Denna uppsats består av en längre översättning av förordet samt de tre första kapitlen ur den populärvetenskapliga boken The Forger’s Spell (2009) från engelska till svenska. Till det följer ett avsnitt med kommentarer på översättningsproblem som uppstod under processen. Syftet med denna uppsats är att etablera en lämplig översättningsprincip sett till faktorer som textens genre, position i polysystemet och stilistiska drag samt att skapa en målspråksanpassad översättning. Det översättningsteoretiska ramverket består av Even-Zohars (2012) polysystemteori, där översatt sakprosa befinner sig på en sekundär position i det svenska litterära systemet, vilket pekar mot en målspråksinriktad översättning. Vidare bygger det också på Nidas (2012) dynamiska ekvivalensteori, vars mål är att skapa en ekvivalent läsupplevelse för målspråksläsaren. Ramverket, tillsammans med en analys av källtexten låg till grund för översättningsprincipen som var att skapa en målspråksinriktad översättning. Något som framkom i processen var det faktum att denna översättning innebar en överföring mellan tre kulturer och några intressanta problem uppstod relaterat till detta. Syftet med uppsatsen uppfylldes, en teoretiskt förankrad princip etablerades och en översättning utformades nära utefter den, vilket resulterade i en målspråksanpassad, dynamiskt ekvivalent översättning. / This essay contains a longer translation of an excerpt from English to Swedish of the popular science book The Forger’s Spell by Edward Dolnick, with comments on translation issues that surfaced during the process. The purpose of the essay was to establish a translation principle, suitable for the book’s genre, position within the polysystem, stylistic features as well as creating a target language-oriented translation. The theoretical framework for the essay consisted of Even-Zohar’s polysystem theory, by which translated non-fictional prose has a secondary position within the Swedish literary system. This points to it being translated in a target language-oriented manner. It also builds upon Nida’s dynamic equivalence, by which the goal is to create an equivalent reading experience for the target language reader as the source language reader had. This framework, combined with a textual analysis performed on the source text laid the foundation of the translation principle, which was to create a target language-oriented translation. The fact this translation meant a transmission of three different cultures emerged during this process, and some interesting problems related to this needed solving. The purpose of the essay was fulfilled, a theoretically grounded translation principle was established, and a translation was produced closely from it which resulted in a target language oriented, dynamically equivalent translation.

The purpose of the paper is to show some possible factors that affect the animators’ choices when working on photorealistic animation based on references. Research in computer graphics has since 1970 had as a main goal to achieve photorealism. When working on 3D-production for film, animation is a part of the process. This part aims to give life to digital characters, among other things. References are used as a tool to achieve photorealism. This could for example be a video of animals or people moving in the same way as the characters in the animation is supposed to do. But many experiences show that the animation could be uninteresting and lack credibility if the animator sticks to close to the reference. This forces the animator to deviate from the reference material in order to achieve a photorealistic animation. We want to find out which choices the animators are making in that situation and what they are based upon. The paper highlights six animators’ views on what affects their choices when working with photorealistic animation. From the interviews a number of factors that the animators themselves found to affect them, was distinguished. The factors that the paper highlights with the support of theories and the answers from the interviews are clarity, interest, characters, influence of others, time, intuition, judgment, experience, subconscious factors and personal background. / Uppsatsens syfte är att synliggöra möjliga faktorer som påverkar animatörers val när de arbetar med fotorealistisk animation och med referenser som bas. 3D-grafisk forskning har sedan 70-talet haft som mål att uppnå fotorealism. När man arbetar med 3D-produktioner för film kan animation ingå som en del i processen. Denna del syftar till att ge liv till åt bl.a. digitala karaktärer. För att också i animationen uppnå fotorealism används ofta referenser som ett hjälpmedel. Dessa referenser kan t.ex. bestå av filmat material på djur eller människor som gör liknande rörelser som animationen försöker uppnå. Men många erfarenheter visar på att animationen kan bli stel, lätt, ointressant eller sakna trovärdighet om man förhåller sig för tätt till referensmaterialet. Detta medför att animatören ibland måste avvika från referensmaterialet för att lyckas göra en fotorealistisk animation. Vi ville ta reda på vilka val man gör i den situationen och vad dessa grundas på. Uppsatsen lyfter fram sex stycken animatörers syn på vad som påverkar deras val när de arbetar med fotorealistisk animation. Ur intervjuerna urskildes ett antal genomgående faktorer som animatörerna själva ansåg påverkade dem. De faktorer som uppsatsen lyfter fram med stöd från både teorier och intervjusvaren är tydlighet, intresse, karaktärer, andras inflytande, tidsangivelser, intuition, bedömningsförmåga, erfarenhet, omedvetna faktorer och personlig bakgrund.

Denna kandidatuppsats består av en längre översättning i form av en undertextning från nederländska till svenska, samt en kommentar till översättningen. Källtexten utgörs av inslaget De online fabeltjesfuik (ordagrant ’fabelryssjan’) ur det nederländska satiriska nyhetsprogrammet Zondag met Lubach. I kommentarsdelen beskrivs den teoretiska bakgrunden bakom den översättningsprincip och rangordning av översättningsprioriteringar som styrt undertextningsarbetet. Därefter behandlas ett urval av översättningsproblem samt strategierna för att lösa dem, med ett särskilt fokus på kulturella referenser och humor. Det största problemet utgörs dock i slutändan av översättningsformens egna begränsningar när det kommer till tid och utrymme, vilka styr alla andra översättningsval. / This bachelor’s essay consists of a longer translation in the form of Dutch-to-Swedish subtitles, including a section commenting on the translation. The source text is made up of the segment De online fabeltjesfuik (literally ‘the fable fyke’) from the Dutch satirical news show Zondag met Lubach. The comment section describes the theoretical background behind the translation principle and the translation priorities which have guided the subtitling. Then a sample of translation problems along with the strategies used to solve them are presented, focusing on cultural references and humour. The largest issue remains the inherent limitations of subtitling as pertains to time and space, which influence all other translation choices made.

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Of the wide variety of existing optical techniques for non-contact 3D surface mapping, Fourier Transform Interferometry (FTI) is the method that most elegantly combines simplicity with high speed and high resolution. FTI generates continuous-phase surface maps from a projected optical interference pattern, which is generated with a simple double-pinhole source and collected in a single snapshot using conventional digital camera technology. For enhanced stability and reduced system size, the fringe source can be made from a fiber optic coupler. Unfortunately, many applications require mapping of surfaces that contain challenging features not ideally suited for reconstruction using FTI. Rough and discontinuous surfaces, commonly seen in applications requiring imaging of rock particles, present a unique set of obstacles that cannot be overcome using existing FTI techniques. This work is based on an original analysis of the limitations of FTI and the means in which errors are generated by the particular features encountered in the aggregate mapping application. Several innovative solutions have been developed to enable the use of FTI on rough and discontinuous surfaces. Through filter optimization and development of a novel phase unwrapping and referencing technique, the Method of Multiple References (MoMR), this work has enabled surface error correction and simultaneous imaging of multiple particles using FTI. A complete aggregate profilometry system has been constructed, including a MoMR-FTI software package and graphical user interface, to implement these concepts. The system achieves better than 22µm z-axis resolution, and comprehensive testing has proven it capable to handle a wide variety of particle surfaces. A range of additional features have been developed, such as error correction, particle boundary mapping, and automatic data quality windowing, to enhance the usefulness of the system in its intended application. Because of its high accuracy, high speed and ability to map varied particles, the developed system is ideally suited for large-scale aggregate characterization in highway research laboratories. Additionally, the techniques developed in this work are potentially useful in a large number of applications in which surface roughness or discontinuities pose a challenge. / Ph. D.

Hoare and He's Unifying Theories of Programming (UTP) provides a rich model of programs as relational predicates. This theory is intended to provide a single framework in which any programming paradigms, languages, and features, can be modelled, compared and contrasted. The UTP already has models for several programming formalisms, such as imperative programming, higher-order programming (e.g. programing with procedures), several styles of concurrent programming (or reactive systems), class-based object-orientation, and transaction processing. We believe that the UTP ought to be able to represent all significant computer programming language formalisms, in order for it to be considered a unifying theory. One gap in the UTP work is that of object-based object-orientation, such as that presented in Abadi and Cardelli's untyped object calculi (sigma-calculi). These sigma-calculi provide a prominent formalism of object-based object-oriented (OO) programs, which models programs as objects. We address this gap within this dissertation by presenting an embedding of an Abadi--Cardelli-style object calculus in the UTP. More formally, the thesis that his dissertation argues is that it is possible to provide an object-based object rientation to the UTP, with value- and reference-based objects, and a fully abstract model of references. We have made three contributions to our area of study: first, to extend the UTP with a notion of object-based object orientation, in contrast with the existing class-based models; second, to provide an alternative model of pointers (references) for the UTP that supports both value-based compound values (e.g. objects) and references (pointers), in contrast to existing UTP models with pointers that have reference-based compound values; and third, to model an Abadi-Cardelli notion of an object in the UTP, and thus demonstrate that it can unify this style of object formalism.

L’effondrement des repères artistiques (que plusieurs associent aux premiers ready-made de Marcel Duchamp) dévoile les symptômes d’une crise de l’art. Comme l’histoire de l’art est en quelque sorte la représentation de ce que nous sommes, on peut raisonnablement penser que la crise s’étend bien au-delà de l’art. Toutefois, l’art possède un éclairage puissant, car il illustre, littéralement, plusieurs problèmes notamment au niveau du jugement et de la raison. Faute de repères, le monde contemporain manquerait-il de discernement ? Cette question est tout à fait légitime dans le contexte actuel où tout et n’importe quoi semblent pouvoir être élevés au rang de l’Art. Le culte que l’on voue à l’individu paraît être l’une des causes du problème. On observe qu’en régime de singularité (pour reprendre l’expression de la sociologue de l’art, Nathalie Heinich) les relations du monde de l’art sont de plus en plus conflictuelles : lorsqu’on demande à un artiste de justifier son propre travail, la rationalité devient nécessairement instrumentale ; on rend également caduc le rôle du critique et des institutions. Ce mémoire s’intéresse à analyser, dans une perspective philosophique, les différentes manifestations de la crise de l’art et ses enjeux dans le monde actuel. / The decline of artistic reference points (which several people associate with the first readymade of Marcel Duchamp) reveals the symptoms of a crisis in art. As the history of art is a representation of what we are, we can infer that the crisis extends far beyond art. However, art has the power to enlighten because it literally illustrates several problems, especially in terms of judgment and reasoning. Without references or common knowledge, could it be that our world is lacking in discernment ? This question is legitimate insofar as everything and anything seem to be elevated into Art in our present context. The cult of individualism seems to be one of the causes of the problem. As observed in the régime de singularité (in the words of art sociologist, Nathalie Heinich) relations in the world of art are becoming more and more conflicted : when asking an artist to justify his own work, rationality necessarily becomes instrumental; it also renders the role of critics and institutions obsolete. This thesis focuses on analyzing, from a philosophical perspective, the various manifestations of the crisis in art and its issues in the world today.

This thesis focuses on the transfer of Czech linguistic and cultural characteristics through English subtitles. Using four Oscar-nominated Czech films, it endeavours to explain to what extent English subtitles can influence and assist the understanding and artistic values of a Czech feature film when screened to a foreign audience. The paper is of a theoretical- empirical nature. Firstly, the parameters of audiovisual translation are described, together with the technical and linguistic features of subtitling, followed by a definition of culture-bound references categories. As part of the research, Western understanding and appreciation of Czech artistic heritage is summarised. The empirical part presents an analysis of culture- bound references transfer. Excerpts are taken from the Czech films The Wild Bees (Divoké včely), Up and Down (Horem pádem), Divided We Fall (Musíme si pomáhat) and I Served the King of England (Obsluhoval jsem anglického krále). The results of the analysis are contrasted with a survey on the reception of The Wild Bees film conducted with native speakers of English. Keywords audiovisual translation (AVT), subtitling, ideological and aesthetic reception, culture-bound references, Oscar, Czech feature film

I detta arbetet så analyserar jag soundet ifrån tre framgångsrika musikproducenter inom popmusiken samt återskapar deras sound på mina egna låtar. Detta görs genom en grundlig analys i tre steg. Resultatet blev tillfredställande då jag har fått ett par ”aha-upplevelser” som direkt höjt kvalitén på mina produktioner.

Une façon d'explorer visuellement notre monde consiste à déplacer très rapidement nos yeux pour en analyser le contenu. Dans certaines circonstances, ces mouvements oculaires, appelés saccades, peuvent perdre de leur précision. Fort heureusement notre cerveau est capable de corriger cette imprécision en ajustant progressivement la taille de ces saccades grâce à des mécanismes de plasticité cérébrale : c'est l'adaptation saccadique. L'adaptation saccadique est souvent utilisée comme modèle d'étude des mécanismes de plasticité visuo-motrice. Nous faisons également l'hypothèse qu'elle puisse servir d'outil thérapeutique. Dans cette thèse, nous nous sommes essentiellement intéressés à l'adaptation des saccades volontaires en augmentation d'amplitude chez des sujets contrôles et chez des patients souffrant d'une amputation homonyme du champ visuel (hémianopsie latérale homonyme). Les expériences 1 à 3, réalisées chez le sujet contrôle, ont permis de découvrir les repères utilisés par le cerveau pour réaliser cette adaptation sensori-motrice et coder l' environnement visuel (expérience 1 ), et les mécanismes d'adaptation saccadique quand la cible visuelle n'est pas directement codée (remapping dans l'expérience 2 et cible virtuelle dans l'expérience 3). Enfin l'expérience 4 propose une application clinique du protocole d'adaptation des anti-saccades utilisé lors de l'expérience 3, dans un but thérapeutique de rééducation comportementale de patients hémianopsiques / One way to visually explore our environment consists to rapidly displace our eyes to analyze its content. Under certain circumstances, these ocular movements called saccades can become inaccurate. Fortunately our brain is able to correct this inaccuracy by progressively adjusting the size of saccades thanks to plasticity mechanisms called saccadic adaptation. Saccadic adaptation is often used as a model to study visuo-motor plasticity. We also suggest that it could be used as a rehabilitation tool. ln this thesis, we were interested in outward adaptation of voluntary saccades in healthy subjects and patients suffering from a half visual field loss for both eyes (lateral homonymous hemianopia). Experiments 1 to 3, performed on healthy subjects, gave us opportunity to acquired complementary knowledge on the reference frame used by the brain to code its environment (experience 1) and on adaptation mechanisms when a visual target is not directly coded (remapping in experiment 2 virtual target in experiment 3). Finally, experiment 4 suggests to clinically implement the anti-saccades adaptation protocol used in experiment 3, as a new rehabilitation tool tested in hemianopie patients