Bibliography: leaves 53-57. / The first notion of realcompactness in frames was introduced by Reynolds [1979], and it was shown by Madden and Vermeer [1986] that this coincides with the Lindelof property. My thesis advisor suggested that more general realcompactifications of a frame L could be constructed by considering regular sub σ-frames which join generate L. This was motivated by the fact that the Alexandroff bases, which are used to construct the Wallman realcompactifications of a space X, are, as shown by Gilmour, simply the regular sub σ-frames of the frame of open sets of X. The key definition of realcompactness needed here is due to Schlitt [1990] and it is his construction of the universal realcompactification that we modify in order to obtain the Wallman realcompactifications.

This thesis is a critical analysis and reconfiguration of the physical frame in contemporary art. Drawing on historical, theoretical and technical knowledge bases, the thesis characterises the physical frame as the material manifestation of an act (or set of acts) of framing: a constructed ??surplus?? or necessary appendage created to mediate and protect an artwork, connecting it to physical and conceptual contexts in order to facilitate a better understanding of the framed work. The frame is thus depicted as ??work-sensitive??, being formed in response to, and as a direct result of, the work of art. This distinguishes the frame from notions of ??site?? and ??place??, which both connote pre- existing spaces. The physical frame, rather than describing the setting or site to which an artwork is added or contributes to, describes the material build-up which is added to the work. The thesis documents and examines the various ways that contemporary artists employ physical frames to negotiate physical and conceptual space for artworks. This framing perspective is contrary to the prevalent mindset that contemporary artworks - having broken out beyond the picture frame into real space and time - are now frameless. As a result of this research, the physical frame is reconfigured as an open-ended cellular construct, offering up multiple narrative threads. A distinction is made in the thesis between an ??immediate?? frame (a frame immediately attached to an artwork which the viewer stands on the ??outside?? of, such as a picture frame) and an ??extended?? frame (an immersive kind of frame experienced by the viewer from ??within?? the frame, as with a ??circumtextual?? frame). In addition to clarifying and developing upon existing framing terminology, this thesis presents a new taxonomic scale of frames in order to test the hypothesis that ??immediate?? frames can be discussed and categorised according to their level of involvement with their associated artworks. This framing model offers a new filter through which to approach the contemporary artwork, and provides a method, vocabulary and set of questions to dissect and articulate the presence and relevance of a detected frame.

This thesis is a critical analysis and reconfiguration of the physical frame in contemporary art. Drawing on historical, theoretical and technical knowledge bases, the thesis characterises the physical frame as the material manifestation of an act (or set of acts) of framing: a constructed ??surplus?? or necessary appendage created to mediate and protect an artwork, connecting it to physical and conceptual contexts in order to facilitate a better understanding of the framed work. The frame is thus depicted as ??work-sensitive??, being formed in response to, and as a direct result of, the work of art. This distinguishes the frame from notions of ??site?? and ??place??, which both connote pre- existing spaces. The physical frame, rather than describing the setting or site to which an artwork is added or contributes to, describes the material build-up which is added to the work. The thesis documents and examines the various ways that contemporary artists employ physical frames to negotiate physical and conceptual space for artworks. This framing perspective is contrary to the prevalent mindset that contemporary artworks - having broken out beyond the picture frame into real space and time - are now frameless. As a result of this research, the physical frame is reconfigured as an open-ended cellular construct, offering up multiple narrative threads. A distinction is made in the thesis between an ??immediate?? frame (a frame immediately attached to an artwork which the viewer stands on the ??outside?? of, such as a picture frame) and an ??extended?? frame (an immersive kind of frame experienced by the viewer from ??within?? the frame, as with a ??circumtextual?? frame). In addition to clarifying and developing upon existing framing terminology, this thesis presents a new taxonomic scale of frames in order to test the hypothesis that ??immediate?? frames can be discussed and categorised according to their level of involvement with their associated artworks. This framing model offers a new filter through which to approach the contemporary artwork, and provides a method, vocabulary and set of questions to dissect and articulate the presence and relevance of a detected frame.

Zugl.: Düsseldorf, Univ., Diss., 2007

Thesis (Ph. D.)--University of Texas at Austin, 2005. / Vita. Includes bibliographical references.

Nature has the power to provide perspective, an atmosphere of reflection and contemplation, and also allows one to retreat to seclusion and recharge. A retreat on a river's edge provides access to these attributes of nature. An effort to blur the boundary of the outdoors was made to encourage immersion into it. The choice of natural and relatively local material provides a relationship between the built and the natural, allowing the inhabitant to experience the marriage of the two. The rhythm of heavy timber framework contrasts and compliments the delicate and translucent southern facade; the existence of the two perpetuates the perspective of balance and harmony. The intention of balance and harmony was not successful the first couple of tries. Trying to manipulate the structure against it's natural geometry and rhythm only produced problems. Once the structure was allowed influence the form instead of vice versa, better spatial opportunities became apparent. / Master of Architecture

Thesis (M.A.)--University of Delaware, 2007. / Principal faculty advisor: Bernard L. Herman, Dept. of Art History. Includes bibliographical references.

Submitted by Renata Lopes (renatasil82@gmail.com) on 2016-06-22T20:09:43Z No. of bitstreams: 1 francineferreiravaz.pdf: 5956565 bytes, checksum: 887be1adaf29f6c55af681336cbd0089 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-07-13T15:32:32Z (GMT) No. of bitstreams: 1 francineferreiravaz.pdf: 5956565 bytes, checksum: 887be1adaf29f6c55af681336cbd0089 (MD5) / Made available in DSpace on 2016-07-13T15:32:32Z (GMT). No. of bitstreams: 1 francineferreiravaz.pdf: 5956565 bytes, checksum: 887be1adaf29f6c55af681336cbd0089 (MD5) Previous issue date: 2012-05-24 / Essa pesquisa faz parte do projeto FrameNet Brasil que tem como um dos seus objetivos definir, através da análise de corpus, os frames da Língua Portuguesa com base nos frames da Língua Inglesa descritos pelo projeto FrameNet americano. Nessa perspectiva, focamos o nosso trabalho nos frames de Comunicação, Meios de Comunicação e Modos de Comunicação do Português do Brasil. Esse estudo tem como suporte teórico a Semântica de frames (FILLMORE, 1982) e foi desenvolvido nos moldes do Projeto FrameNet americano, partindo da descrição dos frames e da definição dos seus elementos centrais e periféricos para, a seguir, anotar as Unidades Lexicais (UL) de cada um nos corpora escolhidos. Dessa forma, foi possível criar tabelas com os padrões encontrados e compará-los com os padrões originais do inglês. A hipótese inicial de que os frames descritos para o português seguiriam os moldes dos frames descritos para o inglês foi comprovada; no entanto, percebeu-se que o comportamento das ULs de cada frame é um pouco distinto nas duas línguas estudadas. Por exemplo, no inglês, as realizações sintáticas para o EF Mensagem na UL balbuciar são Obj.SN e Dep.CIT e no Português Obj.SN, Obj.CIT, INI, IND. Analisando esses três frames, esse trabalho contribui para a descrição dos frames descritos para o Português e para que, futuramente, seja possível criar uma rede de equivalentes semânticos entre todas as línguas que forem descritas dessa forma. / This research is part of a larger project called FrameNet Brasil that, among other aims, intends to, through corpus analyses, define the Portuguese frames based on the English ones described by the Berkeley FrameNet Project. Thereby, this work focuses on the description of the following Portuguese frames: Communication, Communication Means and Communication Manner. This study is supported by the frame semantics theory and was developed according to the Berkeley FrameNet Project model. First, the frames were described and the core and non-core elements were defined. Then, the lexical units were annotated in the corpora chosen. By doing this, it was possible to create tables with the patterns found and compare then to the English original. The initial hypothesis that the Portuguese frames are similar to the English ones was confirmed, even though, we noticed that the ULs behave differently in the two languages analysed. For example, in English, the syntatic realization of the FE Message for the LU babble is Obj.NP and Dep.QUO while in Portuguese is Obj.NP, Obj.QUO, INI, DNI. Analysing these three frames, this work contributes to the description of the Portuguese frames and to the creation, in the future, of a network with semantic equivalents among languages based on frame.

No description available.

Mobilisant le versant indiciel du signe photographique, la photographie de presse référentielle relève d’un dispositif de monstration du réel, porteur d’une promesse épistémique et d’une posture médiatique pédagogique. Une approche sémiodiscursive de la photographie de presse tente dans un premier temps de comprendre comment l’emprise de la vision photographique, et l’imaginaire de vérité techniciste de la preuve par l’image, sont mis en abyme et intentionnellement présupposés dans la stratégie testimoniale mise en œuvre par le discours d’information médiatique. On essaye ici de mettre au jour les facteurs d’activation de ce prédiscours, ses marques indirectes d’appel. Guidé par le même fil rouge qui avait motivé nos précédentes recherches – la notion princeps de regard –, on analyse alors en quoi les photographies de Libération peuvent se démarquer de cette figure imposée qu’est la photographie testimoniale, pour mettre en scène un regard singulier et décalé de l’instance médiatique sur le monde. En rupture avec les standards journalistiques attendus, la stratégie de Libération repose en effet sur une réécriture photographique sophistiquée de l’actualité – un réel art de faire visant des effets de connivence avec son lecteur. Praxis photographique, postures énonciatives, formes textuelles, procédés, visées communicationnelles, et fonctionnalités du cadre : les typologies et analyses élaborées dans cette thèse permettent de décrypter la stratégie de distinction de ce quotidien, études de cas à l’appui. / Mobilising the index side of the photographic sign, the referential press photograph is akin to a dispositif of monstration of the real, implying an espistemic promise and a pedagogical media posture. A semiodiscursive approach to press photography first attempts to understand how the hold of photographic vision and the imaginative world of technicist truth of image as proof are mis en abyme and intentionally presupposed in the testimonial strategy carried out by the discourse of media information. We shall try here to point out what triggers off this prediscourse, its enunciative marks.Following the same thread that had underlined our previous research – the princeps concept of gaze – we shall then analyse to what extent the photographs from Libération diverge from the compulsory figure of testimonial photography to stage a singular off-beat gaze of the medium upon the world. Breaking away from the conventional press standards, the strategy adopted by Libération lies upon a sophisticated photographic rewriting of current news – amounting to a real art de faire aiming at complicity with the reader. Illustrated with numerous cases in point, the typologies elaborated here enable us to decipher this strategy of differenciation at play in the building of a posture of enunciation, a photographic praxis, language habits and gimmicks, communicational objectives and finally of some functionalities of the frame which clearly mark out Libération as a distinctive daily newspaper.