In this dissertation we deal with methods of minimizing block artefacts in digital terrestrial TV broadcasting. These artefacts are caused by compressions based on the cosine transformation (JPEG, MPEG2 I-Frames). The aim of this work is therefore to create a DVB-J application the main function of which would be to minimize block artefacts in natural images transmitted by DVB-T. That is why we first inquire into the technology of DVB digital transmission and MHP platform which provides the function and the running of interactive applications. Next, we define differences between Java and JavaTV languages and describe the way they develop, simulate and start DVB-J applications. In the following part of this work, we analyze methods that can be used to detect and minimize block artefacts. Further on, we describe the design of an adaptive filter which minimizes block artefacts (hereinafter just ´MHP-MBA´). The major result of the entire work is an MHP-Deblocking application that in itself implements a newly created MHP-MBA deblocking filter as well as a filter from video kodek H.263. In the final part we concern ourselves with testing this application on a genuine set-top-box in DVB-T broadcasting.

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Wendell J. Ashton has been described as a pacesetter in the communications field in the Intermountain West. He was a trailblazer in public relations in the early days of his career at Gillham Advertising. His life has been filled with challenges such as publisher of the Deseret News, director of the LDS Church Communications Department, principal in Gillham Advertising, and various civic and community activities. Ashton's communications career was one of innovator and pioneer as he helped forge the public relations industry in the Intermountain West. His career has followed in the footsteps of many other professionals such as Lon Richardson Sr., William S. Adamson, Nelson Aldrich, Edwin Dowell, Parry D. Sorensen, Jennings Phillips, David W. Evans, Arch Madsen, and G. Robert Ruff. This thesis will examine the career of Wendell J. Ashton as it began, as it grew, and as it blossomed through major communications, advertising, and public relations projects. This study will reveal how Ashton increased the status of public relations professionals in Utah.

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This thesis discusses using creative sound design to regain control over the electric bassist’s personal sound in the live environment and not leave it to the sound engineer to decide how you sound.   Using digital tools in contrast with the traditional method of solid-state or tube amplifiers, the desired result of total control over your sound in a live environment was achieved. The sounds that had been created digitally were used in a live performance that was also recorded as part of a graduation concert. These digital sounds were layered with different effects, which opened a new artistic door of expression for the electric bass by creating new and exciting sounds.  Japanese jazz fusion music from the '80s and '90s was used as the creative platform, both classic songs and the author's own work composed in the same aesthetical style where the digitally created sounds and creative sound design were an integral part of the compositional process.

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Tableau d'honneur de la Faculté des études supérieures et postdoctorales, 2011-2012 / Depuis la parution de ses premiers romans à la fin des années soixante, l'écrivain franco-manitobain J. R. Léveillé a fait éclater les formes réalistes de la fiction, en ayant recours à des stratégies associées à la littérature postmoderne, dont l'intertextualité et l'écriture fragmentaire. L'utilisation de ces différentes stratégies est particulièrement manifeste dans L'incomparable. Bien que présentée sous l'appellation générique d'éloge, cette oeuvre, publiée en 1984, s'inscrit indéniablement dans le registre de l'essai. La référence à la poétesse grecque Sappho apparaît comme un « prétexte » à l'exposition et à l'application d'une théorie sur l'écriture et, par extension, sur la création. Ce mémoire vise plus précisément à démontrer que l'intertextualité constitue le moteur de la création dans L'incomparable, dont le matériau de base est le fragment.