The existing indoor localization approaches based on single fingerprints, such as received signal strength (RSS) and channel impulse response, are rather susceptible to the changing environment, ...multipath, and nonline-of-sight. It is well known that indoor localization can obtain higher positioning accuracy than the single-fingerprint-based methods by fusing multiple information sources (fingerprints/fingerprint functions). However, the existing fusion methods cannot fully exploit the intrinsic complementarity among multiple information sources and thus show lower accuracy. In this paper, we propose an accurate WiFi localization approach by Fusing A Group Of fingerprinTs (WiFi-FAGOT) via a global fusion profile (GFP). WiFi-FAGOT first constructs a WiFi-based GrOup Of Fingerprints (GOOF) in the offline phase, which consists of RSS, signal strength difference, and hyperbolic location fingerprint. Then, instead of direct localization by using the WiFi-based GOOF, we design multiple classifiers by training each fingerprint in the WiFi-based GOOF, namely GOOF classifiers. To fully leverage the intrinsic complementarity among different kinds of fingerprints, we propose a GFP construction algorithm by minimizing the average positioning error over the space of all GOOF classifiers. Finally, in the online phase, we derive a grid-dependent matching algorithm, namely, optimal classifier selection, to intelligently choose a fusion profile in the GFP for more accurate localization. Experimental results demonstrate that WiFi-FAGOT performs better than other systems in real complex indoor environments.
In this interview, Anne Fagot-Largeault discusses with Thierry Bardini her recollections of the life and work of French philosopher Gilbert Simondon (1924–1989). The discussion covers Simondon’s ...theory of individuation and considers its influences on contemporary thinkers such as Gilles Deleuze and François Laruelle. Fagot-Largeault situates Simondon’s thinking within the broader context of 20th-century biological research and the development of life sciences. Informed by her personal association and experiences working with Simondon, her reminiscences shed light on the unique character of Simondon as a person and as a thinker.
A horizontal subsurface flow constructed wetland (HSSFCW) was employed to remove tannins from the effluent of a tannins extracting company. Two HSSFCW cells with hydraulic retention time (HRT) of 9 d ...and packed with limestone were used. One cell without macrophytes was used as a control, while the second cell was planted with
Phragmites mauritianus
. Results indicated that HSSFCW was capable of treating tannin wastewater that has been seeded with primary facultative pond sludge. Tannins and chemical oxygen demand (COD) removal efficiency of 95.9% and 90.6% with outlet concentration of 27 mg/L and 86 mg/L, respectively, were obtained in the planted cell;; while the tannins and COD removal efficiency of 91.1% and 89.5% with outlet concentration of 57 mg/L and 96 mg/L, respectively, were obtained in the control cell.
Si l’on a souvent parlé à Versailles, et à juste titre, de l’éclat et de la grandeur du Grand Canal, on a plus rarement évoqué l’impressionnante flottille qui y évoluait dès 1669, et l’importance du ...personnel qui y était affecté. Il ne fait nul doute que la réunion de ces différents bâtiments participait à la manifestation de la grandeur du roi. Cependant, elle ne saurait être étudiée sous ses seuls aspects esthétique, ludique, et festif, mais elle mérite d’être appréhendée également dans sa dimension scientifique. En effet, la flottille de Louis XIV n’était pas uniquement constituée de bâtiments de plaisance de type chaloupes, gondoles et canots, mais réunissait aussi des vaisseaux de hauts bords (marine de guerre et marchande) avec des frégates, des galères, des heux, des brigantins… Elle était, en cela, intimement liée à l’histoire de la Marine française. D’autre part, pour répondre à une démarche encyclopédique, on fit venir des bâtiments typiques d’une région ou d’un pays donné (gondole, piote de Venise, yachts d’Angleterre…). De plus, le Grand Canal servit de prétexte à des expérimentations techniques : des inventeurs proposèrent à la surintendance des Bâtiments du roi d’y tester leurs machines. Enfin, la construction de ces prestigieux bâtiments suivait un processus bien défini. Commandés dans les ports de France, ils étaient pour la plupart acheminés par voie fluviale et en pièces détachées. Des correspondants surveillaient le transport et l’approvisionnement des pièces pour le remontage.
While the splendour and greatness of the Grand Canal of Versailles has often been discussed, the impressive flotilla that evolved there from 1669, and the importance of the staff that was allocated to it have rarely been evoked. There is no doubt that the gathering of these various ships participated in the demonstration of the king’s splendour. However, it should not be studied only for its aesthetic, playful, and festive aspects, but also deserves to be examined for its scientific dimension. Indeed, the flotilla of Louis XIV was not only constituted of sailing ships, rowboats, gondolas and barges, it also comprised merchant and war ships, frigates, galleys, hoys, brigantines… It was, therefore, closely connected to French maritime history. In addition, to meet such an encyclopaedic initiative, typical ships of a region or a country were brought in (gondola, peota, English yachts…). Furthermore, the Grand Canal was also a pretext for inventors to carry out technical experiments, testing their machines there. Finally, the construction of these prestigious ships followed a well-defined process. Ordered in the ports of France, they were for the most part dismantled and sent by inland waterways. Correspondents supervised the transport in order to be sure of the exact reassembly of the pieces at the time of the receipt.
Two crucial topics in the philosophy of medicine are the philosophy of nature and philosophical anthropology. In this essay I engage the philosophy of nature by exploring Anne Fagot-Largeault's study ...of norms in nature as a way of articulating a Confucian philosophy of medicine. I defend the Confucian position as a moderate naturalism.
Reportatge del concert de l'Orpheus Chamber Orquestra al Festival de Peralada, amb Oleg Maisenberg al piano.
00:00:00 Assaig de la Orpheus Chamber Orquestra al castell de Peralada abans del concert ...que donaran en el marc del festival.
00:02:15 Els músics acaben l'assaig, s'aixequen de les cadires i comenten aspectes del concert.
00:03:33 Un músic practica al camerino amb el fagot. Els músics parlen entre ells al camerino, preparen els instruments i practiquen.
00:04:52 Un músic de l'orquestra explica la història de l'orquestra i perquè toquen sense director.
00:07:34 Els músics es preparen a les estances de l'interior del castell.
00:07:56 Els músics pugen a l'escenari.
00:08:39 Concert de Orpheus Chamber Orquestra.
00:18:36 El mateix músic que abans parla dels orígens de l'orquestra, aquesta vegada en anglès.
Concertul opus 75 în Fa major de Carl Maria von Weber, interpretează Orchestra de Cameră Radio, dirijor Cristian Brâncuși, Mihai Boboiescu la fagot. Înregistrare pe suport DVD din Arhiva Radio ...România (DVD-FM-1115); 06.05.2015, Sala Radio; regizor muzical Gabriela Dina, inginer de sunet Cristian Bădescu
Live
Weber, Carl Maria von - Compozitor Orchestra de Cameră Radio - Orchestră Brâncuși, Cristian - Dirijor Boboiescu, Mihai - Fagot Dina, Gabriela - Regizor muzical Bădescu, Cristian - Inginer de sunet Societatea Română de Radiodifuziune - Producător
Something about mary Feliciano, Kristina
PDN ; Photo District News,
02/2003, Letnik:
23, Številka:
2
Trade Publication Article
Mary Fagot, vice president of creative services for Capitol Records in Los Angeles, is in charge of all print visuals for the label, whose artist-roster reads like an MTV2 playlist: Coldplay, the ...Vines, Black Rebel Motorcycle Club and Dirty Vegas. Her responsibilities also include packaging design: promotional material such as advertisements, merchandising and the tchotchkes sent to media outlets; and point-of-purchase items.
Wooden wind instrument and double reed or reed, as well as oboe. It consists of a tube about 2 and a half meters long, usually made of maple wood, folded on itself to make it manageable and with a ...conical termination. Due to its weight it is usually touched sitting and sometimes subject with a strap. It is often called “the clown of the orchestra,” due to the comic effects it can make. It also produces solemn and gentle sounds. There are several hypotheses about its origin, as it comes from a certain type of Italian bombing, or that its author was a canon of Ferrara, Afranio Teseo, around 1500. In Spain it was also called baxo or baxón, for its peculiar sound. Currently there are two types of bassoon: the German model or Heckel, designed by Carl Almenräder, and the French or Buffet system, whose use is very limited today, because they are only made in France.
Instrumento de viento madera y de doble lengüeta o caña, al igual que el oboe. Consiste en un tubo de unos 2 metros y medio de largo, usualmente de madera de arce, doblado sobre si mismo para hacerlo manejable y con una terminación cónica. Debido a su peso se toca normalmente sentado y en ocasiones sujeto con una correa. A menudo se le llama "el payaso de la orquesta", debido a los cómicos efectos que puede realizar. También produce sonidos solemnes y gentiles. Hay diversas hipótesis sobre su origen, como que proviene de cierto tipo de bombarda italiana, o que su autor fue un canónigo de Ferrara, Afranio Teseo, alrededor de 1500. En España se le llamó también baxo o baxón, por su peculiar sonido. Actualmente existen dos tipos de fagot: el modelo alemán o Heckel, diseñado por Carl Almenräder, y el francés o sistema Buffet, cuyo uso está muy limitado hoy día, debido a que sólo se fabrican en Francia.
Instrumento de viento madera y de doble lengüeta o caña, al igual que el oboe. Consiste en un tubo de unos 2 metros y medio de largo, usualmente de madera de arce, doblado sobre si mismo para hacerlo manejable y con una terminación cónica. Debido a su peso se toca normalmente sentado y en ocasiones sujeto con una correa. A menudo se le llama "el payaso de la orquesta", debido a los cómicos efectos que puede realizar. También produce sonidos solemnes y gentiles. Hay diversas hipótesis sobre su origen, como que proviene de cierto tipo de bombarda italiana, o que su autor fue un canónigo de Ferrara, Afranio Teseo, alrededor de 1500. En España se le llamó también baxo o baxón, por su peculiar sonido. Actualmente existen dos tipos de fagot: el modelo alemán o Heckel, diseñado por Carl Almenräder, y el francés o sistema Buffet, cuyo uso está muy limitado hoy día, debido a que sólo se fabrican en Francia.
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