Stor Anna, Liten Anna och tio andra personporträtt : Om innehållsliga och språkliga mönster i en mediegenres kvinnobeskrivningar

The aim of this licentiate thesis is to analyse how femininity is constructed in twelve portrait interviews of women in the dailies Dagens Nyheter (Stockholm) and Hufvudstadsbladet (Helsinki) in September 1996, and to explore the portrait interview as a media genre. The qualitative analysis has a feminist and constructionist perspective and is connected to critical text analysis. It was carried out on two levels: first, femininity is identified on the linguistic level by choice of words, and second on the level of content (topical motifs/themes). The portrait interview as a genre constitutes a third dimension in the analysis: The aim is not towards the identification of femininity, but rather towards the identification of the portrait interview a relatively unexplored media genre. References (Swedish: omtal) to the principal character (or protagonist) are traced mainly through reference chains which consist of names, pronouns and substantive phrases. The interviewees were referred to by their full names in Dagens Nyheter (with the exception of the oldest and youngest interviewees, both of whom were mainly referred to by their first names), while the style of reference varied more in Hufvudstadsbladet. The position of the principal character was also analysed through her relation in the text to minor characters from her working life and from her private life. These minor characters maintained their subordinate positions in all of the portraits except that of the youngest principal character, in which the subsidiary voices became at least as strong as the voice of the principal character. Three frequently-recurring topical motifs occurred in the portraits: The first involved explanations for the principal character s success divided into three categories, agent, affect and ambition, the second concerned using journeys or trips as symbols for turning points in life, and the third referred to the ambiguity in the contradiction between private (family/other private life) and public (work) life. This ambiguity is connected to the portrait interview as a text type (genre) which features conclusions at the end of portraits, which in turn is characteristic of reportage. However, the analysis showed that the conclusions of the portrait interviews often also included elements of ambiguity. This was evident in the contradictions be14 tween private and public life that arose in the portrait interviews that focused on these two spheres. The portraits that focused on the principal character s public life showed ambiguity on a more general level concerning questions about being a woman and having a profession, and they often ended with a description of some details of her private life. The women in the portraits were all constructed as being successful, in terms of having achieved direct success, reflective success or success in the form of life wisdom. The women of direct success were described as ambitious individuals with no sidetracks on their life paths, while those of reflective success were described as active heroines who had received help from different agents, who could use their affects as enriching ingredients in life, but who in the end had control over their own lives (life stories). The elderly women were constructed as having achieved life wisdom and their portraits were focused upon the past. The portrait interview as a genre is characterised by journalistic freedom (in relation to the more strict news genre), by a now room (Swedish nurum ) where the journalist meets the principal character (usually via spoken dialogue that she or he transforms into written text to be read by a mass-media audience) and by the relatively closed structure of the portrait. The portrait is relatively independent in relation to the news genre and in relation to the context of what has previously been written, what is being written at the time and what will be written in the future the principal character does not need to belong to the newspaper s usual gallery of actors. Furthermore, the principal character is constructed as being independent in relation to the subsidiary characters and other media actors. The conflict is within the principal character herself and within her life story, unlike the news genre in which equal actors are in conflict with each other. The portrait is also independent in relation to the news lifespan; the publishing timetable is not as strict as in the news genre, but is still dependent on the factors initiating the portrait. The enclosures consist of a raw analysis of two of twelve portrait interviews and of copies of all portraits.

Kriitkko Einari J. Vehmas ja moderni taide

The doctoral dissertation Critic Einari J. Vehmas and Modern Art deals with one of the central figures of the Finnish art scene and his work as an art critic, art museum curator and cultural critic. The main body of research material consists of the writings of Einari J. Vehmas (1902 1980) from 1937 to the late 1960s. Vehmas wrote art reviews for magazines, and from the year 1945 he was a regular art critic for one of the major newspapers in Finland. Vehmas was heavily inclined towards French literature and visual arts. Marcel Proust and Charles Baudelaire influenced his views on the nature of art from the late 1920s onwards. Vehmas is commonly regarded as the most influential art critic of post-war Finland. His writings have been referred to and cited in numerous research papers on Finnish 20th-century art. A lesser known aspect of his work is his position as the deputy director of the Ateneum Art Museum, the Finnish national gallery. Through his art museum work, his opinions also shaped the canon of modern art considered particularly Finnish following the second world war. The main emphasis of the dissertation is on studying Vehmas s writings, but it also illustrates the diversity of his involvement in Finnish cultural life through biographical documents. The long chronological span of the dissertation emphasises how certain central themes accumulate in Vehmas s writings. The aim of the dissertation is also to show how strongly certain philosophical and theoretical concepts from the early 20th century, specifically Wassily Kandinsky s principle of inner necessity and Henri Bergson s epistemology highlighting intuition and instinct, continued to influence the Finnish art discourse even in the early 1960s, in part thanks to the writings of Vehmas. Throughout his production, Vehmas contemplated the state and future of modern art and humanity. Vehmas used a colourful, vitalistic rhetoric to emphasise the role of modern art as a building block of culture and humanity. At the same time, however, he was a cultural pessimist whose art views became infused with anxiety, a sense of loss, and a desire to turn his back on the world.

Esteettinen kokemus kulttuurisiltana : Soile Yli-Mäyryn taide kiinalaisen, japanilaisen ja suomalaisen yleisön kokemana

AESTHETIC EXPERIENCE AS A BRIDGE ACROSS CULTURES Soile Yli-Mäyry s art as experienced by Chinese, Japanese and Finnish audiences This study focuses on surveying and analysing experiences of Soile Yli-Mäyry s art in eleven different countries. Questionnaires were translated into nine different languages. In addition, interviews were conducted on the experiences of Chinese, Japanese and Finnish art audiences concerning a painting called Sun Wind . The study was mainly inspired by John Dewey s ideas of art as an interactive communication where the artist, the piece and those who experience it make up an interactive process. In this process experience is a meeting point with both individual and communal characteristics. The data was collected in conjunction with exhibitions in 1997−2005. The survey was carried out in eleven countries (Finland, United States, Brazil, China, Taiwan, Japan, India, Israel, Argentina, Germany and Switzerland). The survey data was made up of 2,563 returned questionnaires. The interviews in China, Japan and Finland were about the same painting Sun Wind , which was transported from Finland to Japan (Tokyo) and China. A total of 89 people were interviewed in Shanghai Art Museum, 30 people in Port-Ginza Gallery, Tokyo and 45 people in Soile Yli-Mäyry s Gallery in Finland. Three hypotheses that were turned into research questions directed the study: 1. Are there differences/ similarities between culturally different communities in the meanings attributed to experiences, e.g. according to emotional dimensions, or do experiences focus more on reflecting on one s own life or meanings attributed to the world around us? What kinds of experiential dimensions are there in different countries? Do similar, analogous experiences that transcend cultural barriers emerge in culturally different countries such as China, Japan and Finland? 2. Does the data display different types of experiencing subjects which are typical to a subject s own country or are they experiences that can be compared to those generated by an ideal landscape , where the art touches the subconscious and collective selfhood, being thus transnational and timeless? Closer analysis focuses on audience experiences in China, Japan and Finland (interviews, textual survey data). 3. Are the experiences and interpretations of experts similar/different to those of larger audiences? The survey data has been analysed with the help of cross-tabulation. After content analysis of the interviews and textual survey data, different ways of experiencing subjects were sketched by country (China, Japan, Finland). The types were both similar and dissimilar. The most important types were social/ecological (China), therapeutic/reserved (Japan) and narrative/projecting (Finland). There were differences in how experiences were emphasised: the Chinese public approached their experiences from the viewpoint of pragmatism and utility, where they could obtain new ideas for their own work or experiencing the exhibition gave courage to approach their own lives from a new perspective. In turn, the Japanese public experienced the art from a therapeutic angle and from a very reserved perspective, which Dylan Evans (2001, 13−17) has described as typical to Japanese culture. The experiences of the Finnish audience were strongly therapeutic and narrative. The people projected their emotions onto the piece and in a concrete manner forged them into a story. The partly similar results of this study in China, Japan and Finland demonstrate that the art displayed in the exhibitions contain images of the beginning or elements connected to the beginning of life, which touch the subconscious in the way an ideal landscape would. Experiencing the meaningfulness of one s own life through art is a common thread and a bridge across cultures that unites the experiences of the audiences of this study, be they Taoists, Confucians, Buddhists or Maoists in China, Shinto followers, Zen Buddhists in Japan or Evangelist-Lutherans in Finland. Keywords: experience, reception, bridge across cultures, types of experiencing subjects, experiential process, ideal landscape, elementality

An integrated model for optimal reservoir operation for irrigation of multiple crops

An integratedm odel is developed,b asedo n seasonailn puts of reservoiri nflow and rainfall in the irrigated area, to determine the optimal reservoir release policies and irrigation allocationst o multiple crops.T he model is conceptuallym ade up of two modules. Module 1 is an intraseasonal allocation model to maximize the sum of relative yieldso f all crops,f or a givens tateo f the systemu, singl inear programming(L P). The module takes into account reservoir storage continuity, soil moisture balance, and crop root growthw ith time. Module 2 is a seasonaal llocationm odel to derive the steadys tate reservoiro peratingp olicyu sings tochastidc ynamicp rogramming(S DP). Reservoir storage, seasonal inflow, and seasonal rainfall are the state variables in the SDP. The objective in SDP is to maximize the expected sum of relative yields of all crops in a year.The resultso f module 1 and the transitionp robabilitieso f seasonailn flow and rainfall form the input for module 2. The use of seasonailn puts coupledw ith the LP-SDP solution strategy in the present formulation facilitates in relaxing the limitations of an earlier study,w hile affectinga dditionali mprovementsT. he model is applied to an existing reservoir in Karnataka State, India.

Sound transmission in strongly-curved slowly-varying cylindrical and annular lined ducts with flow

In this paper we consider the propagation of acoustic waves along a curved hollow or annular duct with lined walls. The curvature of the duct centreline and the wall radii vary slowly along the duct, allowing application of an asymptotic multiple scales analysis. This generalises Rienstra's analysis of a straight duct of varying cross-sectional radius. The result of the analysis is that the modal wavenumbers and mode shapes are determined locally as modes of a torus with the same local curvature, while the amplitude of the modes evolves as the mode propagates along the duct. The duct modes are found numerically at each axial location using a pseudo-spectral method. Unlike the case of a straight duct, there is a fundamental asymmetry between upstream and downstream propagating modes, with some mode shapes tending to be concentrated on either the inside or outside of the bend depending on the direction of propagation. The interaction between the presence of wall lining and curvature is investigated in particular; for instance, in a representative case it is found that the curvature causes the first few acoustic modes to be more heavily damped by the duct boundary than would be expected for a straight duct. Analytical progress can be made in the limit of very high mode order, in which case well-known 'whispering gallery' modes, localised close to the wall, can be identified.

材料和结构的动态响应

《材料和结构的动态响应》是我国爆炸力学、冲击动力学领域的专家、教授、学者们为祝贺爆炸力学、冲击动力学专家王礼立教授七十华诞而撰写的一部学术著作，从不同的角度展示了我国乃至国际上近年来在该领域所取得的知识创新成果及学科发展动向，为促进爆炸力学、冲击动力学的理论创新和科技进步，造福人类，做出积极努力。

[R_Casalarreina_Condestables] Documentación geométrica del Palacio de los Condestables de Casalarreina (La Rioja)

[ES] La documentación de este proyecto ha servido como base para la realización de los siguientes proyectos y artículos:

Special Frobenius Traces in Galois Representations

This thesis studies Frobenius traces in Galois representations from two different directions. In the first problem we explore how often they vanish in Artin-type representations. We give an upper bound for the density of the set of vanishing Frobenius traces in terms of the multiplicities of the irreducible components of the adjoint representation. Towards that, we construct an infinite family of representations of finite groups with an irreducible adjoint action.

In the second problem we partially extend for Hilbert modular forms a result of Coleman and Edixhoven that the Hecke eigenvalues a_p of classical elliptical modular newforms f of weight 2 are never extremal, i.e., a_p is strictly less than 2[square root]p. The generalization currently applies only to prime ideals p of degree one, though we expect it to hold for p of any odd degree. However, an even degree prime can be extremal for f. We prove our result in each of the following instances: when one can move to a Shimura curve defined by a quaternion algebra, when f is a CM form, when the crystalline Frobenius is semi-simple, and when the strong Tate conjecture holds for a product of two Hilbert modular surfaces (or quaternionic Shimura surfaces) over a finite field.

Artes de Exu: intervenções artísticas e representações afro-brasileiras no Rio de Janeiro: Tridente de Ni e Exu dos Ventos

Artes de Exu trata os objetos de arte não só pelos aspectos artísticos e sociológicos, mas também pelos aspectos que ligam as obras a Exu, além do enunciado. Como coisa contida na concepção, na execução e imbricada na própria história da obra. As obras escolhidas são: Tridente de NI (2006) de Alexandre Vogler e Exu dos Ventos (1992), de Mario Cravo Júnior. As obras contêm conflitos que envolvem a mídia, religiosos e políticos. A partir de pesquisas etnográficas é feita uma análise dos olhares que se cruzam na construção dos sentidos na disputa pelo espaço simbólico, considerando ainda o trânsito percorrido pelas obras entre a oficina, o espaço de exposição e a rua. Pertence ainda ao corpo das análises as referências na mídia impressa, forma de veiculação das imagens, apropriações e discursos. As artes de Exu se evidenciam no desenrolar dessas tramas, conforme os objetos artísticos oferecem um lugar para pensar na conciliação entre diferentes: entre a cruz e o tridente, entre Cristo e Exu e entre cristãos e religiões de matriz africana

AMO: Ateliê Móvel Oficial

Este texto é uma fabulação que cumpre papel de revelar um processo de trabalho em arte ao longo de dois anos. Trata-se de um percurso teórico-poético percorrido a partir da descoberta/invenção de um ateliê de criação em meio a minha residência. Um quadrado de 2x2 metros demarcado por sobreposição = fita amarela. Instaurado em divergentes contextos paisagísticos = casa, quarto de hotel, estúdio de dança, galeria de arte, palco, cidade. Trata de habitar os mesmos friccionando esfera de vivência pessoal e sítio específico de acontecimento. No texto, tem lugar reflexões pessoais a partir do trabalho, articulada a outros artistas (como Lygia Clark, Angel e Klauss Vianna, Antonin Artaud, Yves Klein, Min Tanaka, Tadashi Endo) e teóricos (dentre eles Hannah Arendt e Michel Foucault), compondo diferentes tons de fala produzidos ao longo desse período de trabalho

Acesso remoto

Este texto é uma reflexão sobre os pressupostos que fizeram parte do meu processo de trabalho em artes visuais nos últimos anos e que continuam em desenvolvimento. A investigação parte de um pressuposto gerado de três séries de trabalhos, Bambu, bambuí, Sobreposições e Imersão Rio, que se conectam por um deslocamento entre três ambientes: paisagem, ateliê e galeria. Ao rastrear as influências recorrentes em minha produção, acesso um momento histórico específico por onde permeio minha pesquisa e procuro compreender os procedimentos, ações e estratégias que compõem minha poética artística

Notas sobre o Rupestre Contemporâneo, Nadam Guerra e 10 anos do Grupo UM

Esta dissertação foi elaborada a partir do livro Rupestre Contemporâneo, Nadam Guerra e 10 anos do Grupo UM, que integrou a exposição de mesmo nome realizada em outubro e novembro de 2013 na Galeria de Arte do IBEU com Curadoria de Bernardo Mosqueira. Nesta exposição individual de Nadam Guerra foram apresentadas obras em parceria de Nadam Guerra com Leo Liz, Aline Elias, Euclides Terra, Domingos Guimaraens e Juca Amélio. O texto é construído na forma de diálogo entre os artistas do Grupo UM e convidados pensando a produção e o histórico do grupo além de temas das práticas artísticas atuais como criação coletiva, diluição da identidade, alterego, escritas de si, convergência de linguagem artísticas, arte, vida, ficção, os modos de produção e circulação da arte no mundo. Ao que se acrescenta mais duas camadas de discurso nas notas de pé de página e em comentários laterais criando um texto polifônico de teoria de artista.

A vision-based remote control

This Chapter presents a vision-based system for touch-free interaction with a display at a distance. A single camera is fixed on top of the screen and is pointing towards the user. An attention mechanism allows the user to start the interaction and control a screen pointer by moving their hand in a fist pose directed at the camera. On-screen items can be chosen by a selection mechanism. Current sample applications include browsing video collections as well as viewing a gallery of 3D objects, which the user can rotate with their hand motion. We have included an up-to-date review of hand tracking methods, and comment on the merits and shortcomings of previous approaches. The proposed tracker uses multiple cues, appearance, color, and motion, for robustness. As the space of possible observation models is generally too large for exhaustive online search, we select models that are suitable for the particular tracking task at hand. During a training stage, various off-the-shelf trackers are evaluated. From this data differentmethods of fusing them online are investigated, including parallel and cascaded tracker evaluation. For the case of fist tracking, combining a small number of observers in a cascade results in an efficient algorithm that is used in our gesture interface. The system has been on public display at conferences where over a hundred users have engaged with it. © 2010 Springer-Verlag Berlin Heidelberg.

Silhouette-based object phenotype recognition using 3D shape priors

This paper tackles the novel challenging problem of 3D object phenotype recognition from a single 2D silhouette. To bridge the large pose (articulation or deformation) and camera viewpoint changes between the gallery images and query image, we propose a novel probabilistic inference algorithm based on 3D shape priors. Our approach combines both generative and discriminative learning. We use latent probabilistic generative models to capture 3D shape and pose variations from a set of 3D mesh models. Based on these 3D shape priors, we generate a large number of projections for different phenotype classes, poses, and camera viewpoints, and implement Random Forests to efficiently solve the shape and pose inference problems. By model selection in terms of the silhouette coherency between the query and the projections of 3D shapes synthesized using the galleries, we achieve the phenotype recognition result as well as a fast approximate 3D reconstruction of the query. To verify the efficacy of the proposed approach, we present new datasets which contain over 500 images of various human and shark phenotypes and motions. The experimental results clearly show the benefits of using the 3D priors in the proposed method over previous 2D-based methods. © 2011 IEEE.