Dissertação(mestrado) - Universidade Federal do Rio Grande, Programa de Pós-Graduação em Engenharia e Ciência de Alimentos, Escola de Química e Alimentos, 2010. / Submitted by Caroline Silva (krol_bilhar@hotmail.com) on 2012-08-13T19:59:05Z No. of bitstreams: 1 vanessa ribeiro dissertacao de mestrado - agost 2010 -versao final.pdf: 3138143 bytes, checksum: 8eeb338ef05caa1dfe97e7275e97f1dd (MD5) / Approved for entry into archive by Bruna Vieira(bruninha_vieira@ibest.com.br) on 2013-01-06T17:19:21Z (GMT) No. of bitstreams: 1 vanessa ribeiro dissertacao de mestrado - agost 2010 -versao final.pdf: 3138143 bytes, checksum: 8eeb338ef05caa1dfe97e7275e97f1dd (MD5) / Made available in DSpace on 2013-01-06T17:19:21Z (GMT). No. of bitstreams: 1 vanessa ribeiro dissertacao de mestrado - agost 2010 -versao final.pdf: 3138143 bytes, checksum: 8eeb338ef05caa1dfe97e7275e97f1dd (MD5) Previous issue date: 2010 / Os efeitos benéficos a saúde em uma dieta rica em ácidos graxos poliinsaturados de cadeia longa do tipo ômega-3 (AGPI) tem sido descritos nos últimos anos. Óleos marinhos são importantes fontes dietéticas de AGPI, especialmente pela presença dos ácidos graxos EPA (ácido eicosapentaenóico, 20:5 ω3) e DHA (ácido docosaexaenóico, 22:6 ω3), devido ao seu valor nutricional esta crescendo o interesse no refino de óleo de pescado para consumo humano. No Alasca, norte dos Estados Unidos da América existem elevadas quantidades de subprodutos de pescado que são usados para a produção de farinha e óleo de pescado. A maior parte do óleo de pescado produzido no Alasca é bruto; sendo destinado somente para servir como ingrediente para alimentação animal, a menos que fossem desenvolvidos novos modelos para lidar com os componentes específicos dos subprodutos do pescado como matéria-prima para a produção de alimentos. A técnica de destilação molecular oferece uma alternativa ao processo tradicional de purificação de óleo de pescado, pois remove os indesejados ácidos graxos livres, elimina odores pela remoção de aldeídos e cetonas, e, além disso, elimina contaminantes ambientais como poluentes orgânicos persistentes (POPs). O objetivo de este trabalho foi estudar em processamento a baixa temperatura e investigar a aplicação da destilação molecular para a purificação dos óleos da polaca do Alasca, produzidos no navio American Thiumph e também em escala laboratorial. Os fígados foram triturados e a pasta formada foi aquecida entre 50 e 60°C, de 15 a 30 minutos. As partículas sólidas foram separadas da fase líquida por centrifugação a 7500 x g durante 20 min. Como antioxidante foi adicionado 250 mg / kg de palmitato de ascorbila ao óleo de fígado extraído. O óleo foi congelado e reservado a -80°C para posteriormente ser usado na análise e purificação. Todos os óleos foram caracterizados mediante análise de ácidos graxos livres (AGL) e oxidação lipídica. Após, foram realizados teste preliminares e determinadas as condições do processo: temperatura de evaporador (210 °C), temperatura do condensador interno (55 °C); temperatura de alimentação (60°C); taxa (6- 8 ml/min); velocidade de agitação (450 rpm) ; vácuo (<0,01 mbar ). Os óleos foram submetidos a destilação molecular e uma redução significativa nos ácidos graxos livres e oxidação lipídica foi observado. Como resultado, os óleos purificados encontraram-se dentro do padrão de qualidade para consumo humano e sua principal vantagem, se comparado com o método tradicional, é que não foram utilizados reagentes químicos e foram reduzidas as etapas do processo. / The beneficial health effects of a diet rich in long chain polyunsaturated omega-3 fatty acids (PUFA’s) have been fully described in recent years. Marine oils are an important dietary source of PUFA’s, being especially rich in two of the most important fatty acids of this class namely, EPA (eicosapentaenoic acid; 20:53 ω3) and DHA(docosahexaenoic acid; 22:6 ω3), due to its nutritional value there is growing interest in refining fish oil for human consumption. In Alaska, northern United States of America, there are large quantities of fishery byproducts being used for the production of fish meal and fish oil. Most fish oil produced in Alaska is crude, thus it may only serve as ingredient for animal feed unless further steps are taken to handle specific fishery byproduct components as raw materials for the production of food. The molecular distillation technique offers an alternative to the traditional process of purification of fish oil, as it removes unwanted fatty acids, eliminates odors by removing aldehydes and ketones, and eliminates environmental contaminants such as organic pollutants (POPs). The aim of this research was to study the rendering of low temperature and to investigate the applicability of molecular distillation for the purification of pollock oil produced at catcher ship American Thiumph and also pollock liver oil produced under laboratory condition. The livers were finely ground and the pure formed was heated between 50 and 60°C, for 15 and 30 min. The solid particles were separated from the liquid phase by centrifugation at 7500 x g for 20 min. As antioxidant was added 250 mg/kg of ascorbyl palmitate extracted liver oil. The oil were frozen and reserved at -80°C for later use in the analysis and purification. All oils were characterized by analysis free fatty acids (FFA) and lipid oxidation. After a series of test preliminary and determined the process conditions: Evaporator temperature and pressure (210°C), condenser temperature (55°C), feed temperature (60°C), condenser temperature (55°C), roller speed (450 rpm), feed flow rate (6- 8 ml/min) and vacuum (<0.01mbar). Oils were subjected to molecular distillation and a significant decrease in free fatty acids and lipid oxidation products was observed. As a result, purified oils met the quality standard specified for edible fish oils. The main advantages of using this technology, as compared to traditional fish oil purification steps, are that it didn’t use chemicals during processing and it decreases the number of steps needed to refine fish oils.

Impermanence concerns every aspect of our lives, yet it goes unseen often for that same reason. In my dissertation, I wish to explain what impermanence is and delve into the role of impermanence in art. I will first dive into an explanation of what impermanence is, starting from the teaching of the Buddha, then introducing impermanence as a primary quality, highlighting its distinction from the manifestation or secondary qualities, e.g. change, movement, ageing. I will then investigate three examples of how impermanence can be utilised in art. The first case is the representation of impermanence in Jackson Pollock’s abstract paintings, for which I argue that what makes it possible is the inherently unstable appearance of the pieces combined with the artist’s intention and other variables. The second case is that of Anicka Yi’s exploitation of impermanence as a medium for her installations, borrowing Sherri Irvin’s comprehensive definition of medium. I will explain how Yi uses impermanence inside her art, and how she employs the quality in the piece in an effort to achieve her purpose, that of communication. The third and last case concerns the acceptance of the impermanent nature of the medium in street art, which will be pivotal in the achievement of the goal of subversiveness.

A defining feature of American abstract expressionist painting is its enormous size and scale. Heroic ambition, the vast American landscape, and the sense of "something big" happening in American painting are often cited as determining factors in this phenomenon. This dissertation examines how Jackson Pollock, Barnett Newman, and Mark Rothko not only painted large-scale canvases but, following trends in modern architecture, shifted their painting towards the construction of architectural environments, thus promoting the transformation of painting from a window in the wall to a wall without a window. The artist and architect Tony Smith, a close friend and colleague of these painters, played an active role in encouraging their interest in modern architecture. As a result of their investigations into the physical, as well as conceptual, limits of the canvas, these artists shifted the viewer’s experience from a perceptual experience of pictorial space to a physical encounter with actual space. In contradiction to the notion of the purely optical, one could describe this as a somatic viewing experience, tactile and active, which anticipated specific concerns of 1960s minimalism. This achievement redefines Pollock's, Newman's, and Rothko's legacy to the subsequent generation of artists and places their production into a broader historical framework. / text

This study is an in-depth analysis of the Lithic Artifacts excavated at the Pollock Works (a hilltop enclosure located outside Cedarville, Ohio). It is my intent to conduct a detailed analysis of the lithic artifacts from the Pollock Works in order to test the following hypothesis: Chipped stone artifacts at the Pollock Works are primarily from local and semi-local sources because these artifacts represent construction activities at the site rather than ceremonial practices. If the chert artifacts and flakes were primarily ceremonial, they would be comprised of primarily exotic cherts.I macroscopically analyzed the lithics excavated from Trench R and Trench T at the Pollock Works, 33 Gr 5, by Dr. Robert V. Riordan and Field School participants from Wright State University in Dayton, OH. Analysis concentrated on the identification of the types and sources of chert in the sample, using the Wright State classification scheme.This study is significant to the understanding of whether the Hopewell who built the Pollock Works used certain chert types in the construction of the earthwork versus the ritual aspect of the site. It was also important to analyze these lithics in order to help make inferences about the use of the Pollock Works. This study will eventually be useful to the final site report on the Pollock Works. It will also be a valuable reference tool for archaeologists studying the Pollock Works. / Department of Anthropology

Against a background of feminist art theories arguing that the hierarchies in art as based on masculine norms, the present thesis examines the four foundations associated with the Swedish state museum of modern art Moderna Museet. The object descriptions are gone through with open coding, to see wether there are formulations in these that affect the possibility to utilize the foundations yield for purchasing textile art. To ground the conclusions, the textile artworks in the collection are reviewed. The findings show that there are no terms in the object descriptions that would explain the low representation of textile art in the collection, since no terms regarding the artworks material nor the artists gender are set. It could therefore rather be a subjective choice by the decision-makers at the museum. Textile art’s position as a traditionally feminine craft renders it not self-evident within the masculine norms of art and modern art museums, and the causes of the mis-representation as well as future prospects are discussed.

The present essay explores artworks of Karin Larsson through the feminist theoretical field of studies. The following three textile works were in the centre of the study, Kärlekens ros, Duk med tecken and Sashiko-gardin. The connection between japonisme, Japanese inspired art, and Karin Larssons art works were studied. Through feminist theories by art historians such as Linda Nochlin and Griselda Pollock the experience of being a woman in the 1800s affected the works of Karin Larsson were discussed. It was found that Karin Larssons upbringing and education as a woman differs from the usual male art student, which affected her art works. The subjects of her art works were also often the result of personal experiences. Furthermore, a correlation between the art works and Japanese woodblocks and Japanese embroidery techniques were identified.

The purpose of this essay is to investigate The Woman with the Puppets by Isobel Gloag from a feminist perspective, to find how it challenge the male gaze and patriarchy. I also seek to understand how other female artists past and present compare to Gloag’s painting. The method is Panofsky’s iconology with modifications through Aavitsland’s thoughts of the grammatical structure that the composition holds. To reach social bearings upon the ability to generate this type of historical genre painting Bourdieu’s toolbox of capital, habitus and strategies has been applied. The painting is a feminist expression of the feminist discussions regarding marriage, equality and law that took place at the time of the paintings creation. Through the use of established norm with an ambiguity, female nude and male marionette puppets, the male gaze and patriarchy is challenged. Gloag is the only female artist of her time that has generated a history genre painting in a feminist spirit that challenges multitude of issues in one composition.

[pt] A obra pictórica de Jackson Pollock está geralmente associada à invenção do all over e das drip paintings na segunda metade da década de quarenta em Nova Iorque. De fato, tal é o momento de maestria da força poética de Pollock que, depois de anos de insistente busca da sua verdade, finalmente dá o salto que irá repotencializar toda a aventura plástica moderna, que naquele momento vivia um impasse. Esta dissertação propõe repensar o estudo da pintura de Pollock, seguindo pari passu o desenvolvimento do artista, desde o início nos anos trinta até as black paintings, último grande momento, buscando ver o que está sendo dito na obra e também o seu silêncio. O que torna-se realmente estimulante tendo-se em vista a musicalidade latente das pinturas. A pintura de Pollock deixa-se apresentar como um todo complexo, e à primeira vista contraditório, sobretudo pela diferença que marcam as fases de sua carreira. Entretanto, e aqui concentrou-se o meu esforço, visualizamos por entre o convulsivo das linhas labirinto, uma coerência na busca essencial do artista, qual seja, dar ritmo e vida à pintura. No caso de Pollock, isso tem um peso excepcional, uma vez que diz respeito a aspectos fundamentais da linguagem pictórica moderna. Jackson Pollock faz a maxima afirmação da pintura moderna no pós-guerra, e paradoxalmente, assinala um impasse que sua própria radicalidade acabou por gerar. / [en] Jackson Pollock’s paintings are usually associated with the all over and drip paintings’ inventions during the mid-forties in New York. In fact, that’s the moment where his genius came to the most exciting period of his career. After years of struggling within, he finally “broke the ice” and started to reevaluate the plastic modern adventure. This dissertation is about Pollock’s paths, since the beginnings of the thirties until the black paintings, his last big period. At first, Pollock’s work seems complex and very contradictory, however, and that’s my point, if we see through this labyrinth a very coherent line lies underneath the appearance, in search for life and rhytms to his paintings. In Pollock’s case, it gains a special flavour for it deals with fundamental aspects of the modern alphabet. Jackson Pollock makes an assertion of the painting and paradoxically reveals an impasse that his own radical art generated.

The imagery in Jackson Pollock's three extant sketchbooks which date from c.1934-1939 is dependent on that of other artists, especially El Greco, Rubens and Tintoretto. By 1947 however, the painter achieved a mature synthesis, distinctly his, which influenced contemporary painting, and was seminal for the work of a number of artists of the succeeding era. This dissertation is an attempt to document the phases of Pollock's artistic style from the early 1930s through to the middle 1950s, and to investigate the forces which may have catalyzed his temperament and precipitated his late style. The early sketchbooks begun in c.1934 represent Pollock's engagement with the art of the Old Masters and the teaching techniques of Thomas Hart Benton that utilized works from the Renaissance. The third sketchbook from c.1937-1939 induced him to re-examine the work of the Old Masters in a dialectical approach which incorporated new masters with old, but remained preoccupied with the sacred imagery found in the first two books. It is a resolution of these seemingly opposing modes of representation which produced several influential paintings in the early 1940s, including Guardians of the Secret and Pasiphae. At the same time these works display structural emulations related to those of Old Master paintings that would become increasingly prominent in Pollock's art. The canvases of 1947-1950, produced in what is commonly termed the “Classic Poured Period,” appear to represent a quantum leap beyond the concerns of Old Master works and European precedents. By this point Pollock had developed a fluency and assurance in his use of color and line that seems to extend further than the studied paradigmatic repetitions of his early sketchbooks. However, despite the radically new technique his paintings still exhibit pictorial and formal infrastructures derived from Renaissance paintings which were absorbed into Pollock's new idiom with surprising ease. In 1951 Pollock enters what Francis V.O'Connor termed as ‘his fourth phase'. The Black paintings of 1951-1953 betray a further exploration and adaptation of Old Master ideas, both iconographic and aesthetic and were created in Triptychs and Diptychs, typical altarpiece formats. With these paintings Pollock's forms acquired a confident plasticity and invention derived from the sculptural practices of Michelangelo, and progressively fewer individual images are quoted verbatim. An understanding of Pollock's early preoccupation with old Master painting is essential to comprehend the formation of the aesthetics of much of his later art. Significantly the underlying infrastructure remains fixed to old Master precedents and it was precisely these models of Renaissance and Baroque art which became the medium through which his mature synthesis was achieved.

This study is a consideration of the notion of the artist as a visionary. This perception of the artist is explored in relation to the work and ideas of three twentieth century artists; the American painter Jackson Pollock (1912-1952), the German artist Joseph Beuys (1921-1983) and the South African artist Jackson Hlungwani (1918 -). The work and ideas of these artists is discussed primarily in terms of the similarities and differences between their art and ideas and those encountered in traditional shamanism and the visionary aspects of Romantic and Gothic art and culture as represented by the work and ideas of eighteenth century English poet and painter William Blake (1757-1827). Each of the twentieth century artists who are considered represents a different strain of the idea of the artist as a visionary. Pollock is discussed in terms of his implicit identification with the artist-shaman. This identification is revealed by the influence Jung's writings and Native American (Indian) art and culture had on his work. Beuys is considered in relation to his explicit adoption of a shaman-like persona. Hlungwani is a practising healer in a traditional community whose art explores an apocalyptic vision of redemption. The comparisons between the artists under investigation and the visionary aspects of traditional shamanism and Gothic and Romantic culture entail an analysis of pictorial elements, subject matter and content in the work of these artists. The intention was to explore those properties in the work and ideas of these artists which correspond to the notion of the artist as a visionary. / Thesis (M.A.F.A.)-University of Natal, Pietermaritzburg, 1996.