No fault found (NFF) errors, i.e. errors which origin has not been established, irregularly occur in electronic devices. The actual cause of such errors varies but one, possibly more prominent, source for these soft errors is atmospheric radiation. The overarching aim of this thesis is to demonstrate: 1) the importance of keeping the atmospheric radiation environment in mind when designing robust airborne systems, 2) how to take this environment into consideration when applying mitigation techniques which may drastically reduce the risk of SEEs (Single Event Effects) which can cause NFF errors. To achieve these goals, Part 1 of this thesis describes how cosmic rays affect electronics (i.e. what kind of errors may be induced), which types of devices are susceptible to radiation, and why this subject is of extra importance for airborne systems. In addition, soft error mitigation techniques, which may be applied at different design levels to reduce the soft error rate (SER) or the impact of soft errors, are also presented. The aim is further corroborated by Part 2. Five subsystems of a modern aircraft are studied and real examples of failures potentially induced by atmospheric radiation are presented. For each of the five systems, all errors that have been reported for these (in the past few years) have been studied, and the number of errors found to be potentially induced by cosmic radiation has been listed and compared to number of expected soft errors based on calculations and previous experimental tests.

"A thesis submitted to the Graduate Faculty of Georgia Southern University in partial fulfillment of the requirements for the degree Master of Fine Art." Title from PDF of title page (Georgia Southern University, viewed on February 10, 2010). Marc Moulton, committee chair; Bruce Little, Julie McGuire, Gary Dartt, committee members. Electronic version approved: December 2009. Includes bibliographical references (p. 119-121).

Thesis (M.F.A.)--Kent State University, 2009. / Title from PDF t.p. (viewed Jan. 22, 2010). Advisor: Darice Polo. Keywords: Installation; assemblage; mixed-media; drawing; playful arrangements; doodling; envrionmental art; intuitive process; mixed-media drawings; environmental concerns; ecological concerns; fragile environment; site-specific; craft-based methods; post-consumer. Includes bibliographical references (p. 28).

This is an original work of poetry. There are many forms used in this collection. There are found and cento poems, as well as free verse forms in this collection. Some of the poems are narrative, while others use a dissociative mode. This work represents an extension of postmodernists, like Barth and Pynchon. It also represents an extension of surrealists like Lamantia and Ashbery.

Thesis (Ed.D)--Teachers College, Columbia University, 1990. / Includes appendices. Typescript; issued also on microfilm. Sponsor: Justin Schorr. Dissertation Committee: David S. Nateman. Bibliography: leaves 162-186.

Thesis (M.F.A.)--Washington State University, May 2010. / Title from PDF title page (viewed on May 14, 2010). "Department of Fine Arts."

A tese investiga como se estabelece o dispositivo do olhar enquanto experiência estética no cinema de horror found footage a partir da materialidade cinematográfica. Realiza-se uma discussão acerca do modo como esses filmes circulam no gênero horror com o cruzamento de teorias de cinema, tecnologia e da Comunicação. A concepção de dispositivo do olhar é pensada, especialmente, a partir de Jonathan Crary, Michel Foucault, Giorgio Agamben, Laurent Mannoni, Hans Ulrich Gumbrecht, Vilém Flusser e Philippe Dubois. O dispositivo do olhar é, portanto, delineado como o comportamento visual e de uso de artefatos tecnológicos que aparece nos filmes e o modo como esse olhar de dentro do filme pode afetar a forma de ver do espectador. Não é como a tecnologia é representada nos filmes, mas a estratégia dessa e seus respectivos discursos em intentar o apelo sensível do público. O problema de pesquisa é: Como se constitui o dispositivo do olhar nos filmes de horror found footage e o que esse fenômeno pode indicar da nossa relação com o cinema e a tecnologia na contemporaneidade? De que modo é possível discutir a experiência estética com o cinema de horror a partir dessas produções? Assim, o objetivo geral da pesquisa é compreender como opera o dispositivo do olhar no cinema de horror found footage e a maneira como ele propõe experiências estéticas, a fim de perceber características da nossa relação com o cinema e a tecnologia na contemporaneidade. Já os objetivos específicos são os seguintes: a) Problematizar o dispositivo do olhar no cinema, sua produção imagética nos respectivos aspectos tecnológicos, sociais e culturais, a partir do horror contemporâneo; b) Estudar aspectos estéticos e narrativos do gênero horror com ênfase nos filmes found footage; c) Discutir especificidades da imagem no found footage; d) Analisar os filmes que compõem o corpus, discutindo-os a partir das movimentações do dispositivo do olhar no horror e das experiências estéticas que potencializam. Entre alguns pressupostos abordados pela tese estão os de que o horror found footage é um fenômeno pós-sala de cinema, ainda que muitas produções circulem em grandes espaços de shopping centers e sejam lançadas em 3D. Ou seja, ver filmes é cada vez mais uma atividade privada e individual. O espectador está sozinho, do mesmo modo que as personagens que correm pela noite escura com uma câmera na mão. A visualidade dos games, a navegação pelas interfaces computacionais ou dispositivos móveis, também deixam marcas nas narrativas com esse estilo. Há ainda diversos tipos de imagens, texturas, cores diferentes que até o desenvolvimento do found footage não haviam sido exploradas no gênero horror. Essas imagens intentam ambiências, conceito de Gumbrecht (2014) que auxiliou a análise. As texturas estranhas, as falhas, ruídos, os “erros” dos equipamentos potencializam as experiências a partir de atmosferas, muitas dessas de aparelhos visuais que não são mais consumidos massivamente, como o VHS. Há sim uma presentificação do passado desses artefatos, dos modos como eram usados, um retorno de hábitos que são reconfigurados pelo contexto do horror. As ambiências possíveis pelas imagens, a perseguição pela experiência tátil com a narrativa, marcam um fenômeno contemporâneo de busca pela apreensão do tempo, das memórias, da vida. Um desejo de possuir as imagens e seus mundos, algo que se sobrepõe à intenção de registro ou de representação do mundo. Podemos afirmar ainda que a ideia de Gumbrecht (2015) do presente amplo se aplica aos filmes estudados nesse aspecto. / This thesis investigates the establishment of the apparatus of seeing as an aesthetic experience within found footage horror movies, from their cinematographic materiality. A discussion about the way as these movies circulate in horror genre is made through crossing film, technology and Communication theories. The apparatus of seeing conception is thought, especially, from authors such as Jonathan Crary, Michel Foucault, Giorgio Agamben, Laurent Mannoni, Hans Ulrich Gumbrecht, Vilém Flusser and Philippe Dubois. The apparatus of seeing is, therefore, thought as a behavior, both visual and regarding the usage of technological artifact, that appears within the movies and in the way how this seeing from inside the film can affect the spectator habit of viewing. This is not about the representation of technology, but its strategy and its discourses to propose sensitive appeal in the public. The research problem is: How the apparatus of seeing is composed in found footage horror movies and what can this phenomenon denote about our relation with cinema and technology in contemporaneity? How is it possible to discuss the aesthetic experience with horror movies from these productions? Thus, the main objective is to understand how the apparatus of seeing operates in found footage horror movies and how it proposes aesthetic experiences, in order to see characteristics of our relation with cinema and technology in contemporaneity. The specific objectives are: a) To problematize the apparatus of seeing in cinema, its imagistic production in the respective technological, social and cultural aspects, from contemporary horror genre; b) To study aesthetics and narrative aspects of the horror genre, especially the found footage films; c) To discuss the specificities of the image within found footage; d) To analyze the corpus of films, discussing them from changes of apparatus of seeing and the aesthetic experiences that it potentiates. Among the assumptions the thesis approaches, are that the found footage is a post-cinema phenomenon, although many productions circulate in large spaces of shopping centers and are released in 3D. In other words, watching movies is increasingly a private and individual activity. The spectator is alone, just like the characters that run through the dark night with a camera in their hands. The game visuality, the navigation through computational interfaces or mobile devices, also leave marks in the narratives marked by this style. There are still several types of images, textures, different colors that, until the development of found footage, had not been explored in the horror genre. These images attempt to establish ambiences, a concept of Gumbrecht (2014) that aided the analysis. The strange textures, the flaws, the noises, the "errors" of the equipments potentiate experiences from atmospheres, many of them of visual devices that are no longer massively consumed nowadays, like the VHS. There is rather a presentiment of the past of these artifacts, the ways that they were used, a return of habits that are reconfigured by the context of horror. The possible ambiences of the images, the persecution for a tactile experience with the narrative, mark a contemporary phenomenon of search for the apprehension of the time, the memories, the life. A desire to possess the images and their worlds, something that overlaps the intention of recording or representing the world. We can also affirm that the idea of Gumbrecht (2015) of the broad present applies to the films studied in this aspect.

The subgenre found footage has proliferated since the turn of the millennium and today represents a significant portion of the production of American horror film - especially the independent one. Characterized by the use of diegetic cameras – inserted within the narrative universe of the films –, which are usually handled by the characters themselves, the productions made within this style approximate the relationship that the public has with a supposedly (and simulated) amateur image and, consequently, more realistic. This dissertation aims to analyze how the subgenre found footage relates to this discussion of film realism, more specifically in horror movies. To achieve this goal, we study the history of film realism - based on studies by authors such as André Bazin, Ismail Xavier and David Bordwell. We discuss the concepts of realism and naturalism, classic cinema and avant-garde cinema, and we see how these discussions fit into our object of study. We also studied the trajectory of found footage, addressing its prehistory (the relationship with literature and radio), the earliest manifestations in the cinema, and its establishment as subgenre of terror after the launch of The Blair Witch Project (1999). The visual and narrative style of found footage is analyzed based on the theories of authors such as Alexandra Heller-Nicholas and Cecilia Sayad. From the information collected in these surveys, we relate the contents to the analysis of the five main films of the horror franchise Paranormal Activity (2009 - 2015). Through these analyzes, we see that the very conception of realism within the franchise proves to be malleable, as films sometimes hang for avant-garde cinema and sometimes for a classic cinema. / Submitted by Daniel Lucas de Medeiros (daniel.medeiros@unisul.br) on 2017-10-16T22:09:45Z No. of bitstreams: 2 license_rdf: 811 bytes, checksum: e39d27027a6cc9cb039ad269a5db8e34 (MD5) Dissertação-Daniel-Lucas-de-Medeiros.pdf: 2217591 bytes, checksum: d4df7fef67a21172399731eccc463cf5 (MD5) / Approved for entry into archive by Karina Ramos Wagner (wagner.karina@unisul.br) on 2017-11-06T10:45:25Z (GMT) No. of bitstreams: 2 license_rdf: 811 bytes, checksum: e39d27027a6cc9cb039ad269a5db8e34 (MD5) Dissertação-Daniel-Lucas-de-Medeiros.pdf: 2217591 bytes, checksum: d4df7fef67a21172399731eccc463cf5 (MD5) / Made available in DSpace on 2017-11-06T10:45:25Z (GMT). No. of bitstreams: 2 license_rdf: 811 bytes, checksum: e39d27027a6cc9cb039ad269a5db8e34 (MD5) Dissertação-Daniel-Lucas-de-Medeiros.pdf: 2217591 bytes, checksum: d4df7fef67a21172399731eccc463cf5 (MD5) Previous issue date: 2017-07-20 / O subgênero found footage proliferou-se a partir da virada do milênio e hoje representa uma parcela significativa da produção do cinema de terror norte-americano – especialmente o independente. Caracterizado pelo uso de câmeras diegéticas – inseridas dentro do universo narrativo dos filmes –, que normalmente são manuseadas pelos próprios personagens, as produções realizadas dentro desse estilo aproximam a relação que o público tem com uma imagem supostamente (e simuladamente) amadora e, consequentemente, mais realista. Esta dissertação tem o objetivo de analisar de que maneira o subgênero found footage se relaciona com essa discussão a respeito do realismo no cinema, mais especificamente no cinema de terror. Para atingir esse objetivo, estudamos a história do realismo no cinema – tendo como base estudos de autores como André Bazin, Ismail Xavier e David Bordwell. Discutimos os conceitos de realismo e naturalismo, cinema clássico e cinema de vanguarda, e vemos de que maneira essas discussões se encaixam em nosso objeto de estudo. Estudamos também a trajetória do found footage, abordando sua pré-história (a relação com a literatura e o rádio), as primeiras manifestações no cinema e o seu estabelecimento como subgênero do terror após o lançamento de A Bruxa de Blair (The Blair Witch Project, 1999). O estilo visual e narrativo do found footage é analisado com base nas teorias de autores como Alexandra Heller-Nicholas e Cecília Sayad. A partir das informações colhidas nessas pesquisas, relacionamos os conteúdos com a análise dos cinco filmes principais da franquia de terror Atividade Paranormal (Paranormal Activity, 2009 - 2015). Por meio dessas análises, observamos que a própria concepção de realismo dentro da franquia mostra-se maleável, à medida que os filmes ora pendem para um cinema de vanguarda, ora para um cinema clássico.

Thesis (MTech (Design))--Cape Peninsula University of Technology, 2015. / This mini-thesis aims at exploring the process of design thinking in the transformation of a decayed found object into an artwork, with a narrative of sustainability and life, thus creating awareness around the role and function of decayed objects by repurposing them to give them new life. The scope of this study will be limited to the use of art to create awareness around repurposing found objects. However, these repurposed found objects will not become physical utility products. Rather, this study aims to discuss and explore ways in which art can be used to generate an ethos of 'redesigning' into a work of art which gives it an aesthestic value. An undertone of this study is the dilemma encountered in attempting to establish clear delineations between art and design in both pedagogic and professional practice domains. ABSTRACT This mini-thesis aims at exploring the process of design thinking in the transformation of a decayed found object into an artwork, with a narrative of sustainability and life, thus creating awareness around the role and function of decayed objects by repurposing them to give them new life. Key topics discussed in this mini-thesis are the noticing of and engagement with decayed found objects and sustainability. Other topics explored are repurposing and design for repurposing. Debates around the concept of 'design thinking' are ever current. Design thinking was employed in the study, which resulted in a process that examined the richness of my individual artistic journeys. My ontological stance is that all chosen found objects should have a life. This study is epistemologically situated within the interpretive paradigm since the study makes meaning of my experiences as I interact with found objects. The study drew on a qualitative design paradigm of embodied experience, phenomenological research and employed qualitative methodologies of reflective journaling, lived experience and a process-orientated art approach. The research method adopted a convenience or accidental sample, which is not representative of a population of found objects as the objects were presented by accident. All artworks created for the purpose of the study incorporated found objects that were selected randomly. The design analysis and findings verified the likelihood of a thematic approach by using comparisons of the choice of collected found objects. The general contribution(s) of this mini-thesis to the knowledge toward the direction design needs to take is three-fold: firstly, the study confirmed an awareness of using discarded banal found objects and giving these objects new life through design thinking; secondly, it emphasises the awareness around the critical concerns of sustainability and social responsibility; and, lastly it engages curricula development in robust dialogue that advances the sustainability agenda in a multi-disciplinary context in the Faculty of Informatics and Design, at the Cape Peninsula University of Technology, Cape Town, South Africa. In order to initiate further dialogue, this study argues and proposes that student learning can be enhanced through using a found object as catalyst to ignite creative expression and as a result positively contribute to the sustainability agenda. Typically the study could also propose through means of arguments in literature that creative practical activities structured around found objects and design thinking will allow students to adopt a deep approach to learning. These educational arguments will exceed the objectives of this mini-thesis. They are, nevertheless, considered a worthwhile theme for further research or a doctoral thesis.

A tese investiga como se estabelece o dispositivo do olhar enquanto experiência estética no cinema de horror found footage a partir da materialidade cinematográfica. Realiza-se uma discussão acerca do modo como esses filmes circulam no gênero horror com o cruzamento de teorias de cinema, tecnologia e da Comunicação. A concepção de dispositivo do olhar é pensada, especialmente, a partir de Jonathan Crary, Michel Foucault, Giorgio Agamben, Laurent Mannoni, Hans Ulrich Gumbrecht, Vilém Flusser e Philippe Dubois. O dispositivo do olhar é, portanto, delineado como o comportamento visual e de uso de artefatos tecnológicos que aparece nos filmes e o modo como esse olhar de dentro do filme pode afetar a forma de ver do espectador. Não é como a tecnologia é representada nos filmes, mas a estratégia dessa e seus respectivos discursos em intentar o apelo sensível do público. O problema de pesquisa é: Como se constitui o dispositivo do olhar nos filmes de horror found footage e o que esse fenômeno pode indicar da nossa relação com o cinema e a tecnologia na contemporaneidade? De que modo é possível discutir a experiência estética com o cinema de horror a partir dessas produções? Assim, o objetivo geral da pesquisa é compreender como opera o dispositivo do olhar no cinema de horror found footage e a maneira como ele propõe experiências estéticas, a fim de perceber características da nossa relação com o cinema e a tecnologia na contemporaneidade. Já os objetivos específicos são os seguintes: a) Problematizar o dispositivo do olhar no cinema, sua produção imagética nos respectivos aspectos tecnológicos, sociais e culturais, a partir do horror contemporâneo; b) Estudar aspectos estéticos e narrativos do gênero horror com ênfase nos filmes found footage; c) Discutir especificidades da imagem no found footage; d) Analisar os filmes que compõem o corpus, discutindo-os a partir das movimentações do dispositivo do olhar no horror e das experiências estéticas que potencializam. Entre alguns pressupostos abordados pela tese estão os de que o horror found footage é um fenômeno pós-sala de cinema, ainda que muitas produções circulem em grandes espaços de shopping centers e sejam lançadas em 3D. Ou seja, ver filmes é cada vez mais uma atividade privada e individual. O espectador está sozinho, do mesmo modo que as personagens que correm pela noite escura com uma câmera na mão. A visualidade dos games, a navegação pelas interfaces computacionais ou dispositivos móveis, também deixam marcas nas narrativas com esse estilo. Há ainda diversos tipos de imagens, texturas, cores diferentes que até o desenvolvimento do found footage não haviam sido exploradas no gênero horror. Essas imagens intentam ambiências, conceito de Gumbrecht (2014) que auxiliou a análise. As texturas estranhas, as falhas, ruídos, os “erros” dos equipamentos potencializam as experiências a partir de atmosferas, muitas dessas de aparelhos visuais que não são mais consumidos massivamente, como o VHS. Há sim uma presentificação do passado desses artefatos, dos modos como eram usados, um retorno de hábitos que são reconfigurados pelo contexto do horror. As ambiências possíveis pelas imagens, a perseguição pela experiência tátil com a narrativa, marcam um fenômeno contemporâneo de busca pela apreensão do tempo, das memórias, da vida. Um desejo de possuir as imagens e seus mundos, algo que se sobrepõe à intenção de registro ou de representação do mundo. Podemos afirmar ainda que a ideia de Gumbrecht (2015) do presente amplo se aplica aos filmes estudados nesse aspecto. / This thesis investigates the establishment of the apparatus of seeing as an aesthetic experience within found footage horror movies, from their cinematographic materiality. A discussion about the way as these movies circulate in horror genre is made through crossing film, technology and Communication theories. The apparatus of seeing conception is thought, especially, from authors such as Jonathan Crary, Michel Foucault, Giorgio Agamben, Laurent Mannoni, Hans Ulrich Gumbrecht, Vilém Flusser and Philippe Dubois. The apparatus of seeing is, therefore, thought as a behavior, both visual and regarding the usage of technological artifact, that appears within the movies and in the way how this seeing from inside the film can affect the spectator habit of viewing. This is not about the representation of technology, but its strategy and its discourses to propose sensitive appeal in the public. The research problem is: How the apparatus of seeing is composed in found footage horror movies and what can this phenomenon denote about our relation with cinema and technology in contemporaneity? How is it possible to discuss the aesthetic experience with horror movies from these productions? Thus, the main objective is to understand how the apparatus of seeing operates in found footage horror movies and how it proposes aesthetic experiences, in order to see characteristics of our relation with cinema and technology in contemporaneity. The specific objectives are: a) To problematize the apparatus of seeing in cinema, its imagistic production in the respective technological, social and cultural aspects, from contemporary horror genre; b) To study aesthetics and narrative aspects of the horror genre, especially the found footage films; c) To discuss the specificities of the image within found footage; d) To analyze the corpus of films, discussing them from changes of apparatus of seeing and the aesthetic experiences that it potentiates. Among the assumptions the thesis approaches, are that the found footage is a post-cinema phenomenon, although many productions circulate in large spaces of shopping centers and are released in 3D. In other words, watching movies is increasingly a private and individual activity. The spectator is alone, just like the characters that run through the dark night with a camera in their hands. The game visuality, the navigation through computational interfaces or mobile devices, also leave marks in the narratives marked by this style. There are still several types of images, textures, different colors that, until the development of found footage, had not been explored in the horror genre. These images attempt to establish ambiences, a concept of Gumbrecht (2014) that aided the analysis. The strange textures, the flaws, the noises, the "errors" of the equipments potentiate experiences from atmospheres, many of them of visual devices that are no longer massively consumed nowadays, like the VHS. There is rather a presentiment of the past of these artifacts, the ways that they were used, a return of habits that are reconfigured by the context of horror. The possible ambiences of the images, the persecution for a tactile experience with the narrative, mark a contemporary phenomenon of search for the apprehension of the time, the memories, the life. A desire to possess the images and their worlds, something that overlaps the intention of recording or representing the world. We can also affirm that the idea of Gumbrecht (2015) of the broad present applies to the films studied in this aspect.