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Norling, Per. "Förfalskningens lockelse : Analys av två svenska brottsmål om bedrägeri och signaturförfalskning." Thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-310205.
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The purpose of the paper is to present work patterns from two perspectives, the art expert´s and art forger´s, as the patterns can be retrieved from two Swedish criminal cases of fraud, the case "T" and the case "M". A minor purpose is to create a knowledge base extracted from literature regarding more general work patterns used by art experts when they work with attribution. The method used can best be named descriptive. Forged artwork from nine artists are described and comments on the fake procedures are provided from buyers, forgers/sellers, middlemen (auction houses), police, prosecutors, experts, lawyers and the Stockholm District Court. The result in the paper can be summarized as follows: 1/ General work patterns with attribution: The track-paradigm is governing the expert´s work. As a start we have a time-setting, by identifying general style patterns in the artwork. Then there is a search for a possible geographical area where the work could have been created, and also a search for art schools and artist groups in that area. If a possible attribution of the work to an artist can be done, a search starts for that artist´s characteristics when it comes to motive, color selection, composition, figures, brush movements etc. Different types of physical measurements and tests can provide a complement to the qualitative analysis. The signature, if there is one, is examined and the provenance for the work is searched for. Information about the work in different archives can strengthen the results. 2/ “T” & “M” - the art expert´s patterns: All experts go directly to the alleged artist for a critical analysis of the specific work. First an overall evaluation is done, and that is often sufficient to reject the work. If necessary, details in the work are examined. If a signature is present, it is examined and compared with genuine ones. In some cases, technical studies are used to reach a definitive verdict. The police focus is to identify inaccuracies and fakes in the sales information, and to show efforts to hide information. 3/ “T” & “M” - the forger’s patterns: Art works from recent years are used as models for the creation of pastiches. Craftsmanship is toned down. Pitfalls are being circumvented by selection of genuine material ingredients and selection of secure image content related to the chosen artist. There is a thorough work with information creation to ensure the prospective buyer's desire for proof of authenticity. In parallel there is a work with cover up, and to secure information gaps.
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Maclean, Ewan. "False images : a social history of art forgery." Thesis, University of Edinburgh, 1990. http://hdl.handle.net/1842/19082.
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This thesis considers the history of art forgery in the Western world and the social conditions which produce the practice. The main concentration is on paintings and sculpture, but other areas, including 'antiques', are included where appropriate. The thesis is divided into three parts. The first part outlines the history of art forgery from its origins during the Roman Empire to the present day. The primary concern is with uncovering the development, extent and location of art forgery, rather than a detailed consideration of particular cases. It is shown that art forgery is not a universal practice, but is historically and culturally limited to the hellenistic and Roman world and, until recently, Europe since the Renaissance. The second part of the thesis explains the immediate conditions and circumstances which are necessary before art forgery will occur. These are shown to be the valuing of works of art as coming from a particular historical moment, culture or artist; positive distinction being made in favour of 'original' works over copies; and an adequate system of appropriation (found in collecting). The developments of these conditions are considered in turn. The third and last part takes the analysis a stage further, and looks at the economic and social structures on which the immediate conditions set out in the second part arc based. Here individualisalion and commodificalion, central to ihc structure of capitalism, arc shown to have been influential in changing the position of the artist and nature of art in society. Also of importance, it is argued, was the "crisis of status" which followed the dismantling of feudal hierarchy. This is related, utilising Bourdicu's work on 'distinction', to the need for groups in the more fluid social relations of modern society to distinguish and distance themselves from others, and to define and protect their status. It is shown that art has a central role to play here, and that forgery partly occurs as a consequence of this.
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Garvin, Kaitlyn. "A Genuine Dilemma: The Piombino Apollo and Fraud in the First and Second Century Greco-Roman Art Market." Thesis, University of Oregon, 2016. http://hdl.handle.net/1794/20470.
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In 1832, fishermen pulled a full-body bronze sculpture of a youth, now called the Piombino Apollo, from the sea near ancient Populonia. Under life-size, the piece resembles an Archaic kouros, though it has some notable unusual features including an inscription dedicating the supposed image of Apollo to Athena and the signatures of two artists found on a lead tablet hidden within the hollow bronze. These unusual features led scholars to eventually reclassify the piece from an Archaic work of the fifth century to an Archaistic forgery of the second or first century.
Few have challenged this reclassification, but this thesis attempts to complicate the application of the word forgery to the Piombino Apollo. Further, it examines whether a contemporary buyer would have been fooled by the sculpture’s “deceptive” traits and offers alternative possibilities to account for the artists’ choices of style, pose, and inscriptions.
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Hatch, Marci Joy. "The value of forgeries, a meaningful tool of art historical study." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/MQ30677.pdf.
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Iacovone, Michael Dax. "Memories We Forget." VCU Scholars Compass, 2005. http://hdl.handle.net/10156/1875.
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Shipe, Rebekah C. "Authenticity, Originality and the Copy: Questions of Truth and Authorship in the Work of Mark Landis, Elizabeth Durack, and Richard Prince." University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1337265281.
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Orengo, Lionel. "Forges et forgerons dans les habitats laténiens de la Grande Limagne d'Auvergne : fabrication et consommation de produits manufacturés en fer en Gaule à l' âge du fer /." Montagnac : M. Mergoil, 2003. http://catalogue.bnf.fr/ark:/12148/cb392360330.
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Hedtke, Travis. "Don't forget about teen fathers what programs are available? /." Menomonie, WI : University of Wisconsin--Stout, 2004. http://www.uwstout.edu/lib/thesis/2004/2004hedtket.pdf.
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Mockford, Jack. "'They are exactly as bank notes are' : perceptions and technologies of bank note forgery during the Bank Restriction Period, 1797-1821." Thesis, University of Hertfordshire, 2014. http://hdl.handle.net/2299/15308.
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Previous studies of Bank Note forgery in England during the Bank Restriction Period have adopted a highly institutional focus. Thus, much is known about the role played by both the Bank of England and the workings of the criminal justice system in combating both forgers and forged note utterers. The question of how the new system of small denomination Bank Notes impacted upon the day to day lives and understandings of the people that used them has received far less attention. The actual means by which Bank Notes were themselves forged has also been overlooked. This has led to a somewhat two-dimensional view of these notes as material objects. This thesis will engage with common mentalities and perceptions, seeking to write a 'new history from below' of both Bank Notes and their forgery in this period. Its primary aims will be to explore the question of why the English people were so easily imposed upon by forged Bank Notes; the various means by which forged notes could be constructed; and what an analysis of both of these points can tell us about economic and social understandings of non-elite people at this time. It will be argued that by studying instances in which small denomination Bank Notes were routinely exchanged, we can highlight a significant dichotomy of understanding in a society that was starting to engage with a new culture of promise based fiduciary paper money, yet was still deeply rooted in early-modern notions of paper instruments as objects of personal credit and debt. The thesis will show that heavy exposure to Bank Notes at this time clearly equipped some contemporaries with their own personalised sets of aesthetic and material "standards", against which the "goodness" of any monetary instrument with which they were presented would be compared. Others continued to examine the material aspect of Bank Notes via a direct comparison or consultation with others. Neither approach was always successful and indeed whatever method was adopted, the common occurrence of the materials and technologies required to construct a credible imitation of a Bank Note meant that it was not just illiterate persons that were susceptible to being deceived. Even a reading of the Bank Note's literate text failed to provide sufficient defence against the activities of the forger.
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Steinkamp, Mirja. "Die Eisenhütte Gittelde, 1700-1787 : eine betriebswirtschaftliche Untersuchung /." Stuttgart : F. Steiner, 1997. http://catalogue.bnf.fr/ark:/12148/cb371196743.
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Cantelaube, Jean. "La forge à la catalane dans les Pyrénées ariégeoises, une industrie à la montagne, XVII-XIX siècle /." Toulouse : CNRS-Université de Toulouse-Le Mirail, 2005. http://catalogue.bnf.fr/ark:/12148/cb39956475n.
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Texte remanié de: Thèse de doctorat--Histoire des techniques--Toulouse 2, 2002. Titre de soutenance : Forge à la catalane et forgeurs ariégeois, la longue fidélité des Pyrénées à la réduction directe du minerai de fer, XVIIe-XIXe siècle.<br>Bibliogr. p. 741-787. Index.
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Davis, Rachel Andrea. "If I forget you, it doesn't mean I didn't love you." Kent State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=kent1501461061076469.
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Girak, Susan. "forget me not: An exhibition –and– Creative Reuse: How rescued materials transformed my A/r/tographic practice: An exegesis." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2015. https://ro.ecu.edu.au/theses/1618.
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This thesis, comprising of a written exegesis, solo exhibition and an artist book, emerged from research undertaken by an artist-researcher-teacher. For that reason, a/r/tography was the overarching methodology used, incorporating a bricolage of methods to address a multifaceted study undertaken in two settings: a primary school classroom and an artist’s studio. A/r/tography is a multilayered interdisciplinary Arts education research methodology that correlates well with my expertise as a primary Visual Arts specialist. The methodology allowed me to immerse myself in both teaching and the artmaking process, as ways of gaining a deeper understanding of Visual Arts pedagogy. The purpose of the study was to examine what the impact of making art with discarded materials had on raising environmental consciousness, from the viewpoint of an artist-researcher-teacher. Additionally, this research was positioned within the United Nations Decade of Education for Sustainable Development (2005–2014) and Sustainability, a cross-curriculum priority in the Australian Curriculum. The aim of this research was to show that Visual Arts is an effective way to embed Sustainability in the curriculum.
In a two-phase study, the role of artmaking to facilitate shifts towards sustainability was investigated among 12-year-olds and myself in my creative praxis. In Phase One, 20 primary school students, from an area of high socio-economic advantage, participated in a 10-session Visual Arts program, using discarded materials to make and exhibit artworks with an environmental focus. Then, as an artist, I followed the same brief as the students, resulting in an exegesis and two creative components: an artist book incorporated into the exegetical writing and a solo exhibition at Edith Cowan University’s Spectrum Project Space in October 2014.
This study showed that the creative reuse of discarded materials promoted reflexivity and raised sustainable awareness, leading to positive attitudinal and behavioural shifts in both the students and myself. The outcome of my creative component was a catalyst for shifts in the way I made art and the way I taught Visual Arts. By immersing myself in the artmaking process, I questioned unsustainable artmaking processes and moved towards reducing my own environmental footprint. The symbiotic nature of a/r/tography meant that new knowledge gained in the studio could be transferred to the classroom. The results of the research are presented through this exegetical writing and an exhibition, which included: returning to techniques that promoted reflexivity; exploring the ephemeral through photography; and demystifying the artmaking process through an artist book. The most significant finding of this study was that the physical act of artmaking enabled the students and me to re-examine our behaviours and to reconsider the value of discarded materials, which in turn triggered shifts in our awareness towards sustainability.
Self-initiated behavioural shifts in the students included reusing materials and reducing consumption. Further, the students were able to make personal connections between their behaviours and their environmental footprints. This has implications for teachers integrating Sustainability. Arts-led education provides an alternative approach to teaching Sustainability across the curriculum. A set of recommendations arising from the research include: to provide support mechanisms to assist in-service teachers to implement Visual Arts-led Sustainability programs in primary schools; to introduce a/r/tography into pre-service teacher training; and for REmida WA to provide professional learning to support innovative, low-cost, multimodal in-service teacher training for Visual Arts-led Sustainability programs.
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Roosa, Jacob Bradley. "Sound and Silence in the Forge: Work, Space, and Communication in Early Cistercian Monasticism." Oberlin College Honors Theses / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1495920988480644.
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Rossel, Pierre. "Fer, forgerons et folklore : approche ethnologique d'une société rurale en mutation /." Cousset (Suisse) : Éd. Delval, 1990. http://catalogue.bnf.fr/ark:/12148/cb35501103g.
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LaViolette, Adria. "Ethno-archaeology in Jenné, Mali : craft and status among smiths, potters and masons /." Oxford : Archaeopress, 2000. http://catalogue.bnf.fr/ark:/12148/cb371991584.
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Texte remanié de: Ph.D. diss.--Saint Louis, Mo.--Washington University, 1987. Titre de soutenance : An archaeological ethnography of blacksmiths, potters, and masons in Jenné, Mali (West Africa).<br>Glossaire. Bibliogr. p. 149-156.
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Wodon, Bernard. "Florilège du fer forgé liégeois au XVIIIe siècle /." Liège : P. Mardaga, 1988. http://catalogue.bnf.fr/ark:/12148/cb37500179r.
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Texte remanié de: Th. de doct.--Histoire de l'art et archéologie--Louvain--Université catholique, 1986. Titre de soutenance : Le style liégeois en serrurerie monumentale au XVIIIe siècle : essai de catalogue raisonné.<br>Notes bibliogr. p. 217-229. Index.
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Clement, Edith. "Les Hommes et les forges dans le bailliage de Chaumont du seizième au dix-huitième siècle." Lille 3 : ANRT, 1989. http://catalogue.bnf.fr/ark:/12148/cb37596763b.
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Alcorn-Oppedahl, Allison A. (Allison Ann). "A Study of Style and Influence in the Early Schools of Violin Making Circa 1540 to Circa 1800." Thesis, North Texas State University, 1987. https://digital.library.unt.edu/ark:/67531/metadc501217/.
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Chapter I of this thesis details contemporary historical views on the origins of the violin and its terminology. Chapters II through VI study the methodologies of makers from Italy, the Germanic Countries, the Low Countries, France, and England, and highlights the aspects of these methodologies that show influence from one maker to another. Chapter VII deals with matters of imitation, copying, violin forgery and the differences between these categories. Chapter VIII presents a discussion of the manner in which various violin experts identify the maker of a violin. It briefly discusses a new movement that questions the current methods of authentication, proposing that the dual role of "expert/dealer" does not lend itself to sufficient objectivity. The conclusion suggests that dealers, experts, curators, and musicologists alike must return to placing the first emphasis on the tradition of the craft rather than on the individual maker.
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Almquist, Peter. "Red forge : Soviet military industry since 1945 /." New York (N.Y.) : Columbia university press, 1990. http://catalogue.bnf.fr/ark:/12148/cb355310463.
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Heinry, Hervé. "L’élève empêché : comment les qualifications médicosociales forgent les trajectoires sur un territoire." Thesis, Paris, EHESS, 2020. http://www.theses.fr/2020EHES0029.
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Cette thèse a pour objet l’étude du fonctionnement du système médico-social français de prise en charge de l’enfance handicapée. À partir de l’étude de trajectoire d’enfants passés par les instituts thérapeutiques éducatifs et pédagogiques, et un foyer de l’enfance, elle révèle un fonctionnement fondé sur les normes scolaires et les interactions de l’école avec l’offre médico-sociale de proximité. De ce processus dépend l’appropriation territoriale de qualifications fixées au code de l’action sociale et des familles dont la faiblesse permet d’importantes variations locales. Outre une sociologie de l’action sanitaire et médico-sociale, et de l'enfance, cette recherche montre aussi la complexité qu’ont les familles de classe populaire à pouvoir réellement choisir dans ce système piloté par l’offre<br>The aim of this research is to analyse how the health care needs of disabled children are covered under the French health care system.The research follows the trajectory in educational and therapeutic institutions and in children’s homes, revealing a system founded on academic policies, practices and interactions between schools and their local care services.The research reveals a system based on territorial cohesive requirements set forth by the Social Action and Family Code, lacking in territorial cohesion and varying largely from one locality to another. In addition to the paradigm of children in the sociology of health, this research highlights the complexity of choice faced by the majority of working class families’ in a system piloted by choice
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Ferraro, Antonella. "Per una storia della falsificazione epigrafica. Problemi generali e il caso del Veneto." Doctoral thesis, Università degli studi di Padova, 2014. http://hdl.handle.net/11577/3424080.
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Among the studies dedicated to the "Rediscovery of the Ancient World" from the thirteenth century to the present days, forgery has attracted much attention. The fake is now recognized as a ‘document of its time’ and a primary source of the History, for the informations it provides about the knowledge of Classical Antiquity, the ideas and tastes of that period and the reasons of the forgery. Among the various types of forgery, little space has been devoted to false inscriptions, on stone or only known from manuscript sources: previous studies on this subject have been partial and unsystematic and in most cases there has not been a review of epigraphic documents.
This research has aimed to trace a history of epigraphic forgery, through the review of the Venetian corpus of false latin inscriptions, published in the Corpus Inscriptionum Latinarum.
The global corpus has been investigated from both chronological and typological point of view, in order to identify the nature, meaning and function of such documents in each town of Veneto: false inscriptions have been distinguished from copies and creations just inspired to Classical Antiquity.
This study shows the main trends followed in the creation of fakes over the centuries, the scholars who created them as part of their researches on 'Classical Antiquity’ or those who worked for purely commercial purposes. It has been possible for the first time to carry out a comprehensive and diachronic study of the phenomenon in a specific area of Italy, investigating the changes of opinion about forgery in different periods and cultures and its geographical peculiarities<br>Nell’ambito degli studi che sotto vari aspetti si sono occupati dell’atteggiamento assunto dal Duecento fino ai giorni nostri nei confronti dell’antichità classica, una sempre crescente attenzione è stata riservata alla falsificazione. Questa è oggetto di studio da parte di molteplici discipline, che riconoscono ormai nel falso un “documento della propria epoca” e, in quanto tale, una fonte primaria della storia, per le informazioni che fornisce sulla conoscenza dell’antichità classica che si stava imitando, sulle idee e sul gusto dell’epoca, oltre che sulle motivazioni della falsificazione. Nell’ambito di questi studi, relativamente poco spazio è stato dedicato ai falsi epigrafici, sia lapidei sia cartacei: gli studi effettuati sull’argomento sono stati parziali e non sistematici, e nella maggior parte dei casi è mancato un riesame dei documenti epigrafici.
Il presente studio ha lo scopo di tracciare una storia della falsificazione epigrafica, attraverso il riesame delle iscrizioni false in lingua latina del Veneto pubblicate nel volume V del Corpus Inscriptionum Latinarum.
Dopo una preliminare riflessione sul concetto di falso epigrafico e sulla sua distinzione dalla copia e dalla creazione all’antica, l’intero corpus è stato indagato dal punto di vista cronologico e tipologico, al fine di individuare la natura, il significato e la funzione di queste iscrizioni nei singoli centri veneti.
La revisione di questi documenti ha permesso di individuare le principali linee di tendenza seguite nella creazione dei falsi nel corso dei secoli, dagli studiosi che li crearono nell’ambito delle loro indagini sull’antichità classica a coloro che operarono per puri fini commerciali.
E’ stato possibile per la prima volta avviare uno studio complessivo e diacronico della falsificazione epigrafica in una determinata zona d’Italia, indagando i cambiamenti che si ebbero nei confronti di questo fenomeno nelle varie fasi della storia e della cultura e le sue peculiarità geografiche
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Bergerová, Anna. "Falsifikace malířských děl a její dopad na český trh umění." Master's thesis, Vysoká škola ekonomická v Praze, 2017. http://www.nusl.cz/ntk/nusl-359689.
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The aim of this thesis is to analyze the impacts of the falsification of paintings on the art market and on individuals. Another aim of the thesis is to identify the risk factors of buying art works on the Czech market. The partial aim is to bring to readers a comprehensive view of the issue of the falsification of paintings on the domestic art market. The theoretical part is based on the literature that has not been published so far and maps the basic mechanisms of falsification of paintings. The practical part is based on interviews with experts, criminologists and collectors who have a personal experience of buying a forger. Based on the results of the interviews, the issues of falsification of painting works are answered, the most frequently falsified Czech artists are identified and the risk factors that lead to the purchase of counterfeit. Three artists demonstrate an analysis of expertise and forensic technique in determining the authenticity of the art work.
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Moine, Jean-Marie. "Les Maîtres de forges en Lorraine du milieu du 19e siècle aux années trente histoire sociale d'un patronat sidérurgique /." Lille 3 : ANRT, 1988. http://catalogue.bnf.fr/ark:/12148/cb37608080s.
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Liszka, Jan. "Etablissement de l'école Soshu étude d'une école de forge de sabres." Lille : ANRT, 1987. http://catalogue.bnf.fr/ark:/12148/cb37594916w.
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Andrieux, Jean-Yves. "Pour une archéologie industrielle de la Bretagne recherches sur les forges, du XVIIe au milieu du XXe siècle, dans le département des Côtes-du-Nord." Lille 3 : ANRT, 1987. http://catalogue.bnf.fr/ark:/12148/cb37595464m.
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Restelli, A. "LA FALSIFICAZIONE DI STRUMENTI MUSICALI. UN'INDAGINE STORICO-CRITICA." Doctoral thesis, Università degli Studi di Milano, 2014. http://hdl.handle.net/2434/233396.
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Falsificare significa attribuire a un manufatto un’identità che non gli appartiene con lo scopo di ottenere un beneficio a proprio vantaggio o a danno di altri soggetti. Nel corso dei secoli la falsificazione ha interessato reperti paletnologici, sculture d’arte contemporanea, ritrovamenti archeologici, documenti, arredi, dipinti, reliquie e altro ancora. Gli strumenti musicali certamente non sono stati risparmiati dal fenomeno, che, anzi, si è dimostrato una vera e propria costante nella storia di questi prodotti. Dai casi più antichi conosciuti risalenti alla metà del Cinquecento, fino a quelli più recenti al principio del nuovo millennio, non si sono registrate pause nella realizzazione di esemplari fasulli e la presenza di contraffazioni, plagi o alterazioni ha interessato pressoché tutti i continenti.
La falsificazione ha potuto prosperare perché ha sempre svolto la funzione essenziale di facilitare la reperibilità di opere molto ricercate ma, per motivi economici o per scarsità di modelli esistenti, difficilmente raggiungibili. In particolare è stata in grado di sfruttare la domanda diffusa di strumenti dalle elevate qualità tecnico-sonore, di reperti antichi provenienti dalle passate civiltà musicali e di beni in cui investire ingenti capitali, concentrando gli interventi sui parametri fondamentali di uno strumento, ossia la sua età, il suo luogo d’origine e l’identità del suo autore.
Dalla comparsa quarant’anni fa del primo studio sistematico sulla figura di Leopoldo Franciolini, l’organologia ha associato la creazione di falsi strumenti musicali a questo antiquario fiorentino in maniera tanto automatica quanto eccessiva. Molti infatti sono stati i responsabili delle pratiche fraudolente in questo settore oltre a Franciolini, attivi prima di lui, dopo di lui e contemporaneamente a lui. Alcuni nomi possono essere citati, come Isaac Ehe, i fratelli Voller, Herny Werro, o Yuko Kanda, ma la verità è che la maggior parte dei falsari è rimasta nell’anonimato.
Infine, se da un lato la falsificazione di strumenti musicali ha conosciuto storicamente un’indubbia espansione, dall’altro però l’interpretazione della natura di falso non può né deve essere forzata. L’inautenticità di uno strumento, difatti, non è garanzia di falsità senza che sia accompagnata dal riconoscimento dell’intento programmatico d’ingannare. Così come la mancata paternità individuale riscontrata per uno strumento non rappresenta un criterio valido per ravvisarne e stabilirne la sofisticazione.<br>Faking is an act through which an object is provided with an identity not belonging to it, in order to deceive and to benefit from somebody’s detriment. Faking concerned archaeological finds, contemporary art sculptures, documents, furniture, paintings, relics and so on. Musical instruments were not spared by this phenomenon, which in contrast was a standard feature in the history of those artifacts. From the most ancient known cases in the middle of the 16th century until the most recent ones at the beginning of the new millennium, musical instruments’ forgery has never ceased and counterfeited, plagiarized and altered products were spread nearly in every continent.
This kind of falsification flourished as it eased the availability of very sought-after works, which otherwise were scarcely achievable because of economic reasons or shortage of specimens. Namely it was able to exploit the widespread demand for high performing musical instruments, for evidences of early musical cultures and for goods to invest in. Therefore its actions were focused on the most important parameters of an instrument: age, place of origin and maker’s identity.
When the first detailed research into the Florentine antique dealer Leopoldo Franciolini was published forty years ago, organology began to link his name with musical instruments’ forgery as automatically as excessively. Indeed several other forgers operated before, at the same time and after Franciolini. Some of them may be mentioned, for instance Isaac Ehe, the Voller brothers or Yuko Kanda. Yet most of the fakers remained anonymous.
Finally, on the one hand faking musical instruments was undoubtedly a common practice, but on the other hand detecting the nature of the fake must not be forced. If the purposeful intention of deceiving cannot be observed, then an unauthentic instrument – for example a replica – cannot be consequently judged to be false. In the same way, if the building of a musical instrument cannot be associated with one individual maker, it doesn’t necessarily mean it is not genuine.
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Delorme, Philippe. "Jules Rozet, 1800-1871 : maître de forges, président de la Chambre de commerce de la Haute-Marne, en Champagne métallurgique sous la révolution industrielle : lucidité et détermination /." Reims : Association pour le patrimoine industriel de Champagne-Ardenne, 2007. http://catalogue.bnf.fr/ark:/12148/cb41275029b.
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Jolly, Martyn. "Fake photographs : making truths in photography." Phd thesis, Sydney College of the Arts, 2003. http://hdl.handle.net/2123/4046.
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Boué, Zinso. "La Forge traditionnelle comme point de départ d'une politique de développement des petites entreprises de mécanique rurale le cas du Burkina et du Mali /." Grenoble 2 : ANRT, 1988. http://catalogue.bnf.fr/ark:/12148/cb376121606.
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Poslusny, Matthew. "Analysis of PAH and PCB Emissions from the Combustion of dRDF and the Nondestructive Analysis of Stamp Adhesives." Thesis, University of North Texas, 1989. https://digital.library.unt.edu/ark:/67531/metadc331998/.
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This work includes two unrelated areas of research. The first portion of this work involved combusting densified refuse derived fuel (dRDF) with coal and studying the effect that Ca(0H)2 binder had on reducing polycyclic aromatic hydrocarbon (PAH) and polychlorinated biphenyl (PCB) emissions. The second area of work was directed at developing nondestructive infrared techniques in order to aid in the analysis of postage stamp adhesives. With Americans generating 150-200 million tons a year of Municipal Solid Waste (MSW) and disposing of nearly ninety percent of it in landfills, it is easy to understand why American landfills are approaching capacity. One alternative to landfilling is to process the MSW into RDF. There are technical and environmental problems associated with RDF. This work provides some answers concerning the amount of PAH and PCB emissions generated via the combustion of RDF with coal. It was found that the Ca(OH)2 binder greatly reduced both the PAH and the PCB emissions. In fact, PAH emissions at the ten-percent level were reduced more by using the binder than by the pollution control equipment. If the Ca(0H)2 binder can reduce not only PAH and PCB emissions, but also other noxious emissions, such as acid gases or dioxin, RDF technology could soon be the answer to the current landfill problems. The second portion of this work focused on developing a method to analyze stamp adhesives nondestructively. Using this method, it was fairly easy to differentiate among the three different types of adhesives that have been used by the United States Postal Service: gum arabic, dextrin, and polyvinyl alcohol. Differences caused by changes in chemicals added to the adhesives were also detected. Also, forgeries were detected with as much success, if not more, than by conventional methods. This work also led to the construction of equipment that allows large samples to be analyzed by reflectance infrared methods.
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Gibson, Trish J. "Embedded in These Walls." VCU Scholars Compass, 2018. https://scholarscompass.vcu.edu/etd/5642.
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Embedded In These Walls uses photographic imagery, archival ephemera, and written text to examine a specific history of generational trauma through the lens of a singular family of a southern tradition to point to a larger systemic breakdown of accountability and truthfulness regarding abuse
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Renoux, Guillaume. "Les Archers de César. Recherches historiques, archéologiques et paléométallurgiques sur les archers dans l'armée romaine et leur armement de César à Trajan." Phd thesis, Université Toulouse le Mirail - Toulouse II, 2006. http://tel.archives-ouvertes.fr/tel-00545245.
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Nous étudions dans cet ouvrage les archers dans l'armée romaine. Nous établissons leur visage de la fin de la République romaine jusqu'à Trajan à travers les sources littéraires, épigraphiques et archéologiques. Nous examinons par la suite l'efficacité de leurs armes et tentons de montrer qu'elles peuvent refléter un véritable travail technique grâce à une étude métallographique, complétée par des analyses physico-chimiques, du mobilier de pointes de flèche découvert au Puy d'Issolud (Lot), l'antique Uxellodunum: l'objectif principal étant la caractérisation, pour ces armes, des structures métallurgiques, des distributions, des morphologies et compositions des phases et des constituants présents. Il est dès lors possible d'imaginer les différents protocoles d'élaboration et les traitements thermo-mécaniques développés par les forgerons pour leur mise en forme et d'apporter de nouveaux éléments à l'histoire des techniques de la forge en relation avec l'armée romaine et plus particulièrement avec les corps et l'armement des archers.
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Kampf, Raymond William. "Fauxtopia." VCU Scholars Compass, 2004. http://scholarscompass.vcu.edu/etd/749.
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To all who come to this fictitious place:Welcome.Fauxtopia is your land. Here, age relives distorted memories of the past, and here, youth may savor the challenge of trying to understand the present. Fauxtopia is made up of the ideals, the dreams and the fuzzy facts which have re-created reality... with the hope that it will be a source of edutainment for all the world.Ray KampfFauxtopia DedicationApril 1st, 2004
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LEGE', ALICE SILVIA. "LES CAHEN D'ANVERS EN FRANCE ET EN ITALIE. DEMEURES ET CHOIX CULTURELS D'UNE LIGNÉE D'ENTREPRENEURS (I CAHEN D'ANVERS IN FRANCIA E IN ITALIA. DIMORE E SCELTE CULTURALI DI UNA DINASTIA DI IMPRENDITORI)." Doctoral thesis, Università degli Studi di Milano, 2020. http://hdl.handle.net/2434/726976.
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Founding member of a banking network related to the actual BNP Paribas Group, Meyer Joseph Cahen (1804-1881), adopted the “d’Anvers” when he settled in Paris in 1849. Born in Bonn, of an Ashkenazi family, he made his fortune in the Belgian city to which he associated his name, and he continued his career in France. Owner of Nainville’s castle (Essonne) and of the Petit Hôtel de Villars (Paris), he became a naturalized French citizen in 1865. The next year, he obtained the title of Count, bestowed upon him by the King of Italy Victor-Emmanuel II, thanks to the economic support he offered to the Italian Unification. Nineteen years later, King Humbert I surpassed his predecessor and raised Meyer Joseph’s eldest son, Édouard (1832-1894), to the status of Marquis of Torre Alfina. If his siblings – Emma (1833-1901), Louis (1837-1922), Raphaël (1841-1900) and Albert (1846-1903) – enrooted their pathways in the French capital, the eldest lived between Florence, Naples and Rome: he was one of the great investors involved in the urban renovation of the Italian capital, after the fall of the papacy. In France, as well as in Italy, art, and especially architecture, served to legitimize the recent nobility of a family that wished to express the fullness of its civil rights. As targets of the anti-Semitic press, the Cahen d’Anvers family experienced the consequences of the Dreyfus Affair and the horrors of the racial laws. Before the latter, they adopted what could be defined as a “top-down model of integration”. This thesis focuses on its mechanisms and development. After tracing the patriarch’s origins, it analyses the family’s matrimonial policies and it continues with an exploration of Cahen d’Anvers’ “choices” in the vast field of culture. In their salons, the readers will meet Guy de Maupassant, Paul Bourget, Marcel Proust and Gabriele D’Annunzio, as well as Auguste Renoir and Léon Bonnat. Twelve mansions offered a perfect stage for these intellectual gatherings. As a public manifestation of the family’s economic and social power, the historicist eclecticism of these properties aimed to represent the owners as a new phalanx of the old nobility. While Forge-Philippe’s manor (Wallonia), Gérardmer’s chalet (Vosges) and Villa della Selva (Umbria) expressed a certain openness to the twentieth century novelties, the three residences rented by the family (Hôtel du Plessis-Bellière, Paris; Palazzo Núñez-Torlonia, Rome; Château de la Jonchère, Yvelines) and the two properties of Meyer Joseph, as well as Rue de Bassano’s mansion (Paris) or the castles of Champs (Seine-et-Marne), Bergeries (Essonne) and Torre Alfina (Latium) dressed up their nineteenth century spaces with Ancien Régime motifs. Thanks to their historical knowledge and taste, the architects Destailleur, Giuseppe Partini and Eugène Ricard, as well as the landscapers Henri and Achille Duchêne, were able to bend the Middle Age, the Renaissance and the 18th century’s “grammars” to their patrons’ taste and ambitions.
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Muriithi, Paul Mutuanyingi. "A case for memory enhancement : ethical, social, legal, and policy implications for enhancing the memory." Thesis, University of Manchester, 2014. https://www.research.manchester.ac.uk/portal/en/theses/a-case-for-memory-enhancement-ethical-social-legal-and-policy-implications-for-enhancing-the-memory(bf11d09d-6326-49d2-8ef3-a40340471acf).html.
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The desire to enhance and make ourselves better is not a new one and it has continued to intrigue throughout the ages. Individuals have continued to seek ways to improve and enhance their well-being for example through nutrition, physical exercise, education and so on. Crucial to this improvement of their well-being is improving their ability to remember. Hence, people interested in improving their well-being, are often interested in memory as well. The rationale being that memory is crucial to our well-being. The desire to improve one’s memory then is almost certainly as old as the desire to improve one’s well-being. Traditionally, people have used different means in an attempt to enhance their memories: for example in learning through storytelling, studying, and apprenticeship. In remembering through practices like mnemonics, repetition, singing, and drumming. In retaining, storing and consolidating memories through nutrition and stimulants like coffee to help keep awake; and by external aids like notepads and computers. In forgetting through rituals and rites. Recent scientific advances in biotechnology, nanotechnology, molecular biology, neuroscience, and information technologies, present a wide variety of technologies to enhance many different aspects of human functioning. Thus, some commentators have identified human enhancement as central and one of the most fascinating subject in bioethics in the last two decades. Within, this period, most of the commentators have addressed the Ethical, Social, Legal and Policy (ESLP) issues in human enhancements as a whole as opposed to specific enhancements. However, this is problematic and recently various commentators have found this to be deficient and called for a contextualized case-by-case analysis to human enhancements for example genetic enhancement, moral enhancement, and in my case memory enhancement (ME). The rationale being that the reasons for accepting/rejecting a particular enhancement vary depending on the enhancement itself. Given this enormous variation, moral and legal generalizations about all enhancement processes and technologies are unwise and they should instead be evaluated individually. Taking this as a point of departure, this research will focus specifically on making a case for ME and in doing so assessing the ESLP implications arising from ME. My analysis will draw on the already existing literature for and against enhancement, especially in part two of this thesis; but it will be novel in providing a much more in-depth analysis of ME. From this perspective, I will contribute to the ME debate through two reviews that address the question how we enhance the memory, and through four original papers discussed in part three of this thesis, where I examine and evaluate critically specific ESLP issues that arise with the use of ME. In the conclusion, I will amalgamate all my contribution to the ME debate and suggest the future direction for the ME debate.
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Negrich, René Catherine. "Philosophy of art forgeries: the aesthetic difference between originals and copies." Thesis, 2011. http://hdl.handle.net/1828/3777.
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This thesis consists of three chapters and deals with the aesthetic status of forgeries regarding works of literature, the visual arts, and musical works. The first chapter deals with the definition of forgery and I explain the difference between forgeries and mere fakes. I also give examples of famous art forgeries. In the second chapter I explain the leading arguments regarding the aesthetic status of forgeries. These arguments come from Nelson Goodman, Alfred Lessing, Mark Sagoff, Denis Dutton, John Hoaglund, Tomas Kulka, Kendall Walton, and Sherri Irvin. In the final chapter I give my own view and explain what exactly is aesthetically wrong with forgeries. My main issue with forgeries deals with deception and with what this deception entails.<br>Graduate
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Nelson, Joshua. "Framing the Picture." Thesis, 2013. http://hdl.handle.net/10214/6836.
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While many have investigated media constructions of newsworthy crimes, the overwhelming focus of these analyses has been upon violent crime in its myriad forms. In marked contrast, this thesis examines the Canadian print media's construction of art fraud - the offence, its victims and offenders - and, in particular, its response to acclaimed artist Norval Morrisseau's reports of victimization. It finds that, just as art fraud is not thought of as normal crime news and is bracketed away elsewhere, the victims of art fraud tend not to be regarded as ideal victims. The Canadian print media rarely framed art fraud as a crime against culture; more commonly, it was depicted as a low-risk crime that pays, with its perpetrators cast as charming rogues or artful dodgers and the most notorious depicted as heroes. This curious portrayal may promote schadenfreude, have incentive effects for some and discourage others from reporting experiences of criminal victimization.
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Potts, Malcolm H. "Don't forget about dedicated sea mine countermeasures enhancing operational art and design in the 21st century /." 2005. http://doclib.jfsc.ndu.edu/potts.pdf.
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Thesis (M.S. in Joint Campaign Planning and Strategy)--Joint Forces Staff College, Joint Advanced Warfighting School, 2005.<br>"13 May 05." Electronic version of original print document. Includes bibliographical references (p. 73-79).
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KANALOŠOVÁ, Alexandra. "Parafráze uměleckého díla proměny v čase." Master's thesis, 2016. http://www.nusl.cz/ntk/nusl-204463.
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This diploma thesis is divided into two main parts - the teoretical and practical part. The teoretical part deals with the topic of paraphrase in the classical art, surveys the creation of paraphrases in the context of art evolution from the 16th century to the present time and tries to find the answers to the questions which relate to reasons of their creation. It tries to answer the questions what reason the artist of the paraphrases had and what made the artist create a paraphrase of a piece of art which was made a long time before. The teoretical part is a negligible glossary whose meaning is to show a range of different attitudes. The practical part is focused on authorial paraphrases which were made on the basis of the teoretical part and use different views and approaches to the process which the phenomenon of the paraphrase offers.
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MAURER, Ivan. "Objektová modifikace herního principu." Master's thesis, 2013. http://www.nusl.cz/ntk/nusl-156223.
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The teoretic part comes from the historical overview of use of spiral as main motive in the process of forged bars from romanesque style up to now overlap to free creation of contemporary artists. Concept of the game subjekt comes from combination of craft technology with motive of spiral to the model object for working game. The result is game SPIRAL ? Man, do not be angry!
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Boyle, Mark. "Do you like my pics? : exhibition and exegesis as self reflective study." Thesis, 2012. https://vuir.vu.edu.au/21477/.
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This research thesis, Do you Like My Pics, investigates perceived value in art through the recreation of well-known paintings. Using photography and photo-manipulation the content of the image has been recreated in another medium in order to dissociate the tangible, actual image from the aura of the artist who created it.