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Cleveland, Larissa. "Collector : collection/possession/persona /." Online version of thesis, 2008. http://hdl.handle.net/1850/6186.
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César, Flore. "Collectionnisme et curiosité à Montpellier, de la renaissance à l'aube de la révolution." Thesis, Montpellier 3, 2013. http://www.theses.fr/2013MON30105.
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A partir de l'exemple montpelliérain, la présente étude s'intéresse au phénomène culturel ducollectionnisme, en appréhendant de manière conjointe collectionneurs et collections entre leXVIe siècle et le XVIIIe siècle. Considérée comme capitale scientifique durant l'époquemoderne, la ville s'offre comme un exemple privilégié pour aborder une approche croiséeentre histoire de l'art et sociologie de la culture savante.Face à une très grande diversité de sources, ce travail propose d'abord une réflexion sur lesdéfinitions mêmes de collectionneur et de collection, avant d'en présenter une analysetypologique. Le travail s'attache en second lieu à comprendre la dialectique entre lecollectionnisme et la curiosité, entendu comme désir de voir, d'avoir et de savoir. Cettedémarche ambitionne de mettre au jour les différents usages des collections et de leuréconomie, tout en abordant les différentes figures de collectionneurs, entre curieux, amateurs,connaisseurs et savants. Par ailleurs, le travail tente de rendre compte de la manière dont ceshommes, quelle que soit la nature des collections, mettent en oeuvre leur capacité de jugementen privilégiant l'expérience sensible. Lieu voué à la perception, la collection s'offre aussicomme lieu de célébration de la mémoire. Aussi l'étude s'attache-t-elle à comprendrecomment le collectionnisme contribue à la fabrique du regardFrom the city of Montpellier example, the present study focuses on the cultural phenomenonof collectionism, by approaching in a joint process, collectors and collections within theXVIth century and the XVIIIth century span. The city, recognized as a scientific capitalduring the modern period, offers a privileged example to undertake a crossed approachbetween art history and sociology of savant culture.Faced with a huge diversity of sources, the first proposal of this work is a reflexion on thecollector and the collection's very definition before presenting them in a typological analysis.In a second step, this work aims at understanding dialectics between collectionism andcuriosity, understood as desire of seeing, possessing and knowledge.This process aspires tounveil the various uses of collections and their economy, approaching jointly the differentcharacters of collectors, among curieux, amateurs, connoisseurships and savants. Moreover,attention is payed on giving account on the manner these persons, whichever the nature oftheir collection, make use of their judgement capacity while prioritizing sensitive experience.As a place dedicated to perception, the collection also offers itself a place of memorycelebration. Therefore, the study works toward understanding how collectionism contributesto the fabric of vision
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Haight, Sarah M. "American Art Lending, 1895-1975." Thesis, School of Information and Library Science, 2006. http://hdl.handle.net/1901/344.
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This paper documents the range of art lending in the United States to individuals by libraries, museums, and other cultural institutions from roughly 1895-1975. The historical analysis includes the reasons and motivations behind the creation of each kind of lending scheme and what its proponents hoped to accomplish, as well as how these collections fit into the broader goals of each type of institution. Loans of originals and reproductions are discussed.
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GRECO, Luca. "AUTOMATIC ORGANIZATION OF MULTIMEDIA DATA COLLECTIONS." Doctoral thesis, Università degli Studi di Palermo, 2014. http://hdl.handle.net/10447/91234.
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La fotografia digitale ha avuto uno sviluppo sempre crescente negli ultimi dieci anni. Prima la diminuzione dei prezzi delle apparecchiature di acquisizione e poi l’integrazione di queste nei dispositivi portatili di uso quotidiano (i.e. smartphone, tablet) ha permesso a chiunque di potere creare e conservare semplicemente un enorme numero di immagini. Inoltre l’immagine stessa é diventata uno strumento di comunicazione, portando alla nascita di social networks basati unicamente sulla condivisione di fotografie (flickr, instagram, etc...).
La gestione di tali quantitá di dati é quindi diventato un problema reale per molti utenti, in quanto il ritrovamento e l’organizzazione di questi dati é un compito dispendioso dal punto di vista del tempo e di difficile integrazione con immagini archiviate nel passato in modo non organizzato.
Questa tesi si pone come obiettivo quello di illustrare le problematiche collegate alla organizzazione di collezioni di immagini che rappresentano eventi reali ed alla fusione tra collezioni che riguardano lo stesso evento ma che provengono da sorgenti diverse. Per effettuare una organizzazione delle collezioni é necessario innanzitutto definire una struttura degli eventi: i metodi proposti presuppongono che ogni evento non sia un blocco unitario di immagini ma che sia costituito da un numero di sotto-elementi distinguibili per la loro collocazione temporale o per il loro contenuto visivo.
Alcune tecniche dello stato dell’arte illustrate in questo lavoro hanno fornito degli strumenti utili per effettuare raggruppamenti di immagini, in special modo dal punto di vista temporale. Anche dal punto di vista del contenuto sono stati proposti diversi metodi di descrizione delle immagini, analizzando caratteristiche globali, quali il colore e la sua distribuzione, o puntuali cercando di individuare e descrivere punti caratteristici per ogni immagine.
L’ultima parte di questa tesi si basa su alcune possibili elaborazioni che si pos- sono effettuare sulle collezioni ordinate o sul risultato della fusione di collezioni differenti. Il primo metodo proposto affronta il problema dell’individuazione di soggetti all’interno delle immagini e della creazione di anteprime per la facilitazione del reperimento delle stesse o per la loro presentazione. Un secondo metodo pro- posto é focalizzato sul taglio estetico delle stesse usando un algoritmo dal basso costo computazionale che senza tenerle esplicitamente in conto rispetta le regole
classiche della composizione fotografica.
Il resto delle applicazioni invece é orientato al ritrovamento di oggetti personali all’interno delle collezioni. Una delle applicazioni usa un database di oggetti conosciuti composto per ognuno di questi da una successione di viste ruotando lo stesso di uno scarto costante. La seconda applicazione, invece, é basata su un database di video di oggetti che ruotano uniformemente e permette di effettuare query usando dei video di costruzione simile.The technological development of digital photography is ever increasing in last ten years. The decreasing costs of the acquisition devices and the integration in commonly used mobile devices (i.e. smartphones, tablets) has given to the mayority of users the possibility to create and store a very large number of images. Furthermore, the image itself has become a communication item leading to the creation of social networks totally based on picture sharing (Flickr, Instagram and so on). Managing this huge amount of data today is a real problem for many users be- cause the retrieval and the organization of these is an annoyng and time-consuming task, difficult to integrate with images stored in the past without a fixed organi- zation. The aim of this thesis is to show the issues related to the problem of managing image collections that represent real events and merging collections regarding the same event but from different sources. To make an organization of the collections it is necassary to define a structure for the events: proposed methods assume that an event is not a single block of images but is composed by a set of sub-events that can be distinguished by using temporal information or visual content. Some of the techniques of the state of the art described in this thesis provided some useful tools to cluster images, especially using the time as basis. Others use visual information to describe images, analyzing global features like color and its distribution or local features, trying to detect and describe intresting points for each image. The last part of this thesis is based on some possible elaboration on the or- dered collections or on the result of different collections fusion. The first proposed method is focused on the problem of subjects extraction in images and in thumb- nails creation to facilitate retrieval and browsing. A second method performs an aesthetical cut on images using a low computational cost algorithm that respects the common rules of photography composition without taking them into account explicitally. The remainder of the applications is oriented to personal objects retrieval in collections. One of the applications uses a multiview database of known objects. The second is based on a database of videos of uniformly rotating objects and the query are done using video with a similar construction.
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Yuen, Albert Wai Ling Materials Science & Engineering Faculty of Science UNSW. "Collector current density and dust collection in wire-plate electrostatic precipitators." Awarded by:University of New South Wales. Materials Science and Engineering, 2006. http://handle.unsw.edu.au/1959.4/28274.
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Even minimal improvements in particle collection efficiency of electrostatic precipitators significantly reduce dust emission from fossil-fuelled power stations and reduce pollution. Yet current designs rely on the Deutsch collection theory, which was developed for tubular precipitators and has been applied to wire-plate precipitators on the assumption that the inter-electrode electric fields at the same discharge distance in both were similar. Differences in geometry and associated collector electric fields and current density non-uniformity have not been taken into account, although the collector electric field and current density of the wire-plate precipitator are not uniform. And observations show that precipitated dust patterns and the distribution of collector current density are interrelated. Investigations revealed a simple square law relationship between the collector electric field and the collector current density in the space charge dominated coronas. Applying this relationship to the Deutsch collection theory led to a current-density-based collection formula that takes into account the non-uniform collector current density distribution. The current-density-based collection formula is then used to assess the impact of collector current density on collection efficiency, the results closely following published measurements. Applying the current-density-based collection formula to estimate the dust accumulation shows that most of the dust accumulates at collector locations facing the corona wires. The effect of the non-uniform precipitated dust layer on collection performance is assessed using the distributed corona impedance - the ratio of the inter-electrode voltage and the non-uniform collector current. Re-distribution of the collector current profile as dust builds up is also compatible with published measurements. Finally this is applied to optimize the wire-plate precipitator collection performance. This shows that optimal collection performance is obtained with the wire-wire spacing less than the wire-plate distance, once again confirming published experimental results. This is the first analytical approach to show better collection performance can be achieved at the ratio of wire-wire spacing/wire-plate distance not equal to unity, which has been the standard industry practice since 1960.
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Ramsey, Marshall C., Hsinchun Chen, and Bin Zhu. "A Collection of Visual Thesauri for Browsing Large Collections of Geographic Images." John Wiley & Sons, Inc, 1999. http://hdl.handle.net/10150/106407.
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Artificial Intelligence Lab, Department of MIS, University of ArizonaDigital libraries of geo-spatial multimedia content are currently deficient in providing fuzzy, concept-based retrieval mechanisms to users. The main challenge is that indexing and thesaurus creation are extremely laborintensive processes for text documents and especially for images. Recently, 800,000 declassified satellite photographs were made available by the United States Geological Survey. Additionally, millions of satellite and aerial photographs are archived in national and local map libraries. Such enormous collections make human indexing and thesaurus generation methods impossible to utilize. In this article we propose a scalable method to automatically generate visual thesauri of large collections of geo-spatial media using fuzzy, unsupervised machine-learning techniques.
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Pereira, Daniel Cláudio. "DigiScope Collector - Unobtrosive collection and annotating of auscultations in real hospital environments." Master's thesis, Faculdade de Medicina da Universidade do Porto, 2010. http://hdl.handle.net/10216/62312.
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Pereira, Daniel Cláudio. "DigiScope Collector - Unobtrosive collection and annotating of auscultations in real hospital environments." Dissertação, Faculdade de Medicina da Universidade do Porto, 2010. http://hdl.handle.net/10216/62312.
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Lefebvre, Éric. "La collection de Ruan Yuan (1764-1849) : un cas de transmission du patrimoine culturel en Chine." Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040051.
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En tant que savant et haut-fonctionnaire Ruan Yuan est une figure éminente de la fin de la dynastie Qing (1644-1911). Sa collection, principalement composée d’objets antiques, bronzes rituels, briques et tuiles, est modelée d’après les traditions de l’épigraphie chinoise ou jinshi xue. La première partie de la thèse est consacrée à l’analyse de la collection. Sa typologie et sa formation sont le reflet de l’approche scientifique des objets antiques adoptée par Ruan Yuan. Ses méthodes, qui reposent sur les développements récents de la phonologie, sont liées à l’essor de l’école des « vérifications et des preuves », ou kaozheng xue. Parallèlement, les objets de collection, en particulier les pierres, sont considérés comme des objets de délectation qui peuvent être transformés en encriers ou en écrans qui reflètent l’imagination de Ruan Yuan. La seconde partie de la thèse décrit comment les pratiques de collectionneur de Ruan Yuan s’inscrivent dans un processus de transmission des vestiges culturels. Les méthodes de compilation des textes ont été adaptées par Ruan Yuan afin de publier les inscriptions antiques des provinces où il exerçait en tant que fonctionnaire. Son utilisation des techniques de conservation, comme le montage des peintures, et des techniques de reproduction, comme l’estampage ou la gravure, ont permis de préserver les originaux et de diffuser leur image. Au-delà de la transmission de sa propre collection, principalement conçue comme un héritage familial, la création de bibliothèques dans les temples célèbres, qui dépassent les limites de la propriété privée, est une étape importante vers la définition moderne du patrimoine culturel en ChineAs a scholar and an official, Ruan Yuan is a prominent figure of the late Qing dynasty (1644-1911). His collection of artifact, which focuses mainly on antiques like ritual bronzes, bricks and tiles, is shaped by the traditions of Chinese epigraphy or jinshi xue. The first part of the dissertation is devoted to the analysis of the collection. Its typology and formation reflect the scientific approach of antiques adopted by Ruan Yuan. His methods, which rely on the recent developments in phonology, are related to the rise of the evidential research school or kaozheng xue in XVIIIth century China. Besides this scientific approach, collected artifacts, especially stones, are also considered as objects of delectation which can be transformed into inkstones or screens which reflect the imagination of their owner. The second part of the dissertation describes how Ruan Yuan’s collecting practices are part of a larger process of conservation and transmission of cultural relics. The methods of collation of texts used to realize encyclopedia have been adapted by Ruan Yuan to publish the ancient inscriptions on metal and stone from the provinces where he served as an official. His use of conservation techniques, like the mounting of paintings, and of reproduction techniques, like the rubbing or carving of steles, allowed to preserve originals and to spread their images among scholars. Beyond the transmission of his own collection, mainly conceived as a family legacy, the creation of libraries in famous temples, which exceeded the boundaries of private property, is an important step toward the assertion of a modern definition of cultural heritage in China
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Coste-Gouzes, Ophélie. "Contribution à l'étude juridique des collections privées." Thesis, Montpellier, 2017. http://www.theses.fr/2017MONTD042/document.
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L’art de collectionner a traversé les siècles, les collections privées sont notamment à l’origine de notre patrimoine culturel. Pourtant, malgré l’importance du rôle de la collection, cette dernière reste encore un ensemble de choses mal identifié par le droit. En tant qu’ensemble de choses créé par la volonté de l’Homme, la collection n’est pas définie, et seules certaines collections sont encadrées par quelques dispositions. Par ailleurs, les collections privées sont des ensembles fragiles, elles relèvent de la propriété privée de leur collectionneur qui est libre d’en disposer comme il le souhaite. Le risque majeur de ces ensembles réside dans leur dispersion et dans l’atteinte à leur intégrité. Souvent soucieux de préserver l’intégrité et la cohérence de son ensemble, le collectionneur doit pouvoir bénéficier d’outils juridiques protecteurs adaptés à la collection. Finalement, qu’est-ce qu’une collection ? Que signifie cette notion de collection et quel(s) droit(s) peuvent s’en saisir ? Notre droit est-il en mesure de protéger efficacement une réunion de choses comme la collection privée ? En d’autres termes, la problématique consiste à répondre à la question suivante : quelle appréhension juridique pour les collections privées ? Partant, l’objectif de la thèse est de tenter de dégager une qualification juridique de la collection pour mieux adapter sa protection. En effet, la recherche se donne pour but de définir les fondements théoriques et juridiques susceptibles d’être adaptés à l’œuvre du collectionneur, pour tenter d’aboutir à un régime de protection efficaceThe art to collect crossed the centuries, the private collections are in particular at the origin of our cultural heritage. Nevertheless, in spite of the importance of the role of the collection, it still remains a set of things badly identified by the right. As together of things created by the will of the Man, the collection is not defined, and only ones certain collections are supervised by some measures.Besides, the private collections are fragile sets, they are a matter of the private property of their collector who is free to have it as he wishes it. The major risk of these sets lives in their dispersal and in the infringement on their integrity. Often worried of protecting the integrity and the coherence of his set, the collector must be able to benefit from protective legal tools adapted to the collection.Finally, what a collection? Means what this notion of collection and which right(s) can seize with it? Is our right able of protecting effectively a meeting of things as the private collection? In other words, the problem consists in answering the following question: what legal apprehension for the private collections?Therefore, the objective of the thesis is to try to identify a legal qualification of the collection to adapt better its protection. Indeed, the search gives for purpose to define the theoretical and legal foundations susceptible to be adapted to the work of the collector, to try to end in a regime of effective protection
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Taguta, Jestos. "The thermochemical behaviour of thiol collectors and collector mixtures with sulphide minerals." Master's thesis, University of Cape Town, 2015. http://hdl.handle.net/11427/20124.
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Thiol collectors continue to dominate the base metal sulphide (BMS) and platinum group mineral (PGM) flotation industry. The behaviour of thiol collectors and collector mixtures with sulphide mineral surfaces has been extensively studied using different techniques such as XPS, ToF-SIMS, UV-VIS, etc. However, most of these techniques require a collector dosage above monolayer coverage, take place under equilibrium conditions and may not simulate flotation conditions. Moreover, most of the studies focus on isolated minerals yet exploitable ores exist as an association of sulphide minerals. The use of thiol collector mixtures in the base metal sulphides (BMS) and platinum group mineral (PGM) flotation industries has been reported to offer several performance benefits by many researchers. However, the mechanism whereby these collector mixtures adsorb onto a specific mineral surface is still not clearly understood. This study used isothermal titration microcalorimetry to monitor sub-monolayer reactions by continuously measuring the heats of adsorption as the reactions between thiol collector (and collector mixtures) and sulphide minerals (and mixed minerals) proceed in real time. The enthalpy of adsorption does not only characterise the intensity of adsorption between a collector and mineral surface but also gives insight into the reaction mechanism, whether physisorption (less negative than -40 kJ/mol) or chemisorption (more negative than -40 kJ/mol). Microflotation was also used to determine the hydrophobicity imparted onto the mineral particles as a result of the mineral-collector interactions. Sulphide minerals investigated were chalcopyrite, pyrite, pyrrhotite and galena. Thiol collectors investigated were xanthates of varying chain length (SEX, SIBX, PNBX and PAX) as well as dithiocarbamates (diethyl-DTC and n-butyl DTC) and diethyl-DTP. The current study seeks to gain knowledge of which collector interacts best with which mineral and an understanding of the mechanism behind the reactions. This study also seeks to investigate the performance and adsorption mechanisms when single minerals are interacted with thiol collectors singly and also in a mixture. A better understanding of how to design collector mixtures is to be gained. Furthermore this study seeks to understand the effect of mineral-mineral interactions on thiol collector adsorption and on the floatability of the pure minerals.
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Ghadie, Heba Alah. "Les traducteurs dans les collections littéraires en France (1821-1852): Identités réelles et discursives." Thèse, Université d'Ottawa / University of Ottawa, 2013. http://hdl.handle.net/10393/30225.
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Cette thèse s’intéresse au phénomène des collections de traductions dans la France du XIXe siècle, particulièrement entre les années 1821 et 1852, dans le but de dévoiler les identités réelles et les identités discursives des traducteurs qui y ont collaboré. Elle tire sa légitimité du peu de travaux effectués jusqu’à ce jour sur les collections de traductions, notamment dans le champ des études littéraires. Nous distinguons deux ensembles, celui de la traduction à partir des langues anciennes (grec et latin) et celui de la traduction à partir des langues modernes (anglais, allemand, italien et espagnol), et décrivons en détail l’architecture globale de cinq entreprises collectives, à savoir : la Bibliothèque Panckoucke, la Collection Nisard, Les Poèmes grecs d’E. Falconnet, la Collection Ladvocat et le Théâtre européen.
Grâce à l’information recueillie sur les pages titres et dans les tables de matières, nous avons établi une liste première de 182 traducteurs qui ont signé des traductions en sein de ces entreprises prestigieuses. En adoptant la perspective « prosopographique », nous avons mené notre enquête sur l’identité réelle de ces traducteurs dans des dictionnaires de l’époque (la Biographie générale du Dr. Hoefer, le Dictionnaire des contemporains de Gustave Vapereau et le Grand dictionnaire universel de Pierre Larousse), avec le but de déterminer les horizons dont ils proviennent, leurs domaines d’intérêt, leurs groupes d’âge, leurs implication dans la société littéraire de l’époque, etc. En outre, ces collections nous ont servi de bases de données pour établir une liste de 169 préfaces de traducteurs dont la lecture sérielle, en ayant recours au concept de « scénographie », propre à l’analyse du discours, permet de dégager la personnalité discursive des signataires, de voir de quelle façon ils se présentent au public, et de vérifier jusqu’à quel point leurs identités réelles imprègnent leurs identités discursives. Nous proposons aussi dans cette thèse un essai de poétique et de typologie des préfaces des traducteurs dans les collections de traduction.
Notre étude s’articule autour de quatre grandes questions auxquelles nous avons tenté de répondre essentiellement à partir des discours préliminaires des traducteurs : qu’est-ce qu’on traduit? pourquoi traduit-on? comment dit-on avoir traduit? et, finalement, qui traduit? Trois grandes figures de traducteurs s’y trouvent enfin définies : « l’érudit », « le littérateur » et « le lettré ». Les résultats de l’enquête sur les identités réelles des traducteurs ont été recueillis sous la forme de courtes notices bio-bibliographiques et exposés dans un dictionnaire à la fin de la thèse.
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Frieslaar, Geraldine Le Anne. "(Re)collections in the archive: making and remaking the International Defence and Aid Fund (IDAF) archival collection." University of the Western Cape, 2015. http://hdl.handle.net/11394/4851.
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Philosophiae Doctor - PhDThe work of the International Defence and Aid Fund (IDAF) conducted between 1956 and 1991 gave rise to a collection of records that traverse 35 years of support work. As a solidarity organisation IDAF provided support to liberation movements in South Africa through their legal and welfare assistance programmes. Equally significant, IDAF also sought to highlight the oppressive machinery of the apartheid government through the deployment of their research, information and publications programmes as a way of creating awareness and ‘keeping the conscience of the world alive.’ When the administrative records of IDAF were relocated to South Africa, with the Mayibuye Centre for History and Culture as chosen location, they were turned into an archival collection which also became a memorial to IDAF’s resistance work located in the foremost anti-apartheid university and politically in a new project that intended to create a museum about apartheid. Later the collection was incorporated into the Robben Island Museum (RIM) through an agreement between the University of the Western Cape (UWC) and the Museum. The dissertation examines the cultural history and the political life of the IDAF archival collection and the processes through which it was made and continues to be remade.
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Ezan, Pascale. "De l'objet de collection à l'objet social : impact des pratiques de consommation enfantine et des stratégies marketing dans la diffusion d'une mode." Caen, 2004. http://www.theses.fr/2004CAEN0620.
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L’effet collection apparaît comme un outil marketing particulièrement prisé par les entreprises qui ciblent les enfants. Or, on observe une quasi-absence d’études en Sciences de Gestion permettant de restituer le phénomène de collection tel qu’il est vécu par la population enfantine et instrumentalisé par les responsables marketing. Notre recherche se propose de combler cette lacune en tentant de comprendre les mécanismes de fertilisation croisée entre les entreprises et les enfants autour du phénomène de collection. Ce cadre d’analyse nous conduit à apprécier le rôle que jouent les pairs dans la formation des préférences enfantines. Dans cette perspective, nous cherchons à pallier les insuffisances du corpus académique qui a focalisé ses travaux sur d’autres agents de socialisation tels que la famille ou les médias pour expliquer comment l’enfant apprend à consommer. Cet éclairage porté au groupe de semblables nous amène à distinguer les séries qui sont alimentées dans la sphère domestique et celles qui ont besoin des pairs pour évoluer. Pour rencontrer l’adhésion des autres enfants, les objets sont alors apportés à l’école qui constitue le berceau des modes enfantines. C’est dans ce contexte que nous menons nos investigations empiriques. La cour de récréation est un terrain propice pour apprécier la façon dont les enfants s’approprient les objets en construisant leurs rituels de consommation. Notre travail consiste à décrypter les codes sur lesquels s’appuie la communauté enfantine pour détecter les séries qui peuvent engendrer des processus mimétiques débouchant sur une mode. De même, nous mettons l’accent sur les signaux qui permettent aux responsables marketing d’anticiper un engouement collectif.
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David, Hertel Julian. "Study on the general applicability of the collector efficiency model to solar process heat collectors." Doctoral thesis, Universitat de les Illes Balears, 2019. http://hdl.handle.net/10803/671483.
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[eng] According to several studies, the installed capacity of solar thermal collectors to provide heat
for industrial processes is going to increase significantly during the next decades. The great
variety of designs and large range of operating temperatures of solar process collectors make
their performance assessment challenging. Although the quasi-dynamic testing procedure has
been designed for most types of collectors, it shows limitations or vagueness when dealing
with medium-scaled collectors. This thesis analyzes some limitations, focusing mainly on
the optical efficiency assessment.
A powerful ray-tracing algorithm has been developed for the optical analyses in this
thesis. The algorithm was used to carry out a sensitivity analysis of a Fresnel collector to
achieve a better understanding of the most influential parameters in ray-tracing simulations.
Two observations were made: First, spectral simulations are not relevant for solar thermal
applications unless mirror scattering shows a very high dependency on the wavelength.
Second, defining the incidence angle dependency of optical materials is crucial to produce
accurate results.
In the case of biaxial concentrating collectors, the incidence angle modifier factorization
model is commonly applied. This model inherently introduces errors by factorizing the
underlying non-factorizable functions. The error was characterized for four different collector
geometries by comparing factorization with ray-tracing simulations. Results have been
presented as a function of geographical latitude. Factorization in the θi-θT -space performed
best in nearly all cases.
Four different collector geometries were submitted to ray-tracing simulations in order
to analyze the thermal dependency of the factorization error. It is shown that the relative
error generally increases with higher operating temperatures, but within the economically
viable temperature range it stays fairly constant. With higher temperatures the collector
gradually stops operating beginning with moments when sun angles are least favorable for
factorization.[cat] Segons diversos estudis, la capacitat instal·lada de captadors solars tèrmics pel subministrament de calor en processos industrials s’incrementarà significativament en els propers anys. La gran diversitat de dissenys i temperatures de treball d’aquest tipus de captador fa difícil l’avaluació dels seus rendiments. Encara que el mètode experimental quasi dinàmic s’ha desenvolupat per la major part de models de captador, segueix tenint limitacions o imprecisions a l’hora d’avaluar captadors específics per calor de procés. Aquesta tesi analitza algunes d’aquestes limitacions, centrant-se principalment en l’avaluació de l’eficiència òptica. Per l’anàlisi òptica, en aquesta tesi s’ha desenvolupat un algoritme avançat de ray-tracing. L’algoritme ha servit per realitzar una anàlisi de sensibilitat d’un captador Fresnel, que ha permès conèixer quins son els paràmetres que tenen una major influència en la qualitat dels resultats obtinguts en les simulacions de ray-tracing. S’ha arribat a dues conclusions: En primer lloc, simulacions espectrals no son rellevants per aplicacions solars tèrmiques, a no ser que la dispersió del mirall depengui significativament de la longitud d’ona. En segon llos és imprescindible especificar al dependència de l’angle d’incidència dels materials òptics per generar resultats acurats. En el cas de captadors concentradors biaxials, s’aplica el model de factorització del modificador d’angle d’incidència. Aquesta factorització te sempre associat un cert error, ja que l’IAM no és en general factoritzable. S’ha caracteritzat l’error per quatre geometries de captadors diferents, comparant el models de factorització amb les simulacions ray-tracing. Els resultats s’han presentat en funció de la latitud geogràfica. La factorització a l’espai θi-θT es la que ofereix més bons resultats en gairebé tots els casos analitzats. Quatre geometries diferents de captador foren analitzades per determinar la dependència amb la temperatura de l’error de factorització. S’ha demostrat que a mesura que s’incrementa la temperatura de treball, s’incrementa l’error relatiu del la factorització, malgrat això, dins del rang de temperatures econòmicament viables, l’error es manté constant. Això és degut a que a mesura s’incrementa la temperatura, es redueixen les hores de treball, i per tant també les hores on el captador treballa sota els angles més desfavorables per la factorització
[spa] Según varios estudios, la capacidad instalada de captadores solares térmicos para proveer calor en procesos industriales se va a incrementar significativamente a lo largo de las próximas décadas. La gran variedad de diseños y temperaturas de este tipo de captadores hace complicada la evaluación de sus rendimientos. Aunque el métdodo experimental quasi-dinámico ha sido diseñado para la mayoría de modelos de captadores, sigue teniendo limitaciones o imprecisiones a la hora de evaluar captadores de mediana escala. Esta tesis analiza algunas de dichas limitaciones, centrándose principalmente en la evaluación de la eficiencia óptica. Para el análisis óptico en esta tesis se ha desarrollado un algoritmo avanzado de raytracing. El algoritmo ha servido para realizar un análisis de sensibilidad de un captador Fresnel, para conseguir con ello un mayor conocimiento de los parámetros más influyentes en las simulaciones ray-tracing. Se ha llegado a dos conclusiones: En primer lugar, simulaciones espectrales no son relevantes para aplicaciones solares térmicas, a no ser que la dispersión del espejo dependa significativamente de la longitud de onda. En segundo lugar, es imprescindible especificar la dependencia del ángulo de incidencia de los materiales ópticos para generar resultados precisos. En el caso de captadores concentradores biaxiales, se aplica el modelo de factorización del ‘incidence angle modifier’. Por defecto, este modelo introduce errores factorizando funciones que no son factorizables. Se ha caracterizado el error para cuatro geometrías de captadores diferentes comparando el modelo de factorización con las simulaciones ray-tracing. Los resultados han sido presentados como función de la latitud geográfica. La factorización en el espacio θi-θT ha demostrado los mejores resultados para casi todos los casos. Cuatro geometrías diferentes fueron sometidas a simulaciones de ray-tracing para analizar la dependencia térmica del mismo error de factorización. Se ha demostrado que a medida que aumenta la temperatura del proceso, aumenta también el error relativo de factorización, sin embargo, dentro del rango económicamente viable de temperaturas, el error se mantiene constante. Esto se debe a que a medida se incrementa la temperatura, el captador deja de operar primero en los momentos de ángulos más desfavorables para la factorización.
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Tacheenie-Campoy, Glory 1952. "Collectors of Navajo rugs: An analysis and comparison of the Marjorie Merriweather Post and Washington Matthews Smithsonian Collection." Thesis, The University of Arizona, 1990. http://hdl.handle.net/10150/291582.
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Navajo blankets and rugs collected by Washington Matthews and Marjorie Merriweather Post are now held by the Museum of Natural History, Smithsonian Institution. Matthews, medical doctor and anthropologist, actively collected Navajo blankets; to preserve them in museums and gather knowledge about them in publications. His goal was to learn about the Navajos before they merged into dominate American culture. Post, philanthropist, art collector, and socialite, collected Navajo blankets and rugs as status symbols, decorations and souvenirs when they were marketed by traders and weavers. Her collections once exhibited at her estates are now exhibited at the Hillwood Museum and the Museum of Natural History, in Washington, D.C. This thesis is about the collectors, their collections and why they collected Navajo blankets and rugs. Tables and photographs illustrate the collection.
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Dupin, Elsa. "Cοnceptiοn et mοdélisatiοn de cοllectrοns innοvants pοur la mesure de la cοmpοsante rapide des flux de neutrοns en réacteur." Electronic Thesis or Diss., Normandie, 2024. http://www.theses.fr/2024NORMC251.
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Le suivi en ligne du flux de neutrons rapides en réacteur à eau est un enjeu pour l’instrumentation in-core des réacteurs et notamment pour les expériences d’irradiation de matériaux. Les collectrons sont des détecteurs utilisés pour la surveillance en ligne des flux de neutrons thermiques et/ou de rayonnements γ. Fonctionnant sans polarisation et pour des débits de fluence importants, ils sont particulièrement adaptés à des mesures en cœur. Les collectrons sont principalement coaxiaux, composés de trois éléments principaux : un émetteur, un isolant et une gaine. En choisissant judicieusement ces trois matériaux, il est possible d’accroître la sélectivité des interactions avec une particule d’intérêt (neutrons ou γ). Cette thèse vise à développer un nouveau collectron sélectif au flux de neutrons rapides dans le but de monitorer les expériences d’irradiation de matériaux. L’une des contraintes majeures de la conception d’un tel détecteur est l’environnement de mesure où les neutrons rapides ne sont pas prédominants. Obtenir une contribution significative des neutrons rapides nécessite de minimiser les contributions des neutrons thermiques et des γ. Le développement et les tests en réacteur d'un prototype de collectrons sensibles aux neutrons rapides sont les principaux objectifs de ces travaux de thèse. Une compréhension complète de la génération du signal collectron est nécessaire pour le développement de nouveaux détecteurs. Or, certains aspects théoriques de la génération de courants dans les collectrons restent encore incomplets. Dans le cadre de ces travaux, et dans le but d’améliorer la modélisation numérique des collectrons, tous les mécanismes affectant la génération de courant sont étudiés. Appuyé par une expérience sur faisceau d’électrons, la résolution des équations de continuité et l'application du théorème de Shockley-Ramo au cas des collectrons ont permis d’améliorer la compréhension du fonctionnement des collectrons. La difficulté principale dans la conception d'un collectron sensible et sélectif aux neutrons rapides réside dans le choix des matériaux. Les sections efficaces des matériaux utilisés usuellement sont beaucoup plus importantes pour neutrons thermiques que pour les neutrons rapides. Dans un environnement réacteur, les rayonnements γ sont également présents dans des proportions significatives. Les interactions des rayonnements γ avec les matériaux composant le collectron peuvent également produire un signal important par rapport aux interactions des neutrons rapides. Par conséquent, le matériau sélectionné pour l’émetteur du collectron développé doit maximiser la contribution des neutrons rapides, tandis que l’isolants et la gaine doivent produire un signal très limité. L'estimation des contributions du courant collectron est possible grâce à la modélisation et aux calculs numériques. Cela a conduit à la définition d'un prototype de collectron sélectif aux neutrons rapides. Des prototypes de ce détecteur innovant ont été construits et testés dans le réacteur de recherche slovène TRIGA Mark II (Jožef Stefan Institute), fournissant une preuve de concept pour le matériau émetteur spécifique proposéSelective on-line measurement of fast neutron flux in a water-pool type reactor environment remains a challenge for in-core measurements. Self-powered neutron or gamma detectors (SPDs) are detectors used for on-line monitoring of thermal neutron and/or gamma ray fluxes. Operating without high voltage, their use is suitable for high flux levels and thus for in-core measurements. SPDs are mainly coaxial and consist of three main components: an emitter, an insulator and a sheath. Provided a wise choice of these three materials, the SPD could focus on interactions with particles of interest (neutrons or gamma). To meet the need for on-line fast neutron measurements in material testing reactors (MTR), this thesis aims to develop a new Self-Powered Neutron Detector (SPND) selective to fast neutrons flux. The design of such a detector with significant fast neutron contribution to the signal means reducing thermal neutron and gamma contributions to a minimum level in radiation environments where fast neutrons are the least flux. Prototype development and reactor tests of this new selective self-powered neutron detector are the main objectives of this PhD thesis work. Despite several publications in literature, some theoretical aspects of signal generation in SPDs remain incomplete, especially when it comes to small contributions. Also within the framework of this PhD thesis, and with the aim of a better understanding of SPNDs operation, all mechanisms affecting the current generation are studied by means of an electron beam experiment, helping for a better understanding of the behavior for insulation part of the sensor. Solving continuity equation systems and applying the Shockley-Ramo theorem to the SPD case is also part of this study. A complete understanding of the SPD signal generation is required in the development of new detectors.The main effort in designing a SPND sensitive and selective to fast neutrons lies in the choice of materials. In fact, thermal neutron cross-sections for common materials are much larger than fast neutron cross-sections. In reactor environment, gamma rays are also present in significant proportions. Gamma ray interactions with detector materials can also produce a significant signal compared to fast neutron interactions. Consequently, the SPND materials must maximize the fast neutron contribution. Fast neutron interactions have to be predominant in the emitter to induce a sufficiently large signal for measurement, meanwhile insulator and sheath materials shall produce a very limited signal. The estimation of the SPND current contributions is possible by means of numerical modelling and calculations. This led to the definition of a prototype of a fast neutron selective SPND. Prototypes of this innovative detector have been manufactured and tested at the Slovenian TRIGA Mark II research reactor (Jožef Stefan Institute), providing a proof of concept for the proposed specific emitter material
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Bounia, Alexandra. "The nature of collecting in the Classical world : collections and collectors, c.100 BCE - 100 CE." Thesis, University of Leicester, 1998. http://hdl.handle.net/2381/31160.
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Contrary to general traditional belief, the origins of collecting, as a systematic activity that refers to the satisfaction of symbolic rather than actual needs, was not an invention of the Renaissance. Collecting made its first appearance in European prehistory, was a subject of interest and debate for the ancient Greeks and Romans, and has been present continuously ever since. This thesis aims to address a gap in the history of collecting and to contribute to the discussion of its origins and nature through an analysis of collecting in the classical Graeco-Roman world. As a result, the subject of this thesis is the nature of classical collecting as this is illustrated by the works of four Latin authors, M. Tullius Cicero, Gaius Plinius Secundus, M. Valerius Martialis, and T. Petronius Arbiter. This analysis aims to take a long view of the collecting attitudes in the classical world, and trace the seeds of this practice and mentality in a shared tradition that runs through European thought. Consequently, the views on collections and collecting expressed by the four writers are seen within the longer Graeco-Roman tradition, and are approached through four parameters that have been identified as fundamental for structuring the collecting discourse: the notion of the past and the role of material culture as a mediator between people and their perception of it; gift-exchange as a social tradition with deep social roots, that structures relations between people, people and the Gods, and people and material culture; the notion of identity, at a communal and individual level and the capacity of objects to shape and structure it; and finally, the notions of time and space, our understanding and appreciation of which require the mediation of material culture. The discussion of each of those parameters comes together in the four chapters on the Latin authors. The reading of the ancient texts has been influenced by philosophical concerns about issues of interpretation and appropriation, and in particular by the ideas of Barthes and Ricoeur.
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Mišák, Ján. "Garbage collector objektů jazyka PNtalk." Master's thesis, Vysoké učení technické v Brně. Fakulta informačních technologií, 2016. http://www.nusl.cz/ntk/nusl-255447.
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This thesis deals with the designing of a garbage collector for the PNtalk virtual machine. It describes and rates the approaches and algorithms for an automatic memory management. Four algorithm families ale presented: mark-sweep, mark-compact, copying algorithms and reference counting. At first it describes sequential forms, that pauses running of the main program (mutator), then it describes parallel and concurent forms, that do not pauses the mutator. The thesis also presents generational model of garbage collecting. The following sections briefly introduces object orientated Petri nets. The result of this thesis is the design of the generational garbage collector for the PNtalk virtual machine.
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Vestlund, Johan. "Gas-filled, flat plate solar collectors." Doctoral thesis, Högskolan Dalarna, Energi och miljöteknik, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:du-6182.
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This work treats the thermal and mechanical performances of gas-filled, flat plate solar collectors in order to achieve a better performance than that of air filled collectors. The gases examined are argon, krypton and xenon which all have lower thermal conductivity than air. The absorber is formed as a tray connected to the glass. The pressure of the gas inside is near to the ambient and since the gas volume will vary as the temperature changes, there are potential risks for fatigue in the material. One heat transfer model and one mechanical model were built. The mechanical model gave stresses and information on the movements. The factors of safety were calculated from the stresses, and the movements were used as input for the heat transfer model where the thermal performance was calculated. It is shown that gas-filled, flat plate solar collectors can be designed to achieve good thermal performance at a competitive cost. The best yield is achieved with a xenon gas filling together with a normal thick absorber, where normal thick means a 0.25 mm copper absorber. However, a great deal of energy is needed to produce the xenon gas, and if this aspect is taken into account, the krypton filling is better. Good thermal performance can also be achieved using less material; a collector with a 0.1 mm thick copper absorber and the third best gas, which is argon, still gives a better operating performance than a common, commercially produced, air filled collector with a 0.25 mm absorber. When manufacturing gas-filled flat plate solar collectors, one way of decreasing the total material costs significantly, is by changing absorber material from copper to aluminium. Best yield per monetary outlay is given by a thin (0.3 mm) alu-minium absorber with an argon filling. A high factor of safety is achieved with thin absorbers, large absorber areas, rectangular constructions with long tubes and short distances between glass and absorber. The latter will also give a thin layer of gas which gives good thermal performance. The only doubtii ful construction is an argon filled collector with a normal thick (> 0.50 mm) aluminium absorber. In general, an assessment of the stresses for the proposed construction together with appropriate tests are recommended before manufacturing, since it is hard to predict the factor of safety; if one part is reinforced, some other parts can experience more stress and the factor of safety actually drops.
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Boorn, Alida S. "Interpreting the transnational material culture of the 19th-Century North American Plains Indians: creators, collectors, and collections." Diss., Kansas State University, 2016. http://hdl.handle.net/2097/34472.
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Doctor of PhilosophyDepartment of History
Bonnie Lynn-Sherow
American Indian material culture collections are protected in tribal archives and transnational museums. This dissertation argues that the Plains Indian people and Euroamerican people cross pollinated each other’s material culture. Over the last two hundred years’ interpretations of transnational material culture acculturation of the 19th - Century North American Plains Indians has been interpreted in venues that include arts and crafts, photography, museums, world exhibitions, tourism destinations, entertainments and literature. In this work, exhibit catalogs have been utilized as archives. Many historians recognize that American Indians are vital participants and contributors to United States history. This work includes discussions about North American Indigenous people and others who were creators of material culture and art, the people who collected this material culture and their motives, and the various types of collections that blossomed from material culture and oral history proffering. Creators included Plains Indian women who tanned bison hides and their involvement in crafting the most beautiful art works through their skill in quillwork and beadwork. Plains Indian men were also creators. They recorded the family’s and tribe’s histories in pictograph paintings. Plains Indian storytellers created material that was saved and collected through oral tradition. Euroamerican artists created biographical images of the Plains Indian people that they interacted with. Collections of objects, legends, and art resulted from those who collected the creations made by the creators. Thus today there exists fine examples of ethno-heirlooms that pay tribute to the transnational acculturation and survival of the American Indian people of the Great Western Northern American Plains. What is most important is the knowledge, and an appreciation for the idea that a transnational cross-pollination of cultures enriched and became rooted in United States history.
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Noual, Pierre. "L'être et l'avoir de la collection : essai sur l'avenir juridique des corpus artistiques." Thesis, Toulouse 1, 2016. http://www.theses.fr/2016TOU10043.
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La collection demeure un puissant moteur de curiosité en perpétuelle effervescence. Elle relève de la sphère artistique et participe de l’indicible. Elle échappe à la logique et à la rationalité. Elle nous dépasse et ne relève que de l’ordre du sensible. C’est pourquoi en parlant des relations entre l’art et la société, la collection occupe une place singulière. Pourtant, si les études juridiques consacrées aux œuvres d’art sont nombreuses, il en irait autrement pour les collections, alors même qu'elles sont heurtées depuis plusieurs décennies par de nombreux bouleversements économiques et artistiques peu étudiés par le droit. Un tel constat conduit à ramener les collections dans le champ d’une analyse juridique. Celui-ci n’est pas seulement académique et il implique de réelles conséquences pratiques. Comment la collection est-elle appréhendée par le droit ? Quel est son avenir juridique ? Telles sont les interrogations qui vont permettre de remonter aux sources de ce corpus pour mieux envisager son devenir. Pour ce faire, il convient d’appréhender la consistance même de la collection par le prisme de la propriété et ses régimes de protection. Puis, il sera permis d'envisager la gestion et la transmission juridique de ces patrimoines artistiques qui s’enracinent dans le cadre d’une activité culturelle des collectionneurs publics et privés. Dans une approche pluridisciplinaire, l’étude présente de façon à la fois globale et cohérente l’appréhension de la collection par le droit. Il s’agit de contribuer à une compréhension accrue des instruments permettant le fonctionnement de cet ensemble dans la relation qu’il entretient avec le droit, son marché et ses divers protagonistes. En mettant en évidence la contradiction entre la volonté du législateur d’encourager le développement des collections et les restrictions qu’il impose, l’étude participe, à sa mesure, à la connaissance juridique de cet objet, à sa valorisation et à sa conservation sur le territoire afin de déployer une nouvelle « culture de la collection ». C’est ainsi que l’on peut vérifier une nouvelle fois que le droit est un outil d’intelligence de réalité sociale pour la collection et un matériau directement expérimentable par le collectionneur pour aller au-delà du droitThe collection remains a powerful engine of curiosity in perpetual effervescence. It concerns the artistic sphere and takes part of the inexpressible one. She escapes from logic and rationality. She’s beyond us and raises only about the sensitive one. Therefore, speaking of the relationship between art and society, the collection occupies a singular place. However, if the legal studies devoted to artworks are numerous, it would be different for collections, while at the same time they have been run up against for several decades by many economic and artistic upheavals, little studied by the law. Such a report led to bring back the collections in the field of a legal analysis. It’s not only academic and involves real practical consequences. How is the collection apprehended by the law? Which is its legal future? These are the questions that will help to go back to the sources of these corpus to better consider their destiny. With this intention, it’s advisable to appreciate the consistency of the through the prism of the property and its protection schemes. Then it’ll be possible to consider the management and the legal transmission of such artistic heritage which roots in the context of a cultural activity of public and private art collectors. In a multidisciplinary approach, the study presents so both comprehensive and coherent apprehension of the collection by the law. This is to contribute to an increased understanding of the instruments allowing the operation of this set in its relationship with law, its market and its various protagonists. By highlighting the contradiction between legislator’s desire to encourage the development of collections and the restrictions it imposes, the study involved in its extent, the legal knowledge of this subject, its valorization, and its conservation on the territory in order to deploy a new "collection’s culture". Thus one can verify once again that the law is a tool of intelligence of social reality for the collection and a material directly usable by the art collector to go beyond the law
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Allen, Erin Evangeline. "Hidden meanings: a search for the historical worldview in the Oberlin College Ethnographic Collection organizational systems." Oberlin College Honors Theses / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1323803885.
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Girard, Elizabeth. "A Survey of the Martin S. Ackerman Foundation at VCUarts Anderson Gallery." VCU Scholars Compass, 2009. http://scholarscompass.vcu.edu/etd/1982.
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The museum field has changed dramatically in the past thirty years, shifting from museum staff collecting anything and everything to staff collecting with a narrow focus defined within a museum’s collection plan. Today’s museum professionals are faced with a backlog of collection problems such as works that do not fit within the museum’s mission statement, unaccessioned works and a lack of storage due to the overzealous collecting of previous generations. Many museums are now attempting to deal with the problems left by past staff members by going through the collection, piece by piece, and making decisions which shape the collection to better reflect the image of the museum today. I addressed this problem with one collection, the Martin S. Ackerman Foundation Collection, at VCUarts Anderson Gallery at Virginia Commonwealth University in Richmond, VA. This project consisted of locating and inventorying the collection as well as documenting the works to prepare for possible accession into the Anderson Gallery permanent collection. This paper addresses the challenges and outcomes of my collection survey, while providing a model for others to follow in dealing with decades of collections buildup.
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Tanré-Szewczyck, Juliette. "La collection Salt. Une collection européenne d'antiquités égyptiennes." Thesis, Lille 3, 2019. https://pepite-depot.univ-lille.fr/RESTREINT/EDSHS/2019/2019LIL3H012.pdf.
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Consul-Général britannique en Égypte de 1816 à 1827, Henry Salt y réunit une collection d’antiquités exceptionnelle. Dispersée en trois ensembles, elle est venue enrichir les départements égyptiens du British Museum et du musée du Louvre, alors en formation. Malgré la renommée d’Henry Salt, aucune étude d’ensemble sur sa collection n’avait jamais été entreprise. Cette thèse propose d’examiner l’impact que cette collection a eu sur une discipline égyptologique qui en était alors à ses balbutiements, et le rôle d’Henry Salt dans ce processus. Pour cela, nous avons d’abord étudié le contexte de formation de la collection à travers quatre axes de réflexion. Le premier chapitre est consacré à une étude d’Henry Salt dans ses activités égyptologiques. Le deuxième chapitre se concentre sur l’étude des processus de collecte d’antiquités sur le sol égyptien dans le premier tiers du XIXe siècle, tandis que le troisième chapitre, en miroir, s’attarde sur l’entrée de ces collections égyptiennes dans les musées européens. Enfin, le quatrième chapitre vient clore cette première partie en proposant une analyse de la place qu’occupent les antiquités égyptiennes dans le marché de l’art à cette période. La seconde partie de cette thèse propose une étude détaillée de la collection afin d’en préciser le contenu et d’affiner notre connaissance de la pratique de collectionneur du consul anglais. Les trois ensembles sont abordés successivement et l’étude est complétée par une analyse détaillée du travail de collecte effectué par Salt et ses agents dans la nécropole thébaineBritish Consul-General from 1816 to 1827, Henry Salt has gathered a remarkable collection of Egyptian antiquities. It was scattered into three groups of objects, which supplemented the Egyptian departments from the British Museum and the Louvre, at their early stages. This PhD aims to investigate the impact of this collection on Egyptology, which was then in their beginnings, and the role Henry Salt has played in this process. Despite Henry Salt’s reputation, no global study on his collection has been made until now. To achieve such a goal, we organised our thoughts into two parts. Firstly, we studied the circumstances of the setting up of this collection, by way of four focus. The first chapter is dedicated to a study of Henry Salt through his Egyptological activities. The second chapter focuses on the process of collecting activities on Egyptian soil during the first third of the nineteenth century, while the third chapter lingers on the processes by which Egyptian collections entered European museums. At last, the fourth chapter ends this first part by offering an analysis of the place of Egyptian antiquities in the art-market of the period. The second part of this PhD offers a detailed study of Henry Salt’s collection, in order to define its content and to clarify our knowledge of the English consul’s practice as a collector. The three groups of collections will be addressed one after another. The study is supplemented by a detailed analysis of Salt’s and his team’s collecting activities in the Theban necropolis
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Carreau, Lucie. "Collecting the Collector : Being an exploration of Harry Geoffrey Beasley's Collection of Pacific Artefacts made in the yeads 1895-1939." Thesis, University of East Anglia, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.518367.
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Between 1895 and 1939, brewer Harry Beasley (1882-1939) formed one of the largest private collections of ethnographic material in Britain, numbering over 10,000 objects from Africa, Oceania, the Americas, Asia and Scandinavia. This thesis examines the context and processesth at led to the emergencea nd developmento f his collection, and its transformation into a private museum, the Cranmore Ethnographical Museum in Chislehurst, Kent (established 1928). The content of the collection and museum was dispersed after Beasley's death in 1939, enriching public and private collections worldwide. This thesis focuses on the Pacific component of the collection (over 5,570 objects) to characterise ethnographic private collecting at the beginning of the twentieth century and assessit s place within severalm ilieus: academia,m useumsa nd the market for ethnographic material. Extensive archival documentation and the large amount of objects in public collections allow for an in-depth exploration of relationships between people and things through time, space and milieus. Objects and archives permit a stretching of the collection's visible boundaries to accommodate a wider range of narratives and reveal a collection that is simultaneously coherent and multiple. This thesis contributes to a richer understanding of the intellectual and physical processes that underpin the activity of collection-making. In particular, it questions the role and place of `marginal' individuals such as Beasley in the formation of disciplines and institutions as well as their contribution to museum collections through objects and knowledge. It provides a sketch of private collecting at the beginning of the twentieth century that reflects the ambivalence and connectivity of the activity and relocates private collectors, from the margins to within the realm of academia and museums
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Cordera, Paola. "Dal museo delle cose al Musée Imaginaire : materiali per la (ri)costituzione del Museo di arti decorative e industriali di Frédéric Spitzer (1815-1890)." Thesis, Paris 1, 2014. http://www.theses.fr/2014PA010691.
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Cette étude cible la reconstitution de la collection du marchand amateur Frédéric Spitzer, avec son milieu social, culturel, politique dans une perspective qui était européenne au XIXe siècle et qui est aujourd’hui devenue globalisée et participative. Vendue aux enchères en 1893, cette collection constitua un cas exemplaire parmi les collections de son époque, caractérisée par des liens très étroits entre collection, étude, nouvelle production d’objets d’art, communication et divulgation. Forcément abordé selon une perspective multidisciplinaire et transnationale et des sources documentaires largement inédites, la microstoria de Spitzer a été réécrite dans le sillage de la multiple identité, de ses nombreux déplacements dans le cadre européen et de ses relations avec les principaux représentants du milieu culturel européen. Sa collection et les objets d’arts qui la composaient ont été ici étudiés avec leur scénario d’origine, c’est-à-dire l’hôtel particulier où ils étaient installés et les rites sociaux et la vie privée dans les salons de réception se prolongeaient dans les salles du musée, en affichant référence à l’esprit de la Renaissance italienne dans une sorte de Gesamtkunstwerk. Un inventaire raisonné a été finalement rédigé à fin de reconstituer l’unité d’origine de la collection et d’accéder d’une manière objective et consciente aux possibles lectures et interprétations du projet unitaire à vocation encyclopédique et taxonomique conçu par Frédéric Spitzer, en devenant un possible support pour la valorisation du patrimoine culturel et de la mémoire collective actuelleThis study focus on the reconstruction of the collection of the art dealer Frédéric Spitzer (1815-1890), by reconsidering the role of his collection within the 19th century European frame and its meaning in the present culture within contemporary cultural dynamics at a global scale. Auctioned in 1893, his collection was considered an exemplar model of his era, marked by strong links between collection, studies, new production of art, communication and disclosure items. Reconsidered according to a multidisciplinary and a transnational perspective and based on unpublished documents, the Spitzer’s microstoria has been rewritten in the wake of his multiple identity, his European travels and his relations with the key figures of the European cultural world. His collection and his art’s objects have been studied here within their original frame, being on display in Spitzer’s mansion in Paris where social rites and private life in the reception rooms were extended into the museum, showing reference to the spirit of the Italian Renaissance in a kind of Gesamtkunstwerk. A reasoned inventory was finally compiled in order to rebuild the lost unity of the museum according to the Spitzer’s encyclopedic and taxonomic spirit in order to contribure and understand its complexity as a research support tool and as a device of information for the cultural heritage and the present mémoire collective
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Chang, Michelle T. "Collection understanding." Thesis, Texas A&M University, 2003. http://hdl.handle.net/1969.1/69.
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Collection understanding shifts the traditional focus of retrieval in large collections from locating specific artifacts to gaining a comprehensive view of the collection. Visualization tools are critical to the process of efficient collection understanding. By presenting simple visual interfaces and intuitive methods of interacting with a collection, users come to understand the essence of the collection by focusing on the artifacts. This thesis discusses a practical approach for enhancing collection understanding in image collections.
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Grodzinski, Veronika. "French Impressionism and German Jews : the making of modernist art collectors and art collections in Imperial Germany 1896-1914." Thesis, University College London (University of London), 2005. http://discovery.ucl.ac.uk/1444726/.
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This interdisciplinary thesis is the first dedicated study of German Jewish patronage of French Impressionist and post-Impressionist art in Wilhelmine Germany. It investigates the disproportionately strong impact of German Jewish patronage from three perspectives. It examines the significance of Paul Cassirer's modernist art dealership, the prominence of German Jewish art collectors and their modernist art collections and the presence of German Jewish sponsorship at the Nationalgalerie Berlin, the Pinakothek Munich and the Stadelsche Kunstinstitut in Frankfurt am Main. First it examines Impressionism as the 'painting of modern life' in its original French context, focussing on French Jewish dealer-patrons and collectors whose association with French modernist artists influenced not only its iconography, but also involved French Jews in modern art promotion and marketing. The French model serves as a basis for understanding the reception of such art amongst a liberal circle of Germans and German Jews. The study examines the Wilhelmine reaction to French modernism and shows how antagonism toward Jews and France was often linked and interpreted by conservatives as 'alien elements' in nationalist Germany, thus highlighting Impressionism as a threat of a new Weltanschauung. This thesis suggests that although some German Jews acculturated to the dominant Wilhelmine culture, the championing of modernist art actually emphasized their Jewishness and their role as the 'Other' in German society, despite their patriotism. Yet, in the long run, German Jewish taste for the avant-garde had as much influence on German modernism as German taste had on Jews. The study hypothesizes that German Jews embraced French Impressionism as an 'iconography of inclusion' that coincided with their own experience of modern life and thus their patronage served as a component in the construction of their secular identities. The study concludes that strong German Jewish patronage changed the modern art market irrevocably and by doing so it was not only a turning point for the writing of modern art histories, but also for the reassessment of German Jewish cultural identities, thereby proving that the history of modernist European art patronage encompassed also a history of ideas.
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Breeden, Lauren N. "Mitosis : a collection." Honors in the Major Thesis, University of Central Florida, 2003. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/409.
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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.Bachelors
Arts and Sciences
English
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Lin, Tung-Lung. "The Heidegger Collection." Thesis, University of North Texas, 2000. https://digital.library.unt.edu/ark:/67531/metadc2626/.
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The dissertation consists of two parts: (1) the essay and (2) the composition. The essay elucidates the composer's creative process of the orchestral works, The Heidegger Collection. The Heidegger Collection has five movements. The titles of each movement are derived from the key philosophical concepts from Heidegger's most significant writing, Being and Time: (1) State-of-Mind, (2) Idle-Talk, (3) Moment-of-Vision, (4) Dread, and (5) Being-towards-the-End. The essay discusses the meanings of the five concepts, and explains how I express my reaction to Heidegger's thinking through music composition. The essay also discusses the essential musical language of The Heidegger Collection, such as interval cycles, polyrhythmic patterns, algorithmic elements, portamento effects, chaos theory, and oriental influence.
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Kullberg, Adam. "Backflow: A Collection." Thesis, University of North Texas, 2011. https://digital.library.unt.edu/ark:/67531/metadc103346/.
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This collection consists of a critical preface and nine essays. The preface analyzes, first, how the imagination influences the personal journey of a writer, and second, the techniques authors use, mainly form, time, and space, to enact the imagination and propel the reader into an imagined narrative. The essays explore themes of loss, mental illness, the rift between the “real” and the “imagined” life, and the intangibility of memory itself. Collection includes the essays “Into the Snow,” “No Longer a Part,” “Borderland,” “Still Wounds,” “What Stays in Las Vegas,” “Remnants,” “The Root,” “Your Father,” and “The Land Lord.”
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Walker, Jessica E. "Unexpected Reflection Collection." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1253634229.
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Boswell, Timothy. "Portraits: A Collection." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc28396/.
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This collection consists of a critical preface and five short stories. The preface analyzes what it terms 'fringe fiction,' or stories dealing with elements that are improbable or unusual, though not impossible, as it distinguishes this category from magical realism and offers guidelines for writing this kind of fiction. The short stories explore themes of attachment, loss, guilt, and hope. Collection includes the stories "Portrait," "Dress Up," "Change," "Drawn Onward, We Few, Drawn Onward," and "Broker."
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Jew, Yanni K. Carleton University Dissertation Computer Science. "Distributed garbage collection." Ottawa, 1986.
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Button, Sara Melanie. "Inheritance: a collection." Thesis, The University of Arizona, 2009. http://hdl.handle.net/10150/192296.
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Dixon, Robert M. W. "[Collection of publications]." Thesis, Canberra, ACT : The Australian National University, 1991. http://hdl.handle.net/1885/133827.
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Lim, Boon-Leong. "Cloning and expression of a C1q-binding protein and two of the collections (Collectin-43 and lung surfactant protein D)." Thesis, University of Oxford, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.239328.
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Bargue, Elisabeth Evangélie. "Passion(s) dans l'espace public : histoire des collectionneurs et des collections privées d'art contemporain en Grèce au XXe siècle." Thesis, Paris 1, 2014. http://www.theses.fr/2014PA010571.
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Cette étude se propose de présenter l'évolution des collections privées d'art contemporain en Grèce au cours du siècle dernier. Malgré la forte présence du phénomène, les études à ce sujet sont rares, surtout concernant la période contemporaine qui est souvent délaissée au profit de l'archéologie et de la période byzantine. Pourtant, le phénomène du collectionnisme est très présent en Grèce et il est étroitement lié à I'histoire politique et sociale du pays, à des phénomènes tels que l'évergétisme, la diaspora et l'essor économique du pays à partir des années quatre-vingts lors de son entrée dans la Communauté Économique Européenne. Ainsi, l'aspect du phénomène se trouve-t-il en constante mutation. L'objectif de cette étude est donc une première approche des divers aspects du collectionnisme, étudié en relation avec l'histoire culturelle du pays, à travers les portraits de nombreux collectionneurs grecs qui ont vécu au XXe siècle. Ces passionnés d'art ont fortement marqué le paysage artistique et culturel de leur pays d'origine - mais aussi parfois de leur pays d'accueil - notamment grâce à la mise en valeur d'artistes et à l'influence du goût, mais surtout parce que leur activité est liée à la constitution de collection de musées de beaux-arts et de fondations privéesThis study aims to describe the history and situation of the private contemporary art collections in Greece du ring the last century. Despite the strong presence of the phenomenon, studies on this subject are scarce, especially in regard to the contemporary period, which is often neglected in favor of the Archeological and Byzantine period. However, the phenomenon of collecting contemporary art is very present in Greece and it is closely linked to the political and social history, to phenomenas such as benefaction, diaspora and the economic growth of the country, from the eighties upon entry into the European Economic Community. Thus, the appearance of the phenomenon is constantly changing. What is studied here is a first approach to the various aspects of collecting contemporary art in relation to the cultural history of the country, through the portraits of many iconic Greek collectors who lived in the twentieth century. These art lovers have strongly influenced the artistic and cultural landscape of their country of origin - but also sometimes to their home countries - through the discovery of artists and the influence of taste. The latter was achieved especially because their activity was related to the establishment of the permanent collections of fine art museums and private foundations
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Couette, Déborah. "L'Aracine, de l'association au musée : histoire d'une collection d'art brut (1982-2010)." Thesis, Paris 1, 2019. http://www.theses.fr/2019PA01H043.
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L’Aracine est une association loi de 1901 créée en 1982 à l’initiative de Madeleine Lommel en collaboration avec Michel Nedjar et Claire Teller dans le but de rassembler, de conserver et d’exposer une collection d’art brut publique en France. Conçue comme un hommage aux recherches de l’artiste Jean Dubuffet, cette collection – offerte en 1999 au musée d’Art moderne de Villeneuve-d’Ascq – constitue un rare essai de légitimation et de patrimonialisation de l’art brut. Cette thèse, histoire d’une association, d’une collecte et d’une collection, propose de revenir aux origines et aux développements de l’association L’Aracine, en mettant en lumière le rôle joué par des non-professionnels de l’art dans la constitution d’un patrimoine du XXe siècleL’Aracine is a non-profit association founded in 1982 by Madeleine Lommel with Michel Nedjar and Claire Teller, to collect, preserve and exhibit a public collection of art brut in France. Conceived in tribute to the research of artist Jean Dubuffet, the collection – which was given to the Modern Art Museum of Villeneuve-d’Ascq in 1999 ― is a rare attempt to establish art brut’s legitimization and legacy. This PhD – story of an association, a collection process and a collection – reconsiders the origin and development of the L’Aracine project and casts a light on the amateurs whose role was to establish this 20th century patrimony
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McIntosh, Frances Claire. "The Clayton Collection : an archaeological appraisal of a 19th Century collection." Thesis, University of Newcastle upon Tyne, 2017. http://hdl.handle.net/10443/3687.
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This thesis examines the archaeological material from Hadrian’s Wall within the Clayton Collection at Chesters, Northumberland. The Collection was formed through the work of John Clayton, antiquarian and landowner in the 19th century. His work took place at a pivotal time in the study of Hadrian’s Wall, as public interest was growing, access was improving, and the discipline of archaeology was developing. As part of a large network of antiquarians, Clayton excavated, studied and published his discoveries. After his death his archaeological estate was retained, and the Collection was moved into a museum in 1896. Despite being in the public domain for so long, the material has never been studied as a whole, or in the light of its 19th century creation. One aim of this thesis is to explore the 19th century context within which this collection was formed. Using published accounts, and archival letters and other sources, Clayton’s methodology will be revealed. He was not simply a ‘wall-chaser’ or ‘treasure hunter’, but often considered carefully the motivations for his excavation. Nonetheless, he was also a man of his time, with his methodology regarding the retention of material not meeting modern archaeological standards. The second thesis aim is to use the Collection to illustrate life on Hadrian’s Wall in the Roman period. The Clayton Collection will be considered in comparison with other sites on Hadrian’s Wall, as well as other sites in Britain and on the Continent. Case studies of certain groups of material will show that despite the lack of detailed findspots, the material recovered by Clayton can still provide information about Roman life, in particular at Cilurnum. Research throughout this thesis will show that despite constraints, the Clayton Collection can still provide answers to 21st century research questions.
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Tolley, Rebecca. "Review of Chicago History Museum, Digital Collection: Costume and Textile Collection." Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/etsu-works/5646.
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Sekikome, Patrick. "Developing a strategy and action plan for sustainably digitising specific special collections : a case of Buganda Kingdom collection at the Makerere University Library, Uganda." Diss., University of Pretoria, 2016. http://hdl.handle.net/2263/58605.
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The focus of this study was to develop a strategy for sustainable digitisation of the Buganda kingdom special collections at Makerere University Library, Uganda. A number of questions were formulated to guide the researcher in finding answers to the research question.
A literature review based on the research sub-questions was carried out. The review covered the approaches used when planning digitisation projects. These included the selection criteria, processes and technology requirements for digitising archival materials, resource requirements for sustainable digitisation initiatives, skills and competencies, possible framework for digitising archival materials, an overview of the Buganda Kingdom collection as well as the current digitisation equipment available at the Makerere University Library.
The study took a qualitative approach with a case study design. This was due to the need to collect in-depth and detailed views and experiences regarding digitisation projects. A purposive sampling technique was used to identify three institutions, located within the Kampala area, which are actively involved in digitisation of collections. Data were collected, using semi structured interviews, from three participants; one from each institution. The participants were selected because of their knowledge about digitisation and semi-structured interviews were preferred due to their flexibility.
An interview schedule was used as the data collection instrument. Data was transcribed into Microsoft Word and later entered into Microsoft excel for easy analysis.
For ethical considerations, the researcher obtained clearance from the University of Pretoria and sought the consent of the participants before data were collected.
Findings that answered the research question and sub-questions were presented and interpreted in chapter four and conclusions as were well recommendations discussed in detail in chapter five of this research reportMini Dissertation (MIT)--University of Pretoria, 2016.
University of Pretoria
Information Science
MIT
Unrestricted
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Summerfield, Angela. "Interventions : twentieth-century art collection schemes and their impact on local authority art gallery and museum collections of twentieth-century British art in Britain." Thesis, City, University of London, 2007. http://openaccess.city.ac.uk/17420/.
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In the twentieth century, collecting became a core activity of local authority art galleries and museums in Britain. A key feature of these art collections was the representation of Twentieth Century British Art. The aim of this study is to examine, for the first time, this development as abroad cultural phenomenon, through the distinctive roles played by central government-funded, and independent national and provincial art collection schemes. The central government-funded art collection schemes are the V. & A Purchase Grant Fund, War Artists' Advisory Committee and the National Heritage Memorial Fund; and the national loan and exhibition schemes offered by the Tate Gallery and the Arts Council. Independent schemes are more numerous and varied. These were administered by the National Art Collections Fund (now the Art Fund), Contemporary Art Society, Scottish Modem Arts Association, Contemporary Art Society for Wales, Henry Moore Foundation and Gulbenkian Foundation. In addition, there were the independent national loan and exhibition schemes offered by the Museums Association, Peter Stuyvesant Foundation and Alistair McAlpine and provincial schemes based in Manchester (Charles Rutherston Loan Scheme), Cardiff (National Museum of Wales Loan Scheme), Liverpool ('John Moores' competition-exhibitions) and Bradford ('International Print Biennale' competition-exhibitions). Given the geographical coverage, historical scope and focus of this study, a substantial body of published and unpublished literature was consulted. The wide-range of sources examined included institutional histories, biographies and studies of Twentieth-Century British Art; permanent collection and exhibition catalogues; newspaper, journal and magazine articles, curatorial records and correspondence; institutional records and correspondence; archival material and reports; and . correspondence and interviews. This entailed the discovery of much new material and the collation of substantial random data held by the Contemporary Art Society and the Gulbenkian Foundation This research seeks to show that local authority collecting of Twentieth-Century British Art was part of a nation-wide cultural pattern determined by certain ideas, theories and policies. Within this context, Section 1 identifies and discusses the nature and purpose of public art galleries, muscums and their art collections from 1845-1945. This momentous period in the museum movement in Britain, it is argued, sustained and generated ideas, theories and policies which encompassed national institutional hierarchies and their models of collecting, high art aesthetic standards and scholarship linked connoisseurship; the organic structure of museums; and multifaceted education. It concludes that during this formative period, an enduring cultural framework was established, from which emerged key collecting impetuses which are art history, patronage and heritage. Sections 2 and 3 examine the roles played by central government-funded and independent schemes, as a response to these issues, which also engendered and reinforced the collecting of specific types of Twentieth Century British Art. Section'4 surveys the local authority collections, which participated in the schemes, and concludes that 1957-79 was a crucial period in post-war collecting, which was both facilitated by the emergence of a considerable and dynamic network of commercial art galleries, and enhanced by national and provincial measures to decentralize the arts. A principal conclusion is that the future of modem (twentieth-century) and contemporary (twenty-first- century) British art collecting, by local authority art galleries and museums, lies in its perception as part of a collective cultural enterprise, in which the intervention of collection schemes will, as in the past, play a fundamental role. Finally, there is also a strong argument for provincial institutions to feed into a national debate as to what is selected to represent both modem and contemporary British art practice in public collections in general.
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Stadtlander, Mark D. "Trash collection efficiency and consumer knowledge: municipal trash collection in Manhattan, Kansas." Kansas State University, 2011. http://hdl.handle.net/2097/13158.
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Master of ScienceDepartment of Landscape Architecture Regional and Community Planning
Huston Gibson
The provision of services in a community is often taken for granted, or done the way things have always been done. It is sensible to examine those practices to see if the system in place is advantageous to all parties involved. This paper examines the forms of municipal trash collection used in the United States and specifically Manhattan, Kansas. This examination includes a literature review of forms of solid waste collection and how informed vs. uninformed consumers act when purchasing goods and services. The specific traits of seven municipal trash service providers in Manhattan are analyzed. The findings of this project include a spread in prices that economic theory alone may not explain. These finding, supported by literature, would suggest that there is a breakdown in the transfer of information between service providers and consumers.
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Harrison, Caroline "Niki." "Autonomous Tick Collection Robot: Evaluating Design, Materials, and Stability for Optimum Collection." University of Cincinnati / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1592134543425704.
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Nyström, Victor. "A Collection of Rims." Thesis, Mittuniversitetet, Avdelningen för industridesign, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:miun:diva-31945.
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The interest of cars as a hobby has been increasing over a long period of time and is continously growing stronger. There is also professional business garages that offer help to enthusiasts. This even though modern cars is getting more and more complicated to work at and give a personal touch. But one thing that still is as easy to change now, as it was 80 years ago, is to replace the wheels. Furthermore, the vast majority of car enthusiast agree to that "the weels makes the car". That means a great deal of the car´s feeling lies in the rims. The car scene is, as many other interests, depending on fashion and constantly demanding news because the customers always strive to be unique.
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Gamoh, Hidehiro, Hiroshi Itsumura, Masanori Akiyama, 英博 蒲生, 裕. 逸村, and 晶則 秋山. "The Eco collection database." IADLC Office, Nagoya University Library ; Ichiryusha, 2005. http://hdl.handle.net/2237/6096.
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Jones, John Clifford. "[Collection of published papers]." Thesis, University of Leeds, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.483618.
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Galloway, Lisa R. "Liminal : a poetry collection." Virtual Press, 2005. http://liblink.bsu.edu/uhtbin/catkey/1313634.
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This project comprises the best poetry written in my graduate study at Ball State University. The title, Liminal, is a term that has reappeared thematically in my work. Merriam Webster defines it as: "the threshold of a physiological or psychological response," but more than that, for me liminality is the doorframe between things; it is poetry. Poetry is a conglomeration of splicing between inner worlds and outer worlds; it tries to capture and recreate physiological or psychological responses, bringing the reader into the threshold that the writer has exited. Poetry is a door, a threshold; it is liminal. Thresholds are infinite and immeasurable; therefore, I have tried to capture or recreate liminal moments of my life into words that are physical, measurable in a sense, and therefore create presence, inviting readers through the threshold of my literary house out of the liminal abyss. These 36 pages of poetry contain liminal subject matter, whether embodying sexuality, relationships, spirituality, or moments bordering life and death, but always the inestimable line between two things.Department of English