El estudio de la obra gráfica de Salvador Dalí se ha venido realizando desde los clásicos puntos de vista histórico, estético, iconográfico y simbólico. Sin embargo, los materiales constituyentes y las técnicas empleadas en la realización de la misma no han sido tratados con igual profundidad. La valoración de su obra gráfica, marcada por grandes escándalos referidos a la autoría de Dalí y a la firma de numerosos papeles en blanco, ha sido desigual, restando importancia a ciertos períodos de su obra y tomando siempre como referente su mejor época, los años 30. El objetivo principal de esta tesis es cubrir esta falta de información técnica acerca de la realización de su obra gráfica. Este objetivo se alcanzará a través de un acercamiento a la faceta de Dalí como dibujante e ilustrador, que nos ayudará a establecer la autoría o definición de “obra gráfica original” en Dalí. Para ello estudiaremos las diversas tipologías de obras conservadas en la Fundación Gala-Salvador Dalí. Demostraremos que el uso de dibujos y calcos para realizar su obra pictórica podría extenderse también a la obra gráfica. Las primeras aportaciones de Dalí en este campo se incorporan en los denominados “livres d’artiste” (1930-1938) que realiza en colaboración con autores como André Breton, Tristan Tzara, Paul Éluard o Georges Hugnet, entre otros. El repaso por estas obras nos permitirá profundizar en la concepción del libro “Les Chants de Maldoror” (1934), ya que este período inicia el reconocimiento de Dalí como grabador. Con el ejemplo de la realización de este libro creemos poder demostrar un método de trabajo a partir de calcos y dibujos, que son traspasados mediante técnicas fotográficas a las planchas que servirán posteriormente para la realización de la edición. Además se pondrán de manifiesto las diferentes fases de elaboración a través de los personajes que intervienen en su ejecución: el encargo por parte del editor Albert Skira, tras la recomendación de Pablo Picasso (o René Crevel) en el París de los surrealistas; la implicación del autor mediante la realización de originales a tinta; la importancia del taller de Roger Lacourière en la obra de Dalí en los años 30 y la figura de Lluis Bracons i Sunyer como principal grabador de las obras de Dalí. El conocimiento técnico sobre los procesos de impresión y los recursos fotográficos formarán parte de nuestro estudio técnico, con el fin de describir y caracterizar las estampas.

The majority of applications running over packet networks involve point-to-point working. Over the last few years, there has been growing interest in applications involving multiple participants and, increasingly, where these participants are all simultaneously involved in the communication. This interest has strengthened with the introduction of the MBone (the Internet multicasting backbone) and with the range of services made possible by ATM and those envisaged for Broadband ISDN. This thesis discusses the potential for a wide variety of multi-party applications. It examines their detailed requirements and the support mechanisms needed to meet these requirements. The work is presented as a dissertation and a collection of work published over a period of about ten years and as such draws together work on multi-party communication undertaken by the author and postgraduate students under her supervision. The major contribution of the thesis and the most recent work concerns multicast routing strategies capable of supporting high-bandwidth delay sensitive applications. A new heuristic is introduced which is shown to offer efficient routing solutions whilst ensuring that delays to each participant are kept within a bound. The heuristic is reasonably simple and is shown to perform well under a variety of conditions. The chapters of the these leading up to the work on multicast routing present the earlier published work. Architectural frameworks are presented which extend existing protocol reference models to offer multicast support mechanisms at appropriate hierarchical levels with a view to flexible yet efficient use of the network. One important support mechanism is group management and a system developed in the context of an integrated services network is described. This comprises a group management database together with a collection of flexible group management procedures capable of supporting a wide variety of applications.

Many problems in programming involve pairs of computations that cancel out each other's effects; some examples include parsing/printing, embed- ding/ projection, marshalling/unmarshalling, compressing/ de-com pressing etc. To avoid duplication of effort, the paradigm of bidirectional programming aims at to allow the programmer to write a single program that expresses both computations. Despite being a promising idea, existing studies mainly focus on the view-update problem in databases and its variants; and the impact of bidirectional programming has not reached the wider community. The goal of this thesis is to demonstrate, through concrete language designs and case studies, the relevance of bidirectional programming, in areas of computer science that have not been previously explored. In this thesis, we will argue for the importance of bidirectional programming in programming language design and compiler implementation. As evidence for this, we will propose a technique for incremental refactoring, which relies for its correctness on a bidirectional language and its properties, and devise a framework for implementing program transformations, with bidirectional properties that allow program analyses to be carried out in the transformed program, and have the results reported in the source program. Our applications of bidirectional programming to new areas bring up fresh challenges. This thesis also reflects on the challenges, and studies their impact to the design of bidirectional systems. We will review various design goals, including expressiveness, robustness, updatability, efficiency and easy of use, and show how certain choices, especially regarding updatability, can have significant influence on the effectiveness of bidirectional systems.

Graph drawing, or the automatic layout of graphs, is a challenging problem. There are several search-based methods for graph drawing that are based on optimising a fitness function which is formed from a weighted sum of multiple criteria. This thesis proposes a new neighbourhood search-based method that uses a tabu search coupled with path relinking in order to optimise such fitness functions for general graph layouts with undirected straight lines. None of these methods have been previously used in general multi-criteria graph drawing. Tabu search uses a memory list to speed up searching by avoiding previously tested solutions, while the path relinking method generates new solutions by exploring paths that connect high quality solutions. We use path relinking periodically within the tabu search procedure to speed up the identification of good solutions. We have evaluated our new method against the commonly used neighbourhood search optimisation techniques: hill climbing and simulated annealing. Our evaluation examines the quality of the graph layout (fitness function's value) and the speed of the layout in terms of the number of the evaluated solutions required to draw a graph. We also examine the relative scalability of our method. Our experimental results were applied to both random graphs and a real-world dataset. We show that our method outperforms both hill climbing and simulated annealing by producing a better layout in a lower number of evaluated solutions. In addition, we demonstrate that our method has greater scalability as it can lay out larger graphs than the state-of-the-art neighbourhood search-based methods. Finally, we show that similar results can be produced in a real world setting by testing our method against a standard public graph dataset.

This thesis examines the concept of graduateness in computing education. Graduateness is related to efforts to articulate the outcomes of a university education. It is commonly defined as the attributes all graduates should develop by the time they graduate regardless of university attended or discipline studied (Glover, Law and Youngman 2002). This work takes a different perspective grounded in disciplinary and institutional contexts. It aims to explore how graduates make sense of their experiences studying computing within their wider learning trajectories. The research presented here uses a narrative approach. Whilst narrative methodologies are not commonly used in computing education, people construct stories both to make sense of their experiences and to integrate the "past, present, and an anticipated future" (McAdams 1985, p.120). Stories are then a particularly appropriate way of examining the sense people make of their learning experiences. This work draws on narrative interviews with graduates from the School of Computing at the University of Kent and Olin College of Engineering in the United States. It contributes a new perspective about the effect of a computing education beyond short-term outcome measures and proposes several analytic constructs that expose significant aspects in participants' learning experiences. In this, it describes themes related to students' acquisition of disciplinary knowledge and examines the evolution of their stories of learning computing over time.

by Bruce L. Golden and Thomas L. Magnanti. / "7-102-77." Includes author index. Cover title. / Supported in part by the U.S. Deaprtment of Transportation, Transportation Advanced Research Program (TARP) contract no. DOT-TSC-1058

by H. A. [i.e. Z] Aashtiani and T. L. Magnanti. / "Most of the results of this report were presented at the National ORSA/TIMS meeting, Chicago, May 1975." "7-113-77." Cover title. / Bibliography: p. 35-38. / Supported in part by the U.S. Deaprtment of Transportation, Transportation Advanced Research Program (TARP) contract no. DOT-TSC-1058 Supported in part by the Office of Naval Research under contract. N00014-75-C-0556

by Philip M. Morse. / "10-128-77." / Bibliography: leaf 30.

by Arjang A. Assad. / "10-257-77." / Bibliography: p. 68-69. / Supported by the U.S. Department of Transportation under contract. DOT-TSC-1058

Rompiendo con los circuitos oficiales de las galerías y museos, el arte correo enuncia una nueva forma de circulación del trabajo artístico, que enfatiza sobre todo lo colectivo. Esta alternativa es la manera de circulación de propuestas artísticas e ideas. Este modo alternativo de circulación de las proposiciones/ideas artísticas enunciaba la idea de red que, posteriormente, con el adviento de Internet, se haría una cuestión altamente relevante para la contemporaneidad. En los años 1960 y 1970, el uso de los Correos como un medio táctico en el ámbito del arte está relacionado con la apropiación de los medios de comunicación por parte de las manifestaciones artísticas del periodo –un periodo en que la creación de redes y la comunicación eran fundamentales. El arte correo es un conjunto de diferentes estéticas, que tienen en el sistema postal tradicional su canal de expresión, apropiándose de ese canal de modo subversivo para configurarlo en un canal cultural alternativo de intercambio de mensajes artísticos. En la década de los setenta, el arte correo era considerado por algunos críticos e historiadores de arte como uno de los grandes fenómenos de la vanguardia internacional. Su amplia actuación, posibilitaba para los nuevos lenguajes artísticos el desencadenamiento de nuevas situaciones comunicacionales y estructurales, como por ejemplo el anonimato. El objetivo del arte correo es romper con el flujo unidireccional emisor-receptor de los medios de comunicación de masa, a través de la participación activa del espectador en la obra, socializando la autoría y diluyendo las fronteras que separan artista y público. De esta forma el arte correo democratiza el arte. Infelizmente, existen pocos estudios académicos acerca del arte correo, probablemente porque es un campo de estudio complejo, en el cual la información es difícil de conseguir. Es difícil precisar hechos y fechas. Los documentos y producciones son efímeros. A pesar de esto, en esta investigación se han analizado en profundidad las publicaciones en arte correo y las declaraciones de los artistas para entender sus conexiones y estrategias de comunicación, especialmente en el ámbito latinoamericano. / Breaking away from the official circuits of art galleries and museums, mail art heralds a new era for the circulation of artistic work, which focuses primarily on the collective. This alternative means of circulation for artistic proposals and ideas brings forward the concept of network that would later, with the birth of the Internet, become a highly significant issue for contemporaneity. The use of mail in the 1960s and 1970s as a tactical instrument in the field of art relates to the appropriation of the means of communication by the period’s artistic manifestations – a period in which establishing networks and communicating were crucial cultural elements. Mail art is a collection of varied aesthetics, whose means of expression is through official mail. Mail art appropriates this means of expression in a subversive manner to configure an alternative cultural channel for the exchange of artistic messages. In the 1970s, some critics and art historians considered mail art as one of the great phenomena of the international avant-garde. In its broadest sense, its actions enabled the new artistic languages to trigger communicational and structural situations, such as for example the anonymity. The goal of the mail art community was to break away from media’s one-way sender-receiver flow, through the spectators’ active participation in the piece itself. That would socialize authorship and dilute the borders that divide the artist and the public. In so doing, mail art democratizes art. Unfortunately, there are few academic studies about mail art, probably because that field of study is obdurately complex, the information is difficult to obtain. It is difficult to accurate facts and datas. The documents and works were frequently intend as ephemera. In spite of that, in this study we analyse in depth mail artists’ publications and interviews to understand their communicational connections and strategies, particularly in the field of Latin America.