The purpose of this study was to examine the masking preferences of the spider crab, Notomithrax ursus. The algal composition of the mask in the natural habitat at Kaikoura was examined to determine the general rules the crab follows when decorating itself. The effects of size and sex on the mask composition were examined, as well as determining how the composition of the mask varies by body part. The preference of the crabs was further examined through the use of choice and background change experiments in the laboratory. It was determined that the preference of certain types of algae for mask material is not entirely dependent on their relative abundance in the environment. Possible explanations for this behaviour are given.

The purpose of this study was to examine the masking preferences of the spider crab, Notomithrax ursus. The algal composition of the mask in the natural habitat at Kaikoura was examined to determine the general rules the crab follows when decorating itself. The effects of size and sex on the mask composition were examined, as well as determining how the composition of the mask varies by body part. The preference of the crabs was further examined through the use of choice and background change experiments in the laboratory. It was determined that the preference of certain types of algae for mask material is not entirely dependent on their relative abundance in the environment. Possible explanations for this behaviour are given.

This essay is about the act of wearing contemporary jewellery has as a way of communication between human beings. I investigate the act of decorating the body as an important and basic human need.  This essay investigates the relationship between gender, feminine culture, and decoration within the Western world, thinking of jewellery as a socialisation method and not as a consequence of natural differences between sexes. This investigation presents a brief historical review of the role that jewellery has been playing in the relations between the genders and the changes it has undergone in terms of cultural process over the last centuries. I introduce to the reader the idea of performing jewellery with the aim of to highlight the relevance that decoration on the body has as a way to construct our identity.  The post-structuralist theories about gender and identity made by the feminist philosopher Judith Butler (Gender Trouble 1990, Undoing Gender 2004), and some philosophical perspectives on material culture, are used to support my investigation, to postulate that jewellery pieces can be viewed or understood  us as ‘queer apparatus’… As a way to explore and experience  jewellery as a ‘queer apparatus’, I have chosen few examples of contemporary jewellery.

This work is a survey about the cabinetmakers possibilities to use laser engraving for personalised décor in furniture making. I have used analog and digital techniques in a way to take control over the end results of the laser engravings that I make from my patterns and motifs. My motifs and patterns are mainly constructed with a digital pen in a sketch program om my computer. Initially, I did a number of technical tests to learn about the different settings so that I later on could use them to my advantage when I created different motifs. After understanding most of the consequences of different settings I began to adapt my motifs with a conscious planning for how I could use the laser engraving settings to control the final result. In some cases, I have also done some after work in the form of pyrographing or Dremel engraving by hand. Much more are to be desired of those results. My conclusion is that the best results I got were when I used the laser engraving to complete my motifs the way visual artists use their brush, which is what I learned during my work. In addition to the practical work, I have also tried to make a theoretical reasoning about decór and ornament historically and where I fit in today.

O método de decoração metálica com ouro, desenvolvido por Bassett, em 1958, é de muito interesse no estudo de cristais por microscopia eletrônica de transmissão. Desde aquela época, o método vem sendo aplicado ao estudo de vários fenômenos físicos relacionados à nucleação e epitaxia de filmes finos, bem como em estudos de crescimento e evaporação de cristais. Neste trabalho o método de réplica de decoração foi utilizado para investigar a microtopografia superficial de cristais inorgânicos, de interesse tecnológico e industrial. Nos vários experimentos de decoração, obtivemos adsorção bem localizada dos núcleos de ouro, ao longo de orientações definidas. Nos argilominerais caulinita e diquita, foram marcadas figuras poligonais que seguem os contemos pseudo-hexagonais da própria partícula cristalina. Nos cristais iônicos usados, brometo de potássio e cloreto de sódio, observaram-se degraus monoatômicos em formas variadas, inclusive em espirais originadas por discordâncias em parafuso. Outros sítios da superfície com diferentes energias de adsorção puderam ser identificados em todas as amostras estudadas, através desta metodologia. Nos cristais de calcita não logramos obter figuras de decoração bem definidas, mas sim áreas alternadas com ouro condensado e áreas de interdição, causadas provavelmente pela hidratação natural do mineral. Defeitos pontuais como vacâncias, ilhas ou depressões monoatômicas foram reconhecidos nas figuras de decoração, assim como degraus lineares causados por clivagem. / The gold decoration method originally developed by Bassett in 1958, still is of great interest for unraveling microtopographic details of crystal surfaces in the transmission electron microscope. It is of interest also for studies relating to nucleation and epitaxial growth of thin films, as well as in the study of crystal growth and evaporation itself. The present study was intended to investigate the surface morphologies and defects of some selected inorganic crystals, having technological applications. Ali the different samples prepared by this replica method, presented a clear localization of the gold clusters, along very specific sites. The clay minerais kaolinite and dickite exhibited polygonal figures with a pseudo hexagonal arrangement, parallel to the crystal\'s edges. Growth steps having two different spacings were seen to interlace at 120°. Bromine and sodium halides have monoatomic steps aligned along linear or curved paths; these gold decorated steps could be followed for ample extents in the replicas; among them, other less usual patterns of gold decorated imperfections forming loops, waves and circles were located. The only exception was represented by calcite, in which the decoration was at random. Despite this, some images of deep steps caused by cleavage of the crystals could be clearly recognized. Control images obtained by scanning electron microscopy of cleaved crystals and direct transmission electron microscopy of clay mineral particles, were helpful in the interpretation of the results.

The Diploma thesis introduces the luminars as the creative objects importing the light into our homes and effecting our mood. The objects are modeled of the slurry combined with glass. These are determined to the installation on the table, floor, wall and ceiling. For the shape I was inspired by MICROCOSM = a world of unicellular living being, before all by the protozoans. It is a world full of bizar structures and shapes. The simplicity and expediency of the protozoans offers the inexhaustible amount of ideas. Each of the objects has got its adumbrating image in some of the protozoans. Teir shapes, determination of kind, conditions, in which they live, were determinating the luminars´ visage. Although the inspiring source is stating them the individual luminars presents original, solitary objects.

O método de decoração metálica com ouro, desenvolvido por Bassett, em 1958, é de muito interesse no estudo de cristais por microscopia eletrônica de transmissão. Desde aquela época, o método vem sendo aplicado ao estudo de vários fenômenos físicos relacionados à nucleação e epitaxia de filmes finos, bem como em estudos de crescimento e evaporação de cristais. Neste trabalho o método de réplica de decoração foi utilizado para investigar a microtopografia superficial de cristais inorgânicos, de interesse tecnológico e industrial. Nos vários experimentos de decoração, obtivemos adsorção bem localizada dos núcleos de ouro, ao longo de orientações definidas. Nos argilominerais caulinita e diquita, foram marcadas figuras poligonais que seguem os contemos pseudo-hexagonais da própria partícula cristalina. Nos cristais iônicos usados, brometo de potássio e cloreto de sódio, observaram-se degraus monoatômicos em formas variadas, inclusive em espirais originadas por discordâncias em parafuso. Outros sítios da superfície com diferentes energias de adsorção puderam ser identificados em todas as amostras estudadas, através desta metodologia. Nos cristais de calcita não logramos obter figuras de decoração bem definidas, mas sim áreas alternadas com ouro condensado e áreas de interdição, causadas provavelmente pela hidratação natural do mineral. Defeitos pontuais como vacâncias, ilhas ou depressões monoatômicas foram reconhecidos nas figuras de decoração, assim como degraus lineares causados por clivagem. / The gold decoration method originally developed by Bassett in 1958, still is of great interest for unraveling microtopographic details of crystal surfaces in the transmission electron microscope. It is of interest also for studies relating to nucleation and epitaxial growth of thin films, as well as in the study of crystal growth and evaporation itself. The present study was intended to investigate the surface morphologies and defects of some selected inorganic crystals, having technological applications. Ali the different samples prepared by this replica method, presented a clear localization of the gold clusters, along very specific sites. The clay minerais kaolinite and dickite exhibited polygonal figures with a pseudo hexagonal arrangement, parallel to the crystal\'s edges. Growth steps having two different spacings were seen to interlace at 120°. Bromine and sodium halides have monoatomic steps aligned along linear or curved paths; these gold decorated steps could be followed for ample extents in the replicas; among them, other less usual patterns of gold decorated imperfections forming loops, waves and circles were located. The only exception was represented by calcite, in which the decoration was at random. Despite this, some images of deep steps caused by cleavage of the crystals could be clearly recognized. Control images obtained by scanning electron microscopy of cleaved crystals and direct transmission electron microscopy of clay mineral particles, were helpful in the interpretation of the results.

The purpose of this study was to document and understand the meanings associated with the visual elaboration (Painter, 2002a), of a particular house i.e. what was done to it after it was built and why, in Victoria, British Columbia, Canada, by successive occupants, including myself, over a period of nine decades. I used a case study, involving documents and artefacts and interviews with key informants. Taking an interpretive epistemological stance, I employed a narrative approach to inquiry (Kramp, 2004, Johnson-Bailey, 2004). The individual narratives resonated with recent anthropological findings. The house saw home managers exert their agency (Pink, 2004). Additionally, inhabitants left a signature on the structure (Dominy, 1997), and carried with them mementos from the home they had made there (Marcoux, 2001). Over time, through transformation processes, both individuals and the house were changed (Miller, 2001a). Further, the design legacy left by previous inhabitants acted as a form of agency on successive residents (Miller, 2001b), and through reciprocal accommodation the house and its occupants came to terms with each other (Miller, 2002). Additionally, six common themes emerged: epistemological orientation, economics, male and female, reminiscences and affect, childhood to adulthood and history and presence. My finding that an individual’s epistemological stance was related to her/his artistry supports an emerging vision in art education, that of art practice as research (Sullivan, 2005). This has implications for both research and practice. Firstly, the processes through which non-specialists work need to be more fully explored. Secondly, we require a changed view of art history where art images are understood as part of a productive visual culture (Marshall, 2007). This is a concept-focused analysis of art where meaning is demonstrated to be contextual and intergraphical, and is manifest in artworks that can be scrutinized across cultures and time. Thirdly, our concept of visual literacy must expand; if we construct knowledge and reality through making images as well as by decoding the meaning of existing visual images, then art practice is schools is imperative (Marshall). Finally, visual thinking is integrative (Marshall), and thus art integration and a new approach to art and learning are essential.

This thesis deals with problems of biological and cultural determinants influencing perception of beauty. It attempts to find out if there is a common biological basis of perception of beauty or if beauty represents merely a sociocultural construct - product of a specific culture. With respect to biological determinants it concerns biological processes significantly influencing perception of beauty. In this context, these processes include probably innate evolutionary adaptations, effects of brain cognitive systems and neural correlates processing perceptions of beautiful objects. In connection with cultural determinants it presents studies emphasizing cross-cultural differences in perception of beauty. Further subject of the thesis is an aesthetic conception of subjective and objective beauty and related concept of beauty based on mathematical relations. In this connection, the creation of universally beautiful objects based on fixed mathematical rules as well as the possibility of exact measurement of beauty are discussed.