El tema de esta investigación es la construcción de las teorías publicadas por Maximilien Vox y otros autores sobre la Grafía Latina, un movimiento que surgió dentro de la tipografía francesa tras la Segunda Guerra Mundial. El contexto en el que se desarrolló, entre 1950 y 1965, estaba marcado por el auge de las ideas del Movimiento Moderno, impulsadas por la expansión de las mismas a través de la Escuela Suiza de la tipografía internacional. Frente a ellas, la Grafía Latina se presentaba como un conjunto de teorías de carácter tradicionalista y bases nacionalistas cuyo objetivo principal era el de recuperar el papel protagonista de la tipografía francesa y devolver la confianza a los profesionales de la imprenta de aquel país. A su vez, el surgimiento de la Grafía Latina estuvo marcado por las presiones del mercado tipográfico internacional y el declive de la producción propiamente francesa, así como por los avances tecnológicos hacia la fotocomposición, que amenazaban con desterrar cinco siglos de tradición. Ante este panorama, la Grafía Latina proponía recuperar un espíritu de latinidad universalista fundamentado en un legado histórico que sirviera de base para la recuperación francesa y la construcción de nuevos usos y modelos adaptados a las nuevas tecnologías. / In this investigation my main focus has been on the construction of the theories published by Maximilien Vox and other authors on the idea of Graphie Latine in a period where the ideas of the Suisse international school was expanding all over the world. The main objective of this research is on the one hand to put this movement into history, as it’s a movement that is particularly unknown. And in a second hand, my objective is to show how the story of graphic design and typography history is not linear. The history of graphic design and typography has been told principally from the vision of modern design. But there were movements that were opposed to it in different places and in different moments. One of them is the particular story of the Graphie Latine which took place in France and developed from 1950 to 1965.

No description available.

This dissertation is a comprehensive analysis of the prints produced by Man Ray (1890-1976) over a period of sixty-two years. It is the first in-depth look at Man Ray within the context of 20th century printmaking traditions. The graphic work in this study includes over three hundred wood block prints, lithographs, screenprints, etchings, cliché verre prints, aquatints, dry points, pochoir prints, and photogravures. These prints appear in a variety of formats: individually, in illustrated books, in portfolios, and in group editions with other artists. The totality of these works offers an unexplored pathway to a reappraisal of the artist by contextualizing his graphic work in relationship with his other work, including his painting, drawing, collage, photography and three-dimensional objects. Once the location was determined, Man Ray’s graphic work was examined, documented and interpreted. The prints and illustrated books were studied in situ in the United States, France, Italy, Israel, and Spain, along with the supporting documentation. The work was found in museums, library collections and archives, art galleries, and private collections. An ongoing internet search over the past five years also located material that would have been impossible to find otherwise. The compiled information was transferred to a detailed data base designed specifically for this purpose. The result is the most complete inventory of Man Ray’s graphic work in existence. This study includes an exhibition history of Man Ray’s graphic work exhibitions, reproducing the exhibition catalogue covers. Man Ray’s experimental approach to printmaking included his use of a wide range of techniques and the use of new materials, such as plastics, in his work. Man Ray’s prints of the 1970s show foresight about the direction in which printmaking was to move, with an acceptance of photomechanical methods that had been discarded by the previous generation of printmakers. Of particular significance are Man Ray’s screenprints from 1966, printed on cast acrylic sheeting, an innovation that was later attributed to emerging Pop artists. In conclusion, printmaking was an integral part of Man Ray’s opus. Every aspect of his artistic output was concurrent, so that no one medium, be it photography or printmaking or painting, can be fully appreciated without understanding that symbiotic relationship. Using printmaking techniques, Man Ray repeated and reproduced his key ideas in this medium. This repetition of themes was a conscious decision on the part of the artist. His interdisciplinary approach to creating his graphic work is a clear predecessor to late twentieth century contemporary art traditions that favored concept over laborious execution. Prints, as a medium, gave Man Ray a means of freely expressing his ideas and disseminating them to a wide audience throughout his entire career. / La presente tesis doctoral se centra en el análisis y la interpretación de los grabados realizados por el artista Man Ray (1890-1976) a lo largo de su vida. Se entiende por obra gráfica la obra estampada e impresa, y se incluyen los livres d’artiste (los libros ilustrados) con imágenes de Man Ray. Hasta esta investigación, no ha habido un análisis global de la producción gráfica de Man Ray, ni como artista individual, ni en relación con el contexto histórico en que se desarrolló. El objetivo de la investigación es conocer el alcance y la importancia de estas obras y su impacto sobre la obra global del artista y sobre la historia del grabado del siglo XX. La documentación procede principalmente de museos, bibliotecas, galerías, Internet y colecciones privadas. Las obras han sido estudiadas in situ en España, Estados Unidos, Francia, Israel e Italia. Después de la fase de consulta y recogida de información, se ha iniciado la fase de sistematización de los datos en una base de datos, diseñada y desarrollada específicamente para esta investigación. He localizado catálogos de exposición donde figuran la obra gráfica y livres d’artiste y he compilado una historia de las exposiciones de la obra gráfica de Man Ray entre los años 1915 y 1976. El carácter experimental de Man Ray permitió que se utilizaran diversas técnicas del grabado como la xilografía, litografía, serigrafía, aguafuerte, cliché verre, pochoir y fotograbado. Cabe resaltar su exploración de nuevos materiales, como sus serigrafías impresas sobre metacrilato en 1966, innovación que posteriormente se atribuiría a los artistas emergentes del Pop Art. Se puede concluir que el conjunto de toda la obra gráfica localizada y estudiada de Man Ray fue una parte esencial de su opus durante sesenta y dos años. Man Ray repetía y reproducía en grabado sus propias ideas que había plasmado con antelación en pintura, dibujo, collage, fotografía y objetos. Esta repetición de temas fue una decisión consciente por parte del artista y el grabado, como medio, le dio una libertad de expresión para reproducir sus ideas durante toda su trayectoria artística.

Ant colony optimisation (ACO) is a metaheuristic to solve optimisation problems inspired by the foraging behaviour of ant colonies. It has been successfully applied to several types of optimisation problems, such as scheduling and routing, and more recently for the discovery of classification rules. The classification task in data mining aims at predicting the value of a given goal attribute for an example, based on the values of a set of predictor attributes for that example. Since real-world classification problems are generally described by nominal (categorical or discrete) and continuous (real-valued) attributes, classification algorithms are required to be able to cope with both nominal and continuous attributes. Current ACO classification algorithms have been designed with the limitation of discovering rules using nominal attributes describing the data. Furthermore, they also have the limitation of not coping with more complex types of classification problems e.g., hierarchical multi-label classification problems. This thesis investigates the extension of ACO classification algorithms to cope with the aforementioned limitations. Firstly, a method is proposed to extend the rule construction process of ACO classification algorithms to cope with continuous attributes directly. Four new ACO classification algorithms are presented, as well as a comparison between them and well-known classification algorithms from the literature. Secondly, an ACO classification algorithm for the hierarchical problem of protein function prediction which is a major type of bioinformatics problem addressed in this thesis is presented. Finally, three different approaches to extend ACO classification algorithms to the more complex case of hierarchical multi-label classification are described, elaborating on the ideas of the proposed hierarchical classification ACO algorithm. These algorithms are compare against state-of-the-art decision tree induction algorithms for hierarchical multi-label classification in the context of protein function prediction. The computational results of experiments with a wide range of data sets including challenging protein function prediction data sets with very large number.

No description available.

No description available.

Distributed computing systems, with a high degree of interaction, cooperation, and sharing of resources between large numbers of computing elements, are becoming critical to the working of many enterprises. The evolution of services and networks along with the development of interorganisational, distributed applications require distributed management techniques, systems and tools. Different platforms are currently available to assist the development of distributed applications, hiding the underlying diversity and physical distribution of different computers, operating systems and network protocols. However, they supply neither facilities for automatic management of the support services they provide to application developers nor of the applications themselves. A random allocation of software components to nodes and the lack of resource management policies may lead to poor performance by having some nodes overloaded while others are idle. This thesis proposes an approach to distributed systems management, addressing in particular the distribution of the workload submitted to a distributed system by its users. A management architecture based on the ODP Reference Model and the OSI Management Model is presented. Distributed System managers, each responsible for a management domain, and Node Managers interact to allocate services to suitable nodes, considering the services requirements and the resources available. A prototype implementation is described which demonstrates how the concepts and mechanisms that form the architecture can be realised. This, together with a qualitative evaluation, shows the benefits of incorporating this management approach in a distributed environment: service creation and distribution, as well as resource management, is made transparent to platform users; the workload submitted to the system is automatically distributed; and services are provided with the requirements they need.

Formal methods for the specification and development of distributed systems have traditionally supported a top-down, linear development process. However, there is a growing awareness in the (distributed) software engineering community that, in addition to a `vertical' structuring into design phases and steps, the specification and development of complex systems should also be structured `horizontally' according to, so called, viewpoints. Such multi-viewpoint development methods raise two important new issues though, viz. consistency and composition of viewpoint specifications. The aim of this thesis is to provide formal techniques to support multi-viewpoint specification and development. In particular, it deals with process algebraic techniques for viewpoint specification, consistency checking and viewpoint composition. An important issue is the formal definition of consistency, in particular when different viewpoints are expressed using different specification techniques -- a situation that is referred to as unbalanced (as opposed to balanced) consistency. To this end, a mathematical framework for formal, viewpoint oriented system development is elaborated by abstracting from specific viewpoint models and specific formal techniques. A number of existing process algebraic specification techniques based on, so called, implementation relations, are investigated on their suitability for viewpoint specification. The thesis contains a comprehensive study of all possible binary consistency relations between specifications in these techniques, resulting in a spectrum of consistency relations. It also provides techniques for composition in these specification techniques. In addition, a new mixed term specification technique is developed that combines the expressiveness of modal logics with the structuring capabilities of process calculi. Consistency and composition turn out to have precisely the desired properties, which makes it an ideal formalism for partial process specification. Moreover, because of its expressiveness, it can serve as a pivotal formalism for unbalanced consistency checking.

No description available.

No description available.