Proefschrift--Utrecht. / "Stellingen": 2 leaves laid in. Bibliography: 1 leaf preceding p. 1.

Dissertation (PhD) Florida State University, 2007. / Advisor: Jane Piper Clendinning, Florida State University, College of Music. Title and description from dissertation home page (viewed 8-21-2007). Document formatted into pages; contains 170 pages. Includes biographical sketch. Includes bibliographical references.

Thesis (MSc)--Stellenbosch University, 2015. / ENGLISH ABSTRACT: In South Africa, black-back jackal (BBJ) predation of sheep causes heavy losses to sheep farmers. Different control measures such as shooting, gin-traps and poisoning have been used to control the jackal population; however, these techniques also kill many harmless animals, as they fail to differentiate between BBJ and harmless animals. In this project, a system is implemented to detect black-backed jackal faces in images. The system was implemented using the Viola-Jones object detection algorithm. This algorithm was originally developed to detect human faces, but can also be used to detect a variety of other objects. The three important key features of the Viola-Jones algorithm are the representation of an image as a so-called ”integral image”, the use of the Adaboost boosting algorithm for feature selection, and the use of a cascade of classifiers to reduce false alarms. In this project, Python code has been developed to extract the Haar-features from BBJ images by acting as a classifier to distinguish between a BBJ and the background. Furthermore, the feature selection is done using the Asymboost instead of the Adaboost algorithm so as to achieve a high detection rate and low false positive rate. A cascade of strong classifiers is trained using a cascade learning algorithm. The inclusion of a special fifth feature Haar feature, adapted to the relative spacing of the jackal’s eyes, improves accuracy further. The final system detects 78% of the jackal faces, while only 0.006% of other image frames are wrongly identified as faces. / AFRIKAANSE OPSOMMING: Swartrugjakkalse veroorsaak swaar vee-verliese in Suid Afrika. Teenmaatreels soos jag, slagysters en vergiftiging word algemeen gebruik, maar is nie selektief genoeg nie en dood dus ook vele nie-teiken spesies. In hierdie projek is ’n stelsel ontwikkel om swartrugjakkals gesigte te vind op statiese beelde. Die Viola-Jones deteksie algoritme, aanvanklik ontwikkel vir die deteksie van mens-gesigte, is hiervoor gebruik. Drie sleutel-aspekte van hierdie algoritme is die voorstelling van ’n beeld deur middel van ’n sogenaamde integraalbeeld, die gebruik van die ”Adaboost” algoritme om gepaste kenmerke te selekteer, en die gebruik van ’n kaskade van klassifiseerders om vals-alarm tempos te verlaag. In hierdie projek is Python kode ontwikkel om die nuttigste ”Haar”-kenmerke vir die deteksie van dié jakkalse te onttrek. Eksperimente is gedoen om die nuttigheid van die ”Asymboost” algoritme met die van die ”Adaboost” algoritme te kontrasteer. ’n Kaskade van klassifiseerders is vir beide van hierdie tegnieke afgerig en vergelyk. Die resultate toon dat die kenmerke wat die ”Asymboost” algoritme oplewer, tot laer vals-alarm tempos lei. Die byvoeging van ’n spesiale vyfde tipe Haar-kenmerk, wat aangepas is by die relatiewe spasieëring van die jakkals se oë, verhoog die akkuraatheid verder. Die uiteindelike stelsel vind 78% van die gesigte terwyl slegs 0.006% ander beeld-raampies verkeerdelik as gesigte geklassifiseer word.

A partir da minha produção de fotografias da série Paredes, este estudo investiga a representação de paredes brancas e relaciona as imagens produzidas com as reflexões dos teóricos contemporâneos de arte Hanneke Grootenboer, sobre fundos de naturezas-mortas da Holanda seiscentista, e Georges Didi-Huberman, sobre a representação de paredes em alguns afrescos de Fra Angelico. As interpretações de ambos apontam como tais imagens de paredes, usualmente encontradas em fundos pictóricos, podem ser consideradas como áreas onde há a ocorrência de algo que excede a representação. A série Paredes propõe a análise de imagens que qualificamos como rarefeitas e neutras com a intenção de verificar se elas apresentam ou evocam algo diverso da cena fotografada, como o vazio proposto por Grootenboer ou o infinito divino sugerido por Didi-Huberman em imagens similares. Ao utilizar o conceito de “neutro” de Roland Barthes, podemos situar essas imagens, por serem representações de superfícies inexpressivas e sem importância, em um campo de oscilação no qual elas não aderem a nenhuma posição fixa quanto à definição de seu conteúdo. A condição de deriva – inerente ao neutro – que as imagens de parede carregam as tornam potências com capacidade de suscitar quaisquer ideias, inclusive opostas e extraordinárias, como as de vazio e de infinito. / This study is based on my photographic work the Paredes series and investigates the representation of white walls, relating the images to the work of the contemporary art theorists Hanneke Grootenboer and Georges Didi-Huberman, the former reflecting on the backgrounds of 17th-century Dutch still-life painting and the latter considering the representation of walls in some of Fra Angelico’s frescos. Their interpretations indicate how such images of walls usually found in the backgrounds of paintings might be considered as areas where something occurs that goes beyond representation. The Paredes series proposes an analysis of images that we consider neutral or less dense, with the aim of testing whether they present or evoke something other than the photographic scene, such as the void proposed by Grootenboer or the divine infinity suggested by Didi-Huberman in similar images. By employing Roland Barthes’s concept of the “neutral” we might, due to their being representations of inexpressive surfaces of no importance, situate these images in a field of fluctuation, in which they adopt no fixed position in terms of definition of content. The condition of drift – inherent to the neutral – contained in the images of walls, gives them potential to support any idea, including contrasting and exceptional ones such as the void and infinity.

The seventeenth century was an incredibly fascinating time for art in England developmentally, especially because most of the artists that were receiving the commissions from English patrons and creating the art weren’t English, they were Dutch. Over this one hundred year period scores of Dutch artists migrated over from the Dutch Republic and showed England this Golden Age of painting that had established Dutch artists back in the Netherlands as pioneers in their line of work. In studies of Anglo-Dutch art, portraiture is a genre that has been widely researched; Peter Lely (a Dutch-born portraitist) is one of many widely acclaimed artists of this genre; comparative to many of the artworks and artists chosen for this research. Generally Anglo-Dutch relations, politically, economically, religiously and of course culturally there was, during the seventeenth century, so much going on between these two nations. Did this intense ever-changing relationship have an impact on that the other ‘low’ genres of art that was produced throughout this century? This research involves understanding and thinking about the impact of the cultural exchange that took place between England and the Netherlands in the seventeenth century on ‘low’ art – marine, landscape and still life painting. This research entails thinking about the origins of these genres as well as looking at individual paintings on a detailed basis and understanding how this cultural interchange manifests and translates itself through visual motifs – objects (large and small), stylistic characteristics and theme of the painting. Various themes and interpretations - in particular iconography and iconology, descriptive versus narrative art and national identity - have been explored and considered in order to gain a comprehensive understanding of the literature that already exists for this art in an effort to consider something new but to also interpret the paintings in a different way – this research has considered these paintings through the visual elements and has explained the cultural significance they provide.

A partir da minha produção de fotografias da série Paredes, este estudo investiga a representação de paredes brancas e relaciona as imagens produzidas com as reflexões dos teóricos contemporâneos de arte Hanneke Grootenboer, sobre fundos de naturezas-mortas da Holanda seiscentista, e Georges Didi-Huberman, sobre a representação de paredes em alguns afrescos de Fra Angelico. As interpretações de ambos apontam como tais imagens de paredes, usualmente encontradas em fundos pictóricos, podem ser consideradas como áreas onde há a ocorrência de algo que excede a representação. A série Paredes propõe a análise de imagens que qualificamos como rarefeitas e neutras com a intenção de verificar se elas apresentam ou evocam algo diverso da cena fotografada, como o vazio proposto por Grootenboer ou o infinito divino sugerido por Didi-Huberman em imagens similares. Ao utilizar o conceito de “neutro” de Roland Barthes, podemos situar essas imagens, por serem representações de superfícies inexpressivas e sem importância, em um campo de oscilação no qual elas não aderem a nenhuma posição fixa quanto à definição de seu conteúdo. A condição de deriva – inerente ao neutro – que as imagens de parede carregam as tornam potências com capacidade de suscitar quaisquer ideias, inclusive opostas e extraordinárias, como as de vazio e de infinito. / This study is based on my photographic work the Paredes series and investigates the representation of white walls, relating the images to the work of the contemporary art theorists Hanneke Grootenboer and Georges Didi-Huberman, the former reflecting on the backgrounds of 17th-century Dutch still-life painting and the latter considering the representation of walls in some of Fra Angelico’s frescos. Their interpretations indicate how such images of walls usually found in the backgrounds of paintings might be considered as areas where something occurs that goes beyond representation. The Paredes series proposes an analysis of images that we consider neutral or less dense, with the aim of testing whether they present or evoke something other than the photographic scene, such as the void proposed by Grootenboer or the divine infinity suggested by Didi-Huberman in similar images. By employing Roland Barthes’s concept of the “neutral” we might, due to their being representations of inexpressive surfaces of no importance, situate these images in a field of fluctuation, in which they adopt no fixed position in terms of definition of content. The condition of drift – inherent to the neutral – contained in the images of walls, gives them potential to support any idea, including contrasting and exceptional ones such as the void and infinity.

A partir da minha produção de fotografias da série Paredes, este estudo investiga a representação de paredes brancas e relaciona as imagens produzidas com as reflexões dos teóricos contemporâneos de arte Hanneke Grootenboer, sobre fundos de naturezas-mortas da Holanda seiscentista, e Georges Didi-Huberman, sobre a representação de paredes em alguns afrescos de Fra Angelico. As interpretações de ambos apontam como tais imagens de paredes, usualmente encontradas em fundos pictóricos, podem ser consideradas como áreas onde há a ocorrência de algo que excede a representação. A série Paredes propõe a análise de imagens que qualificamos como rarefeitas e neutras com a intenção de verificar se elas apresentam ou evocam algo diverso da cena fotografada, como o vazio proposto por Grootenboer ou o infinito divino sugerido por Didi-Huberman em imagens similares. Ao utilizar o conceito de “neutro” de Roland Barthes, podemos situar essas imagens, por serem representações de superfícies inexpressivas e sem importância, em um campo de oscilação no qual elas não aderem a nenhuma posição fixa quanto à definição de seu conteúdo. A condição de deriva – inerente ao neutro – que as imagens de parede carregam as tornam potências com capacidade de suscitar quaisquer ideias, inclusive opostas e extraordinárias, como as de vazio e de infinito. / This study is based on my photographic work the Paredes series and investigates the representation of white walls, relating the images to the work of the contemporary art theorists Hanneke Grootenboer and Georges Didi-Huberman, the former reflecting on the backgrounds of 17th-century Dutch still-life painting and the latter considering the representation of walls in some of Fra Angelico’s frescos. Their interpretations indicate how such images of walls usually found in the backgrounds of paintings might be considered as areas where something occurs that goes beyond representation. The Paredes series proposes an analysis of images that we consider neutral or less dense, with the aim of testing whether they present or evoke something other than the photographic scene, such as the void proposed by Grootenboer or the divine infinity suggested by Didi-Huberman in similar images. By employing Roland Barthes’s concept of the “neutral” we might, due to their being representations of inexpressive surfaces of no importance, situate these images in a field of fluctuation, in which they adopt no fixed position in terms of definition of content. The condition of drift – inherent to the neutral – contained in the images of walls, gives them potential to support any idea, including contrasting and exceptional ones such as the void and infinity.

O presente estudo teve por objetivo determinar a composição química de aguardentes obtidas por redestilação, a partir de diferentes concentrações iniciais do flegma (30, 40 e 50% v/v), visando definir um processo que resulte em uma melhor qualidade química e um melhor rendimento operacional. Determinou-se a composição química das aguardentes produzidas mediante análises de teor alcoólico, componentes voláteis (aldeídos, ésteres, metanol, álcoois superiores, ácido acético e furfural) e contaminantes (álcoois n-butílico e sec-butílico, cobre e carbamato de etila). Com exceção dos álcoois superiores, todos os destilados alcoólicos simples (DAS) apresentaram composição química de compostos voláteis e de contaminantes dentro das especificações legais. Quanto aos álcoois superiores, os DAS provenientes dos flegmas com 30% e 40% de etanol apresentaram-se ligeiramente acima do máximo permitido pela legislação (360 mg/100mL de álcool anidro). O DAS proveniente do flegma com 50% de etanol apresentou concentração de álcoois superiores dentro do limite estabelecido pela legislação. O álcool isoamílico correspondeu a 70% do teor de álcoois superiores dos destilados. Os resultados mostraram que o teor alcoólico do flegma (30, 40 e 50% em etanol) não influenciou a qualidade química dos destilados alcoólicos simples destinados a elaboração da aguardente de cana. Nas condições da presente pesquisa, a redestilação do flegma a 50% de etanol foi a que proporcionou o maior rendimento operacional na aguardente produzida. / This study aimed to determine chemical composition of spirits obtained by redistillation from different initial concentrations of low wines (30, 40 and 50% alcohol by volume), defining a process resulting in a better chemical quality and operational efficiency than the initial product. The chemical composition of the spirits produced were determined by alcoholic analysis, volatiles (aldehydes, esters, methanol, higher alcohols, acetic acid and furfural acid) and contaminants (alcohols n-butyl and secbutyl, copper and ethyl carbamate). With the exception of higher alcohols, all simple alcoholic distillates (SAD) had a chemical composition of volatiles and contaminants within legal specifications. The higher alcohols, those from low wines with 30% and 40% etanol concentration, exhibited slightly above the maximum allowed by brazilian law (360mg / 100mL anhydrous ethanol). The SAD from the low wines with 50% ethanol showed a higher alcohols concentration within the limits established by law. The isoamyl alcohol matched to 70% of distillated higher alcohol content. The results showed that the alcohol content of low wines (30, 40 and 50% ethanol) did not influence the chemical quality of simple alcoholic distillates for the preparation of sugar cane spirit. Under the conditions of this study, redistillation of low wines 50% ethanol was the one that provided the highest operating income in the produced spirit.

This paper presents an investigation in how a jewelry artist understands the life and death, permanence and impermanence of human, objects, and other creatures, by communicating still life in the form of jewelry. I will bring up a fact that death and impermanence have been forgotten by my peers, and use still life and contemporary jewelry to discuss it. The paper mainly talks about: my opinion upon life and death in modern society, why and how did I related them with still life paintings, how did I make my jewelry based on still life, and discusst a dilemma I met: how will jewelry be when they are on and not on people’s body.

No description available.