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DeAngelo, Justin. "Zen and the art of motorcycle maintenance : score and analysis /." View online, v.1, 2008. http://repository.eiu.edu/theses/docs/32211131458621.pdf.
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Yang, Benjamin H. (Benjamin Hoh). "A Study of the Relationship Between Motive and Structure in Brahms's op. 51 String Quartets." Thesis, University of North Texas, 1989. https://digital.library.unt.edu/ark:/67531/metadc332309/.
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In 1873, Brahms completed the two op. 51 quartets. These were not the first string quartets Brahms composed, hut they were the first that Brahms allowed to be published. He found the string quartet difficult; as he confided to his friend Alwin Cranz, he sketched out twenty string quartets before producing a pair he thought worthy of publishing. Questions arise: what aspect of the string quartet gave Brahms so much trouble, and what in the op. 51 quartets gave him the inclination to publish them for the first time in his career?
The op. 51 quartets are essential to understanding the evolution of Brahms's compositional technique. Brahms had difficulty limiting his massive harmony and polyphony to four solo strings. This difficulty was compounded by his insistence on deriving even the accompaniment from the opening main motivic material.
This study investigates the manner in which Brahms distributes the main motivic material to all four voices in these quartets, while at the same time highlighting each voice effectively in the dialogue.
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Milne, Joanne Leonie. "Invisible structures = Estructures invisibles." Doctoral thesis, Universitat de Barcelona, 2016. http://hdl.handle.net/10803/365579.
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This thesis is an investigation into the visualization of cosmological propositions associated with string theory. Research into the work of contemporary theoretical physics led to the question, how does one visualize what cannot be seen? The imperceptible nature of the hypothetical propositions of string theory opened up an exploration into what forms in the past have been given to invisible structures and what kinds of methods have been used to visualize them?
My artistic research looks at some of the methodologies and methods used by artists and scientists to visualize structures that can't be seen by the naked eye. I present a series of examples that reflect some of the direct and indirect methods used to instantiate invisible structures in the arts and the sciences. These examples configure an eclectic atlas of visualizations that evidence the use of drawing, indexing and simulation to reveal imperceptible structures that are physical, temporal, recorded and invented. It considers some of the visual shifts in the interpretations of other cosmological models and the impact technological advances have had on the visualization of the micro-cosmos. It traces some of the connections linking visualization practices in the arts and sciences and highlights the importance of inference and imagination in the visualization of what can't be seen.
My conclusion indicates that there are many ways to visualize what lies beyond the naked eye but that all involve human agency. The findings point to the role tacit knowledge and context play in the fabrication of visualizations of invisible structures. It highlights the historical specificity of visualization practices and the importance aesthetics play in both the arts and sciences. I conclude that to visualize invisible structures is to weave an intricate web of fact and fiction. But the elaboration of these visualizations can facilitate understanding and offer insights into otherwise imperceptible phenomena.Este proyecto investiga la visualización de las propuestas cosmológicas relacionadas con la teoría de cuerdas. Esta consideración del trabajo teórico de la física contemporánea me llevó a cuestionar cómo se visualiza lo que no se puede ver. La naturaleza imperceptible de las propuestas hipotéticas alrededor de la teoría de las cuerdas me condujo a una exploración sobre las formas en que se han visualizado las estructuras invisibles en el pasado, y los métodos usados para crear estas visualizaciones. En esta investigación artística se analizan algunos de los métodos utilizados por artistas y científicos para visualizar las estructuras que son imperceptibles a simple vista. Para ello, se presentan una serie de ejemplos que reflejan los métodos directos e indirectos utilizados para mostrar las estructuras invisibles en las ciencias y las artes. Estos ejemplos configuran un atlas ecléctico de visualizaciones que evidencian el uso del dibujo, de los sistemas de impresión y de la simulación, como medios para revelar estructuras imperceptibles, ya sean físicas, temporales, registradas o inventadas. Se han considerado también las transiciones en los patrones cosmológicos y el impacto que han tenido los avances tecnológicos en la visualización del microcosmos. Se trata de trazar las conexiones entre las prácticas de visualización de las artes y las ciencias, subrayando la importancia de la inferencia y la imaginación en la visualización de aquello que no se puede ver. Hay muchas maneras de visualizar lo que subyace más allá de lo que el ojo humano es capaz de ver, pero la intervención humana está implícita en todas. Se constata el papel del conocimiento tácito y el contexto en la fabricación de las visualizaciones de las estructuras invisibles. Se remarcan los estilos históricamente concretos de las visualizaciones, así como la importancia de la estética, tanto en las artes, como en las ciencias. En conclusión, visualizar las estructuras invisibles es como tejer un tejido intrincado entre la realidad y la ficción. No obstante, su desarrollo puede transformar nuestra comprensión y llevar a nuevos conocimientos sobre elementos y fuerzas hasta la fecha imperceptibles.
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Tirey, Amandda Leigh. "Strange juice." The Ohio State University, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=osu1382707435.
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Klotz, Anthony. "Spontaneous Knotting of Agitated Strings." VCU Scholars Compass, 2009. http://scholarscompass.vcu.edu/etd/1823.
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Campbell, Andrew (Andrew S. ). "Tempered Confetti: Defining Instrumental Collage Music in Tempered Confetti and Venni, Viddi, --." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc862786/.
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This thesis explores collage music's formal elements in an attempt to better understand its various themes and apply them in a workable format. I explore the work of John Zorn; how time is perceived in acoustic collage music and the concept of "super tempo"; musical quotation and appropriation in acoustic collage music; the definition of acoustic collage music in relation to other acoustic collage works; and musical montages addressing the works of Charles Ives, Lucciano Berio, George Rochberg, and DJ Orange. The last part of this paper discusses the compositional process used in the works Tempered Confetti and Venni, Viddi, – and how all issues of composing acoustic collage music are addressed therein.
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Kean, Richard David Valentine. "The resonant room." Thesis, The University of Sydney, 2014. http://hdl.handle.net/2123/12864.
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This thesis looks at aural string installation as a medium and uses it to implement research within an Australian context. The title of this thesis, The Resonant Room, implies an intertextual strategy in developing this research that is situated within the ethos of aural string installation. Aural string installation as a medium is especially particular to several artists who live and work in Australia and the Netherlands, respectively. While this thesis does explore the work of all known aural string artists, its concern follows this into an intertextual account of the main themes inherent to aural string installation that are then applied to the specific context of Sydney, Australia. This strategy is undertaken through research that also entails making art with a reflective and speculative practice within the context in which it is made. This thesis then looks at strategies of experiential participation with aural string installation as a speculative critical and observational practice that concerns itself with both human artifice and Nature within the context of Sydney as a post-Fordist post-colonial country.
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Crafton, Elizabeth B. "Preferential Strategies in Elliott Carter's String Quartet No. 2." Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc278805/.
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For the purposes of expressive intent, Carter developed compositional strategies that possess qualities congruent with the musical language in his Second Quartet (1959). He employed strategies including tempo modulation, triple groupings, and large-scale ratios to assemble the musical discourse and to guide the listener's perception of large-scale continuity. I label these devices collectively as "preferential strategies" because it is Carter who selects certain pre-compositional ideas that organize musical material and demarcate structural locations. Tempo modulations that organize dual meters and triple groupings that interact in transitional and transformational ways demonstrate his concern with controlling the overall time continuity through local level organization. Large-scale ratio relations between nine interlocking sections of this four movement work illustrate how Carter employs a local strategy that projects a large-scale structure. Recognizing that Carter's ultimate compositional goal prioritizes temporal processes, these proposed preferred strategies articulate a convergence of musical elements.
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HANSSON, PER. "Braided Body, Strings That Move." Thesis, Högskolan i Borås, Institutionen Textilhögskolan, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-18104.
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The perception of the expression of traditional handcrafts needs to be challenged. Therefore his bachelor degree work aims to develop new expressions in contemporary men`s wear through experimentations with tubular braiding. This works aims to utilize and express a progressive approach of the technique in terms of materials and method with the desire to create a contemporary expression when a handcraft method is utilized in fashion Starting to explore the handcraft technique braiding the tubular braiding technique was found. While the technique itself is similar in expression and properties to flat braiding the tubular braiding opens up for other possibilities for garment construction. Using the tubular braid as a starting point, the aim is to explore new ways of constructing contemporary menswear garments with the technique itself as well to construct new materials and find to a new expressions. The work also deals with the gap between the technique flat braiding, tubular braiding, construction and materials with different properties altering the initial expression of the technique. By experimenting with unconventional materials and scale for such an handcraft technique as braiding the expression and the traditional view of braiding and its construction and use will be altered and questioned - discovering that the tubular braid has possibilities to construct or sculpt garments on the body in a seamless manner. Hopefully machine-engineers of the future can invent new and progressive braiding processes to create fabrics for commercial application in fashion and also understand the potential of the tubular braiding method formed by the examples here.Program: Modedesignutbildningen
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Park, Soonhee. "Music for String Orchestra." Thesis, University of North Texas, 1988. https://digital.library.unt.edu/ark:/67531/metadc1038813/.
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Music for String Orchestra is a work of approximately sixteen minutes duration for chamber orchestra. The work is scored for eight first violins, six second violins, four violas, four to six cellos and two to four double basses. The work is in three movements. Movement I is in a large three-part form, movement II a simple three-part form and the last movement is in a large three-part form. The first and last movements are unified by several aspects, while the second movement employs material that is independent of the first and last movements. The main difference between the three movements is that the first and last movements are based on a western music idiom and the second movement is rooted in a Korean music idiom.
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Woodruff, Julian Duke. "Cherubini's string chamber music /." Ann Arbor : UMI, 2000. http://catalogue.bnf.fr/ark:/12148/cb37059869q.
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McEvansoneya, Philip Daniel. ""Dismal Art" or "strong, realistic pictures"? : Luke Fildes, Frank Holl and 'social realism'." Thesis, University of Leicester, 1992. http://hdl.handle.net/2381/35697.
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Oliveira, Marina Mariano de. "Curvas pedais e Teorema dos Quatro Vértices : uma introdução à geometria diferencial." reponame:Repositório Institucional da UFABC, 2018.
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Orientador: Prof. Dr. Marcus Antônio Mendonça MarrocosDissertação (mestrado) - Universidade Federal do ABC, Programa de Pós-Graduação em Mestrado Profissional em Matemática em Rede Nacional - PROFMAT, Santo André, 2018.
Neste trabalho, apresentamos a geometria diferencial das curvas planas de um modo mais acessível para um leitor não especialista no assunto, mas de forma a despertar seu interesse. A Teoria Local das Curvas Planas é desenvolvida por meio de exemplos e, em particular, exibimos a família das curvas pedais. Ilustramos a Teoria Global por meio do Teorema dos Quatro Vértices e apresentamos, também, formas de explorar os conceitos de geometria diferencial na Educação Básica, com resultados geométricos interessantes e visualmente atraentes. Para isso, contamos com o auxílio do GeoGebra, um software de matemática dinâmica, e da string art, um estilo de arte caracterizado por um arranjo de cordas que formam padrões geométricos. Com isso, buscamos proporcionar ao leitor uma forma diferente de experimentar a geometria diferencial das curvas planas, bem como proporcionar aos alunos do Ensino Médio um aprendizado interessante de geometria analítica.
In this work, we present the differential geometry of the plane curves in an accessible way for not specialized readers in the subject, but in order to arouse their interest. The Local Theory of Plane Curves is developed by means of several examples and, in particular, we bring out the class of pedal curves. In order to ilustrate the Global Theory we present the Four-Vertex Theorem and we also present a way to introduce differential geometry concepts to secondary school students with interesting and visually attractive geometric results. To do this, we use the software GeoGebra, a interactive geometry and algebra application, and string art, a sort of art characterized by an arrangement of strings that form geometric patterns. We hope to provide to the readers a pratical experience of differential geometry of plane curves, as well as providing them the students of High School with an interesting learning of analytical geometry.
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Goldman, Benjamin. "In a Strange Place." Digital Archive @ GSU, 2010. http://digitalarchive.gsu.edu/art_design_theses/61.
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My work is about stress and strain in our modern times. I am using self portraiture as a way to discuss the world around me and hope that the viewer will relate to my experiences. Drawing, painting and video are used to convey different aspects of my observations, and old techniques are mixed with new technologies. Personal observations, artistic and scientific influences, and the art-making process have shaped this body of work.
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McBride, Michael A. (Michael Anthony). "The Warp and Weft of Fabric: A Composition for Strings." Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc278386/.
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The six-movement work is scored for two violins, a viola, and a violoncello. A new approach toward the decision making of the compositional process is revealed which structures the parameters of the composition along an arbitrary frame of reference. This reference is selected prior to composition and influences every aspect of the work. The reference chosen is an existing musical work used in quotation and for stylistic modeling, paraphrase, and variation. Consonance, dissonance, and thematic development are defined in terms of this source.
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Moon, Jeong-Hyun. "Concertino for Flute, Timpani and String Orchestra." Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc279127/.
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Concertino for Flute, Timpani, and String Orchestra is a three movement piece that blends Western European forms with Korean idioms. The following essay addresses pitch materials, melodic structure, rhythm, form, instrumentation, vertical structures, and developmental procedures used in the work.
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Erwin, Joanne (Joanne Hall). "Stability of Secondary String Teachers' Rehearsal Behavior." Thesis, University of North Texas, 1992. https://digital.library.unt.edu/ark:/67531/metadc332546/.
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The purpose was to establish the stability of behavior of secondary string teachers. The research problems were (a) to establish the frequency of selected observable elements of content and instructional strategies; (b) to estimate the stability of observed teaching behaviors within and across rehearsals; and (c) to determine the stability of pacing within and across rehearsals. In conclusion, for the population observed, stability of behavior existed. The variable of multiple conduction, not given much attention in research or pedagogical literature, weighted heavily in frequency of occurrence. Demonstration and verbal imagery, encouraged by strong experts, received less than 3% of rehearsal time. Pacing should be considered an important variable in the instructional process and merits further definition and research.
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Meidell, Katrin Liza. "Epidemiological Evaluation of Pain Among String Instrumentalists." Thesis, University of North Texas, 2011. https://digital.library.unt.edu/ark:/67531/metadc68015/.
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Pain and performance anxiety (PA) are common problems among string players. Therefore, the purpose of this study was to assess and compare PA and prevalence rates and locations of pain in violinists, violists, cellists, and bassists. Subjects completed a questionnaire that included sections on demographics, musical background, practice habits, musculoskeletal problems, non-musculoskeletal problems, and PA. Anthropometric data were gathered on all 115 subjects. Results show that there are differences in both pain and PA across instrument groups. Violinists reported the highest number of pain sites, followed by violists, bassists, and cellists. The left shoulder was the most-often reported pain site, followed by the neck and right shoulder. Aching was the most cited term selected to describe pain. Several anthropometric indices were significantly correlated with pain, notably right thumb to index finger span in both cellists and bassists. In all instrument groups, at least one pain site was significantly correlated with one of four PA questions. Results warrant the development of intervention strategies and further study of the relationship between pain and performance anxiety.
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Brook, Madeleine E. "Popular history and fiction : the myth of August the Strong in German literature, art, and media." Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:cb7df46e-ab52-4f27-a084-41d7fab5b54e.
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This thesis concerns the function of fiction in the creation of an historical myth and the uses that that myth is put to in a number of periods and differing régimes. Its case study is the popular myth of August the Strong (1670-1733), Elector of Saxony and King of Poland, as a man of extraordinary sexual prowess and the ruler over a magnificent, but frivolous, court in Dresden. It examines the origins of this myth in the late seventeenth and early eighteenth century, and its development up to the twenty-first century in German history writing, fiction, art, and media. The image August created for himself in the art, literature, and festivities of his court as an ideal ruler of extremely broad cultural and intellectual interests and high political ambitions and abilities linked him closely with eighteenth-century notions of galanterie. This narrowed the scope of his image later, especially as nineteenth-century historians selected fictional sources and interpreted them as historical sources to present August as an immoral political failure. Although nineteenth-century popular writers exhibited a more varied response to August’s historical role, the negative historiography continued to resonate in later history writing. Ironically, the myth of August the Strong represented an opportunity in the GDR in creating and fostering a sense of identity, first as a socialist state with historical and cultural links to the east, and then by examining Prusso-Saxon history as a uniquely (East) German issue. Finally, the thesis examines the practice of historical re-enactment as it is currently employed in a number of variations on German TV and in literature, and its impact on historical knowledge. The thesis concludes that, while narrative forms are necessary to history and fiction, and fiction is a necessary part of presenting history, inconsistent combinations of the two can undermine the projects of both.
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Moran, David W. (David Wayne). "Chaos, Cosmos, and Communion: Three Movements for String Quartet." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc278804/.
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The three movements of this piece are related proportionally in that movements one and two represent three-fifths of the length of the whole. Movement three represents two-fifths of the length of the whole. Another proportional relationship exists between movements one and two. Movement one represents two-fifths of the length of the first two movements, while movement two represents three-fifths of the length of the two. An additional link between the three movements is pitch content. Movements one and two have little in common in this regard, but movement three combines elements of the first two. The duration of the entire piece is approximately fifteen minutes.
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McBride, Michael A. (Michael Anthony). "Sinfonia." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc501150/.
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Sinfonia is a two movement work for chamber string orchestra and percussion consisting of at least five violins I, five violins II, five violas, five cellos, three string basses, and three percussionists playing timpani, two suspended cymbals, one small crash cymbal, 2 triangles, tambourine, woodblock, five temple blocks, snare, two tom-toms, 2 glockenspiels, xylophone, and chimes. The first movement is approximately nine minutes long, the second lasts five and one third minutes making a total of approximately fourteen minutes and twenty seconds.
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Vihonen, Marnie. "Strange bedfellows, the seduction of modernist art by American advertisers in the 1920s." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0026/MQ26971.pdf.
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Vihonen, Marnie 1973 Carleton University Dissertation Communication. "Strange bedfellows: The seduction of modernist art by American advertisers in the 1920s." Ottawa.:, 1997.
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Schmelzer, Paul L. "A strong mind a Clausewitzian biography of U. S. Grant /." [Fort Worth, Tex.] : Texas Christian University, 2010. http://etd.tcu.edu/etdfiles/available/etd-05042010-132848/unrestricted/Schmelzer.pdf.
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Greenfield, Leah. "Extended String Techniques and Special Effects in Arnold Schoenberg's String Quartet No. 1 and Its Significance in Chamber Music Literature." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1011750/.
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Arnold Schoenberg's String Quartet No. 1, Op. 7 stands out as being the first chamber music piece to use a vast number and variety of extended string techniques within one composition. This paper examines a brief history of extended string techniques in chamber music, analyses the unique ways in which Schoenberg applied extended string techniques to manipulate motives in his Op. 7 quartet, and ultimately shows that Schoenberg's use of extended string techniques influenced future composers to employ even more extended techniques and special effects in their own twentieth-century chamber music.
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Cahill, Clark Jennifer L. "String student self-efficacy and deliberate music practice: Examining string students' musical background characteristics, self-efficacy beliefs and practice behaviors." Thesis, University of North Texas, 2008. https://digital.library.unt.edu/ark:/67531/metadc9116/.
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This study examined the musical background characteristics, self-efficacy beliefs, and practice behaviors of string students auditioning for an all-region orchestra in one large South-Central district. Purposes of the study were: (1) to describe the musical backgrounds and self-efficacy beliefs of high school string students, (2) to measure the relationship between self-efficacy scores and performance achievement, and (3) to describe the practice behaviors and thoughts of high and low self-efficacy string students. Questionnaires were given to 101 high school string students; 65 competed in all-region orchestra. Descriptive data from the questionnaire revealed information such as how many took private lessons and that those who did tended to have a higher sense of perceived self-efficacy in relation to playing their string instruments. Other descriptive items asked questions such as whether or not students started in public school and how much they practiced outside of orchestra. The relationship of summed self-efficacy scores to a competition ranking was found to be statistically significant and inverse. For all string participants (n=65) Spearman's rho was, rs= -.37, (p=.001) with 14% of the variance explained (r2 =.14). This inverse relationship documents the linear trend for students with better rankings (lower ranking numbers) to also tend to have higher self-efficacy scores. Observation and interview data of 8 higher and 8 lower self-efficacy sub-group students were also analyzed. The higher self-efficacy sub-group students tended to use more cognitive practice strategies, while the lower self-efficacy sub-group tended to use dissimilar and less advanced strategies. Understanding string students' musical background experiences and characteristics and the possible relationship self-efficacy may have with practice and achievement could benefit certain students. Helping these students gain a higher sense of perceived self-efficacy in their musical endeavors, or obtain certain characteristics that successful students share, could possibly enable them to develop and understand more complex practice strategies and compete more confidently.
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Morris, Timothy Lane. "Atmosphantoms." Thesis, University of North Texas, 1988. https://digital.library.unt.edu/ark:/67531/metadc500255/.
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This work for harp and string orchestra uses musical materials derived from a chord taken from the lydian mode. The three major formal divisions are A, B, and A'. The A and A' sections are more homophonic in texture and slower in harmonic rhythm. The B section is mostly contrapuntal. Sections A and A' are dreamy and dance-like while the B section is turbulent and unrestful. These characteristics are represented by sustained sonorities, twoagainst- three rhythmic configurations, and lilting melodic materials in sections A and A', as opposed to the fragmented, ever-changing melodic material of the B section. The interweaving of the musical materials into a consummate form represents the conversations, personalities, and exploits of these Atmosphantoms, giving the music its philosophical and conversational character.
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Heidmann, Pierre. "Black-Hole Microstates in String Theory : Black is the Color but Smooth are the Geometries?" Thesis, Université Paris-Saclay (ComUE), 2019. http://www.theses.fr/2019SACLS109/document.
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Les trous noirs sont produits par effondrement gravitationnel d'étoiles supermassives et contiennent en leur centre une singularité de l'espace-temps habillée d'un horizon auquel rien ne peut s'échapper. Ils se situent à la frontière théorique commune entre la Relativité Générale et la Mécanique Quantique, ce qui en fait le principal laboratoire théorique et expérimental pour tester les théories quantiques de la gravité comme la Théorie des Cordes. L'entropie d'un trou noir est énorme, de l'ordre de sa masse au carré. Comme tout objet entropique, une description microscopique en termes de dégénérescence d'états devrait exister. De plus, le trou noir s'évapore par rayonnement d'Hawking et l'information à l'intérieur semble perdue, ce qui compromet la principe d'unitarité, pierre angulaire de la Mécanique Quantique. Par conséquent, la Théorie des Cordes doit fournir les degrés de liberté nécessaires pour décrire la nature de micro-état de trous noirs, elle doit également trouver un mécanisme résolvant la singularité et le paradoxe de la perte d'information. Cette thèse porte sur la physique des trous noirs à travers le "fuzzball proposal" et le "microstate geometry program". La majeure partie de la discussion se déroulera dans la limite de basse énergie de la Théorie des Cordes, c'est-à-dire en Supergravité. Le ``proposal" stipule qu'il existe "eS" solutions non singulières sans horizon qui ressemblent à un trou noir à large distance mais qui diffèrent à proximité de l'horizon. Sur la base de cette affirmation, la solution de trou noir classique correspond à la description statistique d'un système de solutions qui ont la même géométrie que le trou noir à l'extérieur de l'horizon, mais qui se terminent par des géométries régulières, dites "fuzzy". La proposition soulève plusieurs questions : Comment la singularité est-elle résolue ? De telles géométries peuvent-elles être construites en Supergravité ? Comment l'information s'échappe-t-elle de l'ensemble des micro-états ? La thèse est décomposée en trois parties. La première partie présente les bases et donne un aperçu du "microstate geometry program". La deuxième partie regroupe cinq travaux qui se consacrent à construire de larges familles de micro-états de trous noirs supersymétriques ou non supersymétriques. La dernière partie passe en revue deux travaux. L'un d'eux étudie le processus de diffusion dans les micro-états. Cela permet d'élucider comment le principe d'unicité est restaurée et comment l'information s'échappe des micro-états. La seconde traite du rôle des micro-états dans le contexte de la correspondance AdS2/CFT1 et donne l'ébauche d'une preuve pour le "fuzzball proposal"Black holes are produced by gravitational collapse of supermassive stars and consist of a spacetime singularity dressed by a horizon from which nothing can escape. They lie at the common theoretical border between General Relativity and Quantum Mechanics, making them the main theoretical and experimental laboratory for testing quantum theories of gravity as String theory. The entropy of a black hole is huge, of the order of its mass squared. As any entropic object, a microscopic description in terms of large degeneracy of states should exist. Moreover, black hole evaporates through thermal Hawking's radiation and the information in the interior seems lost, that compromises the unitary principle, a cornerstone of Quantum Mechanics. Therefore, String Theory must provide the degrees of freedom necessary to describe the microstate nature of black holes, it must also find a mechanism resolving the singularity and the information loss paradox. This thesis addresses black-hole physics through the lens of the fuzzball proposal and the microstate geometry program. The major part of the discussion will be conducted in the low-energy limit of String Theory, that is in Supergravity. The proposal states that there exist "eS" horizonless non-singular solutions that resemble a black hole at large distance but differ in the vicinity of the horizon. Based on this statement, the classical black-hole solution corresponds to the average description of a system of solutions which match the black-hole geometry outside the horizon but cap off as ``fuzzy" smooth geometries in the infrared. The proposal leads to several questions: How is the singularity resolved? Can "eS" such geometries be built in Supergravity? How does the information escape from the ensemble of microstates?The thesis is decomposed in three parts. The first part introduces the basic materials and gives a review of the microstate geometry program. The second part gathers five works that all consist in constructing large classes of smooth horizonless microstate geometries of supersymmetric or non-supersymmetric black holes. The last part review two works. One is investigating the scattering process in microstate geometries. This helps to elucidate how unitarity is restored and how information escapes from black-hole backgrounds. The second one addresses the role of microstate geometries in the context of the AdS2/CFT1 correspondence and gives a beginning of proof for the fuzzball proposal
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Gaur, Avdhesh. "Review of State of the Art and Practice of Strand Debonding for Pretensioned Girders." University of Cincinnati / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1406880547.
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Wu, Man-Mei. "Three Voices for voices, woodwind, percussion, and string instruments." Thesis, University of North Texas, 2000. https://digital.library.unt.edu/ark:/67531/metadc2684/.
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Composed for soprano, tenor, and baritone voices, woodwind, percussion, and string instruments, Three Voices is a polyglotic work that includes German, Chinese, and Spanish texts. The texts are chosen from Brecht Bertolt's Das Schiff, Po Chu I's Lang T'ao Sha, and Frederico Garcia Lorcá's Mar. Significant features of the piece are 1) application of Chinese operatic singing methods to vocal material in the sections that use Chinese text, 2) use of western instruments to emulate the sound of certain Chinese instruments, and 3) employment of Sprechstimme and dramatically inflected speech to create theatrical effects and highlight the sections that use German and Spanish texts.
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Diamond, Shawn E. "Requiem for the Shadows: Poetry, Spirituality, and Future Memory in the Light Strings of Felix Gonzalez-Torres." Kent State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=kent1461781004.
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ISABELLA, Tommaso. "Figure del materiale: lo “strano” realismo di Siegfried Kracauer." Doctoral thesis, Università degli studi di Bergamo, 2014. http://hdl.handle.net/10446/30718.
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Bonney, Geoffrey, and Peter Alan Widmer. "Cherbourg time : young black and deadly art 2003-2007." Thesis, Queensland University of Technology, 2009. https://eprints.qut.edu.au/34407/1/Geoffrey_Bonney_%26_Peter_Widmer_Thesis.pdf.
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Art is most often at the margins of community life, seen as a distraction or entertainment only; an individual’s whim. It is generally seen as without a useful role to play in that community. This is a perception of grown-ups; children seem readily to accept an engagement with art making.
Our research has shown that when an individual is drawn into a crafted art project where they have an actual involvement with the direction and production of the art work, then they become deeply engaged on multiple levels. This is true of all age groups.
Artists skilled in community collaboration are able to produce art of value that transcends the usual judgements of worth. It gives people a licence to unfetter their imagination and then cooperatively be drawn back to a reachable visual solution.
If you engage with children in a community, you engage the extended family at some point.
The primary methodology was to produce a series of educationally valid projects at the Cherbourg State School that had a resonance into that community, then revisit and refine them where necessary and develop a new series that extended all of the positive aspects of them. This was done over a period of five years.
The art made during this time is excellent. The children know it, as do their families, staff at the school, members of the local community and the others who have viewed it in exhibitions in far places like Brisbane and Melbourne. This art and the way it has been made has been acknowledged as useful by the children, teachers and the community, in educational and social terms.
The school is a better place to be. This has been acknowledged by the children, teachers and the community
The art making of the last five years has become an integral part of the way the school now operates and the influence of that has begun to seep into other parts of the community.
Art needs to be taken from the margins and put to work at the centre.
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King, Taylor Z. "A Spectacle and Nothing Strange." VCU Scholars Compass, 2019. https://scholarscompass.vcu.edu/etd/5905.
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Working through methods of abstraction and comedic mimicry I choreograph awkwardly balanced sculpture with objects of adornment as a means to defuse personal sensitivities surrounding my experiences of gender, desire, and home. The research that follows is concerned with the adjacent, the in between, above and underneath, because I feel that this kind of looking means that you are, to some degree, aware of what lies at the edges. Maybe this is what Gertrude Stein means to act as though there is no use in a center—because this concerns a way of relating, though there are many things in the room.
‘A spectacle and nothing strange’ is an arrangement of gestures, of made difference, of kinships, of orientations and possible futures, sustained tension, coded adornment, big dyke energy, shifts in hardness, leaning softness, much more than flowers, ...and in any case there is sweetness and some of that.
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Bell, Jeffrey C. "Present Absence: A work for string quintet and live electronics." Thesis, University of North Texas, 2001. https://digital.library.unt.edu/ark:/67531/metadc2822/.
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Present Absence is a work that integrates electronic processing and live performance. It is approximately 20 minutes long and is divided into three movements. The movements are distinct from each other, but are related through various elements. Incorporating electronic processing and live performance can be cumbersome. The primary objective of this piece is to use electronic processing in a manner that liberates the performers from any restrictions imposed by the use of electronic processing. The electronic processing in the work is accomplished through the program MAX/Msp, a real-time digital signal processing environment. The patch that was created for this piece is called MOO-V. This paper discusses the both the technical details in the construction of this patch, and the aesthetic it serves.
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Perkins, Deborah L. (Deborah Louise). "Factors Relating to Student Participation in Public School String Programs." Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc278326/.
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This study explored factors relating to participation in public school orchestra programs and the relationship and predictability of such factors in accordance with Maehr's theory of personal investment.
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Salts, Diane Michelle. "Some String or Another: Fiction and Nonfiction Stories of Connection." Thesis, University of North Texas, 2004. https://digital.library.unt.edu/ark:/67531/metadc4486/.
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Some String or Another: Fiction and Nonfiction Stories of Connection, a creative thesis, explores patterns of change in stories from the perspective of connection and disconnection. The preface examines the effects of temporal disconnection, the relationship of conflict and connection to narrative rhythm, and the webs of connection formed during the process of creation. Included in the body of the work are six fiction stories, one metafiction story, and two nonfiction essays.
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Dippel, Andrea. "Von Paris an den Ärmenkanal : der Städter am Strand bei Manet, Monet, Morisot, Degas und Renoir /." Köln, 1996. http://catalogue.bnf.fr/ark:/12148/cb39093032t.
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Müller, Susanne. "L'"Unheimlich" à l'oeuvre : approches théoriques / pratiques de l' "inquiétante étrangeté " dans l'art contemporain." Thesis, Paris 1, 2013. http://www.theses.fr/2013PA010692.
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La double approche pratique et théorique de cette thèse reflète le caractère paradoxal du mot allemand "unheimlich" qui décrit une sensation ambiguë entre étrangeté et familiarité. À ceci correspond la définition donnée par Freud, selon laquelle l'effrayant de l'"Unheimlich" « remonte au depuis longtemps connu, depuis longtemps familier». Nous retrouvons cet aspect familier au cœur de l'adjectif "unheimlich" dans la syllabe "heim" qui signifie « chez-soi». Dans la traduction française « inquiétante étrangeté», cette signification se perd. L'ancrage de l'"Unheimlich" dans l'entre-deux amène une indécidabilité (Derrida), voire un constant passage ou aller-retour. Par conséquent, il a toujours échappé à une conceptualisation et apparaît aujourd'hui comme un « non-concept» (Masschelein). Cependant, l'"Unheimlich" est de plus en plus souvent mis en relation avec l'art, ce dont témoignent les nombreuses expositions qui s'y sont récemment consacrées. Serait-ce alors dans l'art que l'"Unheimlich" trouve son véritable "Heim" ? Selon notre hypothèse centrale, il serait à l'œuvre dans l'art lorsque celui-ci s'avère être auto-réflexif et illimité. Différents « passages» nous guident dans notre approche du cœur "unheimlich" d'une pratique artistique personnelle hantée par la mort, l'origine, les doubles, l'Ange de l'Histoire (Benjamin), une rencontre impossible avec un Autre-moi et par des « lettres volées» de la langue allemande. Située entre photographie et installation, cette pratique témoigne du caractère hybride de l'art actuel qui semble être devenu « étranger à lui-même» (Kristeva). Les travaux personnels reflètent-ils l'entre-deux "unheimlich" qui nous inquiète, mais qui peut aussi nous enchanter ? Ou alors, l'"Unheimlich" serait-il irreprésentable, renvoyant à un au-delà des images ?The double (theoretical and practical) approach of this thesis reflects the paradoxical nature of the German word "unheimlich" which describes an ambiguous feeling between strangeness and familiarity. Correspondingly, Freud states that the terrifying of the "Unheimlich" « leads back to something long known to us, once very familiar ». The syllable "heim" «( home ») in the middle of the adjective "unheimlich" reflects this aspect of familiarity which is lost in the French translation « inquiétante étrangeté» (as well as in the English « uncanny »), The "Unheimlich's" anchorage in the in- between involves an undecidability (Derrida), a constant passage or to-and-fro, Therefore it has always escaped a stringent conceptualization and appears today as an « unconcept » (Masschelein). However, more and more the "Unheimlich" is being connected with art as is evident from the numerous exhibitions recently devoted to it. Could it be then that it founds its real "Heim" in art ? According to my main hypothesis, the "Unheimlich" is at work in art when it turns out to be self-reflexive and unlimited. Different « passages» guide our approach to the "unheimlich" heart of my own art practice haunted by death, origins, doubles, the « Angel of History » (Benjamin), an impossible encounter with an Other-me and the «purloined letters » of the German language. Located between photography and installation, this practice gives an account of the hybrid nature of current art which seems to have become a « stranger to itself» (Kristeva). Do the personal works that we compare to other artist's works, reflect the "unheimlich" in-between that disturbs, but also can delight us? Or could the "Unheimlic"h tum out to be unrepresentable, referring to a quality that goes beyond images ?
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Shannon, Elizabeth J. "Paul Strand and Cesare Zavattini's 'Un paese' (1955) : the art, synergy and politics of a photobook." Thesis, University of St Andrews, 2012. http://hdl.handle.net/10023/3331.
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"Paul Strand and Cesare Zavattini's 'Un paese' (1955): the art, synergy and politics of a photobook" is a study of the genesis, production and reception of the photobook 'Un paese', created in a collaboration between the American photographer Paul Strand and the Italian neorealist screenwriter Cesare Zavattini. Set in Luzzara, a small town in northern Italy, Strand portrayed the community in a series of images of the landscape, the townsfolk and still lives. The thesis reconstructs the reasoning behind Strand's decision to abandon documentary filmmaking for the creation of photobooks. Strand and the critic Elizabeth McCausland are shown to have specifically conceptualised the photobook as a hybrid form capable of communicating a multifaceted political message through a narrative synthesis of text and image, utilising strategies drawn from documentary film, the photomural and mass media publications. It is shown how Strand and his collaborators combined image and text placed within a deliberately spare graphic design and layout, to emphasise the solidity and importance of the subject matter, and to privilege the communicatory capacity of the photograph. In addition, this thesis reorients the study of Strand from concentration on his early individual fine prints to the collaboratively created political artworks of his later career. It is argued that Strand's production of photobooks is directly related to his status as a Marxist American expatriate who left the United States to avoid blacklisting at the end of the 1940s. By carefully choosing the sites where he worked, utilising realist photographic strategies developed earlier in his career, and collaborating with sympathetic writers, Strand's photobooks present the idealised image of communitarian, primarily agrarian life. 'Un paese' is shown in this thesis to typify Strand's working method; to visually and materially embody his creative and political beliefs; and to exemplify the intermedial collaboration required by the photobook.
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Bocanegra, Cheryl D. "Accent and Grouping Structures in the String Quartets of Béla Bartók." Thesis, University of North Texas, 2001. https://digital.library.unt.edu/ark:/67531/metadc2820/.
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The music of Béla Bartók is defined in part by its unique blend of rhythmic vitality and inventiveness, and his string quartets offer a glimpse into a consistency of technique evident throughout his compositional career. Bartók's rhythmic environments are primarily metrical, but many of his rhythmic configurations are placed in such a way as to potentially override established meter. It is necessary, therefore, to institute an analytical means by which the delineation and comparison of rhythmic structures both within and without the metrical context may be accomplished. An analytical method using Timepoint Accent Structures (TAS) allows for the comparison of rhythms resulting from patterns of accent produced by pitch onset, dynamic stress, articulation or any other accentual factors. Timepoint Grouping Structures (TGS) delineate the number of timepoints present in alternating groups/blocks in a texture, thereby allowing for the recognition of patterning created by these larger groups. By applying TAS and TGS analysis, relationships of rhythmic equivalency, rotation, retrograde, complementation, augmentation, diminution, subset, superset, exchange, compression and expansion are clearly confirmed in the string quartets. In addition, symmetrical structures and arithmetic progressions are discovered. In many ways, Bartók's rhythmic organization mimics his procedures of pitch structuring.
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Alwazzan, Aminah. "The Strong Voices of Black Women and Men in the Selected Poetry of Langston Hughes." DigitalCommons@Robert W. Woodruff Library, Atlanta University Center, 2019. http://digitalcommons.auctr.edu/cauetds/161.
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This thesis discusses Langston Hughes’ poetry and details the African-American experience in a discriminatory society which was an essential theme of the Harlem Renaissance. The Harlem Renaissance was a cultural and artistic movement which enriched American life. Hughes’ body of work covers the entire range of the human experience, especially the experience of ordinary people. He believed that the role of the artist was to cover and illuminate every aspect of people’s lives. Part of this expansive philosophy towards art included giving a voice to African-American women and men who experienced both racist and patriarchal oppression.
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Thompson, Audrey Marie. "AMPHIPODS ARE STRONG INTERACTORS IN THE FOOD WEB OF A BROWN-WATER SALMON RIVER." The University of Montana, 2007. http://etd.lib.umt.edu/theses/available/etd-05092007-145457/.
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Marine derived biomass from salmon carcasses is incorporated into coastal Pacific Rim salmon river systems via the organisms and structures of the freshwater foodweb. In brown water rivers of Western Kamchatka, the foodweb is dominated by ubiquitous benthic amphipods (Anisogammarus kygi) that consume salmon carcass material. We hypothesized that A. kygi are a strong interactor in the feedback loop which links dead spawner biomass to juvenile salmonid growth. We found that A. kygi had a complex life cycle with anadromous and resident forms. A. kygi dominated the macro-benthos, comprising more than 88.0% (SE=.01, N=7) of invertebrate biomass, and were highly mobile within the system, exhibiting upstream migrations of ovigerous females (23 ind/m3 ± 5), drift of juveniles, and re-distribution during carcass loading. A. kygi was observed feeding on 97% of salmon carcasses examined (N=100), making up 98.8% (SE .007) of invertebrate consumers, at densities up to 3,000 carcass-1. Amphipods were an important food item for rearing salmonids, especially during the summer when fish diets reached a peak of 88.7% (SE=6.0%) amphipods in 2005, and 68% (SE=18%) amphipods in 2006. The condition factor of salmonid juveniles (K) increased from spring to summer, particularly in juvenile chum, whose spring diet was 76.83% (SE 0.05) amphipods, corroborating the importance of an amphipod based diet for salmonids in this river. We concluded that A .kygi is a strong interactor in the Utkholok system. We also observed abundance of A. kygi in six other brown water rivers of western Kamchatka which suggests that the amphipod-mediated feedback of marine derived nutrients described for the Utkholok, is typical of brown water systems with salmon.
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Thompson, Audrey Marie. "Amphipods are a strong interactor in the foodweb of a brown-water salmon river." CONNECT TO THIS TITLE ONLINE, 2007. http://etd.lib.umt.edu/theses/available/etd-05092007-145457/.
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Reimers, D. T. "Superalgebras and brane actions." University of Western Australia. School of Physics, 2009. http://theses.library.uwa.edu.au/adt-WU2010.0045.
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The Noether charge algebra of brane actions is typically modified by a topological anomalous term. The underlying cohomology of this anomalous term is investigated, and it is shown that the anomalous term possesses a gauge freedom. The result is that the anomalous term generates a parameterized family of topological charge algebras. When fermionic charges are taken to be nonvanishing, the known algebras underlying extended superspace formulations of the action appear in these families. This phenomena is investigated for minimal p-branes, Dp-branes and (p, q)-strings. The algebras resulting from the D-brane actions are shown to allow the construction of extended superspace actions without worldvolume gauge fields. It is shown that the actions are !-symmetric, and that the symmetry is generated by a right action. The global and local symmetry transformations of the Born-Infeld gauge field are thus shown to be described geometrically by left/right actions of the underlying extended supertranslation group. An equivalence class construction is proposed for the description of compact fermionic dimensions. In this construction, open strings in extended superspace translate to closed strings in compact superspace, and fermionic topological charges may be realized by closed strings. The differential underlying the descent construction for Noether charge algebras is shown to be naturally described as a dual of the de Rham differential. The ghost fields used in the construction are shown to be described geometrically as a vielbein with respect to this differential.
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Zúñiga, Sara E. "Deciphering the Cultural Heritage and Function of the Ella Strong Denison Library Complex." Scholarship @ Claremont, 2012. http://scholarship.claremont.edu/scripps_theses/986.
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Berryman, Archer. "Pulling Tangled Strings: "The Puppeteer" and Other Stories." Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5388/.
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Pulling Tangled Strings: "The Puppeteer" and Other Stories is a collection of stories with strong thematic and emotional connections that includes an opening preface describing the process used when writing the stories. Each of the stories is united by a main character that desperately wants to gain control of his environment. From a character acting out a classic revenge tale on his friend to a comatose teenager victimized by an ambiguous tragedy, these are characters who have been put into difficult life situations and need to feel like they are pulling the strings in their lives again. In all cases, however, the characters come to find that control does not come easily and that the motivations for their behavior are never clear cut, even to themselves.
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Yao, Shulong. "Highly Stretchable Miniature Strain Sensor for Large Dynamic Strain Measurement." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc849674/.
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This thesis aims to develop a new type of highly stretchable strain sensor to measure large deformation of a specimen subjected to dynamic loading. The sensor was based on the piezo-resistive response of carbon nanotube(CNT)/polydimethysiloxane (PDMS) composites thin films, some nickel particles were added into the sensor composite to improve the sensor performance. The piezo-resistive response of CNT composite gives high frequency response in strain measurement, while the ultra-soft PDMS matrix provides high flexibility and ductility for large strain measuring large strain (up to 26%) with an excellent linearity and a fast frequency response under quasi-static test, the delay time for high strain rate test is just 30 μs. This stretchable strain sensor is also able to exhibit much higher sensitivities, with a gauge factor of as high as 80, than conventional foil strain gauges.
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Stroud, Cara. "“A Metaphor for the Impossibility of Togetherness”: Expansion Processes in Gubaidulina’s First String Quartet." Thesis, University of North Texas, 2012. https://digital.library.unt.edu/ark:/67531/metadc149671/.
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This thesis illustrates how I hear processes of expansion organizing musical materials in the First String Quartet. By employing a flexible approach to expansion and developing models of wedge and additive expansions beyond the bounds of specific voice-leading or rhythmic augmentation procedures, expansion processes can be understood in each of the varied episodes of the quartet. Gubaidulina’s use of expansion processes, embodied organically in pitch, rhythm, form, and physical space, unifies the episodic materials of the First String Quartet and provides an inevitable conclusion to the work’s loose narrative.
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Goto, Yo. "Voci Lontani for flute, trumpet, percussion, piano, and string quartet: Critical essay and score." Thesis, University of North Texas, 2004. https://digital.library.unt.edu/ark:/67531/metadc5555/.
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This project consists of an original composition, Voci Lontani, and a critical essay about the composition. In this piece, the idea of musical simultaneity is explored. Therefore, the piece focuses on the idea of contrast: between measured rhythms and indeterminate rhythms, between tonality and atonality, and between musics in separate tempos. In order to explore the significance of musical simultaneity, four important compositional concepts-the simultaneous juxtaposition of different musics, polyrhythmic structure, controlled indeterminacy, and quotation-are discussed. Also, several examples of twentieth-century music that use these concepts are analyzed in the essay.