Dissertations / Theses on the topic 'Art patterns'

In September 1985, a new Fine Arts Curriculum Guide/Resource Book was introduced in elementary schools throughout British Columbia. The purpose of this study was to investigate a practitioner's use of the guide within her classroom. Enquiry into the quality of the practitioner's living within the tensionality between this curriculum-as-plan and her curriculum-as-lived experience provided a counterpoint for the researcher's personal reflections on her experiences as a school art specialist and district resource person. An art education evaluation model based on art criticism concepts provided a flexible framework for this study. Classroom observations and reflective dialogue between teacher and researcher raised these issues: the lack of integration and balance between artistic, linguistic, and mathematical modes of learning within the overall school curriculum; the nature of school art, child art and art appreciation as each relates to curriculum goals for art education; evaluation in art education; and the "being" of children and the "being" of women teachers within present educational institutions. The study generated reflections on possible changes in the roles of learners, teachers, art specialists, and educational researchers as they adapt to curriculum change.<br>Education, Faculty of<br>Curriculum and Pedagogy (EDCP), Department of<br>Graduate

Pattern is a familiar concept ever present in our daily lives, existing in many material forms, observable in varied states, and able to be created from a diverse range of processes and events. Natural pattern forms, such as biological and chemical patterns, have been extensively studied, often within the digital environment because of its capacity to process large amounts of data which aids investigation of not only their characteristics but their potentiality. However, human designed physical patterns, while having been investigated extensively in terms of their historical, geographic and cultural significance and their aesthetic and/or mathematical characteristics, have not been fully investigated in terms of their evolutionary potential. This project explores one example of human designed physical patterns, crochet lace patterns ??? which have remained largely stable and consistent throughout various technological transformations such as the industrial revolution ??? in order to explore pattern as a process and investigate the potential for these patterns to become emergent. This exploration translated the patterns into the digital environment where, as data, the patterns become available for manipulation using a generative art practice approach. By translating the patterns into a digital environment and engaging with the pattern forms at their systematic core, where crochet pattern instructions and software programming scripts operate similarly as ???code???, this research provided a deeper understanding of the patterns and allowed exploration of whether a pattern???s developmental path can be altered to create new emergent patterns. This research draws on systems theory and systems aesthetics and their application within contemporary generative art practice and informs visual arts in several areas including showing how aesthetic values shift as work becomes cross-disciplinary and enters the digital environment, and how the introduction and location of innovation affects the relationship between the original and its copy.

Includes bibliographical references ( leaves 69-74).<br>[Introduction] This study formed part of an existing prospective cohort study describing the outcomes of treatment of patients accessing ART in Khayelitsha. Despite the reported favorable outcomes in terms of immunologic responses, the actual variations in patterns of and associations with immunologic response over time among adult patients accessing the community based antiretroviral treatment programme in Khayelitsha are largely unknown. [The aim of the study] The aim of this study focused on describing the patterns of and associations with immunologic response, together with some of their subsequent outcomes among adult patients accessing community based antiretroviral treatment programme in Khayelitsha. [Study design and population] The analysis of this study formed part of an existing prospective cohort study describing the outcomes of antiretroviral treatment of patients in Khayelitsha. The study population included patients accessing ART in Khayelitsha, Cape Town, South Africa. A sample size of 400 HIV positive ART naïve patients was sufficiently powered for the analysis. The socio-demographic and clinical information required for the an alysis was already captured, validated and entered in a database. Summary measures, logistic regressions, survival analysis, simple linear regression and population average models were used to make the analysis and report the findings.

This project is an exploration of the endless negotiation of the va, the relationships that consistently define and redefine themselves in the space between two cultures. The va consists of relationships between people and things, unspoken expectations and obligations: the inherent and changeable patterns, of obligations and expectations between people and their environment. The va space can be viewed as the stage upon which all patterns and motifs carry meaning. How the patterns and motifs change meanings are subject to other elements in the va. Meaning in my work will evoke the interweaving connections of past and present through oral history, genealogy, and fagogo¹ (story telling) memory and artist sentiment. As participant, the artist reflects through the remembrance of sifting through images, person, family, events, time, and space. An emphasis will be placed on the exploration of pattern and motif as a signifier of events and sign of respect, with a focus on notions of the va. The project explores notions of visual patterns and motifs to be utilized as a vehicle to signify in that all patterns and motifs carry meaning in that they signify an event, person, time, and space. Written from a Samorians² perspective of one who lives in the space between. ¹ See Sean Mallon (2002) for an explanation on fagogo in Samoan Art and Artists O Measina a Samoa p. 163). ² The term ‘Samorians’ refers to a play on words of Samoans and an American treat called ‘samores’ containing a marshmallow that is cooked in the microwave or roasted in the fire and then placed in between two chocolate biscuits. It can also refer to an afakasi (half-caste).

Toujours plus visibles sur les scènes occidentales de la musique classique, les musicien-ne-s japonais-e-s évoluant en Europe constituent un phénomène social intéressant. Adoptant deux perspectives complémentaires - celle des «mondes de l’art» et des trajectoires d’artistes d’un côté, et celle des mobilités et des migrations de travailleurs d’un autre -, cette thèse vise à examiner la construction des carrières artistiques des musicien-ne-s japonais en Europe étudiées comme des trajectoires «transnationales» de professionnel-le-s qualifié-e-s. Comment se fait-il que des personnes socialisées dans une culture particulière, déménagent dans un environnement socioculturel hétérogène pour étudier et construire leur vie professionnelle et individuelle à l’étranger ? Est-ce que leurs trajectoires nous permettent de les classer comme des « artistes cosmopolites » ? Ou bien la construction sociale de leur carrière ressemble-t-elle davantage à celle des «migrants»? L’analyse s’appuie sur un matériau de 50 entretiens semi-structurés conduits avec des musicien-ne-s japonais-e-s dans leur langue maternelle et 20 interviews/conversations menées avec des experts/informateurs. En comparant deux environnements très différents, la France et la Pologne, j’ai cherché à neutraliser l’impact que diverses idiosyncrasies environnementales, structurelles et socioculturelles peuvent exercer sur la dynamique des carrières de ces musicien-ne-s. En conclusion, l’examen des modes d’insertion dans l’éducation musicale mis en rapport avec l’origine sociale des répondant-e-s m’a amené à distinguer quatre profils professionnels : (1) les héritier-e-s professionnel-le-s, (2) les héritier-e-s des rêves parentaux, (3) les ancien-ne-s élèves de brass band et (4) les pratiquant-e-s avocationnel-le-s. En outre, le matériel recueilli au cours de mes recherches a montré que les carrières des musicien-ne-s japonais-e-s opèrent sur plusieurs niveaux et que la "transnationalité" supposée – que j’associe au concept de « double absence » de Sayad (1977, 1999) – a été conditionnée par une combinaison de différents déterminants sociaux (origines sociales, genre, spécialisation instrumentale, systèmes éducatifs et possibilité de conversion du capital ainsi que les politiques migratoires, les marchés du travail, ou encore les arrangements de l’État de providence). Ces éléments ont en effet largement influencé et, dans certains cas, fait dérailler les parcours professionnels étudiés<br>Japanese musicians arriving to Europe for the purpose of studies and work have become more and more visible in the context of classical art scenes, and they do not constitute a niche sample anymore. Combining two perspectives – that of the “art world” on the one hand and that of labour mobility and migration on the other, – this thesis examines the dynamics of Japanese musicians’ artistic careers establishing themselves in Europe in the context of “transnational” trajectories of skilled professionals. How do people, socialized in one particular culture, relocate to a disparate socio-cultural environment to study and then to build their professional as well as individual lives abroad? Shall these musicians be conceived of as “cosmopolite” artists? Or does the social construction of their careers bring them closer to “migrants”? This study is based on 50 semi-structured interviews conducted with Japanese musicians in their mother tongue as well as 20 interviews/conversations led with experts/informers. Comparing two substantially disparate environments, the French and the Polish ones, I aimed at distilling the impact that various structural as well as socio-cultural environmental idiosyncrasies have on career dynamics. In conclusion, examining modes of insertion into music education against the background of respondents’ social origins led me to distinguish four main career trajectories: (1) professional heirs; (2) inheritors of parental dreams; (3) brass band alumni and (4) avocational practitioners. Furthermore, the collected material unveiled that their careers are multilayered. Consequently, the presupposed “transnationality” – that I associate with Abdelmalek Sayad’s concept of “double absence” – has been conditioned by a combination of various social factors (i.e., social origins, gender, specialization, education systems and the possibility of conversion of capitals be it social or cultural; as well as migration policies, labor markets or structure of the welfare state in the hosts societies), which largely influence, and in some cases, derail the studied professional paths

The dissertation presents a cultural analysis of contemporary art collecting and art production with an illustration of patterns that overlap in collecting and art production practices in contemporary art. The illustrated visual network shows how institutions, local context, social strategies and prestige overlap in their influences on art production as a cause for collecting contemporary art. Economic exchange, reputation, a perception of time, and the personal and emotional understanding of objects and material are four patterns that illustrate reasons for collecting contemporary art in conclusion. This analysis is based on a visualisation of the structured field data that was generated in a participatory field study in the New York art world, consisting of semi-structured interviews between 2013 – 2015. Limitations in usability and interface design, and the need for a sufficient visualisation tool for qualitative data analysis, drew the focus of this study to the development of a new data visualisation software. After a peer-reviewed process, the software Entity Mapper was selected for use in this thesis to visually analyse the collected and structured data. The analysis takes location, size, hierarchy and movement of the structured data in the visual map into consideration for concluding theoretical statements.

My creative work investigates the negative space, the ‘in between space’ that leads to new knowledge about other artists and other cultures. The fundamental and distinctive elements of Islamic pattern in my paintings in the exhibition Dialogue in Diversity are based on my own experience of misinformation as well as rewarding collaboration within a culturally blended family.This research explores the continuity of the arabesque and polygon. I experiment with the hexagon and its geometric shapes, with its many repeat patterns and the interrelatedness of the negative space, or the void indicative of the space between layers of past and present civilizations that are significant fundamentals in my paintings.The thesis Transforming perceptions of Islamic culture in Australia through collaboration in contemporary art traces the visual history of Orientalist art, beginning with a key image of Arthur Streeton, Fatima Habiba, painted in 1897 and contrasts Streeton’s perception with that of important Islamic women artists working globally such as Emily Jacir who participated in the Zones of Contact 2006 Biennale of Sydney.A core element of my research is working with emerging artists from Islamic backgrounds in Western Sydney. The February 2007 exhibition Transforming Perceptions Via . . . at the University of Wollongong brought together artists from east and west.By adopting the Islamic pattern in my paintings, I hope to strengthen the interaction between the Christian and Muslim interface in Australian contemporary society. My work contemplates the human aspects of relationships and responsibilities within the cross cultural spectrum.

Geographic Information Systems (GIS) have demonstrated their utility in predictively modeling the location of archaeological sites, and providing a framework for cataloging sites eligible for heritage management status. The intent of this GIS-based study is to begin to create a geohistorically organized database of information culled from historic documents and archaeological excavation. In this case study of postbellum land tenure in Hillsborough County, Florida, a GIS-based approach is used to demonstrate the impacts of federal and state land ownership policy decisions during the Reconstruction Era and beyond. GIS data are also used to reveal information about how people use their allotted environment to non-verbally communicate their perceptions of the world and their place in it. Finally, GIS are shown to be ideally suited for allowing multi-scalar, diachronic comparisons of archaeological sites and materials. This research was conducted according to the concepts of Actor-Network-Theory (ANT), which assumes there is a generalized symmetry between the agency of human actors and non-human actants (i.e. it does not assume the primacy of human intentional action). ANT accepts that materials can carry non-verbal messages (e.g. colors, aromas, tactility), which affect how humans interact, communicate, and organize themselves in space. ANT allows for the use of scales based on human action, and analyses that are based standardized metrologies. Finally, ANT obviates being limited to strict categories of macro- and micro-, by accepting that networks may bridge both. This research shows that two rural communities have undergone similar growth trajectories, with a historically black community having experienced some setbacks in the early 20th century. However, the results show that the rural African American community was not more subdivided than the neighboring Euro-American community, contrary to initial expectations. Additionally, there is a suggestion that communities may move socially important buildings such as churches schools to the community center or periphery, depending on the intended recipient of the message. The study also documents the centralization, concentration, and clustering of the county's African American population through time.

In recent years there has been growing interest in arts therapy work with older people who have dementia. This has happened despite a paucity of UK research and writing on the aims of practice. Furthermore, there is little knowledge about the professional background of practitioners, the client group, care settings, theories and methods underpinning their work. This qualitative mapping study employs a methodology from nursing called interpretive description (Thorne et al. 2004). Interpretive description advocates a pluralistic approach for understanding the complex dialogue between clinical and research knowledge. The research design involved thirty-one semi-structured interviews with arts therapists from art therapy, music therapy, dramatherapy and dance movement therapy, participant observations of thirteen care settings and formal and informal interviews with ten medical/care staff who work with the arts therapists. The descriptive map was analysed using template analysis (King, 1998) and was interpreted using an integrative interpretive analysis (Heidegger, 1927; Smith et al.1999) The findings suggest that many arts therapists are pioneers in terms of being the first from their profession to work in the care setting. Issues around the arts therapists being unheard and staying unheard relate to their newness within these established settings. In terms of therapy work, theory and practice were being adapted in order to accommodate the temporal nature of the work. Despite distinctions in the art form, the study found that there is reciprocity of experience in terms of the arts therapists’ feelings about the work and some in-session practices. These united the disciplines beyond the norms of mainstream practice.

For the purpose of cultural heritage preservation, the task of recording and reconstructing visually complicated architectural geometrical patterns is facing many practical challenges. Existing traditional technologies rely heavily on the subjective nature of our perceptual power in understanding its complexity and depicting its color differences. This study explores one possible solution, through utilizing digital techniques for reconstructing detailed historical Islamic geometric patterns. Its main hypothesis is that digital techniques offer many advantages over the human eye in terms of recognizing subtle differences in light and color. The objective of the study is to design, test and evaluate an automatic visual tool for identifying deteriorated or incomplete archaeological Islamic geometrical patterns captured in digital images, and then restoring them digitally, for the purpose of producing accurate 2D reconstructed metric models. An experimental approach is used to develop, test and evaluate the specialized software. The goal of the experiment is to analyze the output reconstructed patterns for the purpose of evaluating the digital tool in respect to reliability and structural accuracy, from the point of view of the researcher in the context of historic preservation. The research encapsulates two approaches within its methodology; Qualitative approach is evident in the process of program design, algorithm selection, and evaluation. Quantitative approach is manifested through using mathematical knowledge of pattern generation to interpret available data and to simulate the rest based on it. The reconstruction process involves induction, deduction and analogy. The proposed method was proven to be successful in capturing the accurate structural geometry of the deteriorated straight-lines patterns generated based on the octagon-square basic grid. This research also concluded that it is possible to apply the same conceptual method to reconstruct all two-dimensional Islamic geometric patterns. Moreover, the same methodology can be applied to reconstruct many other pattern systems. The conceptual framework proposed by this study can serve as a platform for developing professional softwares related to historic documentation. Future research should be directed more towards developing artificial intelligence and pattern recognition techniques that have the ability to suplement human power in accomplishing difficult tasks.

Given the pathophysiology associated with the Human Immunodeficiency Virus (HIV) and the reported predilection for frontal circuitries and deep white matter, one might expect that executive dysfunction forms part of the neurocognitive profile of people living with HIV. However, such deficits have mainly been reported for adults living with HIV. Adolescence is a period where significant growth and refinement of executive functioning occurs and therefore specific research focused on HIV-positive adolescents is needed. Adolescence is also a developmental period where poor adherence to Antiretroviral Therapy (ART) persists despite marked increases in the national roll out of ART in South Africa, which has significantly decreased HIV-related morbidity and mortality rates. Poor adherence is not only a threat to the efficacy of ART but is also linked to the emergence of drug-resistant HIV strains and identified as a key contributor in the persistence of some cognitive impairments among people living with HIV. Studies show that executive dysfunction can undermine adherence to ART particularly in adolescents, whose frontal lobes are still developing. The first aim of this study was to compare the executive function profile of a group of HIV positive adolescents with that of a matched HIV negative control group. Using P. Anderson's (2002) model, executive functions were considered along the four subdomains: attentional control, processing speed, cognitive flexibility and goal setting. A second aim of the study was to investigate the relationship between executive function and levels of adherence to ART amongst the HIV positive adolescents in the sample. This cross sectional, between-groups study used a comprehensive neuropsychology test battery which was sorted into composite domains to investigate differences in executive functioning between the two study groups of adolescents aged between 14 to 16 (n = 22 in each group) using t-tests. Correlation coefficients were further computed to establish association between adherence and executive functioning. Apart from processing speed (p = 0.42, after the removal of outliers), there were no significant between-group differences in executive functioning outcomes that emerged between the HIV-positive and HIV-negative groups. The neuropsychological test scores for both groups were largely in the borderline range. Correlations between adherence and executive functioning outcomes did not yield any significant associations for each of the executive function domains. The lack of significant between-group differences may be explained by the mitigating effects of ART in the CNS in the HIV-positive group. However, consideration should be given to social factors as these may be important mediators of cognition and may therefore confound neuropsychological performance outcomes for both groups. Although the findings in the current study did not conclusively provide evidence for the role of executive functions in adherence, given the noted limitations, further studies with larger samples should confirm such outcomes.

This practice-led thesis places archival research within the framework of a contemporary art practice and proposes an interpretive reading of tailoring patterns as informative documents and inspiring drawings in their own right. Conventionally, patterns are treated only as a means to an end, aiding garment production. It is rare for patterns to be analysed by contemporary dress historians for their contribution to history. This thesis will demonstrate how tailoring patterns are undervalued and neglected, and remain a hidden craft. This qualitative research is conducted in the archive in order to gain a deep understanding of a group of patterns – here military patterns – that in turn inspired an artistic and curatorial output. An archive of uniforms worn by officers of the British Raj held at the National Army Museum was identified for this research; these uniforms were closely examined, handled and drawn in situ. The drawings were placed next to military patterns from different sources and scrutinized using a case-study method. The analysis revealed that information could be derived from the patterns making them relevant in respect to an understanding of dress history. The archival research is further interpreted in art and curatorial practice in the second half of the thesis by suggesting that patterns are unique abstracted drawings of the human form, carrying with them not only the outline of the garment but also impressions of the body. A reflective approach to the practice illustrates how the archival research became the primary source materials to create romantic Love Garden sculptures. The researcher positions his own emerging practice at the blurring of fashion, art and curatorial practice; and articulates how other artists, practitioners and designers have responded to the pattern as an object and a drawing, producing work in the context of art, fashion and design. The thesis demonstrates that military patterns and the tailoring knowledge they comprise represent rich and rewarding source materials for producing contemporary artworks, and also vital historical documents in the context of dress history.

Building on Fredric Jameson's critical theory, this dissertation examines how the aesthetics of cognitive mapping were used to uncover overlooked political, economic, social and cultural dimensions behind my artistic engagement with Islamic patterns. Using a critically informed variant of arts-based research (ABR), I explored the complexity of the interconnected economic, social, political and aesthetic realities informing my positionality as a Muslim Saudi female artist/research completing her dissertation in a Western country. Particularly, my work revealed how certain global forces (including capitalist relations between Saudi Arabia and the USA, as well as global postmodern cultural influences) shape the processes of appropriation and re-signification of patterning appropriated from Islamic aesthetics. This research culminated in a body of artwork for a solo exhibition at Paul Voertman's Gallery at the College of Visual Arts and Design at the University of North Texas located in Denton, Texas. I conclude the study with recommendations for a regional ABR to be developed by educators for the Middle East and North Africa (MENA) region. The study also suggests that this model of cognitive mapping as a critical art making methodology would be a great pedagogical tool for museums and art education curriculum to implement in Saudi Arabia.

Thailand introduced universal access to Anti-retroviral treatment (ART) service in 2003. This became the main factor increasing demands for services with increasing numbers of People living with the Human Immunodeficiency Virus (HIV) and the Acquired Immune Deficiency Syndrome (AIDS), (PLHIV) and those people living longer. Since 2011, two other factors altered the ART service provision: changes in enrolment criteria to allow PLHIV with high CD4 count (a blood test that establishes the stage of immunosuppression), access to the ART service, and decentralisation changes allowing easier access to ART at peripheral levels. This study therefore examined how service providers at all levels of care deliver ART services, and developed a tool to estimate future requirements for those providers. The case study uses mixed methods including both quantitative and qualitative approaches. Two stages of data collection were conducted; fieldwork to collect data on activities and flow of ART services, and time required for each type of service provider. These become the input data for a second stage to project staffing requirements based on Markov and Monte Carlo analysis to 2025. Three models of ART services were found, across all levels of facility in the public sector operating in high HIV/AIDS prevalence settings,: community-based, doctor-led and mixed-comprehensive. All models adapted their ART services from the national guidelines by applying HR strategies: task shifting, skill mix and community-based approach, to maintain/increase accessibility and quality of care. The estimation of time required to provide ART service of providers was estimated. 60 full time equivalent (FTE) providers (doctors, nurses, pharmacists, pharmacy technicians and non-healthcare providers) in 2012, projected to almost double in 2015. This study found negligible gaps (0.02-0.05%) between needs and availability of healthcare providers to deliver ART service. The HR strategies investigated, were sufficiently widespread to be worth recommending for wide application in human resource planning. Moreover, the tool developed to estimate the requirements for healthcare providers from this study could further support forward towards planning for HIV/AIDS services in Thailand and possibly elsewhere.

I would like to understand what kinds of connections exist between musical rhythm and poetic and linguistic rhythm, particularly the phenomenon of accent, so I investigated accent in art songs, examining twelve songs in an attempt to further understand how and if the accents and patterns found in poetry correlate to those found in songs based on this poetry. This study examines how the patterns of stressed and unstressed syllables in Lieder by Amy Beach, Richard Strauss, and Camille Saint-Saëns correlate with musical rhythmic and accent patterns in the resulting music. I systematically determined what kinds of accents were present, where they were present, and how they were related. I tracked nine different types of musical accents: agogic, contour, dynamic, articulation, metric, pitch, phrasing, structural, and textural. I then tracked the linguistic accents in the poems themselves, with the categories of meter, individual word stresses (if different from the meter), rhyme scheme, internal rhymes, and cadences (ends of sentences and questions). I then compared the accents found in the music to the accents found in the poetry. I then compared the correlation of linguistic and musical accents through graphic representation of the values I found. I found significant correlation between musical and linguistic accents in the twelve different pieces I studied. These results suggest that, for at least these three composers, the text does in fact influence the accent patterns of the music. For the songs of Beach and Strauss, there is a visual pattern in the graphs, which matches the meter of the text. The linguistic and musical accent patterns in both Beach and Strauss songs tended to be regularly alternating in a binary fashion, in keeping with the iambic meter. For Saint-Saëns, there was overall close correlation as well. The main difference between graphs for Saint-Saëns and the others seems to be the lack of a pattern in the relative accent strengths, which can be found in both the English and German graphs. French poetry does not have an iambic pattern to it; correspondingly the music doesn't show the regular binary alteration of accents. This pattern or lack thereof is part of the correlation that all of the pieces share between the music and the language, and the lack of pattern seems to demonstrate a particularity in the music in the case of French. Though showing how accents in music and text correlate in the songs of English-, German-, and French-speaking composers, this thesis does not fully determine how and if musical and linguistic accents correlate in music composers other than Amy Beach, Richard Strauss, and Camille Saint-Saëns.

Las colecciones de música son cada vez mayores y más variadas, haciendo necesarias nuevas fórmulas para su organización automática. El análisis automático del ritmo tiene como fin la extracción de información rítmica de grabaciones musicales y es una de las principales áreas de investigación en la disciplina de recuperación de la información musical (MIR por sus siglas en inglés). La dimensión rítmica de la música es específica a una cultura y por tanto su análisis requiere métodos que incluyan el contexto cultural. Las complejidades rítmicas de la música clásica de la India, una de las mayores tradiciones musicales del mundo, no han sido tratadas hasta la fecha en MIR, motivo por el cual la elegimos como nuestro principal objeto de estudio. Nuestra intención es abordar cuestiones de análisis rítmico aún no tratadas en MIR con el fin de contribuir a la disciplina con nuevos métodos sensibles al contexto cultural y generalizables a otras tradiciones musicales. El objetivo de la tesis es el desarrollo de técnicas de procesamiento de señales y aprendizaje automático dirigidas por datos para el análisis, descripción y descubrimiento automáticos de estructuras y patrones rítmicos en colecciones de audio de música clásica de la India. Tras identificar retos y posibilidades, así como varias tareas de investigación relevantes para este objetivo, detallamos la elaboración del corpus de estudio y conjuntos de datos, fundamentales para métodos dirigidos por datos. A continuación, nos centramos en las tareas de análisis métrico y descubrimiento de patrones de percusión. El análisis métrico consiste en la alineación de eventos métricos a diferentes niveles con una grabación de audio. En la tesis formulamos las tareas de deducción de metro, seguimiento de metro y seguimiento informado de metro de acuerdo a la tradición estudiada, se evalúan diferentes modelos bayesianos capaces de incorporar explícitamente información de estructuras métricas de niveles superiores y se proponen nuevas extensiones. Los métodos propuestos superan las limitaciones de las propuestas existentes y los resultados indican la efectividad del análisis informado de metro. La percusión en la música clásica de la India utiliza onomatopeyas para la transmisión del repertorio y la técnica. Utilizamos estas sílabas para definir, representar y descubrir patrones en grabaciones de solos de percusión. A tal fin generamos una transcripción automática basada en un modelo oculto de Márkov, seguida de una búsqueda aproximada de subcadenas usando una biblioteca de patrones de percusión derivada de datos. Experimentos preliminares en patrones de percusión de ópera de Pekín, y en grabaciones de solos de tabla y mridangam, demuestran la utilidad de estas sílabas, identificando nuevos retos para el desarrollo de sistemas prácticos de descubrimiento. Las tecnologías resultantes de esta investigación son parte de un conjunto de herramientas desarrollado en el proyecto CompMusic para el mejor entendimiento y organización de la música clásica de la India, con el objetivo de proveer una experiencia mejorada de escucha y descubrimiento de música. Estos datos y herramientas pueden ser también relevantes para estudios musicológicos dirigidos por datos y otras tareas de MIR que puedan beneficiarse de análisis automáticos de ritmo.<br>Large and growing collections of a wide variety of music are now available on demand to music listeners, necessitating novel ways of automatically structuring these collections using different dimensions of music. Rhythm is one of the basic music dimensions and its automatic analysis, which aims to extract musically meaningful rhythm related information from music, is a core task in Music Information Research (MIR). Musical rhythm, similar to most musical dimensions, is culture-specific and hence its analysis requires culture-aware approaches. Indian art music is one of the major music traditions of the world and has complexities in rhythm that have not been addressed by the current state of the art in MIR, motivating us to choose it as the primary music tradition for study. Our intent is to address unexplored rhythm analysis problems in Indian art music to push the boundaries of the current MIR approaches by making them culture-aware and generalizable to other music traditions. The thesis aims to build data-driven signal processing and machine learning approaches for automatic analysis, description and discovery of rhythmic structures and patterns in audio music collections of Indian art music. After identifying challenges and opportunities, we present several relevant research tasks that open up the field of automatic rhythm analysis of Indian art music. Data-driven approaches require well curated data corpora for research and efforts towards creating such corpora and datasets are documented in detail. We then focus on the topics of meter analysis and percussion pattern discovery in Indian art music. Meter analysis aims to align several hierarchical metrical events with an audio recording. Meter analysis tasks such as meter inference, meter tracking and informed meter tracking are formulated for Indian art music. Different Bayesian models that can explicitly incorporate higher level metrical structure information are evaluated for the tasks and novel extensions are proposed. The proposed methods overcome the limitations of existing approaches and their performance indicate the effectiveness of informed meter analysis. Percussion in Indian art music uses onomatopoeic oral mnemonic syllables for the transmission of repertoire and technique, providing a language for percussion. We use these percussion syllables to define, represent and discover percussion patterns in audio recordings of percussion solos. We approach the problem of percussion pattern discovery using hidden Markov model based automatic transcription followed by an approximate string search using a data derived percussion pattern library. Preliminary experiments on Beijing opera percussion patterns, and on both tabla and mridangam solo recordings in Indian art music demonstrate the utility of percussion syllables, identifying further challenges to building practical discovery systems. The technologies resulting from the research in the thesis are a part of the complete set of tools being developed within the CompMusic project for a better understanding and organization of Indian art music, aimed at providing an enriched experience with listening and discovery of music. The data and tools should also be relevant for data-driven musicological studies and other MIR tasks that can benefit from automatic rhythm analysis.<br>Les col·leccions de música són cada vegada més grans i variades, fet que fa necessari buscar noves fórmules per a organitzar automàticament aquestes col·leccions. El ritme és una de les dimensions bàsiques de la música, i el seu anàlisi automàtic és una de les principals àrees d'investigació en la disciplina de l'recuperació de la informació musical (MIR, acrònim de la traducció a l'anglès). El ritme, com la majoria de les dimensions musicals, és específic per a cada cultura i per tant, el seu anàlisi requereix de mètodes que incloguin el context cultural. La complexitat rítmica de la música clàssica de l'Índia, una de les tradicions musicals més grans al món, no ha estat encara treballada en el camp d'investigació de MIR - motiu pel qual l'escollim com a principal material d'estudi. La nostra intenció és abordar les problemàtiques que presenta l'anàlisi rítmic de la música clàssica de l'Índia, encara no tractades en MIR, amb la finalitat de contribuir en la disciplina amb nous models sensibles al context cultural i generalitzables a altres tradicions musicals. L'objectiu de la tesi consisteix en desenvolupar tècniques de processament de senyal i d'aprenentatge automàtic per a l'anàlisi, descripció i descobriment automàtic d'estructures i patrons rítmics en col·leccions de música clàssica de l'Índia. Després d'identificar els reptes i les oportunitats, així com les diverses tasques d'investigació rellevants per a aquest objectiu, detallem el procés d'elaboració del corpus de dades, fonamentals per als mètodes basats en dades. A continuació, ens centrem en les tasques d'anàlisis mètric i descobriment de patrons de percussió. L'anàlisi mètric consisteix en alinear els diversos esdeveniments mètrics -a diferents nivells- que es produeixen en una gravació d'àudio. En aquesta tesi formulem les tasques de deducció, seguiment i seguiment informat de la mètrica. D'acord amb la tradició musical estudiada, s'avaluen diferents models bayesians que poden incorporar explícitament estructures mètriques d'alt nivell i es proposen noves extensions per al mètode. Els mètodes proposats superen les limitacions dels mètodes ja existents i el seu rendiment indica l'efectivitat dels mètodes informats d'anàlisis mètric. La percussió en la música clàssica de l'Índia utilitza onomatopeies per a la transmissió del repertori i de la tècnica, fet que construeix un llenguatge per a la percussió. Utilitzem aquestes síl·labes percussives per a definir, representar i descobrir patrons en enregistraments de solos de percussió. Enfoquem el problema del descobriment de patrons percussius amb un model de transcripció automàtica basat en models ocults de Markov, seguida d'una recerca aproximada de strings utilitzant una llibreria de patrons de percussions derivada de dades. Experiments preliminars amb patrons de percussió d'òpera de Pequín, i amb gravacions de solos de tabla i mridangam, demostren la utilitat de les síl·labes percussives. Identificant, així, nous horitzons per al desenvolupament de sistemes pràctics de descobriment. Les tecnologies resultants d'aquesta recerca són part de les eines desenvolupades dins el projecte de CompMusic, que té com a objectiu millorar l'experiència d'escoltar i descobrir música per a la millor comprensió i organització de la música clàssica de l'Índia, entre d'altres. Aquestes dades i eines poden ser rellevants per a estudis musicològics basats en dades i, també, altres tasques MIR poden beneficiar-se de l'anàlisi automàtic del ritme.

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.<br>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.<br>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.

Cette thèse établit l'inventaire exhaustif des synagogues de Casablanca en service, celles qui sont fermées ou encore celles disparues et dont on n'a plus de traces, ainsi que celui des objets rituels qu'elles renferment. L'implantation de ces lieux de culte constitue également une source d'informations sur la communauté juive Casablancaise et sur la mobilité de sa population entre 1911 et 2013. Casablanca, musée à ciel ouvert, a été influencée par des courants artistiques importés par l'Occident, tels que le Bauhaus, le style Art Nouveau, l'Art déco, des éléments gothiques ... associés à l'influence locale, aux courants internes au Maroc et à l'architecture coloniale. Adoptés par les familles juives de Casablanca, ces courants architecturaux vont finalement être appliqués à l'archtecture des synagogues, à leur mobilier et aux objets de culte<br>This thesis is an exhaustive inventory of Casablanca synagogues (based on, closed or missing) and ritual objects they contain. The etablishment of these places of worship provide also information on the jewish community of this city as well as the mobility of its population between 1911 and 2013. Casablanca, open-air museum, was influenced by artistic currents imported by colonization, such as the bauhaus, Art nouveau style, Art Déco, gothics elements ... mixed with local influence and architecture imported from the other cities of Morocco, as well as colonial architecture. Those architectural movements will penetrate private houses including jewish families of Casablanca to finally get into the synagogues and influence their architecture, furniture and liturgical objects

The purpose of this study was to explore the feasibility of determining acculturation in a Deaf Navajo Indian through an assessment of art work, accompanying narratives, and interview data. It was concluded that the cultural characteristics of the subject examined in this case study were reflected in his art work and stories, with his Navajo identity revealed as the primary cultural affiliation. Interview data indicated the presence of a significant, albeit less predominant, Deafness cultural affiliation that was not notably reflected in the art pieces or accompanying narratives. Art therapy alone was not established as a reliable medium through which to assess acculturation. However, used in concert with the interview and the subject's own narratives, art therapy proved to be of value in the assessment of acculturation patterns in a Deaf Navajo Indian.

This study represents five years of research on the symbolic cosmologies of four Plains Indian tribes: the Crow, the Pawnee, the Kiowa, and the Cheyenne. Although the lexicons of the four tribes reveal many color and number patterns, there appear to be certain color and number categories that are more pervasive than others. Review of the early ethnographies and folklore texts has found the color categories of red, yellow, black, and white to be significant symbols in both ritual and myth. Further investigation suggests symbolic patterns involving the numbers two and four are also important to the Crow, Pawnee, and Cheyenne. Kiowa ritual and folklore patterns reveal the numbers two, four, and ten to be dominant numbers. Through the early ethnographies, the color red and the number four, among others, were found to be symbolically significant. Red frequently symbolized the rank of a chief, a warrior, and a virtuous woman or wife. The number four often represented symbolic gestures or motions such as those seen in the arts of painting, dancing, or drumming. This symbolic linkage of color and number patterns has been expressed in rituals such as the Sun Dance and the Morning Star Sacrifice. The Sun Dance was practiced with variations by the Crow, Kiowa, and Cheyenne. The Pawnee practiced the Morning Star Sacrifice.<br>Thesis (M.A.)--Wichita State University, College of Liberal Arts and Sciences, Dept. of Anthropology.

Bakalauro darbe analizuojamos tatuiruotės: jų istorija, ypatumai pasaulio kultūroje, bei visuomenės grupių požiūris į jas bei jų keliamas problemas, jų atspindžiai šiuolaikiniame mene, siekiant geriau susipažinti su šiuo reiškiniu ir jį panaudoti kuriamoje drabužių kolekcijoje. Rašomame darbe gilinamasi į tatuiruočių kilmę ir reikšmes norint suvokti kokio senumo šio meno ištakos ir kiek pakito tatuiruočių paskirtis ir požiūris į tai. Teorinėje medžiagoje analizuojama tatuiruočių paplitimo priežastis šiuolaikinėje visuomenėje. Taip pat šiame darbe pateikiamos jų interpretacijos madoje (aprangoje), interjere ir kitose meno srityse. Atidžiau pažvelgus į tatuiruočių pasaulį, matome jog jame yra niuansų, dėl kurių visuomenėje tai nėra itin sparčiai paplitęs reiškinys. Jų ilgaamžiškumas atbaido daugelį žmonių visą gyvenimą nešioti pasirinktą piešinį, be greitos ir paprastos galimybės jį pašalinti. Įsigilinusi į šią tatuiruotės problemą, radau jai sprendimą, paskatinusį mane šia tema sukurti drabužių kolekciją. Skirtingai nei tatuiruotes, rūbus mes galime pasikeisti, todėl dėl šios savo paprastos savybės drabužiai patys padiktuoja problemos sprendimą. Išlaikydama visas tatuiruočių charakteristikas, sugalvojau perkelti jas ant rūbų taip panaikindama jų ilgaamžiškumo aspektą. Kolekcijos rūbai yra klubinės tematikos - jaunatviški ir spinduliuojantys seksualumu, įmantrių kirpimų, tačiau neužgožiantys svarbiausio akcento - pačių tatuiruočių, suformuotų iš odos ir... [toliau žr. visą tekstą]<br>Bachelor's analysis of Tattoos: their history and characteristics of world culture, and society views them and their challenges, their reflections in contemporary art, to become better acquainted with this phenomenon and its use in the emerging clothing collection. This work is focused on the origin of tattoos and meanings in order to understand how this old art and the origins of tattooing has changed as far as the purpose and approach to it. The theoretical material is analyzing causes of the prevalence of tattooing in modern society. Additionally in this work interpretations of fashion (clothing), interior and other arts are presented.      In the detailed analysis of the tattoo, we can see that there are nuances, of which in the society it is not very fast phenomenon. Their longevity discourages many people to wear life-choice design, without ability to remove it. I thought about this tattoo issue, and I found a decision, which led me to the topic of a collection of clothes. Unlike tattoos, we can change clothing, and because of this simple feature of the clothes, they are solution by themselves. While maintaining all the characteristics of the tattoo, I moved them on the clothes.    Collection of clothes is a club theme - young and emitting sexuality, fancy styles, and bringing the most important thing - the tattoo, made of the leather and factured textiles. This interpretation is very close to the real tattoo characteristics. Designed 20 achromatic coloring models of... [to full text]

Bildskapande är ett viktigt inslag i förskolan och ingår i förskolans läroplan, vi vill därför se hur förskollärarna ute på förskolorna jobbar och tänker kring ämnet. Syftet med denna studie är att undersöka hur förskollärarna resonerar kring ämnet bild i förskolan ur ett sociokulturellt perspektiv. Studien bygger på fem semistrukturerade intervjuer med förskollärare i olika åldrar och datan analyserades och kategoriserades utifrån Vygotskijs sociokulturella perspektiv. Studiens resultat visar att alla respondenterna är eniga om att bildskapandet sker i samspel med andra och att barnen lär sig i samspel med andra samt att det är gynnsamt för barnens utveckling. Respondenterna arbetar dagligen med både fritt och planerat bildskapande i verksamheten utifrån läroplanens mål. Enligt respondenterna anses det vara viktigt att skapa intresse för bildskapande och ha material tillgängligt för barnen.

Made available in DSpace on 2016-04-25T20:20:09Z (GMT). No. of bitstreams: 1 Larissa Lacerda Menendez.pdf: 7069621 bytes, checksum: 177415d228657bf1a26323850bc2c26f (MD5) Previous issue date: 2011-04-18<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior<br>The object of the research is the basketry of indigenous people Paumari, who lives in the region of Purus river, in Amazon, Brazil. This work explains how basketry´s confection is related to cosmogonic myths and the spiritual world. We investigate the meaning of these objects in cosmology, in the feminine ritual of initiation and how its meaning changed for paumari people. Our hypothesis is the basketry express deep symbols of mythology and imaginary . We use diferents techniques of research, as interviews, participant comment and myth analysis. Eliade (1963), Godelier (2001), Ribeiro (1995) and Ricoeur (2007) are authors who inspire the writing of this work. This thesis also presents a significant sample of patterns of paumari basketry and analyses on mythology, imaginary and the artistic production of this people<br>O objeto da pesquisa é a cestaria do povo indígena Paumari, que vive na região do Rio Purus, no Amazonas, Brasil. O trabalho explica como a cestaria, cuja confecção está relacionada aos mitos cosmogônicos e ao mundo espiritual, é significada nas comunidades. Investigamos o sentido dos objetos de palha na cosmologia, no ritual de iniciação feminino e a significação atribuída a eles, pelos paumari que se converteram à religião evangélica. Nossa hipótese é de que a cestaria expressa símbolos profundos relacionados à mitologia e ao imaginário. Realizamos estudo de caso, técnicas de pesquisa como entrevistas, observação participante e análise de mitos. Eliade (1963), Godelier (2001), Ribeiro (1995) e Ricoeur (2007) são autores que inspiraram a escritura deste trabalho. Esta tese apresenta uma amostra significativa de grafismos paumari e também análises sobre a mitologia, o imaginário e a produção artística deste povo

Artist Statement The organic patterns all around me are what intrigues and inspires my textile, glass, and painting compositions. I find beauty within the natural growth patterns of things both large and small. My work references the reverberated growth processes in living things from the macroscopic observation of a plant to the microscopic viewpoint of its cells. Like the beauty found within these organic configurations, my process begins with creating serendipitous marks with a reference to natural patterns. Then, I intuitively respond to what I see in front of me. As I work, I use repetitious lines and shapes and a vibrant, non-naturalistic color palette. My choices of colors are personally motivated, and the combinations and manipulations are intuitive. Pattern and color are both visual languages that affect individuals differently. While my use of both is in response to my own experiences, my works allow the viewer to respond and connect in their own way.

The present study examines the spatial relationship between archaeological sites on the island of Roatán, Honduras and their topographical and biophysical location, as well as how these relationships are and continue to be impacted by the island's current socioeconomic context. Despite several studies and explorations conducted on the island's history, archaeology, and geography since the early twentieth century, little is known of its place and role within the larger cultural and socioeconomic spheres of interaction in this region: Mesoamerica and the Intermediate Area. Previous archaeological research has shown that hilltops on Roatán were chosen in prehispanic times for the location of the largest and most prominent sites, and several hypotheses have been put forward to explain the unique location of these sites. Despite the island's potential for addressing questions regarding the culture and history of this poorly understood region of Honduras, Roatán's status as Honduras' top tourist destination has resulted in the altering of its landscape in irreversible ways, including the destruction of archaeological sites. Given this unique situation, site preservation and the study of settlement patterns on Roatán are intricately related, and they both need to be carried out simultaneously if research into the past of this island is to continue, since without immediate site preservation what little we can learn on prehispanic settlement patterns might be lost. Using data compiled from previous archaeological research on Roatán, as well as data acquired through pedestrian survey carried out during the 2009 season of the University of South Florida (USF)'s Project Roatán, I have developed a Geographic Information Systems (GIS) geodatabase in order to provide a broader perspective on both prehispanic and modern settlement patterns. An analysis of site locations with regards to their topography shows that the majority of sites recorded on Roatán are in fact located on hilltops, an observation which, when complemented with other archaeological and ethnohistoric data from northeast Honduras, suggests a possible ritual importance of these spaces. An analysis of current settlement and urban growth patterns shows the degree to which development has encroached upon previously untouched areas of the island, which has impacted an increasing number of archaeological sites. I analyze the various factors and agents that have resulted in this situation, and highlight the need to carry out archaeological research that has heritage management and site preservation as one of its core priorities. These efforts must address the various components that define the management of archaeological heritage in Roatán and Honduras, including local socioeconomic context, national and international policy and law, as well as the various stakeholders with vested interests in cultural heritage. Due to the lack of adequate structures for managing and preserving archaeological resources on Roatán, I argue that approaches such as community participation and increased engagement from the part of researchers outside of Honduras' heritage management sphere are adequate and realistic short-term solutions to the pressing issue of protecting archaeological sites constantly in danger of being affected or destroyed.

Syftet med denna studie är att undersöka vilka uppfattningar yrkesverksamma inomförskolan har om bildskapande som pedagogiskt verktyg, samt om de anser attbildskapande främjar barns utveckling. Studien genomfördes på grund av att tidigareforskning inom området kan ses som bristfällig. Genom kvalitativa intervjuer med sexyrkesverksamma personer, med fyra olika yrkesinriktningar, samlades data in för attsedan analyseras utifrån ett sociokulturellt perspektiv. Materialet transkriberades för attsedan analyseras och kategoriseras med utgångspunkt i Vygotskijs teori om att lärandeär socialt. Studiens resultat visar på en gemensam uppfattning, bland respondenterna,om att bildskapande är gynnsamt för barns utveckling. Resultatet visar således på attbildskapande kan gynna både ett kollektivt lärande och ett individuellt lärande. Vidarevisar resultatet även på begränsningar och risker som kan förekomma kringbildskapande. Detta är något som indikerade att bildskapande, enligt respondenterna,inte enbart kan ses som positivt för barns utveckling utan kräver ett medvetetanvändande för att vara gynnsamt för barns individuella utveckling.

COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR<br>Assinaturas e caligrafias foram utilizadas durante décadas como uma marca característica de cada indivíduo. Por trás dos métodos utilizados para reconhecer estas caracterísitcas está o fato que toda pessoa possui seu próprio jeito de mover a mão enquanto escreve. Sendo assim é razoável pensar que cada pintor tem uma maneira própria de atacar a tela de pintura com o seu pincel, deixando assim um padrão pessoal de acidentes geométricos, que poderiam ser utilizados para identificá-lo.A partir desse principio surge a idéia de aplicar visão computacional para reconhecer padrões específicos de cada pintor que poderiam ser utilizados no processo de autenticar quadros de arte. A dissertação aqui descrita apresenta os resultados de uma pesquisa que objetiva o desenvolvimento de um método para definir a autenticidade de quadros de arte. Um novo procedimento para segmentação de pinceladas em um quadro juntamente com uma nova técnica de medição de textura para capturar as assinaturas nas pinceladas é proposto. Além disso, o trabalho investiga a utilização de métodos não- paramétricos de classificação, para discriminar entre potenciais pintores. O método proposto é avaliado com um conjunto de experimentos cujo objetivo é discriminar entre dois pintores brasileiros muito conhecidos: Portinari e Bianco.<br>Signatures and hand writings were used during decades as a unique characteristic to recognize an individual. Methods to recognize these characteristics were base don the fact that each individual has an unique way to move his hand while writing. Taking that into account, it is reasonable to think that each painter has an unique way to strike the painting board with his stroke, leaving a distinguishing personal pattern, that can be used to identify him. From this principle comes the idea to apply computer vision to recognize specific patterns that could be used in the process of authentication of fine art paintings.This work shows the results of a research where the main purpose is to develop a methodology to find the authenticity of fine art paintings. A new segmentation process of strokes of a painting allied to a new technique of texture measure to get the implicit signatures in the strokes is proposed. Beyond that, this work investigates non-parametric classification methods to discriminate potential painters. The proposed method is evaluated with a set of experiments where the purpose is to discriminate between two well known Brazilian painters : Portinari and Bianco.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2016-09-12T13:56:14Z No. of bitstreams: 1 Grace Dórea Santos Baqueiro.pdf: 3701101 bytes, checksum: 242f38f85404376d7a21923802675a08 (MD5)<br>Made available in DSpace on 2016-09-12T13:56:14Z (GMT). No. of bitstreams: 1 Grace Dórea Santos Baqueiro.pdf: 3701101 bytes, checksum: 242f38f85404376d7a21923802675a08 (MD5) Previous issue date: 2016-03-09<br>In this desk research study of the state-of-the-art type, the contribution of authors of Brazilian theses and dissertations on mathematics education published between 2003 and 2013 on the subject ‘generalization of mathematic patterns’ was assessed. The importance of the subject was characterized based on the ideas of Mason, Ferrini-Mundy, Lappan, Phillips, and Devlin about generalization of patterns and on some of the ideas of Dreyfus on processes of advanced mathematical thinking. In order to establish indicators for the inferences based on the documents investigated, Bardin’s content analysis approach was adopted. Searches were performed on the Capes database and on websites of 23 Brazilian institutions providing graduate programs stricto sensu in the teaching area. One thesis and 26 dissertations were selected and grouped into two categories: studies in which pattern generalization was a secondary topic and those in which it was the primary topic. It was concluded that the studies in both categories contributed on two main fronts: (1) the capacity that pattern generalization activities have to spark the curiosity of subjects, promoting the development of algebraic thinking, particularly with regard to generalization itself, a characteristic of the processes of advanced mathematical thinking (visualization, validation, investigation, representation, induction, synthesis, and abstraction, among others), and providing means for the subject to construct mathematical concepts (such as that of function); (2) the importance of pattern generalization activities being featured in all stages of basic education, including early grades, given that they provide teachers and students with a variety of algebra conceptions (particularly algebra as a way of thinking), inter-relating the various different aspects of algebraic thinking<br>Neste estudo documental do tipo ‘pesquisa do estado da arte’ analisamos as contribuições de autores de teses e dissertações brasileiras em educação matemática produzidas de 2003 a 2013 sobre o tema ‘generalização de padrões matemáticos’. A importância do tema foi caracterizada à luz das ideias de Mason, Ferrini-Mundy, Lappan, Phillips e Devlin sobre generalização de padrões e de alguns dos pressupostos de Dreyfus sobre processos do pensamento matemático avançado. A fim de estabelecer indicadores para as inferências baseadas nos documentos investigados, adotamos como abordagem a análise de conteúdo, de Bardin. As buscas foram realizadas no portal da Capes e de 23 instituições brasileiras com cursos de pós-graduação stricto sensu na área de ensino. Selecionamos uma tese e 26 dissertações, que agrupamos em duas categorias: as em que a generalização de padrões é tema secundário e as em que é o tema principal. Concluímos que os estudos de ambas as categorias apresentam contribuições em duas principais vertentes: (1) a capacidade que atividades de generalização de padrões têm de desafiar a curiosidade dos sujeitos, possibilitando o desenvolvimento do pensamento algébrico, principalmente no que tange à própria generalização, característica dos processos do pensamento matemático avançado (visualização, validação, investigação, representação, indução, síntese e abstração, entre outros), e de proporcionar meios para o sujeito construir conceitos matemáticos (como por exemplo o de função); (2) a importância de que as atividades de generalização de padrões estejam presentes em todas as etapas da educação básica, já desde as séries iniciais, uma vez que possibilitam a professores e alunos concepções variadas de álgebra (principalmente a de álgebra como modo de pensar), inter-relacionando os diversos aspectos do pensamento algébrico

The work in this show reflects my interest in the role of the ceramic vessel historically as well as its place in the dialogue of contemporary art. Traditionally thought of as an object of craft and function, the vessel has found footing also as a conceptual container of ideas and artistic expression. It teeters on the threshold between craft and art, between art and life. Because of its strong association with the domestic, I find the vessel to be a fitting form on which to paint ornamental patterns and imagery associated with my own home life and to put into question its role as a strictly functional object.

Key pattern is a type of abstract ornament characterised by spiral shapes which are angular rather than curved. It has been used to decorate objects and architecture around the world from prehistory onward, but flourished in a unique form in Insular art (the art of early medieval Britain and Ireland, c. AD 600-1100). Ornament of many kinds was the dominant mode in Insular art, however, key pattern has remained the least studied and most misunderstood. From the 19th century, specialists mainly have relied on simplified, line-drawn reproductions rather than original artworks. These 'correct' hand-made details, isolate patterns from their contexts, and in the case of Insular key pattern, de-emphasise its important physical structures. This resulted in misunderstandings of key pattern's structure and an inability to recognise evidence for medieval artists' working processes. Postwar art historians and archaeologists then largely abandoned study of ornament structure altogether, in critical reaction to this earlier method. For two centuries, academics have overlooked the artists' role in pattern-making, and how their creative agency is reflected in patterns' internal structures. In response, this thesis presents a new, artist-centred method for the study of Insular key pattern, which adapts Michael Brennan's pioneering approach to Insular interlace (a different pattern), to suit key pattern's distinct structure. Close examination of objects and monuments, rather than idealised 'types', has revealed how Insular artists themselves understood key pattern and handled it in the moment of creation. The core of the thesis is an analysis of key pattern's structural properties, i.e. its physical parts and the abstract, often mathematical concepts that Insular makers used to arrange and manipulate these parts, in order to fix mistakes, fulfill specific design goals, or invent anew. Case studies of individual artworks support this analysis and demonstrate how key pattern is a vehicle for accessing Insular artists' thought processes, as they improvised with the pattern's basic structures for maximum creative effect. For the first time, this thesis also places Insular key pattern in its global context, via comparative analyses of key patterns from other world art traditions. This investigation has confirmed key pattern's origin in prehistoric basketry and weaving technologies and explains why Insular key pattern's geometric complexity remains unparalleled. The adaptation and expansion of this new analytical method for key pattern also proves its applicability to any type of ornament from any culture, making it immediately useful to art historians and archaeologists. This thesis therefore represents a larger paradigm shift that brings ornament study into the 21st century.

Art History<br>Ph.D.<br>This dissertation investigates aesthetics of African design and decoration in the work of major contemporary artists of African descent who address heritage, history, and life experience. My project focuses on the work of three representative contemporary artists, African American artists Kehinde Wiley and Nick Cave, and Ghanaian artist El Anatsui. Their work represents practices and tendencies among a much broader group of painters and sculptors who employ elaborate textures and designs to express drama and emotion throughout the Black Atlantic world. I argue that extensive patterning, embellishment, and ornamentation are employed by many contemporary artists of African descent as a strategy for reinterpreting the art historical canon and addressing critical social issues, such as war, devastation of the earth's environment, and lack of essential resources for survival in many parts of the world. Many artworks also present historical revisions that reflect the experience of Black peoples who were brought to the Americas through the transatlantic slave trade, lived under colonial rule, or witnessed aspects of post-colonial struggle. The disorderliness of intersecting designs could also symbolize gaps in memory and traumas that will not heal. They reflect the manner in which Black Atlantic peoples have pieced together ancestral histories from a patchwork of sources. Polyrhythmic decoration enables their work to act as vessels of experience, allowing viewers to bring together multiple histories and social references.<br>Temple University--Theses

Yayoi Kusama is undoubtedly one of the most esteemed artists today, and yet she is continually written off as "crazy." Kusama's work draws not from insanity, but from her experiences with Obsessive Compulsive Disorder, and acts as a tool to both process and temper her obsessions and compulsions. In my own work, I reflect on the necessarily obsessive faculty of hand-drawn animation, in an effort to communicate the feeling of OCD.

This creative project dealt with the development of pattern as it relates to composition. A variety of methods of developing pattern were utilized: stenciling, transfer, and Macromedia Freehand. This assortment of applications provided for a broad exploration of pattern making. The artist also conducted in-depth research of artists who incorporated pattern into their work.As a result of the project, the artist increased his comprehension of the capabilities of pattern in picture making. An additional insight about the disappearance of the pattern format was also attained through research of the pattern movement. The writer identified an under-utilized method of depiction that is likely to be resurrected and developed. This research is artistically relevant in that it recognizes a compositional method that was prematurely abandoned and is worthy of re-exploration.<br>Department of Art

I aim to depict alternate realities built by human error and misunderstanding as they apply to the natural world and natural systems. They are alternate realities informed by (mis)observation; both my own and that of others; individual figures both historical and fictitious that in some way embody the desire (and often failure) to shape and understand the world around them. These figures are in many ways stand-ins for myself, as well as my own artistic practice, and in telling their stories I seek to illuminate failure, futility, and imperfection, in their most poignant, beautiful, and absurd expression. Borrowing specific and obscure instances in human and natural history and themes from science, literature and myth, I strive to reproduce these mutable realities as narrative etchings and drawings, which combine visual clarity and readability with a high density of minute linear detail. Drawing is a form of translation and a form of labor, a means of synthesizing numerous, seemingly disparate topics. It is an attempt to bridge a gap, fill the space between perception and what is perceived. Through the labor of my hand, science and fiction, history and fabrication crowd onto a single page, the narrative and the encyclopedic exist side by side, become equal and indistinguishable. I seek to act as a translator and moderator between complexly layered histories and you, the viewer.

The present study investigated the patterns of interlimb organization during the concurrent performance of asymmetrical reaching movements. The inherent tendency towards interlimb synchronization often constrains activities requiring the two limbs to move over different distances or at different movement speeds. The study of bimanual coordination has shown that the amount of interlimb interference during bilateral performance of asymmetrical actions, is regulated according to the magnitude characteristics of the variable used to introduce the asymmetry between the limbs. The purpose of the present study was to examine the relationship between the degree of interlimb decoupling and the magnitude of the asymmetry between the limbs. Asymmetry was systematically manipulated by scaling the magnitude of the interlimb difference in final target distance, during bimanual performance of reaching movements. The degree of interlimb decoupling was reflected in the movement time, muscle activity onset and joint torque relationship between the limbs.<br>Decoupling of the asymmetrical limb movements was effected by an earlier onset of the antagonist muscles in the constrained limb which scaled the amount of muscle torque production and therefore the stiffness of the limb during the acceleration phase of the movement. Thus, the movement amplitude differentiation was achieved by an initial accelarative impulse attributed to the differential control of the muscle torque production at each joint. On the other hand, the interactive forces played a secondary role in the degree of decoupling process. Overall, the degree of decoupling scaled according to the magnitude of the interlimb difference in distance; the greater the asymmetry, the greater the differentiation between the limbs. However, systematic variations of the interlimb asymmetry in distance gave rise to a wide variety of individual decoupling trends. Bimanual practice of the asymmetrical reaching tasks did not result in the development of more independent limb movements. The results of the present study have implications to human factor design and ergonomics.

The purpose of this dissertation was to determine if the CNS produces relatively simple alterations in muscle activity to accomplish goal-directed reaching motions of the upper limb under a variety of movement conditions.<br>To this end, six subjects performed goal-directed arm movements in the horizontal plane. Two movement amplitudes (300 mm and 400 mm) were completed at a moderate speed (1050 mm/s) and as-fast-as possible. The speed and amplitude conditions were repeated for the 45$ sp circ$ and 90$ sp circ$ movement directions. Finally, each of the movement conditions mentioned thus far, were performed within the right and left sections of the work-space. Surface electro-myographic activity was recorded from the pectoralis major, posterior deltoid, biceps brachii short head, brachioradialis, triceps brachii long head, and triceps brachii lateral head. Motion recordings were obtained with a spatial imaging system that monitored the positions of infrared emitting diodes attached to the subject's upper arm and forearm-hand complex.<br>Several simplification schemes were found to be operative at the level of the electro-myogram. These include: (a) simple timing relationships for agonists between joints and agonist/antagonist intermuscle latencies within each joint; (b) tightly coupled timing between agonists within a single joint; (c) for a particular movement direction, the form and shape of EMG burst activity followed a strategy associated with modulation of pulse height and width; (d) the slope, duration, and onset were further affected by the direction of hand movement which resulted in the greatest RMS-EMG signal amplitude, changing in a predictable manner, and finally (e) there was tuning in which elbow muscles were activated earlier for goal-directed arm movements in the left area of the work-space.

This paper endeavors to establish some basic points of reference to better understand the early culture-historical dynamics of the Casma Valley. The revised chronology presented here follows the ceramic sequence developed by Peter Fuchs (1990) on the basis of his Cerro Sechín stratigraphy, confirmed and amplified in its early sections by his recent excavations at Sechín Bajo. A systematic review of the different categories of archaeological data reveals many lacunae that still persist in our record. Monumental architecture most clearly expresses the socio-cultural complexity of the ancient Casma Valley polities. It first appeared during the Sechín Period (3400-1650 cal BC) which is part of the Late Archaic (Preceramic), followed during the Early Formative by the Moxeke Period (1650-1400 cal BC) and the Haldas Period (1400-1000 cal BC) with their diagnostic ceramics. Within this timeframe, some hypotheses formulated by Shelia and Thomas Pozorski (2006) about the socio-political transactions between major Casma Valley sites are evaluated in the light of the archaeological evidence. The tradition of monumental adobe architecture that goes back to about 3400 cal BC in the Casma Valley, reminds us of analogous developments in the Pre-Pottery Neolithic of the ancient Near East. There still remains the challenge to adapt Archaic Period terminology in the Andes to those new discoveries (Kaulicke 1994, 2007: 17-18).<br>Las investigaciones recientes permiten esbozar un nuevo cuadro cronológico del valle de Casma gracias a la secuencia cerámica elaborada por Peter Fuchs (1990) sobre la base de la estratigrafía de Cerro Sechín, confirmada y ampliada en su parte temprana por los descubrimientos en Sechín Bajo. Al mismo tiempo, el recuento sistemático categorizado de los datos revelará muchas lagunas en el registro arqueológico actual. El avance sociocultural de los habitantes del valle de Casma se expresa, más claramente, en su arquitectura monumental. Se da a conocer, primero, en el Periodo Sechín (3400-1650 a.C.), que forma parte del Arcaico Tardío y Final, seguido durante el Formativo Temprano —según los contextos cerámicos diagnósticos—, por los periodos Moxeke (1650-1400 a.C.) y Haldas (1400-1000 a.C. [calib.]). Dentro de este marco se tratará de evaluar, a la luz de las evidencias arqueológicas, algunos desarrollos sociopolíticos bosquejados por Shelia y Thomas Pozorski (2006) como si fuesen reales. La presencia de una arquitectura monumental de adobe que se remonta hacia 3400 a.C. (calib.) en el valle de  Casma, hace recordar los desarrollos análogos del Neolítico Precerámico (Pre-Pottery Neolithic) del Cercano Oriente. Permanece pendiente el reto de estructurar una terminología conveniente para el Periodo Arcaico andino, de acuerdo con los nuevos descubrimientos (Kaulicke 1994; 2009: 17-18).