Teses / dissertações: "Water spirits in art"

1

Sugla, Sarika Devi. "In search of the spirit". Thesis, The University of Iowa, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1560702.

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2

Furpahs, Ruth. "Emerging Spirits". VCU Scholars Compass, 2005. http://scholarscompass.vcu.edu/etd_retro/141.

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3

Eich, Lauren. "Spirits of Haiti Catholicism, Cultural Crossroads, & the Uniquely Haitian Experience". Thesis, The University of Alabama, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10285073.

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This thesis examines the characteristics of the spirits Ezili, Legba, and Ogou, in order to determine which aspects of their manifestations incorporate themes of syncretism from Catholic tradition, and which aspects reflect visual tradition that emerged from distinctly Haitian tradition. Elements of Catholic and African traditions, discernable within Vodou iconography, act as a basis upon which the practice was further augmented. These adaptations reveal the mixing of cultures and continuation of tradition that is of central importance to the development of Vodou, as reflections of the process through which the religion overcame the social problems faced by the practitioners, as well as the culturally devastating consequences of Haitian colonial history. These diversifications from the Christianity and African traditions reflect the ingenuity and resourceful nature of Vodou, which through its fluid nature, can be transformed to accommodate the needs of the devotees.

Through a postcolonial methodology, this thesis demonstrates that through the syncretism of Catholic themes, the influence of the West African origins of the Vodou, and the unique experiences of the people in Haiti, the iconography of Vodou visual culture interacted of other religions as it evolved into a distinctly Haitian practice. By looking at the spirits Ezili, Legba, and Ogou, alongside their counterparts of the Virgin Mary, St. Peter, and St. George (or St. James) this essay will outline the syncretization of these spirits with Christian icons, while making parallels to the development of Christian iconography which borrowed from pagan imagery in an effort to place the importance of a figure within a pre-established lineage that placed importance on the image.

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4

Fisher, Melanie Teresa. "Natalia Goncharova and Franz Marc : kindred spirits of the new art". Connect to resource, 1986. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1163008367.

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5

Le, Borgne Aude Marie. "Clootie wells and water-kelpies : an ethnological approach to the fresh water traditions of sacred wells and supernatural horses in Scotland". Thesis, University of Edinburgh, 2002. http://hdl.handle.net/1842/10540.

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This thesis examines different aspects of tradition relating to fresh water in Scotland. They include: the use of water from wells and springs for healing and divination purposes; the beliefs around the lin1inal quality of water, often considered as boundary, and around its magical association with the horse; and finally folktales featuring the water-horse, or kelpie, a supernatural creature which was said to inhabit lochs and rivers. In dealing with topics so different one from the other, within the larger field of Scottish customs and beliefs, it proved necessary to use a variety of sources and methods. Comparative study was often particularly illuminating. After presenting the history of visits to sacred wells, I deal with two main categories of customs associated with these pilgrimages, namely healing rituals and divination practices. While the former leads to the analysis of the different stages and implications of the ritual, the latter looks into the issues that were left to supernatural powers to decide upon, and examines how the questions asked of the oracle evolved with time. Consideration of these powers then leads on to further inquiry into the liminal function of fresh water in general, and its links with boundaries both spatial and temporal. That the horse, another element that is ascribed definite liminal qualities, was associated with water is therefore not fortuitous. If water provides an entry to an Other World, the horse can then take one through into this other land. Indeed, this is what is found in the corpus of tales centred on the figure of the waterhorse. As some of the tale-types are met in other geographical areas - Ireland and Scandinavia mainly - a discussion of these will provide a general background to the tales, which will result in a proposal for a revised tale-index. Two shared types -the work-horse and the abductor of children - will then be examined in the Scottish context. One type, however, - the seducer - seems to be unique to Scotland, and it will be dealt with last. The aim of this work is twofold: first, to provide an ethnological piece of research from a diachronic perspective on a subject outwith the usual themes generally chosen for studies of this nature; second, to present together, in their Scottish context, folktales that have been hitherto broken up and read in the light of their relationships to their foreign counterparts. Although recent academic studies on healing wells exist for Ireland and France, the Scottish material has never previously been treated in such a study. A number of sources available were secondary accounts, dating back mainly to the turn of the twentieth century, and part of my research involved finding the original documents used - sometimes misused - in order to present them in their original context. Similarly, part of the work on the kelpie stories involved gathering together tales kept in the Sound Archive of the School of Scottish Studies at the University of Edinburgh that had never been collected into a single corpus. I hope in this thesis to provide a sound basis for further researches on these types of Scottish customs and beliefs.

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6

Compagnoni, Anna Giulia. "‘Ghosts and Spirits from the Tikotin Museum of Japanese Art’: proposta di traduzione e commento". Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2019. http://amslaurea.unibo.it/18825/.

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Questo elaborato ha lo scopo di tradurre alcuni estratti del libro ‘ghosts and spirits from the tikotin museum of japanese art’, edito da Jaron Borensztajn e edito da Leiden University Press nel 2012. Il libro si concentra sul collezionista tedesco Felix Tikotin, che ha passato la sua vita commerciando e collezionando opere d'arte giapponesi, tra cui stampe, statue e lacche. Il libro raccoglie inoltre decine di opere collezionate da Tikotin durante gli anni e donate successivamente al museo da lui fondato a Haifa, Israele, nel 1960: il Tikotin Museum of Japanese Art. L'elaborato contiene approfondimenti sul background storico e culturale del libro e sul tema dell'arte mitologica giapponese; contiente intoltre estratti tradotti dall'inglese provenienti da diverse sezioni del libro. Verrà infine offerto un commento, esponendo le teorie di traduzione che più hanno influenzato le soluzione adottate per i problemi traduttivi incontrati.

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7

Siukonen, Jyrki. "Uplifted spirits, earthbound machines studies on artists and the dream of flight, 1900-1935 /". Helsinki : Suomalaisen Kirjallisuuden Seura, 2001. http://catalog.hathitrust.org/api/volumes/oclc/48162692.html.

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8

Iliff, Barbara Elizabeth. "Spirits like the sound of the rattle and drum : George Thornton Emmons' collection of Tlingit shamans' kits /". Thesis, Connect to this title online; UW restricted, 1994. http://hdl.handle.net/1773/6221.

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9

Pearce, Ariel Leah. "Fresh Water Scenes in Minoan Art". Diss., Temple University Libraries, 2017. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/451958.

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Art History
Ph.D.
The goal of this dissertation is to provide a comprehensive study of scenes of fresh water in Minoan art from the Middle Minoan II (MM II) through the Late Minoan I (LM I) periods. This dissertation addresses and fills the gap in the scholarship regarding the depiction of riparian environments and the special place of these depictions in Aegean art. It also attempts to clarify the use and function of riverscapes across chronological periods. Rivers, marshes, streams, and springs, appear on a variety of media and fulfil multiple functions from MM II onward. Images of fresh water were used as topographical markers, ornamentation and decoration, and for religious purposes. Moreover, several images suggest that the Minoans may have believed that the realm for the goddess (or one of the goddesses) was a lush, riverscape. A second goal of this dissertation is to clarify and dispose of the term “Nilotic” as a label for images of fresh water in the Aegean. Since its introduction into the literature of Aegean studies in the beginning of the 20th century, the term “Nilotic” has been used inconsistently to describe Aegean scenes of fresh water that may or may not contain Egyptian elements. This assumption has led some scholars to state that Aegean riverscapes are ultimately derived from Egyptian scenes of fishing and fowling because they share similar iconographic elements. Unfortunately, the process of synthesis is important to the understanding of Aegean riverscapes, and iconographic similarities are somewhat superficial. Furthermore, the term has been used without regard for a long-standing tradition of the depiction of riparian environments in Bronze Age Aegean art. To fully address both goals of this project, the origin of individual iconographic elements has been traced through various media, including glyptic art, pottery, and wall painting. Wall paintings from the Cyclades and some Late Helladic IA scenes have been included when appropriate. Whenever possible, categories of riverscapes have been grouped together, but each wall painting, has been examined and interpreted individually. Some unique, highly pictorial, and detailed images in other media have also been addressed separately. Parallels in Egyptian and, in some cases, Near Eastern art have been sought to determine the validity of the term “Nilotic,” and a special study of Egyptian scenes of hunting in the marshes has been conducted in comparison to Aegean scenes. Iconography, synthesis, and context have all been taken into consideration.
Temple University--Theses

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10

Moyer, Matthew E. Clarke Bede. "Monuments to water and air systems". Diss., Columbia, Mo. : University of Missouri--Columbia, 2009. http://hdl.handle.net/10355/6576.

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The entire thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file; a non-technical public abstract appears in the public.pdf file. Title from PDF of title page (University of Missouri--Columbia, viewed on November 19, 2009). Thesis advisor: Bede Clarke. Vita. Includes bibliographical references.

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11

Lundberg, Lukas. "Art Directed Fluid Flow With Secondary Water Effects". Thesis, Linköpings universitet, Medie- och Informationsteknik, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-81808.

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This thesis describes methods for applying secondary water effects as spray, foam, splashes and mist to a fluid simulation system. For an art direction control over the base fluid flow a Fluid Implicit Particle solver with custom fields is also presented. The methods build upon production techniques within the visual effects industry, fluid dynamics and relevant computer graphics research. The implementation of the methods is created within Side Effects Software Houdini.

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12

Rodriguez, Ana Carolina Vieira. "The uses of magic realism in Hollywood adaptations of Allende's The house of the spirits and Esquivel's Like water for chocolate". Florianópolis, SC, 2001. http://repositorio.ufsc.br/xmlui/handle/123456789/79605.

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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão. Programa de Pós-Graduação em Letras/Inglês e Literatura Correspondente.
Made available in DSpace on 2012-10-18T05:48:05Z (GMT). No. of bitstreams: 0Bitstream added on 2014-09-26T00:32:59Z : No. of bitstreams: 1 185115.pdf: 1649177 bytes, checksum: 3ff8525bd1d34bdc93b2008ef239f89c (MD5)
O objetivo deste estudo é investigar como a estética do realismo mágico, que está diretamente ligada ao contexto sócio-político da América Latina, foi traduzida para uma narrativa Hollywoodiana. O trabalho realiza uma análise comparativa entre os romances do gênero realismo mágico A Casa dos Espíritos (1982), de Isabel Allende, e Como Água Para Chocolate (1989), de Laura Esquivel, e as adaptações dos livros ao cinema. Uma análise dos dois filmes, A Casa dos Espíritos (1993), de Bille August, e Como Água Para Chocolate (1993), dirigido por Alfonso Arau, em relação a elementos cinematográficos tais como mise-en-scene (cenário, iluminação, figurino e personagens), enredo, narrativa, motivação e linhas de ação nos leva à conclusão de que Arau obteve mais sucesso do que August ao transferir a estética do realismo mágico para o cinema.

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13

Fazel, Anvaryazdi Shaghayegh. "WALK INTO A HEAVENLY ART WORLD". Thesis, Virginia Tech, 2006. http://hdl.handle.net/10919/103812.

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Living in the new and unreal world of technology and computers, we realize how much humans are separated from nature, which means the actual connection between our soul, brain, and body to the real and touchable environment and experiencing in-person connections. Since birth, we have a special connection with nature and so we realize that nature gives us feelings of peace and happiness. Staying close to nature makes us feel alive from the inside and it reduces stress, depression and, negative emotions and it improves our mental, physical, and spiritual health condition., Ultimately, it gives us motivation and hope in life. To explore the architectural implications of these ideas, I have designed a Museum of Art in Washington DC, beside the Kenilworth Aquatic Gardens of water lilies. In my project, I propose how to stay in touch with nature as a visitor who is walking through each part of the museum. From each exhibition room to the next, there is a break to a special view of nature and water to take a deep breath of fresh air. This also makes the viewer understand the artwork inside before entering each room. Bringing outside nature to the inside and creating a connection between the viewer, view, and artwork gives the visitors a break from the world of technology and makes them connect to the blue and green world which is integral with human nature. The connection between the site and the building makes the viewers feel at home when they are exploring the exhibition rooms to see the artworks since nature is our first home. This is how my design explains my thesis as you are walking through this heavenly art world.
Master of Architecture
Living in the new and unreal world of technology and computers, we realize how much humans are separated from nature, which means the actual connection between our soul, brain, and body to the real and touchable environment and experiencing in-person connections. Since birth, we have a special connection with nature and so we realize that nature gives us feelings of peace and happiness. Staying close to nature makes us feel alive from the inside and it reduces stress, depression and, negative emotions and it improves our mental, physical, and spiritual health condition., Ultimately, it gives us motivation and hope in life. To explore the architectural implications of these ideas, I have designed a Museum of Art in Washington DC, beside the Kenilworth Aquatic Gardens of water lilies. In my project, I propose how to stay in touch with nature as a visitor who is walking through each part of the museum. From each exhibition room to the next, there is a break to a special view of nature and water to take a deep breath of fresh air. This also makes the viewer understand the artwork inside before entering each room. Bringing outside nature to the inside and creating a connection between the viewer, view, and artwork gives the visitors a break from the world of technology and makes them connect to the blue and green world which is integral with human nature. The connection between the site and the building makes the viewers feel at home when they are exploring the exhibition rooms to see the artworks since nature is our first home. This is how my design explains my thesis as you are walking through this heavenly art world.

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14

Fazel, Anvaryazdi Shaghayegh. "Walk into a Heavenly Art World". Thesis, Virginia Tech, 2021. http://hdl.handle.net/10919/103812.

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Living in the new and unreal world of technology and computers, we realize how much humans are separated from nature, which means the actual connection between our soul, brain, and body to the real and touchable environment and experiencing in-person connections. Since birth, we have a special connection with nature and so we realize that nature gives us feelings of peace and happiness. Staying close to nature makes us feel alive from the inside and it reduces stress, depression and, negative emotions and it improves our mental, physical, and spiritual health condition., Ultimately, it gives us motivation and hope in life. To explore the architectural implications of these ideas, I have designed a Museum of Art in Washington DC, beside the Kenilworth Aquatic Gardens of water lilies. In my project, I propose how to stay in touch with nature as a visitor who is walking through each part of the museum. From each exhibition room to the next, there is a break to a special view of nature and water to take a deep breath of fresh air. This also makes the viewer understand the artwork inside before entering each room. Bringing outside nature to the inside and creating a connection between the viewer, view, and artwork gives the visitors a break from the world of technology and makes them connect to the blue and green world which is integral with human nature. The connection between the site and the building makes the viewers feel at home when they are exploring the exhibition rooms to see the artworks since nature is our first home. This is how my design explains my thesis as you are walking through this heavenly art world.
Master of Architecture
Living in the new and unreal world of technology and computers, we realize how much humans are separated from nature, which means the actual connection between our soul, brain, and body to the real and touchable environment and experiencing in-person connections. Since birth, we have a special connection with nature and so we realize that nature gives us feelings of peace and happiness. Staying close to nature makes us feel alive from the inside and it reduces stress, depression and, negative emotions and it improves our mental, physical, and spiritual health condition., Ultimately, it gives us motivation and hope in life. To explore the architectural implications of these ideas, I have designed a Museum of Art in Washington DC, beside the Kenilworth Aquatic Gardens of water lilies. In my project, I propose how to stay in touch with nature as a visitor who is walking through each part of the museum. From each exhibition room to the next, there is a break to a special view of nature and water to take a deep breath of fresh air. This also makes the viewer understand the artwork inside before entering each room. Bringing outside nature to the inside and creating a connection between the viewer, view, and artwork gives the visitors a break from the world of technology and makes them connect to the blue and green world which is integral with human nature. The connection between the site and the building makes the viewers feel at home when they are exploring the exhibition rooms to see the artworks since nature is our first home. This is how my design explains my thesis as you are walking through this heavenly art world.

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15

Adams, Irena Zdena. "Exploration of water-based inks in fine art screenprinting". Thesis, University of Ulster, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.263243.

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16

Hujar, Brittany A. "Kozo Miyoshi: An Interpretation of Water Through Photography". Kent State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=kent1563967017677073.

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17

Smith, Bernadette. "Translucent Potentialities: From Art Activism to Pure Aesthetics". Thesis, The University of Sydney, 2019. https://hdl.handle.net/2123/21967.

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This project begins by researching how art can change individual and collective behaviour regarding life support systems, using water conservation as a lens through which to examine wider environmental concerns. Examining the role and nature of art as an effective communicative tool has involved a journey from art activism to pure aesthetics and back again to explore the performativity of images. My hybridised practice first investigates how photography and video through performative actions, installation and social media can be activated to engage onlookers during environmental protests and beyond to support the movement for water sustainability. Art strategies were developed to raise public awareness of water by producing eye-catching visual aids such as water themed activist clothing and situating meaningful art interventions both during public campaigns and elsewhere. As well as engaging with socio-political art forms presented outside of gallery contexts my practice approaches New Materialist concerns with the primacy of matter in the age of the Anthropocene. Counteracting a dominant anthropocentric view of the universe my art practice explores the viscerality of matter to emphasise non-human agency. While photographing aquatic environments I used an extreme macro lens to closely observe the way light interacts within different states of water such as condensation and flowing water. This contributed to my growing interest in the optical effects of light refractions then a rupture caused a new awareness of my studio window pane prompting further study of the science behind light interacting with translucent materials. These discoveries on my art journey have augmented an appreciation of the complexity of the non-human world and generated more visually compelling ways to create and present activist art for environmental sustainability.

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18

Sim, Nicola. "'Like oil and water'? : partnerships between visual art institutions and youth organisations". Thesis, University of Nottingham, 2018. http://eprints.nottingham.ac.uk/49612/.

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This thesis interrogates partnership working between galleries and youth organisations involved in a four-year, Tate led programme called Circuit (2013-2017). This programme sought to build sustainable networks with youth organisations and services across England and Wales in order to ‘improve access and opportunities for harder to reach young people’ who may not otherwise engage with galleries and museums (Circuit, 2013a). Reflecting on the similarities and divergences that characterise practice in gallery education and youth work, this research untangles the historic barriers and tensions that have affected relationships between practitioners, organisations and the youth and visual art sectors. Mobilising Pierre Bourdieu’s theoretical framework, galleries and youth organisations are conceptualised as part of distinct ‘fields’, and their particular traditions, customs and internal contests are analysed. An exploration of the fields’ development under successive governments and changing policy priorities reveals that art organisations benefit from a greater affordance of agency and autonomy than youth organisations, which contributes to the uneven power dynamics that often exist in these cross-sector alliances. Reports from engagement with sector events also highlight how concepts of art and creativity frequently deviate between the fields. Through an ethnographic approach to the research context, participant observations and interviews produce data about Circuit’s programmatic decisions, and its efforts to shift problematic habitual practices. A series of in-depth site studies illustrate different ways for organisations to work together, as well as the challenges of collaboration in pressured political and economic circumstances. Cross-site analysis allows for further deliberation on the compatibility of Circuit’s wider peer-led programme agenda with the comparative agenda and practice of youth organisations. The ambition for young people to continue an independent relationship with the galleries’ programmes is shown to be hindered by a number of sometimes-misrecognised factors that unintentionally alienate certain communities of young people, particularly from working class backgrounds. The final stage of the analysis studies the identity, attitudes and positions of various youth sector agents working and participating within Circuit, and the specific ‘capital’ they bring to the temporary programmatic field. In discussing the implications for practice and research, this thesis asks whether (beyond programmes such as Circuit) it would be possible to establish a permanent collaborative or cooperative field between the youth and gallery sectors. I argue that this would only happen if a range of systemic changes were made, such as the development of national and regional structures to support integrated practice sharing; deeper engagement with the meaning and repercussions of partnership working; a determination to work collaboratively to address social urgencies facing young people, and a fundamental commitment to shift pervasive inequalities in the visual art sector.

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19

Jacoby, Jill Beth. "Art, Water, and Circles: In What Ways Do Study Circles Empower Artists to Become Community Leaders around Water Issues". [Yellow Springs, Ohio] : Antioch University, 2009. http://etd.ohiolink.edu/view.cgi?acc_num=antioch1260285346.

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Thesis (Ph.D.)--Antioch University, 2009.
Title from PDF t.p. (viewed March 25, 2010). Advisor: Jon Wergin, Ph.D. "A dissertation submitted to the Ph.D. in Leadership and Change program of Antioch University in partial fulfillment of the requirements for the degree of Doctor of Philosophy 2009."--from the title page. Includes bibliographical references (p. 238-245).

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20

Marlow, Gregory. "Week 03, Video 02: Boss Water". Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/digital-animation-videos-oer/25.

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21

White, Stephen Kenneth. "A state of the art Cretan water pumping wind turbine using electrical transmission". Thesis, Imperial College London, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.261998.

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22

Kostetskaya, Anastasia G. "The Water of Life and the Life of Water: the Metaphor of World Liquescence in Russian Symbolist Poetry, Art and Film". The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1367511847.

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23

Sharp, Michael G. "Ghost Water Exhibition". BYU ScholarsArchive, 2017. https://scholarsarchive.byu.edu/etd/6272.

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The Ghost Water exhibition of artworks by Michael Sharp was comprised of four main works titled: 30 x 60 Minute Grid Series, Suspension, History/Prehistory, and Lake Bonneville Remnants. The artwork was created as a reaction to the land that once held the prehistoric Lake Bonneville and to its current remnant Great Salt Lake. The work explores the dialogue between absence and presence.

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24

Godwin, Audrey. "Building the water edge : a public event for art and artists at Fort Point Channel". Thesis, Massachusetts Institute of Technology, 1996. http://hdl.handle.net/1721.1/66368.

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Thesis (M. Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 1996.
Includes bibliographical references (p. 46-47).
The thesis deals with building the water edge at Fort Point Channel, between Congress Street and Summer Street Bridges. It serves as a public event that intends to establish continuity of movement along the waterfront. The design proposes a multilayered promenade into which various activities are interwoven. It is a place for artists' studios as well as indoor and outdoor exhibit spaces for the artists working there. The project also informs about the many galleries and studios in the Fort Point Channel Warehouse District. Instead of viewing the building as a single enclosure or container, the thesis explores as an alternative a particular connection of built elements in which the built form becomes a three-dimensional screen, incorporating into its structural framework public open spaces, as well as visual and spatial interactions. The site is situated between two tectonics: on one side the wooden piles and decking, on the other, industrial buildings which are firmly anchored to the ground and present continuous surfaces. The proposed project echoes these materials and language of forms.
by Audrey Godwin.
M.Arch.

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25

Williams, Bryden John. "'A Hydrological Imaginary’". Thesis, The University of Sydney, 2017. http://hdl.handle.net/2123/17891.

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My work questions the ongoing dialogue between technology and nature. This dialogue is most evident in landscapes and their respective ecosystems, specifically rivers. These bodies of water are a fluid mirror reflecting a wavering view of ourselves, a constructed human presence within the natural environment. This thesis offers a way of understanding these pipelines, dams, canals and attendant infrastructures in a conceptual manner. These encapsulating forms that interrupt, shape and utilise the natural realm are the facades of a hydrological imaginary. ‘A Hydrological Imaginary’ addresses this field of tension between the river and its artificial counterparts - canals, pipelines and human-made containments. The core of the thesis is a discussion of rivers, dams and water-based infrastructure that illustrates how environmentally engaged art discourses respond to the technological and sociocultural elements of water. This paper discusses the strategies of artists that work with bodies of water through photography, such as Australian artist David Stephenson and German artists Bernd and Hilla Becher along with my own photographic work. Multi-disciplinary artists such as UK artists Simon Starling and Rachel Whiteread are also discussed, along with the work of American artist Robert Smithson and American artist John Roloff. These conceptual art practices are to be connected to American writer David E. Nye and Scandinavian Professor Terje Tvedt’s ideas on the underlying histories of geopolitics, the technological sublime and Australian writer Martin Thomas’ ideas on the role of environmentalism in art. Thus, this thesis illustrates how art agitates the hydrological realm and contributes to the creation of new reflections, meanings and possibilities from the narratives of contained water, submerged histories and sociocultural attributes to the landscape. I have used my practice to bring context to these concepts around the ideas of contained nature and the movement of water in two solo exhibitions that featured video, photographic and kinetic sculptures created in a range of staged encounters with rivers in Eastern Australia. Alongside my previous work based on the Yangtze River in China in 2012, and work made within the Blue Mountains in 2012 – 2015 prior to commencing this Masters project, this thesis is a distillation of these seemingly disparate bodies of water. It is a narrative on historic systems, aesthetics and possibilities of the natural and the assisted movement of water.

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26

Zimmerli, Tanya. "Water | Desire: Design of a Responsible Urban Retreat in Georgetown, Washington, DC". VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/3027.

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The design of an urban retreat within an industrial building in Georgetown, DC provides an opportunity to experience water in the built environment. The location of the building between two bodies of water—the Chesapeake and Ohio Canal and the Potomac River—creates an opportunity to connect water and the visitors. Management of the water to ensure responsible resource use was researched and accommodated in the design. Water is further used to shape the space and the moods created by the volumes, materials and finishes. The final project provides a luxurious shower and locker room, a series of pools, and a tea room, open to the sky, across three levels.

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27

Silberstein, Edward. "And Moses Smote the Rock: The Reemergence of Water in Landscape Painting In Late Medieval and Renaissance Western Europe". University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1288378722.

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28

Thuruthy, Nisha. "Condition Assessment Technologies for Drinking Water and Wastewater Pipelines: State-of-the-Art Literature and Practice Review". Thesis, Virginia Tech, 2012. http://hdl.handle.net/10919/76758.

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Aging and deteriorating drinking water and wastewater pipelines have become a major problem in the United States, warranting significant federal attention and regulation. Many utilities have begun or improved programs to manage the renewal of their water and wastewater pipes and are proactively managing their pipeline assets rather than reactively fixing them. However, the extensive size of drinking water and wastewater systems and the severity of the deterioration problem are such that it is important to prioritize renewal, by assessing the condition of the pipelines and resolving the most severe situations first. There is a variety of condition assessment technologies and methodologies available and in current use. This research incorporates an extensive literature review on actual cases of use of these various condition assessment technologies and techniques. This research also compiles information gathered through interviews and data mining work with utilities across the United States. The combination of case studies collected through literature review and case studies collected directly from utility sources about actual application of drinking water and wastewater pipeline condition assessment practices used have made it possible to synthesize the current practices and trends regarding pipeline condition assessment in the United States. The synthesis also allows for the identification of key lessons learned that should be considered by utilities when implementing condition assessment of pipelines. Recommendations have also been made for research priorities for filling utility needs.
Master of Science

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Marty, Patrick. "L'eau de l'art contemporain : une dynamique d'une esthétique écosophique". Thesis, Bordeaux 3, 2014. http://www.theses.fr/2014BOR30072.

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L’eau est porteuse d’aspects différents de consciences, tout en étant un espéranto planétaire. Doit-on parler des artistes de l’eau ? ou bien de l’eau des artistes ? Quel que soit le point de vue que l’on considère, il se dégage une synergie de pensées oeuvrant à une réflexion consensuelle et paradigmatique. Cette recherche propose une nouvelle lecture de l’interaction de l’élément naturel avec la place qu’il occupe dans l’art contemporain ; comment l’eau dans l’art contemporain devient, grâce à sa puissance évocatrice, l’Eau de l’Art, une source inépuisable d’adaptabilité transculturelle qui se fait l’écho d’une nécessaire métamorphose. L’eau est devenu un médium parmi tant d’autres. L'eau, matière naturelle par excellence, se retrouve utilisée indifféremment par un peu tous les courants artistiques actuels notamment dans des vidéos, des performances, des sculptures, en architecture ou dans des expériences à la frontière de l’art et des sciences cognitives. On peut examiner trois aspects de la culture de l'eau : en tant que vecteur à la fois d'une culture enracinée, et d'une éthique de l'Universel commun, la force symbolique de l'eau dans l'histoire de l’art, et l'actualité écologique, scientifique et psychologique. L’eau couvre tous les champs du possible, et rend accessible les moindres recoins de la pensée, aussi bien la part d’ombre que la lumière de la psyché humaine. Elle accompagne et interagit sur les non dits des sociétés, car elle contient leurs savoirs ; elle est la matrice de leur philosophie, leur sociabilité, leur géographie (compréhension de l’espace et des milieux de vie), leur communication, leur histoire, leur langage. L’Eau de l’Art dynamise ainsi une esthétique écosophique en puisant dans la poésie du temps
Water is a messenger of various aspects of consciousness, while being a global Esperanto. Should we talk about artists of water? Or the water of artists? Whatever point of view one considers, a synergy of thoughts emerges involving a consensual and paradigmatic vision. This research proposes a new reading of the interaction of the natural element with its role in contemporary art; how water in contemporary art becomes, with its evocative power, Water of Art, an inexhaustible source of crosscultural adaptability that echoes a necessary metamorphosis. Water has become a medium among many others. Water, a natural material par excellence, is used interchangeably by almost all the current artistic trends, including video, performance, sculpture, architecture and experiences on the frontier of art and cognitive science. There are three aspects of the culture of water: as a vector of both an ingrained culture and the Universal ethic; the symbolic force of water in art history; and the ecological, scientific and psychological information. Water covers all possible fields, and allows access to every corner of the mind, the dark side as well as the light of the human psyche. It supports and interacts on the unspoken aspects of society because it contains their knowledge; it is the matrix of their philosophy, their sociability, their geography (understanding of space and living environments), communication, history, language. Therefore, Water of Art adds a dynamic to ecosophical aesthetics in drawing from the poetics of time

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Bloom, Phillip Emmanual. "Descent of the Deities: The Water-Land Retreat and the Transformation of the Visual Culture of Song-Dynasty (960-1279) Buddhism". Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:10948.

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This dissertation identifies a paradox at the heart of the visual culture of Song-dynasty (960-1279) Buddhism. On the one hand, as the celestial pantheon expanded, it was conceptualized in ever more bureaucratic ways, mirroring the growth of the terrestrial government itself. On the other hand, the boundary separating that supramundane realm from the human world became decidedly more permeable; ghosts and deities became an omnipresent part of daily life. How to treat these two contradictory phenomena--one pointing to rational orderliness, the other pointing to unpredictable unruliness--posed a distinct problem for Song visual artists, spurring the development of new strategies of pictorial representation and forcing reflection upon the nature of representation itself. Chinese Buddhist art was never to be the same again. I argue that the key to understanding these new forms of art lies in the Water-Land Retreat (Shuilu zhai), a massive, icon-filled ritual of decidedly cosmic pretensions. The patterns of practice and strategies of visual representation associated with this ritual constitute a system that radically broke with earlier Chinese tradition. Practitioners of the liturgy created an open ritual syntax that allowed it to take on myriad forms in accordance with its sponsors’ needs, while also allowing it to absorb deities and practices from non-Buddhist traditions. This dissertation examines these phenomena in three parts. Part 1 excavates the social place, methods of practice, and visual profile of the Water-Land Retreat in and around the Song. Relying extensively on paintings from the Jiangnan region, cliff carvings from Sichuan, and numerous liturgical manuscripts, I argue that image and practice are inextricably bound in this ritual. Part 2 focuses on the motif of the cloud in Water-Land-related images and texts. Through an examination of images of cloud-borne descending deities, I contend that this nebulous motif became the locus for reflection on the mediational nature of representation. Finally, Part 3 addresses the bureaucratization of ritual practice and pictorial production in Song Buddhism. I argue that practitioners of the Water-Land Retreat simultaneously embraced and transcended a bureaucratic idiom drawn from Daoism and contemporary government to create a new Buddhist vision of the cosmos.
History of Art and Architecture

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Darley, Zaida. "The Dirt on Prehispanic Water Management at Palmarejo, Honduras". Scholar Commons, 2011. http://scholarcommons.usf.edu/etd/3062.

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Water is an essential resource for human life. Even in the tropical environment of the Maya Lowlands, water scarcity is a concern, because the region cycles between abundant rainfall and seasonal droughts. To understand how societies flourished during periods of water scarcity, archaeologists have studied prehispanic water management in the Maya Lowlands. Yet, water management research has tended to focus predominantly on large urban Maya populations, excluding smaller-scale societies that face the same challenges associated with water scarcity. This study investigates the neighboring non-Maya society of Late Classic (A.D.650-900) Palmarejo in northwestern Honduras to explore how water management was organized in a rural setting. Utilizing GIS, soil science, and archaeological investigations, this study explores how Palmarejo's residents may have collected and stored water for certain sectors of the population. This investigation suggests that the elite may have legitimized their rights over water using monumental architecture and site planning.

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Alfaro, Alicia E. "Prehispanic Water Management at Takalik Abaj, Guatemala". Thesis, University of South Florida, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=1547711.

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Land and water use at archaeological sites is a growing field of study within Mesoamerican archaeology. In Mesoamerica, similar to elsewhere in the world, landscapes were settled based partially upon the characteristics of the environment and the types of food and water resources available. Across Mesoamerica, landscape concepts were also important to religious beliefs and ritual activity in a manner that may have had the potential to influence the power dynamics of a site. This thesis focuses on the management of water at the site of Takalik Abaj in Guatemala during the Middle to Late Preclassic periods (c. 1000 B.C. - A.D. 250) in order to analyze potential ritual and political functions of the water management system. Using spatial data within GIS, this thesis examines the flow of water across the site as directed by its topographical features. The archaeological record of Takalik Abaj and comparisons to water management systems at other Mesoamerican sites are also used to investigate the functions of the water management system. Thesis findings suggest that the water management system of Takalik Abaj was multi-faceted and that ritual functions tied to the control of water may have contributed to the identities and power of the elite.

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Tyurina, Anastasia. "The Unseen Water: The Transmigration of Scientific Photography into the Domain of Art through Experimentation with the Scanning Electron Microscope". Thesis, Griffith University, 2017. http://hdl.handle.net/10072/370337.

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This exegesis outlines the procedures, processes and methodologies used in developing a body of studio work that investigates the artistic potential of scientific photomicrography made by the Scanning Electron Microscope (SEM) with a view to its possible social and cultural impact of this practice. The outcomes of this research are of two kinds: theoretical findings and the work developed and exhibited during the candidature and at the final exhibition, H2O+. Reflecting the chemical composition of water and interpreting photomicrographic images of it, my practice seeks to provide insights and awareness about water quality, that might be later used to encourage behavioural change to water management, and demonstrate productive transdisciplinary relationships and innovation between the arts and sciences. Artistic manipulation of a scientific process through experimenting with the SEM fuses science and technology with art and proposes a new meaning for what such images can say about water to a viewer. Transforming the microworld to a macro level causes a dilemma for viewers, mainly because enlarged photomicrographs placed in the gallery space are seen differently from those viewed for their scientific information within the laboratory. An aesthetic engagement with photomicrography gives viewers the possibility to see in the particular configurations of inherent features of water opening a horizon of meaning that was previously unseen as well as referring to the creative ability to observe natural phenomena over and beyond the directly visible. Building on the fact that scientific tools have brought new ways of seeing the world, the primary purpose of this research is to show that the artistic use of SEM-made photomicrography can shift the visual outcomes of scientific photomicrography to function within the context of art.
Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland College of Art
Arts, Education and Law
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Xu, Tianhao. "Experimental evaluation of air-to-water propane heat pumps with 40kW heating capacity". Thesis, KTH, Tillämpad termodynamik och kylteknik, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-175717.

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This thesis presents the experimental work on testing the seasonal performance of a 40 kW air-to-water propane heat pump, as a part of the research project Next Heat Pump Generation working with Natural fluids (NxtHPG) that has been carried out in ‘Applied thermodynamics and refrigeration Division’ in the department of Energy Technology, KTH. The thesis work involves three parts: preparation of the HP unit test rigs, experimental campaign and the evaluation of test results. In the first part, the set-up of the measurement device and necessary modifications to the heat pump unit as well as the test rigs have been completed to create an accurate measuring environmental for the experimental campaign. During the second stage, two series of experimental campaign have been done in the heating mode of the heat pump unit, and satisfactory results have been obtained in parts of the test conditions. Finally, the evaluation on the system performance as well as the behaviors of the components is discussed. The variation between experimental results and the simulation conducted by IMST-ART model is within reasonable range, proving that the heat pump unit has been working in good conditions. The compressor is proved to have been performing as manufacturer expected. However, some further investigations on the behaviors of the heat exchangers and expansion valve, such as superheat oscillation, are recommended be carried out in the future work. The completion of the rest of tests in which minus air temperature should be maintained and the ones with the desuperheater working should be done as well.
Next generation heat pump working with natural fluids

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35

Steiner, Kristi Kalei. "Renewal Engineering Technologies for Drinking Water and Wastewater Pipeline Systems - A State of the Art Literature and Practice Review". Thesis, Virginia Tech, 2012. http://hdl.handle.net/10919/76763.

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Over the last few years, several advancements have been made in water and wastewater pipe renewal technologies that have allowed utilities to utilize innovative renewal techniques that decrease project costs, the impact of the project on the surrounding citizens and environment, and allow for expedited pipeline renewals compared to traditional open trench methods. The challenge now is in getting utilities to implement new innovative technologies within their system. This thesis provides background information on a number of the technologies available for the renewal of water and wastewater system pipelines. It then provides State of the Art Literature and State of the Art Practice Reviews based on technology use trends in literature and technology use trends in utility practice. The information from both reviews is then synthesized to provide a clear view of the state of the water and wastewater pipeline renewal technology industry, including the trends by pipe material, drivers for renewal, and technology type.
Master of Science

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36

Byrne, Josephine. "Madness and the art of writing : constructions of madness in Janet Frame's Owls do cry and Faces in the water /". Title page and introduction only, 1992. http://web4.library.adelaide.edu.au/theses/09AR/09arb9951.pdf.

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Junior, Hugo Fernando Salinas Fortes. "Poéticas líquidas: a água na arte contemporânea". Universidade de São Paulo, 2006. http://www.teses.usp.br/teses/disponiveis/27/27131/tde-13082009-155421/.

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Esta pesquisa busca investigar a presença da água como material e poética na arte contemporânea. São consideradas as representações históricas e as conotações da água na arte e na cultura, porém o que se destaca são as inovações trazidas pelo emprego da água enquanto matéria, e as conseqüências fenomenológicas que esta utilização traz. O trabalho abrange tanto o estudo de obras de diversos artistas contemporâneos, brasileiros e internacionais, bem como a análise e comentários oriundos da criação de obras por mim mesmo, enquanto artista. Desta forma, busca-se uma interação entre o pensar e o fazer artístico, afirmando a autonomia da criação em arte. Foram identificados núcleos de análise que englobam os artistas e as obras, mas que constituem categorias fluidas e interdependentes. Foi realizado um estudo original sobre as relações entre os fenômenos físicoquímicos da água e suas conotações simbólicas nas obras de arte contemporânea. Os conflitos entre a natureza e a cultura permearam todo o trabalho, revelando-se uma questão de grande importância em minha própria poética como artista. Pude identificar interesses pessoais e afinidades por alguns artistas, bem como localizar pontos fundamentais discutidos em meu trabalho artístico.
This research investigates the presence of water as material and poetics in the contemporary art. The historic representation and the connotation of water in the art and in the culture are considered, but the emphasis is on the innovations produced by the use of water as matter and the phenomenological consequences of this utilization. This thesis includes both the study of works from several contemporary artists, Brazilian and international, and the analysis and comments originated on the creation of works by myself, as artist. In forward it is aimed an interaction between the artistic thinking and making, affirming the autonomy of creation in art. Nucleus of analysis including artists and works were identified , but they constitute flowed and interrelated categories. An original study about the relations between the physical-chemical phenomena of water and its symbolical connotations on the contemporary artworks was developed. The conflict between nature and culture permeates the whole work, revealing itself as an important subject of my own artistic poetics. I could identify personal interests and affinities for some artists, and locate fundamental points discussed by my artistic work.

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Chapman, Genesis. "Bottom Creek, Bent Mountain, VA". VCU Scholars Compass, 2010. http://scholarscompass.vcu.edu/etd/2163.

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The title of this thesis Bottom Creek, Bent Mountain, VA is the subject of my large ink drawings. Starting with the spring outside my window, this book describes the creeks as it flows across the mountain that I grew up on. My drawings document the experience of walking along the banks of Bottom Creek as it flows past farms fields and along the roadside. Described as a seemingly insignificant place, the creek is in fact it is one of the most basic, and important parts of this mountain’s landscape, because the creek’s natural process it is responsible for producing the landscape as we see it. Through drawing the water from direct observation, I find a deeper connection to the land and respect for its ever changing processes.

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Barnes, Katherine Rachel, e n/a. "Reconstructive Strategies for Artists Engaging With ecology: An Examination of the Relationship Between Culture, Nature and Technology in Ecological Art". Griffith University. Queensland College of Art, 2005. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20061011.150154.

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With the rise in industrial capitalism during the 20th Century, artists increasingly focused on the threat of a disappearing natural world. In the high technology era of the late 20th Century, artists whose practice is termed 'ecological' based their work around new understandings of the relationship between nature and culture, fundamentally underpinned by a shift toward evolutionary, systems-theoretical perspectives from those of conquest and exploitation. Now, at the dawn of the 21st Century, the information era has brought into intersection the discourses of information technologies, quantum physics, and biological science, awakening artists to the challenge of engaging with ecology as the primary subject of their practice. The doctoral project that is the subject of this exegesis focuses critical attention on our scientific and aesthetic understandings of water - a crucial symbolic element of global import in survival. It explores the representation of water in and through art practice that is informed by political ecological awareness and new (digital) technologies. My practice exploits the potential of recent digital technologies to create experiences that aim to encourage a more ecologically sustainable human engagement with nature through this focus on water. This exegesis describes and locates the creative work within an ongoing discourse in contemporary culture that actively seeks to re-establish and redefine the relationship between culture and nature.

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40

Barnes, Katherine Rachel. "Reconstructive Strategies for Artists Engaging With ecology: An Examination of the Relationship Between Culture, Nature and Technology in Ecological Art". Thesis, Griffith University, 2005. http://hdl.handle.net/10072/366109.

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With the rise in industrial capitalism during the 20th Century, artists increasingly focused on the threat of a disappearing natural world. In the high technology era of the late 20th Century, artists whose practice is termed 'ecological' based their work around new understandings of the relationship between nature and culture, fundamentally underpinned by a shift toward evolutionary, systems-theoretical perspectives from those of conquest and exploitation. Now, at the dawn of the 21st Century, the information era has brought into intersection the discourses of information technologies, quantum physics, and biological science, awakening artists to the challenge of engaging with ecology as the primary subject of their practice. The doctoral project that is the subject of this exegesis focuses critical attention on our scientific and aesthetic understandings of water - a crucial symbolic element of global import in survival. It explores the representation of water in and through art practice that is informed by political ecological awareness and new (digital) technologies. My practice exploits the potential of recent digital technologies to create experiences that aim to encourage a more ecologically sustainable human engagement with nature through this focus on water. This exegesis describes and locates the creative work within an ongoing discourse in contemporary culture that actively seeks to re-establish and redefine the relationship between culture and nature.
Thesis (Professional Doctorate)
Doctor of Visual Arts (DVA)
Queensland College of Art
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Brain, Tega Carly. "The politics and poetics of coexistence : experiments at the intersection of art and environmental engineering". Thesis, Queensland University of Technology, 2012. https://eprints.qut.edu.au/61027/1/Tega_Brain_Thesis.pdf.

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This research project explores how interdisciplinary art practices can provide ways for questioning and envisaging alternative modes of coexistence between humans and the non-humans who together, make up the environment. As a practiceled project, it combines a body of creative work (50%) and this exegesis (50%). My interdisciplinary artistic practice appropriates methods and processes from science and engineering and merges them into artistic contexts for critical and poetic ends. By blending pseudo-scientific experimentation with creative strategies like visual fiction, humour, absurd public performance and scripted audience participation, my work engages with a range of debates around ecology. This exegesis details the interplay between critical theory relating to these debates, the work of other creative practitioners and my own evolving artistic practice. Through utilising methods and processes drawn from my prior career in water engineering, I present an interdisciplinary synthesis that seeks to promote improved understandings of the causes and consequences of our ecological actions and inactions.

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Meiklejohn, Hayley. "Voices in water the thesis is submitted to the Auckland University of Technology in partial fulfillment of the degree of Master of Arts in Art and Design in the year 2005 /". Click here to access this resource online, 2005. http://repositoryaut.lconz.ac.nz/theses/1348/.

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Thesis (MA--Art and Design) -- AUT University, 2005.
Main title from cover. Includes bibliographical references. Also held in print (90 leaves : col. ill. ; 21 x 30 cm.) in City Campus Collection (T 778.96 MEI)

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chi, coppinger t. "Reciprocity Among All Things: A Personal Endeavor in the Environmental Crisis". Ohio University Honors Tutorial College / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1461341953.

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Engbruch, Katharina. "Das Menschenrecht auf einen angemessenen Lebensstandard : Ernährung, Wasser, Bekleidung, Unterbringung und Energie als Elemente des Art. 11 (1) IPWSKR /". Frankfurt, M. ; New York, NY : Lang, 2008. http://d-nb.info/988520427/04.

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Harper, Hannah M. Ms. "Submersion". Digital Commons @ East Tennessee State University, 2014. https://dc.etsu.edu/honors/199.

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The artist discusses the influence, concept, and process behind creating a cohesive body of work and accompanying show, Submersion, for the completion of her Bachelor of Arts degree and undergraduate research for the Fine and Performing Art Scholars branch of East Tennessee State University's Honors College. The show is to be held May 1st through May 7th of 2014 with its reception on May 3rd in the Submarine Gallery located on ETSU campus. The artist explored themes of the unknown, subconscious, and memory, using water as a reoccurring symbol. The works include five large portraits and two small to medium underwater landscapes in oil paint completed between Fall of 2012 and Spring of 2014. Three large-scale charcoal drawings completed in the Spring of 2013 relate to this body of work as part of a further exploration of the concepts of interest, but will not be included in the Submarine Gallery show and were instead presented as part of the B.A. Senior show in the Fall of 2013. Influences on the artist's work come from artists Jeremy Miranda, Alyssa Monks, Bill Viola, Susanna Majuri, Andreas Franke, and the work and techniques of the Old Masters

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Andrén, Jakob. "An Overview of State-of-the-art Hydraulic Conductivity Measurements in Coarse Grained Materials". Thesis, Uppsala universitet, Institutionen för geovetenskaper, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-445699.

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Embankment dams are made from soil materials of varying sizes and widely used all over the world.When constructing these, knowing the hydraulic conductivity (K) of the soil materials is a keyparameter in order to construct safe embankment dams. A knowledge gap regarding K measurementsin coarse grained soils has been identified. This thesis aims to provide a theoretical overview ofpresent day state-of-the-art methods for measuring hydraulic conductivity and the controllingcharacteristics for K. Coarse grained soils refers to a soil with the coarsest grain fraction being > 20mm and/or have a K > 10-4m/s. It was found that the fixed wall permeameter is the most suitable laboratory method. In the field, itis possible to estimate K using tracer methods, these however show more potential for leakagepathway detection. Common for all K measurement methods are the controlling characteristics of K,grain size distribution, pore geometry, degree of compaction, particle movement and flow regime.These need to be considered when testing to produce useful measurements. If the relationshipbetween flow velocity and hydraulic head is non-linear, Darcy's law is not valid for calculating K.
Fyllnadsdammar är uppbyggda av jord och sprängsten av olika storlekar och finns över hela världen.Att känna till den hydrauliska konduktiviteten (K) av de olika lagren är viktigt för att kunna byggadessa på ett säkert och hållbart sätt. Det har identifierats en bristande kunskap angående K mätningar igrovkorniga jord- och stenmaterial. Målet med denna uppsats är att presentera en teoretisk översikt avden senaste kunskapen inom K mätningar i grovkorniga jord- och stenmaterial och vilka egenskapersom avgör ett materials K. Grovkorniga jord- och stenmaterial syftar till material där den grövstakornstorleken är > 20 mm och/eller har ett K > 10-4m/s. För laboratorie mätningar är en permeameter med en solid vägg den mest lämpliga metoden. Förfältmätningar är det möjligt att mäta K med hjälp av spårämnen, men dessa har mer potential för attupptäcka läckage vägar i fyllnadsdammar. De faktorer som avgör ett materials K ärkornstorleksfördelningen, geometrin av porerna, graden av kompaktering, partikelrörelse ochflödestyp. För att producera mätningar som är användbara behöver dessa faktorer kontrolleras. Omsambandet mellan hydrauliskt huvud och flödeshastighet är icke linjärt kan K inte beräknas genomDarcy´s lag.

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Jaguste, Rohan. "Dream Space - Introducing sustained and unbiased development of quality of life in the underprivileged regions of the world : Investigating radical approaches to improve the access to potable water, sanitation and cooking fuel in the underprivileged regions around the world". Thesis, Konstfack, Industridesign, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-3194.

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There are many parallels between living in outer space and living in underprivileged regions here on earth. Both have limited supply of water and food, among other resources – both are resource-poor systems. Can we then apply the billion dollar studies made for living in outer space, to improve the life of a billion people here on earth?

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Maudsley, Catherine Ruth. "Ritual meanings of "water and land" : a study of Buddhist cermonial paintngs [sic] of the Song and Yuan dynasties /". Thesis, Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B19882166.

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Biddle, Megan. "Depth Perception". VCU Scholars Compass, 2005. http://scholarscompass.vcu.edu/etd_retro/68.

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A fingerprint can identify an individual, yet it tells us nothing specific about the person it belongs to. It is almost invisible, yet it can be traced. Hair can be both beautiful and repulsive, depending on its context--It is an element of the body that lingers, amazingly, after decay.I am inspired by my observations of natural occurring phenomena. The impermanence of all things speaks to me in a whisper. I am captivated by the traces and residue of life that lingers and will eventually dissolve. Using glass, paper, wax, and film I make objects and installations that give physical form to something fleeting. My work is a record of my process. I use imprints and textures of my body to leave a trace or mark on my surroundings--You are here. A pushpin on a giant map represents the earth and our location on it. Working with magnification and systems that generate form, my work embodies a preservation of the ephemeral with all of its unimaginable residual effects.

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Narapanich, Pongpop. "The Spiritual Spa". VCU Scholars Compass, 2004. http://scholarscompass.vcu.edu/etd/1367.

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It began with the desire to create a SPA that emanates perfect harmonic balance through architecture. What architectural solutions would synchronize the spiritual, mental, and physical elements of the SPA? The answers lie in the meaning of the term 'SPA'.SPA popularity has increased due to the population's craving for healthier lifestyles. Heightened awareness of the afflictions caused by poor health has led people to seek out the benefits of a positive physical and mental environment.Many commercial spas are designed to meet only physical needs and disregard important spiritual and mental factors that contribute to wellness of mind, body and spirit.The spiritual SPA integrates inner awareness and consciousness with the natural surroundings and addresses the relationship between interior architecture and SPA users. A peaceful atmosphere is created to aid in the development of inner awareness.Water plays an important role. The project is developed around water and emphasizes water as a symbol of tranquility. The spiritual SPA provides comprehensive services and physical wellness in a environment that enhances the complimentary therapies and treatments.

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