One of the difficulties of nineteenth-century form studies is ambiguity in ascertaining which formal types are at work and in what ways. This can be an especially difficult problem when multiple formal types seem to influence the construction of a single composition. Drawing on some recent innovations in form studies proposed by Steven Vande Moortele, Janet Schmalfeldt, and Caitlin Martinkus, I first develop a set of analytical tools specifically made for the analysis of sonata/variation formal hybrids. I then refine these tools by applying them to the analysis of two pieces. Chopin's Fourth Piano Ballade can be understood from this perspective as primarily following the broad outlines of a sonata form, but with important influences from the recursive structures of variation forms; Franck's Symphonic Variations, on the other hand, are better viewed as engaging most of all with multiple variation-form paradigms and overlaying them with some of the rhetorical and formal structures of sonata forms. I conclude with a brief speculation on some further, more general applications of my methodology.

The thesis examines the five plays published by August Strindberg under the label of Chamber Plays: Stormy Weather, The Burned Lot, The Ghost Sonata, The Pelican (all 1907), and The Black Glove (1909). It takes its point of departure in a particular aspect of Strindberg’s way of writing as he actually describes it himself: during the act of deliberate composing, a productive fever tends to emerge bringing an element of chance to the work. The thesis defines the effect produced by this “fever” as the tension generated between, on the one hand, structure or form, and, on the other hand, style or writing. These concepts are associated with a tradition, primarily in French literary theory, which pays attention to what is described as a friction between the general linguistic aspect of literature (genres, recurring and recognizable patterns) and the individual aspect (the peculiar and idiosyncratic style of an author embodied in his material habitus). Thus the ambiguity found in the thesis’ title: the “mold” alludes partly to the stereotypes or matrices of language, partly to the “fungi” that, according to Strindberg, could be considered an adequate image for writing; the poetic work, says Strindberg, grows like mold from the author’s brain. Theoretical questions, primarily of a formal and interpretational nature, are continuously discussed since one of the main points is that the Strindbergian way of writing restricts what kind of interpretation may be given his works. The eventual contrast between form and interpretation is, furthermore, related to a general theme developed throughout the Chamber Plays concerning the meaning of life. It is stressed that the five plays show distinct formal and thematic differences; thus, a separate chapter is dedicated to each of them. The chapter on Stormy Weather examines the structural use of focus and the hierarchy of character-functions related to the centering on a protagonist. The Burned Lot is discussed from the concept of a ruin to describe how a multitude of conflicting forms come together to produce a fragmentary result. The Ghost Sonata is described in terms of simulation: while Strindberg alludes to certain dramatic patterns, he also distorts them whereby new effects are created. The chapter on The Pelican explores the temporal flow of the play and how it relates to writing. The thesis ends with a discussion of The Black Glove and its relation to the preceding Chamber Plays and also to the Strindbergian oeuvre. The concept of weed is used to distinguish a recurring element in Strindberg’s work as well as in his worldview. Throughout the thesis, the discussion is consistently related to previous studies and commentaries on the plays.

An NNF circuit is a directed acyclic graph (DAG), where each leaf is labelled with either true/false or a literal, and each inner node represents either a conjunction (∧) or a disjunction (∨). A decomposable NNF (DNNF) is an NNF satisfying the decomposabi- lity property for each conjunction node. The C-BDMC language generalizes the DNNF language. In a C-BDMC, the leaves can contain CNF formulae from a given base class C. In this paper, we focus only on renamable Horn formulae. We experimentally compare the sizes of d-BDMC and d-DNNF representations. We describe a new compilation langu- age, called cara DNNF (c-DNNF), that generalizes the DNNF language. A c-DNNF circuit can be considered as a compressed representation of a DNNF circuit. We present a new experimental knowledge compiler, called CaraCompiler, for converting a CNF formula into a d-BDMC or a (c)d-DNNF circuit. CaraCompiler is based on the state-of-the-art compiler D4. Also, we mention some extensions for the compiler D4, such as caching hypergraph cuts that can reduce the compilation times. 1

Konformen har tidigare under arkitekturhistorien ofta använts för att skapa rum enligt en cellulär logik. Projektet ämnar ompröva användandet av konformen för att organisera rum, i det här fallet applicerat på en konsthall i Solna, genom att gå utanför enbart ett repetitivt arrangemang av vertikala koniska moduler för att uppnå en variation av skalor och riktningar som spänner från stora horisontella koniska rum till mer intima småskaliga vertikala rumsbildningar. Rummen skapas genom en adderande process där koner genomskärs med varandra och med plana element som adderas i operationen. Detta tillåter på så sätt en samexistens av två olika rumsliga logiker vilket leder till en komplex och tillåtande arkitektur som kan svara mot behoven i programmet och som även lyfter fram och förstärker formen hos byggnaden. Projektet utforskar även möjligheterna med att använda konen i egenskap av att vara en enkelkrökt yta och dess betydelse för digital modellering, ritningar och konstruktion. / The cone in architecture has often been used to shape and generate space with a cellular structural logic. This project reconsiders the use of the cone for organizing space, in this case applied on an Art Centre in Solna, going beyond the mere repetitive logic of conic modules, to allow for a variety of scales and directions, ranging from large span horizontal conic spaces to more intimate smaller scaled vertical conic rooms. The spaces are created through an additive process of intersecting cones with planar elements added into the operation, thus allowing the coexistence of two spatial logics, leading towards a manifold and allowing architecture that can handle the requirements of the program and that reinforces the perception of the shape. The project also explores the possibilities of the cone as a single curved unfoldable surface and it’s implications on digital model making, drawing and physical construction.

Den här studiens syfte var att undersöka hur vuxna inlärare på grundvux-nivå tillägnarsig bestämdhet utifrån frågeställningen till vilken grad de behärskarbestämdhetsmorfemen. Data samlades in genom att 20 deltagare fick återberätta en kortanimerad film. Transkriptionerna analyserades sedan med performansanalys avförekomster i obligatorisk kontext och strukturen dubbel bestämdhet analyseradessärskilt. Studien replikerade till största del tidigare forskning på utveckling avbestämdhet. Deltagarna behärskade bäst de morfemen som bara används i obestämda NP,närmare bestämt obestämd artikel och obestämd plural, sedan adjektivets bestämdasuffix, enklitisk bestämd artikel och fristående bestämd artikel och sist bestämd formplural. Resultatet bekräftar också att dubbel bestämdhet tillägnas sent. Ingen avdeltagarna bemästrade konstruktionen fullt ut och stor variation kunde ses i de formerdeltagarna använde. Den vanligaste feltypen i konstruktionen var bortfall av enklitiskbestämd artikel, vilket avviker något från tidigare resultat. Dessutom hanterar deltagarnabestämdhetens betydelse med större säkerhet än dess form, vilket visas av få speciesfelkontra formfel. Slutsatsen av studien är att deltagarna har kommit långt i att tillägna sigbestämdhet, men att de behöver fortsatt stöttning på vägen mot avancerad nivå i svenskasom andraspråk.

ITC/USA 2008 Conference Proceedings / The Forty-Fourth Annual International Telemetering Conference and Technical Exhibition / October 27-30, 2008 / Town and Country Resort & Convention Center, San Diego, California / In a multi-user cognitive radio network, there arises a need for coordination among the network users for efficient utilization of the available electromagnetic spectrum. While adaptive modulation alone helps cognitive radios actively determine the channel quality metric for the next transmission, Game theory combined with an adaptive modulation system helps them achieve mutual coordination among channel users and avoids any possible confusion about transmitting/receiving through a channel in the future. This paper highlights how the concepts of game theory and adaptive modulation can be incorporated in a cognitive radio framework to achieve better communication for telemetry applications.

We present a calculation of vector and axial-vector form factors for each of the octet hyperon semi-leptonic transition matrix elements by using the techniques of lattice QCD where simulations were performed with Nf = 2 + 1 flavours of dynamical O(a)-improved Wilson fermions. We also study the electromagnetic form factors, axial charges and other properties of octet baryons. Errors due to extrapolation to zero transferred momentum are reduced by applying a twist to the boundary conditions on the lattice. Our form factor results compare favourably with experiment and other lattice QCD determinations. By considering an expansion about the SU(3)-flavour symmetric limit we seek to investigate and quantify the symmetry breaking effects in these matrix elements due to the mass splitting between the strange and light quarks. We find good agreement with the Ademollo-Gatto theorem for the vector form factor, a measurable amount of breaking in the axial-vector form factor and significant effects in the weak magnetism form factor. Knowledge of the parameterisation of SU(3)-flavour symmetry breaking allows for a series of constrained fits to be made to the form factor results which are used to arrive at a 'baryonic' estimation of the Cabibbo-Kobayashi-Maskawa matrix element |Vus|.

År 1970 introducerades normalisering med syfte att organisera data i relationsdatabaser för att undvika redundant data och reducera risker för anomalier. Idag finns indikationer på att en mer nyanserad bild av normalisering behövs då dagens databaser ställs inför nya utmaningar och krav. Det här arbetet utförs i form av en fallstudie där en analys av tre databaser inom olika verksamheter genomförs. Med utgångspunkt i normalformerna genomförs en explorativ analys för att identifiera vilka aspekter som påverkar normalisering i industrin. Slutsatsen av arbetet är att det är svårt för en oberoende part till databasen att avgöra och tolka normalformernas uppfyllnad. Faktorer som påverkar normalisering av databaser är: utvecklarens intuition, användarens påverkan av datakvalitet samt den tekniska skuld som quickfixes orsakar. / Normalization was first introduced in 1970 with the purpose to organize data within relational databases in a way to avoid data redundancy and reduce the number of anomalies. As databases are facing new challenges and requirements, indications have been identified which points to a need for a more detailed view of normalization. This work is the outcome of a case study where three databases are analyzed. With the normal forms as starting point, an explorative analysis is made with the goal to identify different aspects that affects the way normalization is conducted within the industry. The conclusion is that it is difficult for an outsider to the database to interpret and determine whether the normal forms are fulfilled or not. Aspects affecting normalization are: the developer's intuition, users' impact on data quality and the technical debt that quickfixes creates.

I självreflekterande och tvivel i frågan om konstnärligt arbete, inom och utom institutionen, är essän uppbyggd som ett textuellt kollage. Författarjaget lånar in ett flertal röster och framåtrörelsen i skrivandet används som en metod för att konkretisera tankar kring institution, kropp, kritik, och politik.

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