Thèse d'exercice : Pharmacie : Université de Nantes : 2004. / Bibliogr. f. 151-159 [84 réf.].

<p>In this paper my aim is to understand the trance movement from within as a collective phenomenon. I went to Turkey with my boyfriend David on a trance gathering, a festival called A Total Solar Eclipse Festival. There I did participant observations and interviews.</p><p>Can Collins theory about interaction ritual be useful to raise the understanding? And is it fruitful to apply the term collective identity?</p><p>The collective identity is build up by the festival as interaction ritual. It generates solidarity, emotional energy and a sense of belonging.</p><p>In this paper I discuss different categories and symbols that the collective identity contains of. Like for example the music or the movement’s experience of the nature. The categories are symbols in that sense that they are norms and values which the participants bring along with them, they gets stronger and reproduces through the festival.</p><p>The categories that I have found I place under one main category called “liberation of spirituality” where feelings of timeless, present orientation and a break from ordinary life. But also feelings as freedom, beautiful nature, colours, music, and drugs that raise the spirit and scatter boarders.</p><p>The movement also contains conflicts, some of them they express explicitly and others they don’t mention more than implicit.</p>

The Monte-Carlo Tree Search (MCTS) algorithm Upper Confidence bounds applied to Trees (UCT) has become extremely popular in computer games research. Because of the importance of this family of algorithms, a deeper understanding of when and how their different enhancements work is desirable. To avoid hard-to-analyze intricacies of tournament-level programs in complex games, this work focuses on a simple abstract game: Sum of Switches (SOS). In the SOS environment we measure the performance of UCT and two of popular enhancements: Score Bonus and the Rapid Action Value Estimation (RAVE) heuristic. RAVE is often a strong estimator, but there are some situations where it misleads a search. To mimic such situations, two different error models for RAVE are explored: random error and systematic bias. We introduce a new, more robust version of RAVE called RAVE-max to better cope with errors.

In this paper my aim is to understand the trance movement from within as a collective phenomenon. I went to Turkey with my boyfriend David on a trance gathering, a festival called A Total Solar Eclipse Festival. There I did participant observations and interviews. Can Collins theory about interaction ritual be useful to raise the understanding? And is it fruitful to apply the term collective identity? The collective identity is build up by the festival as interaction ritual. It generates solidarity, emotional energy and a sense of belonging. In this paper I discuss different categories and symbols that the collective identity contains of. Like for example the music or the movement’s experience of the nature. The categories are symbols in that sense that they are norms and values which the participants bring along with them, they gets stronger and reproduces through the festival. The categories that I have found I place under one main category called “liberation of spirituality” where feelings of timeless, present orientation and a break from ordinary life. But also feelings as freedom, beautiful nature, colours, music, and drugs that raise the spirit and scatter boarders. The movement also contains conflicts, some of them they express explicitly and others they don’t mention more than implicit.

No description available.

Modes of Infernal Rave Dancing is a lively and compact orchestral work combining many elements that would not otherwise belong together. It applies 20th-century harmonic techniques to a simple dance melody as one would hear in the electronic dance genre. The piece begins by emphasizing one pitch, and gradually adds more pitches before presenting the main melody. Each section builds to segments with harsh dissonances. The entire piece relies on the rhythmic pulse, which creates a sense of urgency in the beginning, nearly disappears in the middle, and returns energetically at the finale. My hope is that this work is suitable as a witty beginning or conclusion to any orchestral concert.

No description available.

Thesis (M.A.)--York University, 2000. Graduate Programme in Social Anthropology. / Typescript. Includes bibliographical references (leaves 142-147). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://wwwlib.umi.com/cr/yorku/fullcit?pMQ59167.

Thesis (Ph. D.)--University of Glasgow, 1997. / Includes bibliographical references. Print version also available.

Desde meados da década de 90 tornou-se prática de muitos jovens paulistas festejar ao ar livre, em áreas afastadas do centro urbano, por mais de 14 horas, ao som de música eletrônica e sob efeito de psicoativos, especialmente um novo, denominado de "ecstasy". Essas festas, chamadas de "raves", são realizadas em espaços especialmente escolhidos e preparados para a construção e o fortalecimento de uma rede de sociabilidade particular, nos quais se exercitam encontros, trocas, lealdades e conflitos. Rede que não se esgota no próprio evento, mas se alastra e orienta fluxos de pessoas e grupos pela cidade de São Paulo. Observando as raves brasileiras, principalmente as paulistas, é objetivo dessa dissertação anotar como contextos empíricos sujeitaram as definições de rave a reavaliações. Embora a perpectiva histórica de quase dez anos de raves no Brasil aponte para uma multiplicação de formatos de festas, o modo peculiar de festejar subsiste como um tema, uma referência e uma performance. / Since the mid 90's, it became popular among some young groups that live in or around São Paulo city to celebrate parties on open air in remote areas, far away from downtown, for more than 14 hours in a row, to the sound of electronic music and under the effect of drugs - mainly one called ecstasy. Those parties, also known as Raves, are held in especific places prepared for the construction and fortification of a network of a particular sociability, under which engagement, interchanges, loyalties and disputes are exercised. This network doesn't constrain iself only to such event, but spreads out and determines flows of people and groups throughout the São Paulo. The aim of this work is to examine the Brazilian Raves, especially the ones held in the state of São Paulo. The aim of this grasp the functional revaluations of meaning observed in the field work. Althougt the historical perpective of almost ten years of Raves in Brazil suggest for a increase in raves formats, the peculiar raving way still endures as a theme,a reference and a performance