This study examines the use of Studio Thinking's Studio Habits of Mind (Hetland, Winner, Veenema & Sheridan, 2007) as a framework for curriculum design. In order to compare the ideas with other current art education theories, I conduct a literature review that identifies types of thinking accessed in the visual arts classroom. Through the comparison of Hetland et. al.'s Habits of Mind with those cited by current researchers, I discuss the relevance of the Studio Habits of Mind and propose an additional Habit of Mind: Investigate. In order to explore the use of these Habits as a framework for curriculum design, I design several lessons for a local after-school program using an objectives-based lesson template. The difficulty of applying this framework to an existing template indicates the need for a new unit/lesson plan template formatted specifically to a mind-centered approach. I present my design for a new unit template, lesson template and examples. The findings of this research point to a move in art education towards a mind-centered approach in the visual arts classroom and the use of a mind-centered template for unit and lesson planning.

This thesis explores the design of a space for opioid addicts in recovery that combines an art therapy studio with a gallery space. It would provide a new type of therapy available to the area, engage and educate the Richmond community and spread awareness of the disease of opiate addiction. It will also enable addicts to express themselves in a non-verbal, creative format that allows for them to create a legacy and leave an imprint on the community.

The design of an experimental interdisciplinary design lab–MOB 2030–within a waterfront building in Richmond, Virginia, provides an opportunity for designers to find infinite inspirations. The tools of interior design are used to manipulate a wide range of functional and formal elements to define designers’ relationship to space, work and nature. The final project provides three studios, three galleries, rooftop and waterfront landscapes, and collaboration steps connect other spaces together.

Keeping a consistent coding style is an important part of having a maintainable code base. In times when software solutions become increasingly complicated this requirement is more important than ever. However, most commercially available coding productivity tools put a much bigger focus on refactoring and support of additional technologies than on maintaining consistent code style. We decided to remedy this situation by implementing a plugin-extensible toolset for Visual Studio focused on diagnosing and correcting code style violations in C# code bases. By completing our intent we created a tool that integrates seamlessly with Visual Studio and provides the user with effective and intuitive tools to improve the overall maintainability of their code base. Powered by TCPDF (www.tcpdf.org)

This thesis focuses on the topic of photography in the work of Television studio Ostrava, a part of Czechoslovak television, during a period of the communist regime, called normalisation, and the reflection of this period after the year 1989. It may be presumed that communist propaganda and other efforts of normalisation will be apparent in the documentaries and other products concentrating on photography. The region of Ostrava also has its own cultural specificity due to its mainly industrial nature; the region is characterised by coal mining and metallurgy. Thus it may be presumed that communism will be planted in the minds of the people more firmly. The thesis also contains a theoretical framework, describing socialist realism in photography and normalisation in photography as well as in the television studio in question. In order to verify these hypotheses and to discover other important facts of the topic in question, a content analysis of data available in the archive of Television studio Ostrava was carried out. The archive suffered grave losses during major flooding of Moravia and Silesia in 1997, some films and actual photographs were however still available for analysis. The findings relevant to each document are stated in their respective parts and are summarised as a whole in the...

Managed Extensibility Framework allows development of component-based .NET applications. However relations between components can be quite complex. Therefore the MEF Editor was implemented in context of author's bachelor thesis, which can visualise the relations according to source code analysis and provide their editing. Although possibilities of the analysis are determined by available user's extensions, in some cases the editor cannot be used. This master thesis provides a solution in form of a new version of the MEF Editor which increases the number of cases it can be used in. As part of this thesis, we implemented the editor with extensions allowing analysis of application projects written in C# language and compiled assemblies. It helps to detect composition errors in these applications and allows visual editing of source code where component architecture of these applications is implemented. Powered by TCPDF (www.tcpdf.org)

This thesis focuses on photography in the work of Television studio Ostrava, a part of Czechoslovak television, during a period of 1969-1989, called normalisation, the reflection of this period after the year 1989 and mainly the photography archive of said institution. It may be presumed that communist propaganda and other efforts of normalisation will be apparent in the documentaries and other products concentrating on photography. The region of Ostrava also has its own cultural specificity due to its mainly industrial nature; the region is characterised by coal mining and metallurgy. Thus it may be presumed that communism will be planted in the minds of the people more firmly. The thesis also contains a theoretical framework, describing socialist realism in photography and normalisation in photography as well as in the television studio in question. In order to verify these hypotheses and to discover other important facts of the topic in question, a content analysis of data available in the archive of Television studio Ostrava was carried out. The archive suffered grave losses during major flooding of Moravia and Silesia in 1997. However, some films and many actual photographs were still available for analysis. The findings relevant to each document are stated in their respective parts and are...

The picture book is an artistic medium is part of literature, especially of children’s literature. This discussion of the picture book extends to the dynamic between author and illustrator, and interactions between the verbal and the visual, as described by contemporary researchers, such as Maria Nikolajeva, Lawrence R. Sipe, and Carole Scott. Most of them were not picture book creators, so the voice of the picture book’s creator is easily overlooked. To fill the gap between the researcher and the creator, this project explores the creative process of the picture book by studio-art research. This project is concerned with the creation process of a picture book, presenting a coherent overview of an approach to creating an artist’s picture book, especially in the idea of development through both visual and narrative by two methods: research and practice. This thesis demonstrates my framework of creating an artistic picture book, Little Mouse. Chapter one discusses the methodology of the studio-art research, compares practical-led research and practical-based research, and identifies my multicultural background, to set the foundation of this project. In Chapter two, I applied a part of practical-led methodology to adapt and transfer a range of sources from history, theory, literature and popular culture to build up and enhance the depth of my concept of Little Mouse, which encompasses and analyses my core interest - a life-changing journey. Chapter three discusses how I applied practical-based methodology to reflect the progress of the practical work of making Little Mouse, particularly focusing on how framed a fiction story, and discussing step by step my approach to illustration practice. In the last chapter, I tested my potential readers to review whether my work succeeded in communicating and delivering my visual research in the form of my finished book. This project hybridizes multicultural sources to form a contemporary picture book which blurs the boundaries between illustrator/writer and reality/fiction. This also provides a case study of the picture book for bridging research and picture book’s creator and demonstrates a process of understanding and interpreting creative activities.

In this thesis I discuss, analyse and intend to answer the question: What is the best way to capture the sound of the acoustic accordion? It was my desire to explore this theme that led me to this research, and I believe that this question is important to many other accordionists as well. From the very beginning, I wanted the thesis to be not only an academic material but also that it can be used as an instruction manual, which could serve accordionists and others who are interested in this subject, to delve deeper into it, understand it and hopefully get answers to their questions about this subject. The thesis contains five main chapters: Amplifying of the accordion at live events, Processing of the accordion sound, Recording of the accordion in a studio - the specifics of recording of the accordion, Specific recording solutions and Examples of recording and amplifying of the accordion in practice of other accordion players, and two recordings: D. Scarlatti - Sonata D minor K 141, V. Trojan - The Collasped Cathedral. My aim is that this thesis will contribute to create a comprehensive insight into the specifics of capturing the accordion sound, contribute to better understanding of the acoustic properties of the instrument and bring practical answers to questions that many accordionists have. I have chosen to mention very basic technical aspects related to how to capture the sound of the acoustic accordion with respect to potential elementary knowledge of some people in this area. But, I also discuss very specific and professional details and focus on how different kinds of microphones can be used to capture the sound of the acoustic accordion. This is a subject that clearly is understudied and probably not has been a matter for proper research before. Most of my comments and analysis come from my personal experience and different experiments but there is also an interview included in the thesis with one very experienced accordionist who also is a professional music producer. I hope that my thesis will help other accordionists, sound engineers, and anyone else to understand the accordion and its specifics regarding both studio recording and live amplifying.

I det här arbetet undersöker jag hur det är att jobba som producent då man vill förverkliga sin konstnärliga vision för sång genom en annan människa. Jag utvärderar vilka kriterier jag som producent och låtskrivare väljer sångare efter och hur jag jobbar för att förmedla och förverkliga att min vision av sången framförs. Jag utforskar också ifall det uppkommer några positiva musikaliska element (Magic of the moment) av att arbeta med en sångare som man inte tror är prefekt för en given låt. I det här arbetet analyserar jag även min arbetsmetod som sångproducent för att identifiera vad de viktigaste verktygen är då man som producent vill påverka någon annans sånginsats. Slutligen reflekterar jag över hur nära slutprodukten hamnade min ursprungliga vision av sången, då jag dels valt sångare medvetet för en specifik låt, dels då jag inte gjort det medvetna valet. Jag fann att den för mig viktigaste aspekten hos en sångare är hur mycket känsla denne kan förmedla med sin röst. Då jag jämförde resultatet av min medvetet utvalda sångare och sångaren jag inte valt ut specifikt för en given låt, fann jag att mitt antagande kring vem som skulle passa som sångare oftast var välgrundat, men att min fördom kring vem som är mest lämpad som sångare inte alltid stämmer. För att forma mina sångares insatser var mitt språkbruk det absolut viktigaste verktyget jag hade att tillgå. Som producent kunde jag se till att inspelningen lät så bra som möjligt med hänsyn till rytm och melodi, men jag var tvungen att arbeta som sångpedagog för att kunna påverka mina sångare till att förmedla den känsla jag ville ha.