Esta pesquisa averigua a forma como tem sido estabelecido o estatuto de recepção de algumas obras de arte no registro bruto/culto. Os artistas que abordamos são frequentemente classificados segundo tais categorias, ainda que tradicionalmente opostas: Arthur Bispo do Rosario (1909-1989), artista cujas obras foram alinhadas à Arte Contemporânea, e Judith Scott (1943-2005), artista com apenas algumas obras inseridas no campo da Arte Moderna e Contemporânea. O intento é examinar se os critérios e modos de leitura, praticados por críticos e curadores em mostras e exposições nacionais e internacionais, contemporaneamente, têm observado o vivido como significante preponderante do acervo desses artistas ou se, por outro lado, a prática é a de aproximação e incorporação no sistema de arte por aspectos meramente formais. Através do recolhimento da literatura referida a esses eventos, pretendemos explicitar os critérios de leitura e de fruição das obras desses artistas que compartilham o gosto por materiais têxteis, cujo processo de tecimento/destecimento é ingrediente-base de suas poéticas, mas que participam do sistema de arte em diferentes estatutos de integração. Finalmente, a pesquisa visa investigar até que ponto o sentido da escolha de têxteis no desenvolvimento de suas mitopoéticas foi considerado no campo da recepção crítica. A meio termo, destacamos um olhar de dentro do sistema de arte, contabilizando alguns dos pronunciamentos da artista francesa contemporânea Louise Bourgeois (1911-2010), considerando-os especialmente em dois aspectos que nos interessam neste estudo: sua relação com os têxteis, dos pontos de vista formal ou conceitual, e também sua singular perspectiva sobre o processo criativo e o engajamento do criador. A artista não tece julgamentos ou considerações de modo a estabelecer uma delimitação ou alguma fronteira entre os campos (in-) e (out-)sider, o que torna sua perspectiva particularmente atrativa. Colaborar para a reflexão sobre a interpretação de obras estrangeiras à esfera da arte institucionalizada é importante instrumento de compreensão dos processos de construção do saber artístico e de consolidação da fortuna crítica, além de proporcionar uma discussão sobre a possibilidade de pensar lArt Brut a partir de um ponto de vista do próprio sistema de arte / This research aims to enquire how the statute of some art works has been established in the outsider/cultivated art reception register. In this approach the artists are often classified accordingly to those categories, even though they are traditionally opposites: Arthur Bispo do Rosario (1909-1989), an artist whose works are linked to the contemporaneous art, and Judith Scott (1943-2005), an artist who has only some of her work included in the modern and Contemporary Arts system. The intent is to examine what is the criteria and reading tools currently used by curators and art critics in both national and international exhibits, to evaluate if they have considered that bulk of work as something of significant value or if the approach is one of incorporating it into the system in merely formal terms. Through the investigation of the available literature related to those events, we intend to think the criteria used in the evaluation and fruition of those artists work. They have in common the preference for textile materials; the weaving/unweaving process is the basis of their poetic. However, they hold different status of integration in the arts system. Finally, this research aims to investigate how much the choice of textile materials in the development of mythopoetic has been considered and accepted by the critics. In the middle ground, we point to a view that is inside the arts system, listing some of the pronoucements of the contemporary french artist Louise Bourgeois (1911-2010), regarding specially two aspects of interest in the present study: her relation with textiles, be it from the formal or conceptual point of view, and also her singular perspective about the creative process and the creators commitment to it. The artist does not judge or deliberate in order to establish or set out a boundary between the fields of (in-) and (out-)sider art, which makes her perspective even more interesting. Reflecting on the interpretation of foreign works connected to the institutionalized art is an important and valuable contribution to the construction of artistic knowledge and to the consolidation of critical fortune. It also provides a discussion on how to consider the possibility of viewing the Outsider Art from the art systems perspective

Sammanfattning Att vara jazzmusiker kan betyda så oerhört många olika saker, och själva ordet jazzväcker på många sätt fler frågor än svar. Jazz som framförs idag är en såpass bred musikform att den är nästan omöjlig att definiera. Diskussioner uppstår kring nästan alla antaganden när någon försöker beskriva jazz och dess utveckling, och inte minst när man gör det i textform. Viljan att definiera musik och kultur är naturlig för många människor. Det är ett sätt att definiera sig själv och varandra som musiker, konstnär och människa, och ett sätt att bygga sin identitet och sitt sammanhang. Sedan jazzen institutionaliserades har äldre jazz på många sätt satts på en piedestal som jag ibland är orolig för ska hämma dess utveckling. Jag har under lång tid strävat efter att utvecklas inom jazzens mer traditionella område, och jag har ibland ställt mig frågan om jag verkligen är jazzmusiker, jag som till exempel inte kan improvisera till Charlie Parkers Donna Leepå ett övertygande sätt.    Detta arbete kretsar kring fraser. Precis som vårat talspråk så består musik och inte minst bebop av små komponenter, fraser, som tillslut bygger upp ett språk vare sig det heter svenska eller bebop. Genom att få en djupare förståelse för hur fraserna kan omformas vill jag pröva en hypotes om att bebop är en central musikform inom jazzgenren.Jag har valt ut femton fraser från bebopen som jag bearbetat för att spelas i ett modernare sammanhang, Christian Scotts musik från 2015. Av den processen för jag sedan en diskussion kring hur mina fraser relaterar till Scotts musik, och om varför vi kallar både ny musik och bebop för jazz. Med de material jag arbetat med har jag inte kunnat se att vi kallar båda stilarna för jazz på grund av musiken i sig, utan att detta snarare har sociala anledningar. Av arbetet har jag även funnit tydliga verktyg till att omforma fraser, och i arbetet delar jag med mig av de lärdomar jag dragit längs vägen.

A modelagem da demanda de água residencial fornece importantes subsídios ao dimensionamento e gerenciamento de redes de abastecimento de água. O comportamento desta demanda pode ser descrito através de processos estocásticos, caracterizados pela ocorrência de pulsos retangulares de demanda de água ao longo do tempo. Nesse contexto, este trabalho de pesquisa teve como objetivos monitorar e modelar a demanda de água residencial através dos modelos estocásticos dos pulsos retangulares de Neyman Scott (NSRP) e dos Pulsos Totais (OP). Enquanto que no modelo NSRP há a tentativa de simular a demanda de água através da representação dos seus constituintes elementares, no modelo OP busca-se a representação direta da demanda de água agregada dos usuários finais, como observada nos hidrômetros. A calibração e a validação dos modelos foram feitas a partir do monitoramento do consumo de água de quatro residências localizadas na cidade de São Carlos, caracterizadas por perfis de abastecimento distintos. Para tanto, foram desenvolvidos dispositivos dataloggers, que associados aos sensores/emissores de pulsos dos hidrômetros, permitiram o monitoramento do consumo de água ao longo do tempo dos usuários residenciais individuais. Durante a elaboração da pesquisa, foram observados efeitos negativos nas modelagens relacionados à influência dos reservatórios domiciliares (caixas d\'água) no perfil temporal do consumo de água das residências. Buscando mitigar esses efeitos, foram propostas modificações nas etapas de calibração e de geração das séries sintéticas de demanda de água. De uma forma geral, observou-se que as modificações propostas contribuíram para que as séries sintéticas geradas a partir dos modelos NSRP e OP reproduzissem de forma mais acurada as estatísticas das séries observadas, principalmente com relação às intensidades e durações das demandas simuladas. Apesar de as versões modificadas dos modelos NSRP e OP apresentarem desempenho similar na reprodução das médias, variâncias e covariâncias das séries observadas, o modelo OP reproduziu de forma mais consistente os volumes consumidos diários observados. / The modelling of residential water demand provides important subsidies for the design and management of water supply networks. The behavior of this demand can be described through stochastic processes, characterized by the occurrence of rectangular pulses of water demand over time. In this context, the objectives of this research were to monitor and model residential water demand using the Neyman Scott Rectangular Pulse model (NSRP) and Overall Pulse model (OP). While in the NSRP model there is the attempt to simulate the water demand through the representation of its elementary constituents, the OP model aims to direct represent the aggregate water demand of the end users, as observed in water meters. The calibration and validation of the models were done by monitoring the water consumption of four residences located in the city of São Carlos, characterized by different supply profiles. To this end, dataloggers were developed, which, coupled with sensors/pulse emitters and water meters, allowed the monitoring of water consumption over time of individual residential users. During the research, negative effects were observed in the models, related to the influence of the domestic reservoirs on the temporal patter of water consumption of the residences. To mitigate these effects, modifications were proposed in the calibration and generation stages of the synthetic water demand generation series. In general, it was observed that these proposed modifications contributed to a more accurately reproduction of the observed series statistics by the OP and NSRP synthetic series, especially regarding the intensities and durations of the simulated demands. Although the modified versions of the NSRP and OP models presented similar performance in the reproduction of the means, variances and covariance of the observed series, the OP model reproduced in a more consistent way the observed daily consumed volumes.

A modelagem da demanda de água residencial fornece importantes subsídios ao dimensionamento e gerenciamento de redes de abastecimento de água. O comportamento desta demanda pode ser descrito através de processos estocásticos, caracterizados pela ocorrência de pulsos retangulares de demanda de água ao longo do tempo. Nesse contexto, este trabalho de pesquisa teve como objetivos monitorar e modelar a demanda de água residencial através dos modelos estocásticos dos pulsos retangulares de Neyman Scott (NSRP) e dos Pulsos Totais (OP). Enquanto que no modelo NSRP há a tentativa de simular a demanda de água através da representação dos seus constituintes elementares, no modelo OP busca-se a representação direta da demanda de água agregada dos usuários finais, como observada nos hidrômetros. A calibração e a validação dos modelos foram feitas a partir do monitoramento do consumo de água de quatro residências localizadas na cidade de São Carlos, caracterizadas por perfis de abastecimento distintos. Para tanto, foram desenvolvidos dispositivos dataloggers, que associados aos sensores/emissores de pulsos dos hidrômetros, permitiram o monitoramento do consumo de água ao longo do tempo dos usuários residenciais individuais. Durante a elaboração da pesquisa, foram observados efeitos negativos nas modelagens relacionados à influência dos reservatórios domiciliares (caixas d\'água) no perfil temporal do consumo de água das residências. Buscando mitigar esses efeitos, foram propostas modificações nas etapas de calibração e de geração das séries sintéticas de demanda de água. De uma forma geral, observou-se que as modificações propostas contribuíram para que as séries sintéticas geradas a partir dos modelos NSRP e OP reproduzissem de forma mais acurada as estatísticas das séries observadas, principalmente com relação às intensidades e durações das demandas simuladas. Apesar de as versões modificadas dos modelos NSRP e OP apresentarem desempenho similar na reprodução das médias, variâncias e covariâncias das séries observadas, o modelo OP reproduziu de forma mais consistente os volumes consumidos diários observados. / The modelling of residential water demand provides important subsidies for the design and management of water supply networks. The behavior of this demand can be described through stochastic processes, characterized by the occurrence of rectangular pulses of water demand over time. In this context, the objectives of this research were to monitor and model residential water demand using the Neyman Scott Rectangular Pulse model (NSRP) and Overall Pulse model (OP). While in the NSRP model there is the attempt to simulate the water demand through the representation of its elementary constituents, the OP model aims to direct represent the aggregate water demand of the end users, as observed in water meters. The calibration and validation of the models were done by monitoring the water consumption of four residences located in the city of São Carlos, characterized by different supply profiles. To this end, dataloggers were developed, which, coupled with sensors/pulse emitters and water meters, allowed the monitoring of water consumption over time of individual residential users. During the research, negative effects were observed in the models, related to the influence of the domestic reservoirs on the temporal patter of water consumption of the residences. To mitigate these effects, modifications were proposed in the calibration and generation stages of the synthetic water demand generation series. In general, it was observed that these proposed modifications contributed to a more accurately reproduction of the observed series statistics by the OP and NSRP synthetic series, especially regarding the intensities and durations of the simulated demands. Although the modified versions of the NSRP and OP models presented similar performance in the reproduction of the means, variances and covariance of the observed series, the OP model reproduced in a more consistent way the observed daily consumed volumes.

Zugl.: Diplomarbeit.

Thesis (M.A.)--Brigham Young University. Dept. of English, 2002. / Includes bibliographical references (p. 67-69).

Esta pesquisa averigua a forma como tem sido estabelecido o estatuto de recepção de algumas obras de arte no registro bruto/culto. Os artistas que abordamos são frequentemente classificados segundo tais categorias, ainda que tradicionalmente opostas: Arthur Bispo do Rosario (1909-1989), artista cujas obras foram alinhadas à Arte Contemporânea, e Judith Scott (1943-2005), artista com apenas algumas obras inseridas no campo da Arte Moderna e Contemporânea. O intento é examinar se os critérios e modos de leitura, praticados por críticos e curadores em mostras e exposições nacionais e internacionais, contemporaneamente, têm observado o vivido como significante preponderante do acervo desses artistas ou se, por outro lado, a prática é a de aproximação e incorporação no sistema de arte por aspectos meramente formais. Através do recolhimento da literatura referida a esses eventos, pretendemos explicitar os critérios de leitura e de fruição das obras desses artistas que compartilham o gosto por materiais têxteis, cujo processo de tecimento/destecimento é ingrediente-base de suas poéticas, mas que participam do sistema de arte em diferentes estatutos de integração. Finalmente, a pesquisa visa investigar até que ponto o sentido da escolha de têxteis no desenvolvimento de suas mitopoéticas foi considerado no campo da recepção crítica. A meio termo, destacamos um olhar de dentro do sistema de arte, contabilizando alguns dos pronunciamentos da artista francesa contemporânea Louise Bourgeois (1911-2010), considerando-os especialmente em dois aspectos que nos interessam neste estudo: sua relação com os têxteis, dos pontos de vista formal ou conceitual, e também sua singular perspectiva sobre o processo criativo e o engajamento do criador. A artista não tece julgamentos ou considerações de modo a estabelecer uma delimitação ou alguma fronteira entre os campos (in-) e (out-)sider, o que torna sua perspectiva particularmente atrativa. Colaborar para a reflexão sobre a interpretação de obras estrangeiras à esfera da arte institucionalizada é importante instrumento de compreensão dos processos de construção do saber artístico e de consolidação da fortuna crítica, além de proporcionar uma discussão sobre a possibilidade de pensar lArt Brut a partir de um ponto de vista do próprio sistema de arte / This research aims to enquire how the statute of some art works has been established in the outsider/cultivated art reception register. In this approach the artists are often classified accordingly to those categories, even though they are traditionally opposites: Arthur Bispo do Rosario (1909-1989), an artist whose works are linked to the contemporaneous art, and Judith Scott (1943-2005), an artist who has only some of her work included in the modern and Contemporary Arts system. The intent is to examine what is the criteria and reading tools currently used by curators and art critics in both national and international exhibits, to evaluate if they have considered that bulk of work as something of significant value or if the approach is one of incorporating it into the system in merely formal terms. Through the investigation of the available literature related to those events, we intend to think the criteria used in the evaluation and fruition of those artists work. They have in common the preference for textile materials; the weaving/unweaving process is the basis of their poetic. However, they hold different status of integration in the arts system. Finally, this research aims to investigate how much the choice of textile materials in the development of mythopoetic has been considered and accepted by the critics. In the middle ground, we point to a view that is inside the arts system, listing some of the pronoucements of the contemporary french artist Louise Bourgeois (1911-2010), regarding specially two aspects of interest in the present study: her relation with textiles, be it from the formal or conceptual point of view, and also her singular perspective about the creative process and the creators commitment to it. The artist does not judge or deliberate in order to establish or set out a boundary between the fields of (in-) and (out-)sider art, which makes her perspective even more interesting. Reflecting on the interpretation of foreign works connected to the institutionalized art is an important and valuable contribution to the construction of artistic knowledge and to the consolidation of critical fortune. It also provides a discussion on how to consider the possibility of viewing the Outsider Art from the art systems perspective

This essay examines the social relations between colored and white cadets at the United States Military Academy at West Point during the late 19th century. Through letters we are able to take part of two microhistories that show the social structure from two different angles. Exclusionary rhetoric and practices made it possible for white cadets to shut out colored cadets from their social community. When the first African-American, James Webster Smith entered the Academy in 1870 a controversial question was raised about social relations between colored and none-colored cadets. By studying Smith ́s letters in tandem with those of a white cadet who attended West Point at the same time, Hugh Lenox Scott, this thesis aims to study how racism played out in everyday encounters and practices. In doing so it reveals a complex tension between exclusion and confrontation involving colored cadets, as a result of the structural racism at the Academy and in the American society at large in the post-Civil War era.

Syftet med den här uppsatsen är att undersöka filmen Scott Pilgrim vs the World (2010) sätt att använda sig av klipp och övergångstekniker och hur de förhåller sig till humor och komedi.Tre sekvenser som representerar en bredd av olika klipptekniker och teorier har analyserats för att undersöka hur olika övergångar som till exempel en svepning kan användas, hur kontinuerlig klippstil fortsätter filmen visuellt framåt, hur en rörelse kan bidra till klippningen och vad detta har för relation till humor. Med hjälp av Walter Murchs teorier om vad som motiverar att göra ett klipp, Bordwells och Thompsons teorier om hur olika klippningar och övergångar används och vilken påverkan dessa har på filmen samt Rosengrens teorier om klippning i komedifilm och Meyers (2000) teorier inom humor, undersöker uppsatsen klipptekniker samt övergångar och hur dessa kan förflytta filmen i tid och rum eller föra vidare en rörelse över ett klipp. Resultatet visar på att Edgar Wright, Jonathan Amos och Paul Machliss använder sig av flera sätt för att visa ett filmspråk i Scott Pilgrim vs the World (2010) där fokuset ligger på hur rörelse, energi, förflyttning på ett överraskande och annorlunda sätt kan skapa humor. / The purpose of this thesis is to analyze the movie Scott Pilgrim vs the World (2010) way to use transitions and cuts and how they relate to humor and comedy. Three sequences that represent a breadth of different techniques and theories from cuts gets analyzed and explored. This to understand how transitions, for example a wipe, gets used, how the movie progresses with continuity editing and how the movement contributes to the editing and to the comedy. With the help of Walter Murch's theories about what motivate a cut, Bordwell and Thompson’s theories about how cuts and transitions is used and what impact this has on the movie and Rosengrens theories about editing comedy and Meyers (2000) theories about humor, the essay investigate editing techniques and transitions and how they are able to move the movie in space and time or transfer a motion in a transition. The result shows that Edgar Wright, Jonathan Amos and Paul Machliss uses a lot of different techniques to develop a visual style and in Scott Pilgrim vs the World (2010) the focus lies on how motion, energy, movement and comedic timing drives the movie forward and perceived it as a comedy.

This essay demonstrates how three popular writers of the twentieth century have created novels that contain echoes of Eliot's poem. They are F. Scott Fitzgerald's The Great Gatsby (1925), Ernest Hemingway's The Sun Also Rises (1926), and John Steinbeck's To a God Unknown (1933). I chose these particular novels because they exemplify widely different and distinctive echoes of the poem. Fitzgerald's use of waste land imagery is readily perceptible the most effective in defining and summing up the temper of the Jazz Age in America. Hemingway's borrowing lies principally in parallel characterization (Jake Barnes as he Fisher King is the outstanding example) and in depicting a morally and spiritually bankrupt world by showing that a satisfactory sexual relationship between man and woman is impossible. Steinbeck's borrowing is unique. HIs novel not only contains the Fisher King figure, desert land imagery, water motif, and the quest theme, but his protagonist, Joseph Wayne, like Eliot's Fisher King-Tiresias protagonist, is able to metamorphose from one "personage" into another. Steinbeck's borrowings are not used by him for the purpose of depicting the world of the Twenties, or any era. He may have done no more than build upon a piece of literature from the immediate past as Eliot had done from the more remote past when he created The Waste Land. There is also a possibility that Steinbeck disagrees with some of Eliot's philosophical ideas and playfully chides the poet for harboring them. In showing the nfluence of the poem on three important American novelists, perhaps this essay will disprove Karl Shapiro's statement that "at no point in the career of Eliot has there been the slightest indication of literary following,"5 and will furnish proof that Robert E. Knoll's statement regarding the influence of The Waste Land is a valid one: What The Rape of the Lock was to the Augustans and Tintern Abbey to the Romantics, The Waste Land has become to the Moderns, It is inescapable.6