The colonial era brought about Western civilisation, industrialisation, urbanisation and technology that led to the negation of the validity of the traditional wall decorations and the meaning behind what is understood as merely decorative shapes and parttens. To research as to whether this is true, the aim of this study is to establish whether the symbols applied on the traditional African murals have any linguistic significance. The research investigated the pictography embedded in the traditional murals of three linguistic groups, namely the Balobedu, Vatsonga and Vhavenda in Limpopo Province. The researcher gathered and recorded from the surviving elders the vital codes which unlock the meaning of signs, symbols, colours and geometric shapes before the knowledge is lost forever when they die. Data was collected mainly from Vatsonga female elders in their homes by using unstructured interviews. Traditional huts are decorated with symbols, signs, shapes, lines, and colours on the maguva (walls around the courtyard), mavala ya nghotsa (design and patterns, mainly in repeated half circles (figures 26 to 35)), mabilomu/swiluva/ swiphaswana (calabash/gourd flowers), ku sindza hi makholo (patterned cow dung floor) and ku tsema (coloured bands around the hut), depicted in figures 12 to 15. According to the respondents, the maphapha (calabashes/gourds) is a symbol for the plant that feeds the people. The plant from which maphapha are made, has heart-shaped green leaves and yellow flowers that develop into a calabash/gourd, which are consumed as food (figures 10–11). In this sense, it represents a woman and her responsibilities as carer and life giver. The results affirm that the pictography is not merely a reproduction of common decorative patterns, but is instead the source of an ancient visual expressive language carried down from generation to generation through oratory and visual narratives in the form of symbols, and signs. The study recommends the preservation of the linguistic significance of the traditional South African murals that have long been marginalised, possibly encouraging the younger generations to review their own history. / African Languages / D. Litt. et Phil.(African Languages)

Technique décorative antique plébiscitée par l’art romain, le stuc connaît une véritable renaissance à Rome durant le XVIe siècle. À partir d’un intérêt pour une esthétique antiquisante, les artistes modernes ont intégré le stuc à des problématiques plus précises concernant le dialogue entre les arts et l’exploration des frontières implicites et explicites délimitant l’art et son espace de réception. Le stuc est en effet employé à la Renaissance aussi bien en architecture (pour les moulures et ornements, pour recouvrir la brique et donner une allure « marmoréenne » aux édifices), en peinture (pour servir de support à la fresque et y intégrer le relief) et en sculpture (pour l’exécution de reliefs figuratifs et de figures allant jusqu’à la ronde-bosse, intégrées le plus souvent à un décor peint). Loin d’opposer ces disciplines, le stuc les relie en s’emparant de leurs modes d’expression pour les faire cohabiter au sein du décor et, ce faisant, permet aux artistes d’adopter un point de vue réflexif quant à leur pratique, orienté vers l’investigation des moyens et natures de la représentation. Cette introspection se double, comme un corollaire, d’une investigation des effets de l’art et de sa capacité à convoquer le spectateur, à l’impliquer et l’intégrer au sein de la représentation afin de rendre plus mouvantes et fluctuantes les limites du décor. À partir d’une position « ornementale », voire « marginale », nombre de figures de stuc exécutées à Rome dès avant l’âge Baroque semblent vouloir offrir à la notion de frontière une application très originale, où les questions du simulacre et de la transgression se trouvent subtilement investies et convoquées. / As an ancient decorative technique favoured by Roman art, stucco is given a genuine renaissance in Sixteenth century Rome. Modem artists’ general interest in Antiquity includes more precise considerations regarding the possible functions of stucco in the dialogue between the arts, and explorations of the frontiers separating art from its beholder. Indeed, stucco is being used during the Renaissance in architecture (for the moulding and ornaments, to coat brick walls and give it a "marmoreal" appearance), in painting (as an intonaco for fresco) and in sculpture (to make figurative reliefs and free standing figures, generally combined with mural paintings). Far from opposing the arts, stucco connects them by taking possession of their modes of expression to make them work together inside the decorative systems and, doing so, gives the artists the opportunity to adopt a reflexive point of view regarding their practice, looking toward the investigation of the nature and means of representation. This particular introspection is also a research on the effects of art and its ability to convoke the beholder, to make him part of the representation and make more ambivalent the boundaries of decoration. From an "ornamental", even "marginal" position, numerous stucco figures executed in Rome before the Baroque age give the concept of aesthetic frontier an original instance, where simulacra and transgression are ingeniously summoned.

在裝飾紋路當中，雲紋裝飾圖樣扮演著一個十分重要的角色，它是十分常見的一種設計元素，而東方人對於雲紋裝飾圖樣的表現手法有別於西方，以簡單的曲線抽象地呈現雲朵的姿態。非相片寫實電腦繪圖技術(Non-photorealistic Rendering)不同於傳統上的電腦圖學技術，NPR著重於產生各式各樣非傳統光學物理的繪圖效果，最重要的是如何分析各種藝術的結構和技巧，進而加以統整之後，建立系統性的演算法，將其重現於數位空間。本論文便是針對自古所流傳下來的東方雲紋圖樣的設計去做分析，進而發展出一套系統，讓使用者輸入一些簡易的筆畫線條，以此資訊作為雲紋圖樣生成的初始設定，然後自動地產生出具有東方風格雲紋圖樣特徵的結果。 / Cloud patterns are very common design elements used in the oriental decoration, and can well harmonize with other ornament patterns. The expression of oriental cloud patterns uses simple curves to abstract the natural phenomenon. Non-photorealistic computer graphics (NPR) technology focuses on analyzing and integrating the principle of the various arts and skills to establish a systematic method to reproduce the stylization. This thesis tries to analyze the structure of the traditional cloud patterns, and building a system to generate the similar style cloud patterns. The system allows users to sketch some simple strokes lines as an initial setting, and then automatically generate various results with the stylization of the oriental cloud pattern.

När vikingatiden kommer på tal, leds tankarna ofta osökt till Birka. För även om Birka låg på en ö i Mälaren, så var det allt annat än isolerat. Istället ingick Birka i ett komplext nätverk som täckte såväl nära bygder som fjärran stränder. Därav följer att nyckeln till vår förståelse av Mälardalens vikingatid ofta finns i Birka. Men även det motsatta gäller, och ibland behöver arkeologer titta åt andra håll för att uppnå en bättre förståelse av Birka. Detta ömsesidiga förhållande ska illustreras med hjälp av ett båtgravsfynd från Turinge i Södermanland. / <p>Övriga forskningsfinansiärer:</p><p>Berit Wallenbergs stiftelse ("Transformationer inom vikingatidens djurornamentik"), Helge Ax:son Jonsons stiftelse ("3D-laserskanning som verktyg vid vikingatidsstudier")</p> / En förlorad värld? - Turinge re-visited / 3D-laserskanning som verktyg vid vikingatidsstudier / Transformationer inom vikingatidens djurornamentik

The ultimate goal of this research is to develop a method, from the designers point of view, for using the embodied specialized knowledge of Finite Element Analysis [FEA] software to study the behavior of materials, geometries, and configurations in order to create an iterative design feedback loop that uses structural performance as a primary evaluation criteria and point of departure for generating and refining complex formo-techtonic configurations while ensuring constructability, improved structural performance, and syntactic consistency. Syntactic consistency meaning that there would not be a loss in translation from concept to construct. Instead of the 2-dimensional [planar] manual technology which drove modernist analysis towards the structural hyper-rationality of the trabeated system, this new process should compile and synthesize computational speed, mathematic principles, mechanical knowledge, and material logics within a digital 3-dimensional [spatial] analytical environment in order to realize a new paradigm of constructible spatialized sensuality. The research will focus on the development of interoperability techniques and protocols between advanced parametric CAD systems and advanced structural analysis systems towards the creation of a fluid design + analysis process of creating and engineering complex forms and dynamic systems. Rapid prototyping will be integrated as a secondary feedback and verification loop, and as a precursor to the production of full scale construction machine readable files. In other words, the research focuses on the development of intricately designed, geometrically complex, and materially sophisticated structural skins that can be produced through advanced CAD/CAM techniques.

The evolution of elaborate male ornaments via sexual selection is well-understood while the selective pressures acting on female ornaments remains unresolved. Female ornaments in species with strong sexual selection on the male homologue of the ornament were originally thought to result from an intersexual genetic correlation. My thesis explores the evolution of ornaments in females due to direct selection by developing theoretical models and examining the biology of a neotropical mosquito (Sabethes cyaneus) with sexually homologous ornaments coinciding with male-male competition. I began by exploring the morphology of the ornaments in both sexes of S. cyaneus. Sexual dimorphism in the size and shape of the ornaments was slight and both male and female ornaments showed classic hallmarks of sexually selected traits. I then tested for direct selection on S. cyaneus male and female ornaments via mutual mate choice. I found evidence of male, but surprisingly not female, preferences for ornaments. I then further considered the evolution of male mate choice in polygynous species. First, I investigated whether male investment in courtship by S. cyaneus may result in a lower operational sex ratio and thereby reduce the costs associated with male mate choice. Male courtship did pose a significant longevity cost to male S. cyaneus. Second, I explored the possibility that a female preference for male courtship effort may contribute to the benefits of male mate choice in a series of population genetic models. The spread of a male preference gene can be driven by female preferences for male courtship when males court preferred females more. Finally, I found that female S. cyaneus are not benefitting from signalling to increase their mating rate as they are monandrous. My thesis therefore challenges standing sexual selection theory and suggests that sexual selection on females may be more widespread than previously thought. / Felaktigt tryckt som Digital Comprehensive Summaries of Uppsala Dissertations from the Faculty of Science and Technology 729

The iconostasis is the most characteristic feature of the Orthodox Church. The metaphysical conception of the space of the church prompted its emergence, and the mystical interpretation of the Liturgy determined its evolution. These aspects were reflected in the iconographic program of the iconostasis. The sanctuary doors are the only part of the Patmian iconostases bearing figurative decoration. The study of the themes on the doors reveals an iconographic program with strong liturgical character. Furthermore, this program encompasses the entire range of the mystical symbolism pertaining to the iconostasis. The analysis indicates that the doors are instrumental in the function of the iconostasis as a liturgical device aiming at a greater unity between the earthly and the divine realms.

This investigation of the studioli, small contemplation chambers in the ducal palaces of Urbino and Gubbio, considers their position in the western tradition of the memory arts. Drawing upon select images in the studioli, as well as text sources readily available to Duke Federico da Montefeltro (1422--82) and the members of his court, this inquiry examines how the discipline of architecture equipped the late quattrocento mind with a bridge between the mathematical arts, which lend themselves to mechanical practices, and the art of rhetoric, a discipline central to the cultivation of memory and eloquence. As ramifications of material and mental craft, the studioli offered the Urbino court models for education and prudent governance.

The father and son architectural firm of T.J. Tolan & Son and later Brentwood S. Tolan designed seven county courthouses in Indiana, more than any other architectural firm but one. The Tolan firm also designed courthouses throughout the Midwest. Little is known about these architects, except that neither was formally trained. However, the Tolans designed high caliber courthouses that are viewed as some of the best in the state. Using primary and secondary sources, this thesis is an assessment of the courthouses constructed in Indiana by the architectural firm T.J. Tolan & Son and by Brentwood S. Tolan in the context of courthouses constructed in Indiana from the same period. / Department of Architecture

This thesis is an overview of the historical context in which the church of Christ the Redeemer (Sant'Apollinare Nuovo) in Ravenna, Italy, was erected. It explores the forces responsible for shaping the church at the time of its construction and decoration in the sixth century. The basilica had gained popularity of usage as a model for the Christian Church in the West by this time. This thesis further explores the conclusions put forth by scholars that the basilica was the forum in which the transition of architectural imperial symbolism from the pagan empire to the new Christian Church took place, that the Church adopted the court ceremony of the emperor for its liturgy, and that the symbolism previously associated with the emperor was transferred to Christ resulting in the identification of the basilica as the throne hall of Christ. A study of the mosaics adorning the nave walls describes the significance of their origins and meaning.