Reproduction de : Thèse d' exercice : Médecine spécialisée : Nancy 1 : 2002. / Thèse : 2002NAN11141. Titre provenant de l'écran-titre.

We are living in a society where the digital technology is a tool that integrates into our life and changes our daily life and the way we communicate. The easy access to information and the opportunity to communication change the schools organization and demands new ways of teaching with and in contact with the surrounding world. That is why it is interesting to know how teachers can create an education environment with support of digital tools that fulfills a meaning for themselves, the pupils and the goals of the curriculum. This study is about how six teachers in one elementary school creates an education environment with support of digital tools and how they think the affect the pupils cooperation, communication and participation. The theoretical frame for this study is built in a sociocultural perspective, where people learn and develop through participation in social practices. To get the understanding of how teachers are thinking about the challenges and possibilities that digital tools have in the education environment, I choose a qualitative research method. When I interviewed the teachers I used a semi structured interview form. With the focus on a dialogic perspective have I interpreted and analyzed the teachers’ story. Thereby, to highlight the teachers’ stories have I structured the interviews by tree aspects: Interactivity, Cooperation and Conversation. The result of this study has an interesting pivot in the perspective of the purpose, where my observation notes while searching for information and during the interviews became a very important material. This study can be of interest for all who are working with teaching and to them who has an interest of education and the future of our children.

Circular source and detector trajectories in cone-beam computed tomography (CT) are known to collect insufficient data for accurate object reconstruction. One model predicts that the lacking information corresponds to a shift-variant cone of missing spatial frequency components in the local Fourier domain. These predictions were experimentally verified by imaging small, localized objects and observing their Fourier transforms. Measurements indicated that the internal angle of the ‘missing cone’ varies as the angle of locally intersecting x rays with respect to the horizontal plane, as expected. Object recovery was also found to depend greatly on the distribution of the object’s frequency spectrum relative to the missing cone, as predicted. Findings agreed with more anatomically relevant phantoms, which showed preferential intensity discrepancies at gradients oriented within or near the missing cone. Methods for artefact correction are in general limited to approximation unless a priori information is incorporated.

Circular source and detector trajectories in cone-beam computed tomography (CT) are known to collect insufficient data for accurate object reconstruction. One model predicts that the lacking information corresponds to a shift-variant cone of missing spatial frequency components in the local Fourier domain. These predictions were experimentally verified by imaging small, localized objects and observing their Fourier transforms. Measurements indicated that the internal angle of the ‘missing cone’ varies as the angle of locally intersecting x rays with respect to the horizontal plane, as expected. Object recovery was also found to depend greatly on the distribution of the object’s frequency spectrum relative to the missing cone, as predicted. Findings agreed with more anatomically relevant phantoms, which showed preferential intensity discrepancies at gradients oriented within or near the missing cone. Methods for artefact correction are in general limited to approximation unless a priori information is incorporated.

<p>I represented a person’s stories and memories of childhood through the material called glass, and found a method to approach personal stories.</p><p>To do this, the medium to express my conception that is express of the personal experience and extreme situation on glass was based. The most significant point of study was realizing the nature of emotions and meanings within a person’s life. As well as special instruments and to analyze whether it is an appropriate expression.</p><p>Accordingly with this, I collected individual stories from Zili and tried to comprehensively understand the cause behind. For that I approached different cases of psychology theory to compare. After I analyzed the colour and object that relate to memories or the person. Expression of artefact I created from foundational theory through my perspective. I represented in magnification of memories as an expression on glass artefacts for respect of peoples diversity life.</p><p>This led me to make more concrete context in practical work and theoretical tool as well.</p>

The aim of this heuristic research is to develop a framework that is relevant and applicable for use in the description and explication of the semiology of Kenyan architectural artefacts from the paradigmatic perspectives of Phenomenology and Critical Regionalism, which are conjointly proposed for entrenchment into architectural pedagogy and praxis within the Kenyan context. The research study is initially situated within the global body of existing research in architectural theory through acknowledging the achievements of selected works of past researchers while identifying pertinent lacunae with regard to the semiology of artefacts1 - including the linkages between Kenyan architecture and its evolution, based on both tangible and intangible multivalent aspects of Kenyan culture, derived from politics, tradition, religion, economics and issues of identity as well as a context-specific history as anchor and an epistemology that favours Afrocentricity without entirely disparaging Eurocentricity and is therefore useful for architectural analysis and evaluation - within the architectural heritage of the Kenyan region. The study then addresses some of these lacunae by adopting an ecosystemic approach, where the historical milestones and key developments of the Kenyan nation are highlighted and structured using a historical timeline in which the various significant epochs are isolated and selected architectural artefacts therein are analysed within the cultural ecology of each epoch. The issues engaged include colonisation of the country, struggle and attainment of independence from British Imperialism, post-independence governance of the country as well as aspects of totalitarianism and pluralism, African Nationalism, culture, statecraft, zeitgeist, socio-politico-economic dynamics and geography which are extensively elucidated and elaborated as appropriate, outlining their roles in the genesis and evolution of Kenyan architectural forms and artefacts. The issues pertaining to the semiology of Kenyan architectural artefacts are then explored from a theoretical position in order to ground the perspectives of the research study within a datum of a broad and integrative architectural theory. The relevance of historicism, typology, language and poetry to the paradigms of Phenomenology and Critical Regionalism is corroborated. The case is presented for the justification of the adoption and inclusion of these two paradigms into the Kenyan context. Existing criticisms and prejudices directed against the epistemological bases of the two paradigms are presented in outline, discussed and evaluated in order to address the extent to which they would invalidate the use of the two pardigms in anchoring the framework that is developed and established herein. The manifestations of the two paradigms within the case study artefact, Kenyatta International Conference Centre (KICC), are exposed and articulated. After a brief evaluation of the present architectural curricula in Kenya, exemplified by the programme at the University of Nairobi’s department of architecture, the methods by which a broader Phenomenology and a more inclusive Critical Regionalism could be co-opted into the existing Kenyan architectural curricula are proposed as a means of introducing rigour in the description and explication of the semiology of Kenyan architectural artefacts and to architectural practice within the Kenyan context. To achieve this objective, it was necessary for this study to consider other aspects of phenomenological philosophy that could be integrated into the proposed (new) curriculum beyond the Existential and embryonic Heideggerian based Phenomenology that was initially proposed and co-opted by Christian Norberg-Schulz. Phenomenology is then presented as a first order theory as well as a second order unitary and integrative theory that can anchor, complement and sustain the practice of Critical Regionalism in Kenya. The new curriculum is presented and motivated. Thus, the semiological explicative and interpretive framework for analysis of Kenyan architectural artefacts is established and substantiated. Further areas of research, emanating from the considerations in this study, are then proposed as a means of continuing and maintaining the dialogue that is initiated herein, through employing the developed framework to build a corpus of the semiology of key architectural artefacts in the Kenyan context. Such a corpus will be indispensable in the training of the next generation of Kenyan architects. / Dissertation (MArch(Prof))--University of Pretoria, 2013. / gm2014 / Architecture / Unrestricted

Many of those artefacts with which we are so familiar – including, for example, works of music, photographs, novels, essays, films, television adverts, and graphic designs – share a common ontological nature. I argue in this thesis that they are all repeatable, and set out to provide an ontological account of these entities that explains the phenomenon of repeatability. In a fruitful meeting of aesthetics and metaphysics, a great deal has been written recently on the ontological nature of musical works. More encompassing enquiries have sought to understand the ontology of artworks in general. I will be responding to and engaging with this body of literature insofar as it also offers accounts of the entities I describe as repeatable. However, my approach gives metaphysical concerns and the phenomenon of repeatability primacy over aesthetic concerns.Here I argue that repeatable artefacts fall into the ontological category of kinds. I develop an account of repeatable artefacts as kinds that has two key components. Firstly, on my view kinds are physical rather than abstract. Secondly, I argue that repeatable artefacts, as kinds, have essences that are purely relational and historical. The thesis begins with a discussion of method. The methodological issue has grown in prominence in recent years, as theorists have sought some higher level arbitration on the expanding number of theories and approaches being offered in response to ontological puzzles. Drawing on the work of Amie Thomasson, I defend a methodology according to which we should develop an ontological account using careful conceptual analysis that assesses our intuitions about the application of referring terms. This commitment to conceptual analysis is then defended from misunderstandings and objections. I apply this method in giving an ontological explanation for the phenomenon of repeatability. I argue that repeatable artefacts are kinds. Kinds are strongly individuated by their essences, which are the conditions that must be satisfied for the kind to be instanced. I then develop an account of kinds as physical multiply located entities, that exist when and where they have instances. This stands in contrast to the prevailing view according to which kinds are abstract. I then set out to give an account of the essences of paradigmatic repeatable artefacts. I argue that this can be done if we are willing to reject the default view according to which essences are at least partly structural, and replace it with an account of purely relational and historical essences. The essences of many paradigmatic repeatable artefacts, I claim, involve causal historical processes of copying.

Background. DevOps represents a set of principles and practices of the software development (Dev) and information technology operations (Ops) of the product lifecycle requirements. DevOps has become a buzzword in organizations because it is an agile software development offspring. Now-a-days, there is a shift in organizations from DevOps to DevSecOps, which is bringing in a higher level of security built into software delivery pipelines. DevSecOps ensures security is a core component in the workflow to implement secure development and operations processes of automating every aspect. Security inevitably includes issues like compliance in terms of security standards that are concerning with looming cybersecurity threats. There is little known about different concepts of assessing security compliance in terms of security standards in DevOps pipelines. Understanding the artefacts and their dependencies requirements in the software workflow are fundamental to demonstrate compliance. The thesis study proposes to ensure the IEC 62443-4-1 standard for secure product development in industrial systems is incorporated into the artefact model to capture the information related to security compliance. Objectives. The thesis aims to investigate the artefacts and identify its dependencies to develop and design an artefact model for DevSecOps. This artefact model has the possibility to measure security compliance with the IEC 62443-4-1 standard to ensure traceability in DevOps pipeline and evaluate the usability of it. Methods. In this qualitative research, we have conducted a literature review with snowballing to gather information on artefacts that undergo synthesis to develop and design the artefact model. We have conducted interviews with practitioners to collect the data on the usability of the artefact model. Results. The literature review with snowballing is done to identify ten papers in the final data set. We have identified 100 artefacts from the papers. The artefacts are categorized and matched according to practices and activities descriptions. The synthesis of the literature review artefacts provides the basis for designing the artefact model and its dependencies for DevSecOps workflow. The interview results are thematically coded and we have obtained a list of benefits, challenges, and security compliance barriers with DevOps pipelines. This process evaluates the practitioners’ understanding of the designed artefact model usability in the industry to assess the standard’s security compliance. Conclusions. The research study identifies the artefacts that help with developing the artefact model. It provides the practitioners’ understanding of the usability of the artefact model in the industry to meet the secure software development product life-cycle requirements according to the IEC 62443-4-1 standard. The results demonstrated the evidence of assessing the security compliance for DevSecOps workflow in DevOps pipeline.

Magister Artium - MA / With advances and information technology innovation, and the rise of revenue through advertisements, producers and content creators have become creative in the selection of cultural and semiotic materialities, and linguistic resources for the production of advertisements. Bearing in mind, the political landscape of South Africa and its history, producers have an abundance of cultural and semiotic artefacts in time and space to draw from, and to indulge their creative licence to come up with novel designs and concepts for their advertisements and brand identities. The thesis explored the use of local and transnational linguistic and other cultural objects as semiotic material in the design and construction of selected Chicken Licken advertisements. The specific objectives explored include; 1) local and global cultural elements in selected Chicken Licken advertisements; 2) the local and global identity affiliations in advertisement selection and production; and, 3) the translocalization and transnationalization of cultural flows as represented through semiotic materials.

No / This paper explores the interpretation of the deposition of artefacts in Ireland from c. 2500 to c. 800 bc, combining a contextual analysis with post-processual ideas about materiality, artefacts, and their biographies. Hoards, single and burial finds are shown to be complementary strands of the depositional record and the result of deliberate deposition. It is argued that both the symbolic value of these items as well as economic and practical rationales determine the depositional mode. The paper attempts to infer social practices and rules that determined the differential treatment of materials and object types. The main structuring factor in the depositional record is the type-specific meanings of individual artefacts, which embody social identities beyond the utilitarian function of the object. The act of deposition facilitates and legitimates the literal and symbolic transformation of artefacts and the concepts they embody. The need for a separation between ritual and profane interpretation is removed, as deposition is understood as the reflection of prehistoric concepts rather than labelled according to modern notions of functionality. It is also argued that both dry and wet places are meaningful contexts and that different forms of wet landscapes were conceptualised differently.