This research proposed developing a multivariate intelligence scoring system for human figure drawings. The 115 subjects were drawn from clinical, medical, and noninstitutionalized populations. Initially, 72 of these drawings were analyzed for detail, proportion, perspective, and overall quality. The initial factor analysis revealed two factors corresponding roughly to the WAIS Verbal Comprehension and Perceptual Organization factors. DAP items evidencing high colinearity with FSIQ were retained. Two-stage regression of DAP items within subtests onto the WVAIS FSIQ using the data from all 115 subjects yielded the final model (R = 0.85, p < 0.0001). Cronbach's Alpha and mean item commonality were computed as estimates of internal consistency (0.95 to 0.999). A second factor analysis revealed six factors associated with intelligence in the DAP.

Autour du shaman ou du montreur de marionnettes des liens se tissent pour faire face au désordre grâce à une parole en mouvement. A une représentation humaine ou animale, à un objet animé rituel ils insufflent une vie crédible car simulée et porteuse de l'énergie paradoxale des morts-vivants. La Chine porte la marque profonde de la culture des shamans : on amène un esprit dans la figure pour "jouer les dieux". Voyage initiatique en Thaïlande, Malaisie, Indonésie où l'on confortera cette idée. Mythes et rites se réduisent à des règles formelles... ou retrouvent vie et prise sur l'actualité. Le personnage de bois ou de terre apparaît, dans les mythes africains, comme un secret rapporté du monde des morts ou des esprits. Chez les Papous, en Afrique, en Europe, l'épouvantail, le mannequin, l'effigie permettent de contourner, symboliquement, la reproduction sexuée. Au Moyen Age, en Europe, le marmouset (marionnette, idole, fantôme, épouvantail) et son théâtre, se cachent derrière une chantefable, dans les fabliaux, aux origines de la farce et du castelet. Entre le shamanisme des origines grec et celui des Barbares se resitue l'apport de Platon dans sa définition de l'âme. Comment se définit le "je" chez les Papous, chez le poète Fernando Pessoa, dans le mythe moderne de Pinocchio, chez le marionnettiste qui vit "plusieurs vies" ? L'art dramatique du XIXe siècle se meurt, épuisé par l'ego des comédiens ou écrasés par le réalisme naïf des marionnettes et la Grande Guerre amène à découvrir la prothèse, la vie simulée, l'acteur mécanique, l'effigie. Entre l'absence de conscience du mannequin et la conscience infinie du dieu, dirait Kleist, on agit dans les règles du jeu / Around the shaman or the puppet master, links be forged to face up to disorder thanks to a speech in motion. They inspire a life, credible because simulated and bearing the living dead's paradoxal energy, to a human or animal representation, to a ritual-caracterized animated object. China keeps the deep mark of the shamans' culture : a spirit is brought into the character to "play the gods". In Thailand, Malaysia, Indonesia will strenghthen this idea : myths and rituals are reduced to formal rules... or recover life and have a hold over the current events again. The wooden or clay character appears, in African myths, like a secret brought back from the world of the dead or of the spirits. In New Guinea, in Africa, in Europe, the scarecrow, the dummy, the effigy allow bypassing sexed reproduction in a symbolic way. In the Middle Ages in Europe, maumet (for puppet, ghost, scarecrow) and its theater, deserve being looked for behind the "chantefable", in "fabliaux", in the origins of the farce. Platon would have fetched among barbarians relationships between the body and the soul. This search will lead us to numerous definitions of "I" among Papuans, with fernando Pessoa, in puppet masters' practice, in the modern myth of Pinocchio, with the puppet master who experiences "several lives". XIXth century drama is dying, worn out by actors ego or emptied of its meaning by a puppet in search of naive realism, the Great War brings about discovering the prosthesis, the simulated life, the mechanical actor, the effigy. Between the dummy's absence of consciousness and the god's infinite consciousness. The shaman-puppet master van decide to act according to his own game rules

Que peut la singularité par rapport au film ? Cette thèse évalue la possibilité d'analyser un film à partir des éléments singuliers dont il est composé. La singularité dont il est question correspond aux éléments dissemblables, aporétiques, lacunaires qui ne se conforment pas avec ce qu'on est en droit d'attendre d'une narration, d'une esthétique ou d'une grammaire cinématographique. Cette recherche a dû aborder le concept même de singularité pour diverses acceptions, mais aussi pour des domaines aussi bien scientifiques qu'artistiques. La méthode qui en est sortie a été appliquée à un corpus de film restreint : Nostalghia d'Andreï Tarkovski, Les Harmonies Werckmeister de Béla Tarr et Seven invisible men de Sharunas Bartas. Son application a révélé combien ces œuvres sont infiniment plus complexes et plus ambiguës que l'on a pu le croire. Elle a surtout permis de mettre en évidence que ce que l'analyse figurale nomme figure doit être prolongé par la notion d'anti-figure. La figure seule ne suffit plus à restituer les battements toujours vivaces qui parcourent un film. D'autre part, elle laisse apercevoir combien ces battements répondent en réalité à la confrontation de trois hiatus, l'un figuratif, l'autre représentatif et le dernier psychique, impliquant la mémoire des images, le réel et le pathos. / This thesis evaluates the possibility of analyzing a movie from the singular elements it contains. The singularity in question corresponds to dissimilar elements, of aporias or gaps that does not comply with what we expect from a narrative, from an aesthetic or from a cinematographic grammar. This research has approached the concept of singularity both in science and in the arts by studying the different meanings of this termThe method that was elaborated from the properties of singularities was subsequently applied to a small corpus of movie: Nostalghia by Andrei Tarkovsky, Werckmeister Harmonies by Béla Tarr and Seven invisible men by Sharunas Bartas.Its application has revealed how these works are much more complex and ambiguous than we might believe. He has contributed to highlight that what the figural analysis calls a figure should be extended by the notion of anti-figure. a figure alone is not sufficient to render the beats that cross a movie. On the other hand, it lets see how these beats actually correspond to the confrontation of three hiatus, the first is figurative, the second is representative and the last is psychic involving the memory of images, the reality and the pathos.

Made available in DSpace on 2014-07-29T16:27:51Z (GMT). No. of bitstreams: 1 Dissertacao Lavinnia Seabra Gomes.pdf: 4133155 bytes, checksum: 76db450d0f822c64c63bbf09e3d6a425 (MD5) Previous issue date: 2007-04-11 / This dissertation developed on the line of studies in Contemporaneous Processes of Visual Image Prodution, of the Masters in Visual Culture of Visual Arts University, from UFG (Federal University of Goiás) resulted in plastic productions, were fashion and tecnics of figure, blend toghether forms, materials and images. The objective of this work, was concetrated on the matrixies creation, that didin t fall into the ordinary tradictional element, and could be applied to the clothing element, without loosing its main features or the question of the multi. The couttion linking some objects the concepts of protection, decency or tradictionally ornament related to fashion. The important factor in this research is highlight the possibillity of conceiving the figure impression in another type of support, in our case, 3 dimensional (clothes), and conceive those images trough electronic devices, without leavingout the multiplicity principles and impression. All the time we have been searching for another form of visual conception of figure between the mode and all of yours industrials tendences. So many ideas and questionings have come up as webecame more and more familiar with the process, and what is pointed to another series of creative utilization. Following that line of poetic study, owing particularity, what singled each student of art, thoes productions make o out experiences of world in something to be admirable or not, favoring each receptor of plastic produtions, or diferents interpretations what give to then the better understanding. / Esta dissertação desenvolvida na linha de pesquisa em Processos Contemporâneos de Produção de Imagens Visuais do Mestrado em Cultura Visual da Faculdade de Artes Visuais da UFG resultou em produções plásticas em que a moda e as técnicas da gravura se mesclam em formas, materiais e imagens. O objetivo deste trabalho esteve centrado na criação de matrizes que fugissem do tradicional da impressão em relevo e que pudessem ser aplicadas ao elemento roupa, sem perder a característica principal, ou seja, a questão do múltiplo. Em nenhum momento tem-se a preocupação em vincular a tais objetos os conceitos de proteção, pudor ou enfeite tradicionalmente relacionados à moda. O fator importante nesta pesquisa é destacar a possibilidade de conceber a impressão da gravura em outro tipo de suporte, no nosso caso, o tridimensional (roupa) e conceber as imagens através de equipamentos eletrônicos sem se esquecer dos princípios de multiplicidade e impressão. A todo instante buscou-se outra forma de concepção visual da gravura através da moda e de todos os seus aparatos industriais. Muitas idéias e questionamentos surgiram, à medida que se conhecia mais a fundo o processo de impressão da gravura e que instigavam a uma outra série de utilizações criativas. Partindo do pensamento de que a pesquisa poética possui uma particularidade que singulariza cada pesquisador artista, estas produções exteriorizam experiências de mundo em algo para ser admirado ou não, favorecendo a cada receptor das produções plásticas a interpretação quê melhor lhe convier.

Since the writings of Vitruvius in the first century AD, the use of the human body as a metaphorical and symbolic referent has provided what is perhaps the most prolific trope for architectural theory. The image of �Vitruvian Man,� with limbs outstretched to touch the circle drawn from its navel, took on particular significance during the Renaissance, as architects such as Alberti, Filarete, di Giorgio, Colonna, and Serlio published their own interpretations of Vitruvius� Ten Books. For these writers, the body, as microcosm, was the best available means for representing the order of the cosmos, the world as a whole. Yet just as the idea of the body as architectural referent was being reinterpreted, the body itself was being transformed by Renaissance anatomy. The unity and integrity of the body was jeopardised as anatomists studied the body through the dissection of corpses. The published results of these studies, the most notable being Vesalius� De Humani Corporis Fabrica, were highly influential, with the anatomical methods of observation and partition emerging as the fundamental tenets of modern science. Several centuries later, the transformation of the body from a symbol of the world to an object amenable to scientific observation and control was all but fully realised, as the discoveries of Pasteur were put to use in the conquest of disease. These changing medical conceptions of the body led to concomitant transformations of the sense of self, as the body as object was increasingly divorced from the operations of the mind, in both its conscious and unconscious forms. This thesis will examine how these changing conceptions of the human body have been interpreted within architectural theory since Vitruvius. Beginning with the idea of ornament as trope of sacrifice, it will examine how interpretations of the relation between the body as whole and as part have affected ideas of architectural composition. Further, it will examine the ethical implications of the trope of building as body, such that a building which reflects the proportions of a �well-composed� body (Francesco di Giorgio), is itself an injunction to �composure,� or appropriate behaviour. It will argue that modern architecture, while rejecting classical anthropomorphism, was nonetheless influenced by ideas and practices arising from anatomy. Then, in contrast to the object-body of anatomy, the thesis will examine phenomenological and hermeneutical conceptions of the body, which interpret the body as lived. From Merleau-Ponty�s study of perception to Scarry�s reading of the significance of pain, the contribution of the body to the sense of self will be explored, giving rise to a renewed conception of anthropomorphism as the manifestation not only of human form, but of human sentience. Further, to the modern fragmentation of both the body and architecture will be opposed integrative strategies of selfhood, such as the formation of narrative identity (Ricoeur), the engagement with a community through practice (MacIntyre), and the idea of the �monstrous� body (Frascari). These strategies will be used to explore ways in which the form of the body can be understood other than in purely material terms, and how this is translated into architecture.

The exceptional physical, chemical, electric, and mechanical properties of ceramics, glass and diamond film make them receive much attention in high-tech industry. Although the electrochemical discharge machining (ECDM) can be used to process those materials, most ECDM are used for machining micro-holes and wire cutting. However, the application on the polishing aspect is still scarce in the literature. In this study, a high-precision dynamic electrical pitting tester with the electrolyte of KOH is employed to investigate the behavior of static electrochemical discharge in terms of supply voltage and gap distance between the steel ball and the diamond film. Furthermore, its machining characteristics are also analyzed. According to the current waveform, the I-V curve is plotted. Results show that the current value of glass is higher than that of diamond film and acrylic. This indicates that the glass is easily to be ionized. According to the observation on the surface of machined diamond film by using SEM, the machined status can be divided into four regimes. In the first regime, the supply voltage is less than 100V where the machined mark on the diamond film cannot be found. Hence, it is called non-machined regime. In the second regime, the supply voltage is in the range between 100 and 107V, where only very slight damage can be observed on the diamond film. Hence, it is called the fine machined regime. In the third regime, the supply voltage is in the range between 107 and 110V, where the machined status on the diamond film is unstable. Hence, it is called the transition regime. In the fourth regime, the supply voltage is larger than 110V, where the machined damage is very heavy. Hence, it is called the rough machined regime. At the supply voltage 105V with the gap less than 80£gm, the annular shape of the machined damage on the surface of the diamond film can be observed. However, when the gap is in the range between 80£gm and 95£gm, the annular shape of the machined damage disappears, but there is still slight damage at the asperity of the diamond film. When the gap is larger than 95£gm, the machined damage is invisible. Hence, the critical gap is defined as 95£gm for the supply voltage of 105V. At the supply voltage of 105V, the gap of 90£gm, and the machining time of 10 min, only the asperity of diamond film shows machined mark, but the surface is flatter. Therefore, it is possible to conduct the fine machining process by using ECDM on diamond film.

ABSTRACT In this thesis, we investigate the amplification characteristics of gain-flattened L-band (1570-1600 nm) erbium-doped fiber amplifier (EDFA) by employing the 1480 nm bi-directional pumping configuration. L-Band EDFAs are attractive because the use of L-band and C-band (1530-1560 nm) EDFAs in parallel greatly expands the amplification wavelength region. We adjusted the length of erbium-doped fiber (EDF) to achieve the flat amplification characteristics in the 1573-1600 nm wavelength region without using gain equalizers. The L-band EDFA exhibited a signal gain of 23 dB with good uniformity (less than 1 dB) and a noise figure of 6.9 dB for a 1580 nm signal of 16-channel WDM system. We also used the simulation tools to investigate the characteristics of L-band EDFA with the same configuration. The simulation results quite agree with the experimental data.

This thesis deals with two kinds of RF CMOS low noise amplifiers (LNA). The low power LNA and the image-reject LNA. The impact of gain, noise figure, and stability on RF CMOS image-reject LNA has been studied. Through this study, the fundamental properties of image-reject LNA can be understood by a simple but physical concept. A current-reuse RF CMOS source-degenerated cascode LNA is also presented, which adopts a combination of source-degenerated NMOS inverter and Cascode topology to improve gain and noise figure, the existent and well-studied technique from the design standpoint, makes optimization of the stage easy. A modification of the proposed architecture is also presented, which adopts internal filters to achieve the image rejection without additional image-reject filters that degrade both noise figure and power consumption. It will be a good candidate for low power implementation of CMOS RF-IC. Both circuits¡¦ parameters except noise figures are simulated using TSMC 0.25 um RF CMOS component models. The noise models considered here include induced gate noise, thermal noise and shot noise [5]. The current-reuse source-degenerated NMOS inverter LNA noise figure is 0.7 dB, forward gain is 16 dB, and IIP3 is -15 dBm. The low power image-reject LNA noise figure is 0.7 dB, forward gain is 16 dB, IIP3 is -16 dBm, and image rejection is 20 dB at 1.6 GHz. Both LNAs operate at 2.4 GHz and consume about 6 mA under a 2.5 V voltage supply.

Thèse : Astronomie : Faculté des sciences de Paris : 1858. Thèse : Mécanique : Faculté des sciences de Paris : 1858. / Titre provenant de l'écran-titre.

Thesis supervisor: Shaun P. Vecera. Includes bibliographic references (p. 111-116).