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Nationally, there is increasing interest in energy efficient homes due to growing energy costs and increased awareness. However, many builders haven't yet incorporated energy saving products and practices into homes. Many builders don't have the resources to evaluate available options and prefer to rely on the experiences of other builders. The purpose of this study was to create energy efficiency benchmarks for cold-weather, high-end custom homes and evaluate current building practices. A list of energy-efficient products and practices was created through a review of relevant literature. A group of expert builders was formed into a committee to help determine energy inefficiencies in cold-weather, high-end custom homes. The committee also helped establish criteria used to evaluate building products and practices. Finally, the committee helped create a survey that was sent to a larger community of builders. Energy Star Builders in Colorado, Idaho, Utah, and Wyoming were selected to take part in the survey. They were asked to evaluate their experience with energy-efficient products and practices and give recommendations in overcoming specific inefficiencies of cold-weather, high-end custom homes. Payback calculations were performed on the products and practices identified in the survey to further evaluate their importance. From the review of literature, interviews with the committee of experts, the builders' survey responses, and the payback calculations, a list of 22 energy efficiency benchmarks was created for building cold-weather, high-end custom homes.

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[pt] A obra pictórica de Jackson Pollock está geralmente associada à invenção do all over e das drip paintings na segunda metade da década de quarenta em Nova Iorque. De fato, tal é o momento de maestria da força poética de Pollock que, depois de anos de insistente busca da sua verdade, finalmente dá o salto que irá repotencializar toda a aventura plástica moderna, que naquele momento vivia um impasse. Esta dissertação propõe repensar o estudo da pintura de Pollock, seguindo pari passu o desenvolvimento do artista, desde o início nos anos trinta até as black paintings, último grande momento, buscando ver o que está sendo dito na obra e também o seu silêncio. O que torna-se realmente estimulante tendo-se em vista a musicalidade latente das pinturas. A pintura de Pollock deixa-se apresentar como um todo complexo, e à primeira vista contraditório, sobretudo pela diferença que marcam as fases de sua carreira. Entretanto, e aqui concentrou-se o meu esforço, visualizamos por entre o convulsivo das linhas labirinto, uma coerência na busca essencial do artista, qual seja, dar ritmo e vida à pintura. No caso de Pollock, isso tem um peso excepcional, uma vez que diz respeito a aspectos fundamentais da linguagem pictórica moderna. Jackson Pollock faz a maxima afirmação da pintura moderna no pós-guerra, e paradoxalmente, assinala um impasse que sua própria radicalidade acabou por gerar. / [en] Jackson Pollock’s paintings are usually associated with the all over and drip paintings’ inventions during the mid-forties in New York. In fact, that’s the moment where his genius came to the most exciting period of his career. After years of struggling within, he finally “broke the ice” and started to reevaluate the plastic modern adventure. This dissertation is about Pollock’s paths, since the beginnings of the thirties until the black paintings, his last big period. At first, Pollock’s work seems complex and very contradictory, however, and that’s my point, if we see through this labyrinth a very coherent line lies underneath the appearance, in search for life and rhytms to his paintings. In Pollock’s case, it gains a special flavour for it deals with fundamental aspects of the modern alphabet. Jackson Pollock makes an assertion of the painting and paradoxically reveals an impasse that his own radical art generated.

Neuseeland ist eine junge postkoloniale Nation, die sich erst nach einem langwierigen Nation Building-Prozess von England loslöste und weiterhin eine vergleichsweise instabile nationale Identität aufweist. Die Globalisierungsprozesse, die sich durch die Digitale Revolution zusätzlich verschärft haben, haben in den letzten Jahrzehnten für Neuseeland als Nation und für die neuseeländische Filmindustrie weitreichende und paradoxe Folgen gehabt: Einerseits hat der finanzielle und kritische Erfolg der Lord of the Rings-Trilogie, die zu einem großen Teil in Neuseeland gedreht wurde, aber zugleich auch sehr stark digital manipuliert worden ist, zu einem demonstrativ zur Schau gestellten Nationalstolz geführt – was auch als „Renationalisierung“ bezeichnet werden kann, d.h. als etwas, das nationale Konstrukte in ihrer Funktion bestärkt. Andererseits resultiert diese Renationalisierung aus dem Erfolg einer Filmtrilogie, deren Status als „neuseeländischer“ Film aufgrund ihres stark transnationalen Produktionshintergrundes umstritten ist. Filme wie The Piano und Whale Rider, deren Status als neuseeländische Filme kaum infrage gestellt wird, haben Neuseeland zwar globale Bekanntheit eingebracht, aber erst die oben genannten Blockbuster Filme, die inhaltlich nichts mit Neuseeland zu tun haben, haben die nationale Identität Neuseelands nachhaltig verändert: Seitdem vermarktet sich Neuseeland gezielt als filmtouristisches Reiseziel und als wichtiger Standort für Filmproduktionen (als Drehort [englisch: location] sowie für die Postproduction). Im ersten Kapitel sollen daher folgende Fragestellungen erörtert werden: Was für Auswirkungen hat der Globalisierungsprozess konkret auf das Konzept eines „nationalen neuseeländischen Kinos“ gehabt? Inwiefern hat diese Kategorie in Zeiten transnationaler Filmproduktionen noch eine Berechtigung? Muss etwa von einem „Ende“ des neuseeländischen Kinos gesprochen werden? Da die neuseeländische location eine wichtige Rolle in der Einstufung eines Films als „neuseeländischer“ Film spielt, wird sich das zweite Kapitel, das den Hauptteil dieser Arbeit darstellt, im Rahmen einer filmgeografischen Analyse mit der Rolle der neuseeländischen location in Filmen mit nicht-neuseeländischem Handlungsort beschäftigen. Filme mit neuseeländischem Handlungsort (bis auf die beiden Ausnahmefälle The Piano und Whale Rider) sind nur von einer kleinen Zuschauerzahl rezipiert worden. Hollywood-Blockbuster wie Last Samurai, Lord of the Rings und The Hobbit, die allesamt on location in Neuseeland gedreht wurden, haben hingegen eine ungleich höhere Zuschauerschaft erreicht. Allerdings wird in diesen runaway-Produktionen die neuseeländische location nur „indirekt“ rezipiert, da sie als Projektionsfläche für einen stets nicht-neuseeländischen, zumeist mythischen, archaischen oder nostalgischen Handlungsort dient, was als „Delokalisierung“ bezeichnet werden soll: Durch Delokalisierung wird die location ihrer „Neuseelandspezifizität“ in großen Teilen beraubt und mit Landschaftsmarkern, die für den jeweiligen Handlungsort als spezifisch erachtet werden, „maskiert“, um den Handlungsort glaubwürdig und geografisch kohärent erscheinen zu lassen. Zudem steht die Fähigkeit, glaubwürdige Welten digital zu generieren, in einem Spannungsverhältnis zu der „Fähigkeit“ der neuseeländischen location, als glaubwürdige, „authentische“ Projektionsfläche für ebendiese Welten zu fungieren. Aus den vorgenannten Überlegungen ergeben sich folgende Fragestellungen: Welche Attribute besitzt die neuseeländische Landschaft, die Filmemacher dazu bewegt, sie als „authentische“ location und Projektionsfläche für nicht-neuseeländische Handlungsorte einzusetzen und wie wird dies von Zuschauern bewertet? Wenn für die Simulation fantastischer Welten immer mehr auf digital generierte Landschaften zurückgegriffen wird, bedeutet dies dann neben dem im ersten Kapitel angeführten Ende des neuseeländischen Kinos gleichzeitig auch das Ende der neuseeländischen location? Und welche Folgen hat diese Verdrängung neuseeländischer locations für den neuseeländischen Filmtourismus?

The imagery in Jackson Pollock's three extant sketchbooks which date from c.1934-1939 is dependent on that of other artists, especially El Greco, Rubens and Tintoretto. By 1947 however, the painter achieved a mature synthesis, distinctly his, which influenced contemporary painting, and was seminal for the work of a number of artists of the succeeding era. This dissertation is an attempt to document the phases of Pollock's artistic style from the early 1930s through to the middle 1950s, and to investigate the forces which may have catalyzed his temperament and precipitated his late style. The early sketchbooks begun in c.1934 represent Pollock's engagement with the art of the Old Masters and the teaching techniques of Thomas Hart Benton that utilized works from the Renaissance. The third sketchbook from c.1937-1939 induced him to re-examine the work of the Old Masters in a dialectical approach which incorporated new masters with old, but remained preoccupied with the sacred imagery found in the first two books. It is a resolution of these seemingly opposing modes of representation which produced several influential paintings in the early 1940s, including Guardians of the Secret and Pasiphae. At the same time these works display structural emulations related to those of Old Master paintings that would become increasingly prominent in Pollock's art. The canvases of 1947-1950, produced in what is commonly termed the “Classic Poured Period,” appear to represent a quantum leap beyond the concerns of Old Master works and European precedents. By this point Pollock had developed a fluency and assurance in his use of color and line that seems to extend further than the studied paradigmatic repetitions of his early sketchbooks. However, despite the radically new technique his paintings still exhibit pictorial and formal infrastructures derived from Renaissance paintings which were absorbed into Pollock's new idiom with surprising ease. In 1951 Pollock enters what Francis V.O'Connor termed as ‘his fourth phase'. The Black paintings of 1951-1953 betray a further exploration and adaptation of Old Master ideas, both iconographic and aesthetic and were created in Triptychs and Diptychs, typical altarpiece formats. With these paintings Pollock's forms acquired a confident plasticity and invention derived from the sculptural practices of Michelangelo, and progressively fewer individual images are quoted verbatim. An understanding of Pollock's early preoccupation with old Master painting is essential to comprehend the formation of the aesthetics of much of his later art. Significantly the underlying infrastructure remains fixed to old Master precedents and it was precisely these models of Renaissance and Baroque art which became the medium through which his mature synthesis was achieved.

a)Objetivos: Traçar um perfil dos procedimentos melódicos modais presentes nas manifestações étnicas e populares do nordeste brasileiro afim de verificá-los em autores ligados à música popular do Brasil na década de 1960, cotejando os diferentes procedimentos harmônicos realizados. b)Métodos: O principal método utilizado foi o da análise a partir da transcrição de exemplos em áudio. A partir dessas análises uma série de comparações com materiais similares encontrados na bibliografia foi realizada. c) Resultados: Como resultado dessa pesquisa foram apontados os principais modos e traços cadenciais utilizados no repertório étnico e popular escolhido do nordeste brasileiro. Esses traços foram importantes na construção das canções aqui selecionadas, características da chamada MPB da década de 1960 apresentando, a partir dessas análises, os principais procedimentos harmônicos desses autores relacionados aos modos e traços cadenciais encontrados. / e)Objectives: Delineating a profile of the modal melodic procedures present in the ethnic and popular manifestations of the Northeast region of Brazil in order to verify them in authors connected to the Brazilian popular music from the 1960s, comparing the different harmonic procedures produced. f)Methods: The main method used was the analysis of transcripts of audio samples. From these analyses a series of comparisons with similar materials found in the bibliography was made. g)Results: As a result of this research, the main modes and cadential traces used in the ethnic and popular repertoire chosen from the Northeast of Brazil were indicated. These traces were important in the construction of the songs here selected, characteristics of the so-called MPB of the 1960s presenting, from those analyses, the main harmonic procedures of those authors related to the cadential modes and traces found.

Um conjunto de modelos compostos de redes de filas em grades finitas servindo como ambientes aleatorios para um ou mais passeios aleatorios, que por sua vez podem afetar o comportamento das filas, e desenvolvido. Duas formas de interacao entre os passeios aleatorios sao consideradas. Para cada modelo, e provado que o processo Markoviano correspondente e recorrente positivo e reversivel. As equacoes de balanceamento detalhado sao analisadas para obter a forma funcional da medida invariante de cada modelo. Em todos os modelos analisados neste trabalho, a medida invariante em uma grade finita tem forma produto. Modelos de redes de filas como ambientes para multiplos passeios aleatorios sao estendidos a grades infinitas. Para cada modelo estendido, sao especificadas as condicoes para a existencia do processo estocastico na grade infinita. Alem disso, e provado que existe uma unica medida invariante na rede infinita cuja projecao em uma subgrade finita e dada pela medida correspondente de uma rede finita. Finalmente, e provado que essa medida invariante na rede infinita e reversivel. / A set of models composed of queueing networks serving as random environments for one or more random walks, which themselves can affect the behavior of the queues, is developed. Two forms of interaction between the random walkers are considered. For each model, it is proved that the corresponding Markov process is positive recurrent and reversible. The detailed balance equa- tions are analyzed to obtain the functional form of the invariant measure of each model. In all the models analyzed in the present work, the invariant measure on a finite lattice has product form. Models of queueing networks as environments for multiple random walks are extended to infinite lattices. For each model extended, the conditions for the existence of the stochastic process on the infinite lattice are specified. In addition, it is proved that there exists a unique invariant measure on the infinite network whose projection on a finite sublattice is given by the corresponding finite- network measure. Finally, it is proved that that invariant measure on the infinite lattice is reversible.

Um conjunto de modelos compostos de redes de filas em grades finitas servindo como ambientes aleatorios para um ou mais passeios aleatorios, que por sua vez podem afetar o comportamento das filas, e desenvolvido. Duas formas de interacao entre os passeios aleatorios sao consideradas. Para cada modelo, e provado que o processo Markoviano correspondente e recorrente positivo e reversivel. As equacoes de balanceamento detalhado sao analisadas para obter a forma funcional da medida invariante de cada modelo. Em todos os modelos analisados neste trabalho, a medida invariante em uma grade finita tem forma produto. Modelos de redes de filas como ambientes para multiplos passeios aleatorios sao estendidos a grades infinitas. Para cada modelo estendido, sao especificadas as condicoes para a existencia do processo estocastico na grade infinita. Alem disso, e provado que existe uma unica medida invariante na rede infinita cuja projecao em uma subgrade finita e dada pela medida correspondente de uma rede finita. Finalmente, e provado que essa medida invariante na rede infinita e reversivel. / A set of models composed of queueing networks serving as random environments for one or more random walks, which themselves can affect the behavior of the queues, is developed. Two forms of interaction between the random walkers are considered. For each model, it is proved that the corresponding Markov process is positive recurrent and reversible. The detailed balance equa- tions are analyzed to obtain the functional form of the invariant measure of each model. In all the models analyzed in the present work, the invariant measure on a finite lattice has product form. Models of queueing networks as environments for multiple random walks are extended to infinite lattices. For each model extended, the conditions for the existence of the stochastic process on the infinite lattice are specified. In addition, it is proved that there exists a unique invariant measure on the infinite network whose projection on a finite sublattice is given by the corresponding finite- network measure. Finally, it is proved that that invariant measure on the infinite lattice is reversible.

a)Objetivos: Traçar um perfil dos procedimentos melódicos modais presentes nas manifestações étnicas e populares do nordeste brasileiro afim de verificá-los em autores ligados à música popular do Brasil na década de 1960, cotejando os diferentes procedimentos harmônicos realizados. b)Métodos: O principal método utilizado foi o da análise a partir da transcrição de exemplos em áudio. A partir dessas análises uma série de comparações com materiais similares encontrados na bibliografia foi realizada. c) Resultados: Como resultado dessa pesquisa foram apontados os principais modos e traços cadenciais utilizados no repertório étnico e popular escolhido do nordeste brasileiro. Esses traços foram importantes na construção das canções aqui selecionadas, características da chamada MPB da década de 1960 apresentando, a partir dessas análises, os principais procedimentos harmônicos desses autores relacionados aos modos e traços cadenciais encontrados. / e)Objectives: Delineating a profile of the modal melodic procedures present in the ethnic and popular manifestations of the Northeast region of Brazil in order to verify them in authors connected to the Brazilian popular music from the 1960s, comparing the different harmonic procedures produced. f)Methods: The main method used was the analysis of transcripts of audio samples. From these analyses a series of comparisons with similar materials found in the bibliography was made. g)Results: As a result of this research, the main modes and cadential traces used in the ethnic and popular repertoire chosen from the Northeast of Brazil were indicated. These traces were important in the construction of the songs here selected, characteristics of the so-called MPB of the 1960s presenting, from those analyses, the main harmonic procedures of those authors related to the cadential modes and traces found.