Many studies have been made of the 'Mexican Mural Renaissance', but these generally have not provided an integrated account of the philosophical and ideological beginnings, development and end of the Mexican government's 1920's programme. Also, recent studies dealing with aspects of the programme have brought new evidence forward which allows this study to provide an overview of the social, political and aesthetic context of the mural programme. This is helpful in the assessment of the muralists' artistic achievements both as individuals and as members of the artists' syndicate. Primary source material such as the artists' autobiographies and the newspapers such as 'La Vanguardia' and 'EI Machete' to which they frequently contributed have also been studied closely to provide new insights into their political thinking and aesthetic principles as they sought to create a 'revolutionary art for all.' Since the programme was government-sponsored as part of a national education policy, the ideology of the regimes which preceded and followed the Revolution of 1910-17 has been examined to ascertain how well the muralists' ideals and work matched the expectations of their official patrons. Accordingly an account is also given of the political life of Mexico, in particular during the dictatorship of Porfirio Diaz and the Revolution, and especially close attention is given to politics during the 1920's when the mural programme was underway. Concerning the muralists themselves, aspects of their experience which may have influenced their art are considered concurrently with their contemporary work. This is particularly important as a major question addressed in this study concerns the reduction of the muralists' programme from a group project, to the efforts of three noted muralists with assistance in some cases from others previously employed as muralists in their own right, to the final reduction of the programme to just Diego Rivera and several assistants.

Objectives: The aim of this study was to determine the prevalence of MetS among different African populations using the new Joint Statement Criteria. Hereafter we aimed to determine whether waist or neck circumference is the best predictor of MetS risk after ethnic, gender and age-specific cut-points were developed. Lastly, we aimed to determine whether afore-mentioned cut-point can predict albumin:creatinine ratio as a marker of target organ damage. Methods: The study sample (N=409) comprised of urban African (men, N=101; women, N=99) and Caucasian (men, N=101; women, N=108) teachers from the Dr. Kenneth Kaunda Education district in the North-West Province, South Africa. Participants were aged between 25 and 65 years. Anthropometric measurements, albumin:creatinine ratio and other markers of the metabolic syndrome (MetS) (systolic and diastolic blood pressure [SBP and DBP], glucose, triglycerides [TG] and high density lipoprotein [HDL]) were determined. Results: Africans (65 and 63 % for men and women) and Caucasian men (73%) showed high prevalence of MetS; ROC analysis determined neck circumference (NC) cut-points of 39 and 35 cm for young and older African men, 32 and 35 cm for young and older African women, 40 and 41 cm for Caucasian men and 34 and 33 cm for Caucasian women. This NC cut-point can be used to determine metabolic syndrome risk in all groups, except in African women; ROC developed waist circumference (WC) cut-points were 91 cm for all African male groups, 84, 81 and 84 cm for young, older and total group of African women. Suggested WC cut-points for Caucasian men were 93 cm for the young group and 97 cm for older as well as total Caucasian male groups, while cut-points for Caucasian women were 87 cm, 79 cm and 84 cm for young, older and total Caucasian women. These WC cut-points were good measures of metabolic syndrome risk in all groups; neither cut-point of WC nor NC could increase the risk of albumin:creatinine ratio. Conclusion: African women as a group present with few MetS risk factors and glucose is associated with renal function risk in Africans; NC cut-points may be used as an additional anthropometric marker to predict the metabolic syndrome in a South African cohort, but not in African women; WC cutpoints demonstrated to be good predictors of the metabolic syndrome in the same South African cohort, especially among men; WC would seem to be the best measure of MetS risk in all African populations, although NC can also be used for this purpose in all African populations, except in African women. / Thesis (PhD (Human Movement Science))--North-West University, Potchefstroom Campus, 2012

This thesis concerns drawing as a form of enquiry, figuration and knowledge, specifically relating to perceptions of the body and embodied experience. The primary method and object of research is the practice of direct mark-making in response to perceptual experience, here termed observational drawing. The skills and habits of this learnt practice have been destabilised: by attempting a phenomenological approach; by drawing faces and bodies in conditions of movement and change; by progressively subtracting elements of manual and visual control. Following from observational drawing, the creative research methodology incorporates other modes of drawing, re-working of scanned drawings, note-making, reading and writing. The thesis includes a written overview (Part I), and a digital archive of drawings (Part II), jointly comprising a narrative of the research process. The study starts by considering drawing as a cognitive process; as a means of understanding corporeality; and as constitutive of embodied knowledge. Through drawing, issues are raised regarding the contingencies and contexts of my own observational practice, and the histories that inhabit it. A retrospective investigation through reading and writing has produced twelve texts, interconnected to become one website/diagram (Part III). This research contributes to the growing recognition of art practice as enquiry. Part III of the thesis locates the manual/visual operations of drawing, and the rhetoric of the hand, eye and mind used to describe them, within an epistemological and historical context. This is done from the specific perspective of the creative practitioner. Reference is made to philosophical, art historical and feminist texts; to delineations of the animal and critiques of anthropocentric accounts of knowledge. The conclusion identifies paradoxes within my practice, and oscillations in modes of looking, that characterise its knowledge-making operations. It is suggested such provisionality enables a multiplicity of figurative outcomes that can contribute to understandings of corporeal experience.

Undergraduate, Interactive Games Design (IGD) courses offered by technical universities in the UK recruit students who are not required to have art or design backgrounds. However, they need to be able to represent their creative ideas. Observations at the University of Gloucestershire have shown that many students find difficulties in expressing their ideas in a visual manner as they do not have adequate drawing skills and eventually some focus on coding and some withdraw. This thesis investigates the links between game design and drawing skills, examining concepts of creativity, learning, design communication and education. To establish the basis of this problem, it was necessary to gain an insight into students‘ and tutors‘ viewpoints and interpretation of this course. Using an interpretive philosophical framework, a mixed method approach was chosen to allow for greater opportunity to understand the phenomenon. Within an action research paradigm, the research was carried out in an evolutionary manner. The extent of the problem was established by eliciting tutors‘ insight from other institutions both arts and technical based. A case study was set out to study two cohorts of students. This identified the problems reported by students and the impact of these on students‘ attitude and motivation. The nature and necessity of drawing skills for sketching storyboards were explored by gaining views of students, tutors and industry professionals. The effect of the tutor-led Art interventions at UoG was investigated. The research identified criteria to assess the quality of storyboard communications and finally a framework for an e-learning object to develop storyboard communication skills was specified. This study revealed that obtaining visual skills is fundamental in order to be able to draw or use rapid prototyping techniques for storyboarding. This needs to be addressed in a specified module or several sessions. It appeared that the design of an art intervention (tutor-based or e-learning object) for IGD students, needs to address the issues of confidence and teamwork alongside with the learning materials in a constructive and gamified style and as interactive as possible in a structured goal-based manner. It would also benefit from Active learning teaching style.

This practice-based research investigates the relationship between the process of making layered images and narratives of walked journeys. Two such journeys – Franz Schubert’s song cycle, Winterreise, and the autobiographical account of John Clare’s escape from an asylum, Reccolections &c Of Journey From Essex – were examined and compared through a body of drawings, prints and paintings. A study of the construction of the two narratives highlighted their layered composition: Winterreise is experienced as a synthesis of Wilhelm Müller’s poems and Schubert’s musical setting; whilst the full impact of Clare’s account is appreciated in the context of his poetry and biography. The research began with a bookwork, a visual response to the layering of information observed in the song cycle of Winterreise, and led to the formulation of a method of interpreting narratives using Thomas De Quincey’s model of The Palimpsest. De Quincey identified the effacements, amendments and aggregation of material in a palimpsest manuscript with the absorption of experience. In paintings made to interpret the experience of Winterreise, abrading layers of a picture surface elicited the compound characteristics of the narrative: allowing one idea to be seen through another. The fictive identity of the song cycle emerged in a suite of monoprints, through their assembly of layered imagery. Conversely, John Clare’s account is that of an actual journey, physically walked. The research culminated in a focus on the terrain of the two narratives. The metaphorical landscape of Winterreise is contrasted with Clare’s more visceral relationship with earth and trees through a series of paintings based on Journey From Essex. The research discovered new possibilities in the narratives’ meaning through the invention of a visual language to describe both physical nature of walking and a distinctive sense of place.

Reliable cost estimation is important for economic production, cost control and maintaining competitive advantage in manufacturing contract bidding. Therefore, estimating the manufacturing cost of a machined part is of critical importance in CNC manufacture. Computers aided systems the link to manufacturers CAD systems and databases have been used since the 1980’s to identify product cost and enable a company to evaluate resource utilisation. While the concept of an integrated costing system has made significant advances in integrating the design function with the cost estimation process, there are still major gaps in acquisition and application of detailed product data for generation of timely and reliable costing information feedback to engineers. Integrated costing systems are information intensive and require significant manufacturing data support. A major obstacle is the bespoke nature of the available cost relevant data and their storage in company specific database tailored to individual company practices. Thus there is need to consider standardisation of information from the design of component through to their process planning and manufacture. This will allow seamless exchange of detailed, cost relevant, information between other computers aided systems and costing systems to facilitate automatic and reliable cost information feedback. In this research a novel framework is specified and designed for enabling detailed product information that exists across CNC manufacturing, to be utilised for generation of reliable cost estimates. The standards based costing proposed in this thesis framework facilitates high-level integration of various CAx resources and increases the availability of product creation process (PCP) data that are applicable in costing process. A prototype implementation of the unified costing framework is utilised to demonstrate the capabilities of the framework. The demonstration is conducted using two industrially inspired prismatic test components where the components machining cycles were timed with a stop watch and the actual result compared with the prototype system estimated result to determine its reliability. The research shows that implementation of manufacturing standard that contain structured representation PCP information together with an effective data retrieval mechanism and computational algorithms can provide a standard compliant framework to realise an information rich (detailed) costing system. The potential of the proposed framework is not limited to enabling the use of detailed information that exist within manufacturing facility to generate cost information; it also provides a standard compliant approach for the development of future generations of costing systems.

This thesis is the first academic study of nineteenth-century artist and drawing master Samuel Lines (1778-1863) and his five sons: Henry Harris Lines (1800-1889), William Rostill Lines (1802-1846), Samuel Rostill Lines (1804-1833), Edward Ashcroft Lines (1807-1875) and Frederick Thomas Lines (1809-1898). The thesis, with its catalogue, has been a result of a collaborative study focusing on a collection of works on paper by the sons of Samuel Lines, from the Permanent Collection of the Royal Birmingham Society of Artists (RBSA). Both the thesis and catalogue aim to re-instate the family’s position as one of Birmingham’s most prominent and distinguished artistic dynasties. The thesis is divided into three chapters and includes a complete and comprehensive catalogue of 56 works on paper by the Lines family in the RBSA Permanent Collection. The catalogue also includes discursive information on the family’s careers otherwise not mentioned in the main thesis itself. The first chapter explores the family’s role in the establishment of the Birmingham Society of Arts (later the RBSA). It also explores the influence of art institutions and industry on the production of the fine and manufactured arts in Birmingham during the nineteenth century. The second chapter discusses the Lines family’s landscape imagery, in relation to prevailing landscape aesthetics and the physically changing landscape of the Midlands. Henry Harris Lines is the main focus of the last chapter which reveals the extent of his skills as archaeologist, antiquarian and artist.

While the MPAA’s Classification and Ratings Administration – or CARA – has generally expanded the freedoms of filmmakers since its 1968 inception, the economic failure of the NC-17 rating has led to substantial inconsistencies in the rating system. Because of the CARA model, filmmakers have been able to probe the extremes of violence under the R rating while they have been unable to do the same for screen sexuality. Through the NC-17 rating, CARA has been able to repress non-pornographic sexual portrayals by rating a given film NC-17, thus forcing contractually obligated directors to make edits that are sometimes inconsistent and arbitrary. Though cinema used to have significant thematic and visual freedoms over television, NC-17 level paid cable programming has surpassed what is allowed under CARA’s R-rating, allowing for more complex and mature viewpoints on sexuality than is currently allowed to regularly reach film audiences.

Colour is a basic aspect of perception and the perception of colour varies from individual to individual. This indicates that the perception of colours mean different semantics in various contexts to different individuals. Therefore, these differences in perception forms to behave in different attitudes towards colours among individuals and it is likely to achieve different attitudinal responses to colours from individuals. Relying on the effects of colours on individuals, the initial interest of this thesis is to explore the attitudinal approaches of individuals to colours. This thesis is first and foremost exploratory in nature. This thesis intended as a first step towards exploring the ways in which the individuals think of, construe and give meaning to colours in their own words. The subjective approach proposed in terms of this thesis is based on the underlying philosophy behind Personal Construct Theory (PCT). In order to elicit the individuals&rsquo / ways of construing and giving meaning to colours in their own words, an experiment was conducted with the utilisation of the Repertory Grid Technique (RGT). Sixty undergraduate students of Middle East Technical University (METU) Faculty of Architecture were voluntarily participated in the experiment. As a stimuli, eleven basic colours which were black, grey, white, yellow, orange, red, pink, purple, brown, blue and green were utilised. For the second step, this thesis intended investigating the structure and interrelations between the elicited attitudes of individuals and eleven basic colours. As a result of the experiment, 60 repertory grids were elicited and were analysed by using the qualitative and quantitative applications of content analysis. The resulted data afterwards were analysed by using multivariate statistical analysis methods. The overall results of this research can support certain information for further scientific investigations on colour perception and colour psychology. Additionally, the results of this research can help and guide designers to attain objective understandings about the individuals&rsquo / attitudes to colours. This can contribute to designers as a practical worthwhile during colour design and colour planning in their products and services.

Colour is a basic aspect of perception and the perception of colour varies from individual to individual. This indicates that the perception of colours mean different semantics in various contexts to different individuals. Therefore, these differences in perception forms to behave in different attitudes towards colours among individuals and it is likely to achieve different attitudinal responses to colours from individuals. Relying on the effects of colours on individuals, the initial interest of this thesis is to explore the attitudinal approaches of individuals to colours. This thesis is first and foremost exploratory in nature. This thesis intended as a first step towards exploring the ways in which the individuals think of, construe and give meaning to colours in their own words. The subjective approach proposed in terms of this thesis is based on the underlying philosophy behind Personal Construct Theory (PCT). In order to elicit the individuals&rsquo / ways of construing and giving meaning to colours in their own words, an experiment was conducted with the utilisation of the Repertory Grid Technique (RGT). Sixty undergraduate students of Middle East Technical University (METU) Faculty of Architecture were voluntarily participated in the experiment. As a stimuli, eleven basic colours which were black, grey, white, yellow, orange, red, pink, purple, brown, blue and green were utilised. For the second step, this thesis intended investigating the structure and interrelations between the elicited attitudes of individuals and eleven basic colours. As a result of the experiment, 60 repertory grids were elicited and were analysed by using the qualitative and quantitative applications of content analysis. The resulted data afterwards were analysed by using multivariate statistical analysis methods. The overall results of this research can support certain information for further scientific investigations on colour perception and colour psychology. Additionally, the results of this research can help and guide designers to attain objective understandings about the individuals&rsquo / attitudes to colours. This can contribute to designers as a practical worthwhile during colour design and colour planning in their products and services.