This work finds curious the relationships of figures bound by and revolving around a central axis. As this series of figures are elaborated by mathematical operations, the complex nature of their combination removes apparent identity and synthesizes a simultaneous presence which is difficult to name. The drawings serve as a form of notation, similar to sheet music. As notation they aim to find their voice in the physical world. The drawings search for relationships which are then made tangible so they can be studied in light and act as a model to continue working. / Master of Architecture

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International Telemetering Conference Proceedings / October 25-28, 1993 / Riviera Hotel and Convention Center, Las Vegas, Nevada / A tremendous amount of work has been done recently in the area of Object Oriented Design (OOD) methodology. Most often, texts and papers explaining these methodologies are centered around the explanation of some arcane graphical notation. One is led to believe that the key to understanding Object Orientedness in general will be found by understanding and applying this notation. An understanding of the essence of OOD is difficult to acquire in this manner due to the disproportionate amount of energy required to memorize the graphic symbology. The prospective designer is often left with an understanding of the symbols, but with no understanding of how to apply them to a real world large scale problem. This paper provides an explanation of the Object Oriented paradigm with an example application to telemetry measurements. Next this paper provides an explanation of the most popular graphic notation for Object Oriented Design, the Booch Notation. Finally, this paper shows an alternative graphic notation that can be effectively used in Object Oriented Design during the initial stages of design to help eliminate the learning curve associated with the more popular Object Oriented notations.

Notre thèse se propose d'étudier les questions liées à la réalisation sonore des fugae, à partir des sources musicales d'un corpus d'œuvres attribuées à Josquin Desprez. Au sein du vaste répertoire des fugae composées au tournant du XVIe siècle, celles composées par Josquin constituent un ensemble remarquable par sa diversité, sa richesse technique et musicale, ainsi que par la complexité des questions qu'il soulève. En effet, la réalisation de ces fugae pose des difficultés liées d'une part à l'interprétation de leurs notations canoniques, et d'autre part à la réalisation de leurs parties fuguées. Si les théoriciens contemporains du compositeur définissent en effet la fuga comme une imitation rigoureusement exacte entre la partie de dux et celle(s) de comes, force est de constater que toutes les fugae considérées dans cette thèse ne répondent pas à ce critère. Certaines ne permettent pas une imitation parfaitement exacte ; d'autres semblent permettre plusieurs réalisations distinctes, parfois radicalement différentes. Bien que des théoriciens plus tardifs – en particulier Zarlino – introduiront des termes permettant de penser ces autres types d'imitation, ceux-ci n'existent pas encore du vivant de Josquin. Les pratiques compositionnelles attestées au sein des œuvres étudiées divergent ainsi, à maints égards, de la théorie contemporaine. À travers une étude des sources musicales des fugae retenues, ainsi que d'un ensemble de sources théoriques imprimées avant 1530, nous tenterons de comprendre les raisons motivant ces écarts, mais également de saisir les enjeux de la réalisation sonore des fugae, à partir des notations canoniques préservées dans les sources. / This dissertation investigates the musical sources of a corpus of fugal works attributed to Josquin Desprez, in order to study the various issues arising from the interpretation of fugae. Within the large repertoire of fugae composed at the turn of the 16th century, those composed by Josquin stand out as exceptionally diverse and rich, technically and musically. What's more, they arise many difficult issues for the singers. Indeed, those fugae confront us with problems related to the interpretation of canonic notations, on the one hand, and with the realization of the fugal parts themselves, on the other hand. Whereas the contemporary theorists define fuga as a perfectly exact imitation between the dux and the comes parts, it is noticeable that every fuga studied in this dissertation do not meet this criterion. Some of them cannot be sung with an exact imitation; others seem to allow several possible realizations, sometimes radically different. Although later theorists – Zarlino, in particular – will introduce specific terms that refer to those other types of imitation, those terms do not exist during Josquin's lifetime. In multiple ways, compositional practices that can be observed within the works studied diverge from the musical theory of the time. A study of the musical sources of the fugae selected, and of an important corpus of contemporary theoretical sources will lead us to a better understanding of the reasons that motivated those divergences, and of the issues related to the realization of fugae from canonic notations preserved in the sources.

Drawing as a notation is a method for architecture which investigates the notation and mark making of classical music as an input and explores how these notations can inform unexpected architectural outcomes through a translation process of the notations. The purpose of this study is to look into drawing as a notation as a method and a tool and to discover new architectural formations. By interpreting and translating the marks, new suggestions for architecture can be found which express the formal language of music. I am interested in the dynamics of music - the repetition, the movement, and the rhythm - and what music can do for architecture. This is not a solution to anything or doesn’t try to solve anything, but rather a search or a struggle to find opportunities with the help of notation making in early stages of an architecture project and to propose what architecture can be.

Ce document est la synthèse des travaux menés pour la résolution d'un problème d'ordonnancement, celui posé par le système temps-réel spectre (divers types de ressources, plusieurs ressources par type, relations de précedence, arrivées échelonnées, dates critiques...) La méthode utilisée pour parvenir a la solution et les réflexions successives y sont décrites et analysées. de plus, ce travail décrit l'algorithme solution depuis sa définition jusqu'à sa programmation, en passant par la démonstration de sa validité.

Dès lors que l’on s’intéresse au XIIIe siècle, le motet est l’exemple musical le plus fréquemment employé pour illustrer la rationalisation de la pensée médiévale. De ce fait, celui-ci s’inscrit difficilement dans le cadre normé d’une continuité polyphonique.Pourtant, le motet est un passage, nécessaire et transitoire, entre l’organum et la polyphonie contrapuntique du XIVe siècle. La musique qui en découle exacerbe la technique du déchant tout en conservant l’originalité mélodique de chaque voix.C’est la difficulté propre à tout lieu médian : conserver, reproduire, modifier, transmettre puis figer sur une feuille de parchemin. Dans le cas du motet, le principal questionnement porte sur la possibilité de réaliser une oeuvre polyphonique entièrement mesurée dans laquelle subsiste une, voire plusieurs, trames mélodiques prolongeant le style formulaire des organa. L’analyse musicale permet-elle d’identifier les différents gestes compositionnels du motet ? En d’autres termes, peut-on se faire une idée précise du motet au XIIIe siècle à partir des seules traces écrites les concernant et construire un modèle analytique cohérent de type émique ?L’ambition de cette étude est d’identifier les éléments normatifs du motet au XIIIe siècle et de déterminer, en filigrane, les gestes d’inventivité de chacune des dix pièces analysées. C’est par la mise en place d’une norme, incessamment renouvelée par l’invention musicale, au sens médiéval du terme, qu’il est possible de reconstituer le motet au sein même de son environnement socioculturel. / Since we are interested in the 13th-century, the motet is the musical example most frequently called to illustrate the rationalization of the medieval thought. Therefore, this one joins with difficulty in the standardized frame of a polyphonic continuity.Nevertheless, the motet is a passage, necessary and passing, between the organum and the contrapuntal polyphony of the 14th-century. The music which ensues from it aggravates the technique of the discant while keeping the melodic originality of every voice.It’s the difficulty appropriate for any median place: preserve, reproduce, modify, to pass on then the congeal on a leaf of parchment. In the case of the motet, the main questioning concerns the possibility of realizing one polyphonic completely measured work in which remains one, even some, melodic wefts extending the “style formulaire” of organa. Does the musical analysis allow to identify the various compositional gestures of the motet? In other words, we can be made a precise idea of the motet at the 13th-century from the only written sources concerning them and to build a coherent emic analytical model?The ambition of this study is to identify the normative elements of the motet in the 13th-century and to determine, between the lines, the gestures of inventiveness of each of ten analyzed parts. It’s by the implementation of a standard, presently renewed by the musical invention, in the medieval sense, that it’s possible to reconstitute the motet within its sociocultural environment.

Increasing demand for commercial software components has led to a development and deployment issue of overcoming differences between the customer requirements and developer specifications for the component. Component Adaptation is one solution to the issue. This thesis focuses on modeling the adaptations to an Enterprise JavaBeanTM component using the Z notations and carrying out the adaptations using Active Interfaces adaptation technique. We also formally model the Active Interfaces adaptation technique.

The safety case creation has become an explicit requirement in most of the safety-critical domains to ensure the safety of a system or an application. In the process of developing a safety case, the foremost requirement is choosing an efficient argumentation language which fulfills all the functionalities needed to develop a safety case.   In general, there are text-based argumentation notations and graphics-based argumentation notations to represent a safety case. In this paper we are comparing and analyzing the graphics-based argumentation notations like Goal Structuring Notation (GSN), Claims Arguments and Evidence (CAE), Structured Assurance Case Metamodel (SACM, the standardized modelling language to describe the safety case), NOR-STA Services (software platform which support graphics-based notations), Resolute (which is both language and tool that supports graphics-based notations) and Dynamic Safety Cases (special type of safety case which supports graphics-based notations such as GSN).   In this thesis, we compared the argumentation notations with respect to different aspects in the context of safety case development. We present our findings like the types of stakeholders gaining benefits from different types of notations, the list of domains where these types of notations are applicable. We also presented the major advantages and disadvantages of using different argumentation notations considering certain features like understandability, standardization, consistency, maintenance, traceability, and assessment in the context of safety case development.

Information demand is a part of comprehensive business logistics which encompass logistics of information. The demand for information has provided a unifying framework for different needs on enterprise modeling. Hence, the problems organizations faces relating to flow and distribution has lead to the development of various framework for analyzing information demand and this is guided by a set of rules, methods and even a unified representation. This thesis work defines a specification for enterprise Information Demand Context model using XPDL as the language of construct. The paper gives reasons why XPDL was preferred for such a representation and show how mapping is carried out from the constructs of notations to its associated XPDL specifications, so that when we are defining a representation we are as well defining its meta model. The resulting specification is presented in such a way that it should be able to give a flexible, logical and more defined structure.