Large data sets are difficult to visualize. For a human to find structures and understand the data, good visualization tools are required. In this project a technique will be developed that makes it possible for a user to look at complex data at different scales. This technique is obvious when viewing geographical data where zooming in and out gives a good feeling for the spatial relationships in map data or satellite images. However, for other types of data it is not obvious how much scaling should be done. In this project, an experimental application is developed that visualizes data in multiple dimensions from a large news article database. Using this experimental application, the user can select multiple keywords on different axis and then can create a visualization containing news articles with those keywords. The user is able to move around the visualization. If the camera is far away from the document icons then they are clustered using red coloured spheres. If the user moves the camera closer to the clusters they will pop up into single document icons. If the camera is very close to the document icons it is possible to read the news articles

La programmation distribuée est une tâche difficile. Elle a énormément gagné en importance avec le développement des réseaux qui supportent un nombre croissant exponentiellement d'applications. Les systèmes distribués fournissent des fonctionnalités assurées par les noeuds qui forment un réseau et échangent des données et services, éventuellement par le biais de messages. La provenance du service n'est souvent pas pertinente, alors que sa fiabilité est essentielle. Notre objectif est de fournir un nouveau modèle de communication qui permet de spécifier intentionnellement lequel service est demandé, et non les noeuds qui le fournissent. Cette spécification intentionnelle des échanges offre un potentiel pour faciliter la programmation distribuée, garantir la persistance des données dans les messages et la résilience des systèmes, qui constituent le sujet de cette thèse. Nous proposons donc un cadre qui supporte des messages avec destinations intentionnelles, qui sont évaluées uniquement à la volée au fur et à mesure du déplacement des messages. Nous introduisons un langage, Questlog, qui gère les destinations intentionnelles. Contrairement aux langages à base de règles existants pour les réseaux, comme Datalog, qui suivent le mode push, Questlog permet d'exprimer des stratégies complexes afin de récupérer de manière récursive des données distribuées en mode pull. Le langage fonctionne sur une machine virtuelle qui s'appuie sur un SGBD. Nous démontrons l'approche avec des exemples pris dans deux domaines: (i) les architectures orientées données, où une classe restreinte d'applications client-serveur sont distribuées de manière transparente sur les systèmes pair-à-pair basés sur une DHT, (ii) les réseaux de capteurs sans fil, où un protocole de groupement des noeuds en clusters virtuels est proposé pour agréger les données. Dans ce protocole, les chefs des clusters sont élus à l'aide des destinations intentionnelles. Nos simulations sur la plate-forme QuestMonitor montrent que cette approche offre une simplicité, une modularité aux protocoles, ainsi qu'une fiabilité accrue.

The requirements for real-time systems in safety-critical applications typically contain strict timing constraints. The design of such a system must be subject to extensive validation to guarantee that critical timing constraints will never be violated while the system operates. A mathematically rigorous technique to do so is to perform a schedulability analysis for formally verifying models of the computational workload. Different workload models allow to describe task activations at different levels of expressiveness, ranging from traditional periodic models to sophisticated graph-based ones. An inherent conflict arises between the expressiveness and analysis efficiency of task models. The more expressive a task model is, the more accurately it can describe a system design, reducing over-approximations and thus minimizing wasteful over-provisioning of system resources. However, more expressiveness implies higher computational complexity of corresponding analysis methods. Consequently, an ideal model provides the highest possible expressiveness for which efficient exact analysis methods exist. This thesis investigates the trade-off between expressiveness and analysis efficiency. A new digraph-based task model is introduced, which generalizes all previously proposed models that can be analyzed in pseudo-polynomial time without using any analysis-specific over-approximations. We develop methods allowing to efficiently analyze variants of the model despite their strictly increased expressiveness. A key contribution is the notion of path abstraction which enables efficient graph traversal algorithms. We demonstrate tractability borderlines for different classes of schedulers, namely static priority and earliest-deadline first schedulers, by establishing hardness results. These hardness proofs provide insights about the inherent complexity of developing efficient analysis methods and indicate fundamental difficulties of the considered schedulability problems. Finally, we develop a novel abstraction refinement scheme to cope with combinatorial explosion and apply it to schedulability and response-time analysis problems. All methods presented in this thesis are extensively evaluated, demonstrating practical applicability.

This paper looks at the concepts of the biomorphic and grotesque in art from the start of the 20th century to the present with a focus on painting and drawing. Included in the discussion of the grotesque throughout history are the works of Dadaist Otto Dix, painter Georg Baselitz, and feminist artists Judy Chicago, Hannah Wilke, and Ana Mendieta. Each used grotesque imagery to comment or react to a larger sociopolitical issue. Biomorphic artworks from the 20th century are mentioned as well, with specific examples of work by Lee Krasner, Willem DeKooning, and Hans Bellmer. These artists together start to illustrate the ways biomorphic and grotesque imagery can be used to explore physical gesture, inspire a visceral reaction in the viewer, and make societal critique. These themes are currently being explored by contemporary artists Jenny Saville, Wangechi Mutu, Inka Essenhigh, Cecliy Brown, Elizabeth Murray, and Maria Lassnig, each of whom is discussed in detail. Their work explores the boundary space between the body and hybridity, impurity, or abstraction, each in their own way. Following this discussion the author’s own paintings and drawings are mentioned, including dialogue detailing the thought process behind each one. Photographs of these works are included.

Teorinėje darbo dalyje aptariama XX a. pabaigoje atsiradusi fraktalaus meno šaka, pagrindiniai virtualios kompozicijos principai. Abstrakcijos – tarsi sapno detalė, gyvenimo motyvai, troškimai, tragedijos. Minima hermeneutinė filosofijos kyptis, kuri siejasi su kūrybinės kolekcijos estetikos koncepsija. Nagrinėjama ženklo ir simbolio samprata. Simbolikos naudojimas meninėje raiškoje – vienas metodų patraukti stebėtojo pasąmonės galias reikiama kryptimi. Kitoje darbo skiltyje analizuojami kompiuterine grafika užsiimančių menininkų vizualūs projektai. Atveriama vizualioji kūryba interpretacijoje. Stebint ją galima identifikuoti save, užuominos ir jų tarpusavio priklausomybė padeda atrasti objekto tapatybę. Siekiniai, idėjos, autoriui tampa svarbūs, kai jie atitinka egzistencines nuostatas, tapatumo paieškas nefiguratyviuose vaizdiniuose. Apbendrinama su „Egle žalčių karaliene“ susijusi literatūra. Pasakoje apie žalčio žmoną pastebimas sakmiškas pradas, kuris siejasi su archaiškų padavimų vystimu. Atskleidžiamas šeimos, genties – svečio santykis, gyvybės paslaptis, jos galia, „kitataučio“ netolerancija, dorovinis pasaulėžiūrų konfliktas, ištikimybės ir aukos ryšys (dvasinis ir moralinis žmogaus išbandymas). Paskutinėje darbo dalyje aprašoma asmeninė kūrybinė kolekcija. Aiškinama darbų prasmė, pasitelkiant spalvas, geometrines ar nefiguratyvias formas, dėmes, ritmiką. / In the theoretical part of the work, the branch of fractal art, which emerged at the end of the 20th century, and the main principles of composition are discussed. Abstractions are like elements of dreams, motifs of life, desires, and tragedies. The philosophical trend of hermeneutics is mentioned, which is related to the esthetic concept of the creative collection. The concept of sign and symbol is examined. The use of symbolism in artistic expression is one method of pulling the unconscious powers of the observer in a desired direction. In the next section of the work, visual projects of artists who use computer graphics are analyzed. The visual creation is opened in the interpretation. When observing it, one can identify oneself; hints and their interdependence helps to find the identity of the object. Objectives and ideas become important to the author when they correspond to existential attitudes and the search for identity in abstract images. Literature related to “Egle - The Queen of Serpents Man” is summarized. In the tale about the wife of serpent, a rudiment of sagas is found, which is related to an archaic development of stories. The following concepts are revealed: the relation of family, tribe and guest, the secret of life and its power, intolerance of the “foreigner”, moral conflict of different worldviews, and the relation between loyalty and sacrifice (the spiritual and moral challenge). In the last part of this work, the creative collection is described... [to full text]

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The nature of creative mathematical thinking undertaken by students in classroom settings was studied through analysis of the autonomy and spontaneity associated with these processes. The theoretical lens developed enabled simultaneous analysis of cognitive, social, and affective elements of the creative process, and student responses to successes and failures during their exploratory activity (resilience or optimism). Collective case study was employed, with each case progressively informing the analysis of subsequent cases. The classrooms of teachers who were seen by their school communities to display 'good teaching practice' were selected for study. It was anticipated that such classrooms would provide more opportunity to study creative thinking than classrooms chosen at random. During the research period, each student participated individually in post-lesson interviews that were stimulated by lesson video material. To generate data to study student thinking, and the social and personal influences upon it, students were asked to identify parts of the lesson that were important to them, and discuss what was happening, and what they were thinking and feeling. Through this process, students who explored mathematical complexities to generate new mathematical knowledge were identified. (For complete abstract open document)

Thesis (M.A.)--University of Toronto, 2004. / Includes bibliographical references (leaves [33]-40).

Diss.--Munich, 1967. / Bibliography: p. 107-108.

La lumière transcende son entité qui est de « rendre les objets visibles ». Mais quelle est cette expérience artistique et quelles sont les intentions du réalisateur désirant communiquer sa subjectivité ? Quelle est cette lumière qui peut rendre visible l'invisible quand selon Carl Theodor Dreyer :Il s’agit, pour le metteur en scène de faire partager aux spectateurs ses propres expériences artistiques ou intérieures. L’abstraction lui offre une chance de le faire puisque, grâce à elle, il remplace la vérité objective par sa propre interprétation subjective. Mais si l’abstraction doit faire son entrée sur l’écran, il nous faut commencer à : chercher de nouveaux principes de création. Je soulignerai que je ne pense ici qu’à l’image.1Communiquer ses propres émotions est envisageable par l'abstraction selon le réalisateur danois, car l'abstraction permet de transcender l'objectivité.A quelles conditions la lumière et ses déclinaisons peuvent-elles induire une abstraction de l'image ? Comment se traduit l'abstraction ? Quels sont les signifiés d'une plastique lumineuse abstraite ?Cette recherche analyse l'ambiance lumineuse de « Stalker», « Europa» , « Trois couleurs bleu» et « L'homme sans passé », quatre films d'Europe du nord regroupés autour des mêmes thématiques. Les réalisateurs Andreï Tarkovski, Lars Von Trier, Krzysztof Kieślowski, Aki Kaurismäki influencés par Carl Theodor Dreyer, s'associent de toute évidence à sa problématique.Cette thèse démontre que l'abstraction de l'image est possible par sa plastique lumineuse susceptible d' exprimer une virtualité, une dissonance, un magnétisme, un enfermement. Elle interroge les directeurs photo et les réalisateurs du corpus sur les sensations éprouvées par l'esthétique lumineuse. Elle révèle enfin que, de multiples temps hétérogènes travaillant la lumière sont à l'origine de l'abstraction de l'image. 1 DREYER Carl Th, Réflexions sur mon métier, réédition Cahiers du Cinéma, 1997, Paris, p 105 / Lighting transcends it's entity which is to "Render objects visible". But what is the artistic experience and what are the intentions of a director who desires to communicate his subjectivity? What is this light that can render the invisible visible when according to Carl Theodor Dreyer :For the director, it's about the ability to share to the spectators one's own artistic experiences or interior feelings. Through abstraction it is possible to realize this because it replaces the truthful objective by it's own subjective interpretation. However, if the abstraction has to present itself on the screen, we must start to search for new principles of creation. I will emphasize that I am referring here only to the image*.To communicate one's own emotions is possible through abstraction according to the Danish director, because abstraction allows to transcend objectivity.To what conditions may lighting and it's inflections induce an abstraction of the image? How may one translate such an abstraction? What are the signifiers of an abstract lighting?This research analyze the tonality of the lighting of "Stalker", "Europa", "Three colors : Blue" and "The man without a past". Four films from northern Europe that are grouped around similar themes. The directors Andreï Tarkovski, Lars Von Trier, Krzysztof Kieślowski, Aki Kaurismäki, influenced by Carl Theodor Dreyer, are connected without a doubt to his vision. This thesis is set to demonstrate how the abstraction of an image is possible through a certain plasticity of lighting effects which is susceptible to express a virtuality, a dissonance, a magnetism and an enclosing. This paper interrogates directors of photography and the directors of the corpus on the demonstrated feelings generated by the aesthetics of lighting. Finally it brings to the surface multiple heterogeneous times working light that are behind of the abstraction of image.    *DREYER Carl Th, Réflexions sur mon métier, réédition Cahiers du Cinéma, 1997, Paris, p 105