No abstract available. / Thesis (M.Mus.)-University of KwaZulu-Natal, Durban, 2012.

The loudspeaker system and the room interface are the two main components in any listening environment. Research will be conducted focusing on the room component using Control Room 'A' of the McGill University Recording Studio in an attempt to optimize the monitoring situation. The sound field of the room will be broken down and analyzed in both time and frequency domains. The problem areas of the room will be identified and the surfaces altered by means of absorption, reflection and diffusion.

From the content analysis of 23 "classic" gay porn videos, produced by Falcon Studios, the emergence of the Falcon formula---a pornographic model of sex---is described in this thesis. This formula is analyzed with regard to the feminist critique of pornography and the assertions of gay advocates. Although the Falcon formula supports the feminist perspective with respect to the representations of sex practices, the linkage between femininity and getting fucked, as indicated by Dworkin, was not found in the selected Falcon videos. In fact, Falcon videos subvert this linkage by depicting masculine men fucking other masculine men. And, in accord with the claims of gay advocates, Falcon videos largely represent gay men having sex as opposed to straight men having homosexual sex. The Falcon formula appears to have developed not only in reaction to stigmatizing stereotypes of effeminate gay men and in reaction to the linkage between femininity and getting fucked, but also in response to the fantasy (of gay viewers) of being accepted into an exclusively male community.

Computers are used in sociable situations, for example during customer meetings. This is seldom recognized in design, which means that computers often become a hindrance in the meeting. Based on empirical studies and socio-cultural theory, this thesis provides perspectives on sociable use and identifies appropriate units of analysis that serve as critical tools for understanding and solving interaction design problems. Three sociable situations have been studied: customer meetings, design studios and domestic environments. In total, 49 informants were met with during 41 observation and interview sessions and 17 workshops; in addition, three multimedia platforms were also designed. The empirical results show that people need to perform individual actions while participating in joint action, in a spontaneous fashion and in consideration of each other. The consequence for design is that people must be able to use computers in different manners to control who has what information. Based on the empirical results, five design patterns were developed to guide interaction design for sociable use. The thesis demonstrates that field studies can be used to identify desirable use qualities that in turn can be used as design objectives and forces in design patterns. Re-considering instrumental, communicational, aesthetical, constructional and ethical aspects can furthermore enrich the understanding of identified use qualities. Witha foundation in the field studies, it is argued that the deliberation of ynamic characters and use qualities is an essential component of interaction design. Designers of interaction are required to work on three levels: the user interface, the mediating artefact and the activity of use. It is concluded that doing interaction design is to provide users with perspectives, resources and constraints on their space for actions; the complete design is not finalized until the users engage in action. This is where the fine distinctions and, what I call 'shades of use' appear.

<p>This dissertation seeks to position the music of American arranger-orchestrator-composer Conrad Salinger (1901-62) as one of the key factors in creating the larger camp aesthetic movement in MGM film musicals of the 1940s and 1950s. The investigation primarily examines Salinger's arranging and orchestrating practices in transcriptions and conductor's scores of musical numbers from MGM films, though some scores from Broadway shows are also considered. Additionally, Salinger's style is frequently compared to other arrangers, so as to establish the unique qualities of his music that set it apart from his contemporaries from both a technical and an aesthetic standpoint and that made it desirable as an object of imitation. By inquiring into his musical practices' relationship to his subjectivity as a gay person in the era of "the closet," this analysis both proposes and confirms Salinger's importance to the MGM camp aesthetic. With the concept of "musical camp" thus established, the dissertation subsequently demonstrates its capacity to produce new readings of the politics of national belonging and gender that manifest in various musical numbers.</p> / Dissertation

Thesis (M.Arch.) - Carleton University, 2006. / Compact disc. Includes bibliographical references. Also available in electronic format on the Internet.

DEA--Histoire de l'art--Strasbourg 2, 1999. / Bibliogr. p. 122-143. Index.

The site is situated on the north eastern edge of Pretoria CBD. Major road networks created an island of lost space at a very important gateway into the city. The concept for the project is to create meaningful architeture in a city environment, through the play of colour and light. With Plascon as the major client, a light industrial paint factory is proposed, with an area specifically allocated for small business enterprises (SBE). The existing building n the site, would be refurbished and converted into offices for the SBE's, while also serving as the main entrance to the site. Artists studio space is provided with exhibition areas, as well as studios/shops for informal trading. A Plascon Concept shop is also proposed, where people can purchase pait and other products, with the opportunity of concept simulations so they can make informed choices when buying paint products. The alternative healing properties of colour is explored through therapy rooms, as well as colour/light boxes. Walkways through the site provide the opportunity for pedestrians to cross the site, while viewing the paint production process. Copyright 2007, University of Pretoria. All rights reserved. The copyright in this work vests in the University of Pretoria. No part of this work may be reproduced or transmitted in any form or by any means, without the prior written permission of the University of Pretoria. Please cite as follows: Basson, R 2007, Canvas - colour production hub, MArch(Prof) dissertation, University of Pretoria, Pretoria, viewed yymmdd < http://upetd.up.ac.za/thesis/available/etd-11212007-205438 / > C72/eo / Dissertation (MArch(Prof))--University of Pretoria, 2008. / Architecture / unrestricted

Orientador: José Eduardo Ribeiro de Paiva / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-24T03:50:36Z (GMT). No. of bitstreams: 2 Pinto_WaldirdeAmorim_D.pdf: 1276240 bytes, checksum: 8a86b876e4f1a39e8d680c931ea6e7b2 (MD5) Pinto_WaldirDeAmorim_Anexo.zip: 100462299 bytes, checksum: d1dd90b2bae3cd94ad8bcc39bca911d8 (MD5) Previous issue date: 2013 / Resumo: Esta pesquisa teve por finalidade identificar convergências nos trabalhos de mediação dos produtores musicais envolvidos com o movimento do pagode nas décadas de 1980 e 1990. O samba apresentado nas rodas de pagodes nos anos de 1980, e que ficou comercialmente conhecido como pagode - ou "samba de raiz", mais recentemente -, é caracterizado por musicólogos como representante das comunidades restritas e da tradição do samba. Da mesma forma, os musicólogos costumam caracterizar os artistas que emergiram na década de 1990 - e que tiveram seus trabalhos classificados como pagode - como incorporadores de elementos estrangeiros e modernos ao samba, num "novo" pagode que ficou conhecido como "pagode romântico". A despeito destas dicotomias que envolvem o pagode, ao passar por um estúdio de gravação a música de ambos os segmentos (e períodos) reflete um processo de mediação; e as figuras dos produtores musicais são responsáveis por isso, no âmbito da indústria fonográfica. Utilizando-se da análise de fonogramas de artistas ligados ao pagode (de ambas as décadas) e de entrevistas semi-estruturadas com os produtores musicais daqueles artistas, foi possível identificar algumas estratégias, objetivos e padrões de produção musical que deixam as fronteiras préestabelecidas menos nítidas. Dessa forma pôde-se concluir que, além das dicotomias, há muitas convergências que permitem avaliar o pagode de maneira menos segmentária e mais independente do discurso moderno-tradicional, hibridoautêntico, nacional-internacional que vêm pautando os estudos sobre o assunto; e é quando se analisa o pagode sob o prisma do produtor musical que se identifica o mercado como diminuidor de fronteiras e integrador de pólos distintos / Abstract: This research aimed to identify convergences in mediation work of record producers during the movimento do pagode of the 1980s and 1990s. Samba made in the rodas de pagode in the 1980s, commercially known as pagode - more recently called rootsy samba -, is characterized by musicologists as the representative of restricted communities and samba tradition. Likewise, musicologists often characterize the artists that emerged in the 1990s - and had their work classified as pagode - as incorporators of foreign and modern elements to the samba, creating a "new" pagode which became known as "romantic pagode". Despite these dichotomies involving the pagode, passing the music of both segments (and periods) by a recording studio reflects a process of mediation and the figures of record producers are responsible for that within the music industry. Through the analysis of repertoire of artists connected with the pagode (in both decades) and semi-structured interviews with the record producers of those artists it was possible to identify some strategies, objectives and standards of record production that leave the pre-established boundaries less clear. Thus it can be concluded that besides the dichotomies there are many convergences for assessing the pagode in a less segmental speech - more independent of the modern-traditional, hybrid-authentic, national-international discussions that have been basing the studies on the subject. Analyzing the pagode through the prism of the record producers makes possible to identify the market as borders subtractor and distinct poles integrator / Doutorado / Fundamentos Teoricos / Doutor em Música

The objective of this project was to develop a curriculum for a course in Introductory Digital Darkroom. This curriculum will be used to replace existing curriculum in the Camera, Stripping and Platemaking course taught in The Graphics Technology Department of Riverside Community College (RCC), Riverside, California. In order to provide students with technologically advanced, marketable skills, the course must be revised to include computerized electronic prepress techniques.