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Dissertations / Theses on the topic 'Arts and Cultural Complex'
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Zúñiga, Sara E. "Deciphering the Cultural Heritage and Function of the Ella Strong Denison Library Complex." Scholarship @ Claremont, 2012. http://scholarship.claremont.edu/scripps_theses/986.
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Schmitz-Justen, Felix. "A network for communication, art and technology and the three key elements environment, group and stage : a complete documentation of complex development processes /." Sankt Augustin, Germany : GMD-Forschungszentrum Informationstechnik, 2000. http://www.gmd.de/publications/research/2000/007/.
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Crocitti, Olivier. "Feux d'artifices de bons sentiments : transformer l'incoercible confrontation entre démocratisation de la culture et démocratie culturelle afin de définir des complexes artistiques : mais... qu'est ce que l'art ?" Thesis, Strasbourg, 2016. http://www.theses.fr/2016STRAC011/document.
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Après avoir partagé les politiques culturelles majoritairement actives en trois modèles et modes afin dedéfinir ce qu'est La Culture, je travaille à une catégorisation de l'objet de vulgarisation de cette Culture, à savoir l'Art, et à une cartographie de son ou ses sujets, à savoir le spectateur et sa place, pour finalement essayer de proposer un mode d'action culturelle nommé non plus politique culturelle mais politique artistique. De La Critique à La Critique de la Critique de la Critique, en passant par La Critique de la Critique, je cherche à sortir de la confortable définition polysémique régnant sur le territoire culturel et à la Tour des Arts, et ce dans le projet utopique de transfiguration de leurs architecturesThe Great Culture and the Great Public as mythical as Alexander or From the art of taking distance. What is art ? Verfremdung → to make stranger. While cultural exhibition tends to be events that are most often apprehended through their relation to the Great Public – sometimes legitimating, sometimes repulsive,sometimes motive and often simultaneously recipient, adjuvant, opponent, expected, persona non grata andalmost always juge-baromètre arpenteur, supposedly outside of concern of that event – we will try to bringout from these different policies (that pay close attention to numerical parameters) the complicities and contradictions between artistic/cultural practices and democratic practice. Can we still bet on subvertissant power of cultural production as ideological enhancer and democratical antioxidant whereas the culturallandscape seems to be shaped by a festivisation oxymoronique, a nivellement-exacerbant ?
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Feng, Sha. "L’Art Ailleurs : la Recherche Anthropologique sur les Artistes Contemporains Chinois des Beaux-arts Vivant en France." Thesis, Lyon 3, 2012. http://www.theses.fr/2012LYO30043/document.
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Depuis le début du vingtième siècle, les artistes chinois ont commencé à poursuivre leurs rêves artistiques en France. Cent ans plus tard, bien que l’art français ne soit plus le centre absolu du monde artistique, son histoire glorieuse en fait un symbole au statut inébranlable. La France d’autrefois, avec son orientation politique culturelle a attiré des artistes du monde entier, qui sont devenus une partie importante du patrimoine artistique et culturel des Français; en même temps, la « culture française », dans son ensemble, perpétue le mythe de capitale culturelle.Compte tenu de la structure du discours prévalent sur « la Chine et l’Occident », la place des artistes chinois en France est un peu spéciale. Pour les artistes chinois, la France est, dans une large mesure, « le monde occidental ». Ces artistes chinois intègrent leur expérience à l’étranger dans un contexte transculturel tout en restant conscients de leurs propres expériences et sentiments, ce qui mène à une innovation permanente dans leurs propres techniques de création. De même qu’il est difficile de trouver une raison collective pour la venue en France des artistes chinois, leur création ne se présente pas sous une forme de système ou d'aspiration unifiée. Comme c’est le cas pour l’imaginaire chinois de la France, nous imaginons que les artistes chinois en France suivent un parcours « uniforme ».Cette thèse commence par l’exposition biennale de Lyon en 2009, à laquelle j’ai participé et grâce à laquelle j'ai pu progresser dans ma connaissance du fond culturel, historique et social local. À partir de ce groupe particulier d’«artistes d’outre-mer» et selon les textes existants et les déclarations des artistes rencontrés, je discute tout d’abord de l’imaginaire et de la réalité de l'« étranger » en France, puis j’analyse la structure narrative des textes de l’histoire de l’art et des médias de masse sur les « artistes étrangers ». J’interprète alors certaines œuvres et pratiques des artistes, en évoquant leur compréhension de la structure narrative. Ensuite, je discute du marché de l’art et de l’expérience des artistes en son sein. Enfin, j’essaye de comparer l’expérience de l’artiste et les idées sociales et culturelles, et de réfléchir à mes propres recherches et réflexionsSince the twentieth century, Chinese artists have voyaged to France in pursuit of their dream of art. Even though France is no longer the only art capital in the world today, it glorious history has made its status unshakeable as a symbol which attracted artists eager for opportunities for free creation and diverse forms of inspiration. These artists’ works became an important part of French culture and art, while “French culture and art” as a whole perpetuates the myth of cultural capital.Given the structure of the prevalent discourse concerning « China and the West », the place of Chinese artists in France is somewhat special. These Chinese artists integrate their experience abroad in a transcultural context while remaining conscious of their own experience and feelings; in terms of their own creative techniques they innovate permanently. It is difficult to find a collective reason for Chinese artists’ coming to France; similarly, their work does not constitute a unitary system or ambition. As is the case of the Chinese imaginary concerning France, it is imagined that Chinese artists in France follow a uniform trajectory.This thesis starts with the Lyon biennale exhibition of 2009 which I attended and thanks to which I was able to expand my acquaintance with local social, cultural and historical contexts. Based on this particular group of “overseas artists” and referring to the existing texts and statements of the artists encountered, the imagined experience and the lived experience of the “foreigner” in France are discussed, and then narrative structure of history of art and mass media texts about “foreign artists” are analyzed. Evoking their understanding of this narrative structure, certain artists’ works and practices are then interpreted. There follows a discussion of the art market and the experience of artists within it. Finally there is an attempt to compare the artist’s experience with socio-cultural ideas, and a reflection on the findings of this thesis
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Wolski, Katja Margrit. "The Sertoli Cell-Spermatid Junctional Complex : a potential avenue for Male contraception." [Tampa, Fla] : University of South Florida, 2006. http://purl.fcla.edu/usf/dc/et/SFE0001747.
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Oubre, Candace Gail. "The Holistic Complementary Structure of Western Bio-Medicine and Traditional Healing and Achieving Complete Health." Scholar Commons, 2011. http://scholarcommons.usf.edu/etd/3736.
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Achieving complete health requires a deep understanding of complementary cultural competency sensitivity between physician and patient. This may include but is not limited to access to preventative health care resources, access to health educational resources and access to cultural healing resources, for example, shamans, Ayurvedic physicians, and herbal healers. Advocates of cultural competency emphasize great importance on knowledge of the patients' cultural background; however, the transcendence of this knowledge can be explained further through complementary cultural competency sensitivity. This is when the cultures of the physician and patient complement each other in terms of understanding what is in the patients' best interest in the overall goal of healing and complete health for the patient. The explanation of this concept revolves around the idea that health is not just found within body wellness physically, but also mentally and emotionally. The tragedies of poor health outcomes we face have psychological repercussions with a significant social determinant that bio-medical medication cannot and should not solve. The purpose of research includes theoretical discussions that address questions of: What roles do Evidence Based Results play for Medical Anthropologists? How will having knowledge of socioeconomic status, cultural practices and determinants of environmental insult and structural violence as experienced by the individual patient influence the facilitation of the process of creating a positive health outcome for the patient? How can "End of Life" issues be better addressed? How does language influence health? Does a positive dialogue between health professionals and patients contribute to better health outcomes? Research will emphasize the idea that Ethnomedicine (traditional medicine) and Western Bio-medicine complement each other within the model of complementary cultural competency sensitivity. The Holistic Complementary Structure of Western Bio-medicine and Traditional Healing is a multifaceted mean by which the manifestations of complete and positive health results occur. The methods of research used in the research include ethnographic interview content discussions, primary and secondary literature sources, and research of bio-statistical data. The interview discussions consist of dialogue with Medical Anthropologists, a Nurse Practitioner, a Global Health Studies Ph.D. professor and an Africana Studies Ph.D. professor. In order to prove the hypothesis, explanations through examples of Ethnomedicine (traditional medicine) and Western Bio-medicine working together, show how the combination of the two modalities along with the factors of complementary cultural competency sensitivity between patient and physician contribute to positive health outcomes.
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Vaccaro, Jenanne. "Juan del Frasco, o la Compleja “Inbetweeneidad” de ser Puertorriqueña." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/cmc_theses/1581.
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This thesis, written in the Spanish language, merges historical documents, literature, and interviews in the form of a creative story that explores the Puerto Rican identity through the lens of one family. Cuca, the main character, is an allegory of the island’s current and historical state of “in-betweenness”. As a former Spanish colony, then U.S. territory, and now a U.S. commonwealth, the island has incorporated elements from each imperial regime, though never fully being a part of any. The story begins in 2008 and centers first on Cuca, and then her granddaughter who struggles to understand her own identity as both an American and a Puerto Rican. The story then goes back in time to 1930, the year in which the Puerto Rican government legalized divorce. After Cuca’s mother divorces her Spanish father, and then marries an American, Cuca comes to have two paternal figures much like Puerto Rican has had: one Spanish and one American. Taking place between 1930 and 1942, the story focuses on the island’s evolving identity between the Great Depression years and the beginning of Operation Bootstrap, the latter which sought to modernize the island and to increase tourism. The thesis raises the complexities of being Puerto Rican, but also more generally the complexities of all those who feel caught between cultures and identities.
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Rainytė, Ernesta. "Vilniaus pilių komplekso paveldotvarkos darbų analizė ir vertinimas." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2012. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2012~D_20120622_105439-61315.
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Vilniaus pilių kompleksas – kultūros paveldo objektas, egzistuojantis nuo XIV a. kaip svarbus politinis, ekonominis, kultūrinis ir socialinis valstybingumo simbolis. Šis vienintelis pilių kompleksas Lietuvoje 1994m. kartu su Vilniaus senamiesčiu įtrauktas į UNESCO pasaulio kultūros paveldo sąrašą kaip unikali įvairių architektūros stilių vietovė, išlaikiusi viduramžišką planinę struktūrą. Norint išsaugoti šį kompleksą, būtina atlikti paveldotvarkos darbus, kurie prisidėtų prie objekto išsaugojimo ir gyvinimo. Tačiau ne visi darbai yra atliekami tinkamai. Analizuojant Vilniaus pilių komplekso paveldotvarkos darbus, darbe siekiama įvertinti jų reikšmę ir įtaką objekto kultūrinei vertei, remiantis šiuolaikiniais išsaugojimo principais.
Siekiant įgyvendinti užsibrėžtą tikslą iškeliami uždaviniai, padėsiantys apibūdinti pilių sandaros pokyčius, išanalizuoti paveldotvarkos darbus ir šiuolaikinius išsaugojimo principus, veikiančius tarptautinėse organizacijose ir Lietuvoje. Šie uždaviniai išsamiau analizuojami pirmose trijuose darbo skyriuose. Pirmoje dalyje apžvelgiama pilių komplekso susikūrimas ir struktūrinė kaita LDK (XIV – XVII a.), carizmo, tarpukario ir sovietmečio (XVIII – XIX a.) bei nepriklausomybės laikotarpiais. Antroje darbo dalyje analizuojami XIX - XXI a. vykdyti ir tebevykdomi paveldotvarkos darbai (konservavimas, restauravimas, atkūrimas) ir jų reikšmė pilių komplekso autentiškumui ir kultūrinėms vertėms atskleisti. Trečioje dalyje analizuojama kultūrinių verčių... [toliau žr. visą tekstą]Vilnius Castle Complex – a culture heritage object which is existing from 14 century as very important political, economic, cultural, social symbol of nationhood. In 1994 the only one castle complex in Lithuania together with Vilnius Old Town was entered in UNESCO world heritage list as a unique territory with variety architecture styles and as a territory which has been saved medieval planned structure. To save this complex, it is necessary to carry out works which contributes of object preservation and animation. But not all works are being done well. The main purpose is to analyze conservation works in Vilnius Castle Complex and evaluate their significance and influence of object cultural value, using the modern preservation principles. In order to realize the main purpose is raised tasks which help characterize changes in the structure of castle complex, to analyze conservation works and modern preservation principles, using in international organizations and Lithuania. These tasks are analyzing in first tree work’s section. The first one is analyzing Vilnius castle complex creation and changes in different century – The Grand Duchy of Lithuania (14 - 17 centuries), Czarism, Interwar, The Soviet Union treatment and Lithuania Independence. The second one is analyzing conservation works which was or are doing in 19 - 21 centuries (conservation, restoration and reconstruction) and their influence of castle complex authenticity and cultural value. The last... [to full text]
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Almeida, Guilherme Essvein de. "A casa da música e a cidade das artes : por uma monumentalidade." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2018. http://hdl.handle.net/10183/182778.
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tese centra-se na análise da Casa da Música do Porto (Rem Koolhaas, 1999-2005) e da Cidade das Artes do Rio de Janeiro (Christian de Portzamparc, 2002-2013), centros culturais municipais ancorados em salas de concertos, concluídos no início deste século por arquitetos da geração dos 1940 operando no estrangeiro. A análise das duas obras é precedida pela contextualização dos seus encargos, incluindo a discussão do interesse na criação de edifícios especiais conceituados como ícones ao invés de monumentos, a discussão dessa distinção, e o exame das estratégias de caracterização associadas aos dois conceitos. Tendo em vista as críticas frequentes a ambos edifícios durante e depois de sua execução, a análise é seguida da avaliação da pertinência do entendimento destas obras como exemplos de acontextualismo e arbitrariedade formal, apoiada na problematização dos conceitos de contexto e arbitrariedade à luz das estratégias de caracterização identificadas nas respectivas análises.The thesis focuses on the analysis of the Casa da Música do Porto (Rem Koolhaas, 1999-2005) and the Cidade das Artes do Rio de Janeiro (Christian de Portzamparc, 2002-2013), municipal cultural centers anchored in concert halls, completed at the beginning of this century by architects of the 1940s operating in the foreign. The analysis of the two buildings is preceded by the contextualization of their commissions, including the discussion of the interest in the creation of special buildings as icons rather than monuments, the discussion of this distinction, and the examination of the strategies of characterization associated to the two concepts. Due to the frequent criticism both buildings suffered with during and after their executions, the analysis is followed by an evaluation of the pertinence of the understanding of these buildings as examples of anti-contextualism and formal arbitrariness, supported by the problematization of the concepts of context and arbitrariness in light of the characterization strategies identified in the respective analyzes.
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姚木輝 and Muk-fai Yiu. "Kwun Tong civil/cultural complex." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1995. http://hub.hku.hk/bib/B31983169.
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Yiu, Muk-fai. "Kwun Tong civil/cultural complex." Hong Kong : University of Hong Kong, 1995. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25948866.
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Toupal, Rebecca. "Sugarloaf Mountain: A Multi-cultural Puha Complex." Bureau of Applied Research in Applied Anthropology, 2006. http://hdl.handle.net/10150/301362.
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This presentation is was given at the Great Basin Conference in 2006 in Las Vegas, Nevada. This talk presents key findings from the report- Ha`tata (The Backbone of the River): American Indian Ethnographic Studies Regarding the Hoover Dam Bypass Project (Stoffle et al. 2000). This talk highlights the pilgrimage trails to Sugarloaf Mountain.
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廖永昌 and Wing-cheong Dicky Liu. "Urban Artscape: restructuring of cultural complex, TST." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1999. http://hub.hku.hk/bib/B31984733.
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Liu, Wing-cheong Dicky. "Urban Artscape : restructuring of cultural complex, TST /." Hong Kong : University of Hong Kong, 1999. http://sunzi.lib.hku.hk/hkuto/record.jsp?
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Cheung, Wing-him Edward, and 張穎謙. "HKU extension: Music & Fine Arts complex." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B31986341.
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Cheung, Wing-him Edward. "HKU extension : Music & Fine Arts complex /." Hong Kong : University of Hong Kong, 2002. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25948647.
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Gray, Clive. "The politics of arts and cultural policy." Thesis, De Montfort University, 2003. http://hdl.handle.net/2086/4234.
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The Thesisd rawso n the argumentst,h emesa nd issuest hat haveb eend evelopedth rough a number of publications concerning the politics of arts and cultural policy. The Thesis contains a development of the commodification thesis and the policy attachmenat rgument Thesen ew approachetso the analysiso f public policy haveb een specifically applied to arts and cultural policy. The major focus of this application has beeno n Britain over the last 50 years,a nd has incorporatedn ational,r egionala nd local levelso f analysis.I n additiond evelopmentisn Europeh aveb eenc onsidered. A major theme concerns the necessity for methodological pragmatism in undertaking research within these policy areas. Such an approach allows for the development of appropriate analytical tools for complex policy systems. The validity and utility of the commodificationth esisa ndp olicy attachmenat rgumenat s tools for policy analysis are discussed. December 2003
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Bernardi, Donatella. "Arts festival as a global cultural product." Thesis, Queen Mary, University of London, 2017. http://qmro.qmul.ac.uk/xmlui/handle/123456789/41785.
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In this thesis, I address ephemeras - namely temporary displays in the form of festivals and exhibitions belonging to the field of contemporary art. The most appropriate criterion with which to select and discuss the ephemera, i.e., the data in which I analyse in this thesis, is the notion of the 'event'. 'Event' is a philosophical concept, and therefore does not belong to artistic or aesthetic categories. However, two main characteristics are particularly relevant in considering it, and these are also pertinent to the field of art. Firstly, the tandem contingency and necessity. Secondly, the fact that no one can control the reach and impact of an event, which is also the case with an artwork and its interpretation. In this thesis, I am creating a confrontation between what is usually described as abstract thought (a work of philosophy for example) and the production of contemporary art, which is so often culturally and economically dependent on the art market and hegemonic power structures such as institutions, as well as the apparatus of historians and experts to evaluate and legitimise it. Furthermore, it is also necessary to state my understanding of art. This latter has strong propinquities with that defined by Kant when he coined the term 'fine art', namely a cultivated, context-aware and sensitive art, one's reflection on which provides pleasure exceeding the pure enjoyment or satisfaction produced by erudition or technical virtuosity. Secondly, the artistic manifestations that I discuss are always produced by a collective, group or organisation of which I am part. Consequently, what unfolds is an organisational discourse originating in my praxis of art. Finally, the very fact that I am a member of the group of people whose activities are discussed leads logically to autoethnography, a field of inquiry that I am also contributing to.
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Davidson, Lindy Reznick. "Innovative incorporation of cultural arts in Jewish education : how to enlighten the Jewish community with quality cultural arts programming /." Ann Arbor, Mi : University Microfilms, 2005. http://wwwlib.umi.com/dissertations/fullcit/1427969.
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Lazzaro, Elisabetta. "Essays in cultural economics." Doctoral thesis, Universite Libre de Bruxelles, 2004. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/211077.
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Jiang, Jian. "Modeling of complex network, application to road and cultural networks." Phd thesis, Université du Maine, 2011. http://tel.archives-ouvertes.fr/tel-00691129.
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Many complex systems arising from nature and human society can be described as complex networks. In this dissertation, on the basis of complex network theory, we pay attention to the topological structure of complex network and the dynamics on it. We established models to investigate the influences of the structure on the dynamics of networks and to shed light on some peculiar properties of complex systems. This dissertation includes four parts. In the first part, the empirical properties (degree distribution, clustering coefficient, diameter, and characteristic path length) of urban road network of Le Mans city in France are studied. The degree distribution shows a double power-law which we studied in detail. In the second part, we propose two models to investigate the possible mechanisms leading to the deviation from simple power law. In the first model, probabilistic addition of nodes and links, and rewiring of links are considered; in the second one, only random and preferential link growth is included. The simulation results of the modelling are compared with the real data. In the third part,the probabilistic uncertainty behavior of double power law distribution is investigated. The network optimization and optimal design of scale free network to random failures are discussed from the viewpoint of entropy maximization. We defined equilibrium network ensemble as stationary ensembles of graphs by using some thermodynamics like notions such as "energy", "temperature", "free energy" for network. In the forth part, an union-division model is established to investigate the time evolution of certain networks like cultural or economical networks. In this model, the nodes represent, for example, the cultures. Several quantities such as richness, age, identity, ingredient etc. are used to parameterize the probabilistic evolution of the network. The model offers a long term view on the apparently periodic dynamics of an ensemble of cultural or economic entities in interaction.
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Fontelieu, Suzanne. "Pan stalks America : contemporary American anxieties and cultural complex theory." Thesis, University of Essex, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.654570.
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This study contributes to a better understanding of contemporary anxieties in American culture by applying meanings derived from mythology to panic inducing cultural phenomena. It asks if the Greek god Pan metaphorically exemplifies the archetypal core within an American cultural anxiety complex. The principal technical device used is Jung's method of amplification, rendering cultural material at a more psychologically substantial level. This hermeneutic research interprets primary sources and commentaries for three historical events. A pattern of escalating anxiety in America is posited as underlying bullying and scapegoating that led to the 1999 Columbine massacre. In 2001, American reactions following the terr,orist attack on 9111 congealed into panic-driven legislation and escapism. Currently approximately 26,000 military personnel are raped by their peers, aided by apathy that allows a persecutory element within the military to remain in command. These problems fall within the mythological purview of Pan. Manifest destiny, exceptionalism, the historical domination of the Mideast, bullying in public schools, and the chain of commarid in the military are all examples of a dominant group negatively projecting onto an out-group. This thesis found the best predictor of the birth of a cultural complex is if a dominant group or culture has inadequate means to examine its own projections. Pan and his companion nymphs are envisioned here as both a defensive shell of "exceptionalism" and a core naivete in American culture. Pan's compulsion into life is a symbolic expression of an archetype that was once alive in the bold spirit of America, but has rusted into paralysis due to a lack of initiative towards contemporary problems. Where the US once unconsciously identified with the most courageous and expansive in the Pan archetype, now the archetype of panic stalks America.
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Lam, Cheuk-Lun Chad. "Hotel as art forum : a hotel complex in Tsim Sha Tsui /." Hong Kong : University of Hong Kong, 2002. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25954040.
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麥慧敏 and Wai-man Stephanie Mak. "Chinese arts and craft complex in Ladder Street, Sheung Wan." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B31986699.
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Mak, Wai-man Stephanie. "Chinese arts and craft complex in Ladder Street, Sheung Wan." Hong Kong : University of Hong Kong, 2002. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25945178.
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Dong, Wen S. M. Massachusetts Institute of Technology. "Influence modeling of complex stochastic processes." Thesis, Massachusetts Institute of Technology, 2006. http://hdl.handle.net/1721.1/37386.
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Thesis (S.M.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2006.Includes bibliographical references (leaves 75-76).
A complex stochastic process involving human behaviors or human group behaviors is computationally hard to model with a hidden Markov process. This is because the state space of such behaviors is often a Cartesian product of a large number of constituent probability spaces, and is exponentially large. A sample for those stochastic processes is normally composed of a large collection of heterogeneous constituent samples. How to combine those heterogeneous constituent samples in a consistent and stable way is another difficulty for the hidden Markov process modeling. A latent structure influence process models human behaviors and human group behaviors by emulating the work of a team of experts. In such a team, each expert concentrates on one constituent probability space, investigates one type of constituent samples, and/or employ one type of technique. An expert improves his work by considering the results from the other experts, instead of the raw data for them. Compared with the hidden Markov process, the latent structure influence process is more expressive, more stable to outliers, and less likely to overfit. It can be used to study the interaction of over 100 persons and get good results.
(cont.) This thesis is organized in the following way. Chapter 0 reviews the notation and the background concepts necessary to develop this thesis. Chapter 1 describes the intuition behind the latent structure influence process and the situations where it outperforms the other dynamic models. In Chapter 2, we give inference algorithms based on two different interpretations of the influence model. Chapter 3 applies the influence algorithms to various toy data sets and real-world data sets. We hope our demonstrations of the influence modeling could serve as templates for the readers to develop other applications. In Chapter 4, we conclude with the rationale and other considerations for influence modeling.
by Wen Dong.
S.M.
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McCann, Kevin Maurice 1961. "Speciation and cultural characteristics of the Armillaria complex in southern Arizona." Thesis, The University of Arizona, 1991. http://hdl.handle.net/10150/277843.
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Species in the genus Armillaria are Basidiomycete, white-rot fungi. A study was done to determine the speciation of southern Arizona field collections. A number of isolates were positively or tentatively identified as belonging to Armillaria intersterility groups I, III, IV, or X. Some isolates had negative mating reactions with all intersterility group testers. Temperature - growth rate studies were done, and other cultural characteristics described. Additional areas of research on the species of Armillaria in southern Arizona were suggested.
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Pereda, Javier. "Online Cultural Heritage : facilitating complex query making through Tangible User Interfaces." Thesis, University of Southampton, 2016. https://eprints.soton.ac.uk/420887/.
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This thesis presents a novel approach to reduce the complexity and overload of information in Cultural Heritage (CH) on the Web through the use of a Tangible User Interface (TUI). It discusses how the Web and its technologies such as the Semantic Web have changed the interoperability and reach that knowledge, data and information can have. These technologies have allowed to link knowledge across CH organisations and helped to reduce uncertainty about the information used to create it. Nevertheless, it is cumbersome for a vast majority of online users to find relevant content, due to the overload of information available and the complexity of its nature. This research argues that this is because two main factors. The first factor is the dependency of Graphical User Interfaces on the Web that hinder complex exploration and technologic engagement for general users. The second factor identifies a requirement for CH organisations to become part of an Online Cultural Heritage ecosystem engaged through an interactive system on the Web. As a result, CH organisations do not have a meaningful system for their users to explore their content. This research addresses these problems by [1] developing an understanding on how CH knowledge is integrated across different organisations and different ways in which users engage and manipulate it and, [2] exploring how a TUI can facilitate the production of complex queries that enables the user to engage with the conceptual and technical information used to describe the knowledge about OCH collections. Chapter One presents an outline of the research problem, aims and objectives. It discusses the new challenges that CH organisation face when engaging with their users on the Web. Chapter Two presents a literature review of the current state of CH organisations, their information and knowledge and how they relate on the Web. Chapter Three argues that on the Web, CH organisations are conceptually and contextually integrated into a single entity that can be called Online Cultural Heritage (OCH). CH studies do not to consider that on the Web, visitors are no longer limited to a particular type of CH organisation (e.g. library, museum), nor to a particular collection held by that organisation. In addition, this chapter gives a brief introduction to Europeana as example of how information is shared across organisations on the Web, as it will be used as main case study later on. After describing the roles that data and information have on the production of knowledge, Chapter Three continues by presenting a literature review that highlights how users transform data into knowledge and their different needs of information when approaching information sources. It further identifies how users engage with Europeana’s information and the interfaces used to do it. Therefore, Chapter Four addresses the relevance that user interfaces have on accessing information, data or knowledge on the Web and particularly OCH. It explains how TUIs can boost performance by providing the required thought structure through physical activities and the use of constructivism as theoretical approach. It introduces interaction design principles (such as Token and Constraint (TAC) and OnObject) where physical affordances are used to convey information to users, thus reducing the complexity of an interactive system. Chapter Five presents the research framework general plan. It introduces the a-priori and aposteriori phases of the research, where the first one focuses on understanding users’ behaviours when querying Europeana and OCH, and Chapter Six will fully discuss Europeana as a case study. The research framework is fully described in Chapter 7 for the a priori section present the a-priori phase as a user centred design experiment where participants express their query behaviours. The test users included people with particular knowledge about cultural heritage objects (e.g. historians, archaeologists) analysing how they convert data into knowledge according to their different levels of need of information. The evaluated results are further used to contextualise the role of the interactive prototype to be designed. Such design process is presented in the following Chapter Eight. This chapter presents the integrated interaction design methodology adapted for the development of the TUI prototype. It presents the evaluation results for both experiments. It concentrates in Usability and UX evaluations to understand the engagement that users have with OCH information through the TUI. Such methods identify emotions and sense of helplessness related to the interactive process. It integrates a usability test to reveal users’ procedural task results that highlight the strengths and weaknesses of the system, which alter users’ engagement with the information. Chapter Nine concludes by reviewing the results obtained and highlighting the challenges posed, benefits that the Web and its particular technologies offer to CH organisations, and the need for the adoption of interactive systems such as these, that eases question making processes and allow users to explore complex datasets in a meaningful way, while it also describes future work that can be carried out.
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Groves, Leroy. "The politics of cultural policy." Thesis, University of Sheffield, 2001. http://etheses.whiterose.ac.uk/3504/.
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Over the past twenty years the arts and culture have become a popular vehicle through which local economic development can be pursued. Whilst this relatively new local economic development tool has generated much interest amongst academics, many have been content to simply provide descriptive accounts of its development. Where theoretical frameworks for analysis have been applied, they have failed to adequately examine and assess those local factors which have contributed to the development of these strategies. Interestingly, the evolution of arts policy as a vehicle through which to pursue economic development, has been mirrored by proliferation In coalitions as preferred vehicles through which governing decisions, at the local level are effected. Current debates surrounding the New Urban Politics have focused on the degree to which current modes of governance reflect: widened representation; increased community empowerment; and increased local autonomy. By employing regime theory as a framework for analysis, this thesis will examine how those local political factors in two cities have influenced the development of cultural strategy. Such an exercise will enable a comment to be made on the degree to which cultural strategies reflect more co - operative forms of decision making, increased access to new forms of expertise and community empowerment.
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Chun-Ying, Wei. "Taiwan's cultural diplomacy and cultural policy : a case study focusing on performing arts (1990-2014)." Thesis, Goldsmiths College (University of London), 2017. http://research.gold.ac.uk/22358/.
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This thesis examines the implementation of cultural diplomacy through the perspective of cultural policy in Taiwan (Republic of China). It elaborates how the policy-making and practice have progressed in response to the changes of Taiwan’s domestic cultural politics and foreign affairs, including its relations with China (People’s Republic of China). As an empirical study, the research focuses on Taiwan’s cultural policy in the timeframe of 1990-2014 and more specifically on the promotion of the performing arts. The research identifies three crucial elements of Taiwan’s cultural diplomacy. It complements traditional diplomacy, acts as an outlet in the process of cultural identity formation, and showcases cultural and creative industries. Each element is prioritised at different phases of policy practice. However, a long-term and continuous strategy is absent. The research reveals that Taiwan’s cultural diplomacy emphasises more on its self-presentation than creating mutuality. The unsettled issues of cultural identity have its profound influence on cultural diplomacy. Meanwhile, the projection of soft power is not necessarily reinforced by the market-driven policy orientation and the quantifiable policy objectives. The research also illustrates the interaction among the government, artists, and other actors from the private sector. The key finding indicates that the government is constrained by bureaucracy and its own contested political status. Civil society at the individual level participates in cultural diplomacy with a sense of enthusiasm, while corporations in general are less motivated. The research provides empirical evidence on communicating soft power through cultural diplomacy without much hard power. In this case, the promotion of soft power is limited and does not necessarily compensate for the deficiency of hard power.
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Marbach, Cecily Batsheva. "Virtue meets value: the future of successful cultural philanthropy." The Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=osu1413383738.
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Butler, David Stewart. "Warfare : a cultural component of native North America." Honors in the Major Thesis, University of Central Florida, 1997. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/162.
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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.Bachelors
Arts and Sciences
Anthropology
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Grow, Megan Elizabeth. "The Mount Pleasant Service Complex: Salvaging Interpretations from Previously acquired Data." W&M ScholarWorks, 2005. https://scholarworks.wm.edu/etd/1539626483.
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Wu, Yuen-wai Helena, and 胡婉慧. "Beyond rivers and lakes: a cultural study of jianghu." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2011. http://hub.hku.hk/bib/B46290230.
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Blair, Zachary. "Same-Sex Marriages: A Cross-Cultural Analysis." Honors in the Major Thesis, University of Central Florida, 2005. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/739.
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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucfBachelors
Arts and Sciences
Anthropology
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Grutzius, Heather L. "The Nature of Building A Public Arts Complex in Washington, DC." Thesis, Virginia Tech, 2003. http://hdl.handle.net/10919/9656.
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"Construction is the art of making a meaningful whole out of many parts. Buildings are witnesses to the human ability to construct concrete things. I believe that the real core of all architectural work lies in the art of construction. At the point in time when concrete materials are assembled and erected, the architecture we have been looking for becomes part of the real world." -Peter Zumthor
The human experience of construction is the subject of this thesis. Through study of the materials, methods and tools of constructing, this work aims to reveal the nature of building through form, materials and detail.Master of Architecture
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Monteiro, Catarina Sofia Lima de Sousa. "João Afra, uma marginalidade assumida-a escultura como recurso cultural." Master's thesis, Instituições portuguesas -- UL-Universidade de Lisboa -- -Faculdade de Letras, 2002. http://dited.bn.pt:80/29905.
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Makhoul, Bashir Wadia. "Contemporary Palestinian art : an analysis of cultural and political influences." Thesis, Manchester Metropolitan University, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.260076.
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Salmon, Emma. "Skin deep? : a cultural and aesthetic study of calendered vinyl." Thesis, Royal College of Art, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.311071.
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Lindner, Susan Helga. "Narratives of working within a complex organisation : ethnographic study of cultural competence." Thesis, Queen Margaret University, 2011. https://eresearch.qmu.ac.uk/handle/20.500.12289/7308.
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The aim of this research was to shed light on the multiple social realities within an organisation and provide perspectives on how individuals made sense of the social world, which enabled them to participate in these social realities. As Smircich (1983) explained, culture is something that an organisation is, rather than has. As such, the literature considered ways of assisting individuals to survive and thrive within complex social realities and the personal costs associated with participating in them. The literature was used to demonstrate how my view changed from understanding organisations as beings to considering them as subjective cultures. I based this research on an interpretative phenomenology. My views were influenced by my desire to explore and interpret the experiences of individuals, who were the organisation’s directors. Ethnography enabled me to take into account the knowledge shown in everyday social interactions in the workplace. Multiple perspectives and influences, which shaped this social world, were illuminated by bringing to the surface individual experiences and perceptions. These were achieved by gathering responses to a questionnaire; transcripts of interviews with the eleven directors; four pilot interviews with employees, who were not directors; pre and post interview sheets; and my reflective diary. The diary provided a transparent account of the research process and included an acknowledgment of any potential bias. This research relied heavily on the views expressed by the eleven directors in their interviews and my own views. Consequently, I wrote this thesis in the first person whenever possible. I chose a theatrical method, aligned to the work of Goffman (1959), to present this research; using acts and scenes to represent the main formal and informal cultural clues, which emerged. I presented Burke’s dramatism model (1945, 1969) of human behaviour as a means of understanding the cultural clues, which were revealed. The findings contribute to an understanding of organisational life and are relevant for those, who want to understand the dynamics of human groups, which, ultimately, may lead to improving our lives in this world. By acknowledging the existence of the cultural scenario and by revealing the characteristics of those, who blunder and those, who exploit, this research demonstrates that individuals have to be encouraged to see the cognitive and visible aspects of the culture, which exist within the structures and processes, the roles and the knowledge and communication, which exist within organisations. We can comprehend this world from many viewpoints if we only take the time to look.
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Brown, Burton James. "Anthropological perspectives of resistance terrorism : a cultural evolutionary approach." Honors in the Major Thesis, University of Central Florida, 1994. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/124.
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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.Bachelors
Arts and Sciences
Anthropology
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Botma, Gabriel Johannes. "Manufacturing cultural capital : arts journalism at Die Burger (1990-1999)." Thesis, Stellenbosch : Stellenbosch University, 2011. http://hdl.handle.net/10019.1/18065.
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Thesis (PhD)--Stellenbosch University, 2011.ENGLISH ABSTRACT: This study examines the discursive role and positioning of arts journalism at Die Burger during a period of radical transformation in South African society. The study is conducted within a critical-cultural paradigm. Arts journalists are considered to be manufacturers of cultural capital, a term devised by Pierre Bourdieu as part of his comprehensive field theory framework. While Bourdieu uses cultural capital in the main to describe the role of education and culture in the maintenance of elite power hierarchies, this study investigates how the nature of cultural capital at Die Burger was affected by power shifts when competing elites jostled for dominance in a post-apartheid dispensation. By drawing on Michel Foucault’s theory of discourse, the focus of research further incorporates the discursive positioning of arts journalists in their coverage of arts and cultural events in the 1990s in relation to shifting configurations of power. The argument is that arts journalism at Die Burger can be situated within networks of power and thus contributed to the structuring of post-apartheid society. In the words of Antonio Gramsci, arts journalists became involved in hegemonic and counter-hegemonic struggles. Flowing from these theoretical departure points, the study identifies critical discourse analysis (CDA) as an appropriate research method for textual analysis and adapts a five-phase model suggested by Teun van Dijk as part of his contextual CDA approach. The analysis thus focuses in turn on the context of discourse, discursive struggles between arts journalists and political journalists, strategies of classification used by arts journalists, emerging themes of discourse in arts journalism, and how the selection and presentation of arts journalism on news and arts pages were influenced by various factors, including the personal background and experiences of arts journalists (The concept of Bourdieu’s “habitus”). To affect triangulation and enhance the textual analysis, the study also employs semi-structured indepth interviews with arts journalists who were prominent at Die Burger in the 1990s. The study found that arts journalists were at the intersection of different and often diverging and contradictory power-points in post-apartheid discourses at the newspaper. On the one hand, some arts journalists embraced a legacy of editorial independence at the arts desk and sometimes created oppositional discourses to the official political view of the newspaper: for instance on the issue of alleged “collective guilt” for Afrikaners and whether Naspers should appear before the Truth and Reconciliation Commission (TRC) to explain its role in supporting the National Party (NP) during apartheid. On the other hand, many arts journalists shared the editor’s apparent aversion to the international cultural boycott supported by the ANC and harboured some of the same skepticism about the so-called Africanisation of society and resultant attacks on Eurocentrism in the arts. This study -- the first on this level to focus on Afrikaans arts journalism since 1994 -- represents a significant contribution to knowledge in the under-researched field of arts journalism in South Africa. Its purpose and process has furthermore developed theoretical and methodological innovations which can enrich the field of journalism studies.
AFRIKAANSE OPSOMMING: Die studie -- vanuit 'n kritiese kulturele paradigma -- ondersoek die diskursiewe posisionering en rol van kunsjoernalistiek by Die Burger gedurende 'n periode van radikale transformasie in die Suid-Afrikaanse samelewing. Kunsjoernaliste word beskryf as vervaardigers van kulturele kapitaal, soos gekonsepsualiseer deur Pierre Bourdieu in sy omvattende raamwerk van veldteorie. Terwyl Bourdieu die term kulturele kapitaal hoofsaaklik gebruik om die rol van opvoeding en kultuur in die behoud van hierargieë van elite-mag te beskryf, ondersoek hierdie studie hoe die aard van kulturele kapitaal by Die Burger beïnvloed is deur magsverskuiwings waarin mededingende post-apartheid elite-groepe mekaar die stryd aangesê het. Deur gebruik te maak van Michel Foucault se teorie van diskoers, val die fokus van navorsing dus op die diskursiewe posisionering van kunsjoernaliste in hul dekking van kuns-en-kultuurgebeure in the 1990’s. Die argument is dat kunsjoernalistiek by Die Burger binne magsnetwerke geplaas kan word en bygedra het tot die strukturering van die post-apartheid samelewing. In Antonio Gramsci se terme het kunsjoernaliste dus betrokke geraak in die stryd om hegemonie te skep en teen te werk. Uitvloeiend uit hierdie teoretiese vertrekpunte word kritiese diskoersanalise (KDA) as navorsingsmetode vir die ontleding van joernalistieke tekste geïdentifiseer. Daarvolgens word 'n model met vyf stappe, voorgestel deur Teun van Dijk as deel van sy KDA-benadering, aangepas vir gebruik. Die analise fokus dus om die beurt op die konteks van diskoers, die diskursiewe stryd tussen kunsjoernaliste en politieke joernaliste, strategieë van klassifikasie wat kunsjoernaliste gebruik het, temas van diskoers wat aan die lig gekom het in kunsjoernalistiek, en hoe die seleksie en aanbieding van kuns-en-kultuur-nuus deur verskillende faktore beïnvloed is, insluitend deur die persoonlike agtergrond en ondervinding van kunsjoernaliste (“habitus” in Bourdieu se teorie). Om triangulasie te bewerkstelling en die teks-analise te ondersteun, is semi-gestruktureerde in-diepte onderhoude met prominente kunsjoernaliste aangelê. Die studie het vasgestel dat kunsjoernaliste in post-apartheid diskoerse in die koerant hulself op 'n kruispunt van verskillende, soms uiteenlopende en selfs opponerende strominge van mag bevind het. Aan die een kant het sommige kunsjoernaliste 'n tradisie van redaksionele onafhanklikheid omarm en soms opposisionele politieke diskoerse in vergelyking met die amptelike beleid van die koerant geskep, byvoorbeeld oor die kwessie van beweerde “kollektiewe skuld” vir Afrikaners en of Naspers voor die Waarheid-en- Versoeniningskommissie (WVK) moes verskyn om sy rol as ondersteuner van die Nasionale Party (NP) gedurende apartheid te verduidelik. Maar aan die ander kant het talle kunsjoernaliste die redakteur se klaarblyklike afkeer gedeel aan die internasionale kultuurboikot wat deur die ANC ondersteun is. Kunsjoernaliste was ook skepties oor die sogenaamde Afrikanisering van die samelewing en gevolglike aanvalle op Eurosentriese kuns. Ten slotte maak hierdie studie -- die eerste op hierdie vlak oor Afrikaanse kunsjoernalistiek sedert 1994 -- 'n belangrike bydrae tot die yl kennisveld van kunsjoernalistiek in Suid-Afrika. In die proses het die studie ook teoretiese en metodologiese innovasies aangebring wat die veld van joernalistiek-studies kan verryk.
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Chien, Jui-Jung. "Aesthetics, cultural policies and the Arts Council of Great Britain." Thesis, University of Leeds, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.394439.
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McKennan, Victoria Adams. "Crossroads arts district: a case study of cultural district development." Kansas State University, 2011. http://hdl.handle.net/2097/8573.
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Master of Regional and Community PlanningDepartment of Landscape Architecture/Regional and Community Planning
Jason Brody
Community leaders have substantial interest in fostering the local cultural economy as the arts attract both businesses and residents. Because art and creativity are regarded as spontaneous, organic processes, most researchers recommend planning initiatives that capitalize on a community’s existing cultural economy rather than producing contrived elements of creativity. One strategy that fits the framework of such recommendations is the concept of cultural district development. These districts typically evolve naturally to some extent, due to pre-existing urban form and cultural activities. Because this revitalization strategy does not demand large public investments, it is attractive to public leaders. However, revitalization strategies may have unanticipated results at the detriment to those “urban pioneers” who initially improved the area and catalyzed the districts’ reinvestment. While such districts rely on the collaborative efforts of community members, local governments and public organizations can play a pivotal role in allowing them to address such threats with effective policies. This master’s report investigates the process and effects of cultural district development through a case study of the Crossroads Arts District in downtown Kansas City, Missouri. This illustrates how this particular district evolved, why and how planning initiatives formalized the district, what processes and players were involved, and the resulting changes to the area. As the Crossroads Arts District is becoming increasingly formalized, this report will explore the past, present, and future of the neighborhood with insights drawn from interviews and supplementary historical document review. Through a case study of planning activities, through the scope of cultural district development, this report illustrates the organic nature of creative synergy, the importance of community associations, the relationship between the arts and revitalization, the role of public planning in addressing citizen needs, and the dynamic character of communities.
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McEwan, Celina. "Investing in play expectations, dependencies and power in Australian practices of community cultural development /." Connect to full text, 2008. http://hdl.handle.net/2123/3680.
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Thesis (Ph. D.)--University of Sydney, 2008.Title from title screen (viewed Apr. 9, 2009) Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy to the Dept. of Performance Studies, Faculty of Arts. Includes bibliographical references. Also available in print form.
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Coy, Joshua A. "Making Places or Making Waves: Cultural District Policy Making Considerations for the Public Good." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1440356497.
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Gosse, Ann. "Towards a new understanding of community arts : 1960-2000." Thesis, Birmingham City University, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.272090.
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Banfield, Robert E. "Learning on complex simulations." [Tampa, Fla.] : University of South Florida, 2007. http://purl.fcla.edu/usf/dc/et/SFE0002112.
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Weber, Sarah. "Visual Exploration of Cultural Intersections." VCU Scholars Compass, 2012. http://scholarscompass.vcu.edu/etd/2790.
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Personal exposure to, and in-depth investigations of cultural artifacts can be used to inform visual explorations that represent the universal experience of existing in a world where cultural boundaries are blurred and constantly evolving. Cross-cultural understanding and visual language are expanded throughout the research and making processes, resulting in work that has increased resonance with diverse audiences. Artifacts are not only expressions of a specific group of people, but also reflections of societal influences on one’s thinking, creating, and experiencing the world. In an increasingly global society, there is more interaction between cultures, resulting in a greater exchange of beliefs and perspectives. Through this exchange, certain aspects of a culture are retained, while new approaches to form and material are also intro-duced. When culturally-specific methodologies and aesthetics are visually or conceptually layered, work is produced that communicates relevant, meaningful narratives about the intersection of cultures.
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Lewis, Tiffany Emma. "Exercises in Soft Power and Cultural Diplomacy: The Cultural Programming of the Los Angeles and London Olympic Games." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1430946430.
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