Through my art process and material selection, I investigate how interior spaces long to accumulate memories and possessions. I am interested in encroaching floor to ceiling build-up of collected goods kept in the homes of individuals unable to discard or part with possessions. These individual’s daily movements through their space and their denial of the surrounding mass informs my work. My work is larger than human scale, made of multiple units, and dense; yet understated by the subtle use of color and repeated materials. When I make an installation it often begins with creating a wall or a floor that delineates itself from the actual architecture of a room. I procure discarded domestic fragments such as carpet, shingles, and blinds. I select one material for each project to emphasize excessive quantities. I seek out donated goods and trash piles, heaps on the edge of consumer waste. The sourcing of these materials is serendipitous. I elevate these mundane materials by taking them out of their original context. The cycle of regeneration moves from material to “art object” back to material again as the work is displayed and dispersed back into the cycle of waste. In this thesis I will discuss how through my process and materials, I investigate interior spaces where memory and possessions accumulate.

O objetivo desta tese é propor uma comparação das formas como o espaço e o tempo são elaborados em filmes das mais diversas inclinações, a fim de estabelecer alguns parâmetros do que seria a composição fílmica de maneira geral. A hipótese central é que uma análise comparada dessas formas possibilita organizar uma visão de conjunto do cinema: uma visão descritiva, não prescritiva; uma visão baseada nas próprias estratégias composicionais utilizadas pelos cineastas, mais do que em teorias externas. Para realizar essa investigação, será proposto um esquema em três partes que permite um diálogo com a bibliografia tradicional e que serve como referência para a análise dos filmes. / This thesis proposes a comparative study of the modes by which space and time are constituted in films of various dispositions, in order to establish the parameters of what would be film composition in a more general sense. The central hypothesis is that a comparative analysis of those forms enables us to organize a more unified point of view towards the films: a point of view which is descriptive, not prescritipve, and which is based on the strategies utilised by the filmmakers themselves, more than on preconceived theories. In order to advance this, we propose a three-part structure which serves as a reference to compare both theoretical writings and the films to be analyzed.

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Visual motion can be conveyed by a variety of information sources in the environment, and those types of information may be detected at various levels by different motion-perceiving mechanisms in the visual system. High-level visual information has been demonstrated to have 3rd order, or salience-based properties (Lu & Sperling, 1995). The perceptual system they describe that computes motion from these types of information shares several characteristics with Hock and colleagues' counterchange detection system, notably flexibility with respect to types of input from which motion can be computed, which comes at the cost of diminished processing speed. The mechanism of counterchange detection is well suited to processing visual features often present in environmental scenes, e.g., objects and surfaces, and may be a mechanism of 3rd order motion. Consistent with reported properties of 3rd order motion, the current experiments tested count erchange-, luminance-, and color-based motion stimuli with 3 objectives: to identify whether the 3 systems framework generalizes beyond the stimulus type with which it was defined, to test whether counterchange shares similarities with the 3rd order system with respect to dichoptic integration, and perception of isoluminant color-based motion, and to test subjectively objectless sources of motion-defining information (spreading luminance and hue) to see if they display properties of the 1st order system derived from sine wave gratings. Results indicate that counterchange-based stimuli displayed predicted properties of dichoptic integration, and perception at isoluminance, but putative 1st order (spreading) stimuli also displayed these properties. This may suggest that object-like surfaces, even when not directly the source of motion information, can contribute to computation of motion. Further, these results highlight the difficulty of generalizing from one theoretical framework to another, and specifically, of psychophysically testing high-level information while isolating contributions from low level information upon which high level visual stimuli are built. / Includes bibliography. / Dissertation (Ph.D.)--Florida Atlantic University, 2015. / FAU Electronic Theses and Dissertations Collection

Orientadora: Rosane Gazolla Alves Feitosa / Banca: Suely Fadul Villibor Flory / Banca: Marcia Gomes Marques / Banca: Wagner Corsino Enedino / Banca: Gabriela Kvacek Betella / Resumo: O presente trabalho tem como objetivo central compreender a configuração do espaço e do tempo nas narrativas audiovisuais de O primo Basílio, que optam por assinalar o registro de fidelidade à obra matriz escrita por Eça de Queirós. A pergunta principal refere-se à: em que medida ocorre a reconfiguração do espaço e do tempo da referida obra em outros suportes? As adaptações concentram-se no campo do audiovisual, sendo a primeira produzida para televisão em formato de minissérie em 1988, e a segunda em formato fílmico concluído e lançado em 2007. Ambas têm como diretor, Daniel Filho. O referencial teórico e a metodologia adotados nesta pesquisa permitiram assinalar para as estratégias lançadas entre diferentes mídias (cinema, televisão, literatura) no tocante às relações entre espaço e tempo ficcionais nas obras de O primo Basílio. As bases conceituais que nortearam esta investigação estão fundamentadas a partir de apontamentos oriundos da teoria literária, da comunicação e do cinema, representadas por Benedito Nunes (1988;1992), Paul Ricouer (1994), Roberto DaMatta (1997), Michel de Certeau (1998), Mikhail Bakthin (1997), Vanoye e Goliot-Leté (2011), Julie Sanders (2006), Linda Hutcheon (2013) e Robert Stam (2006; 2008). Como recorte, analisaremos os ambientes internos e externos da casa burguesa, a rua, o espaço ocupado pelo teatro na narrativa, os pré e pós créditos e abertura das produções audiovisuais, assim como a função cronotópica dos meios de comunicação: jornal, revista e televisão. Esta leitura se fez na tentativa de perceber as relações espaciotemporais no audiovisual como elementos simbólicos e plurissignificativos que permitiram para ambas as adaptações o diálogo com o romance de Eça e suas questões histórico-sociais-culturais do final do século XIX português, ambientado pela produção em minissérie, e sua releitura para o Brasil... / Abstract: This study aimed at understanding the space and time settings in the audiovisual narratives of O primo Basílio, who choose to mark the loyalty registration with the original work written by Eça de Queiroz. The main question refers to: in what extent is the reconfiguration of space and time of the original work in other media? The adaptations are concentrated in the audiovisual field, being the first produced for miniseries in Brazilian TV in 1988, and the second in film format completed and released in 2007. Both have Daniel Filho as diretor, the theoretical reference and the methodology adopted in this research allowed to point out the strategies launched between different media (film, television, literature) as regards the relationship between space and time in the fictional works of O primo Basílio. The conceptual foundations that guided this research are based from notes coming from literary, communication and cinema theories, represented by Benedito Nunes (1988; 1992), Paul Ricouer (1994), Roberto DaMatta (1997), Michel de Certeau (1998), Mikhail Bakthin (1997), Vanoye e Goliot-Leté (1994), Julie Sanders (2006), Linda Hutcheon (2013) and Robert Stam (2008). As a cut, we'll analyze the internal and external environments of the bourgeois house, the street, the space occupied by the theater in the narrative, the pre and post credits and opening of the audiovisual productions, as well as chronotopic role of the media: newspapers, magazines and television. This reading was done in an attempt to understand the space and time relations in the film and in the tv show as symbolic and many meanings which enabled them to both adaptations dialogue with the novel of Eça and its historical-social-cultural issues of the late portuguese nineteenth century, set for TV production (miniseries), and its reinterpretation in Brazil, São Paulo, in 1958, present in the film... / Doutor

Orientador: Francisco Cláudio Alves Alves / Banca: Marcio Roberto Pereira / Banca: Isis Milreu / Resumo: O presente trabalho tem por objetivo analisar os aspectos do movimento regionalista bem como a representação do espaço narrativo na obra Pedra Bonita (1938), de José Lins do Rego. Pedra Bonita integra o chamado "ciclo do cangaço" na obra do escritor, o qual aborda a vida do povo sertanejo e suas problemáticas, dentre elas o misticismo religioso e o cangaço. Neste romance, o autor toma como ponto de partida a vida do povo da vila do Açu e, em segundo plano, os moradores de Pedra Bonita. É desse lugar que o autor desenvolve a narrativa, abordando aspectos históricos e sociais, pautados no espaço em que insere seus personagens. Neste trabalho dissertaremos sobre algumas das mais importantes funções do espaço narrativo no romance Pedra Bonita. Além de contextualizarmos a obra no chamado "romance regionalista", serão abordados, também, nesta análise, as relações dos personagens com o espaço em que estão inseridos, e como este elemento contribui para caracterizar as figuras, situando-as no contexto socioeconômico, histórico e psicológico em que vivem, além de verificar como este tipo de espaço contribui para a formação das personagens. / The present work has the goal of analyzing the representation of the narrative space in the literary work Pedra Bonita (1938), by José Lins Do Rego. Pedra Bonita integrates what is called the "cangaço's cycle" in the writer's work, which approaches the life of the country people and their problematics, among them the religious mysticism and the cangaço. In this novel, the author takes as a starting point the life of the people of Vila do Açu and, in the second plan, the residents of Pedra Bonita. It is from this place that the author develops the narrative, involving historic and social aspects, in the narrative the characters inhabit. In this work, we discussed some of the most important functions of the space narrated in the novel Pedra Bonita. For this, it will be taken into account the relationships of the characters, such as the space they are inserted, and how this element contributes to the figure's description, placing them in the socioeconomic, historic and psichological context that they live, besides verifying how this kind of space contributes for the character's formation. The novel will be contextualized also in the called "regionalist novel" / Mestre

The most common tool for solving spacetime problems using finite elements is based on semidiscretization: discretizing in space by a finite element method and then advancing in time by a numerical scheme. Contrary to this standard procedure, in this dissertation we consider formulations where time is another coordinate of the domain. Therefore, spacetime problems can be studied as boundary value problems, where initial conditions are considered as part of the spacetime boundary conditions. When seeking solutions to these problems, it is natural to ask what are the correct spaces of functions to choose, to obtain wellposedness. This motivates the study of an abstract theory for unbounded partial differential operators associated with a general boundary value problem on a bounded domain. A framework for choosing the spaces is introduced, and conditions for the solvability of weak formulations are provided. We apply this framework to study wave problems on tents and to study wellposed discontinuous Petrov-Galerkin (DPG) formulations for the Schrödinger and wave equations. Several numerical issues are also discussed.

Thesis (M.A.) --University of Limpopo, 2011 / This study is to conduct a detailed study of milieu in a number of Xitsonga novels in I Vutomi by Lubis CM and Xona hi Xihi? by DR Maluleke. This study also emphasizes on how the characters are depicted in rural areas and urban places. Lubisi and Maluleke are able to enlighten the community about the importance of establishing the distinct relationship between space and time. The first chapter is a general introduction that outlines and provides background of the study. Milieu as well as its manifestation in I Vutomi and Xona hi Xihi? is discussed in the second chapter. The third chapter deals with characterization. In the fourth chapter, the main theme of the novels is critically examined. The fifth chapter is a brief overview of the first four chapters. It also summarizes the findings of the research and provides recommendations.

This exegesis forms part of an ongoing enquiry on the concept of time. Artist, Barnett Newman sought the ‘physical sensation of time’ in his painting. My research questions, through a program of creative work, whether a moment in time can be represented in a two dimensional art work; or if we only experience the sensation of time passing, as we are viewing it. A key issue within this creative practice-based approach, is to examine if empty visible space within an artwork ‘ignites’ a sense of time; if a visualisation of empty space can capture an event, an awareness of the immediacy of a moment experienced in the studio. / Master of Arts (Honours) in Fine Art

This thesis culminates in an exhibition resulting from the artist’s investigation of the relationship between space and time, and on perception and experience of space with connections to ‘everyday’ ideas of space. A recurring link in this paper is the process of ‘being present’ in relation to spatial viewing. The artist’s studio practice focuses on the visual changes she sees within a particular space or spaces, and how these visual changes are perceived and experienced when presented to the viewer in a photographic image. The intention is to present a photographic image to the viewer that not only changes the space from which it originally came, but also highlights the beauty of the space that may be missed or overlooked. The research questions the way people see, the visual representation of the ‘void’ or ‘empty space’, and spatial representation. The paper also discusses how the artist visually perceives and experiences space. The work of other artists and writers who research space, time and perceptual consciousness are also considered. / Master of Arts (Hons)