The following thesis is a report on an Internship with Kurt E. Schon, Ltd., a fine arts gallery dealing in nineteenth century European paintings. The organization is housed in two galleries in the French Quarter in New Orleans, Louisiana, although its clientele is international, including museums, foundations and private collectors. The Intern acted in the role of researcher, responsible for the researching and documentation of the existing and newly arriving inventory at the Gallery. This report examines the methods by which the Intern approached her duties in regards to issues discussed within the Arts Administration curriculum. The writer will make parallels between the issues faced by the non-profit and for-profit arts sectors, as well as between contemporary and fine arts organizations.

Drawing inspiration from Dante Alighieri's Divine Comedy, this project seeks to incorporate the oxymetaphor, digital photography and photo manipulation into considerations of Heaven, Hell and Purgatory. By considering the potential of an earthly site of transition (the cemetery) in relation to Dante's divine spaces, these images consider certain contradictions existing between the cemetery as a manifestation of waiting, permanence, and decay, and its associations with temporality and transition. The cemetery is therefore an oxymoron. It suggests both a beginning and an end; growth and decay; a place of closure and a pace of transition. Although Heaven, Hell and Purgatory have distinct characteristics in these images, there are commonalities between their layered treatments and iconography that unify them as a whole.

Drawing inspiration from Dante Alighieri's Divine Comedy, this project seeks to incorporate the oxymetaphor, digital photography and photo manipulation into considerations of Heaven, Hell and Purgatory. By considering the potential of an earthly site of transition (the cemetery) in relation to Dante's divine spaces, these images consider certain contradictions existing between the cemetery as a manifestation of waiting, permanence, and decay, and its associations with temporality and transition. The cemetery is therefore an oxymoron. It suggests both a beginning and an end; growth and decay; a place of closure and a pace of transition. Although Heaven, Hell and Purgatory have distinct characteristics in these images, there are commonalities between their layered treatments and iconography that unify them as a whole.

Zugl.: Hamburg, Univ., Diss., 2005

Univ., Diss--Hamburg, 2005.

La réflexion est considérée comme un élément significatif de la pédagogie et de la pratique médicales sans qu’il n’existe de consensus sur sa définition ou sur sa modélisation. Comme la réflexion prend concurremment plusieurs sens, elle est difficile à opérationnaliser. Une définition et un modèle standard sont requis afin d’améliorer le développement d’applications pratiques de la réflexion. Dans ce mémoire, nous identifions, explorons et analysons thématiquement les conceptualisations les plus influentes de la réflexion, et développons de nouveaux modèle et définition. La réflexion est définie comme le processus de s’engager (le « soi » (S)) dans des interactions attentives, critiques, exploratoires et itératives (ACEI) avec ses pensées et ses actions (PA), leurs cadres conceptuels sous-jacents (CC), en visant à les changer et en examinant le changement lui-même (VC). Notre modèle conceptuel comprend les cinq composantes internes de la réflexion et les éléments extrinsèques qui l’influencent. / Although reflection is considered a significant component of medical education and practice, the literature does not provide a consensual definition or model for it. Because reflection has taken on multiple meanings, it remains difficult to operationalize. A standard definition and model are needed to improve the development of practical applications of reflection. In this master’s thesis, we identify, explore and thematically analyze the most influential conceptualizations of reflection, and develop a new theory-informed and unified definition and model of reflection. Reflection is defined as the process of engaging the self (S) in attentive, critical, exploratory and iterative (ACEI) interactions with one’s thoughts and actions (TA), and their underlying conceptual frame (CF), with a view to changing them and a view on the change itself (VC). Our conceptual model consists of the five defining core components, supplemented with the extrinsic elements that influence reflection.

This exegesis traces a path through the production of an animated work, and discusses the evolution of an individual production workflow that refigures the industrial animation process of prototyping. By incorporating spontaneity within the animation workflow, the creative output of the project focusses on the development of a series of non-narrative, process-driven temporal constructions that fuse form and process. The creative work occupies 75% of this Masters project, and the exegesis 25% (7500 Words)

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