Tesi sul tema "Drawing and re-Drawing"

This practice-based thesis aims to explore and demonstrate the conflict that exists between traditional, male-oriented attitudes and feminist perceptions of the female nude within the context of life drawing practices. The research interrogates the problematisation of life-drawing practice for female practitioners, proposing that perceived tensions and conflicts can be resolved through practice-based enquiry. In response to this, practice has been devised and tested, that negotiates this opposition, evolving an innovative system of projective geometry for drawing and painting which considers representations of the female nude in a way that is compatible with a specifically female viewpoint. The methodology includes: 1. The development of a portfolio of paintings and drawings of the female nude produced in the life drawing room by a female practitioner. This body of work is integral to the submission. 2. Qualitative questionnaires and discussion groups which inform, support and substantiate findings. 3. A literature review which considers the historical background of life drawing and the role played by female practitioners in academic life-drawing leading to an explanation and practical enquiry of sight-sized drawing that epitomises the habitual rituals of the life drawing class in relation to the researcher’s gendered interests. Conclusions and outcomes: The literature review together with other findings are analysed and synthesized, leading to an overview of four interrelated waves of feminism and feminist theory. The emergence and influence of a Negative Feminist Critique of the Female Nude is shown as related to the subjective female identity and interests of the artist. Through the creation of a feminist strategy, demonstrated to be antagonistic to the traditions of the female nude, have resulted in an alternative canon of the female nude that hinges on the interpretation of artworks and affects, but is distinct from, the experience of practitioners. Interactions with the model are identified as crucial to negotiating existing precepts of the female nude in female-directed life drawing practice. Questioning if linear perspective is intrinsically voyeuristic and analogous to a peep show reveals this position as socially- rather than materially-constructed. The extended drawings articulate multiple viewpoints without fragmentation and prioritise experiential understanding of process over external critiques of content. A series of extended paintings is examined in relation to the artist’s formally based material interests in painting and stitch combined with socially-formed interactions of collaboration and empathy. Resultant art works intervene in the field of existing life-drawing conventions and demonstrate a recognisably female sensibility in their representation of the female nude. These findings will be used to inform future life-drawing practice and pedagogy.

How does the act of drawing enable the costume designer to design costumes that work effectively with the physicality of the performing body? This research is located in the field of scenography and refers specifically to costume design practices within this field. The research project developed from a growing visibility of performances developed and created primarily from the physicality of the body rather than from a text. In these performance environments, where there is no initial text to work from and sound, lighting and set have yet to be developed the costume designer must predominantly respond to the physicality of the performing body. However, if the costume designer is to ensure that their designs and costumes work effectively with the ideas developed by the performer they must also address the relationship between their interpretation of the performing body and the intentions of the performer. My research responds to limited resources that examine and document how a costume designer can address this relationship and create designs that work with the physicality of the performing body rather than designs that work with a text. As a result of the limited resources in this area of costume design I refer to an additional field for reference. Using training practices based in figure skating to structure my drawing process my research provides new insight into how a costume designer can create costume designs that work with and enhance the physicality of the performing body. By using this repetitive drawing process to both interpret the performing body and initiate a dialogue with the performer my research enhances collaborative practices in costume design and within the field of scenography. In the absence of relevant literature in figure skating, the drawing and redrawing approach I use is primarily examined and supported using a combination of performance and training approaches developed by Jacques Lecoq. These approaches address and explore how performance is created through an awareness of the physicality of the body in relation to the physicality of mark making, and through a repetitive training structure similar to that used in figure skating. Drawing is used as the primary research method, applied within a methodology based on Merleau-Ponty's phenomenological philosophy. This methodological approach both facilitates the costume designer's encounter with the physicality of the performing body and enables an examination of this encounter in order to understand how the designer interprets and makes sense of this body. These encounters are structured through and conducted within three ethnographic case studies based in theatre performance, costume design and figure skating. The research case studies are contextualised using interviews, diaries and background research and are analysed using a structure that draws on Corbin and Strauss's Grounded Theory. The research concludes by outlining three main stages through which the process of drawing and re-drawing is applied and used to create costume designs that work effectively with the physicality of the performing body. In describing and explaining these three stages I outline how the repetitive drawing process integrates within a performance process and as a result becomes a vehicle for collaboration between the costume designer and the performer.

This dissertation has two departure points: the social phenomena of crime, particularly in Delft, and a concern with the character of institutional buildings, particularly in 'township' areas. These two departure points intersect in an interrogation of the police station as an architectural type, particularly the Delft Police Station. The police are often referred to as the 'thin blue line', suggesting an agency that delicately differentiates between the community and criminal activity. The apartheid era has left this line thickened and its effects are still felt in the buildings that it left behind, despite the shift from a police force to a police service, post-1994. This dissertation hopes to reconfigure this line in both; a physical way, through built form but also a social way, using mixture of programme. To produce a building that encourages interaction with the vibrant community, Delft.

Dissertação de Mestrado Integrado em Arquitetura, com a especialização em Arquitetura apresentada na Faculdade de Arquitetura da Universidade de Lisboa para obtenção do grau de Mestre.
Maputo, capital de Moçambique, é o espelho de uma cidade em constante mudança e renovação. Marcada, não só pelas suas diferentes fases de expansão e consolidação, como também pelo crescimento exponencial, espontâneo e autónomo dos seus bairros períféricos. Apesar de duas realidades aparentemente opostas, as manchas da cidade consolidada e dos bairros peri-urbanos co-habitam numa dinâmica de interligação. É esta simbiose que é alvo de análise no primeiro ponto de estudo do presente projecto final de Mestrado. A análise desta dualidade, baseia-se e manifesta-se na requalificação do Bairro da Mafalala. Local onde nasceram e cresceram diversas personalidades moçambicanas, que contribuíram para o enriquecimento cultural do país. A identidade do bairro origina a proposta apresentada neste projecto. Este, assume um carácter evolutivo, com base nas dinâmicas de construção e organização autónomas já existentes nas ruas da Mafalala, provenientes dos seus habitantes. É ainda explorada a potencialidade do bairro, enquanto elemento híbrido, para que possa atenuar a dualidade que perpetua.
ABSTRACT: Maputo, capital of Mozambique, reflects a city in constant change and renewal. Marked, not only by the different phases of developing “formal” city, but also, by the exponential, spontaneous and autonomous growth of self-constructed peri-urban neighbourhoods. Despite two seemingly opposing realities, the stain of the consolidated city and the suburban neighborhoods coexist in a dynamic of interconnection. It is this symbiosis that is the subject of analysis in the first point of study of this final Master project.The analysis of this duality is based on and manifested in the requalification of the Mafalala neighborhood. Site where several Mozambican personalities were born and grew up, which contributed to the country's cultural enrichment. The identity of the neighborhood originates the proposal presented in this project, which assumes an evolutionary character based on the dynamics of construction and autonomous organization already existing on the streets of Mafalala, coming from its habitants. The potentiality of the neighborhood as a hybrid element is explored, so that it can attenuate the duality that it perpetuates.
N/A

Ce travail s’intéresse au toit-terrasse, à la cour, à la rue, la place ou encore la friche, les considérant comme des espaces ouverts de proximité dont l’usage est ou peut être commun. La thèse soutient que ces espaces peuvent instaurer des conditions de vivibilité qui respectent les limites planétaires, et les autres formes de vies terrestres .La renaturation du sol et la végétalisation, le jardinage-nourricier, la fabrication par le bricolage et le réemploi, que l’on nomme les activités de subsistance, entreprises potentiellement par les habitants, activent les espaces ouverts de proximité. La spatialisation de ces activités transforme ces espaces en lieu de subsistance : le potager sur le toit, le jardin de pluie dans la cour, l’atelier de réparation itinérant dans la rue, ou encore le verger dans le parc.Alors, comment les lieux de subsistance participent aux nouvelles conditions de vivibilité du milieu-urbain ? Comment, par les espaces ouverts de proximité, les architectes peuvent fabriquer des outils pour inclure ces nouvelles conditions et qualités du vivable dans les processus de projet ?Composer un cadre conceptuel et construire des outils de lecture.Une diversité de projets et de terrains représentant des lieux de subsistance sont rassemblés pour constituer le corpus. Grâce à l’outil du dessin, les interactions produites et permises par les lieux de subsistance sont schématisées. Ces représentations, combinées à un état de l’art sélectif font émerger le concept de système d’autosubsistance régénératif. Ce concept décrit les capacités des lieux de subsistance, en énonçant les trois qualités complémentaires qu’il contient. Pour commencer, la qualité environnementale qui contribue à la décarbonation, à l’adaptation aux canicules et aux inondations et, à la circularité des ressources. Puis, la qualité relationnelle qui replace l’humain parmi et avec les autres formes de vie dans le milieu. Et enfin, la qualité coopérative qui reconnait l’ingéniosité collective des habitants dans les processus de transformation et de vie des lieux. Ces trois qualités sont ensuite considérées comme des leviers qui contribuent à l’émergence de nouvelles conditions de vivibilité.Fabriquer des outils de progettazione à partir de la lecture de lieux.Le corpus, composé d’exemples de projet et de terrains d’étude, est mobilisé à nouveau pour fabriquer les outils de progettazione. Une grille de lecture, formulée grâce aux trois qualités du système, opère par l’outil du dessin pour extraire de la connaissance, en schématisant, en isolant et en mettant en évidence les qualités contenues dans les situations observées. Cette connaissance localisée, par un processus d’abstraction permis par le re-dessin, a capacité à fabriquer une connaissance générique : les outils de progettazione. Ces derniers prennent la forme de répertoires thématisés ou de principes de projet.Projeter à San-Lorenzo de nouvelles conditions du vivable.Une dernière étape consiste à tester ces outils dans le quartier romain de San-Lorenzo. La lecture des potentiels de transformation de San-Lorenzo est menée par une double approche. Cette dernière combine calcul des performances climatiques et mise en lumière, par le dessin, des vulnérabilités et des qualités du quartier. Puis, les outils guident la transformation des espaces ouverts de proximité, proposant notamment de nouvelles possibilités de rencontre entre les habitants et le vivant-végétal .La thèse met finalement en lumière les mécanismes de production de connaissance dont use l’architecte, pour lire et projeter les qualités du vivable. Considérant que l’ajustement permanent de ces outils de lecture/progettazione lui permette de répondre de manière appropriée aux enjeux de son époque
This work focuses on the roof terrace, the courtyard, the street, the square and the abandoned site, seeing them as neighbourhood open spaces whose use is or can be shared. The thesis argues that these spaces can establish conditions of liveability that respect planetary limits and other forms of terrestrial life.Soil renaturation and greening, food gardening, DIY manufacturing and reuse, the so-called subsistence activities, potentially undertaken by inhabitants, activate neighbourhood open spaces. The spatialisation of these activities transforms these spaces into places of subsistence: the vegetable garden on the roof, the rain garden in the courtyard, the itinerant repair workshop in the street, or the orchard in the park.So how do places of subsistence contribute to the new conditions of liveability in the urban environment? And how can architects use neighbourhood open spaces to develop tools for incorporating these new conditions and qualities of liveability into the design process?Composing a conceptual framework and building reading tools.A variety of projects and sites representing places of subsistence are brought together to form the corpus. Drawings were used to sketch out the interactions produced and enabled by the places of subsistence. These representations, combined with a selective review of the state of the art, give rise to the concept of a regenerative self-subsistence system. This concept describes the capabilities of subsistence areas, by setting out the three complementary qualities it contains. Firstly, environmental quality, which contributes to decarbonisation, adaptation to heatwaves and floods, and the circularity of resources. Then there's the relational quality, which puts people back among and with other forms of life in the environment. And finally, cooperative quality, which recognises the collective ingenuity of inhabitants in the process of transforming and living in the area. These three qualities are then considered as levers that contribute to the emergence of new conditions of liveability.Producing planning tools based on a reading of places.The corpus, made up of examples of projects and study areas, is mobilised once again to create design tools. A reading grid, formulated on the basis of the three qualities of the system, uses the drawing tool to extract knowledge, by schematising, isolating and highlighting the qualities contained in the situations observed. This localised knowledge, through a process of abstraction made possible by re-drawing, has the capacity to produce generic knowledge: the design tools. These take the form of thematic repertoires or project principles.Projecting new conditions for living in San Lorenzo.The final stage consists of testing these tools in the Roman district of San-Lorenzo. A two-pronged approach is used to assess San Lorenzo's potential for transformation. It combines calculations of climatic performance with drawings to highlight the district's vulnerabilities and qualities. The tools are then used to guide the transformation of the neighbourhood's open spaces, offering new opportunities for inhabitants to come into contact with living plant life.Finally, the thesis highlights the knowledge production mechanisms used by the architect to read and project the qualities of the liveable. The permanent adjustment of these reading/design tools will enable him to respond appropriately to the challenges of his time

Orientador: Lygia Arcuri Eluf
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Corpo Re-Construção Ação Ritual Performance é um projeto de criação desenvolvido durante o Doutorado, que se constrói a partir de nove ações performáticas realizadas ao longo de 2003-2008 e que resultaram em um acervo de imagens, vídeos e áudios, editados para a realização de exposições, apresentações e publicações, além de comporem o site http://www.fernandamagalhaes.com.br e o livro Corpo Re- Construção Ação Ritual Performance. O trabalho final para o doutorado como tese é um livro-de-artista, impresso como objeto e também publicado virtualmente, como site. A tese é uma tese-de-artista, desenho tecidual, texto-tecido-pele, superfície. Ali estão contidas construções, desenhos, pinturas, fotografias e textos que compõem esta criação-tese. As ações performáticas foram realizadas com grupos diversos e têm como resultado registros que constituem o trabalho. São impressões/inscrições dos corpos sobre lençóis brancos, fotografias, vídeos, paisagens sonoras, desenhos e gravuras. Na realização das exposições, parte deste material editado foi montado em instalações que compõem este corpo. Também foram realizadas apresentações multimídia. As exposições e as apresentações mostram fragmentos dos trabalhos referentes a cada ação realizada em seus eventos específicos. No livro-tese e no site estão presentes partes dos cadernos de anotações produzidos durante o processo de construção do trabalho, além dos registros das ações e do texto escrito no percurso para-sobre-no-com-entre o projeto-tese. As publicações são a obra-multiplicadora-informefragmento-rizoma-expansão-deslizamentoescoamento-transfiguração e pretendem construir uma rede de ações através da experiência de artista na construção de uma criação-tese.
Abstract: Body Re-Construction Action Ritual Performance is a creation project developed during Doctorate studies and is set up from nine performances accomplished across 2003-2008 and which resulted in a collection of images, videos and audios, edited for the realization of exhibitions, shows and publications, as well as for composing the website www.fernandamagalhaes.com.br and the book Body Re-Construction Action Ritual Performance. The thesis is an artist-book printed as an object as well as published virtually in the form of a website. The thesis is an artist-thesis, tissue drawing, text-tissue-skin, surface. It comprises the constructions, drawings, paintings, photos and texts that compose this creation-thesis. The performances were realized with diverse groups and resulted in the records that compose the work. They are impressions/inscriptions of bodies on white sheets, photos, videos, sound sceneries, drawings and engravings. In the accomplishment of the exhibitions, part of this edited material was set up in installations that compose this body. Multimedia shows have also been realized. The exhibitions and presentations showed fragments of the works relative to each action accomplished in its specific events. The thesis-book and the website include parts of the notebooks produced during the construction process of the work, together with the records of the actions and the text written for-on-in-with-between the project-thesis. The publications are the work-multiplier-inform-fragment-rhizome-expansion-slip-outflow-transfiguration and intend to build a net of actions through the artist experience in the construction of a creation-thesis.
Doutorado
Doutor em Artes

This thesis examines topographical art depicting Scotland’s natural scenery and built environments, architecture, antiquities and signs of modern improvement, made during the period 1660 to 1820. It sets out to demonstrate that topography and topographical art was not exclusively antiquarian in nature, but ranged across various fields of learning and practice. It included the work of artists, geographers, cartographers, travel writers, poets, landscape gardeners, military surveyors, naturalists and historians who were concerned with representing the country’s varied, and often contentious, histories within an increasingly modernising present. The visual images that are considered here were forms of knowledge that found expression in drawings, paintings and engravings, elevations, views and plans. They were made on military surveys and picturesque tours, and were often intended to be included alongside written texts, both published and unpublished, frequently connecting with travels, tours, memoirs, essays and correspondence. It will also be argued that topography was a social practice, involving networks of artists, collectors, publishers and writers, who exchanged information in drawings and letters in a nationwide, and often increasingly commercial enterprise. This thesis will explore some of the strands of such a vast network of picture-making that existed in Scotland, and Britain, between 1660 and 1820, as visual images were circulated, copied, recycled and adapted, and topographical and antiquarian visual culture emerges as a complex, synoptic form of inquiry.

This thesis examines the extent to which the 1960s process art strand of post-Minimalism can provide an analytical template for critical writing around contemporary ceramic art. A dearth of critical writing is an acknowledged problem in all types of ceramics practice and some of the reasons for this situation will be explored. In the past decade frequent calls have been made by artists, critics, academics, and curators for a body of critical writing to underpin contemporary work and connect with wider cultural debates. During this period, artists have begun to use the process of making the work to form part of the content. Such work has no relationship to traditional studio pottery, and critics have described it as difficult to write about and classify in normative ceramic terms. However, this area of ceramic practice shares characteristics with post-Minimalism, a movement of the 1960s that emphasised the behaviour of materials and the act of making. In The Archaeology of Knowledge the French philosopher Michel Foucault suggests that a new critical language may emerge from the appropriation of other discourses, providing new interpretations for subject areas not yet theoretically mapped out. Foucault’s notions on the formation of discourse are used as a methodological approach to investigate how process-led sculptural ceramics may be articulated by an understanding of post-Minimalist critical writings. A substantial body of critical writing developed around post-Minimalist process art, providing a context for radical new approaches which broke with modernist traditions and which expanded and changed traditional definitions of sculpture. Key post-Minimalist texts are investigated as an analytical template for a new critical discourse for process-led ceramic art. A study of the sculptural ceramics of Richard Deacon and Kosho is undertaken as a means of identifying process-led tendencies and the possibility of a re-conceptualisation from a post-minimalist perspective. An analysis of the role of process within my own practice is used to provide visual evidence of contemporary ceramic work that can be re-conceptualised from a post-Minimalist perspective. After twenty years of stagnant debate in the ceramics field, this research might provide a new critical context for process-led ceramic art. The project shows a way that artists may be empowered to develop a critical literacy in a field that has traditionally lacked a research based approach. It is hoped that it may well encourage other ceramics practitioners to explore new ways of presenting an academic critique of their own area of practice. The contribution to knowledge identifies a new critical context and approach to writing for the process-led area of ceramics practice that is currently described as being difficult to write about, as having no appropriate critical language of its own, and of being difficult to categorise in standard ceramic terms.

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Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior
In the historical-cultural perspective, the drawing is processed by means of a shared and complex way, under diverse relations with the other and with the immersed signs of the culture. That is, something constituted by the social interactions and that can modify the structure of the psychological functions, therefore as socialized sign, propitiates the incorporation of the functions socially. In this way, the figuration carrier sensitive and established meanings historically disclosing the shared experiences and the ways of the subject to think and perceive the world. Such reflections gave shape to the main problem of this research: how to think over about the drawing at the school to incide in the reconstruction of the childs imaginative language? Under such perspective, this work deals with the interactions in the production process of the drawing of the children in a context of teach-Iearning of the elementary school having as goal to analyze the interactions established in the cIassroom in the process of production of the drawings; to propose situations of learnings that favor the advance graphical expression of the students; and to identify in the interactive games some relations between body expression and drawing. For its accomplishment, it was opted for the construction process based in the collaborative investigation by the fact to propitiate negotiations, sharing and confrontation of ideas, becoming possible a joint construction of the knowledge. For this research, the researcher and the collaborating teacher, as well as the involved children, become themselves into co-authors of the context studied. As locus of the research, it was chosen a first cycle class, with 30 students, from Municipal School Prof?. Em?lia Ramos (Natal/RN - Brazil), whose election took in account the fact of this school to constitute in a promotional space of reflections and professional development of teachers in service and, at the same time, for presentinglimitations theoretic- methodological in the field of teaching for Arts. In the process of the research, it was perceived that the children with the support of the verbal language formulates meanings on the seen and imagined object, printing lines and forms that if overlap to the physiological aspects of the visual perception. That is, the drawing discloses a reality appraised, enriched for the picked up vision of the image, but the meanings established for the author, or observer who becomes it perceivable and identified. In the systemizing situations, it was observed that the teaching-Iearning process of the drawing, implies a co-construction between teachers and learners. And, moreover, the necessity to interlace emotion and cognition by means of plastic-corporal interactions that foment drawing experiences, whose process concurs for the imagenative reconstruct of the apprentices
Na perspectiva hist?rico-cultural, o desenho se processa de modo compartilhado e complexo, sob diversas rela??es com o outro e com os signos imersos na cultura. Isto ?, algo constitu?do pelas intera??es sociais e que pode alterar a estrutura das fun??es psicol?gicas, pois como signo socializado, propicia a internaliza??o das fun??es desenvolvidas socialmente. Dessa forma, a figura??o carrega significados e sentidos estabelecidos historicamente, revelando as experi?ncias compartilhadas e os modos do sujeito de pensar e perceber o mundo. Tais reflex?es deram forma ao problema central dessa pesquisa: como repensar o desenho na escola para incidir na reconstru??o da linguagem imag?tica da crian?a? Nessa perspectiva, esse trabalho trata das intera??es no processo de produ??o do desenho das crian?as em um contexto de ensino-aprendizagem do Ensino Fundamental, tendo como objetivos: analisar as intera??es estabelecidas na sala de aula no processo de produ??o dos desenhos; propor situa??es de aprendizagens que favore?am a ressignifica??o gr?fica dos alunos; e identificar nos jogos interativos algumas rela??es entre expressividade corporal e figura??o. Para sua efetiva??o, optou-se pela constru??o metodol?gica calcada na investiga??o colaborativa, pelo fato de propiciar negocia??es, partilha e confronto de id?ias, possibilitando uma constru??o conjunta do conhecimento. Por esse vi?s investigativo, a pesquisadora e a professora colaboradora, assim como as crian?as envolvidas, convertem-se em co-autores do contexto estudado. Como l?cus da pesquisa, foi escolhida uma turma do 1? ciclo, com 30 alunos, da Escola Municipal Prof?. Em?lia Ramos (Natal/RN Brasil), cuja sele??o levou em conta o fato dessa escola constituir-se em um espa?o promotor de reflex?es e de desenvolvimento profissional de professores em servi?o e, ao mesmo tempo, por apresentar limita??es te?rico-metodol?gicas no campo do Ensino de Artes. No percurso das investiga??es, percebeu-se que a crian?a com o aux?lio da linguagem verbal, formula significados sobre o objeto visto e imaginado, imprimindo linhas e formas que se sobrep?em aos aspectos fisiol?gicos da percep??o visual. Isto ?, o desenho revela uma realidade conceituada, enriquecida por uma percep??o verbalizada, em que n?o ? apenas a figura em si que define a vis?o captada da imagem, mas os significados estabelecidos pelo autor, ou observador que a torna percept?vel e identificada. Nas situa??es sistematizadoras, observou-se que o processo ensino-aprendizagem do desenho, implica uma co-constru??o entre professor e alunos. E, al?m disso, a necessidade de entrela?ar emo??o e cogni??o por meio de intera??es pl?stico-corporais que fomentem experi?ncias de figura??o, cujo processo concorra para a (re)constru??o imag?tica dos aprendizes

This project report offers an in-depth, detailed account of my creative process and work during my two-year Master in visual communication at Konstfack, Stockholm. My degree project is a celebration of plurality and visual democracy. Starting with identifying different norms pervading the graphic design discipline in the Western world today, both in terms of aesthetic values and systems of thinking, I have worked to propose and visualize alternative possible futures.  Drawing has been my main carrier through an intense journey of un-learning and re-learning resulting in an artist’s book in unique copy.  With this book, I want to problematize the dominant discourses around objectivity as a utopian ideal with a suppressive agenda, while visualizing a world I can recognize myself in. I have used decoration as a method, emotion and femininity as explorative standpoints, giving space to the metaphorical, the ambiguous and the spiritual to challenge current visual norms.  This book emerges as an affirmation of my own quest for visual belonging  as a graphic designer and a woman; a testimony of the practice of drawing as actualized power.

碩士
國立高雄科技大學
模具工程系
107
Rectangular cups with high aspect ratio are widely used in an industrial battery container or electronic part case. Such rectangular cups usually have large ratio of height to the length of the short side and the multi-stage drawing stage instead of a single drawing stage is required to successfully forming processes. A reverse re-drawing processing, which would reduce the forming stress by the interaction of the inner and outer walls of the product during forming, is applied to improve the formability of rectangular cups with high aspect ratio to reduce the stages of drawing. A software of Dynaform finite element analysis is used to simulated drawing processing in this study to investigate parameters of drawing for the stainless steel sheets, SUS304, of thickness 0.8 mm which would influence the distribution of the thickness, the drawing height and the material flow state. A set drawing die manufactured the experiments of drawing are conducted to verify the realities of the results of simulation which is used as a reference for the multi-stage drawing processing die design of the rectangular cup. The simulation results indicate that the formability of the reverse re-drawing, which drawing height, h2, is 37.3 mm, is better than that of, h2 , 27.8 mm. And the stage of drawing can be reduced to 3 stage due to the larger edge contour distance, X2, is 5.02 mm. Wrinkling around the blank sheet during drawing causes uneven contact between the blank sheet and the die surface, so the wrinkle portion material cannot effective flow into the cavity of the die and occurs the crack. A limit blank diameter designed to drawing of the rectangular cup in this study is 100 mm and the drawing height is 41.54 mm. The straight side of the rectangular cup need to modify to arc during drawing. As the arc of the long straight side of rectangular cup is larger, such RX1 is 191.48 mm, RX2 is 187.85 mm, the larger difference of material flow occurred between the long straight side and short straight side. Therefore the material moving distance from the edge of the blank has a large difference in many axial directions and the thinning rate of products becomes high. As the punch fillet radius is small, such Rp1 is 0.8 mm, Rp2 is 1.6 mm, the corner portion on the outside is easy to be subjected to the large tensile strain which caused the thinning excessive to occur the crack. Conducted the drawing experiments, the distribution of thickness and ruptured position measured are good agreement with that of the simulation analysis.

By investigating the connections between drawing, object and memory, this research project operates as an enquiry into processes of transition and transformation, and the significance of everyday objects to memory. Through practices of process‐based drawing, I focus on aged domestic objects to explore relationships between materiality and our awareness of and insights into past experience. I approach the drawing and casting of objects as a metaphor for the mental processes we experience in relation to memory. The project is supported by research into theories of memory, with particular focus on the capacity of memory to shift and change over time, and how the merging of past and present relates to the creation of new realities. The practical research has resulted in a body of work that consists of a series of photocopy drawings, rubbings and three‐dimensional forms made from liquid latex, wax and tarlatan fabric. The development of tangible, delicate forms and imagery reveals alternate approaches in drawing to create modified shapes and surfaces of domestic objects. The diverse works reflect the fluctuating processes of memory, evoking new meanings from prior experiences. The works are also an intimate, personal response to the vulnerable materiality of the objects from which they originate. For my practical research I have drawn on a number of philosophical approaches from the following sources: Edward Casey’s research into the change‐inducing processes of remembering in Remembering: A Phenomenological Study; Paul Ricoeur’s focus on the persistence of enduring traces in Memory, History, Forgetting; Henri Bergson’s philosophies regarding memory as an embodied experience in Matter and Memory; Michael Leyton’s ideas on the importance of shape to memory in Symmetry, Causality, Mind; and Maurice Merleau‐Ponty’s theories on embodied consciousness, touch as sensory surface, and the connection between memory and the material world in Phenomenology of Perception. My study of this material has expanded my approach to drawing and my perception of an object’s materiality and its connection to the past. The contextual background includes selected works of three artists – Eva Hesse, Giorgio Morandi and Louise Bourgeois. The sculptural paper and latex forms of Hesse’s studio works (1966–1969) express the potential of open‐ended exploration within forms that appear incomplete, and their suggestive uncertainty has influenced my experimentation with ambiguity. Giorgio Morandi’s intimate still life paintings and drawings, and particularly his initial treatment of studio objects, have been influential in terms of my experimentation with trace and enduring marks. The fabric works of Louise Bourgeois (2000‐2009) are a material expression of autobiographical memory and inspired my investigations of material potency in my studio work. This research project expands on theoretical ideas that frame the ambiguous zone of the past and the present in memory. It emphasises strategies of making aligned with concepts of transformation, intimacy and the ephemeral. The partial and collapsed nature of the works, the use of disparate and yielding materials, and the capacity of the two and three‐dimensional forms to be read as matter in transition demonstrates their potential as catalysts for new form and meaning. The project acknowledges the everyday object as a valuable referent for the complexities of memory and domestic items as a source for shape. The innovative application of drawing techniques undertaken within the studio research contributes to an ongoing pursuit within contemporary drawing practice to transform traditional drawing language into new art forms.

This portfolio of compositions and written exegesis explores the way aesthetic characteristics of Japanese anime can inform contemporary musical composition. As a highly nuanced medium, anime presents as a collection of visual traits that depict the world from a unique perspective. These visual depictions of concepts, characters, locations, narratives, gestures and emotions are the creative impetus for me as a composer. My music responds to, rearticulates, explores, is informed by and influenced by anime. By watching anime and engaging with literature that analyses anime, my music explores anime from a number of perspectives. The musical gestures and choices I have made throughout the compositional process range from different forms of image-painting, story-painting and word-painting to more conceptual acknowledgements of the specific way anime depicts complex psychological issues such as sanity and sexuality. My music artistically expresses anime in a way no other form of research could. It also looks at anime as both an extension of Japanese art traditions and aesthetics as well as a 20th century technological development that exists in a global setting. To frame my approach to the compositions in the portfolio, I explore the complex relationship between music and representation. The concept that opens up this discussion is 'ekphrasis', the process by which one art form remediates another. When attached to music a continuum is created where the degree of representation can be gauged from suggestive programmatic music to a fully ekphrastic musical depiction of an existing artwork such as a painting, poem, sculpture or anime. The interplay between artforms and the mutability of expression through verbal, visual and aural iterations are at the core of my process as a composer. As an artist I am influenced by my own medium, music, but also in the way that other media articulate complex concepts. These articulations can be used by me and by other artists to inform the way we practice/create. In the instance of this folio, anime and music communicate abstractly and both are enhanced by the process.

碩士
大葉大學
人力資源暨公共關係學系碩士在職專班
94
ABSTRACT Due to the government to set into action picked troops of case. Most of officer and sergeant to face to early retire. Have a dilemma must be once again to get a job. The veterans’ drawing monthly pensions and re-employed. Main factor to influence on e-employed？What connotation of work value？ The purpose of the study the veterans drawing monthly pensions and re-employed. Probe for depth to work value constructions. An essay are reached by using quality research by interview. Interview 12 retired the veterans. Include 6 retired officer and 6 retired sergeant.，Retire of the Army, Navy, Air force. The age among 38 to 57 . By narrative analysis, main of study to discover： I. The veterans re-employed work value and general college student apparent difference： （I）At purpose value a side in work value. Main of selfhood to grow, selfhood to achieve, dignity, （II）At tool value a side in work value. Main of society interaction, organization security and economical, stable and no to feel anxious, leisure time health and traffic. II. Veterans re-employed of basic characteristic and work value to be connected a side： （I） Front to be demobilized function of office a side, Most of retired officer belong to purpose value in work value. Retired sergeant is belong to tool value in work value. （II）Veterans re-employed of work overtake 3 years. In organize a sense security importance to degree over other people。 （III）One’s count of year, Retired sergeant in meridian of life consideration at work to choose on promote family livelihood quality and traffic. middle and high of year of officer, Main of health and human relationship. （IV）Armed services, the official rank, the educational and work value is related unapparent. The further study in the future. Separately suggest to policy and follow-up to study： I. Suggest to policy： Suggest to the Ministry of National Defense, Face to officer and sergeant expire of retire every year. To provide work工作values list of measure. Reduce obstacle to process in the veteran look for a job. Veterans Affairs Commission, Executive Yuan R.O.C should be constructive guidance and assistance the veterans to work. II. Follow-up to study in the future. In connection with middle area, All of veterans and re-employed to proceed question volume examine. To understand each county and city the veterans’ work value among drawing monthly pensions and re-employed, An area is difference.To suggest the Veterans Affairs Commission, Executive Yuan R.O.C Overall to check in the light of drawing monthly pensions and re-employed. To provide service an armyman important according to re-employed in the future. Key Words：monthly pensions, re-employed, veterans, work value

Lo studio tratta la sperimentazione, attraverso il Disegno, di un metodo per ri-conoscere un paesaggio geoculturale, reso tale dalla compresenza di Storia, di risorse e di rischi ambientali. Operando un’analisi filologica, la rilettura del territorio avviene attraverso visioni cartografiche analogiche, pregeodetiche e geodetiche. Le informazioni restituite compongono un contenitore di narrazioni, ossia un geodatabase di sistemi storici digitali, organizzati in ambiente GIS secondo una nuova Carta dell’Uso del Territorio Rappresentato. I dati alfanumerici si visualizzano in una serie di mappature, sintesi del processo di rappresentazione del passato e del luogo come è oggi; la loro interrogazione ne mostra le rimanenze identitarie, eventuale supporto per individuare scenari di rischio ambientale.
The study deals with the experimentation, through Drawing, of a method for re-knowing a geocultural landscape, made such by the coexistence of History, resources and environmental risks. By carrying out a philological analysis, the reinterpretation of the territory takes place through analog, pregeodetic and geodetic cartographic visions. The information returned makes up a container of narratives, that is, a geodatabase of digital historical systems, organized in the GIS environment according to a new Use Card of the Represented Territory. Alphanumeric data are displayed in a series of mappings, synthesis of the process of representing the past and the place as it is today; their query shows their identity remains, any support for identifying environmental risk scenarios