Thèses (Ph.D.)--Université de Sherbrooke (Canada), 1997. / Titre de l'écran-titre (visionné le 23 août 2006). Publié aussi en version papier.

Thesis (M.S.)--University of California, Santa Cruz, 1998. / Typescript. Includes bibliographical references (leaves 49-51).

Thesis (M.S.)--University of Wisconsin--Madison, 1965. / eContent provider-neutral record in process. Description based on print version record. Bibliography: l. 43-45.

Les sculptures d’ombres sont des œuvres pour lesquelles les artistes font un usage conscient de l’ombre projetée comme d’un matériau essentiel de l’œuvre, par la mise en place de dispositifs de projection. Ces derniers se composent au minimum d’un projecteur lumineux et d’un écran sur lequel apparaissent les ombres, fixes ou en mouvement, créées par l’interception de la lumière par un objet central. On observe à partir des années 1980, une multiplication de l’usage des ombres projetées dans la sculpture, qui va de pair avec un usage renouvelé de celles-ci pour leur qualité d’images. Inspirées par les œuvres du début du XXe siècle (dont celles de László Moholy-Nagy), les sculptures d’ombres trouvent leur existence entre la photographie, le cinéma et la sculpture ; entre la sculpture et l’image ; entre la sculpture et la projection, dont elles reprennent le vocabulaire technique ainsi que les modalités de vision. Cette particularité des sculptures d’ombres les différencie d’une part des sculptures des décennies précédentes qui ont préféré aux images, les effets perceptifs et sensoriels des ombres. Elle permet d’autre part d’interroger le médium sculpture, a priori étranger à l’image. Elle permet enfin d’inscrire les sculptures d’ombres dans un contexte, celui des années 1980, qu’elles interrogent et dont elles sont le reflet. Analyse d’œuvres singulières, définition du médium sculpture, étude de la période historique qui s’étend depuis les années 1980 et exploration de la nature polysémique des ombres sont les quatre grands projets entrepris dans la présente thèse qui nous ont permis, à partir de l’expression « sculptures d’ombres », de dessiner un médium singulier. / “Shadow sculptures” are works of art where artists use projected shadows as a material. All works are composed with a basic projection device, and comprised of at least, a light source, a screen and an object. The shadow-pictures, still or moving, appear by the object’s interception of light. Since the 80’s, projected shadows have multiplied in sculpture. In addition, artists use them to enhance their picture quality. Inspired by the works from the beginning of the 20th century (such as László Moholy-Nagy’s Light-Space Modulator (1922-1930)), shadow sculptures stand between photography, cinema and sculpture, between sculpture and picture and between sculpture and projection. They use their technical vocabulary and their vision modality. This specificity distinguishes shadow sculptures from sculptures in the past few decades that preferred the sensorial quality of light and shadows. It also gives the opportunity to question the medium sculpture, which has been constantly (re-)defined since the late 60’s. Lastly, this specificity of shadow sculptures positions them in the context of the 80’s that they question and reflect. Artwork analyses, the definition of the medium sculpture, the study of the historical period beginning in the 80’s and the exploration of the shadows’ polysemy are the four principal elements investigated in the following PhD. They all participate to define shadow sculptures as a singular medium.

This thesis support paper is the trajectory of my search to uncover what constitutes an aesthetic for my current practice and to unpack what I think the work is about. In this paper I trace the development of my process, identify primary aesthetic preferences, elucidate inspirations, and finally present several interpretations of the work. I came into the MFA program with the intention of moving my practice in animation to an art form that was non-linear and free of a flat projection screen and story arc. Working with materials is important to me and I also wanted to find a way to integrate time-based media with material art forms. What I discovered early in the MFA program is that making this shift in my practice involved understanding how object art generates meaning differently than the animated film does. In the Thesis Exhibition I take ordinary household objects, disrupt them so they are unfamiliar then project animated video of other ordinary objects made strange onto them. The illogical objects and their juxtaposition generates a tension – a cognitive stretching – that gives rise to various readings of the work. Perceptually engaged, I am immersed in a cognitive puzzle trying to make sense of the paradoxes I am experiencing and bring them to a resolution. It continues to astound me to what degree the household objects that I make strange can generate sensation, feeling, and meaning through the amalgam of their motion, gesture, and form, through the way in which they are situated in space and the way in which they relate to one another.

Le présent travail a été mené dans le but d’étudier l’influence de la préparation de surface de l’acier SAE 1045 revêtu de l’alliage WC-10%Co- 4%Cr par projection thermique HVOF sur le comportement en fatigue. Avant la projection thermique HVOF, le substrat a été préparé avec trios conditions différentes de rugosité dans le but de fournir différentes propriétés d’adhérence du revêtement sur son substrat. L’analyse microstructurale des systèmes revêtus a été faite par microscopie électronique à balayage. La rugosité du substrat a été évaluée par profilométrie optique et l’adhérence du revêtement sur le substrat par l’essai d’indentation interfaciale. Les modules d’élasticité du substrat et du revêtement ont été déterminés par ultrasons. Le comportement en fatigue du système revêtu a été étudié en flexion rotation (R = -1) en utilisant une contrainte maximum alternée dans le domaine 358-420 MPa. Une simulation numérique utilisant un code de simulation commerciale a été appliquée pour décrire la comportement en fatigue des systèmes revêtus. Cette étude a permis une meilleure compréhension du comportement en fatigue du système revêtu par projection thermique HVOF et la corrélation d’un tel comportement avec les paramètres importants comme la rugosité du substrat, les caractéristiques microstructurales du revêtement et son adhérence au substrat. / The present research work has been carried out in order to study the influence of the surface preparation of a SAE 1045 steel substrate on its fatigue behavior after coating with WC-10%Co-4%Cr deposited by HVOF thermal spraying. Prior to HVOF deposition, the substrate was prepared in three different surface roughness conditions, in order to provide mechanical bonding to the coating. The microstructural analysis of the coated systems was carried out employing SEM techniques. The substrate surface roughness was evaluated by means of optical perfilometry and the adherence of the coating to the substrate was studied employing interface indentation techniques. The elastic modulus of both substrate and coating was determined by means of ultrasound techniques. The fatigue behavior of the substrate-coating system was investigated under rotating bending conditions (R = - 1), employing maximum alternating stresses in the range of 358-420 MPa. A numerical simulation, employing a FEM commercial code, was carried out in order to describe the fatigue behavior of the coated systems. This investigation has allowed a better understanding of the fatigue behavior of the coated systems obtained by HVOF thermal spraying and the correlation of such a behavior with important parameters such substrate roughness, coating microstructural characteristics and its adherence to the substrate

The purpose of this study was to determine which, if either, of the two types of projection discussed above, disowning and assimilative, is operative when an individual is asked to rate an acquaintance on a number of personality traits.

The subject of this thesis is to look back at my entire time in the Theater Department at Temple University, to reflect and see how my design process has changed and grown during my time in graduate school. I also look at three of my lighting designs and reflect what I learned, what I would change, and challenges I faced along the way. In addition, I look at four of my classes I have taken that I would call essential to my degree and reflect on them as well. I reflect on my semester of teaching at the undergraduate level. Finally, I take a look at how COVID has changed our world and the world of theatre, and what I have learned from it, and how I have grown. / Theater

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