Nous étudions plusieurs modèles de polymères dirigés en milieux aléatoires. Pour le modèle classique sur Z^d, nous étudions la convergence de l'environnement vu par la particule dans la région de faible désordre. Nous donnons des résultats très forts pour de très hautes valeurs de la température. Nous donnons ensuite un traitement complet de la fonction de partition pour un modèle de polymères dirigés en milieux aléatoires sur le réseau hiérarchique en diamant. Finalement, nous étudions l'énergie libre des polymères dirigés en milieux aléatoires sur Z^d dans des boites très asymétriques. Nous parvenons à prouver que, dans un régime approprié, elle coïncide avec l'énergie libre d'un modèle en temps continu dans un environnement Brownien. En dimension 1, la valeur exacte de cette énergie libre est connue. Nous étudions également des polymères dirigés en dimension 1 avec un drift qui tend vers l'infini. Nous donnons la valeur exacte de l'énergie libre et l'ordre des fluctuations de la fonction de partition.

A obra escrita de Tarkovski e o filme O Espelho são analisados à luz da teoria psicanalítica da interpretação dos sonhos articulando conceitos vindos de outros campos do conhecimento, quais sejam inconsciente ótico e choque em Walter Benjamin. O filme se passa em lugares do passado de Tarkovski, evocados a partir de lembranças encobridoras, sonhos e devaneios, em que o cineasta é espectador e ator. Há a referência, no título e ao longo das cenas, ao espelho, também usado por Lacan, como modelo de dispositivo ótico, ao teorizar sobre a formação da função do “Eu”. Através desta análise, pretendeu-se aproximar a linguagem do filme à linguagem do sonho, encontrando conteúdos oníricos latentes. São analisadas as filiações e influências, o roteiro, e aquilo que fala nas lembranças de infância, nos sonhos e devaneios associados às tradições culturais russas, ao poeta Puchkin e a Dostoievski. Identificam-se aspectos do pensamento utópico e articulações psicanalíticas na cena do devaneio do personagem Ignat. Também são comentadas articulações à estética do choque em Walter Benjamin, nas cenas de déjà vu de Ignat e no fenômeno análogo que acometeu Maria na cena da tipografia. O conceito de Outra cena, do campo freudiano, é contextualizado na discussão do filme e também cotejado com elementos da teoria platônica apontados por Lacan em seus seminários. Finalmente, a cena de levitação de Maria é comparada com a cena da pintura de Füssli The Nightmare e interpretada como sendo de um sonho de angústia. / Tarkovski's written work and the film The Mirror are analyzed in the light of psychoanalytic theory of interpretation of dreams being articulated with concepts from other fields of knowledge, such as optic unconscious and shock at Walter Benjamin’s writings. The film takes place somewhere in Tarkovski’s past, evoked from screen memories, dreams and daydreams, in which the filmmaker is a spectator and an actor at a time. There is a reference, in the title and throughout the scenes, to the mirror, which is also used by Lacan, as the model of an optical device, in theorizing about the formation of the function of the "self". Through this analysis, it was intended to approximate the language of the film to the language of the dream and find latent dreams contents. The affiliations and influences, the script, and what he talks about in the memories of childhood, the dreams and daydreams associated with Russian cultural traditions, the poet Puchkin and Dostoyevsky are analyzed. We identify aspects of utopian thinking and psychoanalytic articulations in the scene of Ignat's daydream. Similarly, articulations among the aesthetics of the shock in Walter Benjamin, in the déjà vu scenes of Ignat and in the analogous phenomenon that rushed Maria in the typography scene are also commented in this work. The concept of Other scene, from the freudian field, is contextualized in the discussion of the film and also compared with elements of the platonic theory pointed out by Lacan in his seminars. Finally, the levitation scene of Mary is compared to the painting scene of Füssli The Nightmare and interpreted as being of a dream of anguish.

A obra escrita de Tarkovski e o filme O Espelho são analisados à luz da teoria psicanalítica da interpretação dos sonhos articulando conceitos vindos de outros campos do conhecimento, quais sejam inconsciente ótico e choque em Walter Benjamin. O filme se passa em lugares do passado de Tarkovski, evocados a partir de lembranças encobridoras, sonhos e devaneios, em que o cineasta é espectador e ator. Há a referência, no título e ao longo das cenas, ao espelho, também usado por Lacan, como modelo de dispositivo ótico, ao teorizar sobre a formação da função do “Eu”. Através desta análise, pretendeu-se aproximar a linguagem do filme à linguagem do sonho, encontrando conteúdos oníricos latentes. São analisadas as filiações e influências, o roteiro, e aquilo que fala nas lembranças de infância, nos sonhos e devaneios associados às tradições culturais russas, ao poeta Puchkin e a Dostoievski. Identificam-se aspectos do pensamento utópico e articulações psicanalíticas na cena do devaneio do personagem Ignat. Também são comentadas articulações à estética do choque em Walter Benjamin, nas cenas de déjà vu de Ignat e no fenômeno análogo que acometeu Maria na cena da tipografia. O conceito de Outra cena, do campo freudiano, é contextualizado na discussão do filme e também cotejado com elementos da teoria platônica apontados por Lacan em seus seminários. Finalmente, a cena de levitação de Maria é comparada com a cena da pintura de Füssli The Nightmare e interpretada como sendo de um sonho de angústia. / Tarkovski's written work and the film The Mirror are analyzed in the light of psychoanalytic theory of interpretation of dreams being articulated with concepts from other fields of knowledge, such as optic unconscious and shock at Walter Benjamin’s writings. The film takes place somewhere in Tarkovski’s past, evoked from screen memories, dreams and daydreams, in which the filmmaker is a spectator and an actor at a time. There is a reference, in the title and throughout the scenes, to the mirror, which is also used by Lacan, as the model of an optical device, in theorizing about the formation of the function of the "self". Through this analysis, it was intended to approximate the language of the film to the language of the dream and find latent dreams contents. The affiliations and influences, the script, and what he talks about in the memories of childhood, the dreams and daydreams associated with Russian cultural traditions, the poet Puchkin and Dostoyevsky are analyzed. We identify aspects of utopian thinking and psychoanalytic articulations in the scene of Ignat's daydream. Similarly, articulations among the aesthetics of the shock in Walter Benjamin, in the déjà vu scenes of Ignat and in the analogous phenomenon that rushed Maria in the typography scene are also commented in this work. The concept of Other scene, from the freudian field, is contextualized in the discussion of the film and also compared with elements of the platonic theory pointed out by Lacan in his seminars. Finally, the levitation scene of Mary is compared to the painting scene of Füssli The Nightmare and interpreted as being of a dream of anguish.

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Das Projekt „Collaboration-Grid für Virtuelle Unternehmen“ (VU-Grid) ist ein Forschungsverbundprojekt, an dem die Fakultät Informatik der Technischen Universität Dresden sowie der mittelständische IT-Dienstleister SALT Solutions GmbH beteiligt sind. Das Vorhaben wird von der Sächsischen Aufbaubank gefördert. Ziel des Forschungsvorhabens ist die prototypische Entwicklung einer Integrationsplattform (Collaboration-Grid) für die Unterstützung der veränderlichen, unternehmensübergreifenden Geschäftsprozesse im Umfeld eines IT-Dienstleisters am Beispiel der SALT Solutions GmbH. Theoretische Basis der Realisierung ist dabei das Konzept des Virtuellen Informationssystems, das im Rahmen des Dissertationsvorhabens von D. Neumann erarbeitet wurde.

The contents of this thesis is design of audio power amplifier in Class D with fully digital control and remote control and is divided into two parts . The first part is devoted to the basic principles and theory of key elements of the entire amplifier. The second part consists of a complete description of the design and construction of a power amplifier, digital control with remote control, a spectrum analyzer, equalizer, preamp VU meters and complete power supply. Each proposal contains a detailed analysis of the solutions supported by simulations and software. For individual parts have been completely measured p arameters.

Das Projekt „Collaboration-Grid für Virtuelle Unternehmen“ (VU-Grid) ist ein Forschungsverbundprojekt, an dem die Fakultät Informatik der Technischen Universität Dresden sowie der mittelständische IT-Dienstleister SALT Solutions GmbH beteiligt sind. Das Vorhaben wird von der Sächsischen Aufbaubank gefördert. Ziel des Forschungsvorhabens ist die prototypische Entwicklung einer Integrationsplattform (Collaboration-Grid) für die Unterstützung der veränderlichen, unternehmensübergreifenden Geschäftsprozesse im Umfeld eines IT-Dienstleisters am Beispiel der SALT Solutions GmbH. Theoretische Basis der Realisierung ist dabei das Konzept des Virtuellen Informationssystems, das im Rahmen des Dissertationsvorhabens von D. Neumann erarbeitet wurde.

Nous nous intéressons à deux modèles de marches aléatoires réversibles en milieu aléatoire. Le premier est la marche aléatoire en conductances aléatoires. Nous montrons que l'environnement vu par cette marche converge vers l'équilibre à une vitesse polynomiale au sens de la variance, notre hypothèse principale étant que les conductances sont uniformément minorées. Notre méthode se base sur l'établissement d'une inégalité de Nash, suivie soit d'une comparaison avec la marche aléatoire simple, soit d'une analyse plus directe fondée sur une méthode de martingale. Pour le deuxième modèle qui nous intéresse, on attribue pour tout x de Z^d une valeur positive \tau_x. La marche construite, souvent appelée "modèle de Bouchaud", est réversible par rapport à la mesure de poids (\tau_x). Nous supposons que ces poids sont indépendants, de même loi et à queue polynomiale. Nous donnons le comportement asymptotique de la valeur propre principale du générateur de cette marche aléatoire, avec conditions aux bords de Dirichlet. La caractéristique principale du résultat est une transition de phase, qui a lieu pour un seuil dépendant de la dimension. Lorsque les (\tau_x) ne sont pas intégrables et pour d > 4, nous obtenons également la limite d'échelle, sous-diffusive, de ce modèle. La méthode consiste dans un premier temps à exprimer la marche aléatoire comme un changement de temps d'une marche aléatoire en conductances aléatoires. Il suffit alors de montrer que ce changement de temps, une fois normalisé, converge sous la loi moyennée vers un subordinateur stable. Ce résultat est obtenu en utilisant les propriétés de vitesse de convergence à l'équilibre de l'environnement vu par la particule montrées précédemment.

Doctorat en philosophie et lettres / info:eu-repo/semantics/nonPublished

As our world ramps up the speed of its connections, our identities merge with increasing speed and angles of confluence. Not only are new identities created, but also the more fringe social and cultural elements of our world are exposed to mainstream consciousness. My work is a product of my own fringe background (namely its sheer breadth of experiences not normally visited upon a single person's life). My aim is to add variables to our social and cultural speed of combination and new variety by creating work that is derived from my own experiences to speak to those who are of the newer combinations and newer social recognition. I am motivated to create this work both to perpetually define and redefine myself, and also to give ground to an ‘identity of no identity' on a global scale, to our artistic dialogue and catalog.