With the technological development in biologically orientated industries more and more natural products in powdered form are being handled and processed. Three differently comminuted liquorice rhizome products were classified into 23 narrow size fractions to investigate the particle and bulk characteristics of the material, and to study the influence of particle shape on powder flowability. The morphology of the fibrous particulate was investigated by using a Quantimet 720 Image Analyser. The perimeter (P), projected area (A), breadth (B), length (L), horizontal and vertical projected lengths (P V and Pi) and the horizontal and vertical Feret diameters (FV FH) were measured from which four dimensionless shape factors were evaluated, [P2/47rA, PHxPV/A, L/B, FV/FH]. The surface texture of the particles was measured by fractal analysis. The influence of particle shape and size on the mean flow rate, coefficient of flow variation and flow uniformity were measured using a specially designed inclined tube flowmeter. The failure properties of powdered liquorice when sheared under known normal compressive stresses were measured and from a series of yield loci the unconfined yield strength, major consolidation stress and effective angle of internal friction were obtained. The effects of particle shape and size on the angle of internal friction, wall friction, bulk and packed densities were. investigated and the experimental correlations expressed in terms of mathematical equations. These relationships, together with the failure function plots, indicate that comminuted liquorice powder behaves as a "simple" powder. / Darou-Pakhsh Pharmaceutical Company

No description available.

No description available.

The dissertation is a theoretical autobiography weaving personal narrative, reflective practice, and engagement with extant sources, emphasizing somatic innovators and French philosophers Giles Deleuze and Felix Guattari. Rhizomatically structured, the dissertation takes as its locus of content My Name is a Blackbird, an extended choreographic project and series of performances I enacted between 2006 and 2010. Research begun during Blackbird further bled into subsequent years of solo and ensemble dance practice and performance, teaching, and contemplation, and continued to manifest personally and professionally as deepened curiosity about the dance’s abiding questions around the nature of form and identity. These questions motivated doctoral study and sustained throughout the dissertation process. The dissertation intersperses extant theories and somatics with autobiographical narratives depicting stories that pre- and post-date My Name is a Blackbird, and draw heavily from content culled while compiling and reflecting on an extensive document I call the Blackbird Archive, totally over one-thousand pages of material, including layers of quasi-repeated text, and my contemporaneous reflective analysis. I built the Archive during the first two and half years of writing the dissertation from raw materials documenting Blackbird, including transcribed audio from video tapes of rehearsals, conversations and interviews with collaborators, and artist and audience response to performances, plus my personal handwritten and digital journals. Working on and with the Archive prompted me to dig deeper into what was then my existing narrative about Blackbird, which originally foregrounded my discoveries as a dancer and performer of greater freedom of movement and expressive potential, including within the artist-audience exchange, through the release of my superficial abdominals. The dissertation charts a non-linear process through which I discovered that, in addition to this existing narrative of liberation, the Archive and my related memories sparked from the Archive, in conversation especially with Deleuze and Guattari, as well as revisiting and reconsidering my understandings of work by the somatic innovators and theorists, primarily Moshe Feldenkrais and Emilie Conrad, whose writing and methods shaped my practices during Blackbird, the dissertation project revealed that delving into occluded and more painful memories was necessary to tell a more complete story of the project. These memories include looking again at long term struggles with body dysmorphia and disordered eating, and, more so, grappling on the page with the impact of experiences of sexual trauma as a late adolescent and young adult, which shaped coping mechanisms that further informed ingrained movement preferences, bodily comportment, and whole-self orientation to time, effort, body, and form. The dissertation is organized into four parts. Part I introduces the document, Deleuze and Guattari as key conversation partners, and describes what I refer to as my methodological journey. Part II delves into the process and timeline for building the Blackbird Archive and describes the Blackbird project itself, focusing on the role of the concept of transmogrification. Part III explores experiences of time and body in Blackbird and autobiographical narratives that shaped my orientation to dance and performance, and Part IV uses Deleuze and Guattari’s work to articulate my experiences of and fantasies around dissolution of form and shifting identity. / Dance

This project is aiming to experience the process of following a designed research plan to formulate a narrative and an artwork, to evaluate the necessity of a rational research in an artistic project.  The subject of the artwork is displacement – the displacement of identity and the displacement of craft heritage. As a Chinese living in Sweden for around ten years, displacement is a longstanding theme in my art and a lens that I subconsciously observe the world through. Therefore, I interpret the issue of craft heritage in the contemporary society as displacement. Against the backdrop of globalization and consumer culture, almost all craft heritage are experiencing a displacement from its original cultural and societal context, having been marginalized and lost the connection to people’s daily life. This project used wax batik as a paradigm to discuss the potential development opportunity for craft heritage. Inspired by Deleuze’s becoming and rhizome theory, the theoretical research and studio experimentations formed a broad theoretical and practice base that paved the way for the formulation of the narrative and the final artwork. The implementation of this project proved that a rational research could play a significant role in terms of facilitating the agencies and actions that are leading to the final artwork. Additionally, an adequate research enables the work to be articulated and discussed in language. Becoming is the key word of the output of the project. Instead of being considered as fading from the contemporary society, displaced craft heritage has the potential to adapt to the new context and become something new; every one of us has the possibility to propose a brighter future for craft heritage. Displacement is a prerequisite for the becoming.

Juan Mayorga signe le retour en force du verbe dans la dramaturgie espagnole contemporaine. Cette thèse pense son œuvre comme une "carte du monde" qui reflète et interroge certaines facettes de la réalité à travers le prisme du langage. L’étude des scènes de langage et du langage de la scène fait appel aux théories de pragmatique du discours. Ensuite, les analyses de la théâtralité de la parole (la manière dont les mots prennent corps et sens sur scène et dans le monde) montrent que chez ce dramaturge, la puissance imageante de la parole est étroitement liée à la "faille" du discours. La "faille", qui occupe une place centrale dans l’œuvre de Juan Mayorga, souligne et relaye les limites du langage, ouvrant sur une scène dialectique, d’où on peut (le) penser autrement. Entre les mots, dans les "failles" du discours logique, surgit l’ineffable, c’est-à-dire le Réel au sens lacanien. La question de l’aporie du voir et du dire révèle la part décisive de l’absence et du manque dans la représentation : celle-ci relève d’un engagement dramaturgique et esthétique, mais aussi éthique. Choisir de faire de la scène une cartographie des "failles" du discours, des silences de l’histoire, et des absences du monde, c’est le fruit d’un parti pris. À travers le prisme d’un verbe dont nous relevons le caractère fragmentaire, c’est une manière de penser et d’interroger le monde qui apparaît. Ce travail puise dans les courants philosophiques qui (sous-)tendent l’écriture de Juan Mayorga : les thèses de Walter Benjamin sur l’histoire, les écrits de Ludwig Wittgenstein, Theodor Adorno, Giorgio Agamben et Jean-Luc Nancy, portant sur la dicibilité ou la représentablité de l’indicible, mais aussi l’ontologie contemporaine, en particulier la pensée de Jacques Derrida et de Sören Kierkegaard, qui détournent la logique dichotomique propre à la dialectique hégélienne. Le langage lui-même est créateur de relations dialectiques indépassables que le dramaturge met en scène à partir de tensions se multipliant à l’infini dans une esthétique du discontinu (dire/taire, montrer/cacher, montrer/dire, etc.). Cette thèse les met en lumière et en interroge les enjeux. À cet effet, la notion de "rhizome" de Gilles Deleuze et Félix Guattari, ainsi que celle de "scène invisible" (issue de la "critique des dispositifs"), fournissent des éléments théoriques de réflexion qui débouchent sur un même constat : le sens réside dans l’interruption. La thèse est un cheminement à travers l’œuvre de Juan Mayorga, dont il s’agit de découvrir entrées et sorties, s’engouffrant dans ses "failles", pour enfin s’arrêter sur des bifurcations, ramifications, ou nœuds – car en eux se cristallise la "scène". Au fil de son expérience théâtrale rhizhomatique et souterraine, le "spectalecteur" mayorguien est invité à être entre, à devenir animal (Deleuze et Guattari), et à interroger l’envers du décor. / In his plays, Juan Mayorga forcefully brings back the word in contemporary Spanish drama. This dissertation examines his works as a “world map” which mirrors and questions numerous aspects of reality through the prism of language. The study of language at play in the scenes and the dramatic language of the play appeals to the theories of pragmatic discourse. Analyses of the theatrical characteristics of the spoken word - the way words take shape and become meaningful on stage and in reality – show that, for this playwright, the image power of the spoken word is intrinsically connected to the language of the “fault”. The “fault” – which rests at the very core of Juan Mayorga’s works – underlines and prolongs the limits of language, unlocking a dialectical stage where it can be apprehended differently. Between the words, in the “faults” of logical speech, the unutterable arises, i.e. the Real in the Lacanian sense. The aporetic issue of seeing and telling unveils the decisive part of absence and want in the representation, which emanates from a theatrical, esthetic, but also ethical commitment. Choosing to study the stage as a map of the “faults” of discourse, the silence of history, and the absences of the world is a deliberate choice: analyzing the fragmentary characteristics of language is a way of thinking and questioning the world. This dissertation delves into the philosophical works which underlie Juan Mayorga's works: Walter Benjamin's thesis on history, the works of Ludwig Wittgenstein, Theodor Adorno, Giorgio Agamben, and Jean-Luc Nancy's works on the ability to utter and represent, as well as contemporaneous ontology - especially Jacques Derrida and Sören Kierkegaard´s theories, which divert the dichotomous logic that characterizes the Hegelian dialectics. Language itself weaves impassable dialectical relations which the playwright stages through tensions that can be multiplied indefinitely within aesthetics of discontinuity (keeping silent/telling; showing/hiding; showing/ telling, etc.). This dissertation draws attention to these tensions and questions their stakes. To that end, Gilles Deleuze and Felix Guattari's notions of “rhizome” and “the invisible scene” provide us with theoretical elements leading up to the same conclusion: meaning appears in interruptions. This dissertation progresses through Juan Mayorga's plays to unveil its exits and entrances as they materialize the faults of language, so as to examine the junctions, ramifications, or entanglements where the stage crystallizes. In their rhizomatic and underground theatrical experience, Mayorga’s “specta-readers” are urged to be in-between, to become animal (Deleuze and Guattari) and to question what is behind the scene. / Con Juan Mayorga, la palabra vuelve a ocupar el primer plano de la escena española contemporánea. Esta tesis doctoral pretende pensar la obra del dramaturgo como un « mapa del mundo » que refleja e interroga determinadas facetas de la realidad a través del prisma del lenguaje. Para analizar las escenas de lenguaje y el lenguaje de la escena, nos valdremos de teorías relativas a la pragmática del discurso. Nuestro estudio, centrado en la teatralidad de la palabra en la obra de Juan Mayorga (es decir, en la forma en que las palabras se hacen cuerpo y sentido en el escenario y en el mundo) evidencia que la capacidad de crear imágenes de la palabra está estrechamente vinculada con la « falla » del discurso. Ésta ocupa un lugar central en la obra de Juan Mayorga, donde encarna los límites del lenguaje a la par que los supera. Así la « falla » da lugar a una escena dialéctica, desde donde se puede pensar una realidad y un lenguaje otros. Entre las palabras, en las « fallas » del discurso lógico, surge lo inefable, es decir lo Real en el sentido lacaniano. La aporía del ver y del decir revela el papel decisivo de la ausencia y de la carencia en la representación, lejos de ser considerada como presencia plena. La voluntad de crear en el escenario una cartografía de las « fallas » del discurso, de los silencios de la historia, y de las ausencias del mundo es una opción estética, pero también un compromiso ético. A través del prisma de un verbo fragmentario, se adivina una forma de pensar y de interrogar el mundo. Este trabajo se nutre de los corrientes filosóficos subyacentes a la escritura de Juan Mayorga: las tesis de Walter Benjamin sobre la historia, los escritos de Ludwig Wittgenstein, Theodor Adorno, Giorgio Agamben, y Jean-Luc Nancy. Se evocará la cuestión de la dicibilidad o de la representabilidad de lo indecible, pero también temáticas inherentes a la ontología contemporánea, particularmente el pensamiento de Jacques Derrida y de Sören Kierkegaard, quienes desvían la lógica dicotómica característica de la dialéctica hegeliana. El lenguaje en sí es creador de relaciones dialécticas insuperables (decir/callar, mostrar/esconder, enseñar/decir, etc.): el dramaturgo las escenifica a partir de tensiones que se multiplican al infinito en una estética de lo discontinuo. Nos proponemos en esta tesis de evidenciarlas e interrogarlas. Para ello, la noción de « rizoma » de Gilles Deleuze y Félix Guattari, así como la de la « escena invisible » (de la « crítica de los dispositivos »), aportan elementos teóricos de reflexión decisivos, que desembocan sobre una misma constatación: el sentido reside en la interrupción. La tesis es un recorrido a través de la obra de Juan Mayorga, en la cual se descubren entradas y salidas, se hurga en sus “fallas”, para detenerse/demorarse en las bifurcaciones, ramificaciones o en los nudos – porque en ellos es donde se cristaliza la “escena”. Durante su experimentación de la obra mayorguiana, se invita al “especta-lector” a ser entre, a volverse animal (Deleuze y Guattari), y a interrogar el revés/envés del escenario.

Les travaux de recherche menés dans le domaine des environnements virtuels pour l’apprentissage humain permettent aujourd’hui d’envisager leur utilisation à des fins d’entraînement à la prise de décision en situation de crise. Le problème de ce type d’application est qu’il nécessite pour les concepteurs et les programmeurs un travail d’écriture lourd et une programmation exhaustive de l’état du monde. Notre hypothèse est de mobiliser les principes existants du récit interactif afin de proposer un design de scénarisation qui prenne en compte les aspects temporels, critiques et complexes des actions de l’apprenant. Nous proposons une approche réflexive de l’apprentissage en fondant notre scénarisation sur l’uchronie et en intégrant des notions philosophiques comme le simulacre et le rhizome dans le parcours d’apprentissage. L’apprenant pourrait revenir en arrière au sein du même scénario initié par le formateur, et le système informatique informerait ce scénario en fonction des décisions et erreurs faites par l’apprenant. Une partie de notre contribution est la conception d’une scénarisation pour un entraînement en environnement virtuel. Il respecte la réalité des experts du cas d’application concret sur lequel s’adossent nos travaux de recherches, un projet de formation de leaders médicaux au sauvetage de blessés suite à un afflux massif de blessés. / This thesis presents a story-based approach in a simulation-based learning environment in the context of crisis management. The domain of application is the management of mass casualties in the context of medical emergencies. To efficiently train medical staff, live simulations are organized, in which an entire rescue team is re-enacted. Each simulation session takes place in a pre-established pattern and includes three distinct phases : the briefing provides a framework, the scenario puts the learner in a practice of situation, and the debriefing involves the learner reflexivity with the help of the trainer’s feedback.Those simulation sessions mobilize a lot of professionals and equipment. Therefore, they cannot be used on a large scale and research is conducted to develop those trainings in virtual environments, in which the phase of debriefing is often missing while it is a crucial part in learning. Our case of application aims at creating a virtual environment for training rescue team leaders during crisis situations. In this environment, the user is a medical team leader who interacts with a team of virtual autonomous first-aid workers. In this thesis, we propose a user experience that includes both the scenario and the debriefing part of a simulation. We focus on decision making in crisis management. We suggest that the learner should reconsider his decisions if he becomes aware of a mistake he did not avoid: he could change what he has done. In the debriefing, he could visualize the consequences of those errors : he could see what he had not seen. Reflexivity of learning is an integral part of our approach. We propose a reflexive approach to learning by grounding our scenarisation on uchronia, a fiction genre consisting in stories containing "what if" scenarios at crucial points in history and present an outcome of events alternative to historical record. Our game design is based on the uchronia : when the learner becomes aware of his mistakes, he has the opportunity to go back and make a new decision. Our system will change the plot of the story by changing the occurrence probabilities of events based on a past choices of the learner, but without changing the frame or the characters in the story. Our game design offers two phases of simulation. During the scenario, the learner will explore several possible worlds. During the debrieng, he may view several possible alternatives to the scenario as a timeline.

This study is a practice-led research that visually examines how the sense of self and identity are experienced within the complexity and multiplicity of selves in a technologically saturated culture. This dissertation, “Deconstructing consciousness in contemporary hyperreality: The multiphrenic self and identity”, is the theoretical component of this research which underpins and discusses the visual works that comprise of three multimedia installations that focus on images of the fractured self, the re-imagining of faces behind facial recognition programmes, and the embodiment of space and aesthetic significance within re-appropriation of images within social media platforms. The practical component falls within multi-media art often associated with video art and installation art within contemporary art. By recognising postmodern identity theories, this study investigates the postmodern subject’s concept of self and identity formation within a world that is influenced by the constant glare of technology and viral1 media exposure. How the development and proliferation of technology in the contemporary world, shapes one’s sense of self and identity. The fragmented postmodern subject exists within this context of “viral media” that describes the endless parasitism and dominance of media, where information is perpetuated as part of representation. Due to the perpetual state of virtual re-invention of the “self” within this realm, a digital footprint of identity and traces of personal information are available to others publicly and globally. This context generates a fractured postmodern self that globally exists within a perpetual sense of the present. This research visually and theoretically reflects on the concepts of postmodern schizophrenia and the multiphrenic self, in relation to identity and how participation on social media platforms can enhance a feeling of fragmented self. To address the main argument, it is the contention of the research to deliberate that identity formation is continually and compulsively shaped and reshaped through adapting to specific social environments. The study further argues that the multitude of digital networks (and the everyday practices occurring within and between them) form a different kind of platform and space that affects identity formation. / Art History, Visual Arts and Musicology

Este trabalho se propõe como formulação de um glossário pessoal, a partir de uma coleção de elementos diversos agenciados como pensamento sobre minha forma de produzir. Imagens de muitas naturezas (trabalhos próprios, obras de outros artistas, fotografias, gráficos, esquemas, etc.) e textos de diversas origens (escritos de artistas, artigos teóricos, relatos literários, descrições técnicas e textos próprios) são aqui articulados de forma subjetiva, estabelecendo conexões e relações que visam mapear e mostrar o processo por meio do qual crio minhas intervenções. São escolhas baseadas em interesses pessoais, em afinidades com o conteúdo de cada uma das obras originais, mas também em relações movidas por afetos diretamente ligados a meu trabalho. Entendo este glossário como rede, nuvem, dispositivo, agenciamento dos elementos da coleção - um trabalho em processo, aberto, inacabado e inacabável, em permanente modificação e crescimento, que encontra nesta versão uma configuração provisória. Não busco, então, impor um discurso preciso nem uma narrativa específica, linear e cronológica. Nem procuro fazer análises teóricas ou propor definições, mas sim possibilitar e provocar encontros. Pretendo, enfim, convidar o leitor a diversas possíveis navegações e sobrevoos. / This work is proposed as the formulation of a personal glossary from a collection of diverse elements articulated as a reverberation of my way of producing. Images of many natures (my own works, works of other artists, photographs, diagrams, schemes, etc.) and texts of diverse origins (artists\' writings, theoretical articles, literary stories, technical descriptions and my own texts) are here articulated subjectively, establishing connections and relationships that aim to map and present the process through which I create my interventions. They are choices based on personal interests, on affinities with the content of each of the original works, but also related to affections directly linked to my work. I understand this glossary as a net, a cloud, a device, assemby of elements from the collection - a work in progress, open, unfinished and unfinishable, constantly changing and growing, which finds in this version a provisional configuration. Thus, I do not pursue to impose a precise discourse or a specific narrative, linear and chronological. Neither do I intend to make theoretical analyses, nor to propose definitions, but to enable and provoke encounters. Ultimately, I wish to invite the reader to various possible navigations and over flights.

Este trabalho se propõe como formulação de um glossário pessoal, a partir de uma coleção de elementos diversos agenciados como pensamento sobre minha forma de produzir. Imagens de muitas naturezas (trabalhos próprios, obras de outros artistas, fotografias, gráficos, esquemas, etc.) e textos de diversas origens (escritos de artistas, artigos teóricos, relatos literários, descrições técnicas e textos próprios) são aqui articulados de forma subjetiva, estabelecendo conexões e relações que visam mapear e mostrar o processo por meio do qual crio minhas intervenções. São escolhas baseadas em interesses pessoais, em afinidades com o conteúdo de cada uma das obras originais, mas também em relações movidas por afetos diretamente ligados a meu trabalho. Entendo este glossário como rede, nuvem, dispositivo, agenciamento dos elementos da coleção - um trabalho em processo, aberto, inacabado e inacabável, em permanente modificação e crescimento, que encontra nesta versão uma configuração provisória. Não busco, então, impor um discurso preciso nem uma narrativa específica, linear e cronológica. Nem procuro fazer análises teóricas ou propor definições, mas sim possibilitar e provocar encontros. Pretendo, enfim, convidar o leitor a diversas possíveis navegações e sobrevoos. / This work is proposed as the formulation of a personal glossary from a collection of diverse elements articulated as a reverberation of my way of producing. Images of many natures (my own works, works of other artists, photographs, diagrams, schemes, etc.) and texts of diverse origins (artists\' writings, theoretical articles, literary stories, technical descriptions and my own texts) are here articulated subjectively, establishing connections and relationships that aim to map and present the process through which I create my interventions. They are choices based on personal interests, on affinities with the content of each of the original works, but also related to affections directly linked to my work. I understand this glossary as a net, a cloud, a device, assemby of elements from the collection - a work in progress, open, unfinished and unfinishable, constantly changing and growing, which finds in this version a provisional configuration. Thus, I do not pursue to impose a precise discourse or a specific narrative, linear and chronological. Neither do I intend to make theoretical analyses, nor to propose definitions, but to enable and provoke encounters. Ultimately, I wish to invite the reader to various possible navigations and over flights.