Cavalier Perspective has previously been described as merely a pictorial technique of spatial representation within the history of Chinese painting. It is a common belief that this unique visual system is capable of providing an experience of three-dimensional spatial perception in both representational art and actual space, in a manner similar to technique of foreshortening and perspective in post-renaissance western art. However, as Chinese ancient artists have a different understanding of geometry and philosophy, it is difficult to either define the origin and nature of the technique itself or to identify which particular visual phenomena it is intended to communicate, when artists transform three-dimensional space into two-dimensional surface information. The thesis begins by presenting an iconological analysis of the Chinese visual representation of space, in order to develop this visual study into a psychological analysis of the perception of three-dimensional form. To redefine Cavalier Perspective, it is necessary to firstly conduct a historical survey based on available visual evidence of both architecture and landscape representation. In both cases, the represented objects are transformed into flattened forms; and a psychological consequence thus appears involving the loss of a sense of depth in vision, which consequently contributes to the psychology of visual perception. To reassemble, and thus reactivate a similar perception in the representation of space, Chinese ancient artists are also believed to have created specific visual schemes to help reconstitute the perception of depth; thus rendering pictorial space perceptible. Cavalier Perspective is seen as just such a perceptual system. Consequently, the theoretical part of the thesis conducts an iconological study by elaborating a hierarchy of form, technique, and scheme in the history of Chinese spatial representation. After that, a theoretical association is formulated between iconology and visual perception, in which visual techniques are identified as potential cues to indicate depth. The translation between visual technique and depth cue appears so compulsive for both modem scholars and ancient artists that, to a certain extent, the progress of the visual arts could be described as the discovery of techniques for presenting depth through purposive patterns of form. Symbolic images are therefore seen to have their concrete formal basis established upon both pictorial idea and, more importantly, the psychology of visual perception. The thesis aspires to challenge CP by means of this formal analysis. Whether it belongs to a simple technique or a sophisticated visual scheme of ancient Chinese artists; the representational space of geometry; the making of visual perception by means of technical implements; and the bodily experience in actual space, are all shown to be indispensible parts of the present research. A concluding case study of the Chinese landscape garden gives a further demonstration that the pictorial ideas and visual techniques that once contributed to the iconological and psychological understanding of Chinese painting have also delivered an idealised form of spatial perception within the garden - where the sense of depth is firstly eliminated, and then artistically reconstituted. In this way, the nature of cavalier perspective will therefore have been explored on two levels - in the form of both spatial representation and bodily perception in actual space.

My doctoral thesis uses the ‘institutional approach’ to analyse the mechanics of the production and distribution of lianhuanhua (comics) from 1949 to 1966. From this analysis, I extrapolate what made the medium unique and therefore what insights lianhuanhua can offer into Maoist ‘political culture’. Lianhuanhua originated in the Republican era and the unique characteristics of its publishing and distribution had important consequences for the medium’s subsequent development after 1949. During the ‘seventeen years’ lianhuanhua functioned as a propaganda tool, supporting political campaigns and celebrating CCP history. Despite these functions however, the themes inherent in the medium were a lot more varied. Analysis reveals that what was allowed and disallowed was considerably more ad hoc than what we might expect of a strictly controlled totalitarian state. Irregular approaches to production and censorship were also mirrored in the lack of an overall national publishing strategy before 1966. Meanwhile, as the producers of an art form which managed to successfully reconcile the inherent contradictions in CCP art policy, lianhuanhua artists developed a complex give and take relationship with Party-State agencies. Comics were disseminated through highly regulated channels, including bookshops, libraries and factories to ensure ‘revolutionary’ content reached a wider audience and Party-State agencies also sought to advocate ‘appropriate’ reading through ‘reading tutorship’. However, these agencies simultaneously faced challenges in regulating the stocks and location of the highly popular lianhuanhua ‘guerrilla vendors’ and this had profound implications for the kinds of content which persisted in circulating in the early PRC.

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Our self and communal identity is important for everyday life. Our identity determines how we act, where we live, who we love, and how we worship. Identity is especially important in a religious context, including the religious community of the Waldensians. Do the present day Waldensians share an identity with their medieval ancestors; how is this identity constructed? I argue that the medieval and modern day Waldensians create a similar cultural and religious identity which is constructed through three specific practices: the commitment to the vita apostolica, medical practices, and education and the perpetuation of a historical narrative. Although these practices have evolved with modernity the summation of the practices form a coherent communal identity across time. In order to demonstrate the shared cultural and religious identity of the Waldensians of the Middle Ages and present day I examined inquisitorial documents, religious tracts, pamphlets, and conducted interviews. I have set these findings in the larger social context of the Middle Ages and Modern Era in order to show that although similarities of practice exist with other groups the summation of the three specific practices especially with the creation and perpetuation of a historical narrative creates a unique communal identity. This is important for future examination of other religious communities and how similar communal identities do not negate uniqueness of the said community. This study also shows that the evolution of practices does not detract from the continuation of communal identity. Thus although the cultural practices of the Waldensians evolved over time the communal identity remained strong and continues to thrive today.

In this thesis, we compared electrical performance and stability of a novel nanocrystalline Si (nc-Si) thin film phototransistor (TFT) phototransistor and a regular amorphous silicon (a-Si:H) TFT phototransistor for large area imaging applications. The electrical performance parameters of nc-Si TFT phototransistor were extracted from the electrical (current-voltage) testing in dark and under illumination. The field-effect mobility is found to be around 1.2 cm2V-1s-1, the threshold voltage around 3.9V and the sub-threshold voltage slope around 0.47V/Dec. Optical properties of nc-Si TFT phototransistor have been evaluated under the green light illumination in the range of 1014 – 1017 lum, and the photocurrent gain and the external quantum efficiency were extracted from the experimental results. By comparing the results with those for a-Si:H TFTs measured under the same conditions, we found that nc-Si TFT has higher photo current gain under low illumination intensity, 5 ×1014 to 7 ×1015 lum. This thesis shows the relations bewteen the photo current gain, the external quantum efficiency, TFT drain and TFT gate bias; the photo current gain and the external quantum efficiency can be controlled by the Vds and the Vgs.

In this thesis, we compared electrical performance and stability of a novel nanocrystalline Si (nc-Si) thin film phototransistor (TFT) phototransistor and a regular amorphous silicon (a-Si:H) TFT phototransistor for large area imaging applications. The electrical performance parameters of nc-Si TFT phototransistor were extracted from the electrical (current-voltage) testing in dark and under illumination. The field-effect mobility is found to be around 1.2 cm2V-1s-1, the threshold voltage around 3.9V and the sub-threshold voltage slope around 0.47V/Dec. Optical properties of nc-Si TFT phototransistor have been evaluated under the green light illumination in the range of 1014 – 1017 lum, and the photocurrent gain and the external quantum efficiency were extracted from the experimental results. By comparing the results with those for a-Si:H TFTs measured under the same conditions, we found that nc-Si TFT has higher photo current gain under low illumination intensity, 5 ×1014 to 7 ×1015 lum. This thesis shows the relations bewteen the photo current gain, the external quantum efficiency, TFT drain and TFT gate bias; the photo current gain and the external quantum efficiency can be controlled by the Vds and the Vgs.

In this thesis, using Micro-Photoluminescence (£g-PL), continuous-wave time-resolved photoluminescence (CWPL/TRPL) and Fourier transform infrared (FTIR) analysis, silicon rich nc-Si (nano-crystal Silicon) samples with various emission wavelength (760 30 nm and 390 10 nm) are investigated to understand the proper explanation of the emission mechanism. The model of increasing Si¡ÐO ¡ÐSi bondings during thermal process by enhancing the annealing or deposition time, induced blue shifts in PL spectrums and increased the rate of Schockley-Read-Hall recombination which resulted in the enhancement of its fluorescence is provided.

The degree project is performed at Metso Kamfab. The production is aimed on machines everything from handling of fiber to paper pulp. Metso Fiber and Kamfab are using Pro/Engineer for design and blueprint production. The processing department types the NC-programs in notepad on the basis of the blueprints, the CAD-dates that already is there are not used. The aim with the work is to study if Kamfab can use CAM-system for processing and production of programs for their NC-machines. The objective in this project is to make NC-programs that functions in three special machines. CAD/CAM forms the link between design and production. In a CAD/CAM-system the geometry is created in CAD and can be used directly in CAM for processing. In CAM CL-data is created and after that translated with a postprocessor to NC-code. The postprocessor is used also as a watch over function. Three machines were chosen as experiment items for introducing of CAD/CAM. These are a 7-axis mill, a combined mill/turn and a 3-axis mill. The 7-axis mill and the mill/turn were chosen because they are the most advanced machines. The 3-axis mill was chosen because there was available time in it. Products that were tested were trough, pillar, housing and a part for a toolchanger. When processing the trough ”Surface-Mill” was chosen and a lead-angle was set in the parameters. It was most drilling and a little face milling on both the pillar and the housing. In order to test programs a postprocessor was borrowed that translated CL-data to Heidenhain code. During the test run errors were detected in the programs. This depends on that the postprocessor not where customized for the machine. A postprocessor developed by ourselves was also tested, this one didn’t work because the machine's NC-system couldn’t read ISO standard code. A study visit was done at Structo in Kristinehamn where EdgeCAM is used for NC-processing. It works well and it allows quicker and safer programming. Pro/Engineer is powerful and has a lot of possible adjustments. This makes it complex and takes time to learn. To use Pro/Engineer´s CAM-part it is necessary to have basic knowledge about the CAD-part. Depending on this many companies uses for example EdgeCAM that almost is a pure CAM-system. The processing of the three components functioned well in Pro/Engineer, we could process the components after demands. The problem was to get working programs. An advantage with using CAM is that you can simulate toolpaths. Through this you can see if the tool collides and it also makes it possible to optimize toolpaths. Today, it is a lot of waiting time in the milling machine FPT34 because programs are not completed. This waiting time would be reduced or even eliminated with the aid of CAM. / Examensarbetet är utfört på Metso Kamfab. Deras tillverkning är inriktad på maskiner allt från hantering av flis till framställning av pappersmassa. Metso Fiber och Kamfab använder Pro/Engineer för konstruktion och ritningsframtagning. Vid maskinberedning skrivs sedan NC-program utifrån ritningen, alltså används inte de CAD-data som redan finns. Syftet med arbetet är att undersöka om Kamfab kan använda CAM-system för beredning och framtagning av program till deras NC-maskiner. Målet i detta projekt är att ta fram NC-program som fungerar i tre speciella maskiner. Dessutom skall två CAM-system jämföras, dessa är Pro/Engineer´s CAM-system och EdgeCAM. CAD/CAM bildar kopplingen mellan konstruktion och produktion. I ett CAD/CAM-system kan geometrin som skapats i CAD-delen direkt användas i CAM-delen för beredning. Vid CAM beredning skapas CL-data som översätts med en postprocessor till NC-kod. Postprocessorn används också som en övervakande funktion. Tre maskiner har valts ut som försöksobjekt för införande av CAD/CAM. Det är en 7-axlig NC-fräs, en kombinerad svarv/fräsmaskin och en 3-axlig fräs. Anledningen till att den 7-axliga maskinen och svarv/fräsmaskinen valdes var att de betraktas som de mest avancerade maskinerna. Den enklare 3-axliga maskinen valdes för att det fanns ledig tid i den. Produkter som testades var tråg, pelare, kikhus och en detalj till en verktygsväxlare. Vid beredning av tråget valdes ”Surface-Mill” och i parametrar ställdes en framlutning av verktyget in. Denna metod kallas skränkfräsning. Både för pelare och kikhuset var det främst borrning och lite planfräsning. För att kunna testa program lånades en postprocessor som översatte CL-data till Heidenhain kod. Under testkörningen upptäcktes fel på programmen. Detta berodde på att postprocessorn inte var anpassad till maskinen. En egenutvecklad postprocessor testades också, denna fungerade inte pga. att maskinens styrsystem inte klarade ISO-standard kod. Ett studiebesök gjordes hos Structo i Kristinehamn där EdgeCAM används för NC-beredning. Det fungerar bra att få fram program, det medför snabbare och säkrare programmering. Pro/Engineer är kraftfullt då det finns oerhört många inställningar och justeringar att tillgå. Samtidigt är det ganska komplext och det tar tid att lära sig. För att använda Pro/Engineer´s CAM-del krävs det att man är kunnig i CAD-delen. Beroende på detta så använder många företag exempelvis EdgeCAM som i princip är ett rent CAM-system. Beredningen av de tre komponenterna fungerade bra i Pro/Engineer, man kunde bearbeta komponenterna efter önskemål. Problemet var att få fram fungerande program. En fördel med att använda CAM är att man kan simulera verktygsvägar. Genom detta kan man se om verktyget krockar och det möjliggör också optimering av verktygsvägar. Idag är det en hel del väntetid i fräsverket pga. att program inte finns färdiga. Denna väntetid skulle kunna reduceras eller till och med elimineras med hjälp av CAM.

Techn. Hochsch., Diss., 2005--Aachen. / Hergestellt on demand.

Zugl.: München, Techn. Univ., Diss., 2001