Context Autodesk Maya is currently an industry-leading 3D-modelling software. It has a multitude of features that enables the modification of mesh topology. However, it doesn't have native support for remote topology exchange via a network connection. Objectives The objective of the research is to find a solution for online topology exchange between two users within Autodesk Maya using a peer-to-peer connection. Methods The presented research implements such a feature by exploring and evaluating different possibilities. Thereafter a user evaluation is executed to measure the efficiency of the developed solution against an already existing solution. Results The results show that online topology exchange could be implemented by utilizing the Maya C++ API, a peer-to-peer TCP connection, and a custom-made topology exchange system. The user evaluation shows that the developed solution is less time-efficient than an already existing method. Conclusion Online topology exchange was and could be developed. While it worked as expected, it contained several problems identified during the user evaluation. This resulted in it being slower than an already existing solution. However, the implementation could potentially be improved to reduce the time.

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La investigación se realizó en las tierras bajas mayas centrales (cuadrante noreste de Petén, Guatemala).El tema principal se refiere a las edificaciones monumentales de piedra erigidas entre los años 500a.C. a 1697 d.C. Este espacio corresponde a las épocas del Preclásico Tardío, el Clásico y el Posclásico maya. La base del trabajo se fundamenta en varios sondeos en el campo que formaron una muestra actualizada y sistematizada de 128 sitios arqueológicos con aproximadamente 4000 edificaciones registradas. El estudio presenta primero los antecedentes y la metodología.Luego los resultados de las investigaciones sobre la composición arquitectónica (capítulo 3 al 7) y el estado de conservación,(capítulo 8 al 11). Después las investigaciones y acciones ralizadas se integran y combinana para formular una propuesta de actucaión, conservación y desarrollo específico para el cuadrante noreste de Petén (capítulo 12). Anteriormente, en esta región, no se había realizado un estudio sistemático sobre la composición urbana y las formas de arquitectura de los edificios prehispánicos; tampoco se sabía sobre la condición y el estado actual de las edificaciones monumentales. Los resultados del estudio confirman que esta zona es prioritaria para la investigación de la composición arquitectónica y que es urgente la realización de acciones correctivas para rescatar el patrimonio edificado prehispánico y la herencia cultural maya. Las conclusiones nos indican que se necesita inculcar un sentido de urgencia para abordar el rescate de este excepcional territorio. En la búsqueda de un procedimiento de conservación que pueda aplicarse a la generalidad del recurso cultural del área en estudio, se comprobó que una conservación preventiva podría dar una respuesta a la condición de emergencia en que se encuentra el patrimonio monumental edificado. / Quintana Samayoa, ÓA. (2008). La composición arquitectónica y la conservación de las edificaciones monumentales mayas del noreste de Petén [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/3403

Les céramiques mayas décorées de la période classique (200/300 d.n.è. à 900 d.n.è.) sont à la fois d’importants marqueurs culturels et chronologiques, et de véritables œuvres d’art qui se rencontrent dans de nombreux musées un peu partout dans le monde. Toutefois, la céramique maya muséale est rarement issue de fouilles archéologiques. Dans un tel contexte, il est difficile d’établir la provenance de la céramique maya et, par conséquent, de tirer toute l’information culturelle et sociétale qu’elle renferme. Une façon de contrer ce manque d'information est de faire appel à une approche multidisciplinaire, notamment en combinant analyse stylistique et analyse chimique. C’est dans cette perspective que s’inscrit la présente recherche qui porte sur l’analyse stylistique et l’analyse chimique de 41 céramiques mayas décorées de la période classique, en l’occurrence 41 œuvres faisant partie de la collection permanente du Musée des beaux-arts de Montréal (MBAM). La technique adoptée pour l’analyse chimique est la spectrométrie de fluorescence X (XRF) et l’appareil utilisé, un appareil XRF portable (pXRF). Les objectifs de la recherche consistent à déterminer le style des céramiques et à identifier et caractériser la composition chimique de la pâte des 41 échantillons du corpus. Les groupes chimiques identifiés au sein de la collection à l’étude sont comparés à une base de données de référence de céramiques mayas excavées archéologiquement en vue d’identifier la provenance régionale des céramiques du MBAM. La présente recherche vise à redonner du contexte à ces œuvres sans provenance et ainsi participer à enrichir la compréhension du patrimoine culturel maya. / Decorated Maya ceramics of the Classic period (200/300 CE to 900 CE) represent important cultural and chronological markers, and are also works of art that can be found in numerous museums around the world. However, Maya ceramics in museum collections rarely come from archaeological excavations. It is therefore difficult to assess their provenance and to understand their cultural significance. One way of countering this information deficit is to adopt a multidisciplinary approach, combining, for instance, stylistic analysis with chemical analysis. This is the approach taken by this project which includes a stylistic analysis and a chemical analysis of 41 decorated Classic period Maya ceramics that are part of the Montreal Museum of Fine Arts (MMFA) permanent collection. The technique selected for the chemical analysis is X-ray fluorescence (XRF) and the instrument used is a portable XRF (pXRF). The objectives of the project are to assess the style of the ceramics and identify and characterize the chemical composition of the paste of the 41 samples. Chemical groups identified among the MMFA Maya ceramics are compared to a reference database of archaeologically excavated Maya ceramics in order to identify the regional provenance of the museum samples. Ultimately, this project aims at giving back some context to these works of art without provenance thus participating in enriching our understanding of Maya cultural heritage.

Grounded in the geographies of Chiapas, Mexico, the dissertation maps a cartography of Zapatista indigenous resistance practices and charts the production of decolonial political subjectivities in an era of neoliberal governance and low intensity conflict. It analyzes the relationship between local cultural political expressions of indigenous autonomy, global capitalist interests and neoliberal rationalities of government after more than decade of Zapatista struggle. Since 1996, Zapatista indigenous Mayan communities have engaged in the creation of alternative education, health, agricultural production, justice, and governing bodies as part of the daily practices of autonomy. The dissertation demonstrates that the practices of Zapatista indigenous autonomy reflect current shifts in neoliberal state governing logics, yet it is in this very terrain where key ruptures and destabilizing practices emerge. The dissertation focuses on the recolonization aspects of neoliberal rationalities of government in their particular Latin American post Cold War, post populist manifestations. I argue that in Mexico's indigenous regions, the shift towards the privatization of state social services, the decentralization of state governing techniques and the transformation of state social programs towards an emphasis on greater self-management occurs in a complex relationship to mechanisms of low intensity conflict. Their multiple articulations effect the reproduction of social and biological life in sites, which are themselves terrains of bio-political contention: racialized women's bodies and feminized domestic reproductive and care taking roles; the relationship between governing bodies and that governed; land reform as linked to governability and democracy; and the production of the indigenous subject in a multicultural era. In each of these arenas, the dissertation charts a decolonial cartography drawn by the following cultural political practices: the construction of genealogies of social memories of struggle, a governing relationship established through mandar obedeciendo, land redistribution through zapatista agrarian reform, pedagogical collective selfreflection in women’s collective work, and the formation of political identities of transformation. Finally, the dissertation discusses the possibilities and challenges for engaging in feminist decolonizing dialogic research, specifically by analyzing how Zapatista members critiqued the politics of fieldwork and adopted the genres of the testimony and the popular education inspired workshop as potential decolonizing methodologies. / text

This PhD “Film by Practice” sets out to question and explore the nature of film poetry. The poetry of the cinematic image is described by the filmmaker Jean Epstein as the “unveiling of the magic inherent in the visual object beyond the capacity of words to define” (Epstein, cited in Sitney, 1978: xxiii). This is a daunting task that the study interprets through the moving image with particular reference to the magical temporal art of trance possession, which is processed within the genre of experimental ethnographic documentary and intercultural film. This thesis is an experiment in form, taking the filmmaker Maya Deren’s notion of film as comprising of “narrative horizontals” and “poetic verticals” (Deren and Sitney, 1971: 178) explored through a practical investigation of movement and time in space both beyond and within the film frame, studied through the art installations Divine Horsemen (2005) and People Inbetween (2007). It is focused through a reading of Gilles Deleuze’s Bergsonian philosophies of cinema as “movement-images” and “time-images” (Deleuze, 1989: xvi, xvii), exhibited as multi-screened video art installations that evolve within the space and hence exist in a perpetual state of “becoming”. Whether this is the sounds and images that change depending on where they are viewed, or the narrative theme of the works as “becoming other”. The themes of “in-betweenness” and the “mix” are investigated through these two video documentary artworks; first, by a third party restaging/remixing of the experimental ethnographic footage of Haitian Voodoo trance possession shot by Maya Deren, unfinished and posthumously released as Divine Horsemen the Voodoo Gods of Haiti (1985); and second, diaspora and the intercultural are explored through the first person personal. Intercultural documentary and experimental ethnography filtered through me with specific reference to my own triangular ethnicity, being British, Sri Lankan, though classified as Dutch Burgher, a “lost white tribe” (Orizio, 2000: 2): a journey into racial “becoming” as an “in-between” belonging to a diasporic community.

Le Popol Vuh, récit historique du peuple maya quiché, a été traduit des dizaines de fois. Jusqu’au milieu du 20e siècle, bon nombre de ces traductions se fondaient sur la version réalisée en 1861 par Brasseur de Bourbourg, un missionnaire français. Pour souligner le travail du traducteur, nous avons étudié sa traduction non pas d’un point de vue comparatif des deux textes, mais du point de vue du paratexte, c’est-à-dire ce qui entoure le texte (page de titre, préface, notes, illustrations, etc.). Pour ce faire, nous avons dressé le cadre théorique du paratexte à l’appui des écrits de Genette et de Lane, puis nous l’avons appliqué à celui de la traduction du Popol Vuh de Brasseur de Bourbourg. D’une taille colossale, ce paratexte nous renseigne sur ce qui a motivé le travail du traducteur et sur ce qu’il a fait. L’étude de son avant-propos nous indique clairement que son but est de faire connaître la culture des Amériques sous un jour nouveau, et le Popol Vuh est pour lui l’exemple parfait d’une richesse littéraire, historique et culturelle jusque-là largement ignorée. Cette partie du paratexte de Brasseur de Bourbourg nous prépare à la lecture, alors que les nombreuses notes de bas de page nous guident pendant celle-ci. Force est toutefois d’admettre que le paratexte de cet ouvrage est si imposant qu’il porte ombrage à la traduction. Bref, l’étude du paratexte nous amène à aborder la traduction de Brasseur de Bourbourg d’un oeil critique, en fonction de ce que nous dit le paratexte. La lecture du paratexte et la connaissance de ses tenants et aboutissants devraient donc faire d’un simple lecteur un véritable lecteur averti, qu’il s’agisse d’une traduction ou de tout autre texte. / The Popol Vuh is a historical tale of the Maya Quiché people which has been translated many times. Until the mid 20th century, many of those translations were based on Brasseur de Bourbourg’s version published in 1861. In order to situate the translator’s work, we approached his translation from the perspective of paratext, i.e. what ccompanies the text (title page, preface, footnotes, illustrations, etc.), rather than comparing the source text to the translation. In order to do so, we have established the paratext’s theoretical framework, based on the works published by Genette and Lane, and we have applied it to Brasseur de Bourbourg’s translation of the Popol Vuh. Brasseur de Bourbourg’s paratext is colossal; it allows us to understand what motivated his work and what he has done. The study of the translator’s preface clearly demonstrates that his goal was to present the culture of the Americas from a different standpoint, and the Popol Vuh is, for him, the perfect example of a rich literary, historical and cultural heritage that has long been overlooked. The preface to the translation prepares the reader to read the text, whereas the many footnotes guide him when he’s reading the translation. Nevertheless, the amount of paratext is so imposing that it overshadows the actual translation. In short, paratext analysis allows us to look critically and advisedly at Brasseur de Bourbourg’s translation, with a good knowledge of what paratext actually tells us. Therefore, reading the paratext and being aware of its meaning should transform a simple reader into a well-informed and critical reader, whether it is a translation or any other kind of document.

Color (sub)Conscious explores the African American female's experience with colorism. Divided into three distinct sections. The first section is a literary analysis of such works as Toni Morrison's The Bluest Eye, Gloria Naylor's The Women of Brewster Place, Maya Angelou's I Know Why the Caged Bird Sings and Alice Walker's "If the Present Looks Like the Past, What Does the Future Look Like?" an essay from her collection In Search of Our Mothers' Gardens. The second section is a research project based on data gathered from 12 African American females willing to share their own experiences and insights on colorism. The final section is a creative non-fiction piece of the author's own personal pain growing up and living with the lasting effects of colorism.

Ce mémoire porte sur l’étude de l’orientation des sépultures mayas de la Période Classique (250 - 900/1000 de notre ère). Il s’agit d’une recherche visant à comprendre le choix d’une orientation sud des défunts dans la vallée du Belize et ses environs. L’intérêt porté à cette région vient du fait que l’orientation sud des défunts est un phénomène que l’on retrouve rarement sur le territoire maya, sauf à cet endroit. Alors que la présence de la cardinalité en lien avec la cosmovision maya est attestée dans l’architecture, le plan des sites, la forme et la fonction des divinités, dans l’agriculture, etc., il est plutôt rare qu’elle soit analysée dans les études du traitement funéraire. Ainsi, le but de cette recherche est de saisir l’ampleur de la pratique de l’orientation sud des défunts sur le territoire maya, de comprendre son origine et sa ou ses possible(s) signification(s). Les données des sépultures de la Période Classique de cinq sites de la vallée du Belize (Baking Pot, Barton Ramie, Blackman Eddy, Cahal Pech et Xunantunich), de quatre sites du Plateau Vaca (Minanha, Pacbitun, Mountain Cow et Caracol) et de trois sites situés à l’ouest (Holmul) et au nord (San José et Altun Ha) de ces deux régions sont compilées. Les résultats révèlent que le coeur de cette pratique se trouve dans la vallée du Belize, bien qu’une orientation sud des défunts ait été retrouvée partout. Cette pratique semble apparaitre à la fin de la Période Préclassique et les analyses ne révèlent pas de lien entre l’orientation sud et certaines variables (âge, sexe, position du défunt). Finalement, on arrive à la conclusion qu’il est possible que cette orientation sud des défunts soit en lien avec le passage des défunts dans l’inframonde et que cela forme un choix culturel local en lien avec le statut et l’identité du défunt. / This thesis focuses on the study of the orientation of Classic Maya burials (AD 250 - 900/1000). The research is directed towards the understanding of the presence of the south orientation of burials in the Belize Valley and its surroundings. While the presence of the cardinality of the Mayan worldview is established as reflected in the architecture, settlement patterns, form and function of divine agents, agriculture, etc., it is rarely analyzed in funerary treatment studies. Thus, the aim of this research is to understand the extent of the practice of the south orientation of the deceased on the Mayan territory, to understand its origin, and its possible signification(s). Data from the Classic burials of five Belize Valley sites (Baking Pot, Barton Ramie, Blackman Eddy, Cahal Pech, and Xunantunich), four Vaca Plateau sites (Minanha, Pacbitun, Mountain Cow, and Caracol), and three sites located west (Holmul) and north (San José and Altun Ha) of the two previous regions have been compiled. The results reveal that the heart of this practice lies in the Belize Valley, although a south orientation of the deceased was found everywhere. This practice seems to appear at the end of the Preclassic Period and analysis revealed no link between south orientation and certain variables (age, sex, position of the deceased). Finally, it was found that it is possible that south orientation of the deceased is connected with the passage of the deceased in the underworld, and that it is a local choice in connection with the status and the identity of the deceased.