Vállalati döntés egy új információbiztonsági eszköz, a kvantumkulcscsere bevezetéséről (Corporate decision about the installation of a new information security device the quantum key distribution)

A szerzők tanulmányukban az információbiztonság egy merőben új, minőségi változást hozó találmányával, a kvantumkulcscserével (QKD-vel – quantum key distribution) foglalkoznak. Céljuk az, hogy az újdonságra mint informatikai biztonsági termékre tekintsenek, és megvizsgálják a bevezetéséről szóló vállalati döntés során felmerülő érveket, ellenérveket. Munkájuk egyaránt műszaki és üzleti szemléletű. Előbb elkülönítik a kvantumkulcscsere hagyományos eljárásokkal szembeni használatának motiváló tényezőit, és megállapítják, milyen körülmények között szükséges a napi működésben alkalmazni. Ezt követően a forgalomban is kapható QKD-termékek tulajdonságait és gyártóit szemügyre véve megfogalmazzák a termék széles körű elterjedésének korlátait. Végül a kvantumkulcscsere-termék bevezetéséről szóló vállalati döntéshozás különböző aspektusait tekintik át. Információbiztonsági és üzleti szempontból összehasonlítják az új, valamint a hagyományosan használt kulcscsereeszközöket. Javaslatot tesznek a védendő információ értékének becslésére, amely a használatbavétel költség-haszon elemzését támaszthatja alá. Ebből levezetve megállapítják, hogy mely szervezetek alkotják a QKD lehetséges célcsoportját. Utolsó lépésként pedig arra keresik a választ, melyik időpont lehet ideális a termék bevezetésére. _____ This study aims to illuminate Quantum Key Distribution (QKD), a new invention that has the potential to bring sweeping changes to information security. The authors’ goal is to present QKD as a product in the field of IT security, and to examine several pro and con arguments regarding the installation of this product. Their work demonstrates both the technical and the business perspectives of applying QKD. First they identify motivational factors of using Quantum Key Distribution over traditional methods. Then the authors assess under which circumstances QKD could be necessary to be used in daily business. Furthermore, to evaluate the limitations of its broad spread, they introduce the vendors and explore the properties of their commercially available QKD products. Bearing all this in mind, they come out with numerous factors that can influence corporate decision making regarding the installation of QKD. The authors compare the traditional and the new tools of key distribution from an IT security and business perspective. They also take efforts to estimate the value of the pieces of information to be protected. This could be useful for a subsequent cost–benefit analysis. Their findings try to provide support for determining the target audience of QKD in the IT security market. Finally the authors attempt to find an ideal moment for an organization to invest in Quantum Key Distribution.

R. F. Buckley: Landscapes, A Sculptural Discourse

Catalog of an exhibition held at the Visual Arts Gallery, Florida International University. Essay by Ricardo Pau-Llosa.

Conquête et formation d'une culture originale à Oaxaca (Mexique), à travers l'architecture publique et l'art sculptural des XVIe et XVIIe siècles

Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

Vers l'installation d'un espace musical : ethnographie de la scène punk à Montréal

Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

Globalizing the Sculptural Landscapes of the Sarapis and Isis Cults in Hellenistic and Roman Greece

“Globalizing the Sculptural Landscape of Isis and Sarapis Cults in Roman Greece,” asks questions of cross-cultural exchange and viewership of sculptural assemblages set up in sanctuaries to the Egyptian gods. Focusing on cognitive dissonance, cultural imagining, and manipulations of time and space, I theorize ancient globalization as a set of loosely related processes that shifted a community's connections with place. My case studies range from the 3rd century BCE to the 2nd century CE, including sanctuaries at Rhodes, Thessaloniki, Dion, Marathon, Gortyna, and Delos. At these sites, devotees combined mainstream Greco-Roman sculptures, Egyptian imports, and locally produced imitations of Egyptian artifacts. In the last case, local sculptors represented Egyptian subjects with Greco-Roman naturalistic styles, creating an exoticized visual ideal that had both local and global resonance. My dissertation argues that the sculptural assemblages set up in Egyptian sanctuaries allowed each community to construct complex narratives about the nature of the Egyptian gods. Further, these images participated in a form of globalization that motivated local communities to adopt foreign gods and reinterpret them to suit local needs.

I begin my dissertation by examining how Isis and Sarapis were represented in Greece. My first chapter focuses on single statues of Egyptian gods, describing their iconographies and stylistic tendencies through examples from Corinth and Gortyna. By comparing Greek examples with images of Sarapis, Isis, and Harpokrates from around the Mediterranean, I demonstrate that Greek communities relied on globally available visual tropes rather than creating site or region-specific interpretations. In the next section, I examine what other sources viewers drew upon to inform their experiences of Egyptian sculpture. In Chapter 3, I survey the textual evidence for Isiac cult practice in Greece as a way to reconstruct devotees’ expectations of sculptures in sanctuary contexts. At the core of this analysis are Apuleius’ Metamorphoses and Plutarch’s De Iside et Osiride, which offer a Greek perspective on the cult’s theology. These literary works rely on a tradition of aretalogical inscriptions—long hymns produced from roughly the late 4th century B.C.E. into the 4th century C.E. that describe the expansive syncretistic powers of Isis, Sarapis, and Harpokrates. This chapter argues that the textual evidence suggests that devotees may have expected their images to be especially miraculous and likely to intervene on their behalf, particularly when involved in ritual activity inside the sanctuary.

In the final two chapters, I consider sculptural programs and ritual activity in concert with sanctuary architecture. My fourth chapter focuses on sanctuaries where large amounts of sculpture were found in underground water crypts: Thessaloniki and Rhodes. These groups of statues can be connected to a particular sanctuary space, but their precise display contexts are not known. By reading these images together, I argue that local communities used these globally available images to construct new interpretations of these gods, ones that explored the complex intersections of Egyptian, Greek, and Roman identities in a globalized Mediterranean. My final chapter explores the Egyptian sanctuary at Marathon, a site where exceptional preservation allows us to study how viewers would have experienced images in architectural space. Using the Isiac visuality established in Chapter 3, I reconstruct the viewer's experience, arguing that the patron, Herodes Atticus, intended his viewer to inform his experience with the complex theology of Middle Platonism and prevailing elite attitudes about Roman imperialism.

Throughout my dissertation, I diverge from traditional approaches to culture change that center on the concepts of Romanization and identity. In order to access local experiences of globalization, I examine viewership on a micro-scale. I argue that viewers brought their concerns about culture change into dialogue with elements of cult, social status, art, and text to create new interpretations of Roman sculpture sensitive to the challenges of a highly connected Mediterranean world. In turn, these transcultural perspectives motivated Isiac devotees to create assemblages that combined elements from multiple cultures. These expansive attitudes also inspired Isiac devotees to commission exoticized images that brought together disparate cultures and styles in an eclectic manner that mirrored the haphazard way that travel brought change to the Mediterranean world. My dissertation thus offers a more theoretically rigorous way of modeling culture change in antiquity that recognizes local communities’ agency in producing their cultural landscapes, reconciling some of the problems of scale that have plagued earlier approaches to provincial Roman art.

These case studies demonstrate that cultural anxieties played a key role in how viewers experienced artistic imagery in the Hellenistic and Roman Mediterranean. This dissertation thus offers a new component in our understanding of ancient visuality, and, in turn, a better way to analyze how local communities dealt with the rise of connectivity and globalization.

Conquête et formation d'une culture originale à Oaxaca (Mexique), à travers l'architecture publique et l'art sculptural des XVIe et XVIIe siècles

Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

Vers l'installation d'un espace musical : ethnographie de la scène punk à Montréal

Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

Sound Art and Public Engagement in the Built Environment: Reflections from an Architecture Center

This article explores the deployment of sound in architectural-curatorial and community engagement contexts through the work of PLACE, a multidisciplinary not-for-profit architecture center in Belfast, Northern Ireland. The author, who worked with PLACE and contributed to the projects discussed here, contextualizes architecture centers and their relationship with sound before examining the specific case of sound and sound art in Northern Ireland and case studies of projects delivered by PLACE. Specifically, the article evaluates two sound installation artworks and three community engagement projects for young audiences. As a means of curating urbanism and architecture, sound-art-as-public-art affords useful strategies to examine, describe or critique the environment as alternatives to traditional architecture exhibition formats. Sound’s temporality and materiality allow sound art works to exist as temporary sculptural interventions in the urban sphere, with attendant implications for public art procurement and urban acoustics. Rich territories of engagement are opened when using sound in a community participatory context.

Coupling short-term (B2G model) and long-term (g-function) models for ground source heat exchanger simulation in TRNSYS. Application in a real installation

Ground-source heat pump (GSHP) systems represent one of the most promising techniques for heating and cooling in buildings. These systems use the ground as a heat source/sink, allowing a better efficiency thanks to the low variations of the ground temperature along the seasons. The ground-source heat exchanger (GSHE) then becomes a key component for optimizing the overall performance of the system. Moreover, the short-term response related to the dynamic behaviour of the GSHE is a crucial aspect, especially from a regulation criteria perspective in on/off controlled GSHP systems. In this context, a novel numerical GSHE model has been developed at the Instituto de Ingeniería Energética, Universitat Politècnica de València. Based on the decoupling of the short-term and the long-term response of the GSHE, the novel model allows the use of faster and more precise models on both sides. In particular, the short-term model considered is the B2G model, developed and validated in previous research works conducted at the Instituto de Ingeniería Energética. For the long-term, the g-function model was selected, since it is a previously validated and widely used model, and presents some interesting features that are useful for its combination with the B2G model. The aim of the present paper is to describe the procedure of combining these two models in order to obtain a unique complete GSHE model for both short- and long-term simulation. The resulting model is then validated against experimental data from a real GSHP installation.

Two Women; On the Cinematic Experience in Installation Art

Thesis (Ph.D.)--University of Washington, 2016-07

Panoramic Sea Happening (After Kantor): Video Installation

Panoramic Sea Happening (After Kantor) is a 7 minute durational film that reimagines part of Tadeusz Kantor's original sea happenings from 1967 in a landscape in which the sea has retreated. The conductor of Kantor’s original performance is replaced with a sound object cast adrift on a beach in Dungeness (UK). The object plays back the sound of the sea into the landscape, which was performed live and then filmed from three distinct angles. The first angle mimics the position of the conductor in Kantor’s original happening, facing outwards into the horizon of the beach and recalls the image in Kantor’s work of a human figure undertaking the absurd task of orchestrating the sound of a gigantic expanse of water. The second angle exposes the machine itself and the large cone that amplifies the sound, reinforcing the isolation of the object. The third angle reveals a decommissioned nuclear power station and sound objects used as a warning system for the power plant. Dungeness is a location where the sea has been retreating from the land, leaving traces of human activity through the disused boat winches, abandoned cabins and the decommissioned nuclear buildings. It is a place in which the footprint of the anthropocene is keenly felt. The sound object is intended to act as an anthropomorphic figure, ghosting the original conductor and offering the sound of the sea back into the landscape through a wide mouthpiece, echoing Kantor’s own load hailer in the original sequence of sea happenings. It speculates on Kantor's theory of the bio-object, which proposed a symbiotic relationship between the human and the nonhuman object in performance, as a possible instrument to access a form of geologic imagination. In this configuration, the human itself is absent, but is evoked through the objects left behind. The sound object, helpless in a red dingy, might be thought of as a co-conspirator with the viewer, enabling a looking back to the past in a landscape of an inevitable future. The work was originally commissioned by the University of Kent in collaboration with the Polish Cultural Institute for the Symposium Kantorbury Kantorbury in Canterbury (UK) to mark the 100 years since Tadeusz Kantor’s birth (15 - 19 September 2015). It should be projected and requires stereo speakers.

Les états de transformation dans une installation à partir de la matrice-tableau

Ce mémoire propose de retracer un parcours sur l’expérience du processus, mes essais en productions et en diffusion. Développé en trois parties, il décrit d’abord mes premières impressions perceptuelles des oeuvres, ensuite les différentes étapes qui auront ponctué ma recherche-création. Attentive à ce qui se passe en dehors des ateliers et des centres de diffusion en arts visuels, mes écrits sont teintés de mes expériences de diffusion et de création dans les lieux urbains et même, dans le dernier mois, dans le paysage naturel. J’explore mes méthodes de recherche-création instinctive et les différentes facettes entre les thèmes de la tension et de l’abandon. Je m’intéresse à la perception de ces mondes, à leurs cohabitations, à ce qu’ils produisent dans l’oeuvre finale et même, à l’expérience de mon propre corps. Je traiterai également du médium vidéo et de la valeur de l’image en comparaison aux autres médiums exploités, un ensemble d’oeuvres qui matérialisent une certaine temporalité de l’image en mouvement, où l’expérience à vivre est celle de l’instant suspendu ou une vision renouvelée du temps qui passe.

Relating Innovative 2D Ideas into 3D Garments in Terms of Structure, Using ‘Sculptural Form Giving’ as an Intermediate Step in Creation.

This research focuses on finding a fashion design methodology to reliably translate innovative two-dimensional ideas on paper, via a structural design sculpture, into an intermediate model. The author, both as a fashion designer and a researcher, has witnessed the issues which arise, regarding the loss of some of the initial ideas and distortion during the two-dimensional creative sketch to three-dimensional garment transfer process. Therefore, this research is concerned with fashion designers engaged in transferring a two-dimensional sketch through the method ‘sculptural form giving’. This research method applies the ideal model of conceptual sculpture, in the fashion design process, akin to those used in the disciplines of architecture. These parallel design disciplines share similar processes for realizing design ideas. Moreover, this research investigates and formalizes the processes that utilize the measurable space between the garment and the body, to help transfer garment variation and scale. In summation, this research proposition focuses on helping fashion designers to produce a creative method that helps the designer transfer their imaginative concept through intermediate modeling.