The primary purpose of this study is to investigate and challenge the predetermined silhouettes of street wear; silhouettes and identity that has been ”approved” by the structures of society. The study aims to open up for discussion, and explore the area in which might be considered to be ”wrongdoings”, in order to push the boundaries that we have set on the different components a garment can be built up with. The study was conducted with the method of deconstruction, to be able to fully understand the archetypes of garments and accessories within the chosen field. The focus laid on the details, and how one could abstract these and rework them into something else; another silhouette and purpose. The result shows garments that has pushed their on limitations in silhouettes and identity; opened up for other kinds of context, and embraces the possibilities of their details when it comes to shape.

Procuramos fundamentar e explicitar neste trabalho o modo pelo qual o sujeito organiza, pessoal, coletiva e historicamente seu conhecimento astronômico. Toma-se como referencial teórico para essa organização a epistemologia genética de Jean Piaget, em particular sua teoria da abstração reflexionante. Apontam-se, na revisão bibliográfica, aspectos que se consideram relevantes para o conhecimento astronômico, tanto do ponto de vista teórico quanto histórico, seguindo uma direção que estrutura a gênese desse conhecimento específico, desde as estruturas sensório-motoras do sujeito, passando pelo pensamento pré-operatório, o pensamento operatório concreto e o pensamento operatório formal. O caminho seguido, uma vez que não podemos abranger o trabalho de Piaget na sua totalidade, foi o de fundamentar a aquisição do conhecimento no equilíbrio cognitivo, conseguido através de abstrações empíricas e reflexionantes, tendo como modelo, principalmente, o equilíbrio dos sistemas biológicos. Isso é, pretendemos mostrar como o conhecimento astronômico, iniciando pela percepção do céu, mediado pelo processo de equilibração e de abstração reflexionante, evolui por sucessivas tomadas de consciência dos fenômenos celestes e, ao mesmo tempo, das compreensões do próprio sujeito. Apontam-se, finalmente, algumas sugestões pedagógicas para que os fenômenos dos céus, inferenciais na sua totalidade, possam ser compreendidos em diferentes níveis de suas possíveis leituras. / This work has the objective of fundament and explicit in what ways one organizes, personal, collective and historically, its own astronomic knowledge. Jean Piaget’s genetics epistemology is taken as the referential theory, and the reflexionant abstraction theory taken as the central point. Through a checking on the bibliography, different aspects considered relevant for the astronomic knowledge are pointed out, in theory as in history, following a direction that structures the genesis of this specific knowledge, since one’s sensory-motor structures, going through the pre-operational thinking, the concrete operational thinking and the formal operational thinking. The way through which it was done, since we cannot go thorough the complete work of Piaget, fundaments the acquisition of knowledge on the cognitive equilibrium, acquired through empiric and reflexionant abstractions, having as a model, mainly, the biological systems equilibrium. In another way, with the astronomic knowledge, taken from the skies’ perception, mediated by the equilibrium theory and the reflecting abstraction theory, leads to the perception and understanding of the celestial phenomenon. By the end, the conclusions also point out suggestions in a pedagogical level so that the skies phenomenon, inferential in their totality, can be fully comprehended in all different ways of possible reading.

The technology push by Moore's law brings a paradigm shift in the adaption of many core systems which replace high frequency superscalar processors with many simpler ones. On the software side, in order to utilize the available computational power, applications are following the high performance parallel/multi-threading model. Thus, many-core systems raise the challenges of resource allocation and fragmentation making necessary ecient run-time resource management techniques. In this thesis, we propose SPA, a Simple Pool Architecture for managing resource allocation in many-core systems. The proposed framework follows a distributed approach in which cores are organized into clusters and multiple clusters form a pool. Clusters are created based on system's characteristics and the allocation of cores is performed in a distributed manner so as to increase resource utilization and reduce fragmentation. Specifically, SPA is responsible (i) to generate the pool-based structure and organize cores into clusters depending on the NoC architecture; (ii) to serve, at run-time, the needs of multithreaded applications, in terms or processing cores; and (iii) to allocate resources in order to take advantage of spatial features, shared resources and reduce fragmentation. Experimental results show that SPA produces on average 15% better application response time while waiting time is reduced by 45% on average compared to other state-of-art methodologies.

Procuramos fundamentar e explicitar neste trabalho o modo pelo qual o sujeito organiza, pessoal, coletiva e historicamente seu conhecimento astronômico. Toma-se como referencial teórico para essa organização a epistemologia genética de Jean Piaget, em particular sua teoria da abstração reflexionante. Apontam-se, na revisão bibliográfica, aspectos que se consideram relevantes para o conhecimento astronômico, tanto do ponto de vista teórico quanto histórico, seguindo uma direção que estrutura a gênese desse conhecimento específico, desde as estruturas sensório-motoras do sujeito, passando pelo pensamento pré-operatório, o pensamento operatório concreto e o pensamento operatório formal. O caminho seguido, uma vez que não podemos abranger o trabalho de Piaget na sua totalidade, foi o de fundamentar a aquisição do conhecimento no equilíbrio cognitivo, conseguido através de abstrações empíricas e reflexionantes, tendo como modelo, principalmente, o equilíbrio dos sistemas biológicos. Isso é, pretendemos mostrar como o conhecimento astronômico, iniciando pela percepção do céu, mediado pelo processo de equilibração e de abstração reflexionante, evolui por sucessivas tomadas de consciência dos fenômenos celestes e, ao mesmo tempo, das compreensões do próprio sujeito. Apontam-se, finalmente, algumas sugestões pedagógicas para que os fenômenos dos céus, inferenciais na sua totalidade, possam ser compreendidos em diferentes níveis de suas possíveis leituras. / This work has the objective of fundament and explicit in what ways one organizes, personal, collective and historically, its own astronomic knowledge. Jean Piaget’s genetics epistemology is taken as the referential theory, and the reflexionant abstraction theory taken as the central point. Through a checking on the bibliography, different aspects considered relevant for the astronomic knowledge are pointed out, in theory as in history, following a direction that structures the genesis of this specific knowledge, since one’s sensory-motor structures, going through the pre-operational thinking, the concrete operational thinking and the formal operational thinking. The way through which it was done, since we cannot go thorough the complete work of Piaget, fundaments the acquisition of knowledge on the cognitive equilibrium, acquired through empiric and reflexionant abstractions, having as a model, mainly, the biological systems equilibrium. In another way, with the astronomic knowledge, taken from the skies’ perception, mediated by the equilibrium theory and the reflecting abstraction theory, leads to the perception and understanding of the celestial phenomenon. By the end, the conclusions also point out suggestions in a pedagogical level so that the skies phenomenon, inferential in their totality, can be fully comprehended in all different ways of possible reading.

A dissertação visa alçar uma reflexão sobre a produção e contribuição crítica de Mário Pedrosa para a arte brasileira, como também identificar alguns de seus paradigmas artísticos que colaboraram para a consolidação de um arcabouço teórico para História da Arte Moderna, tanto no plano nacional, quanto internacional. Objetiva-se delinear a relação entre o que Pedrosa absorveu sobre as teorias gestálticas e exemplos de como ele as aplicou na tessitura de seu discurso crítico. Ao sedimentar o foco de análise no envolvimento do crítico brasileiro com o tema da psicologia da forma, propõe-se ressaltar as implicações estéticas de seu estudo pioneiro Da natureza Afetiva da Forma na Obra de Arte. Pretende-se, ainda, identificar a intersecção entre a psicologia da forma e a crítica de arte de Mário Pedrosa, propondo a influência destas teorias nos textos sobre a obra do artista americano Alexander Calder, artista considerado pelo crítico, como o emblema da estética abstrata construtiva. Busca-se verificar como as teses da psicologia da forma ofereceram ao crítico, subsídios conceituais para uma nova relação com as premissas constitutivas e cognitivas da estética abstrata. / The thesis aims at reflecting on the critical production and contribution of Mário Pedrosa to Brazilian art, as well as identifying some artistic paradigms, which contributed to the consolidation of a theoretical framework for the History of Modern Art, both at the national and international levels. The purpose here is to outline the relationship between what Pedrosa absorbed about Gestalt-based theories and examples of how he applied them in constructing his critical discourse. By focusing the analysis on the Brazilian critics engagement in the subject of the psychology of forms we propose to emphasize the aesthetic implications of his groundbreaking study Da natureza Afetiva da Forma na Obra de Arte (On the affective nature of forms in the work of art). We also intend to identify the intersection between the psychology of forms and Mario Pedrosas art criticism, pointing the influence of these theories on texts about American artist Alexander Calder, considered by the critic the symbol of constructive abstract aesthetics. We sought to verify how psychology theses on forms offered the critic conceptual material for a new relationship with the constitutive and cognitive premises of abstract aesthetics.

Procuramos fundamentar e explicitar neste trabalho o modo pelo qual o sujeito organiza, pessoal, coletiva e historicamente seu conhecimento astronômico. Toma-se como referencial teórico para essa organização a epistemologia genética de Jean Piaget, em particular sua teoria da abstração reflexionante. Apontam-se, na revisão bibliográfica, aspectos que se consideram relevantes para o conhecimento astronômico, tanto do ponto de vista teórico quanto histórico, seguindo uma direção que estrutura a gênese desse conhecimento específico, desde as estruturas sensório-motoras do sujeito, passando pelo pensamento pré-operatório, o pensamento operatório concreto e o pensamento operatório formal. O caminho seguido, uma vez que não podemos abranger o trabalho de Piaget na sua totalidade, foi o de fundamentar a aquisição do conhecimento no equilíbrio cognitivo, conseguido através de abstrações empíricas e reflexionantes, tendo como modelo, principalmente, o equilíbrio dos sistemas biológicos. Isso é, pretendemos mostrar como o conhecimento astronômico, iniciando pela percepção do céu, mediado pelo processo de equilibração e de abstração reflexionante, evolui por sucessivas tomadas de consciência dos fenômenos celestes e, ao mesmo tempo, das compreensões do próprio sujeito. Apontam-se, finalmente, algumas sugestões pedagógicas para que os fenômenos dos céus, inferenciais na sua totalidade, possam ser compreendidos em diferentes níveis de suas possíveis leituras. / This work has the objective of fundament and explicit in what ways one organizes, personal, collective and historically, its own astronomic knowledge. Jean Piaget’s genetics epistemology is taken as the referential theory, and the reflexionant abstraction theory taken as the central point. Through a checking on the bibliography, different aspects considered relevant for the astronomic knowledge are pointed out, in theory as in history, following a direction that structures the genesis of this specific knowledge, since one’s sensory-motor structures, going through the pre-operational thinking, the concrete operational thinking and the formal operational thinking. The way through which it was done, since we cannot go thorough the complete work of Piaget, fundaments the acquisition of knowledge on the cognitive equilibrium, acquired through empiric and reflexionant abstractions, having as a model, mainly, the biological systems equilibrium. In another way, with the astronomic knowledge, taken from the skies’ perception, mediated by the equilibrium theory and the reflecting abstraction theory, leads to the perception and understanding of the celestial phenomenon. By the end, the conclusions also point out suggestions in a pedagogical level so that the skies phenomenon, inferential in their totality, can be fully comprehended in all different ways of possible reading.

The KreaTV Application Development Kit (ADK) product of Motorola enables application developers to create high level applications and browser plugins for the IPSTB system. As a result, customers will reduce development time, cost and supplier dependency. The main goal of this thesis was to port this platform to a standard Linux PC to make it easy to trace the bugs and debug the code. This work has been done by implementing a hardware abstraction layer (HAL) for Linux Operating System. HAL encapsulates the hardware dependent code and HAL APIs provide an abstraction of underlying architecture to the operating system and to application software. So, the embedded platform can be emulated on a standard Linux PC by implementing a HAL for it. We have successfully built the basic building blocks of HAL with some performance degradation. We are able to start up the application platform, use graphics mixing features and play a video via filtering the data from the transport stream and decoding it. But there is still a lot of work to do to build the whole HAL for all the platform to be run smoothly as they do on a set-top box hardware.

Abstract The triosephosphate isomerase (TIM) barrel superfamily is a broad family of proteins, most of which are enzymes. At the amino-acid-sequence level, many of the members of this family share little, if any, homology. Yet, they adopt the same three-dimensional (βα)8 fold. The TIM barrel fold seems to be a good framework for many different kinds of enzymes, providing unique possibilities for both natural and human-designed evolution, as the catalytic center and the stabilizing features are separated to different ends of the barrel. Indeed, in the light of most recent studies, it seems likely that at least most of the different TIM barrel enzymes, catalyzing a huge variety of reactions, have evolved from a common ancestor. TIM can be considered a real text-book enzyme — its catalytic properties and stucture-function relationships have been studied for decades. Still, at present, we are quite far from understanding the structural features that make TIM and other enzymes such superior catalysts in both efficiency and precision. TIM is a dimeric enzyme that consists of two identical subunits of 250 residues. It catalyzes the interconversion of dihydroxyacetone phosphate and D-glyceraldehyde-3-phosphate in glycolysis. The basics of this reaction are well known, but there is ongoing discussion about the details of the proton transfer steps, and three alternative pathways have been suggested. In addition, it is a fascinating question how the enzyme succeeds in abstracting a highly stable proton from a carbon atom of the substrate. This study was undertaken to shed light on some of the questions concerning the structure-function relationships in TIM. The most important findings are the elucidation of the role of Asn11 as a catalytic residue and the meaning of the flexibility of both the catalytic Glu167 side chain as well as the substrate during catalysis, and the presence of a low-barrier hydrogen bond between Glu167 and a transition-state analogue, 2-phosphoglycolate. Furthermore, significant results were obtained on the importance of a conserved salt bridge, 20 Å away from the active site and the dimer interface, for the stability and folding of TIM as well as on the factors influencing the opening of the flexible loop 6 upon product release.

M.Ed. / Please refer to full text to view abstract

L’oeuvre de Robert Smithson (1938-1973) connaît un regain d’intérêt depuis le début duXXIème siècle. Cependant l’importance de l’impact des théories de la cybernétique sur sonoeuvre a été peu soulignée jusqu’ici. En prenant comme piliers les écrits et carnets de RobertSmithson notre recherche consiste en une analyse de cet impact dans la pensée et l’oeuvre del’artiste à travers l’étude des rapports étroits qu’y occupent le langage, la technologie etl’abstraction artistique.A partir des principes de la cybernétique, Smithson formule une critique de l’abstractionmoderniste et pose les bases de sa pratique plastique. S’attachant à des questions à l’oeuvre encybernétique, il saisit que se mettent en jeu de nouveaux problèmes de représentation. Ilréaffirme alors un fondement sémiotique aux arts plastiques, à savoir une structure invisiblefondée sur le langage qui est essentielle dans l’art classique.Les oeuvres de Smithson effectuent des pivotements du sens qui se révèlent aux différentsniveaux que nous étudions dans les trois parties de la thèse : pivotement de la notiond’atemporel telle que traditionnellement envisagée dans la culture occidentale (I), pivotementde l’abstraction moderniste (II), pivotement du rapport au temps et à la mémoire (III). Cestrois formes de pivotement tendent à repenser les formes de l’oeuvre d’art à l’âge del’électronique.En analysant la manière dont l’oeuvre de Smithson se construit, comment elle fonctionne et cequ’elle implique sur la durée, nous montrons en quoi les problèmes plastiques et esthétiquesque pose Smithson au moment de la révolution électronique dans les années 1960-1970résonnent avec la situation de l’art contemporain à l’heure de la révolution numérique. / The work of artist Robert Smithson (1938-1973) enjoys a renewed interested since thebeginning of the XXIst century. However, the importance of the impact of cybernetic theorieson his work has not been stressed so far. Taking as essential basis Robert Smithson’snotebooks and writings, this dissertation consists in an analysis of the impact of cybernetics inhis thought and art through the close relationships between language, technology and artisticabstraction.With the principles of cybernetics, Smithson formulates a critique of modernist abstractionand builds the foundations of his plastic practice. Focusing on issues at stake in cybernetics,he is aware of new representation problems. He then reaffirms a semiotic basis for visual arts,namely an invisible structure that is essential in classical art.Smithson’s works realize rotations of meaning that appear at the different levels that we studyin the three parts of the dissertation: rotation of the notion of timelessness as traditionallydealt with in Western culture (I), rotation of modernist abstraction (II), rotation of the relationto time and memory (III). With these three types of rotations Smithson rethinks the forms ofthe artwork in the age of electronics.We analyze how Smithson’s work constructs, how it operates and what it implies over time.We show how the plastic and esthetic issues Smithson contemplates at the time of theelectronic revolution in the years 1960-1970 resonate to the present day with the situation ofcontemporary art at the time of the digital revolution. / Seit dem Anfang des 21. Jahrhunderts erfährt das Werk von Robert Smithson (1938-1973) ein erneutes Interesse. Jedoch, wurde die Bedeutung der Auswirkung von Theorien der Kybernetik auf sein Werk bis heute nur wenig aufgezeigt. Mit Smithsons Schriften und Notizbücher als Ausgangsbasis, analysiert die Vorliegende Untersuchung den Stellenwert der Kybernetik in seinem Denken und seinem Werk durch die engen Beziehungen, die Sprache, Technologie und künstlerische Abstraktion dort eingehen. Ausgehend von den Prinzipien der Kybernetik, formuliert Smithson eine Kritik der modernistischen Abstraktion und legt den Grundstein für seine eigene künstlerische Arbeit. Als er sich für Fragestellungen der Kybernetik interessiert, erkennt er, dass sich in ihr neue Darstellungsprobleme stellen. Er bekräftigt daraufhin eine semiotische Grundlage der bildenden Kunst, nämlich eine unsichtbare, auf Sprache gründende Struktur, wie sie der klassischen Kunst wesentlich ist. Die Werke von Smithson vollziehen Umkehrungen des Sinns auf verschiedenen Ebenen, die in drei Teilen der Dissertation untersucht werden: Umkehrung der traditionellen Vorstellung des Zeitlosen in der westlichen Kultur (I), Umkehrung der modernistischen Abstraktion (II), Umkehrung des Verhältnisses zu Zeit und Gedächtnis (III). Diese drei Umkehrungsformen zielen darauf, die Formen des Kunstwerks im elektronischen Zeitalter neu zu denken.Wir analysieren, auf welche Weise sich Smithsons Werk konstruiert, wie sie sich vollzieht und welche Implikationen sie im Laufe der Zeit mit sich bringt. Damit zeigen wir, inwieweit die plastischen und ästhetischen Probleme, die Smithson im Zeitalter der elektronischen Revolution in den Jahren 1960-1970 aufwirft, bis heute mit der Situation der zeitgenössischen Kunst im Zeitalter der digitalen Revolution von Bedeutung sind.