Photography, copyright, and the South Kensington experiment

Reviews the development of UK copyright law in the 19th century concerning photographs of works of art in public collections. Discusses the project at South Kensington Museum to sell photographs of works of art to the public at cost price, and the introduction of copyright protection for original photographs under the Fine Arts Copyright Act 1862. Considers the parliamentary debates on whether photography was worthy of copyright protection. Examines whether lessons should be learned now that digital technology offers the opportunity to improve public access to works of art.

Finite element analysis of hot rolling in the blooming mill

During this thesis work a coupled thermo-mechanical finite element model (FEM) was builtto simulate hot rolling in the blooming mill at Sandvik Materials Technology (SMT) inSandviken. The blooming mill is the first in a long line of processes that continuously or ingotcast ingots are subjected to before becoming finished products. The aim of this thesis work was twofold. The first was to create a parameterized finiteelement (FE) model of the blooming mill. The commercial FE software package MSCMarc/Mentat was used to create this model and the programing language Python was used toparameterize it. Second, two different pass schedules (A and B) were studied and comparedusing the model. The two pass series were evaluated with focus on their ability to healcentreline porosity, i.e. to close voids in the centre of the ingot. This evaluation was made by studying the hydrostatic stress (σm), the von Mises stress (σeq)and the plastic strain (εp) in the centre of the ingot. From these parameters the stress triaxiality(Tx) and the hydrostatic integration parameter (Gm) were calculated for each pass in bothseries using two different transportation times (30 and 150 s) from the furnace. The relationbetween Gm and an analytical parameter (Δ) was also studied. This parameter is the ratiobetween the mean height of the ingot and the contact length between the rolls and the ingot,which is useful as a rule of thumb to determine the homogeneity or penetration of strain for aspecific pass. The pass series designed with fewer passes (B), many with greater reduction, was shown toachieve better void closure theoretically. It was also shown that a temperature gradient, whichis the result of a longer holding time between the furnace and the blooming mill leads toimproved void closure.

Saraswati Sings: The Slide-Guitar in India

Thesis (Ph.D.)--University of Washington, 2016-08

The Object Animates: Displacement and Humility in the Theatre of Philippe Quesne

This article considers the animating role that objects play in the theatre of Philippe Quesne and Vivarium Studio (France). The conventional role of object animation is often characterised by the performer manipulating objects and scenic material on the stage, asserting a control over the environment they are implicated in. In Quesne's theatre, this relationship is democratised. The theatrical apparatus, both materially and conceptually, is set up to enable the flow of animation to be interchangeable, affording an equal agency to the objects being used much as that of the performers. This theatre of animation is drawn through the framing concepts of displacement and humility. Displacement is considered as a compositional strategy that makes us aware of the volume of the stage space beyond the proscenium frame as a plane of composition. The introduction of large inflatable objects, real cars or large roles of fake snow foreground the objects material presence allows Quesne to play with moments of equilibrium, tipping, excess and absence. Humility is traced as a philosophy of objects that transcends the choice, handling and use of material items in Quesne's work. Simple objects take on a specific vibrancy because of how they give shape to the human participants on stage, animating moments of recognition that allows the human figure, its ethics, emotions and humour, to appear.

Encountering the Spectre of Painting

When thinking what paintings are, I am continually brought back to my memory of a short sequence in Alfred Hitchcock’s Vertigo. In the scene, Kim Novak’s Madeleine is seated on a bench in an art gallery. She is apparently transfixed by a painting, Portrait of Carlotta. Alongside James Stewart, we watch her looking intently. Madeleine is pretending to be a ghost. At this stage she does not expect us to believe she is a ghost, but simply to immerse ourselves in the conceit, to delight in the shudder. Madeleine’s back is turned away from us, and as the camera draws near to show that the knot pattern in her hair mirrors the image in the portrait, I imagine Madeleine suppressing a smile. She resolutely shows us her back, though, so her feint is not betrayed. Madeleine’s stillness in this scene makes her appear as an object, a thing in the world, a rock or a pile of logs perhaps. We are not looking at that thing, however, but rather a residual image of something creaturely, a spectre. This after-image is held to the ground both by the gravity suggested by its manifestation and by the fine lie - the camouflage - of pretending to be a ghost. Encountering a painting is like meeting Madeleine. It sits in front of its own picture, gazing at it. Despite being motionless and having its back to us, there is a lurching sensation the painting brings about by pretending to be the ghost of its picture, and, at the same time, never really anticipating your credulity.

O contributo da arte/expressão plástica na inclusão de alunos com dificuldades de aprendizagem específicas

Com este estudo, pretendeu-se realizar uma reflexão sobre a problemática dos alunos com Dificuldades de Aprendizagem Específicas (DAE) e sua inclusão na comunidade educativa. Para isso, procurou-se resposta à pergunta inicial “Qual o contributo da Arte/Expressão Plástica, na inclusão de alunos com Dificuldades de Aprendizagem Específicas”. A intervenção, passou por trabalhar a Expressão Artística com sete alunos do segundo ciclo, com DAE, integrados numa Oficina de Artes, denominada “Oficina SentirArte”, com recurso a estratégias de intervenção diversificadas e motivadoras. Atendendo à problemática proposta a estudo, e à questão de partida à qual se pretendeu responder, recorreu-se a um estudo quase-experimental, com pré-teste e pós-teste, numa perspetiva de Investigação-Ação, em que a Expressão Plástica, proporcionou a estes alunos a exploração das suas capacidades e o seu desenvolvimento, servindo para descobrir a emoção estética que reside, justamente, na satisfação que todos experimentam ao sentir-se capazes de explorar ao máximo as próprias capacidades de perceção e expressão. Concluiu-se, através de observação direta, da aplicação de um inquérito por questionário e de uma entrevista aos alunos, que a Expressão Artística e nomeadamente a Expressão Plástica teve um papel primordial, quer na promoção de competências como a de comunicação, a criatividade e a socialização, quer na da autoestima, da autoconfiança e do autoconceito, quer na inclusão destas crianças na escola e até na sociedade.

Ferramentas Web, Web 2.0 e software livre em EVT: estudo sobre a integração de ferramentas digitais no currículo da disciplina de educação visual e tecnológica

A utilização das TIC ocupam um lugar cada vez mais importante nas nossas escolas, marcado sobretudo pela evolução das tecnologias e pela utilização em contexto educativo de muitas ferramentas da Web 2.0. Esse facto é muito notório na disciplina de Educação Visual e Tecnológica, de carácter eminentemente prático, onde é permitido explorar várias ferramentas digitais para abordagem de conteúdos da disciplina e para a criação de produtos gráficos e plásticos. Com o aparecimento da Web 2.0 e a disponibilização de milhares de novas ferramentas digitais aos utilizadores da Internet, estimula-se um interesse cada vez maior na adoção de metodologias e estratégias com recurso a estes media e que suportem uma aprendizagem mais eficaz e motivadora para os alunos, articulando-se os suportes tradicionais de EVT com os novos media digitais. Neste contexto, o presente estudo é o resultado duma investigação-ação realizada no âmbito do Programa Doutoral em Multimédia em Educação da Universidade de Aveiro onde se implementou a integração de ferramentas da Web, Web 2.0 e Software Livre em contexto educativo na disciplina de EVT, na qual poderiam ser utilizadas tanto as técnicas tradicionais de realização mais usuais na disciplina como a integração e articulação com as ferramentas digitais, suportadas por software livre (e outros de utilização gratuita), a Web e a Web 2.0 para suporte ao ensino e aprendizagem dos diversos conteúdos e áreas de exploração da disciplina. Este estudo, desenhado em três ciclos, envolveu num primeiro momento a constituição de uma comunidade de prática de professores alargada, sendo criadas seis turmas de formação que reuniram um total de 112 professores que pretendiam integrar as ferramentas digitais em EVT. Para além da pesquisa, análise, seleção e catalogação destas 430 ferramentas digitais recenseadas, produziram-se 371 manuais de apoio à utilização das mesmas, sendo estes recursos disponibilizados no espaço do EVTdigital. Num segundo ciclo, decorrente da avaliação realizada, foi criada a distribuição EVTux para simplificar o acesso e utilização das ferramentas digitais em contexto de EVT. Finalmente, o terceiro ciclo, decorre da eliminação da disciplina de EVT do currículo do 2º ciclo do ensino básico e a sua substituição por duas novas disciplinas, tendo-se realizada a respetiva análise de conteúdo das metas curriculares e produzido a aplicação As ferramentas digitais do Mundo Visual, concebida para contextualizar e indexar as ferramentas digitais selecionadas para a nova disciplina de Educação Visual.Os resultados deste estudo apontam claramente para a possibilidade de integrar na disciplina de Educação Visual e Tecnológica (ou no presente momento, em Educação Visual) ferramentas digitais para abordagem aos conteúdos e áreas de exploração, bem como a possibilidade de se constituírem facilmente comunidades de prática (como foi o caso) que possam colaborar na catalogação destas ferramentas no contexto específico da disciplina e para a necessidade sentida pelos professores em obter informação e formação que os possa atualizar quanto à integração das TIC no currículo. Apresentam-se, ainda, as limitações deste estudo que passaram sobretudo pelo impacto negativo que a eliminação da disciplina provocou na motivação dos docentes e a sua consequente participação no decorrer de algumas fases do trabalho, e ainda da dificuldade de gestão de uma equipa de professores colaboradores tão numerosa e diversificada. Nesse sentido, são também apresentadas sugestões para estudos futuros.

King of the Renaissance: Art and Politics at the Neapolitan Court of Ferrante I, 1458-1494

In the second half of the fifteenth century, King Ferrante I of Naples (r. 1458-1494) dominated the political and cultural life of the Mediterranean world. His court was home to artists, writers, musicians, and ambassadors from England to Egypt and everywhere in between. Yet, despite its historical importance, Ferrante’s court has been neglected in the scholarship. This dissertation provides a long-overdue analysis of Ferrante’s artistic patronage and attempts to explicate the king’s specific role in the process of art production at the Neapolitan court, as well as the experiences of artists employed therein. By situating Ferrante and the material culture of his court within the broader discourse of Early Modern art history for the first time, my project broadens our understanding of the function of art in Early Modern Europe. I demonstrate that, contrary to traditional assumptions, King Ferrante was a sophisticated patron of the visual arts whose political circumstances and shifting alliances were the most influential factors contributing to his artistic patronage. Unlike his father, Alfonso the Magnanimous, whose court was dominated by artists and courtiers from Spain, France, and elsewhere, Ferrante differentiated himself as a truly Neapolitan king. Yet Ferrante’s court was by no means provincial. His residence, the Castel Nuovo in Naples, became the physical embodiment of his commercial and political network, revealing the accretion of local and foreign visual vocabularies that characterizes Neapolitan visual culture.

An historical catalogue of portraits, representing distinguished persons in the history and literature of the United Kingdom.

Catalog of an exhibition held at the British Institution for Promoting the Fine Arts in the United Kingdom.

Creative Practices Around the Production of Cork

Cork, as a natural product provided by the bark of the cork oak tree, is an important staple of the Portuguese economy and important to Portuguese culture. It is a sustainable product with a positive ecological footprint, from harvesting to industrial production, with the advantage of creating a local economic model through regional labour activity and distribution. Within the balance between nature-human-economy to create a sustainable system, cork production in Portugal represents a human and social dimension. By focusing on that dimension and by creating an awareness of the cultural and social impact of the activity and by re-appraising the meaning of the material within the culture, the study reframes a consideration of the actual place of labour and production. The human, geophysical, historical, social, economic, ecological and cultural aspects of the place are observed as regards their relation to work or labour in that physical space. A pilot study is being developed in the village of Azaruja in the district of Évora, Portugal. In this small locality, cork is very important in terms of the relationships between the physical subsistence of their residents and the local natural resources, because it structures the place in its cultural, social and economical dimensions. This paper outlines the theoretical foundations, the process and the outcomes of the participatory ecodesign project titled Creative Practices Around the Production of Cork which was initiated by a Portuguese artist/design researcher and developed further through the collaboration with the other two authors, one a Portuguese visual artist/researcher and the other a Turkish fashion designer/theorist. The investigation focuses on questions that expand the notion of place for artists and designers, filtered through the lenses of manual labourers in order to understand their physical, social, cultural and economic relationship with the environment. To create the process of interaction with the place and the people, a creative collaborative dynamic is developed between the authors with their range of artistic sensibilities and the local population. To adopt a holistic notion of sustainability and cultural identity a process of investigation is designated to: (1) analyse, test and interpret - through the dissemination of life stories, visual representation of the place and the creation of cork objects - the importance of culture related to the labour activity of a local natural resource that determines and structures the region; (2) to give public recognition to those involved, taking into account their sense of belonging to the place and in order to show the value of their sustainable labour activities related to local natural resources; (3) to contribute to the knowledge of the place and to its dynamism through an aesthetic approach to labour activities. With reference to fields of knowledge such as anthropology, the social arts and sustainable design, a practice-based research is conducted with collaborative and participatory design methods to create an open model of interaction which involves local people in the realization of the project. Outcomes of this research will be presented in the paper as a survey analysis with theoretical conclusions.

Avaliação de danos mecânicos causados em banana Nanicão durante as etapas de beneficiamento, transporte e embalagem

This study had as objective the evaluation of mechanical damages occurred in banana Nanicão during the improvement process, packing and distribution, identifying the probable critical points. The mechanical damages caused by transport, first cleaning; cleanness and sorting; preservation in the packing, transport, and mature were evaluated. The studied packing had been: torito wooden packing (18 kg), wood type ½ box, (13 kg) and cardboard (18 kg). The stage of preservation and transport of the fruits to the distribution center duplicated the light defects and quintupled the serious defects, causing rottenness after the acclimatization. The cardboard packing did not support the piling up and presented deformations, that resulted in the kneading the fruits of the inferior packing, causing a significant increase of the serious defects. The fruits conditioned in the involved packing of plastic bubble had presented an inferior number of serious damages when compared with the others packing, without the plastic.

Avaliação física do tomate de mesa 'Romana' durante manuseio na pós-colheita

Tomato postharvest losses are very high in Brazil and the goal of this research was to evaluate the effect of handling and the transport of tomato fruits, cultivar Romana on the steps of harvesting, weight and transportation to the packinghouse, pointing some critical points. Tomatoes were harvested at plastic boxes, weighted and shipped to a packinghouse. Fruits taken directly from the plant were determined as reference. The parameters evaluated were weight loss and mechanical injury and tomato physical quality after storage during 21 days. It was observed an increasing on the weight loss, external damage, and postharvest losses, after storage. Handling and transportation were the cause of an increase in 6.6% in external damage and 1.93% of weight loss after storage, when comparing harvested fruits and fruits evaluated on the packing-house. The main reason for postharvest losses was due to mechanical injury caused during transportation mainly due to the compressure force among fruits and against the plastic boxes.

COMPARAÇÃO DAS PROPRIEDADES REOLÓGICAS DA MASSA DE CACAU TORRADA CONVENCIONALMENTE E POR MICROONDAS

Two kinds of roasting cocoa system: conventional batch method in electrical oven, and by microwaves, in a continuous microwave rotary applicator (2450MHz), were compared with respect to viscosity. Cocoa was roasted in whole beans and in nibs. The variable used in the microwave treatment was the power density applied to the whole beans (254,45 to 290,80 Wh/kg) and to the nibs (227,27 to 262,23 Wh/kg), with a constant holding time of 10 minutes. The variable used in the conventional roasting process was the roasting time of the beans (40 to 44 min) and the nibs (34 to 38 min), with constant temperature in the jacket of electric oven (150°C). Viscosity was measured in a Brookfield rheometer (mod RV-DVIII) at 40°C. In general, the plastic viscosity of the microwaved samples was lower than that of the conventional roasted samples. Also the nibs showed lower viscosities than the whole beans when roasted in the electric oven. The viscosity of the samples roasted in the microwave oven was lower in the whole beans than in the nibs. The product was sensorially evaluated by three experts in cocoa flavour, and it was shown that the flavour of the microwave roasted products was similar to that of the conventionally roasted products, with the advantage of a reduction in process time.

Cultura de movimento e identidade : a Educação Fisica na contemporaneidade

Universidade Estadual de Campinas . Faculdade de Educação Física

As aulas de educação fisica escolar : uma analise do processo inclusivo

Universidade Estadual de Campinas. Faculdade de Educação Física