Wearable technology has attracted global attention in the last decade and the market is experiencing an unprecedented growth. Wearable devices are designed to be low-profile, light-weight and integrated seamlessly into daily life. Comfort is one of the most important requirements for wearable devices. Fabric based antennas are soft, flexible and can be integrated into clothing. State of the art textile manufacturing techniques such as embroidery, combined with advanced conductive textile materials can be used to fabricate flexible fabric based on-body antennas. In this thesis, the feasibility of using computerised embroidery in the fabrication of wearable, flexible yet functional fabric based antennas have been examined. The fabric based antennas are embroidered using conductive threads. The most suitable materials for fabricating embroidered antennas have been identified. The embroidered fabric based antenna systems including transmission lines and low-profile detachable connectors have been fabricated and their RF performances have been tested. The optimal manufacturing parameters related to embroidery such as stitch direction, spacing and length have been examined. The repeatability of embroidered antennas, cost estimation, and complexity of manufacturing process have been clearly presented. The results can be used to inform and provide guidelines for the development of representative products that can be mass manufactured. A new simulation approach has been introduced to analyse the anisotropic properties of embroidered conductive threads. Simulations and measurements indicate that the performances of embroidered antennas are affected by the anisotropic surface current due to the embroidered stitches. Exploiting the current direction, a novel non-uniform meshed patch antenna has been designed. Representative results show that the non-uniform meshed structure can significantly reduce more than 75% of the usage of conductive materials for the microstrip antennas with negligible effect on the antenna performance.

This thesis provides novel contribution to the field of body-centric wireless communications (BCWC) with the development of a measurement methodology for wearable antenna characterisation on the human body, the implementation of fully-textile wearable antennas and the on-body channel modelling considering different antenna types and user's dynamic effects. More specifically, a measurement methodology is developed for characterising wearable antennas on different locations of the human body. A cylindrical near-field (CNF) technique is employed, which facilitates wearable antenna measurements on a full-body solid anthropomorphic mannequin (SAM) phantom. This technique allows the fast extraction of the full spherical radiation pattern and the corresponding radiation efficiency, which is an important parameter for optimising wearable system design. It appears as a cost- effective and easy to implement solution that does not require expensive positioning systems to rotate the phantom, in contrast to conventional roll-over-azimuth far-field systems. Furthermore, a flexible fully-textile wearable antenna is designed, fabricated and measured at 2.4 GHz that can be easily integrated in smart clothing. It supports surface wave propagation and exhibits an omni-directional radiation pattern that makes it suitable for on-body communications. It is based on a multilayer low-profile higher-mode patch antenna (HMMPA) design with embroidered shorting vias. Emphasis is given to the fabrication process of the textile vias with conductive sewing thread that play an important role in generating the optimal mode for on-body radiation. The radiation pattern shape of the proposed fully-textile antenna was found to be similar to a copper rigid antenna, exhibiting a high on-body radiation efficiency of 50 %. The potential of the embroidery technique for creating wearable antennas is also demonstrated with the fabrication of a circularly polarised spiral antenna that achieves a broadband performance from 0.9-3 GHz, which is suitable for off-body communications. By testing the textile spiral antenna on the SAM phantom, the antenna-body interaction is examined in a wide frequency range. Finally, a statistical characterisation of on-body communication channels is undertaken both with EM simulations and channel measurements including user's dynamic movement (walking and running). By using antenna types of different polarisation, the on-body channels are examined for different propagation conditions. Four on-body channels are examined with the one part fixed on the waist of the human body while the other part located on the chest, back, wrist and foot. Channel path gain is derived, while large-scale and small-scale fading are modelled by best-fit statistical distributions.

According to recent data from the Brazilian Handicraft Program, Alagoas is the state that emerges with the largest number of registered artisans nationwide. Of this volume, 70% is represented by embroidery fillet, typical craft mode "of the lakes region", which stands as productive core maceioense the neighborhood of Pontal da Barra. With the institutionalization of the creative economy in Brazil crafts stands as one of the core creative industries of this new political-economic arrangement, fitting as an object of state policy under the Ministry of Culture. The playing field of the creative economy features intrainstitucionais direct interfaces with the National Programme of Intangible Heritage and the Living Culture Program. This relationship is forming a conceptual tripod that includes the symbolic dimension, the civic dimension and the economic dimension, forging a cultural policy of full accessibility. Nevertheless, such a full conception of culture has also associated inter interfaces, especially the programs linked to the Ministry of Development, Industry and Foreign Trade, specifically the Geographical Indications and the Local Productive Arrangements. Thus, dominated by the need to identify the institutional network of agents dealing in commercial and symbolic promotion of handicrafts, in line with the principles of creative economy. From the institutional analysis of various directly and indirectly linked to state agents, it seeks to identify the potential embroidery fillet as a vector of the creative economy and regional development. To this end, in addition to the bibliographical and documentary references related to the theme, is undertaken interviews with different actors involved in the production chain of the fillet, as local craftsmen, representative of the State Secretariat for Economic Development and Tourism of Alagoas and the Brazilian Support Service Micro and Small Enterprises in Alagoas. With that, allow yourself an understanding of the inter-institutional fabric that makes up the political agenda for the craft and the creative economy in Alagoas. / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / De acordo com dados recentes do Programa do Artesanato Brasileiro, Alagoas é o estado que desponta com o maior número de artesãos cadastrados em nível nacional. Desse volume, 70% é representado pelo bordado Filé, modalidade de artesanato típica da “região das lagoas”, onde se destaca como núcleo produtivo o bairro maceioense do Pontal da Barra. Com a institucionalização da economia criativa no Brasil o artesanato figura como um dos setores criativos nucleares desse novo arranjo político-econômico, enquadrando-se como objeto de uma política de Estado vinculada ao Ministério da Cultura. O campo de atuação da economia criativa apresenta interfaces intrainstitucionais diretas com o Programa Nacional do Patrimônio Imaterial e com o Programa Cultura Viva. Essa relação constitui a formação de um tripé conceitual que contempla a dimensão simbólica, a dimensão cidadã e a dimensão econômica, forjando uma política cultural de plena acessibilidade. Não obstante, essa concepção plena de cultura possui, também, interfaces interinstitucionais associadas, sobretudo, à programas vinculados ao Ministério da Indústria, Desenvolvimento e Comércio Exterior, especificamente as Indicações Geográficas e os Arranjos Produtivos Locais. Dessa forma, impera a necessidade de identificar a rede interinstitucional de agentes que se ocupam na promoção comercial e simbólica do artesanato, alinhado com os princípios da economia criativa. A partir da análise de institucional de diferentes agentes direta e indiretamente vinculados ao Estado, procura-se identificar o potencial do bordado Filé como vetor da economia criativa e do desenvolvimento regional. Para tanto, além das referências bibliográficas e documentais ligadas ao tema, empreende-se entrevistas com diferentes agentes envolvidos na cadeia produtiva do Filé, como artesãos locais, representante da Secretaria de Estado de Desenvolvimento Econômico e Turismo de Alagoas e do Serviço Brasileiro de Apoio às Micro e Pequenas Empresas em Alagoas. Com isso, permite-se uma compreensão de parte da tessitura interinstitucional que compõe a agenda política para o artesanato e a economia criativa em Alagoas

Made available in DSpace on 2015-02-24T20:17:26Z (GMT). No. of bitstreams: 1 AndreLBS_DISSERT.pdf: 2336976 bytes, checksum: 8dfd6a3f335c142b16fcc2ff38debedf (MD5) Previous issue date: 2011-10-07 / The generation of direction, sensemaking, is the process where the actors start to perceive the events around them establishing and creating meanings in their actions that they play daily. At the moment where they happen the interactions in a net business-oriented between the actors are that sensemaking is generated. A business-oriented example of a relationship net is the work developed for the Committee of Associations and Regional Cooperatives of Handcraft of Serid? - CRACAS. This organization, with headquarters in the city of Caic? - Rio Grande of North exists with the objective to manage the net of craftsmen of the region of the norteriograndense Serid?. The present inquiry had as objective generality to understand the generation of sensible of the activities carried through for the organizational, inserted actors in the CRACAS in Caic?/RN, directed toward the use of the resources in its daily business-oriented. The specific objectives had been) To identify the resources used for the organizational actors of the CRACAS; b) To apprehend the way for which the craftsmen play activities directed toward the control and use of the available resources in its environment business-oriented; c) To identify the role played for the organizational actors (craftsmen) in its business-oriented daily activities; d) To understand as the organizational actors of the CRACAS they generate sensible of its business-oriented activities and finally e) To verify the principles that guide the interactions of the craftsmen. Of this process of empirical inquiry, the methodology used in the inquiry consisted of a Study of Case in the CRACAS and the seven Associations of the Embroidering it. It was concluded that sensemaking happens during the accomplishment of the activity as during the confection of the products. In accordance with craftsman the financial resources do not come from the CRACAS. One evidenced that the seven cities of the business-oriented embroidering interact as a net of the handcraft and that it exists a lack of resources and infrastructure in the associations / A gera??o de sentido, sensemaking, ? o processo onde os atores organizacionais come?am a perceber os eventos ao seu redor estabelecendo e criando significados nas a??es que desempenham em seu cotidiano. No momento em que acontecem as intera??es em uma rede de neg?cios entre os atores ? que o sensemaking ? gerado. Um exemplo de uma rede de relacionamento de neg?cios ? o trabalho desenvolvido pelo Comit? de Associa??es e Cooperativas Regionais de Artesanato do Serid? - CRACAS. Essa organiza??o, com sede na cidade de Caic? - Rio Grande de Norte existe com o objetivo de administrar a rede de artes?os da regi?o do Serid? norteriograndense. A presente investiga??o teve como objetivo geral compreender a gera??o de sentido das atividades realizadas pelos atores organizacionais, inseridos no CRACAS em Caic?/RN, voltadas para a utiliza??o dos recursos em seu cotidiano de neg?cios. Os objetivos espec?ficos foram a) Identificar os recursos utilizados pelos atores organizacionais do CRACAS; b) Apreender a maneira pela qual os artes?os desempenham atividades voltadas para o controle e utiliza??o dos recursos dispon?veis em seu ambiente de neg?cios; c) Identificar o papel desempenhado pelos atores organizacionais (artes?os) em suas atividades cotidianas de neg?cios; d) Compreender como os atores organizacionais do CRACAS geram sentido de suas atividades de neg?cios e por fim e) Verificar os princ?pios que norteiam as intera??es dos artes?os. Nesse processo de investiga??o emp?rica, a metodologia utilizada na investiga??o consistiu-se em um Estudo de Caso no CRACAS e nas sete Associa??es das Bordadeiras filiadas a ele. Concluiu-se a gera??o de sentido acontece durante a realiza??o da atividade como a confec??o dos produtos. De acordo com as artes?s os recursos financeiros n?o prov?m do CRACAS. Constatou-se que os sete munic?pios do bordado interagem como uma rede de neg?cios do artesanato e que existe uma car?ncia de recursos e infraestrutura nas associa??es

Esta tese estrutura-se a partir de experiências com a literatura de Guimarães Rosa no sertão de Minas Gerais e ressalta aspectos do retorno da sua obra a determinadas localidades, constituindo o que definimos como Território Literário. Alguns aspectos contribuíram nesse processo: representação do real na obra; recepção da obra geradora de ações em torno da leitura; adaptações da obra em outras linguagens. O processo criativo do escritor e suas estratégias para observar a realidade e torná-la matéria-prima da sua criação são observados a partir de registros localizados em seu arquivo no Instituto de Estudos Brasileiros/USP-SP . Na perspectiva de observar o percurso da obra pelo sertão, são abordados projetos artísticos e pesquisas que mostram a obra como mobilizadora de vivências no sertão real. Destaca-se a expedição Os Loucos por Rosa (1995) como o início de um projeto coletivo em Cordisburgo, Morro da Garça e Andrequicé/Três Marias, cidades de referência na vida e obra do escritor e a partir dela as iniciativas que se firmaram nesses locais: semana culturais; narração de textos literários de cor; o bordado; pintura. As adaptações do texto para a narração oral são apresentadas pelos projetos Contadores de Estórias Miguilim e Caminhos do Sertão, ambos desenvolvidos em Cordisburgo. Na recriação da obra em imagem estão destacados os projetos artísticos: na pintura, o trabalho do artista plástico José Murilo; no bordado, experiências coletivas nas cidades, mostrando técnicas e métodos utilizados. Nessa perspectiva, a proposição de Território Literário firma-se nos caminhos da obra entre espaço, sons, imagem e várias outras ações literárias, que resultaram na valorização da cultura local e na relação estabelecida pelas comunidades com seu Território, revitalizado a partir da literatura. / This thesis is based on experiences with the literature of Guimarães Rosa in the hinterland of Minas Gerais and emphasizes aspects of the return of his work to certain localities, constituting what we define as Literary Territory. Some elements contributed to this process: representation of the real in the work; Reception of the work generating actions around reading; Creations in other languages. The creative process of the writer and his strategies for observing reality and making it the raw material of his creation are observed from records located in his archive at Instituto de Estudos Brasileiros / USP-SP. To observe the course of the work in the backlands, artistic projects and researches are presented; those show the work as a mobilizer of experiences in the reality of the backlands. It is worth mentioning the expedition The Fools by Rosa (1995) as the beginning of a collective project in Cordisburgo, Morro da Garça and Andrequicé / Três Marias, (cities of reference of life and work of the writer)and as what started the initiatives that were established in these Places: cultural week; Narration of literary texts of color; The embroidery and others. The adaptations of text to oral narration are presented by the projects Contadores de Histórias Miguilim and Caminhos do Sertão, both developed in Cordisburgo. In the recreation of his work in image are highlighted a few artistic projects: in painting, the work of plastic artist José Murilo; In embroidery, collective experiences in the cities, showing techniques and methods used. Some artistic projects that recreate his work in imagery are highlighted, such as: work of plastic artist José Murilo in painting; collective experiences in the cities, showing techniques and methods used in embroidery. In this perspective, the Literary Territory proposition is based on the paths of the work between space, sounds, image and several other literary actions, which resulted in the valorization of the local culture and in the relationship established by the communities with their Territory, revitalized because of the literature.

Esta tese estrutura-se a partir de experiências com a literatura de Guimarães Rosa no sertão de Minas Gerais e ressalta aspectos do retorno da sua obra a determinadas localidades, constituindo o que definimos como Território Literário. Alguns aspectos contribuíram nesse processo: representação do real na obra; recepção da obra geradora de ações em torno da leitura; adaptações da obra em outras linguagens. O processo criativo do escritor e suas estratégias para observar a realidade e torná-la matéria-prima da sua criação são observados a partir de registros localizados em seu arquivo no Instituto de Estudos Brasileiros/USP-SP . Na perspectiva de observar o percurso da obra pelo sertão, são abordados projetos artísticos e pesquisas que mostram a obra como mobilizadora de vivências no sertão real. Destaca-se a expedição Os Loucos por Rosa (1995) como o início de um projeto coletivo em Cordisburgo, Morro da Garça e Andrequicé/Três Marias, cidades de referência na vida e obra do escritor e a partir dela as iniciativas que se firmaram nesses locais: semana culturais; narração de textos literários de cor; o bordado; pintura. As adaptações do texto para a narração oral são apresentadas pelos projetos Contadores de Estórias Miguilim e Caminhos do Sertão, ambos desenvolvidos em Cordisburgo. Na recriação da obra em imagem estão destacados os projetos artísticos: na pintura, o trabalho do artista plástico José Murilo; no bordado, experiências coletivas nas cidades, mostrando técnicas e métodos utilizados. Nessa perspectiva, a proposição de Território Literário firma-se nos caminhos da obra entre espaço, sons, imagem e várias outras ações literárias, que resultaram na valorização da cultura local e na relação estabelecida pelas comunidades com seu Território, revitalizado a partir da literatura. / This thesis is based on experiences with the literature of Guimarães Rosa in the hinterland of Minas Gerais and emphasizes aspects of the return of his work to certain localities, constituting what we define as Literary Territory. Some elements contributed to this process: representation of the real in the work; Reception of the work generating actions around reading; Creations in other languages. The creative process of the writer and his strategies for observing reality and making it the raw material of his creation are observed from records located in his archive at Instituto de Estudos Brasileiros / USP-SP. To observe the course of the work in the backlands, artistic projects and researches are presented; those show the work as a mobilizer of experiences in the reality of the backlands. It is worth mentioning the expedition The Fools by Rosa (1995) as the beginning of a collective project in Cordisburgo, Morro da Garça and Andrequicé / Três Marias, (cities of reference of life and work of the writer)and as what started the initiatives that were established in these Places: cultural week; Narration of literary texts of color; The embroidery and others. The adaptations of text to oral narration are presented by the projects Contadores de Histórias Miguilim and Caminhos do Sertão, both developed in Cordisburgo. In the recreation of his work in image are highlighted a few artistic projects: in painting, the work of plastic artist José Murilo; In embroidery, collective experiences in the cities, showing techniques and methods used. Some artistic projects that recreate his work in imagery are highlighted, such as: work of plastic artist José Murilo in painting; collective experiences in the cities, showing techniques and methods used in embroidery. In this perspective, the Literary Territory proposition is based on the paths of the work between space, sounds, image and several other literary actions, which resulted in the valorization of the local culture and in the relationship established by the communities with their Territory, revitalized because of the literature.

A need for new churches arose in Sweden during the 1950’s when modern suburbs for the growing urban population were developed around the Swedish cities. Four architects, Peter Celsing, Sigurd Lewerentz, Hans Borgström and Bengt Lindroos, who were known for their profane modernist architecture, were commissioned to design three churches in Stockholm's new districts: S:t Tomas kyrka in Vällingby, St. Markuskyrkan in Björkhagen and Söderledskyrkan in Farsta and all were inaugurated in 1960.  The purpose of the essay is to investigate how the sacral textiles of the three modernist churches look like in the year of inauguration and how they related to their respective contexts in the form of the modernist church rooms 1960. The investigation is done with the help of the questions: How do the sacral textiles look like in the modernist neighborhood church? Why do they look the way they do? What has influenced their appearance and design? The questions are answered with the support of the theories Material Culture and the performativity theory, and the investigation is carried out using Material Culture as a method and the textile science documentation method. In order to be able to determine what modernity was in the contemporaneity of the sacral textiles, whimsical terms have been operationalized, which are taken from the contemporary literature that speaks about what the modern can be or not be. This is a theoretical starting point from which the investigation into modernity starts.  The result of the investigation shows that the sacral textiles in their newly manufactured parts was influenced by the modernist church context. It appears in the essay that the influencing factors were several and they appeared in the context of the church ́s liturgy, the architect ́s visions and the designers’ artistic signature in expression. These gave effect in different ways to the appearance and design of the sacred textiles.

軍事制度為廣義政治制度的一種。傳統有關中國政治制度的研究，多將焦點集中於職官制度或是監察制度部分；相形之下，有關軍事制度所受到的注意就遜色許多。事實上，軍事制度對國家整體局勢的影響，遠較一般人想像中來的重要。軍事制度又稱﹁兵制﹂，其制度建構的優劣，嚴重左右一個朝代的興衰；如觀察中國的歷史就可以發現：往往一個朝代的兵制設計良好，則其武功強盛，享國亦較久；相反的，兵制的建構若存有嚴重的缺失，則該朝代很容易積弱不振，這些實例可從唐、宋兩帝國明顯的對比中得到證實。 基本上，若從歷史的發展過程來看，明代衛所制度與其國勢強弱間，亦存有密不可分的關係。早期衛所制度上軌道之際，國力強盛；如太祖的統一天下、成祖的幾次北征等，均有賴其強大的軍力為後盾。而從明正統以後，因軍屯的兼併、私役到軍士的逃跑等緣由，促使衛所制度日益崩解。而在衛所軍士不能用且無法用的情況下，嘉靖中期為應付各地戰亂的需要，開始進行大規模的募兵；此舉對明帝國來說，無疑是一個相當大社會經濟上的負擔。後來，為支應內外戰事所催征的剿餉、練餉及遼餉等，更是促使明帝國覆亡相當重要的關鍵之一。故如欲了解明代由盛轉衰的關鍵，實在必須對明代衛所制度的相關建構，進行更澈底的研究。 原則上，本論文共分九章，其中： 第一章「緒論」，主要探討論文寫作的由來，此外，更說明本論文的研究方法、範圍、限制與主題為何。並藉由相關文獻的檢閱來觀察以往學界對於明代衛所制度的研究概況。 第二章「明代衛所制度的淵源與形成原因」，旨在敘述歷代兵制的概略演變，並且從當中的更迭情形，了解明代衛所制度與前朝兵制的差異，及其參酌歷代兵制而來的成分、要因為何；另外，更從當時時空背景等要素，推敲此一制度的主要形成原因，大約係出於政治、經濟及國防上的諸多考量而來。 第三章「明代衛所的組織」，分成一般衛所組織的設置與京營組織的概況演變兩部分。其中，一般衛所組織分成組織概況、設置情形、地方軍事體制的演變等來論述；京營部分則係以時間區分來做探討。 第四章「明代衛所的職掌」，一般衛所多具有屯田、巡捕、備禦、製造軍器等功能；但因所處地理位置的差異，或是最早設置之目的即有不同，有些衛所在上述職掌外，必須負擔京操、漕運、護陵、邊班或是馬政、草場、營建、採木等任務。而從當時衛所軍士職掌的多樣化，可以發現過重的勤務是後來促使軍士逃亡，乃至於衛所逐漸瓦解的主因之一。 第五章「明代衛所軍士的訓練、裝備與獎懲」，早期衛所軍士的訓練嚴格確實、裝備精良、賞罰嚴明，因此能提供明初統一天下與明成祖對北方數次征戰所須；中期以後，衛所人力淪為私用，裝備不齊、器具敗壞、軍紀喪失，衛所軍幾無戰鬥能力可言；此處從衛所軍士的訓練、裝備、獎懲等方面來觀察，恰好可以得到一鮮明的對照。 第六章「明代衛所制度的社會基礎」，所謂社會基礎，意指以人為根本的各項討論議題，包括衛所的軍士來源、軍籍與軍戶的設計、勾軍與清軍、武官的世襲等。 第七章「明代衛所制度的經濟基礎」，亦即衛所的給養問題，早期衛所設置的目的，很重要的立意在於自給自足，只是隨著軍屯田地的兼併、屯軍私役等，促使衛所軍士的大舉逃亡，軍屯逐漸破壞；而為供應龐大的軍餉支出，於是又有各種補救措施的出現，包括商屯、太倉銀等；只是隨著國家財政支出的日益擴大，後期任何加稅措施，均是飲酖止渴而已；明廷就在內憂外患的雙重夾擊下，最後終於以亡國收場。 第八章「明代衛所與其他政治組織的關係」，明代政治組織約略可分成軍事組織、官僚組織、監察組織與宦官組織四大部分；衛所為廣義政治組織之一，自然會與前述四大部分有所關連，本章主要即在探討衛所與這四大組織的互動情形。 第九章「結論-明代衛所制度的作用、毀壞及其影響」，衛所制度的作用較早顯然具有軍事及經濟上的重大功用，然至中期以後，竟慢慢淪為政府力役的供應場所；其中的變化除因制度本身的設計盲點外，更因社會及經濟等層面因素影響而漸趨毀壞；而明代的國勢則是跟衛所制度間，存在不可分割的關連性。本章重點即是針對衛所制度的功過作一總評。

This study investigates copies of silk-embroidered linen cloths from the 16th and 17th century, created by the Danish Handcraft Guild during the period 1928–1980. The originals are most often embroidered with stem stitches in red silk with motives generally based on contemporary graphic prints. The Danish Handcraft Guild was founded in 1928 with ambitions to bring to life national textile traditions. The aim of the study is to find out which aspects of the historical textiles that were adopted in the copies, and possible reasons for these choices. Based on this case-study, the usage of historical originals for copies in relation to general understanding and development of cultural heritage is discussed. From a theoretical viewpoint, material culture is understood as having both physical and practical properties, related to memories and identities of individuals and societies. The study consists of two parts, one explorative study and one text analysis. In the explorative study five original textiles and nine copies are documented and compared. The text analysis deals with 77 texts from the Danish Handcraft Guild journal 1934–1980. The results show that the Danish Handcraft Guild practiced two approaches to historical originals. The mayor one was to find originals suitable for adoption on present-day products, often in simplified versions. A second approach is represented by big copies of silk-embroidered linen cloths. These were made as splendor display objects, related to a fine and noble national history. The tendency in this case-study is that copies of silk-embroidered linen cloths used for exhibitions seem to be closer to the original’s motives than those made for personal use. A conclusion of the study is that copies from historical originals do have potential to gain understanding and to develop cultural heritage. Which collective memory, history and value they convey depends on the context in which they were created, and to the story they mediate.