Thesis (Ph. D.)--UCLA, 2008. / Vita. Description based on print version record. Includes bibliographical references (leaves 299-316).

Thesis (Ph. D.)--University of Washington, 1995. / Vita. Includes bibliographical references (leaves [279]-331).

Thesis (Ph. D.)--University of Wisconsin--Madison, 1972. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Permettant de protéger les populations des inondations, de canaliser l'eau à des fins d'irrigation ou de production d'électricité, les digues en terre sont des ouvrages stratégiques dont la rupture peut avoir des conséquences dramatiques. La stabilité de ces ouvrages doit ainsi pouvoir être assurée, notamment en cas de séisme. Cependant, étant donné le très grand linéaire qu'ils représentent, la mise en œuvre de vastes campagnes de reconnaissances et de modèles numériques complexes n'est pas toujours envisageable dans les zones de sismicité modérée. L'utilisation d'outils simplifiés, faisant appel à des données facilement mesurables, se révèle indispensable pour fournir une indication sur la stabilité de tronçons de digue soumis à un chargement sismique. Les méthodes simplifiées existantes permettant d'estimer la réponse dynamique des remblais sont inadaptées au contexte des digues. En effet, alors que les digues sont pour la plupart construites dans des vallées sédimentaires, la majorité de ces méthodes, développées pour l’étude des barrages, supposent que l’ouvrage est fondé directement au rocher. Seules deux approches permettent de prendre en compte l’interaction entre l’ouvrage et son sol d’assise (effets de site) : la méthode de Sarma(1979) et celle de Papadimitriou(2014). Cependant, la première est basée sur des hypothèses très fortes (elle considère notamment un rocher rigide et un amortissement uniforme, qui plus est très fort) et la seconde se limite à des ouvrages ayant une hauteur supérieure à 20 si{m}. L'approche développée au cours de cette thèse repose sur des hypothèses plus réalistes, en considérant notamment des géométries adaptées à celles des digues, en prenant en compte les effets de site et en adaptant la dissipation d'énergie au niveau de sollicitation. Une étude paramétrique numérique (calcul de la réponse visco-élastique par éléments spectraux en deux dimensions) est utilisée pour couvrir un ensemble de configurations géométriques et mécaniques de digues. Pour prendre en compte la non-linéarité, les valeurs d'amortissement et de dégradation du module de cisaillement sont adaptées en chaque point des modèles à partir des résultats fournis par une série de calculs en linéaire équivalent 1D. Les réseaux de neurones artificiels, dont l'apprentissage est basé sur les résultats des simulations numériques, sont utilisés pour le développement d'une nouvelle méthode simplifiée. Des abaques sont réalisés, à partir des réseaux de neurones établis, pour offrir une alternative visuelle à leur utilisation "mathématiques". Les outils simplifiés auxquels aboutit cette thèse font appel à des paramètres facilement mesurables sur le terrain. Des méthodes géophysiques sont mises en œuvre au niveau de quatre sites de digues afin d'identifier le meilleur compromis de mesures permettant d'estimer les paramètres nécessaires à l'évaluation de la réponse dynamique de l'ouvrage. / Embankments are strategic facilities that, among other things, protect population from flooding and canalize rivers for energy production or for irrigation concerns. Since their rupture can lead to terrible consequences, they must remain stable, especially in case of earthquake. However, given the very large length of embankments, it is rarely possible to conduct complete investigations and complex numerical models in regions of moderate seismicity. Therefore, simplified tools to estimate the dynamic response of embankments using accessible embankments’ features are necessary to estimate their capacity to resist seismic loadings. Existing simplified methods, generally developed to assess the dynamic response of embankment-dams, turn out to be inappropriate to study the particular case of embankments along rivers – or other types of embankment, with small height and large length. The majority of these simplified methods do not take into account site effects: they assume the presence of rock directly at the base of the embankment, whereas most of large length embankments are located in alluvial valleys. Two methods only - Sarma(1979) and Papadimitriou(2014) - take into account the interaction between the embankment and its soil foundation. However, the first one relies on strong assumptions (among others, that the bedrock is considered rigid and that the viscous damping is supposed to be both spatially uniform and very large) and the second one is limited to tall embankments (higher than 20 si{m}).The method developed in this thesis relies on assumptions that are more realistic: it considers geometries adapted to large length embankments, it accounts for the presence of a soil foundation and includes an energy dissipation process consistent with expected levels of strain. A numerical parametric study is performed based on the computation with the spectral element method of the viscoelastic response of a large set of embankments spanning a wide range of geometrical and mechanical properties. In order to take into account nonlinearity, damping and shear modulus reduction are adapted in each point of the numerical models according to the results of a set of 1D linear equivalent computations. A new simplified method is derived from the obtained numerical results using artificial neural networks. Abacuses are produced from the neural networks so that engineers can have at their disposal a visual tool. This thesis leads to a simplified method that uses some accessible features of embankments as input parameters. The ability of classical geophysical methods to provide those input parameters is further estimated on four sites corresponding to different realistic configurations.

A presente pesquisa tem como objetivo estabelecer uma reflexão a respeito de parte de minha produção poética intitulada À Curta Distância. A fim de discernir critérios para tal análise parti de uma contextualização desta produção em relação às vivências artísticas que marcaram o início deste projeto, para, a seguir, estabelecer uma articulação com obras de outros artistas – tanto de antecedentes históricos como praticantes contemporâneos. O fio condutor desta investigação será dividido em dois vetores; o primeiro consiste na busca por situar o surgimento de propostas que abordam o contexto de apresentação como conteúdo da obra. A partir de uma breve descrição das conexões históricas deste tema será possível discernir como este é articulado em minha produção artística. O segundo vetor desta pesquisa é referente ao estudo da relação entre a fotografia e as artes visuais, extraindo daí argumentos para proceder uma análise do uso contemporâneo deste meio, hoje em dia tão difundido nas exposições ao redor do planeta. A relação entre o espaço físico de exposição e a fotografia se faz presente em meu trabalho por meio da criação de um paralelismo entre realidade e representação. A fotografia apresentada ao público representa o próprio ambiente em que o espectador se encontra quando está diante da imagem. Assim, com a criação deste artifício, estimula-se a passagem de uma atenção dirigida somente às propriedades formais do objeto artístico para uma apreensão fenomenológica do espaço ao qual a imagem se refere. / The present research has as objective to establish a reflection regarding part of my poetical production titled In a Short Distance. In order to discern criteria for such analysis I started off a contextualization of this production in relation to the artistic experiences that had marked the beginning of this project, then, in the sequence, establishing relation with works of other artists - as much of historical antecedents as contemporaries practitioners. The conducting wire of this inquiry will be divided in two vectors; the first one consists of the search for pointing out the sprouting of proposals that approach the presentation context as content of the work of art. From one soon description of the historical connections of this subject will be possible to discern how it is articulated in my artistic production. The second vector of this research is referring to the study of the relation between photograph and the visual arts, extracting from there arguments to proceed an analysis about the contemporary use of this medium, nowadays so spread out in the exhibitions around the world. The relation between the photograph and the physical space of exhibition is present in my work by means of the creation of a parallelism between reality and representation. The photograph presented to the public represents the proper environment where the spectator is when he sees the image. Thus, with the creation of this artifice, is possible to turn an attention only directed to the formal properties of the artistic object into a phenomenological apprehension of the real space.

xxviii, 463 p. : ill., maps. A print copy of this title is available through the UO Libraries under the call number: KNIGHT F868.M65 J45 1991 / The environmental context and chronology of the transition from Early Holocene Lake Mojave to Middle Holocene Pinto cultural complexes of the southern California deserts has long been debated. This dissertation re-examines that debate, based on excavations at two major sites, and a rethinking of our most basic assumptions concerning culture change, cultural ecology, site formation processes, and dating techniques. Archaeological data recovered from two Lake Mojave/Pinto sites at Fort Irwin, in the Central Mojave Desert, were analyzed in order to track chronologically sensitive shifts in Lake Mojave-Pinto artifact assemblages through time. The archaeological assemblages recovered from Rogers Ridge and the Henwood sites were carefully analyzed into 36 depositional/analytical components for this task. Defining and chronologically ordering these assemblages required systematic consideration of artifact distributions and the development and application of 3 obsidian hydration rates based on associations with twelve 14C dates. The analysis shows that the Pinto Complex occurred in three phases. Phase I, ca. 8,200 to 7,500 BP, is marked by the addition of Pinto points to the Lake Mojave assemblage and a continuation of the basic Lake Mojave settlementsubsistence patterns. Phase II, 7,500 to 5,000 BP, is marked by the gradual disappearance of Lake Mojave points from the archaeological assemblages. Dramatic decreases in assemblage size and increases in assemblage diversity mark changing logistical strategies to infrequent and specialized site use. Phase III, 5,000 to 4,000 BP, is marked by a strong predominance of Pinto points and slightly larger assemblages. Patterns of variation among assemblages suggest that logistical strategies continued to emphasize infrequent and specialized site useage. The link between environmental change and shifting settlement-subsistence strategies was apparently relatively direct during the Pinto period, Environmental changes during the Early Holocene (11,000 to 8,000 BP) Mojave Desert led to subsistence stress among populations of the Pinto Complex. Cultural adjustments resulted in smaller human populations moving through larger home territories. It is suggested that critical thresholds in communication and mating networks were crossed which resulted in the collapse of social systems in the Mojave Desert about 7,000 BP. / Committee in charge: C. Melvin Aikens, Ann Simonds, Don E. Dumond, and William Loy

Dans le cadre de cette recherche, nous avons traité de la construction de l’identité sociale et culturelle à travers la notion de patrimoine culturel. Compte tenu de la richesse du patrimoine et l’importance que la population libyenne lui accorde, nous avons essayé de mettre en évidence le rôle qu’il joue dans la vie social d’un individu. Après avoir présenté le patrimoine culturel de la société libyenne, en se basant non seulement sur les édifices de l’antiquité gréco-romaine ou du monde arabe mais aussi sur les musées, le folklore et les théâtres, nous avons mené une enquête auprès du public de la ville de Tripoli afin de connaitre leurs représentations sur cette problématique. La population libyenne est fière de la richesse de son patrimoine culturelle. À travers les réponses, nous avons pu constater l’importance accordée à leur patrimoine et la crainte de voir ce passé être détruit ou pillé par la guerre. Cette recherche nous a permis de comprendre que lorsqu’un pays possède une telle tradition, son identité sociale et culturelle passe forcément par la reconnaissance de son patrimoine. / As part of this research, we worked on the construction of a social identity through cultural heritage. We have tried to highlight the importance of the role of heritage in a person’s social life. After presenting the cultural heritage in Libyan society, not only based on buildings of Greco-Roman Antiquity or the Arab world but also museums, folklore and theaters, we conducted a public survey in the city of Tripoli in order to know the people’s opinion on this issue.Through their answers, we noted the importance they give to their heritage and their fear to see their past being destroyed or plundered by war. The people of Libya are proud of this cultural heritage. This research has allowed us to understand that when a country has such a tradition, the social and cultural identity necessarily requires the recognition of its cultural and artistic heritage.

À l’heure de l’internet haut débit, et à l’aube de la réalité virtuelle, les questions sur l’apport et l’efficacité des différents canaux de distribution mis à disposition du consommateur se posent avec encore plus d’acuité. Depuis l’article séminal de Kotler sur les « atmospherics » les chercheurs en marketing et en psychologie se sont attachés à mesurer les influences des différentes composantes de l’ambiance des points de vente, au départ uniquement sous forme de magasins physiques, puis, au fur et à mesure du développement d’internet, de magasins virtuels. L’explosion des performances matérielles et logicielles de ces dix dernières années a permis à ces magasins virtuels de proposer de nouvelles interfaces en offrant aux visiteurs une troisième dimension dans la visualisation de l’offre. La question de l’efficacité de ces nouveaux outils se pose pleinement, d’autant qu’internet est de plus en plus utilisé par les consommateurs dans leur processus d’achat. La problématique de cette thèse est donc de mesurer l’influence potentielle des facteurs d’ambiance d’un magasin virtuel en trois dimensions (3D) en ligne, facteurs que nous appellerons « 3Dspérics », sur le comportement des visiteurs. Nos travaux sont composés de trois revues littératures (marketing, informatique et psychophysiologie), d’une étude empirique et d’une étude expérimentale finale. Dans cette dernière, afin de pouvoir tester nos hypothèses, nous avons élaboré et réalisé un démonstrateur de magasin 3D reproduisant un magasin réel. En utilisant cette simulation nous avons observé les parcours de 44 personnes en leur assignant une tâche de magasinage de différents produits manipulables en 3D. Notre protocole expérimental est basé sur le recueil de données issues de questionnaires auquel nous avons ajouté des mesures de données objectives (parcours) et physiologiques (principalement oculaires) obtenues durant le magasinage de nos testeurs. Les résultats obtenus montrent que les composantes atmosphériques d’un site web marchand en 3D ont une influence directe sur l’immersion du visiteur et, de ce fait, contribuent positivement à la construction des comportements d’achat, d’intention de revisite et de bouche à oreille. / In the era of high-speed Internet, and at the dawn of virtual reality, questions about the contribution and efficiency of the different distribution channels available to the consumer are even more acute. Since Kotler's seminal article on "atmospherics", researchers in marketing and psychology have focused on measuring the influences of the different components of the retail outlet environment, initially only in the form of physical stores, fur and as the development of internet, virtual stores. The explosion of hardware and software performance over the last ten years has allowed these virtual stores to offer new interfaces by offering visitors a third dimension in the visualization of the offer. The question of the effectiveness of these new tools is fully posed, especially since the Internet is increasingly used by consumers in their purchasing process. The problem of this thesis is thus to measure the potential influence of the factors of atmosphere of an online virtual store in three dimensions (3D), factors that we will call "3Dsperics", on the behavior of the visitors. Our work consists of three literature reviews (marketing, computer science and psychophysiology), an empirical study and a final experimental study. In the latter, in order to test our hypotheses, we have developed and realized a 3D store demonstrator reproducing a real store. Using this simulation we observed the routes of 44 people by assigning them a task of shopping of different manipulatable 3D products. Our experimental protocol is based on the collection of data from questionnaires to which we added measures of objective data (pathways) and physiological (mainly ocular) data obtained during the shopping of our testers. The results show that the atmospheric components of a 3D merchant web site have a direct influence on the immersion of the visitor and thus contribute positively to the construction of buying behavior, revisit intention and word of mouth.

A tese investiga como se apresenta o humor político do Porta dos Fundos em esquetes audiovisuais veiculadas pelo Youtube. Parte-se de um panorama sobre as audiovisualidades para atentar sobre os processos produtivos em relação com o contexto político nacional. Os conceitos de comicidade e humor são acionados a partir de Henry Bergson (1983) e Elias Thomé Saliba (2002), sendo o primeiro tomado como sistema organizador da narrativa a partir da intencionalidade de fazer rir, enquanto o segundo é definido pelo contraste entre o que é e o que deveria ser, acionando uma reflexão crítica que complementa e dá a tonalidade do gesto social empregado pelos humoristas. Para tratar sobre o humorismo audiovisual percorremos a história do riso e do escárnio com Georges Minois (2003), Roberto Elísio dos Santos e Regina Rosseti (2012), entre outros, a fim de resgatar as raízes do riso midiatizado brasileiro. O problema de pesquisa é: Como se dá o humor sobre a política na comicidade audiovisual do Porta dos Fundos? Para responder essa pergunta elencamos como objetivo geral da pesquisa descrever e analisar como se apresenta o humor audiovisual sobre a política em um canal no Youtube - o do Porta dos Fundos, explorando o objeto na relação com o campo do audiovisual nacional, com o contexto político contemporâneo e com a teoria sobre o humor e a comédia. A partir deste, estabelece-se como objetivos específicos: a) descrever as possíveis relações entre a matriz da comédia audiovisual nacional e o humor político veiculado pelo Porta dos Fundos; b) descrever e analisar como os conteúdos audiovisuais apresentam o humor sobre a política do Porta dos Fundos; c) apontar pistas que indiquem elementos de distinção do conteúdo humorístico do Porta dos Fundos no campo do audiovisual contemporâneo Entendemos que para abordar o humor sobre a política do Porta dos Fundos no Youtube é preciso contextualizar a cultura midiática e digital contemporânea, relacionando-a com o contexto político vivido no Brasil durante o período de análise, em busca de um olhar relacional que aponte pistas sobre como os agentes e os campos sociais influenciam-se mutuamente e quais marcas deixam uns sobre os outros. A epistemologia adotada é da sociologia relacional de Pierre Bourdieu (1997, 2002, 2007a, 2007b), que auxilia no tratamento dispensado ao corpus empírico de seis esquetes audiovisuais de humor sobre política veiculados pelo Youtube, entre agosto de 2012 e abril de 2017, e analisados filmicamente a partir das proposições metodológicas de Penafria (2009), Julier e Marie (2009). Como resultado encontramos marcas distintivas do humor do Porta dos Fundos sobre a política a partir das suas estratégias narrativas que privilegiam o sentido de realidade junto ao espectador; um processo produtivo colaborativo que diversifica os conteúdos e fortalece a imagem a marca; uma identidade visual (estética e linguística) mantida mesmo com o rodízio de funções e colaboradores; tudo marcando um fenômeno que emerge em um tempo de lacuna no humor crítico sobre política na TV, políticas públicas que incentivam a produção audiovisual independente e converge com a ampliação da conectividade e cultura digital no país. / The thesis investigates how the political humor of “Porta dos Fundos” in audiovisual sketches transmitted by Youtube is presented. It started by a panorama on the audiovisuals to look at productive processes in relation to national socioeconomic and political contexts. Henry Bergson (1983) and Elias Thomé Saliba (2002) trigger ehe concepts of comics and humor. The first one being taken as the system organizer of the narrative from the intentionality of making laugh, while the second one is defined by the contrast between what is and what should be, triggering a critical reflection that complements and gives the tone of the social gesture employed by comedians. To deal with audiovisual humor, we go through the story of laughter and scorn with Georges Minois (2003), Roberto Elísio dos Santos and Regina Rosseti (2012), among others, in order to rescue the roots of Brazilian disseminated laught. The research problem is: How does the political humor in the audiovisual comedy of “Porta dos Fundos”work? In order to answer this question we have as a general objective of the research to describe and analyze how audiovisual political humor is presented in a channel on YouTube – called Porta dos Fundos, exploring the object in relation to the field of the national audiovisual, with the contemporary political context and with the theory about humor and comedy. From this, specific objectives are stablished: a) to describe the possible relations between the matrix of the national audiovisual comedy and the political humor conveyed by Porta dos Fundos; b) describe and analyze how the audiovisual contents present the political humor of Porta dos Fundos; c) to point out clues that indicate elements of distinction of the humoristic content of Porta dos Fundos in the field of contemporary audiovisual We understand that in order to approach the political humor of Porta dos Fundos on Youtube it is necessary to contextualize the contemporary digital and digital culture, relating it to the actual political and economic context in Brazil during the period of analysis, searching for relational look that points out clues about how agents and social fields influence each other and which brands leave in one another. The epistemology adopted is Pierre Bourdieu's (1997, 2002, 2007a, 2007b), relational sociology, which assists in the treatment given to the empirical corpus of six audiovisual humoristic sketches transmitted by Youtube, in between august of 2012 and april of 2017, and analyzed in the movie by the methodological propositions of Penafria (2009), Julier and Marie (2009). As a result we find distinctive marks of the political humor of Porta dos Fundos from their narrative strategies that privilege the sense of reality with the spectator; a collaborative production process that diversifies the content and strengthens the brand image; a visual identity (aesthetic and linguistic) maintained even with the rotation of functions and collaborators; all marking a phenomenon that emerges in a time that lacs critical political humor on TV, public policies that encourage independent audiovisual production and converge with the expansion of connectivity and digital culture in the country.

Espaços Especulares: articulações entre o real e o virtual é um estudo em artes visuais. O tema principal a partir do qual os trabalhos são baseados é a criação de relações entre espaços reais e espaços virtuais. Dois conceitos operatórios fundamentam a criação das obras: a utilização de reflexões especulares e o site-specific. Esses conceitos serão abordados de duas maneiras distintas: a utilização de espelhos em artes visuais através da noção de Espelho como Dispositivo; já o site-specific será relacionado ao conceito de Estética da Opacidade, ligado à teoria do cinema. O objeto de estudo é composto por dezenove obras criadas no período de 2008 a 2013. São trabalhos produzidos por meio de técnicas híbridas que utilizam procedimentos da arquitetura, computação gráfica e artes visuais. Como metodologia de pesquisa, serão analisados os processos e conceitos operatórios utilizados na produção relacionados com referenciais teóricos e práticos. / Specular Spaces: articulations between the real and the virtual is a study in visual arts. The main theme from which the work is based is creating relationships between real spaces and virtual spaces. Two creative concepts underlie the artistic process: the use of specular reflections and the site-specific. These concepts will be addressed in two different ways: the use of mirrors in the visual arts will be based on the notion of Mirror as a Device, whereas the site-specific is related to the concept of Aesthetics of Opacity, bound to film theory. The object of study is comprised of nineteen artworks created in the period of 2008 to 2013. They are artworks produced by hybrid techniques that utilizes procedures of architecture, computer graphics and visual arts. As a research methodology, the processes and creative concepts will be analyzed related to theoretical and practical examples.