Global ETD Search

11	Grime on a Mountain of Haze : Imprecise Instruments of Vague Spaces Danielsson, Anna Märta January 2022 (has links) This project explores vagueness in space and how it can help us train and sharpen our senses as designers and architects to adapt to the realities of scarcity and how to make less-extractive processes of creating space. Using ephemeral but recurring phenomena such as air flow, reflections, refractions of light and moist in architecture as inspiration, I seek to make everyday-spaces, such as underneath a wash basin, a radiator or behind a door, interesting again. With methods inspired by the land art movement to find new ways of seeing interior spaces, I use attentiveness and the idea to not destroy or disturb to observe already existing spaces. The project seeks to tell a story of neglected beauty in forgotten spaces and translating them into (im)material architectural spatial installations. I hope this project can bring an understanding that protecting and appreciating what we already have is probably more sustainable than constantly changing and readjusting spaces to fit our wants and what we think we need. To train our senses and get new ideas of beauty and function in already existing interior spaces, brings what is out of focus into the light. This might be a way to partly slow down the industry of interiors and redirect how we work as architects and designers to understand that everything doesn’t need to change, but if we seek change, we can do it by immaterial phenomena, such as light through the interstices, that will occur as long as there is life. Interior Architecture Spatial Design Design Vague Space Sustainability Light Air Water Immateriality Nature Installation Art Attentiveness Inredningsarkitektur Rumslig gestaltning Design Vaga rum Hållbarhet Ljus Luft Vatten Perception Immaterialitet Natur Installationskonst Uppmärksamhet Design Design Architecture Arkitektur Visual Arts Bildkonst
12	Vad är affärsmässigt? : En undersökning av rekvisitet affärsmässighet och dess bedömningsgrunder. / Commercial rationale as a prerequisite : A study of commercial rationale as a prerequisite and its assessment bases. Heino, Alexander January 2023 (has links) Vaga begrepp i skattelagstiftningen ger upphov till svåra bedömningar, vilket ur förutsebarhets-, legitimitets- och rättssäkerhetssynpunkt är problematiskt. Ett exempel på ett vagt begrepp är ”affärsmässighet” som trots sin vaghet förekommer, direkt eller indirekt, på ett flertal ställen i lagstiftningen. I exempelvis de riktade ränteavdragsbegränsningsreglerna, 24 kap. 19 § första stycket IL, stadgas det att ränteavdrag endast medges om förvärvet är ”väsentligen affärsmässigt motiverat”. Mitt syfte med denna magisteruppsats har varit att undersöka om rekvisitet affärsmässighet fastställs på helt objektiva grunder eller om det också är subjektivt, d.v.s. tar hänsyn till avsikten eller syftet bakom ett förfarande. Den spridda föreställningen inom skatterätten är att den skattskyldiges avsikt generellt fastställs på objektiva grunder. Jag har också undersökt vilka objektiva faktorer som tyder på affärsmässighet. I min undersökning har jag studerat reglerna om förbjudna lån, de riktade ränteavdragsbegränsningsreglerna och skatteflyktslagen. Syftet med dessa regler har varit att motverka skatteflykt. Min undersökning har visat att både objektiva faktorer och subjektiva avsikter har betydelse vid bedömningen av rekvisitet affärsmässighet gällande förbjudna lån och de riktade ränteavdragsbegränsningsreglerna. I skatteflyktslagen kan det s.k. avsiktsrekvisitet beskrivas som ett objektivt rekvisit. affärsmässiga skäl affärsmässighet affärsmässigt motiverat avsikt avsiktsrekvisitet bevekelsegrund blandat rekvisit förbjudna lån förutsebarhet objektiva faktorer objektiva kriterier objektivitet objektivt rekvisit skatteflyktslagen subjektivitet subjektivt rekvisit syfte vag lagstiftning vaga begrepp Law Juridik
13	A Structural analysis and visual abstraction of the pictorial in the Aeneid, I-VI Shaw, Rayford Wesley 06 1900 (has links) The pictorial elements of the first six books of the Aeneid can be evidenced through an examination of its structural components. With commentaries on such literary devices as parallels and antipodes, interwoven themes, cyclic patterns, and strategic placement of words in the text, three genres of painting are treated individually in Chapter 1 to illustrate the poet's consistency of design and to prove him a craftsman of the visual arts. In the first division, "Cinematic progression," attention is directed to the language which conveys movement and frequentative action, with special emphasis placed on specific passages whose verbal components possess sculptural or third-dimensional traits and contribute to the "spiral" and "circle" motifs, the appropriate visual agents for animation. Depiction of mythological subjects comprises the second division entitled "Cameos and snapshots." Three selections, dubbed monstra, are explicated with such cross references as to illustrate the poet's use of epithets which he distributes passim to elicit verbal echoes of other passages. The final division, "The Vergilian landscape," addresses two major themes, antithetical in nature, the martial and the pastoral. Their sequential juxtaposition in the text renders a marked contrast in mood which is manifested pictorially in the transition from darkness to light. A panoramic chiaroscuro emerges which is the tapestry against which Aeneas makes his sojourn through the Underworld. It is the perfect backdrop to accompany the overriding theme of "things hidden," res latentes, which encompasses a greater part of the epic and becomes the culminant motif of the paintings which comprise the visual presentation. Chapter 2 functions as a catalogue raisonne for art inspired by the Aeneid from early antiquity up to the present day. Such examples of artistic expression provide a continuum with which to appropriate Horace's maxim, ut pictura poesis, in their evaluation. The verbal exegeses in Chapter 1 have been programmed to comport with the thematic content of the visual presentation in Chapter 3, a critique exemplifying the transposition of the verbal to the pictorial. With these canvases I have attempted to render a new perspective of Vergil's epic in the genre of abstract expressionism. / Art / D. Litt. et Phil. Aeneid cycles Apollonio (di Giovanni) Cameos and snapshots Cinematic progression Claude (Lorrain) Cyclops Fama Flight from Troy History painters Laocoon Perino (del Vaga) Poussin (Nicolas) Symbolic imagery Turner (JMW) Vergilian landscape Vrancx (Sebastiaen) Wooden horse 704.947 Virgil Aenis -- Literary style Apollonio di Giovanni History in art Classical literature -- Themes, motives Aeneas (Legendary character) -- Art
14	A Structural analysis and visual abstraction of the pictorial in the Aeneid, I-VI Shaw, Rayford Wesley 06 1900 (has links) The pictorial elements of the first six books of the Aeneid can be evidenced through an examination of its structural components. With commentaries on such literary devices as parallels and antipodes, interwoven themes, cyclic patterns, and strategic placement of words in the text, three genres of painting are treated individually in Chapter 1 to illustrate the poet's consistency of design and to prove him a craftsman of the visual arts. In the first division, "Cinematic progression," attention is directed to the language which conveys movement and frequentative action, with special emphasis placed on specific passages whose verbal components possess sculptural or third-dimensional traits and contribute to the "spiral" and "circle" motifs, the appropriate visual agents for animation. Depiction of mythological subjects comprises the second division entitled "Cameos and snapshots." Three selections, dubbed monstra, are explicated with such cross references as to illustrate the poet's use of epithets which he distributes passim to elicit verbal echoes of other passages. The final division, "The Vergilian landscape," addresses two major themes, antithetical in nature, the martial and the pastoral. Their sequential juxtaposition in the text renders a marked contrast in mood which is manifested pictorially in the transition from darkness to light. A panoramic chiaroscuro emerges which is the tapestry against which Aeneas makes his sojourn through the Underworld. It is the perfect backdrop to accompany the overriding theme of "things hidden," res latentes, which encompasses a greater part of the epic and becomes the culminant motif of the paintings which comprise the visual presentation. Chapter 2 functions as a catalogue raisonne for art inspired by the Aeneid from early antiquity up to the present day. Such examples of artistic expression provide a continuum with which to appropriate Horace's maxim, ut pictura poesis, in their evaluation. The verbal exegeses in Chapter 1 have been programmed to comport with the thematic content of the visual presentation in Chapter 3, a critique exemplifying the transposition of the verbal to the pictorial. With these canvases I have attempted to render a new perspective of Vergil's epic in the genre of abstract expressionism. / Art / D. Litt. et Phil. Aeneid cycles Apollonio (di Giovanni) Cameos and snapshots Cinematic progression Claude (Lorrain) Cyclops Fama Flight from Troy History painters Laocoon Perino (del Vaga) Poussin (Nicolas) Symbolic imagery Turner (JMW) Vergilian landscape Vrancx (Sebastiaen) Wooden horse 704.947 Virgil Aenis -- Literary style Apollonio di Giovanni History in art Classical literature -- Themes, motives Aeneas (Legendary character) -- Art

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