Thèse d'exercice : Chirurgie dentaire : Université de Nantes : 2005. / Bibliogr. f. 74-84 [129 réf.].

Thèse (M. Sc.)--Université de Montréal. / Résumé en anglais et en français. "Mémoire présenté à la Faculté des études supérieures en vue de l'obtention du grade de maître ès sciences (M. Sc.)." Bibliographie: ff. 120-131.

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This thesis is an exaggerated perspective arcade. The exaggerated perspective has a vantage point that is placed across the street from the site and is differentiated from the sidewalk. Therefore, the position at which the arcade is optimally viewed is demarcated. Over its 100 feet in length, the arcade converges and all the elements within the false perspective diminish in size to support the optical illusion. Constructed perspective techniques and anamorphic perspective techniques are utilized to construct this ideal view of the arcade between the two buildings. / Master of Architecture

[pt] Game Design é o processo de criação de um jogo, que engloba a definição de seu funcionamento, a descrição dos elementos que o compõe, bem como a transmissão destas informações à equipe que irá desenvolve- lo. O presente trabalho aborda o estudo do Game Design de jogos eletrônicos multi-plataforma, analisando criticamente como esta classe de jogos está sendo projetada. Por ser uma mídia em estágio de amadurecimento, a formação acadêmica necessária aos profissionais que atuam na área de jogos eletrônicos ainda não está claramente definida, e sua linguagem e potencialidades estão longe de serem enxergadas em sua totalidade. O exorbitante retorno financeiro da indústria a tornou conservadora e esta tendência está ofuscando a criação de um conteúdo significativo e exploratório. Com o objetivo de identificar e justificar as decisões de Game Design recorrentes em jogos eletrônicos multi-plataforma, questiona-se quais são as características presentes nestes jogos que influenciam a maneira em que são percebidos e jogados quando em diferentes plataformas e situações de uso, e quais as qualidades destas situações que devem ser relevadas durante o processo de sua criação e desenvolvimento. A pesquisa analisa o Game Design de quatro títulos, comparando suas diferentes versões de acordo com seus usos em contextos público, privado e móvel, adotando uma abordagem que compreende as percepções de um jogador e também as de um designer. / [en] Game Design is the process of creating a game, which includes defining its functionality, describing its composing elements, as well as transmiting these informations to the development team. The current work approaches the study of the Game Design present on multi-platform electronic games, analysing how they´re being designed. Being a maturing medium, the academic profile needed for its professionals still isn´t clearly defined, and its language and potencials haven´t been fully explored. The industry´s exorbitant financial return has made it conservative, blinding the creation of meaningful content. With the objective of identifying and justifying the Game Design decisions recurrent on multi-platform electronic games, it is questioned what characteristics affect the way theses games are percepted and played when in different platforms and situations, and which qualities of these situations must be considered during the creative and development processes. The study analyses the Game Design of four titles, comparing their different versions according to their uses on public, private and mobile contexts, through a point-of-view that corresponds to both player and designer.

Submitted by Renata Lopes (renatasil82@gmail.com) on 2015-12-11T16:42:52Z No. of bitstreams: 1 elisamariarodriguesbarboza.pdf: 3025139 bytes, checksum: fc3719a890df101bae26726878048e74 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2015-12-14T15:47:34Z (GMT) No. of bitstreams: 1 elisamariarodriguesbarboza.pdf: 3025139 bytes, checksum: fc3719a890df101bae26726878048e74 (MD5) / Made available in DSpace on 2015-12-14T15:47:34Z (GMT). No. of bitstreams: 1 elisamariarodriguesbarboza.pdf: 3025139 bytes, checksum: fc3719a890df101bae26726878048e74 (MD5) Previous issue date: 2015-07-06 / Inicialmente tido como um produto audiovisual principalmente televisivo, o videoclipe, nos últimos anos, tem se expandido e ganhado força no ambiente virtual. Abarcando as transformações tecnológicas, principalmente no âmbito da interatividade na web, culmina com a aparição dos videoclipes interativos. Que, por sua vez, combinam aspectos de diversos meios, como, por exemplo, da televisão, do cinema e da arte digital, para criar narrativas nas quais os espectadores podem modificar os resultados através da sua intervenção em um meio digital. Uma das bandas que se destaca nessa vertente é o Arcade Fire, que teve, ao longo de seu trajeto, quatro projetos audiovisuais interativos realizados por dois diretores, Vincent Morisset e Chris Milk e, em alguns casos, em parceria com a Google. Os videoclipes em questão são: Neon Bible (Vincent Morisset, 2007), Sprawl II (Moutains beyond mountains) (Vincent Morisset, 2010), The Wilderness Dowtown (Chris Milk, 2010) e Just a Reflektor (Vincent Morisset, 2013). Através da investigação do que é o videoclipe (inicialmente em seu formato não interativo), do ambiente no qual florescem as experiências interativas desse formato, da sua conexão com as narrativas digitais, bem como do aprofundamento acerca dos elementos envolvidos na produção dos clipes interativos feitos para o Arcade Fire, será produzida uma análise sobre os trabalhos realizados para a banda. / Initially had as an audiovisual product turned primarily to the television, the music video, in recent years, has expanded and gained strength in the virtual environment. Embracing the technological changes, particularly in the context of interactivity on the web, it culminates with the appearance of the interactive video clips. Those, in turn, combine aspects of various media such as television, film and digital art to create narratives in which the viewers can modify the results through their intervention in a digital environment. One of the bands that stands out in this aspect is Arcade Fire, who had, along its path, four interactive audiovisual projects carried out by two directors, Vincent Morisset and Chris Milk and, in some cases, in partnership with Google. Their music videos are: Neon Bible (Vincent Morisset, 2007), Sprawl II (Moutains beyond mountains) (Vincent Morisset, 2010), The Wilderness Dowtown (Chris Milk, 2010) and Just a Reflektor (Vincent Morisset, 2013). We propose an analysis of the interactive music videos produced for Arcade Fire, through the investigation of the music video (initially in its non-interactive format), the environment in which the experience of this interactive format flourished, its connection with the digital narratives, as well as a focus on the elements involved in the production of the band’s interactive videos.

As the United States shifted toward a service-based economy and an increasingly digital media environment, American youth -- particularly young men and boys -- found an opportunity to play with these values in the then-novel video game arcade. The video game industry first came of age between the successful commercialization of Pong in 1972 and the U.S. gaming industry crash of 1983. In the interim, economic and play practices in the arcade itself and media representations of the arcade and its habitués shaped and responded to the economic and cultural upheavals of the period. Arcade machines were the first computers many Americans confronted. Through public discourse about gaming and gamers, Americans engaged in a critical debate about computerization, the move to digital media culture, the restructuring of the U.S. labor economy, and the competitiveness of American youth -- particularly boys -- in a Cold War culture conceived as both hostile and technologically oriented. This study demonstrates that video gaming was an arena in which Americans grappled with larger tensions about masculinity, globalization, labor, and digitalization. By analyzing gaming as a practice of everyday life, this work not only offers a cultural history of this period of gaming, but critical insights into the crystallization of masculine identity in a postindustrial, postmodern economy. / text

Thesis (M.Hous.M.)--University of Hong Kong, 2004. / Also available in print.

Ancestry estimation for Hispanic Americans is increasing in importance as this minority population increases in the United States. Hispanics are historically an admixture of various geographic populations including European, Native American, and African. This combination of genes has caused many intermediate skeletal features that make identification of Hispanics a complicated process, especially when compared to Native Americans. "Hispanic" cannot efficiently encompass, as a term, the genotypic composition of multiple populations, as Hispanics from the Southwestern United States are historically a combination of Native American and European genes, whereas those from the Caribbean are historically an admixture of Native American, European, and African genes. While each of these regions can exhibit a certain combination of all three of these ancestral populations, each region has experienced a characteristic frequency of admixture. Southwest Hispanic populations are genotypically and phenotypically primarily comprised of Native American and European genes, resulting in an intermediate skeletal composition that prevents the distinct ancestry discrimination attainable by broad geographic groups. Previous dental morphological studies (Edgar 2013) have also presented results of intermediacy and particular difficulty separating these individuals from Native American and Asian groups; however, metric studies of the dentition of this population have yet to be investigated. Data were collected from n=569 dental casts from the James K. Economides collection which is housed at the Maxwell Museum in Albuquerque, New Mexico. Measurements included were the mesiodistal and buccolingual dimensions of the polar teeth of the morphogenetic field theory and the width and depth of the mandibular and maxillary arches. The morphogenetic field theory, as developed by Butler (1939) and adapted by Dahlberg (1945), represent the most stable teeth of the four fields of the dentition - incisors, canines, premolars, and molars. These "polar" teeth exhibit the least variation in crown size and shape. Significant differences were identified between ancestry groups and these were subsequently used to identify allocation rates between all groups and between particular sets, or groups, of ancestries. Discriminant function equations were developed as a tool for ancestry estimation. Success was greatest when both dental crown and arcade variables were pooled together in an analysis. Results of this study indicate odontometric analyses are useful in differentiating between Native Americans and European Americans, with classification rates ranging between 75.2% and 86.3%; however, much work must be conducted before application on Hispanic populations is possible. The Southwest Hispanic population exhibited greater phenotypic similarity to the European American population and had significantly lower success in allocation than between Southwest Hispanics and Native Americans. In cases where sex was known, successful allocation decreased, although females generally exhibited greater success than males. Potential utility is observed in this study when sex is unknown, and the development of a statistical methodology utilizing the dentition is proposed.

This thesis focuses on the active dialogue between the visual storefront/building edge and the adjacent public space. Pretoria's inner city arcades are the public spaces of the city. However, the current design of most of the defining edges presents very few opportunities for lingering. In most cases the dialogue between interior and exterior has died down, causing a loss in commercial activity. The study investigated how specific design features of the visual storefront edge influence the city dweller's experience of the surrounding public space and associated commercial activity. Insights gained through mapping and studying various arcades and thoroughfares were reworked for incorporation into a document - called Edge handbook - that provides guidelines for bringing the storefront edge to its full potential when seen in relation to its surrounding public space. The guidelines were implemented in a detailed design proposal for President Arcade. The reality of the inner city is that the arcades and thoroughfares are city dwellers' main form of public space, which thus calls for a redefinition of the economic retail ideal. It was found that the storefront edge cannot be seen as an entity separate from the surrounding public space and therefore does not justify merely giving the retail tenant as much clear display area as possible. The needs of the urban city dweller - for example, to observe a variety of activities and exert a choice in the level of exposure - must be considered and used to guide the design of the edge within an inner city arcade. The treatment of this edge can re-establish a sense of place, previously lost. A strong sense of identity associated with the edge can furthermore help to orientate the dweller within the urban fabric. This treatment also functions the other way around: a public space where city dwellers feel comfortable and which satisfies their social needs can make them more aware of the edges surrounding them. The design therefore cannot focus only on the public arcade space or the storefront edge, but it is the dialogue between the two that will determine if the space becomes a destination for the city dweller, rather than just another thoroughfare. Copyright / Dissertation (MInt(Prof))--University of Pretoria, 2010. / Architecture / unrestricted