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Dissertations / Theses on the topic 'Gallery'
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1
Basar, Murat. "INTERACTIVE GALLERY." Thesis, Linnéuniversitetet, Institutionen för datavetenskap, fysik och matematik, DFM, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-23220.
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Today, there are many high-level interactive applications and products around the world which are developed by using programming languages or software. Basically, games, virtual museums, educational applications, interactive architectural products are the simplest examples about these interactive solutions. In this thesis, interactive gallery means moving objects in a three-dimensional room. Objects can be re-placed by using keyboard keys in this three-dimensional room. Thus, user can move these interactive objects in accordance with intended purpose. Interactive gallery is similar with a room that has furniture, door and windows. Also, this room includes interactive objects in it. The main focal point is about how these objects can be displayed interactively and how different methods are used, when these processes are started to be made. This thesis helps to solve these questions. Interactive gallery bases on model loading structure and on the following thesis, this process is parted. It starts with 3D modelling, continuous with model loading and it ends with key implementation.
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Arnett, Joanne. "Rogue gallery." Thesis, Kent State University, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1555301.
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I seek to capture the ephemeral in a series of large-scale weavings that examine relationships between public and private, real and artificial, the mundane and the extraordinary.
I use mug shots as a device because they represent a perfect juncture between conflict and resolution. I assume the role of the accused in all the compositions. Rather than present the images as photographs I transform them into weavings. The zeros and ones that make up a digital image file become a code which translates as the over and under of warp and weft and embeds the image in the finished cloth. Matte yarn is used for the warp, shiny wire is used for the weft, transforming darks and lights in to rich tactile surfaces. The resulting image appears and disappears depending on the viewer's perspective.
The viewer is required to physically interact with the artwork in order to see the portrait, creating a dynamic between him and the person pictured. The image slips away as the viewer steps closer, shifting the viewer's focus to other aspects of the work, and as he circles the art work to recapture the portrait there is time for layers of information to be read. The luxurious weavings are enigmatic and inspire a sense of wonder. Content, materials, and form combine to create a moment where the viewer is taken out of the expected, suspending a fleeting exchange in time and resulting in an experience rather than just a viewing.
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Brunstorp, Jimmi. "Gallery Wall." Thesis, Konstfack, Inredningsarkitektur & Möbeldesign, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-4763.
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För vissa är graffiti konst, för andra är det ett tecken på förlorad kontroll. För mig är det ett redskap för att mötas. Jag har delat in mitt examensarbete i två delar. Den första behandlar visionen jag baserat mitt arbete på. Den andra handlar om design och placering av de fysiska paviljongerna. I den första delen har jag utgått ifrån ett scenario där den fysiska arkitekturen återspeglas i ett virtuellt gallerisystem jag get namnet Gallery Wall. Denna del finns bara på idébasis men har varit utgångspunkt då jag formgivit mina paviljonger. Jag har skapat fem olika paviljongstyper som tillsammans på ett teoretiskt plan utgör en och samma virtuella huvudform. I, eller rättare sagt på, paviljongerna ges tillfälle för vem som helst att måla och presenteras sin gatukonst. Min förhoppning är att mina paviljongtyper skall inspirera andra att bygga egna varianter som alla är del av Gallery Wall. Systemet är tänkt att vara open source. Jag vill också med mitt arbete ifrågasätta och belysa vad som får visas upp och värdesätts inom konstvärlden och i samhället. Mitt examensarbete är baserat på en dröm som förhoppningsvis i framtiden blir verklighet.
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Lee, Wonkyu. "Urban Gallery." Thesis, Virginia Tech, 2016. http://hdl.handle.net/10919/71766.
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Since the dawn of high-rise buildings, human relationships have been limited by the floors. Compared to the pre-industrialized era where residential streets fostered community socialization, it is safe to say our relationships are constrained to the physical boundaries that surround us. Especially large cities such as New York, Chicago, Tokyo and Hong Kong, citizens lack compassion towards each other, treating neighbors as strangers.
The fundamental problem of this phenomenon originates from the stacked floor arrangements that divide people. I believe it's not people's choices to be indifferent to each other; our built environment induces this behavior. The solution is to integrate a new concept of vertical plazas to the design of high-rise buildings. This social space provides citizens not only multiple paths of movement, but also the chances to interact with people outside of the boundary that vertical floors create.
This thesis explores the possibilities of the architecture as a contributor of better human relationship.Master of Architecture
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Vicens, Rebeca. "Alley-Gallery." Thesis, Virginia Tech, 2002. http://hdl.handle.net/10919/9660.
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The site chosen for this thesis project is located in downtown Blacksburg, Virginia. It consists of a 30'x110' infill lot and an alley running parallel to it. An initial desire to blur the boundary between the alley and the proposed building led to a study of the potential of parallel planes overlapped along the shared border. Representation of these planes in two dimensions allowed almost simultaneous perceptions of multiple spatial and geometrical configurations among them. The architectural consequences of this phenomenon became the main subject of inquiry. Exploration through silkscreen prints and model studies culminated in the design of an outdoor art gallery.Master of Architecture
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Arnett, Joanne M. "Rogue Gallery." Kent State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=kent1366636723.
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Lacher, Kria. "Blenko Glass Gallery." Thesis, Virginia Polytechnic Institute and State University, 1996. http://hdl.handle.net/10919/53421.
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This master's thesis is the design and discussion of a glass gallery and museum for the Blenko Glass factory in Milton, West Virginia. It is an exploration of Hertzberger’s concept of warp and weft.
Let us take the image of a fabric such as constituted by warp and weft. You could say the warp established the basic ordering of the fabric, and in doing so creates the greatest opportunity to achieve the greatest possible variety and colorfulness in the weft. The warp must first and foremost be strong and of the correct tension, but as regards to color it needs merely to serve as a base. It is the weft that gives color, pattern and texture to the fabric, depending on the imagination of the weaver. Warp and weft make up an invisible whole, the one cannot exist without the other, they give each other their purpose.Master of Architecture
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Ajlani, Tarek F. "Gallery For Art." Thesis, Virginia Tech, 2005. http://hdl.handle.net/10919/33977.
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For my thesis I explored the idea of the mask in relation to architecture. For my project I designed an art gallery located in Georgetown Washington DC which is composed of three layers: a structural layer, an environmental casing, and an outer layer. Theoretical parallels are drawn between the outer layer of the gallery and what is commonly referred to as a mask. Additionally, I explored the interaction between the layers of the gallery. The distinguishing characteristics of the building include the tri-facade mask, the unique spaces in between the gallery's layers, the glass system, the mask's ghost effect, and the floor system.Master of Architecture
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Fopp, Michael Anton. "Museum & gallery management." Thesis, City University London, 1988. http://openaccess.city.ac.uk/7538/.
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This thesis examines management and organization theories and their relevance to the Museum and gallery context. In Part One management theories are examined to ascertain the development of management thinking and to establish the principles under which museums and galleries operate. This theme is developed to extend the concept of management expertise in museums and galleries to enable due consideration to be given to applications of management theory which are seen to be under-utilized yet appropriate to the changing environment in which museums and galleries currently operate. Thought is given to the attitudes and antecedents of the museum profession and their seeming reluctance to develop new management skills. The complexities of subject-specialists occupying key management positions within museums and galleries is discussed and the move to a more consultative approach to management is recommended. Part Two explores Organization Theory, its historical and contemporary view and its relevance to the museum and gallery context. An analysis of organizational structure questions the understanding by museum managers of the importance of appropriate structures to the successful and effective control of' museums and galleries. Following on from this is a detailed look at structural patterns and how best to understand and design appropriate structures within the environment of change currently affecting museums. To give guidance to this line of thought Organization Culture, Conflict and Change is examined to point out the importance of a cognizant approach to these subjects by senior museum professionals in order to provide the most appropriate structure within institutions which are required to function with historic collections in a competitive environment that has seen fundamental changes, generally, over the past twenty 11 years.
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Lau, King-hong, and 柳景康. "Urban gallery for design." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B31983972.
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Forr, Molly S. (Molly Susanne). "A gallery for mathematics." Thesis, Massachusetts Institute of Technology, 2005. http://hdl.handle.net/1721.1/31199.
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Thesis (M. Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 2005.Includes bibliographical references (p. 68).
The Gallery for Mathematics seeks to interpret and communicate the character and culture of mathematics through the lens of architectural tectonic. The form and program of the Gallery are driven by three goals for the architectural experience and mathematical journey: [movement], [interaction], and [solitude]. By redesigning the traditional museum experience, the Gallery aims not to simply inform its visitors, but instead to incite their curiosity, producing spaces of inquiry rather than spaces of information. Sited on top of the parking garage for Boston's Museum of Science, the Gallery and its garden also serve to reconnect the Boston and Cambridge park systems on opposite banks of the Charles River, embedding the
by Molly S. Forr.
M.Arch.
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Wolters, Erika. "A mobile art gallery." Thesis, KTH, Arkitektur, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-223739.
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Most art galleries around the world look the same; a large white room with a few artworks placed far apart. This standard way of designing art spaces together with locating them almost exclusively in the city centers makes them both physically and culturally distant for many people. This project aims to explore other ways of displaying art to make it accessible to more people through small architectural interventions. It is an exploration about the relation between space the body and the object. A prototype for a mobile art gallery has been built as a testing device.
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Bundalo, Mladen. "Cyber Gallery "Art Zeppelin"." Master's thesis, Vysoké učení technické v Brně. Fakulta výtvarných umění, 2011. http://www.nusl.cz/ntk/nusl-232290.
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Špirić, Dajan. "Cyber gallery "Art Zeppelin"." Master's thesis, Vysoké učení technické v Brně. Fakulta výtvarných umění, 2011. http://www.nusl.cz/ntk/nusl-232321.
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Lau, King-hong. "Urban gallery for design." Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25956607.
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Siu, Yuen-man. "Scenery of mind photography gallery /." Click to view the E-thesis via HKUTO, 2004. http://sunzi.lib.hku.hk/hkuto/record/B31987266.
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Romano, Cara L. "Gallery 66 selling the Southwest /." Ohio : Ohio University, 2007. http://www.ohiolink.edu/etd/view.cgi?ohiou1194999497.
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Siu, Yuen-man, and 蕭婉雯. "Scenery of mind: photography gallery." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B31987266.
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Bergman, John. "IMMERSIVE GALLERY OF DIGITAL ART." Thesis, KTH, Arkitektur, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-223228.
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Naude, Elmarie. "Embodying space : Capture Image Gallery." Diss., University of Pretoria, 2009. http://hdl.handle.net/2263/30248.
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The city of Pretoria has a diverse mix of people moving in and around it. This dynamic, ever-changing movement, combined with the city’s cultural diversity, renders it ideal for an investigation into the relationship (or lack thereof) that exists between the moving body and architectural space. The city and its architectural spaces are viewed as static. The human body and its movement is dynamic. These static spaces cannot always accommodate the dynamic movement taking place within and around them. This leads to a lack of dialogue or interaction between the two, causing a tension which is further aggravated by the fact that they are situated within a constantly changing environment. The aim of this thesis is not only to examine the relationship between the city and the human body moving through its architectural spaces, but also to provide the platform for an investigation into the establishment of an active dialogue between the two. CAPTURE is envisaged as an experimental laboratory in the city of Pretoria. It aims to rejuvenate the city’s CBD, as well as to develop and promote arts and culture through the creation of a public exhibition space. It is a design intervention intended to create a space which captures and navigates its users through it, by exposing them to the different functions facilitated within it, as well as to the space and to each other. The introduction of this spatial intervention, informed by the existing pedestrian movement through an identified public thoroughfare, will encourage an active dialogue between the user and the space. Public art, in the form of the photographic image, has been identified as a possible means of communicating the user’s surroundings to him/her. This, in turn, may encourage interaction with, and interpretation of the space.Dissertation (MInt(Prof))--University of Pretoria, 2009.
Architecture
unrestricted
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Tolley, Rebecca. "Review of Art Museum Image Gallery." Digital Commons @ East Tennessee State University, 2006. https://dc.etsu.edu/etsu-works/5631.
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Ward, Debbie, and n/a. "Textile conservation at the Australian National Gallery." University of Canberra. Applied Science, 1985. http://erl.canberra.edu.au./public/adt-AUC20061109.174356.
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Eekelaar, Catherine. "Art gallery-based interventions in dementia care." Thesis, Canterbury Christ Church University, 2011. http://create.canterbury.ac.uk/10460/.
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Section A reviews whether arts-based activities for people with a dementia (PWD) have significant cognitive, social, and psychological benefits for this population. There is a variety of theoretical perspectives on dementia that encompass the biological, psychological, and social effects of the disease on the wellbeing of PWD. Visual arts may be an appropriate way of addressing some of the challenges that PWD face by providing a means of ameliorating some of their cognitive, social, and psychological difficulties. Literature from the field of arts-based activities with PWD suggests that there is no apparent theoretical conceptualisation in the area, as most studies have attempted to evaluate various art programmes with no clear rationale for expected findings; rather, they have taken a more exploratory stance. However, they indicate that arts-based activities can have social and psychological benefits by increasing confidence, enthusiasm, enjoyment, social contact, mood, quality of life, and ratings of depression. The review concludes with a rationale for why it is important to expand the current evidence base on arts-based activities for PWD. Section B: Dementia refers to a variety of diseases that are characterised by cognitive difficulties and an overall decline in daily living skills. Arts and health interventions may be particularly valuable ways of improving the lives of PWD and their family carers. This exploratory study involved six people with mild to moderate dementia and six family carers attending an arts-based intervention at a major London art gallery for three sessions over three weeks, in which they engaged in art-viewing and art-making. Using audio recordings to record PWDs’ responses, rather than standardised measures, which are often problematic with this population, the study sought to explore possible changes in cognition of PWD during the intervention, namely episodic memory and verbal fluency. Using a mixed methods design, data were collected at five points and analysed using content and thematic analyses. The findings suggested that episodic memory and verbal fluency appeared to improve during the art gallery-based intervention. This was substantiated by family carers who also reported that PWD showed increased mood, confidence and social interaction, and that they valued the shared experience and learning opportunity. Whether these changes can be attributed to the intervention is a matter for further research beyond this exploratory study. Future research is proposed to further understand the implications of these preliminary findings. Section C presents a critical appraisal of the research. Research skills that have been learned and developed over the course of the process are discussed, such as increased awareness of the benefits of working within a wider research community. There is consideration of the need to communicate clearly and sensitively with other professionals from differing backgrounds and organisations, as well as the importance of building on a coherent evidence base when designing a research project. Better organisation relating to recruitment and investigation into recording during the art-viewing sessions at the gallery are identified as aspects that would be done differently, as well as consideration of using a case study approach. Clinical consequences of the research are discussed, such as utilising a community psychology approach and involving art and creativity in therapeutic sessions. Finally, further research in the area is considered, such as by expanding the study and using robust neuropsychological measures to detect cognitive change.
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Grappin, Benjamin. "An internship with Arthur Roger Gallery, LLC." ScholarWorks@UNO, 2005. http://scholarworks.uno.edu/aa_rpts/6.
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The following report is the analysis of a three-month internship within this organization, and will discuss topics as they relate to the cuniculum of the Arts Administration degree. The for-profit nature of this internship and its completion within a small-scale structure presented me with several not-so-clearly delineated tasks. In order to properly introduce the topics associated with the responsibilities of the assignment at Arthur Roger Gallery, the reader must first become familiar with the nature of the business, and its management structure. Chapter II is exclusively devoted to the purpose of the internship. By considering the role of the intern, who acted in the role of an assistant to the staff, this section will outline the importance of compiling an inventory, and the necessity of maintaining the gallery's website in the most accurate manner. The third chapter of the present report is an attempt to identify the reasons that separate the Arthur Roger Gallery from its competitors. This section will address several elements discussed through our cuniculum, particularly during the Visual Art and Marketing classes. Broadly speaking, it will show that Arthur Roger has fully understood the "who, what, where, why, when and how" of selling fine art in his market area. The final section of the discussion will involve several points dealing principally with management and technical concerns, for the most part related to the growing activity of the business and its recent evolutions.
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Esteves, Wyatt Matthew. "Cole Pratt Gallery: An Internship Academic Report." ScholarWorks@UNO, 2015. http://scholarworks.uno.edu/aa_rpts/193.
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This academic report is the result of a 480--‐hour internship at Cole Pratt Gallery. Cole Pratt Gallery is a for--‐profit art gallery located at 3800 Magazine Street, New Orleans, Louisiana. During my internship, I worked as a Gallery Assistant and assisted in daily operations at the gallery, produced monthly exhibitions, sold artwork and maintained steady communication with artists, clients and ownership of the gallery. This internship has given me insight into the workings of the complex art market, allowing me to learn industry practices and formulate my own ideas in managing an art gallery. This report begins with a brief history, continues with analysis of the gallery’s daily operations, SWOT analysis, best practices, short and long--‐term effects of my employment and concludes with my final thoughts and recommendations.
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Kwun, Joon Bum. "Gallery design focused on contrast & dynamism." Thesis, Virginia Polytechnic Institute and State University, 1996. http://hdl.handle.net/10919/53420.
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The purpose of this study is, first of all, to establish contrast and dynamism as a method to figure out the static and uniform experience through space. Second, through a study of books and an analysis of previous works of other architects, it will give a direction on how the actual design would be used in reality by finding the effects of contrast and dynamism, and finally, based on the analysis above, it will show a gallery design with contrast and dynamism, which will ultimately provide a guide to a better or more vivid spatial composition.
This study provides an understanding of how the perceptual contrast and dynamism not only appear on interior, but also on exterior space composition. Works of great contemporary architects, focusing on exhibition buildings were chosen for the analysis. A classification of the effects that generate contrast and dynamism can be different by various standards. Since there have not been any previous studies of a gallery design, this analysis is classified subjectively based on documents.
The site is in the Olympic Park, Seoul, South Korea. The park has a total of 291 hectares, which takes a good three hours to walk all around the Olympic Park on foot. There are six stadiums, such as cycling, fencing, weight-lifting, gymnastics, tennis and swimming.
The park has also an open-air Sculpture Park with its over 200 modern sculptures in stone, metal, timber and glass, donated in celebration of the Olympics by the artists from the 66 participating countries in the World International Open Air Sculpture Exhibition. Near the sports venues is a lake with water foundation and some lawn areas.Master of Architecture
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Baker, Christopher. "On-chip nano-optomechanical whispering gallery resonators." Paris 7, 2013. http://www.theses.fr/2013PA077244.
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Ces travaux de thèse portent sur la conception, la fabrication et la caractérisation de résonateurs nano-optomécaniques sous forme de disques en arséniure de Gallium (GaAs). Ces disques sont à la fois des résonateurs mécaniques oscillant au GHz, et des résonateurs optiques à mode de galerie à haut facteur de qualité (>105). En confinant l'énergie mécanique et optique sur un volume sub-µm3, ils permettent d'atteindre un couplage optomécanique extrêmement large (go> 1 MHz). Nous présentons les développements technologiques ayant permis l'intégration de ces résonateurs avec des guides de couplage optique directement sur échantillon semi-conducteur, tout en maintenant des performances à l'état de l'art. Nous discutons les différents mécanismes de couplage optomécanique (pression de radiation, photoélasticité) dans les disques GaAs, ainsi que les sources de dissipation optique et mécanique dans ces résonateurs. Nous présentons également des expériences d'optomécanique à l'air libre et en cryostat à basse température, allant de la mesure du mouvement brownien à l'observation de rétroaction dynamique, jusqu'à des premières tentatives d'approche du régime quantique du mouvement. Enfin, nous présentons un développement nano-optomécanique complémentaire mené sur le matériau nitrure de silicium (SiN), aboutissant à la fabrication de résonateurs à mode de galerie sur puce à haut facteur de qualité. Après l'étude des instabilités optiques et de la dynamique d'auto-pulsation de ces résonateurs, nous présentons des premières signatures de couplage optomécanique dissipatif dans ces systèmesThis thesis work focuses on the design, fabrication and measurement of Gallium Arsenide (GaAs) nano-optomechanical disk resonators. These disks are both GHz frequency mechanical resonators, and high Q (>105) optical whispering gallery mode resonators. By confining optical and mechanical energy on a sub-µm' volume, they enable extremely large optomechanical coupling strengths (go> 1 MHz). We present the technological developments which enabled the integration of these resonators with optical coupling waveguides directly on a semiconductor chip, white maintaining state of the art performance. We discuss the different optomechanical coupling mechanisms (radiation pressure, photoelasticity) in GaAs disks, as well as the sources of optical and mechanical dissipation in these resonators. We present as well optomechanical experiments in air and in a cryostat at low temperature, which go from the measurement of Brownian motion and the observation of dynamical back-action, to the first attempts to approach the quantum regime of mechanical displacement. Finally, we present an additional nano-optomechanical development carried out on the silicon nitride (SiN) platform, which lead to the fabrication of high Q on-chip whispering gallery mode resonators. After the study of the optical instability and self-pulsing dynamics of these resonators, we present the first signatures of dissipative optomechanical coupling in these systems
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Williams, Levester R. "A (dis)Assemblage of the Gallery-Growlery." VCU Scholars Compass, 2016. http://scholarscompass.vcu.edu/etd/4258.
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A (dis)Assemblage of the Gallery-Growlery exhibition and writing presents itself as a site of a morphological exploration of language, sound, and objects in tandem with the irreducibly venting black expression. Venting, the black expression never seeks wholeness within objects or language itself for it is a thing-in-itself. Its presence affords critical reception to a residue of delimiting forms. All growls eschew verbal objects for the manifestation of pure phonetics. A growl in a gallery is the growl. The growl resounds through the physicality of the objects and gallery. Also, it unwinds the object-among-objects as the phono-present stretches the discursive and existential limits of the Fanonian phenomenon. Hence, the contention and conjunction between physicality and acoustics—the visual and sonic—is the gallery-growlery.
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Ostby, Eric Paul Vahala Kerry Vahala Kerry. "Photonic whispering-gallery resonators in new environments /." Diss., Pasadena, Calif. : California Institute of Technology, 2009. http://resolver.caltech.edu/CaltechETD:etd-05292009-172708.
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Wilson, Kieron. "Emerging Out of Graffiti Into the Gallery." Thesis, Griffith University, 2015. http://hdl.handle.net/10072/380708.
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This exegesis develops and applies strategies for how my practice emerging out of the
tradition of graffiti in contemporary Australia can maintain its criticality in a gallery
context crossing over from the street to mainstream Visual Art practice. This exegesis
gives an account of graffiti as a criminal act deliberating the implications of the
aesthetics and the intrinsic principal of graffiti being corrupted by the mainstream.
The exegesis gives an analysis of graffiti as a skill different to art making, and looks
at the cultural background of the marginal graffiti practitioner.
In this investigation, the aim is to assess the corrupters of graffiti that are embedded in
laneways, media, industrialization and the gallery. In this exegesis, I attempt to
defend transgressing from graffiti into the gallery as a better option of losing
criticality, to gain indiscretion in my practice. This study considers the effect of
laneways, describing how they exclude graffiti by usurping public space from the
marginal, and how media reproductive capabilities can be deceptive in the
commodification of graffiti aesthetics through industrialized art and design.
The purpose of research into forms of corruption in graffiti is to create a range of
counter strategies that utilize a historical resistance and subvert the supposed rules
and terms of graffiti. Using the proposition of Australian Bushmen artists of the
Heidelberg School ‘9 by 5’ impressionist exhibition format informs my practice of
making work that is cheaper, quicker and less elitist.
Utilizing techniques associated with the critical reception of the ‘9 by 5’ exhibition
such as the loose unfinished look of their paintings, provides a method of how to
examine ways to connect Visual Art and graffiti that maintain an authentic, less
incriminating perception of graffiti to be displayed. The proposed new methodology
uses graffiti’s form in context of it’s aesthetics with those of outmoded visual art
practices such as, ceramics and watercolours, combined with contemporary forms of graffiti subjects in the landscape.Thesis (Masters)
Master of Visual Arts (MVA)
Queensland College of Art
Arts, Education and Law
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YU, LILI. "Thermometry based on Whispering Gallery Mode resonators." Doctoral thesis, Politecnico di Torino, 2012. http://hdl.handle.net/11583/2497124.
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Whispering gallery (WG) mode resonators were studied since 1980s for precision clock oscillators and for cavity quantum electrodynamics studies. They are a kind of stable, high Q, microwave resonators where a symmetric dielectric medium, such as a cylinder or a disk, is suspended in the centre of a metal cavity. A coaxial cable or a waveguide are used to couple the EM field in the microwave region and thus to excite the system resonant frequencies. WG modes are resonant modes of higher-order azimuthal number (m) having most of the EM energy concentrated on the dielectric surface. Within the temperature range of -196 °C to 500 °C the most commonly used industrial thermometer is platinum resistance thermometer (PRT) with the uncertainties of 10 mK. The PRT offers high accuracy, low drift, a wide operating range; however, it is very sensitive to mechanical shock in handing and shipping. Besides, an AC resistance bridge which is typically required as a readout device for PRT is very expensive. Accordingly, there is a great need for a stability-improved, resistant to mechanical shock, potential lower uncertainty and cost-effective industrial thermometer. WGMR thermometer (WGMRT) is a new kind of thermometer which offers greater vibration immunity, improved stability, smaller uncertainty in temperature measurement and potential lower cost than platinum resistance thermometry. An innovative sapphire whispering gallery thermometer (SWGT) was first explored at the National Institute of Standards and Technology (NIST) in 2007 by Strouse [1] with the uncertainty less than 10 mK. Five WGMs with nominal resonant frequencies ranging from 14.4 GHz to 19.1 GHz and with Q-factors, respectively, ranging from 20,000 to 90,000 were measured within the temperature range of 0 °C to 100 °C. The accuracies of his WGMTs were in the range of ± 0.02 °C and ice point repeatability was better than 2 mK.
The thesis reports the tests performed on several WGMR thermometers which have different shapes of crystals to evaluate their stability, resolution and repeatability in the temperature range of -40 °C to 85°C. Thermal cycle experimental results
IV
showed a Q in excess of 100000 for the mode with the highest azimuthal number, making it possible to achieve a potential temperature resolution of 0.1 mK. Besides, different specimens of crystals with the same nominal specification and reassemble for the same specimen were both tested to check the reproducibility of the thermometer. The birefringence of the sapphire was also studied to make an innovative thermometer. The ratios of two doublet frequencies are sensitive to the temperature-dependent birefringence of the crystal and relatively insensitive to surface contamination and changes in the shape of the cavity. Besides, it can have an external shape that closely approximates the shape of conventional platinum resistance thermometers.
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Niciarelli, Elena <1989>. "Brand Community. Tate e The National Gallery." Master's Degree Thesis, Università Ca' Foscari Venezia, 2021. http://hdl.handle.net/10579/19210.
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Il concetto di Brand Community non è nuovo, ma appare ne testi di Muniz e O’Guinn tra la fine degli anni ’90 e l’inizio del 2000. Tuttavia nel tempo, la letteratura scientifica sull’argomento brand community è aumentata, e il digitale, il mondo virtuale e le ICT hanno provveduto ad apportare ulteriori modifiche e cambiamenti.
Lo studio analizza e descrive la brand community delle organizzazioni culturali, nello specifico di due musei situati nel Regno Unito. Tate e The National Gallery sono messi a confronto per descrivere come un museo multi sede e un museo mono sede inglese, abbiano attivato differenti comunità di marca in loco, virtuali, social e online.
Per rincorrere sia una valenza teorica che empirica del concetto, dopo una presentazione generale sul tema, la metodologia di lavoro si concentra sullo studio complessivo dei due Musei e ne descrive le differenze, utilizzando i dati a disposizione degli ultimi anni. Il tema della brand community e del digitale, del virtuale, dei social, della post millennial community, ha una forte struttura in un museo multi sede, che vede differenti collezioni, consumatori, territori, membership, associazioni coinvolte. La National Gallery londinese ha una community digitale più concentrata sulle esposizioni temporanee, meno sulla collezione permanente, dove tuttavia si concentrano i patrons, i fedelissimi del marchio, e non ha ancora attivato una young community chiara come quella alla Tate.
L’epidemia del 2020 ha messo in luce potenzialità e carenze nell’online dei due Musei, spingendo entrambi ad una maggiore informatizzazione e digitalizzazione, al fine di rincorrere e servire tutti i pubblici, creare vincenti brand community e strutturare quelle esistenti.
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Cheng, Mengnan. "Furniture Showroom." Thesis, Virginia Tech, 2019. http://hdl.handle.net/10919/91892.
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This study of a furniture showroom demonstrates the expression of the relationships of two basic forms of art: furniture and architecture. The geometric form of the work of architecture stands in both harmony and tension with and against its furnishings. Harmony is present through the union of solid forms and the hollows of the rooms and its parts. Through the union of cylindrical, conical, helical and cubic forms, static and dynamic relations activate moments of rest the fluid movement. The furniture stands against this harmonic background and expresses tension through its own form and arrangement.Master of Architecture
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Domínguez, Juárez Jorge Luís. "Whispering gallery microresonator for second harmonic light generation." Doctoral thesis, Universitat Politècnica de Catalunya, 2014. http://hdl.handle.net/10803/279215.
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In recent years, it has been proposed that circular microresonators may become an important element in the core of many photonic devices. The high Q-factors seen in fused silica micro-spheres and micro-toroids for light coupled in the whispering gallery modes (WGMs) inside the micro-resonator led to many new developments in a diversity of fields. Indeed, WGM micro-resonators have found applications in laser oscillation, optical filtering, bio and chemical sensing, frequency stabilization, quantum electrodynamics experiments, nonlinear parametric conversion and in many other light-matter interaction processes where light recirculation is an essential ingredient. For second and third order nonlinear optical phenomena a high-Q micro circular cavity is an ideal framework to lower the light intensity or material density and still obtain a measurable interaction. This may become particularly useful when the nonlinear interaction is considered on the sphere surface because at an interface centro-symmetry is always broken. In this thesis, we approach the problem of obtaining SHG with the smallest amount of material possible. Our goal is to demonstrate that WGMs in micro-sphere resonators are an optimal option to consider such type of non-linear interaction. SHG from a small amount of material may found interesting applications in high sensitivity unmarked detection of low numbers of very small objects such as molecules, viruses or other types of nano-particles.
The different experimental and theoretical developments we implemented to achieve such goal are reported in the four chapters of the current thesis. In chapter 1 we introduce basic concepts of spherical micro-resonators an their interest. Theoretical aspects of light propagation and nonlinear light generation in the whispering gallery modes in such micro-resonators are discussed in Chapter 2. A new method to obtain patterns of non-linear material is presented in Chapter 3. In Chapter 4, the developments presented in the previous chapters are combined to obtain second harmonic generation in the whispering gallery modes of microspheres. In this chapter we report the design and fabrication of a nonlinear spherical resonator to experimentally measure SHG from molecules deposited on its surface. Such nonlinear interaction is quasi-phase matched by implementing the periodical patterning reported in Chapter 3 on a molecular layer deposited on the surface of a micro-sphere. By coupling laser light pulses at the fundamental frequency into the whispering gallery modes of the high-Q spherical micro-resonators we demonstrate that a signal at the second harmonic (SH) frequency can be measured when less than 100 molecules contribute in the nonlinear interaction. Finally, applications of such type of generation in highly sensitive sensing are discussed.En años recientes los microresonadores circulares han sido propuestos como un elemento central para formar parte de muchos dispositivos fotónicos. El alto factor de calidad observado en microesferas o microtoroides de sílice cuando la luz se propaga en modos "whispering gallery" (WG) ha dado lugar a un gran número de nuevos desarrollos en campos muy diversos. En efecto, los micro resonadores con modos WG han encontrado aplicación en la oscilación laser, en el filtrado óptico, en sensores bioquímicos, como estabilizadores de frecuencia, en experimentos de electrodinámica cuántica, en la conversión paramétrica no lineal y en muchas otros procesos donde la recirculación de luz es un ingrediente esencial para su interacción con la materia. En fenómenos ópticos no lineales de segundo y tercer orden, la micro cavidad circular con un alto factor de calidad constituye una estructura ideal para poder obtener una interacción medible incluso cuando se consideran pequeñas intensidades de luz o bajas densidades de materia. Esto puede resultar particularmente útil en la superficie de la microesfera ya que en la interface entre dos materiales se rompe la simetría de inversión incluso cuando los materiales son centro simétricos. En esta tesis abordamos la generación de segundo armónico con una cantidad mínima de material. Nuestra meta es demostrar que los modos WG en resonadores de microesfera son una opción óptima para poder considerar este tipo de interacción no lineal. La generación de segundo armónico con una cantidad muy pequeña de material puede encontrar aplicaciones interesantes en la detección de muy pocos objetos pequeños tales como moléculas, viruses o cualquier otro tipo de nanopartículas. Los diferentes desarrollos experimentales y teóricos que implementamos para alcanzar nuestro objetivo están explicados en los cuatro capítulos de esta tesis. En el Capítulo 1 introducimos conceptos básicos de microresonadores esféricos y su interés. Aspectos teóricos de la propagación y generación no lineal de luz de los modos WG en dichos resonadores se discuten en el Capítulo 2. Un método nuevo para generar patrones de material no lineal se presenta en el Capítulo 3. En el Capítulo 4, los desarrollos de los capítulos previos presentados se combinan para implementar la generación de segundo armónico en los modos WG de las microesferas. En este capítulo reportamos el diseño y la fabricación del resonador esférico no lineal para llegar a medir experimentalmente la generación de segundo armónico de las moléculas depositadas en su superficie. Dicha interacción no lineal se obtiene en la configuración "quasi-phase matched" implementando el mecanismo de escritura de patrones reportado en el Capitulo 3, sobre una capa molecular depositada en la superficie de la microesfera. Mediante el acoplamiento de pulsos de luz láser a la frecuencia fundamental en los modos WG de un microresonador esférico con un alto factor de calidad Q, demostramos que la señal a la frecuencia de segundo armónico puede ser medida, menos de 100 moléculas contribuyen a esta interacción no lineal. Finalmente, se discuten aplicaciones de ese tipo de generación para la detección altamente sensible.
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Harley, James John, and james@jamesharley net au. "Online collaboration in the Victorian Regional Gallery Network." RMIT University. Property Construction and Project Management, 2005. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20090714.134529.
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The research seeks to identify the opportunities online collaboration may deliver to the Victorian Regional Gallery Network (VRGN). The research further seeks to identify the Commonwealth and Victorian State Government policy context that contributes to realising these opportunities and the type of eBusiness models that could be applied to the online environment of the Victorian Regional Gallery Network. The problem statement of the research argues that in order for the Victorian Regional Gallery Network (VRGN) to remain sustainable in the long term, it must develop collaborations within and external to the gallery sector to deliver value adding solutions for income generation and to cultural product, while seeking new business opportunities offered by the use of Information Technology and the Internet. The range of products offered by the galleries and their geographical distribution encourages collaborations to be undertaken, and in doing so, serves the customers of the VRGN who are increasingly becoming users of the Internet and who are expecting content online. Failing to consider the changing factors that online technologies present for conducting business and communicating common issues across the sector as a whole, puts the VRGN at risk of becoming redundant to its consumers (audience/customers), and a liability to its stakeholders. The major research question is as follows: How can the Victorian Regional Gallery Network (VRGN), as a provider in the cultural and entertainment sector, deliver cultural product to its audiences (customers) through the use and application of collaborative online networks and their related e-business technologies? The research seeks to address this question by investigating the 14 regional galleries that comprise the Victorian Regional Gallery Network, by reviewing their operations and relationships with their stakeholders, and by suggesting a variety of electronic business models that may assist in engaging in collaborative online networks. The scope of the research has three broad objectives: 1. the analysis of the role, function and activity of the Victorian Government in supporting collaborative online networks 2. the identification of an appropriate collaboration model that uses eBusiness and that can be applied to the VRGN 3. the analysis of the typical operating environment of the VRGN and the minimum requirements that will enable the implementation of a collaborative online network At the heart of the research therefore is an understanding of the factors that contribute to a collaborative online network, so that the galleries and the VRGN can efficiently and competitively conduct business and communicate common issues amongst its members. The case study design was selected, as the researcher systematically gathered in-depth information on a single entity, i.e., the VRGN. The methodology deployed in the research needed to effectively gather and collect relevant information from a variety of sources within the VRGN and hence two main approaches were utilised. The first was a questionnaire using the Likert and Dichotomous scale to collect data regarding the operations of the gallery, and the second included a series of interviews which were developed to address specific questions to the key staff within the main target groups of the research. The conclusions that can be drawn out of the combined research include: i. The use of internet technology by the VRGN does not appear to be limited by technical issues. This provides a technological foundation on which to develop possible I.T. and collaborative online solutions for the VRGN ii. The technology required to develop collaboration in the first instance is not a barrier to implementation as it is common technology iii. Knowledge of the characteristics of collaboration including understanding the dynamics of trust, communication, equality, strategic alliances, knowledge distribution, negotiations and incentives are essential if it is to effectively and productively occur in the gallery network. The findings of the research indicate that collaboration currently occurs in the galleries, but it is also hampered by a culture that can sometimes work against the sector as a whole. The creation of strategic alliances amongst the galleries has also been found to be successful, but the advantages of these alliances are yet to be realised or tested across the VRGN iv. A Collaborative Online Network model has been proposed which may enable the gallery sector to share information, encourage communication, coordinate training and professional development opportunities and develop sector-wide research and development projects. The development of the collaborative online network would also assist in addressing the core issue of the research question concerning the provision of cultural product to state audiences through an online environment, and providing incentives to reduce cost and share resources v. The eBusiness model that will assist the VRGN in remaining competitive and active could use the Online Sales model, and will have the opportunity to exploit vertical aggregation of the Victorian arts industry to develop a portal or 'vortal' where the VRGN and its products and services can be marketed on a singular basis to the internet audience. The Online Sales Model also assists in developing a revenue stream for the galleries which may assist in its long term sustainability
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Kim, Joo-Hwan. "Ethos, art gallery, studio, and housing for artists." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/MQ63531.pdf.
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Lipson, Daniel B. "Tradition. Passio. Poesis. Retreat: Comments around “The Gallery”." Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/cmc_theses/690.
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Although Andrew Marvell wrote and published relatively little, his poetry collects from the full range of “schools” and idiosyncratic styles present in the seventeenth century: echoes of Herbert, Donne, Milton, Traherne, Herrick, Lovelace, and Jonson, among others, permeate throughout his work. Although much of his imagery seems novel, if not strange, it is clear that Marvell has a deep engagement with several important long-running traditions. His work is conversation with Ovid, Horace, and Theocritus as much as it responds directly to the poets whose lives overlapped with his own. In his engagement with such varied sources, Marvell demonstrates an astounding degree of poetic flexibility. He is a master of imitating voice and style.
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Yue, HongQuan. "Optical whispering gallery modes in chalcogenide As2Se3 microspheres." Thesis, McGill University, 2011. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=104591.
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Anisotropic chalcogenide microsphere is introduced for coupling theoretical analyzing and coupling experiment. Whispering Gallery Modes (WGMs) of isotropic microsphere is introduced and the TE & TM WGMs dispersion relationship is derived from electromagnetic vector equations in the spherical coordinate. The Maxwell equations can be solved in 2D model for the 3D model of axisymmetric or Rotational symmetry isotropic microsphere. First 4 TE&TM WGMs are simulated in 2D model using finite-element weak method. The binding capability, mode volume V and quality factor Q depend on the refractive index and size of the microsphere. Plane wavefront light wave is assumed to propagate inside the microsphere; coupling coefficient is determined by WGMs numbers and the distance between the microsphere and the micro-taper. Coupling related Q factor is analyzed; TE & TM nonlinear microsphere coupling is introduced with Matlab simulation. Chalcogenide coupling experiments for transmission, reflection and drop-port function are conducted. The light waves for coupling are broadband incoherent light source and narrowband tunable laser. Broadband light gave sensitive results while the coherent laser gave easy coupling capability.The chalcogenide microsphere was used as a feedback element of an amplifying medium. Comparing with silica microsphere, chalcogenide microsphere?s response is more unstable due to free carriers perturbation and thermal activity.Cette thèse présente une analyse théorique et expérimentale du couplage des microsphères anisotropes en verre de chalcogénure. Les modes de galerie résonants (WGMS) de microsphères isotrope sont aussi présentés et la relation de dispersion TE et TM des WGMS est dérivée à partir des équations vectorielles électromagnétiques en coordonnées sphériques. Les équations de Maxwell peuvent être résolues en 2D pour la résolution en 3D de microsphères axisymétriques ou a symétrie rotationnelle isotrope. Les quatre premiers WGMS TE et TM sont simulés dans le modèle 2D en utilisant la méthode des éléments finis. La capacité de liaison, le volume modal V et facteur de qualité Q dépendent de l'indice de réfraction et de la taille de la microsphère. On décompose une onde lumineuse en multiples fronts d'onde plan à l'intérieur de la microsphère; le coefficient de couplage entre une microsphère et un microfil est déterminé par le nombre de WGMS et la distance entre la microsphère et microfil. Le facteur de qualité Q est analysé; le couplage TE & TM de microsphères non linéaire est introduit à partir de simulations Matlab. Des expériences de couplage pour la transmission, la réflexion et le port à fonction «drop» sont conduites. Les ondes lumineuses pour le couplage proviennent d'une source de lumière à large bande incohérent et d'une source laser étroite accordable à bande étroite. La lumière à large bande a donné des résultats à haute sensibilité tandis que le laser cohérent facilite la mesure de couplage.En dernier lieu, les microsphères de chalcogénure ont été utilisées comme élément de rétroaction pour un milieu amplificateur. En comparaison avec des microsphères de silice, les microsphères de chalcogénure génèrent une réponse qui est plus instable due à la perturbation par les porteurs libres et l'activité thermique.
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Kim, Amy M. "Connections : the structural details of an art gallery." Thesis, Massachusetts Institute of Technology, 1995. http://hdl.handle.net/1721.1/67437.
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Thesis (M. Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 1995.Includes bibliographical references (leaves 34-35).
Connections describes the physical means by which the building transforms concept into reality. These connections link between user and building; site and building; program and building; art and public. This study uses as a starting point a previous design project where advances technology allowed and informed the complex geometry and overall composition of the building. This thesis investigates the assemblage of the major building components to demonstrate how the connections make the building. This model will show how these technologies best realize the intent of the program. This art gallery gives up-and-coming local and regional artists and designers the opportunity to exhibit their work. The combination of the building and program will increase the interaction between the general public and art. The building design distinguishes itself from the typical temple- or vault-like quality of the art museum and exhibits a more inviting form. These connections not only make the building; they connect art and public in a more dynamic relationship.
by Amy M. Kim.
M.Arch.
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Kennedy, Harper Camilla. "Artistic allegiances : the Tate Gallery and its members." Thesis, Open University, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.578557.
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This thesis presents a qualitative investigation of the influence of the art institution on the disposition and artistic allegiances of its audiences through an in-depth study of the Tate Gallery and its members. In the The Love of Art Bourdieu and Darbel (1991) emphasise the homology between the dominant social position and disposition of the committed art lover, and the presentation of the art institution. There is no audience, they said, more 'devoted' to the institution than the Society of Friends. How far this devotion translates into the shaping of practices and taste among this audience, and to what extent it is complicated by other factors, particularly social background, social trajectory, occupation and education, is a key question this thesis addresses. This research shows that change in the social composition and artistic allegiances of the membership audience can be seen as indicative of change within the institution and its position in the field. It adopts a field analytical approach and uses a combination of an institutional analysis of the Tate Gallery and semi structured interviews with the members and the staff of the Tate Gallery to investigate their relationship. This thesis updates understanding of this important but often neglected audience. The members are not a homogenous social group, but have changed within the context of aneo-liberal agenda that dominated the development of cultural policy in the UK after 1997. Evidence from this research suggests that over the last 10 years the Tate Gallery has acted as a vehicle for the distinction strategies of cultural intermediaries, adding to the debate around the ability of the art field to constantly create new forms of distinction that work to assert and preserve power.
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Li, Y. L. "Cooling and sensing using whispering gallery mode resonators." Thesis, University College London (University of London), 2016. http://discovery.ucl.ac.uk/1522162/.
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This thesis reports on a detailed exploration of the optomechanical interaction between a tapered optical fibre and a silica microsphere mounted on a cantilever. The amount of light evanescently coupled from the fibre into the optical whispering gallery mode of the sphere is exquisitely sensitive to their separation allowing fast measurement of picometre displacements of both the microsphere-cantilever and the fibre. By exploiting this enhanced transduction, strong active feedback damping/cooling of the thermal motion of both the fibre and microsphere-cantilever have been demonstrated to the noise limit of the system. The cavity enhanced optical dipole force between the fibre and the sphere was used to damp multiple mechanical modes of the tapered fibre, while a piezo-stack at the clamped end of the microsphere-cantilever allowed for cooling of its centre-of-mass motion and the second mechanical eigenmode. The effect of noise within the feedback loop was shown to invert the measured mechanical mode spectrum at high feedback gain as the noise itself is fed into the resonator. A rich variety of feedback induced spring stiffening and softening of the mode is measured when time delays are introduced. Cooling of the mechanical modes of the taper, which are ubiquitous to many whispering gallery mode experiments and are considered as unwanted noise, has not been achieved previously. Simultaneous operation of both feedback schemes was demonstrated for the first time, providing stabilization of the system. By using the microsphere-cantilever as an inertial test mass, measurement of its displacement induced by acceleration can resolve micro-g accelerations at high bandwidth.
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Gruszczak, Margaret E. "The portrait gallery : Yeat's iconography of heroic ideals /." View abstract, 2000. http://library.ccsu.edu/ccsu%5Ftheses/showit.php3?id=1618.
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Thesis (M.A.)--Central Connecticut State University, 2000.Thesis advisor: Richard Bonaccorso. " ... in partial fulfillment of the requirements for the degree of Master of Arts in English." Includes bibliographical references (leaves 71-74).
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Curtis, Kelley. "Designing Interactive Multimedia for the Anthropology Exhibit Gallery." [Tampa, Fla. : s.n.], 2003. http://purl.fcla.edu/fcla/etd/SFE0000079.
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Lyons, Shannon Jade. "Challenging Placelessness: Site-Specific Art within the Gallery." Thesis, Curtin University, 2015. http://hdl.handle.net/20.500.11937/2172.
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This practice-led research project investigates ways of challenging contemporary notions of placelessness through the production and installation of site-specific artworks within art gallery spaces. By focusing on the material, architectural, atmospheric and institutional conditions specific to art gallery spaces, and producing artworks that may reveal, expose and illuminate these conditions, the project aims to explore alternatives to the production of artwork in one place and its exhibition in another, and to the use of the art gallery as a ‘non-place’.
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Kortenhoven, Aaron Peter. "Use of Gallery and Non-Gallery Forest by Ungulates Inhabiting the Loma Mountains Non-Hunting Forest Reserve, Sierra Leone, West Africa." Scholarly Repository, 2009. http://scholarlyrepository.miami.edu/oa_theses/206.
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This 11-month study examined rates of encountering dung pellet groups, dung piles and ungulates in gallery forests and non-gallery forests during diurnal surveys in the Loma Mountains Non-Hunting Forest Reserve (LMNHFR) in Sierra Leone, West Africa. These indices of relative abundance were then used to infer relative habitat use by the seven ungulate species on which data were collected. This study also examined the differences in rates of encountering duikers during nocturnal surveys with rates of encountering duikers during diurnal surveys to determine which time of day produces higher rates of encounter, and thereby a more accurate estimate of duiker abundance. The dung of four of the seven species, namely Cephalophus niger, Philantomba maxwelli, Tragelaphus scriptus, and Potamochoerus porcus is encountered at a higher rate in gallery forest than in non-gallery forest. Rates of encountering the dung of three species, C. silvicultor, C. dorsalis and Syncerus caffer nanus, do not differ between forest types. Rates of encountering four species, namely C. niger, P. maxwelli, T. scriptus, and C. silvicultor are higher in gallery forest than in non-gallery forest. Rates of encountering three species, namely C. dorsalis, S. caffer nanus, and P. porcus do not differ between forest types. Rates of encountering duikers ranged from three to six times higher during nocturnal surveys than during diurnal surveys for C. niger and P. maxwelli and 20 times higher for C. dorsalis. Survey timing did not affect the rate of encounter for C. silvicultor. Forest ungulates in the LMNHFR utilize gallery forests regularly. Possible reasons for the higher rates of encounter for six of the species in gallery forests compared with non-gallery forests are access to water, readily available browse resulting from annual fire damage on the periphery and interior of gallery forests, and easy access to cover for ungulates when foraging in adjacent grassland. Given the current rate of forest loss in West Africa, studies examining how forest mammals are able to persist in small forest fragments should be high priority for both government and conservation groups. The findings here give evidence that forest ungulates can and do use small areas of forest. Most importantly, the findings from this study show the global value of the LMNHFR for the conservation of large mammals endemic to the Upper Guinea Forests.
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Chan, Bui-sze Suzanne. "Consuming the terrain vague TDC Design Gallery flagship store." Click to view the E-thesis via HKUTO, 2004. http://sunzi.lib.hku.hk/hkuto/record/B31986973.
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Lindblom, Tobin Eliot. "The use of gallery writing in very large groups /." Full text available from ProQuest UM Digital Dissertations, 2008. http://0-proquest.umi.com.umiss.lib.olemiss.edu/pqdweb?index=0&did=1850451841&SrchMode=1&sid=2&Fmt=2&VInst=PROD&VType=PQD&RQT=309&VName=PQD&TS=1279649340&clientId=22256.
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Thesis (Ph.D.)--University of Mississippi, 2008.Typescript. Vita. "May 2008." Major professor: Dr. Milam Aiken Includes bibliographical references (leaves 64-71). Also available online via ProQuest to authorized users.
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DeGraaf, Nathan Mark. "Milieu, meaning and architecture contemporary installation art gallery design /." Cincinnati, Ohio : University of Cincinnati, 2006. http://www.ohiolink.edu/etd/view.cgi?acc%5Fnum=ucin1148191782.
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Thesis (Master of Architecture)--University of Cincinnati, 2006.Title from electronic thesis title page (viewed July 24, 2006). Includes abstract. Keywords: Art Museum; Art Display; Installation Art; Includes bibliographical references.
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Sharp, Arabella. "The engaged experience : visitor narratives in the art gallery." Thesis, University College London (University of London), 2014. http://discovery.ucl.ac.uk/10021719/.
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Within contemporary cultural climates there has been a significant instrumentalised focus on the role of museums and galleries in the promotion of positive mental health and well-being. The emotional and psychological components embedded within such aspirations however present a number of fluid and intangible challenges that require in-‐depth research if deeper understanding of such processes and claims are to take place. My research addresses philosophies, strategies, and practicalities through searching for a better understanding of individual encounters with paintings in gallery settings. It provides a possible framework for evaluating affectivity and emotional engagement in cultural organisations. While acknowledging the intellectual and social impact of the visitor experience, this research focuses on the affective encounter of the individual, unaccompanied visitor. Both the successes and complications of evaluating the complexities of visitor experience have been addressed through multi-‐methodological research. The research demonstrates how art galleries are an important resource for inspiring emotionally engaged and affective experiences beyond the organised social activity predominantly used to promote positive mental health and well-‐ being. The focus on emotion and affectivity also provides an alternative to the emphasis on cultural organisations as a vehicle for narrowly defined learning. Through the collection, correlation, analysis and presentation of visitor’s experiential narratives I uncover a ‘rise of the visceral’ in the cultural sector and greater differentiation of audiences in Museum Visitor Studies. I achieve this through positioning the engagement with paintings as a form of memento mori and memento vitae, which provide an emotionally affective and engaged impact potentially conducive to an altered state of mental health and well-‐being.
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Robinson, Christine. "Paradoxical Performances of Subjectivities, Spaces and Art Gallery Postcards." The University of Waikato, 2007. http://hdl.handle.net/10289/2295.
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This thesis examines the relationship between art gallery postcards, subjectivities and domestic spaces. Feminist post-structuralist debates on memory, subjectivity and domestic spaces provide the theoretical framework for this research into taken-for-granted objects of the everyday. Empirical data came from interviewing nine women who buy, use and keep postcards and two New Zealand Art Gallery store managers. Some of the participants were interviewed more than once, while others extended their views by e-mail. Auto-ethnographic narrative is used to explore further the symbolic significance of an individual's postcard consumption. This research focuses attention on the production of gendered subjectivities and domestic spaces through an aesthetic artefact. There are three points to my analysis. Firstly, I argue paradoxically the under-noticed seemingly trivial gallery postcard becomes a memory holder and therefore a significant artefact of symbolic value. Memories are potent, elusive fragments that become attached to a sound, smell, touch or sight. Catching sight of a postcard can trigger a chain of memory associations, which in turn constructs a sense of self through the remembering. Secondly, I contend that subjectivity is understood as fluid and multiple, evolving out of experience and interpretation. Memories formed from experience and connections made with people, place and things become associated with gallery postcards and serve as a catalyst for personal narratives which in turn can operate as tools for constructing subjectivities. Finally I suggest that domestic spaces are a product of relations that can be understood as existing within and beyond the home. Stretched domestic space can be produced by the display of gallery postcards in office spaces. The exploration of the art gallery postcard adds to the knowledges of everyday objects and their role and significance in constructing gendered subjectivities and spaces.