by Fiona Chan Siu Ling. / Thesis (M.Phil.)--Chinese University of Hong Kong, 1995. / Includes bibliographical references (leaves [114-118]). / Chapter Chapter One --- "Fantasy, Postmodernism and Space" --- p.1 / Chapter Chapter Two --- Fantasy and Hyperspace --- p.27 / Chapter Chapter Three --- Fantasy and Cyberspace --- p.54 / Chapter Chapter Four --- The Constituting and the Constituted in the Postmodern --- p.81 / Works Cited --- p.114

Thesis (M. Sc.)--Carleton University, 2002. / Includes bibliographical references (p. 90-93). Also available in electronic format on the Internet.

My thesis tries to speculate a building in a scenario where there is a four-dimensional world behind the world we currently inhabit, inspired by the provocative 19th-century romance Flatland. After studying the characters of higher dimensionality, the thesis generalizes a way of perceiving the fourth dimension in three-dimensional building, which has two aspects of space and time. First, expanding the space allow us to perceive each 3D slice of a 4D space. Those slices should be "seen" at the same time if we have four-dimensional senses. This brings up the second aspect, folding time. We travel from one slice to another, spending time that would be no time if we truly experience four dimensionally. The site is a small traffic island in Rosslyn, Virginia, across from Washington DC. Taking the space within the site as a slicer, and applying the method from studying the 4th dimension, we have got series of scenes (represented in box) in different sizes. These scenes are the 3-dimensional sections of the 4-dimensional world that are unseen to all of us, and are only to be "seen" by going into this building on the site. But the nature of going through the 4D in this 3 dimensional way is very personal. And the different sequences create different representations of what the building would be. Thus, I take a journey of our character J as an example to show what a similar building experience would be if we were going into it. The number of 3D sections from 4D is infinite, thus our building is a particular combination of the scenes which are forming one's journey. In our world, visiting this building one enters by arriving at its end (top in this case), and going back down to exit. It is the same in the narrative of J's journey in this building's world. So, reality and imagination merge. Let's find out what it feels like. / Master of Architecture / Architecture is about designing buildings. But studying architecture, sometimes we want to know the things behind the appearance of the building. What happens "inside". Designing a building needs to deal with space. What is inside the space? By going straight in and out of the solidness, we enter the next dimension, the 4th dimension. This is inside and outside the appearance of the building we see every day. Also trying to figure out the meaning of it, the thesis generalizes a way of perceiving the fourth dimension in three-dimensional building, which has two aspects of space and time. First, expanding the 3D space allows us to perceive each 3D slice of a 4D space. Those slices should be "seen" at the same time if we have four-dimensional senses. This brings up the second aspect, folding time. We travel from one slice to another, spending time that would be no time if we truly experience four dimensionally. In the story of our helper J, we found a way, both a solution and a circulation, to visit this "building". Our sequence represents one of the appearances of what the building would be. In our world, visiting this building one enters by arriving at its end (top in this case), going back down and exit. It is the same in the narrative of J's journey in this building's world. So, reality and imagination merge. Let's find out what it feels like.

No description available.

Li Baojiu = 宇宙学和新物理学的交叉领域 / 李宝九. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2006. / Includes bibliographical references (leaves 93-99). / Text in English; abstracts in English and Chinese. / Li Baojiu = Yu zhou xue he xin wu li xue de jiao cha ling yu / Li Baojiu. / Chapter 1 --- Introduction --- p.1 / Chapter 1.1 --- Some Basic Conceptions in Cosmology --- p.2 / Chapter 1.1.1 --- "The Big Bang, Hubble's Law" --- p.2 / Chapter 1.1.2 --- The Cosmological Principle and Robertson-Walker Metric --- p.3 / Chapter 1.1.3 --- The Cosmological Redshift --- p.4 / Chapter 1.1.4 --- The Friedmann Equations --- p.4 / Chapter 1.2 --- Big Bang Nucleosynthesis --- p.5 / Chapter 1.3 --- Dark Energy --- p.9 / Chapter 2 --- "Branes, Varying Constants and BBN" --- p.16 / Chapter 2.1 --- A Brief Introduction to Theories Involving Extra Dimensions --- p.17 / Chapter 2.1.1 --- The Kaluza-Klein Theory --- p.18 / Chapter 2.1.2 --- Large Extra Dimensions --- p.19 / Chapter 2.1.3 --- Warped Extra Dimensions --- p.22 / Chapter 2.1.4 --- Universal Extra Dimensions --- p.24 / Chapter 2.1.5 --- Cosmology in a Brane World --- p.27 / Chapter 2.2 --- BBN and Varying Constants in Brane Models --- p.29 / Chapter 2.2.1 --- The Low Energy Effective Action in Brane Models --- p.30 / Chapter 2.2.2 --- BBN with a Varying Higgs VEV --- p.34 / Chapter 2.3 --- Numerical Results --- p.38 / Chapter 2.4 --- Discussion and Conclusions --- p.47 / Chapter 3 --- "Universal Extra Dimensions, Varying Constants and BBN" --- p.49 / Chapter 3.1 --- Introduction --- p.50 / Chapter 3.2 --- The Low Energy 4-Dimensional Effective Actions --- p.50 / Chapter 3.3 --- Radion Dependence of Fundamental Constants --- p.54 / Chapter 3.4 --- Variations of Quantities Relevant For BBN Calculation --- p.57 / Chapter 3.4.1 --- Neutron-proton Mass Difference --- p.57 / Chapter 3.4.2 --- Weak Interaction Rates --- p.58 / Chapter 3.4.3 --- Expansion Rate of the Universe --- p.58 / Chapter 3.4.4 --- Nuclear Reaction Rates --- p.59 / Chapter 3.5 --- Numerical Results --- p.64 / Chapter 3.6 --- Discussion and Conclusions --- p.70 / Chapter 4 --- Dark Energy as a Signature of Extra Dimensions --- p.74 / Chapter 4.1 --- Introduction --- p.75 / Chapter 4.2 --- The Underlying Higher Dimensional Theory --- p.75 / Chapter 4.3 --- The Cosmic Evolution in Different Eras --- p.79 / Chapter 4.3.1 --- The Blazing Era --- p.79 / Chapter 4.3.2 --- The Radiation Dominated Era --- p.83 / Chapter 4.3.3 --- The Matter Dominated Era --- p.84 / Chapter 4.4 --- A Realistic Cosmology --- p.85 / Chapter 4.5 --- Discussions and Conclusions --- p.92 / Bibliography --- p.93

Thesis (M.Arch.) - Carleton University, 2007. / Accompanying material: 3D glasses. Includes bibliographical references (p. 90). Also available in electronic format on the Internet.

This thesis examines the intersection of math and art by focusing on three specific branches of math: the fourth dimension, non-Euclidean geometry, and chaos and fractals. Different genres of art interact with each of these branches of math. The influence of the fourth dimension can easily be seen in Cubism and Russian Constructivism. Non-Euclidean geometry guided some of M.C. Escher’s work, and it inspired the Crochet Coral Reef project. Chaos and fractals can be found in art and architecture throughout history, but Vincent van Gogh and Jackson Pollock are notable examples of artists who used chaos in their work. Some artists incorporate math into their work in a rigorous, exacting manner, while others take inspiration from a general concept and provide a more abstract interpretation. Regardless of mathematical accuracy, mathematically inspired art can provide a greater understanding of mathematical concepts.

Submitted by Marilene Donadel (marilene.donadel@unioeste.br) on 2019-03-12T20:46:00Z No. of bitstreams: 1 Lucas_Souza_2018.pdf: 664469 bytes, checksum: 0951e84c68ffe2bccbf464cb54737e6f (MD5) / Made available in DSpace on 2019-03-12T20:46:00Z (GMT). No. of bitstreams: 1 Lucas_Souza_2018.pdf: 664469 bytes, checksum: 0951e84c68ffe2bccbf464cb54737e6f (MD5) Previous issue date: 2018-07-26 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The central target of this work is to analyze the epistemological value of mystical experiences through the main work of the Russian philosopher Ouspensky, the Tertium Organum published in 1920, through the interpretation of these experiences as the knowledge of a possible higher dimensional domain, i.e., beyond the third dimension. In considering this possibility, it is also our role to ponder its relevance or validity as an epistemology that considers more than just the three known dimensions, and only a closer analysis of Ouspensky's philosophy could tell us its relevance. For those overly influenced by a non-mystical interpretation, to worry about the hypothetical and perhaps even miraculous possibility of demonstrating the existence of other dimensions is an infertile proposition. However, our effort in this work is precisely to give attention to this practically forgotten possibility. For this, our analysis is divided into three parts: 1) an analysis of the entire historical context that surrounds the outsider philosopher, the artistic, philosophical, scientific and mystical movements of Russia in the late nineteenth and early twentieth centuries, as well as of how Ouspensky was being led by his own experiences to the construction of a multidimensional epistemology; 2) a reconstruction of the Tertium Organum based on its main propositions in the formation of an epistemology based on the fourth dimension, as well as the formation of what he calls "higher logic" referring to the logic of dimensions higher than ours; 3) our considerations about Ouspensky's analysis and his relation to Kant's philosophy, which the philosopher himself and his commentators point to as a continuation. This work may be useful to those who, though incapable of ignoring the possibility of the existence of mystical experience, are equally incapable of fully understanding in what sense such an experience can validly affirm some epistemological value or a knowledge of a reality beyond common experience - these will find in Ouspensky's doctrine a hypothesis by which this statement can be defended. / O objetivo central deste trabalho é analisar o valor epistemológico das experiências místicas através da principal obra do filósofo russo Ouspensky, o Tertium Organum publicado em 1920, através da interpretação destas experiências como o conhecimento de um possível domínio supradimensional, i.e., além da terceira dimensão. Ao considerar esta possibilidade, também é nosso o papel de ponderar sua relevância ou validade como uma epistemologia que considere mais do que somente as três dimensões conhecidas, e somente uma análise mais apurada da filosofia de Ouspensky poderia nos dizer sua relevância. Para aqueles demasiadamente influenciados por uma interpretação não-mística, preocupar-se com a possibilidade hipotética e talvez até mirabolante de demonstrar a existência de outras dimensões seja uma proposta infértil. Porém, nosso esforço neste trabalho é em justamente dar atenção a essa possibilidade praticamente esquecida. Para isso, nossa análise se decompõe em três partes: 1) uma análise de todo o contexto histórico que circunda o filósofo outsider, os movimentos artísticos, filosóficos, científicos e místicos da Rússia do final do século XIX e início do século XX, assim como de como Ouspensky foi sendo levado pelas suas próprias experiências à construção de uma epistemologia multidimensional; 2) uma reconstrução do Tertium Organum com base nas suas principais proposições na formação de uma epistemologia baseada na quarta dimensão, assim como a formação do que ele chama de “lógica superior” se referindo à lógica de dimensões superiores à nossa; 3) nossas ponderações sobre as análises de Ouspensky y sua relação com a filosofia de Kant, que o próprio filósofo e seus comentadores indicam como sendo uma continuação. Este trabalho talvez consiga ser útil para aqueles que, apesar de incapazes de ignorar a possibilidade da existência da experiência mística, sejam igualmente incapazes de entender completamente em que sentido tal experiência pode validamente afirmar algum valor epistemológico ou de um conhecimento de uma realidade além da experiência comum – estes encontrarão na doutrina de Ouspensky uma hipótese pela qual esta afirmação pode ser defendida.

Η παρούσα εργασία επιχειρεί να μελετήσει και να αναδείξει τα ιδιαίτερα γνωρίσματα του χαρακτήρα και της συμπεριφοράς τριών, από τους πλέον εμβληματικούς πολεμιστές της αρχαιότητας, όπως ο Γιάννης Ρίτσος, σύμφωνα με την κοσμοαντίληψή του τα έχει διαμορφώσει και να εντοπίσει τις όποιες ομοιότητες ή διαφορές, με τα αρχαία πρότυπά τους. Πρόκειται, συγκεκριμένα, για τον Αγαμέμνονα, βασιλιά του Άργους και αρχιστράτηγο της Τρωικής εκστρατείας, τον Φιλοκτήτη, κάτοχο του τόξου του Ηρακλή και περίφημο τοξότη και τον Αίαντα, τον δεύτερο μετά τον Αχιλλέα σε δύναμη πολεμιστή των Αχαιών, που πρωταγωνιστούν σε τρεις από τους αρχαιόθεμους μονολόγους της Τέταρτης Διάστασης του Γιάννη Ρίτσου. Οι αρχαίες ελληνικές τραγωδίες που αποτελούν τα πρότυπα για την διερεύνηση των ανωτέρω στοιχείων είναι: ο Αγαμέμνων του Αισχύλου από την τριλογία του Ορέστεια, και ο Φιλοκτήτης και ο Αίας του Σοφοκλή. Το βασικό συμπέρασμα που προκύπτει είναι ότι, ο Ρίτσος έχοντας ως βάση αφ΄ενός όσα η μυθική παράδοση αναφέρει γι΄ αυτούς και αφ’ ετέρου όσα η δραματική ποίηση διαμορφώνει, παρουσιάζει τους συγκεκριμένους πολεμιστές χτίζοντας το χαρακτήρα τους κάτω από ένα διαφορετικό και ουσιαστικά ανατρεπτικό πρίσμα. Οι ήρωες- πολεμιστές των συγκεκριμένων μονολόγων είναι ταυτόχρονα, και τα πρόσωπα των γνωστών μας από την μυθολογία καταστάσεων, αλλά και σύγχρονοί μας, καθημερινοί άνθρωποι. Σε σημαντικό, μάλιστα, βαθμό, μόνο τα σχόλια του ίδιου του συγγραφέα αποτελούν για μας τα ορόσημα που τοποθετούν χρονικά τη δράση τους μέσα στο ποίημα. Όμως ακόμα και αν ο μύθος αναποδογυρίζεται εντελώς, οι όποιες αλλαγές προκύπτουν, γίνονται πάντα στο εσωτερικό του δοσμένου καμβά. Ουσιαστικά δηλαδή παρουσιάζονται σαν διαφορετικές ερμηνείες των ίδιων προσώπων με εκείνα της δραματικής ποίησης. Εντέλει, ο μύθος εξακολουθεί να υπάρχει και εκείνο που αλλάζει δεν είναι παρά η οπτική γωνία από την οποία ο Ρίτσος φωτίζει τη συμπεριφορά των πολεμιστών ηρώων του. Μια οπτική γωνία τέτοια, που εκφράζει τις φιλοσοφικές και ιδεολογικές του αντιλήψεις, τα προσωπικά του βιώματα, τις απόψεις του γενικά γύρω από τα σοβαρά προβλήματα της σύγχρονης ιστορικής πραγματικότητας. / The present paper attempts to study and to highlight the particular character traits and behaviors of three warriors of antiquity who are considered to be the most emblematical according to Yannis Ritsos’ theory and to find out any resemblances and differences in relation to their ancient patterns. It is about Agamemnon, the king of Argos and general of the Trojan Crusade, Philoctetes a Hercules’ arc holder and eminent archer and Ajax, the second in force warrior of Achaean people, afterwards Achilles that play a key role in three of Yannis’ Ritsos Fourth Dimension mythological monologues. The ancient Greek tragedies that constitute the patterns for the research of the above components are: Aeschylus’ Agamemnon from the Oresteia, Sophocles’ Philoctetes and Ajax. The basic conclusion is that Ritsos depending on both what the mythical tradition reports about those heroes and what the dramatic poetry models, portrays the certain warriors building their characters in an different and substantially subversive prism. The heroes – warriors of the certain monologues are the heroes of our already known mythology as well as modern, every day people. In such extend that only the writers’ comments can constitute us the landmarks that chronologically place the heroes’ actions into the poem. However, even in the myth is totally reversed, whatever changes that might occur, are always done in the interior of the given canvas. That is to say they are presented as different interpretations of the same persons in connection to those of the dramatic poetry. In the end, the myth continues existing and what changes is the angle truth which Ritsos illumine the behavior of his warrior-heroes. Such an angle that expresses his philosophical and ideological perceptions,his personal experience and his opinions in general about the serious problems of the modern historical reality.

Η παρούσα εργασία θέτει ως στόχο της την ανίχνευση των στοιχείων της αρχαιογνωσίας του Γιάννη Ρίτσου στους αρχαιόθεμους μονολόγους της Τέταρτης Διάστασης, που φέρουν το όνομα του εκάστοτε ήρωα ή ηρωίδας από τον οίκο των Ατρειδών. Επιχειρεί να εντοπίσει τις συγκλίσεις και τις αποκλίσεις από τις τραγωδίες του Αισχύλου, του Σοφοκλή και του Ευριπίδη, που αντλούν το υλικό τους από τον μύθο του οίκου των Ατρειδών. Ο Ρίτσος διατηρεί τη γενική δομή του μύθου των Ατρειδών και διαμορφώνει τα επιμέρους περιστατικά ενοφθαλμίζοντας στην αφήγησή του προσωπικές μνήμες, αυτοβιογραφικά στοιχεία, πολιτικά βιώματα και διαψεύσεις αλλά και καθολικά αιτήματα του σύγχρονου ανθρώπου. Υπάρχουν στοιχεία που ο ποιητής τα διατηρεί αναλλοίωτα, άλλα τα παραλλάσσει ή τα μεταστρέφει εντελώς αποκλίνοντας από το αρχαίο πρότυπο. Η «ανάγνωση» του μύθου από τον Γιάννη Ρίτσο καθιστά τον τραγικό μύθο ένα πρίσμα μέσω του οποίου αναπαράγεται η ιδέα του για την ουσία του κόσμου και του ίδιου του ανθρώπου μέσα σε αυτόν. / This work focuses on the reception of the myth of Atreides by Ritsos in The Fourth Dimension and tries to find not only the elements which are common but also the others, which destabilize the mythical framework.