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My exhibition consists of monstrous cyborg forms comprised of a variety of imagery of both biological and machine elements. The smaller works are constructed through the means of paper collage. The larger painting is built from discrete cut out shapes of plywood and canvas. I had the unique experience of growing up around both water treatment operations and the flora and fauna of South Florida. Those experiences were filtered through a fascination for the science fiction genre, and imparted with a dose of fearful imagination. This has resulted in personal anxieties concerning the future of the human experience. My work explores and utilizes expressive properties of paint. I utilize applications that range from the attractive and sensuous to the messy and grotesque. All of this adds up to a visual expression of the potential nightmarish outcomes created as a result of our manipulation of the environment. / by Joshua Hunter Davis. / Thesis (M.F.A.)--Florida Atlantic University, 2011. / Electronic reproduction. Boca Raton, Fla., 2011. Mode of access: World Wide Web.

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In this dissertation I argue that artworks that mimic scientific experiments can transform our philosophical understanding of scientific experiment itself. The collection of artworks that form the basis of my case studies includes imaginary scientific instruments, responsive sound environments, genetic portraits and live scientific demonstrations. Despite their heterogeneity, each of these artworks embodies a certain idea of experiment through its physical form. I read these artworks as material representations of the logics and practices described by philosophers and historians of scientific experimentation. Much as scientific models mediate between theories and the real world, artworks, in my analysis, mediate between the philosophical descriptions of science and its material instantiations. Like models, artworks are not merely illustrations of preconceived ideas but also have lives of their own. The very idea of using artworks to explore the nature of experiment has its roots in Kant's theory of exemplarity, developed in his Critique of Aesthetic Judgment. Artworks are considered exemplary when they give sensuous embodiment to an idea that has not yet been fully formed in thought. To regard artworks as exemplary for the philosophy of science and technology is to regard them as generative of new ways of thinking about experimentation as a mode of material and conceptual practice that art and science share. My dissertation opens up a new archive for the philosophy of scientific experimentation in the form of what I call performative experiments--a term that I reserve for artworks that at once enact and query the logic of scientific experimentation. The dissertation is comprised of four chapters, each of which places one or more artworks into conversation with a set of philosophical questions that arise at the intersection of aesthetic theory, philosophy of science and philosophy of technology. Philosophers of technology have observed that tools, by their very nature, tend to recede into their context of use and in doing so become transparent and invisible to their users. My first chapter aims to recover the role of instruments in the epistemology of scientific experimentation through a close reading of Eve André Laramée's Apparatus for the Distillation of Vague Intuitions (1994-98), a glass sculpture installation that embeds within itself a virtual archeological record of continuity in instrumentation from alchemy to modern chemistry. The second chapter examines the methodology of so-called "natural experiments," in which investigators treat occurrent situations as if they were intentionally created for the purposes of controlled experimentation. Through my analyses of Natalie Jeremijenko's work Tree Logic (1999-present) and Stacey Levy's Seeing the Path of the Wind (1991), I argue that performative experiments dramatize how we export habits of seeing and patterns of inference from the carefully shielded conditions of the laboratory to the unruly world outside its walls. My third chapter investigates the use of molecular genetics as a new medium of portraiture and shows how the specific aesthetic possibilities and constraints of this medium transform the genre of portraiture so as to capture changing conceptions of personal identity, kinship and subjective temporality in the genetic age. Finally, the fourth chapter explores the ethical, political and institutional limits governing the transformation of experiences into the basis of experimental knowledge as these limits become sites of contest in IRB# G10-02-066-01 (2010), an artwork qua social psychology experiment for the artist Jennifer Gradecki failed to win approval from her university's ethics review board. Drawing, in part, on the primary data of my own repeated trials as a subject in this illicit experiment, titled "Social Interaction as a Function of Voluntary Engagement With a Shock Machine," I reflect on how the epistemic and social value of experiences are mediated by the institutional context in which research is regulated and legitimated. Throughout the dissertation, I demonstrate that artworks transform material and epistemological practices derived from the sciences into formal devices for directing perceptual attention and imaginative reflection. When practices of experiment are used to organize aesthetic responses in the context of the art museum or gallery, they draw attention to aesthetic and phenomenological dimensions of scientific practice that tend to escape notice in the context of science itself, and therefore to remain under-theorized within the history and philosophy of science. The emerging genre of performative experiments opens up a site of critical self-reflexivity within the methods and material of scientific practice itself, a site in which it is possible both to explore the cultural significance of scientific knowledge and to critique the empirical methods that are used to produce the scientific image of the world. Performative experiments are exemplary, in this respect, of a new form of critical literacy that arises at once within the sciences and the arts.

Contemporary educational trends have created a false dichotomy between the arts and science. The will to make STEM subjects the focus of K-12 education, ignores both a shared history and the potential for greater learning in a shared future.The intention of Points of Intersection is to demonstrate that design, science and math intersect in their concepts, practices and history. In the past, these disciplines were explored and studied together and benefited from each other. By exploring what design and science have in common and the points where they intersect, we can see the relevance and importance of art and design in k-12 education and change STEM to STEAM. The exhibition will explore point, line, plane and the “Golden Ratio” demonstrating how these concepts can be understood from the perspectives of physics, math, art and design on a basic level. These basic principles can be used to introduce these fields of study and bring a better understanding of them to students in K-12. Future designers and scientists with this educational underpinning will have a better mutual understanding of one another’s field and the potential for shared research, process and results. / Includes bibliography. / Thesis (M.F.A.)--Florida Atlantic University, 2017. / FAU Electronic Theses and Dissertations Collection

Abstract This project is concerned with visual representation of human gross anatomy*. The subject is complex because it derives from an intersection of artistic and scientific disciplines and is an active field of research. The overall aim of the project is to open up new ways of interpretation when engaging with complex visual representations of anatomy. The project involves a consideration of the methods and models in which the communication of visually complex information is achieved by using a combination of artistic and scientific representation. It explores methods and techniques used in the creation of visualisations that are intended to convey scientific knowledge. Literature and visual reviews were undertaken and these examined research material which informed the project's exploration. These reviews included texts that studied the historical development of anatomic representation and also contemporary visual material. Elements of cognition and perception and their relationship to visual communication were reviewed and considered in relation to the project's practical work. Wider socio-cultural contexts that affect pictorial style in anatomic representation were also reviewed and some relevant contexts are discussed within the exegesis. Practical exploration included developing models of anatomy that combined elements from artistic and scientific approaches. For example, in some explorative work, the fine detail of traditional anatomic representation formed one section of a model and this was allied with another section that used a more scientific approach to isolate key structures by illumination. The exegesis concludes with a summary of the project, conclusions arising from the research and an indication of potential areas for further study. * For conciseness, all further references within the exegesis to anatomy and anatomic representation refer to human gross anatomy unless otherwise stated.

C-uppsats som avhandlar de centrala begreppen i Guidelines for Operational Planning(GOP) (Centre of Gravity, Decisive Points, Direct and Indirect Approach, Culmination,Manoeuvre, Temp, Operational pause och Lines of operation) granskat i ett historisktperspektiv.Uppsatsen försöker verifiera hypotesen att Guidelines for operational planning (GOP)centrala begrepp fungerar och är applicerbara på alla operationer. Ett belägg för detta är attman kan identifiera begreppen i en historisk operation.Tyska väpnade styrkor från Wehrmacht, Kriegsmarine och Luftwaffe genomförde ett anfallöver havet och i luften mot Norge den 9 april 1940. Operationen var av tyskarna döpt tilloperation Weserübung-nord och var mycket vågad. I uppsatsen kommer denna operation attvara det historiska perspektivet / Avdelning: ALB - Slutet Mag 3 C-upps.Hylla: Upps. ChP 00-02

Beskriv befintliga förmågor inom området bekämpning, såväl nationellt som internationellt. Studera utveckling och trender inom området bekämpning, såväl nationellt som internationellt. Föreslå hur metoder och system för bekämpning kan utvecklas mot Målbild 2010. Det valda ämnesområdet indirekt bekämpning är ett sätt att tänka och ingår som en del i bekämpningsbegreppet. Uppsatsen visar att bekämpningsbegreppet (indirekt) behöver en gemensam definition som vilar på en grundlagd operativ doktrin. Då kan metoder utarbetas och system införas som ger de effekter som erfordras, så att framtida hotsituationer inom ramen för ett väpnat angrepp kan mötas.De vapensystem och metoder som införs år 2004-2010, bär inte fullt ut mot målbild 2010 och vision 2020. Om vi skall kunna använda indirekt bekämpning effektivt så krävs det att materielplanen förändras och att till del nya metoder utvecklas. Förslag på metoder och system redovisas i uppsatsen. En framgångsfaktor för att bekämpning skall fungera är det finns ett gemensamt synsätt på det mellan vapenslagen och att indirekta bekämpningssystem skall kunna användas oavsett nivå. En gemensam mållägesbestämningsprocess, och i framtiden gemensamma ledningssystem, kommer att krävas.  I huvudsak har en deskriptiv metod använts. För att insamla fakta har till största del litteraturstudier genomförts, dvs en sekundäranalys. Dock har även intervjuer och samtal genomförts. Inledningsvis har ämnet beskrivits ur ett historiskt perspektiv, och vissa centrala begrepp har belysts. I syfte att se hur indirekt bekämpning har använts men även för att se vilken betydelse doktriner har för bekämpningsbegreppet totalt sett. Därefter har en jämförelse genomförts för att se hur vårt koncept för indirekt bekämpning står sig internationellt under tidsperioden från nu till 2010. Jämförelsen har givit vissa svar på var våra luckor finns och kommer att finnas. I nästa steg har en analys genomförts för att beskriva konsekvenserna för indirekt bekämpning inom markstridsfunktionen. Slutligen diskuteras ämnet totalt sett och slutsatser redovisas. I den här delen värderas resultatet  av uppsatsen och förslag på ämnen för fortsatta undersökningar ges. / Describe existing capabilities within the area of fire power, nationally and internationally.Study development and trends within the same areas. Propose how methods and systems can be implemented in our defence force in order to match our goals for 2010. Indirect fire power is a way of thinking and is a part of the total conception, fire support. The essay shows that this conception needs a joint definition based on a fundamental doctrine. Only then can methods be made up and systems be implemented in order to achieve the effort needed, and be able to meet future threats.Systems and methods which is implemented  2004-2010, will not fulfill the demands and goals for 2010 and the visions for 2020. To be able to use indirect fire power efficient there is a demand to change our plan to implement this systems. New methods must be developed.Proposals of systems and methods are made in this essay. A succescriteria if fire support shall be functional is a joint way to contemplate upon it. Indirect fire support means must be used without considering, if it is used on a tactical or operational level. A joint targeting process, and in the future a joint command and control system will be needed. In substance, the descriptive method has been used. The collection of facts has been from available litterature, i.e a secondary analysis.In addition, some interwiews and dialogs has been made. Initially there is a description of military theory and of some central conceptions. In order to see how indirect fire power has been used but also to show the importance and implications of/from doctrine. Subsequently a comparison was made in order to show how our concepts will match internationally until 2010. Some gaps were revealed now and in the future.Then an analysis were made to describe the consequenses for indirect fire power, within a ground combat situation.Finally a discussion is made on the total subject and conclusions are drawn. In this part a critical evaluation of the essay is done, and new subjects for future studys are proposed. / Avdelning: ALB - Slutet Mag 3 C-upps.Hylla: Upps. ChP 99-01

Operation, operationskonst, operativ ledning är några av huvudorden när man inom militärhistorien beskriver den militära ledningsorganisationen. Här anförs mycket ofta exempel ur den tyska militärhistorien. Vad är det då som särskilt utmärker den operativa ledningen i Tyskland? När, hur och varför har den uppstått, införts och genomförts?Arbetet redovisar den operativa ledningens utveckling i Tyskland ur militärhistoriskt perspektiv och utifrån tyska synpunkter. Det innehåller sålunda inga jämförelser med utvecklingen i andra länder. Jag söker däremot finna en ”röd tråd” genom den tyska militärhistorien, som utvisar hur den operativa ledningen uppfattats och tillämpats genom tiden. Jag vill vidare söka påvisa vilka yttre förhållanden det varit eller är, som i så hög grad påverkar den militära ledningsorganisationen att en operativ ledning uppstår eller t o m blir nödvändig. Undersökningens teorianknytning är en tolkning av Clausewitz krigsteorier vad avser operativ ledning. Arbetet är i huvudsak utformat som en jämförande granskning av den operativa ledningens utveckling i Tyskland sedan 1800-talet. Nyckelord och huvudpersoner är: Operativ ledning, Militärstrategi, Geostrategi, Operativa faktorer, Operativa element och kännetecken, Grunder för operativt handlande; Clausewitz, Moltke d ä, Schlieffen, Seeckt, Beck, Guderian, Manstein, Heusinger, Nya operativa riktlinjer för de tyska stridskrafterna / Operation, Operationskunst, operative Führung sind einige der Schlagworte, wenn es darum geht das Führungswesen innerhalb der Militärgeschichte zu beschreiben. Hierbei werden besonders häufig Beispiele aus der deutschen Militärgeschichte herangezogen. Was aber ist das besondere an operativer Führung in Deutschland? Wann, wie und warum ist diese entstanden, beziehungsweise eingeführt und ausgeführt worden? Die Arbeit beschreibt die militärgeschichtliche Entwicklung der operativen Führung in Deutschland aus deutscher Sicht. Sie stellt somit keinen Vergleich mit der Entwicklung in anderen Ländern an. Vielmehr geht es darum einen roten Faden zu finden, der sich durch die deutsche Militärgeschichte zieht und wie operative Führung jeweils aufgefasst und angewandt wurde. Des weiteren soll aufgezeigt werden welche äußeren Parameter es waren, oder sind, die militärische Führungsstrukturen so beeinflussen, dass operative Führung entsteht oder sogar  notwendig wird. Die Theorieverbindung für die Untersuchung ist eine Deutung der Clausewitz´schen Kriegstheorielehre hinsichtlich operativer Führung. Die Arbeit stellt im wesentlichen eine komparative Betrachtung der Entwicklung der operativen Führung in Deutschland seit dem 19. Jahrhundert dar. / Avdelning: ALB - Slutet Mag 3 C-upps.Hylla: Upps. ChP 99-01

Texte remanié de: Diss.--Philosophische Fakultät--Universität Potsdam, 2002. / Bibliogr. p. [471]-505. Index.