What is "presence"

Presence \Pres"ence\, n. [F. pr['e]sence, L. praesentia. See Present.]

1. The state of being present, or of being within sight or call, or at hand; -- opposed to absence.

2. The place in which one is present; the part of space within one's ken, call, influence, etc.; neighborhood without the intervention of anything that forbids intercourse.

   Wrath shell be no more Thenceforth, but in thy presence joy entire.
   --Milton.

3. Specifically, neighborhood to the person of one of superior of exalted rank; also, presence chamber.

   In such a presence here to plead my thoughts.
   --Shak.

   An't please your grace, the two great cardinals. Wait in the presence.
   --Shak.

4. The whole of the personal qualities of an individual; person; personality; especially, the person of a superior, as a sovereign.

   The Sovran Presence thus replied.
   --Milton.

5. An assembly, especially of person of rank or nobility; noble company.

   Odmar, of all this presence does contain, Give her your wreath whom you esteem most fair.
   --Dryden.

6. Port, mien; air; personal appearence. ``Rather dignity of presence than beauty of aspect.''
   --Bacon.

   A graceful presence bespeaks acceptance. -- Collier.

   Presence chamber, or Presence room, the room in which a great personage receives company.
   --Addison. `` Chambers of presence.''
   --Bacon.

   Presence of mind, that state of the mind in which all its faculties are alert, prompt, and acting harmoniously in obedience to the will, enabling one to reach, as it were spontaneously or by intuition, just conclusions in sudden emergencies.

mid-14c., "fact of being present," from Old French presence (12c., Modern French présence), from Latin praesentia "a being present," from praesentem (see present (n.)). Meaning "carriage, demeanor, aspect" (especially if impressive) is from 1570s; that of "divine, spiritual, or incorporeal being felt as present" is from 1660s. Presence of mind (1660s) is a loan-translation of French présence d'esprit, Latin praesentia animi.

n. 1 The fact or condition of being present, or of being within sight or call, or at hand. 2 The part of space within one's immediate vicinity. 3 A quality of poise and effectiveness that enables a performer to achieve a close relationship with his audience. 4 Something (as a spirit) felt or believed to be present. 5 A company's business activity in a particular market. 6 The state of being closely focused on the here and now, not distracted by irrelevant thoughts vb. (context philosophy English) To make or become present.

1. n. the state of being present; current existence; "he tested for the presence of radon" [ant: absence]

2. the immediate proximity of someone or something; "she blushed in his presence"; "he sensed the presence of danger"; "he was well behaved in front of company" [syn: front]

3. an invisible spiritual being felt to be nearby

4. the impression that something is present; "he felt the presence of an evil force"

5. dignified manner or conduct [syn: bearing, comportment, mien]

6. the act of being present [ant: absence]

Presence is the seventh studio album by the English rock band Led Zeppelin, released by Swan Song Records on 31 March 1976. The album was a commercial success, reaching the top of both the British and American album charts, and achieving a triple-platinum certification in the United States, despite receiving mixed reviews from critics and being the slowest-selling studio album by the band (other than the outtake album Coda).

It was written and recorded during a tumultuous time in the band's history, as singer Robert Plant was recuperating from serious injuries he had sustained the previous year in a car accident. Nevertheless, guitarist Jimmy Page describes Presence as the band's "most important" album, proving they would continue and succeed despite their turmoil.

The Presence is a fictional representation of God, and is a character in comic books published by DC Comics. The character debuted in More Fun Comics #52 (February 1940), and was created by Jerry Siegel and Bernard Baily.

Sergei Krylov is a fictional character in the Marvel Comics Universe.

Presence may refer to:

Presence is the third full-length play by Scottish playwright David Harrower. It portrays a fictionalised account of the Beatles' first residency in Hamburg.

Presence was a British rock band started by Gary Biddles, Lol Tolhurst, and Michael Dempsey. Dempsey and Tolhurst were founding members of The Cure, and Biddles was a former Cure roadie who previously played in Fools Dance with Simon Gallup.

In their brief existence, the band only recorded two albums. Their debut album, Inside, was released in 1993 through Smash Records, a subsidiary of Island Records. They initially began recording their second album, Closer, that same year with former The Smiths producer John Porter at the helm but it wound up being shelved for a little over two decades. The album was posthumously released on 28 April 2014, a year after the death of Gary Biddles.

Presence is a theoretical concept describing the extent to which media represent the world (in both physical and social environments). Presence is further described by Matthew Lombard and Theresa Ditton as “an illusion that a mediated experience is not mediated." Today, it often considers the effect that people experience when they interact with a computer-mediated or computer-generated environment. The conceptualization of presence borrows from multiple fields including communication, computer science, psychology, science, engineering, philosophy, and the arts. The concept of presence accounts for a variety of computer applications and Web-based entertainment today that are developed on the fundamentals of the phenomenon, in order to give people the sense of, as Sheridan called it, “being there."

In an amplifier, a presence control boosts the upper mid-range frequencies to make the sounds of voices and instruments with similar tonal ranges seem more "present".

On television production studio's sound desk, there can be several presence controls, for several different, switchable, frequencies. There is a limit to the flexibility of such controls, and they are sometimes insufficient. If the degree of mis-match between microphones is great, simply increasing presence is not enough, and instead a sound engineer will use a graphic equalizer, sometimes several, each connected to an individual sound channel.

Presence controls can also be found on electric guitar amplifiers. The first presence control on a Fender amplifier, for example, appeared in 1954 on the Twin. In 1955 it appeared on the 1/15 Pro-Amp, the 3/10 Bandmaster, the 2/10 Super, and the 4/10 Bassman. The original Fender presence control acted upon the amplifier's negative-feedback loop. As the level of "presence" was increased, so more and more of the higher frequencies in the negative-feedback loop were dumped to ground, leaving the low and mid-range frequencies. Increasing the presence resulted in there being less and less negative feedback on high frequencies. The effect varied according to amplitude.

Later Fender amplifiers used a different presence control. The presence control on the 1975 Fender Super Twin did not modify the negative feedback loop, but was an active equalization circuit, controlling the 3.9 kHz frequency range. It had the ability to both amplify (boost) and attenuate (cut), unlike the earlier presence control.

In a 3-way loudspeaker system, with tweeter, woofer, and mid-range speaker, a presence control is simply a volume control for the mid-range speaker.

In filmmaking and television production presence (or room tone) is the "silence" recorded at a location or space when no dialogue is spoken. This term is often confused with ambience.

Every location has a distinct presence created by the position of the microphone in relation to the space boundaries. A microphone placed in two different locations of the same room will produce two different presences. This is because of the unique spatial relationship between the microphone and boundaries such as walls, ceiling, floor and other objects in the room.

Presence is recorded during the production stage of filmmaking. It is used to help create the film sound track, where presence may be intercut with dialogue to smooth out any sound edit points. The sound track "going dead" would be perceived by the audience not as silence, but as a failure of the sound system.

For this reason presence is normally recorded—like dialogue—in mono, with the microphone in the same position and orientation as the original dialogue recording. In the sound edit, presence occupies the same track as the dialogue to which it applies.