Tesi sul tema "Crochets"

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Fundo Mackenzie de Pesquisa
In the present work a statistical study involving medium and high intensity solar flares occurred between 2011 and 2015, in the diurnal period, in the Brazilian territory is presented. This statistic provides important information about the flares associated with rare events called "magnetic crochets", which are variations in the horizontal component of the surfacial geomagnetic field associated with the electromagnetic radiation of the Sun. For a better understanding of these phenomena and for the characterization of the behavior of the ionosphere during the "magnetic crochets", some examples are shown in which ionospheric, solar and geomagnetic parameters are compared. This type of analysis is infrequent nowadays and the literature does not present studies with such characteristics in the region of South America involving ionospheric soundings. The results show a good correlation between more intense X-ray and H-alpha explosions originating in active regions with more complex magnetic structures near the central meridian on the solar disk, which occurred around 15:00 UT (~ 12:00 local time Time), with a considerable number of "crochets". The results also show variations in the horizontal component of the atipically high surfacial geomagnetic field at stations around 22 ° south latitude, while in other regions of the globe the variations in this latitude range are smaller than in the equatorial regions, suggesting anomaly's influence in this region of South America. Results of the analysis related to the low ionosphere showed a good correlation between the more impulsive and intense events in the X-ray range of 0.4 to 1 Angstrom, with modification in the height of reflection of the signal in (VLF) and conductivity change at the ionosphere's base, which may suggest a characteristic of flares associated with magnetic crochets.
No presente trabalho é apresentado um estudo estatístico envolvendo flares solares de média e alta intensidade ocorridos entre 2011 e 2015, no período diurno, no território brasileiro. Essa estatística fornece informações importantes a respeito dos flares associados a eventos raros denominados “magnetic crochets”, que são variações na componente horizontal do campo geomagnético superficial associadas a radiação eletromagnética do Sol. Para melhor entendimento desses fenômenos e para a caracterização do comportamento da ionosfera durante os “magnetic crochets”, são mostrados alguns exemplos nos quais são comparados parâmetros ionosféricos, solares e geomagnéticos. Esse tipo de análise é pouco frequente atualmente e a literatura não apresenta estudos com tais características na região da América do Sul envolvendo sondagem ionosférica. Os resultados apresentados mostram boa correlação entre explosões mais intensas em raios-X e H-alfa originadas em regiões ativas com estruturas magnéticas mais complexas das proximidades do meridiano central no disco solar, ocorridas em torno das 15:00 UT (~12:00 Local Time), com um número considerável de “crochets”. Os resultados também mostram variações na componente horizontal do campo geomagnético superficial atipicamente alta em estações em torno de 22º de latitude Sul, enquanto que em outras regiões do globo as variações nessa faixa de latitude são menores do que nas regiões equatoriais, sugerindo influência da região da anomalia magnética presente nessa região da América do Sul. Resultados da análise relacionada à baixa ionosfera mostraram boa correlação entre os eventos mais impulsivos e intensos na faixa dos raios-X de 0,4 a 1 Angstrom, com modificação na altura de reflexão do sinal em frequências rádio muito baixas (VLF) e modificação da condutividade na base da ionosfera, o que pode sugerir uma característica de flares associados aos “magnetic crochets”.

L'un des objets principaux de la thèse est de montrer que de nombreuses structures algébriques (algébroïdes de Lie, bigébroïdes de Lie, crochet de Schouten-Nijenhuis, crochet de Frölicher-Nijenhuis, etc...), définies sur un fibré vectoriel A, s'expriment simplement en termes d'une structure de Poisson canonique, appelée le grand crochet, définie sur une certaine supervariété symplectique. On donne, par exemple, une formule explicite pour le crochet de Frölicher-Nijenhuis en termes du grand crochet. On uniformise également, en termes du grand crochet, différentes notions de compatibilités entre structures algébriques ou entre tenseurs sur A. On généralise, en particulier, les structures de Poisson quasi-Nijenhuis aux structures de Poisson quasi-Nijenhuis avec flux. Enfin, on donne des exemples de ces structures compatibles apparaissant dans des généralisations des variétés hyperkählériennes ou provenant de systèmes d'équations de Monge-Ampère.

Nous étudions les structures de Poisson pour les hiérarchies d'équations de type KdV q-déformées. Après une introduction à la théorie de groupes de Lie-Poisson nous donnons un exposé des résultats des trois travaux de cette thèse. Dans le premier nous construisons par la méthode des transformations d'habillage formelles une famille d'équations de courbure nulle aux différences finies. Ces équations admettent la réduction par rapport à l'action d'un groupe de jauge et engendrent des équations de type KdV aux différences finies sur l'espace quotient. Dans le second travail nous définissons le (second) crochet de Gelfand-Dickey q-déformé sur l'algèbre d'opérateurs aux q-pseudo-différences. Nous en en prouvons l'unicité dans une classe naturelle des structures de Poisson quadratiques et montrons que ce crochet concorde avec les algèbres W q-déformés introduite par E. Frenkel et N. Reshetikhin. Puis, nous le généralisons au cas du groupe d'opérateurs aux q-pseudo-différences d'ordres complexes arbitraires. Cette construction, motivée par les résultats de B. Khesin et I. Zakharevich dans le cas différentiel, est basée sur "l'extension double" de l'algèbre d'opérateurs aux q-pseudo-différences associée au cocycle logarithmique. Dans le troisième article nous considérons la version q-déformée de la réduction de Drinfeld-Sokolov pour le cas de l'algèbre de matrices de dimension complexe ; cette construction généralise les résultats de B. Khesin et F. Malikov sur la réduction DS universelle. Pour décrire les crochets de Poisson compatibles avec la réduction nous utilisons la technique similaire à celle proposée antérieurement par E. Frenkel, N. Reshetikhin et M. Semeno-Tian-Shansky.

Dans cette thèse nous présentons les résultats sur l'emploi des systèmes Hamiltoniens à port et des systèmes de contact commandés pour la modélisation et la commande de systèmes issus de la Thermodynamique Irréversible. Premièrement nous avons défini une classe de pseudo-systèmes Hamiltoniens à port, appelée systèmes Hamiltoniens à port irréversibles, qui permet de représenter simultanément le premier et le second principe de la Thermodynamique et inclut des modèles d'échangeurs thermiques ou de réacteurs chimiques. Ces systèmes ont été relevés sur l'espace des phases thermodynamiques muni d'une forme de contact, définissant ainsi une classe de systèmes de contact commandés, c'est-à-dire des systèmes commandés non-linéaires définis par des champs de contacts stricts. Deuxièmement, nous avons montré que seul un retour d'état constant préserve la forme de contact et avons alors résolu le problème d'assignation d'une forme de contact en boucle fermée. Ceci a mené à la définition de systèmes de contact entrée-sortie et l'analyse de leur équivalence par retour d'état. Troisièmement, nous avons montré que les champs de contact n'étaient en général pas stables en leur zéros et avons alors traité du problème de la stabilisation sur une sous-variété de Legendre en boucle fermée.

L'objectif de la thèse était l'étude typologique et technologique de ceintures provenant du nord de l'Italie à l'âge du fer. Cette étude a consisté à étudier les communautés qui circulaient et vivaient dans la zone transalpine
The aim of the thesis was the typological and technological study of belts from northern Italy in the Iron Age. This study involved a study of the communities that circulated and lived in the transalpine area

Une etude dendroecologique est menee sur les quatre coniferes constituant la limite superieure de la foret dans les alpes francaises : l'epicea commun (picea abies (l. ) karst), le meleze d'europe (larix decidua mill. ), le pin cembro (pinus cembra l. ) et le pin a crochets (pinus uncinata mill. Ex mirb. ). La zone d'etude couvre quatre regions : belledonne (alpes externes), la moyenne-tarentaise (alpes intermediaires), la haute-maurienne (alpes internes du nord) et le brianconnais (alpes internes du sud), situees le long de gradients croissants d'aridite estivale, de continentalite hydrique et de temperature. Au total, 37 populations de 12 arbres dominants sont echantillonnes en adret et en ubac, sur substrats carbonates et non carbonates. La croissance radiale est globalement plus rapide en moyenne-tarentaise et plus lente dans le brianconnais. Des differences specifiques importantes sont egalement observees : croissance radiale plus forte pour l'epicea et le pin cembro, rythmes propres a chaque espece, hauteurs dominantes plus elevees pour l'epicea et le meleze. L'etude des relations cernes-climat (correlations simples, fonctions de reponses, annees caracteristiques) met en evidence des comportements specifiques distincts : epicea tres sensible au manque de chaleur durant la saison de vegetation et a l'aridite de l'ete precedant la formation du cerne, meleze favorise par la chaleur en juin, pins craignant avant tout l'aridite de l'ete precedent. Le contexte bioclimatique influence plus la reponse des arbres que les conditions stationnelles sauf pour le pin a crochets qui se montre tres reactif a l'exposition. Enfin, l'etude des tendances a long terme revele une derive positive de la croissance depuis le milieu du 19#e#m#e siecle pour les quatre especes notamment pour les cernes d'age cambial jeune. Cette derive est plus forte pour l'epicea, plus marquee dans les alpes externes et intermediaires et semble liee a une augmentation des temperatures minimales.

Les recherches présentés dans ce travail ont pour objectif majeur d'arriver à une meilleure connaissance bio-écologique des principales essences subalpines de conifères des Alpes et des écosystèmes qu'elles constituent : mélèze (larix europaea DC. = larix decidua mill. ), pin cembro (pinus cembra l. ), pin à crochets (pinus uncinata Ramond) et pin mugho (pinus mughus Scopoli). Les études de terrain ont été principalement centrées sur un secteur très privilégié des Alpes : les Alpes Maritimes et ligures. Des recherches historiques, taxonomiques et chronologiques sur les principaux pins dits "de montagne" ont abouti, en particulier, à la clarification de leur nomenclature, à une nouvelle clé de détermination et à un schéma de leur phylogénie. Des investigations phytoécologiques ont été effectuées dans les groupements subalpins les plus importants. La dynamique des formations sylvatiques a été largement envisagée de même que le problème de leur régénération. Les conclusions d'études pédologiques et microclimatiques réalisées dans des stations subalpines types concourent à préciser les exigneces écologiques des diverses essences. . .

Dans cette thèse on s'attache à étudier les crochets de Rankin-Cohen et les déformations correspondantes selon de différents points de vue. On présente d'un côté une nouvelle interprétation des déformations de Rankin-Cohen via la théorie de "Quantification par Deformations de Fedosov(en collaboration avec P. Bieliavsky et X. Tang). On parvient notamment à redémontrer un théorème de Connes-Moscovici sur la déformation formelle des algèbres sous l'action d'une algèbre de Hopf H1 munie d'une structure projective. De l'autre cote on donne dans Chapitre III une interprétation détaillée des crochets de Rankin-Cohen via la théorie de représentations unitaires de SL2(R) et en utilisant cette interprétation on étudie certaines propriétés des produits déformés, notamment l'unicité des produits construits par Cohen-Manin-Zagier et une propriété de séparation du produit d'Eholzer. Dans le dernier chapitre on donne une démonstration élémentaire de l'identité combinatoire qui est cruciale pour démontrer l'associativité dans l'approche de la question de déformations par Cohen-Manin-Zagier, Eholzer, et Connes-Moscovici.

On démontre un théorème de structure pour l'anneau des
formes quasi-modulaires $\widetilde{M}_*(\Gamma)$ gradué par
le poids, sur n'importe quel groupe discret et co-compact
$\Gamma \subset \rm{PSL}(2, \mathbb{R})$ : cet anneau s'avère
être toujours infiniment engendré. On calcule le nombre
de nouveaux générateurs en chaque poids. Le nombre en
question est fixe et est égal à $\dim_{\mathbb{C}} I
/ (I \cap \widetilde{I}^2)$ où $I$ et $\widetilde{I}$
désignent respectivement l'idéal des formes modulaires
sur $\Gamma$ (respectivement l'idéal des formes quasi-modulaires
sur $\Gamma$) en poids positifs. On construit des
anneaux $\widetilde{R}$ finiment engendrés en poids positif
et contenant les anneaux de formes quasi-modulaires sur
des groupes modulaires co-compacts. On étudie aussi
des restrictions des formes modulaires de Hilbert aux
courbes modulaires : on montre que l'espace engendré par
une suite de restrictions des formes modulaires de Hilbert
sur une courbe modulaire
est un sous-espace fermé par crochets de Rankin-Cohen de
l'espace des formes modulaires sur la courbe.
\vskip 2cm

Dans ce mémoire, on introduit l'univers d'Einstein et on présente plusieurs façons conceptuelles et paramétriques de représenter cet espace. On présente ensuite différents objets de l'univers d'Einstein. L'accent est mis sur la visualisation de ces objets en dimension deux et trois. Finalement, on décrit les surfaces croches. Les surfaces croches servent à borner des domaines fondamentaux, de la même façon que les surfaces équidistantes le font en géométrie euclidienne. Le but de ce mémoire est de présenter certaines propriétés des surfaces croches. En particulier, on montre qu'elles ont deux côtés. Si ce n'était pas le cas, il serait impossible de trouver des surfaces croches disjointes.

Le hasard m’a permis de faire des belles découvertes. La beauté particulière des câbles électriques et leur potentiel plastiques ont ainsi éclairé mon parcours artistique. J’ai fait le choix du câble comme matière première de mon œuvre depuis 1999. Une technique artisanale celle du Crochet, en lien avec la tapisserie contemporaine met l’accent sur l’idée de la connectivité et le tissage des liens sociaux par un seul fil continu sans coupure. Je cherche une transgression de cette pratique au profit d'une compréhension plus large de ce qu’elle représente. Par la répétition gestuelle qui m’a permis de conduire à une forme de ritualisation de ma technique, je passe par une phase de conscience où la perception devient plus aiguisée. Ma pratique est devenue une forme d’existence, d'amélioration et de soulagement pour arriver au constat d’un effet magique qui délivre le corps par une spiritualité. C’est aussi une forme de connectivité, d’échange avec des plasticiens qui ont agrandi mon univers. Par le travail sériel, monochrome (noir) et une analyse épistémologique, je suggère un mé-tissage de certaines disciplines, une forme d’hybridation entre un univers cosmologique, mathématique et physique. Mon corps devient un fil conducteur dessine dans l’espace externe mon intériorité par des vidéos performatives et expressives. Je fais là l’expérience d'une contiguïté issue en réalité de la continuité du fil. Cet espace interne et fusionnel, où je fais l'expérience de mon corps en relation avec le fil continu, revêt souvent une dimension imaginaire, auquel s'ajoute un espace externe, celui de la représentation et de la mise à distance dans le monde physique de mon œuvre
Chance has allowed me to make beautiful discoveries. The particular beauty of the electric cables and their plastic potential have thus illuminated my artistic career. I made the choice of cable as raw material of my work since 1999. A traditional technique, that of Crochet, in connection with contemporary tapestry emphasizes the idea of connectivity and the weaving of social links by a single continuous thread, an unbroken thread. But I seek a transgression of this practice in favor of a broader understanding of what it represents. By the gestural repetition that allowed me to lead to a form of ritualization of my technique, I go through a phase of consciousness where the perception becomes more acute. My practice has become a form of existence, improvement, and relief to come to the realization of a magical effect, which delivers the body spiritually. It is also a form of connectivity, of exchange with several artists of which I made the collection carefully and which enlarged my universe, then by the serial work, monochrome (black) and an epistemological analysis, I suggest a " miscegenation" of certain disciplines in my work, a form of hybridization between a cosmological universe, mathematical and physical are interlaced. My body becomes a drawing thread in the external space, my interiority by performative and expressive videos. I am experiencing an adjacency that actually comes from the continuity of the thread. This internal and fusional space, where I experience my body in relation to the continuous thread, often takes on an imaginary dimension, to which is added an external space, that of representation and distancing in the physical world of my work

The purpose of this project was to locate a potential funding source and write a grant to fund a program for Latina women living in Orange County, California with depression and anxiety. Latinas are at a high risk for depression and other mental health conditions due to domestic violence, gender role expectations, stigma, and limited access to mental health resources. The goal of this program is to reduce depression and anxiety rates among 150 Latinas. This program will provide culturally sensitive empirically supported groups in which crocheting is used as part of an intervention that includes the curriculum from A Window Between Worlds (2015), employing art as a healing tool for trauma. The groups will also include cognitive behavioral therapy and encourage the women to use journaling and mindfulness meditation. Standardized instruments will evaluate outcomes. Submission of the grant was not a requirement for this project.

Dans cette thèse, nous décrivons explicitement la structure multiplicative et la structure d’algèbre de Lie graduée sur la cohomologie de l’algèbre enveloppante d’une algèbre de Lie de dimension finie. Dans un premier temps, nous introduisons une structure multiplicative de la cohomologie de l’algèbre de Lie. Ensuite, nous montrons explicitement qu’il existe un isomorphisme d’algèbres graduées commutatives entre l’algèbre de cohomologie de Hochschild de l’algèbre enveloppante munie du produit cup et l’algèbre de cohomologie de l’algèbre de Lie. Dans un deuxième temps, nous introduisons une structure d’algèbre de Lie graduée sur la cohomologie de l’algèbre de Lie. Ensuite, nous montrons qu’il existe un isomorphisme d’algèbres de Lie graduées entre l’algèbre de Lie de cohomologie de Hochschild de l’algèbre enveloppante munie du crochet de Gerstenhaber et l’algèbre de cohomologie de l’algèbre de Lie. Enfin, nous décrivons complètement le crochet de Gerstenhaber sur la cohomologie de Hochschild de l’algèbre enveloppante d’une algèbre de Lie de dimension _ 3
In this thesis, we explicitly describe the multiplicative structure and the graded Lie algebra structure of the cohomology of finite-dimensional Lie algebras. In a first step, we introduce a multiplicative structure for the cohomology of Lie algebra. Then, we explicitly show that there exists an isomorphism of commutative graded algebras between the Hochschild cohomology algebra of the enveloping algebra provided with the cup product and the cohomology algebra of the Lie algebra. In a second step, we introduce a graded Lie algebra structure for the cohomology of Lie algebra. Then, we show that there exists an isomorphism of graded Lie algebras between the Hochschild cohomology Lie algebra of the enveloping algebra provided with the Gerstenhaber bracket and the cohomology algebra of the Lie algebra. Finally, we describe completely the Gerstenhaber bracket on the Hochschild cohomology of the enveloping algebra of a Lie algebra for dimension _ 3

Orientador: Bela Feldman-Bianco
Dissertação (mestrado)-Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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Mestrado
Mestre em Antropologia

This thesis examines a brief period, from 1845 to 1855, during which women and girls with no previous experience in textile design or production, initiated and produced a stylistically-unique lace. The context of the achievement is investigated to answer the two-part question: how were unskilled Irish Crochet lace makers able to create work of lasting aesthetic significance, and, what elements of their methodology are relevant for contemporary textile art practice? Primary archival and textual evidence is analysed and reveals that Irish Crochet lace is a hybrid of two styles of crochet that developed separately and simultaneously in Ireland, from different sources. Kildare makers, "of their own ingenuity", devised a way to copy old needlelace using a new, hooked, technique. Around Cork, technique allowed designs to evolve during, rather than being created prior to, the process of making. The art practice element of this thesis includes contemporary interpretations that replicate original makers' experimental approach to design, using digital software to mimic the spontaneity enabled by crochet technique. This work proposes that creative possibilities are inherent in a 'choreographed serendipitous' way of working. In this approach, experiential craft skills facilitate visualisation of what is possible within the limits of a craft, and chance effects stimulate artistic risk-taking. Using tacit knowledge of craft skills to provide an insight into creative problem-solving processes is one of three methodological bases utilised throughout the research. Grounded theory informed the extraction of pertinent facts from an extensive database of historical information, and an understanding of heuristics-based phenomenology helped effect an empathetic relationship between the researcher and the original lacemakers. Together, text and practice contribute to knowledge by revealing the bilateral sources of Irish Crochet lace, the reason for the historical success of the 'controlled chance' method, and its potential for producing creative outcomes in contemporary practice.

In this project a collection of clothing, based on the handicraft of knitting and crocheting, has been developed. Today most garments are produced on industrial machines, cheaply, fast and with a low quality. An alternative to this is slow fashion which aims for long-lasting, locally manufactured clothing, primarily made from sustainably sourced fair-trade fabrics. The aim of this project is to raise awareness of slow fashion by working with the handicraft of knitting and crochet. The work has a slow process of making, and the items are carefully made by hand which raises the value of the garments and is a more sustainable way of using the materials.  Traditional flat pattern construction is based on symmetrical squares and vertical and horizontal lines. This work's construction is based on diagonal lines around the women's body, as a suggestion that it fits the knitted fabric property and the women's body better. Design decisions were made by looking at renaissance fashion and paintings. To highlight an older way of making fashion and to push the expression in knitwear and show the potential in the craft.

En étant définies comme les mises en œuvre d'un ensemble de savoirs et de finalités organisant l'assemblage des gestes de l'individu, les techniques apparaissent alors une partie intégrante de l'histoire du rugby. Dans cette perspective, l'objet de la recherche consiste à décrire et expliquer comment et pourquoi les techniques de rugby se transforment dans la société française au cours de la période 1845 - 1957. Pour identifier des ruptures significatives dans ces évolutions techniques, nous avons construit quatre périodes nous permettant de montrer qu'il n'existe pas de grandes inventions techniques mais qu'il s'agit plus simplement d'adaptations corporelles liées aux transformations de la société, à l'évolution du jeu et à sa codification. Ainsi, il est possible de montrer comment les innovations se développent et se diffusent dans la société. L'étude de la logique de socialisation des techniques nous permet alors d'observer la dynamique d'émergence ou de disparition des techniques au cours d'un siècle d'histoire du rugby

Parametric equations are commonly used to describe surfaces. Looking at parametric equations does not provide tangible information about an object. Thus through the use of physical materials, an understanding of the limitations of the materials allows someone to gain a broader understanding of the surface. A M$\ddot{o}$bius strip and Figure 8 Klein bottle were created through knitting due to the precision and steady increase in curvature allowed through knitting. A more standard Klein bottle was created through crochet due to the ease in creating quick increases in curvature. Both methods demonstrate the change in curvature for both surfaces where the M$\ddot{o}$bius strip and Figure 8 Klein bottle have slower changes in curvature, but the classic Klein bottle has a quicker change in curvature.

Tese de Mestrado em Design de Moda.
Na realização de um trabalho na disciplina de projecto, no 1º ano de mestrado (anexo 1), que supunha a criação de uma base têxtil nova, assente no princípio da reciclagem e em que foi explorado o cabelo sintético como matéria-prima, percebeu-se que o comprimento limitado do material condicionava tanto o tempo na produção como o rendimento do material. Esta investigação pretende explorar o cabelo humano como matéria-prima para a execução de malhas, desenvolvendo um processo de fiação para a construção de um filamento longo que posteriormente será utilizado na criação de malha/croché. O sistema da moda desenvolve-se com a exploração e expressão de novas ideias. Nesse sentido, esta investigação explora um material diferente, numa vertente inovadora e sustentável – característica que nos dias de hoje tem de estar presente, – o cabelo humano como matéria-prima na execução de malharia artesanal. Assim, numa altura em que se valoriza a individualidade e originalidade e porque não temos de pensar e projectar à escala industrial, este estudo mostra-se pertinente na descoberta de uma nova possibilidade de material para malha e no combate ao preconceito que a ele está associado. A metodologia desta investigação é uma metodologia mista. Primeiramente, foi feita uma pesquisa teórica, para enquadrar o tema nas várias vertentes – design de moda, malharia e cabelo – e para analisar de que forma é que o cabelo humano já foi explorado. Depois, foram feitas experiências para seleccionar o processo a ser utilizado e executada uma amostra de malha de croché de cabelo. Este estudo demonstra e comprova que o cabelo humano é um material viável na utilização em malharia artesanal e que, apesar de aparentemente ser um material fino e frágil, ao ser agrupado, fiado, torcido e associado à técnica de croché, cumpre os requisitos necessários de outro fio qualquer para o mesmo efeito. A investigação desafia pressupostos e estéticas estabelecidas e é, por isso, enriquecedora e inovadora.

El presente trabajo se basa en la propuesta de un plan de negocios para la creación de una microempresa de tejido de vestidos y chalecos hechos a mano y/o a crochet. La idea parte de la necesidad de formalizar un negocio que actualmente está encaminado, pero de manera informal y debido a la buena acogida y aumento de demanda que está teniendo por la calidad de sus productos, requiere dar el siguiente paso en cuanto a crecimiento ya como empresa. Hemos realizado un análisis sobre el entorno, las características de nuestros clientes actuales y potenciales, así como la proyección económica y financiera. La propuesta de crear una microempresa parte del total anual de ventas proyectadas, así como la intención de acceder a algunos beneficios tributarios y gubernamentales que actualmente impulsan el desarrollo y formalización de las empresas a nivel país. Para poder tener una visión global del proyecto y determinar la ventaja competitiva de esta microempresa nos hemos apoyado en desarrollar diversos modelos y herramientas de análisis tipo PESTEL, FODA, CANVAS, entre otros. Nuestro plan estratégico tiene un enfoque de diferenciación del producto para lo cual nos estamos apoyando del plan de marketing propuesto. Los precios de venta se han determinado en base a una sólida estructura de costos que hemos armado, así como el análisis de nuestro mercado actual. Esto nos ha dado como resultado una proyección positiva de rentabilidad tanto económica como financiera, lo cual nos confirmaría la viabilidad del proyecto.
The present work is based on the proposal of a business plan for the creation of a microbusiness of hand-made dresses and vests. The idea is based on the need to formalize this business that is currently underway, but informally and due to the good reception and increased demand that it is having for the quality of its products, it requires taking the next step in terms of growth as a company. We have carried out an analysis of the environment, the characteristics of our current and potential clients, as well as the economic and financial projection. The proposal to create a microbusiness response to the annual projected sales total, as well as the intention of accessing some tax benefits and governments that currently drive the development and formalization of companies in our country. In order to have a global vision of the project and determine the competitive advantage of this microbusiness, we have relied on developing various models and analysis tools such as PESTEL, SWOT ANALYSIS, CANVAS, among others. Our strategic plan has an advantage differentiation approach for what we are supporting from the proposed marketing plan. Sales prices have been determined based on a cost structure that we have assembled, as well as the analysis of our current market. This has resulted in a positive projection of economic and financial profitability, which confirms the viability of the project.
Tesis

Cette thèse porte sur la structure de Lie de la cohomologie de Hochschild, donnée par le crochet de Gerstenhaber. Plus précisément, on étudie la structure d'algèbre de Lie du premier groupe de cohomologie et la structure de module de Lie des groupes de cohomologie de Hochschild de certaines algèbres monomiales. Une algèbre monomiale est définie comme le quotient de l'algèbre de chemins d'un carquois par un idéal bilatère admissible engendré par un ensemble de chemins de longueur au moins deux. On utilise les données combinatoires intrinsèques à de telles algèbres pour étudier la structure de Lie définie sur la cohomologie de Hochschild. En fait, on examine deux aspects de cette structure algébrique. Le premier est la relation entre la semi-simplicité du premier groupe de cohomologie de Hochschild et la nullité des groupes de cohomologie de Hochschild. Dans le second aspect, on se concentre sur la structure de module de Lie des groupes de cohomologie de Hochschild d'une famille d'algèbres particulière: celles dont le radical de Jacobson au carré est nul.

This project considers the potential impact of learning relations between hobby craft makers and formally educated makers. It questions how the craft based relationship of a formally educated artist and a self taught/amatuer maker can be renegotiated and implemented in a broader learning context. The artistic research aims to propose that a facet of ‘new knowledge’ in the field and future of contemporary art and craft production is one of togetherness; by embracing discomfort and the unfamiliar to affirm and reveal the knowns and unknowns of one's own practice and field. The question is considered in discussion with social/relational art practices, amatuer craft theory and gift theory. The project culminates both in this paper and an exhibition piece as part of Konstfack University College of Arts, Crafts and Design Spring Exhibition 2016.

Textile waste, both pre and post consumer, is a problem that needs a solution, and fast. This work aims to find a simple solution to that problem, to exemplify how a small change in thinking and structures can make a big difference. The proposal is a design system of square construction, with roots in historical fabric conservancy practices and by use of salvage craft techniques. By constructing garments out of squares, waste is eliminated by simple means and existing materials of different qualities can be cut in the same way, thereby rationalized, then assembled into larger materials and so an up cycling process is achieved. The result of this work is a versatile design system which may lead to many different outcomes in the hands of different designers without compromising on desired fit and without the waste generated from cutting conventionally. In the present fashion field solutions such as this system are necessary to encourage the apprehensive designer to take steps towards sustainable practices.

En entomologie forestiere montagnarde, formica lugubris zett, assure pour une part importante l'equilibre biologique des forets. Elle constitue en outre un bio-indicateur de leur etat phytosanitaire. Ce travail evalue l'incidence du rayonnement solaire sur la formation des nids, leur developpement et leur abandon. Nous avons utilise la methode des hemispherophotographies en combinaison avec les heliogrammes correspondants aux coordonnees des zones etudiees: l'arc alpin (forets de meleze, epicea et sapin), et les pyrenees orientales (forets de pin a crochet). L'etude des nids de differentes conditions (volume, biomasse) en diverses situations (lisiere, interieur de massif), dans differentes forets monospecifiques, met en evidence la part determinante de l'ensoleillement pour f. Lugubris zett. Sous couvert dense (epicea, sapin), les nids prosperent en situation d'ecotone, recevant une insolation importante en matinee, en une ou deux periodes selon la trouee. Sous couvert clair (meleze, pin a crochet), l'insolation plus uniforme permet la colonisation en profondeur des forets. L'eclairement du matin est toujours recherche. On discute ensuite l'importance relative de ces differents facteurs, et on conclut en soulignant le role important joue par l'ensoleillement (composante infra-rouge): les fourmilieres s'adaptent aux modifications de l'eclairement et suivent l'evolution des trouees lumineuses. Ces adaptations assez remarquables denotent la grande plasticite de l'espece etudiee et explique pour une grande partie son succes

Interest in national values increases with interest in culture, diversity, national identity. The handcrafted Moldovan towel (romanian – ”prosop”) is part of the national heritage of the Republic of Moldova. He belongs to the group of ceremonial textiles and represents a symbol of national culture. A special significance has the handcrafted towels, made of vegetable textile fibers. Of great interest are the laces (horboțică) with which their terminations are decorated. Towels decorated on two sides, on 3 and 4 sides, are identified. Depending on the occasion, they vary according to the complexity and type of ornamental elements used, but also their width. For example, towels given by young married people to godparents have ornaments reproduced in lace such as peacock, turkey, cuckoo, complex floral ensembles, with a width of 30-40 cm.

Detta arbete har två syften. Det ena syftet är att beskriva virkningens utveckling i Sverige från de först kända föremålen fram till 1900-talets början. Det andra syftet är att initiera forskning inom den textila tekniken virkning. Med utgångspunkt i dessa syften har jag arbetat utifrån följande problemformuleringar. När har tekniken virkning börjat användas och hur kan den ha uppstått? Hur har virkningen utvecklats? Vilka termer har använts för att beskriva tekniken? Hur har virkningen varit ansedd under den undersökta perioden? Min ansats har varit hermeneutisk och arbetet är utfört i form av en kvalitativ och deskriptiv litteraturstudie. Det innebär att jag har tolkat texter kring tekniken virkning för att sedan begränsa och strukturera urvalet.

Arbetet visar på att virkning är en, i förhållande till andra textila tekniker, ung teknik. Tidigare har tekniken tidigast kunna dateras till slutet av 1700-talet. En virkad pung hos Kungliga Myntkabinettet med dateringen 1693 gör att jag vill korrigera dateringen till 1600-talet. Det är osäkert hur tekniken virkning har uppstått, två teorier är att tekniken ska ha sitt ursprung i påtning eller tambursömmen. Arbetets ståndpunkt är dock att en kombination av påtning och tambursöm är ett troligare ursprung. Det är i samband med industrialiseringen av Europa som virkningen växer fram som teknik. Det kan förklaras med en ökad garntillgång och billigare virkbeskrivningar. Vidare belyser arbetet den flora av termer som de första virkbeskrivningarna innehåller. Avslutningsvis behandlas virkningens anseende med utgångspunkt i den debatt som pågick vid slutet av 1800-talet.

This book documents an exploration of emergent and linear modes of defining space, form, and structure. The thesis highlights a dialog between analog and digital modeling techniques, in concept and project development. It identifies that analog modeling techniques, coupled with judgment, can be used to develop complex forms. The thesis project employs critical judgment and the textile techniques of crochet as a vehicle generate form. Crochet lends itself to this investigation because it is a serial process of fabrication that allows for the introduction of specific non-linear modifications. The resulting emergent forms produced by this mode of working can be precisely described by digital modeling techniques. These analog crochet models are translated into the digital through the employment of advanced digital modeling tools. This translation enables the visualization, development, testing, and execution of an architectural space, form, and structure.
Master of Architecture

Dans cette thèse, nous étudions divers problèmes issus de la topologie symplectique où la topologie C° intervient. Nous étudions diverses complétions de l'espace des applications hamiltoniennes, puis appliquons cette étude aux équations d'Hamilton-Jacobi. Nous abordons ensuite le problème de l'extension du morphisme de Calabi à des groupes d'homéomorphismes. Enfin, nous nous intéressons à la rigidité C° du crochet de Poisson et à l'extension au cadre C° de la notion de représentation hamiltonienne.

Cette thèse porte sur la structure de Lie de la cohomologie de Hochschild donnée par le crochet de Gerstenhaber. Plus précisément, nous étudions la structure d'algèbre de Lie du premier groupe de cohomologie et la structure de module de Lie des groupes de cohomologie de Hochschild de certaines algèbres monomiales. Ces algèbres sont définies comme le quotient de l'algèbre de chemins d'un carquois par l'ideal bilatère engendré par un ensemble de chemins de longueur au moins deux. Nous utilisons les données combinatoires intrinsèques à de telles algèbres pour étudier la structure de Lie définie sur la cohomologie de Hochschild. En fait, nous examinons deux aspects de cette structure algébrique. Le premier est la relation entre la semi-simplicité du premier groupe de cohomologie de Hochschild et la nullité des groupes de cohomologie de Hochschild. Dans le second aspect, nous nous concentrons sur la structure de module de Lie des groupes de cohomologie de Hochschild d'une famille d'algèbres monomiales particulière: celles dont le radical de Jacobson au carré est nul
This thesis is about the Lie structure on the Hochschild cohomology given by the Gerstenhaber bracket. More precisely, we study the Lie algebra structure on the first Hochschild cohomology group and the Lie module structure on the Hochschild cohomology groups of some monomial algebras. Such algebras are defined by the quotient of the path algebra of a quiver by a two-sided ideal generated by a set of paths of length at least two. We use the combinatorial data of such algebras to study the Lie structure on the Hochschild cohomology. Actually, we discuss two features of such algebraic structure. The first one is the relationship between semisimplicity on the first Hochschild cohomology group and the vanishing of the Hochschild cohomology groups. In the second one, we center our attention to the Lie module structure on the Hochschild cohomology groups of a particular family of monomial algebras: those whose Jacobson radical square is zero

In the Surface Development Test, self-perceived Sewing Expertise was significant in predicting participants' test scores. For the Paper Folding Test, Knitting and Crocheting Expertise were significant, suggesting expertise may mitigate age effects.; Spatial ability has been a topic of much research and debate over the past few decades. Yet, there are gaps in the current literature. Spatial ability refers to the aptitude of an individual to mentally rotate objects, visualize spaces, and recognize patterns (Linn & Petersen, 1985). A highly spatial task that is not addressed in research literature is crafting. Crafting may refer to knitting, crocheting, sewing, and other hobbies that include manipulations of materials. These crafts are spatially oriented, because they necessitate mental rotation, pattern recognition, and 3-D visualization to create an object. While research tends to favor males on certain spatial tests (Voyer, Voyer, & Bryden, 1995), research on the relationship between expertise and spatial ability has concentrated on traditionally male dominated domains, such as architecture and video games (Salthouse & Mitchell, 1990; Sims & Mayer, 2002). The traditionally female domain of needlework crafting expertise has not been studied empirically. First, a literature review is presented to give an overview of previous spatial ability research. The paper then describes the needlework crafts of sewing, knitting, and crocheting, including their historical significance and the spatial processes involved. A study was conducted to test the hypothesis that more expertise in needlework crafts will correlate with better performance on spatial ability tests. Three hundred and four adult women (ages 18-77) completed the study. Participant experience level was determined by self-perceived level of crafting expertise. Participants performed three spatial ability tests from the ETS Factor Reference Kit (Ekstrom et al., 1976): Paper Folding, Surface Development, and Card Rotations. Results indicated that age was correlated negatively with performance in all spatial tests. Only age was significant in the Card Rotations Test.
ID: 030645652; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Accepted in partial fulfillment of the requirements for honors in the major in Psychology.; Thesis (B.A.)--University of Central Florida, 2011.; Includes bibliographical references (p. 31-35)
B.S.
Bachelors
Sciences
Psychology

Dans cette thèse, nous étudions divers problèmes issus de la topologie symplectique où la topologie C° intervient. Nous étudions diverses complétions de l'espace des applications hamiltoniennes, puis appliquons cette étude aux équations d'Hamilton-Jacobi. Nous abordons ensuite le problème de l'extension du morphisme de Calabi à des groupes d'homéomorphismes. Enfin, nous nous intéressons à la rigidité C° du crochet de Poisson et à l'extension au cadre C° de la notion de représentation hamiltonienne.

Art historical research has shown that women's experiences have largely been under-represented in the fine arts; simultaneously, the applied arts that many women have traditionally used as a primary form of self-expression have been deemed equally inadequate for recognition. The reunification of craft with fine arts is essential as a means to bring visibility to rites of passage of the feminine. This practice-led research relocates women's experience by exploring the concept of the invisible but imperative functions of spaces and voids created by the methods and aesthetics of crochet. Through the lens of practice, in five iterations of creative work, the focus of this research seeks to illuminate the ineffable details of female experience.

Dans cette thèse, nous nous intéressons à deux problèmes concernant le semi-groupe de Lax-Oleinik et étudions leurs conséquences en théorie KAM faible. Le premier concerne des généralisations des théories d'Aubry-Mather et KAM faible de Fathi suite à une discrétisation en temps par rapport au modèle classique Hamiltonien. Ceci est traité en deux temps. Dans un premier temps, nous introduisons dans un cadre assez général d'espaces métriques, les outils de théorie KAM faible. On montre que les sous-solutions critiques peuvent ne pas être continue et on étudie leurs discontinuités à l'aide du potentiel de Mañé. On construit aussi des sous-solutions strictes continues. Dans une seconde partie, en se plaçant dans un cadre plus régulier, on construit des sous-solutions C^{1,1}. Le second problème traite, dans le cadre Hamiltonien Tonelli classique, des relations entre semi-groupes de Lax-Oleinik, théorie d'Aubry-Mather et théorie KAM faible pour des Hamiltoniens qui commutent au sens de Poisson
In this thesis, we were interested in two problems concerning the Lax-Oleinik semi-group and studied their implications in weak KAM theory. The first one is concerned with generalizations of the Aubry-Mather and weak KAM theories under a time discretization regarding the classical Hamiltonian model. This is done in two parts. First, we introduce in a fairly general framework of metric spaces the tools of weak KAM theory. We show the critical sub-solutions may fail to be continuous and study their discontinuities thanks to the Mañé potential. We also construct continuous strict sub-solutions. In a second part, we construct, in a more regular framework, C^{1,1} sub-solutions. The second problem deals with relationships between the Lax-Oleinik semi-groups, the Aubry-Mather and weak KAM theories for Poisson-commuting Hamiltonians in the classical Tonelli Hamiltonian setting

Ce travail est consacré a l'étude des déformations covariantes des orbites co-adjointes du groupe de Lie SL(2,R).Nous établissons un lien entre des méthodes de quantification basées sur les crochets de Rankin-Cohen et les matrices de fusion pour les modules de Verma. Par ailleurs nous formalisons et étudions la notion associée d'algèbre de Rankin-Cohen qui contrôle l'associativité de ces déformations
This work is devoted to the study of covariant star-product on coadjointorbits of the Lie group SL(2,R). We establish a correspondence between two quantization methods. The first is based on the Rankin-Cohen brackets and the second is based in the canonical element associate to the Shapovalov form and fusion matrices for Verma modules.Furthermore we formalize and study the associated notion of non-commutative algebra that controls the associativity of these deformations

Dans cette étude, nous cherchons à établir des identités polynomiales dans le cadre de la combinatoire non-commutative. Dans un premier temps, nous présentons de nouvelles structures de Nambu-Lie, en classifiant totalement les (n-1)-structures sur l'espace R^n, et en donnant une méthode permettant de construire des crochets de tout ordre sur une algèbre de Lie. Nous proposons également une quantification de l'une de nos structures, grâce aux polynômes standards et aux algèbres de Clifford d'indice pair. Dans un second moment, en généralisant la notion de polynôme standard au cas des algèbres graduées, nous cherchons à démontrer une version du théorème d'Amitsur-Levitzki sur les superalgèbres de Lie osp(1,2n) en suivant une démonstration de Kostant dans le cas classique. Nous sommes amenés à démontrer des super-versions des propriétés et résultats nécessaires à la démonstration dans le cas classique, notamment en définissant un super-opérateur de transgression de Cartan-Chevalley.

Incorporating traditional craft mediums of crochet and embroidery, I use digital technology to experiment with wording to graphically represent my abuse trauma. Due to the severity of the subject matter and the work ethic I employ in my art practice, using my hands and being completely involved is a form of masochistic pleasure. My process takes on a Sisyphean approach of penance for the sins of others in my work. During my studio practice, my process reaches a meditative state where my mind is clear and free of the burden. Once I've completed a panel of trauma, the burden is transported into the art and a state of enlightenment is achieved. I began this program taking an analysis from an external perspective, gradually shifting my focus of artistic practice to my internal struggles with memory and repressed abuse trauma. Since I have selfishly focused on my personal tragedies for inspiration for the past three years, my work can now address a more universal subject matter in the future.
M.F.A.
Masters
Visual Arts and Design
Arts and Humanities
Emerging Media; Studio Art and the Computer

L'objectif de ce mémoire est de comprendre le fonctionnement hydro-sédimentaire des embouchures tidales dominées par la marée et la construction d'une flèche sableuse à crochets perpendiculaires. Deux sites voisins ont été choisis : les embouchures de l'Orne et de la Dives sur la côte du Calvados (Normandie). L'utilisation de données d'agitation et topographiques, acquises selon plusieurs échelles spatio-temporelles, permet d'étudier la morphodynamique de ces deux embouchures.L'embouchure de l'Orne possède une évolution soumise à une forte pression anthropique causée par de nombreuses infrastructures portuaires. Elle est comparée à celle de l'embouchure de la Dives, où l'impact anthropique est plus limité. Il apparaît que ces deux embouchures partagent les mêmes mécanismes de transports sédimentaires, avec une composante transversale importante. Ce transport vers la côte est assuré par la migration de barres de swash sur les parties aval-dérive des deltas de jusant. Ces barres de swash possèdent des volumes et des vitesses de migration similaires, comprises entre 3.5 et 8.0 m/mois.Contrairement à la Dives, les côtes en amont et en aval-dérive de l'embouchure de l'Orne sont en accrétion. Si en amont, cette accrétion suit les nombreuses phases de construction du port de Caen-Ouistreham, en aval se développe depuis un peu plus d'un siècle une flèche sableuse à la morphologie atypique. En effet, cette flèche possède plusieurs crochons emboités, dont les extrémités - les crochets - sont perpendiculaires au corps à la flèche. Il est démontré que l'attachement des barres de swash à la côte est responsable de la formation d'un nouveau crochon. La diffraction des vagues au niveau de l'extrémité des barres de swash et des crochons, ainsi que les directions locales de l'agitation, expliquent la formation des crochets perpendiculaires à l'extrémité des crochons
The aim of this thesis is to understand the mechanisms of sediment bypassing at tidal inlets in a macrotidal environment and the formation of a sandspit with perpendicular hooks. Two closed areas are studied, the Orne and Dives inlets on the coast of Normandy (France). Wave and topographic data, at several space-time scales, are used to study the inlet morphodynamics.The Orne inlet is affected by strong human impacts due to several port facilities whereas the Dives inlet knows a limited anthropogenic impact. The study of the two inlets allows to deduce the impact of the human activities in the sediment transport patterns. The Orne and Dives inlets share the same mechanisms of sediment transport. Both show a major cross-shore component of the transport, underlines by the swash bars migration over the ebb-tidal deltas. All swash bars have similar volumes and migration rates, between 3.5 and 8.0 m/month.The Orne inlet shows deposition on both sides. The accretion on the updrift coast follows the building stages of the harbour of Caen-Ouistreham. On the downdrift coast, the deposition creates the Merville spit, which has several interlocked ridges. A perpendicular hook is present on the distal part of each ridge. This work shows that the swash bar attachment at the shoreline shapes a new ridge. Wave diffraction around the distal part of the swash bars and ridges, and the local wave directions, explain the formation of perpendicular hooks

This thesis addresses needlework between 1920 and 1970 as a window into women's broader experiences, and also asserts it as a valid topic of historical analysis in its own right. Needlecraft was a ubiquitous part of women's lives which has until recently been largely neglected by historians. The growing historiography of needlework has relied heavily on fashion and design history perspectives, focusing on the products of needlework and examples of creative needlewomen. Moving beyond this model, this thesis establishes the importance of process as well as product in studying needlework, revealing the meanings women found in, attached to, and created through the ephemeral moment of making. Searching for the ordinary and typical, it eschews previous preoccupations with creation, affirming re-creation and recreation as more central to amateur needlework. Drawing upon diverse sources including oral history research, objects, Mass Observation archives, and specialist needlework magazines, this thesis examines five key aspects of women's engagement with needlework: definitions of ‘leisure' and ‘work'; motivations of thrift in peacetime and war; emotions; the modern and the traditional and finally, the gendering of needlework. It explores needlework through three central themes of identity, obligation and pleasure. Whilst asserting the validity and importance of needlework as a subject of research in its own right, it also contributes to larger debates within women's history. It sheds light on the chronology and significance of domestic thrift, the meanings of feminised activities, the emotional context of home front life, women's engagement with modern design and concepts of ‘leisure' and ‘work' within women's history.

La première partie est consacrée à l'étude du comportement asymptotique des solutions de Navier-Stokes incompressible à l'infini de la variable d'espace. On obtient des résultats optimaux de propagation de la décroissance en terme d'espaces à poids, ainsi qu'un developpement asymptotique de la vitesse et de la pression analogue à la loi de Bernoulli. La théorie s'étend à un modèle de la MHD.
La seconde partie est consacrée à l'étude des espaces de Sobolev associés à une famille de champs de vecteurs, de type sous-elliptique. Les principaux résultats sont la description des régularités fractionnaires avec la distance de Carnot, la démonstration d'inégalités de Hardy et, dans le cas du groupe de Heisenberg, la théorie des traces sur une hypersurface caractéristique générique.

Preface: Thank you to all the women in my life who have supported me through this process; to my mother, to my other mother (Susan), to Kara, to Jordan and, of course, to Dolly. Summary: (S)examensarbete is a journey through which I have questioned if knitting can be sexy. It begins as a need to occupy my hands and goes on to encompass social media, a feminist view of the body, Dolly Parton, pin-ups, craftivism, interactivity and humor as a mechanism to hide the urge/need to be sexy. Through the journey, I allow myself to rely on the process to carry the project along and that is why so many aspects of the theme are addressed. Eventually, I, as the artist, am present in the final piece to ask the public to share their personal view of knitting and to show my own process and understanding of this traditional technique. I combine social media in the form of Instagram to show one side of the project, a modern, instantly global form of filtered visual communication, with the performative aspect of being present during the exhibit to knit and interact with an irl audience. 1.1 Background During my studies at Konstfack, I have attempted to understand why I find knitting so satisfactory. According to my knitting bible, The Culture of Knitting by Joanne Turney, “Knitting is both fun and sexy, it is humorous and not particularly threatening.” I have a diplomatic personality and humor is my go-to form of communication so it makes sense that I have a soft spot for a technique with a similar description. To say knitting is sexy on the other hand may raise some questions. In my years of working with this technique I have come to understand that knitting, as both the verb and the noun, is not viewed as desirable or even a method to create art for that matter. Knitting is considered to be the pastime of elderly wimmin who have nothing better to do and the results from this hobby are neither attractive nor practical. In this definition, there is nothing sexy about it. So what is sexy? According to the less-than-credible website Urban Dictionary, one of the popular definitions of sexy is as follows: “An intangible attribute. You need not be model thin nor movie star gorgeous to be sexy. Sexy is the whole package, including that “certain something” that you can’t quite put your finger on.” I have to say that I agree with this definition. And perhaps knitting can have this “intangible attribute” if displayed in a slightly unconventional way. In my exam project, I have presented textile handcrafts on my body through the lens of social media to see if knitting can in fact be sexy. 1.2 Purpose and Questions Knitting and humor seem to go hand-in-hand. In The Culture of Knitting, Turney introduces today’s knitting as a postmodern technique and goes on to explain that one of the main aspects of postmodernism is the use of humor. “Humour arises as a response to the presumed, expected or anticipated; it challenges and distorts what the audience believes they ‘know’. It is also disrespectful, rejecting traditional niceties and etiquette in order to make a challenging and witty statement.” This is indeed one of the reasons I find using knitting to create art so accessible: knitting has a built-in sense of humor. Humor is a way for people to cross social boundaries and communicate and I aim to use it in my artistic practice to do just that. Art that can communicate with a variety of people has a particular strength, no matter how simple the concept. In my exam project, I contrast the popular understanding of knitting and crocheting as outdated and undesirable with images of these techniques as youthful, sexual and thereby desirable in modern society. The purpose of this project is to use this humorous clash to invite the viewer into the piece and prompt the question, “Can knitting be sexy?” Although I have used different textile handcrafts in the making of the images, the focus of the project is on knitting. I have also chosen to briefly mention knitting as a feminist notion but will concentrate on the aspects of humor and sexiness. The images are all of me because this project has been an exploration of my relation to knitting and the “selfie” culture. The intended viewer of (S)examensarbete is the average adult of any sex living in the same society as me, fed daily by instant imagery and social media. 1.3 Method I have chosen to use my exam project as a chance to break routines in my artistic practice. In the past I have always worked with long-term projects that have had little room for exploration in the processes. My last gig at Konstfack feels like the ultimate opportunity to redefine my approach to working with art. I have therefore chosen to have a loosely defined overall theme of using my skill and my own body to project sexiness. I have allowed myself to listen to my gut feeling and focus on the process, not the result. This concept has created a tension in my project which has affected the way I work and has influenced my choice in formatting this paper. I have narrated my process honestly and have included segments of my personal diary to enhance the feeling of sincerity. 2.0 Main Text In December 2015, I began a process that I called Becoming Conscious. It was a step-by-step plan in how I should become more aware of the everyday choices I was making that were ultimately shaping my life. By January I had made some changes, like ending a long-term relationship, being more attentive to how I was dressing myself and brushing my teeth with my left hand. I realized that my “consciousness project” had become more focused on my physical body and I now referred to it as The Conscious Body. January 2nd, 2016: I’m also glad I’ve started photographing my body once a day, starting January 1, 2016. I hope that I will continue with this process as well for atleast the remainder of this project and ultimately every day 2016, 366 days to make a 366 image GIF/video. That would be an awesome project. This project is a lot about the body, my body. It’s about listening to it, dressing it, taking care of it, presenting it, piercing it. I can directly relate to the thoughts of Roxane Gay in her book Bad Feminist. In her essay Reaching for Catharsis, Gay wonders if body fixation isn’t just part of the human condition since we can never escape our physical forms. I agree that we’re pretty much forced to focus on our bodies and I think becoming aware of this led my process in this direction. Sitting in a discussion in class one day, I picked up some knitting simply to have something to occupy my hands. After an hour of mindless knitting, I realized what I was doing and decided to make my mindless knitting mindful and knit a pair of pants. These pants sparked new thoughts in my process. January 20th, 2016: I can’t decide if I should post the picture I took of myself in the knitted pants on instagram or not. I mean, you can’t see my face, but you see that I’m wearing a red push up bra and a red stringy thong and sky high glittery golden heels.Maybe part of my exam project is about not being afraid of expressing my body.My gut is telling me to do it. [...] I mean, it’s my body. I can do whatever I want with it. I ended up posting the picture and received positive response from my friends and classmates. I knew that many of the people who had “liked” the image were strong females and other feminists, which I found very relieving. I had been afraid that these wimmin would feel as if I was just posing, using my appearance to get attention and validation, yet they seemed to accept the image. What made this image any different from any other young woman showing skin on Instagram? Was it the fact that they knew me and knew I was doing it ironically? Was it because I was wearing colorful knitted pants, in contrast to the sexy heels and underwear and typical mirror selfie? After this initial image, I began researching Instagram in particular since it was the channel through which I made my image public. An article by Elizabeth Winkler entitled The Manufactured Life introduces Instagram as “our latest form of deception”. Winkler explains that the posed image controls our day-to-day lives in a sense that unless you post a picture of yourself doing something, it didn’t happen. Other people have to see what you did and acknowledge your action and its presentation by “like”-ing your image. In Notes to Self: The Visual Culture of Selfies in the Age of Social Media, Derek Conrad Murray delves into the “selfie” in particular, and how this form of imagery is dominated by young wimmin. Murray sees this self-expression from two angles. The selfie can be: a way for people with low self-esteem to desperately seek affirmation and/or: a method for wimmin to take control of how they are viewed by a male-dominated world and seize their inner feminine sexuality. I relate both these texts to my exam project. Initially I simply wanted to show friends and family the work I was doing, as a sort of proof. When I noticed the contrast between the deceptive reality that digital imagery portrays and the honest materiality of the handcrafted subject, I decided to use Instagram as a tool in my process. Instagram is young, modern and sexy. Posting my images to this social media would contextualize them with the images of other undressed young wimmin. Would my images be sexy or would the fact that I was dressed in witty handcrafts inhibit that feeling? To explore these thoughts further, I began researching the relationship between wimmin and their appearance. I read the glorious book The Beauty Myth by Naomi Wolf. Wolf addresses how the beauty ideal forced on wimmin is the main reason why we are still not treated equally. Wolf discusses “beauty” in relation to a broad span of topics such as violence, religion, porn and eating disorders. On the second page of the book, early in the introduction, Wolf writes in plain text, “What I support in this book is a woman’s right to choose what she wants to look like and what she wants to be.” In the last chapter of the book, Wolf reiterates. “I am not attacking anything that makes women feel good; only what makes us feel bad in the first place. We all like to be desirable and feel beautiful.” Reading this encouraged me to continue exploring my project in relation to my own female body. The next image I posted to my Instagram account under the theme #xxxjobb was a piece called Titshirt. I had taken a picture of my own hands covering my breasts. I printed the hands off on fabric transfer paper and ironed them onto a simple white t-shirt. I photographed myself in the Titshirt, again posing somewhat suggestively. While on the topic of tits, I started relating my project to Dolly Parton. January 28th 2016: Dolly’s “look”: “If you’re a star, you owe it to your fans to look like one.”Dolly has this trashy look, she admits it herself. She maxes out, both her image and everything she does. She is extreme. And, her image is one of the reasons she is so well known. But the reason she is respected is because of the person behind the made up disguise.The Beauty Myth talked about how women should be allowed to dress exactly how they like, as long as they are putting on makeup and wearing accentuating clothes because THEY want to and not because of what men want. But that is a blurry line. Because we all desire to be desired. When do you know if you are doing something for yourself or when you are doing it for someone else? We want to be liked and respected. Maybe respect is a big part of it. I grew up listening to Dolly Parton’s music and have always seen her as a role model. When I moved to Sweden I realized that not only did I share this view with fellow Swedes but that the majority of those who looked up to Parton were outspoken feminists. How could someone who seems to build her entire image on the desire to fulfill modern body ideals at any cost be idolized by strong, independent wimmin? After listening to Parton’s autobiography My Life and Other Unfinished Business and reading several articles focused on her “hyper-feminine” image, I began to understand that Dolly Parton has simply used her image to manipulate the patriarchal system to achieve her own goals. She has, both in her musical career and in her star image, used her femininity to challenge social structures within the boundaries of what is accepted (and even desired) of modern wimmin. I saw a trend in my process that I could relate to Parton’s visual expression and wanted to document it, so I dressed myself up in a big curly blonde wig and false eyelashes, stuffed my oversized bra and posed for the camera. One Sunday afternoon, my friend and I went to Drottninggatan with some sidewalk chalk and started drawing. We drew whatever came to mind and many of those who walked by encouraged us to continue. This activity inspired me to look into art in the public realm. I have always felt that art should be available to everyone and not locked inside a white cube for a select audience. I feel that simply making art outside makes it more approachable to a broader public. Continuing on the theme of using my femininity to attract attention, I photographed myself knitting, dressed in lingerie with glued on eyelashes and nails. I titled the image Just a Bit of Casual Knitting. The purpose of the image was to show the obvious clash between the picture and it’s description. It is apparent that I had put effort into looking appealing to the viewer and was not simply relaxing with a handcraft (as that would have been nearly impossible with those nails). It was also a commentary on how much effort people put into projecting a flawless image of themselves on social media. The next image in my #xxxjobb series was of my own bottom dressed in a pair of fuzzy knitted underpants. In You Can Look Butt You Can’t Touch, I contrasted the homely idea of knitting with the daring, young and sexy and also the pure irrationality of wearing knitted undergarments. In the title I incorporated the flatness of the image and the concept of Instagram itself; that the image could please only the visual sense when textiles are in general associated with tactility and real touch. Next in line was Not Your Granny’s Panties, a matching crocheted bra/panty set. In the title of this image, I played with the terms “granny panty” meaning large, nonsexual wimmin’s underwear and “granny square”, a handcraft technique unmistakably associated with the unthreatening concept of a grandmother. By using both these phrases to contrast the image of the young womon in the skimpy underwear, I created a humorous clash. As research for this project, I explored a variety of knitting books focused on raunchy DIY patterns with titles such as Domiknitrix, Naughty Needles, and Sexy Little Knits. The modeled images in Naughty Needles by Nikol Lohr and the titles of the projects (Baby Blue Ball Gag, Felt Up, Mrs. Robinson) all have a jokey feel. It is as if the humor in the pieces make them accessible to people without causing them to feel guilt. Lohr writes, “Usually ball gags are menacing, but knit out of colorful acrylic grandma yarn, they’re downright cute.” Because of the general understanding of knitting as something nostalgic and historically domestic, as soon as knitting is used to create something that doesn’t fit that description, a clash occurs. It is within this postmodern clash that I hope to make my project accessible to a wide audience. While some of the aforementioned books briefly address why they claim the act and the results of knitting are sexy, the majority of my understanding of textile handcrafts as something above and beyond that of hobbies for elderly wimmin comes from Turney’s The Culture of Knitting. Chapter four entitled Unravelling the Surface: Unhomely Knitting informs of how knitting and heteronormative sex are directly related. Knitting as an activity is penetrative; stitches are formed through the penetration of a needle, the tight looping of yarn around it and its withdrawal. The equation of knitting with the sexual act is a theme that permeates the current knitting revival:[...] one can see the irony in knitting as a form of pornography.This new emphasis on knitting as sexually deviant and sexually empowering may well be a consequence of the new feminism, and indeed the ensuing rise of a raunch culture in which women are increasingly reclaiming feminine pastimes whilst expressing their desires in a way which, historically, had been the remit of men. Although I find the comparison of knitting to penetrative sex pretty far-fetched, I feel that it still has enough weight to be mentioned. The fact that Turney has made this comparison and describes knitting as pornography examines a depth of knitting as an act that grants wimmin the opportunity to feel sexy within themselves. With this skill set, wimmin can express their own desires and the humor that so closely accompanies knitting can be used as an excuse or a justification for these expressions. For Fits Like a Glove, I knitted a pair of gloves with extra-long ribbing and connected thumbs and sewed the gloves together to create a bra. Instead of knitting two pieces that looked like gloves, I knitted two actual gloves so that hands could in fact fill them, as the title suggests. I feel that this factor adds a kind of flat tactility as the viewer is able to imagine even clearer how placing ones hands in this position (and vis-a-vis on the breasts of the wearer) would feel. I purposely made the gloves to fit my small “feminine” hands as to not make it possible for the average man to fill the gloves. In this way, I cater to the imagination of the heterosexual adult male viewer, but not the actual touch, as with the concept of the image. If you image search for “sexy knitting” on Google, a selection of pictures of wimmin wearing very little yarn will come up. A few of these images are paintings by Harry Ekman, an American pin-up artist active during the 1960’s. The wimmin in a couple of his paintings are either knitting or unraveling the sweaters they are wearing to reveal the bottom halves of their breasts. I was instantly intrigued by these paintings because they seemed so ridiculous. There was something particular about the images where the models were working with handcrafts that made them feel unrealistic in comparison to the pictures of wimmin on the beach or in the bedroom. I knitted my own cropped sweater and posted an image of myself wearing and simultaneously knitting it (an act which is technically impossible). Perhaps the vintage concept of the pin-up is equivalent to the modern “post-up” on Instagram. Now it was time to figure out how I wanted to present my project. This is what I said to myself: “I have three goals. I want to use simple contrasts (like sexiness and knitting), I want to use humor in the contrasts to communicate (a way to open up my project to the viewer) and I want it to be simple.” I decided I was going to make a short film of people’s hands scrolling through my Instagram images. This I would present indoors, to show my process as part of the exhibit. Based off of my experience of drawing on a public street with sidewalk chalk, I also decided to knit two sun chairs that I would present outdoors, in between the entrances of Konstfack and the Black Building. The fact that I had chosen to be outdoors felt symbolic. I see the strength in working from within one’s boundaries (i.e. inside the white cube or as Dolly Parton does within a male-dominated industry), yet the desire for my work to feel more relaxed and be exhibited where one might actually find sun chairs felt more relevant. I would be present during periods of the Spring Exhibit, sitting in one of the chairs and inviting others to sit in the chair beside me. The knitted body of the chairs would be a silhouette of my body. A “selfie stick” would be present to make it easy for the person to photograph themselves and possibly post the image to their own Instagram accounts under the hashtag #123sexy. In this situation, I plan on asking the person sitting in the chair beside me, “Can knitting be sexy?” Is it a coincidence that every artist that tutors have suggested I look into regarding my work are female? I have chosen to contextualize (S)examensarbete with the work of three acclaimed artists within different fields. I relate (S)examensarbete to both the sculptural and photographical work of Sarah Lucas. Much of Lucas’ work addresses feminine sexuality with a humoristic tone. She uses banal symbolism, just as melons to symbolize breasts, as well as witty and punning titles of her work. Lucas is also often present in her photographs just as I am, posing for the camera. While my imagery identifies with the selfie culture, Sarah Lucas work caters to a more established art scene. When I first started using Instagram as a place to project an alter ego, I immediately received obliging comments such as “Cecilia Sherman” and “The Swedish Cindy Sherman”. I can particularly relate to Cindy Sherman’s photography in (S)examensarbete. In an interview with John Waters in the book Cindy Sherman, Sherman discusses why single-handedly producing all of her own portraits came naturally to her. She expresses a desire she has to pretend to be someone else, someone she does not want to actively be around other people. (S)examensarbete is a way for me to explore other personalities through my own image that I wouldn’t dare actively exhibit. I see similarities between the process behind (S)examensarbete and the French artist Sophie Calle’s work. According to an interview in The Guardian from 2009, Calle did not initially consider her activities to be artwork. She was simply living her life and filling her time. In the beginning of (S)examensarbete, my intentions were purely personal as well. Even after identifying herself as an artist, Calle seems to have very loose boundaries between her role as an artist and her everyday life. I admire this approach to working within the artistic field and hope that my exam project will lead me in this direction. Beyond the realm of art and solo artists, I must also mention the world of public knitting and the term “craftivism” as a whole. In her book Craftivism: The Art of Craft and Activism, Betsy Greer describes the correlation of craft to activism as such: “The creation of things by hand leads to a better understanding of democracy, because it reminds us that we have power,” and that “the very essense of craftivism lies in creating something that gets people to ask questions; we invite others to join a conversation about the social and political intent of our creations.” (S)examensarbete is about questioning knitting as a form of sexual self-expression and therefore falls under the category of craftivism, however offputting the term may be. I have refrained from mentioning craftivism earlier because I have yet to find a handknitted garment that I honestly find to be sexy, and that’s exactly my point. Through the craftivist movement, we can understand that textile handcrafts can raise awareness to an abundance of sociopolitical issues, but are the products or garments produced aesthetically pleasing or desirable? That being said, I would like to mention the textile artist Magda Sayeg as an inspiration to my work. I stumbled apon her website while researching the “yarn-bombing” group Knitta and there is a certain degree of edginess in Sayeg’s work that I relate to (S)examensarbete. Although I am a huge fan of humor and see it as an important tool, I think Sayeg’s work is an example of how knitting can be a strong form of communication without the use of humor as a main focus. Much of Sayegs work is based on knitting in different objects, such as buses, statues, pilars, etc., and she has done several projects in cooperation with different businesses, like Gap, Toyota and 7-Up. Even if she knits by hand, the ending result does not have the same aesthetic as the DIY movement and that is what attracts me to her way of working with textiles. She seems to take knitting seriously, using it in a professional sense and in my opinion, successfully making knitting appealing. 3.1 Documentation 3.2 Discussion My project as a whole benefited tremendously from the comments and insights from my opponent, Johanna Rosenqvist. Having worked with very similar topics, she understood the purpose and goal behind (S)examensarbete and inspired me to relate my work to established knitting artists and craftivism. Through this, I was able to better understand why I had avoided comparing myself to these topics earlier. I realized that (S)examensarbete is about exploring an aesthetic (sexiness) that I hadn’t seen within the knitting field before. So... can knitting be sexy? During the Spring Exhibit, I sat in one of the knitted bikini chairs and knitted away, with Dolly Parton singing in the background. Due to cold weather, I was forced to sit inside much of the exhibit, next to my video of fingers scrolling through my instagram images. Sometimes I felt embarassed by the pictures on the screen, since I no longer had the virtual world of social media to hide behind. I was there, in the flesh, to see how people reacted. But past this feeling of shame, I also had many interesting discussions with a variety of visitors. I would ask the question, “Can knitting be sexy?”, not necessarily with the intention of an answer, and I would usually recieve a direct response, along with a suggestion or two. One visitor suggested I knit with latex, since latex is the textile directly associated with sex. Others suggested knitting with flashier yarn or bigger stitches. I recieved stories from pubescent years of sexy sweaters and crocheted bikinis and see-through knitted dresses. Several older men told me that they had chosen textile studies instead of woodworking when they were in school and one of them had even been featured in a local newspaper since it was so unusual. I discussed sex, an array of different artists and even Eurovision Song Contest with people I would probably never had an excuse to talk to if it wasn’t for my project. After 10 days of being present at the exhibit and interacting and discussing with visitors, my understanding of the overall consensus is that sure, knitting can be sexy. I’d like to think that (S)examensarbete sparked new thoughts in a few people’s heads about what a traditional handcraft technique like knitting can be. The process-based process behind this project has lead to a better understanding of myself, both personally and as an artist. I have experienced both the freedom in not having a strict goal from day one and I have also felt the insecurity that has followed suit. I have relied on step-by-step plans in the past because they provide stability and a kind of safety net if my inspiration begins to falter. In the future, I see myself continuing to work with a goal in mind, yet forcing myself out of my comfort zone to test new methods as I did in (S)examensarbete, such as interactive pieces where I as the artist am present. 4.0 Bibliography Books Foster, Hal. “Marcay, Calle, Coleman, and Kentridge.” Art since 1900: Modernism, Antimodernism, Postmodernism. London: Thames & Hudson, 2011. N. pag. Print. Gay, Roxane, and Helena Hansson. Bad Feminist. Stockholm: Bonnier, 2015. Print. Greer, Betsy. Craftivism: The Art of Craft and Activism. Vancouver: Arsenal Pulp, 2014. Print Lohr, Nikol. Naughty Needles: Sexy, Saucy Knits for the Bedroom and Beyond. New York: Potter Craft, 2006. Print. Malik, Amna. Sarah Lucas: Au Naturel. London: Afterall, 2009. Print. Martignette, Charles G., and Louis K. Meisel. “Harry Ekman.” The Great American Pin-Up. Köln: Taschen, 2011. N. pag. Print. Parton, Dolly. My Life and Other Unfinished Business. London: HarperCollins, 1994. Print. Stafford, Jennifer. Domiknitrix: Whip Your Knitting into Shape. Cincinnati, OH: North Light, 2007. Print. Turney, Joanne. The Culture of Knitting. Oxford: Berg, 2009. Print. Wolf, Naomi. The Beauty Myth: How Images of Beauty Are Used Against Women. New York: Perennial, 2002. Print. Newspapers/Magazine/Journals Hoggard, Liz. “Naughty Knitting.” Crafts Mar.-Apr. 2005: 38-41. Print. Murray, Derek Conrad. “Notes to Self: The Visual Culture of Selfies in the Age of Social Media.” Consumption Markets & Culture 18:6: 490-516. Print. Wilson, Pamela. “Mountains of Contradictions: Gender, Class and Region in the Star Image of Dolly Parton.” South Atlantic Quarterly Winter 1995: 109-34. Web. Winkler, Elizabeth. “The Manufactured Life.” New Republic Mar2016, Vol. 247 Issue 3: 16-17. Print Websites Jeffries, Stuart. “Sophie Calle: Stalker, Stripper, Sleeper, Spy.” The Guardian. Guardian News and Media, 23 Sept. 2009. Web. 25 Mar. 2016. Sayeg, Magda. “Magda Sayeg’s Portfolio.” Magdasayeg’s Portfolio. N.p., 2013. Web. 06 May 2016.
Förord: Tack till alla kvinnor i mitt liv som har stöttat mig genom denna process; till min mamma, till min andra mamma (Susan), till Kara, till Jordan och, så klart, till Dolly. Sammanfattning: (S)examensarbete är en resa genom vilket jag har ifrågasatt om stickning kan vara sexigt. Det börjar med ett behov av att vara sysselsatt och det fortsätter till att omfatta sociala medier, ett feministiskt syn på kroppen, Dolly Parton, pin-ups, “craftivism”, interaktivitet och humor som en mekanism till att dölja önskan/behovet av att vara sexig. Under vägens gång har jag tillåtit mig själv att lita på processen att föra projektet vidare och det är därför så många aspekter av temat adresseras. Så småningom är jag, konstnären, på plats i det slutgiltiga verket till att fråga publiken om att dela med sig av deras personliga åsikter om stickning och att visa min egen process och förståelse om denna traditionella teknik. Jag kombinerar sociala medier i form av Instagram för att visa en sida av projektet, en modern, omedelbart global form av filtrerad visuell kommunikation, med den performativa aspekten av att vara på plats under utställningen för att sticka och interagera med en “irl” publik. 1.1 Bakgrund Under min tid på Konstfack så har jag försökt förstå varför jag tycker just stickning är så tillfredsställande. I The Culture of Knitting av Joanne Turney så står det, ”Knitting is both fun and sexy, it is humorous and not particularly threatening.” Jag har en diplomatisk personlighet och humor är det främsta sättet jag väljer att kommunicera så det är ganska självklart att jag är svag för en teknik med en liknande beskrivning. Att säga att stickning är sexigt kan å andra sidan väcka frågor. Jag har använt mig av stickning som metod i flera år och under denna tid så har jag förstått att stickning/stickande inte ses som något åtråvärt eller ens en metod för att skapa konst. Stickning anses vara ett tidsfördriv för äldre kvinnor som inte har något bättre för sig och resultaten av denna hobby är varken attraktiva eller praktiska. I denna definition ryms det inte en gnutta sexighet i stickning. Så vad är ”sexig”? Enligt den mindre trovärdiga hemsidan Urban Dictionary, lyder en av de populära definitionerna av ”sexig” så här:“An intangible attribute. You need not be model thin nor movie star gorgeous to be sexy. Sexy is the whole package, including that “certain something” that you can’t quite put your finger on.” Jag måste säga att jag håller med denna beskrivning. Och kanske kan stickning ha denna ”intangible attribute” om den visas på ett lite okonventionellt sätt. I mitt examensprojekt så har jag presenterat textila hantverk på min kropp genom en lins av sociala medier för att se om stickning egentligen kan vara sexigt. 1.2 Syfte och frågeställningar Stickning och humor verkar gå hand i hand. I The Culture of Knitting så introducerar Turney dagens stickning som en postmodern teknik och förklarar att en av de främsta aspekterna av postmodernismen är användningen av humor. “Humour arises as a response to the presumed, expected or anticipated; it challenges and distorts what the audience believes they ‘know’. It is also disrespectful, rejecting traditional niceties and etiquette in order to make a challenging and witty statement.” Detta är en av anledningarna till varför stickning är en så stor del av mitt konstnärskap: stickning har ett inbyggt sinne för humor. Humor är ett sätt för folk att överskrida sociala gränser och kommunicera och jag strävar efter att använda detta i mitt konstnärskap. Konst som kan kommunicera med en mängd olika människor har en särskild styrka, oavsett hur enkelt konceptet kan vara. I mitt examensprojekt så har jag kontrasterat den populära förståelsen av stickning och virkning som utdaterade och avtändande, med bilder av denna teknik som ung, sexuell och därmed åtråvärd i det moderna samhället. Syftet med detta projekt är att använda en humoristisk krock till att bjuda in betraktaren in i verket och ställa frågan, ”Kan stickning vara sexigt?” Även om jag har använt mig av olika textila tekniker i skapandet av bilderna så ligger fokuset i projektet på stickning. Jag har valt att kort beskriva stickning som ett feministiskt begrepp men kommer att koncentrera mig på aspekterna av humor och sexighet. Jag är med i alla bilderna, då detta projekt har varit en utforskning av min relation till stickning och selfiekulturen. I (S)examensarbete har jag utgått från en vuxen publik av alla kön som bor i samma samhälle som jag där vi är matade dagligen med bilder och sociala media. 1.3 Metod Jag har valt att använda mitt examensarbete som en möjlighet att bryta rutinerna i mitt konstnärskap. Tidigare har jag jobbat med långsiktiga projekt med ett litet utrymme för utforskning i processen. Mitt sista projekt på Konstfack känns som den ultimata chansen att omdefiniera mitt sätt att närma mig konsten. Jag har därmed valt att ha ett löst tema som handlar om att använda mig av min skicklighet och min kropp för att visa på sexighet. Jag har tillåtit mig själv att lyssna på min magkänsla och fokusera på processen, inte resultatet. Detta koncept har skapat en spänning i mitt projekt som har påverkat sättet jag jobbar på och mitt val av format i denna uppsats. Jag har ärligt skildrat min process och har inkluderat delar av min personliga dagbok för att förstärka känslan av äkthet. 2.0 Huvudtext I december 2015 så påbörjade jag en process jag kallade Becoming Conscious. Det var en plan som jag utförde steg för steg för att bli mer medveten om de dagliga val som tillsammans utgjorde mitt liv. I månadsskiftet till januari så hade jag gjort några förändringar så som att bryta en långvarig relation, vara mer uppmärksam på hur jag klädde mig och borsta tänderna med min vänstra hand. Jag insåg att mitt medvetenhetsprojekt hade blivit mer fokuserat på min fysiska kropp och jag började referera till arbetet som The Conscious Body. 2 januari, 2016: I’m also glad I’ve started photographing my body once a day, starting January 1, 2016. I hope that I will continue with this process as well for atleast the remainder of this project and ultimately every day 2016, 366 days to make a 366 image GIF/video. That would be an awesome project. This project is a lot about the body, my body. It’s about listening to it, dressing it, taking care of it, presenting it, piercing it. Jag kan relatera direkt till Roxane Gays tankar i boken Bad Feminist. I hennes essä Reaching for Catharsis undrar Gay om kroppsfixering inte bara är en del av att vara människa eftersom vi aldrig kan undvika vår fysiska form. Jag håller med om att vi mer eller mindre är tvingade att fokusera på våra kroppar och när jag förstod detta så ledde det mitt projekt i samma riktning. Under en diskussion under en kurs började jag sticka endast för att ha något att sysselsätta mina händer med. Efter en timme av tankelöst stickande kom jag på mig själv och bestämde mig för att förvandla min planlösa stickning till ett par byxor. Dessa byxor tände en tanke i min process. 20 januari, 2016: I can’t decide if I should post the picture I took of myself in the knitted pants on instagram or not. I mean, you can’t see my face, but you see that I’m wearing a red push up bra and a red stringy thong and sky high glittery golden heels.Maybe part of my exam project is about not being afraid of expressing my body.My gut is telling me to do it. [...] I mean, it’s my body. I can do whatever I want with it. Till slut lade jag upp bilden och den fick positiv respons av mina vänner och klasskamrater. Jag visste att många av de som hade ”gillat” bilden var starka kvinnor och andra feminister och det var skönt. Jag hade varit rädd att dessa kvinnor hade trott att jag bara poserade och använde mitt utseende för att få uppmärksamhet och bekräftelse men de verkade acceptera bilden. Vad var det som gjorde denna bild annorlunda från andra unga kvinnor som visar extra mycket hud på Instagram? Var det det faktum att de kände mig och visste att jag gjorde det med en ironisk underton? Var det för att jag hade på mig färgglada stickade byxor, i kontrast till de sexiga skorna och trosorna och den typiska spegel-selfien? Efter denna initiala bild så började jag utforska Instagram eftersom jag publicerade bilden genom detta medie. I artikeln The Manufactured Life av Elizabeth Winkler introduceras vi till Instagram som vår senaste form av bedrägeri. Winkler förklarar att de poserade bilderna styr våra dagliga liv i den mening att om du inte lägger upp en bild på dig när du gör något så har det inte hänt. Andra måste se vad du gjort och erkänna din handling och dess presentation genom att ”gilla” din bild. I Notes to Self: The Visual Culture of Selfies in the Age of Social Media så fördjupar sig Derek Conrad Murray I “selfien” och hur denna typ av bild domineras av unga kvinnor. Murray ser detta självuttryck från två vinklar. Selfien kan vara: ett sätt för folk med lågt självförtroende att desperat söka bekräftelse och/eller: en metod för kvinnor att ta kontroll över hur de blir sedda i en mansdominerad värld och hitta sin inre feminina sexualitet. Jag relaterar båda dessa texter till mitt examensarbete. Initialt så ville jag bara visa vänner och familj det jag jobbade med som ett slags bevis. När jag såg kontrasten mellan den vilseledande verkligheten som digitala bilder porträtterar och det äkta handgjorda subjektet så bestämde jag mig för att använda mig av Instagram som ett redskap i min process. Instagram är ungt, modernt och sexigt. Att lägga upp mina bilder i detta sociala medie skulle kontextualisera dem med bilder på andra avklädda unga kvinnor. Skulle mina bilder också vara sexiga eller skulle det faktum att jag var iklädd hantverk hämma denna känsla? För att utforska dessa tankar vidare så började jag undersöka relationen mellan kvinnor och deras utseende. Jag läste den fantastiska boken The Beauty Myth av Naomi Wolf. Wolf förklarar hur skönhetsidealet som tvingas på kvinnor är den främsta anledningen till varför vi fortfarande inte är behandlade som lika. Wolf diskuterar ”skönhet” i relation till en mängd ämnen som våld, religion, porr och ätstörningar. På andra sidan i boken, tidigt i inledningen, så skriver Wolf i tydlig text, ”What I support in this book is a woman’s right to choose what she wants to look like and what she wants to be.” I det sista kapitlet så upprepar Wolf sin mening. “I am not attacking anything that makes women feel good; only what makes us feel bad in the first place. We all like to be desirable and feel beautiful.” Efter att ha läst detta så ville jag fortsätta utforska mitt projekt i relation till min kvinnliga kropp. Nästa bild jag la upp på mitt Instagramkonto under temat #xxxjobb var ett verk som heter Titshirt. Jag hade tagit en bild på mina egna händer som täckte mina bröst. Jag skrev ut händerna på tygtransferpapper och strök på dem på en enkel vit t-tröja. Jag fotograferade mig själv i Titshirt, återigen poserande något utmanande. I fortsättningen av bröst-temat så började jag relatera mitt projekt till Dolly Parton. 28 januari, 2016: Dolly’s “look”: “If you’re a star, you owe it to your fans to look like one.”Dolly has this trashy look, she admits it herself. She maxes out, both her image and everything she does. She is extreme. And, her image is one of the reasons she is so well known. But the reason she is respected is because of the person behind the made up disguise.The Beauty Myth talked about how women should be allowed to dress exactly how they like, as long as they are putting on makeup and wearing accentuating clothes because THEY want to and not because of what men want. But that is a blurry line. Because we all desire to be desired. When do you know if you are doing something for yourself or when you are doing it for someone else? We want to be liked and respected. Maybe respect is a big part of it. Jag växte upp med Dolly Partons musik och har alltid haft henne som en förebild. När jag flyttade till Sverige så förstod jag att svenska feminister också gillade Parton. Hur kunde någon som verkar bygga hela sin ”look” på en önskan att uppfylla alla moderna kroppsideal vara förebild för starka, självständiga kvinnor? Efter jag lyssnade på Partons självbiografi My Life and Other Unfinished Business och läste artiklar med fokus på hennes ”hyperfeminina” image så började jag förstå att Dolly Parton helt enkelt har använt sitt utseende för att manipulera patriarkatet för att uppnå hennes egna mål. Hon har, både i hennes musikaliska karriär och i hennes ”look”, använt sin femininitet till att utmana sociala strukturer inom ramarna för det som är accepterat (och även åtråvärt) for och av moderna kvinnor. Jag såg en trend i min process som jag kunde relatera till Partons visuella uttryck och ville dokumentera det, så jag klädde upp mig i en stor lockig blond peruk och falska ögonfransar, fyllde min stora bh med strumpor och poserade för kameran. En söndagseftermiddag var jag och en vän på Drottninggatan och vi började måla med gatukritor. Vi ritade vad som helst som vi kom att tänka på och många som gick förbi uppmuntrade oss till att fortsätta. Denna aktivitet inspirerade mig till att undersöka konst för allmänheten. Jag har alltid känt att konst borde vara tillgängligt för alla och inte inlåst i en vit kub för en utvald publik. Att helt enkelt placera konst utomhus gör det mer tillgängligt för en bredare publik. Jag fortsatte med temat i att använda min femininitet för att bli uppmärksammad och fotograferade mig själv stickande, iklädd sexiga underkläder med påklistrade naglar och ögonfransar. Jag döpte bilden till Just a Bit of Casual Knitting. Syftet med bilden var att visa på den tydliga krocken mellan motivet och dess titel. Det är tydligt att jag försökte vara snygg på bilden och att jag inte bara hade en avslappnad stund med lite handarbete (eftersom det inte hade varit möjligt med de naglarna). Bilden var en kommentar på hur mycket möda folk lägger ner på att visa upp en felfri bild av sig själva på sociala medier. Nästa bild i serien #xxxjobb var en bild av min rumpa iklädd lurviga stickade trosor. I You Can Look Butt You Can’t Touch så kontrasterar jag den husliga ideén om stickning med det vågade, unga och sexiga och samtidigt det ologiska i att vara klädd i stickade underkläder. I titeln kombinerade jag bildens platthet med Instagrams koncept; att bilden bara kan tillfredsställa det visuella när textilier är generellt associerade med taktilitet och äkta känsla. Sedan kom Not Your Granny’s Panties, ett matchande underklädesset. I titeln leker jag med termerna “granny panty” som är stora, icke-sexuella trosor och ”granny square”, eller mormorsruta, en handarbetsteknik som oundvikligen associeras till den ofarliga idén om en mormor. Båda dessa fraser står i kontrast till den unga kvinnan i utmanande underkläder. För att utforska ämnet vidare så har jag läst en del stickningsböcker med sexiga “gör-det-själv”-mönster med titlar som Domiknitrix, Naughty Needles och Sexy Little Knits. Bilderna på plaggen man själv kan sticka i boken Naughty Needles av Nikol Lohr och titlarna på dessa plagg (t.ex. Baby Blue Ball Gag, Felt Up, Mrs. Robinson) har alla en humoristisk underton. Det är som att humorn i mönstren gör dem tillgängliga för människor utan att de behöver känna skam. Lohr skriver, ”Usually ball gags are menacing, but knit out of colorful acrylic grandma yarn, they’re downright cute.” För att stickning tolkas som ett nostalgiskt och historiskt sett husligt pyssel så uppstår en inre konflikt när man använder stickning att skapa något som inte uppfyller den beskrivningen. Det är i denna postmoderna kontrast som jag hoppas på att kunna nå ut till en bred publik. Vissa av författarna till böckerna jag nämner ovan beskriver varför de tycker stickning är sexigt men merparten av min förståelse för textila handarbeten som något utöver sysselsättning för äldre kvinnor kommer ifrån Turneys The Culture of Knitting. Kapitel fyra, Unravelling the Surface: Unhomely Knitting, berättar om hur stickning kan relateras direkt till heteronormativ sex. Knitting as an activity is penetrative; stitches are formed through the penetration of a needle, the tight looping of yarn around it and its withdrawal. The equation of knitting with the sexual act is a theme that permeates the current knitting revival:[...] one can see the irony in knitting as a form of pornography.This new emphasis on knitting as sexually deviant and sexually empowering may well be a consequence of the new feminism, and indeed the ensuing rise of a raunch culture in which women are increasingly reclaiming feminine pastimes whilst expressing their desires in a way which, historically, had been the remit of men. Även om jag har svårt att hålla med om att stickning är som penetrerande sex tycker jag ändå att jämförelsen är värd att nämna. Turney beskriver stickning som pornografi och går in på djupet där hon förklarar att stickning ger kvinnor chansen att känna sig sexiga inom sig själva. Med stickning som hantverk så kan kvinnor uttrycka sina egna lustar och humorn som står stickningen så nära kan användas som en ursäkt eller ett försvar för dessa uttryck. I Fits Like a Glove så stickade jag ett par handskar med extra långa muddar och ihopstickade tummar, sedan sydde jag ihop handskarna till en bh. Istället för två stickade delar som ser ut som vantar så stickade jag två faktiska handskar så att händer skulle kunna fylla dem, precis som titeln antyder. Denna faktor adderar ett slags taktilitet så betraktaren kan föreställa sig ännu tydligare hur det skulle kännas att ha sina händer i den positionen (och då på bärarens bröst). Jag stickade medvetet vantarna att passa mina små ”feminina” händer så att det tekniskt sätt är omöjligt för en genomsnittlig vuxen man att få in sina händer. På detta sätt tillgodoser jag den heterosexuella mannens fantasi men inte den faktiska känslan, precis som konceptet med motivet. Om man bildsöker på ”sexy knitting” på Google så kommer det fram ett urval av bilder på kvinnor som är klädda i väldigt lite garn. Vissa av dessa bilder är målningar av Harry Ekman, en amerikansk pin-up konstnär som var aktiv på 1960-talet. Kvinnorna i några av hans målningar har på sig en stickad tröja som de håller på riva upp eller sticka vidare på så att man ser den undre delen av deras bröst. Dessa bilder väckte ett omedelbart intresse hos mig eftersom de kändes så komiska. Det fanns något i bilderna där kvinnor handarbetade som fick dem att kännas orealistiska i jämförelse med liknande bilder av kvinnor på stranden eller i sovrummet. Jag stickade min egen korta kofta och la upp en bild på mig själv iklädd och stickande på den (något som tekniskt set är omöjligt). Kanske det gamla konceptet av pin-up är dagens motsvarande ”post-up” på Instagram. Nu är det dags att se hur jag ska presentera mitt projekt. Så här resonerar jag med mig själv: “Jag har tre mål. Jag vill använda enkla kontraster (så som sexighet och stickning), jag vill använda humor i kontrasterna till att kommunicera (ett sätt att öppna upp projektet för betraktaren) och jag vill att det ska vara enkelt.” Jag har bestämmt att jag ska göra en kort film av folks händer som bläddrar igenom mina Instagrambilder. Detta ska jag visa inomhus för att visa på processen bakom projektet som en del av utställningen. Baserat på erfarenheten jag har av att rita på Drottninggatan så ska jag sticka två solstolar som jag ska presentera utomhus, mellan ingångarna till Konstfack och Svarta Huset. Det faktum att jag vill vara utomhus känns symboliskt. Jag ser styrkan i att jobba från utifrån ens begränsningar (t.ex. inne i den vita kuben eller som Dolly Parton gör inom en mansdominerad industri), men viljan att visa mitt arbete i en mer avslappnad miljö där det är mer naturligt att se solstolar känns mer relevant. Jag ska vara på plats under bestämda tider av Vårutställningen, sittandes i ena stolen där jag bjuder in besökare att sätta sig med mig. Den stickade delen av stolen kommer att vara en silhuett av min kropp. En ”selfie stick” ska finnas på plats för att göra det enkelt för folk att fotografera sig själva och möjligtvis lägga upp bilden på deras egna Instagram konton under hashtaggen #123sexy. I denna situation så ska jag fråga personen bredvid, “Kan stickning vara sexigt?” Är det en slump att mina handledare har rekommenderat att jag kollar upp endast kvinnliga konstnärer i relation till mitt verk? Jag har valt att kontextualisera (S)examensarbete med tre olika konstnärskap. Jag relaterar (S)examensarbete till både det skulpturala och fotografiska verk av Sarah Lucas. Mycket av Lucas verk tar upp ämnen som feminin sexualitet med en humoristisk ton. Hon använder banal symbolik, så som meloner att symbolisera bröst, och vitsiga ordlekar i hennes titlar. Lucas är också ofta med i sinna fotografier, precis som jag, poserande framför kameran. Mitt arbete kan identifieras med selfie-kulturen då Sarah Lucas är mer en del av konstscenen. När jag började använda Instagram som en plats att visa ett alter ego så fick jag omedelbart kommentarer som ”Cecilia Sherman” och ”The Swedish Cindy Sherman”. Jag kan särskilt relatera till Cindy Shermans fotografier i (S)examensarbete. I en intervju med John Waters i boken Cindy Sherman så diskuterar Sherman varför hon producerar alla hennes porträtt helt själv. Hon beskriver en lust i att låtsas vara någon annan men hon vill vara sig själv när hon är med andra. (S)examensarbete är ett sätt för mig att utforska andra personligheter genom min egen image som jag inte har vågat visa för andra. Jag ser liknelser mellan min process i (S)examensarbete och Sophie Calles konstnärskap. Enligt en intervju i The Guardian från 2009 så ansåg inte Calle att det hon höll på med var konst i början. Hon levde helt enkelt sitt liv och fyllde sin tid. I början av (S)examensarbete var mina avsikter med projektet också rent personliga. Även efter att hon identifierade sig själv som konstnär så verkar Calle ha väldigt lösa gränser mellan sin roll som konstnär och sitt vardagliga liv. Jag beundrar detta sätt att jobba med konst och hoppas att mitt examensarbete kommer att leda mig i samma riktning. Bortom konst och solokonstnärer, måste jag också nämna världen av offentlig stickning och termen “craftivism” som helhet. I sin bok Craftivism: The Art of Craft and Activism, beskriver Betsy Greer korrelationen mellan konsthantverk och aktivism som sådan: “The creation of things by hand leads to a better understanding of democracy, because it reminds us that we have power,” och att “the very essense of craftivism lies in creating something that gets people to ask questions; we invite others to join a conversation about the social and political intent of our creations.” (S)examensarbete handlar om att ifrågasätta stickning som ett sätt att uttrycka sig själv sexuellt och därför faller det under kategorin craftivism, även om jag kan ogilla termen. Jag har avstått från att nämna craftivism tidigare eftersom jag har ännu inte hittat ett handstickat plagg som jag ärligt skulle kalla sexig och det är exakt det jag menar. Genom craftisvism rörelsen förstår vi att textilahantverk kan öka medvetenheten till en oändlig mängd av sociopolitiska frågor, men är de produkter eller kläder som kallas för craftivism estetiskt tilltalande eller önskvärda? Med detta sagt, skulle jag vilja nämna textilkonstnären Magda Sayeg som inspiration till mitt arbete. Jag hittade hennes hemsida när jag kollade upp “yarn bombing” gruppen Knitta och det finns en viss grad av skarphet i Sayegs arbete som jag relaterar till (S)examensarbete. Även om jag älskar humor och ser det som ett viktigt verktyg, tror jag att Sayegs arbete är ett exempel på hur stickning kan vara en stark form av kommunikation utan att använda humor som ett huvudfokus . Mycket av Sayegs arbete går ut på att sticka in olika saker, till exempel bussar, statyer, pelare, osv., och hon har gjort flera projekt i samarbete med olika företag, så som Gap, Toyota och 7-up. Även om hon stickar för hand så har slutresultanten inte samma estetik som DIY rörelsen och det är det som lockar mig till just hennes sätt att förhålla sig till textil. Hon verkar ta stickning på allvar, att använda tekniken professionellt och enligt min mening, lyckas göra stickning tilltalande . 3.1 Dokumentation 3.2 Diskussion Mitt projekt som helhet gynnades enormt från kommentarerna och insikterna från min opponent, Johanna Rosenqvist . Eftersom Rosenqvist har arbetat med mycket liknande ämnen så förstod hon syftet och målet bakom (S)examensarbete och inspirerade mig till att relatera mitt arbete till etablerade stickkonstnärer och “craftivism”. Genom detta kunde jag bättre förstå varför jag hade undvikit att jämföra mig till dessa områden tidigare. Jag insåg att (S)examensarbete handlar om att utforska en estetik (sexighet) som jag aldrig tidigare sett i stickningsfältet. Så ... kan stickning vara sexigt? Under vårutställningen satt jag i en av de stickade bikini-stolarna och stickade, med Dolly Parton sjungandes i bakgrunden. På grund av det kalla vädret var jag tvungen att sitta inne en stor del av utställningen, bredvid min video av fingrar som bläddrar genom mina Instagram bilder. Ibland kände jag mig generad av bilderna på skärmen, eftersom jag inte längre hade den virtuella världen av sociala medier att gömma mig bakom. Jag, i kött och blod, var på plats för att se hur folk reagerade. Även om jag kände lite skam hade jag också många intressanta diskussioner med olika besökare. Jag frågade, “Kan stickning vara sexigt?”, inte nödvändigtvis med avsikten att få ett svar, men jag fick oftas ett direkt svar tillsammans med ett förslag eller två. En besökare föreslog att jag borde sticka med latex, eftersom latex är ett material som kopplas direkt till sex. Andra föreslog stickning med flashiga garner eller större maskor. Folk berättade om tonårens sexiga tröjor och virkade bikinis och genomskinnliga stickade klänningar. Jag fick höra av flera äldre män att de hade valt syslöjd istället för träslöjd när de gick i skolan och en hade även blivit omnämnd i en lokaltiding eftersom det var så ovanligt. Jag kom även in på diskussioner om sex, en rad olika konstnärer och även Eurovision Song Contest, med personer jag förmodligen aldrig hade haft orsak att snacka med annars. Efter 10 dagar av att vara närvarande vid utställningen då jag interagerade och diskuterade med besökare, så förstod jag att de flesta tyckte att visst kan stickning vara sexigt. Jag vill tro att (S)examensarbete satt igång nya tankar om vad en traditionell hantverksteknik som stickning kan vara. Den process-baserade processen bakom detta projekt har lett till en starkare förståelse av mig själv, både personligen och som konstnär. Jag har upplevt både frihet i att inte ha ett strikt mål från dag ett och jag har också känt osäkerhet i följd av detta. Jag har förlitat mig på steg-för-steg planer i tidigare projekt eftersom de ger stabilitet och ett slags skyddsnät om min inspiration börjar vackla. I framtiden lär jag fortsätta att arbeta med ett mål i sikte, och tvinga mig ut ur min komfortzon för att testa nya metoder som jag gjorde i (S)examensarbete, såsom de interaktiva delar där jag som konstnär är närvarande. 4.0 Källor Böcker Foster, Hal. “Marcay, Calle, Coleman, and Kentridge.” Art since 1900: Modernism, Antimodernism, Postmodernism. London: Thames & Hudson, 2011. N. pag. Print. Gay, Roxane, and Helena Hansson. Bad Feminist. Stockholm: Bonnier, 2015. Print. Lohr, Nikol. Naughty Needles: Sexy, Saucy Knits for the Bedroom and Beyond. New York: Potter Craft, 2006. Print. Malik, Amna. Sarah Lucas: Au Naturel. London: Afterall, 2009. Print. Martignette, Charles G., and Louis K. Meisel. “Harry Ekman.” The Great American Pin-Up. Köln: Taschen, 2011. N. pag. Print. Parton, Dolly. My Life and Other Unfinished Business. London: HarperCollins, 1994. Print. Stafford, Jennifer. Domiknitrix: Whip Your Knitting into Shape. Cincinnati, OH: North Light, 2007. Print. Turney, Joanne. The Culture of Knitting. Oxford: Berg, 2009. Print. Wolf, Naomi. The Beauty Myth: How Images of Beauty Are Used Against Women. New York: Perennial, 2002. Print. Tidningar Hoggard, Liz. “Naughty Knitting.” Crafts Mar.-Apr. 2005: 38-41. Print. Murray, Derek Conrad. “Notes to Self: The Visual Culture of Selfies in the Age of Social Media.” Consumption Markets & Culture 18:6: 490-516. Print. Wilson, Pamela. “Mountains of Contradictions: Gender, Class and Region in the Star Image of Dolly Parton.” South Atlantic Quarterly Winter 1995: 109-34. Web. Winkler, Elizabeth. “The Manufactured Life.” New Republic Mar2016, Vol. 247 Issue 3: 16-17. Print Hemsidor Jeffries, Stuart. “Sophie Calle: Stalker, Stripper, Sleeper, Spy.” The Guardian. Guardian News and Media, 23 Sept. 2009. Web. 25 Mar. 2016. “Sexy.” Urban Dictionary. Fuckup, Screwed, Fucked, Gawd, Shit, 17 Oct. 2006. Web. 23 Mar. 2016.

Pour tout entier naturel impair d, on construit un domaine fondamental pour l'action sur l'espace affine de dimension 2d+1 de certains groupes de transformations affines libres non abéliens, discrets, agissant proprement et de partie linéaire Zariski-dense dans SO(d+1, d). Pour tout groupe de Lie semisimple réel non compact G, on construit ensuite un groupe de transformations affines de son algèbre de Lie g qui est libre non abélien, discret, agit proprement sur g et a sa partie linéaire Zariski-dense dans Ad G. Enfin, on donne quelques résultats sur le comportement local des fonctions harmoniques sur le triangle de Sierpinski, plus précisément de leur restriction à un bord du triangle
For every odd positive integer d, we construct a fundamental domain for the action on the 2d+1-dimensional space of certain groups of affine transformations which are free, nonabelian, act properly discontinuously and have linear part Zariski-dense in SO(d+1,d). Next for every semisimple noncompact real Lie group G, we construct a group of affine transformations of its Lie algebra g which is free, nonabelian, acts properly discontinuously and has linear part Zariski-dense in Ad G. Finally, we give some results about the local behavior of harmonic functions on the Sierpinski triangle restricted to a side of the triangle

碩士
國立臺南藝術大學
應用藝術研究所
99
“Needlecraft” is not only a traditional kind of female art but also carries the moralities and the ethical concepts of women in the traditional culture. However, with the rise of feminism and the changes of value, some concepts might have been out of date. What are remained are the female characteristics, from which we could see the female-specific consideration and tenacity. As a result, in terms of the concepts, the skills of needlecraft, like weaving, knitting, hooking, and winding, were used to present the unique quality as the origin of creation. The special quality and ideas were conveyed by the accessories and implements in order to show the changes of women’s inner world with their travel of life at different ages. In addition, about the skills of expression, crochet was applied to the metalsmithing; the nylon and the metal were combined to reflect that the contemporary viewpoint about women was drifted between the traditional and the modern times. Therefore, this work wants to express the tenacious heart beneath the delicate appearance of women.