La thèse est consacrée à la production d’amphores à huile (Dr. 20 et Dr. 23) dans le conventus d’Hispalis (prov. de Séville) entre le I er siècle ap. J.-C. et le V e siècle ap. J.-C.
 Les recherches qui ont été menées depuis la fin du XIX e siècle ont centré leurs problématiques sur les corpus des timbres en oubliant de prendre en considération les ateliers de potiers auxquels ils étaient rattachés. Nous nous intéresserons plus particulièrement à ces centres de production d’amphores à huile en réalisant un catalogue exhaustif et raisonné de ces derniers grâce à une série de prospections pédestres et géophysiques. L’objectif sera d’appréhender de façon exhaustive l’histoire socio-économique relative au commerce de l’huile dans la vallée du Bas-Guadalquivir (prov. de Séville). / The thesis is devoted to the production of oil amphorae (Dr. 20 Dr. 23) in the conventus of Hispalis (prov. Of Seville) between the first century AD. BC and the fifth century AD. BC The research that has been conducted since the late nineteenth century focused their problems on the corpus of the stamps forgetting to consider the pottery workshops to which they were attached. We are particularly interest to these oil amphorae production centers by providing a comprehensive and descriptive catalog of these workshops thanks to a series of pedestrian and geophysical surveys. The aim will be to understand comprehensively the socio-economic history on trade in oil in the valley of the lower Guadalquivir (prov. Of Seville).

Os dois volumes que integram esta dissertação compreendem a produção visual realizada entre 2003 - 2008, e a implantação de um ateliê no centro histórico da cidade de Santos, no bairro do Valongo, a partir de 2007. Através de documentação fotográfica e anotações sobre o processo, o primeiro caderno constitui uma sucessão de ações relacionadas a ocupação do próprio ateliê e a produção neste lugar, tendo como foco o desenho, a xilogravura e a pintura. O segundo caderno apresenta uma seleção de trabalhos em pequenos e grandes formatos, dando ênfase a sobreposição de camadas de cor e possíveis aproximações entre a xilogravura e a pintura. / The two volumes of this dissertation comprise the authors artistic production from 2003 to 2008, as well as the implementation of an arts workshop in the historical downtown of the city of Santos, in the Valongo district, from 2007 onward. By means of photographic documentation and process notes, the first volume comprises a series of actions related to the setting up of the workshop itself and the artistic production which has taken place there, focusing on drawing, painting and woodcut. The second volume introduces a selection of works, in small and large formats, emphasizing color overlaying and the possible connections between woodcut and painting.

The author designs a traveling professional development opportunity, Pre-Exhibition Workshop, for the Springville Museum of Art (SMA) Educational Outreach Program. All Utah high school art teachers and their students are invited to attend one of twenty-five presentations throughout the state's school districts. This thesis examines the challenges and benefits of including students in the process of preparing their own entries for the 2014 42nd Annual Utah All-State High School Art Show. The curriculum for the workshop follows a new lesson plan model of including enduring understandings and essential questions as outlined by the 2014 National Core Art Standards. The question driving this research project is: Will the schools that participate in a pre-exhibition workshop be better prepared to submit quality entries into the 2014 42nd Annual Utah All-State High School Art Show and be more likely to schedule a field trip to experience the exhibition? To develop the SMA Pre-Exhibition Workshop, the researcher applies a case study methodology that includes some aspects of action research including planning, acting, reviewing, and revising. The collected data measures the effectiveness of this workshop by analyzing observation notes collected during the workshop, reviewing surveys completed by participating teachers, and comparing the SMA 2014 42nd Annual Utah All-State High School Art Show entry data with the data collected from the attendees of the SMA Pre-Exhibition Workshop. It was concluded that most schools participating stated that the workshop did benefit their students by helping them prepare to submit their own art entries. Of the students attending the workshop, none were disqualified from the 2014 42nd Annual Utah All-State High School Art Show due to rule infringements, and several of the participating schools went on a field trip to view the exhibition. In conclusion, the author recommends that the SMA Pre-Exhibition Workshop continue and suggests ways of improving the program's promotions, presentation, and data collection.

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No description available.

The thesis is the result of an inquiry into the experiences of a group of people engaged in a Buddhist inspired creative meditation program, the main practice of which is the recognition and honouring of the spiritual dimensions, the divinity of self and others. The study employed a heuristic process of examining 'inner world' experiences. The inquiry was collaborative in the sense that its findings were not those of one person alone, but were a compilation of the results of interactions within the group. The inquiry was based on the hypothesis that creative meditation can facilitate changes in a person's perception of self and the external world. The principal aim was to explore into that possibility and investigate the group members' thoughts and feelings as to the main function, significance and eventual outcome of their practice. The investigation seemed to show that for the core group participants there were changes in self-understanding involving more self-acceptance. Changes in attitudes to relationships of various kinds also took place and these also seemed to involve the development of a greater degree of acceptance. With some participants the association of the practice with favourable co-incidence was an interesting but inexplicable feature. For some there was an identification of mind sets which seemed to have a bearing on the quality of meditation experience and its outcomes. The title of the study refers to the manner in which the meditations were often generated. A mandala, a symbolic picture, was designed by each participant and the features of this were imagined to move, sometimes dancing, through the meditations which followed. The second sub-title refers to an integral feature of the practice which was an attempt to arouse a sense of the wonderful as a quality of the people who were imagined to appear in the meditations. / Master of Science (Hons) (Social Ecology)

<p>Matlab Simulink is a commonly used tool in the design process of control systems. To further take advantage of the Matlab Simulink models it is desirable to translate them for realtime use together with the possibility to read/write physical signals. </p><p>Real-Time Workshop is an extension to Simulink that automatically generates code from a model to a variety of target platforms. RTAI and RTLinux are hard realtime operating systems, making use of Linux. </p><p>To make automatically generated code run on RTAI and RTLinux an adaptation of the generation of code is necessary. </p><p>To control, for example, an automotive engine a data acquisition card with an appropriate device driver is required. Comedi, an open source project, provides a number of device drivers for data acquisition cards. </p><p>The developed system makes use of Simulink, Real-Time Workshop, RTAI or RTLinux, and the standard data acquisition card NI 6035E using a Comedi device driver. The Simulink models may be executed at frequencies up to 50 kHz on ordinary PC hardware. </p><p>The evaluation of the system consisted of measuring the interrupt latency of the used motherboard's bus, measuring computation times running Simulink models with known complexity, running models developed at Vehicular Systems and a comparison of interfacing Simulink/Real-Time Workshop between RTAI and RTLinux. </p><p>The recommended realtime operating system is RTAI due to the open source community support of it as a target platform for Real-Time Workshop.</p>

La thèse a pour objet d’établir le catalogue critique de l’œuvre d’Albrecht Bouts (1451-55 / 1549). Fils de Dirk Bouts (1410-1420 / 1475), peintre officiel de la ville de Louvain, Albrecht et son frère aîné, Dirk le Jeune (1448 / 1491), héritent de l’atelier de peinture à la mort de leur père. L’œuvre de l’aîné reste très controversée, aucun tableau ne pouvant lui être attribué avec conviction. Il en est autrement du puîné, Albrecht, à qui la paternité du Triptyque de l’Assomption de la Vierge des Musées royaux des Beaux-Arts de Belgique peut être donnée avec beaucoup de vraisemblance. Le corpus de son œuvre, établi, en 1925, par Max J. Friedländer et, en 1938, Wolfgang Schöne, autour de ce retable autographe, comprend un nombre important de peintures. Ce catalogue n’a, toutefois, jamais fait l’objet d’une révision par les historiens de l’art. Seules quelques peintures ont été publiées de manière ponctuelle. Devant l’abondance des tableaux attribués au peintre, il convenait donc de réaliser une étude fondamentale afin de distinguer ses propres créations de celles de ses collaborateurs. La thèse se compose de cinq chapitres. Le premier établit une biographie complète, sélective et chronologique, se basant sur les sources livrées par les archives de la ville de Louvain. Leur interprétation critique renouvelée et enrichie livre ainsi de nombreux arguments pour mieux définir l’individualité d’Albrecht Bouts et justifier le développement de sa carrière. Le second chapitre concerne l’étude de l’œuvre d’Albrecht Bouts et débute par un examen approfondi de la seule peinture au caractère autographe reconnu, le Triptyque de l’Assomption de la Vierge. L’examen combiné du style et de la technique d’exécution de cette œuvre de maturité du maître permet de mettre en exergue les influences de Dirk Bouts et d’Hugo van der Goes et de définir la personnalité artistique singulière d’Albrecht Bouts. Suite à cette analyse, le catalogue de son œuvre est reconstitué de façon linéaire, depuis sa genèse jusqu’à son terme. Chacune des peintures qui lui sont attribuées est ensuite étudiée de façon chronologique et détaillée, précédée d’une notice technique préliminaire reprenant les données matérielles et bibliographiques, dans le cinquième chapitre consacré au catalogue raisonné. La révision du corpus de l’œuvre d’Albrecht Bouts est fondée sur un travail d’attribution reposant à la fois sur l’approche stylistique traditionnelle et sur les résultats fournis par les documents de laboratoire. Une importante documentation photographique et technologique des œuvres, dont certaines inédites, a ainsi été rassemblée et sa confrontation constitue un support essentiel à la démonstration. Le troisième chapitre propose, à partir des hypothèses émises à propos de la biographie et du catalogue des œuvres d’Albrecht Bouts, une analyse de la production de son atelier, particulièrement intense à partir de la première décennie du XVIe siècle. Dans cette partie, l’objectif n’est pas d’établir un exposé circonstancié et complet de chaque peinture abordée, mais plutôt de rassembler des groupes cohérents d’œuvres, également fondés sur une approche combinée du style et de la technique d’exécution. Un même principe de renvoi aux notices dans le catalogue raisonné est adopté. Enfin, le quatrième chapitre est consacré à la réalisation en série d’œuvres de dévotion privée dans l’atelier du maître. De nombreuses généralités et quelques études ponctuelles ont préparé le terrain, annonçant l’importance de ce phénomène sans, toutefois, en mesurer l’ampleur. C’est pourquoi, nous lui accorderons une investigation la plus exhaustive tant sur les pratiques en vigueur dans l’atelier, que sur l’iconographique et le contexte socio-économique de la création de prototypes par Albrecht, dans la foulée de l’héritage des modèles paternels. Ainsi, ce travail permettra de mieux cerner la personnalité d’Albrecht Bouts, de retracer son individualité artistique, mais aussi de réévaluer la participation de son atelier, afin de rétablir chacun de ces éléments à leur juste place au sein de la peinture flamande de la fin du XVe siècle et du début du XVIe siècle The subject of the thesis is to establish a critical catalogue of Albrecht Bouts’ (1451-55/1549) work. Son of Dirk Bouts (1410-1420/1475), official painter to the city of Leuven, Albrecht and his elder brother, Dirk the Younger (1448-1491), inherited their father’s workshop after his death. The work of the elder son, Dirk the Younger, is still a discussed topic since no painting could be attributed to him with certainty. It is quite different for Albrecht who is the likely author of the Tryptich of the Assumption of the Virgin from the Musées royaux des Beaux-Arts of Belgium. The corpus of his work, established in 1925 by Max J. Friedländer and in 1938 by Wolfgang Schöne based on this autograph altarpiece, includes an important number of paintings. This catalogue has however never been revised by art historians since then. Only some paintings have occasionally been published. Considering the high number of paintings attributed to the master, there was a need to undertake a deeper study in order to distinguish Albrecht Bouts’ own creations from those of his workshop. The thesis is divided into five chapters. The first one includes a complete, selective and chronological biography of the master, based on the data found in the archives of the city of Leuven. A newly enriched critical interpretation of these documents has allowed a better definition of Albrecht Bouts’s personality and a clearer understanding of the development of his career. The second chapter is devoted to the study of the master’s work and starts with an in-depth examination of the Tryptich of the Assumption of the Virgin, the only painting recognized as an autograph work. The combined examination of the style and the technical execution of this altarpiece, painted during the mature period of his career, underlines both the influences of Dirk Bouts and Hugo van der Goes and helps to display his original artistic personality. From there, the catalogue of his work is re-established, in the last chapter, from the very beginning to the end of his working life. In the last chapter devoted to the catalogue, each painting attributed to the master is carefully studied, on a chronological basis and in details, with an introductive technical note giving material as well as bibliographical information. The review of the corpus of Albrecht Bouts’ work is based on a traditional stylistic approach and on the results given by laboratory documents. An important photographical and technological documentation of his works – some of them unpublished until now- has been gathered. Their comparison brought forward essential arguments on which our demonstration is based. The third chapter, which builds on the two first ones, consists of an analysis of Albrecht Bouts’ workshop production, which was particularly active at the beginning of the XVIth century. The purpose was not to study thoroughly each painting but to extract coherent groups of works thanks to the same combined examination of style and technique. Like the master’s autograph work, each painting is subject to a careful study in the critical catalogue. Finally, the fourth chapter is dedicated to the serial production of private devotional works carried out in the master’s workshop. There were already many general writings and some occasional studies on the subject, but none of them really measured the importance of the mass production. We therefore undertook a deep and thorough research on the workshop practices , on the iconography and on the social-economical context of the realisation of works by Albrecht following the prototypes created by his father. The thesis contributes to a better knowledge and understanding of the life, the personality and the work of Albrecht Bouts and re-evaluates the participation of his workshop. This will give to each of these elements its proper place in the Flemish Masters Painting of the end of the XVth and the beginning of the XVIth centuries.

En hållbar utveckling är ett stort begrepp och innefattar det mesta i samhället. Sveriges regering har som uttalat politiskt mål att samhällsplaneringen ska ske mot en hållbar utveckling, men det finns idag ingen allmänt känd metod för kommunerna att använda i planeringen mot ett hållbart samhälle. Syftet med denna fallstudie har varit att genomföra en deltagandebaserad backcasting för att undersöka dess potential som metod i planeringen av en legitim och hållbar stadsutveckling, vilka för- och nackdelar metoden har, samt att undersöka betydelsen av begreppet ”En hållbar stad”. Deltagandebaserad backcasting är en kombination av traditionell backcasting och stakeholder workshops, vilket innebär att en framtidsvision skapas i seminarieform med lokala aktörer, som sedan även diskuterar och tar fram möjliga sätt att uppnå visionen. Fallstudien har genomförts i Borlänge/Falun där backcastingen har använts för att ta reda på styrkor och svagheter i regionen samt för att skapa idéer och om vad som skulle kunna göras för att utveckla regionen mer hållbart. Undersökningen konstaterar att en beskrivning av vad som är viktig i en hållbar stad och hur en hållbar stad bör se ut måste klaras ut lokalt, och att det inte går att ge en generell beskrivning av detta eftersom det skiljer sig beroende på människors åsikter och synsätt. Resultatet visar att deltagande i planeringen för en hållbar stadsutveckling är av yttersta vikt, då den lokala situationen hamnar i fokus, engagemanget ökar och en spridning av kunskap sker. Deltagandebaserad backcasting är måluppfyllande och fungerar bra för att skapa visioner och framtidsbilder om en hållbar stad, vilket kan ge planerarna nya idéer att arbeta mot. Den stora nackdelen med metoden är svårigheterna att locka seminariedeltagare med olika bakgrunder och att få de deltagande att släppa sina redan förutfattade meningar. Eftersom alla metodens fördelar är beroende av att det finns ett brett deltagande kan hela processen riskeras om det inte finns ett tillräckligt intresse från omgivningen att delta.

The current paper presents a study conducted at The National Museum of Science and Technology in Stockholm to investigate the exhibition “Antarctica – that’s cool” from its first concept to the first workshop that is held in the exhibition. The focus is on the influence of floor staff on an exhibition and workshops as learning facilities in museums. Findings, based on visitor observation and the exhibition building process, go into the characteristics of low-budget productions and discuss the importance of staff on the exhibition floor for museums as life-long learning facilities. The holistic approach of the study provides deep insights into the complex interplay of visitors, staff and exhibitions. The results can be used for future exhibition building processes and educational programs in museums and should strengthen the museum’s position as life-long learning facility in nowadays society.