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Abstract Remains to be Seen, a multi-media installation, provides the opportunity for reconfiguration, re-contextualization and re-remembering of visual memory. Geoffry Cubit, a historian of memory, has noted that “memory has no fixed, stable, unitary meaning to which we can invariably recur: it has always been, and legitimately, a concept in flux and under review”.[1]My work in this exhibition (and as discussed throughout this paper) addresses the unstable and revisionist nature of memory—both culturally and individually. Additionally, I attempt to address how memory (collective, visual, familial and individual) is implicated in the creation of selfhood, of personal narrative, and of family myth. In this exhibition, I marry traditional print and paper-making techniques with contemporary digital technologies to explore the ways in which memory is created and re-created by and across individuals, families, and social-historical contexts. I use family video footage from 1950’s Kentucky to utilize the nostalgia for another time, confronting and exposing problematic familial and cultural ideology and narratives. While images from the past may evoke sentimentality, the use of moving images over still digital print allows viewers to reflect on narrative interplay among static and mobile images in order to confront, expose and rework this tendency. Rather than portraying a static narrative of the past, I use the moving image to decontextualize the vernacular of the print. The images then function as a catalyst for and invitation to dialogue between the past and the present. [1]Geoffry Cubit, History and Memory, (NYC: Manchester University Press, 2007), 7.

If there is a single song in which nations, governments, human rights organizations, communities, and parents harmoniously blend their voices, it is that being literate is valuable and valued. Being literate entails one's access to and interaction with text in one's environment (Harris & Hodges, 1995). However, in developing countries, print is hard to come by due to several factors. What is of significance, though, is that despite the absence of readily available print environments that are prevalent in the developed world, one still sees highly literate persons emerging from poor developing countries. This study sought to investigate how those who become literate achieve literacy despite growing up in places where print is not readily available. It was a search for factors that supported and enabled the participants to become literate persons. This investigation searched for an answer to the umbrella question: What are the conditions that promote literacy development in a print-limited environment? In order to answer this question, six postgraduate degree holding Malawian teacher educators were interviewed. The interviews generated six to literacy autobiographies, i.e. stories of how they acquired literacy skills in English, a second language, when print resources were limited. From an analysis of those stories, themes emerged that indicated prevailing commonalities in the study participants' literacy developmental paths. The major themes that emerged were parental involvement in children's literacy development, influence of teachers on developing literacy, the role of peers and siblings as learners develop literacy, presence of text in the environment, literacy practices of participants as they grew up, and participants' perceptions of literacy and its development. The study showed that literacy acquisition is a complex developmental phenomenon (Luke, 2002). It is a process that emerges from a combination of complementary factors. What emerged from the study is that, even in print-limited environments, there are facilitating conditions that enhance an individual's literacy development. The facilitating conditions were various people who helped learners acquire literacy, the availability of text, the meaningfulness of texts and tasks, the learners' intrinsic motivation, and the differences that evolved over time in the relationships between the learners and those with whom they interacted. / Ph. D.

Yes / This experimental study of forward gravure coating considers the effects of operating variables on air entrainment, ribbing instabilities and the thickness of the film formed. The data show that this coating method can yield very thin films of thickness of order of 15 - 20% at most of the equivalent cell depth of a gravure roller. Air free and non ribbed stable uniform films can however only be obtained in a narrow window of operating conditions at very low substrate capillary number (CaS ~ 0.02) equivalent to substrate speeds typically less than 20m/min. The paper draws a similarity with flow features observed with smooth forward roll coating and slide coating. It is shown that the onset of ribbing and the flux distribution between the gravure roller and the substrate at the exit of the nip obey approximately the same rules as in smooth forward roll coating, whereas the onset of air entrainment actually corresponds to a low-flow limit of coatability similar to that observed in slide coating.

This culminating experience shows a complete and comprehensive skill set in the animation pipeline using three diverse 3D models: Baba Yaga, the Orc, and the Roo Fighter. This work includes reposing, retopology, UV mapping, texturing, and rigging. Each model was selected for its unique attributes and challenges, showing versatility in anatomy, efficiency, and communication. Spurred on by a dubious job market and the improvement of AI tools, this project showcases the author's capabilities to fulfill multiple roles in the animation pipeline, providing an advantage for employment in the digital media industry.

In my work, I have chosen to pursue the antiquated, experimental, and alternative processes of photography. A digital image, a web page, an e-book all point to the current pace of a society concerned with the beauty it can access in a moment of instant gratification. It often has no regard for a process that requires personal discipline to capture a moment, a place, or an idea. I find little enjoyment in the immediate, when I can instead experience what happens when the combination of chemicals, glass, wood, and the environment turn a potential photograph into an inimitable encounter. It is through the older and more involved processes that I have been able to express my love of the moments and the places often unnoticed by the passer-by. It is in these moments when I feel the pace of the world slow, and I can think, pray, and work in a stillness unmatched by modern technology.

This thesis seeks to examine the nature of the intertwined networks of print, patronage and religion that existed within and across England and Scotland between 1580 and 1604, through the career of the English printer Robert Waldegrave. Multifaceted and complex, Waldegrave’s career spanned two countries, four decades and numerous controversies. To date scholars have engaged in a teleological narrative of his career, culminating in his involvement with the Marprelate press between April 1588/9. This focus on Waldegrave as a religious radical has coloured accounts of his English business and resulted in his Scottish career being disregarded by many. This thesis adds to the growing body of scholarship concerning printers and the print trade, illustrating the varied role Waldegrave played, both in relation to the texts he produced and within a broader trans-national context of print There are three major thematic areas of enquiry; whether Waldegrave’s characterization by contemporary commentators and subsequent scholars as a Puritan printer is accurate; what his career in Scotland between 1590 and 1603 reveals about the Scottish print trade, and finally the role and significance of the various networks of print, patronage and religion within which he operated in regards to his own career as well as in the broader context of early modern religious and commercial printing. Challenging the reductive interpretation of Waldegrave’s life and career, this thesis places the Marprelate episode within the wider framework of his English and Scottish careers, enabling traditional assumptions about his motivation and autonomy to be questioned and reevaluated. It will be shown that the accepted image of Waldegrave as a committed Puritan printer, developed and disseminated by his representation within the Marprelate tracts was actually a misrepresentation of his position and that the reality was far more nuanced. His choices were informed by commercial concerns and the various needs of the networks of print, patronage and religion within which he worked, which often limited his ability to promote the religious beliefs he held. The study of Waldegrave and his English contemporaries within the Scottish print trade expands our knowledge of the relationship between the print trades of England and Scotland and highlights how intertwined they were during this period. Waldegrave’s Scottish career, and the significance of his complicated relationship with his royal patron, James VI will be established and the wider impact and significance of Waldegrave’s appointment as Royal printer demonstrated. As he worked as a minor jobbing printer, a fugitive on a clandestine press and as the Royal Printer in Scotland Waldegrave is one of a small number of stationers whose career was extremely varied. Through the study of Waldegrave’s unique and multifaceted career it is therefore possible to trace and analyse the complex networks within which he, and his fellow stationers operated during the late-sixteenth century.

A contemporaneidade vem sendo marcada por mudanças em vários aspectos, em especial para o design. As últimas décadas inauguraram tecnologias digitais em que os recursos para captura, tratamento e reprodução de imagens alteram modos de desenvolvimento, produção e percepção estética. Este estudo refere-se ao design de superfície, especialidade do design, especificamente à estamparia têxtil digital. Tem como propósito investigar os recursos digitais voltados à estamparia têxtil como produtores de elementos visuais causadores de sentido e significado tendo em vista a relação: produção criativa, produto (aspectos subjetivos da estampa) e diferenciação. A pesquisa parte da abordagem qualitativa de caráter exploratório, por meio de referências bibliográficas, observação em estamparia digital selecionada na cidade de São Paulo e entrevistas a designers de superfície atuantes. Este estudo também propõe uma reflexão sobre alguns aspectos diferenciais e de subjetividade que as estampas permitem em produtos de moda em vestuário e decoração. Ao identificar e discutir possibilidades, potencialidades e limitações da estamparia digital nas áreas mencionadas, sugere-se contribuições para o design de superfície na criação de estamparia com fotografia a partir da demanda por diferenciação, em engineered print, tendo a peça impressa como suporte de arte e comunicação. / The contemporaneity has been marked by changes in various aspects, in particular for design. The latest decades inaugurated digital technologies in which the capabilities for capturing, processing and reproducing images changes modes of development, production and aesthetics perception. This study refers to the surface design, specialty of design, specifically the digital textile printing. It aims to investigate the digital resources intended for the textile printing as producers of visual elements that causes sense and meaning to the partnership: creative production, product (subjective aspects of print) and differentiation. This is a qualitative research of exploratory character approach, by means of bibliographical references, observation of selected digital prints in the city of São Paulo and interviews of the active surface designers. This study also proposes a reflection on some differential and subjective aspects that prints allows in fashion and decoration products. Identifying and discussing possibilities, potentials and limitations of digital printing in the areas mentioned, it suggests contributions to surface design in the creation of engineered prints from the differentiation demand, making the piece printed as art and communication support.