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Dissertations / Theses on the topic 'Air art'
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1
Moyer, Matthew E. Clarke Bede. "Monuments to water and air systems." Diss., Columbia, Mo. : University of Missouri--Columbia, 2009. http://hdl.handle.net/10355/6576.
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The entire thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file; a non-technical public abstract appears in the public.pdf file. Title from PDF of title page (University of Missouri--Columbia, viewed on November 19, 2009). Thesis advisor: Bede Clarke. Vita. Includes bibliographical references.
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Li, Ting. "Art Center." Thesis, Virginia Tech, 2015. http://hdl.handle.net/10919/53954.
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For any artist, imagination is a powerful and necessary instrument for everyday creation. It is like a magical engine that drives the artist forward. But what is imagination? How do we keep this engine running nonstop?
According to the Italian philosopher Giovan Battista Vico, imagination is nothing but extended or compounded memory, imagination is nothing but the springing up of reminiscences, and ingenuity or invention is nothing but the working over of what is remembered.So we can easily understand that people create or invent things out of what they have seen, what they have experienced, and what they have engaged with their own bodies.
In my thesis, I'm not competing with the artists in imagination or creation, but I'm trying to offer them this architectural environment that would be transfigured into memory through senses. The artists living and working in this tower building are encouraged to move vertically through stairways and vertically aligned public spaces. By engaging the body and senses in this vertical movement, the artists would find their way out of the urban canyon to the sky of imagination. They would also be able to live lightly above the bustling world of reality.Master of Architecture
3
Warren, Lindsay Elizabeth. "In the air." Thesis, University of Iowa, 2010. https://ir.uiowa.edu/etd/621.
Full text
4
Martin, Ronald Javier. "Air tight : polemics at the intersection of art, technology and the public domain." Thesis, Massachusetts Institute of Technology, 2017. http://hdl.handle.net/1721.1/111490.
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Thesis: S.M. in Art, Culture and Technology, Massachusetts Institute of Technology, Department of Architecture, 2017.Cataloged from PDF version of thesis.
Includes bibliographical references (pages 74-75).
The author's methodological framework is used to position his art practice in relation to an ecology of thinkers, artists, and activists engaged with defending democratically governed un-privatized public space. Historically, there is a legacy of artists working with techniques of dispersion, sequestering, and the visualization of otherwise imperceptible components of air to create meaning. Starting in the mid- 1960s, a number of artists and engineers worked together to create pneumatic projects such as airborne inflatables released in the urban environment and mist machines capable of enveloping an entire building in a cloud of fog. However, as this thesis argues, the early 1970s marks the moment when a radical rupture happened in the artistic use of air as a medium. Air became a space to fill with toxicity as a sign of public protest. It was also the time of a motivational shift in how artists began working with air. This era also marked the beginning of a political activation of air space as an environmentalist tactic of critique. Forty years later, thanks to nano technology and capitalist regimes, society's relationship to air space is changing drastically. Innovation in air quality sensors is allowing for the most precise readings of one's immediate air space ever. This comes from breakthroughs in carbon nanotube air composition sensing, a technology finding a wide range of applications in various military and health related industries simultaneously. What is at stake socially in the widespread proliferation of such technology? The author will unfold his interest in this emerging site of inquiry by recounting the principle objectives in his art practice and his use of air as a medium.
by Ronald Javier Martin.
S.M. in Art, Culture and Technology
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Greening, Daniel John. "Art, landscape and material : subject into media." Thesis, University of Wolverhampton, 2010. http://hdl.handle.net/2436/299209.
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A research investigation that illustrates the development of the European landscape tradition as an unbroken interactive and material movement, through discussion of artists from Annibale Carracci (1560-1609) to Richard Long (1945 –). The contribution of each artist within their respective epoch will be used to propose that the subject of landscape has become an actual creative medium, integral to and consistent with the external Plein-Air technique. Thus, presenting a ‘creative narrative’ from the observed into the articulated that will demonstrate how the examination and representation of actual landscapes have become physically used within creative presentations. The study uses key artworks that have been inspired by landscape to show the shift from documentation into interaction with the reality of the natural world. This entails the chronology of the investigation and commences with the concept of Ideal Landscape, established by Carracci, within the late 16th century, through the development of the Plein-Air tradition and culminating with particular emphasis on European landscape artists’ and movements since 1945 that have interacted with actual sites and natural materials: from the ideal to the actual. Furthermore, the European transfer and diffusion of interactive and material based landscape methods, including drawing and painting outside, the collection of organic items and photography, passed and developed from one generation to the next, informs a body of personal creative work. This is a 50/50 co-dependent strand used to illustrate the practical and creative discourses between practitioner and landscape, involving the articulation of actual land materials, found objects and Plein-Air excursions to the drawing locations of previous practitioners’, sketchbooks and journals. The insights provided, by the personal practice and associated theoretical position, aid the evaluation, analysis and description of the evolution of the creative methods inherent in the development of subject into media, but not presently described in historical accounts, therefore, presenting a Material Chronology and thus the original contribution of knowledge for this investigation.
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Polli, Andrea. "Communicating air : alternative pathways to environmental knowing through computational ecomedia." Thesis, University of Plymouth, 2011. http://hdl.handle.net/10026.1/889.
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This dissertation, Communicating Air: Alternative Pathways to Environmental Knowing through Computational Ecomedia, is the culmination of an art practice-led investigation into ways in which the production of ecomedia may open alternative pathways to environmental knowing in a time of urgent climate crisis. This thesis traces the author’s artistic, personal and political development across the period of study and presents an extended argument for greater public engagement with weather and climate science, greater public and private support for long-term collaborations between media art and climate science, and increased public open access to global weather and climate monitoring and computationally modelled data.
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Mitchell, Joanne. "Precision air entrapment through applied digital and kiln technologies : a new technique in glass art." Thesis, University of Sunderland, 2015. http://sure.sunderland.ac.uk/8548/.
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The motivation for the research was to expand on the creative possibilities of air bubbles in glass, through the application of digital and kiln technologies to formulate and control complex air entrapment, for new configurations in glass art. In comparison to glassblowing, air entrapment in kiln forming glass practice is under-developed and undocumented. This investigation has devised new, replicable techniques to position and manipulate air in kiln-formed glass, termed collectively as Kiln-controlled Precision Air Entrapment. As a result of the inquiry, complex assemblages of text and figurative imagery have been produced that allow the articulation of expressive ideas using air voids, which were not previously possible. The research establishes several new innovations for air-entrapment in glass, as well as forming a technical hypotheses and a practice-based methodology. The research focuses primarily on float glass and the application of CNC abrasive waterjet cutting technology; incorporating computer aided design and fabrication alongside more conventional glass-forming methods. The 3-axis CNC abrasive waterjet cutting process offers accuracy of cut and complexity of form and scale, across a flat plane of sheet glass. The new method of cleanly fusing layered, waterjet-cut float glass permits the fabrication of artwork containing air entrapment as multilayered, intricate groupings and composite three-dimensional void forms. Kiln-controlled air entrapment presents a number of significant advantages over conventional glassblowing techniques of air entrapment which are based around the decorative vessel or solid spheroid shaped on the blowing iron. The integration of digital and traditional technologies and the resulting technical glassmaking discoveries in this research advance potential new contexts for air entrapment, in sculptural and architectural glass applications. Contexts include solid sculptures which explore the internal space of glass, to flat-plane panels and hot glass roll-up processes which take air entrapment beyond the limitations of its previous incarnations. The creative potential of Kiln-controlled Precision Air Entrapment for glass art is demonstrated through the development of a body of artworks and their dissemination in the field of practice. Documentation of the findings in the thesis has resulted in a 3 significant body of knowledge which opens up new avenues of understanding for academics, creative practitioners and professionals working with glass.
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Goeke, Robert P., and Christopher M. VanZoest. "The art of the deal: how can the Air Force successfully execute renewable energy transactions?" Monterey, California. Naval Postgraduate School, 2010. http://hdl.handle.net/10945/10489.
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MBA Professional ReportThe purpose of this paper is to explore the methods the Air Force uses to procure renewable energy. To comply with Executive Order 13423, agencies must ensure that at least half of all renewable energy required under Energy Policy Act of 2005 comes from new renewable sources (developed after January 1, 1999) (Department of Energy, n.d.b). The Air Force is currently on track to meet the requirements of this legislation and is also the Department of Defense (DoD) leader in total renewable energy procured. The contracting tools used to procure renewable energy are Power Purchase Agreements and Enhanced Use Leases. The processes involved with Power Purchase Agreements and Enhanced Use Leases are unique and challenging. Additionally, renewable energy procurement includes many other participants or interested parties, which is contrary to the standard contracting process. Working within this renewableenergy arena requires the use of public-private partnerships in order for these deals to be successful. This paper will describe and evaluate the entire process used to procure renewable energy including parties involved, tools to execute, examples of successful projects, and it will explain how the Air Force can better support the procurement of renewable energy.
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Searle, Rebecca K. "Art, propaganda and the experience of aerial warfare in Britain during the Second World War." Thesis, University of Sussex, 2011. http://sro.sussex.ac.uk/id/eprint/6919/.
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This thesis examines how artists working for the War Artists' Advisory Committee (WAAC) represented aerial warfare. In contrast to the scholarly attention lavished on wartime films and posters, official war art remains a much neglected aspect of the propaganda war. The few studies that do exist, most notably by Brian Foss, survey the collection as a whole and consider it from an art history perspective. By focusing on the single theme of aviation, a central and defining experience of the Second World War, I embed the WAAC within the economic, social, military and cultural histories of the period and locate it within a longer time frame. Through bringing these usually disparate fields of study into dialogue, I am able to use the art to enrich broader understandings of the period, in particular, the ways in which aerial warfare was represented, how this image evolved during the war and how these cultural products related to economic, military and social factors. This thesis highlights the different roles the WAAC was expected to fulfil. Housed within the Ministry of Information, the WAAC was expected to perform a propagandist function. The committee distanced itself from propaganda and insisted that its primary function was to record for posterity the experience of living through the war. I assess exactly what kind of record the WAAC bequeathed by looking thematically at the key aspects of aerial warfare: aircraft production; the Battle of Britain; the Blitz and the bombing of Germany. I argue that whilst there was broad correlation between war art and propaganda, these images registered aspects of experience that were incongruent with and therefore absent from wartime propaganda, such as the fear of aerial bombardment and the true nature of the bombing of Germany. Moreover, propagandist constructions were not entirely separate to lived experience, rather they both reflected experience and shaped the way that individuals understood and made sense of the world around them. Therefore, in producing images that accorded with propagandist portrayals, the WAAC artists were recording a fundamental part of the experience of living through the war.
10
Zhang, Yangyang. "Modeling and Design of Photocatalytic reactors for Air Purification." Scholar Commons, 2013. http://scholarcommons.usf.edu/etd/4621.
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Photocatalysis is a promising technique for the remediation of indoor air pollution. Photocatalysis utilizes semiconductor photocatalysts (such as TiO2 or ZnO) and appropriate light to produce strong oxidizing agents (OH*) that are able to break down organic compounds and inactivate bacteria and viruses. The overall goal of the research is to develop an efficient photocatalytic reactor based on mass transfer for indoor air purification. This study has focused on the enhancement of the effectiveness of the photocatalytic process by the introduction of artificial roughness on the reactor catalyst surface. The major effect of artificial roughness elements on the catalytic surface is to create local wall turbulence and enhance the convective mass transfer of the contaminants to the catalyst surface and thus lead to an increase in the effectiveness of photocatalysis.
Air flow properties in a model photoreactor channel with various roughness patterns on the interior wall surface were theoretically investigated. The optimum shapes, sizes, and arrangements of roughness were determined for the maximum enhancement of turbulence intensity in the channel. The possible order of photocatalytic reactor performance for various roughness patterns was also determined. In order to verify the theoretical analysis results, experimental studies were carried out. A plate type photocatalytic reactor was designed and fabricated on the basis of the theoretical results. It was determined that the photocatalytic reactor performance is greatly improved with various rough catalyst surfaces. The experimental results verified the theoretical results. The relationship between the overall reaction rate constant (k) of the reactor and the magnitude of the turbulence intensity was found out. An empirical correlation expression was also proposed. This is the first study of the effect mass transfer in a rough catalytic surface for photocatalytic reactor.
Photocatalyst development has also been studied. Zinc oxide (ZnO) and iron doped zinc oxide (ZnO/Fe) nanowires were synthesized on glass substrates through a conventional hydrothermal method. The photocatalytic activities under ultraviolet (UV) light and white light irradiation were separately investigated. The ZnO/Fe nanowires exhibited an enhanced photocatalytic activity as compared to ZnO nanowires regardless of the type of contaminants and light sources.
11
Lindahl, Amy E. "Integrating Naval Surface Fire support into an improved Joint Close Air Support architecture." Thesis, Monterey, Calif. : Springfield, Va. : Naval Postgraduate School ; Available from National Technical Information Service, 2006. http://library.nps.navy.mil/uhtbin/hyperion/06Jun%5FLindahl.pdf.
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Thesis (M.S. in Systems Technology (C3))--Naval Postgraduate School, June 2006.Thesis Advisor(s): Dan C. Boger, Karl D. Pfeiffer. "June 2006." Includes bibliographical references (p.65-68). Also available in print.
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Viewegh, James. "Life! land, air, and sea : a series of mixed media drawings on plexiglass." Virtual Press, 1992. http://liblink.bsu.edu/uhtbin/catkey/864920.
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The creative project was a series of three, mixed media drawings created on multiple layers of transparent plexiglass. The artist designed a frame in which three sheets of plexiglass were contained. This unit portrayed a three-dimensional drawing. The artist then experimented with a variety of mediums to determine which material was best suited for successful rendering on plexiglass. The artist then did a number of sketches to determine what images would best convey the idea of humankind's close connection to the land, air, and sea.The primary accomplishments achieved in this project were the knowledge gained in the experimentation of materials and the ability to create a composition on multiple layers of plexiglass. Through these successes, the artist was able to effectively create a series of three three-dimensional mixed media drawings.Department of Art
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Jouen, Mathilde. "(A)pesanteur et art contemporain." Electronic Thesis or Diss., Paris 8, 2016. http://www.theses.fr/2016PA080121.
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Cette thèse de création porte sur les nouveaux enjeux de pesanteur etde légèreté revendiqués par un certain nombre d’artistes contemporains.Nous vivons dans un monde de plus en plus pesant et pourtant les artistesexplorent des moyens de s’extraire de cette gravité pour atteindreune apesanteur théorique. Car l’apesanteur telle que nous nous la représentonsn’existe pas en terme de physique : il s’agit d’un phénomène dechute libre qui crée l’impression de flottement. J’interroge donc la notiond’(a)pesanteur, qui prend en considération cette dialectique de l’envol etde la chute, au sein de nombreuses oeuvres, principalement sculpturales. Jequestionne ma pratique de la sculpture, de l’installation et du dessin à traversle prisme de l’(a)pesanteur, qui construit un véritable rapport aumonde et à l’acte de création. J’utilise les propriétés intrinsèques du matériauafin de générer des sensations de poids ou de légèreté. J’interrogeégalement l’acte de suspendre une oeuvre dans l’espace d’exposition: lasuspension serait-elle aujourd’hui devenue le nouveau socle de la sculpture? De l’espace d’exposition à l’Espace cosmique, l’oeuvre d’art est, depuisla conquête spatiale, de plus en plus présente hors des frontières terrestres.Elle est créée dans l’Espace ou pour l’Espace : l’Espace cosmique serait-il devenu le nouveau lieu de l’art ?A travers les figures de la chute,de l’envol,du suspens,de l’imaginaire spatial,et jusqu’aux figures de l’invisible, l’(a)pesanteur tisse un véritable filrouge à travers la création contemporaineThis creative thesis is about the new challenges of weightlessness andlightness faced by a number of contemporary artists.We are living in a increasinglyheavy world, yet artists are exploring ways to escape this gravityto reach a theoretical weightlessness. Because the way to display weightlessnessdoesn’t exist in terms of physics: it’s the phenomenon of free-fallingwhich creates this feeling of floating. So I seek to test theweight(less)ness concept, which explores this float and fall dialectic in numerousworks, mainly sculptural. I’m questioning my own practice ofsculpture, installation and drawing, through the prism of weight(less)ness,which builds an actual connection to the world and to the act of creation.I’m using the intrinsic property of the material to generate feelings ofweight or lightness. I’m also questioning the act of hanging a work in theexhibition space : nowadays, has suspension become the new pedestal of asculpture ? From the exhibition space to cosmic Space, artwork increasinglygains presence beyond earth’s boundaries, ever since the conquest ofspace. It’s created in Space and for Space : has cosmic Space become thenew place for art? Through figures of falling, of flight, of suspension, ofimaginary spaces, and even figures of invisibility, weight(less)ness builds averitable guiding light through contemporary creation
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McGuire, Michael. "The integration of the Naval Unmanned Combat Aerial System (N-UCAS) into the future naval air wing." Thesis, Monterey, California : Naval Postgraduate School, 2009. http://edocs.nps.edu/npspubs/scholarly/theses/2009/Dec/09Dec%5FMcGuire.pdf.
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Thesis (M.B.A.)--Naval Postgraduate School, December 2009.Thesis Advisor(s): Mutty, John ; Nussbaum, Daniel. "December 2009." Description based on title screen as viewed on January 27, 2010. Author(s) subject terms: unmanned, Aerial Vehicle, UCAS, aircraft carrier, air wing, cost estimation. Includes bibliographical references (p. 69-71). Also available in print.
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Engelmann, Sasha. "The cosmological aesthetics of Tomás Saraceno's atmospheric experiments." Thesis, University of Oxford, 2017. https://ora.ox.ac.uk/objects/uuid:481978b1-eb92-4fa9-a514-2bcbbfdd7612.
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This dissertation proposes cosmological aesthetics as a critique of and contribution to geologic, geomorphic and geographical aesthetics. This argument is developed in the context of human geographers' growing interests in the dark, imperceptible and unknown forces and fields of Earth and the cosmos. Attention to such cosmic phenomena amplifies the porosity of distinctions between humans, nonhumans and matter; therefore we require an aesthetic theory at the limits of sensing. In developing this aesthetics, this dissertation draws conceptual support in particular from the non-anthropocentric philosophy of Alfred North Whitehead and from Isabelle Stengers' "ecologies of practice". At the same time, the elaboration of cosmological aesthetics emerges from a site-based creative ethnography of Studio Tomás Saraceno in Berlin, and more specifically, from a series of experiments in transdiciplinary collaboration, writing and teaching with Tomás Saraceno. This dissertation interrogates how the surfaces, webs, envelopes and interstices populating and propagating in Saraceno's artwork affect the transmission and distribution of sensation across spaces and scales: in short, how these forms become technologies of cosmo-aesthetic adventure. By engaging with Saraceno's art projects, from On Space Time Foam to hybrid webs and the Aerocene, and by participating in the atmospheric experiments of aerosolar sculptures, this dissertation articulates two core propositions of cosmological aesthetics: first, that aesthetic experience can create tangible, sensible relations with contexts that are far removed, or much wider than, the particular conditions in which we experiment. And second: such adventures in aesthetics emerge from practices bound together by the forces of obligation, attachment and crucially, imagination. Employing foremost the device of the web, cosmological aesthetics explores propositions for bodies to be creatively extended in a vast and vibrating cosmos.
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Fernandes, Antonio Pedro Martins do Mota Batarda. "Natural processes in the degradation of open-air rock-art sites : an urgency intervention scale to inform conservation." Thesis, Bournemouth University, 2012. http://eprints.bournemouth.ac.uk/20995/.
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Open-air rock-art forms one of the most widely distributed categories of prehistoric material culture with examples recognized across the Old and New Worlds. It is also one of the most threatened features of human heritage and is susceptible to accelerated decay as a result of anthropogenic and natural processes. Much attention has previously been given to the impact of identifiably human activities and their mitigation, but the aim of this research is to redress the balance and focus on understanding the short-, medium-, and long-term impacts of natural processes. The main objectives of research are to identify open-air rock-art natural degradation causes, create a suitable method to assess the state of conservation of any given engraved outcrop of the Côa Valley rock-art complex and develop a urgency scale for conservation interventions. The urgency scale will be established by thoroughly examining a sample of the most – in terms of conservation – representative engraved outcrops. Since more than one thousand outcrops with rock-art still subsist today, it would be impossible to examine them all. Therefore, a sample comprising outcrops that possess most, if not all, of the variables that might affect stability and conservation state will be chosen. Some of the issues to consider are weathering and erosion of outcrops, or slope gradient and aspect of the hills where these are located. Such phenomena as biological colonization, rainwater percolation or chemical exchanges at surface level will also be analyzed. The expected end result of research is the creation of a method to determine the condition of outcrops and to identify methodically those in most urgent need of conservation. As a result, informed conservation action plans can be systematically tailored to suit specific natural conditions. Moreover, conservation interventions can be prioritized within a total universe of 1000 outcrops with rock-art.
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Xu, Tianhao. "Experimental evaluation of air-to-water propane heat pumps with 40kW heating capacity." Thesis, KTH, Tillämpad termodynamik och kylteknik, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-175717.
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This thesis presents the experimental work on testing the seasonal performance of a 40 kW air-to-water propane heat pump, as a part of the research project Next Heat Pump Generation working with Natural fluids (NxtHPG) that has been carried out in ‘Applied thermodynamics and refrigeration Division’ in the department of Energy Technology, KTH. The thesis work involves three parts: preparation of the HP unit test rigs, experimental campaign and the evaluation of test results. In the first part, the set-up of the measurement device and necessary modifications to the heat pump unit as well as the test rigs have been completed to create an accurate measuring environmental for the experimental campaign. During the second stage, two series of experimental campaign have been done in the heating mode of the heat pump unit, and satisfactory results have been obtained in parts of the test conditions. Finally, the evaluation on the system performance as well as the behaviors of the components is discussed. The variation between experimental results and the simulation conducted by IMST-ART model is within reasonable range, proving that the heat pump unit has been working in good conditions. The compressor is proved to have been performing as manufacturer expected. However, some further investigations on the behaviors of the heat exchangers and expansion valve, such as superheat oscillation, are recommended be carried out in the future work. The completion of the rest of tests in which minus air temperature should be maintained and the ones with the desuperheater working should be done as well.Next generation heat pump working with natural fluids
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Jouen, Mathilde. "(A)pesanteur et art contemporain." Thesis, Paris 8, 2016. http://www.theses.fr/2016PA080121.
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Cette thèse de création porte sur les nouveaux enjeux de pesanteur etde légèreté revendiqués par un certain nombre d’artistes contemporains.Nous vivons dans un monde de plus en plus pesant et pourtant les artistesexplorent des moyens de s’extraire de cette gravité pour atteindreune apesanteur théorique. Car l’apesanteur telle que nous nous la représentonsn’existe pas en terme de physique : il s’agit d’un phénomène dechute libre qui crée l’impression de flottement. J’interroge donc la notiond’(a)pesanteur, qui prend en considération cette dialectique de l’envol etde la chute, au sein de nombreuses oeuvres, principalement sculpturales. Jequestionne ma pratique de la sculpture, de l’installation et du dessin à traversle prisme de l’(a)pesanteur, qui construit un véritable rapport aumonde et à l’acte de création. J’utilise les propriétés intrinsèques du matériauafin de générer des sensations de poids ou de légèreté. J’interrogeégalement l’acte de suspendre une oeuvre dans l’espace d’exposition: lasuspension serait-elle aujourd’hui devenue le nouveau socle de la sculpture? De l’espace d’exposition à l’Espace cosmique, l’oeuvre d’art est, depuisla conquête spatiale, de plus en plus présente hors des frontières terrestres.Elle est créée dans l’Espace ou pour l’Espace : l’Espace cosmique serait-il devenu le nouveau lieu de l’art ?A travers les figures de la chute,de l’envol,du suspens,de l’imaginaire spatial,et jusqu’aux figures de l’invisible, l’(a)pesanteur tisse un véritable filrouge à travers la création contemporaineThis creative thesis is about the new challenges of weightlessness andlightness faced by a number of contemporary artists.We are living in a increasinglyheavy world, yet artists are exploring ways to escape this gravityto reach a theoretical weightlessness. Because the way to display weightlessnessdoesn’t exist in terms of physics: it’s the phenomenon of free-fallingwhich creates this feeling of floating. So I seek to test theweight(less)ness concept, which explores this float and fall dialectic in numerousworks, mainly sculptural. I’m questioning my own practice ofsculpture, installation and drawing, through the prism of weight(less)ness,which builds an actual connection to the world and to the act of creation.I’m using the intrinsic property of the material to generate feelings ofweight or lightness. I’m also questioning the act of hanging a work in theexhibition space : nowadays, has suspension become the new pedestal of asculpture ? From the exhibition space to cosmic Space, artwork increasinglygains presence beyond earth’s boundaries, ever since the conquest ofspace. It’s created in Space and for Space : has cosmic Space become thenew place for art? Through figures of falling, of flight, of suspension, ofimaginary spaces, and even figures of invisibility, weight(less)ness builds averitable guiding light through contemporary creation
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Martel-Lupien, Sévryna. "Paysages chimériques : De l'espace perçu à l'espace vécu." Thesis, Université Laval, 2014. http://www.theses.ulaval.ca/2014/30280/30280.pdf.
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Issu d’une réflexion sur notre rapport à l’environnement, à l’espace et au paysage, mon projet de maîtrise propose une réflexion sur l’art in situ dans des lieux extérieurs ainsi que sur les diverses modalités d’interventions en lien avec la nature. Ce faisant, mes travaux tentent de proposer une perception particulière des sites investis. Mon attention se porte sur les rapports dynamiques qui s’établissent entre la nature, le paysage, le site et la culture. Je m’intéresse aux rencontres hétéroclites entre des éléments qui ne proviennent pas du même lieu ainsi qu’aux espaces illusoires que proposent ces rencontres. Mon travail tente d’établir une relation entre l’espace perçu et l’espace vécu par le biais de l’expérience que procurent mes installations. Je m’intéresse à l’art qui est là où l’on ne s’attend ni à le trouver, ni à en faire.
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Laing, Melissa. "Through the transit zone between here and there /." Connect to full text, 2008. http://hdl.handle.net/2123/4027.
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Thesis (Ph. D.)--University of Sydney, 2008.Title from title screen (viewed Apr. 22, 2009) Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy to the Sydney College of the Arts. Includes bibliographical references. Also available in print form.
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Diaz, Ella Maria. "Flying under the radar with the Royal Chicano Air Force: The ongoing politics of space and ethnic identity." W&M ScholarWorks, 2010. https://scholarworks.wm.edu/etd/1539623562.
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This dissertation explores the Royal Chicano Air Force (RCAF), a Chicano/a arts collective that produced numerous murals in Sacramento, CA, for over forty years. Grounded in Mexican and US aesthetic traditions, their murals reflect cultural hybridity and re-imagine US history through a Chicano/a perspective. Many of their works were and are located in Sacramento's Chicano/a barrios, while others occupy interethnic, public space in the vicinity of the State Capitol. By encoding hidden Chicano/a iconographies within each mural, the RCAF offers what scholar Alicia Gaspar de Alba calls "alter-Native" narratives of American history because they posit "Other" views of local history, which trouble larger frameworks of US history.;The exposition begins by exploring the RCAF's origin's-story---or, how the group emerged in the 1960s and '70s Civil Rights Movement, and also in relation to events of the early twentieth century. Both the Mexican Revolution of 1910 and the 1942 Bracero Program in the US impacted Mexican Americans in meaningful ways that resonate in the memories and biographies of the RCAF. After locating the group's historical antecedents, Chapter Two examines the rise of public art in the wake of the 1960s and '70s civil rights era, which reflected ethno-political activism as well as ethnic self-actualization.;Chapter Three explores issues of gender in the RCAF, since most of the artists that comprise the group are male. Chapter Four provides a historical overview of their murals, all of which convey messages and themes of historical inclusion and intervention. Chapter Five proposes a theoretical framework on the notion of 'remapping' and how it's been used in American Studies, Literary Studies and related intellectual fields.;Finally, Chapter Six enacts a remapping by rethinking Sacramento's history according to the murals and historic spaces of the RCAF. as a conclusion, this chapter also charts the RCAF and Chicano/a art's movement into institutional space, both literally---through museum and library collections---and figuratively---in perceptions and paradigms of US art history.
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Nobel, Carl. "There is but one art, and that is the tactics of the combined arms." Thesis, Swedish National Defence College, Swedish National Defence College, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:fhs:diva-44.
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De svenska sjöoperativa helikoptersystemen såg sitt ljus för första gången på 1950-talet. Sedan denna pionjärålder har dessa system varit en del av den svenska marina krigföringen. Men vilken påverkan har de i realiteten haft på denna krigföring och hur har den svenska taktiken påverkats av helikoptersystemen? Syftet med denna uppsats är att är utröna detta genom att belysa tre årtionden som har varit av stor vikt för det svenska marinflyget: 1960-talet, 1980-talet samt 2000-talet.
För att lättare påvisa vilken effekt dessa system har haft på den svenska marina krigföringen så utgår denna uppsats ur den teori som inom krigsvetenskapen kallas för kombinerad bekämpning. Denna teori behandlar de fenomen och fördelar som uppstår då flera vapensystem och/eller vapenslag kombineras för att uppnå en synergieffekt på slagfältet. Vinsten med denna synergieffekt är att befälhavaren lättare kan behålla initiativet och har fler valmöjligheter vid bekämpandet av en fiende. De egna sidans styrka skall i största möjliga mån ställas mot fiendens svagheter.
Uppsatsen visar på att under de specifika årtiondena har de sjöoperativa helikoptersystemen haft en stor betydelse för den svenska marina krigföringen och då framförallt inom området ubåtsjakt. Resultatet av studien visar vidare på att den påverkan som dessa system har haft på krigföringen varierar mellan de olika årtiondena med 1980-talet som de årtionde där påverkan har varit som störst. Tongivande för uppsatsen har varit den ubåtsjakt som bedrivits under de specifika årtiondena men den studie som genomförts i uppsatsen har även belyst andra områden som de sjöoperativa helikoptrarna har påverkat såsom transport, havsövervakning och ytmålspaning. Dock har påverkan här visat sig vara mindre än inom området ubåtsjakt.
The purpose of this study is to examine to what extent the Royal Swedish Navy Fleet Air Arm (RSNFAA), and more specifically the helicopters assigned to this weapons branch, has effected Swedish naval warfare tactics during three separate decades: namely the 1960´s 1980´s and 2000´s.
The study takes its starting point in the theories that war science referrers to as combined arms.
The characteristics of the combined arms theory are to combine different weapon systems and weapon branches to conquer the enemy by attacking his weak spots. By combining weapon systems the commander in question will minimize his own weaknesses on the battlefield and therefore gain the upper hand on the enemy.
This theory gives a good theoretical view when analyzing which impact the Sea based operations- helicopters (SBO) have had during the specific decades that are being examined due to its ability to be applied on both land and naval forces.
Literature on the combined arms theory as well as historical documents over these three decades constitutes the main sources which have been used to carry out the study.
The result of the study shows that the implementing SBO-helicopters in the Swedish naval warfare tactics have had a major effect and more specifically in the AntiSubmarine Warfare (ASuW) area.
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NOVOA, PADRON MARIA TERESA. "Art public, étude de cas : Caracas, Montréal et Paris de 1980 à 1993, suivie d'une proposition personnelle." Paris 8, 1995. http://www.theses.fr/1995PA081108.
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La these qui suit traite de l'art public compris comme oeuvres d'art bidimensionnelles et ou tridimensionnelles, situees dans les espaces publics de la ville, determinant ou etant determines par la morphologie urbaine, et qui, de par leur caractere public, sont constitutives d'oeuvres, patrimoine de la communaute et, en derniere instance, de l'etat qui la represente. L'un des objectifs de ce travail est de decouvrir le processus plastique de quelques experiences d'art public contemporain, realisees aussi bien dans notre pays d'origine, le venezuela, comme en dehors de celui-ci. Pour l'etude de cas, nous avons choisi les villes de caracas, montreal et paris avec les oeuvres suivantes: a caracas: - amenagement dans le metro de petare. - jardin de sculptures dans le parc de l'est; - ensemble de sculptures place venezuela. A montreal: - place berri - parc de sculptures rene levesque. - jardin de sculptures, centre culturel canadien. A paris: - embalage du pont-neuf. - coeur d'honneur du palais royale - axe majeur a cergy pontoise. En fin, nous exposerons nos propre propositions d'intervention dans l'espace public, qui vont dans le sens d'une recherche attentive des demandes emanant de la vie actuelle. Nos propositions personnelles quant a elles, naissent de la necessite de traiter l'espace urbain comme support du langage plastiqueThe following thesis is dealing with public art as a bidimensional or tridimensional piece of art situated in public locations determining or being determined by urban morphology. It's public status is creating the communauty patrimony and at least state patrimony. One of the purpose of this study is to discover the process of some contemporary public art experiences located as well in my own country or abroad. For the case study we choose the towns of caracas, montreal et paris with the following works. Caracas: - intervention in the petare metro - sculpture garden in the parque del est - sculpture composition plaza venezuela. Montreal: - place berri - sculpture park rene levesque - sculpture garden centre culturel canadien paris: - pont-neuf wrapped - patio d'honneur palais royal - major axis cergy- pontoise at least we'll espace our own intervention proposals on public locations. They are taking much care of the actual life needs. Our personnal proposals are dealing with the necessity to work public spaces as the support of art works
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Laing, Melissa Catherine. "Through the Transit Zone : between here and there." Thesis, The University of Sydney, 2008. http://hdl.handle.net/2123/4027.
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It is within the perception, the reality and the problematic of international air travel that this thesis is situated. It argues that a space has been created for international air travel, which is conceptually and physically demarcated from normative social space, the Transit Zone. The thesis examines four sites constituting the Transit Zone using both political and social theory and the analysis of performance and visual artworks that explore, explain or contest aspects of the sites. The first site is concerned with the construction of nation-state territory, population and legal movement. Its physical expression can be found at the border between the Transit Zone and the nation-state. However, its conceptual reach is much more extensive, appearing in immigration policy, national law, international covenants, data-sharing practices and the creation of a space external to, yet within, the nation-state system. This site creates the Transit Zone’s paradoxical position of being excluded from nation-state territory while simultaneously defining it. The second site is premised on the (in)security of civil aviation and explores the striving towards absolute security, and the unachievability of that goal. This is a reflection of the prevalence of (in)security discourses in contemporary society. The third site is created by corporate interest within the airport terminal and the aeroplane. It is the site of logistics and sales, of the passenger functioning both as an object or unit of movement and as a desiring purchasing subject. The fourth site is constructed through the imagination – it is made up of the ideas, cultural dreams and responses that have accreted around the site of the Transit Zone. These intimate and personal responses transform the Transit Zone from a site of function, profit and government control to a vehicle for the construction and realisation of fears, fantasies and rites of passage. This thesis demonstrates that many contemporary issues infuse and surround the Transit Zone. Immigration, national defence, international politics, logistics, social interaction and cultural fantasy all collide there. It explores the complexity of the Transit Zone’s paradoxical collection of sites and systems, which can not be reduced to one single reading. The Transit Zone has evolved, and continues to do so, in response to government and international demands, legal problems, technological advancements, logistical and commercial needs, and social changes. In doing so, its evolution redefines and articulates contemporary concerns. Additionally the thesis reveals an extensive artistic engagement with the Transit Zone and the contemporary concerns it articulates. Art is used as a designated imaginative space that challenges the established reality and the art works discussed change our understanding of the Transit Zone.
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Schrader, Stefanie Ines [Verfasser], and Dr S. [Akademischer Betreuer] Norra. "Assessment of air quality in Northern China by using the COSMO-ART model in conjunction with satellite and ground-based data / Stefanie Ines Schrader. Betreuer: Dr. S. Norra." Karlsruhe : KIT-Bibliothek, 2014. http://d-nb.info/1070584401/34.
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Ryburn, James T. "Missions and mobility configurations for Red Horse /." Maxwell Air Force Base, Ala. : Air Command and Staff College, Air University, 1988. http://handle.dtic.mil/100.2/ADA192526.
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Student report -- Air Command and Staff College, Air University, Maxwell AFB, AL, 1988. Submitted to the faculty in partial fulfillment of requirements for graduation; Sponsor, Col Robert J. Courter, Director, Force development, HQ/DED; Faculty advisor Lt Col Rober L. Peters, ACSC/3823 Stus"Apr 1988" "Report number 88-2300"
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Schiffnederová, Markéta. "LABYRINT." Master's thesis, Vysoké učení technické v Brně. Fakulta výtvarných umění, 2017. http://www.nusl.cz/ntk/nusl-295736.
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In the past, my work was focused on transferring the flat visual element into the space. I turn away from this concept, because as my Master's thesis I chose a Labyrinth. A labyrinth is not primary flat visual element. My final work is free artistic interpretation of this theme. My work based on classical craftsmanship techniques, which I am using in the new way in my work. I understood this theme labyrinth as an something very personal and individual. Because of this, I decide to create sculpture which will fit in to the gallery space and also the space of everyday life. My expression of the Labyrinth has cube shape. The entire sculpture is stitched inside, this stitch create the inside space. In one way this inner space is open and we are free to look inside, in the other hand center of the sculpture is hidden. I want to express a feeling of secrecy, and create tension between outside and inside space of the sculpture.
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Baumann, Judith Marie. "Fabricated Histories (or My American Daydreams)." VCU Scholars Compass, 2005. http://scholarscompass.vcu.edu/etd_retro/144.
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The three print series I completed within the past two years appear hardly related at first. However, these individual bodies of work, when examined chronologically, are continually informed by similar ideas. The most obvious of these is the act of piecing elements together to form something that had previously not existed, yet still influences the original source. In all three series, images are taken from an original source and re-contextualized. The idea of cultural or anthropological landscapes is also a theme throughout my work. Each individual series toyed with the idea of an imaginary or theoretical anthropological landscape in direct comparison to its pre-existing model. These humorous and oftentimes puzzling images are influenced by my over-active imagination, fueled by equal parts pop culture, playful cynicism, and desperate idealism.
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Cassali, Nina Koja. "A responsabilidade empresarial prevista no art. 931 do Código Civil de 2002 aplicada à progressiva inclusão de nanotecnologia no setor de ar condicionado automotivo : uma proposta para aplicação do princípio da precaução e gestão do risco inerente ao uso e descarte de materiais nanoestruturados." Universidade do Vale do Rio dos Sinos, 2017. http://www.repositorio.jesuita.org.br/handle/UNISINOS/6901.
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A presente pesquisa trata da nanotecnologia e suas possíveis implicações no ramo da responsabilidade civil atribuída a empresários e sociedades empresárias pelo Código Civil de 2002, bem como suas resultantes em meio à sociedade. A falta de regulamentação relativa à nanotecnologia e a extensa probabilidade de riscos que representa, somada às diretrizes impostas pelo artigo 931 do CC em vigor, deu azo à proposta de elaboração de um framework baseado nos procedimentos a serem adotados com o fito inicial de dirimir a repercussão nefasta de futura responsabilização, mas acima de tudo, de preservar a saúde humana e ambiental. Para tanto, utilizou-se pesquisa bibliográfica, levantamento de dados e análise de normas internacionais. A pesquisa concluiu acerca do fato de que produtos à base de nanotecnologia fazem parte de uma realidade cada vez mais presente na vida de todos e que está em franca expansão. O desconhecimento acerca da nocividade das nanopartículas engenheiradas já presentes na atmosfera releva-se a razão basilar pela qual todos os estágios da vida útil dos nanomateriais devam ser rigorosamente controlados e analisados, mormente em face de seu potencial tóxico, obstando seus prováveis malefícios tanto quanto possível, para que, sem frustrar o progresso tecnológico, haja a garantia da permanência da vida humana como hoje conhecemos. Sustentado em tais valores, elaborou-se a sugestão de gerenciamento de risco materializado no framework ora proposto.
This research deals with nanotechnology and its possible implications in the field of civil liability attributed to entrepreneurs and business companies by the Civil Code of 2002, as well as its resulting in the society. The lack of regulations related to nanotechnology and the high probability of risks that it represents, together with the guidelines imposed by article 931 of the current CC, gave rise to the proposal of elaboration of a framework based on the procedures to be adopted with the initial intention to resolve the Harmful repercussions of future accountability, but above all, of preserving human and environmental health. For this purpose, bibliographic research, data collection and analysis of international standards were used. The research concluded that nanotechnology-based products are part of a rapidly expanding reality in everyone's life. The lack of knowledge about the harmfulness of the engineered nanoparticles already present in the atmosphere depends on the basic reason why all stages of nanomaterials' life must be rigorously controlled and analyzed, especially in the face of their toxic potential, hindering their probable harms as much as possible , So that, without frustrating technological progress, there is the guarantee of the permanence of human life as we know it today. Based on these values, the risk management suggestion materialized in the proposed framework was elaborated.
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Mollard, Ingrid. "L’homme volant : l’imaginaire aéronautique dans la culture visuelle européenne de 1903 à 1937." Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040054.
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Le monde aéronautique a connu un essor significatif durant les premières décennies du XXe siècle. Propulsé par des avancées technologiques sans précédents, l’aéronautique fut rapidement omniprésente dans tous les secteurs de la vie et de la culture européennes. De la figure du pilote d’aéroplane émergea subtilement, puis avec force, l’image d’un homme robuste et valeureux qui personnifiait son pays. Trouvant un réceptacle favorable dans les héros nés de la Grande Guerre, les gouvernements totalitaires qui émergèrent façonnèrent le pilote comme l’avatar d’un homme idéal. L’imaginaire européen du premier tiers du XXe siècle vit alors naitre « l’homme volant », une facette de « l’homme nouveau », incarnant la grandeur de sa nationAeronautics underwent a significant development during the first decades of the 20th century. Helped by new technological advancements aeronautics quickly became omnipresent in all sectors of the European life and culture. From the figure of the airplane’s pilot emerged subtly, then with strength, the image of a strong and brave man personifying his country. Finding a favorable receptacle in the Great War’s heroes, the totalitarian governments shaped the pilot as the avatar of an ideal man. The European imagination of the first third of the 20th century gave birth to the "flying man", a facet of the “new man”, embodying the greatness of its nation
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Alexis, Norma. "Nonverbal therapy techniques emphasising art in psychotherapy with abuse and trauma clients dissertation [thesis] submitted to Auckland University of Technology in partial fulfilment of the degree of Master of Health Science, 2004." Full thesis. Abstract, 2004. http://puka2.aut.ac.nz/ait/theses/AlexisN.pdf.
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Thesis (MHSc--Health Science) -- Auckland University of Technology, 2004.Appendices not included in e-thesis. Also held in print (96 leaves, col. ill., 30 cm.) in Akoranga Theses Collection (T 616.891656 ALE)
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Harwood, Haupuru. "Characteristics of traditional and contemporary art and design on Auckland urban marae a thesis submitted in partial fulfilment of the requirements for the degree M.A [Master of Arts] (Art and Design), Auckland University of Technology, Te Waananga Aronui o Tamaki Makau Rau, 2003." Full thesis. Abstract, 2003. http://puka2.aut.ac.nz/ait/theses/HarwoodH.pdf.
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Gevart, Louis. "La sculpture et la terre : histoire artistique et sociale du jardin de sculpture en Europe (1901-1968)." Thesis, Paris 10, 2017. http://www.theses.fr/2017PA100016.
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Établir que la sculpture et le jardin suivent une longue histoire commune relève du lieucommun. Au XXe siècle pourtant, le jardin de sculpture est devenu un espace porteur dansl’évolution des arts plastiques. Lieu intermédiaire entre la ville et le paysage, le jardin est un champ d’expérimentation formelle pour les artistes en même temps qu’une propositionmuséale ouverte. La première partie de l’étude porte sur le temps des prototypes (1901-1945),marqué par la diversité des pratiques : le plein air attire autant les sculpteurs questionnant leur rapport à la tradition et à la nature que les collectionneurs qui par leurs choix d’exposition posèrent les jalons d’une histoire de la sculpture en marche. Dans tous les cas, l’ancrage à la terre est fort. La deuxième partie traite de l’affirmation institutionnelle du jardin de sculpture dans la reconstruction (1945-1958). Réel ou imaginaire, le musée de sculpture en plein air est un champ où s’expriment les forces de la sculpture contemporaine et où s’affirment au public les questions sculpturales de l’avant-garde et où s’opère une mutation de la dialectique nature/(s)cul(p)ture. La troisième partie concerne les déplacements du jardin de sculpture (1958-1968) : de la nature à la ville dans une volonté des artistes d’investir pleinement l’espace public et d’acteurs culturels trouvant dans l’architecture un autre « en-dehors », mais aussi de la ville à la nature avec un retour à la terre de collectionneurs et directeurs de musées visionnaires concevant des espaces paysagers spécifiques, posant les prémices d’un art in situ dans le cadre institutionnelIt is generally accepted that sculpture and garden have shared a common history. Throughoutthe 20th century, however, the sculpture garden has become a strengthened space for theevolution of plastic arts. As an intermediate place between city and landscape, the garden isan experimental field both to the artists (in a formal sense) and to the museum (as an openspace). The first part of the dissertation deals with the time of prototypes (1901-1945) whenthe sculpture garden was characterized by its variety. Outdoors, sculptors have questionedtheir relation ton tradition and nature while collectors have put the first steps of a livinghistory of sculpture by their exhibition choices. By all means, their anchoring to the earthremained strong. The second part relates to the growing of the sculpture garden as culturalmodel during the Reconstruction (1945-1958). Whether real or ideal, the open-air sculpturemuseum then turns into a public theatre in which the forces of the contemporary sculpturefind their expression, particularly through the mutation of the nature/(s)cul(p)ture dialectic. At last, the third part deals with the sculpture garden shifts during the 60s (1958-1968). On the first hand, these shifts went from the landscape to the city: the artists would integrate moredirectly the urban space and the curators saw the architecture as another “outside”. On the second hand, they went from the city to the landscape: collectors and museum directors came back to the earth, conceiving specific landscapes for sculpture, laying the foundation of theexpression of an in situ art in the institutional framework
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Sleutels, Frank Jozefus Godefridus Thomas. "Imprinting and gene silencing are in the Air." [S.l. : Amsterdam : s.n.] ; Universiteit van Amsterdam [Host], 2001. http://dare.uva.nl/document/59847.
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Stewart, Terry L. "COAL, GLOBAL WARMING, AND THE CLEAN AIR ACT." CSUSB ScholarWorks, 2014. https://scholarworks.lib.csusb.edu/etd/97.
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In the early 1990s many scientists claimed that there was a scientific consensus that the anthropogenic production of greenhouse gases was causing global warming. Carbon dioxide is produced in far greater quantities than other greenhouse gases. Over 80 percent of the carbon dioxide produced in the United States comes from coal-fired power plants. If global warming is a threat to the welfare and survival of future generations, the United States, as one of the greatest producers of greenhouse gases,has an obligation to reduce its production of these gases.
In order to determine the most effective way to reduce the production of greenhouse gases in the United States, this study examines recent efforts by the Clinton and Obama administrations to reduce greenhouse gas emissions from coal-fired power plants.The Clinton and Obama administrations were selected for this study because both administrations were Democratic, and both had avowed political agendas to reduce greenhouse gas emissions. For the first two years each administration enjoyed the support of Democratic majorities in both Houses of Congress, and they had similar political support for the remainder of their time in office.
This study will show that President Obama’s executive approach to reducing carbon dioxide emissions from coal-fired power plants has been more effective than the legislative approach of the Clinton administration. The study will indicate that a scientific consensus about anthropogenic global warming and the political will to reduce greenhouse gas emissions from coal-fired power plants did not exist during the 1990s. The study also shows that, despite the effectiveness of the Obama administration in reducing carbon dioxide emissions, there are many problems with the executive approach to the problem. The study suggests that the Clean Air Act has ceded to much legislative power to the Executive branch of government, and that success in reducing carbon dioxide emissions from coal-fired power plants is too dependent on the will of the Executive.
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Ward, Karen. "A speech act model of air traffic control dialogue /." Full text open access at:, 1992. http://content.ohsu.edu/u?/etd,228.
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Prevel-Montagne, Corinne. "La représentation des grands hommes dans la sculpture publique commémorative en Bretagne : 1685-1945 : les pratiques, les sculptures et les oeuvres." Rennes 2, 2003. http://www.theses.fr/2003REN20009.
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La @statuaire publique représente un patrimoine artistique considérable longtemps délaissé par l'histoire de l'art. En Bretagne, cent dix-neuf monuments dédiés aux grands hommes sont érigés entre 1685 et 1945. Aux premières commandes royales succèdent des initiatives municipales voire d'origines privées qui dans le choix des artistes et les modes de financement soulignent une pratique de plus en plus démocratique. A la fin du XIXe siècle, la statuomanie inspirée des idéaux égalitaires de la Révolution accompagne la propagande républicaine. En Bretagne, elle connaît une progression plutôt lente jusqu'au second Empire et atteint son âge d'or sous la troisième République malgré quelques réticences légitimistes et religieuses. Les sculpteurs sont tous issus de l'Académie des Beaux-Arts de Paris. Leur production, inspirée par l'œuvre de David d'Angers, demeure longtemps conventionnelle ; mais au début des années 1920, le réveil d'une culture régionaliste donne un second souffle à leur artThe @public statutory represents a large artistic patrimony forsaken for a long time by history of art. In Brittany, on hundred and nineteen monuments have been erected to great men between 1685 and 1945. Initiatives from local councils or private commissions succeed to royal orders. They set up more democratic practices in the choice of the sculptors and the financings. In the end of the ninetenth century, the statue-mania, inspired by the egalitarian ideals of the Revolution, follows republican propaganda. In Brittany, its growth is rather slow til the Second Empire and reaches its golden age during the Third Republic in spite of some legitimist and religious oppositions. All sculptors come from Paris Academy of Art and produce conventional works inspired by David d'Angers. But in the early twenties, the emergence of regional culture give a new inspiration to this sculpture
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Gibson, Lisanne. "Art and Citizenship- Governmental Intersections." Thesis, Griffith University, 1999. http://hdl.handle.net/10072/367010.
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The thesis argues that the relations between culture and government are best viewed through an analysis of the programmatic and institutional contexts for the use of culture as an interface in the relations between citizenship and government. Discussion takes place through an analysis of the history of art programmes which, in seeking to target a 'general' population, have attempted to equip this population with various particular capacities. We aim to provide a history of rationalities of art administration. This will provide us with an approach through which we might understand some of the seemingly irreconcilable policy discourses which characterise contemporary discussion of government arts funding. Research for this thesis aims to make a contribution to historical research on arts institutions in Australia and provide a base from which to think about the role of government in culture in contemporary Australia. In order to reflect on the relations between government and culture the thesis discusses the key rationales for the conjunction of art, citizenship and government in post-World War Two (WWII) Australia to the present day. Thus, the thesis aims to contribute an overview of the discursive origins of the main contemporary rationales framing arts subvention in post-WWII Australia. The relations involved in the government of culture in late eighteenth-century France, nineteenth-century Britain, America in the 1930s and Britain during WWII are examined by way of arguing that the discursive influences on government cultural policy in Australia have been diverse. It is suggested in relation to present day Australian cultural policy that more effective terms of engagement with policy imperatives might be found in a history of the funding of culture which emphasises the plurality of relations between governmental programmes and the self-shaping activities of citizens. During this century there has been a shift in the political rationality which organises government in modern Western liberal democracies. The historical case studies which form section two of the thesis enable us to argue that, since WWII, cultural programmes have been increasingly deployed on the basis of a governmental rationality that can be described as advanced or neo-liberal. This is both in relation to the forms these programmes have taken and in relation to the character of the forms of conduct such programmes have sought to shape in the populations they act upon. Mechanisms characteristic of such neo-liberal forms of government are those associated with the welfare state and include cultural programmes. Analysis of governmental programmes using such conceptual tools allows us to interpret problems of modern social democratic government less in terms of oppositions between structure and agency and more in terms of the strategies and techniques of government which shape the activities of citizens. Thus, the thesis will approach the field of cultural management not as a field of monolithic decision making but as a domain in which there are a multiplicity of power effects, knowledges, and tactics, which react to, or are based upon, the management of the population through culture. The thesis consists of two sections. Section one serves primarily to establish a set of historical and theoretical co-ordinates on which the more detailed historical work of the thesis in section two will be based. We conclude by emphasising the necessity for the continuation of a mix of policy frameworks in the construction of the relations between art, government and citizenship which will encompass a focus on diverse and sometimes competing policy goals.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Film, Media and Cultural Studies
Arts, Education and Law
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Kwok, Sheung-yam, and 郭尚鑫. "Air pollution and environmental injustice in Hong Kong : are socially deprived groups exposed to more air pollution?" Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hdl.handle.net/10722/194553.
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Environmental injustice has received high attention in the field of environmental studies. The concept of environmental justice is well defined within different academic disciplines. It refers to the rightness, fairness, and equity that a person in his own living environment is entitled to. In contrast, environmental injustice refers to the failure for one to receive the environmental justice that he is entitled to. Environmental injustice has been well substantiated by numerous international studies and evidenced in many countries overseas. A key question thus emerges: Is environmental injustice well evidenced in Hong Kong?
Air pollution presents a major environmental challenge to the socially deprived communities both internationally and locally. Whilst the relationship between air pollution and social deprivation is well established internationally, given the strong evidence supporting the hypothesis that the socially deprived are exposed to more air pollution, the validity of such claim in the local context is not as obvious. Existing local studies investigating the relationship between air pollution and social deprivation are limited by, first, the lack of fine-grained air pollution data at a smaller geographical scale, which constrains the observation and conclusion of such hypothesis at a more refined geographical scale (Stern, 2003) and second, a stronger tendency to focus on the vulnerability of air pollution on different socio-economic spectrums (C. M. Wong et al., 2008). The current study aims to close the research gap by (a) developing a sophisticated methodology to enhance the collection and analysis of air pollution data at the Territorial Planning Unit, (b) examining the relationship between air pollution exposure and social deprivation at the TPU level, and (c) examining whether environmental injustice in relation to air pollution exists in Hong Kong. Our key research questions thus include the following:
(1) Are the socially deprived in Hong Kong exposed to more air pollution?
(2) Can we break through the existing methodological constraint and develop a brand new sophisticated air pollution data estimation methodology to interpolate air pollution at a smaller geographical scale?
(3) If (1) is positive, would the exposure to more air pollution by the socially deprived in Hong Kong constitute the case of environmental injustice?
A more sophisticated and accurate air pollution estimation methodology to estimate air pollution at a smaller geographical scale with the least root mean square error (RMSE) as compared to other key traditional models is introduced. The model identifies key spatial factors that affect the dispersion of air pollution in Hong Kong. By regression analysis, it is shown that the relationship between exposure to air pollution and social deprivation is positive and statistically significant. Both NO2 and PM10, the two major road-based pollutants, are positively correlated with the social deprivation index (for NO2: coefficient=0.4404 R= 0.6937, p<0.01; for PM10: coefficient = 0.4185, R = 0.6430, p<0.01). This leads to the conclusion that the socially deprived in Hong Kong are exposed to more air pollution, thus establishing the case of environmental injustice.
This study has generated a key methodological breakthrough by developing a sophisticated air pollution estimation model that generates more accurate and fine-grained air pollution data at the TPU level – which was not previously available due to the limited number of air pollution monitoring stations in Hong Kong. This methodology allows the pursuit of social-economic air pollution study at a more refined geographical scale. The study strongly points to the existence of air-pollution related environmental injustice in Hong Kong. It calls for the Hong Kong Government to immediately address this under-researched and long neglected social-environmental problem, by formulating and implementing effective policies based on the fine-grained air pollution and socio-economic data, and the evidence generated from this study.published_or_final_version
Environmental Management
Master
Master of Science in Environmental Management
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Hancock, Jan Mark Michael. "Are there environmental human rights?" Thesis, University of Southampton, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.369874.
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Fitzpatrick, John S. "Expeditionary airfield operations laying the foundation for future success /." CLICK HERE TO VIEW:, 2004. https://research.maxwell.af.mil/papers/ay2004/ari/fitzpatrick.pdf.
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Menhinick, Richard Temple. "Sea control & maritime projection for Australia maritime air power and air warfare /." Access electronically, 2003. http://www.library.uow.edu.au/adt-NWU/public/adt-NWU20040730.161702/index.html.
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Junqueira, Lilian Maus. "(Des)apre(e)nder o ver com a paisagem: a expedição pela Paragem das Conchas." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2016. http://hdl.handle.net/10183/159359.
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Esta pesquisa nasce do encontro do olhar-expedicionário, sempre curioso e disposto a relacionar arte e ciência, com a Paragem das Conchas - nome atribuído à primeira sesmaria do Rio Grande do Sul, que corresponde hoje a um conjunto de municípios, dentre os quais, está Osório – lugar onde se desenvolvem as incursões aqui analisadas, entre os anos de 2012 e 2016. As experiências começam no ateliê, que funciona como um jardim onde se cultiva a linguagem do desenho, até que este lugar de produção de imagens abre-se e passa a ser compreendido como um observatório da natureza, fundindo-se, ao final, com a própria floresta. A principal pergunta que surge daí é: como se dá essa relação entre o ver e o conhecer a partir das experiências fenomenológicas com a paisagem que o meu trabalho artístico (obras em desenho, poesia, fotografia, objetos e instalação) proporciona? As rotas e o instrumental utilizados para as observações foram sendo redefinidos no próprio andar, como se fosse um Caminho de Peabiru, esse conjunto de trilhas indígenas cultivadas pelos Incas, que ligavam o Oceano Pacífico ao Atlântico. No andamento, foi preciso desaprender a ver o que eu pensava saber e aprender a ver o que não sabia que existia. O conjunto de trabalhos aqui apresentados forma um atlas onde procuro transmutar essas vivências por meio da linguagem poética. A narrativa divide a expedição em três momentos: Estudos sobre a terra | Estudos sobre a água | Estudos sobre o vento. A ação de expedir é interpretada em seu sentido literal de “liberar os pés das cadeias”. A pesquisa está dividida em dois volumes. No TOMO I apresento um percurso teórico em que o sol metaforiza, inicialmente, a relação entre o ver e o conhecer e, passo a passo, vai sendo eclipsado pela imagem da fogueira, que provoca uma queima de arquivo em que é necessário transmutar as memórias. O TOMO II é um livro de artista concebido a partir das travessias por TERRA (“Inventário de Fauna e Flora” e “Herbarium”), ÁGUA (“Travessia de Beija-Flor por águas doces”) e AR (“Tipologia do Mar – Escala Beaufort” e “Tipologia das nuvens – L. Howard”).This research was created from the meeting of the expeditionary perspective, always curious and open to connect art and science, and Paragem das Conchas - the name given to the first sesmaria in Rio Grande do Sul - which today corresponds to a few different cities, amongst them Osório - the chosen spot for this expedition, which took place between 2012 and 2016. The experiences begin in the studio, which acts as a garden to cultivate the drawing language, till this image-production site opens up to be acknowledged as a nature observatory, ultimately merging with the forest itself. The main question that arises from that is: how does the relationship between seeing and knowing from phenomenological experiences in the landscape that my artistic work (drawing, poetry, photography, objects and art installation) provides me presents itself? The routes and instruments used in the observational trips were redefined while they were happening, such as in Caminho de Peabiru, the indigenous trails created by the Incas connecting the Pacific Ocean to the Atlantic. As the project went on, I had to unlearn how to see what I thought I knew and learn how to see what I did not know existed. The body of work presented here forms an atlas where I seek to transmute those experiences into a poetic narrative. The expedition was divided between three installments: Studies of the earth | Studies of the water | Studies of the wind. “Expedition” is interpreted here in a literal sense, that of “freeing the feet from the chains.” The research is divided in two volumes. In TOME I the theoretical path is presented, initially, in a way in which the sun acts as a metaphor of the relationship between seeing and knowing and, gradually, is eclipsed by the image of the bonfire, which leads to an indispensable documentation burning in order to transmute memories. TOME II is an artistic book created from crossings through land (“Inventário de Fauna e Flora” and “Herbarium”), water (“Travessia de Beija-Flor por águas doces”) and air (“Tipologia do Mar – Escala Beaufort” and “Tipologia das nuvens – L. Howard”).
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Weir, Philip Anthony. "The development of naval air warfare by the Royal Navy and Fleet Air Arm between the two world wars." Thesis, University of Exeter, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.438343.
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Jovanovic, Lynda Eileen. "Clientelism and the United States Clean Air Act, the 1990 amendments." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0021/MQ37560.pdf.
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Chamberlain, Adeena M. "How does art, analogy, and mental imagery aid in cognitive development." Online pdf file accessible through the World Wide Web, 2007. http://archives.evergreen.edu/masterstheses/Accession89-10MIT/Chamberlain_A%20MITthesis%202007.pdf.
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Jahnke, Todd Eric. "By Air Power Alone: America's Strategic Air War in China, 1941-1945." Thesis, University of North Texas, 2001. https://digital.library.unt.edu/ark:/67531/metadc2800/.
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During World War II, the Army Air Force waged three strategic air offensives in and from China against Japan. At first, the Flying Tigers and 10th Air Force constituted the whole of American aid to China, but the effort soon expanded. Supported by Chiang Kai-shek, Claire Chennault and his 14th Air Force waged an anti-shipping campaign, to which the Japanese Imperial Army responded with Operation Ichigo and against which Joseph Stilwell accurately warned. 20th Bomber Command used B-29s to wage Operation Matterhorn, failed, and later conducted PACAID missions. 14th Air Force then waged a counterproductive transportation campaign as The Pacific War, also known as the Greater East Asian War, ended. Events in the China-Burma-India and China Theaters provide lessons in logistics, targeting, training, and air-ground cooperation that are applicable in the post-Cold War era.
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Majlund, Åsa. "Konsekvensanalys av olika förändringar i intäktsrams-regleringen avseende hänsyn till leveranssäkerhet." Thesis, KTH, Elektroteknisk teori och konstruktion, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-228390.
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The distribution of electricity is a natural monopoly. The infrastructure of the electricity grid is divided into areas and the distribution system operator (DSO) has concession for the distribution of the defined area. The concession is governed by laws and regulation.The Swedish Energy Markets Inspectorate (Ei) is the national regulatory authority. The continuity of supply of electricity is a part of the regulation. The incentive is given by a revenue cap regulation which may result in a reward or penalty.The performance indicators are a measure of the continuity of supply and used in the calculation of the revenue cap regulation.The Master thesis aims to specify the possible consequences for the electricity distribution system operators and their customers utilizing the electricity grid in case of a change of the current methods used to measure the continuity of supply in Sweden.With the current methods, the Ei regulation for year 2016-2019, is the continuity of supply in the local electrical grid estimated from a view where each disruption is treated equal and therefore is SAIFI and SAIDI used. In the regional electrical grid is another method used to measure the continuity of supply, estimated from a view where the loss of supplied energy is considered, therefore uses PNS and ENS. In the documentation is the term ILE used for ENS and ILEffekt for PNS.The Master thesis is constructed to analyze new performance indicators for the local and regional distribution grid. The new performance indicator is the mathematically instrument to measure the continuity of supply and is supported by analytically advantages and disadvantages.The result shows the choice of performance indicators cause a great impact in the revenue cap regulation. AIT, AIF corresponds to ENS and PNS, respectively, divided by power. The three most important results are given by:1. Mathematical and theoretical results show that ENS, PNS are not good indicators individually or in combination with SAIDI, SAIFI and CEMI4 as power consumption within each customer group varies in the local electrical grid.In the regional electrical grid, power consumption may also vary between the norm period and the supervisory period, which means that ENS, PNS can sometimes be misleading.2. The inclusion of power disruption over 12 hours generate stronger incentives in the regulation. Because it requires long term planning to avoid interruptions exceeding 12 hours. The difference is shown mainly in local electrical grid with the indicators SAIDI, SAIFI and CEMI4 and gives a slight increase in rewards in the regulation. This affects the DSO’s and their customers with a marginal difference.3. In the short term, the introduction of AIT, AIF as quality indicators means that customers who consume more power within their customer group get higher-value interruptions. An interruption of a high-consumption customer would then be prioritized compared to a customer with a lower consumption. One way to counteract this is to use CEMI4, in order to capture these customers' interruptions in the regulation.In the long term, the regulation does not become cyclically sensitive, meaning that reasonable rewards or penalties are made. This should benefit a long-term planning of the electrical grid, as the DSO’s do not have to compensate for this.Det elektriska distributionsnätet är ett naturligt monopol. Infrastrukturen av nätet är uppdelat i områden och där nätägaren har nätkoncession för området som omfattas. Koncessionen är styrd av lagar och reglering.Energimarknadsinspektionen (Ei) är en tillsynsmyndighet som arbetar med uppdrag från regeringen. En del av tillsyn för energimarknaden, är reglering av leveranssäkerhet i det elektriska distributionsnätet. Incitamentet i regleringen ges av intäktsramens begränsning vilket kan resultera i en ökning eller minskning av intäktsramen.Kvalitetsindikatorer är ett matematiskt verktyg för att mäta leveranssäkerhet och används i regleringen av intäktsramen.Examensarbetet syftar till att synliggöra de möjliga konsekvenserna för nätföretagen respektive deras kunder av olika förändringar av de mätmetoder som används för att uppskatta leveranssäkerhet.De mätmetoder som används styrs av indikatorer. Indikatorer som mäter antal avbrott per totalt antal kunder kallas SAIFI. Indikatorer som mäter tid för dessa avbrott per totalt antal kunder kallas SAIDI. En annan metod är att de ingående indikatorerna ska mäta icke levererad energi eller effekt och då kallas de ILE respektive ILEffekt.Energimarknadsinspektionen har inför reglerperioden år 2016-2019 tillämpat SAIDI och SAIFI för kunder kopplade till lokalnät och ILE och ILEffekt för kunder och gränspunkter inom regionnätetExamensarbetet är utformat för att analysera nya typer av kvalitetsindikatorer i lokalnät och regionnät. De nya kvalitetsindikatorerna är olika matematiska verktyg för att mäta leveranssäkerheten och motiveras med analytiska för- och nackdelar.Resultatet visar att valet av indikator har stor betydelse i intäktsramens reglering. AIT, AIF motsvarar ILE respektive ILEffekt dividerat med effekt. De tre viktigaste resultaten ges av:1. Matematiska och teoretiska resultat visar att ILE, ILEffekt är inte bra indikatorer enskilt eller i kombination med SAIDI, SAIFI och CEMI4 då effektförbrukningen inom varje kundgrupp varierar för lokalnät.I regionnät så kan effektförbrukningen också variera mellan normperiod och tillsynsperiod vilket ger att ILE, ILEffekt ibland kan bli missvisande.2. Avbrott över 12 timmar genererar ett starkare incitament i regleringen. Eftersom det kräver långsiktig planering för att undvika avbrott som överstiger 12 timmar. Skillnaden visas främst i lokalnät med indikatorerna SAIDI, SAIFI och CEMI4 och ger en svag höjning av tillägg i regleringen sett på en systemnivå. Det påverkar nätföretagen och deras kunder med en marginell skillnad.3. På kort sikt innebär införandet av AIT, AIF som kvalitetsindikatorer att de kunder som förbrukar mer inom sin kundgrupp får högre värderade avbrott. Ett avbrott hos en kund med hög förbrukning skulle då prioriteras före en kund med lägre förbrukning. Ett sätt att motverka detta är att använda CEMI4 för att fånga upp dessa kunders avbrott i regleringen.På lång sikt innebär det att regleringen inte blir konjunkturkänslig, vilket innebär att rimliga tillägg eller avdrag görs. Det borde gynna en långsiktig planering av elnätet då elnätsföretagen inte behöver kompensera för detta inom regionnäten och lokalnäten.
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Annaballi, RonJon. "A multiple ant colony metaheuristic for the air refueling tanker assignment problem." View thesis, 2002. http://handle.dtic.mil/100.2/ADA400201.
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Thesis (M.S.)--Air Force Institute of Technology, 2002.Title from title screen (viewed Oct. 28, 2003). Vita. "AFIT/GOR/ENS/02-01." Includes bibliographical references (leaves 84-86). Also issued in paper format.
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Gibson, Lisanne, and L. Gibson@mailbox gu edu au. "Art and Citizenship- Governmental Intersections." Griffith University. School of Film, Media and Cultural Studies, 1999. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20030226.085219.
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The thesis argues that the relations between culture and government are best viewed through an analysis of the programmatic and institutional contexts for the use of culture as an interface in the relations between citizenship and government. Discussion takes place through an analysis of the history of art programmes which, in seeking to target a 'general' population, have attempted to equip this population with various particular capacities. We aim to provide a history of rationalities of art administration. This will provide us with an approach through which we might understand some of the seemingly irreconcilable policy discourses which characterise contemporary discussion of government arts funding. Research for this thesis aims to make a contribution to historical research on arts institutions in Australia and provide a base from which to think about the role of government in culture in contemporary Australia. In order to reflect on the relations between government and culture the thesis discusses the key rationales for the conjunction of art, citizenship and government in post-World War Two (WWII) Australia to the present day. Thus, the thesis aims to contribute an overview of the discursive origins of the main contemporary rationales framing arts subvention in post-WWII Australia. The relations involved in the government of culture in late eighteenth-century France, nineteenth-century Britain, America in the 1930s and Britain during WWII are examined by way of arguing that the discursive influences on government cultural policy in Australia have been diverse. It is suggested in relation to present day Australian cultural policy that more effective terms of engagement with policy imperatives might be found in a history of the funding of culture which emphasises the plurality of relations between governmental programmes and the self-shaping activities of citizens. During this century there has been a shift in the political rationality which organises government in modern Western liberal democracies. The historical case studies which form section two of the thesis enable us to argue that, since WWII, cultural programmes have been increasingly deployed on the basis of a governmental rationality that can be described as advanced or neo-liberal. This is both in relation to the forms these programmes have taken and in relation to the character of the forms of conduct such programmes have sought to shape in the populations they act upon. Mechanisms characteristic of such neo-liberal forms of government are those associated with the welfare state and include cultural programmes. Analysis of governmental programmes using such conceptual tools allows us to interpret problems of modern social democratic government less in terms of oppositions between structure and agency and more in terms of the strategies and techniques of government which shape the activities of citizens. Thus, the thesis will approach the field of cultural management not as a field of monolithic decision making but as a domain in which there are a multiplicity of power effects, knowledges, and tactics, which react to, or are based upon, the management of the population through culture. The thesis consists of two sections. Section one serves primarily to establish a set of historical and theoretical co-ordinates on which the more detailed historical work of the thesis in section two will be based. We conclude by emphasising the necessity for the continuation of a mix of policy frameworks in the construction of the relations between art, government and citizenship which will encompass a focus on diverse and sometimes competing policy goals.