This text outlines and applies a methodology for deciphering problems and producing new information by analyzing the artifacts produced by medical imaging technologies - text and images - using practices gleaned from Surrealists, semiologists, and visual artists, emphasizing its own form as being the product of the apparatuses that produce it and therefore untrustworthy. Its basic assumption is that every text contains the information necessary to solve problems of all sorts, though because of the limitations of this text in both form and authorial intellect, we may only reach a starting point for a solution herein. In this regard, we are deciphering rather than solving. Further, this text illustrates primarily through narratives how digital imaging technologies mediate our relationship with our doctors, illnesses, and our bodies. It explores how the artifacts produced by medical imaging technologies create a data stream that replaces the corporal patient, shifting the physician's focus from the whole body to pieces and parts. It is a study of texts and technologies. The method evolved from a rhetorical approach to examining the medical imaging artifacts and the processes by which those artifacts come into existence, with the method and form becoming part of the story, producing a wide array of new information that transcends disciplinary constraints.

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what follows is a relatively concise attempt at designing a place that would contain spaces of quietude, solitude and interaction through architectural qualities such as light and shadow, mass and void along with materials and layering. enjoyable and relaxing spaces that would last in one's memory. Hoping that these qualities would engrave a beautiful mark on one's soul even when they are no longer at that place. a complex of thermal baths in the city of isfahan, iran, a city rich in culture, made this exploration of mine pursuable and possible. / Master of Architecture

It is my intention through this thesis to investigate the structural condition of collage as a culturally relevant approach to understanding architectural meaning and designing architectural form within the context of the urban environment. Meaning in architecture, as it emerges both implicitly and explicitly within the framework of this condition, will be analyzed as it relates to contemporary cultural and historical conditions. In terms of process and product, collage is construed with meaning through juxtaposition and context. A collage does not convey an essential meaning, as its meaning arises through the deliberate techne - the act of its making, and not through reflection on any pre-existing qualities, as there are none. The whole of a collage does not merely encompass an accumulation of elements, but embraces a greater totality through a fragmentary synthesis. While synthesis denotes a constructive process, it also signifies a dialectic relation. The dialectic relation embodied in collage can be understood in terms of inclusivity and exclusivity of meaning. This thesis investigation originates from the premise that the architectural act can never be fully understood in terms of its architecture alone. To ignore the greater social, cultural, and historical framework that sustains both the maker and the made is to deny architecture its full depth of meaning, whether that meaning is ideological, transparent, or bound within a chain of signifiers. This is not to imply that the social deterministically constitutes architecture, as both undoubtedly reciprocate influence upon one another; the maker and the made leave their indelible impression upon the sphere of relations which surrounds them. However, it is ultimately within this sphere - this larger social context - that an architectural form embodies meaning. / Master of Architecture

This thesis is an investigation of embracing the figural possibilities of palimpsest through layering new construction upon extant. The existing building, a neglected warehouse in Louisville, Kentucky, is challenged by a new program that is intended to subdivide the vast, horizontal space and reconstrue the two distinctly ordered systems to formulate new interdependent spatial relationships. Filtered critical moments and continuities are explored through the implication of collapse, the embrace of datum and ideatum, and the lateral play of scale and repetition. Through development of these new relationships, the building is intended to not be a product but a construct of process, allowing particular moments of composition to exist within a collage of space and time. / Master of Architecture

Introduction : Après un traitement orthodontique, la rétention (ou contention) est essentielle pour éviter les récidives vers la malocclusion initiale. Le fil de rétention lingual est un appareil fixe, relativement facile à installer et bien accepté par les patients pour maintenir la position finale des dents antérieures inférieures. Étant de plus en plus utilisé, il devient important de s’assurer de sa fiabilité pour la stabilité de l’alignement dentaire. Objectif : Le but de cette étude clinique randomisée prospective est de déterminer le taux de survie d’un fil lingual mandibulaire de rétention en comparant les méthodes de collage direct et de collage indirect à court et moyen termes. Méthodologie : L’échantillon est constitué de 117 patients consécutifs aléatoirement distribués dans 2 groupes : collage direct (n=58) et collage indirect (n=59). Les fils torsadés de diamètre 0,0175’’ sont préformés par un technicien de laboratoire soit selon la méthode de collage direct, soit selon la méthode de collage indirect. Une matrice de transfert en silicone assure le positionnement précis du fil lingual en bouche. Assure® et Filtek™ Flow ont été utilisés pour le collage direct. Filtek™ Flow, Assure®, and Sondhi™ ont été utilisés pour le collage indirect. Les fils de rétention ont été évalués pour le décollement, l’infiltration, la distorsion et le bris à 2 mois (T1) et 6 mois (T2). Résultats : À T1, le taux de survie du fil de rétention est de 90,2% pour le groupe de collage direct, comparativement à 79,5% pour le groupe de collage indirect (p=0,232). À T2, le fil est resté intact pour 74,1% des participants dans le groupe de collage direct et pour 70,0% des participants dans le groupe de collage indirect (p=0,481). Les différences ne sont pas statistiquement significatives entre les 2 groupes. La fréquence du décollement est plus haute que les autres problèmes enregistrés à T1 (p<0,022), représentant 85,7% des échecs. À T2, le décollement est plus fréquent que la distorsion ou le bris (p<0,04), mais pas statistiquement plus fréquent que l’infiltration (p=0,109). Il représente alors 86,4% des échecs. Conclusion : Le décollement est la principale cause d’échec d’un fil de rétention lingual. Il n’y a pas de différence statistiquement significative du taux de survie d’un fil lingual mandibulaire de rétention entre les techniques de collage direct et de collage indirect à court et moyen termes. / Background: The lingual wire has been shown to be an effective way to ensure the retention of the lower anterior segment after orthodontic treatment. As it is increasingly used, it is important to achieve proper bonding of the wire to ensure stability. Objective: The aim of this prospective randomized clinical study is to assess the short and medium term survival rate of the mandibular lingual retention wire using 2 different bonding techniques (direct and indirect). Materials and Methods: The sample of 117 consecutive patients was randomly distributed into 2 groups: direct bonding (n=58) and indirect bonding (n=59). The multi-strand twist wires (0,0175”) used were all preformed by a technician and prepared for either direct or indirect bonding technique with a transfer matrix. Assure® and Filtek™ Flow were used for direct bonding. Filtek™ Flow, Assure®, and Sondhi™ were used for indirect bonding. The lingual wires were evaluated for bonding failure, infiltration, breakage, and distortion at 2 months (T1) and 6 months (T2). Results: At T1, survival rate for the lingual wire was 90,2% for direct bonding and 79,5% for indirect bonding (p=0,232). At T2, the lingual wire was intact for 74,1% of the participants in the direct bonding group and 70,0% for the indirect bonding group (p=0,481). The differences between the 2 groups were not statistically significant. Debonding was more frequent than all other problems at T1 (p<0,022), accounting for 85,7% of the failures. At T2, debonding was more frequent than distortion and breakage (p<0,04), but not statistically more frequent than infiltration (p=0,109). It then accounted for 86,4% of the failures. Conclusion: Debonding is the main cause of failure for a lingual retention wire. There is no statistically significant difference in the survival rate of a lingual retention wire using direct and indirect bonding techniques in the short and medium term.

Notre travail interroge les différentes pratiques de création de Ghérasim Luca (livres-objets, albums, portfolios, plaquettes, poèmes-tracts et poèmes-affiches, récitals scéniques et télévisuels, cubomanies, dessins au point) à l’aune des expériences sémiotiques qu’elles engagent. Dire des signes qu’ils sont mis en jeu, c’est insister sur la dimension matérielle et éminemment sensible des mouvements de production et de réception. La question du sens est indissociable de celle du médium, dès lors que les signes se donnent à éprouver comme corps (corps sonores, corps graphiques ou typographiques) par des corps. La notion de surgissement permet de rendre compte de cette spatialité, qui a partie liée avec des phénomènes théâtraux, ceux d’apparition et de disparition : la page blanche, la bande sonore, l’écran, le panneau de bois peint, sont autant de lieux où peut s’inventer et se déployer une pensée incarnée. Quant à la notion d’opacification, employée en linguistique pour décrire certains phénomènes métadiscursifs, elle mérite d’être réévaluée et déplacée : nous nous efforçons de passer du domaine strictement verbal à un champ plus largement sémiotique.Notre parcours s’organise en quatre étapes solidaires, qui manifestent l’intrication des approches historiques, sémiotiques, linguistiques, médiologiques, stylistiques, mais aussi scientifiques et philosophiques. La première partie consiste en une exploration des créations plastiques, graphiques, sonores, qui intègre les diverses collaborations auxquelles Ghérasim Luca a pris part en Roumanie puis en France. La deuxième partie dégage un imaginaire linguistique, nourri de diverses traditions (l’atomisme de Lucrèce, l’alchimie, la Kabbale), qui fait du vide un principe structurant, et de l’écriture un travail d’agencement. Cet imaginaire, qui relève d’une pensée de la langue dans la langue, est lui-même volontiers mis à distance : il ne s’agit pas d’adhérer à ce qui serait une théorie, mais de circuler librement entre des conceptions apparemment inconciliables. La troisième partie décrit les jeux de perturbation du sens à partir du statut tout à fait singulier accordé aux autonymes, aux néologismes et aux noms propres dans les recueils de la période française : les divers types de trouble sémiotique et l’invention d’un hors-lexique participent d’un mouvement de déstabilisation. La quatrième et dernière partie est consacrée au geste de reprise, qui se décline sous de multiples formes, parmi lesquelles on compte le collage et le détournement. / This work questions the different practices of Ghérasim Luca (book-objects, albums, portfolios, booklets, pamphlet-poems, poster-poems, scenic and audiovisual recitals, cubomanies, drawings) in light of the semiotic experiences they initiate. Asserting that signs are at stake means insisting on the material and highly perceptible dimension of both production and reception. From the moment that signs are perceived as bodies (audible bodies, graphic and typographic bodies) by other bodies, the question of meaning is linked to the question of medium. With the notion of emergence, we can analyse spatial phenomena, linked to theatrical ones, such as appearance and disappearance : the white page, the audiotape, the screen, the wooden panels are places where an embodied thinking can arise and expand. The notion of opacification, which is used by linguists to describe metadiscursive phenomena, can be reconsidered and redefined : we try to exceed the verbal domain and to adopt a global semiotic perspective, which includes non-verbal matters.This study is composed of four interdependent parts, which show the interpenetration of historical, semiotic, linguistic, mediologic, stylistic but also scientific and philosophical approaches. The first part explores the plastic, graphic and audio creations of Ghérasim Luca, including collaborations with several artists in Romania and France. The second part identifies what we could call a linguistic imaginary, fuelled by three different traditions (Lucretius’ atomism, alchemy, Kabbalah), which considers void as a founding principle, and writing as a layout. This imaginary, which inquires the possibility of thinking about language within the language, is playfully held at a distance by Ghérasim Luca : the point is not to adopt a theory, but to circulate freely between apparently incompatible approaches. The third part describes various phenomena of meaning disruption and focuses on the specific status given to autonyms, neologisms and proper nouns in his French period : the different kinds of semiotic troubles and the invention of a lexicon beyond the lexicon take part in the destabilisation process. The fourth part is about the activity of re-creation, which takes several forms, including collage and ‘détournement’.

[pt] O estudo se volta sobre as teorias críticas da imagem nos âmbitos filosófico e artístico, conduzindo o debate a respeito de distintas imagens para focar as representações autobiográficas audiovisuais. As narrativas do eu buscam produzir duplos, evocando o passado e promovendo a reciclagem das imagens de arquivo de família. Uma avant garde contemporânea coloca em prática a ressignificação das imagens da intimidade familiar como recurso de fazer emergir a subjetividade. A collage molda a estética dessas expressões, construindo a ponte entre cinema e design. O autodocumentário rompe com o paradigma da objetividade, revelando múltiplas identidades que, ao descortinarem singularidades, tornam-se universais. / [en] The study highlights critical theories of images in the philosophical and artistic areas, centering the question on different images in order to focus on individual autobiographic representations. The narratives of the self aim to produce Doppelgänger, evoking the past and promoting the recycling of family archives. A contemporary avant garde puts in motion the ressignification of images of family intimacy as means to make subjectivity surface. The collage shapes the aesthetics of these expressions, thus creating a bridge between film and design. Self-documentary breaks the paradigm of objectivity, and brings to light multiple identities that become universal through the unveiling of individual characteristics.