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The Global ETD Search service is a free service for researchers
to find electronic theses and dissertations. This service is
provided by the
Networked Digital Library of Theses and Dissertations.
Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.
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Showing 1 to 8 of 8 (0.037 seconds)Spelling suggestions: "subject:"petty"" "subject:"jette""
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Antecedent and anthropogenic influences on the Galveston Island shorefacePitkewicz, Jennifer Lynn 15 May 2009 (has links)
Galveston Island, Texas has been experiencing high rates of erosion in recent
years, spawning an interest in developing complex beach management programs.
However, before any effective management project can be implemented we must
understand all of the processes that control the shoreface. It is only recently that
scientists have begun to recognize the importance of the role that the geologic
framework plays on the coastal evolution of the shoreline. In this region, it is the
antecedent geology as well as the anthropogenic obstructions which are the key factors
controlling the formation of the modern shoreface. This study defines the extents to
which these antecedent and anthropogenic factors influence the shoreface as well as
refines the geologic interpretations offshore of Galveston Island. Using sidescan sonar,
CHIRP seismic sonar, multibeam bathymetry data and sediment cores, the shoreface and
subsurface geology were modeled. It was determined that the thickness, extent and
slope of the modern sediment in the nearshore environment is controlled by the
topography of the Beaumont Clay, a consolidated clay deposited during the Pleistocene. Anthropogenic obstructions, including the Galveston Seawall, groin and jetty system,
have changed the sediment transport patterns in the region and have created a system of
erosion and accretion not only along the shoreline, but for the entire length of the
shoreface.
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Incoporating rubble mound jetties in elliptic harbor wave modelsZhang, Jianfeng 17 September 2007 (has links)
Simulation models based on the elliptic mild or steep slope wave equation are
frequently used to estimate wave properties needed for the engineering calculations of
harbors. To increase the practical applicability of such models, a method is developed to
include the effects of rubble mound structures that may be present along the sides of
entrance channels into harbors.
The results of this method are found to match those of other mathematical models
(i.e. parabolic approximation & three-dimensional solution) under appropriate conditions,
but they also deviate from results of parabolic approximations in some cases because
dissipation can create angular scattering. Comparison with hydraulic model data also
shows that this approach is useful for designing pocket wave absorbers that are used to
reduce wave heights in entrance channels.
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Integrace serveru Undertow se systémem Jenkins CI / Integration of Jenkins CI with UndertowBarteček, Jakub January 2014 (has links)
This master's thesis deals with replacement of the servlet container in Jenkins CI with server Undertow. In the thesis, general information about programs, which are related to this topic, are described and current state of the servlet container is analyzed. The result is newly created servlet container for Jenkins CI. Both versions of the Jenkins CI were performance tested and the new version gave better results.
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Hur såg Birkas hamn ut och vilka transporter behövdes?Wiklund, Jonas January 2009 (has links)
<p>What is located on the bottom in the water outside of Birka? Remains of a water palisade or jetties and other constructions.</p><p>Birka a Viking Age town that existed between AD 750 and 975 was located on the northwestern part of the small island of Björkö, in the Mälar archipelago of the Baltic Sea in Sweden. The Town was protected onshore by a hill fort and a town rampart. It is a widely spread assumption that Birka had a water palisade as a part of its<strong> </strong>defense. There are logs and other remnants on the bottom of the lake dating back to the Viking age. Uncertainty remains as to the origin of these remnants. The questions being, are they from a water palisade or the remnants of jetties and other constructions. The amount of fire wood alone needed to support 500 inhabitants for one year is equal to a wall of wood one meter high, one meter wide and two kilometers in length. This calculation does not take into account the wood used for transportation of other materials, people and animals. The conclusion is that future examination of the area is necessary to find out what is located on the bottom in the water.</p>
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Hur såg Birkas hamn ut och vilka transporter behövdes?Wiklund, Jonas January 2009 (has links)
What is located on the bottom in the water outside of Birka? Remains of a water palisade or jetties and other constructions. Birka a Viking Age town that existed between AD 750 and 975 was located on the northwestern part of the small island of Björkö, in the Mälar archipelago of the Baltic Sea in Sweden. The Town was protected onshore by a hill fort and a town rampart. It is a widely spread assumption that Birka had a water palisade as a part of its defense. There are logs and other remnants on the bottom of the lake dating back to the Viking age. Uncertainty remains as to the origin of these remnants. The questions being, are they from a water palisade or the remnants of jetties and other constructions. The amount of fire wood alone needed to support 500 inhabitants for one year is equal to a wall of wood one meter high, one meter wide and two kilometers in length. This calculation does not take into account the wood used for transportation of other materials, people and animals. The conclusion is that future examination of the area is necessary to find out what is located on the bottom in the water.
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Zobrazení 3D scény ve webovém prohlížeči / 3D Graphics in Web BrowserKuželová, Ludmila January 2012 (has links)
The thesis deals with the creation of a three-dimensional virtual view with the use of the new WebGL standard in combination with O3D javascript framework. The result is freely available web application which generates a virtual tour of sent series of photographs. Afterwards, the photographs are processed by the server, which on the basis of found corresponding points creates 3D scene. The application is based on a freeware application Bundler [40] which is used for identifying 3D points in uploaded photographs and related cameras (the places from which the photographs were taken). Bundler outputs are processed by Jetty web server with the use of Java script. At this point, all data required for the creation of a view are gathered. The display of the final result is then realized via HTML5, CSS, WebGL and Javascript using O3D.
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What Comes After the BluesKurtz, Matthew B. 17 June 2021 (has links)
No description available.
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Tacita Deans JG. Autorinnenfilm zwischen New Wave Science-Fiction und Land ArtRosen, Susanne 06 February 2025 (has links)
Durch die Entwicklungen der Digitalisierung scheint 2013 die Obsoleszenz des analogen Filmmediums besiegelt. Während ein Großteil der Filmindustrie über die Flexibilität digitaler Filmaufnahmen erleichtert ist, betrauern KünsterInnen wie Tacita Dean den drohenden Verlust des analogen Mediums. Dem Anliegen, analogen Film in seinen intrinsischen Qualitäten zu erkennen, zu würdigen und zu erhalten, widmet die Künstlerin Arbeiten wie Kodak (2006) oder FILM (2011). Auch in Deans Film JG (2013) setzt sich die Künstlerin mit dem drohenden Ende des Mediums auseinander. Aufgrund seiner Rätselhaftigkeit und gesteigerten Polysemie nimmt der Film allerdings eine Sonderstellung in Deans Werk ein. Die vorliegende Arbeit sucht die Rätsel zu entziffern und zeigt auf, wie in JG dem Untergang des ‚Universums Film‘ über die Figur eines allegorischen Dramas Gestalt verliehen wird und wie über Fragmente des analogen Films ein Erinnerungsbild an die technischen und chemischen Bedingungen sowie strukturellen Eigenheiten des Mediums geschaffen wird, das allein für diejenigen in JG erkennbar wird, die mit dem Wissen um diese Bedingungen vertraut sind. In einem zweiten Schritt widmet sich die Untersuchung den Werken des britischen Science-Fiction-Schriftstellers J.G. Ballard und des US-amerikanischen Land-Art-Künstlers Robert Smithson, auf die sich Dean in JG bezieht. Über ‚close-reading‘-Analysen von Ballards The Voices of Time (1960) und Prisoner of the Coral Deep (1964) sowie Roberts Smithsons Spiral Jetty (1970) lässt sich zeigen, dass die Künstlerin Strategien zur Anwendung bringt, mit denen sie JG in unmittelbare Nähe zum Science-Fiction-Genre und zu Smithsons Land Art rückt, worüber es ihr gelingt, neben der zeitlichen auch die räumliche Dimension des Films, seine skulpturale Dimension, auf eindrückliche Weise auszustellen. / By 2013, the obsolescence of analog film seemed to be sealed as a result of progress in digitalization. While much of the film industry rejoiced in the greater flexibility provided by digital film, artists such as Tacita Dean mourned the impending loss of their analog medium. Tacita Dean had already dedicated works such as Kodak (2006) and FILM (2011) to the recognition, appreciation, and preservation of film in its intrinsic qualities. In her film JG (2013) the artist continues to deal with the impending end of the medium. JG’s enigmatic nature and heightened polysemy lends it a unique position in Dean’s œuvre. The Dissertation seeks to decipher the enigma JG and tries to show how the artist in JG confronts the impending loss of her medium. It is argued that she does this in two ways: through the figure of an allegorical drama reflecting the end of the 'universe of film’; and, secondly, through a collection of analog film fragments that, to those with the requisite knowledge, become recognizable as a commemorative picture of the technical and chemical conditions and structural characteristics of the medium. In a second step, the study is dedicated to works of British science fiction writer J.G. Ballard and American Land Art artist Robert Smithson on which Dean draws in JG. Through close-reading analyses of Ballard’s The Voices of Time (1960) and Prisoner of the Coral Deep (1964) as well as Robert Smithson’s Spiral Jetty (1970), it becomes clear that Dean employs strategies that bring JG into close proximity with the genre of Science Fiction and with Smithson’s Land Art. By these means she achieves an impressive demonstration not merely of film’s temporal but of its spatial, sculptural dimension.
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