The Scandinavian Joint Expedition to Sudanese Nubia (SJE) was one of the substantial contributions of crucial salvage archaeology within the International Nubian Campaign which was pursued in conjunction with the building of the High Dam at Aswan in the early 1960’s. A large quantity of archaeological data was collected by the SJE in a continuous area of northernmost Sudan and published during the subsequent decades. The present study aimed at transferring the geographical aspects of that data into a digital format thus enabling spatial enquires on the archaeological information to be performed in a computerised manner within a geographical information system (GIS). The landscape of the concession area, which is now completely submerged by the water masses of Lake Nasser, was digitally reconstructed in order to approximate the physical environment which the human societies of ancient Nubia inhabited. Information on the nearly 500 indexed archaeological sites of the SJE was classified and imported into the GIS. The potential of the system thereby established, validated against modern remote sensing data and aerial photography, was then demonstrated by a number of spatial analyses at an inter-site level. The resuls of those analyses contribute to discussions on various topics already raised within the SJE publication or elsewhere and includes issues on Nile palaeochannel reconstructions, seasonal habitation patterns and dedicatory orientation of elite tombs. The system hereby developed is intended to be used in further studies of the relevant and information-rich research fields of ancient Nubia for applications similar to those demonstrated in the present project or for educational and research purposes hitherto unpredicted. / Den Samnordiska Expeditionen till Sudanska Nubien (SJE) var en av de omfattande insatser av avgörande räddningsarkeologi inom den Internationella Nubienkampanjen som bedrevs i samband med byggandet av Höga Dammen i Aswan i början av 1960-talet. En stor mängd arkeologisk data samlades in av SJE i ett kontinuerligt område i nordligaste Sudan och publicerades under de efterföljande årtiondena. Denna studie ämnade överföra de geografiska aspekterna av den datan till ett digitalt format och därmed möjliggöra att rumsliga förfrågningar på den arkeologiska information kan utföras på ett datoriserat tillvägagångssätt i ett geografiskt informationssystem (GIS). Landskapet i koncessions-området, vilket nu är helt översvämmat av Nassersjöns vattenmassor, återskapades digitalt med syfte att approximera den fysiska omgivningen vilken de mänskliga samhällena i det forna Nubien bebodde. Information om de nära 500 indexerade fyndplatserna tillhörande SJE klassificerades och importerades in i detta GIS. Potentialen av det system som därmed skapats, validerat mot modern fjärranalysdata och flygfotografi, demonstrerades genom ett antal rumsliga analyser på en mellan-fyndplats-nivå. Resultaten av dessa analyser bidrar till diskussioner om diverse ämnen som redan tagits upp inom SJE-publikationen eller annorstädes och inkluderar frågor kring Nilens äldre dragningar, säsongsmässiga bosättningsmönster och avsiktlig orientering av elitgravar. Systemet som härvid har utvecklats är ämnat att användas i vidare studier av de relevanta och informationsrika forskningsområden som rör det forna Nubien för tillämpningar liknande de som demonstrerats i detta projekt eller för undervisnings- och forsknings-syften som hittills ej förutsetts.

No description available.

Esta pesquisa nasce do encontro do olhar-expedicionário, sempre curioso e disposto a relacionar arte e ciência, com a Paragem das Conchas - nome atribuído à primeira sesmaria do Rio Grande do Sul, que corresponde hoje a um conjunto de municípios, dentre os quais, está Osório – lugar onde se desenvolvem as incursões aqui analisadas, entre os anos de 2012 e 2016. As experiências começam no ateliê, que funciona como um jardim onde se cultiva a linguagem do desenho, até que este lugar de produção de imagens abre-se e passa a ser compreendido como um observatório da natureza, fundindo-se, ao final, com a própria floresta. A principal pergunta que surge daí é: como se dá essa relação entre o ver e o conhecer a partir das experiências fenomenológicas com a paisagem que o meu trabalho artístico (obras em desenho, poesia, fotografia, objetos e instalação) proporciona? As rotas e o instrumental utilizados para as observações foram sendo redefinidos no próprio andar, como se fosse um Caminho de Peabiru, esse conjunto de trilhas indígenas cultivadas pelos Incas, que ligavam o Oceano Pacífico ao Atlântico. No andamento, foi preciso desaprender a ver o que eu pensava saber e aprender a ver o que não sabia que existia. O conjunto de trabalhos aqui apresentados forma um atlas onde procuro transmutar essas vivências por meio da linguagem poética. A narrativa divide a expedição em três momentos: Estudos sobre a terra | Estudos sobre a água | Estudos sobre o vento. A ação de expedir é interpretada em seu sentido literal de “liberar os pés das cadeias”. A pesquisa está dividida em dois volumes. No TOMO I apresento um percurso teórico em que o sol metaforiza, inicialmente, a relação entre o ver e o conhecer e, passo a passo, vai sendo eclipsado pela imagem da fogueira, que provoca uma queima de arquivo em que é necessário transmutar as memórias. O TOMO II é um livro de artista concebido a partir das travessias por TERRA (“Inventário de Fauna e Flora” e “Herbarium”), ÁGUA (“Travessia de Beija-Flor por águas doces”) e AR (“Tipologia do Mar – Escala Beaufort” e “Tipologia das nuvens – L. Howard”). / This research was created from the meeting of the expeditionary perspective, always curious and open to connect art and science, and Paragem das Conchas - the name given to the first sesmaria in Rio Grande do Sul - which today corresponds to a few different cities, amongst them Osório - the chosen spot for this expedition, which took place between 2012 and 2016. The experiences begin in the studio, which acts as a garden to cultivate the drawing language, till this image-production site opens up to be acknowledged as a nature observatory, ultimately merging with the forest itself. The main question that arises from that is: how does the relationship between seeing and knowing from phenomenological experiences in the landscape that my artistic work (drawing, poetry, photography, objects and art installation) provides me presents itself? The routes and instruments used in the observational trips were redefined while they were happening, such as in Caminho de Peabiru, the indigenous trails created by the Incas connecting the Pacific Ocean to the Atlantic. As the project went on, I had to unlearn how to see what I thought I knew and learn how to see what I did not know existed. The body of work presented here forms an atlas where I seek to transmute those experiences into a poetic narrative. The expedition was divided between three installments: Studies of the earth | Studies of the water | Studies of the wind. “Expedition” is interpreted here in a literal sense, that of “freeing the feet from the chains.” The research is divided in two volumes. In TOME I the theoretical path is presented, initially, in a way in which the sun acts as a metaphor of the relationship between seeing and knowing and, gradually, is eclipsed by the image of the bonfire, which leads to an indispensable documentation burning in order to transmute memories. TOME II is an artistic book created from crossings through land (“Inventário de Fauna e Flora” and “Herbarium”), water (“Travessia de Beija-Flor por águas doces”) and air (“Tipologia do Mar – Escala Beaufort” and “Tipologia das nuvens – L. Howard”).

Carbon dioxide (CO2) is an important greenhouse gas, and the atmospheric concentration of CO2 has increased by more than 100 ppm since prior to the industrial revolution.  The global oceans are considered an important sink of atmospheric CO2, since approximately one third of the anthropogenic emissions are absorbed by the oceans. To be able to model the global carbon cycle and the future climate, it is important to have knowledge of the processes controlling the air-sea exchange of CO2. In this thesis, measurements as well as a model is used in order to increase the knowledge of the exchange processes. The air-sea flux of CO2 is estimated from high frequency measurements using three methods; one empirical method, and two methods with a solid theoretical foundation. The methods are modified to be applicable for various atmospheric stratifications, and the agreement between methods is good in average. A new parameterization of the transfer velocity (the rate of transfer across the air-sea interface), is implemented in a Baltic Sea model. The new parameterization includes also the mechanism of water-side convection. The impact of including the new parameterization is relatively small due to feedback processes in the model. The new parameterization is however more representative for flux calculations using in-situ measurement or remote sensing products. When removing the feedback to the model, the monthly average flux increases by up to 20% in some months, compared to when water-side convection is not included. The Baltic Sea carbon budget was estimated using the Baltic Sea model, and the Baltic Sea was found to be a net sink of CO2. This is consistent with some previous studies, while contradictory to others. The dissimilarity between studies indicates the difficulty in estimating the carbon budget mainly due to variations of the CO2 uptake/release in time and space. Local variations not captured by the model, such as coastal upwelling, give uncertainties to the model. Coastal upwelling can alter the uptake/release of CO2 in a region by up to 250%. If upwelling would be included in the model, the Baltic Sea might be considered a smaller sink of CO2.

Esta pesquisa nasce do encontro do olhar-expedicionário, sempre curioso e disposto a relacionar arte e ciência, com a Paragem das Conchas - nome atribuído à primeira sesmaria do Rio Grande do Sul, que corresponde hoje a um conjunto de municípios, dentre os quais, está Osório – lugar onde se desenvolvem as incursões aqui analisadas, entre os anos de 2012 e 2016. As experiências começam no ateliê, que funciona como um jardim onde se cultiva a linguagem do desenho, até que este lugar de produção de imagens abre-se e passa a ser compreendido como um observatório da natureza, fundindo-se, ao final, com a própria floresta. A principal pergunta que surge daí é: como se dá essa relação entre o ver e o conhecer a partir das experiências fenomenológicas com a paisagem que o meu trabalho artístico (obras em desenho, poesia, fotografia, objetos e instalação) proporciona? As rotas e o instrumental utilizados para as observações foram sendo redefinidos no próprio andar, como se fosse um Caminho de Peabiru, esse conjunto de trilhas indígenas cultivadas pelos Incas, que ligavam o Oceano Pacífico ao Atlântico. No andamento, foi preciso desaprender a ver o que eu pensava saber e aprender a ver o que não sabia que existia. O conjunto de trabalhos aqui apresentados forma um atlas onde procuro transmutar essas vivências por meio da linguagem poética. A narrativa divide a expedição em três momentos: Estudos sobre a terra | Estudos sobre a água | Estudos sobre o vento. A ação de expedir é interpretada em seu sentido literal de “liberar os pés das cadeias”. A pesquisa está dividida em dois volumes. No TOMO I apresento um percurso teórico em que o sol metaforiza, inicialmente, a relação entre o ver e o conhecer e, passo a passo, vai sendo eclipsado pela imagem da fogueira, que provoca uma queima de arquivo em que é necessário transmutar as memórias. O TOMO II é um livro de artista concebido a partir das travessias por TERRA (“Inventário de Fauna e Flora” e “Herbarium”), ÁGUA (“Travessia de Beija-Flor por águas doces”) e AR (“Tipologia do Mar – Escala Beaufort” e “Tipologia das nuvens – L. Howard”). / This research was created from the meeting of the expeditionary perspective, always curious and open to connect art and science, and Paragem das Conchas - the name given to the first sesmaria in Rio Grande do Sul - which today corresponds to a few different cities, amongst them Osório - the chosen spot for this expedition, which took place between 2012 and 2016. The experiences begin in the studio, which acts as a garden to cultivate the drawing language, till this image-production site opens up to be acknowledged as a nature observatory, ultimately merging with the forest itself. The main question that arises from that is: how does the relationship between seeing and knowing from phenomenological experiences in the landscape that my artistic work (drawing, poetry, photography, objects and art installation) provides me presents itself? The routes and instruments used in the observational trips were redefined while they were happening, such as in Caminho de Peabiru, the indigenous trails created by the Incas connecting the Pacific Ocean to the Atlantic. As the project went on, I had to unlearn how to see what I thought I knew and learn how to see what I did not know existed. The body of work presented here forms an atlas where I seek to transmute those experiences into a poetic narrative. The expedition was divided between three installments: Studies of the earth | Studies of the water | Studies of the wind. “Expedition” is interpreted here in a literal sense, that of “freeing the feet from the chains.” The research is divided in two volumes. In TOME I the theoretical path is presented, initially, in a way in which the sun acts as a metaphor of the relationship between seeing and knowing and, gradually, is eclipsed by the image of the bonfire, which leads to an indispensable documentation burning in order to transmute memories. TOME II is an artistic book created from crossings through land (“Inventário de Fauna e Flora” and “Herbarium”), water (“Travessia de Beija-Flor por águas doces”) and air (“Tipologia do Mar – Escala Beaufort” and “Tipologia das nuvens – L. Howard”).

Esta pesquisa nasce do encontro do olhar-expedicionário, sempre curioso e disposto a relacionar arte e ciência, com a Paragem das Conchas - nome atribuído à primeira sesmaria do Rio Grande do Sul, que corresponde hoje a um conjunto de municípios, dentre os quais, está Osório – lugar onde se desenvolvem as incursões aqui analisadas, entre os anos de 2012 e 2016. As experiências começam no ateliê, que funciona como um jardim onde se cultiva a linguagem do desenho, até que este lugar de produção de imagens abre-se e passa a ser compreendido como um observatório da natureza, fundindo-se, ao final, com a própria floresta. A principal pergunta que surge daí é: como se dá essa relação entre o ver e o conhecer a partir das experiências fenomenológicas com a paisagem que o meu trabalho artístico (obras em desenho, poesia, fotografia, objetos e instalação) proporciona? As rotas e o instrumental utilizados para as observações foram sendo redefinidos no próprio andar, como se fosse um Caminho de Peabiru, esse conjunto de trilhas indígenas cultivadas pelos Incas, que ligavam o Oceano Pacífico ao Atlântico. No andamento, foi preciso desaprender a ver o que eu pensava saber e aprender a ver o que não sabia que existia. O conjunto de trabalhos aqui apresentados forma um atlas onde procuro transmutar essas vivências por meio da linguagem poética. A narrativa divide a expedição em três momentos: Estudos sobre a terra | Estudos sobre a água | Estudos sobre o vento. A ação de expedir é interpretada em seu sentido literal de “liberar os pés das cadeias”. A pesquisa está dividida em dois volumes. No TOMO I apresento um percurso teórico em que o sol metaforiza, inicialmente, a relação entre o ver e o conhecer e, passo a passo, vai sendo eclipsado pela imagem da fogueira, que provoca uma queima de arquivo em que é necessário transmutar as memórias. O TOMO II é um livro de artista concebido a partir das travessias por TERRA (“Inventário de Fauna e Flora” e “Herbarium”), ÁGUA (“Travessia de Beija-Flor por águas doces”) e AR (“Tipologia do Mar – Escala Beaufort” e “Tipologia das nuvens – L. Howard”). / This research was created from the meeting of the expeditionary perspective, always curious and open to connect art and science, and Paragem das Conchas - the name given to the first sesmaria in Rio Grande do Sul - which today corresponds to a few different cities, amongst them Osório - the chosen spot for this expedition, which took place between 2012 and 2016. The experiences begin in the studio, which acts as a garden to cultivate the drawing language, till this image-production site opens up to be acknowledged as a nature observatory, ultimately merging with the forest itself. The main question that arises from that is: how does the relationship between seeing and knowing from phenomenological experiences in the landscape that my artistic work (drawing, poetry, photography, objects and art installation) provides me presents itself? The routes and instruments used in the observational trips were redefined while they were happening, such as in Caminho de Peabiru, the indigenous trails created by the Incas connecting the Pacific Ocean to the Atlantic. As the project went on, I had to unlearn how to see what I thought I knew and learn how to see what I did not know existed. The body of work presented here forms an atlas where I seek to transmute those experiences into a poetic narrative. The expedition was divided between three installments: Studies of the earth | Studies of the water | Studies of the wind. “Expedition” is interpreted here in a literal sense, that of “freeing the feet from the chains.” The research is divided in two volumes. In TOME I the theoretical path is presented, initially, in a way in which the sun acts as a metaphor of the relationship between seeing and knowing and, gradually, is eclipsed by the image of the bonfire, which leads to an indispensable documentation burning in order to transmute memories. TOME II is an artistic book created from crossings through land (“Inventário de Fauna e Flora” and “Herbarium”), water (“Travessia de Beija-Flor por águas doces”) and air (“Tipologia do Mar – Escala Beaufort” and “Tipologia das nuvens – L. Howard”).

No description available.

Diploma thesis was prepared it the level of a project documentation. The theme is a project of reconstruction of train station in the city Velká nad Veličkou. Reconstruction remains of repair the old part of buiding and build a new object of museum and controlling office. The new object is built of lime-sand bricks KM Beta and with thermal insulation ETICS with polystyrene core. The ceilings of the new object are made out of Ytong Econom. The roof is made as strutted purlin roof. Near the station is built area for passengers.

This study takes a structuralist approach to the development of the novel, arguing that eighteenth-century writers build progressive narrative by rendering abstract, then conflating, literary theories of gendered time that originate in the Renaissance with seventeenth-century scientific theories of motion. I argue that writers from the Renaissance through the eighteenth century generate and regulate progress-as-product in their narratives through gendered constructions of time that corresponded to the generation and regulation of economic, political, and social progress brought about by developing capitalism.

Georg Naumann (1901 Radeberg-1978 Upper Wells/ Kanada). Bekannt und berühmt wurde Georg Naumann, der gemeinsam als Partner von Max Hinsche mit ihm nach Kanada ging, als Trapper und Pionier bei der frühen lokalen Auffindung und Nutzung der kanadischen Öl- und Erdgasvorkommen im nördlichen Einzugsgebiet des Athabasca River in der Prärieprovinz Alberta. Zunehmend wurde er zum Naturwissenschaftler, der in den bisher unerschlossenen Gebieten am Athabasca River die Öl- und Erdgasvorkommen des Sandes nutzte und bewusst einsetzte.