...Since identifying Eagles as at least one of the artists of the 1812 Collection, I have discovered that his specific tour of the Lakes, the route he followed and the scenery conveyed in his images, deviated from the conventional tours in that Eagles was in search of what he regarded as a poetical landscape rather than a traditionally picturesque one. In other words, Eagles sought to capture more than an aesthetically pleasing scene as a picturesque image would, he endeavored to capture the soul of the scene and the 1812 Collection is evidence that Eagles practiced the artistic principles he so often espoused. As such, the 1812 Collection offers further implications for Eagles's body of work, his aesthetic, and his strong criticisms of the changes he witnessed in landscape art during his lifetime. In this essay, I therefore propose demonstrate not only how the 1812 Collection is in critical conversation with the picturesque tradition, but also how Eagles's sketches, like his writings and criticisms, expressed his own guiding aesthetic on discovering the poetry of nature instead of a strictly picturesque aesthetic. In doing so, I hope to restore Eagles's reputation as an artist and art critic as well as reveal the historical importance of the recently rediscovered 1812 Collection.

Charles Tomlinson Griffes becomes a remarkable figure in American music when one considers the musical influences which surrounded him. The first of these influences, and the one of longest tenure, was that of his piano teacher, a Miss Mary Selena Broughton. An eccentric woman and, considering the times, an extremely unorthodox teacher, she instructed Griffes in piano for twelve years. In addition to giving him thorough technical training and sound musicianship, she allowed his imagination free rein. This freedom of expression was to be the biggest factor in the next and last phase of his musical training - the four years of study in Germany. In the last decade of two of the 19th century and on into the first two of the 20th, Germany held the position as the foremost center for music education. That Griffes should choose to study there was only natural; that he should be able to throw off the powerful influences of Wagner and Strauss was, however, remarkable. For most of the pilgrims to Germany the effect was disastrous, as they were never able to free themselves from the german influences. Griffes was one of the fortunate few who, having been exposed to a rigorous and disciplined training in the groundwork of music, had the resilience to outgrow it. During his stay in Germany, under the tutelage of such an eminent man as Humperdinck (one of Griffes’ several teachers), he wrote music which was typical academic but which showed the progress of his craftsmanship. It seems almost as if he were biding his time until he could get back to Americana and away from the German influence, but appreciating all the while the excellent instruction that he was receiving. All his compositions were derivative in this period. He even used foreign language texts for his songs. Some of the German songs are worth some attention as they have been looked upon as being as good as those of “the masters of song”, Brahms and Strauss. Griffes assimilated their technique to a remarkable degree. One of the last of this German group, “Auf geheimem Waldespfade”, shows a definite trend toward Impressionism, which was then at its zenith. Strangely enough, Griffes’ work in the Impressionistic medium was a fairly independent parallel to that of Debussy and Ravel and the others in France, as he had had no instruction in it, nor had heard much of it in Germany. His study and use of Oriental scales and melodies contributed to the similarity which his music had with that of the Impressionists.

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La version intégrale de cette thèse est disponible uniquement pour consultation individuelle à la bibliothèque de musique de l'Université de Montréal (http://www.bib.umontreal.ca/MU). / 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. Cette évolution, les enjeux et les contours de l’œuvre musicale de Boulez ne pouvaient être envisagés par la seule étude des œuvres officiellement acceptées. Il était nécessaire d’étudier l’ensemble des compositions secondaires, achevées ou non, reconnues ou non, de même que l’ensemble des versions successives pour chaque œuvre ; cette démarche a donc nécessité la collecte et l’analyse de l’ensemble de ces sources. Depuis 1986, les archives de Boulez sont contractuellement destinées à la Fondation Paul Sacher de Bâle, cependant de nombreuses sources, esquisses, manuscrits et correspondances restent dispersés, voire perdus. C’est le cas notamment des œuvres de jeunesse, ainsi que des œuvres récentes dont les fonds n’ont pas encore été déposés à la Fondation. Cette thèse est avant toute chose une thèse d’analyse. Au regard des travaux déjà existants, nous avons choisi de restreindre notre corpus d’œuvres aux compositions des deux périodes 1945-1949, puis 1965-2008, à la fois extrêmes et représentatives de l’évolution esthétique et scripturaires de Boulez. En fonction de la disponibilité des sources, nous avons privilégié une approche poïétique inductive, pour reprendre l’idée de la tripartition, dans le cadre de la sémiologie musicale telle qu’élaborée par Jean Molino et Jean-Jacques Nattiez au milieu des années 1970, c’est-à-dire avec pour seul support la ou les partitions disponibles (Répons, Initiale, Incises et sur Incises), ou une approche poïétique externe, c'est-à-dire de reconstitution, à l’aide des esquisses, des processus compositionnels (œuvres de jeunesse, Dérive 2, Domaines, Dialogue de l’ombre double, Anthèmes, Anthèmes 2). 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. Nous espérons que notre travail contribuera à clarifier la construction progressive du langage de Boulez, ainsi que la perception de ses œuvres. / 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. Studying only the officially accepted works is not sufficient to understand this evolution, the issues and the outlines of Boulez’s music. It was necessary to study all the compositions of secondary importance - even if they were not finished or recognized - and all the successive versions of each work ; that’s why all these sources had to be collected and analyzed. It has been contractually intended since 1986 that the Paul Sacher Foundation in Basel should have Boulez’s archives, however many sources, sketches, manuscripts and mails are still scattered or lost. That is what happened to some early works and some recent works that have not been registered in the Foundation yet. This doctoral dissertation is above all a work of analysis. From the viewpoint of the works that have already been done, I chose to restrict my study to the compositions of two periods – 1945-1949 and then 1965-2008 – which are extreme and representative of the evolution of Boulez’s esthetic and composition. According to the sources’ availability, I favored an approach called “poïétique inductive” – to take up again the idea of “tripartition” – within the context of music semiology as it was elaborated by Jean Molino1 and Jean-Jacques Nattiez2 in the middle of the seventies, that is to say by studying only the available scores – Répons, Initiale, Incises and sur Incises- or an approach called “poïetique externe”, that is to say by reconstituting with sketches processes of composition (early works, Dérives 2, Domaines, Dialogue de l’ombre double, Anthèmes, Anthèmes 2). 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. I hope that this work will contribute to making clearer the gradual construction of Boulez’s language and the perception of his works.

Este trabalho procurou fazer uma reflexão sobre a prática pedagógica no ensino escolar de Geografia, focalizando as dificuldades enfrentadas pelo professor iniciante na transposição didática do saber universitário para o saber ensinado e na escolha das metodologias a serem utilizadas em sala de aula. Procuramos uma metodologia que auxiliasse nossos jovens a sistematizar e compreender o grande volume de informações a que temos hoje e correlacioná-las a sua própria realidade. Através da elaboração de croquis cartográficos pretendemos, pois, investigar o processo de desenvolvimento do raciocínio geográfico em nossos alunos de 3º ano do Ensino Médio, tendo por fim contribuir com a proposta metodológica de Cartografia no ensino de Geografia de Simielli (1996). Acreditamos que esse encaminhamento apropriado a uma abordagem em pesquisa-ação, valorizou uma participação mais ampla e ativa de nossos alunos e buscou a autonomia dos mesmos, proporcionando-lhes um aprendizado continuado. / The main purpose of this work was to reflect on the pedagogic methods used to teach Geography in schools. A special emphasis was given to discuss the difficulties faced by beginning teachers in the situation where they have to didactically transfer their academic knowledge to their students in a way that will permit it to be assimilated. We have also discussed how to choose the methodology to be applied in the classes. We have looked for a methodology that would help our children to systematize and understand a large amount of information, and to make it easily accessible and related to their own reality. Using the elaboration of cartographic sketches, we have intended to investigate the process of the development of geography thoughts in our third grade high school students, with the objective of using the methodological cartography proposed in the studies of geography from Simielli (1996).

Este trabalho trata das questões relativas ao ensino na Educação Infantil através da investigação das contribuições que os croquis de localização oferecem ao processo formativo das crianças pequenas. Busca nas teorias sócio-históricas os fundamentos para compreender a importância da mediação no aprendizado das crianças, defendendo que os croquis são importantes instrumentos no processo ensino-aprendizagem. Recorre à Geografia para compreender os conceitos essenciais, lugar e paisagem, representações e linguagem gráfica, discutindo a espacialização das crianças como processo que exige sistematização e planejamento. O Estudo identifica nas práticas pedagógicas a possibilidade de garantir os fundamentos para uma formação que aprimore as práticas socioespaciais na perspectiva de construção e fortalecimento da cidadania ativa. A Educação Infantil é compreendida na dimensão do direito, assegurado a toda criança. A ação educativa capaz de tratar das questões relativas ao Conhecimento de Mundo que se deve assegurar às crianças deve estar fundamentada na Ciência, no conhecimento filosófico, na Arte e na Ética. / This work deals with questions related to the infant education teaching through the investigation of the contributions that the sketches of the localization offer to the formative process of small children. It searches on social historic theories the basis to understand the importance of the mediation on childrens apprenticeship, defending that sketches are important tools on the teaching-apprenticeship process. It recurs to the geography to comprehend the essential concepts, place and landscape, representations and graphic language, discussing the spaciousness of the children as a process that demands systematization and planning. The Study identifies in the pedagogic practices the possibility to guarantee the principles for a formation that improves the social-spatial practices on the perspective of the construction and enforcement of the active citizenship. The infant education is understood on the dimension of the law, assured to all children. The educative action able to treat these matters related to the world knowledge that must be assured to children, it must be based upon science, on philosophic knowledge, on art and ethic.

Le dessin est la manière la plus courante de communiquer sur les formes.Ainsi, l'utilisation de l'esquisse comme outil dans le processus de modélisation de contenus 3D est une approche attrayante.Cependant, dans le monde des machines, les dessins sont encore difficiles à interpréter comme des représentations de formes 3D.Ce défi a été relevé par de nombreux travaux de recherche, car tirer parti du peu de connaissances que nous possédons sur la perception n’est pas anodin.Ma thèse se concentre sur les limites de ce qui peut être inféré à partir de dessins uniques de formes lisses sans aucune aide de l'utilisateur.Dans un premier temps, nous avons choisi une catégorie de forme, à savoir les animaux et autres créatures pour lesquels une connaissance préalable aide à résoudre le problème.Ensuite, nous avons proposé de généraliser certaines parties de la solution pour aborder le cas des formes organiques libres.Ce manuscrit présente donc les solutions respectives que nous avons développées.La première permet de déduire des modèles 3D plausibles d’animaux à partir d’une seule esquisse de vue latérale en utilisant des principes anatomiques pour interpréter les éléments du dessin et déduire des décalages de profondeur entre les éléments.La seconde est une approche qui consiste à décomposer les représentations de formes lisses avec des points de recouvrement non triviaux en un ensemble de silhouettes de parties structurelles ordonnées en profondeur, qui peuvent être utilisées à des fins d'édition et d'animation.Beaucoup d'idées connexes ont été explorées en parallèle, et celles présentées dans ce manuscrit me donnent confiance en l'avenir de ce domaine de recherche. / Drawing is the most common way to communicate about shapes.Thus, using sketching as a tool in the process of modeling 3D content is an attractive approach.However in the world of machines, drawings are still difficult to interpret as shape depictions.This has been the challenge tackled by many different research works since leveraging the little we know about perception is non trivial.My thesis focuses on pushing the limits of what can be inferred from single drawings of smooth shapes without any help from the user.In a first attempt we chose to select a category of shape namely animals and other creatures for which prior knowledge helps to solve the problem.Then we proposed to generalize parts of the solution to tackle the case of free form organic shapes.This manuscript thus presents the respective solutions we developed. The first one is able to infer plausible 3D models of animals from a single side-view sketch using anatomic principles to both interpret the drawing's elements and infer depth offsets between these elements.The second is an approach to decompose depictions of smooth shapes with non trivial cusp points into a set of structural parts' silhouettes ordered in depth, which can be used for editing and animation purposes.Many related ideas were explored on the way, and the ones presented in this manuscript leaves me confident about the future of this field of research.

Made available in DSpace on 2016-03-15T19:23:00Z (GMT). No. of bitstreams: 1 Marcos Bandeira de Oliveira.pdf: 12376514 bytes, checksum: 69a3b722396f63b9dbd5611b2f9d67b1 (MD5) Previous issue date: 2015-02-06 / Fundação Cearense de Apoio ao Desenvolvimento Cientifico e Tecnológico / The graphic records performed during the design process had major changes in their techniques, instruments and purposes after the appearance of digital tools. Studies on architectural design methodology make clear its complexity as well as the graphical representation mechanisms that assist and record these processes. Computer graphics has not eliminated the instruments and analogue techniques, but added up to them. Today there are a variety of graphical tools to support design process blending analog and digital resources. This diversity is beneficial, but for the efficient exploitation of its potential, requires technical, instrumental and conceptual knowledge that exceed the limits of Geometry, architectural drawing and computer graphics. It is observed in academic circles some deficiencies in the orientation of use of new features in addition to the separation between education / design practice and its relation to the reality of the project. Studies shows the relevance and importance of analog features in the design process as well as defend the coexistence between them and digital resources. The impact of the use of digital instruments simultaneously occurred in professional practice and in architecture schools and, within these, it is observed that the students develop their own procedures to explore this range of options. Aiming to give an overview of these students practice, this dissertation evaluated the analog production, from 2009 to 2014, observed in the discipline Trabalho Final de Graduação (TFG) at the University of Fortaleza in the moments of conceptual design and the presentation of projects. In order to that end, there was a first evaluation of the curricular grade that formed these students and then the drawings produced during professor's orientation and presentations of the TFGs. It was initially made a quantitative survey and a qualitative overview of all work that was deepened through five case studies. The evaluated material shows great attention given to specific drawings during the design process with emphasis on plants and perspectives. The drawings demonstrate technical deficiencies in the graphic execution and little relation to the constructed reality. Digital instruments help the analog designs. The contents of the drawing disciplines do not address this type of hybrid technique. Thus, it is revealed three basic techniques: analog, digital and hybrid. The collected data can help in didactical decisions of design disciplines / drawing, the actual TFG and the interrelation of them. As a result of this study, It is evident that the use of freehand drawing remains relevant in academic circles, but also that it can not be treated in a conservative manner or disconnected from the digital systems way. In addition, it was concluded that we must define and assume, within academic curriculum, a particular drawing for the architect considering all analog and digital technological possibilities / Os registros gráficos executados durante o projeto passaram por grandes mudanças em suas técnicas, instrumentos e finalidades depois do aparecimento dos meios digitais. Os estudos sobre metodologia projetual deixam clara a sua complexidade, assim como a dos mecanismos de representação gráfica, que auxiliam e registram esses processos. A computação gráfica não eliminou os instrumentos nem as técnicas analógicas, mas somou-se a elas. Hoje há considerável variedade de ferramentas gráficas para subsidiar a reflexão e o registro do projeto que misturam recursos analógicos e digitais. Essa diversidade é benéfica, mas, para a exploração eficiente das suas potencialidades, requer conhecimentos técnicos, instrumentais e conceituais que ultrapassam os limites da Geometria, do desenho técnico arquitetônico e da computação gráfica. Observam-se no meio acadêmico algumas deficiências na orientação do uso dos novos recursos, além da separação entre o ensino/prática do desenho e sua relação com a realidade do projeto. Os estudos comprovam a pertinência e importância dos recursos analógicos no projeto, além de defenderem a convivência entre eles e os recursos digitais. A repercussão do emprego dos instrumentos digitais ocorreu simultaneamente na prática profissional e nas escolas de Arquitetura e, dentro destas, observa-se que os discentes desenvolvem procedimentos próprios para explorar essa gama de opções. Com o objetivo de traçar um panorama dessas práticas discentes, esta dissertação avaliou a produção analógica, de 2009 e 2014, observada na disciplina Trabalho Final de Graduação (TFG) da Universidade de Fortaleza nos momentos de concepção e de apresentação dos projetos. Para tanto, primeiramente, foi avaliada a matriz curricular que formou esses alunos e, em seguida o material gráfico produzido nas orientações e apresentações dos TFGs. Para esse último, foram feitos, inicialmente, um levantamento quantitativo e uma análise geral qualitativa de todos os trabalhos, tendo sido esta aprofundada por meio de cinco estudos de caso. O material avaliado revela grande atenção dispensada a desenhos específicos durante o processo projetual, destacando-se as plantas e as perspectivas. Os desenhos demonstram deficiências técnicas na execução gráfica e pouca relação com a realidade construída. Constatam-se instrumentos digitais como auxiliares dos desenhos analógicos, mas também verifica-se que os conteúdos das disciplinas de desenho não tratam desse tipo de técnica híbrida. Dessa forma, revelam-se três tipos básicos de técnicas: analógica, digital e híbrida. Os dados explicitam pontos norteadores de decisões didáticas das disciplinas de projeto, de desenho, do próprio TFG e da inter-relação delas. Como resultado deste estudo, fica evidente que o uso do desenho à mão livre continua pertinente no meio acadêmico, mas também que ele não pode ser tratado de maneira conservadora ou atrelada a processos anteriores ao uso dos sistemas digitais. Além disso, conclui-se ser preciso definir e assumir, dentro dos currículos acadêmicos, um desenho específico para o arquiteto, levando em consideração todas as possibilidades tecnológicas, analógicas e digitais.

<p>Denna studie är en fallstudie av ett privat sjukvårdsföretag. Studien syftar till att undersöka hur olika gestaltningstekniker</p><p>samt gruppers sammansättning kan påverka diskussioner kring design och därmed fungera som strukturerande resurser för</p><p>samtalet. Studien vidgar begreppet prototyper till att hantera mer än de delar som behandlats i tidigare forskning: medium,</p><p>detaljrikedom och närhet till slutprodukt.</p><p>Datainsamling har skett vid sex fokusgruppstillfällen där tre olika grupper (inom olika delar av en och samma organisation:</p><p>användare hos kund, användare hos systemleverantören och systemutvecklare hos leverantören) har fört en diskussion kring</p><p>designen utifrån tre olika gestaltningstekniker (gränssnittsskisser, scenarios och dynamiska datorprototyper).</p><p>Diskussionerna har sedan analyserats i termer av domäner för interaktionsdesign och aspekter av IT-systemet i användning.</p><p>Studiens huvudsakliga slutsatser är att gestaltningstekniker påverkar vilka domäner och aspekter som diskuteras varför</p><p>designern kan välja gestaltningsteknik efter vad han eller hon vill få ut av diskussionen. Skisserna bedöms ge den mest</p><p>heltäckande diskussionen, medan scenarios fungerar bäst för dem som inte är teknikvana och tar då upp struktur och</p><p>funktion. Datorprototypen lämpar sig bäst för diskussion kring interaktion och presentation. Men gruppens sammansättning</p><p>påverkar diskussionen i högre utsträckning än gestaltningsteknikerna. Därför dras även slutsatsen att det är viktigt att</p><p>designern känner sin publik och anpassar valet av gestaltningsteknik efter målgruppen.</p> / <p>This thesis investigates how different prototyping techniques and compositions of groups can influence discussions about</p><p>design and therefore function as structuring resources for the discussion. This thesis widens the conception of prototypes to</p><p>include more than the issues that have been discussed in previous research: medium, wealth of details and closeness to the</p><p>final product.</p><p>Data has been collected through six focus groups where three different groups (within different parts of one organization;</p><p>users at client, users at system supplier, and systems developers at supplier) have discussed the design with the help of the</p><p>different prototyping techniques (sketches, scenarios and dynamic computer prototypes).</p><p>The discussions where analyzed in terms of domains for interaction design and different aspects of the system in use.</p><p>The main conclusions of this thesis are that prototyping techniques influence which domains and aspects are discussed.</p><p>Therefore the designer can choose prototyping technique depending on what he or she wants to discuss about the design.</p><p>The sketches provides the most complete discussion, while scenarios works best with those that are not knowledgeable</p><p>about IT-systems and then the discussion deals with structure and function. The computer prototype is best suited for</p><p>discussing interaction and presentation. But the composition of the group has more influence on the discussion than the</p><p>choice of prototyping technique. Therefore the conclusion is drawn that it is important that the designer knows his or her</p><p>audience and adjusts the choice of prototyping technique to the composition of the group.</p>