This thesis adds a complex account to existing climate change engagement literature, which captures the ways that interactions with, and interpretations of, climate change emerge across the spaces and practices of day-to-day life. The empirical research for this thesis was based in Penryn and Falmouth, two small adjoining coastal towns located in the county of Cornwall, in the southwest of the UK. Fieldwork across a number of sites including schools, community groups and the local fishery engaged participants in a wide variety of research interactions. A combination of ethnographic and autoethnographic techniques were applied to produce complex, nuanced and personal accounts of interactions with and reflections on climate change that emerged in a day-to-day context. This study employed the innovative use of a personal research archive to facilitate the process of sense making across a body of highly detailed and contextual data. Through the use of thematic coding, links between data collected in diverse research encounters has been drawn together to produce meaningful narratives of climate change engagement in day-to-day life. These narratives capture the adaptive, imperfectly situated and inconsistent engagement responses that emerge as a result of the challenging nature of climate change and the inevitable, multiple pressures of the day-to-day context. The research approach taken in this study, and the findings set out in the thesis make contributions to three main areas of climate change engagement literature. Firstly, it explores the way that climate change is situated and understood in the context of day-to-day life. Secondly, it considers the implications of conceptualising climate change engagement as either a ‘process’ or a ‘state’. Finally, it extends existing analysis of ‘barriers to engagement’, locating them within the complexity of the day-to-day context and identifying them as part of essential interpretive iterations of engagement.

L’élaboration de ce travail de thèse s’inscrit dans une démarche universitaire, elle est également pensée de manière simultanée avec la création artistique. Elle s’oriente vers des questionnements liés à une quête personnelle, intime, mais également « traquée » dans une voie plus large qui est celle de la généalogie, de la photographie de famille, de l’image documentaire et des zones d’ombres qui font partie de toute histoire personnelle. Des mécanismes de résistance à l’artification se déploient comme tentative de réponse artistique et de recherche, face à une histoire mutique, un manque de paroles. L’histoire familiale est source de filiations plurielles, de transmissions – verbales ou non –, mais aussi de secrets. Certains vides apparaissent parfois dans des portraits où l’élément absent, par l’insistance de son manque dans la logique du récit, devient obsédant. La spécificité pour les artistes qui s’attachent à ces corpus consiste à collecter, s’approprier et exposer ces images troubles pour les réinvestir dans un circuit artistique, volubile et efficace. Ces nouvelles images, définies comme histoires intimes mais aussi comme un art du témoignage, se transforment alors en une mémoire collective : par un habile téléscopage de sens, l’oeuvre ainsi née de l’image vernaculaire fait irruption par sa plasticité et offre un sens nouveau à la figure effacée ou absente. Cette réflexion théorique et artistique, entreprise sur les relations polysémiques entre photographie documentaire et poïétique de l’effacement, analyse la manière dont l’art agit au coeur des images d’archives. Qu’est-ce qui de l’art– par ses méthodes, ses dispositifs de mise en oeuvre, son inscription sociale et historique–se trouve activé qui permette ainsi de « lire » une image qui refusait de se donner. Réciproquement, quels leviers sont élaborés par les artistes, pour mettre à jour des images qui ne leur appartiennent pas et qui viennent bouleverser notre rapport à l’information initiale ? C’est là tout l’enjeu de cette recherche théorique et plastique qui permet de saisir une mécanique d’artification des images d’archives, à mi-chemin de l’histoire intime et de la mythologie artistique ; ou comment du récit en creux surgissent des images, figures vacillantes entre présence et absence, archives d’un devenir reformulé. / The development of this thesis work falls within an academic approach, andis also simultaneously thought in connection with the artistic creation. It deals with personal and private questioning, but is also « hunted » in a different way regarding yet genealogy, family and documentary pictures and the shadow zones that are part of all personal history. Mechanisms of resistance to arti- fication are deployed as an attempt at an artistic and theoretical response, facing a mute story, a lack of words. The family history is the origin of plural filiations, transmissions–with or without words–but also secrets. Sometimes some empty spaces appear on portraits. The missing element, thus, becomes an obsession due to its lack in the logic of the story. The artists working on those corpuses specifically aim to collect, reclaim and exhibit those blurred pictures in order to re-use them into an artistic, voluble and efficient circuit. These new pictures–private stories and testimony art at once–turn into a collective memory : by a clever telescope of meaning, the work, born out of the vernacular image, breaks through thanks to its plasticity, and offers a new meaning to the erased or absent figure. This theoretical and artistic reflection, based on the polysemous relations between documentary pictures and « erasing poietic », analyses the way that art acts into old archive pictures. How can art give the power to « read » a picture that is invisible ? Which ways, implemented devices, social and histo- ric beliefs allow it ? Conversely, what levers are developed by the artists, to update images that do not belong to them and that change our vision of the initial information ? Here is the challenge of this theoretical and plastic research that let us understand a mechanism of the artifying archival image, midway between private story and artistic mythology ; or how can images or vacilla- ting figures between presence and absence appear from invisible elements, as archives of a reformulated future.

L’érosion mécanique des surfaces continentales, ou "détritisme", résulte du forçage climatique mais peut être amplifiée par le forçage anthropique. Cette érosion des sols, et sa compréhension, représentent aujourd’hui un questionnement sociétal majeur. Le présent travail s’est donc intéresse aux relations étroites liant climat, Homme et détritisme, dans les environnements continentaux holocènes. Associée à une démarche analytique multiparamètres, couplant quantification et modélisation de l’érosion des sols, l’étude intégrée et la comparaison de différents systèmes lacustres d’Europe occidentale, d’altitude et de piedmont, alpins et pyrénéens, a permis d’obtenir les informations suivantes. A long terme, la bipartition climatique Holocène (Optimum Climatique/Néoglaciaire) s’illustre par une augmentation de l’humidité, généralisée en Europe occidentale, et de l’ordre de 800 mm/an dans les Alpes françaises. Cette transition résulterait d’un relais entre le forçage solaire et le couplage océan/atmosphère. A court terme, l’Holocène est ponctué de périodes plus humides ou plus sèches, synchrones a l’échelle de l’Europe occidentale, et culminant avec le Petit Age Glaciaire. La présence humaine est d’abord mise en évidence dans les systèmes de piedmont et est synchrone a l’échelle des Alpes (Néolithique). Elle parait plus tardive dans les sites de haute altitude (Age du Bronze). L’implantation humaine en altitude et en piedmont est régulée par l’accessibilité aux sites, mais également par des rétroactions climatiques négatives. En piedmont, ces rétroactions négatives ne sont effectives que jusqu’à l’Age du Fer. Si le détritisme est dans un premier temps principalement controlé par le climat, il subit les conséquences de l’anthropisation des le Néolithique dans les Préalpes. Cette anthropisation est limitée aux systèmes de piedmont, ou elle explique jusqu’à 50% de l’érosion des sols, notamment pendant l’Age du Bronze, l’Age du Fer et le dernier siècle. / The mechanical erosion of continental surfaces, or “detritism”, results from climatic forcing, but can be amplified by the anthropogenic one. Today, soil erosion represents therefore one of the major issue. The present work is thus focused on the interactions linking climate, human impacts and detrism, on Holocene continental environments. Associated with a multiparameter analytical approach, combining the quantification and the modelisation of soil erosion, the integrative study and the comparison of different lacustrines archives from Western Europe provide the following informations. At long time scale, the transition out of the Holocene Thermal Maximum towards the Neoglacial period is defined by the progressive establishment of a wetter climate within Western Europe. In Western French Alps, this is more particularly characterized by an increase of 800 mm per year of the mean annual precipitation. Human presence is first detected throughout the piedmont plain, and is synchronous across the Alps (Neolithic period). Human settlements are regulated by the accessibility, but also by negative climate feedbacks, at least up to the Iron Age. Over the Holocene, soil erosion is thereby mainly controlled by the climate but is also influenced by the human activities wihtin the piedmont plain, since the Neolithic period. This anthropogenic pressure explains up to 50% of the soil erosion quantified into the lacustrine archives from the French Prealps. It is more particularly important during the Bronze Age, the Iron Age and the modern period.

Chung Hung Yu Rex. / "Architecture Department, Chinese University of Hong Kong, Master of Architecture Programme 1996-97, design report." / Chapter I. --- BACKGROUND / Chapter I.I --- Client / Chapter I.II --- Need / Chapter I.III --- Program/ Brief / Chapter I.IV --- Users / Chapter I.V --- Site selection & context / Chapter I.VI --- Design Objectives / Chapter II. --- DESIGN STRATEGY / Chapter II.I --- Design Philosophy / Chapter II.II --- Concept Development / Chapter II.III --- Site Aspect / Chapter a) --- Site Context / Chapter b) --- Site Zoning Strategy / Chapter c) --- Site Circulation / Chapter II.IV --- Building Design / Chapter a) --- Building Zoning Strategy / Chapter b) --- Building Circulation / Chapter III. --- STRUCTURE / Chapter III.I --- Superstructure / Chapter III.I --- Curtain wall System / Chapter IV. --- AIR-CONDITIONING / Chapter IV.I --- Zoning Strategy / Chapter IV.II --- Detail Design / Chapter V. --- FIRE SERVICE / Chapter V.I --- Means Of Escape / Chapter V.II --- Fire Compartmentation / Chapter VI. --- PLUMBING & DRAINAGE / Chapter VII. --- APPENDIX / Chapter 1. --- Assembly Drawings & Model Photos / Chapter 2. --- Programming Report/ Design Brief

Seit 2004 fördert die DFG durch umfangreiche Finanzierungsmaßnahmen den deutschlandweiten Zugriff auf elektronische Literatur- und Informationssysteme für fast alle Fachgebiete ...

Project file archives are becoming increasingly large. The number of files, information and data that need to be created, accessed and modified throughout a project can be overwhelming. It is critical for project participants or contributors to find relevant information in project archives quickly. In this thesis, I present VisArchive, an interactive visualization tool that provides users with better awareness of search results within project archives. VisArchive visualizes the relevance-ranked search results with a color-coded stacked bar chart and interactive timelines and provides supporting visual cues to help differentiate search results based on searched keywords. It aims to allow users to interactively search, browse, and explore information in project archives, including access history, effectively and efficiently. I will present two case studies to illustrate how VisArchive can be used to support searching, browsing, and exploring information in building construction and open source software projects. In addition, I discuss how VisArchive can be improved to address information retrieval problems and work across different domains. VisArchive demonstrates the combination and application of several visualization techniques to the problem of searching and navigating project archives. / Graduate / 0984

Project file archives are becoming increasingly large. The number of files, information and data that need to be created, accessed and modified throughout a project can be overwhelming. It is critical for project participants or contributors to find relevant information in project archives quickly. In this thesis, I present VisArchive, an interactive visualization tool that provides users with better awareness of search results within project archives. VisArchive visualizes the relevance-ranked search results with a color-coded stacked bar chart and interactive timelines and provides supporting visual cues to help differentiate search results based on searched keywords. It aims to allow users to interactively search, browse, and explore information in project archives, including access history, effectively and efficiently. I will present two case studies to illustrate how VisArchive can be used to support searching, browsing, and exploring information in building construction and open source software projects. In addition, I discuss how VisArchive can be improved to address information retrieval problems and work across different domains. VisArchive demonstrates the combination and application of several visualization techniques to the problem of searching and navigating project archives. / Graduate / 0984

Das Populäre und das Archiv sind zwei sich gegenseitig ausschließende Gegenstandsbereiche, wenn man ersteres mit den Kennzeichen Allgemeinverständlichkeit und Allgemeinzugänglichkeit bei gleichzeitiger affektiver Verankerung (Williams 1976) verbindet, und letzteres in erster Linie als Selektionspraxis und normative Wissensformation versteht (Foucault 1969, Derrida 1995). Mit Urs Stäheli (in Pompe, Scholz 2002) lässt sich hier ein Paradox aufzeigen: das allgemein Verständliche zu archivieren hieße, nur das, was schon überall vorhanden ist zu verdoppeln. Das Populäre der Archivordnung zu unterwerfen, hieße jedoch auf der anderen Seite, es zu ‚entpopularisieren’, den Zugang zu selegieren. In der jüngsten Vergangenheit nun werden wir mit fluktuierenden Archivstrukturen konfrontiert, die sich via Internet und Netzwerk-Konfigurationen als dynamisch veränderbares Bilderkonvolut und als selbstreflexive Medienpraxis präsentieren. Wikipedia und YouTube drängen sich heute als dominante Bildarchive auf, die als populäre Medienpraxis die archivarische Arbeit am Bild beständig weitertreiben und umbauen. Es wäre nun zu fragen, ob nicht gerade hier eine Archivpraxis bereitstünde, die das Populäre nicht in statuarischen Ordnungssystemen tot stellt, sondern Selektions- und Ordnungsprozesse als performative Praxis offen hält. Vielleicht wäre es möglich, hier das Bild eines ‚Archiv-Dunkels’ und einer offenen Oberfläche des Populären zu einem hybriden Konzept zu verschränken.

Comment mémoriser quand tout semble déjà mémorisé, enregistré, archivé ? Comment produire de la mémoire quand chacun se trouve entouré d’appareils disposés à mémoriser pour lui ? Comment opérer une distinction entre une « mémoire » prothétique, externalisée, déterritorialisée et une mémoire qui serait de l’ordre de l’expérience ? Notre hypothèse est que pour saisir la spécificité de cette mémoire, il faut comprendre en quoi elle relève d’un processus avant tout corporel. La mémoire non seulement s’inscrit dans le corps, mais plus encore procède du corps. Les « arts de la mémoire » qui envisagent la mémoire comme un procédé associant une image à un lieu laissent ainsi impensé le troisième terme de cette association : le corps, et plus précisément le corps affecté. C’est l’art, et en particulier l’art à partir des années soixante, qui nous semble restituer de la façon la plus manifeste ce processus quand il prend le corps comme médium et articule ainsi étroitement les notions de pratique, de mémoire et de corps, à travers trois modalités principalement : la trace, l’inscription, l’archive. Pour comprendre comment les pratiques artistiques à partir des années soixante donnent à repenser les pratiques mémorielles, nous nous intéresserons donc au corps qui se mesure à l’espace et y laisse une trace (Richard Long, Piero Manzoni, Stanley Brouwn) ; au corps qui répète un même geste et par cette répétition, inscrit ce geste en lui (Samuel Beckett, Bruce Nauman, Vito Acconci, Andy Warhol) ; au corps enfin qui se fige, se stratifie et devient lui-même sa propre archive (Jeff Wall, Gerhard Richter). / How to memorize when everything seems already memorized, recorded, archived? How to produce memory when one is submerged by tools, apparatus already memorizing for oneself? How to operate a distinction between a prosthetic, external “memory” and a memory which proceeds from experience? The specificity of memory consists in, and this is our hypothesis, bodily processes. Not only does memory inscribes itself in the body, but it also proceeds from the body. The arts of memory (the ars memoriae of the Antiquity) which conceive memory as a procedure associating an image with a place, do not take in consideration the other term of this association: the body, or more precisely, the affected body. Art, and specifically art since the sixties, reconsiders the link between body and memory by using the body as a medium, thus closely articulating notions of practice, memory and body through three modalities: trace, inscription, and archive. In order to understand how art practices since the sixties have contributed to redefining memory practices, the research will focus first on the body which confronts itself to space and leaves a trace (Piero Manzoni, Richard Long, Stanley Brouwn), then on the body which repeats the same gesture and by the way of this repetition, inscribes this gesture in itself (Samuel Beckett, Bruce Nauman, Vito Acconci, Andy Warhol), and finally, the body which becomes itself a body-archive (Jeff Wall, Gerhard Richter).

Made available in DSpace on 2014-06-11T19:26:44Z (GMT). No. of bitstreams: 0 Previous issue date: 2010-08-30Bitstream added on 2014-06-13T20:34:33Z : No. of bitstreams: 1 pupim_ek_me_mar.pdf: 1705133 bytes, checksum: 098e60d3202090bc6130ea7fd7ac7e9b (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / O presente texto apresenta o estudo desenvolvido em uma representativa indústria fotográfica do ramo de formaturas. O objetivo que impulsionou o trabalho foi conhecer como ocorre a origem de documentos que permeiam a produção do álbum fotográfico e a situação em que se encontra o arquivo fotográfico da empresa estudada. No intuito de alcançar a meta proposta optou-se pelo desenvolvimento do método de pesquisa estudo de caso mediante a observação das rotinas diárias e entrevistas com aplicação de questionários semi-estruturados aos funcionários do setor e aos chefes de departamentos da empresa. A escolha da empresa deveu-se a abertura da organização aos interesses da pesquisa acadêmica; bem como ao tamanho do acervo documental que contém aproximadamente cem mil álbuns fotográficos, e ao fato de que há pouco mais de três anos, a empresa adotou o sistema digital de captura de imagens adequando seus equipamentos, funcionários, fotógrafos e arquivo a nova realidade. A relevância social do estudo se dá através da proximidade de um vínculo concreto entre o profissional da Ciência da Informação e o pólo fotográfico existente na região de Tupã, abrindo canais promissores de intercâmbio em área pouco explorada. A importância científica se deve a construção de conhecimentos que abordem conteúdos da Ciência da Informação e Arquivologia, incentivando a discussão interdisciplinar sobre a gênese de fundos fotográficos privados. Os resultados da coleta de dados foram sintetizados através de um organograma estrutural da empresa, do fluxograma que descreve a criação do documento que contém as informações relativas ao produto final da empresa, bem como a construção de um organograma funcional que permite compreender as atividades desenvolvidas pelo setor Arquivo de Álbuns Fotográficos / The following text presents informations about the need of a study in case of private file of a representative fotographic company of the social events business. There are three reazons for the choice of that company: 1) The opening of the company to academic reaserch interest; 2) the size of the file that nowadays keeps more than 100.000 documents/albums; 3) the fact that almost three years ago, the company adopted the digital system of images capture, and now its adapting its equipments, employees, photographers and the file to new technologies. The social study importance takes place through the proximity of a concrete tie between the professional and Information Science, with graduation in Marilia town and the photographic field in Tupã region, opening promising interchange channels in a not exploited area among companies and professionals. The scientific importance might be evaluated by means of knowledge construction that approaches Information Science and Archivology, encouraging the interdiciplinary discution about the photographic founds administration privates. The results of data collection were synthesized by a structural chart of the company's flow chart that describes the creation of the document containing all information relating to the final product of the company, as well as the construction of a functional organizational structure that allows us to understand the activities developed by sector Archive Albums