Thesis (Ph. D.)--University of Chicago, 1915. / "A private edition distributed by the University of Chicago libraries. A trade edition [without thesis note] is published by Warwick & York, inc. Baltimore, Md., 1916." Includes bibliographical references (p. 169-180) and index.

Thesis (M.F.A.)--Washington State University, May 2010. / Title from PDF title page (viewed on May 11, 2010). "Department of Fine Arts."

Thesis (M.F.A.)--The University of North Carolina at Greensboro, 2010. / Directed by John Maggio; submitted to the Dept. of Art. Title from PDF t.p. (viewed Jul. 7, 2010). Includes bibliographical references (p. 7).

Thesis (Ed. D.)--Illinois State University, 1993. / Title from title page screen, viewed February 24, 2006. Dissertation Committee: Richard A. Salome (chair), Frances Anderson, William Rau, Marilyn Newby, Thomas Malone, Barry Moore. Includes bibliographical references (leaves 73-77) and abstract. Also available in print.

A detailed investigation is carried out for a novel process of die-less strip drawing, in which conventional reduction dies have been replaced by a die-less reduction unit having a rectangular hole of stepped configuration. The smallest hole dimensions are larger than those of the incoming strip, thus eliminating direct metal to metal contact and hence the problem of die-friction and consequential die wear. The strip is plastically deformed by means of the combined effect of the hydrodynamic pressure and drag force generated in the unit due to the motion of the strip through a polymer melt. An extensive experimental study has been undertaken, which showed that higher reductions were achieved at slower drawing speeds with gradual decrease in reduction at higher drawing speeds. The maximum reduction in area of the strip noted was, about 12%. Various parameters were changed to examine their effects on the performance of the process. Theoretical analyses have been developed considering Newtonian and non-Newtonian characteristics of the pressure medium. These analyses enable the predictions to be made of the pressure distribution , within the reduction unit, on-set of plastic yielding of the strip marerial, shear and axial stresses, and the percentage reduction in strip size. The analyses incorporate critical shear stress limit of the polymer melt, the strain hardening and the strain rate sensitivity of the strip material. The predicted results for the percentage reduction in strip size appear to under-estimate the experimental values at the slow drawing speed and over-estimate them at the higher drawing speed.

Studies on Brazilians living in Britain show that, along with loneliness, unemployment and cost of living, the lack of proficiency in English is a key problem. However, there is little qualitative information about how the host language affects their daily lives. This interdisciplinary practice-based research asks how an art practice activated by experiences of displacement and dislocation in language can become a place of enunciation for decolonial selves. To this end, this research includes not only individual practices, but also collective activities carried out with a group of Brazilian women living in London, as a research focus. The endeavour to deal with English language has engendered writing processes in my visual work, which became a place for experimenting bilingual and fragmentary voices against the initial muteness in which I found myself on arrival in London. Using photography, printmaking, drawing, postcards, and artist’s books I have explored life-writing genres of diary, language memoir, and correspondence to raise an immigrant consciousness, explore accented voices and create practices for writing life individually and collectively. Assembling words and turning their meanings became strategies for expanding limited vocabularies. Once an impassable obstacle, the host language was transformed into a territory for exploring ways to know stories about language and write life narratives through art practice. This research is informed by humanist and feminist geographical approaches to space and place, postcolonial life writing, border thinking and a context of practice ranging from transnational art, accented cinema, visual poetry, conceptual art, and socially engaged art. It provides insights about English language in the lives of Brazilian women in London and offers a view on a practice in visual arts as place of enunciation for decolonial selves.

This thesis contains an investigation of the way in which children and adults depict depth when drawing a table. Research on development in depiction is reviewed (Chapters 1 and 2), with particular reference to the use of pictorial depth cues and projection systems. A series of studies on the use of projection systems in the drawing of a table is reported (Chapters 3 to 5) which shows that development in the depiction of depth is not directly related to development in the use of projection systems. It is also shown that the use of projection systems 1s task dependent, and is not closely related to the subject's formal understanding of them. A formal system of classification of table drawings is introduced (Chapter 6), which demonstrates clear developmental trends in the way in which depth is depicted in the drawing of a table, and connects these trends with development in the use of pictorial depth cues. The roots of development in the depiction of depth are examined more closely by further experimental work (Chapters 7 to 9). It is shown that subjects have a very strong preference for oblique projection, and that inaccuracy in the copying of line drawings is largely dependent upon the knowledge of what these drawings represent. It is concluded that the results give support to an information processing view of development, in which the majority of subjects appear to work from a form of canonical model of a table which has implicit depth and is best depicted by oblique projection (Chapter 10). It is also suggested that development in the depiction of depth is linked to the increasing use of pictorial depth cues. These conclusions are presented more explicitly in the form of a possible process model of the way in which we depict depth (Chapter 11).

Orientador: Luise Weiss / Acompanha 9 livretos com desenhos e gravuras, sem paginação / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-08T19:09:08Z (GMT). No. of bitstreams: 1 Alves_MarisaFavaCardoso_M.pdf: 33129612 bytes, checksum: 802e2df7057da3eaa33f6bd10c9c619a (MD5) Previous issue date: 2006 / Conteudo: 1.Caminho da praia - 2.Caminho da praia em cores - 3.Rio Preguiça - 4.Percursos do interior I - 5.Percursos do interior em cores - 6.Vistas da montanha - 7.Litoral - 8.Pé, passo, a passo, compasso... - 9.Caminho de Santiago / Resumo: Ao longo do processo de resgate e fundamentação teórica de minha prática artística fiz e venho fazendo, uma série de anotações de aulas, pequenos extratos de leituras, poesias, ¿definições¿ de conceitos, coletando algumas imagens, esquemas de reflexões e associações, enfim... Cadernos de trabalho, de anotações. Um material diante do qual a impressão que se tem é de caos, de desordem, de excesso de informações, de idas e vindas, repetições e incoerências, de constatações, de conclusões óbvias, mas não tão óbvias até então, de apropriações lícitas (ou ilícitas?), mas que tem sido fonte preciosa de consulta reiterada e de referência para a continuidade do estudo e da produção. O projeto deste caderno (que se pretende em substituição à dissertação de mestrado) nasceu do desejo de pôr, na medida do possível, algo desse material em ordem e explicitamente em diálogo com a produção prática. Mas como? Em qual ordem? A opção, já que tudo para mim começou a se organizar a partir da estrutura de um plano básico de trabalho no atelier, sugerido pelo prof. Evandro C Jardim (o diálogo entre a poética e a técnica através da práxis) foi falar dessa experiência, tentando transpor sob essa própria estrutura o que pude apreender e desenvolver principalmente a partir de seu ensinamento (naturalmente segundo as qualidades específicas do meu coração e inteligência), registrando e explicitando assim, a gênese e o sentido da pesquisa em poéticas visuais constituída pelos desenhos e gravuras que compõem a exposição e a edição deste caderno. O texto mantém numa certa medida o caráter fragmentário das anotações, mas procura insinuar relações e conexões de sentido que estabeleci entre as questões de várias ordens que permeiam o trabalho. Os desenhos e gravuras são investidas em diferentes direções com o intuito de explorar as possibilidades de vivência e representação da imagem expressa no título do projeto, ¿Horizonte 360º¿, isto é, do entorno, da Paisagem circundante (entendida como tudo o que forma o mundo exterior num determinado momento da minha percepção, seja o meio natural, artificial ou humano) considerando seus vários níveis de significado / Abstract: In the process of describing and setting down the theoretical bases of my work as an artist, I have brought together a series of notes from classes, excerpts from readings and poems, and "definitions" of concepts. I have also collected a number of images, bases for reflections and associations, entries in notebooks, and the like. The first impression is one of confusion and chaos, disorder, too much information, coming and going, repetitions and inconsistencies, as well as perceptions and obvious conclusions. But these conclusions had not been so obvious until that point, and included licit (or illicit?) appropriations that have been a precious and constant source of consultation and reference for continued study and production. The design of this notebook (which is intended as a substitute for a master's thesis) was born of the desire, insofar as is possible, to put at least part of this material in order and explicitly into dialogue with practical production. But how? In what order? Conceptually things began taking shape for me due to the structure of a basic working plan in a studio, suggested by Professor Evandro Carlos Jardim (the dialogue between poetics and technical through praxis). My option for moving ahead, was then to tell about this experience and attempt to transmit through this structure what I had been able to apprehend and develop, especially on the basis of his own teaching (naturally blended with the specific qualities of my own heart and intelligence). I thus proceeded to organize and express the genesis and meaning of my research in visual poetics, consisting of the drawings and engravings that make up the exhibit and the edition of this notebook. The text retains something of the fragmentary nature of the notes themselves, but there is also an insinuation of relationships and connections of meaning that I establish among the questions of various orders that permeate the work. The drawings and engravings are seen from different perspectives in order to explore the possibilities of experience and representation of the image expressed in the title of the project "Horizonte 360º [Horizon 360º]." They tell of borders and of the surrounding landscape (understood as everything that shapes the outside world at any given moment of my perception, be it the natural, artificial or human environment), and take into consideration their various levels of meaning / Mestrado / Artes Visuais / Mestre em Artes

This study investigates differences in the performances of boys and girls in Technical Drawing in secondary schools in Gauteng and North-West provinces in South Africa. The matriculation results for Gauteng and North-West Province from 2000 to 2004 were collected, including those from 24 164 males and 3 650 females for Gauteng Province and 6 295 males and 959 females for North-West Province respectively. A significant gender difference was found in both provinces in both higher and standard grade scores. The results revealed that male learners achieved significantly higher scores within this five year period in this subject than female learners. / Dissertation (MEd (Leadership))--University of Pretoria, 2007. / Education Management and Policy Studies / MEd / unrestricted

No description available.