This thesis investigates my lack of childhood memories and documents how my artwork stands in as a substitute for that lost memory. The first part of the thesis analyzes my early life and influences; the second part analyzes my art making and process. The narrative style of writing is intentionally autobiographical to mimic the narrative style and structure of the thesis installation. My upbringing, interests, creative process, access to materials, and inspiration are fully explored. The impact my early life has on my current work is evident. Real memory is combined with created memory in the thesis multi-media installation. I wish to transport the viewer into the dreamlike space I have constructed with found objects and multi-media materials by offering an immersive experience into my world.

This thesis analyzes technical and stylistic aspects of Mark di Suvero's nineteen sixties found-object works, and his monumental I-beam sculptures of the nineteen seventies and eighties to demonstrate their consistency despite the apparent contrasts in form, materials, and process. Primary data, sculpture of Mark di Suvero. Secondary data obtained from major art periodicals, newspapers, and exhibition catalogs. The artist was interviewed by author at the retrospective exhibition in Nice, France, Septermber, 17, 1991. Examination of primary and secondary data reveals a strong continuity by the artist in his approach to his work despite obvious external changes in materials and process.

Control and monitoring networks often operate on AC/DC power systems. DC batteries and chargers are commonly used on industrial plants as auxiliary DC power systems for these control and monitoring networks. The energy demand and load profiles for these control networks differ from application to application. Proper design, sizing, and maintenance of the components that forms part of the DC control power system are therefore required. Throughout the load profile of a control and monitoring system there are various peak currents. The peak currents are classified as inrush and momentary loads. These inrush and momentary loads play a large role when calculating the required battery size for an application. This study investigates the feasibility of using supercapacitors in conjunction with batteries, in order to reduce the size of the required battery capacity. A reduction in the size of the required battery capacity not only influences the cost of the battery itself, but also influences the hydrogen emissions, the physical space requirements, and the required rectifiers and chargers. When calculating the required size batteries for an auxiliary power system, a defined load profile is required. Control and monitoring systems are used to control dynamic processes, which entails a continuous starting and stopping of equipment as the process demands. This starting and stopping of devices will cause fluctuations in the load profile. Ideally, data should be obtained from a live plant for the purpose of defining load profiles. Unfortunately, due to the economic risks involved, installing data logging equipment on a live industrial plant for the purpose of research, is not allowed. There are also no historical data available from which load profiles could be generated. In order to evaluate the influence of supercapacitors, complex load profiles are required. In this study, an alternative method of defining the load profile for a dynamic process is investigated. Load profiles for various applications are approximated using a probabilistic approach. The approximation methodology make use of plant operating philosophies as input to the Markov Chain Monte Carlo simulation theory. The required battery sizes for the approximated profiles are calculated using the IEEE recommended practice for sizing batteries. The approximated load profile, as well the calculated battery size are used for simulating the auxiliary power system. A supercapacitor is introduced into the circuit and the simulations are repeated. The introduction of the supercapacitor relieves the battery of the inrush and momentary loads of the load profile. The battery sizing calculations are repeated so as to test the influence of the supercapacitor on the required battery capacity. In order to investigate the full influence of adding a supercapacitor to the design, the impact on various factors are considered. In this study, these factors include the battery size, charger size, H2 extraction system, as well as maintenance requirements and the life of the battery. No major cost savings where evident from the results obtained. Primary reasons for this low cost saving are the fixed ranges in which battery sizes are available, as well as conservative battery data obtained from battery suppliers. It is believed that applications other than control and monitoring systems will show larger savings. / MIng (Computer and Electronic Engineering), North-West University, Potchefstroom Campus, 2015

Control and monitoring networks often operate on AC/DC power systems. DC batteries and chargers are commonly used on industrial plants as auxiliary DC power systems for these control and monitoring networks. The energy demand and load profiles for these control networks differ from application to application. Proper design, sizing, and maintenance of the components that forms part of the DC control power system are therefore required. Throughout the load profile of a control and monitoring system there are various peak currents. The peak currents are classified as inrush and momentary loads. These inrush and momentary loads play a large role when calculating the required battery size for an application. This study investigates the feasibility of using supercapacitors in conjunction with batteries, in order to reduce the size of the required battery capacity. A reduction in the size of the required battery capacity not only influences the cost of the battery itself, but also influences the hydrogen emissions, the physical space requirements, and the required rectifiers and chargers. When calculating the required size batteries for an auxiliary power system, a defined load profile is required. Control and monitoring systems are used to control dynamic processes, which entails a continuous starting and stopping of equipment as the process demands. This starting and stopping of devices will cause fluctuations in the load profile. Ideally, data should be obtained from a live plant for the purpose of defining load profiles. Unfortunately, due to the economic risks involved, installing data logging equipment on a live industrial plant for the purpose of research, is not allowed. There are also no historical data available from which load profiles could be generated. In order to evaluate the influence of supercapacitors, complex load profiles are required. In this study, an alternative method of defining the load profile for a dynamic process is investigated. Load profiles for various applications are approximated using a probabilistic approach. The approximation methodology make use of plant operating philosophies as input to the Markov Chain Monte Carlo simulation theory. The required battery sizes for the approximated profiles are calculated using the IEEE recommended practice for sizing batteries. The approximated load profile, as well the calculated battery size are used for simulating the auxiliary power system. A supercapacitor is introduced into the circuit and the simulations are repeated. The introduction of the supercapacitor relieves the battery of the inrush and momentary loads of the load profile. The battery sizing calculations are repeated so as to test the influence of the supercapacitor on the required battery capacity. In order to investigate the full influence of adding a supercapacitor to the design, the impact on various factors are considered. In this study, these factors include the battery size, charger size, H2 extraction system, as well as maintenance requirements and the life of the battery. No major cost savings where evident from the results obtained. Primary reasons for this low cost saving are the fixed ranges in which battery sizes are available, as well as conservative battery data obtained from battery suppliers. It is believed that applications other than control and monitoring systems will show larger savings. / MIng (Computer and Electronic Engineering), North-West University, Potchefstroom Campus, 2015

L’écriture de Francis Ponge est celle de la reprise : le corpus textuel est essentiellement formé par les dossiers des manuscrits et des pages dactylographiées réunissant les phases successives de la production du même fragment dites variations ou variantes. Les réécritures pongiennes s’articulent autour du même principe matriciel de construction appelé thème ou programme : à l’origine de chaque texte il y a des mots reliés par un certain type de rapport, le plus souvent des couples de mots répertoriés par leur nombre de phonèmes, dont la symétrie structurelle reflète idéalement la symétrie de l’ensemble. Dans ce contexte nous nous proposons d’étudier le concept fonctionnel d’objet trouvé tel qu’il apparaît dans la pensée esthétique d’André Boucourechliev qui nous permet de définir l’intertexte pongien à travers un vaste réseau de fusions trans-sémiotiques entre le langage verbal et le langage musical : l’interaction entre des notions telles que la partition graphique, la spatialisation sonore dans l’environnement boulézien, l’œuvre ouverte, l’écoute réduite et la série des interprétants empruntée à la sémiotique peircienne met en place des stratégies esthésiques qui rendent possible une interprétation complètement réformée de la signification. / Francis Ponge’s writing style is essentially based on repetition: the publication of his manuscripts revealed a vast network of contrapuntal variations which generate the consequent textual developments departing from a single matricial idea: called theme or programme symmetrical pairs of words ideally reflect the overall structural symmetry. Using the functional concept of the found object as it appears in André Boucourechliev’s aesthetic thought, this study attempts to define the pongian intertext through a multilayered range of trans-semiotic fusions between music and verbal language: thus emerge a rich dialectical approach built around the graphic partition, the spatialization in boulezian sound environment, the peircean series of interpretants, the open work and the phenomenological reduction, as interactive notions in the creative process of pongian rewritings. The dialogue established reforms the meaning of signification and rethinks the fundamental strategies of interpretation.

La recherche interroge la valorisation des archives du Nederlands Filmmuseum [NFM] à partir du travail de compilation du cinéaste Peter Delpeut. Ce corpus de dix films [1989-1999] se situe à cheval entre deux ambitions qui ne sont pas toujours compatibles, entre une volonté d’archiviste de rendre accessible des films muets [1895-1931] parfois de simples fragments, en restituant leur couleur, en créant une sonorisation et une quête artistique, plus personnel et liée à un cinéaste. Convoquant des sources audiovisuelles mais également écrites et orales, il s’agit d’abord de se demander comment le NFM en vient à produire ces compilations afin de mettre en valeur ses collections, de tracer l’histoire de cette cinémathèque et de suivre la trajectoire de Delpeut, en somme de comprendre la rencontre entre cet homme riche d’une expérience de recherche, de critique et de réalisation et une institution en plein bouleversement de sa philosophie dans les années 1990. Le questionnement s’oriente ensuite sur le processus de fabrication lui-même et de la façon dont fonctionnent ces compilations en vue de montrer comment elles sont prises en tension entre le sensoriel et l’analytique, étant au-delà et en deçà d’une stricte valorisation des films muets du NFM. La dernière partie interroge les usages des compilations, la manière dont elles sont liées à la politique de programmation du NFM, comment elles affectent la dynamique de l’institution et du cinéaste, mais aussi comment elles sortent du cadre de la cinémathèque, évaluant à chaque fois les apports et les limites en terme de transmission d’un patrimoine cinématographique. / The research examines the promotion of film archives from the Netherlands Filmmuseum [NFM] through Peter Delpeut’s compilation work. These ten films [1989-1999] are between two directions that are not always in compatibility, on one side an artistic cinematic search and on the other side the archivist’s will of giving access to silent films [1895-1931] that are in fragments, in colour and with a sound creation. Using audiovisual, written and oral sources, the first interest is to focus on whether how the NFM comes to produce these compilations for promoting its collections, lining out the history of this film archive and following Delpeut’s career, to understand the meeting between a man with great experience as researcher, critic and filmmaker and an institution challenging its philosophy during the 1990’s. The research then examines the process of filmmaking itself and functioning of this compilation work to show that there is a tension between sensorial and analytical terms, over the borderline of a strict promotion of NFM’s silent films. The last part explores the utilisation of these compilations, the way they are related to Museum’s programming politics, how they affect this institution and Delpeut’s dynamics, beyond the film archive, each time evaluating the contributions and limitations for the transmission of silent cinema heritage

Based on the premise that only in being accessible can the film reach its potential for history making, the contribution of the film archive to a particular film historical narrative is fragmented: the films that are extant are not necessarily available and the ones that are available are not necessarily publicly accessible. The contention of the thesis is that ‘doing’ film history in the context of the film archive should always be seen in light of an ever increasingly narrowing fragmentation of accessible material that takes place in the film archive. What is new about the contribution of this thesis is not that the film archive can be seen simultaneously as a result of a particular historical narrative as well as contributing to one, but that this debate is put in the context of copyright as a determining factor of why the accessible part of the film archive is only a partial picture. To this end, the thesis proposes a reorganisation of existing categories of analysis in the form of a cross-section of the film archive based on copyright ownership plotted against the material’s ‘availability’. By such practices as using a risk-managed approach to copyright clearance for archival digitisation projects, the film archive can be seen to act as a mediator between copyright and film historiography. On the one hand, the film archive is subjected to copyright law, against the constraints of which it can be seen to resist. On the other hand, the archive makes productive use of copyright in its involvement in the interplay between the ownership of the physical objects and the ability to control the subsequent use and dissemination of those objects. Some of these resistant and productive practices, such as found footage filmmaking as a historiographic intervention and providing access to public domain material, are analysed in the context of some of the digital access practices of EYE Film Institute Netherlands between 2002-2005, in which the film archive can be seen to actively shape access to its film archival holdings as well as a particular potential for film history writing.

Ce travail se pose pour objectif de démontrer la coïncidence de deux phénomènes, l'écriture subjective et le found footage film, tout en articulant des approches différentes autour des problèmes de l'autoportrait et de l'écriture subjective au cinéma, de la représentation de l'identité de genre, de l'histoire et de la critique du film d'avant-garde. Le rapprochement des notions de réécriture filmique (Marie-Claire Ropars) et d'entre-images (Raymond Bellour) conduit d'abord à la problématisation d'une question centrale concernant la pratique de l'autoportrait : le rapport de ressemblance entre le référent et l'objet de la représentation. L'analyse de films de remploi, réalisés dans le cadre de la production cinématographique féminine à partir des années quatre-vingt, articule ultérieurement la réflexion au vu des débats occasionnés autour de la valeur du remploi artistique du film d'archive – entendu en tant qu'outil de ré-évaluation générale du cinéma comme dispositif (Christa Blümlinger) – aussi bien que de la répétition (Judith Butler) entendue en tant que stratégie pour dévoiler et mettre en discussion les mécaniques sous-jacents à la représentation de l'identité de genre. En valorisant la nature physique et matérielle des travaux analysées et en prenant en considération le contexte bio-politique de la réflexion post et trans-féministe, cette thèse vise enfin à définir le corps comme support et modèle d'une « micro-politique du soi » dont la réécriture se ferait instrument spécifique dans la détermination d'une subjectivité à la fois intermédiaire et inter-médiale, associée par un lien charnel aux technologies mais, dans le même temps, libre de la « chair » de l'image. / This work aims to study the coincidence between two phenomenons, subjective writing and found footage film, articulating different approaches around themes as filmic self-portrait and subjective writing, gender identity representation, the history and the critique of avant-garde film. Through the link between the notions of réécriture filmique (Marie-Claire Ropars) and entre-images (Raymond Bellour), this thesis problematise one of the main topic of self-portraiture practice: the resemblance bond between the referent and the object of representation. The analysis of “second hand” films – realized in the frame of woman's avant-garde cinema since the eighties – allowed me to articulate this theoretical reflexion in the light of recent debates around found footage film. Following the researches of Christa Blümlinger, I focused notably on the practice of reusing archive films as a form of analysis, critic, and reevaluation of cinema as a dispositif. Secondly, according to Judith Butler, I interpreted repetition as a strategy to discuss and dismantling the underlying mechanisms of gender identity representations. Finally, putting a specific emphasis on the physical and material nature of the work analysed, I highlighted a precise relationship between the material body of the filmic archive and the natural body of the artists. In this sense, the bio-political context of post and trans-feminist self-representation practices permitted me to conceive the natural body as both a surface and a medium of rewriting, shaping and determining an intermediate subjectivity which is linked “fleshly” to technologies as well as it is “freed” from the flesh of the image.

The diploma thesis deals with the comparison of prices of a family house in years 2016 and 2017 in the Olomouc district and in three different locations – north from the statutory city of Olomouc, the surrounding area from the statutory city of Olomouc and the outskirts of Olomouc. The family house is located in the village of Bělkovice-Lašťany. This village is located in the northern area of the statutory city of Olomouc. Next, I will place a family house fictitiously in the town of Náměšť na Hané and in the town district Nemilany, which is the peripheral part of the statutory city of Olomouc. For specified locations, the price is determined and the usual price is compared and determines factors influencing the house price. In the theoretical part, I will explain the terminology, familiarize myself with the law, the comparative method on the basis of which I will determine the usual price and the comparative method according to the valuation order, which will determine the price determined.

No description available.