opted by copycat musicians and was a familiar presence on US radio. Yet Prince had already shifted focus, relocating the sonic home of his eighth release to Continental Europe; arguably creating his most diverse album in the process. This paper explores how Parade was the first Prince record to consciously embrace a more international fan base. I discuss how the use of French language and ambience throughout the album draw on the ‘prestige’ associated with the Gallic lifestyle, adding a cosmopolitan flavour which helped Parade connect with European audiences. I argue that Prince capitalised on the cultural currency of France and its language to create a more elevated style of music, and purposely distance himself from the Minneapolis sound. The paper contextualises Parade against the musical backdrop of 1986 and considers the subsequent critical responses of the music press and biographers. I contend that the album was part of a strategic move to reach beyond traditional US notions of ‘rock and roll’ stardom and establish himself as a truly global performer. In achieving this goal, Prince willingly sacrificed some of his American fan base, yet secured his credentials as a bona fide international artist in return. Parade marks a pivotal point in Prince’s career, ultimately shaping his future output and forever altering how the world viewed him and his music.

Abstract: The parade of heroes at Aeneid 6.756ff. has attracted a huge bibliography but little attention has been paid elsewhere to its elaborate and elusive network of themes and links which the poet draws between the heroes portrayed and the Golden Age of Augustus. This is a detailed and scholarly examination of the parallels and possible links and of the purpose of the parade, both for Aeneas and for the contemporary Roman reader. Virgil must be considered as having the disturbances of 23 BC in mind, with his veiled warning to Caesar and Pompey against civil discord.

Abstract: The article explores the multifaceted process of creating the large-scale annual public puppetry event, The Barrydale Giant Puppet Parade, in the rural town of Barrydale, South Africa. It unpacks t...

Abstract: From the samba story Historia pra ninar gente grande (in Portuguese), from Estacao Primeira de Mangueira at the 2019 carnival, we aim to observe a reversal of the senses stabilized as evident by an official history of Brazil about some proper names of women. The power of the samba and carnival parade senses produces displacements and opens up other ways of (re) telling our history, inside out, through the restricted spaces left over from the processes of political, economic and cultural domination. To this end, as a way of observing the movement of the senses in and through the discourses, we gathered a set of photographs that were collected on the digital network and in samba statements and stood out in allegories and sayings that jumped from the avenue to the media, in particular, for cyberspace. Our function, therefore, is to analyze some moments of the parade discursively, based on what Michel Pecheux formulated, considering the role of women and their cry of resistance against a deep-seated prejudice / racism / misogyny. To the streets, they open their voices and show (d) effects of a contemporary society still immersed in utopia.

Abstract: This column describes ParadeTalk, an IoT based system that allows innovative interactions between parade floats and audiences By using the sensors and the actuators of AgriTalk, a commercially operated smart agriculture solution, we implement ParadeTalk in the Singpoli parade float of the Pasadena Tournament of Roses Parade in California, USA We describe how the sensors/controls are connected to the objects in the parade float We hope that parade audiences will learn basic ideas of smart farming in the rose decorated float when they enjoy interacting with the float We also analyze how the delays of the IoT messages affect the interaction between the parade flow and the audience members ParadeTalk is a success story that implements a sustainable IoT application commercially operated

Abstract: The ceremony of the marriage between Elizabeth Stuart, James’s only daughter, and the German Elector Prince Frederick V took place on February 14, 1613. It was a lavish affair, the most extravagant of James’s reign and according to a recent monograph devoted to the marriage, “the pinnacle of Protestant European festival” (Smart and Wade, “The Palatine Wedding of 1613,” 21). In all, the masques, fireworks, and feigned sea-battles commissioned by the court to commemorate the union cost over 93,000 pounds, nearly bankrupting the monarchy. The celebrations lasted for five days in London and were extended for months on the couple’s parade through Protestant lands and back to Heidelberg.

Abstract: 2020 marks the tenth anniversary of the Barrydale Giant Puppet Parade, a large-scale, experimental annual public puppetry event and performance in a small rural town in the Klein Karoo of South Africa. This multifaceted, collaborative puppet theatre-making process, which results annually in the creation of a parade and large-scale original performance, is co-organized by Net Vir Pret (a children’s school aftercare non-profit organisation based in the town of Barrydale) and the Laboratory of Kinetic Objects (LoKO) at the Centre for Humanities Research at the University of the Western Cape (CHR@UWC). The following conversation between the author (a Theatre Research Fellow at the CHR@UWC and creative director of the parade since 2014) and Sudonia Kouter (the Net vir Pret Aftercare manager and a key artistic contributor in the parade creative and directing teams) explores some of the experiences of meaning-making that arise in such a multi-layered and ambitious project.

Abstract: The publication is based on the documents discovered by the authors in the Russian State Historical Archive, which are preserved in the Repository of the Commandant’s Office of the St. Petersburg Fortress, in the case “Regarding the prisoners under investigation for malicious intent in 1849”. Most of the documents date back to the period between December 22, 1849 (the staging of the mock execution of the Petrashevites on the Semyonovsky parade ground) and January 9, 1850 (arrival of Dostoevsky, Durov and Yastrzhembsky in Tobolsk). The latest document is dated February 4, 1850. The article contains three parts, each of which sheds new light on the biography of the brothers Fedor M. and Mikhail M. Dostoevsky in the aforementioned period. The first section incorporates the documents that reveal the circumstances prior to the meeting of the brothers Dostoevsky on December 24, 1849, before Fedor was sent to Siberia, a meeting which was initially refused to them. Specifically, these documents are the request made by the Commandant of the Peter and Paul Fortress Nabokov and addressed to the War Minister, to allow relatives of the members of the Petrashevsky circle to meet with them before departure for the place of punishment, and the most gracious permission of Nicholas I on the matter, following the most humble report of the Minister. The second section introduces into scientific circulation the documents presenting the emperor's initiative to provide monetary assistance to the families of convicted Petrashevites, as well as to Petrashevites with families (including multi-child families), who were temporarily imprisoned in the fortress during the investigation. In the context of these documents, suspicions about the “immodest behavior” of M. M. Dostoevsky during the investigation that were previously expressed by certain researchers (Dolinin, Grossman), are removed. The third section introduces a receipt issued to “criminal Dostoevsky,” according to which 100 rubles of his money were appropriated during the prison transfer, and a document confirming the reception of this amount in the Tobolsk directive regarding convicts. The question of the origin and subsequent fate of this money is examined.

Abstract: The highly synchronized parade can impress audiences how strong the troops seem to be, whereas it is difficult to train for the good parade because of its complex collective behavior. However, there is no scientific research about the important factor to train and produce a good parade is. One of the bottlenecks to the scientific approach is the difficulty of measurement of the quality of a group as same as other swarm researches. In this paper, we measured the posture data of members in the parade with OpenPose, which is a cutting-edge pose estimation technology of deep learning. By this measurement, we propose a numerical evaluation for the quality of the parade, and it is confirmed by the questionnaire. In conclusion, our evaluation method is applicable for the quantitative evaluation, and it was suggested that the variation level of the arm swing angles was related to the quality of the parade. This paper is based on the paper presented at the proceedings of the 3rd International Symposium on Swarm Behavior and Bio-Inspired Robotics [1].

Abstract: Processions are a scientifically not much investigated traffic system. Recent studies found that the first participant in the Cologne Rose Monday parade has a remarkable higher travel time than the last participant. The velocity profiles of the participants are explained by the constant moving vehicle driving ahead of the parade leaving the pathway and partly due to a spatial contraction of the parade during the procession. This contribution compares the traffic kinematics of the Cologne Rose Monday parade in Germany with other processions (Schuetzenausmarsch Hanover 2017, Niederrheinischer Kinderkarnevalsumzug 2018). The kinematics of these processions were analysed based on GPS data from participants. Their kinematics differ from those of the Cologne Rose Monday parade. In general, the observations depend on the size of a procession, the length of its pathway, the composition of the procession and especially on the catching up behaviour, of the participants, when gaps occur in front of them. Furthermore, we examine the influence of the pathway on the traffic flow. This can be used to choose a parade’s pathway avoiding flow reducing infrastructure characteristics like traffic area transitions, narrow curves etc. In summary, this work extends the understanding of the kinematics of processions. It can serve as a basis upon which the parade’s movement can be predicted and so the duration of such events can be estimated better.

Abstract: This article discusses the Bando Anunciador (Cultural Parade), which appeared in the 19th century with the purpose of announcing the celebrations in devotion to Nossa Senhora Sant’Ana (the patroness of the city of Feira de Santana) through the streets of Feira de Santana-Bahia. As a methodology, we used the literature review and the analysis of photographs from the Bando Parade, which still occurs every year in the city center. We aim to describe and analyze the elements that are present in this celebration, which can conceive of it as a leisure practice of the people of Feira de Santana, because we consider the moments of fun in the street with the Bando Parade, as a place of ambivalence, in which the bodies rewrite histories through their costumes, dances and jokes, as well as they can surrender thanks to their Holy Patroness. Thus, this celebration experience is included in the list of permissive practices in the available time and in a disinterested way by the subjects, constituting nowadays, as an open possibility of leisure for the people of Feira de Santana.

Abstract: This thesis investigates possible connections between the music of Erik Satie (1866-1925) and the later surrealist movement, turning to Parade (1917) in a case study that seeks to understand surrealism in music through the idea of self-exploration, a well-established interpretive approach in studies of surrealism in the visual arts. This thesis seeks to redefine surrealism in music not as a set of concrete musical characteristics, but as a collection of techniques meant to evoke subconscious turbulence by blurring the boundary between the "outside" and "inside," between conscious and subconscious, leading to a new discovery of higher or deeper truth. Satie's music aligns with the psychoanalytic elements of the discourse on surrealism. Psychoanalysis, pioneered by Sigmund Freud (1856-1939) and his followers in the 1890s in Vienna, permeated France around the time of the creation of the work. It inspired early surrealist techniques like automatism, illusory formal structures, collage, and stylistic allusion. This thesis demonstrates that such techniques can be discerned throughout Parade, not only in Satie's music, but also in its scenario, staging, costumes, and choreography. As such, Parade was a foundational work for the surrealist movement, with Satie's music contributing with the other media equally to the emotional and psychological impact of the ballet.

Abstract: Inventory number: MT-E/1430/2 b District Museum in Tarnów https://muzea.malopolska.pl/en/objects-list/1435 Source: Objaverse 1.0 / Sketchfab

Abstract: The history of the Great Patriotic War has become post-Soviet Russia’s universal language for political discussion and the only effective “bond.” As the most advantageous narrative from the perspec...

Abstract: Results of the virtual reality experiment.

Abstract: This submission includes all pretrained models on MSMARCO, and run files on the Robust04/GOV2 dataset for the paper "PARADE: Passage Representation Aggregation for Document Reranking". Please follow the instructions in the PARADE repo to reproduce the results.

Abstract: The development of thinking is general'ly supported as an important objective of education, 'but there is little agreement about the kinds of thinking that should be stressed in the classroom or the methods by which the processes of thinking can be improved. Regardless of an individual's experiences in a classroom, it is obvious th:a:t he engages in some sort of mental activity during every waking moment. When his thinking is not focused on a particular subject, there is still a parade of half-formed images, memories, speculations, and anticipations passing across his consciousness. Thus, the teacher who makes thinking an objective of education without specifying the kind, or kinds, of operations he is referring to by the term "thinking" can be assured of reaching his objective, but he should realize that the objective was met long before it was formed, and his efforts had little to do with the achievement.