Stormwater is rain, melt and rinse water that temporarily runs off the ground surface. In cities with many impermeable surfaces large amounts of stormwater may be formed. Stormwater is diverted through conduits and ditches to recipients. If the diversion of stormwater is insufficient flooding can occur. Stormwater contains contaminants from the catchment surfaces such as nutrients, heavy metals, bacteria, organic compounds and oils. To study stormwater pollution and flows various stormwater modelling tools are used. The purpose of this thesis is to test, compare and evaluate four stormwater modelling tools and conclude their strengths and weaknesses. This was done by a literature study, a market research, definition of evaluation criteria and by testing the tools on a case study of an industrial and residential area in Scotland. The main developed evaluation criteria was model characteristics, required input, user friendliness, output and model application. The four selected tools were StormTac, Infoworks CS, SuDS Studio and MUSIC. The case study included both flow and pollutants on a yearly basis and for a rainfall event. The results from the study were compared against observed values both before and after calibration. No model gave good model predictions for all parameters. The observed volumes of water were larger than modelled for all four models even after calibration. An intercomparison between the models however gave a better fit. Regarding pollutants, the model predictions compared with observed values varied between the tools and substances. Strengths with StormTac are that it includes over 70 pollutants, includes the recipient and gave good model predictions for pollutant concentrations when compared with observed pollutants. A weakness is that StormTacs automatically calculated base flow was much smaller than observed in the case study and the tool is not suited for studies of single event rainfalls.Strengths with Infoworks CS are that it is fully distributed, a complete network is built up and the tool can be used for design of networks, flood predictions and flows over time. It is time consuming to build a model in Infoworks CS, few default pollutants are included and it gave poor model predictions for nitrogen concentrations in the case study. SuDS Studio is a unique tool for defining suitable options for retrofitting SuDS solutions and this is a strength as it is the only tool of its kind. SuDS studio gave large intervals for pollutant loads in the case study which can be difficult to interpret. A strength with MUSIC is that it is user friendly and can be used for comparing water quality pre and post treatment. It does however only include three default pollutants in the model, and only three pollutants can be modelled at a time.

En 1955, Luciano Berio obtient de la R.A.I. l’autorisation de créer, dans les locaux milanais de la radio, le Studio di Fonologia, premier studio européen mêlant musique concrète et musique électronique. Ce lieu, dont il définira tout autant les statuts que les différents appareillages, va devenir pour lui durant six ans un lieu de production effrénée de radiodrames pour la R.A.I., mais également un laboratoire de recherches personnelles. Entouré par un cercle d’avant-garde, très au fait des publications scientifiques de son temps - notamment dans le domaine de la linguistique, de la théorie musicale, et du structuralisme - il va plonger de façon empirique au cœur la matière vocale. La situation acousmatique du studio, l’absence d’interprètes, la dimension poétique et théâtrale du langage vont l’amener à se questionner sur l’écoute, et, dans une pensée brechtienne, sur l’écoute de l’écoute. Nous tentons de dégager, dans notre travail, en partant de la réalité du travail en studio, les éléments qui ultérieurement ont fusionné pour devenir le style bérien et qui sont déjà en germe ou même parfaitement identifiables durant cette période qui va de Chamber Music à Laborintus II. / In 1955 the R.A.I. granted Luciano Berio permission to create the Studio di Fonologia in their Milan radio studios, the first European studio to combine “musique concrète” and purely electronic music. He was able to choose the equipment and define the usage of the studio so that it became a place where he would produce radio dramas for the R.A.I. at a furious pace for six years as well as a laboratory for personal research. Surrounded by a circle of avant-garde personalities, very aware of scientific publications of his time - notably in the domains of linguistics, musical theory and structuralism - he will dive in an empirical way into the heart of vocal material. The acousmatic nature of the studio, the absence of live performers, and the poetic and theatrical dimension of language will lead him to ask himself about the notion of listening, and in a Brechtian way, about listening to listening. We will attempt in our work to reveal - from his actual studio work - the elements which later merged to become the Berian style and which were already germinating or even perfectly recognizable during the period from Chamber Music to Laborintus II.

A presente dissertação, intitulada Estruturas Contingentes e Formas Resguardadas: o tecer como prática artística inserida no cotidiano, propõe a análise do processo de tecitura manual dos objetos que compõem a pesquisa. Ao sistematizar e analisar o processo dos referidos objetos, abordarei as interferências e intercorrências em espaços privados e públicos – experienciados enquanto lugares de atividades cotidianas e do exercício de tecer. Também estarão sob foco as reverberações dessas experiências no atelier e nos modos de exposição. / This dissertation, titled Contingent Structures and Withdrawn Shapes: weaving as an everyday art practice, proposes the analysis of the process of hand weaving the objects that make up the research. By systematizing and analyzing the process of said objects, I will approach interferences and events in private and public spaces - experienced as venues for everyday activities and for the act of weaving. Echoes of these experiences in the studio and in exhibition methods will also be addressed.

Esta dissertação se propõe a investigar a função do ator e seu modelo de interpretação para o cinema, partindo de apropriações da pesquisa teatral. A partir do sistema de atuação criado por Konstantin Stanislavski, estabeleço uma trajetória de apropriações que se inicia concomitantemente ao desenvolvimento da linguagem cinematográfica, contemplando primeiramente a pesquisa dos cineastas russos Lev Kuleshov, Sergei Eisenstein e Vsevolod Pudovkin. Em um segundo momento, analiso como as ideias de Stanislavski chegaram nos Estados Unidos, influenciando tanto o teatro quanto o cinema americanos. A criação do Actors Studio e a formulação do \"Método\" americano de interpretação são abordadas sobretudo a partir das ideias de Elia Kazan e Lee Strasberg. Por fim, no Brasil, discorro sobre o projeto Prêt-à-Porter (1998 - 2011), criado por Antunes Filho, e sua influência na formação de toda uma geração de atores presentes na produção cinematográfica contemporânea. Nesse percurso que vai do teatro ao cinema, em certos momentos numa via de mão dupla, destaco os procedimentos que contribuíram para o processo de criação dos atores, e a forma como influenciaram sua expressão em ambas as áreas da criação artística. / This project aims at investigating the role of the actor and his/her model of acting for the screen, from a theatrical perspective. Starting with the System created by Konstantin Stanislavski, I establish a trajectory of appropriations, contemplating primarily the researches of Soviet filmmakers Lev Kuleshov, Sergei Eisenstein and Vsevolod Pudovkin. Then, I analyze the arrival of Stanislavski\'s ideas at the United States, and how they influenced both American theater and cinema. The creation of the Actors Studio and the formulation of the American Method of acting will be approached mainly through Elia Kazan and Lee Strasberg\'s ideas. Finally, in Brazil, I analyze the project Prêt-à-Porter (1998 - 2011), created by Antunes Filho, which influenced the formation of a whole generation of actors also present in contemporary film production. Thus, I highlight some procedures that highly contributed to the creative process of actors, from the stage to the screen.

A presente dissertação, intitulada Estruturas Contingentes e Formas Resguardadas: o tecer como prática artística inserida no cotidiano, propõe a análise do processo de tecitura manual dos objetos que compõem a pesquisa. Ao sistematizar e analisar o processo dos referidos objetos, abordarei as interferências e intercorrências em espaços privados e públicos – experienciados enquanto lugares de atividades cotidianas e do exercício de tecer. Também estarão sob foco as reverberações dessas experiências no atelier e nos modos de exposição. / This dissertation, titled Contingent Structures and Withdrawn Shapes: weaving as an everyday art practice, proposes the analysis of the process of hand weaving the objects that make up the research. By systematizing and analyzing the process of said objects, I will approach interferences and events in private and public spaces - experienced as venues for everyday activities and for the act of weaving. Echoes of these experiences in the studio and in exhibition methods will also be addressed.

This thesis deals with the valuation of selected sports studies. My goal is to evaluate methods for the valuation of sports studies and establish appropriate criteria that could affect the returns of Sports Studies. The work also includes the design procedure in assessing whether it is for technical equipment for part or accessory sports studies.

This master thesis is concerned with the business plan for the establishing of a small cake studio. Based on the critical analysis of the risk, marketing research and market analysis will be suggested a plan, by which would be possible to establish the small cake studio.

Kultur ur ett socialt hållbarhetsperspektiv är något som både Stockholm stad, Region Stockholm och även Statens Kulturråd värderar högt, där den producerande kulturverksamheten idag ofta ses som en viktig faktor i skapandet av en konkurrenskraftig och attraktiv stad. Ändå har konstnärer i de producerande kulturverksameterna låga löner, trots långa utbildningar och lång arbetslivserfarenhet. Detta kan ses i mediebilden där Stockholm stad ofta beskrivs som att de istället för att främja kulturverksamhet snarare motverkar kulturverksamhet genom förtätning och omvandling.Med denna undersökning är syftet att undersöka behoven som den producerande kulturverksamheten har. Både ur Stockholm stads synpunkt och från konstnärernas håll. Genom att undersöka olika kulturstrategier är målet att få en klarare överblick på problemen kring kulturverksamheter. Genom en: litteratur-, dokument- och fallstudie har den producerande kulturverksamhetens behov, lokalisering och förutsättningar identifierats. I Stockholm stads ateljéstrategi uttrycker Kulturförvaltningen ett mål med 200 nya ateljéer till 2020. De menar i sin strategi att dessa ateljéer bör byggas i områden som har få eller inga ateljéer. I dagsläget lokaliserar sig Stockholms ateljéer likt kluster där högst täthet är kring: östra Södermalm, Liljeholmen, Telefonplan, Slakthusområdet och Hagalunds industriområde. Kulturens lokalisering begränsas av betalningsförmågan och den nuvarande bristen på lokaler och fastigheter som till ett rimligt pris uppfyller de krav som verksamheten ställer på lokalen och dess lokalisering. Lösningen på problematiken med bristen på produktionslokaler ligger inte på någon enskild faktor som enkelt kan lösas. Det handlar istället om en budget och prioriteringsfråga som kommunen och regionen bör se över. Politiker måste värdesätta kulturverksamhet på ett annat sätt än som de gör idag. Annars kommer kulturverksamheten aldrig att kunna få rätt förutsättningar för att utvecklas. / Today, local production of arts and culture is viewed as an important factor in making of a competitive and attractive city. Stockholm stad, Region Stockholm and the Swedish Arts Council express a high value of culture from a social sustainability perspective. Despite this, the majority of people working with making or producing art statistically can be seen to have a low median salary in comparison to the general population. The media points towards how Stockholm stad contributes to this situation through densifying and converting areas at the expense of maintaining cultural entities and production venues, as well as creating the right opportunities for cultural businesses. The purpose of this report is to examine the needs of the individuals, groups and organisations working with the making and production of arts and culture. Various strategies are examined, with an aim to understand challenges cultural practitioners and entities face as well as creating an understanding of how these strategies deal with producing cultural entities. As identified through literature, document and case studies, the report outlines the localisations of art studios and cultural entities, their need and their opportunities presented through the economic and social structures.In Stockholm stad’s studio strategy, the Kulturförvaltning expresses an aim to create 200 new studios for artists before 2020. Furthermore, they express that these studios are mainly to be situated in areas which are lacking or in absence of spaces for art production. Currently artist studios in Stockholm are concentrated in clusters, mainly in areas such as: östra Södermalm, Liljeholmen, Telefonplan, Slakthusområdet and Hagalund’s industrial area. The main factors affecting the localisation of studios in the urban space, is the shortage of spaces with adequate facilities and the lack of adequate facilities at an affordable rental cost. There is no simple solution for solving the shortage of production facilities for artists, since the problem depends on numerous factors. As a matter of city budgets and political prioritisation, this problem needs to be handled at both a municipal and regional level. Politicians need to value cultural businesses in a new way. In order for the cultural field to progress and prosper, artists require the right opportunities and for their needs to be met out of an economic, geographic and social perspective.

Schemaläggning av personal kan vara tidskrävande, men detta kan underlättas med hjälp av digitala system. På flera närakuter i Stockholms län utförs schemaläggning för sjuksköterskor och undersköterskor fortfarande på papper, vilket medför administrativa svårigheter. Syftet med detta examensarbete var att utveckla en Android mobilapplikation som kan ersätta det nuvarande schemaläggningssystemet. Målet var att skapa en applikation som hanterar schemaläggningen av arbetspass och underlättar kommunikationen mellan all personal. Med hjälp av Android Studio utvecklades en mobilapplikation som tillåter användare att skapa schemaläggare- eller personalkonto. Användare med schemaläggarkonto kan skapa arbetspass, välja personal till och ta bort personal från passen. Användare med personalkonto kan göra en intresseanmälan för arbetspass och få en lista över sina kommande pass. Applikationen är försedd med en veckovis kalender som visar de skapade passen och personalen som är vald till passen. Med applikationen kan användarna kontakta varandra genom en chattfunktion. Den utvecklade applikationen, som uppfyllde uppdragsgivarens mål, testades och responsen vid testningen var positivt. Applikationen är fortfarande i utvecklingsfasen och behöver kompletteras med flera funktioner för att bli mer anpassningsbart för användarna. Framtida arbeten innefattar utveckling av en iOS-version och justering av applikationen för att användas på flera närakuter. Efter dessa justeringar kan applikationen publiceras på Google Play och App Store. / Scheduling can be a time-consuming process; however, this can be facilitated by utilizing digital systems. In several local emergency wards in Stockholm, the scheduling of nurses and assistant nurses is still performed on paper, which results in administrative complications. The purpose of this bachelor thesis was to develop an Android mobile application that can replace the current scheduling system. The aim was to create an application that handles personnel scheduling and supports communication between the personnel. Using Android Studio an Android mobile application was developed that allows users to create scheduler and personnel accounts. Users with a scheduler account can create work shifts, select personnel for and remove personnel from the shift. Users with a personnel account can sign up for work shifts and receive a list of their upcoming shifts. The application provides the user with a weekly schedule which displays the created shifts and the personnel selected for the shifts. By using the application, users can communicate with each other through a chat function. The developed application, which meets the client's requirements, was tested and the feedback from the testing was positive. The application is still in the development stages and requires the addition of several functions to make it more customizable for the users. Future work involves developing an iOS-version and adjusting the application to utilize it in several local emergency wards. After these adjustments, the application can be distributed in Google Play and App Store.

Made available in DSpace on 2014-07-29T16:25:16Z (GMT). No. of bitstreams: 1 Gabriel da silva.pdf: 2740848 bytes, checksum: e34d0fbd5b2ce6b0fcbb7b730dc1d720 (MD5) Previous issue date: 2010-03-31 / The use of studios of recording of simple (or home-made) composition, the calls home studios, it has been growing significantly in Brazil due to the reduction in price of certain technological devices used in its context. For example, sound cards, microphones, monitors, mixes and hardware. The home studio is a music production environment that uses different technologies to design a music product, educational or sound. Its use has converged to the development of musical productions that have helped to promote different artists, or even tools used in its context. This work has the use of home-made composition in the teaching of musical performance as main point. It shows literature review, the structure of the home studio and the development of computer software to point suggestions to use homemade composition in the teaching of musical performance. This work converges to the musician (performer/teacher/student) to promote a discussion about the teaching of music with a computer and it indicates ways to use technological devices in teaching music. It concludes that the use of home studio in the teaching of music performance tends to be very productive and its environment can serve as a workstation that allows the music s teachers to try it on different forms of interaction with new technologies, and indeed have in hands an effective and inexpensive structure that could achieve teaching objectives. We hope that this work can contribute to optimize teaching resources applied to the teaching of music performance and expand the literature on teaching music in Brazil. / A utilização de estúdios de gravação de composição simples (ou caseira), os chamados home studios, tem crescido significativamente no Brasil devido ao barateamento de certos aparatos tecnológicos empregados em seu contexto. A exemplo, placas de som, microfones, monitores, mesas e componentes de hardware. O home studio, ou estúdio caseiro, é um ambiente de produção musical que utiliza de diferentes tecnologias para conceber um determinado produto musical, pedagógico ou sonoro. Sua utilização tem convergido para o desenvolvimento de produções musicais que tem ajudado a divulgar diferentes artistas, ou mesmo ferramentas empregadas em seu contexto. Esta pesquisa por sua vez, tem por objetivo principal discutir a utilização do home studio no ensino da performance musical. Para tanto, parte da revisão da literatura, da estrutura do home studio e do desenvolvimento de aplicativos computacionais para apontar sugestões de uso de estúdios caseiros no ensino da performance musical. Cada atividade apontada é discutida e contextualizada, sendo algumas exemplificadas. A pesquisa ora apresentada converge para o músico (performer/professor/estudante) no sentido de promover uma discussão sobre a relação ensino da música com a informática e por indicar caminhos de uso de aparatos tecnológicos no ensino de música. Conclui-se que a utilização do home studio no ensino da performance musical tende a ser bastante proveitosa e que este ambiente pode servir como uma estação de trabalho que permita ao professor de música experimentar diferentes formas de interação com novas tecnologias, e de fato, ter em mãos uma estrutura eficaz e barata que permita atingir objetivos de ensino. Espera-se que este trabalho possa contribuir para otimizar os recursos pedagógicos aplicados ao ensino da performance musical, bem como expandir a literatura sobre ensino de música no Brasil.