In fashion design, the designer strives for the development of ideas in view of significant visual goals. The process of specifying and developing ideas is a highly visual process. Based on what has been ‘seen’ as for example in a reference material or in explorations, designers define possible tracks to follow, decide which ideas to deepen or which ones to reject. Their activities can thus be described as a process of seeing. There is nothing novel about the importance of seeing as an act in the design process; on the contrary, seeing, is usually an intuitive act that any designer explicates throughout the process of shaping his/her vision. However, the systematisation of seeing in the design process in order to advance ways of working in the field of fashion design is still very much an area that is open for further research. In this thesis, possible ways of seeing are explored through experiments in different stages of the design process. Based on an image serving as a point of departure, seen elements were derived and put in relation to a body in a two-dimensional photographic sketching stage, in accordance with different ideas of dress. Selected ideas were then further elaborated and explored in terms of their design possibilities. The results of the experiments are propositions of design ideas that have been ‘seen’ in a single sketch or a series of sketches. The contribution of this licentiate thesis are: 1) A thorough mapping of two design stages (point of departure and two-dimensional sketching stage), and how they provide a deeper understanding of the design process, leading to 2) an improved sensibility with regard to design possibilities, their value and developments, and finally 3) the establishing of a methodology with which to discern the composition of a visual language/vision in fashion design based on ‘seeing’. The act of seeing is presented as the fundamental tool of designing for shaping a vision. By delving into the systematisation of the notion of seeing in a fashion design process, a methodology of seeing is introduced, which aims to enhance the possible ways of visualisation when designing.

Page 193 is included twice. Numbered the same, but are different pages. / Although visual illusions have been used extensively to explore the mechanisms subserving perception and action, controversy exists regarding the extent to which illusions may differentially affect the perceptual and motor systems. In part, this is because it is often difficult to accurately assess the perceptual influence of illusory stimuli since participants are usually asked only to report binary size decisions (bigger or smaller) of an illusory stimulus relative to a control figure. Questions of relative size or the direction of misperception remain unanswered. In this thesis, 10 experiments, comprising eight separate studies, were conducted to address these issues. In Experiment 1, a software tool was developed that allowed participants to size-match a target to a Control figure (Experiment 1a), as well as both the Large (Experiment 1b) and Small Annuli (Experiment 1c) Ebbinghaus Illusion stimuli. These experiments provided an accurate percentage of misperception score when each of the three conditions was presented in isolation. Results from Experiment 2, however, suggest that when each of the three conditions are presented in a random and repeated stimulus array, a degree of perceptual adaptation occurs in which illusory effects are biased in the direction of the large annuli stimulus. Experiments 3-8 provided evidence to suggest that the degree of motor involvement (Experiment 3), number of illusory stimuli present (Experiments 4 and 5), direction of attention (Experiment 6) and visual field laterality (Experiments 7 and 8) have minimal influence on the adaptation effects observed in Experiment 2. / Thesis / Master of Science (MSc)

This thesis begins as a study for an observatory and ends as a place to simply look upward. Architecture is explored through questions of model and projection. These questions become more and more discernable as the model is built and photographed. The model is an analogue to a potential building. The drawings reveal the projective nature of architectural form. The photographs of the model capture surfaces as elements of architecture. At this point, the work is free to pose its own questions. / Master of Architecture

The goal of the thesis is creating simple software to modify entry data defected by atmospheric seeing and provide an output image, which is as much close to reality as possible. Another output is a group of images illustrating the move of every input image due to the average image of them.

This thesis explores whether environmental justice can attenuate the burdens attributed to the operation of the E.B. Campbell Dam experienced by downstream Indigenous communities in the Saskatchewan River Delta. Environmental justice for Indigenous people who are affected by dam management is important for three reasons. First, Indigenous people often experience environmental burdens of dam management disproportionately. Second, Indigenous people are often excluded from dam decision-making. Third, when Indigenous people are included in dam decision-making, their rights and values are sometimes misrecognized within decision-making processes. While exploring environmental justice for Indigenous people in the context of dam management, this thesis contributes to a recommendation that empirical studies of environmental justice should describe the underlying causes of environmental injustice. This thesis contributes to this recommendation by documenting how power relations challenge environmental justice for Indigenous people in dam decision-making. A place-based, interdisciplinary methodology was taken to clarify an environmental justice pathway for downstream Indigenous communities in the Saskatchewan River Delta. This methodology involved analyses of hydrometric data, interview data and legal and policy documents. The findings of this thesis include that Indigenous people, through their meaningful participation in dam decision-making, could help government representatives recognize the environmental burdens of dam management. However, imbalances in power between Indigenous people and government representatives could constrain Indigenous people’s meaningful participation. The implication of these findings is that if power relations are accounted for in decision-making, the meaningful participation of Indigenous people can facilitate the recognition and remediation of environmental burdens attributed to dam management.

Keywords Drama in education, Visual impairment, Multiple impairment, Mental disability, Method, Technique, Lesson, Methodological material, Integration Abstract The thesis deals with the possibilities of using methods and techniques of Drama in Education with visually impaired children and examines the possibilities of such work with children with a combination of visual impairments and mental disability. The theoretical part is focused on the classification and characterization of visual impairment and its impact on mental and physical development of preschool aged children. It also describes the basic principles of Drama in Education, Drama in Education as an educational field, as it is integrated into framework educational programme for special elementary school and specifies the conditions under which is possible to work with visually impaired children using methods and techniques of Drama in Education, which are also individually analysed. Practical part contains ten lessons of Drama in Education with notes that reflect their progress. For the purpose of thesis the lessons were realized in a group of children with visual and multiple impairments, which is also in thesis described.

Cette thèse interroge les relations entre l’architecture et l’horizon et montre qu’elles engagent la notion philosophique d’habiter. Au travers du prisme de l’horizon, l’objectif est de repenser les limites des pratiques des architectes, de saisir leur sens et de mesurer la responsabilité des professionnels qui participent à la transformation des milieux habitables. Au tournant de la modernité, l’étude de l’horizon chez Le Corbusier, Claude Parent, Henri Gaudin, Álvaro Siza, Pierre-Louis Faloci et Marc Barani, éclaire des évolutions dans les modes de voir et de penser le monde, de la première moitié du 20e siècle à nos jours. Des récits d’expériences vécues au sein d’architectures construites sont confrontés à des entretiens menés avec les architectes ainsi qu’à l’analyse de leurs écrits, dessins, plans et/ou archives. Tour à tour, l’horizon, l’architecture et l’habiter sont mis à l’épreuve. Au premier abord, l’horizon évoque la limite visuelle lointaine du paysage. Mis à l’épreuve de l’architecture, il se révèle aussi comme limite spatio-temporelle et corporelle, qui concerne la relation sensible et existentielle entre l’homme, l’architecture et le paysage. À l’épreuve de l’horizon, l’analyse des pratiques et des expériences des architectes démontre une pluralité de modes de dire et de faire. Comme prisme de lecture, l’horizon traduit le sens des actions et des pensées de ces professionnels. Au travers de leurs invitations à « habiter l’horizon », les architectes témoignent d’un changement de paradigme à l’œuvre depuis Le Corbusier. L’ouverture et le rythme entre l’architecture, l’homme et l’horizon s’imposent finalement comme les conditions d’un habiter possible. / This thesis examines the relationships between architecture and horizon, and show that they are committed with the philosophical notion of dwelling. Through the lens of horizon, the purpose is to grasp architect’s practices, to rethink their limits and to measure the responsibility of the professionals who are involved in the transformation of places where people can live. At the turn of modernity, the study of horizon by Le Corbusier, Claude Parent, Henri Gaudin, Álvaro Siza, Pierre-Louis Faloci et Marc Barani, sheds light on changes of ways of seeing and thinking the world, from the first half of the 20th century to the present day. Accounts of experiences within built architectures face interviews conducted with architects and the analysis of their written materials, drawings, blueprints and, or, records. Horizon, architecture and the place we live in, in turn, are tested. At first sight, the horizon calls to mind the far visual boundary of the landscape. Put to the test of architecture, it also proves to be a physical spatial and temporal boundary which concerns the sensitive and existential relationship between humans, architecture and landscape. Put to the test of horizon, the analysis of the architects’ practices and experiences show a plurality of ways of saying and doing. As a reading prism, the horizon expresses the sense of the actions and the thought of these professionals. Through their propositions to “dwelling the horizon”, architects reveal a paradigm shift operating since Le Corbusier. The openness and the rhythm between architecture, human and horizon turn out to be the conditions of a dwelling possibility.

This thesis examines the relation between philosopher Ludwig Wittgenstein’s 1940s writings on seeing and seeing aspects and Gestalt psychologist Wolfgang Köhler’s theory of perception as set out in his Gestalt Psychology (1929). I argue that much of the existing literature on the Wittgenstein-Köhler relation distorts Köhler’s ideas and thus also Wittgenstein’s engagement with Köhler’s ideas. This double distortion underrates Köhler’s insights, misconstrues Wittgenstein’s complaints against Köhler, and masks points of contact between the two concerning the nature and description of human perceptual experience. In my view, Wittgenstein sympathizes with Köhler’s call to reflect on basic psychological categories such as “experience”, his respect for the “naïve” experience of the layperson, his method of “rediscovering” pervasive features of experience that escape our notice, and his efforts to identify intellectual prejudices that stymie inquiry. But a warning emerges from Wittgenstein’s discussions of seeing and seeing aspects: It is especially difficult to command a clear view of 'seeing' and its interrelations with other everyday, psychological concepts. I argue that Wittgenstein’s far-reaching criticism of Köhler is that the latter's account of visual “organization” overextends an analogy between seeing and seeing aspects and pushes aside other justifiable comparisons, for example between seeing and thinking and seeing and imagining. A consequence of Wittgenstein's criticism is that Kohler falls short of his aim to depict faithfully naïve visual experience. Moreover, despite Kohler's commitment to battling prejudices, the latter's emphasis on similarities between seeing and seeing aspects to the exclusion of their differences is a form of intellectual prejudice. For Wittgenstein various comparisons are justifiable by appeal to the interrelations between ‘seeing’ and other psychological concepts. A perspicuous view of the concept 'seeing' involves steady appreciation of the multitude of justifiable, criss-crossing comparisons. So although Wittgenstein does not deny Köhler’s claim that organization is a feature of visual experience rather than thinking, he does not unqualifiedly endorse it either. We have conceptual grounds for various ways of speaking about our experiences of aspects.

This thesis paper gives the reader the opportunity to glimpse the dramatic artistic changes that took place in my work. It will provide insights into my development as an artist and my experiences in graduate school. I will share how the process of making art became my main interest and how art changed me spiritually, mentally, physically, and personally.

This thesis examines the relation between philosopher Ludwig Wittgenstein’s 1940s writings on seeing and seeing aspects and Gestalt psychologist Wolfgang Köhler’s theory of perception as set out in his Gestalt Psychology (1929). I argue that much of the existing literature on the Wittgenstein-Köhler relation distorts Köhler’s ideas and thus also Wittgenstein’s engagement with Köhler’s ideas. This double distortion underrates Köhler’s insights, misconstrues Wittgenstein’s complaints against Köhler, and masks points of contact between the two concerning the nature and description of human perceptual experience. In my view, Wittgenstein sympathizes with Köhler’s call to reflect on basic psychological categories such as “experience”, his respect for the “naïve” experience of the layperson, his method of “rediscovering” pervasive features of experience that escape our notice, and his efforts to identify intellectual prejudices that stymie inquiry. But a warning emerges from Wittgenstein’s discussions of seeing and seeing aspects: It is especially difficult to command a clear view of 'seeing' and its interrelations with other everyday, psychological concepts. I argue that Wittgenstein’s far-reaching criticism of Köhler is that the latter's account of visual “organization” overextends an analogy between seeing and seeing aspects and pushes aside other justifiable comparisons, for example between seeing and thinking and seeing and imagining. A consequence of Wittgenstein's criticism is that Kohler falls short of his aim to depict faithfully naïve visual experience. Moreover, despite Kohler's commitment to battling prejudices, the latter's emphasis on similarities between seeing and seeing aspects to the exclusion of their differences is a form of intellectual prejudice. For Wittgenstein various comparisons are justifiable by appeal to the interrelations between ‘seeing’ and other psychological concepts. A perspicuous view of the concept 'seeing' involves steady appreciation of the multitude of justifiable, criss-crossing comparisons. So although Wittgenstein does not deny Köhler’s claim that organization is a feature of visual experience rather than thinking, he does not unqualifiedly endorse it either. We have conceptual grounds for various ways of speaking about our experiences of aspects.