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Dissertations / Theses on the topic 'Performance drawing'
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1
O'Dempsey, Kellie. "Toward a Taxonomy of Performance Drawing." Thesis, Griffith University, 2017. http://hdl.handle.net/10072/382693.
Full textAbstract:
This thesis formulates a taxonomic framework for performance drawing in order to explore the
potential, processes, scope, and position of the practice. Performance drawing is examined
using a practice-led methodology through execution, reflection on, and analysis of, performance
events, exhibitions, video, and documentation. The core elements of the act of drawing, the role
of the spectator or witness, the experiential or phenomenological dimension, and exchange are
identified and analysed to establish the defining characteristics of performance drawing and to
highlight its potential to enhance human consciousness.
Performance drawing is posited as an interdisciplinary practice that favours the sociability and
temporality of performance over the singularity and solitude of the artist and viewer that has been conceptualised in traditional drawing practice.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland College of Art
Arts, Education and Law
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Gravestock, Hannah. "Drawing and re-drawing : working with the physicality of the performing body in costume design." Thesis, University of the Arts London, 2011. http://ualresearchonline.arts.ac.uk/5654/.
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How does the act of drawing enable the costume designer to design costumes that work effectively with the physicality of the performing body? This research is located in the field of scenography and refers specifically to costume design practices within this field. The research project developed from a growing visibility of performances developed and created primarily from the physicality of the body rather than from a text. In these performance environments, where there is no initial text to work from and sound, lighting and set have yet to be developed the costume designer must predominantly respond to the physicality of the performing body. However, if the costume designer is to ensure that their designs and costumes work effectively with the ideas developed by the performer they must also address the relationship between their interpretation of the performing body and the intentions of the performer. My research responds to limited resources that examine and document how a costume designer can address this relationship and create designs that work with the physicality of the performing body rather than designs that work with a text. As a result of the limited resources in this area of costume design I refer to an additional field for reference. Using training practices based in figure skating to structure my drawing process my research provides new insight into how a costume designer can create costume designs that work with and enhance the physicality of the performing body. By using this repetitive drawing process to both interpret the performing body and initiate a dialogue with the performer my research enhances collaborative practices in costume design and within the field of scenography. In the absence of relevant literature in figure skating, the drawing and redrawing approach I use is primarily examined and supported using a combination of performance and training approaches developed by Jacques Lecoq. These approaches address and explore how performance is created through an awareness of the physicality of the body in relation to the physicality of mark making, and through a repetitive training structure similar to that used in figure skating. Drawing is used as the primary research method, applied within a methodology based on Merleau-Ponty's phenomenological philosophy. This methodological approach both facilitates the costume designer's encounter with the physicality of the performing body and enables an examination of this encounter in order to understand how the designer interprets and makes sense of this body. These encounters are structured through and conducted within three ethnographic case studies based in theatre performance, costume design and figure skating. The research case studies are contextualised using interviews, diaries and background research and are analysed using a structure that draws on Corbin and Strauss's Grounded Theory. The research concludes by outlining three main stages through which the process of drawing and re-drawing is applied and used to create costume designs that work effectively with the physicality of the performing body. In describing and explaining these three stages I outline how the repetitive drawing process integrates within a performance process and as a result becomes a vehicle for collaboration between the costume designer and the performer.
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Foá, Maryclare. "Sounding out : performance drawing in response to the outside environment." Thesis, University of the Arts London, 2011. http://ualresearchonline.arts.ac.uk/5455/.
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My enquiry focuses on how a drawing, when made in response to the outside environment, might be conditioned by that environment, and in turn how that environment might be influenced by that drawing. Examination of texts by, among others, Bachelard, Merleau-Ponty and Baudelaire have contributed towards understanding ideas about humankind’s physical memory of landscape, phenomenological experience in relation to the outside space, and ideas concerning the interaction between the practitioner and the outside space. Four key issues related to drawing are explored in this research (each is the subject of a chapter in the thesis). Firstly, the practitioner’s stance in the process of drawing is examined, in particular the practitioner’s gesture, which mimics the form of the subject, and performs the subject into being. The practitioner’s position is addressed in relation to how the gaze of the other fashions that position into a performance. Secondly, ‘movement’ is identified as a crucial material component of the process of performance drawing. Movement’s capacity to energise the work, stimulate engagement with the subject, and promote the continual development of ideas is also investigated. Thirdly, a number of interpretations of the outside environment established by individuals who work in different professions are examined. These different readings of place identify ‘signs’ as conditioning the character of place, and as being read by passers-by as directions through place, thereby revealing an interaction between place and humankind. Fourthly, while exploring how to performance draw in direct response to place, the methodology is developed through three stages. The traditional mark-making onto paper was found to keep a distance between the practitioner (observer) and the subject (the environment). The mark-making transferred onto the outside environment was found to retain a distance, held by the tool, between the subject and practitioner. And the practitioner by using her body and voice was found to bridge the space between subject and self. The drawing with sound methodology was found to map, signal, and measure place in direct relation to practitioner, while also revealing an interactive conditioning between place and practitioner, through sonic reflection and resonance. Critical analysis and documentation of findings concerning the practical work are interspersed throughout the written text, and a DVD of audiovisual documentation of practical works is also included as an attachment to the written thesis.
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Han, Qi. "The Effects of Working Memory on User’s Performance in Creative Drawing." Thesis, Uppsala universitet, Människa-datorinteraktion, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-230546.
Full textAbstract:
Creative thinking ability is increasingly valuable in the nowadays society, especially in the innovation industry. The way to evaluate and somehow measure human’s creativity deserved the plenty researches for decades. Among approaches for creation, drawing has been used as a support for ideation for centuries. A widely well-known creativity test was Torrance Tests of Creative Thinking (TTCT), in which creative drawing tasks took apart in. Additionally, it was proposed that creativity was a result of continuously repetitive processes of working memory and some neurophysiologists had discovered that working memory and our cerebellum collaborate to produce creativity and innovation. To expand our knowledge on the potential relationship of working memory and creativity, the problem - to what extent does a load on working memory affect creative performance in drawing tasks - therefore was addressed.The exploratory study presented in this thesis was conducted as a continuation of a series of relevant previous researches investigating how multiple factors affect the outcomes of creative drawing tasks (Zabramski & Neelakannan, 2011) (Zabramski, et al., 2011) (Zabramski, et al., 2013). A controlled experiment investigating how the outcomes of a drawing creativity test are affected when the participants are given a load on visual working memory was launched. The computerized TTCT were performed in both the experimental group and the controlled group. The load on visual working memory – the so-called Trace Fade-out setting – was only loaded for the experimental group. The Trace Fade-out setting means that what the participant has drawn on the screen will fade out until disappear in 15 seconds.This thesis presents the results of the study, which show no significant effect on creativity scores earned by the participants, in general. Specifically, relative significant differences were detected between the quality scores of the drawing outcomes obtained by the two groups. The results imply that creative drawing activities can be unaffectedly achieved in an interference of working memory, although the involved people may think they are affected during the activities and believe that they may perform better without the interference.
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Campos, Adalgisa Maria Cavezzale de. "Conjunto Discreto : sobre figura e ação em desenho." [s.n.], 2012. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284377.
Full textAbstract:
Orientador: Luise WeissDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Esta dissertação teve por finalidade investigar modalidades de funcionamento do desenhar, particularmente o figurar e o agir, conjugando prática artística e reflexão, baseando-se na experiência e no pensamento em desenho. Através da observação destes dois funcionamentos - figurar e agir - e três de suas manifestações no conjunto do trabalho - Medições, Estruturas e Acontecimentos - buscou-se isolar aspectos que digam respeito a essas interações. Na última parte do texto, apresenta-se o Conjunto Discreto, um grupo de trabalhos que, constituindo a exposição a ser apresentada na Galeria do IA, pretende declinar possibilidades de interação entre estes dois funcionamentos
Abstract: The purpose of this study was to investigate the operating procedures of drawing, particularly action and figure, through artistic practice and reflection. It was based on drawing experience and thought. By observing these two runs - action and figuration - and three of their manifestations throughout the work - Measurements, Structures and Events - we tried to isolate aspects that relate to these interactions. In the last part of the text the Discrete Essemble is presented. It is a group of works that constitute the exhibition to be presented, and that intends to decline possibilities for interaction between these two runs
Mestrado
Artes Visuais
Mestre em Artes
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Shrestha, Suman. "Evaluation of Shape's Influence on User's Performance in Shape Replication Task." Thesis, Uppsala universitet, Människa-datorinteraktion, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-187214.
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This thesis presents experimental results of shape’s influence on user’s performance in terms of time and accuracy in shape replication task. The shapes are drawn with mouse, pen and touch input devices. For this purpose, two non-meaningful, semi- randomly generated shapes have been used. The first shape has a combination of straight lines and curves whereas the second shape has curves only. Each of these shapes is presented in four versions namely contour, polygon, narrow tunnel and wide tunnel. A method to compare versions of these shapes with the corresponding versions of user drawn shapes is presented. In general, the results showed that the replication of second shape takes less time and the replicated shape is more accurate when compared to the first shape. In addition, performance of the input devices was found to be dependent upon the shapes and their versions they were used to draw.
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McCusker, Nicole Catherine. "Performance, Art and the Female Nude at Dr Sketchy's Anti-Art School." Thesis, University of Canterbury. Social and Political Sciences, 2012. http://hdl.handle.net/10092/7656.
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My thesis examines the event of Dr Sketchy's Anti-Art School, which has branches in over 120 cities worldwide. Dr Sketchy's combines the format of a life drawing class with burlesque performance, creating an event that focuses on both the performance and the creation of art by the attendees. Dr Sketchy's was begun in New York in 2005 by its creator Molly Crabapple, now an internationally recognized artist and popular alternative celebrity. I focus my study on the Christchurch branch of Dr Sketchy's Anti-Art School, founded in June 2010 by Audrey Baldwin, a performance artist and Fine Arts graduate of the University of Canterbury.
In my thesis I discuss the way Dr Sketchy's Anti-Art School combines and compromises between the life drawing format and the burlesque performance, despite the differences and seeming incompatibilities between these two forms. I investigate Dr Sketchy's as a contemporary cultural performance which combines and to some degree inverts established genres of performance. I give a detailed history of burlesque performance and of life drawing within art education to allow a comprehensive comparison of the two traditions, particularly the way each has conceptualized the nude female body. I argue that the combination of the two forms allows Dr Sketchy's Anti-Art School to transgress the traditional boundaries of each format and introduce influences that would otherwise endanger the status of life drawing and burlesque performance within their respective contexts. I also argue that the nude within Dr Sketchy's Anti-Art School transgresses the traditional conception of the nude within life drawing by using burlesque as an acceptable reference for the transgressive elements of the show.
The arguments put forward in this thesis are the product of extensive participant observation, interviews and literature reviews on the relevant art and performance traditions.
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Kakas, Karen Marie. "The effects of teacher feedback and peer interaction on 5th grade students' drawing performance /." The Ohio State University, 1986. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487265143146095.
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Madalosso, Louise Tambara Velho. "Inaplicáveis: poéticas do desenho dissimulado." Master's thesis, Universidade de Évora, 2020. http://hdl.handle.net/10174/27866.
Full textAbstract:
Os meios que constituem a linguagem humana estendem-se pela virtualidade
e torna o conceito da comunicação relativo ao contexto em que se desenvolve. Na
arte contemporânea, o poder representativo por trás das convenções simbólicas oscila
entre os territórios do sujeito e dos signos que afetam sua experiência consciente.
A partir dos discursos metafóricos, literais e prosaicos, a poética e,
consequentemente, a linguagem, manifestam-se com suas contradições para além
dos instrumentos institucionais de discurso, oscilando entre o precário e o visceral,
como uma identidade dissimulada em forma de delírio.
A investigação que tangencia este mestrado em Práticas Artísticas em Artes
Visuais traveste-se de poesia visual para refletir o absurdo no tempo das narrativas
conceituais, na percepção da ambiguidade do humor e na relatividade da
representação do corpo humano ao transitar entre a ação performática e o registo
como imagem digital; ABSTRACT:
The means that make up human language extend through virtuality and makes
the concept of communication relative to the context in which it develops. In
contemporary art, the representative power behind symbolic conventions oscillates
between the territories of the subject and the signs that affect their conscious
experience.
From the metaphorical, literal and prosaic discourses, poetics and,
consequently, language, manifest themselves with their contradictions beyond the
institutional instruments of discourse, oscillating between the precarious and the
visceral, as an identity disguised in the form of delusion.
The research that touches this masters in Artistic Practices in Visual Arts
transforms itself of visual poetry to reflect the absurd in the time of the conceptual
narratives, in the perception of the ambiguity of the humor and in the relativity of the
representation of the human body when transiting between the performance action
and the registration as a digital image.
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Leigh, Brooke. "Drawn-out: trace and catharsis." Thesis, The University of Sydney, 2018. http://hdl.handle.net/2123/18703.
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My investigations into the relationship between drawing, performativity and the unconscious mind began with an interest in the Surrealist concept of ‘automatic drawing’ and its subsequent iteration in Abstract Expressionism as a methodology for improvisation. My Honours project initiated this investigation through a series of large-scale abstract charcoal drawings and silkscreen prints that attempted to subvert the conscious control implicit in traditional notions of drawing by setting in motion the body’s autonomous energies. By the end of this project I had begun to explore how ideas such as repressed memory and psychic inhibition related to my practice. I was interested in using drawing as a tool of tactility and immediacy to facilitate connections between mind, body and paper. Drawn-out: the intersection of action, trace and the self explores the act of encountering liminal states of the body as an experience of catharsis. By inducing such states through psychological, physical and emotional intensity, within the context of performance art, artists can enact a display of agony and pain which subjects the audience to draw upon their own experiences of fear and suffering. (For example, an artist knelt on the ground, pushing a 3kg lump of chalk back and forth in front of their head until exhaustion.) Through Aristotle’s notion of catharsis (the purgation or cleansing of painful emotions) and Amelia Jones’ theories of performativity, this Research Paper will investigate how the performative act or event has the potential to function as a form of catharsis for both artist and audience. I will look to drawing as a residual trace, which has the potential to embody the intensity of sensations experienced by the artist during the performative process. Here, in particular, I discuss Jones’ analysis of artistic labour and materiality in ‘Materiality traces: Performativity, artistic “Work,” and new concepts of agency’ (2015). Through Henri Bergson’s notion of successive sensations, I examine how the intensity of sensations experienced by the body affectively cause its transformation. Repetition and duration are integral aspects to the increase of intensity. Here, the artist’s body visually (and audibly) transitions through psychic states as the intensity of sensations (such as pain) increase. The Research Paper takes an interest in how the audience have the potential to experience the affective sensations (Bergson’s term) evoked by the intensity (display of liminal states such as exhaustion and suffering) of the artist’s performance. Sound is a key component emerging in my practice as it communicates the intensity of the action performed by the artist’s body, which is not always visually explicit. Sound emphasises the weight of the material object or the force exerted at the point of contact, and the sensibilities endured by the fatiguing body (such as heavy breathing or exasperations). The Research Paper draws upon Maurice Blanchot’s notion of passivity The Writing of the Disaster, (1980), in relation to the sensation of loss of agency and sense of self, and the fear this engenders. I will discuss how performative works evoke these sensations physically through the artist’s live body (such as Body Tracks by Ana Mendieta and Rhythm 0 by Marina Abramovic), and representations of traumatic experiences and psychic states through unconscious mark-marking (such as Louise Bourgeois’ Insomnia Drawings and Tracey Emin’s mono-prints). Here the paper explores how artists encounter repressed memories and anxiety as a performative process (through unconscious modes of art-making), cathartic experience (as a way of coming to terms with particular emotions rooted in traumatic experiences), and as subject matter. I specifically focus on anxiety (its physical symptoms, psychological affects and emotional state) in Louise Bourgeois’ practice. With particular reference to Sigmund Freud’s On Psychopathology: Inhibitions, Symptoms and Anxiety and Other Works (1979), I examine anxiety as an emotion, and a particular psychological condition. The work I will present for my Masters examination is a video and audio installation (documenting a recent durational performance), and a series of text-based mono-prints. Directly related to a series of similar performances over the last two years this installation will significantly extend my exploration into the use of sound as ‘trace’. The mono-prints depict the anxiety induced by repressed memories – the psychological and emotional intensity – which drives my performance. This is the ‘score’ for my performance.
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Magalhães, Maria Fernanda Vilela de. "Corpo re-construção ação ritual performance." [s.n.], 2008. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285147.
Full textAbstract:
Orientador: Lygia Arcuri ElufTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Corpo Re-Construção Ação Ritual Performance é um projeto de criação desenvolvido durante o Doutorado, que se constrói a partir de nove ações performáticas realizadas ao longo de 2003-2008 e que resultaram em um acervo de imagens, vídeos e áudios, editados para a realização de exposições, apresentações e publicações, além de comporem o site http://www.fernandamagalhaes.com.br e o livro Corpo Re- Construção Ação Ritual Performance. O trabalho final para o doutorado como tese é um livro-de-artista, impresso como objeto e também publicado virtualmente, como site. A tese é uma tese-de-artista, desenho tecidual, texto-tecido-pele, superfície. Ali estão contidas construções, desenhos, pinturas, fotografias e textos que compõem esta criação-tese. As ações performáticas foram realizadas com grupos diversos e têm como resultado registros que constituem o trabalho. São impressões/inscrições dos corpos sobre lençóis brancos, fotografias, vídeos, paisagens sonoras, desenhos e gravuras. Na realização das exposições, parte deste material editado foi montado em instalações que compõem este corpo. Também foram realizadas apresentações multimídia. As exposições e as apresentações mostram fragmentos dos trabalhos referentes a cada ação realizada em seus eventos específicos. No livro-tese e no site estão presentes partes dos cadernos de anotações produzidos durante o processo de construção do trabalho, além dos registros das ações e do texto escrito no percurso para-sobre-no-com-entre o projeto-tese. As publicações são a obra-multiplicadora-informefragmento-rizoma-expansão-deslizamentoescoamento-transfiguração e pretendem construir uma rede de ações através da experiência de artista na construção de uma criação-tese.
Abstract: Body Re-Construction Action Ritual Performance is a creation project developed during Doctorate studies and is set up from nine performances accomplished across 2003-2008 and which resulted in a collection of images, videos and audios, edited for the realization of exhibitions, shows and publications, as well as for composing the website www.fernandamagalhaes.com.br and the book Body Re-Construction Action Ritual Performance. The thesis is an artist-book printed as an object as well as published virtually in the form of a website. The thesis is an artist-thesis, tissue drawing, text-tissue-skin, surface. It comprises the constructions, drawings, paintings, photos and texts that compose this creation-thesis. The performances were realized with diverse groups and resulted in the records that compose the work. They are impressions/inscriptions of bodies on white sheets, photos, videos, sound sceneries, drawings and engravings. In the accomplishment of the exhibitions, part of this edited material was set up in installations that compose this body. Multimedia shows have also been realized. The exhibitions and presentations showed fragments of the works relative to each action accomplished in its specific events. The thesis-book and the website include parts of the notebooks produced during the construction process of the work, together with the records of the actions and the text written for-on-in-with-between the project-thesis. The publications are the work-multiplier-inform-fragment-rhizome-expansion-slip-outflow-transfiguration and intend to build a net of actions through the artist experience in the construction of a creation-thesis.
Doutorado
Doutor em Artes
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Zabramski, Stanislaw. "Creating Digital Traces of Ideas : Evaluation of Computer Input Methods in Creative and Non-Creative Drawing." Doctoral thesis, Uppsala universitet, Människa-datorinteraktion, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-220882.
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Ideas are formed in a process of idea generation that includes creation, development, and communication of new ideas. Drawing has been used as a support for ideation for centuries. Today, computerized tools are commonly used for drawing. Such tools form a user interface between the human and the resulting drawing presented on the screen. The interface may come between the user and the drawing in a disruptive way also affecting the ideation process. Using controlled laboratory studies, this thesis investigates the consequences of drawing with different user interfaces in two types of tasks: creative drawing tasks (based on a standardized test of creativity) and non-creative drawing tasks (i.e. shape-tracing tasks where no new idea is created). The goal was to identify and evaluate the consequences of the several issues originating from the use of different input devices, the functionality of the graphical user interfaces, the formulation of the drawing task, and the user’s previous experience. The results showed that drawing tasks are oriented toward quality of outcomes and that higher input accuracy led to higher quality of outcomes of both creative and non-creative drawing tasks. This came with a trade-off between the quantity and quality. In ideation, less accurate input devices facilitated significantly more ideas but these were of lower quality. In non-creative tracing, higher speeds caused lower quality of outcomes. The users subjectively preferred higher accuracy, also when an inaccurate user interface offered an eraser function. However, using the eraser allowed avoiding reinterpretations of ideas and led to ideation strategies characterized by laborious drawing that negatively affected the quality and quantity of the ideas produced. For non-creative drawing, the more difficult the shapes were, the lower the tracing accuracy. In the thesis a new framework for interaction analysis is introduced that improves the theoretical and practical understanding of computerized drawing tasks and the phenomena resulting from different aspects of the user interface design of computerized drawing tools. This thesis demonstrates that the inaccuracy of computerized tools cannot only make our drawings less aesthetically pleasing but also negatively affect ideas that are created in the process.
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Barford, Katie Elizabeth. "Drawing, interpretation and costume design : a study of the costumed body informed by watching 'Tanztheater Wuppertal' in rehearsal and performance." Thesis, University of the Arts London, 2016. http://ualresearchonline.arts.ac.uk/12001/.
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This practice-led study contributes new methods of practice and applications of theory to record and analyse the costumed body in performance. While costume scholarship has gained momentum in recent years, this is the first research project to fully explore the application of drawing blind as a means of documenting a researcher’s response to the costumed body. This study contributes to existing knowledge of drawing practice as a method of costume research,through its development of a specific methodology of blind drawing used to record observations while watching video, rehearsals and performance. It also extends the theorisation of costume, through its application of texts by Charles Sanders Peirce on semiosis, interpretation and habits, and contributes new insight into costume design practice by enabling the first costume-focussed analysis of works by 'Tanztheater Wuppertal' in the English language. The first part of the thesis discusses three cycles of drawing, interpretation and costume design. The starting points for these investigations are my experiences watching dancers perform in the German dance theatre company 'Tanztheater Wuppertal'. These experiences were enriched by my being granted access to rehearsals and performances,which facilitated unique opportunities to observe dancers in and out of costume. Blind drawing was used to look more attentively at costumes and to record my observations of these dancers. The complexities of using blind drawing and annotation, as methods to articulate this visual, auditory and spatial information, were tested through drawing practice and analysed using a theoretical framework incorporating Peircean theory,costume studies and scenography. Questions and uncertainties that arose through this process were then explored through experimental costume practice, in which costumes were designed and tested on volunteer performers. The second stage of the research describes and analyses my costume design for three experimental performances shown in public spaces that were informed by these cycles of practice and theory.
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Bartlett, Heidi Kristen. "M A M A." Thesis, University of Iowa, 2015. https://ir.uiowa.edu/etd/1823.
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I present my work in five parts. The introduction is devoted to my process and creative evolution, a catalog of sorts, documenting the accumulation of ideas, objects, projects and events that that make up my artistic practice. The second section 'Mama,' is an anecdotal reflection on how and where I find truth in experiences and relationships outside the traditional studio practice. The third section 'You' is a continued narrative incident that helps explain and contextualize my non-normative perspective as a person and as a maker. The fourth section 'Make' will analyze my thesis exhibition "Hey Mama, Diana, Where You At?" The final section 'Magic' will propose the propulsion of my work into the future through radical tenderness and the body.
The arrangement of this thesis is chronological with a photo essay influence. My intent is not only to capture finished work, but also illuminate my process. To do this I have married text and image to enhance the experience each reader has engaging in my world.
Drawing from interdisciplinary sources my work focuses on natural processes, the body, and how we orient ourselves within hegemonic social and political landscapes. Often searching to locate myself, I experiment with the potential of environments as conduits for performance and sculptural interventions. Enticed by the relationships between the body and its surroundings my work seeks to understand gender, race, and corporeality through endurance, games, and gesture.
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Duerksen, Joel L. "A comparative analysis of the performance of floating point and integer based line drawing algorithms for raster displays." Virtual Press, 1988. http://liblink.bsu.edu/uhtbin/catkey/544005.
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In order to predict and analyze the performance of both floating point and integer line drawing algorithms the performance of individual instructions is examined. A select group of line drawing algorithms are implemented and timed in performance tests. An algorithms accuracy is observed along with its performance in three tests. These tests are performed on five computers for comparison. The effects of utilizing the standard code optimizer is included as an integral part of the research.Department of Computer Science
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Blake, Kate M. "Drawing All the Way: The Confluence of Performance, Cultural Authority, and Colonial Encounters in the Painting of Rover Thomas." Bowling Green State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1371721339.
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Navid, Sara. "Extending our understanding of Islamic banking through questioning assumptions and drawing unprecedented comparisons." Thesis, Loughborough University, 2018. https://dspace.lboro.ac.uk/2134/36295.
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This thesis challenges two key assumptions made in the current Islamic banking literature. Firstly, this thesis challenges and empirically invalidates the assumption that all Islamic banks are indistinguishable from their conventional counterparts and are thus equally unIslamic. To do so, this thesis uses the profit and loss sharing (PLS) criteria, which is central to the philosophy of Islamic banking and is the key principle differentiating Islamic from conventional banking, in theory and practice. By investigating variation in PLS levels between Islamic banks and comparing with conventional banks with and without Islamic windows, this thesis illustrates that the Islamic banking industry does not comprise a homogeneous group of banks that are all indistinguishable from their conventional counterparts. Rather, a typology of Islamic banks exists, comprising of three distinct groups of banks, each one following a different business model. While one group can genuinely be considered indistinguishable from conventional banks, another group shows clear evidence of pursuing PLS-oriented strategies in formulating its asset portfolio, differentiating itself from the purely debt-based intermediation model adopted by conventional banks. As such, empirical evidence shows that some Islamic banks are, in practice, operating closer to the PLS principle and can thus be considered more Islamic than others. Further investigation illustrates that the institutional environment matters for the provision of ideal PLS Islamic financing instruments. Secondly, this thesis overcomes two methodological issues to compare the corporate social performance (CSP) of Islamic and conventional banks. In doing so, this thesis challenges the second identified assumption from the literature, that religion-specific category of corporate social responsibility (CSR) is particular to Islamic banking, and invalidates it on conceptual, theoretical and empirical basis. A novel CSP Index based on the evidence-based disclosure criteria, comprising of 6 dimensions and 25 social performance indicators is constructed and complemented with three Social Performance Quantitative Indicators (SPQIs) to compare the CSP of Islamic and conventional banks. From this comparison, this thesis concludes that, contrary to the industry s claims and expectations held of it, Islamic banking does not offer an ethical alternative to conventional banking. Differences in the level and composition of CSP between the two industries are more subtle and require a nuanced approach to be studied.
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Rosenthal, Dalia. "O elemento material na obra de Joseph Beuys." [s.n.], 2002. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285092.
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Orientador: Ernesto Giovanni BoccaraDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: JosephBeuys(1921-1986), artista plástico do pósguerra alemão,conhecido em todo o mundo,é consagradocomoumdosartistasmaisinfluentese divulgadosdesteséculo.Um nome que está intimamente ligadoaousoincomume bizarroquedeuaosmateriaisqueutilizavaemsuas ações,esculturase trabalhosgráficos.Na entradado novo milênio,Beuyscontinuaa ser intensamente interpretado, discutidoe analisado. Os materiais básicos queBeuysutilizouemsuasobrascomo gordura, cobreoufeltro, os uais constituem a tela de fundo de todooseutrabalho, sãoabordadoscomomateriaisquecontêm energiasacumuladasde formapotenciale comgrandespossibilidades detransformação. Beuys compreendia estes materiais como símbolos e energias presentes no contextodasociedade do trabalho artístico(Tashem, 1992). Este modo inovador com que tratou os materiaisartísticos,explorandotodasas suas possibilidades deassociações, determinou a ua posterior importância à toda uma forma de pensar efazer na arte contemporânea.Oobjetivopropostonestadissertaçãoé o deinvestigara vida,o pensamento e a obrade JosephBeuys,enfocandonautilizaçãoparticular que este artista deu aos materiais artísticos
Abstract: Not informed.
Mestrado
Artes
Mestre em Artes
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Bam, T. J. "A computer-based justification for using the simple bend test as the basis for predicting the performance of steel hooked-end fibres in reinforced concrete." Diss., University of Pretoria, 2019. http://hdl.handle.net/2263/75657.
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The classical test to confirm the performance of a given fibre design for use in reinforced concrete is the pull-out test. While attempts have been made to simulate the performance of such pull-out tests, in practice it has been found that there is a significant disparity between prediction and real-life performance.
The high strength of steel reinforcing fibres is a consequence of the cold wire drawing process and subsequent fabrication. Residual stresses exist in cold drawn wire as a consequence of the elastic response to a non-uniform distribution of plastic strain. This also introduces a yield strength profile where yield strength varies radially through the wire. The question arises as to whether fibre design should use a starting material model that considers these properties.
This thesis examines whether the tensile test, simple bend test and pull-out test provide enough information to define a starting material model that may be used for further design and simulation of such fibres.
Since the details of the wire drawing process and material specification are proprietary and therefore unknown, a sensitivity study was conducted to determine which aspects of the wire drawing process have the greatest effect on the pull-out curve and the following were established as being significant:
• Plastic strain due to wire drawing was shown to be the most important factor.
• The bilinear curve was shown to be a suitable approximation for the stress-strain curve.
• Replacing the plastic strain profile with a single value of average equivalent plastic strain is practical.
The following were established as having negligible effect:
• The consequences of the hooked-end forming process.
• The residual stress profiles due to wire drawing provided that the above was also excluded.
• The hardening law
While inverse analysis demonstrated that all tests provide sufficient information to determine the required properties for this bilinear material model, the pull-out test was shown to provide more accurate approximations of the maximum pull-out force at the first and second peaks and the bend test was shown to produce more accurate approximations of the energy associated with pull-out. Good correlation with the baseline pull-out curve was found for both the isotropic and the kinematic hardening laws and it is concluded that behaviour during pull-out is insensitive to the hardening law.
Sensitivity analysis and characterisation of the material model using an experimental pull-out curve demonstrated the importance of the coefficient of friction. Full characterisation using the pull-out curve therefore requires the solution to a three-variable problem: yield strength, tangent modulus and coefficient of friction. This was a suggested topic for further study.Dissertation (MEng)--University of Pretoria, 2019.
Mechanical and Aeronautical Engineering
MEng (Mech)
Unrestricted
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Latuner-El, Mouhibb Marie-Thérèse. "Dessin - Pratiques rituelles - Danse : porosités et transports." Thesis, Aix-Marseille, 2013. http://www.theses.fr/2013AIXM3093.
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La recherche explore, dès le départ, une pratique qui croise le dessin avec des pratiques de danse contemporaine, investissant la tension dynamique avec le sol, l’espace gravitaire. Ces pratiques sont questionnées et réinvesties par l’expérience et l’apprentissage en Inde du sud, de rituels de dessins de poudre tracés au sol : les kolam, apparaissant sur les seuils des maisons tamoules à l’aube et les kalam, réalisés lors de cérémonies rituelles au Kérala. Des dessins éphémères où alternent tracés et effacements, dans un geste sacré qui fait puis défait. Le dialogue entre pratiques rituelles et pratiques artistiques est envisagé partant de cette expérience et de cette immersion ouvrant une proximité avec l’approche anthropologique. Au-delà du religieux, qu’apporte cette mise bord à bord avec les rites, avec ces rites indiens en particulier ? Dans ces entre-deux, la pratique se déploie et engage la collaboration fertile avec différents danseurs, devenus passeurs, dans l’espace ouvert de la performance qui rend visible ce processus de mue du dessin. La poudre constitue un matériau essentiel à ces traversées fragiles. Le dessin est analysé dans ses transports successifs du sol aux corps des danseurs, à l’espace de l’installation, jouant dans l’instant des seuils du visible, disparaissant dans le geste de l’effacement, devenu le geste essentiel dans cet accès au rite. Un dessin qui propulse l’action des corps. Qu’est-ce qui peut se transporter ou non de ces pratiques rituelles et ébranler ainsi la pratique du dessin, devenant à la fois trajectoire et processus ? En quoi finalement ces rites nous regardent-ils, nous plasticiens, malgré leur profonde opacité ?This research explores a practice which mingles drawing with practices of contemporary dance, engaging a relationship of dynamic tension to the ground, to gravitational space. These practices are reinvested by the experience and apprenticeship, undergone in Southern India, of rituals drawings traced with powder on the ground: the kolam, which appear on the doorstep of Tamil houses at dawn, and the kalam, carried out during Kerala ritual ceremonies. They are ephemeral drawings, in which tracings and erasings alternate within a sacred movement which makes and unmakes. The dialogue between ritual and artistic practices is envisaged on the basis of this experience, opening up to a proximity with the anthropological approach. Above and beyond the religious, what parallels can be drawn between artistic practices and rituals, Indian rituals in particular? In this interval the practice reveals itself and engages the fertile collaboration with different dancers, who become mediums in the open space of the performance, which renders visible the drawing’s process of mutation. The drawing is analysed in its successive transpositions from the ground to the dancers’ bodies, to the space of the installation, playing instantaneously on the threshold of the visible, disappearing in the gesture of effacement which becomes the essential gesture in this access to the ritual. The drawing propulses the bodies’ actions. In these ritual practices, what can – or cannot – be conveyed, and thus destabilize the practice of drawing which, by this means, becomes both trajectory and process? Finally what do these rituals have to do with us, visual artists, despite their profound opaqueness?
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Blinkhorn, Jessica Elaine. "Stories from a Chair: A Life Exquisite." Digital Archive @ GSU, 2010. http://digitalarchive.gsu.edu/art_design_theses/58.
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Exquisite is defined as carefully selected or sought out. I believe myself to be a selected soul placed in a body of circumstance. My work is self-explorative and telling of those circumstances in hopes of evoking empathy. Our bodies function and exist on many different levels. What I understand as normal for most differs vastly from what is normal for me. I aim to offer my perspective on the world, establish understanding, and blur the lines of normalcy.
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Lindqvist, Christian. "Comparing SIFT and SURF : Performance on patent drawings." Thesis, Uppsala universitet, Institutionen för informationsteknologi, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-340402.
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In recent time, it has been found that one can use the images contained in patents in order to organize large collections of patents. This can be very helpful in order to reduce the time and resources required for handling patents. Research has resulted in systems that can find and compare specific images using content-based image retrieval (CBIR). There are plenty of CBIR algorithms available and they all have different traits. This project tests two such algorithms with regards to patent drawings. Experiments show that these algorithms can retrieve about three to four relevant images when looking at the 20 top results of a performed search, and even more if more results are considered. This in turn could potentially result in finding dozens of relevant patent documents using only the images of onespecific patent document.
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Garubba, Keith. "Art/Science and a Blended Inquiry." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1405436323.
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Jochimová, Aneta. "Aktuální sborník kreslených tělesných anomálií." Master's thesis, Vysoké učení technické v Brně. Fakulta výtvarných umění, 2012. http://www.nusl.cz/ntk/nusl-232356.
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In my practical diploma thesis, I’m extending on its theoretical part named Androgyn / The mysterium of completeness, particularly the chapter Bodily construction of the androgynous character (transformations of the body and character, metamorphosis and other deformations). I will explore the theme as a complex using multiple media I was using throughout my studies. These are: A. fragmented drawings, that will eventually be the basis for a graphical novel. In my drawings, I’ll capture the appearance and detailed transformation of bizarre anomalies of an animated body. Another output will be B. an installation of drawings in space. Using monumental digitally printed wallpapers, I’ll create a installation in space, that will represent the “cabinet of body representation”. In my thesis, I’ll also use C. a program for generating the shape of human body out of its basic parameters – I’ll create “real” bodies I’ll use later on in my graphical collection. The last part will be D. photographs of details of human body enlarged to a billboard size.
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Lambrechts, Rhynhardt. "A performance and energy evaluation of a fertiliser-drawn forward osmosis (FDFO) system." Thesis, Cape Peninsula University of Technology, 2018. http://hdl.handle.net/20.500.11838/2747.
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Thesis (Master of Engineering in Chemical Engineering)--Cape Peninsula University of Technology, 2018.Globally, water is considered an essential resource as it sustains human, animal and plant life. Water is not only essential for all forms of life but imperative for economic growth. The world’s population is increasing at a disquieting rate, which will result in an increased demand for fresh water and food security. The agricultural industry is the main consumer of global freshwater and utilises fertilisers in order to meet food demands. The demand for water in South Africa (SA) has increased considerably due to the rapid expansion of the agricultural industry, and of the municipal and industrial sectors. Agricultural developments in SA are affected greatly as the country is facing a current drought crisis as a result of low rainfall and large water demands. With an abundance of saline water globally, desalinisation will be a major contributor to solving the global freshwater crisis. With limited fresh water resources accompanied by the agricultural industry as a major consumer, alternative measures are required to desalinate water specifically for agricultural use. Forward osmosis (FO) is a membrane technology that gained interest over the past decade because it has several advantages over pressure-driven membrane processes such as reverse osmosis (RO). FO technology is based on the natural osmotic process which is driven by a concentration gradient between two solutions separated by a semi-permeable membrane. Naturally, water will permeate through the membrane from a solution of low solute concentration or low osmotic pressure (OP) known as a feed solution (FS) to a solution of a higher concentration or higher OP also known as a draw solution (DS). Whilst various research studies have contributed to several advances in FO, several process limitations such as reverse solute flux (RSF), concentration polarisation (CP) and membrane fouling remain problematic, hindering FO for large-scale applications. Further investigation is therefore warranted and crucial in order to understand how to mitigate these limitations to develop/improve future processes. The aim of this study was to evaluate a fertiliser-drawn forward osmosis (FDFO) system by investigating the effects of membrane orientation, system flow rate, DS concentration, and membrane fouling on an FDFO systems performance and energy consumption. The FS used was synthetic brackish water with a sodium chloride (NaCl) content of 5 g/L whereas a potassium chloride (KCl) synthetic fertiliser was used as a DS. The membrane utilised was a cellulose triacetate (CTA) membrane and was tested in forward osmosis mode (FO mode) and pressure retarded osmosis mode (PRO mode) whilst the system flow rate was adjusted between 100, 200 and 400 mL/min. Additionally, the DS concentration was altered from 0.5, 1 and 2 M KCl, respectively. Experiments were performed using a bench scale FO setup which comprised of an i) FO membrane cell, ii) a double head variable peristaltic pump for transporting FS and DS’s respectively, iii) a digital scale to measure the mass of the DS, iv) a magnetic stirrer to agitate the FS, v) two reservoirs for the FS and DS, respectively, vi) a digital multiparameter meter to determine FS electrical conductivity (EC) and vii) a digital electrical multimeter to measure system energy consumption. Each experiment comprised of seven steps i) pre-FDFO membrane control, ii) membrane cleaning, iii) FDFO experiment, iv) post-FDFO membrane control, v) membrane cleaning, vi) membrane damage dye identification and vii) membrane cleaning. Pre- and post-FDFO membrane control experiments operated for 5 h whilst each membrane cleaning procedure operated for 30 min. The FDFO experiment operated for 24 h whilst the membrane damage dye identification operated until a minimum of 10 mL water was recovered. The process parameter which largely contributed to a beneficial system performance and specific energy consumption (SEC) was the increase in DS concentration. Water fluxes increased approximately threefold from a DS concentration increase from 0.5 to 1 M, followed by an additional 30 to 50 % rise in water flux at a DS concentration increase 1 to 2 M. SEC decreased by 58 and 53 % for FO and PRO modes, respectively, with a DS concentration increase from 0.5 to 1 M. An additional 35 and 37 % SEC reduction for FO and PRO modes was obtained for a DS concentration increase from 1 to 2 M. Altering the membrane from FO to PRO did not contribute to a beneficial system performance nor did it improve SEC. However, at a DS concentration of 0,5 M, the PRO mode obtained a 5.3 % greater water recovery compared to the FO mode. Conversely, at a DS concentration of 1 and 2 M, the FO mode achieved 5.4 and 7.0 % greater water recoveries compared to the PRO mode. The increase in flow rate also did not increase system performance significantly, however, a fluctuation in system SEC was observed. Throughout the study, no membrane fouling was observed, however, possible minute traces of membrane fouling could be observed from the membrane surface electron microscope (SEM) images. Additionally, minor changes in post- FDFO membrane control water recovery results were noticed which support the possible occurrence of membrane fouling during the FDFO experiment.
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Lytle, Nicole E. "The referent can obscure performance: Requiring young children to use their own bodies impedes their use of 2D human line drawings as self-representations." University of Toledo / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=toledo1437414098.
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Rahman, Mohammed. "A performance and energy evaluation of a dye drawn forward osmosis (FO) system for the textile industry." Thesis, Cape Peninsula University of Technology, 2020. http://hdl.handle.net/20.500.11838/3068.
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Thesis (MEng (Chemical Engineering))--Cape Peninsula University of Technology, 2020Continuous growth in the world population has raised significant fears with regards to the sustainability of energy and water resources. Globally, water is an indispensable resource as it is essential for the sustenance of human, animal and plant life. Water is essential for all forms of life and plays a pivotal role in economic growth. The textile industry is one of the greatest consumers of water, it is, therefore, necessary to effectively treat the large amounts of wastewater before discharge to the environment. It is estimated that annually, more than 700,000-tonnes of textile wastewater is produced by the dyeing industry. Textile wastewater is generally characterised by electrolytes, suspended solids, mineral oils and multiple textile dyes, and has therefore been classified as one of the most polluting wastewaters. These dyes are toxic and, in most cases, are not biodegradable. The presence of very small amounts (i.e. < 1 ppm) of dyes in water has aesthetic impacts and is thus undesirable. It is, therefore, necessary to treat textile wastewater before discharging. Currently, membrane technology is widely used for wastewater treatment, as well as water purification. Forward osmosis (FO) is a promising technology for both these applications. FO is characterised by the flow of water through a semipermeable membrane from a feed solution (FS) characterised by the low solute concentration or low osmotic pressure (OP) to a draw solution (DS) characterised by the high solute concentration or high OP, due to the OP gradient across the membrane. The FO process eliminates the need for high hydraulic pressure, as required in traditional membrane technologies, and also has low fouling tendencies. Furthermore, FO has the advantage of lower energy requirements and membrane replacement costs. However, there are still many disadvantages such as reverse solute flux (RSF), membrane fouling, and concentration polarisation (CP) amongst others that still need to be addressed. Therefore, more research needs to be done in light of these limitations to better understand and mitigate these limitations to increase the effectiveness and efficiency of the FO process. This study aimed to evaluate a dye-driven FO system for the reclamation of water from textile wastewater and synthetic brackish water (BW5) by investigating the effects of membrane orientation, system flowrate, change in DS, and membrane fouling on the FO systems performance and energy consumption. The FS used was BW5 with sodium chloride (NaCl) content of 5 g/L whereas Reactive Black 5 (i.e. a reactive dye) and Maxilon Blue GRL (i.e. a basic dye) dyes were used as a DS, respectively. The membrane utilised was a cellulose triacetate (CTA) membrane and was tested in FO mode and pressure retarded osmosis (PRO) mode whilst the system flowrate was adjusted to 400, 500 and 600 mL/min, respectively. Experiments were performed using a bench-scale FO setup which comprised of an FO membrane cell, a double-head variable speed peristaltic pump, a digital scale, two reservoirs for the FS and DS, respectively, a digital multiparameter meter and a digital electrical multimeter to measure system energy consumption. Each experiment comprised of six steps: baseline 1 (membrane control), main experiment (dye-driven FO experiment), baseline 2 (membrane control repeat), membrane cleaning, membrane integrity (membrane damage dye identification) and membrane cleaning (preparation for next experiment). The baseline 1 and baseline 2 experiments operated for 3 h whilst each membrane cleaning procedure operated for 30 min. The main experiments operated for 5 h in the FO mode and 4 h in PRO mode whilst the membrane integrity experiments operated until a minimum of 10 mL water was recovered. Results showed that the PRO mode achieved both higher forward flux (𝐽𝑤) (i.e. 8.87, 8.71 and 9.13 L/m2.h for flowrates of 400, 500 and 600 ml/min) and water recovery (𝑅𝑒) rates compared to FO mode (i.e. 6.60, 6.88 and 7.58 L/m2.h for flowrates of 400, 500 and 600 ml/min). The variation of flowrates had little to no influence on the 𝐽𝑤, 𝐽𝑠 and 𝑅𝑒 of the system. The system consumed less energy in PRO mode (i.e. 381 kWh/m3 average consumption for all three flowrates) than FO mode (i.e. 417 kWh/m3 average consumption for all three flowrates). It was also observed that at a higher DS 𝑂𝑃, the system consumed less energy. Therefore, selecting an optimum initial 𝑂𝑃 is essential for a FO process to minimise the pumping energy. Furthermore, a change in DS from Reactive Black 5 dye to Maxilon Blue GRL dye had no significant impact on the system performance and energy consumption. In this study, no significant membrane fouling was observed, however, minute traces of fouling in the form of foreign functional groups could be observed in the attenuated total reflection Fourier transform infrared spectroscopy (ATR-FTIR) spectrums of the used membranes. Additionally, the observation of negligible changes in baseline 2 (membrane control) Re and Jw results suggested the possible occurrence of membrane fouling during the main experiment (dye-driven FO system).
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Lee, Ki Sun. "Towards an Improved Baton Technique: The Application and Modification of Conducting Gestures Drawn from the Methods of Rudolf, Green and Saitō for Enhanced Performance of Orchestral Interpretations." Diss., The University of Arizona, 2008. http://hdl.handle.net/10150/193786.
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Since the early nineteenth century, a conductor has led orchestras in concert, rather than the concertmaster or the composer from a keyboard instrument. There is no theory about the function of the conductor or technique for conducting an orchestra or choir in that early period. Early conductors probably imitated the bow motions of the concertmaster, who was the leader of the group of instrumental players. The increasing importance of conducting resulted in conductors who not only cued to indicate entrances and cut offs as the concertmaster did, but also helped the musicians to understand his musical interpretation and play as a unified musical body. The establishment of this new role soon required the training of future generations of conductors and eventually conducting textbooks, with guidelines and other educational material for the apprentice conductor. In this paper, the author explores the historical background of conducting technique and the development of conducting textbooks in the twentieth century. Three conducting textbooks were chosen representing different approaches: Max Rudolf's The Grammar of Conducting; Elizabeth A. H. Green The Modern Conductor; and Hideo Saitō The Saitō Conducting Method. The author analyzes the conducting theory presented in each textbook and pinpoints the strengths and weaknesses of the three schools. He then suggested integrates beat patterns, combining elements from them, proposes more effective conducting gestures for his interpretation of the music. The focus for these integrated beat patterns is on the physical gestures and patterns of the right hand, not left hand gestures or specific expressive gestures. Chapter 2 summarizes the characteristics of the three conducting theories. Chapter 3 analyzes the basic characteristic motions of each school. Chapters 4 through 6 propose adaptations of conducting gestures, drawing from the three schools to interpret challenging sections of the examples: Marche royale from Histoire du Soldat by Igor Stravinsky, Adagio for Strings by Samuel Barber, and the Ouverture: Die Hebriden by Felix Mendelssohn. For the most effective performance of the author s interpretations, proposed integrated beat patterns are suggested for the phrases shown in the musical examples. Some of the beat patterns are presented in diagrams to show the integrated beat pattern, derived from the author s synthesis of the basic five motions of the three schools adapted from the three schools.
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Trimble, Rhys. "T=Y=W=Y=S=O=G=I=O=N : investigating improvised compositional methods founded on processual, plurilingial and spatial poetics towards the discovery of effective forms drawn from other sources and through performance." Thesis, Northumbria University, 2017. http://nrl.northumbria.ac.uk/36255/.
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This practice-led PhD aims to answer the question: how can processual/improvisation, spatial and plurilingual poetics be used to adapt text from other sources in order to create new effective forms? T=Y=W=Y=S=O=G=I=O=N is a discursive long sequence that aims to answer this question through variously translating, transforming, appropriating and adapting text drawn from the Welsh medieval cycle of stories the Mabinogi. In addition, this thesis uses specifically the Oxford Jesus College MS. 111, (The Red Book of Hergest) as its source. The creative work is broken into three sections which deal with these separate motifs. ‘The Red Book of Hergest Ward’ uses spatial and multilingual motifs to explore the word Hergest. ‘Cych’ explores spatial and improvisatory motifs. Finally, ‘Branwen’ deals with improvisation and adaptation. While the creative work seeks to explore the three critical strands of the thesis it also obeys its own aesthetic logic, and in so doing omits and includes different thematic motifs beyond the remit of the three critical chapters. The critical part of the thesis explores the individual thematic strands separately, answering more specific questions that address aspects of the creative work. The foundation of these chapters are close-read examples of authors who use the relevant approaches in their work. Finally, I discuss writers who show hybridity in their work incorporating more than one of these (critical) strands in their writing, David Jones as an example of a writer who uses all three strands. Comparisons with my own work are drawn throughout this thesis. Audio recordings of performed work from the creative portfolio accompanies this thesis, recorded by and with improvised accompaniment from Dario Lozano-Thornton.
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Tseng, Yi-Chuan, and 曾苡娟. "Performance-Driven Line Drawing Animation." Thesis, 2003. http://ndltd.ncl.edu.tw/handle/90010499144066225446.
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碩士國立清華大學
資訊工程學系
91
We present a novel approach for generating 2D line drawing facial animations. Given a video sequence of facial animation, our method retargets the facial animation to non-photorealistic line drawing facial models automatically. This process provides a new alternative for creating facial animations in terms of line drawing graphics. The proposed retargeting procedure is composed of following components: (1) facial expression tracking and (2) facial animation rendering. Several experimental tests are given, they demonstrate that the proposed method has the following merits: (1) simple synthesis procedure; (2) high animation quality and low data size; (3) playable by popular web browsers; and (4) facial motion reusability.
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LEE, CHAO-CHUN, and 李超群. "2D drawing engine performance research and development." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/t7f5n7.
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碩士國立臺北藝術大學
科技藝術研究所碩士班
95
The 2D drawing engine is a kind of SDK for making multi-media. This field is so few “programmer” to join to research and development if compared with maker of final works or products, because usually make a final works is better than make a SDK. The purpose of this thesis is discussion on a balanced 2D drawing engine in performance, space using and quality 3 parts. This article is the introduction about 2D drawing methods for Geometry drawing, Font drawing and Pattern drawing to video memory, and provides some examples of using in PC Game or some multi-media products. About the working platform major is in embedded system.To cross Windows and Linux two OS platform.
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Samocha, Ram. "No Peace - A Drawing Installation." Thesis, 2009. http://hdl.handle.net/10012/4393.
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This paper is intended to serve as a supporting document for the exhibition "No Peace" that was held at the Artery Gallery, 158 King St. W, Kitchener, ON, Canada, March 28 - April 18, 2009.
This drawing installation presents the emotional restlessness of an immigrant who lives in a peaceful place but at the same time is tormented by the ongoing war in his homeland. The drawings make use of the vocabulary of abstraction while presenting the physical process of a repetitive line-based action. The work does not illustrate a political narrative but reflect on recent global issues by using the personal language of art. The No Peace installation combines drawing with video, animation, and performance in the hope of gaining a more communicative interaction with the viewer.
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Chiu, Wei-Cheng, and 邱偉誠. "Using GPU to Improve the Drawing Performance of VLSI Layout." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/87072570887990015146.
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碩士銘傳大學
電腦與通訊工程學系碩士班
98
With the advancement of semiconductor technology, it is common that tens of millions of layout components are integrated in a single IC chip. To draw these layout components on the screens for further processing, the operations taken by the interactive layout tools increase exponentially. This normally leads to interaction delay when using the interactive layout tools. In order to improve the delay time of layout drawing, Solomon[1] proposed mipmapping technique that utilizes the texture mapping function of OpenGL to improve the performance of layout drawing. In [1], different resolutions of layout images are generated and stored hierarchically in GPU’s texture memory to suppor fast response of zoom in/zoom out operations of layout drawing. This approach performs well for static layout data. When the layout elements are changed, it needs to rebuild the hierarchy of texture images. This will create intolerable delay for interactive layout tools. Our study incorporates from [1] the concept of using GPUs to enhance the performance of layout drawing. We modified quad tree by copying the layout data to GPU memory and using the multiple threads in GPU to cooperate with CPU to enhance the performance of region query. Besides, we use the vertex buffer object (VBO) of OpenGL to enhance the drawing of layout. We also design a simple heuristic to filter the objects whose areas are too small to display in layout tools’ windows. Compare with the approach proposed by Solomon, our approach can accelerate layout drawing while maintains dynamic data insertions and deletions. We use the DEF files (the layout of ITC’99 benchmark) from VLSI lab of Yuan Ze University and a DEF file of a real design to test the performace of our approach. From our experimental results, when the objects is large enough, region query performances of large windows of our approach are improved twice compared with those from the traditionalregion queries on CPU. We also compare the perforamce of VBO with drawing API in X Window, XFillRectangles(). From the experimental results, the performace of VBO is twice better than that of XFillRectangles(). The simple filter heuristic could further reduce the drawing time by about 30% if applied in region queries on CPU only. If filter is used in region quries using GPU and CPU, filter could save at most around 7% of the region query time.
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Hung, Hsiu-yen, and 洪秀燕. "Influences of Learning Media to The Performance of Graphic Drawing Reading." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/89165106164174268737.
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博士大同大學
設計科學研究所
104
Focus on digital media design freshmen, the research presented in this thesis explored the impact of learning media, learner’s background and learning styles to the learner’s flow experience and graphc drawing reading performance in three-view drawing and cross-corner view drawing via a test. In this study, the learning media includes 3D animation, Unity 3D interactive media and 3D printed objects, while the learner’s backgriound comprises with design and non-design. Also, according the Flemming VARK framework, there are four kinds of learning style: visual, aural, read / write and kinesthetic. In each test mission of three-view drawing and cross-corner view drawing. the test asked each participant to choose the right-view drawing and cross-view drawing respectively by referring to giving drawings on paper and the three kinds of learning media. Each mission includes 6 questions grouped into 3 kinds of shape complexity, i.e. complex skew surface, complex curved surface, and the combinations of the both. Each shape complexity has two types, i.e. complexity and simplicity. Totally 120 freshmen were recruited and grouped into 3 equally, where each group was given a specific learning media. The 3 groups have the similar ratio of design or non-design background students. The reading performance was principally evaluation by ANOVA and post hoc analysis using Scheffe’s method. Observation survey and retrospective interview were also applied. The results indicate that the impacts occurred by learning style, as well as by the combination of learner’s background and media, but not by media. Other the other hand, the media plays influentially to flow experience in all aspects, incluing snse of control, concentration, enjoyment and the overall, suggesting that the media play little to determine the learners’ graphic drawing reading performance, but are key to the learning interesting, attention and experience. The conclusions were made by suggesting that the teachers should consider how to develop the appropriate teaching materials and method to satisfiy the various learner’s ability and styles. Mearnwhile, the studnets should recognized their own learning style to be benefit to the establishment of the self-study strategy. In contrast, the teachers have to improve the digital ability, or look for the more teaching resources to improve the production of teaching materials. Finally, the further studies were proposed in taking more extentivewide range of sampling and testing questions to enrich the research generality and applicabilty.
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TSAI, MEI CHIU, and 蔡玫君. "A Study of Picture-book Instruction and Young Children's Drawing Performance." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/39302610309570123877.
Full textAbstract:
碩士國立臺南大學
幼兒教育學系碩士在職專班
104
The study was to investigate how young children's drawing performance would change under picture-book instruction for the purpose that young children's drawing performance would be enhanced through the implementation of picture-book instruction. The subjects of the study included 15 children of ages from four to five in the class the researcher taught in a preschool. First the study analyzed the drawing representations produced by these children before the implementation of a picture-book instruction. Then with the aid of the children's drawing representations, the study examined the change in the drawing representations produced by the children after the implementation of a picture-book instruction. Seven picture-books were included in the curriculum of the two-month picture-book instruction. During the two months of picture-book instruction, two drawing instructions were offered in the class for each week. In the first drawing instruction, the children were provided with the opportunity to discuss a given drawing theme and then were requested to produce drawings by their imagination according to the given drawing theme. In the second drawing instruction, the children were engaged in a drawing activity after the implementation of a picture-book instruction so that the children's graphical representations produced after the implementation of a picture-book instruction might be collected and analyzed in comparison with those produced before the implementation of a picture-book instruction for the purpose of examining the children's drawing performance before and after implementation of a picture-book instruction. The results of the study are summarized as follows. 1. Before the implementation of a picture-book instruction, the children's graphical representations and use of lines and colors were found to be monotonous and their spatial representations tended to be focus-oriented and stressed what they regarded as important. 2. After the implementation of a picture-book instruction, the children's graphical representations and use of lines and colors were more diversified and their spatial representations reflected their understandings of consistent proportion relations.
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Hsiao, Wei-ting, and 蕭韋婷. "The analysis of visual performance in the context ofpictorial image drawing." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/25242929438227276246.
Full textAbstract:
碩士國立雲林科技大學
視覺傳達設計系碩士班
100
Images played a role that recording the history, and now it has become to explain the writing even it could replace the script to be the communication bridge of the visual language. It also could arouse the unlimited imagine signals and the sequences of the inner hint. The images could become the understanding structures without special languages or educational culture. Different people could exchange through graphics. The composition of the image rendering is the graphic ones with powerful communication, and it made of brilliant skill in draft and elaborate conception. The feelings of the watchers would be influenced by the outer fascination of the composition and the inner implications. This study did the logical deduction and conclusion through analyzing the images and individual interviews so that showing and describing the process of drawing the pictures. The main purpose in this study is investigating the visual sequence of ideas in the composition of the image rendering to realize the visual showing, inner implications and the factors that influence the drawing so that could recognizing deeply on the watching graphic productions. This study divided into four steps: First, the contexts analyzes and generalize the items of the factors of visual images. These items are composition in the form, color performance, form performance, style and genre, the choice of the theme, story power, and the overall performance. Second, describing and analyzing the sample of the composition of the image rendering. Third, individual interviews did realize the factors that influence the composition of the image rendering. Forth, I use the grounded theory method to analyze describing the data of the images and individual interviews. I compare and check crosswise by using synthesizes data from different layers of collection to observe the composition of the image rendering, so that I could realize the factors of the composition of the image rendering on the visual performance. The consequence of this study has four analyzing category of visual performance: the aspects that visual factors perform out, the aspects that visual factors perform in, the aspects that rendering that be influenced perform in and the aspects be influenced that rendering perform out. And here still two core categories: the aspects of visual composition perform and the aspects of the process in rendering composition. Above the detailed data could be refereed for making the image rendering and surveying. For the watchers, their visual aspects could be risen from only being touched to recognize the composition and feeling the inner aspects. For the image teachers, this study could help them to give the suggestion, discussion and assistance to the students when they meet the factors in transition they would meet during the process of drawing the images.
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Hsiao, Yi-An, and 蕭奕安. "The influence of drawing process on optical performance of PETG film." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/522um9.
Full textAbstract:
碩士國立臺灣科技大學
材料科學與工程系
106
The emphasis of this study lies in the benefits of PETG,a series of PET of poly(ethylene glycol-co-1,4-cyclohexanedimethanol terephthalate) (PETG) copolyesters with different molar ratios of ethylene glycol (EG) to 1,4-cyclohexanedimethanol (CHDM),which equipped transparency and ease of producing films In the experiment, PETG was used as a substrate, and PMMA (Poly(methylmethacrylate) powder was a light diffusion agent. These films were produced by an extruder ,then stretched by machine direction orientation (MDO). We compared to light diffusion films with different elongation at the same recipe. The color flex can be used for measuring material aging testing after that we used haze meter to measure the optical properties of the film, and recorded the changes in film stretching by tensile strength tests in this experiment. We discussed between the extension of the MDO and the extrusion film of the extruder .We found the process of changing transparency to opaque during the film drawing by MDO. According to the phenomena, we also tested the films thermal behavior, physical properties and the cross-section morphology displayed voiding by Scanning Electron Microscope(SEM) .To compare the water barrier properties of films ,we used water vapor transmission rate test(WVTR) to detect. The results of the experiment indicated that PMMA at a concentration of 5% , unoriented (UDF) and oriented (DT) films which were produced by extrusion were high transmittance and high haze properties as a result UDF50 um and DT100um were the closest to perfect alignment. Because of films whitening occurs in the extended MD direction, to sum up the reasons which holes are formed between two incompatible materials, which increases the interface light scattering and stress-induced crystallization, resulting in uniform whitening of the film and toughening effect, meanwhile, the films which were crystallized by MDO equipped water barrier properties.
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WANG, PEI-YUN, and 王佩芸. "Young children’s drawing performance with the intervention of e-picture books." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/t38psx.
Full textAbstract:
碩士國立臺南大學
幼兒教育學系碩士班
107
The study examined children’s drawing performance with the invention of e-picture books for the purpose of promoting children’s drawing performance through the use of e-picture books in instruction. The subjects of the study included ten young children in a mixed-age class in a private preschool in the City of Tainan. The study qualitatively examined the drawing performance of the children of study before the invention of e-picture books and their drawing performance after the invention of e-picture books. In the study, two drawing activities were provided to the children of the study every week for two months with six e-picture books used for the drawing activities. In the first drawing activity of the two weekly drawing activities, the children shared and discussed their experiences related to a specific theme first, and then produced their drawings and shared their drawings. In the second drawing activity, with the intervention of an e-picture book pertinent to the theme discussed in the first drawing activity, the children were requested to produce their drawings after watching the introduced e-picture book, and then shared their drawings. The findings of the study included: 1. Before the invention of e-picture books, the children’s drawing performance appeared to be self-focused. In their drawings, their favorite shapes and colors would be presented in their drawing productions of characters, space, colors, and lines. 2. After the invention of e-picture books, the children’s presentations of colors were found to be more diversified in their drawings and would not focus on a single color. Geometric figures were generated to construct more complicate objects in presenting characters and lines. In their spatial representations, most of the children were found to understand ratio relations in sizes and relative position relations in the front, the back, the left, and the right.
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Hui, Huang Shu, and 黃淑慧. "A Study of How Different Inspirational Teaching Methods of Pre-school Teachers Can Affect Young Children's Drawing Performance and Drawing Content." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/49168466209906868853.
Full textAbstract:
碩士國立臺中教育大學
幼兒教育學系碩士班
101
A Study of How Different Inspirational Teaching Methods of Pre-school Teachers Can Affect Young Children's Drawing Performance and Drawing Content Abstract This study focused on the effects different inspirational teaching methods applied by pre-school teachers can have on young children's drawing performance and drawing content. A pre-school class, consisting of fifteen children taught by the researcher, was chosen as the subjects for this study. The researcher implemented cross-repetition of three different inspirational teaching methods and six types of drawing topics, then collected drawings made by the children, totaling 270 drawings in all. This study used the children's drawing content as the basis for qualitative analysis, along with the statistical software package SPSS12.0 for data statistics analysis for each of the children's drawings. The results of the study are as follows: 1.Different inspirational teaching methods led to noticeable differences in young children's drawing performance. Using picture books as inspiration to teach children how to draw, the resultant content and overall drawing performance was evidently better compared to when teachers encouraged children to draw using imitation as inspiration. Furthermore, the learning by direct experience inspirational method of teaching also allowed the children to produce better drawing content compared to the imitation inspirational teaching method. 2.Different inspirational teaching methods also led to prominent differences in drawing performance between boys and girls. All three inspirational teaching methods produced consistent results in that the girls' drawings displayed more abundant line usage, color variation, and better overall drawing performance than boys. Also, the drawing content of the girls' drawings in the class were markedly better than the boys' when the teacher used the picture book inspirational teaching method. 3.Different inspirational teaching methods did affect the drawing content of young children. When the teacher used the imitation or picture book inspirational teaching method, the main subject of the children's drawings tended to be larger and drawn with greater detail. Using the picture book inspirational teaching method, the children had a tendency to become immersed in the story of what they are drawing, which led to greater displays of their imagination. When the teacher utilized the learning by direct experience inspirational teaching method, the children had a tendency to show more use of people in their drawings. 4.The results of this study showed that the young children's drawings all have certain aspects in common. Both young boys and girls showed the usage of gender stereotypes when drawing, as well as added displays of individual creativity and decoration. In addition, the young children demonstrated an ability to combine prior experience and new knowledge together and applied them to other drawings. In the end, according to the findings of this study, the author provides some suggestions for the preschool teachers, parents and the future researchers. Key words: young children, inspirational teaching method, drawing performance, drawing content
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Cheng, Po-Chun, and 鄭伯君. "The Study of drawing creations and the painting performance in Abstract Expressionism." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/24930120871651373775.
Full textAbstract:
碩士中國文化大學
美術學系
105
The art of painting is to express the essence of the things by stepping back to the simplest form through the creative thought and memory of the artists. Thus, the artisst began to paint without a particular style, then it forms a new style throughout the time and life experiences. In order to know more in-depth knowledge of the geometric abstraction as the main purpose and its process, and its special painting techniques. The author starts to form base on the geometric formation to explore the vocabularies of his mind by the experiences do the artworks to create the patinings. At the same time, he uses his favorite oil paintings skill to create some of impressive and wonderful paintings.
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Wu, Ming-Shiou, and 吳明修. "The Influence of Skill Test Performance on Skill Learning in the Drawing Departments’Students." Thesis, 2004. http://ndltd.ncl.edu.tw/handle/20628928682275920787.
Full textAbstract:
碩士國立高雄師範大學
工業科技教育學系
92
The purpose of this study was to investigate the influence of students’learning skill performance after test of drawing skill in vocational high schools and comprehensive high schools. This study adapted the literature reviewing and survey method. Ques-tionnaire was developed by researcher. The target population consisted of eight different vocational and comprehensive high schools students of Tainan region. A proportional sample of 1760 students had drawn from target population. Some major conclusions were described as follows: 1. Most teachers and administrative departments in school keep positive attitudes toward the skill test for students, which was certainly helpful to develop the distinguishing characteristics of the vocational education. 2.During the skill learning, students generally had passive attitude, so the teachers had to urge and encourage them. In addition, teachers needed to pay more attention to the individual difference between the students. 3.During the skill training, most students were not able to finish the tasks in time, so the teachers had to be careful of the task arrangements for them and avoid harming their self-confidence. 4.Avoid students’wrong recognition resulted from the con-venience of the computer-aided drawing which would make them ignore many basic trainings for drawing technique. According to the research consequence, the drawing skill test was the most directly and effectivly method to examine stu-dents’skill learning and teachers’teaching. Therefore, no matter students or teachers have to face up to it positively.
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Shiu, Ya-Lan, and 許雅嵐. "A study of drawing performance of immigrant young children and native young children." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/08758361504919949333.
Full textAbstract:
碩士國立臺南大學
幼兒教育學系碩士班
104
A close relationship exists between drawing and child development. In the presence of young children with distinct cultural heritage in classrooms, teachers may acquire a deeper understanding of young children through their drawings. This study investigates the free drawing performance of immigrant young children and native young children. The subjects were recruited from an elementary school located in Kinmen Shien and its affiliated preschool, including 24 children, who consisted of eight preschoolers, eight first-graders, and eight second-graders with two male immigrant children and two female immigrant children, and two male native children and two female native children included in each group of children. These children were engaged in free drawing activities in two stages, with a time interval of one month between the two stages. Each free drawing activity lasted for about 30 minutes. The children’s drawings collected from the free drawing activities were analyzed qualitatively with respect to the content elements, image compositions, and use of lines and colors presented in their drawings. The findings of the study are summarized as follows: (1) Drawing contents: The children of the study tended to focus on the representation of natural environments. Moreover, immigrant children would produce more content elements than native children. (2) Image representations: In their drawings, most of the image representations produced by both immigrant children and native children included symbolic representations and magnified representations. (3) Use of lines: In free-drawing representations, both immigrant children and native children would tend to use a single vertical line, double vertical lines, and a single slope. Girls would prefer to use double slopes, while boys tended to use dots. First-grade immigrant children and native children demonstrated more diversified productions of lines. (4) Use of colors: Girls were found to use bright colors more, while boys preferred to use dark colors. With the increase in age, both immigrant children and native children would demonstrate more diversified performance in the use of colors. (5) Under the influence of cultures, both immigrant children and native children tended to represent the domestic cultures of the host country. (6) The factors which would affect children’s graphical representations included schools, families, domestic cultures, and public media.
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Kuo, Tzu-Hsiang, and 郭子祥. "The relationship between mental imagery and drawing performance style of Taiwan elementary students." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/16941505867260174854.
Full textAbstract:
碩士國立臺北教育大學
藝術與造形設計學系碩士班
104
In this study, the relationship between elementary school students' mental imagery and their cartoon drawing aptitude was examined. The research is group based where all participants were sixth-grade students. It took place at a primary school. Data were collected based on the Object-Spatial Imagery Questionnaire (OSIQ)and the mental rotation task(MRT). A series of American style comics as well as Japanese style comics were used as the medium for the sketching test. The mental imagery was categorized through the participant’s performance at sketching while cartoon sketches displayed to the participants were shown with different 3D-visualization level. Nevertheless, a series of spinning mental imaginary tests was added in order to classify the level of difficulties of spatial imaginary and object imaginary. Data collection was made based on the marks given to the participant’s sketches to analyze the research topic. While past research focused mainly on the relationship between sketching and physical as well as mental development, the researcher focused this research on the imaginary development based on the mental factor. The main objective of this research is to identify the common sketching performance and imaginary ability among primary children, but neither among trained art students nor professional artists. The researcher also hopes to help identify the imaginary ability of primary students and will further new discovery related to the children imaginary ability.
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Khoza, S. D. "Academic performance of Engineering drawing N2 students of Ekurhulen West College (EWC) in 2003." 2004. http://encore.tut.ac.za/iii/cpro/DigitalItemViewPage.external?sp=1000707.
Full textAbstract:
Thesis (M.Tech. degree in Education) Tshwane University of Technology 2004The poor performance of learners in Drawing N2 at Ekurhuleni West College (EWC) has become a concern and should be addressed. EWC is a merger of four former Technical Colleges, namely Germiston, Kathorus, Kempton and Tembisa campuses. All students who enrol for Mechanical Engineering must register for Engineering Drawing as one of their major subjects, as it is the main foundation for future mechanical engineers. The Mechanical Engineering department at Kempton campus is the only department with a low student number. The number of learners per trimester at Kempton campus who take Drawing N2 used to be between 50 and 60. Some of the learners have been reluctant to take Drawing N2 since May 2003. The number of N2 Drawing students has dropped to between 40 and 50 students per trimester (as from the second trimester of 2003). The study is aimed at identifying factors resulting in poor academic performance in Drawing N2. The major findings of the study include, lack of awareness of the importance of Drawing in the Mechanical Engineering field, inadequate motivation concerning drawing, lack of necessary instruments and bad teaching and learning materials (textbooks). The study also proposes guidelines of how this problem can be addressed. iv
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Sih, Lee-Mien, and 李棉絲. "The teaching research of guiding the drawing performance of children through appreciating picture book." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/93333765041843835570.
Full textAbstract:
碩士華梵大學
工業設計學系碩士班
99
Abstract This research focuses on guiding children to develop the sense of enjoying picture-book through observation, description, analysis, explanation and image appraisal in the preschool stage. Also, the children are led to discuss and present the feeling of pictures, develop the artistic vision and esthetic sense, then improve the ability of drawing. In additional, the methods of inspection, interview, and material collection are used. Also the researcher collected and compared the children’s works in the beginning, intermediate, and the final stage in terms of the research period. Finally, the questionnaire from the guardian helps the researcher to understand the changing of children drawing performance in the research period. This research gets four conclusions: 1.Appropriate subject of the picture books should be selected. The quality and the quantity of the picture books, the systematic education, the appropriate design of the lessons are all important and crucial in promoting the children’s skill in observation, appreciation, and art performance. 2.The focus of picture books appreciation is highly linked with the content of the books. Enlarged pictures are easy for observation, while small images are easy to be focused. Both are good for children’s observation ability. 3.Different teaching materials and different education strategies during guidance are essential. Children’s drawing ability should be put into consideration before the lesson is designed. Variety of drawing devices should be offered to the children so that they could enjoy art creation. There are various of topics and colors in the art work of children with high degree of confidence. 4.In the experience of teaching with picture books, the teacher can use the picture book more often and more diversely. Also, the teachers should have the better understanding to baby's drawing development and the fine arts teaching concept. In the teaching research, the teachers could retrieve self-confidence and creativity, and they are more eager to share and appreciate others. By analyzing children’s art work, discussions on teaching, the feedback from the parents and so on, the teacher shares with other teachers for reference of the teaching.
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Ciou, Jia-Syun, and 邱佳勳. "Effects of 3D model on Drawing Performance of G2 and G3 Low Vision Children." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/4hmn3p.
Full textAbstract:
碩士國立臺灣師範大學
設計學系
107
Because low-vision children are limited by their visual deficiencies, they have difficulty in exploring the environment. The visually impaired teachers pay more attention to blind students and self-care ability, neglecting the use of residual vision and the need of art education for low-vision children. This study adopts the action research and observational method. The participants were three low-vision children, two from lower grade (grades 1-2) and one from middle grade (grades 3-4) in elementary school. The courses include sixteen 60-minutes lessons every week by one-to-one teaching. Through a variety of 3D models to cultivate the observation ability of low-vision children and achieve the ability to identify, differentiate, characterize objects, and to make up for the lack of awareness and concept establishment. The results of the study showed that the participants had significant progress in the comparisons of pre and post-test, indicated various stimulants and teaching strategies had a significant positive impact on the participants' image performance and story expressions. The following four conclusions were reached based on the process of developing and improving the teaching method and the analysis of the study results. First, the positive influence of the 3D model into the drawing teaching. Second, the teaching strategy recommendations: (1) Teaching students in accordance with their aptitude (2)Drawing subjects combined with life experiences. (3) Diverse 3D models can expand low-vision children’s cognition and correctly depict the object characteristics. (4) Situational experience deepens learning impressions and visual experiences, enriching the content of drawing. (5) Using puppets to change the monotonous body movements at the schematic stage. (6) Sketching can cultivate observation ability, try to avoid copying when teaching. (7) Tactile and 2D cards can increase the details of the object drawings. (8) Oral communication enhances drawing performance, encouragements increase self-confidence.Third, the drawing materials and textbooks need to be used: (1) According to different visual condition to provide suitable drawing materials. (2) The colors of drawing pens should be easy to recognize. (3) The sizes of 3D models should be easy to take and high fidelity. (4) The color contrast of textbooks should be effective. (5) Provide a comfortable teaching environment. Third, the low-vision children's drawing characteristics: (1) Complete drawing outlines by just one stroke. (2) Only coloring a large area, small areas just remain the outline. (3) Poor curvature of the shapes; (4) Narrow vision children have following features: partial painting, the lines are not connected smoothly, the objects are drawn closely to the edge of the paper. (5) Colored papers affect color recognition ability of children with photophobia.
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Chen, Mao-sheng, and 陳茂盛. "A Study of Employee Performance Bonuses for Design and Drawing Jobs in Engineering Consultant Companies." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/pdkedk.
Full textAbstract:
碩士國立高雄大學
國際高階經營管理碩士在職專班(IEMBA)
101
The overall objective of human resource management is to improve employee job performance, raise business productivity and thus ensure the business is able to achieve success. To investigate employee performance bonus system is especially important for engineering consultant companies because bonuses are mainly paid by the number and quality of drawings. A fair employee performance bonus system, which is also a part of payroll management, can affect employee performance. This study aims to investigate the employee performance bonus system for drawing technicians of six engineering consultant companies in Kaohsiung. A survey is conducted using 180 questionnaires and ending up with 159 valid responses. They are then analyzed using SPSS15.0 statistical software to explore the relationships among employees, various motivation factors and employee performance bonuses. With an attempt to find their connections and to establish an effective incentive system for businesses, we crossly examine and analyze three kinds of variables, including demographical statistics (including gender, age, education, marrital status, major, seniority, job position and income), motivation factors (professional skills, communication skills, activeness and enthusiasm, compliance and customer service) and employee performance bonuses (expectation towards the bonus system and bonus-income ratio). Empirical findings indicate that there is no significant correlation among whether businesses already have employee performance bonus system, the expectation towards bonus system, and bonus-income ratio. In other words, most of surveyed drawing technicians favored an employee performance bonus system. The most preferential bonus-income ratio is about 16%-30%.
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Li, Chin-Chueh, and 李金雀. "The Effects of Teaching Schematic Drawing on Mathematical Problem-Solving Performance of Third Grade Students." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/79916456769140703758.
Full textAbstract:
碩士國立臺灣師範大學
教育心理與輔導學系
94
The purpose of this study is to design a schematic drawing training program for 3th grade students and to investigate its immediate and tracking effects on students’ problem-solving performance on “changed and compared” word problems. Also, it focuses on the situation of student’s generating problem schema and representation. 60 students from an elementary school were as subjects, 30 students for experimental group and control group. Students in the experimental group went through schematic drawing training program, while those in the control group didn’t. The quantitative instrument utilized to examine the effcts of the training is“Addition and Subtraction Word Problem Achievement Test”, which was administered at the end of the training and 2 weeks later for tracking. The collected data were analyzed with one-way ANCOVA. The other data including “problem schema sorting tasks”, “schematic drawing tasks”, “learning questionnaire of schematic drawing”, and “teacher’s reflective journals” were also analyzed to examine the effects of the training. The findings were presented as follows: 1.Schematic drawing training program could improve the performance of problem-solving for addition and subtraction word problems.for example, (1) The experimental program could immediately improve the performance of problem-solving for addition and subtraction word problems. (2) The experimental program could maintain the improvement in problem-solving for addition and subtraction word problems.2.Experimental group could generate problem schema of addition and subtraction word problems and classify the problems according to the schema.3.Experimental group could generate suitable schematic drawing of addition and subtraction word problems.4.Experimental group have positive opinions on schematic drawing. Finally, based on the experimental results, we propose suggestions for education of mathematical problem-solving and future research.
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HSIEH, PEI-HUAN, and 謝佩寰. "Comparative Study of Drawing Performance between Computer and Traditional Media for Elementary Students with Mental Retardation." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/23464926436980342066.
Full textAbstract:
碩士國立臺中教育大學
特殊教育學系碩士在職專班
97
The purpose of this study was to explore the difference between computer and traditional media in the drawing performance for elementary school students with mental retardation. The research approach adopted was the Alternating Treatment Design in the single-subject research. Through the self-made drawing performance scale, the scoring data including the items such as skill, color, theme, content, composition, aesthetic perception, originality, emotion and attitude in the baseline, treatment, and maintenance phases were collected, and the difference between drawing performance using computer and traditional media mainly by Visual Analysis, C Statistic, and interview film data were analyzed. The findings were concluded as follows: 1. The drawing performance of skill for these two subjects using computer media was better than using traditional media in the stage of baseline phase, but it was on the contrary in the experimental treatment. 2. The drawing performance of color for these two subjects using computer media was better than using traditional media both in the stage of baseline and experimental treatment. 3. The drawing performance of theme and content for these two subjects using traditional media was better than using computer media both in the stage of baseline and experimental treatment. 4. The drawing performance of composition and esthetic sense for these two subjects using traditional media was better than using computer media both in the stage of baseline and experimental treatment. 5. The drawing performance of originality, emotion and attitude for these two subjects using computer and traditional media were approximate, but their scaled scores appeared to be varied and instable. In accordance with the findings and conclusions obtained in this study, suggestions were proposed for teachers and follow-up studies.
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Farrell, Kirsten Sue. "The Performance of Colour: Time, Material, Time, Language." Phd thesis, 2015. http://hdl.handle.net/1885/101991.
Full textAbstract:
This practice-led thesis considers what it is to imagine colour
at the limits of language as art practice. The
main project of this research,
The Vivisector Oracle: A Colour System for the Discovery of Truth
for Artists and Others
in Times of Uncertainty
(2013-ongoing) began as a list of all the colours in Patrick
White’s novel
The Vivisector
and expanded into a work with several iterations: a set of
collages using paint swatches, installation, objects,
and a series of one-on-one performances. I also produced a
significant body of
drawings which together
propose that the relationship between colour, time and space
allow a view of colour as performative.
Through my consistently speculative studio processes I have aimed
to conduct research that is both material
and philosophical into the meanings of colour. This thesis’
contribution to contemporary visual practice is an
expanded idea of colour as performative, and as a way of thinking
that includes language and systems but
simultaneously reaches beyond them.