Projektets mål är att aktivisera området kring Høvik kirke i Norge. Utgångspunkten är att förbättra och vidareutveckla existerande kvaliteter på kyrkotomten, samt att utgå ifrån dessa i skapandet av nya element. Projektet syftar till att omskapa kyrkohöjden till en trevlig plats att vara på, för kyrkans besökare såväl som för andra. Viktiga fokusområden är kyrkohöjdens roll som lokalt kulturcentrum, kyrkobyggnaden som lokal identitetsmarkör och landmärke, och historiska sammanhang i närområdet. Projektet har tre huvudkomponenter: park, församlingshem, och en ny tillbyggnad. Kyrkohöjden är i dag något av en icke-plats. Den nya parken blir övergångszon mellan kyrkan, församlingshemmet och omgivningarna i övrig. Som ett av mycket få publika gröntstråk blir den en naturlig plats att vistas på för ortens invånare. Nya gångvägar vill också bringa många förbi den vackra kyrkobyggnaden. Omformningen av församlingshemmet tar hänsyn till församlingens behov och önskningar. Bottenvåningen fylls av publika funktioner som bibliotek och café, och fasaden får en mer tillgänglig och inviterande karaktär. Tillbyggnaden er projektets syntes, och bidrar till att knyta ihop parken och den existerande byggnaden. Platsens roll som kulturcentrum förstärks också genom att tillbyggnaden genom sin funktion möjliggör ökade kulturella aktiviteter. / The project focuses on developing the site around Høvik church, near Oslo in Norway, into a hub of local culture. The main strategy has been to improve and develop the existing qualities and connections of the site, and to use these as points of departure for the creation of new elements. The project has three main components. Firstly, the development of a park on the hill, creating a public green space to be enjoyed both by church goers and others. Secondly, renovating and improving the existing parish building (built 1971), based on the needs and wishes of the congregation. Finally, a small addition, which connects both to the park and the existing building, taking inspiration from and adding qualities to both. Themes addressed in the research and development are the church as a landmark and focal point for local identity, the connections to the history and development of the area, and the role of the church in the local society.

Le cabaret de l’Écluse est une petite salle de spectacles, ouverte entre 1951 et 1974 au 15, quai des Grands Augustins à Paris, et dont la particularité est de programmer chaque soir des numéros variés — chant, sketch comique, poésie récitée, marionnettes, mime et projection de dessins. Au fil des vingt ans d’existence de ce cabaret, s’y produisent des artistes aussi divers que Barbara, Raymond Devos, Marcel Marceau, Yves Joly, Philippe Noiret et Jean-Pierre Darras ou Cora Vaucaire. À rebours de l'éclectisme déroutant du spectacle qu'il accueille, c'est en tant que lieu que le cabaret de l'Écluse semble le mieux « donner prises », construisant son identité à partir d'une localisation parisienne qui l'insère dans un paysage urbain, social et culturel soutenu par une tradition historique complexe. Il fait ainsi partie des cabarets dits « rive gauche », qui fleurissent près de la Seine après la Seconde Guerre mondiale et affichent spatialement leur refus du divertissement commercial qu’offrent par ailleurs les « boîtes » plus luxueuses de la rive droite. Cette lecture déterminée de l’espace qui fait du cabaret un mot-valeur doit être comprise dans une histoire plus longue. Se construit en effet depuis le XIXe siècle, loin des premières représentations du lieu, d’abord attaché à une inquiétude sociale, l’image du cabaret comme un espace refuge où la poésie trouverait à s’épanouir contre l’affirmation croissante d’une culture industrielle et commerciale.En dépit d’un tel patrimoine axiologique, le cabaret de l’Écluse présente une réalité plus métissée. S’il rend hommage à des modèles littéraires prestigieux, comme le Chat Noir ou le Lapin Agile, dont il contribue à prolonger le mythe, il intègre pourtant, pour chacun de ses numéros, les apports du café-concert, du music-hall et du cinéma — autant de manifestations associées à une culture du divertissement souvent bannie du champ littéraire. Cette hétérogénéité est soulignée par la formule même du spectacle, qui érige la variété en principe de composition. À la diversité des modes d’expression convoqués répond ainsi le caractère composite de leurs héritages. L’Écluse apparaît donc comme un objet pluriel qui exige, pour être pensé, de fonder de nouvelles catégories d’analyse. C’est précisément au prisme de la variété, envisagée comme un véritable outil méthodologique aux prolongements herméneutiques et éthiques féconds, que nous l’étudierons.Irréductible aux déterminations axiologiques, le cabaret de l'Écluse fait vaciller la stabilité de son ancrage géographique, et nous oblige à repenser les territoires et prérogatives du littéraire, qu'il n'effleure, par le biais poétique, que pour mieux le sidérer. Quelle place accorder à ce lieu rebelle qui prend de cours nos critères d'analyse traditionnels et rend illisible le paysage artistique et culturel qu'explorent les études littéraires ? À force d'écarts et de détours, le lieu qui s'imposait à nous par sa visibilité évidente ne risque-t-il pas de perdre toute consistance ? L’Écluse parviendrait à demeurer — telle est notre hypothèse — en transformant le lieu géographique et social du cabaret pris dans les mailles d'un réseau et d'un champ, dans les filets de déterminations historiques, en un espace poétique délié. Lieu traversé, habité de propositions spectaculaires variées, il fonderait à partir de leur mise en présence cet espace poétique, que nous nous proposerons de définir non comme une certaine mise en forme du texte mais comme un réseau d’échos, tissés d’une prestation à l’autre. Cette « manœuvre foudroyante de rapports » déplace la production du sens du plain-chant à ses résonances. / L’Écluse was a small performance hall which presented mixed shows every evening between 1951 and 1974 : songs, shorts comedy sketches, recitations of poems, puppet shows, mimes and projected drawings. Many performers worked at L’Écluse. Some became famous, suche as Barbara, Raymond Devos, Marc Marceau, Yves Joly, Philippe Noiret and Cora Vaucaire. Despite the confusing eclectism of the cabaret shows, the place itself seems to offer a stable way to consider the subject. Indeed, L’Écluse built itself through its localisation in Paris, situated in an urban, social and cultural landscape shaped by a long and historical tradition. It was part of these « cabarets rive-gauche » that bloomed in Paris after the Second World War, pretending to refuse every form of commercial entertainment usually proposed to tourists by luxurious night-clubs on the right bank of the Seine river. This emblematic partition of the French capital between a right and a left bank resulted from a long history. Since the end of the XIXth century, cabarets were indeed considered as places of arts, where poetry could blossom far from a besides growing industrial and commercial culture. However, l’Écluse’s identity was not as clear as it seemed. The cabaret payed tributes to its prestigious literary precursors such as Le Chat Noir and Le Lapin Agile, but also to café-concerts, music-halls and popular movies, that are frequently left out of the literary field. This complete heterogeneity appeared in its shows themselves, shaped by various artistic expressions. L’Écluse was thus ruled by variety. It was therefore a complex object that requires specific methods to be considered. It is precisely through the prism of variety, regarded as a fruitful methodological analysis tool, that we intent to study it. With its mixed shows, L’Écluse cannot be sorted into a « black-or-white » category. It encourages us to re-think what belongs to literature or not. Where can such an unclassifiable place, that catches us unawares and strikes down our usual analysis categories, stand in literary studies ? Accordingly, we postulate that L’Écluse converted its place, defined by historical, geographical and social determinations, into a creative poetic space, shaped by the coexistence of various artistic expressions and the echoes that appeared between each of them and not by the pretended quality of its acts. The meaning of the shows was thus not provided by what was clearly said : it came from what remained unformulated.

Beethoven's complex manipulation of formal structures, especially his tendency to build important connections and transformative continuities between non-adjacent sections of musical works, may be seen to function as an attempt to control and sometimes to distort the listener's perception of both the narrative process of musical directionality, as well as the subjective interpretation of time itself. Temporal distortion often lies at the heart of Beethoven's complex contrapuntal language, demonstrated equally through the composer's often enigmatic disruption of phrase-periodic gestures, as well as by occasional instances of overtly incongruous temporal shifts. The "Krakow" collection of compositional sketches for Beethoven's String Quartet in E-Flat, Op. 127, provides a number of instances of "non-linear" or "multi-linear" musical continuity. The term "Krakow" sketches, when referenced in this dissertation, specifically designates the group of Beethoven manuscripts possessed by the Biblioteka Jagiellońska in Krakow, Poland, but which formerly were held by the Royal Library in Berlin. Structural voice-leading analyses are provided for selected portions of the "Krakow" collection; these analyses are then compared to voice-leading graphs and analytical reductions of the corresponding material from Beethoven's published versions of the same musical passages. In some cases the sketches supply almost complete texts, for which critical transcriptions are included as extended examples within the dissertation. The primary analytical technique applied to both compositional sketches as well as to complete musical texts derives from Heinrich Schenker's theory of structural voice-leading and graphical reduction. An important method of critical assessment, from which a number of theoretical arguments are developed, is the contention that Beethoven's contrapuntal language, at least in regard to the op. 127 String Quartet, relies heavily upon a temporal distortion of both form and phrase-periodic gestures, requiring the listener to actively re-construct the continuity of Beethoven's subjective formal archetypes.

This dissertation explores the creative process in large-scale jazz ensemble works that are programmatic in depicting geographical locations. This is achieved through analyses of Gil Evans's Sketches of Spain, Chuck Owen's River Runs: A Concerto for Jazz Guitar, Saxophone, & Orchestra, and Aaron Hedenstrom's Sketches of Minnesota. Each work is examined using five analytical categories: orchestration, large-scale form, harmonic/melodic development, programmatic framework, and use of featured soloists. The analyses draw from musical scores, interviews, biographies, recordings, and articles to reveal more about each composer's artistic intentions. This study contributes to the broader knowledge of large-ensemble jazz works and programmatic jazz works. This research meets the need for more critical analyses of important jazz ensemble works relevant to composers, arrangers, and scholars.

My personal life experiences are reflected in my art. I use symbolic and expressive marks in developing my abstract imagery, which acts as a visual language. The combining of my past and current art work, fused together, has become what I call a creative matrix. I see my images as choreographed compositions using a mixed media approach. The open-ended interpretation of my art have expanded the never ending possibilities of creation.

L’œuvre musicale de Pierre Boulez est l’une des œuvres majeures de la seconde moitié du vingtième siècle. Celle-ci a évolué entre 1945 et 2008 conjointement avec les écrits de Boulez, dans lesquels sa réflexion traite, successivement, les différents aspects de son langage : la théorie entre 1948 et 1963, puis l’esthétique entre 1963 et 1995.Le premier livre de cette thèse traite des évolutions esthétiques de Boulez. Les deux analyses proposées dans le second livre, consacrées aux deux groupes d’œuvres Domaines/Dialogue de l’ombre double et Anthèmes/Anthèmes 2, ont pour objectif de démontrer la complexité toujours présente ainsi que la rigueur de la démarche compositionnelle de Boulez à la lumière des esquisses, nonobstant une simplicité apparente des éléments constitutifs. / Pierre Boulez’s musical compositions are one of the most important compositions in the second half of the twentieth century. They moved a lot between 1945 and 2008 together with his written works, in which his thought deals successively with the different aspects of his language : the theory between 1948 and 1963, then the esthetics between 1963 and 1995.The first part of this doctoral dissertation deals with Boulez’s esthetic evolutions. The two analyses in the second part – devoted to Domaines/Dialogue de l’ombre double and Anthèmes/Anthèmes 2 – aim at demonstrating in the light of the sketches the complexity and the rigour of Boulez’s reasoning when he composes, although the constituents seem apparently simple.

In this report, we initiate study on understanding a theoretical model for distributed computing called Congested Clique. This report presents constant-time and near-constant-time distributed algorithms for a variety of problems in the Congested Clique model. We start by showing how to compute a 3-ruling set in expected O(log log log n) rounds and using this, we obtain a constant-approximation to metric facility location, also in expected O(log log log n) rounds. In addition, assuming an input metric space of constant doubling dimension, we obtain constant-round algorithms to compute maximal independent set on distance-threshold graphs and constant-factor approximation to the metric facility location problem. These results significantly improve on the running time of the fastest known algorithms for these problems in the Congested Clique setting. Then, we study two fundamental graph problems, Graph Connectivity (GC) and Minimum Spanning Tree (MST), in the Congested Clique model, and present several new bounds on the time and message complexities of randomized algorithms for these problems. No non-trivial (i.e., super-constant) time lower bounds are known for either of the aforementioned problems; in particular, an important open question is whether or not constant-round algorithms exist for these problems. We make progress toward answering this question by presenting randomized Monte Carlo algorithms for both problems that run in O(log log log n) rounds (where n is the size of the clique). In addition, assuming an input metric space of constant doubling dimension, we obtain constant-round algorithm the MST problem. Our results improve by an exponential factor on the long-standing (deterministic) time bound of O(log log n) rounds for these problems due to Lotker et al. (SICOMP 2005). Our algorithms make use of several algorithmic tools including graph sketching, random sampling, and fast sorting. Thus far there has been little work on understanding the message complexity of problems in the Congested Clique. In this report, we initiate a study on the message complexity of Congested Clique algorithms. We study two graph problems, Graph Connectivity (GC) and Minimum Spanning Tree (MST), in the Congested Clique model, focusing on the design of fast algorithms with low message complexity. Our motivation comes from recently established connections between the Congested Clique model and models of large-scale distributed computing such as MapReduce (Hegeman et al., SIROCCO 2014) and the “big data” model (Klauck et al., SODA 2015). For these connections to be fruitful, Congested Clique algorithms not only need to be fast, they also need to have low message complexity. While the aforementioned algorithms are fast, they have an Ω(n2) message complexity, which makes them impractical in the context of the MapReduce and “big data” models. This motivates our goal of achieving low message complexity, without sacrificing the speed of the algorithm. We start with the simpler GC problem and show that it can be solved in O(log log log n) rounds using only O(n poly log n) messages. Then we derive subroutines to aid our earlier MST algorithm to run in O(log log log n) rounds using O(m poly log n) messages on an m-edge input graph. Then, we present an algorithm running in O(log* n) rounds, with message complexity O (sqrt(m · n)) and then build on this algorithm to derive a family of algorithms, containing for any ε, 0 < ε ≤ 1, an algorithm running in O(log*n/ε) rounds, using O(n^(1+ε/ε)) messages. Setting ε = log log n/ log n leads to the first sub-logarithmic round Congested Clique MST algorithm that uses only O (n) messages. Our results are a step toward understanding the power of randomization in the Congested Clique with respect to both time and message complexity.

Thesis (Ph. D.)--University of Texas at Austin, 2008. / Vita. Includes bibliographical references.

In many fields, there is a need for quick analysis of data. As the number of devices connected to the Internet grows, so does the amounts of data generated. The traditional way of analyzing large amounts of data has been by using batch processing, where the already collected data is pro-cessed. This process is time consuming, resulting in another trend emerg-ing: stream processing. Stream processing is when data is processed and stored as it arrives. Because of the velocity, volume and variations in data. Stream processing is best carried out in the main memory, and means processing and storing data as it arrives, which makes it a big challenge. This thesis focuses on developing a framework for the processing and storing of streaming temporal data enabling the data to be analyzed in real time. For this purpose, a server application was created consisting of approximate in-memory data synopsizes, called sketches, to process and store the input data. Furthermore, a client web application was created to query and analyze the data. The results show that the framework can sup-port simple aggregate queries with constant query time regardless to the volume of data. Also, it can process data 6.8 times faster than a traditional database system. All this implies that the system is scalable, at the same time it with a query error vs. memory trade-off. For a distribution of ~3000000 unique items it was concluded that the framework can provide very accurate answers, with an error rate less than 1.1%, for the trendiest data using about 100 times less space than the actual size of the data set.

Orientador: Wilson Florio / Dissertação (mestrado) - Universidade Estsadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-21T06:54:31Z (GMT). No. of bitstreams: 1 Mateus_RafaelPeres_M.pdf: 43958088 bytes, checksum: b8236ad988604ecfb52a65ed695c932a (MD5) Previous issue date: 2012 / Resumo: Até recentemente boa parte do entendimento sobre a criatividade foi realizada a partir do espectro da inspiração. Por meio desse pensamento, todo e qualquer projeto de arquitetura que fosse digno de relevância seria visto como o produto do "talento nato" do arquiteto. Entretanto, nos últimos sessenta anos, pesquisas que investigam os processos cognitivos possibilitaram um novo entendimento de como se dá o processo de criação. Nesse contexto, a psicologia da cognição tem auxiliado a compreensão das ações cognitivas realizadas durante o processo de concepção de projeto, e também o papel que os meios de representação possuem na materialização de idéias e na aquisição de conhecimentos. Paralelamente, estudos recentes têm apontado a importância dos croquis realizados pelos arquitetos no momento em que concebem suas propostas arquitetônicas. A partir desses pressupostos, duas questões se apresentam: de que maneira os croquis têm a capacidade de contribuir na formulação de hipóteses e soluções de projeto, e como eles se inserem na intricada rede de conexões existentes nas ações cognitivas durante o processo de criação? Evidentemente que muitas dessas conexões ocorrem no interior da mente dos arquitetos, o que dificulta sua identificação de maneira adequada. Contudo, importantes ações resultantes dos processos cognitivos podem ser analisadas a partir dos registros gráficos realizados durante o processo de projeto. Por meio de procedimentos claros, baseados em protocolos de análise, é possível identificar e refletir sobre a importância que os croquis de concepção possuem no desenvolvimento da expertise e da criatividade em arquitetura. Para tanto, foram selecionados seis arquitetos, com diferentes tempos de imersão profissional, para realizar um projeto de arquitetura. Eles foram monitorados em laboratório por meio de gravações em áudio e vídeo, e todo o material resultante foi digitalizado e pormenorizadamente analisado nesta pesquisa. Os resultados obtidos demonstram que os croquis de concepção catalisam ideias, potencializam a criatividade e corroboram sua importância como um meio eficaz para a solução do projeto. Portanto, esta pesquisa contribui para o debate sobre a criatividade e a prática de projeto em arquitetura, e os fatores que fundamentam a aquisição da expertise / Abstract: Until recently much of the understanding of creativity was performed from the spectrum of inspiration. Through this thinking, any architectural project that was worthy of relevance would be seen as the product of "talent" of the architect. However, in the last sixty years, researches investigating the cognitive processes enabled a new understanding of how the process of creation takes place. In this context, the psychology of cognition has aided the understanding of cognitive actions performed during the project design, and also the role that the ways of representation in the materialization of ideas and knowledge acquisition. In addition, recent studies have pointed out the importance of sketches made by the architects when they design their architectural proposals. From these assumptions, two questions up surge: how do sketches have the ability to contribute to the formulation of hypotheses and design solutions, and how do they fit into the intricate network of connections existing in the cognitive actions during the creation process? Of course, many of these connections occur within the minds of architects, which complicates their identification properly. However, important actions resulting from cognitive processes can be analyzed from the graphic depictions made during the design process. Through clear procedures, based in protocols of analysis, it is possible identifying and reflecting about the importance that design sketches have in the development of expertise and creativity in architecture. Therefore, six architects were selected, with different professional immersion time, to realize an architectural project. They were monitored in the laboratory through audio and video recordings, and all the resulting material was scanned and analyzed in detail in this research. The results show that the sketches catalyze ideas, enhance creativity and confirm its importance as an effective way for solving the project. Therefore, this research contributes to the debate on creativity and design practice in architecture, and the factors that underlie the acquisition of expertise / Mestrado / Artes Visuais / Mestre em Artes Visuais