Dissertations / Theses on the topic 'Art patrons'

The study of Florentine artistic patronage has attracted several approaches over the last three decades, including the exploration of patron-­‐client structures and how the use of art in private and public spheres contributed to shape families’s identity. Building on past research, this work focuses on the art patronage of a prominent, yet overlooked, family, the Vespucci, to whom Amerigo, the navigator who reached the coasts of America in the late fifteenth century, belonged. Although the family’s importance was achieved through a synergy of political, religious and intellectual forces, attention is given to the Vespucci’s engagement with the arts and their key contribution to Florence’s humanistic culture between the years 1470-­1500. The family’s houses and private chapels are analysed, and three artists, Botticelli, Ghirlandaio and Piero di Cosimo, considered. Combining history, art history, and archival resources, new evidence and interpretations are advanced to ascribe selected artworks -­ controversially believed to be Vespucci commissions - to the private patronage of this Florentine family. Examining the Vespucci’s artistic taste in private and public settings, whilst attempting a reconstruction of partially lost painted commissions, deepens comprehension on the role that domestic and social life played in the creation of art and culture; the family’s force in shaping spaces; and the practice of buying, commissioning, and displaying as a means of signifying wealth, increasing status, and establishing identity. Power seekers, the Vespucci entered the Medici intellectual circles through which they created chains of friendship with prominent families inside and outside of Florence. As questions about shared artistic tastes and the paradigmatic role of the Medici artistic patronage have been the focus of scholarly enquiry, this study of the Vespucci provides an insight into the family’s spreading of new ideas and its interaction with the development of the visual arts. Investigation into the Vespucci’s breadth of interests helps to reframe the current knowledge of Florentine cultural exchanges and to contextualise the family’s influence beyond the geographical discoveries it has been exclusively associated with.

Byzantine religious manuscripts were commissioned by people from many levels of society. Several contain portraits of their commissioners, represented together with a holy figure. An analysis of these scenes, examining features such as the holy figures represented and their specific iconographic meaning, and the relation of mortal to divine, reveals many facets of Byzantine art, religion and society. This analysis indicates a major distinction between portraits representing the emperor, and those depicting all other patrons. Non-imperial portraits show deep personal devotion and piety. The manuscripts in which they occur were commissioned to honour the holy figure, and many request salvation in return. Imperial commissions, on the other hand, were not votive gifts. Their portraits stress the public, political, and occasionally religious role of the emperor as the elected of God upon earth, and head of state. These portraits are thus highly informative of several aspects of Byzantine life.

This thesis is a case study of the relationship between a nineteenth-century French landscape painter, Théodore Rousseau, and his patrons and public. My aim is to reconstruct the context in which Rousseau's work was created, thereby inferring what the artist intended for his painting and how his collectors and public approached the style of his work. The thesis examines the nature of the dynamic between Rousseau and his consumers and the extent to which the artist's style may, or may not, be affected by the taste of his audience. In Part I, I examine Rousseau's involvement with the members of his circle including those who supported him during his years of absence from the Salon, the critic, Théophile Thoré, the industrialist, Frédéric Hartmannn and the civil servant, Alfred Sensier. This provides a framework for discussion of a number of ideas which preoccupied both the artist and his patrons including the level of finish in his work, the importance of pantheism, responses to commercial deforestation and the continuing resonances of ancient Greek culture. In Part II, I look at the problem of Rousseau's response to the expansion of the public sphere for art in the nineteenth-century. I approach this by locating Rousseau within the institutional structures of the art world which acted as intermediary between the painter and a wider public. These include the public exhibition, the rôle of the reproduction in the dissemination of his imagery, the importance of one-man public auctions and the position of the dealer as an outlet for the sale of his work. In reconstructing the dynamic between Rousseau and his patrons and public, I have relied above all on primary sources. These have included the often unpublished correspondence of the artist and his collectors, contemporary Salon criticism and sale catalogues, auctioneers' records and the stock-books of the Durand-Ruel firm of dealers, as well as a close formal analysis of Rousseau's paintings themselves.

Thesis (Ph.D.)--Indiana University, Dept. of History of Art, 2009.
Title from PDF t.p. (viewed on Feb. 8, 2010). Source: Dissertation Abstracts International, Volume: 70-05, Section: A, page: 1457. Adviser: W. Eugene Kleinbauer.

This thesis examines the production of commercial art in contemporary Mozambique. It explores the power relationship between local artists &ndash
painters and sculptors &ndash
and their patrons and brokers in the art market. This means, on one hand, that it looks at the artworks that have been produced during the late colonial period (1962 &ndash
1974) and the post-colonial periods (June 1975 - 2010) and relates this to the changing political landscape in Mozambique. On the other hand, the aim is to explore the artists&rsquo
life histories, 
especially how their talent was first recognized, their art training (formal or otherwise), previous work experience, and the reasons for their current success (or lack thereof). This is done in order to see how and to what extent their artistic works have been influenced by external forces or actors. The power relationship existing between the art producers and their customers in the art markets in Mozambique is then related to the issue of globalisation. In this process, the study critically analyses who the actual art patrons of Mozambique art are and the extent to which Mozambican art is influenced by global forces. The focus is on a number of artists and the thesis examines their life histories specific to their art production in order to highlight the themes and trends of their art works. It was found that local art produced in Mozambique is not simply responding to local influences but also to global forces, of which the latter dominates. However, the study further reveals that while the art producers are influenced externally by their buyers, they (the art 
producers) have their own ways of manipulating their buyers in order to be able to sell their products. In other words, the artists have the power of mediating between local, 
personal influence and that of the patrons.

John Forbes White's contribution to the history of Art in Scotland was, for the first seventy years after his death, mentioned only in passing by the main writers on Scottish art of the day. However, two of his daughters, Ina Mary Harrower and Dorothea Fyfe, both wrote articles on aspects of their father's collecting: Ina publishing "Private Picture Galleries, The Collection of John Forbes White" in Goodwords in 1896 (pp 813-819), John Forbes White (Edinburgh) in 1918 and in 1927, "Jozef lsraels and his Aberdeen Friend" for the Aberdeen University Review (pp 108-122). A noted art historian, Ina reflected her father's taste and collecting interests in her own writings, as with, for example, "Studies of Fruit by Courbet" Apollo (Vol. L No 296 1949 pp 95-98). Dorothea, with her co-author C.S. Minto, published John Forbes White, Miller, Collector, Photographer 1831-1904 (Edinburgh 1970). The only other writers who have examined White's contribution to art in any detail were Charles Carter, who as curator of Aberdeen Art Gallery, covered art and patronage in the North-East of Scotland in numerous articles and outlined White's contribution in "Art Patronage in Scotland: John Forbes White" published in the Scottish Art Review,(Vol VI, no 2, 1957, pp. 27-30). Frances Fowle, on completion of her PhD on Alexander Reid, also discussed White's tastes in "The Hague School and the Scots, A Taste for Dutch Pictures" (Apollo August 1991 pp 108-111). George Reid was still less favoured by critics after his death. With J.L. Caw championing James Guthrie and William MacTaggart, the innovative and influential aspects of Reid's art were obscured, reduced and even sometimes credited to others. W.D. McKay in The Scottish School of Painting (London 1906) had played down Reid's part in the introduction of Realism into Scotland and Agnes McKay in her monograph on Arthur Melville (Lee on Sea, 1951) went furthest of all in portraying Reid as the enemy of a younger, more innovative group of artists, who included the subject of her book. It was to be another thirty years before Dun can Macmillan would examine Reid, in Scottish Art 1460-1990 (Mainstream, 1990) as an important landscape painter, rather than, as had been the case before, as a reactionary president of the Royal Scottish Academy and an extremely dull, if talented, portrait painter. One year later John Morrison, having completed his PhD Rural Nostalgia: Painting in XIX Scotland c.1860-1880 (St Andrews 1989) wrote of Reid's important European contacts and of the vital relationship between White and Reid in "Sir George Reid in Holland, his work with G.A. Mollinger and Jozef Israels" (Jong Holland 1991 No 4 pp 10-19). Both the assets and the faults of Alexander Macdonald's collecting were examined by Charles Carter in "Alexander Macdonald 1837-1884 - Aberdeen Art Collector" (Scottish Art Review, Vol V, no 3, 1955, pp. 23-28) and again by Francina Irwin in an exhibition catalogue entitled Alexander Macdonald: From Mason to Maecenas in 1985. My main source of material has come from the uncatalogued archive of correspondence between George Reid, John Forbes White, Jozef Israels, George Paul Chalmers, David Artz, Gerrit Mollinger, Samuel Smiles and others, most of which is housed in Aberdeen Art Gallery. Reid's unpublished autobiography, transcribed by his wife Mia, (in the same archive) was also of great use, as was an unpublished but almost complete catalogue raisonne of Reid's work, compiled, probably by Percy Bate or Harry Townend c.1912. I have also made extensive use of the papers of James Pittendrigh Macgillivray which are held by The National Library of Scotland. The descendants of John Forbes White made the works and letters in their possession freely available to me. These included the correspondence between John Forbes White and William Stott of Oldham which is cited in Chapter 6. Elements of this thesis, and particularly sections 2,3, & 4 of Chapter 4, appeared in a revised form in "Art and Patronage in Aberdeen 1860-1920", a paper that I delivered at the Scottish Society of Art History's conference on Patronage, and which was published in The Journal of the Scottish Society for Art Historians (Volume 3 1998 pp 16-24). The sixth section of Chapter 5 appeared in a revised form, in An Album of Photographs compiled by Sir John Everett Millais PRA published in Studies in Photography (Edinburgh, 1997). The discussion of the influence of Ancient Greece and Classicism in the eighth section of Chapter 7 was included in a paper entitled John Forbes White, The Classical Tradition and Ideals In Art given at the conference on "The Role of Collections In The Scottish Cultural Tradition", which was held at Aberdeen University in 1998. The third section of Chapter 7 appeared in a revised form in Robert Brough (Aberdeen Art Gallery, 1995). Appendix A contains relevant excerpts from letters and text, on which much of my research was based whilst Appendix B lists the works of art owned by John Forbes White.

Le paradigme de la Nahda, ou Renaissance arabe est un puissant zeitgeist qui revient cycliquement dans la pensée et le monde culturel du Moyen-Orient depuis la fin du 19eme siècle. Cette thèse questionne les raisons du retour du paradigme dans les années 2000 (et en particulier entre 2001 et 2005) en Egypte et dans les Emirats (Doha et Sharjah) en observant les rapports de force entre différentes sphères artistiques et les structures de mécénat. Elle interroge la raison d'être de cette quête pour une Renaissance culturelle, les enjeux liées au mécénat, l'exploitation politique du culturel et en particulier les questions d'authenticité, de culture nationale et globale, musulmane ou séculière, d'indépendance et enfin, de liberté artistique. L'étude du paradigme passe à travers la comparaison des discours et des oeuvres des 'artistes d'états' soutenus par le pouvoir de Moubarak, des artistes commerciaux, qui derrière Adel Imam, sont les fers de lance du pouvoir séculier contre les islamistes égyptiens; et des artistes arabes et internationaux qui à Doha ou Sharjah gravitent autour du riche mécénat des Emirats. En opposition à l'état, plusieurs sphères sont étudiées: celle des artistes 'indépendants' mais soutenus par les fondations privées ainsi que la sphère des artistes musulmans qui proposent un fan al hadif, ou 'art modeste'. La sphère des artistes digitaux enfin, autonomes par rapport aux réseaux de mécénat, permet de confirmer l'existence d'une réelle Renaissance culturelle digitale soutenue par l'explosion des réseaux sociaux, une décennie avant les révolutions arabes. En questionnant la position des artistes vis à vis de leurs mécènes et par rapport au pouvoir, cette thèse souligne l'importance du discours culturel et artistique pour la sphère publique et ses répercussions sur les enjeux de citoyenneté
The Nahda, or "Arab Renaissance" is a powerful returning paradigm in Egypt and the Middle East cultural field since the end of the 19th century. The aim of this dissertation is to assess, through the study of the new paradigm, the autonomy of the arts in Egypt and the Middle East and their relation to power and to interrogate the role of art in identity definition and in the "dialogue" with Islam after 9/11 - and especially after foreign actors have greatly re-shuffled the power relationship. The first case study focuses on "state artists" in Egypt and studies the passage from the Tahtqif, or "culturisation" of Egyptians in the name of Enlightenment and the gradually undermining of state monopoly over identity politics. The second chapter is dedicated to Arab artists and their Gulf patrons: the agency of the "invisible hand" of the global artistic market is discussed, through two case studies in Doha and Sharjah. The third chapter assesses the state narrative against Islamists in Egypt through the figure of comedy actor Adel Imam. The second part is dedicated to the artists in opposition to the state. Chapter I reviews the agency of the artistic sphere in total opposition with the state, with the study of a group of young Muslim filmmakers who intented to contribute to a fann al hadif or "purposeful art". The two following chapters review the works of the "independent scene" that saw the light after the arrival arrival en masse of foreign funding in 2001, while the last case studies centred on Digital artists venture into giving the first hints of a conclusion about a Digital Renaissance that took place after after 2004, and of the adoption of social networks in Egypt. The importance of the arts in the political discourse, its agency in the process of secularization, nationalist debates or international relations in the time of globalisation, is barely mentioned in political science. This dissertation is intended to corroborate the claim that there is much to learn from the art spectrum and from its agency on societal changes and power struggles

У пореформений період історії Харківської губернії важливе місце займає становлення нового суспільства і прогресивного типу господарства. Серед землевласників і підприємців регіону вигідно відрізнявся Л. Є. Кеніг.

Collegiate Gothic architecture can be found on many American campuses, yet its beginnings in nineteenth-century United States are something of a mystery. As the nation’s colleges and universities grew more innovative in their modernized curricula and research, strangely, their architecture became more anachronistic with Collegiate Gothic being the most popular. Around the greens of their campuses, Americans built quadrangles of crenellated buildings and monumental gate towers with stained-glass windows, gargoyles, pointed arches, turrets, and spires, thus transforming their collegiate grounds into likenesses of the Universities of Oxford and Cambridge. Why medievalizing buildings came to represent the archetypal college experience has confounded many educators, scientists, and industrialists, who wondered why some of America’s most revolutionary institutions built libraries and academic halls in a style that seemed to oppose everything that was modern. Scholarship has not fully addressed the reasons why Collegiate Gothic buildings came to occupy so many American college campuses. Authors have not regarded the style in its own right, having its own history within the nineteenth-century’s dynamic developments in higher education, religion, politics, urban planning, and architecture. My dissertation evaluates these relationships by addressing the Collegiate Gothic’s first one hundred years on American campuses from 1806 to 1906.

Thesis (M.A.)--Indiana University, 2010.
Title from screen (viewed on July 28, 2010). Department of History, Indiana University-Purdue University Indianapolis (IUPUI). Advisor(s): Jason M. Kelly, Melissa Bingmann, Eric L. Lindseth. Includes vitae. Includes bibliographical references (leaves 79-91).

Il lavoro di ricerca ricostruisce l'itinerario biografico ed artistico di un pittore siciliano del Seicento, Giovanni Battista Quagliata, e parallellamente il contesto in cui egli ha operato attraverso svariati tipi di fonti.

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
This master’s dissertation examines the action of a group of fifteen artists and poets linked to the concrete art movement in Sao Paulo starting on the 1950s. The research problem refers to the constitution of the concrete art group and to its role on the modernization of the Brazilian artistic field. The research’s general objective is to understand how the affirmation of the concrete art generation in the city of Sao Paulo during the 1950s took place. There are three important theoretical and methodological tools: collective biography’s method and the concepts of generation from Mannheim and field from Bourdieu. These tools, the situation of the artistic field from that time, and the relation of the Brazilian concrete art movement to the constructive movement are discussed in the introduction. In the second chapter, the dissertation limits itself to the period from 1947 to 1959. During such time span, cultural institutions relevant to the appearance of concrete art movement have arisen. The concrete art movement emerged officially in 1952. Active as a group until 1959, it held debates with other artistic streams and took over relevant positions in the artistic field. Focusing this period of twelve years, the collective biography’s method is used. Such method prescribes extracting relevant social information from defined populations. The resulting collective biography shows a variety of topics, artistic or not strongholds, and exhibits, all in common to the fifteen selected people. In the following two chapters, concrete art movement in Sao Paulo is studied in its unfoldings. In the third chapter factors that have collaborated for the recovery of concrete art after its peak during the 1950s are raised. Among those factors are art collections, art galleries, libraries and book anthologies. In the fourth chapter the echoes of concrete art movement in the contemporaneity are investigated. It is studied how concrete art movement is still nowadays present in the artistic field, considering its artistic proposals and beyond. As a conclusion a group portrait is shown, in which commonalities of the studied population are specified and a interpretative viewpoint is done. The examined material is composed of biographies, manifestoes, autobiographical pieces of writing, exhibition catalogues, monographic studies on artists, articles and critiques published in newspapers, interviews to the author, among others
Esta dissertação examina a atuação de um grupo de quinze artistas e poetas ligados ao concretismo paulista a partir dos anos 1950. O problema da pesquisa se refere à constituição do grupo concretista e à sua atuação na modernização do campo artístico brasileiro. O objetivo geral da pesquisa é compreender como se deu a afirmação da geração concretista na cidade de São Paulo desde a década de 1950. São importantes três ferramentas teóricometodológicas: o método da biografia coletiva e os conceitos de geração de Mannheim e de campo de Bourdieu. Essas ferramentas, a situação do campo artístico de então e a relação do concretismo brasileiro com o construtivismo são discutidos na introdução. No segundo capítulo, a dissertação se restringe ao período de 1947 até 1959. Nesse intervalo, surgiram instituições culturais importantes para que o concretismo se desenrolasse. O movimento concreto surgiu oficialmente em 1952. Ativo como grupo até 1959, entrou em debates com outras correntes artísticas e assumiu postos de relevo no meio artístico. Com foco nesse período de doze anos, é utilizado o método da biografia coletiva. Esse método prevê extrair informações sociais relevantes de populações definidas. A biografia coletiva resultante indica uma variedade de tópicos, redutos artísticos ou não e exposições em comum entre os quinze selecionados. Nos dois capítulos seguintes, o concretismo paulista é estudado em seus desdobramentos posteriores. No terceiro capítulo, são levantados fatores que colaboraram para a retomada do concretismo após seu auge na década de 1950. Entre eles, encontram-se exposições, coleções de arte, galerias, bibliotecas e antologias. No quarto capítulo, são investigados os ecos do movimento concreto na contemporaneidade. Ou seja, é pesquisado como o concretismo ainda se encontra presente atualmente no meio artístico, em suas propostas artísticas e além. Como conclusão, é apresentado um retrato de grupo, no qual explicitam-se aspectos em comum da população e realiza-se uma visada interpretativa. O material examinado é composto por biografias, manifestos, escritos autobiográficos, catálogos de exposições, estudos monográficos sobre artistas, matérias e críticas de arte publicadas em jornais, entrevistas ao autor, entre outros

Esquisser le portrait de la commaunauté des peintres lyonnais, entre le début du règne de Louis XI (1461) et la crise de la fin des années 1520, a constitué le présupposé de cette recherche. Le recours aux sources (comptables, fiscales et ecclésiastiques) s’est révélé indispensable à l’étude prosopographique et à une démarche d’histoire sociale de l’art, permettant la localisation des peintres, de leurs ateliers, les quelques filiations, leur place enfin (fortune et position sociale) dans la cité. Mais au-delà de cette première approche, l’étude des commanditaires, personnages capitals de la production artistique, a permis de définir plus finement le visage de la pratique picturale lyonnaise. Entre notables, Consulat, ecclésiastiques et rois, les activités de commande dans la ville ont souligné l’absence de grands chantiers et de grandes commandes dans ces décennies de prospérité croissante. Ce sont donc les fêtes, au premier rang desquelles les entrées royales et solennelles, qui mobilisent les forces économiques, littéraires et évidemment artistiques. L’étude des protagonistes de ces cérémonies royales et urbaines comme des thèmes déployés permet de caractériser de façon plus précise l’articulation entre artistes, commanditaires et cité comme d’approfondir la connaissance sur la pratique des peintres, en effet mieux détaillée dans ce cadre
To sketch the portrait of the painters’ community of Lyon, between the beginning of the reign of Louis XI (1461) and the crisis of the end of 1520s, was the presupposition of this research. The appeal to sources (accounts, taxes and from ecclesiastic origin) showed itself essential to the study of painters and to the approach of social history of the art, allowing the location of them, their workshops, the some filiations, their place finally (fortune and social position) in the city. But beyond this first approach, the study of the patrons, major characters of the artistic production, allowed to define more finely the face of the pictorial practice of Lyon. Between notables, consuls, Consulate, clerics and kings, the activities of command in the city underlined the absence of big construction sites and big orders in these decades of increasing prosperity. They are thus the festivals, in the front row of which the royal and solemn entries, which mobilize the economic, literary and obviously artistic strengths. The study of the protagonists of these royal and urban ceremonies as spread themes allows to characterize in a more precise way the articulation between artists, patrons and city as to deepen the knowledge on the practice of the painters, indeed better known by this way

Cette thèse porte sur les manuscrits enluminés réalisés dans le sultanat mamlūk au XIVe siècle. Ces ouvrages, produits en nombre, représentent aujourd'hui une masse critique non négligeable afin d’étudier les divers mécanismes de la production manuscrite en Egypte et Syrie à la fin du Moyen Age. Grâce aux sources historiques et à une analyse du livre en tant qu’objet et œuvre d’art, cette étude propose de retracer le processus de fabrication et le contexte de production de ces manuscrits. La méthode de travail adoptée s’articule autour de trois axes principaux : d’abord, l’observation attentive du support via l’usage et l’évolution des formats de papiers employés, celle de la mise en page et des écritures, puis l’analyse des enluminures essentiellement fondée sur des considérations relatives à leur construction géométrique. En unissant plusieurs disciplines comme la codicologie, la paléographie et l’histoire de l’art, cette étude met alors en lumière l’identité des différents acteurs et leur rôle au sein de cette production artistique, mais aussi l’introduction et l’évolution de certains modes opératoires dans le processus de fabrication ou dans l’exercice du mécénat
This thesis focuses on the illuminated manuscripts produced in the Mamlūk sultanate during the 14th century. These works, produced in large numbers, now represent a significant critical mass in order to study the various mechanisms of manuscript production in Egypt and Syria at the end of the Middle Ages. Using historical sources and an analysis of the book as an object and work of art, this study proposes to trace the manufacturing process and production context of these manuscripts. The working method adopted is based on three main axes: first, careful observation of the medium through the use and evolution of the paper formats used, the layout and writing, and then the analysis of illuminations, essentially based on considerations relating to their geometric construction. By combining several disciplines such as codicology, palaeography and art history, this study highlights the identity of the various actors and their role within this artistic production, but also the introduction and evolution of certain operating modes in the manufacturing process or in the exercise of patronage

Caroline Bonaparte Murat created an identity for herself through the art that she collected during the time of her reign as queen of Naples as directed by her brother, Napoleon, from 1808-1814. Through the art that she both commissioned and purchased, she developed an identity as powerful politically, nurturing, educated, fashionable, and Italianate. Through this patronage, Caroline became influential on stylish, female patronage in both Italy and France. Caroline purchased and commissioned works from artists such as Jean-August-Domonique Ingres, François Gérard, Elizabeth Vigée LeBrun, Antonio Canova and other lesser-known artists of the nineteenth century. Many of these works varied in style and content, but all helped in creating an ideal identity for Caroline. In all of the works she is portrayed as a powerful woman. She is either powerful by her settings (in the drawing room, or with Vesuvius in the background), her vast knowledge in the arts and fashion, her motherhood, her sensuality, or the way in which she is positioned and how she is staring back at the viewer within the works. The creation of this identity was uniquely Caroline's, mimicking Marie de Medici, Marie Antoinette and Josephine and Napoleon Bonaparte, while adding her own tastes and agendas to the creation. Through this identity she proved herself to be as equally French as Italianate through dress and surroundings. She even created a hybrid of fashion, wedding the styles together, by adding black velvet and lace to a simple empire-waisted silhouette. Caroline proved herself as politician, mother, educated and refined woman, pioneer in fashion, and Queen through the art that she purchased and commissioned.

During the last 25 years in law enforcement in the United States, there has been a universal practice of foot and/or bicycle patrols used to accomplish the goal of police patrol enforcement and the philosophy of community policing in metropolitan areas. These tactics of patrol have also been used in police departments in and around the State of Texas. This report is a research project on six major metropolitan police departments in the State of Texas, analyzing their allocation of foot and/or bicycle patrol units within their urban cities. The study assesses their early history in using these two police tactics to address criminal activity and their progression from foot patrol to bicycle patrol. The findings of this research support the proposition that major Texas police departments have adopted the practices and philosophies of other major urban police departments around the US, by using foot and/or bicycle patrols in their cities. There is evidence that major Texas police departments were using foot patrol during the early 1980s in support of community policing and gradually phased out this practice in the early 1990s to adopt the new enforcement tactic of policing on a bicycle.

Tableau d'honneur de la Faculté des études supérieures et postdorales, 2015-2016
Le texte qui suit fait état des recherches et explorations réalisées dans le cadre du programme de maîtrise en arts visuels. Il trace le développement d’une pensée émergeant d’un dialogue entre mon processus de création, les travaux réalisés et certains concepts et idées liés tant au discours philosophique, artistique, qu’au domaine de l’architecture et de la mode. Ce discours reflète les différentes dimensions actuelles de ma pratique, leurs modulations et ouvertures, afin de motiver un corpus matérialisant un usage non normé des patrons de couturière. Constitués de dessins et d’assemblages, les travaux présentés découlent d’une démarche exploratoire caractérisée par un travail de déconstruction, d’hybridation et de réagencement des patrons et de ses codes, donnant lieu à une reconfiguration de l’organisation et de la structure du vêtement. Appréhendé comme doublure, le vêtement se présente comme un objet ouvert et indéterminé qui, troublant à la fois les modèles identitaires et l’organisation du corps usuels, invite à bâtir de nouvelles façons de percevoir le sujet.

In this dissertation, I examine the role of private sector engagement in environmental governance. The relationship between mainstream environmentalism and the private sector has moved from one of general hostility to one of constructive engagement in recent times. As a result, the traditional distinctions between environmental non-governmental organizations and private corporations have become blurred, making way for public-private hybrids, facilitated by frameworks of philanthropy, sponsorship, and corporate social responsibility. Connected to these broader reconfigurations in environmental governance are simultaneous alterations in the normative framework of mainstream environmentalism. Ideologically, environmental policy and neoliberalism are now intertwined, entangling assumptions about nature and culture, and reflected in the popularization of environmental protection mechanisms that are deeply embedded in the values of the market economy. Analyzing particular examples of such engagements, and informed by Gramscian theory, I analyze the connections between rising corporate presence in mainstream environmentalism and broader normative and practical change, focusing, in particular, on the frameworks of ecomodernism and the Green Economy. I argue that contemporary private sector engagement in environmentalism leads to the support, production and construction of powerful environmentalisms: environmental ideologies and practices that gain power from, not in spite of, prevailing dominant interests. As such, these powerful environmentalisms tend to produce and reproduce elite processes of capitalist production and prioritize instrumental norms of human-nature relations, while marginalizing others. I conclude by outlining suggestions in support of a democratic environmental politics that represents and recognizes a more diverse array of actors, human-nature relationships, and frameworks of environmental care.

This bachelor thesis evolves around the topic of art collectors as a phenomenon throughout different centuries. Ernest Thiel was a Swedish art collector at the turn of- and early 20th- century. Tom Böttiger is a contemporary art collector who acquired his first artwork during the 80’s. Both collectors are more like than alike, which points to and enforces certain common stereotypes as to whom could be a collector and what kinds of collectors exist. This thesis compares those two collectors from different times, from an art collectors perspective. The thesis concluded that collectors often bring upon themselves to act as patrons for the artists, both by promoting and purchasing their works, but also by aiding them financially.

The dissertation consists of a critical preface and excerpts from the novel Patrol. The preface explores how the novel Patrol utilizes characters that engage with tropes of the Romantic Genius in order to establish their subjectivity while navigating the standardizing mechanisms of twenty-first century information technologies. The preface analyzes how the rise of the organic food movement, the usage of biotech genetic engineering, and the tactics of Big Data-era marketing all inform the critical underpinnings of Patrol, situating the novel in conversation with works of fiction and nonfiction that also explore the interplay of these topics with contemporary American culture. Set primarily in Cincinnati, Ohio, the bifurcated narrative of the novel Patrol enlists the perspectives of both a science-tech father from the Boomer generation, Tim Smith, and his millennial public relations-major daughter, Sarah Smith. Both work in industries that seek to utilize the concept of the individual genius in service of quantification. Tim and Sarah’s interactions with Alexandra Smith, a family member who transitions from female to male over the course of the novel, cause both protagonists to recognize that their own identities are malleable, and this discovery goads each into reexamining their career choices and personal relationships. The plot depicts the outcome of these explorations, culminating in a series of choices for Tim and Sarah that showcase the fundamental change in each character. Unable to simply quantify themselves and those around them, Tim and Sarah instead adopt a more nuanced view of the world that seeks to find a balance between the individualistic conceit of the Romantic genius and the quantifying mandates of technology.

This essay studies the rhetorical situation of the crowdfunding site Patreon.com, with a particular focus on the construction of ethos. Taking off from the conception of ethos as a discursive dwelling place, the study analyzes five Patreon pages and the self-promotional practices associated with each page. It concludes that there are different ways of negotiating the implicit and explicit expectations that go along with setting up and maintaining a presence on a crowdfunding site – not least with regards to the relationship between ethos and ethics.

In this study, a computer simulation model for library CD-ROM LAN systems was created. Using this model, the system optimization problems were examined. The simulation model imitated the process of the actual decision variables changing their values and generated the corresponding results. Under a certain system environment, if the values of decision variables are changing, the system performances are getting changed also. This study investigated these relationships with the created model. The system users' interarrival time, service time, and other relevant data were collected on randomly selected days in a university library. For data collection, both of the observation and the system automatic metering software were used. According to the collected data, a discrete events simulation model was created with GPSS/H. The simulation model was proven valid and accurate by a pilot test and by the calculation with queuing theory. Statistical tests were used for data comparison and analysis. In addition, animation technique was used to show the simulation process by using Proof Animation. By this technique, the simulation process was monitored on the screen.

Automatically describing contents of recorded music is crucial for interacting with large volumes of audio recordings, and for developing novel tools to facilitate music pedagogy. Melody is a fundamental facet in most music traditions and, therefore, is an indispensable component in such description. In this thesis, we develop computational approaches for analyzing high-level melodic aspects of music performances in Indian art music (IAM), with which we can describe and interlink large amounts of audio recordings. With its complex melodic framework and well-grounded theory, the description of IAM melody beyond pitch contours offers a very interesting and challenging research topic. We analyze melodies within their tonal context, identify melodic patterns, compare them both within and across music pieces, and finally, characterize the specific melodic context of IAM, the rāgas. All these analyses are done using data-driven methodologies on sizable curated music corpora. Our work paves the way for addressing several interesting research problems in the field of mu- sic information research, as well as developing novel applications in the context of music discovery and music pedagogy. The thesis starts by compiling and structuring largest to date music corpora of the two IAM traditions, Hindustani and Carnatic music, comprising quality audio recordings and the associated metadata. From them we extract the predominant pitch and normalize by the tonic context. An important element to describe melodies is the identification of the meaningful temporal units, for which we propose to detect occurrences of nyās svaras in Hindustani music, a landmark that demarcates musically salient melodic patterns. Utilizing these melodic features, we extract musically relevant recurring melodic pat- terns. These patterns are the building blocks of melodic structures in both improvisation and composition. Thus, they are fundamental to the description of audio collections in IAM. We propose an unsupervised approach that employs time-series analysis tools to discover melodic patterns in sizable music collections. We first carry out an in-depth supervised analysis of melodic similarity, which is a critical component in pattern discovery. We then improve upon the best possible competing approach by exploiting peculiar melodic characteristics in IAM. To identify musically meaningful patterns, we exploit the relationships between the discovered patterns by performing a network analysis. Extensive listening tests by professional musicians reveal that the discovered melodic patterns are musically interesting and significant. Finally, we utilize our results for recognizing rāgas in recorded performances of IAM. We propose two novel approaches that jointly capture the tonal and the temporal aspects of melody. Our first approach uses melodic patterns, the most prominent cues for rāga identification by humans. We utilize the discovered melodic patterns and employ topic modeling techniques, wherein we regard a rāga rendition similar to a textual description of a topic. In our second approach, we propose the time delayed melodic surface, a novel feature based on delay coordinates that captures the melodic outline of a rāga. With these approaches we demonstrate unprecedented accuracies in rāga recognition on the largest datasets ever used for this task. Although our approach is guided by the characteristics of melodies in IAM and the task at hand, we believe our methodology can be easily extended to other melody dominant music traditions. Overall, we have built novel computational methods for analyzing several melodic aspects of recorded performances in IAM, with which we describe and interlink large amounts of music recordings. In this process we have developed several tools and compiled data that can be used for a number of computational studies in IAM, specifically in characterization of rāgas, compositions and artists. The technologies resulted from this research work are a part of several applications developed within the CompMusic project for a better description, enhanced listening experience, and pedagogy in IAM.
La descripció automàtica d’enregistraments musicals és crucial per interactuar amb grans volums de dades i per al desenvolupament de noves eines per a la pedagogia musical. La melodia és una faceta fonamental en la majoria de les tradicions musicals i, per tant, és un component indispensable per a la descripció automàtica d’enregistraments musicals. En aquesta tesi desenvolupem sistemes computacionals per analitzar aspectes melòdics d'alt nivell presents en la música clàssica de l’Índia (MCI), a partir dels quals descrivim i interconnectem grans quantitats d'enregistraments d'àudio. La descripció de melodies en la MCI, complexes i amb una base teòrica ben fonamentada, va més enllà de l’anàlisi estàndard de contorns de to (“pitch” en anglès), i, per tant, és un tema de recerca molt interessant i tot un repte. Analitzem les melodies dins del seu context tonal, identifiquem patrons melòdics, els comparem tant amb ells mateixos com amb altres enregistraments, i, finalment, caracteritzem el context melòdic específic de la música IAM: els rāgas. Tots els anàlisis s’han realitzat utilitzant metodologies basades en dades, amb un corpus musical de mida considerable. Iniciem la tesi recopilant la col·lecció més gran de MCI obtinguda fins al moment. Aquesta col·lecció comprèn enregistraments de qualitat amb metadades de música Hindustani i Carnatic, les dues grans tradicions de la MCI. A partir d’aquí analitzem el to predominant i normalitzem la peça pel context tonal. Un element important per a descriure melodies és la identificació d’unitats temporals rellevants, per la qual cosa detectem les ocurrències de nyās svaras en la MCI, que serveixen com a marques identificadores dels patrons melòdics més destacats. Utilitzant aquestes característiques melòdiques, extraiem els patrons melòdics recurrents més destacats. Aquests patrons són els blocs que construeixen les estructures melòdiques, tant en la improvisació i com en la composició. Per tant, són fonamentals per a la descripció de col·leccions de música MCI. Proposem partir d’un enfocament no supervisat que utilitza eines d'anàlisi basades en sèries temporals per descobrir patrons melòdics en grans col·leccions de música. En primer lloc, hem realitzat un anàlisi supervisat extensiu sobre la similitud melòdica, que és un component fonamental per al descobriment de patrons. A continuació, millorem els resultats (respecte al millor competidor segons l’estat de la qüestió) explotant les característiques peculiars dels patrons melòdics de la música MCI. Per identificar patrons musicalment rellevants, explotem les relacions entre els patrons descoberts mitjançant un anàlisi de xarxa. Extenses proves realitzades amb músics professionals revelen que els patrons melòdics descoberts són musicalment interessants i significatius. Finalment, fem servir els nostres resultats per al reconeixement de rāgas en actuacions gravades d'IAM. Proposem dos enfocaments nous que capturen conjuntament el to i els aspectes temporals de la melodia. El primer enfoc utilitza patrons melòdics, l’aspecte més important per als éssers humans a l’hora d’identificar rāgas. Utilitzem els patrons melòdics descoberts i fem servir tècniques de modelatge de temes (“topic modeling” en anglès), on considerem que la interpretació d’un raga és similar a la descripció textual d’un tema. En el nostre segon enfocament, proposem utilitzar el “time delayed melodic surface”, una característica innovadora basada en coordenades de retard que captura l’evolució melòdica del rāga. Amb aquests enfocaments demostrem una precisió sense precedents per al reconeixement de rāgas en el conjunt de dades més gran utilitzat mai per a aquesta tasca. Encara que el nostre enfocament està basat en les característiques de les melodies MCI i la tasca en qüestió, creiem que la nostra metodologia es pot estendre fàcilment a altres tradicions de la música on la melodia és rellevant. En general, hem incorporat nous mètodes computacionals per a l'anàlisi de diversos aspectes melòdics per a interpretacions de MCI, a partir dels quals descrivim i inter-connectem gran quantitat d'enregistraments de música. En aquest procés hem recopilat dades i hem desenvolupat diverses eines que poden ser utilitzades per a diferents estudis computacionals per a MCI, específicament en la caracterització de rāgas, composicions i artistes. Les tecnologies resultants d'aquest treball d’investigació són part de diverses aplicacions desenvolupades dins el projecte CompMusic que pretén millorar la descripció, l’experiència auditiva, i la pedagogia de la MCI.
La descripción automática del contenido de música grabada es crucial para la interacción con grandes colecciones de grabaciones de audio y para el desarrollo de nuevas herramientas que faciliten la pedagogía musical. La melodía es un aspecto fundamental para la mayoría de las tradiciones musicales, y es por tanto un componente indispensable para tal descripción. En esta tesis desarrollamos propuestas computacionales para el análisis de aspectos melódicos de alto nivel en interpretaciones musicales de Música Clásica de la India (MCI), con las que podemos describir e interrelacionar grandes cantidades de grabaciones de audio. Debido a su complejidad melódica y a su sólido marco teórico, la descripción de la melodía en MCI más allá de la línea melódica supone un interesante y desafiante objeto de investigación. Analizamos melodías en su contexto tonal, identificamos patrones melódicos, comparamos ambos tanto en piezas individuales como entre diferentes piezas, y finalmente caracterizamos el contexto melódico específico de MCI, los rāgas. Todos estos análisis se llevan a cabo mediante métodos dirigidos por datos en corpus de música de considerable tamaño y meticulosamente organizados. La tesis comienza con la confección y estructuración de los mayores corpus musicales hasta la fecha de las dos tradiciones de MCI, indostaní y carnática. Dichos corpus están formados por grabaciones de audio de alta calidad y sus correspondientes metadatos. De estas extraemos la línea melódica predominante y la normalizamos según la tónica de su contexto. Un elemento importante para la descripción de melodías es la identificación de unidades temporales significativas, para lo que proponemos detectar en música indostaní las ocurrencias de nyās svaras, marcas que delimitan patrones melódicos musicalmente prominentes. A partir de estas características melódicas, extraemos patrones melódicos recurrentes y musicalmente relevantes. Estos patrones son las unidades básicas con las que se construyen estructuras melódicas tanto en improvisaciones como composiciones, y por tanto son fundamentales para la descripción de colecciones de audio en MCI. Proponemos un método no supervisado basado en el análisis de las series temporales para el descubrimiento de patrones melódicos en colecciones musicales de tamaño considerable. En primer lugar llevamos a cabo un análisis supervisado en profundidad de similitud melódica, que es el componente crítico para el descubrimiento de patrones. A continuación mejoramos la propuesta más competitiva sirviéndonos de las características melódicas propias de MCI. Para identificar patrones musicalmente significativos, hacemos uso de las relaciones entre los patrones descubiertos mediante la implementación de análisis de redes. Exhaustivas evaluaciones auditivas por parte de músicos profesionales de los patrones melódicos descubiertos revelan que estos son musicalmente interesantes y significativos. Finalmente, utilizamos nuestros resultados para el reconocimiento de rāgas en interpretaciones grabadas de MCI. Proponemos dos métodos nuevos que captan conjuntamente los aspectos tonales y temporales de la melodía. Nuestro primer método se sirve de patrones melódicos, los principales indicadores para la identificación de rāgas por parte de oyentes humanos. Utilizamos los patrones melódicos descubiertos y empleamos técnicas de modelado de temas, en las que equiparamos la interpretación de un rāga a la descripción textual de un tema. En nuestro segundo método, proponemos una superficie melódica de tiempo de retardo, una característica nueva basada en las coordenadas de retraso que captan el contorno melódico de un rāga. Con estos métodos alcanzamos precisiones sin precedentes en el reconocimiento de rāgas en los mayores conjuntos de datos nunca usados para esta tarea. Aunque nuestra propuesta se fundamenta en las características de las melodías en MCI y la tarea en cuestión, creemos que nuestra metodología puede ser fácilmente aplicable a otras tradiciones musicales predominantemente melódicas. En resumen, hemos construido nuevos métodos computacionales para el análisis de varios aspectos melódicos de interpretaciones grabadas de MCI, con las que describimos e interrelacionamos grandes cantidades de grabaciones musicales. En este proceso hemos desarrollado varias herramientas y reunido datos que pueden ser empleados en numerosos estudios computacionales de MCI, específicamente para la caracterización de rāgas, composiciones y artistas. Las tecnologías resultantes de este trabajo de investigación son parte de varias aplicaciones desarrolladas en el proyecto CompMusic para la mejora de la descripción, experiencia de escucha, y enseñanza de MCI.

Les changements climatiques annoncés risquent de constituer des pressions de sélection importantes sur des caractères tels que la résistance à la secheress, notamment pour des espèces forestières comme le pin maritime. Dans ce contexte, une question essentielle est de savoir si ces espèces pourront s'adapter suffisamment rapidement aux nouvelles conditions climatiques. Les objectifs de cette thèse étaient d'évaluer le potentiel adaptatif de populations naturelles de pin maritime pour des caractères liés à la résistance au déficit hydrique, et d'identifier des gènes potentiellement impliqués dans la variation adaptative intra- et inter-populations. Pour y répondre, la variabilité phénotypique pour des caractères de croissance, de biomasse, et d'efficience d'utilisation en eau (EUE) a été évaluée dans un essai de populations naturelles provenant de milieux contrastés sur les plans climatiques et écologiques. Une grande variabilité phénotypique a été mise en évidence entre performances moyennes des populations, et pour les valeurs relatives d'héritabilité et de corrélations entre biomasse et EUE estimées dans chaque population. Ces résultats ont confirmé le rôle de la sélection dans l'adaptation locale du pin maritime, suggérant des stratégies de réponses à un déficit hydrique différentes selon les populations. Les patrons de diversité et différenciation nucléotidiques de gènes candidats à la résistance au stress hydrique ont également été étudiés. Certains gènes s'écartent significativement de patrons d'évolution neutre, avec des signatures cohérentes et complémentaires entre plusieurs méthodes, qui ont été interprétées en termes de scénarios de sélection. L'hétérogénéité de ces signatures entre gènes candidats et entre populations pour certains gènes, serait aussi cohérente avec un rôle de la sélection naturelle plutôt qu'avec celui d'évènements démographiques qui auraient affecté l'ensemble du génome de façon plus homogène. Enfin, quelques associations remarquables ont été mises en évidence entre la variaton de l'EUE entre populations et au sein des populations, et celles de marqueurs SNPs de gènes de déhydrines, de lignification ou de formation de la paroi cellulaire. Ce travail ouvre ainsi des perspectives encourageantes pour la compréhension de l'architecture génétique moléculaire de l'adaptation à la sécheresse chez cette espèce.

Texte remanié de: Thèse de doctorat--Histoire de l'art--Paris Panthéon-Sorbonne, 2003. Titre de soutenance : Les politiques patronales de logement en France, 1894-1944.
Bibliogr. p. 171-183. Index.

While the development of hagiography over time has long attracted the attention of medievalists, scholars have not fully explored the critical role of the liturgy in prompting and transmitting these changes. This dissertation examines the liturgies for the patron saints of three musical and ecclesiastical centers in medieval Aquitaine: the cathedrals of Saint-Trophime in Arles, Saint-Just-et-Saint-Pasteur in Narbonne, and Saint-Étienne in Toulouse. Through the music, texts, and ritual actions of the liturgy, the clerical communities of these three institutions reinforced some aspects of their patron saint's legendary biography and modified others. Yet the process unfolded differently at each cathedral, revealing the particular preferences of the canons of each community as well as their changing circumstances during the Middle Ages. In Arles, the office for St. Trophime, which was likely composed at the cathedral, shows dramatic changes in the saint's hagiography. The clerics in Narbonne also composed an office for their patron saints but did not substantially change the details of Justus and Pastor's legendary biography. In Toulouse, the canons selected from among the preexisting repertoire of chants and texts available for St. Stephen, crafting liturgies that were particular to Saint-Étienne within a clearly Aquitanian context. By revealing the ways in which the clerics of Saint-Trophime, Saint-Just, and Saint-Étienne shaped the legendary biographies of their patron saints, my work provides new insights into the ways in which clerical communities throughout Latin Christendom shaped and reshaped the hagiographic portraits of their patron saints through the creation, compilation, and celebration of new liturgies.

This two-part study of the criminal investigation process first evaluated the frequency with which patrol officers solve cases assigned to the investigations division and then examined how detectives spent their time, both on case assignments and on other activity not related to current case assignment. Cases assigned to the investigations division for follow up were examined to determine how often a case was cleared by the patrol officer. The detective's time was then evaluated in order to determine how much time detectives spent on investigative tasks and other activities. This study confirms that the patrol officer should be given more time to conduct preliminary investigations for specific cases, and that tasks performed by detectives could be shifted to other personnel in the department. Both actions should serve to positively impact case clearance rates.

Texte remanié de: Diss.--Jerusalem--Hebrew university, 1994. Titre de soutenance : Petitio-elections, canvassing and the functioning of electoral assemblies in the late roman republic.
Bibliogr. p. 235-246. Index.

El objetivo principal de esta tesis es la comprensión del papel de determinados movimientos corporales no instrumentales pero relacionados de una u otra forma con la música en los procesos de identificación colectiva e individual, y en la formación y mantenimiento de un sentimiento de pertenencia a un colectivo de personas unidas principalmente por tener un interés en común en un género musical determinado. Los movimientos, acciones y posturas corporales investigados son los realizados por las personas músicas durante la performance musical, el concierto, excluyendo los movimientos instrumentales productores de sonido. Igualmente se analizan los movimientos realizados por el público tanto como reacción ante la música y el concierto que como conformadores del mismo concierto. Una parte de estos movimientos relacionados con la música presentan un alto grado de automatización. Por otra parte, y en relación con lo anterior, consideramos que todo movimiento corporal puede ser significado por una persona perceptora. Al abordar la actividad motora corporal como criterio en la construcción de una identidad grupal y como catalizadora de un sentimiento de pertenencia a un grupo es ineludible investigar sus condiciones socio-históricas de producción, propagación, adquisición y aprendizaje. El concierto se caracteriza por la contigüidad corporal, productora de un conjunto de interacciones sociales basadas en las relaciones cara a cara. Esta copresencia kinésico- corporal dota de significados y posibilidades afectivas a determinados movimientos y acciones corporales caracterizados especialmente por ser colectivos y seguir normas implícitas. La escena local —en esta investigación las del punk, el hardcore y la improvisación libre— es el contexto sociocultural en el que se desarrolla el concierto, y a la vez el colectivo o comunidad —ya que como exponemos una escena local es, entre otras cosas, un grupo de personas unidas por un gusto y unas prácticas musicales— que será el destinatario último de ese sentimiento de pertenencia, así como un entorno delimitado por criterios identificatorios, entre ellos los relacionados con el cuerpo.
The main objective of this thesis is to comprehend the role of certain non-instrumental body movements related to music in the processes of both collective and individual identification, as well as in the formation and maintenance of a feeling of belonging to a group united mainly by a common musical genre. The movements, actions and body postures investigated are those performed by the musicians during the musical performance, excluding the sound-producing instrumental movements. Likewise, the movements made by the audience are analysed both as a reaction to the music and the concert and as part of the concert itself. Besides, these movements related to music present a high degree of automation. In addition, we consider that all body movement can be signified by the perceiving person. When approaching the corporal motor activity as a criterion in the construction of a group identity and as a catalyst for a feeling of belonging to a group, it is inescapable to investigate its socio-historical conditions of production, propagation, acquisition and learning. The concert is characterized by bodily contiguity, producing a set of social interactions based on face-to-face relationships. This kinetic bodily co-presence endows with meanings and affective possibilities to certain movements and corporal actions characterized especially by being collective and following implicit norms. The local scene - in this particular investigation the punk, hardcore and free improvisation scenes of Barcelona - is the sociocultural context in which the concert takes place, and at the same time the collective or community - since how we expose a local scene is, among other things , a group of people united by a sharing musical taste and musical practices — who will be the ultimate recipient of that feeling of belonging, as well as an environment delimited by identifying criteria, including those related to the body.

Research suggests that using data driven solutions in policing strategies improves the quality of service provided by the police department. Unfortunately, many police departments, including the Denton Police Department, do not use their spatial data to inform beat zone placement. Analysis of the current beat zone configuration found that there are disparities in the workload, as measured by number of calls for service, between beat zones. Further, there was also a statistically significant difference between the median response times across all the five beat zones in Denton. This means that the median response time varies depending on where the call for service originates. Using readily available data, these police departments can apply methods such as UPAS to improve the quality of service provided by the department. UPAS is a deterministic algorithm that produces a given number of contiguous spatial partitions of approximately equal population size; in this case, calls for service are substituted for population. Although this algorithm was originally developed to create solutions for bio-terrorism response planning, it has been applied to the problem of creating beat zones of roughly equal workload in this research. I have shown that this algorithm results in a beat zone configuration that significantly reduces the difference in workload between the busiest and least busy beat zone (~94% reduction). Assuming an equal distribution of resources across beat zones, having approximately similar workloads should lead to fewer disparities in quality of service.

Charles Masson (1894-1971) est un des principaux architectes de l’entre-deux-guerres à Nancy. Cette période de l’histoire de l’architecture à Nancy et en Lorraine est encore en cours d’étude. Adoptant la forme classique d’une monographie d’architecte, cette thèse y apporte sa contribution mais en tentant d’élargir l’étude par la connaissance des commanditaires. Elle s’attache d’abord à établir la biographie de cet architecte né en Moselle annexée et dont la formation en Allemagne lui donne un profil singulier. Le corpus des édifices bâtis par Masson au nombre de 57 a été défini, étudié et réuni dans un catalogue qui constitue le troisième volume de la thèse. Géographiquement, ils se trouvent principalement à Nancy et, pour presque la moitié d’entre eux, dans le fameux Parc de Saurupt, haut lieu de l’architecture Art nouveau et où Masson s’est fortement investi, mais du point de vue de leur statut, ils ne comptent que des villas ou des maisons et des immeubles, mais aucun bâtiment public. Masson présente la particularité rare de n’avoir travaillé à Nancy que pour l’architecture domestique. Les 41 commanditaires identifiés sont donc tous des particuliers, à l’origine et au profil social variés, appartenant généralement à la bourgeoisie fortunée. La synthèse se penche non seulement sur la vie et les constructions de Masson, mais tente aussi de saisir les relations entre l’architecte et ses clients, question qui jusqu’ici, pour ce qui concerne l’architecture de l’entre-deux-guerres, n’a pas été traitée sérieusement ni systématiquement. C’est un des intérêts de cette thèse de tenter d’aborder de front la question de la clientèle de l’architecte Masson. Pour cela, l’apport des archives s’avère essentiel mais, si la très grande majorité des plans dressés par Masson a été conservée, aucune correspondance n’a été retrouvée. On y a suppléé en étudiant finement le profil social de chaque commanditaire et en examinant les plans et l’architecture de chaque édifice pour en identifier les partis pris et deviner les souhaits des clients : leur rêve de villa ou leur désir de profiter des bonnes affaires dans l’immobilier. Cette étude révèle donc un architecte nancéien méconnu malgré l’importance de son œuvre et se veut une contribution à la connaissance de l’architecture domestique et de la clientèle des architectes de l’entre-deux-guerres
Charles Masson (1894-1971) was one of the leading architects of the interwar period in Nancy. People are still studying the effects of this historical and architectural period in Nancy and Lorraine. Adopting the classic form of an architectural monograph, this thesis both contributes to these studies and tries to broaden the study by mentioning the patrons. First of all, it focuses on the life of this architect, born in Moselle when Moselle was a part of Germany and whose German upbringing gives his work a unique character. Masson's oeuvre consists of 57 buildings, which have all been defined, studied, and collected together in a catalog, which constitutes the third volume of this thesis. Geographically, they are primarily located in Nancy and almost half of them are located in the famous Parc de Saurupt, the Mecca of Art Nouveau architecture and where Masson invested a lot of his time and effort, but when it comes to the types of buildings, he only designed villas, houses, and apartments. There are no public buildings in his work. Masson is unique in having only worked on residential architecture in Nancy. The 41 identified patrons are therefore all individuals, who all come from a variety of backgrounds and social classes, generally belonging to the wealthy bourgeoisie. This thesis not only looks at the life and work of Masson, but also attempts to understand the relationship between the architect and his clients, an issue which up to now, as far as the architecture of the interwar period is concerned, has not been treated seriously or systematically. It is one of the primary goals of this thesis to try to address the nature of Masson's clientele head-on. For this, the archives have proven essential, but no correspondence has yet been found despite the vast majority of the plans drawn up by Masson having been preserved. We supplemented this by carefully studying the social profile of each patron and by examining the plans and architecture of each building. We were able to identify their biases and estimate the client’s wishes, whether they dreamed of owning a luxury villa or were looking for a bargain property. This study has revealed an unknown architect from Nancy, who despite the importance of his work, has helped contribute to the knowledge of the domestic architecture and the clientele of the architects of the interwar period