Kurt Schwitters decisively established that Dada was indeed more a state of mind than a collection of creeds. Spurned by Berlin Dada, he was compelled to construct for himself an alternative Dada existence, and this he accomplished in the one-man movement he christened "Merz". Hundreds of Merz artworks were produced by the tireless Schwitters, but the summa summarum of his oeuvre was the Hanover Merzbau (circa 1923-1943). As it transcends architecture, sculpture, and assemblage, I have taken the distinctive approach of analyzing it first and foremost in terms of a theory of self-reflexivity. The first and second chapters of this thesis are dedicated to the writings of Georg Simmel and Henri Bergson. The former contributes an understanding of the psyche of the modernist metropolitan and how it is that the subjective spirit that resides in this enlightened individual substantiates its existence by producing forms and objects with which it continuously comes into conflict. As witnessed in Schwitters' Merzbau, the self-conscious "I" constitutes a centripetal force that organizes and directs the objects it encounters and thus exerts a unifying influence over its environment. In the Bergson chapter, I pursue an in-depth investigation into how self-reflexivity is predicated upon the search for true duration and the manifestation of the elan vital. I also include an in-depth analysis of Bergson's treatise on laughter, for the theories contained within go a long way towards explicating Schwitters' brand of humour and how the comic artist is a self-reflexive figure non-pareil. The third chapter, devoted to Schwitters and his place in Dada, takes into account the vitalist philosophical underpinnings of the Merzbau and asserts that self-reflexive art operates under an enantiodromic law; the presence of the artist must be effaced as thoroughly as possible before the creative self achieves materialization in the artwork it has engendered.

Works of art often refer to one another. Perhaps a closer examination of this relationship occurs if they are theoretically displaced from the sequence of events that contextualise them. Placed side-by-side, they may take on a fresh meaning that might identify artistic intention as universal — as a 'redemptive' statement of Being. Both Piero della Francesca and Stanley Spencer painted 'Resurrection' pictures. The five hundred years that separate them notwithstanding, the reasons for their so doing must bear some comparison. Each made a statement of belief in their depiction of a metaphysical world created primarily in the imagination but housed in cultural milieus that would identify them as 'visionary' amongst their peers. Yet, in many ways, one picture is the antithesis to the other, the first deeply religious, the second highly personal. Regardless of their differences, each work might perpetually and simultaneously strive toward 'the spiritual' in an individual and universal sense. As an artist whose work ostensibly denies any lofty 'spiritual' aspiration whatsoever, Frank Zappa's dismissal of authority, whether couched in religious, musical or sociological terms, marks a valid juxtaposition to current acceptance of artistic form. Not only was it legitimate to invite a musician into the affray, for me it was a vital continuation of my earlier exploration. Zappa seriously challenges the notion of 'feeling' as little more than a pre-set conditioned response to music. I hoped to establish that Zappa's own quest for musical perfection flew in the face of his notorious cynicism, proclaiming his output as 'redemptive' — alongside that of Piero della Francesca and Stanley Spencer. It is the main contention here that as the human predicament requires that the artist should attempt to re-present his vision in order to redefine reality for himself and his peers, the role of artist as 'visionary' is worthy of perennial consideration.

Undergraduate, Interactive Games Design (IGD) courses offered by technical universities in the UK recruit students who are not required to have art or design backgrounds. However, they need to be able to represent their creative ideas. Observations at the University of Gloucestershire have shown that many students find difficulties in expressing their ideas in a visual manner as they do not have adequate drawing skills and eventually some focus on coding and some withdraw. This thesis investigates the links between game design and drawing skills, examining concepts of creativity, learning, design communication and education. To establish the basis of this problem, it was necessary to gain an insight into students‘ and tutors‘ viewpoints and interpretation of this course. Using an interpretive philosophical framework, a mixed method approach was chosen to allow for greater opportunity to understand the phenomenon. Within an action research paradigm, the research was carried out in an evolutionary manner. The extent of the problem was established by eliciting tutors‘ insight from other institutions both arts and technical based. A case study was set out to study two cohorts of students. This identified the problems reported by students and the impact of these on students‘ attitude and motivation. The nature and necessity of drawing skills for sketching storyboards were explored by gaining views of students, tutors and industry professionals. The effect of the tutor-led Art interventions at UoG was investigated. The research identified criteria to assess the quality of storyboard communications and finally a framework for an e-learning object to develop storyboard communication skills was specified. This study revealed that obtaining visual skills is fundamental in order to be able to draw or use rapid prototyping techniques for storyboarding. This needs to be addressed in a specified module or several sessions. It appeared that the design of an art intervention (tutor-based or e-learning object) for IGD students, needs to address the issues of confidence and teamwork alongside with the learning materials in a constructive and gamified style and as interactive as possible in a structured goal-based manner. It would also benefit from Active learning teaching style.

Thèse numérisée par la Direction des bibliothèques de l'Université de Montréal.

This dissertation presents a fresh approach to the study of Haitian art through research conducted in the emerging interdisciplinary field of exhibition history. In a deliberate attempt to move away from existing notions of Haitian art as a formal or aesthetic style of art practice associated with primitivism – based on mid-twentieth-century art historical narratives – I have opted to explore the display of works by Haitian artists outside of conventional museum and gallery settings. Taking a broader cultural studies approach centred on three case studies, I examine the exhibition of artworks within the transitory sites of national cultural display at two world’s fairs and an art biennial: the Haitian pavilion at the World’s Columbian Fair of 1893; Haiti’s “Little World’s Fair” officially titled Exposition Internationale du Bicentenaire de Port-au-Prince of 1949-50; and the Haitian pavilion at the Venice Biennale in 2011. These exhibitions overlap in the sense that they all claimed to present an official representation of the Haitian nation-state and therefore an authoritative vision of Haitian culture. However, when we peer behind this veneer of official national rhetoric it becomes clear that at each of these sites there were numerous images of Haitian nationhood, as well as notions of a national cultural essence referred to throughout as Haitian-ness, being produced by various agents. Across the course of this study these include: Haitian and foreign state representatives, curators, artists, academics and cultural professionals drawn from Haiti, Haiti’s diasporas and elsewhere, as well as NGOs and other international collaborators. In each case those curating Haiti’s national displays at these events balanced assertions of national sovereignty against international marketability: delicate negotiations that, I argue, can be discerned through analysis of the forms, aesthetics, subjects and contextualisation of the artworks displayed. Across the course of this dissertation therefore I chart a shift in the substance of these Haitian cultural displays, and the artworks presented within them, from a fin de siècle expression of Francophile neoclassicism, through an uneasy post-war coupling of folkloric exoticism and western modernity, to a fragmented picture of contemporary Haitian-ness articulated with reference to poverty and cultural otherness as well as cosmopolitanism. Through an examination of these case studies I have sought to explore how the visual arts intersected with expressions of Haiti’s postcolonial nationhood at exhibitions staged within events scattered across the Atlantic World. Further, by charting shifts in the production and projection of Haitian nationhood and art across these three sites I have attempted to grasp a fuller picture of how entangled ideas of nation and culture have had a bearing on exhibition histories, international institutional engagement with and the marketing and perception of the work of Haitian artists through the long twentieth century.

We present a time-resolved Kerr microscope, capable of measuring the magnetization dynamics of samples grown on transparent, double-side-polished substrates.The magnetization is excited by a current pulse, using a coplanar waveguide placed beneath the samples. The Kerr rotation is detected with the stroboscopic pump-probe technique, using a probing laser, synchronized with the current pulse.We report benchmark measurements of the time-resolved Kerr instrument for magnetization dynamics in thin permalloy and FePd films. The experimental results for ferromagnetic resonance peaks have been compared with the values predicted by Kittel. / Vi presenterar ett tidsupplöst Kerr-mikroskop, kapabel till att mäta magnetiseringsdynamiken hos magnetiska prov tillverkade på transparenta, dubbelsdigt polerade substrat. Magnetiseringen exiteras med en strömpuls via en koplanär vågguide placerad under provet. Kerr-rotationen detekteras med hjälp av en stroboskopisk ”pump-probe” teknik som använder en ”probing” laser synchroniserad med strömpulsen. Vi rapporterar prestandatest av det tidsupplösta kerr-instrumentet för magnetiseringsdynamiken i tunna permalloy - och FePd - filmer. De experimentella resultaten för de ferromagnetiska resonans-peakarna har jämförts med beräknade värden från Kittel.

O hormônio tireoideano (T3) desempenha papel importante no desenvolvimento, no crescimento e no metabolismo celular. Um dos seus principais efeitos é a ativação do metabolismo basal, contribuindo de forma importante com a regulação do peso corporal, enquanto diminui os níveis plasmáticos de triglicérides e colesterol. A ativação seletiva do receptor <font face=\"Symbol\">&#946 para o hormônio tireoideano (TR) por meio de agonistas seletivos reduziu níveis séricos de colesterol além de aumentar o metabolismo sem causar efeitos indesejáveis sobre o coração, osso ou músculo esquelético. Estes dados sugerem que estes agonistas poderiam ser úteis no tratamento das manifestações da síndrome metabólica tais como obesidade, hipercolesterolemia e resistência à insulina. Dessa forma, estudamos os efeitos da ativação do TR usando um agonista também da série GC, o GC-24, em ratos machos Wistar tratados com dieta rica em gordura e submetidos a injeções diárias de T3 correspondente a 10x a dose fisiológica (30g/g P.C./dia) ou GC-24 em dose equimolar (17g/g P.C./dia). Nosso estudo mostrou que o GC-24 preveniu algumas alterações metabólicas típicas da síndrome metabólica, tais como o aumento da massa gorda, intolerância à glicose e hipertrigliceridemia e corrigiu parcialmente outras como a hipercolesterolemia, o aumento do conteúdo de colesterol hepático e IL-6. Estes achados sugerem um papel importante do TR na mediação dos efeitos do T3 e devem ter repercussão importante na utilização potencial de agonistas seletivos ao TR<font face=\"Symbol\">&#946 como agentes hipocolesterolemiantes / Thyroid hormone (T3) plays an important role in the development, growth and cell metabolism. One of its main effects is to activate the basal metabolic rate significantly contributing to the regulation of body weight, while decreasing serum triglycerides and cholesterol levels. Thyroid hormone receptor selective activation through selective agonists reduced serum cholesterol levels besides increasing metabolic rate without causing undesirable side effects on the heart, bone or skeletal muscle. These data suggest that these agonists could be useful in the treatment of metabolic syndrome manifestations such as obesity, hypercholesterolemia and insulin resistance. Thus, we studied the effects of TR activation also using an agonist from the GC series, the GC-24 in male Wistar rats treated with high fat diet and submitted to daily T3 injections, corresponding to 10x physiological dose (30g/g B.W. /day) or equimolar doses of GC-24 (17g/g P.C. /day). Our study has shown that GC-24 prevented some of the metabolic abnormalities typical of metabolic syndrome such as increase in fat mass, glucose intolerance and hypertriglyceridemia and partially corrected other ones like hypercholesterolemia, the increase in hepatic cholesterol and IL-6 levels. These findings suggest that TR has an important role in the mediating of T3 effects and should have important repercussions in the potential use of selective agonists to TR as cholesterol lowering agents.

Current congestion control approaches that attempt to provide fair bandwidth allocation among competing flows primarily consider only data rate when making decisions on which packets to drop. However, responsive flows with high round trip times (RTTs) can still receive significantly less bandwidth than responsive flows with low round trip times. This paper proposes a congestion control scheme called WHITE that addresses router unfairness in handling flows with significantly different RTTs. Using a best-case estimate of a flow's RTT provided in each packet by the flow source or by an edge router, WHITE computes a stabilized average RTT. The average RTT is then compared with the RTT of each incoming packet, dynamically adjusting the drop probability so as to protect the bandwidth of flows with high RTTs while curtailing the bandwidth of flows with low RTTs. We present simulation results and analysis that demonstrate that WHITE provides better fairness than other rate-based congestion control strategies over a wide-range of traffic conditions. The improved fairness of WHITE comes close to the fairness of Fair Queuing without requiring per flow state information at the router.

Little art-historical scholarship has been dedicated to fine art responding to the British home front during the First World War. Within pre-war British society concepts of sexual difference functioned to promote masculine authority. Nevertheless in Britain during wartime enlarged female employment alongside the presence of injured servicemen suggested feminine authority and masculine weakness, thereby temporarily destabilizing pre-war values. Adopting a socio-historical perspective, this thesis argues that artworks engaging with the home front have been largely excluded from art history because of partiality shown towards masculine authority within the matrices of British society. Furthermore, this situation has been supported by the writing of art history, which has, arguably, followed similar premise. This study will demonstrate that engagement with the home front inevitably meant that artists’ work could be interpreted as supporting different values to the pre-war period. However, the reintegration of ex-servicemen after the war resulted in the promotion of the wartime ordeal of male combatants. Not only did this restore the pre-war position of men, it inspired canonical values for British First World War art to uphold masculine authority. Consequently much art engaging with the home front has been deemed antithetical to established canonical values and written-out of art history.

Taking as it basis the longstanding alignment of men with an active, eroticised gaze and women with visual spectacle within Western culture, this thesis demonstrates the prevalence of this model during the Victorian era, adopting an interdisciplinary approach so as to convey the varied means by which the gendering of vision was propagated and encouraged. Chapter One provides an overview of gender and visual politics in the Victorian age, subsequently analysing a selection of texts that highlight this gendered dichotomy of vision. Chapter Two focuses on the theoretical and developmental underpinnings of this dichotomy, drawing upon both Freudian and object relations theory. Chapters Three and Four centre on women’s poetic responses to this imbalance, beginning by discussing texts that convey awareness and discontent before moving on to examine more complex portrayals of psychological trauma. Chapter Five unites these interdisciplinary threads to explore women’s attempts to break away from their status as objects of vision, referring to poetic and artistic texts as well as women’s real life experiences. The thesis concludes that, though women were not wholly oppressed, they were subject to significant strictures; principally, the enduring, pervasive presence of an objectifying mode of vision aligned with the male.