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Syrén, Dania. "Creating Concept Sketches for Game Developers : Sketches that inform and inspire." Thesis, Mälardalens högskola, Akademin för innovation, design och teknik, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:mdh:diva-35263.
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The objective of this project is to understand how information design– specifically informative illustration– can contribute to producing concept sketches for a science-fiction/puzzle game called Sky’s Edge. Through theoretical studies and research methods, I aimed to deepen my understanding of what makes a concept image a good one, and from that, I aimed to determine how informative illustration can help in designing and sketching the ideas that the job requester needed. The conducted theoretical studies indicated that a good concept image is one that contains ideas which are easily understood/communicated, can inspire the team, and in turn generate further discussion. They also revealed the vast advantages of thumbnail sketching– which can lead to the development of stronger ideas and compositions. Refined sketches and drawings are produced thereafter to present these ideas to the development team. The purpose of the resulting collection of concept images was to unify the visual direction of the team responsible for developing the game.
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Oltmans, Michael (Michael David) 1975. "Envisioning sketch recognition : a local feature based approach to recognizing informal sketches." Thesis, Massachusetts Institute of Technology, 2007. http://hdl.handle.net/1721.1/40318.
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Thesis (Ph. D.)--Massachusetts Institute of Technology, Dept. of Electrical Engineering and Computer Science, 2007.This electronic version was submitted by the student author. The certified thesis is available in the Institute Archives and Special Collections.
Includes bibliographical references (p. 89-94).
Hand drawn sketches are an important part of the early design process and are an important aspect of creative design. They are used in many fields including electrical engineering, software engineering and web design. Recognizing shapes in these sketches is a challenging task due to the imprecision with which they are drawn. We tackle this challenge with a visual approach to recognition. The approach is based on a representation of a sketched shape in terms of the visual parts it is made of. By taking this part-based visual approach we are able to recognize shapes that are extremely difficult to recognize with current sketch recognition systems that focus on the individual strokes.
by Michael Oltmans.
Ph.D.
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Shimanuki, Hiroshi, Jien Kato, and Toyohide Watanabe. "Constituting origami models from sketches." IEEE, 2004. http://hdl.handle.net/2237/6915.
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Platt, Kevin Ronald. "Incomplete Objects and Object Sketches." Thesis, The University of Sydney, 2011. http://hdl.handle.net/2123/9496.
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The research and the work that motivates it, herein discussed in this thesis, hinge upon the need to communicate with the viewer, a sense of desire that remains suspended. Throughout both thesis and practice a defining concept is incompleteness. This suggestion is made manifest in the practical element of my work, through the use of the iconography of the frame and construction images, that suggest what could yet be built upon, or added to the work, that is present in the gallery. The implications of this iconography are diverse and accordingly are explored through a series of art-historical discussions. The physical appearance, or the signature aesthetic of my practice, is explored through the pressing immediacy that ruled and defined the sketch aesthetic of Impressionism. The concept of a desire continually entertained is given exemplary treatment in the seminal Large Glass of Marcel Duchamp. As such this is used as a major study with which to compare the motivating factors of my practice. Engaging with the text Kant After Duchamp, by Thierry de Duve facilitates an exploration of two belief systems that arose and defined and impacted art discourse through the middle and latter half of the last century. This study does not seek to align my work either but rather finds the conviction to follow neither and instead identifies my practice with work that does not take a heavy authorial hand looking for a determined outcome. As such, what is made apparent through this investigation is an enduring interest in that which cannot be attained.
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Aronson, Eran. "Sketches of shadows and light." Thesis, KTH, Skolan för teknik och hälsa (STH), 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-117347.
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Holmes, Erik Roush Chris. "Believers sketches of faith in America /." Chapel Hill, N.C. : University of North Carolina at Chapel Hill, 2009. http://dc.lib.unc.edu/u?/etd,2949.
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Thesis (M.A.)--University of North Carolina at Chapel Hill, 2010.Title from electronic title page (viewed Jun. 23, 2010). "... in partial fulfillment of the requirements for the degree of Master of Arts in the School of Journalism and Mass Communication." Discipline: Journalism and Mass Communication; Department/School: Journalism and Mass Communication, School of.
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Smith, Kendra Schank. "A new view of architectural sketches." Diss., Georgia Institute of Technology, 1992. http://hdl.handle.net/1853/22981.
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Gangam, Priyanka Reddy. "Recognizing Face Sketches by Human Volunteers." Youngstown State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ysu1297198615.
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Heaton, Roger James. "Elliott Carter's Sketches : a fresh analytical perspective." Thesis, King's College London (University of London), 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.515388.
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Carswell, James. "Using Raster Sketches for Digital Image Retrieval." Fogler Library, University of Maine, 2000. http://www.library.umaine.edu/theses/pdf/CarswellJD2000.pdf.
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Robson, Cody John. "Garment modeling from fashion drawings and sketches." Thesis, University of British Columbia, 2009. http://hdl.handle.net/2429/13396.
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Modeling of three-dimensional garments is essential for creating realistic virtual environments and is very helpful for real-life garment design. While fashion drawings are commonly used to convey garment shape, so far little work had been done on using them as inputs to the 3D modeling process. We present a new approach for modeling of garments from fashion drawings. This approach combines an analysis of the drawing aimed to extract major garment features with a novel modeling method that uses the results of this analysis to create realistic looking garments that provide a believable interpretation of the drawing. Our method can be used in a variety of setups, where users can sketch the garment on top of an existing three-dimensional mannequin, draw it free-hand, or even scan pre-existing fashion drawings. We demonstrate the robustness of our method on a variety of inputs and provide a comparison between the results it produces and those created by previous methods.
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Kelly, Patrice M. "Harvesting sketches from a community of gardeners." Thesis, Drew University, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10108231.
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This dissertation creates a bridge between American cultural and horticultural discussions related to the topic of suburban community gardens, based on a new model called “A Lot to Grow.” (Abstract shortened by ProQuest.)
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Delaney, Angela Beth. "Sketches of someone I'd rather not know." Birmingham, Ala. : University of Alabama at Birmingham, 2007. https://www.mhsl.uab.edu/dt/2009r/delaney.pdf.
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Thesis (M.A.)--University of Alabama at Birmingham, 2007.Title from PDF title page (viewed Jan. 29, 2010). Additional advisors: Robert J. Collins, Peter Donahue, Lawrence G. Wharton. Includes bibliographical references (p. 51).
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Gordon, Leslie H. "Eudora Welty's Theatrical Sketches of 1948: Summer Diversion or Lost Potential? Bye-Bye Brevoort and Other Sketches." Digital Archive @ GSU, 2010. http://digitalarchive.gsu.edu/english_theses/102.
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Eudora Welty is well-known for her many works of fiction and non-fiction, but not known for her works for the theater. In the summer of 1948 Welty moved to New York and wrote, in collaboration with another writer, a musical revue entitled What Year Is This? Only one of the sketches, “Bye-Bye Brevoort,” was ever produced. This and other sketches in the unpublished manuscript deserve to be studied alongside Welty’s other work. These writings provide a window into her love of New York, her vast knowledge of the fine arts, and the evolution of her writing styles. In January of 2010, a reading was staged at the Balzer Theater at Herren’s, Atlanta, Georgia. Audience reaction indicates that these pieces, both songs and skits, deserve more attention.
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Hu, Rui. "Visual information retrieval using annotated free-hand sketches." Thesis, University of Surrey, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.599990.
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The availability of commodity camera hardware, coupled with the falling cost of bandwidth and storage, has prompted an explosive growth in visual media collections, which motivates new techniques to efficiently search this deluge of visual data. This thesis develops new scalable solutions for content based image and video retrieval (CBIR/CBVR) using free-hand user sketched queries. Compared with other query mechanisms, free-hand sketches concisely and intuitively depict object shape, colour, relative position and even scene dynamics (movement). The orthogonal expressive power of keywords and sketches is also investigated to fuse appearance and semantics for sketch based retrieval (SBR). Several contributions to SBR are made. First, we extend the Bag-of-Visual-Words (Bo VW) framework to sketch-based image retrieval (SBIR). Although BoVW is extensively used in photo-real query based image retrieval systems, it is non-trivial to be applied to SBIR as relevant spatial structure information is destroyed during indexing. We propose 'Gradient Field - Histogram of Oriented Gradients' (GP-HOG) a novel structure preserving sketch descriptor for BoVW, which we show to outperform existing popular descriptors at the tasks of SBIR and of localising the sketched object within an image. Furthermore we combine sketch with keyword retrieval enabling for the first time the scalable search of image databases using keyword-annotated (semantic) sketches. Second, we present two fast sketch-based video retrieval (SBVR) algorithms driven by storyboard sketch queries depicting both objects and their dynamics. Videos are first segmented into a spatia-temporal volume representation which is then matched with the query sketch using appearance, motion (and if available) semantic annotations of the query sketch. Third, we propose a novel probabilistic algorithm for SBVR using a Markov Random Field (MRF) to model the ambiguity of sketch during video matching. Video is represented into a graph, where each node is a spatia-temporal over-segmented super-voxel. The sketch matching problem is formulated as a graph cut optimisation that simultaneously identifies relevant video clips and localise the position of the sketched object within the clip. The proposed system is the first to combine consideration of colour, shape, motion and semantic information for SB VR. Finally, we also propose a novel semantic image segmentation algorithm that outperforms existing texton based approaches and can be of benefit in pre-processing image and video into the region based representation that underpins a number of our proposed retrieval algorithms.
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Jenkins, David Lewis. "The automatic interpretaion of two-dimensional freehand sketches." Thesis, Cardiff University, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.308140.
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Wilkinson, Ian. "Narrative strategies in Charles Dicken's Sketches by Boz." Thesis, Keele University, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.395859.
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Kore, Leena-Kreet. "'The nameless spirit' : the sketches of Virginia Woolf." Thesis, Royal Holloway, University of London, 1986. http://repository.royalholloway.ac.uk/items/099f59a9-f8de-4987-a859-cb6d4f59a3d3/1/.
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The thesis establishes that the sketch is an independent aesthetic form requiring its own methods of critical and historical analysis; and, that the sketches of Virginia Woolf can be read best in the context of this tradition. Almost exclusively, the sketches that are considered are the "plotless" works such as "A Haunted House", "Monday or Tuesday", and "Blue and Green"--more enigmatic and rather more obscure than those of a conventional sense of action and plot like "The Duchess and the Jeweller" or "The Legacy". It is explained how in Virginia Woolf criticism to date, the sketches have been regarded as literary exercises in preparation for her more substantial novels; an interpretation that the thesis displaces by showing that the sketches are equal to the novels in terms of their imaginative stature. The tradition with which Virginia Woolf's sketches are identified is specifically Symbolist, and Aesthetic in the complete sense. In terms of the derivation of "aesthetic" from the Greek for "to perceive", the thesis proposes that the sketch is the supreme expression of the Aesthetic vision: it is a form of Pater's "pure perception", a state of aesthetic consciousness in itself, within the framework of whose suspended moment, an idea, image or impression is retained even as the object or experience has already passed away. The thesis especially emphasizes that the sketch is allusive and brief not because it stylistically imitates an effect, but rather, because it reflects a necessarily fragmented way of seeing. It is in the sense of this distinction that the sketch is not a subsidiary of the short story. Therefore, writing that is fragmented because it is the expression of a specific vision, is placed in a proper sketch tradition which develops variously from De Quincey, Lamb and Landor, through to Rossetti and, with much emphasis, Pater, and the French Symbolism of Mallarme. Symons and the sketches of such 'Nineties writers as Crackanthorpe and Dowson are discussed, as are relevant twentieth century movements such as Cubism and the Imagism of Amy Lowell's "polyphonic prose". These movements and writers are analyzed in comparison with Virginia Woolf's sketches; and, with reference to issues of structure, characterization, content, perspective and use of syntax, the thesis defines both the nature of the aesthetic consciousness, and the "nameless spirit" in the sketches of Virginia Woolf.
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Frederick, Amy Reed. "Rembrandt's Etched Sketches and Seventeenth-Century Print Culture." Case Western Reserve University School of Graduate Studies / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=case1390500621.
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Whelan, John P. "Sketches for a Benedictine monastery, Paris Mountain, Virginia." Thesis, Virginia Polytechnic Institute and State University, 1993. http://hdl.handle.net/10919/53363.
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The site is the Northwest side of Paris Mountain overlooking the valley, flat fields and the winding road along the river. The monastery is thought of as a whole encompassing its various parts: the church, the monk's dormitory, the library, the winery, the bakery, the barns and the field chapel. Also in the enclosure are the elementary school with its classroom building, the administration/theatre building and the gymnasium. There is an imposition of a two-dimensional grid on the natural contour of the mountainside, thus resulting in a grid-like fabric which becomes the origin of a mathematical ordering throughout the site enclosure. The "Grid" is one of directional "force lines" which reflect and generate a relationship between the various buildings as well as their interrelationship to the site. This ordering is not one of predictable "constants" yet more one whose purpose is to be manipulated, eroded, extended and disassembled according to "aesthetic demands" which occur throughout the project. It is not one of a finite programming; however, there is a sense of rational consequences which result as part of this ordering. The "base grid" may eventually be eroded to such a level that what remains is more of a memory of this ordering than of anything clear and distinct in one's perception of it. The extension of this grid is meant to go beyond the confines of the monastic enclosure - as to give a sense of relationship between surrounding fields, roads to the monastery, landscaping and transitional spaces to that which lies within the walls.
The solidity of these enclosing walls is one of historical reference to times past. An erosion of the walls also occurs so as to leave them more as skeleton-like markings or ruins, of a fortress which never was. The result being an architectural imposition with directional qualities interrelating site and structure.Master of Architecture
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Fero, Alanna Carlene. "The Robert Kroetsch alphabet book : sketches of a thesis." Thesis, University of British Columbia, 1991. http://hdl.handle.net/2429/30554.
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Robert Kroetsch, a contemporary Canadian novelist, poet, and critic, can often be found investigating systems of ordering: he examines their contrasting characteristics of symmetry and arbitrariness; necessity and inanity; their potential to be both banal and surprising. My thesis on Robert Kroetsch's aesthetic comprises twenty-six chapters, each corresponding to a letter of the alphabet.
Kroetsch's work has increasingly come to be affiliated with the "language poets"; his absorption with system invariably leads him back to the nature of the linguistic sign, and the possibilities and limitations of significance. For example, both Kroetsch's most recent novel, What the Crow Said, and "The Sad Phoenician," a long poem in which he reflects upon his identity as a writer, focus on the alphabet. In Crow, the nature of the alphabet as a paradoxically enabling and confining structure is explored thematically; in "Phoenician," the alphabetization of stanzas forms the enabling and confining structure of the text. Thus, the form of my thesis responds to those of Kroetsch; it is a form which becomes, finally, a thesis in itself.Arts, Faculty of
Art History, Visual Art and Theory, Department of
Graduate
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Xu, Baoxuan. "Flowshape : 3d concept modeling from single-view design sketches." Thesis, University of British Columbia, 2013. http://hdl.handle.net/2429/44274.
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This work presents an automatic creation of 3D models from single view design sketches. We observe that these sketches typically employ networks of trim curves and cross-sections to convey shape. Combined together these curves define the representative flow-lines of the model, reflecting principal curvature and feature lines across the target surface. Artists design these lines to serve as a visual proxy of the 3D object and to effectively convey all surface details. Cross-sections, in particular, are known to impose a set of geometric constraints on the imagined surface, that help position the surface in 3D. We formulate the problem of reconstructing believ-
able 3D curve geometry from design sketches via an optimization framework that leverages the geometric properties of flow-line networks, the constraints imposed by cross-section curves, and observations on how people perceive and sketch such networks. This algorithm utilizes these criteria to simultaneously construct the 3D curves
and correct for inevitable inaccuracies in free-hand sketches, which if retained would hinder constraint satisfaction and may lead to noticeable artifacts in the reconstructed 3D models. We validate our framework by producing believable 3D curve networks and surfaces from design sketches based on cross-section and trim curves, conducting a qualitative comparison to artist-estimated models, and visual validation by designers.
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Branda, Ewan E. (Ewan Edward) 1964. "Drawing interfaces : building geometric models with hand-drawn sketches." Thesis, Massachusetts Institute of Technology, 1998. http://hdl.handle.net/1721.1/64901.
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Thesis (M.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1998.Includes bibliographical references (p. 49-51).
Architects work on drawings and models, not buildings. Today, in many architectural practices, drawings and models are produced in digital format using Computer-aided Design (CAD) tools. Unquestionably, digital media have changed the way in which many architects perform their day to day activities. But these changes have been limited to the more prosaic aspects of practice. To be sure, CAD systems have made the daily operations of many design offices more efficient; nevertheless, they have been of little use - and indeed are often a hindrance - in situations where the task at hand is more conjectural and speculative in nature, as it is during the early stages of a project. Well-intentioned efforts to insinuate CAD into these aspects of practice have only served to reveal the incongruities between the demands of designer and the configuration of the available tools. One of the chief attributes of design practice is that it is action performed at a distance through the agency of representations. This fundamental trait implies that we have to understand how computers help architects describe buildings if we are to understand how they might help architects design buildings. As obvious as this claim might seem, CAD programs can be almost universally characterized by a tacit denigration of visual representation. In this thesis, I examine properties of design drawings that make them useful to architects. I go on to describe a computer program that I have written that allows a designer to build geometric models using freehand sketches. This program illustrates that it is possible to design a software tool in a way that profits from, rather than negates, the power of visual representations.
by Ewan E. Branda.
M.S.
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Li, Yi. "Free-hand sketch understanding and analysis." Thesis, Queen Mary, University of London, 2016. http://qmro.qmul.ac.uk/xmlui/handle/123456789/23216.
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With the proliferation of touch screens, sketching input has become popular among many software products. This phenomenon has stimulated a new round of boom in free-hand sketch research, covering topics like sketch recognition, sketch-based image retrieval, sketch synthesis and sketch segmentation. Comparing to previous sketch works, the newly proposed works are generally employing more complicated sketches and sketches in much larger quantity, thanks to the advancements in hardware. This thesis thus demonstrates some new works on free-hand sketches, presenting novel thoughts on aforementioned topics. On sketch recognition, Eitz et al. [32] are the first explorers, who proposed the large-scale TU-Berlin sketch dataset [32] that made sketch recognition possible. Following their work, we continue to analyze the dataset and find that the visual cue sparsity and internal structural complexity are the two biggest challenges for sketch recognition. Accordingly, we propose multiple kernel learning [45] to fuse multiple visual cues and star graph representation [12] to encode the structures of the sketches. With the new schemes, we have achieved significant improvement on recognition accuracy (from 56% to 65.81%). Experimental study on sketch attributes is performed to further boost sketch recognition performance and enable novel retrieval-by-attribute applications. For sketch-based image retrieval, we start by carefully examining the existing works. After looking at the big picture of sketch-based image retrieval, we highlight that studying the sketch's ability to distinguish intra-category object variations should be the most promising direction to proceed on, and we define it as the fine-grained sketch-based image retrieval problem. Deformable part-based model which addresses object part details and object deformations is raised to tackle this new problem, and graph matching is employed to compute the similarity between deformable part-based models by matching the parts of different models. To evaluate this new problem, we combine the TU-Berlin sketch dataset and the PASCAL VOC photo dataset [36] to form a new challenging cross-domain dataset with pairwise sketch-photo similarity ratings, and our proposed method has shown promising results on this new dataset. Regarding sketch synthesis, we focus on the generating of real free-hand style sketches for general categories, as the closest previous work [8] only managed to show efficacy on a single category: human faces. The difficulties that impede sketch synthesis to reach other categories include the cluttered edges and diverse object variations due to deformation. To address those difficulties, we propose a deformable stroke model to form the sketch synthesis into a detection process, which is directly aiming at the cluttered background and the object variations. To alleviate the training of such a model, a perceptual grouping algorithm is further proposed that utilizes stroke length's relationship to stroke semantics, stroke temporal order and Gestalt principles [58] to perform part-level sketch segmentation. The perceptual grouping provides semantic part-level supervision automatically for the deformable stroke model training, and an iterative learning scheme is introduced to gradually refine the supervision and the model training. With the learned deformable stroke models, sketches with distinct free-hand style can be generated for many categories.
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Chang, Xianglong. "Semi-automatic fitting of deformable 3D models to 2D sketches." Thesis, University of British Columbia, 2008. http://hdl.handle.net/2429/797.
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We present a novel method for building 3D models from a user sketch. Given a 2D sketch as input, the approach aligns and deforms a chosen 3D template model to match the sketch. This is guided by a set of user-specified correspondences and an algorithm that deforms the 3D model to match the sketched profile. Our primary contribution is related to fitting the 3D deformable geometry to the 2D user sketch. We demonstrate our technique on several examples.
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Marston, N. J. "The sketches for Beethoven's piano sonata in E, Opus 109." Thesis, University of Cambridge, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.372892.
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Fish, Jonathan C. "How sketches work : a cognitive theory for improved system design." Thesis, Loughborough University, 1996. https://dspace.lboro.ac.uk/2134/7418.
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Evidence is presented that in the early stages of design or composition the mental processes used by artists for visual invention require a different type of support from those used for visualising a nearly complete object. Most research into machine visualisation has as its goal the production of realistic images which simulate the light pattern presented to the retina by real objects. In contrast sketch attributes preserve the results of cognitive processing which can be used interactively to amplify visual thought. The traditional attributes of sketches include many types of indeterminacy which may reflect the artist's need to be "vague". Drawing on contemporary theories of visual cognition and neuroscience this study discusses in detail the evidence for the following functions which are better served by rough sketches than by the very realistic imagery favoured in machine visualising systems. 1. Sketches are intermediate representational types which facilitate the mental translation between descriptive and depictive modes of representing visual thought. 2. Sketch attributes exploit automatic processes of perceptual retrieval and object recognition to improve the availability of tacit knowledge for visual invention. 3. Sketches are percept-image hybrids. The incomplete physical attributes of sketches elicit and stabilise a stream of super-imposed mental images which amplify inventive thought. 4. By segregating and isolating meaningful components of visual experience, sketches may assist the user to attend selectively to a limited part of a visual task, freeing otherwise over-loaded cognitive resources for visual thought. 5. Sequences of sketches and sketching acts support the short term episodic memory for cognitive actions. This assists creativity, providing voluntary control over highly practised mental processes which can otherwise become stereotyped. An attempt is made to unite the five hypothetical functions. Drawing on the Baddeley and Hitch model of working memory, it is speculated that the five functions may be related to a limited capacity monitoring mechanism which makes tacit visual knowledge explicitly available for conscious control and manipulation. It is suggested that the resources available to the human brain for imagining nonexistent objects are a cultural adaptation of visual mechanisms which evolved in early hominids for responding to confusing or incomplete stimuli from immediately present objects and events. Sketches are cultural inventions which artificially mimic aspects of such stimuli in order to capture these shared resources for the different purpose of imagining objects which do not yet exist. Finally the implications of the theory for the design of improved machine systems is discussed. The untidy attributes of traditional sketches are revealed to include cultural inventions which serve subtle cognitive functions. However traditional media have many short-comings which it should be possible to correct with new technology. Existing machine systems for sketching tend to imitate nonselectively the media bound properties of sketches without regard to the functions they serve. This may prove to be a mistake. It is concluded that new system designs are needed in which meaningfully structured data and specialised imagery amplify without interference or replacement the impressive but limited creative resources of the visual brain.
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Dowson, Kurt. "Towards extracting artistic sketches and maps from digital elevation models." Thesis, University of Hull, 1994. http://hydra.hull.ac.uk/resources/hull:3566.
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The main trend of computer graphics is the creation of photorealistic images however, there is increasing interest in the simulation of artistic and illustrative techniques. This thesis investigates a profile based technique for automatically extracting artistic sketches from regular grid digital elevation models. The results resemble those drawn by skilled cartographers and artists.The use of cartographic line simplification algorithms, which are usually applied to complex two-dimensional lines such as coastlines, allow a set of most important points on the terrain surface to be identified, these form the basis for sketching.This thesis also contains a wide ranging review of terrain representation techniques and suggests a new taxonomy.
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Karlsson, Henrik. "TupleSearch : A scalable framework based on sketches to process and store streaming temporal data for real time analytics." Thesis, Mittuniversitetet, Avdelningen för informationssystem och -teknologi, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:miun:diva-31041.
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In many fields, there is a need for quick analysis of data. As the number of devices connected to the Internet grows, so does the amounts of data generated. The traditional way of analyzing large amounts of data has been by using batch processing, where the already collected data is pro-cessed. This process is time consuming, resulting in another trend emerg-ing: stream processing. Stream processing is when data is processed and stored as it arrives. Because of the velocity, volume and variations in data. Stream processing is best carried out in the main memory, and means processing and storing data as it arrives, which makes it a big challenge. This thesis focuses on developing a framework for the processing and storing of streaming temporal data enabling the data to be analyzed in real time. For this purpose, a server application was created consisting of approximate in-memory data synopsizes, called sketches, to process and store the input data. Furthermore, a client web application was created to query and analyze the data. The results show that the framework can sup-port simple aggregate queries with constant query time regardless to the volume of data. Also, it can process data 6.8 times faster than a traditional database system. All this implies that the system is scalable, at the same time it with a query error vs. memory trade-off. For a distribution of ~3000000 unique items it was concluded that the framework can provide very accurate answers, with an error rate less than 1.1%, for the trendiest data using about 100 times less space than the actual size of the data set.
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Coconu, Liviu. "Enhanced visualization of landscapes and environmental data with three-dimensional sketches /." Konstanz, 2008. http://opac.nebis.ch/cgi-bin/showAbstract.pl?sys=000256259.
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Hoffman, Tracy Ford Sarah. "A tour on the Atlantic Washington Irving's sketches of transatlantic womanhood /." Waco, Tex. : Baylor University, 2007. http://hdl.handle.net/2104/5063.
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Khan, Usman M. "An investigation of freeform surface induction from freehand sketches using neural networks." Thesis, Brunel University, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.439792.
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DeLashmutt, Michael W. "Sketches towards a theology of technology : theological confession in a technological age." Thesis, University of Glasgow, 2006. http://theses.gla.ac.uk/3946/.
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This thesis will argue that information technology (IT) has given rise to a cultural mythology which offers a competing theological model to the model offered by kerygmatic Christian theology. The theological model advocated by IT culture regards human technical creativity and material culture to be the means by which ultimate concern can be mediated and satisfied. This model will be judged inauthentic, when theological authenticity is measured in terms of a theology’s ability to point beyond itself – to the transcendent and the infinite – as they symbol of that which is truly ultimate. This inauthentic ‘techno-theology’ purveyed by IT culture will be contrasted with a theology of technology, which seeks to engage technology hermeneutically by finding the meaning of technology at the nexus of its use and invention, and by judging the appropriateness of technology against the norm of the Christian kerygma. It is hoped that by contrasting techno-theology with a kerygmatic theology of technology, that an ethics of technological practices may be approached. The context for this thesis will be the contemporary information technology culture, running from roughly the mid 1980’s to the present, with specific attention given to the phenomenon of posthuman discourse to which this culture has contributed. Of the four types of information technology examined in this thesis (actual/realistic, idealised, imagined, and speculative), examples of actual IT will be taken from cybernetics research and computer science; examples of idealised IT will be taken from philosophical and theological treatments of virtual reality, cognitive science and artificial intelligence research; examples of imagined IT will be taken from science fiction literature and film; and examples of speculative IT will be taken from speculative science with a specific interest in posthumanism and radical life extension.
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Bozas, Konstantinos. "Scalable image retrieval based on hand drawn sketches and their semantic information." Thesis, Queen Mary, University of London, 2014. http://qmro.qmul.ac.uk/xmlui/handle/123456789/8828.
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The research presented in this thesis aims to extend the capabilities of traditional content-based image retrieval systems, towards more expressive and scalable interactions. The study focuses on machine sketch understanding and its applications. In particular, sketch based image retrieval (SBIR), a form of image search where the query is a user drawn picture (sketch), and freehand sketch recognition. SBIR provides a platform for the user to express image search queries that otherwise would be di cult to describe with text. The research builds upon two main axes: extension of the state-of-the art and scalability. Three novel approaches for sketch recognition and retrieval are presented. Notably, a patch hashing algorithm for scalable SBIR is introduced, along with a manifold learning technique for sketch recognition and a horizontal ip-invariant sketch matching method to further enhance recognition accuracy. The patch hashing algorithm extracts several overlapping patches of an image. Similarities between a hand drawn sketch and the images in a database are ranked through a voting process where patches with similar shape and structure con guration arbitrate for the result. Patch similarity is e ciently estimated with a hashing algorithm. A spatially aware index structure built on the hashing keys ensures the scalability of the scheme and allows for real time re-ranking upon query updates. Sketch recognition is achieved through a discriminant manifold learning method named Discriminant Pairwise Local Embeddings (DPLE). DPLE is a supervised dimensionality reduction technique that generates structure preserving discriminant subspaces. This objective is achieved through a convex optimization formulation where Euclidean distances between data pairs that belong to the same class are minimized, while those of pairs belonging to di erent classes are maximized. A scalable one-to-one sketch matching technique invariant to horizontal mirror re ections further improves recognition accuracy without high computational cost. The matching is based on structured feature correspondences and produces a dissimilarity score between two sketches. Extensive experimental evaluation of our methods demonstrates the improvements over the state-of-the-art in SBIR and sketch recognition.
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BARBOSA, MILA BARTILOTTI ALENCAR. "INVENTION IN THE BRAZILIAN POPULAR MUSIC: FROM TRADITION TO SKETCHES OF NOVELTY." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2005. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=6853@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROPrisioneiro da urgência do momento, libertado pela antena que tudo capta e sente, o artista enxerga além. Alimentado pelo repertório de transformações que outras gerações imprimiram à arte, instigado pela busca do que falta ao presente e pela necessidade de produzir o novo, o inventor (delira) e idealiza outras realidades. Na hipérbole do mundo contemporâneo, imerso em velocidade, interatividade e informação, o artista convive com novos desafios. O compositor popular brasileiro trabalha em meio à proliferação de estilos musicais de fronteiras pouco definidas e usufrui novas tecnologias no processo de criação. As portas do novo século abrem ilimitados horizontes para a invenção musical. Mergulhado neste emaranhado de possibilidades, o artista filtra elementos que podem virar matéria-prima para sua expressão. Acreditando que a transformação da música depende das escolhas, consciência e talento do artista, este estudo pretende investigar o contexto cultural deste início de século e a herança legada pelos inventores da MPB, repensando o sistema da música urbana brasileira e elegendo influências para serem aproveitadas. Pensar caminhos para fugir da música gastronômica (na expressão de Umberto Eco) e chegar à canção crítica e inventiva é uma forma de acreditar que o inusitado é viável mesmo nos dias saturados de informação como os de hoje.
Prisoner of the urgency of the moment, freed by the antenna, which catches and feels everything, the artist looks beyond it all. Fed by the repertoire of transformations that other generations have printed to the art, instigated by the search of what he lacks in the present and by the necessity to produce the new, the inventor (he is delirious) and he idealizes other realities. In the hiperbolic days of the contemporary world, immersed in speed, interactivity and information, the artist faces new challenges. The Brazilian popular composer works within the proliferation of musical styles which come from hardly defined borders and makes use of new technologies in the creation process. The doors of the new century open unlimited horizons for the musical invention. Among this confusion of possibilities, the artist filters elements that can become raw material for his expression. Believing that the transformation of music depends on the choices, conscience and talent of the artist, this study intends to investigate the cultural context of the beginning of this century and the inheritance bequeathed by the inventors of Brazilian Popular Music. It also rethinks the system of Brazilian urban music and elects influences to be used. To think about ways to escape from gastronomic music (in the expression of Umberto Eco) and to get to the critical and inventiveness song is a form of believing that the unusual is feasible even in the days of saturated information like nowadays.
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Pedica, Bianca Maria <1986>. "Bessie Rayner Parkes’s Sisterhoods: A Study of Summer Sketches and Historic Nuns." Master's Degree Thesis, Università Ca' Foscari Venezia, 2016. http://hdl.handle.net/10579/8143.
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The English writer Bessie Rayner Parkes (1829-1925) was born into a Unitarian family but embraced Catholicism in 1864. Her father, Joseph Parkes, was an election agent and reformer. Her mother, Elizabeth Rayner Priestley, was granddaughter to the eminent scientist and theologian Joseph Priestley. Her paternal uncle, Josiah Parkes, was an influential engineer.
Parkes was educated in the Unitarian school of William Field and Mary Wilkins. Her outlook was firstly affected by the several travels she had since adolescence. Secondly, it was shaped by inspiring women figures and friendships. The former included Anna Jameson, Harriet Martineau, Florence Nightingale, Caroline Norton and Julia Smith. Some of the latter were Barbara Leigh Smith, Marian Evans, Adelaide Procter and Anthony Ashley Cooper. From late 1850s to mid-1860s, she participated in activities of the women’s movement. She was editor of The English Woman’s Journal and a member of the Society for Promoting the Employment of Women.
Since her late teens, she devoted to journalistic and literary writing. She contributed to the Hastings and St Leonard News, the Birmingham Journal, the Waverley Journal and The English Woman’s Journal. She is the author of fifteen verse and prose books which were published between 1852 and 1900. In several cases, she provides portraits of female work. This theme was important to the women’s movement which strategically fostered the knowledge and recognition of women’s achievements.
On the whole, this thesis begins with an introduction to the authoress in question. Subsequently, it focuses on the autobiographical poem Summer Sketches (1854) and the collective biography Historic Nuns (1898). They respectively provide portraits of artistic and religious sisterhoods. They mirror the collective identity of the women’s movement whose members embraced the ideal of sisterhood in order to develop individual and community potentials.
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Moorthy, D. M. "Low bit rate visual communication using binary sketches for deaf sign language communication." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape10/PQDD_0033/MQ47465.pdf.
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Sezgin, Tevfik Metin 1978. "Feature point detection and curve approximation for early processing of free-hand sketches." Thesis, Massachusetts Institute of Technology, 2001. http://hdl.handle.net/1721.1/86765.
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Piussi, Anna. "Images of Egypt during the French Expedition (1798-1801) : sketches of a historical colony." Thesis, University of Oxford, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.335058.
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Edgar, Brian Windsor. "Pity and anger in the poetry of William Blake, from 'Poetical sketches' to 'Milton'." Thesis, Open University, 1996. http://oro.open.ac.uk/57628/.
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This thesis gives an account of the ideas about pity and anger in Blake's poetry from Poetical Sketches to Milton, placing them in their historical and intellectual contexts. Chapter 1 introduces the main themes, arguing that Blake saw himself as a counter-ideologist, working to change social and individual 'structures of feeling'. It suggests that his ideas were influenced by his class position, by the French Revolution, and by developments in eighteenth-century thinking. Chapter 2 shows that in the early work Blake engages with problems of male identity that will concern him throughout his career and provide another context for his thinking about anger and pity. Chapter 3 deals with the impasse of the late 1780s. The fourth Chapter claims that Songs of Innocence represents Blake's attempt to create a kind of compassion that will lead to and then characterise a redeeýhed society. The fifth Chapter locates The French Revolution in the Burke debate and points out that 'Let the Brothels of Paris be opened' shows important similarities in its treatment of pity to the speeches and articles of the Jacobin leaders. Chapter 6 contests the views of critics who have unproblematically presented anger as a virtue and pity as a vice in Songs of Experience. Chapter 7 suggests that the ideology of The Marriage of Heaven and Hell is determined by an economic impossibility that creates a politics of feeling rather than of strategies and institutions. Chapters 8 and 9 discuss the Prophetic Books as analyses of the psychology of revolutionary aspiration and failure. Chapter 10 argues that The Four Zoas depicts the reconstitution of a degraded anger and pity that are nevertheless doomed to social failure except in the 'imaginary' of the final apocalypse, while Chapter 11 contextualises the 'Sciences' of Wrath and Pity in Milton. The final Chapter is a short resume and forward glance.
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Lin, Chuenfung. "On formal principles for form-making : notes and sketches on making associative built-form." Thesis, Massachusetts Institute of Technology, 1989. http://hdl.handle.net/1721.1/76011.
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Thesis (M. Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 1989.Includes bibliographical references (p. 187-189).
Form-making is the purposeful arrangement of forms for a specific objective. This includes selecting forms and establishing spatial relations among these forms. Since form making is not a random act, ~here are rules that it must follow. These rules determine the result of the design, or they prescribe the process of designing. There are two types of rules: form rules and procedural rules. Form rules are the main interest of this thesis. Wright once wrote: "Style is important. A style is not. There is all the difference when we work with a style and not for a style." Working with a style is to choose a set of rules with which one works. The choice of the rules is not incidental. Form rules select forms and prescribe the probable relations among them. These rules must subscribe to a particular perspective. The choosing of these rules is a subscription to this specific view-point. This thesis intends to establish some principles of formal behavior, from the "associative built form language," as form rules. It will identify each of the principles and describe the nature of the principles. It will explore the capacity of these principles as working rules. It will also establish the bounds of applicability of these principles for choosing the appropriate principles in each particular problem/context. In accepting these principles, there is the presumption that form making should be committed to reinforcing/ intensifying the associative environment. The nature of this associative built environment therefore must be described. The goal of this thesis is to formalize the principles of formal behavior as form rules. It demonstrates the applications of these rules for describing forms, and for making associative built-form. The form rules are applied to selected design problems as part of a form-making process.
by Chuenfung Lin.
M.Arch.
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Dudley, Ian A. "Edward Goodall's 'Sketches in British Guiana' : art, anthropography and colonialism in 19th century Amazonia." Thesis, University of Essex, 2017. http://repository.essex.ac.uk/20121/.
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This thesis examines sketched portraits of Amerindian peoples created by the English artist Edward Goodall during the 1841-1844 Boundary Survey of British Guiana, now Guyana, which was carried out by the German scientific explorer, Robert Schomburgk. The portraits formed part of a larger body of over 250 drawn and watercolour works labelled as Sketches in British Guiana, and carried out by Goodall in his role as official expedition illustrator. These sketches captured a wide range of geographical subjects, from botany, topography and zoology, to hydrography, geology and historical scenes of the expedition itself, in addition to the ethnographic representations upon which this thesis focuses, and which dominate the body in terms of their numbers and interest. The sketches were carried out in relation to the cartographic and geographical mapping and documenting of the Guayana territory and its peoples by Schomburgk as he moved across the disputed border regions between British Guiana and its neighbouring colonial states, Brazil, Venezuela and Surinam. Focusing on the works as a manifestation of the different subjective forces and ideologies at play within this colonial enterprise, I argue the portraits and Sketches more generally, exemplify art’s cooption as a tool of colonial reconnaissance, expansion and domination during the mid-nineteenth century, playing a key role in visualising the geographical colonization that Schomburgk’s Boundary Survey represented, capturing disputed inhabitants and their locales as they were inscribed onto British colonial maps, and substantiating British imperial claims over them. In essence, through Goodall’s work, Schomburgk sought to cultivate and performatively demonstrate knowledge of and control over Amerindians through their representation, which paralleled the way the Guayana landscape was brought into British guardianship, all under the aegis of Christian humanitarianism, scientific advance and national-imperial prestige.
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Noël, Camille. "Adaptation des spectacles d'humour québecois en Europe : entre nécessité et altération ?" Thesis, Valenciennes, Université Polytechnique Hauts-de-France, 2021. http://www.theses.fr/2021UPHF0017.
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Notre étude de cas porte sur l’adaptation des spectacles d’humour québécois en Europe et sur ses potentiels effets sur l’authenticité de l’œuvre originale. Nous avons étudié des spectacles francophones et anglophones de trois humoristes québécois, Stéphane Rousseau, Louis-José Houde et Sugar Sammy. Ils ont la particularité d’être très populaires dans leur pays d’origine et d’avoir tenté d’exporter leur travail en Europe, surtout en France, mais n’y ont pas connu le même succès. Le travail de Stéphane Rousseau se caractérise par une adaptation très poussée de son spectacle qui va jusqu’à l’effacement partiel de son accent. Louis-José Houde a préféré n’apporter que très peu de modifications à ces textes, mais a choisi des thèmes universels. Enfin, Sugar Sammy a opté pour une réécriture quasi totale en fonction de son nouveau public cible et a accordé une grande place à l’improvisation. Nous avons consacré notre chapitre théorique à la situation sociolinguistique du Québec, à la définition de l’humour et à sa traduction (voire tradaptation) en stand-up, théâtre et dans le domaine audiovisuel. Nous avons choisi des outils d’analyse tels que la classification des blagues selon les problèmes qu’elles posent en traduction audiovisuelle (Zabalbeascoa, 2001), les figures humoristiques enseignées à l’École nationale de l’humour de Montréal (Ouellette & Vien, 2017a) et les théories philosophiques de l’humour, plus particulièrement la théorie de l’incongruité, théorie de la supériorité et théorie de la soupape (Carroll, 2014). Nous avons entrepris de comparer le spectacle de Stéphane Rousseau, intitulé Rousseau au Québec, et sa version adaptée en France par Franck Dubosc, Stéphane Rousseau : One-man-show afin de mesurer l’étendue des modifications introduites. L’étude des versions québécoises de deux sketchs joués à Paris par LouisJosé Houde, Goglu et La Guadeloupe, avait pour objectif de relever les éléments culturels qui auraient pu expliquer l’intraduisibilité de certaines blagues. Enfin, l’étude de moments d’improvisation de Sugar Sammy en français et anglais joués en France, au Canada et aux États-Unis permettait de montrer les marques d’adaptation dans une réécriture. Nous avons pu confirmer une partie de notre hypothèse en vérifiant que l’adaptation d’un spectacle d’humour québécois est nécessaire pour le rendre compréhensible chez le nouveau public cible, mais, contrairement à ce que nous avions également supposé, celle-ci n’entraîne pas toujours une perte de sens et d’originalité de l’œuvre, peut même créer un sentiment privilégié chez le nouveau public cible et ne semble pas gâcher l’expérience des spectateurs québécois. Enfin, nous avons pu partiellement vérifier que le manque ou l’absence d’adaptation pouvait nuire à la transmission du message humoristique initial et à l’établissement d’une connivence avec le public cibleOur case study analyses the adaptation of Québec comedy shows in Europe and its potential effects on the authenticity of the original work. We studied various shows in both French and English created by three comedians from Québec: Stéphane Rousseau, Louis-José Houde and Sugar Sammy. The three of them are famous in their home country and they all tried to export their work to Europe, especially to France, but did not enjoy the same level of success. Stéphane Rousseau’s work is characterised by a thorough adaptation of his show with a subtle erasure of his accent. LouisJosé Houde chose to modify his texts very slightly but adopted universal topics. Finally, Sugar Sammy opted for a nearly complete rewriting depending on his new target audience and gave a large space to improvisation. We dedicated our theoretical chapter to the sociolinguistic situation in Québec, the definition of humour and its translation (even transadaptation) in the fields of stand-up, drama and audiovisual productions. We chose analysis tools such as the classification of jokes based on the issues they create in audiovisual translation (Zabalbeascoa, 2001), humoristic devices taught in the École nationale de l’humour de Montréal (Ouellette & Vien, 2017a) and philosophical theories of humour, such as the incongruity theory, the superiority theory and the relief theory (Carroll, 2014). We proceeded to compare Stephane Rousseau’s show, named Rousseau in Québec, to its French adaptation written by Franck Dubosc, Stéphane Rousseau: One-man-show to measure the extent of the modifications made. The study of Québec versions of two skits performed by Louis-José Houde in Paris, Goglu and La Guadeloupe, aimed at showing cultural elements that could explain the untranslatability of some jokes. Finally, the ‘improvisations’ performed by Sugar Sammy in French and English in France, Canada and the USA showed signs of adaptation in a rewriting. We have been able to confirm a part of our hypothesis verifying that the adaptation of a Québec comedy show is necessary to make it understandable to the new target audience, but contrary to what we stated, it does not always imply a loss of meaning and originality of the text and can even create a privileged feeling and does not hinder the experience of Québec viewers. Finally, we have partially been able to confirm that a lack of adaptation could damage the transmission of the comedic message and the creation of complicity with the target audience
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Wisniewski, Marine. "« Chansons-Théâtre-Poésie » au cabaret de l’Écluse (1951-1974) : expérience et poétique des variétés." Thesis, Lyon 2, 2014. http://www.theses.fr/2014LYO20097.
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Le cabaret de l’Écluse est une petite salle de spectacles, ouverte entre 1951 et 1974 au 15, quai des Grands Augustins à Paris, et dont la particularité est de programmer chaque soir des numéros variés — chant, sketch comique, poésie récitée, marionnettes, mime et projection de dessins. Au fil des vingt ans d’existence de ce cabaret, s’y produisent des artistes aussi divers que Barbara, Raymond Devos, Marcel Marceau, Yves Joly, Philippe Noiret et Jean-Pierre Darras ou Cora Vaucaire. À rebours de l'éclectisme déroutant du spectacle qu'il accueille, c'est en tant que lieu que le cabaret de l'Écluse semble le mieux « donner prises », construisant son identité à partir d'une localisation parisienne qui l'insère dans un paysage urbain, social et culturel soutenu par une tradition historique complexe. Il fait ainsi partie des cabarets dits « rive gauche », qui fleurissent près de la Seine après la Seconde Guerre mondiale et affichent spatialement leur refus du divertissement commercial qu’offrent par ailleurs les « boîtes » plus luxueuses de la rive droite. Cette lecture déterminée de l’espace qui fait du cabaret un mot-valeur doit être comprise dans une histoire plus longue. Se construit en effet depuis le XIXe siècle, loin des premières représentations du lieu, d’abord attaché à une inquiétude sociale, l’image du cabaret comme un espace refuge où la poésie trouverait à s’épanouir contre l’affirmation croissante d’une culture industrielle et commerciale.En dépit d’un tel patrimoine axiologique, le cabaret de l’Écluse présente une réalité plus métissée. S’il rend hommage à des modèles littéraires prestigieux, comme le Chat Noir ou le Lapin Agile, dont il contribue à prolonger le mythe, il intègre pourtant, pour chacun de ses numéros, les apports du café-concert, du music-hall et du cinéma — autant de manifestations associées à une culture du divertissement souvent bannie du champ littéraire. Cette hétérogénéité est soulignée par la formule même du spectacle, qui érige la variété en principe de composition. À la diversité des modes d’expression convoqués répond ainsi le caractère composite de leurs héritages. L’Écluse apparaît donc comme un objet pluriel qui exige, pour être pensé, de fonder de nouvelles catégories d’analyse. C’est précisément au prisme de la variété, envisagée comme un véritable outil méthodologique aux prolongements herméneutiques et éthiques féconds, que nous l’étudierons.Irréductible aux déterminations axiologiques, le cabaret de l'Écluse fait vaciller la stabilité de son ancrage géographique, et nous oblige à repenser les territoires et prérogatives du littéraire, qu'il n'effleure, par le biais poétique, que pour mieux le sidérer. Quelle place accorder à ce lieu rebelle qui prend de cours nos critères d'analyse traditionnels et rend illisible le paysage artistique et culturel qu'explorent les études littéraires ? À force d'écarts et de détours, le lieu qui s'imposait à nous par sa visibilité évidente ne risque-t-il pas de perdre toute consistance ? L’Écluse parviendrait à demeurer — telle est notre hypothèse — en transformant le lieu géographique et social du cabaret pris dans les mailles d'un réseau et d'un champ, dans les filets de déterminations historiques, en un espace poétique délié. Lieu traversé, habité de propositions spectaculaires variées, il fonderait à partir de leur mise en présence cet espace poétique, que nous nous proposerons de définir non comme une certaine mise en forme du texte mais comme un réseau d’échos, tissés d’une prestation à l’autre. Cette « manœuvre foudroyante de rapports » déplace la production du sens du plain-chant à ses résonancesL’Écluse was a small performance hall which presented mixed shows every evening between 1951 and 1974 : songs, shorts comedy sketches, recitations of poems, puppet shows, mimes and projected drawings. Many performers worked at L’Écluse. Some became famous, suche as Barbara, Raymond Devos, Marc Marceau, Yves Joly, Philippe Noiret and Cora Vaucaire. Despite the confusing eclectism of the cabaret shows, the place itself seems to offer a stable way to consider the subject. Indeed, L’Écluse built itself through its localisation in Paris, situated in an urban, social and cultural landscape shaped by a long and historical tradition. It was part of these « cabarets rive-gauche » that bloomed in Paris after the Second World War, pretending to refuse every form of commercial entertainment usually proposed to tourists by luxurious night-clubs on the right bank of the Seine river. This emblematic partition of the French capital between a right and a left bank resulted from a long history. Since the end of the XIXth century, cabarets were indeed considered as places of arts, where poetry could blossom far from a besides growing industrial and commercial culture. However, l’Écluse’s identity was not as clear as it seemed. The cabaret payed tributes to its prestigious literary precursors such as Le Chat Noir and Le Lapin Agile, but also to café-concerts, music-halls and popular movies, that are frequently left out of the literary field. This complete heterogeneity appeared in its shows themselves, shaped by various artistic expressions. L’Écluse was thus ruled by variety. It was therefore a complex object that requires specific methods to be considered. It is precisely through the prism of variety, regarded as a fruitful methodological analysis tool, that we intent to study it. With its mixed shows, L’Écluse cannot be sorted into a « black-or-white » category. It encourages us to re-think what belongs to literature or not. Where can such an unclassifiable place, that catches us unawares and strikes down our usual analysis categories, stand in literary studies ? Accordingly, we postulate that L’Écluse converted its place, defined by historical, geographical and social determinations, into a creative poetic space, shaped by the coexistence of various artistic expressions and the echoes that appeared between each of them and not by the pretended quality of its acts. The meaning of the shows was thus not provided by what was clearly said : it came from what remained unformulated
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Meakin, Jonathan M. "Recovering Stephen Leacock, Sunshine sketches of a little town and the cultural production of value." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0015/MQ36723.pdf.
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Tucker, Susannah. "Stravinsky and his sketches : the composing of Agon and other serial works of the 1950s." Thesis, University of Oxford, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.335906.
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Meritt, Mark Dean. "Body-snatchers of literature : embodied genius and the problem of authority in romantic biographical sketches /." view abstract or download file of text, 2002. http://wwwlib.umi.com/cr/uoregon/fullcit?p3061958.
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Thesis (Ph. D.)--University of Oregon, 2002.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 251-257). Also available for download via the World Wide Web; free to University of Oregon users.
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Eames, Philip Andrew. "Whose line is it anyway? Untamed polyphony in Percy Grainger’s marching song of democracy sketches." Thesis, The University of Sydney, 2017. http://hdl.handle.net/2123/17353.
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In its published forms, the Marching Song of Democracy by Australian composer Percy Grainger (1882-1961) occupies a middling position in his output, existing as either a piece for chorus and orchestra, or for wind band. It is a relatively large-scale work both in length and orchestration, but with fewer innovative qualities compared to his more notorious works such as the Free Music pieces. This has led to its neglect in academic circles, despite its frequent appearance in Grainger’s aesthetic writings, his demonstrated enthusiasm for its performance, and his sensitivity around its lukewarm Australian reception. Addressing this gap, the aim of this dissertation is to more closely examine the original ambitions for the piece, and demonstrate how the 1901 a cappella Marching Song sketches, through their radical approach to polyphonic texture, aim to express democratic principles and foreshadow Grainger’s free music objectives. A two-pronged approach was taken to accomplish these aims. Firstly, the compositional background and historical context of the Marching Song and associated sketches were explored to establish their origins, development, and the special esteem in which the piece was held by Grainger. Secondly, a wide range of analytical methods were employed – focusing on intervallic patterns, pitch-class relationships and other statistical perspectives – to measure and describe the sketches’ most distinctive and innovative qualities, in comparison to a corpus consisting primarily of Grainger works. The conclusions drawn from this study indicate that the expression of democratic principles in the sketches often creates liberated structures that are strongly influenced by principles of equality and independence. This research therefore aims to show that Grainger’s greatest and most mature musical achievements had surfaced at the very outset of his compositional career.
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Derry, Sian Rebecca. "Beethoven's experimental figurations and exercises for piano." Thesis, University of Manchester, 2012. https://www.research.manchester.ac.uk/portal/en/theses/beethovens-experimental-figurations-and-exercises-for-piano(8d5303ce-cf0a-47f8-adde-79b0e7100e97).html.
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The numerous piano figurations, exercises and experimental ideas that are found throughout the leaves of Beethoven’s sketchbooks remain a largely unexplored area within the field of Beethoven sketch-scholarship. Their existence is commonly known, but the purpose for which they served the composer has not been explored fully. Moreover, there has been little attempt to catalogue these ideas in order to make them more accessible and approachable. This study is divided into two parts. Part one provides the biographical context in which the subsequent analysis of the figurations is based. It presents an assessment of Beethoven as a student, performer and teacher by evaluating contemporary sources and including a discussion on performance anxiety. This evidence is used to demonstrate that Beethoven could be prone to lapses in technique; that he undertook his studies with complete dedication; and that he also created exercises for some of his pupils, which supports the notion that a number of the figurations could have been designed as piano exercises. Part two analyses the figurations, classifying them by type and grouping them into themes related to specific areas of piano technique. The analysis establishes that many of the figurations are highly inventive; that occasionally developments can be traced (in particular the evolution of the ‘Beethoven’ trill); and that in many cases there are parallels with Beethoven’s published works for piano, which proves that a single classification for the figurations is often problematic. The analysis further reveals that a significant number of the figurations were written in 1793 and, in conjunction with the earlier biographical study, strongly suggests that Beethoven’s move to Vienna was a major impetus for their creation. Volume two presents a separate catalogue of the transcribed piano figurations, some of which are previously unknown. Within the catalogue, the figurations are arranged by type to correspond with the categories discussed in the analysis and ordered chronologically to enable them to be examined alongside the accompanying text.
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Schusler, Ralph Willard Jr. "Depictions of Fear in Lev Tolstoy's Sevastopol Sketches and Stephen Crane's The Red Badge of Courage." FIU Digital Commons, 2017. http://digitalcommons.fiu.edu/etd/3180.
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The purpose of this thesis was to examine and compare two iconoclastic works dealing with war as experienced by combatants. So much of modern war fiction takes this perspective that one is hard pressed to imagine a time when such was not the case; the watershed was marked in the above named works by the aforementioned writers, which, and who, were first in putting readers inside the heads of common soldiers facing mortal danger. These pioneering authors opened the door to modernist writing about boundary situations involving existential threat, as well as the psychological reactions they evoke – especially fear. Depicting the toll the horrors of war take on individuals has helped humanize its study and enhanced our understanding of what had been a hidden cost of modern armed conflict.