面臨現今資訊爆炸的年代，經常可以看到廠商透過報章雜誌、電視廣告、網路媒體與粉絲團發送廣告訊息，過去理論與研究發現，專注在品牌權益的公司能夠因為打造了一個強勢的品牌，帶給企業更多的附加價值，亦能夠確保消費者在消費相同產品時較穩定可靠的特色、利益及品質。 本研究以質化研究方法為主，透過深度訪談的方式與次級資料之應用蒐集個案公司相關資訊，並採用Keller(1993)提出的顧客為本品牌權益模型(CBBE)之打造強勢品牌四個步驟為主，以行銷方案執行分析為輔，進行品牌權益打造之分析，最後歸納出結論並給予建議。 研究發現個案公司在品牌覺察的廣度有待加強，在社群的經營上面也乏善可陳，這樣會使得消費者在現今網際網路的時代，因為網路上眾多的資訊，減少了消費者接觸產品資訊與廣告，使品牌共鳴的效果無法有效達成。 而本研究提供以下四點建議給予個案公司做為參考，以提高品牌共鳴： 1. 建構更高的品牌辨識：加強品牌覺察廣度，投入資源教育消費者，與教育機構合作以產生更高的共創價值。 2. 經營品牌社群：投入資源加強社群網站經營，讓粉絲能夠有互動的空間。 3. 共同品牌槓桿借用輔助聯想：與形象良好的品牌聯名推出新款油漆。 4. 贊助體育賽事、活動或是團隊：台灣體育活動風行，可以在體育賽事、團隊給予贊助，提高品牌知名度與建立良好形象。 / We are experiencing an explosive growth of information nowadays. Consumers are overwhelmed by a vast array of information and are more likely to switch away the brands they used. Theories and past studies have found out that companies focusing on brand equity building can bring more added values to both company and consumers. This research tries to use the CBBE (Customer Based Brand Equity) model by Keller (1993) and marketing strategy performance analysis to analyze the brand equity of Dulux Taiwan. The research was conducted by qualitative methods, in-depth interview and secondary data analysis. In the end, the research concluded practical advice to Dulux for reference. According to the result, Breadth of Dulux brand awareness and operation of social media needs to be strengthened. Excessive amount of information on the Internet leads to low-contact between product information and advertising with consumers. As a result, the brand resonance effects cannot be effectively reached. The following are four suggestions concluded by this research as reference to Dulux: 1. To Construct higher brand recognition: Strengthen breadth of Dulux brand awareness by investing resources to educate consumers and may consider co-creating with education institutions. 2. To manage on-line brand community: Enhance the interaction with consumers by increasing investment to operate the social media. 3. To leverage secondary brand associations—Co-branding: launch new products with high reputation companies. 4. To sponsor sports events, activities or team: Because of the enthusiasm for sports activities in Taiwan, sponsorship is a good way to increase brand awareness and establish a good image.

This thesis overviews my experience during graduate school making tangible,object oriented sculpture. I have been working formally to compose space in a way that develops a narrative between parts. The work is also a bridge between the fields of painting and sculpture, in terms of drawing with form and both painted and local, material color. My palette has mostly consisted of bronze casting, steel fabrication, fiberglass and epoxy resin, paint, the found object, woodworking, and mold making. This work is also conceptually based in showing the hand worked qualities of the materials, the transfer of meaning through casting, and my emotional relationship with the various parts of the sculptures. The three major themes of the work are: divine love and the complex of the apocalypse, the complexities and psychology concerning the relationship between a man and a woman, and the intrigue, potential energy, and beauty of the systems mankind hasinvented to harness the atom. The major artistic influences for this body of work have been: Jasper Johns, Marcel Duchamp, Constantine Brancusi, Alberto Giacommetti, Reg Butler, Henry Moore, Lynn Chadwick, Kenneth Armitage, Jeff Koons, Terry Winters, William DeKooning, Richard Diebenkorn, David Smith and Charles Long. I retain a strongrelationship with the movements of Dada, Surrealism, Futurism, and Assemblage, and amalso currently involved in solidifying the Manifesto of Raubeaux with a small group ofesteemed colleagues.

La simulation de matériaux physico-réalistes est un processus demandant beaucoup de calcul. Les images de synthèse étant destinées aux observateurs humains, nous pouvons utiliser les limitations de notre système visuel pour simplifier le modèle de rendu, en évitant le calcul d’information invisible. Cela s’appelle le réalisme perceptif. Nous nous intéressons à la simulation de peintures d’automobiles, en particulière aux peintures scintillantes à paillettes métalliques. Nous essayons d’améliorer le réalisme perceptif de deux manières : en utilisant de la visualisation stéréoscopique pour apporter de l’information de profondeur additionnelle à partir de la disparité binoculaire ; et en conservant autant d‘information perceptive de la luminance originale que possible. La gamme dynamique illimitée d’une scène réelle est réduite lorsqu’une image est traitée dans des dispositifs à une gamme dynamique plus basse dans la chaîne d’acquisition et de visualisation. Pour assurer un réalisme perceptive, nous proposons une méthodologie reposant sur la caractérisation des dispositifs, l’acquisition d’information radiométrique, et des validations visuo-perceptives. En remplaçant l’œil humain par un appareil photo numérique, en tant qu’intégrateur tristimulaire d’information radiométrique, nous réalisons des comparaisons visuelles entre des échantillons réels et des photographies pour estimer la valeur d’exposition qui maximise le réalisme perceptif dans un environnement d’observation contrôlé. Ces résultats sont ensuite contrastés avec plusieurs méthodes de reproduction tonale, afin d’analyser les effets perceptifs de certains attributs d’image tels que l’exposition, la gamme dynamique, la brillance, et le contraste. Nous proposons également une méthodologie complète pour simuler des scènes réelles qui soient comparables, d’un point vue radiométrique et colorimétrique, aux photographies de la même scène. En assurant des images simulées correctes, cette méthodologie établie les bases face à une future intégration de nos observations dans le moteur de rendu. / The simulation of physico-realistic materials is a process that requires a lot of computation. Since the images are meant to be seen by human observers, we can use the limitations of their visual system to simplify the rendering model, avoiding redundant information that will not be seen. This is known as perceptual realism. Focusing on the simulation of automobile paint coatings, with special attention to metallic-flaked coatings with a sparkling appearance, we try to improve perceptual realism in two ways: using stereoscopic visualization, to provide additional depth information from binocular disparity; and preserving as much of the original perceptual luminance information as possible. The unlimited luminance levels, or dynamic range, of a real scene must be reduced as an image is processed by lower-dynamic range media throughout the acquisition and visualization chain. To ensure perceptual accuracy throughout this process, we propose a methodology consisting on device characterization, radiometric acquisition, and visuo-perceptual validations. Replacing the human eye by a DSLR camera, as a trichromatic color integrator of radiometric information, we perform visual comparisons of real samples and photographs to estimate the image exposure that maximizes perceptual accuracy under a controlled observation environment. These results are then contrasted with different tone reproduction methods, in order to analyze the effects on texture perception of specific image attributes like exposure, dynamic range, brightness, and contrast. We also propose a full methodology to produce simulations of a real scene, which are radiometrically and colorimetrically comparable to photographs of the same scene. By ensuring that the simulation produces correct images, this methodology lays the foundations for a future integration of our observations into the rendering engine.

Sjöfarten använder sig i stor utsträckning av färg förstärkt med härdplaster. Dessa kan vara hälsovådliga utan rätt skyddsutrustning och det ställs krav på att alla som handhar härdplaster ska ha genomgått en utbildning och regelbundna spirometriundersökningar. Studenter från Sveriges två sjöfartshögskolor går idag ut på fartygsförlagd utbildning med olika grundkunskaper om härdplaster. Vissa har fått härdplastutbildning och andra har ännu inte hunnit få det. Denna studie har genom en serie kvalitativa intervjuer försökt att kartlägga effekterna av detta. Intervjuerna med studenter och matroser har visat att de studenter som hade fått härdplastutbildning också hade en mycket bättre förståelse för riskerna med härdplaster och för hur de kunde exponeras för faran. Studenterna utan utbildning förstod risken med det skadliga elementet men saknade kunskapen för att adekvat kunna skydda sig. Studien visar också att faktorer som påverkar användandet av personlig skyddsutrustning i stor utsträckning är kopplat till ålder, erfarenhet och den övriga besättningens attityd till riskerna. / The maritime world makes use of paint reinforced with thermosetting polymers. These may be harmful without the correct protective equipment and there are regulations stating that anyone working with it must be educated in the handling and risks associated with said paint as well as regularly undergo a spirometric test. Today students from the two Swedish maritime universities undertake their onboard studies under different conditions, some with the correct education and some without. This study has through a series of qualitative interviews tried to expose the effects. The interviews have shown that students with the correct education have a much better knowledge of the risks associated with thermosetting polymers and the different ways it might be exposed to them. The uneducated students were aware of the dangers but lacked the knowledge to adequately protect themselves. However, the study showed that this did not determine whether the students use personal protection as much as such factors as age, experience and the rest of the crew's attitude towards the risks.

Thesis submitted in fulfilment of the requirements for the degree Master of Technology Chemistry in the Faculty of (Science) Supervisor: Professor T.N. van der Walt Bellville campus Date submitted: October 2011 / It is important to quantify polymeric components in a coating because they greatly influence the performance of a coating. The difficulty associated with analysis of polymers by Fourier transform infrared (FTIR) analysis’s is that colinearities arise from similar or overlapping spectral features. A quantitative FTIR method with attenuated total reflectance coupled to multivariate/ chemometric analysis is presented. It allows for simultaneous quantification of 3 polymeric components; a rheology modifier, organic opacifier and styrene acrylic binder, with no prior extraction or separation from the paint. The factor based methods partial least squares (PLS) and principle component regression (PCR) permit colinearities by decomposing the spectral data into smaller matrices with principle scores and loading vectors. For model building spectral information from calibrators and validation samples at different analysis regions were incorporated. PCR and PLS were used to inspect the variation within the sample set. The PLS algorithms were found to predict the polymeric components the best. The concentrations of the polymeric components in a coating were predicted with the calibration model. Three PLS models each with different analysis regions yielded a coefficient of correlation R2 close to 1 for each of the components. The root mean square error of calibration (RMSEC) and root mean square error of prediction (RMSEP) was less than 5%. The best out-put was obtained where spectral features of water was included (Trial 3). The prediction residual values for the three models ranged from 2 to -2 and 10 to -10. The method allows paint samples to be analysed in pure form and opens many opportunities for other coating components to be analysed in the same way.

O processo industrial não-contínuo de zincagem por imersão a quente (ZIQ) pode ocasionar a contaminação superficial do aço-carbono zincado por imersão a quente (AZIQ) com resíduos de cloreto. Estes resíduos, se não forem efetivamente eliminados, podem influenciar negativamente no desempenho dos esquemas de pintura dos sistemas dúplex (zincagem mais pintura). Sabe-se que no processo de ZIQ, a cromatização é amplamente utilizada, entretanto, o efeito que este pós-tratamento exerce no desempenho dos esquemas de pintura ainda não é bem estabelecido. Neste contexto, este trabalho teve como objetivos: I - verificar o grau de contaminação no AZIQ com sal de cloreto devido ao próprio processo de ZIQ; II - verificar os efeitos da contaminação com sal de cloreto e da cromatização do processo ZIQ no desempenho de tintas aplicadas sobre o AZIQ; e III – determinar pré-tratamentos para pintura adequados para o bom desempenho das tintas aplicadas sobre o AZIQ. A metodologia adotada para alcançar o objetivo I envolveu a zincagem de chapas de aço-carbono em diferentes prestadores de serviço de ZIQ, em diferentes condições. Estas chapas zincadas foram analisadas por microanálise química qualitativa por espectrometria de dispersão de energia (EDS) em microscópio eletrônico de varredura (MEV) e pela determinação dos teores de cloreto superficiais, por método de extração com água em ebulição. A partir dos resultados obtidos para se alcançar o objetivo I, foi possível definir as condições no processo de ZIQ que potencialmente causam maior contaminação da superfície do AZIQ com sal de cloreto. Assim, para se alcançar os objetivos II e III, chapas de aço-carbono foram zincadas naquelas condições de máxima contaminação com sal de cloreto e parte delas foi submetida ao pós-tratamento de cromatização. Em seguida, uma grande parte destas chapas zincadas (cromatizadas ou não) foi submetida aos pré-tratamentos para pintura de desengraxe com solvente orgânico, de hidrojateamento a alta pressão, de jateamento abrasivo ligeiro e de ação mecânica com esponja abrasiva e água quente. Finalmente, as chapas zincadas, incluindo as não submetidas aos pré-tratamentos, foram pintadas com uma demão de tinta de aderência mais uma demão de tinta de acabamento. As chapas zincadas e pintadas foram submetidas a ensaios acelerados (imersão em água destilada e exposição em câmara de umidade saturada) e não-acelerados de corrosão (exposição em estação de corrosão atmosférica) e avaliadas por meio dos ensaios tradicionais de acompanhamento de desempenho (grau de empolamento e ensaios de aderência de tinta) e eletroquímicos (medida de potencial de circuito aberto, curva de polarização e espectroscopia de impedância eletroquímica – E.I.E.). Algumas chapas zincadas, antes da pintura, foram submetidas aos ensaios de caracterização física (exame microestrutural e morfológico em MEV e rugosidade superficial), química microanálise por EDS, difração de raios X e teor de cloreto superficial pelo método de extração com água em ebulição) e eletroquímica. Os resultados obtidos, neste estudo, permitiram verificar que a aplicação adicional de sal cloreto de amônio sólido durante o processo de ZIQ tende a aumentar o grau de contaminação superficial do AZIQ com cloreto e, as etapas de resfriamento e/ou de cromatização do processo também contribuem para esta contaminação. No geral, o desempenho do AZIQ cromatizado teve desempenho inferior em relação ao não-cromatizados. O hidrojateamento a alta pressão e a lavagem com água e ação mecânica foram os prétratamentos que proporcionaram os melhores desempenhos dos esquemas de pintura. / The batch galvanizing process (BGP) can lead to surface contamination of hot-dip galvanized steel (HDGS) with chloride residues. If these residues are not effectively eliminated, they can influence negatively on the performance of duplex systems (galvanizing plus painting). It is known that the chromate quenching is widely used in the BGP, however the effect of this post-treatment on the performance of duplex systems is not well established yet. In this sense, this work aimed: I – to verify the contamination degree of HDGS with chloride salt due to the BGP itself; II – to verify the effects of the chloride salt contamination and chromate quenching on the performance of paints applied on HDGS; and III – to determine the suitable surface preparation for painting in order for obtaining a good paint performance applied on HDGS. The adopted methodology to achieve goal I involved the galvanizing of steel plates in different service renderings with BGP, in different conditions. These HDGS plates were submitted to the qualitative energy dispersive microanalyses (EDS) in scanning electron microscopy (SEM) and to the determination of superficial chloride contents by the boiling water extraction method. From the obtained results, the conditions in the BGP that potentially lead to greater surface contamination of HDGS with chloride salt were determined. Thus, to achieve goals II and III, steel plates were galvanized under the maximum chloride salt contamination condition and part of them were submitted to chromate quenching. After that, a great part of these HDGS plates (chromated or non chromated quenching) was submitted to the surface preparations for painting through organic solvent cleaning, high pressure hydroblasting, sweep blasting and handled scrub cleaning with an abrasive sponge and hot distilled water. Finally, the HDGS plates, including those not submitted to the surface preparations for painting, were painted with one coat of primer plus one coat of finishing paint. The HDGS painted plates were submitted to accelerated (distilled water immersion and humidity chamber exposure) and non accelerated (atmospheric exposure) corrosion tests and their performance were verified by means of traditional tests (degree of blistering and paint adhesion) and electrochemical measurements (open circuit potential, polarization curve and electrochemical impedance spectroscopy – E.I.S.). Before painting, some HDGS plates were submitted to tests for physical (microstructural and morphological analyses in MEV and surface roughness), chemical (EDS, X-ray diffraction and superficial chloride contents by the boiling water extraction method) and electrochemical characterization. The obtained results allowed verifying that the additional application of solid ammonium chloride salt during the BGP tends to increase the degree of superficial chloride contamination of the HDGS and, the water and/or chromate quenching also contribute for this contamination. In general, the chromated HDGS presented worst performances. The high pressure hydroblasting and the handled scrub cleaning with an abrasive sponge and hot distilled water were the surface preparations for painting that provided the best performances of paint systems.

In this thesis statement I explore Sikh-Punjabi masculinity in the diaspora. I am concerned with questioning the construction of my identity and the possible impact of new forms of masculinity on the next generation of diasporic Sikh-Punjabi youth. I use found text and video to examine these new identity constructions. As a foundation for these explorations into masculinity, I am concerned with unveiling concealed and erased memories and realities as related to Sikh-Punjabi diasporic communities. This thesis looks at my work along with the work of other artists.

In this thesis statement I explore Sikh-Punjabi masculinity in the diaspora. I am concerned with questioning the construction of my identity and the possible impact of new forms of masculinity on the next generation of diasporic Sikh-Punjabi youth. I use found text and video to examine these new identity constructions. As a foundation for these explorations into masculinity, I am concerned with unveiling concealed and erased memories and realities as related to Sikh-Punjabi diasporic communities. This thesis looks at my work along with the work of other artists.

CAPES; CNPq; Fundação Araucária / Esta tese de doutorado apresenta um sistema de monitoração heterogêneo para a caracterização do processo de secagem e cura de filmes poliméricos e resina odontológica. Essa caracterização é de suma importância para aperfeiçoar o processo de fabricação e a escolha das matérias-primas dos mesmos, uma vez que parâmetros como a variação da espessura e a deformação mecânica no material estão diretamente ligadas à sua qualidade e durabilidade. O sensor heterogêneo emprega técnicas complementares para a quantificação de múltiplos parâmetros físicos, visando a compreensão das etapas que acontecem durante o processo de secagem e cura. Os ensaios se deram em períodos de 24 horas analisando amostras de tinta e verniz acrílicos e resina dentária. Foram quantificadas deformações longitudinais, variação de massa, espessura e índice de refração médio. Nas amostras de tinta e verniz acrílicos, obteve-se redução entre 60% e 70% no valor inicial da espessura, enquanto o comportamento do índice de refração do verniz foi associado às diferentes etapas do processo de secagem. As amostras de resina odontológica apresentaram redução da espessura menor que 5% em todos os ensaios realizados, percentual semelhante à variação do índice de refração. Todavia, as redes de Bragg identificaram um aumento de temperatura da resina odontológica de aproximadamente 20°C durante a fotoativação. A flexibilidade do sistema sensor heterogêneo demonstrado permite a análise do processo de secagem ou cura de uma ampla gama de filmes poliméricos e resinas, sem a necessidade de adaptações significativas no arranjo experimental. Com uma caracterização correta das etapas envolvidas na secagem ou cura, todo o processo que vai desde a formulação do produto à aplicação final pode ser otimizado, levando à melhoria da relação custo-benefício para cada aplicação pretendida. / This thesis presents a heterogeneous system to characterize the drying and curing process of polymer films and dental resin. This characterization is important to improve the manufacturing process and the choice of the raw materials, since parameters such as thickness variation and the mechanical deformation in the material are directly related to their quality and durability. The sensor employs heterogeneous complementary techniques for the quantification of multiple physical parameters, aimed to understand the steps that occur during drying and curing. The tests took place in periods of 24 hours analyzing samples of both acrylic paint and varnish, as well as dental resin. Longitudinal deformation, mass variation, thickness and mean refractive index were quantified. In samples of acrylic paint and varnish, a reduction between 60% and 70% in the initial value of the thickness was obtained, while the behavior of the refractive index of the varnish was associated with the different stages of the drying process. Samples of dental resin presented thickness decreasing less than 5% in all tests, percentage similar to the variation of the refractive index. However, fiber Bragg gratings have identified a temperature increase of the dental resin about 20 ° C during the polymerization. The flexibility of the heterogeneous sensor system demonstrated allows the analysis of drying or cure processes of a great variety of polymer films and resins, without the need for important changes in the experimental setup. With the correct characterization of the stages involved in the drying or cure, the whole process from the product formulation to the final application may result in an optimized and cost effective product for any intended application.

Je n’ai pas de rapport serein à la peinture. Si elle constitue un espace d’expression et d’appartenance à soi-même sans limites, j’appréhende l’immensité de cet espace. Où aller ? De quelle manière ? Comment surmonter les hésitations ? Comment être sûre de prendre les bonnes décisions ? Quelle piste ou quelle exploration privilégier ? La pratique de la peinture relève d’une immersion. Au sein de l'atelier, au cœur du travail du peintre, se jouent de multiples opérations plastiques et mentales spécifiques. Une dynamique est en jeu, celle d’une marche vers de nouveaux possibles au sein de laquelle s’intercalent des choix et des prises de risque. C'est ici, dans cette tension entre ce qui n'est pas anticipé et ce qui tente de se déterminer que mon travail pictural existe. Comme il est fait d’errances, d’expériences, d’avancées mais aussi de pannes, j’ai souhaité m’attacher à l’étude des difficultés inhérentes au travail de peintre. Quelles en sont les causes ? Comment les processus créatifs sont-ils impactés et quelles remédiations peuvent-elles être envisagées de la part des artistes ? L’hypothèse de cette thèse est que l’informatique constitue une réponse possible à la recherche de lâcher-prise de l’artiste dans sa pratique picturale. Si la photographie, le cinéma, ou la vidéo ont chacun, à un moment donné de leur histoire, interrogé leurs relations à la peinture, qu’en est-il aujourd’hui pour l'informatique ? Comment informatique et peinture partagent-elles leur contemporanéité au sein de la création artistique ? Comment y dialoguent-elles ? Sous quels angles l’informatique soulage-t-elle le peintre et peut-elle conduire à une forme de lâcher-prise ? Dans la perspective où « la » peinture échappe aujourd’hui à toute tentative de définition exhaustive, nous verrons comment l'informatique appréhendée comme outil mais aussi comme médium du peintre poussera à reconnaître la présence renouvelée, écartelée mais flagrante de la peinture sur de nouveaux supports et à la définir comme immatérielle et dynamique. Les expériences menées au sein de mon travail artistique ainsi que les enquêtes de terrain menées auprès d’artistes peintres exploitant l’informatique nous amèneront à élargir notre compréhension du lâcher-prise mais aussi à éprouver les limites de l’alliance technique. / I do not have a serene relationship with painting. While it creates a space for self-expression and a sense of belonging to oneself without limits, I fear the immensity of that space. Where to go? By which means? How to overcome hesitations? How to be sure to make the right decisions? Which paths to follow, which leads to explore? The practice of painting is an immersion. Within the studio and at the heart of a painter's work lie a number of unique plastic and mental processes. A dynamic is at stake, allowing a step towards new possibilities where making choices and taking risks are intertwined. There, in the tension between the unanticipated and what is tentatively determined, is where my pictorial work exists. Because of the wandering, the experiments, the breakthroughs but also the failures, I wanted to focus on the difficulties inherent to the painter’s work. What are their causes? How is the creative process impacted and what remedies can artists turn to? The hypothesis of this thesis is that computer and digital processing is a possible answer to the artist’s quest of letting go in his or her pictorial practice. If photography, film or video each have, at some point in their history, questioned their relationship to painting, what about today’s computer-assisted art? How do digital technologies and painting concurrently exist and share the artistic scene? How do they interact? In which particular ways does digital processing relieve the painter and enables a form of letting go? Admittedly, no definition of "painting" as we know it today can be exhaustive. However, we will take a look at how computers – apprehended as tools, but also as a medium for the painter – make it possible to identify the renewed, distorted, yet flagrant presence of painting within new artistic mediums and to redefine it as immaterial and dynamic. The experiments carried out in my artistic work as well as the surveys conducted with painters using computer-assisted techniques, will lead to a broader understanding of the process of letting go but also to experience the limits of the technical alliance.