To see the other types of publications on this topic, follow the link: Technical art.
Dissertations / Theses on the topic 'Technical art'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 dissertations / theses for your research on the topic 'Technical art.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
Farbstein, Rebecca Ann. "Pavlovian portable art : socio-technical process, aesthetic context." Thesis, University of Cambridge, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.611263.
Full text
2
Whetter, Elise. "Applied aspirations : design and applied art at the Ballarat Technical Art School during the early twentieth century." Thesis, Federation University Australia, 2021. http://researchonline.federation.edu.au/vital/access/HandleResolver/1959.17/177503.
Full textAbstract:
Applied art and design schools operate at the nexus of art, industry, and education. During the early decades of the twentieth century, the regionally located Ballarat Technical Art School (BTAS) was the leading institution of its kind in Victoria, Australia, amid shifting economic, cultural, and pedagogical conditions. Emerging from a 1907 amalgamation of institutions, and subsequently administrated by the School of Mines Ballarat (SMB), BTAS was equipped with the assets, experience, and historic reputation necessary to surpass its provincial and metropolitan rivals. This micro-historical case-study employs qualitative analysis of primary sources to investigate the aims, outputs, and importance of BTAS, contextualised by the expectations and influences it operated under during the inaugural principalship of artist and educator, Herbert Henry Smith. Smith oversaw the training of designers, craftspeople, artists, and teachers from 1907 until his retirement in early 1940—a period of tumultuous events, fiscal obstacles, and social and cultural debate. The institution was accountable to diverse stakeholders and arbiters of taste, and successive cohorts learned in a contested space between tradition, origination, and modernisation. Pierre Bourdieu’s cultural theory serves to navigate this web of hierarchies, assumptions, and tensions, while secondary sources help contextualise findings. This thesis also discusses the suite of drawing, design and material-based disciplines delivered at BTAS as single subjects, full courses, and supplementary art-trade training. Throughout, featured students provide examples of regionally trained, Australian designer-maker and artist-teacher experiences. BTAS students learned from ambitious and skilled men and women, benefited from strong professional networks, and fostered a notable esprit-de-corps. The school was significant for its contribution to female technical training. The school’s pre-eminent position was modified during the late 1920s, when much art and art-teacher training was re-centred in Melbourne. Yet, the valuable, compelling, and widespread influence of Ballarat Technical Art School graduates resonated for decades.Doctor of Philosophy
3
Kanyi, Eunice. "Entrepreneurship development in Kenyan technical education, exploring the state of the art." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape7/PQDD_0035/NQ46863.pdf.
Full text
4
Roberts, Joshua. "Artist-Centered Technical Direction and Tool Development." Digital Commons @ East Tennessee State University, 2018. https://dc.etsu.edu/honors/463.
Full textAbstract:
This paper details the design and development process for two technical projects, both of which were developed for use in Autodesk Maya to enhance the workflow processes of 3D character animation. The first project is focused on advanced character rigging using mathematical concepts and Maya nodes, while the second project is focused on plugin development in python 2.7, making full use of the PySide2 library which binds to the Qt5 user-interface framework.
5
Rusconi, Roberto. "Integrated musical perspectives : how matter becomes art music : portfolio of compositions and technical commentary." Thesis, King's College London (University of London), 2016. https://kclpure.kcl.ac.uk/portal/en/theses/integrated-musical-perspectives(e7f19391-0941-4428-bc06-217f8c998f45).html.
Full textAbstract:
This thesis accompanies the folio of the acoustic and electroacoustic compositions of the portfolio, which consists of a work for soli, choirs and orchestra, an orchestral piece, a solo for oboe, four ensemble chamber composition and a string quartet with sound projection and live electronics. The works exhibit a variety of cross-disciplinary approaches from theatrical, live electronics, networked performance, and narrative and multichannel/sound projection. The main concerns spanning the portfolio are the connections navigated through a 'synthesis' of multiple disciplines within the language of acoustic and electroacoustic music, and challenging areas of research that question and raise new musical possibilities. In all these works the morphological handling of music matter is always intertwined with issues of formal construction. For each composition I described applied studio techniques, sound sources, transformations and formal elements. As compositional tools, special software have been used, explored and developed in contrasting programming languages. These programs are briefly introduced, showing their links to compositional processes. The commentary presents supplementary information on each work, with a view to providing the reader with insights into the evolution of my compositional vocabulary. A particular attention has been devoted to the pre compositional and perceptual spatial aspects of my work, with reference to theoretical writings and research in the field.
6
Barker, Sylvia. "Some cultural, technical and legal aspects of medical art in Oxford circa 1931-1971." Thesis, University of Oxford, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.479382.
Full text
7
Wrapson, Lucy Jane. "Patterns of production : a technical art historical study of East Anglia's late medieval screens." Thesis, University of Cambridge, 2014. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.695227.
Full text
8
Gattringer, Christa. "17th-Century Antwerp artists' studio practice : Rubens and his circle : an interdisciplinary approach in technical art history." Thesis, University of Glasgow, 2014. http://theses.gla.ac.uk/5135/.
Full textAbstract:
Early 17th-century Antwerp, despite political and religious troubles, was a thriving European art centre and home of such renowned artists as Peter Paul Rubens and other painters of his circle, like Jan Brueghel I, Frans Snyders, Anthony van Dyck and Hendrick van Balen. This interdisciplinary thesis in Technical Art History, after a general introduction to this specific art scene, looks at how specific aspects of their studio practice, such as collaborations within and outside their studios or the many copies and versions of their paintings, found manifestation in their works but also in their theoretical concepts. For this an in-depth study and examination of c.20 paintings from mainly Scottish collections (National Galleries of Scotland Edinburgh, Glasgow Museums, Hunterian Art Gallery of the University of Glasgow, Talbot Rice Gallery of the University of Edinburgh, Hopetoun House South Queensferry) was conducted, using detailed photography, multispectral imaging, tracings, dendrochronology, polarised light microscopy and SEM- EDX-analysis of paint samples in cross-sections. The technical examination and analysis, informed by art historical research, significantly aided the answering of questions regarding these paintings’ materials and techniques, as well as they helped to authenticate sometimes contested authorship and date. Four main chapters discuss Frans Snyders’ studio practice focussing on reappearing motifs, Rubens’ tronies, Jan Brueghel’s minute staffage figures in collaborative works, as well as Rubens’ and Brueghel’s painting Nature Adorned by the Graces. An own chapter critically discusses the test results of the application of Stable Lead Isotope Analysis on paint samples, which were carried out at the Scottish Universities Environmental Research Centre (SUERC).
9
Ukaha, Emmanual Chuks. "Hierarchy of causes of curriculum lag in industrial-technical education as perceived by industrial-technical teachers, principals and superintendents in the state of Indiana." Virtual Press, 1986. http://liblink.bsu.edu/uhtbin/catkey/465789.
Full textAbstract:
The primary purpose of the study was to identify major causes and subsequent effects of curriculum lag in industrial-technical education. The subsidiary purpose of the study was to compare hierarchical rankings of major causes of curriculum lag in industrial-technical education as perceived by superintendents, secondary school principals, and industrial-technical education teachers in Indiana public school systems.Usable data collected by questionnaire from 406 out of 540 sample subjects were computed to generate respective rank hierarchies of selected twenty causes of curriculum lag in industrial-technical programs. Decisions about two Null Hypotheses were made at 0.05 level by use of multivariate, univariate, and chi-square analyses.Findings1. Superintendents, principals, and industrial-technical teachers were in agreement that three most severe causes of curriculum lag in Indiana secondary industrial-technical programs were inadequate funding, outdated laboratory equipment, and lack of in-service training for industrial-technical teachers.2. Ninety percent agreement occurred between the three respondent groups on ten most severe or ten least severe causes of curriculum lag in Indiana secondary industrial-technical programs.3. As perceived by teachers, inadequate funding and lack of in-service training opportunities affected school corporations with smaller enrollments than school corporations with larger figures.4. There were no significant differences between sizes of school corporations and causes of curriculum lag in industrial-technical programs as perceived by school administrators.5. Items involving structuring of courses, students' interest to study, and evaluation process were ranked as three least severe problem's in industrial-technical education. Sixty-seven percent agreement occurred between the respondent groups in ranking the last three severe problems.Conclusions1. Indiana public high schools are not funded for industrial-technical programs.2. Indiana industrial-technical education teachers are not offered opportunities to improve already acquired skills through in-service training programs.3. Industrial-technical programs are taught with outdated equipment in Indiana secondary schools.4. Lack of funds and in-service training for industrial-technical teachers affected smaller school corporations more than larger school corporations.Additional observations made during the study were presented.
10
Strömgren, Teresia. "What is concealed from the eye of the beholder : A technical analysis of Amor and Psyche." Thesis, Stockholms universitet, Institutionen för kultur och estetik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-182625.
Full textAbstract:
The oil on canvas painting Amor and Psyche attributed to Flemish artist Denys Calvaert in 1568 has subdued UV, IR and X-ray analysis. The result of these multispectral analysis provided a point of departure from the concept of materiality for further reasoning regarding: attribution, provenience, art period, display and panting technique. The painting is dated though not signed, and the dating is not consistent with Calvert’s signatures. The art period is coherent with the date. Marks, seals and conservation status might support its considerable age. The paintings mythological subject and painting technique might imply that it was destined for a private broad art market in Bologna. The painting technique in IR and X-ray show a relined canvas with an Italian 16th Century traditional built up painting layers, little underdrawing, little tracing and compositional changes. In comparison to a similar version of the subject attributed to Lorenzo Sabatini, it is plausible one version made by pupil Calvaert sprung from one composition in his master Sabatini’s workshop.
11
Filippa, Kenne. "Breakfast-Piece by Nicolaes Gillis : A comparative study of material perspectives." Thesis, Stockholms universitet, Institutionen för kultur och estetik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-182721.
Full text
12
Verdon, Tatiana Sol. "Scientific Analysis and Technical Study of Three Ancient Egyptian Royal Textiles from the Tomb of Hatnofer and Ramose, Western Thebes, New Kingdom, Dynasty 18, 1550-1295 B.C." Thesis, Fashion Institute of Technology, SUNY, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10937091.
Full textAbstract:
An Egyptian archaeological textile, accessioned in the American Museum of Natural History (AMNH) (Cat.No. 95/2444), from the Tomb of Hatnofer and Ramose, Eighteenth Dynasty (1550-1295 B.C.), Western Thebes was studied, with two textiles (Cat.Nos. 95/2443 and 95/2445) from the same tomb used as comparanda. The textile’s finely spun fibers, plain-weave balanced structure with selvedge fringes and lower edge fringes, and with various weavers’ marks, stains, and losses, provide invaluable historical data about finely woven, royal linens of Eighteenth Dynasty Egypt.
Scientific analysis used for this study include: visual annotations, polarized light microscopy (PLM), scanning electron microscopy (SEM) including fiber diameter measurements, and carbon-14 dating. Closely examining a textile and its fibers can provide information about the condition of the textile, linen quality, weaving techniques, and the life of the textile itself. While the linen fibers in the Study Textile (Cat.No. 95/2444) and the Comparanda Textile #1 (Cat.No.95/2443) have been identified, it is still uncertain whether or not the fibers in the Comparanda Textile #2 (Cat.No.95/2445) are of a different quality linen or of a different plant material which is very similar to linen within the bast fiber family. Further studies would be required to answer this and several other questions that remain.
13
Schoeman, Ben. "The piano works of Stefans Grové (1922-2014) : a study of stylistic influences, technical elements and canon formation in South African art music." Thesis, City, University of London, 2016. http://openaccess.city.ac.uk/16579/.
Full textAbstract:
Stefans Grové (1922-2014) is widely regarded as one of South Africa’s most distinguished composers of art music. He was one of the most prolific contributors to the country’s piano literature, having written large-scale cycles as well as several miniatures for the instrument. This thesis engages with his more widely-performed oeuvre, as well as earlier works that are forgotten or not currently in the public domain. A number of his piano works composed towards the end of his life are discussed here for the first time in an academic context. The two main premises explored in this thesis are the composer’s stylistic development and his approach to elements of piano technique and performance. His pianistic oeuvre is divided into style periods, and the seminal structural tools that recur throughout his creative career are evaluated. A study of the composer’s engagement with indigenous Southern African musical and cultural elements forms a substantial part of the second and fourth chapters of this thesis. The realisation of technical elements in Grové’s piano music for concert performers as well as less advanced players is discussed in the third chapter, with reference to the formulations on the didactics of piano playing by pedagogues such as Heinrich Neuhaus, Béla Bartók, József Gát and Geőrgy Sándor. Aspects of finger technique, articulation and pedalling are the main points of investigation. In the outer chapters, Grové is placed within the historical context of piano tuition in South Africa and his position within the national canon of art music is considered and contextualised.
14
Dean, Adam. "A machine’s idea of sight: the technico-sensory divide in the human use of imaging devices." VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/460.
Full textAbstract:
This study explores the human and technical limitations of looking and seeing. It proposes a model for design that expands technical sight toward harmony with our human notion. It proposes a model for design that expands technical sight toward harmony with our human notion. This study is guided by the phenomenological experience of being expressed primarily by Heidegger as well as neuro-physiological research on the mind and body relationship by Ramachandran, Sacks Nicolelis and Damasio. It examines, in two paths, the technical developments that seek to alter or enhance our ways of looking and seeing. The first path is an assessment of ways of looking with optics-based cameras that includes how cameras might be set to look, how they behave in looking and how they translate that look into an image on display. The second path is an assessment of the image in varying states of readiness which include the capture state, state of rendering (for view) and state of display. The study uncovers the various ways that images are translated to be seen, and how sight and ocular vision might be detached in the process of imprinting what is seen in the imagination. It includes key examples of modern image device capabilities, makes suggestions about how the framework of this study can be applied in specific cases and predicts the state of image devices in the future.
15
Kruja, Mira. "PIANO INSIDE OUT: THE EXPANSION OF THE EXPRESSIVE, TECHNICAL, AND SONOROUS SPECTRUM IN SELECTED TWENTIETH-CENTURY ART-MUSIC REPERTOIRE FOR THE MODERN ACOUSTIC PIANO." Lexington, Ky. : [University of Kentucky Libraries], 2004. http://lib.uky.edu/ETD/ukymuar2004d00228/Mkrujadma.pdf.
Full textAbstract:
Thesis (Ph.D.) --University of Kentucky, 2004.Title from document title page (viewed on August 17, 2005). Document formatted into pages; contains: vii, 201 p. : music. Includes abstract and vita. Includes bibliographical references (p.187-197).
16
Rama, Jander Luiz. "Engenharia perversa : possibilidades poéticas para o desenho técnico e o múltiplo no âmbito de visões tecnológicas obsoletas sobre o futuro." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2018. http://hdl.handle.net/10183/186014.
Full textAbstract:
Na presente pesquisa proponho reflexão teórico-prática, confrontando algumas vertentes da filosofia da técnica, que discutem a relação do homem com sua tecnologia em distintos períodos da história, em diálogo com ideias centrais de visionários da engenharia e da ficção científica, como Jules Verne, George Orwell, Aldous Huxley, Nikola Tesla, Gerald Bull, Yona Friedman entre outros. Neste contexto, apresento a série de trabalhos intitulada Engenharia Perversa como possibilidade de cruzamento entre o desenho técnico e o múltiplo, estabelecendo relações com obras de outros artistas que se utilizam da linguagem técnica, como Leonardo da Vinci, Leon Ferrari, Regina Silveira e Marcel Duchamp. Como base da construção dialética estabelecida nesta tese, assinalo casos onde a ficção científica antecede o progresso que será alcançado pela engenharia e arquitetura. No sentido oposto, esta tese procura averiguar ocorrências em que projetos não realizados de engenharia, quando se tornam apenas ideias não comprovadas, apontam para o desenho técnico como fonte de produções de caráter ficcional. A partir destas premissas, esta pesquisa problematiza a presente produção artística em relação ao campo ficcional, investigando possibilidades de simulacros estabelecidos pelo uso de tecnologias obsoletas para a produção de imagens.In the present research I propose theoretical-practical reflection, confronting some aspects of the philosophy of technique, which discuss the relationship between man and his technology in different periods of history, in dialogue with central ideas of engineering and science fiction visionaries such as Jules Verne, George Orwell, Aldous Huxley, Nikola Tesla, Gerald Bull, Yona Friedman among others. In this context, I present the series of works entitled Engenharia Perversa as a possibility of crossing between technical drawing and multiple, establishing relations with works of other artists that use technical language, such as Leonardo da Vinci, Leon Ferrari, Regina Silveira and Marcel Duchamp. As a basis for the dialectical construction established in this thesis, I point out cases where science fiction precedes the progress that will be achieved by engineering and architecture. In the opposite sense, this thesis tries to investigate occurrences in which unconstructed engineering projects, when they become only unproven ideas, point to the technical drawing as a source of fictional productions. From these premises, this research problematizes the present artistic production in relation to the fictional field, investigating possibilities of simulacra established by the use of obsolete technologies for the production of images.
17
Le, Roux Salome. "A technical survey of Lucky Madlo Sibiya’s (1942 – 1999) materials and techniques employed in his carved and painted wood panel artworks." Diss., University of Pretoria, 2020. http://hdl.handle.net/2263/78370.
Full textAbstract:
The study aims to achieve an understanding of the artist’s materials and techniques used by Lucky Madlo Sibiya when he created his carved and painted wood panel artworks. A survey of the artist’s materials and techniques is of great importance, because he is represented in multiple institutional, corporate and private collections – including the University of Pretoria. His carved and painted wood panel artworks are also reaching an age (at least 20 years old, as 2019 is the twentieth anniversary of his death) when they would soon require conservation and restoration, if not stored and displayed according to sound conservation conditions and standards. For best-practice conservation and restoration, in-depth knowledge of the materiality of an artwork is needed. In order to reach an in-depth knowledge of the materiality of Sibiya’s carved and painted wood panel artworks, the survey intends to examine and document through the combination of various historical, visual and analytical techniques artworks with unrefuted provenance. The analytical techniques used are popular in heritage conservation, because they are non-invasive and non-destructive. They include provenance studies, visual examination, technical photography, X-ray Fluorescence and Fourier-transform Infrared Spectroscopy. In combination, the techniques should reveal the materials and techniques Sibiya employed. This knowledge will be used to safeguard and preserve this part of South African art heritage.Mini Dissertation (MSocSci)--University of Pretoria, 2020.
Tangible Heritage Conservation
MSocSci (Tangible Heritage Conservation)
Unrestricted
18
Neves, Daniele Quiroga. "PERFORMANCE E REGISTRO: A PRODUÇÃO PERFORMÁTICA DE CLAUDIA PAIM." Universidade Federal de Santa Maria, 2013. http://repositorio.ufsm.br/handle/1/5223.
Full textAbstract:
Coordenação de Aperfeiçoamento de Pessoal de Nível SuperiorGrounded on a research based theoretical, historical and critical, the present speech focuses on a study about technical, aesthetic and conceptual possibilities of the live performances image-document. While technical images based on photographic and videographic apparatus, the documents are understood like possible alternatives to knowledge of the performance art, yet have being fragmentarily portrayed and essentially changed by media. As a study object, the images of the production of the porto-alegrense artist Claudia Paim are analyzed.
Fundamentada em uma pesquisa de base teórica, histórica e crítica , a presente dissertação contempla um estudo sobre as possibilidades técnicas, estéticas e conceituais da imagem-registro de performances presenciais. Enquanto imagens técnicas baseadas em dispositivos fotográficos e videográficos, os registros são entendidos como alternativas plausíveis para o conhecimento da arte da performance, ainda que seja fragmentariamente retratada e fundamentalmente alterada pela mudança do meio. Como objeto de estudo, são analisadas as imagens geradas na produção das performances da artista porto-alegrense Claudia Paim. Palavras-
19
Edvall, Mattias. "Innovationens grindväktare – Tillämpningen av art. 102 FEUF på nödvändiga patent, och dess förenlighet med patenträttens syften." Thesis, Umeå universitet, Juridiska institutionen, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-180946.
Full text
20
Pinkall, Bryan Robert. "A technical and historical analysis for selected art songs and arias for tenor voice by George Frederic Handel, Jules Massenet, Roger Quilter, Stefano Donaudy, Gabriel Faure, and Agustin Lara." Manhattan, Kan. : Kansas State University, 2010. http://hdl.handle.net/2097/4091.
Full text
21
Pinkall, Bryan Robert. "A technical and historical analysis for selected art songs and arias for tenor voice by George Frederic Handel, Jules Massenet, Roger Quilter, Stefano Donaudy, Gabriel Fauré, and Agustin Lara." Kansas State University, 2010. http://hdl.handle.net/2097/4091.
Full textAbstract:
Master of MusicDepartment of Music
Julie Yu
This report contains an extensive technical and historical analysis of tenor repertoire. It contains modern technical approaches to “Every Valley” and “Thou Shalt Break Them” from Messiah by George Frederic Handel. The report also reviews the history, music theory, and performance techniques of several late Romantic and Neoromantic art songs and arias from Italy, France, and England. The pieces reviewed are the following: “Ouvre tes yeux bleus” by Jules Massenet, “En fermant les yeux” from Manon by Jules Massenet, Three Pastoral Songs by Roger Quilter, Nell by Gabriel Fauré, “Quando ti rivedró” from 36 Arie De Stile Antico by Stefano Donaudy, and “O del mio amato ben” from 36 Arie De Stile Antico by Stefano Donaudy. Finally, this report reviews the popular Spanish art song Granada by Agustin Lara.
22
Johnson, Taylor B. "Analysis of User Interfaces in the Sharing Economy." Scholar Commons, 2018. http://scholarcommons.usf.edu/etd/7174.
Full textAbstract:
This thesis considers claims of discrimination and the interfaces that six platforms use as companies in the sharing economy.
In 2015, Benjamin Edelman, Michael Luca, and an Svirsky did an experiment with Airbnb to test the discrimination of names that sounded distinctly African American. Before and after their findings, there were members of the community who claimed that they had been discriminated against, some suing the company for not upholding their anti-discrimination policy. This leads to the question of how is one able to discriminate against someone whom they have never met and lives thousands of miles away? What information do they have to hold against them? As a result, this thesis provides a rhetorical analysis of the interfaces of six companies of the sharing economy.
23
Lemy, Kabera. "Synchronous video conferences as a connectivism approach to learning : State of the art in Rwandan higher education." Thesis, Linnéuniversitetet, Institutionen för informatik (IK), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-99099.
Full textAbstract:
The advance of the internet and Web 2.0 technologies continue to drive a dramatic change in the way people access and share information through various channels of communication. In the education sector, several learning management systems have been integrated into teaching and learning activities. To increase more interactivities between teachers and learners, tools for synchronous video conferencing are implemented in universities to enable online education. Prior studies indicate that the adoption and use of the tools in higher education institutions have been substantially expanding, more particularly in developed countries. Therefore, understanding the state of integrating synchronous video conference tools to support teaching and learning activities is important for scholars and academicians as this innovative communication technology is proven to have a substantial impact on quality education and effective learning. In Rwanda, before COVID-19, research on the adoption and use of video conference systems is still scarce. The objective of this study was therefore twofold: (1) to understand the adoption and use of synchronous video conference technologies for teaching and learning purposes and (2) to propose a strategy for effective implementation and value addition of video conferencing tools (VCT) at University of Rwanda. A qualitative method was adopted and case study was used as a research strategy for this research. Meanwhile, the Social-Technical System theory was applied in this research for data collection, analysis and reporting of results. 17 responses from participants (teachers and eLearning Officers) were collected using an online internet-based survey questionnaire. Key findings indicate that the adoption and use of video conference systems was found to be at a lower level and the associated contributing inhibitors were identified and reported in this research. Based on the empirical findings and on the responses from participants, this study proposed a contextual strategy for effective integration of video conference systems at the case study institution. Overall, this study concluded that for an effective delivery of live lectures through webinars enabled by the web-based video conference tools, the 10 elements composing the proposed action-oriented strategy for integrating video conference systems should be taken into consideration by the case study institution. Practical and scientific contributions of this research are reported in this thesis and recommendations for further research in connection with the current one have been also put forward.
24
Cho, Sung Moon. "La céramique et la verrerie de table en France à l’époque de Jean Luce, 1910-1960 : de la conception à la réception des œuvres." Thesis, Sorbonne université, 2020. http://www.theses.fr/2020SORUL101.
Full textAbstract:
À partir du fonds inédit du musée des Arts décoratifs de Paris consacré à Jean Luce (1895-1964), cette thèse éclaire l’histoire du service de table français entre 1910 et 1960. Bien que rarement considéré par les historiens de l’art, cet objet du quotidien reflète pourtant remarquablement les évolutions des arts visuels de ce demi-siècle. La création de Luce témoigne ainsi de toute la diversité du style Art déco puis de l’avènement du design dans l’immédiat après-guerre. Par ailleurs, il a réinventé le métier de créateur-éditeur de services de table, en dessinant des formes et des motifs aussi bien pour la céramique que pour la verrerie, en les faisant fabriquer par une chaîne industrielle et en les diffusant lui-même dans son magasin parisien de la rue La Boétie. Si son travail constitue notre point de départ, nous avons également considéré le rôle des dessinateurs industriels, des manufacturiers de porcelaine, de faïence et de verre ainsi que des commerçants car tous ces acteurs participent aux choix esthétiques effectués dans le cadre d’une production de masse. Il s’agit donc d’interroger les mécanismes à l’œuvre dans le développement et la propagation d’un style lors de la création, de la production et de la diffusion des services de table. Plus largement, l’évolution formelle de ce bien de consommation destiné à l’usage courant est aussi influencée par les mutations de la vie quotidienne et de la sociabilité. Par conséquent, notre enquête sur le service de table mobilise, en plus des outils de l’histoire de l’art, ceux de l’histoire socio-culturelleThis thesis sheds light on the history of the French tableware between 1910 and 1960 by examining the unexplored collection devoted to Jean Luce (1895-1964) at the Musée des Arts Décoratifs of Paris. These everyday objects are rarely studied by art historians, even though they remarkably capture the evolution of visual arts over that half-century. Luce’s creations exemplify the diversity of the Art Deco style in the inter-war period and the advent of design in the immediate post-war period. Furthermore, Luce reinvented the figure of the creator-editor specialized in this field by designing forms and motifs for both crockery and glassware, having them produced by an industrial chain and distributing them personally in his Parisian store on rue La Boétie. His work is our starting point, but we are also interested in the work of industrial designers, manufacturers of porcelain, earthenware and glass as well as tableware retailers, all of whom, in a mass production context, influenced aesthetic choices. From this, we look at how a style develops and spreads as we study the stages of creation, production and distribution of the tableware. More broadly, the evolution of these consumer goods was shaped by new manners of socializing and other changes in daily life. Consequently, our survey uses, in addition to the tools of art history, those of socio-cultural history
25
Rio, Gaëlle. "Le musée national de la Marine : histoire d'une institution et de ses collections (1748-1998)." Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUL178.
Full textAbstract:
Figurant parmi les grands musées nationaux, le musée de la Marine est le plus ancien musée d’histoire maritime en France, dont les origines remontent au milieu du XVIIIe siècle. Fondé à partir de la collection de modèles de bateaux donnée au roi Louis XV par l’académicien Henri Louis Duhamel du Monceau en 1748, le musée Dauphin ouvre au Louvre en 1827 sous Charles X, à destination avant tout des élèves de l’école d’ingénieurs constructeurs de la Marine dans une finalité d’instruction. L’approche monographique et institutionnelle permet de mettre en évidence trois grands moments de l’histoire de ce musée : la lente genèse du musée naval (1748-1827) dans le contexte des Lumières et d’une culture scientifique et technique ; la longue période du musée naval au palais du Louvre (1827-1939) au cours de laquelle se forge l’identité de l’institution autour de collections techniques et ethnographiques à vocation pédagogique ; le transfert du musée au palais de Chaillot et son expansion au XXe siècle avec la modernisation du site parisien, l’extension de ses collections aux cinq marines et la constitution d’un réseau des musées des ports (1939-1971). Devenu établissement public administratif en 1971, le musée national de la Marine se transforme à la fin du XXe siècle pour devenir le grand musée maritime du XXIe siècle. Cette étude s’attache à cerner les enjeux sociaux, culturels et idéologiques qui ont présidé à la création et au développement de ce musée, à interroger le statut de ses collections, entre technique, art et instrument de propagande ou de communication, et enfin à analyser la question plus large du rôle du musée dans la société française, d’un lieu de représentation du pouvoir à un espace au service du publicOne of the major national museums, The Marine Museum is the oldest museum of maritime history in France, whose origins date back to the mid-eighteenth century. Founded from the collection of boat models given to king Louis XV by the Academician Henri Louis Duhamel du Monceau in 1748, the Dauphin Museum (as it was called) opened in the Louvre in 1827 under the reign of Charles X ; primarily intended for teaching purposes to the construction engineers of the Navy. The monographic and institutioal approach highlights three major moments in the history of this museum : the slow genesis of the naval museum (1748-1827) in the context of the Enlightenment and of the development of scientific and technical culture ; the long period of the naval museum at the Louvre Palace (1827-1939), during which the identity of the institution is based on technical and ethnographic collections for educational purposes ; the transfer of the museum to the Palais de Chaillot and its expansion in the 20th century with the modernization of the Paris site, the extension of its collections to the five Navies and the creation of a network of port museums (1939-1971). Having become a public administrative institution in 1971, the National Marine Museum was transformed at the end of the 20th century into the great maritime museum of the 21st century, as it is now. This study seeks to identify the social, cultural and ideological issues that led to the creation and the development of this museum, to question the status of its collections, between technique, art and propaganda or communication instrument, and finally, to analyze the broader question of the museum's role in French society, from a place of representation of power to a space in the service of the public
26
Rama, Jander Luiz. "(Im)prováveis : processos híbridos envolvendo o desenho técnico e a gravura na construção da metáfora do homem-máquina." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2013. http://hdl.handle.net/10183/79584.
Full textAbstract:
Nesta pesquisa, proponho trabalhos que consistem em desenhos de híbridos entre homens e máquinas, utilizando o desenho técnico e a figura do pós-humano como suporte para reflexão, metaforizando as relações entre o homem e sua tecnologia, e a substituição de parte das experiências cotidianas pelo uso da máquina. Tratam-se de imagens digitais e linoleogravuras que apresentam diálogos e tensões entre o artesanal e o tecnológico, bem como entre a figura humana e a figura mecânica. O embasamento teórico é estabelecido a partir de definições da filosofia da técnica de Gilbert Simondon em diálogo com apontamentos de Edmund Couchot e Vilém Flusser. Apontamentos sobre o ciborgue são debatidos a partir de Haraway, Santaella e Novaes. Hoelscher, Springer, Dobrovolny e Belofsky contribuem com referenciais históricos e definições sobre o desenho técnico, em diálogo com observações realizadas em registros de patentes de época. Ainda são abordadas obras de artistas como Stelarc, Albrecht Dürer, Da Vinci, Regina Silveira e Rubem Grilo, como referenciais poéticos que estabelecem relações com a presente produção plástica. Procuro, deste modo, estabelecer proposições dentro do campo da gravura, do desenho técnico e de linguagens híbridas, contribuindo para ampliar a construção do conhecimento no campo das artes visuais.In this research, I propose works that consist of hybrid designs for men and machines, using technical drawing and figure the posthuman as support for reflection, Indulging in metaphor the relationships between humans and their technology, and replacing part of everyday experiences when using machine. These are digital images and linoleum engraving which feature dialogues and tensions between craft and technology, as well as between the human figure and the figure mechanics. The basement is established by the theoretical literature from definitions of technical philosophy of Gilbert Simondon in dialogue with notes of Edmund Couchot and Flusser. Notes on the cyborg are discussed from Haraway, Santaella and Novaes. Hoelscher, Springer, Dobrovolny and Belofsky contribute with historical references and definitions of the technical drawing in dialogue with observations made in patent registers. Are still considered works of artists such as Stelarc, Albrecht Dürer, Da Vinci, Regina Silveira and Rubem Grilo as poetic references that establish dialogue with this plastic production. Try, thereby establishing propositions within the field of printmaking, technical drawing and hybrid languages, contributing to enlarge the construction of knowledge in the field of visual arts.
27
Leake, Maria De La Luz. "Exploring a Community Partnership: A Narrative Inquiry into the 2004-2006 Semester Programs Between Artpace San Antonio and Louis W. Fox Academic and Technical High School." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc33130/.
Full textAbstract:
This qualitative inquiry explores a community-based art partnership called the semester programs that took place between Artpace San Antonio and Louis W. Fox Academic and Technical High School from 2004 until 2006. This narrative inquiry used interviews with artists and former Fox Tech art students involved in our program, along with my teacher/ researcher reflections, to make meaning from the data. The artists involved in the semester programs were Gary Sweeney, Daniel Guerrero, David Jurist, and Ethel Shipton. Former students interviewed include Eloy McGarity, Rosa Leija, John Contreras, and Jennelle Gomez, while I, Maria Leake represent the voice of the art teacher. Our stories of experience were analyzed and connections between situated learning theory, creativity theories, community-based art education, and memory research were all recognized as being exhibited during our community partnership programs. There were seven patterns and themes that were noted as occurring within each semester program, as well as notable distinctions. The patterns and themes from the data analysis suggest that our community partnership reflected the following: learning and creative expression went beyond the individual; networks of support and communication were available to all participants; challenges were acknowledged; empathy between participants was an unintentional outcome; working together as a community of practice facilitated personal interactions and connections; learning and creative expression went beyond the traditional curriculum; and educational benefits were realized by all participants.
28
Martin-Rainaud, Claude. "Dans le regard de la chambre." Thesis, Avignon, 2015. http://www.theses.fr/2015AVIG1143/document.
Full textAbstract:
Par un trou, l’image renversée de ce qui se trouve à l’extérieur se projette à l’intérieur d’une chambre obscure. Ce phénomène, à l’oeuvre en permanence dans les espaces naturellement sombres, dans les yeux de l’homme et de la plupart des animaux, occasionnellement à l’intérieur de l’habitation, est aussi le principe à la base de la photographie et du cinéma. Ce problème d’optique a été observé et décrit pour la première fois en Europe dans les Problemata d’Aristote. Au cours des siècles, ce principe du «phénomène de la camera obscura» a été étudié et utilisé pour mesurer le temps et l’espace, effectuer des observations et des expériences astronomiques, produire des images ou des spectacles. Ces dernières décennies, les sciences ont démontré que pour prendre vie, se reproduire et évoluer, la matière s’est emparée progressivement de ce phénomène issu de la lumière. À travers la vision, il a un rôle premier dans notre perception du monde et notre conscience d’être. Cependant, rares sont les études de ses caractéristiques et de ses applications naturelles, techniques et esthétiques. Notre recherche voudrait contribuer à faire émerger une cohérence globale dans ces domaines. La méthode utilisée ici repose sur une pratique artistique de la capture photographique dans la camera obscura elle-même des images qui y apparaissent. En outre, cette pratique s’appuie sur une approche analytique fondée sur un choix de sources philosophiques, scientifiques et romanesques, poétiques et cinématographiques. Nous suivons d’abord à travers ces documents la genèse des objets techniques qui se rattachent au phénomène de la camera obscura. Puis la recherche se focalise sur certains artistes qui sont présumés avoir fait usage, ou qui ont effectivement employé des appareils «optiques» pour réaliser leurs oeuvres depuis le quinzième siècle. Nous concluons sur la démarche et l’oeuvre de certains photographes contemporains qui se consacrent à photographier le phénomène de la camera obscura, dont les travaux ouvrent à l’art de la photographie des perspectives inédites, tout en se référant à des questions picturales fondamentalesThrough a hole, the inverted image of what is outside, is projected inside a dark room. This phenomenon,constantly at work in naturally sombre closed spaces, in the eyes of humans and most animals, occasionallyinside habitations, is also the optical principle that made photography and motion pictures possible. This opticalproblem was observed and described for the first time in Europe by Aristotle in his Problemata. Then, over thecenturies, this “camera obscura phenomenon” was studied and used to measure time and space, makeastronomical observations and experiments, produce images or theatrical performances. In the last few decades,science has demonstrated that for matter to come to life, breed and evolve, it has gradually taken hold of thisphenomenon produced by light. Through vision it plays a fundamental role in our intimate perception of theworld and our self-consciousness. However, few academic studies address its natural, technical as well asaesthetic characteristics. This research will try to bring forth a global coherence in this field. The method that weuse is founded on our artistic practice of the photographic capture of the images as they appear inside thecamera obscura. In addition, this practice is also based on an analytical approach founded on a range ofphilosophical, scientific and fictional sources including poetry and movies. We follow through these documentsthe genesis of the technical objects related to the camera obscura phenomenon. Then, our research focuses onsome artists alleged to have, or have actually utilized "optical" devices to perform their works of arts since thefifteenth century. We conclude with the approach and practice of some contemporary photographers committedto photographing the camera obscura phenomenon, whose works of arts open new perspectives forphotographic art, yet still refer to fundamental questions about art
29
Lima, Patricia Miranda de. "Porcelana e leveza - percursos entre pensamento, forma e a materialidade e seus limites." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/27/27159/tde-22092015-110545/.
Full textAbstract:
Esta dissertação compreende o percurso no desenvolvimento de dois objetos cerâmicos. São exploradas características e possibilidades de criação com o material utilizado - porcelana -, tendo como motivo fragmentos selecionados da obra de Clarice Lispector. A dissertação é composta por descrições e reflexões sobre o processo criativo dos dois objetos e a materialidade da porcelana, esclarecendo as escolhas feitas durante o percurso. Paralelamente, apresenta e detalha os materiais e as técnicas empregadas na produção dos objetos, contribuindo com informações importantes para o meio ceramista. Mostrado como o recorte de um conjunto que inclui o conhecimento de outros materiais e técnicas cerâmicas, a dissertação ressalta a importância da pesquisa técnica e do desenvolvimento prático como motores de um ciclo para o crescimento poético.This dissertation consists of the paths chosen for the development of two ceramic objects. The features and possibilities of creation with the material - porcelain - are explored, having as motif fragments selected from Clarice Lispector\'s work. The dissertation contains descriptions and thoughts about the creative process of the two objects and porcelain, justifying the choices made. At the same time, it presents in details the materials and technical processes used for making the objects, contributing with important information for ceramists. Chosen as part of a whole wich includes knowledge about other ceramic materials and techniques, the dissertation emphasizes the importance of technical research and practice as engine of a circle for poetic development.
30
Andolfatto-Ruebrecht, Christiane. "Le dessin technique en Alsace et en Lorraine : influences germaniques et italiennes de 1861 à 1975." Thesis, Strasbourg, 2012. http://www.theses.fr/2012STRAG036.
Full textAbstract:
Le dessin industriel est lié aux contrariétés artistiques et techniques, craintes des dessinateurs, lieux d’enseignement. Dynamique sociale, œuvres caritatives des Écoles alsaciennes et lorraines chevauchent données historiques, industrielles et artistiques. Les Arts and Crafts opposant vernaculaire et académisme en 1861, les architectures scolaires s’ouvraient à l’utilitaire du dessin, sociologie technique, monde, l’histoire de l’art à la spiritualité et l’anthropologie. Médiocrité et perfection reliant dessin et enseignement en 1970. Avec l’académisme et la fusion des arts du Moyen Âge, les industriels de 1919 portent les mutations culturelles, sociales, politiques et économiques. En Alsace, les Kœchlin, Dollfus, de Dietrich forment les dessinateurs. Perfection, simplicité, humanité industrielle, difformités du dessin, fusion art-vie font jaillir l’humanité du design en 1960-1970, commençant par la transformation des écoles en 1960. En 1975, arts plastiques au lieu du dessin, professeurs, administrations disent les difficultés en France. De 1861 à 1975 les établissements s’écartent des environnements et de l’individualité. En France les concours d’Écoles d’ingénieurs montrent l’explosion de la formation commune. L’intérêt pour l’aspect utilitaire du dessin (technique) ne s’efface pas ; environnements, simplicité du dessin de bricoleur transforment l’attention au dessin noyé en 1969 dans l’industrial design. Mal-fait dissipant peine, travail et risqueIndustrial design is connected to artistic and technical conflicts, designers’ fears, educational facilities. Social dynamic, offers, charities of Alsace and Lorraine Schools overlap historical, industrial and artistic data. Arts and Crafts confronting vernacular and academicism in 1861, school buildings opened to utilitarian design, technical sociology,world, history of art, spirituality and anthropology. Mediocrity and perfection joining drawing and teaching in 1970. With the academicism and the merger of arts of the Middle Ages, the1919’s manufacturers carried the cultural, social, political and economic transformations, like the Kœchlin, the Dollfus or the de Dietrich who trained designers in Alsace. Perfection, simplicity, industrial humanity, design de formities, fusion of art and life produce the humanity of design in the 1960’s and 1970’s, beginning with the transformation of schools in the1960’s. In 1975, arts plastiques instead of drawing, professors and administrations reveal the difficulties in France. From 1861 to 1975 institutions deviate from environment and individuality. In France, Engineering Schools’ competitive exam shows the explosion of general education. The interest in the utilitarian aspect of the (technical) design does not disappear; environment, simplicity of bricoleur’s drawing transformed the attention to drawing encased in the industrial design in 1969. Poorly done, dispelling effort, work and risk
31
Roche, Lucile. "L'ombre de Dieu : représenter la Création du monde en France (1610-1789)." Thesis, Paris 1, 2018. http://www.theses.fr/2018PA01H039.
Full textAbstract:
«Au commencement, Dieu créa le Ciel et la Terre». À l’ouverture du récit de la Genèse, le plus célèbre des incipit condense ce qui a constitué durant des siècles à la fois l’imagerie et le modèle théorique de la Création du monde en Occident. Or, dès le XVIIe siècle, la conception de la Création s’enrichit de considérations savantes qui bousculent l’univoque de la version biblique. Le récit canonique est alors instruit par les notions profanes d’évolution ou de loi mécanique qui bouleversent l’image biblique d’un Dieu-Créateur du monde en six jours dont la tradition avait longtemps fixé le canon. Pensées au pluriel, les représentations de la Création du monde se diversifient au sein d’une iconographie variée et créative, fruit de la conciliation entre le sacré et le profane qui autorise des représentations inédites où Dieu viendrait souffle rles tourbillons imaginés par Descartes ou encore dynamiser un mécanisme terrestre résolument voltairien. À l’heure de sa complexification théorique, il sera plus particulièrement question d'appréhender la relecture du mythe biblique de la Création du monde dans les arts de la période concernée. À partir d’un corpus d’images tirées de divers horizons – bibliques, scientifiques,alchimiques ou physico-théologiques – l’objet de cette thèse est justement d’appréhender la résilience de l’iconographie biblique dans un monde en pleine sécularisation. Nous verrons notamment comment, autorité latente ou référent stéréotypé, telle une ombre, la figure du Créateur condense toute la complexité des rapports entre l’homme et ses mythes“In the beginning God created Heaven and Earth”. Opening of the first chapter of the Genesis,the most well-known incipit of all time sums up both the imagery and the main idea of the Creation of the World that has existed in the west for thousands of years. However, this biblical conception of Creation starts to weaken in the beginning of the XVIIth century and to expand to embrace scientific views when secular ideas of evolution or the laws of mechanics shook the biblical tradition of the six-Day Creation narrative. The once unique idea of a World Creation becomes a more complex concept at the crossroads between sacred and profaneand authorized innovative pictures representing, for example, God blowing the Cartesian cosmogenic whirlpools or giving thrust to the terrestrial mechanism inspired by Voltaire. When the groundbreaking theories on the Creation were published, it was necessary to focus on the artistic reinterpretations of the myth. Based on a great diversity of images – biblical, scientific,alchemical – we’ll try to analyze how biblical iconography stands still at the time of the global secularization of the world in which, as a paradoxical authority or an unconscious standard, the image of the Creator holds up the complex relationship between Man and his Mythology
32
Beato, Marina João Pelúcia. "A obra de arte na interface do processo criativo e do processo tecnológico." Master's thesis, Escola Superior de Educação, Instituto Politécnico de Setúbal, 2012. http://hdl.handle.net/10400.26/5885.
Full textAbstract:
Mestrado em Ensino de Educação Visual e Tecnológica no Ensino BásicoO presente estudo pretende refletir sobre uma metodologia aplicada na escola, em contexto de sala de aula, mais especificamente na disciplina de Educação Tecnológica. Procura-se perceber como é que a obra de José de Guimarães poderá contribuir para o desenvolvimento da criatividade e das aptidões técnicas dos alunos do terceiro ciclo do ensino básico. Pretende-se com esta proposta de intervenção pedagógica que os alunos, através do contacto com obras de arte de José de Guimarães e da aplicação do método de resolução de problemas, desenvolvam a sua criatividade, bem como as suas aptidões técnicas, na construção de um objeto de expressão plástica no qual é aplicado um determinado mecanismo. Neste estudo, desenvolvido em contexto de sala de aula, verifica-se que o recurso à obra de arte de José de Guimarães constitui um indutor criativo que permite articular arte com técnicas específicas de trabalho, possibilitando assim uma visão global de ambas, para além de o método de resolução de problemas ser o motor do desenvolvimento da criatividade e da aprendizagem dos alunos.
The present study aims to think over a school methodology in classroom context, specifically in the subject of Educação Tecnológica. The purpose is to understand how the work of José de Guimarães can contribute to the development of creativity and technical skills from elementary school students. The proposed educational intervention intends to lead students to develop their creativity as well as their technical skills after being in contact with the artworks of José de Guimarães. Then students are supposed to build an object of artistic expression in which they will apply a specific mechanism. In the present study, developed in classroom context, we confirm that the resource to the work of José de Guimarães constitutes a creative inductor that allows the articulation of art with specific working techniques, showing a global view of both. Besides, the problem solving method is also confirmed to be the engine for the development of creativity and the students’ learning process.
33
Weatherman, Andrea Dawn. "Prophecy Fulfilled? Walter Benjamin's Vision and Steve Reich's Process." Bowling Green State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1300577313.
Full text
34
Tibell, Emma. "Funktionella element som registreringshinder : en undersökning av tillämpningen av det absoluta registreringshindret i art. 7.1 e) ii) varumärkesförordningen och dess förhållande till hybridkännetecken." Thesis, Linköpings universitet, Affärsrätt, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-157347.
Full textAbstract:
Varumärkesrätten innefattar en bred definition av vilka kännetecken som kan konstituera ett varumärke, vilken inkluderar formen på en vara. När kännetecknet består av en varuform utgör således varan i sig kännetecknet och därmed varumärket. Vid en varumärkesregistrering ska bedömningen av olika kategorier av kännetecken inte skilja sig åt, men för varuformer finns ytterligare hinder vid registrering jämfört med andra typer av kännetecken. Ett sådant registreringshinder avser specifikt funktionella former. Många former tenderar att vara funktionella till viss grad, vilket aktualiserar art. 7.1 e) ii) VmF. Artikeln föreskriver ett absolut registreringshinder mot att registerna former som endast består av ”en varas form eller annan egenskap hos varan som krävs för att uppnå ett tekniskt resultat”. Om en varuform hindras registrering enligt artikeln, är uteslutningen från registrering permanent. Det innebär att registreringshindret inte kan övervinnas även om formen förvärvar särskiljningsförmåga på marknaden. EUD har uttalat att det inte vore skäligt att neka registrering av varuformer endast på grund av att de innehar några funktionella element. För att ett kännetecken ska falla inom ramen för artikeln behöver således en forms alla väsentliga särdrag falla inom ramen för bestämmelsen. Detta medför viss problematik när det kommer till hybridkännetecken vilka innehar vissa element som är funktionella, men även andra element som är icke-funktionella. Enligt gällande rätt kan hybridkännetecken registreras som varumärken om de innehar icke-funktionella särdrag som anses vara väsentliga. Hela formen av ett hybridkännetecken kan således registreras som ett varumärke under förutsättning att endast några av de väsentliga särdragen krävs för att uppnå den tekniska funktionen. Genom en undersökning av rättspraxis konstateras att EUD utför en fri och långtgående undersökning vid bedömning av vad som utgör en forms väsentliga särdrag och dessa särdrags eventuella funktion. EUD är inte bunden till vad som anges i varumärkesansökan, utan undersöker även den faktiska varan på marknaden för vilket kännetecknet är ämnat att användas. EUD verkar generellt vara restriktiv med att låta tredimensionella former registreras, inte minst när de innehåller funktionella element. Möjligen beror den negativa inställningen till att registrera hybridkännetecken på bristen av effektiva lösningar att tydligt undanta de funktionella elementen från registrering. Vid en registrering av hybridkännetecken uppstår även intressanta aspekter ur intrångssynpunkt eftersom formen är registrerad som en helhet, även om vissa väsentliga särdrag inte är ämnade att omfattas av ensamrätten. Vid analoga tillämpningar av rättspraxis framstår det som att dessa element, utan att det explicit framgår av exempelvis en disclaimer, ska vara undantagna från den ensamrätt som erhålls varumärkesinnehavaren.The trade mark law includes a very broad definition of signs that can constitute a trade mark, which includes the shape of a product. When a sign consists of the shape of a product, the product itself becomes the sign and thus the trade mark. In the case of a trade mark registration, the assessment should not differ between different categories of signs. However, when it comes to registration for signs consisting of the shape of a product, there are further obstacles to overcome before protection can be granted compared to other types of signs. Many shapes tend to be functional to some extent, which brings relevance to the absolute ground for refusal found in art. 7.1 e) ii) EUTMR. The article prohibits registration of signs which consist exclusively of “the shape, or another characteristic, of goods which is necessary to obtain a technical result”. If the registration of a sign is prohibited by the article, the exclusion from registration is permanent. This means that the ground for refusal cannot be overcome even if the sign acquires distinctiveness on the market. The CJEU has stated that it would not be reasonable to deny a shape registration only on the sole ground that it has some functional elements. Therefore, in order for a sign to fall within the scope of the article, all the essential characteristics of a shape must fall within the scope of the provision. This causes certain difficulties when it comes to hybrid signs, which possess some elements that are functional, but also other elements that are non-functional. Under current law, hybrid signs can be registered as trade marks if the non-functional elements are considered as essential. The entire form of a hybrid sign can thus be registered as a trade mark only if some, but not all, essential characteristics are required to achieve the technical function. By examining case law, it can be stated that the CJEU carry out a free and extensive examination when assessing what constitutes the essential characteristics of a shape and the possible function of these elements. The CJEU is not bound to the trade mark application but also examines the actual goods for which the sign is intended to be used. The CJEU generally seems to be restrictive in allowing registration for three-dimensional shapes, especially in regard to those incorporating functional elements. This might be the case since there is no good way to clearly exclude the functional elements from the registration. However, when registering a hybrid sign, interesting aspects also arise from the infringement point of view since the shape is registered as a whole but contains certain essential features, which are not intended to be covered by the exclusive right granted. In analogous applications of case law, it appears that these elements, without being explicitly stated in e.g. a disclaimer, must be excluded from the exclusive right granted to the proprietor.
35
Costa, Manuel da. "A subjetividade das formigas : uma abordagem pragmática do uso artístico da eletrongrafia na representação de mundos ocultos." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2006. http://hdl.handle.net/10183/10831.
Full textAbstract:
Dando continuidade a uma pesquisa estética iniciada em 1991, este projeto de pesquisa em arte propõe a realização da série FORMIGAS, e o texto desta dissertação trata das relações entre a ética e a estética que essa obra estabelece ao longo dos quatro anos de duração do seu processo instaurador. No decorrer desse período, uma primeira versão dessa mesma série, composta por uma seqüência de nove eletrongrafias de caras de formigas de várias espécies, gerou um impasse ético que a presente versão, composta por uma seqüência de quinze eletrongrafias de caras de formigas do gênero acromyrmex, propõe discutir e contornar.The current paper is a research project in art that discusses the relation between the ethics and the aesthetics brought about by the making of the ANT series. It is part of an aesthetic investigation initiated in 1991 and the series instauration process has taken four years. A first version of the series was composed by a sequence of nine electrongraphs of ant faces of several species, and the second version is composed by fifteen electrongraphs of ant faces of the genus acromyrmex. The first version raised an ethical dilemma which the second one and this paper are meant to discuss and resolve.
36
La, Follette Tavia. "Sites of Passage: Art as Action in Egypt and the US-- Creating an Autoethnography Through Performance Writing, Revolution, and Social Practice." Antioch University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=antioch1365450771.
Full text
37
Khairat, Alia. "NOT ANOTHER SPACE SUIT: Fusing Technology and Indigenous Solutions To Facilitate Thermal Comfort." VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/3143.
Full textAbstract:
Unseen, unheard and unconsidered, Qatar’s migrant worker population is building one of the richest countries in the world. They labor in Qatar’s high heat index1 climate, which is coincidentally comparable to an Oriental sauna, wearing the most rudimentary of clothes. Working up to 60 hours a week, migrant workers fall victim to heat stress and dozens are hospitalized daily, starting as early as March and increasing in numbers during the peak months of June to August. Since clothes are essentially a “second skin,” affecting the rate and efficiency with which heat is exchanged between the body and its surroundings, a concept garment was designed to improve thermal comfort. Low-tech, indigenous heat-management systems are combined with new technologies and knowledge of human physiology to design a two-layer suit that aims to optimize heat exchange mechanisms. The suit enhances radiation, convection and evaporation by having a snug-fitting inner wicking layer and a loose-cut outer shell, and by using strategically placed vents, perforations, and Phase Change Material (PCM) packs. Using fiction as a medium of social commentary and critical design, the concept suit borrows from the superhero aesthetic to present the migrant worker in a new light. The suit denotes power, symbolizing the superhuman feat these workers perform and their true worth to the economy. Its aesthetic and function aim to improve worker morale and performance. Mapping, scoping and primary and secondary qualitative and quantitative research have been used throughout the design process. This is in addition to an ethnographic study, field observations, material explorations, body storming and experimentation.
38
Körber, Ulrike. "The journey of artifacts: The study and characterization of a nucleus of lacquered Luso-Asian objects from the 16th and 17th centuries." Doctoral thesis, Universidade de Évora, 2019. http://hdl.handle.net/10174/25788.
Full textAbstract:
This thesis examines a group of objects produced for Catholic Europeans in the scope of the Portuguese maritime explorations and Catholic missions in Asia in the 16th and 17th centuries. Embellished with Asian lacquer coatings, their heterogeneous character and complex mix of decorative elements, artistic and craft traditions has led to various attributions regarding their production, including classification as Indo- Portuguese, Sino-Portuguese, Japanese nanban or Ryūkyūan. This study arose over discrepancies between these presumed identifications and their actual physical features. Taking a multi-disciplinary approach, it combined formal and esthetic examination with material analysis, while also considering the cultural and geo-political context, contemporary Asian lacquer traditions, and similar decorative techniques. In addition to refining the fundamentals of lacquer conservation it also led to a reconsideration of the accepted attributions of these objects. As a result, the study sheds new light on our understanding of European and Asian relations in a period critical to the shaping of our modern world; RESUMO: A Viagem dos Artefactos: O Estudo e a Caracterização de um Núcleo de Objetos Lacados Luso-Asiáticos dos Séculos XVI e XVII
Esta tese examina um conjunto de objetos produzidos para europeus católicos no âmbito das explorações marítimas portuguesas e missões católicas na Ásia nos séculos XVI e XVII. Embelezados com revestimentos de laca asiática, o seu carácter heterogéneo e a mistura complexa de elementos decorativos, tradições artísticas e artesanais levaram a várias atribuições em relação à sua produção, incluindo classificações como indo- português, sino-português, japonês nanban ou Ryūkyū. Este estudo surgiu devido a discrepâncias entre essas presumidas identificações e as suas características físicas reais. Ao adoptar uma abordagem multidisciplinar, esta investigação combinou o exame formal e estético com a análise dos materiais, considerando também o contexto cultural e geopolítico, as tradições contemporâneas de laca asiática e as suas técnicas decorativas similares. Além de refinar os fundamentos da conservação da laca, também levou a uma reconsideração das atribuições aceites relativamente a esses objetos. Como resultado, esse estudo lança nova luz sobre a nossa compreensão das relações europeias e asiáticas num período crítico para a formação de nosso mundo moderno.
39
Gregory, Mark, and mark gregory@rmit edu au. "Technical Risk Manager TRManager." RMIT University. Electrical and Computer Engineering, 2008. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20081202.123724.
Full textAbstract:
Successful projects may be defined by criteria set prior to a project being commenced. The project success criteria may include time, budget and performance. A description of a successful project is often one that has been achieved
40
Juodžiukynas, Tadas. "Magistrinis darbas Darbų ciklas “Retromobilis” - aerografijos technika." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2008. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2008~D_20080929_141016-61451.
Full textAbstract:
Lietuvoje aerografijos technologija daugiausiai taikoma transporto priemonių puošybai, tačiau aerografija turi neribotas pritaikymo galimybes. Norint tai įrodyti, nuspręsta sukurti darbų ciklą laisvalaikio ir pramogų centrui “Havana”. Darbų ciklas išsiskiria tuo, kad jis atliktas aerografijos technologijos pagalba ir panaudojamas interjero kūrime. Darbų kūrybiniame procese naudojami skaidrūs „Candy“ dažų koncentratai, kurių spalvinių tonų gama, panaudojimo galimybės padeda sukurti erdvės gilumo įspūdį ir suteikia daugiau realistiškumo. Kuriant darbus klubo interjerui buvo svarbu ne tik patenkinti užsakovo, bet ir būsimų lankytojų lūkesčius. Darbų ciklas „Retromobilis“ turi tapti pagrindiniu akcentu, papildančiu jau esamą klubo „Havana“ interjero tematiką, įsilieti į aplinką sukuriant harmoningą visumą. Aerografija ypač tinka fotografinio tikslumo piešiniams atlikti. Vadinasi - ir optinėms apgaulėms ir nekaltiems meniškiems pokštams, kurie itin žavi ir gali būti subtiliai pritaikyti interjere. Atlikdamas šį teorinį darbą paaiškinau aerografijos technologijos pagrindinius principus, taip pat pateikiau informacijos apie naudojamas medžiagas, jų ypatybes bei savybes. Atlikdamas praktinį darbą, įgyvendinau savo idėjas, tuo pačiu, kaip ir su kiekvienu nauju darbu įgijau dar daugiau patirties, kuri man pravers ateityje.Airbrush painting is an art like any other, requiring talent and skill. But it is also a technology that, more than ather art forms, calls for technical mastery of equipment used in the process. Every day airbrush artists develop new groundbreaking airbrushing techniques as they refine and experiment with their medium and pass along their knowledge by practice work. As in Lithuania it is common practice – airbrushing is mostly used on cars and motorcycles or helmets. But in my opinion, airbrushing technology has unlimited possibilities, because it’s good to use on various surfaces. Airbrush technique is the freehand manipulation of the airbrush, medium, air pressure and distance from the surface being sprayed in order to produce a certain predictable result on a consistent basis with or without shields or stencils. Creating the cycle of artworks, named “Retrocar”, for the “Havana” night club, I found one of the way to use airbrushihg technology in the interior. And by doing the theoretical part of the work, I’d explained how does the technology works.
41
Garcia, Maidana Maria Soledad. "Boîte-en-valise ou de l'histoire de l'art latino-américain en reproduction." Thesis, Paris 8, 2015. http://www.theses.fr/2015PA080108/document.
Full textAbstract:
Semblable à un véritable musée portable, cette ‘boîte en valise’ découpe des figurines, morcelle les lectures, arrache des pages entières d’une histoire de l’art racontée dans les livres. Si l’objet de l’histoire de l’art est établi une fois pour toutes, nous cherchons à arrêter ce mouvement perpétuel qui auratise l’œuvre d’art puis son discours. Nous lisons des livres d’histoire de l’art en guise de parcours dans de vastes galeries anachroniques, arrachés de tout emplacement physique et repliés dans des pages de livres. Nous sommes des historiens d’art qui travaillent avec des images de reproduction technique, des clichés photographiques qui ont perdu leurs couleurs, qui ont délaissé sur la légende le poids de la taille et le lieu d’emplacement. À plusieurs égards, l’œuvre d’art reste en suspens : inlassablement auratisée par le récit, elle demeure éloignée. C’est dans le double éloignement de l’œuvre d’art que nous déployons notre objectif de travail : il s’agit d’une part d’ouvrir et de déceler les stratégies du récit historiographique lors du tissage discursif où l’art latino-américain est inscrit. D’autre part, il est question d’exposer l’échafaudage du récit où les images de reproduction technique, très loin d’illustrer ou de démontrer l’explication, désamorcent la continuité du récit. Alors, si le papier supporte l’étude historique, c’est sur la même surface où les images de reproduction des œuvres d’art démontent l’explication pour montrer, pour exposer, la cassure dans le discours historique. L’effet de charriage qui emporte l’explication en tant que guide de toute démonstration se défait avec l’utilisation des images de reproduction. Autrement dit, les images de reproduction ouvrent les pages de livres vers d’autres directions ; elles montrent, démontrent et démontent toute explication du récit historiographiqueAs a real “portable museum” this “box in a valise” cuts images, bites readings and rips the pages of Art history books. If the subject of Art history is finally established, we want to stop this perpetual movement that auratizes the work of art and its discourse. We read Art history books as if we were in a race throughout large anachronic galleries ripped from any physical location and placed in book pages. It is we, art historians who work with images reproduced by means of technology, photographic clichés that have lost their colour and have left to the legend the weight of size and place. In many ways the work of art rests in suspense, tireslessly auratized by the narrative it remains absent. It is in this double absence that we display the object of our work, on the one hand we attempt to open and identify the strategies of the historiographical narrative and then the discursive tissue where Latin American art is inscribed. On the other hand we will attempt to expose the historical framework where the images technically reproduced are far from illustrate or explain and instead break the continuity of the narrative. So, if the paper supports the historical study it is on this same ground where the images reproducing works of art dismantle the explanation to show and to expose the fracture of the historical discourse. The effect of thrust that carries an explanation as a guide for any demonstration is defeated with the use of images of reproduction. In other words, the images of reproduction open the pages of books towards other directions; they show, demonstrate and dismantle any explanation of the historiographical narrative
42
Zhai, Yi. "Échanges artistiques entre l'Iran et la Chine (13e-14e siècle) : textiles et céramiques." Thesis, Aix-Marseille, 2015. http://www.theses.fr/2015AIXM3080/document.
Full textAbstract:
Le présent travail porte sur les échanges artistiques entre l’Iran et la Chine observés sur le textile et la céramique du 13e au 14e siècle. Les discussions dans cette étude s’appuient sur une analyse des caractéristiques de transferts connus : par exemple, existence de transfert technique, relation entre deux véhicules (textile et céramique) des échanges artistiques et propre intention des Mongols. Trois parties composent ce travail, d’après les différents corpus. Les deux premières se consacrent séparément aux corpus de textiles concernant le textile à fil d’or et celui de céramiques. La première partie comporte un catalogue des spécimens textiles et d’analyser les changements artistiques. Dans la deuxième partie, l’examen scientifique permet d’évaluer l’échange technique potentiel. Dans la dernière partie, deux groupes de motifs (motifs représentant l’autorité et motifs de scène de chasse) sont comparés sur les spécimens textiles et céramiques. Le transfert de ces motifs concrets dévoile des relations culturelles essentielles entre des peuples non-sédentaires (les Khitan, les Jurchen et les Mongols) au nord de l’Asie. En conclusion, les différences entre les échanges artistiques représentés sur le textile et ceux sur la céramique montrent une une contradiction avec l’idée que le textile soit un médiateur de la céramique ilkhanide pour le transfert artistique. Ces différences sont fondamentalement liées avec les charactéristiques de la nature et les qualités sociales de chaque matérial. Dernièrement, l’intention des dominants mongols, comportant des successions culturelles de peuples non-sédentaires, est représentée par les échanges artistiques à l’époqueThis paper presents studies on the artistic exchanges between Iran and China observed on textiles and ceramics from the 13th to 14th century. It presents detailed analysis of three important characteristics of the artistic transfers : namely the existence of potential technique transfer, the relation between the two materials (textile and ceramic) during the artistic exchange, and the intention of the Mongols, based on existing corpus The first part of paper is devoted to textile corpus, particularly the textile with golden thread, featuring a catalog of textile samples. The second part presents in depth discussions of the ceramic corpus and questions the potential technical exchange of pottery , followed by comparisons based on actual data. The third part presents comparisons of the patterns observed in both textiles and ceramics specimens, suggesting that the transfer of the concrete motifs reveals the essential cultural relations between the non-sedentary peoples (the Khitan, the Jurchen, the Mongols) of northern Asia. The conclusions of the studies are threefold. First, the technical transfer can be only confirmed in the textile domain. Second, the differences of the artistic exchanges between the textile and the ceramic are closely related to the natural characteristics and the social value of each material, which challenges the previous idea that the textile would be considered as the mediator for the Il-khan ceramic during the artistic transfer. The last but not the least, the cultural relationship between the non-sedentary peoples is clearly represented by the artistic exchanges under the domination of the Mongols
43
Dixon, Ashford Leon. ""It's Technical": Exploring the Determinents to Technical Probation Revocations Among Felony Probationers." Thesis, University of North Texas, 2011. https://digital.library.unt.edu/ark:/67531/metadc67976/.
Full textAbstract:
Within the United States, probation has customarily been used as a way to divert offenders away from prison. Over the past two decades the number of offenders who are sentenced to probation has increased tremendously. While there have been more offenders sentenced to probation, there has also been an increase in the number of probationers having that sentence revoked. The most prevalent type of revocation is a technical revocation. Probationers receive technical violations culminating in a revocation when they fail to satisfy the conditions of their probation sentence such as attending rehabilitative programming. The present study adds to the literature on technical revocations by examining characteristics of felony probationers from a large Southern state who were revoked between January 1, 2008 and December 31, 2009. Findings revealed that female probationers, older probationers, white probationers, and those probationers who had not completed high school were significantly more likely to be revoked for a technical revocation. Implications for practice and suggestions for future research based on these findings are discussed.
44
Jarl, Fredrik, and Lundén Emil Moberg. "Smartphones and news consumption in Kenya : How technical devices are used by students at the Technical University of Mombasa." Thesis, Linnéuniversitetet, Institutionen för medier och journalistik (MJ), 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-39366.
Full textAbstract:
Our study has explored how university students at the Technical University of Mombasa, TUM, in Kenya consume news. The aim of the research has been to get a snapshot picture of what the consumption look like in a time and context when the development of Internet Communication Technology, ICT, has increased rapidly in a short period of time. Our empiric data has been collected through three different methods. First we approached the area of the Technical University of Mombasa with an ethnographic method. Then we went on with an in-depth interview with one of our key informants before handing out a survey to collect quantitative data to analyse. Through theoretical framework rooted in the theories of Digital divide and New media we interpreted our data to be able to answer our research questions. The results show that the use of the smartphone is widely spread in order to consume news among students of TUM. Money is still a big obstacle for the majority of the students in our population in how they can access news through technical devices. The gap between those who can afford and those who fight with financial issues is still large. Our study confirms that the gap in the digital divide is still big but we could read signs telling us that the gap maybe is about to shrink.
45
Kačinauskienė, Daiva. "Auliniu batu dekoravimas siuvinejimo technika." Bachelor's thesis, Lithuanian Academic Libraries Network (LABT), 2010. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2010~D_20100903_115309-59710.
Full textAbstract:
Bakalauro darbo tema- Aulinių batų dekoravimas siuvinėjimo technika. Darbo objektas: aulinių batų dekoravimas augaliniais ornamentais. Darbo tikslas: analizuoti literatūrą apie batų istorijos madą, dekoruoti aulinius batus siuvinėjimo technika, naudojant augalinį motyvą. Uždaviniai: apžvelgti batų istorijos raidą; išnagrinėti siuvinėjimo technikų taikymą meninėje raiškoje; sukurti kūrybinį darbą panaudojant siuvinėjimo techniką; pritaikyti siuvinėjimą kryželiu technologijų pamokose. Apžvelgus informacinius šaltinius galima teigti, kad kiekviena epocha sukurdavo savo savitą batų stilių. Tobulėjant technikai pradedamas iškarpyti ažūras, batai puošiami spalvingu siuvinėjimu. Siuvinėjimu dekoruojamos įvairiausios medžiagos: avalynė, buities rakandai, nerti, austi audiniai, bei popierius. Technologijų pamokose mokiniai turi galimybę kūrybiškai pritaikyti įvairias siuvinėjimo technikas dekoruojant tekstilę ir kt. Išsiuvinėtos dvi odinių batų poros. Pritaikyta ši siuvinėjimo technika: siuvinėjimas kryželiu, kimštukai. Augalinis motyvas: aitrioji paprika ir ankštinė pupelė.Theme of Bachelor degree thesis – Decoration of high shoes by embroidery technique. Subject of the thesis: decoration of high shoes ornament plant. Aim of the thesis: to review literature on history of shoes fashion, to decorate high shoes by embroidery technique with plant motive. Objectives: to review development of shoes history; to analyse application of embroidery technique in artistic expression; to create a creative work on the basis of embroidery technique; to apply cross stitch embroidery in the lessons of technologies. A review of information sources can be said that every age creates its own unique style of shoe. Technical development begins jag Azur, boots decorated with colorful embroidery. Embroidery decorated a variety of materials: footwear, household utensil, crocheted, woven fabrics and paper. Technology classes students have the opportunity to creatively apply the various techniques of embroidery decorating textiles and others. Embroidered leather shoes for two pair. Facilities for this embroidery technique: cross stitching. Plant motifs: Chilli, and legumes.
46
SANTOS, Noeli Batista dos. "Imagens Técnicas e o Ensino de Arte Um Jogo Antropofágico." Universidade Federal de Goiás, 2010. http://repositorio.bc.ufg.br/tede/handle/tde/2833.
Full textAbstract:
Made available in DSpace on 2014-07-29T16:28:01Z (GMT). No. of bitstreams: 1
Noeli Batista2.pdf: 2649022 bytes, checksum: c236b044365c3dc7c3050f6c497a385a (MD5)
Previous issue date: 2010-03-25The research project titled Technical Images and the Teaching Art A Anthropophagic Game is a narrative whose construction was motivated by the search for possible answers to the following question: How to turn glances through the construction of technical images? For this purpose, the context of this research involved the study of the philosopher Vilém Flusser in relation to the concepts of technical image, producing images devices and a likely game universe, as a space of subversion of the functional status of the users of such devices. In other to guide the context of the research, the Mirror Methodology has been treated as interpretive space of the Digital Images Creation Laboratory course context, taught in the 2007 s first semester, and, in this narrative, chosen as trigger field of the investigative context. The reflexive interview was the strategy developed to regain contact with former course participants, of the group of night, here, participating subjects in this research. The general objective of this path was to seek clues to the systematization of the learning process once intitled The Game of Poetics. This game proved itself, in this context, as a possible formative space of libertarians players to articulate in concepts formulated in the Universe of Complex Thinking developed by Edgar Morin. Such possibility happens because three core criteria, indicative of their formation, have been mapped in the narratives of the participating subjects: Motivation, Awareness and Action. These players will be responsible for starting the Anthropophagic Game at the heart of Telematics Network, structuring system of the Null Game, meta-game of Cartesian Thought, generator of the Universe of Technical Images.
O projeto de pesquisa intitulado Imagens Técnicas e o Ensino de Arte Um Jogo Antropofágico constitui-se em uma narrativa cuja construção foi motivada pela busca de possíveis respostas para a seguinte questão: Como transformar olhares por meio da construção de imagens técnicas. Para tanto, o contexto dessa pesquisa abrangeu os estudos do filósofo Vilém Flusser, em relação aos conceitos de imagem técnica, aparelho produtor de imagens e um provável Universo do Jogo, como espaço de subversão da condição funcional dos usuários de tais aparelhos. Para orientar o contexto da pesquisa, foi pensada a Metodologia do Espelho como espaço interpretativo do contexto do curso Laboratório de Criação de Imagens Digitais, ministrado no primeiro semestre do ano de 2007, e, nessa narrativa, escolhido como espaço deflagrador do contexto investigativo. A entrevista reflexiva foi a estratégia elaborada para retomar o contato com os ex-cursistas, do grupo do noturno, aqui, sujeitos participantes da investigação. O objetivo geral desse trajeto foi tomar consciência de pistas para a sistematização do processo de aprendizado ora denominado O Jogo da Poética. Tal jogo revelou-se, nesse contexto, um possível espaço formador de jogadores libertários ao articular conceitos formulados no universo do Pensamento Complexo referenciado por Edgar Morin. Tais jogadores serão os responsáveis para iniciar o Jogo Antropofágico no cerne da Rede Telemática, sistema estruturante do Jogo Nulo, meta-jogo do pensamento cartesiano, gerador do Universo das Imagens Técnicas.
47
Willems, Sonja. "La céramique gallo-romaine du Haut-Empire produite chez les Ménapiens, Atrébates et Nerviens : dynamiques économiques et identités territoriales." Thesis, Paris 10, 2019. http://faraway.parisnanterre.fr/login?url=http://bdr.parisnanterre.fr/theses/intranet/2019/2019PA100042/2019PA100042_1.pdf.
Full textAbstract:
En Gaule Belgique, la partie méridionale des civitates des Ménapiens et des Nerviens ainsi que le nord du territoire atrébate composent une zone caractérisée par des multiples terroirs. L’étude de la production locale de la céramique du Haut-Empire chez ces trois peuples vise à illustrer la complexité de dynamiques économiques et d’expressions culturelles distinctes. Pour ce faire, la méthode employée combine descriptions macroscopique, pétrographique et chimique des productions des officines locales et identification systématique des céramiques issues des sites de consommation, permettant une illustration de la distribution des vases ainsi qu’une analyse des enjeux économiques et identitaires. Adaptés à leur environnement, les Ménapiens à l’ouest de la région étudiée restent fidèles à une tradition indigène de modelage, tandis que les Atrébates et Nerviens se tournent au milieu du Ier s. après J.-C. vers le tournage et une recherche de matières premières appropriées. Les raisons de ces choix différents sont multiples, mais l’exploitation du terroir joue un rôle fondamental. La présence d’argiles adaptées, la production de denrées spécifiques, l’arrivée de populations exogènes sont des facteurs fondamentaux amenant à des devenirs contrastés. Cette approche originale amène également à des réflexions sur le travail du potier : l’identification des mélanges d’argiles, la modification ou le maintien de ceux-ci, la reconnaissance de tests et leur abandon, la spécialisation, la conservation, le transfert ou l’abandon de techniques ainsi que le déménagement de potiers. Ces dernières thématiques peuvent être abordées pour les officines focalisées sur la production de céramique tournée, vendue non pour leur contenu mais pour la qualité du contenantIn Gallia Belgica, the southern part of the Menapian and Nervian civitates, as well as the northern part of the Atrebates territory are characterized by multiple landscapes. The analysis of local pottery production illustrates the complexity of the economic relationships and their different expressions of cultural identity, achieved through an integrated approach of macroscopic, petrographic and chemical description of local kiln site material, combined with a systematical identification of pottery from consumption sites. This method permits us to study the pottery distribution patterns and thus an analysis of economic and cultural interaction. In the western part of the studied area the Menapians preserve the traditional indigenous technique of hand-made pottery, while in the eastern part the Atrebates and the Nervians change to wheel-turned pottery and a choice of specific clays by the middle of the first century AD. The reasons for this difference in choices and techniques are multiple, but the land-use plays a fundamental role. The presence of well-adapted clay material, the production of specific delicacies and foodstuffs and the arrival of exogenous populations, are crucial factors leading to this technical contrast. The integrated approach of studying both the consumption and production material also assists in answering questions about the organization of the potter’s production: identification of clay mixtures, the alteration or upholding of certain mixtures, recognition of testing periods and abandoning of clay mixes, specialization and the conservation, transferring or movement of techniques or of potters. These themes can be developed for pottery kiln sites focusing on the production of wheel-turned pottery, sold for its qualities instead of its contents
48
Rhodes, Susan. "The active and passive voice are equally comprehensible in scientific writing /." Thesis, Connect to this title online; UW restricted, 1997. http://hdl.handle.net/1773/9033.
Full text
49
Hughes, Edward J. "Girls and technology education why are there so few girls studying technology education at West Bend high schools? /." Online version, 1998. http://www.uwstout.edu/lib/thesis/1998/1998hughese.pdf.
Full text
50
Wang, Hsiao-Lan. "Aesthetic and Technical Analysis on Soar!" Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc30522/.
Full textAbstract:
Soar! is a musical composition written for wind ensemble and computer music. The total duration of the work is approximately 10 minutes. Flocking behavior of migratory birds serves as the most prominent influence on the imagery and local structure of the composition. The cyclical nature of the birds' journey inspires palindromic designs in the temporal domain. Aesthetically, Soar! portrays the fluid shapes of the flocks with numerous grains in the sounds. This effect is achieved by giving individual parts high degree of independence, especially in regards to rhythm. Technically, Soar! explores various interactions among instrumental lines in a wind ensemble, constructs overarching symmetrical structures, and integrates a large ensemble with computer music. The conductor acts as the leader at several improvisational moments in Soar! The use of conductor-initiated musical events in the piece can be traced back through the historic lineage of aleatoric compositions since the middle of the twentieth century. [Score is on p. 54-92.]