The purpose of the present study was to determine if there are "cores" of similar personality traits among successful business and industrial managers and senior management students in the School of Business Administration at North Texas State University.

Painting reflection based on reading the book Melancholia/it's forms and metamorphoses from the ancient times to the present.

Utrymmen som kräver styrning mellan olika ljusscener på grund av rummets olika funktioner eller atmosfärer kräver även någon form av styrpanel. Ett problem i dagsläget är att kontrollpaneler ofta är svåra att förstå. Ett av de problem som orsakar svårmanövrerade kontrollpaneler är att slutanvändaren inte förstår den information som ges. Informationenförmedlas via text eller grafiska symboler.Syftet med studien var att ta reda på hur grafiska symboler på kontrollpaneler för belysning kan förmedla tänkta ljusscenarier.Detta undersöktes genom att ta redapå vilka aspekter som var viktiga för att en grafisk symbol ska beskriva ljusegenskaper i ett rum.Frågeställningen besvaradesmed hjälp av en enkät onlinedär tre olika ljusscenarier (allmänbelysning, punktbelysning och vertikalbelysning)och niografiska symboler undersöktes.Symbolerna utvärderades av 42 deltagare.Enkäternagenererade kvantitativa data som visade vilka grafiska symboler som hade högst preferensför varje ljusscenariosamt kvalitativa data där deltagaren beskrev deras val av symbol mer ingående.Resultatenvisadeatt det fanns olika aspekter hos symbolerna som kundeförmedlaljusets egenskaper.Bland dessa var ett sätt att visualisera ljuset somett eget fysiskt objekt eller att enbart visualisera de fysiska objekt som redan fanns i rummet.De viktigaste egenskaperna som förmedlades var intensitet och ljusspridning. Resultaten visade ävenatt det fanns mer som påverkade utformningen av symboler på kontrollpaneler och inte enbart de aspekter som visualiserade ljusets egenskaper. Deltagarna kunde välja bland alla grafiska symboler förrespektive ljusscenario, men det framkom att vissa symboler valdes oftare för vissa ljusscenarier.Studienbidrar till förståelsen för hur man kan underlätta kommunikationmedanvändarenoch på så sätt bidra till att rätt ljus används för rätt tillfälle och funktion. Studien kartläggervilka egenskaper de grafiska symbolerna behöverför att förmedla ljusegenskaperoch bidrar därmedtillatt lösa problemet för hur ljusdesignernbör kommunicera med slutanvändaren. / Spaces that requires lighting control between different lighting scenarios due to the fact that the room have different functions oratmospheres also requires some kind of control panel. A problem at present is that control panels often are difficult to understand. One of the problems that are causing control panels to bedifficult to maneuvereris that fact that the end user sometimes cannot understand the information provided. Information is mediated through text or symbols.The aim of this study was to investigatehow graphicalsymbols on control panels for lighting mediates light scenarios.This was examined using a research questioninvestigatingaspectsthat areconsidered important for graphical symbolsto describe lighting characteristics ina room.This was examined using a poll withthree different lighting scenarios (general lighting, point lighting, vertical lighting) and nine graphical symbols.Symbols were evaluated byan online questionnairewith42 respondents.The questionnairesgenerated quantitativedata showing whichsymbols that was preferredfor each lighting scenario and qualitative data in whichthe participantsdescribed thereasons for theirchoicesinmoredetail.The results showedthat the symbols had different aspects that could contribute to mediatelight characteristics.One way was to visualize the light as its own physical object or visualize the physicalobjects within the room. The most important properties conveyed were light intensity and light distribution. The result further showed thatnot only the aspects mentionedaffect the compositionof graphical symbols for control panels. Non-light related aspects are also important for the composition of graphical symbols. Another finding was that somesymbols where more frequently chosenthen othersfor different lighting scenarios although the participants were able to choose amongst all symbols for each lighting scenario.This study contributes to the understandingofhow to facilitate communication with the user and thus help to use the right lightand symbolfor the right occasion and function. The study maps what characteristics the symbols need to convey light properties andthus helps to solve the problem of how communication should be given to the end user.

Thesis advisor: Sara Cordes / Throughout early childhood, children learn various symbolic systems to represent abstract concepts such as quantity. Yet it is unclear how the acquisition of symbols for quantity (e.g., number words; measurement concepts of “seconds”, “minutes”… for time, etc.) may shape nonsymbolic representations of these quantities. While previous work hints at the possibility that acquiring numerical symbols refines numerical acuity (i.e., “refinement hypothesis”), these data are correlational in nature, making it impossible to assess causality. As such, experimental manipulations training the symbolic system are necessary in order to determine whether a causal relation exists. Moreover, these investigations have been limited to the domain of number, making it unclear if similar relations exist in continuous quantities, such as time and space. My dissertation tests whether the relation between symbolic and nonsymbolic abilities holds for the inherently continuous quantity of time, while also providing one of the first investigations of the refinement hypothesis outside of the domain of number. Results reveal that nonsymbolic and symbolic timing are related in childhood, both before and during formal instruction on temporal units of measurement (Experiment 1 & 2), but not in adulthood (Experiment 3). Further, I find no support for the refinement hypothesis: learning temporal symbols did not result in improved temporal acuity (Experiment 2), nor did shifting adults’ symbolic mapping of time shape temporal acuity (Experiment 3). Similarly, learning labels for surface area did not enhance adults’ spatial acuity (Experiment 4). Broader educational implications and areas of future investigation are also discussed. / Thesis (PhD) — Boston College, 2019. / Submitted to: Boston College. Graduate School of Arts and Sciences. / Discipline: Psychology.

No description available.

No description available.

Explanations of why mathematics is useful to empirical research focus on mathematics' role as a representation or model. On platonist accounts, the representational relation is one of structural correspondence between features of the real world and the abstract mathematical structures that represent them. Where real numbers are concerned, however, there is good reason to think the world's correspondence with systems of real number symbols, rather than the real numbers themselves, can be utilized for our representational purposes. One way this can be accomplished is through a paraphrase interpretation of real number symbols where the symbols are taken to refer directly to the things in the world real numbers are supposed to represent. A platonist account of structural correspondence between structures of real numbers and the world can be found in the foundations of measurement where a scale of real numbers is applied to quantities of physical properties like length, mass and velocity. This subject will be employed as a demonstration of how abstract real numbers, traditionally construed as modeling features of the world, are superfluous if their symbols are taken to refer directly to those features. / Master of Arts

Washington D.C. is a city of multicultural richness difficult to surpass. The huge diversity of languages, cultures, and people found in the city are the bases of its identity. Countless diplomatic missions, international organizations and agencies are a dramatic proof that Washington D.C. is currently the center of the world, the Rome of modern times. To this extent, each country that holds a diplomatic mission strives to make its representation, its presence to the host country, as good as possible. With this in mind, architecture is provided with a great opportunity to showcase the spirit of each country through the buildings that represent them, their embassies. The desire that sparked the idea of making a thesis about the Embassy of Chile may be traced to the experience of being a foreigner, a Chilean, living in Washington D.C. In the same manner that a person may represent its country, an embassy building gives the opportunity to express and show a lot of what that country is about; it has the potential of becoming a symbol for it. Although this may seem a very straightforward theme, it's actually very broad, and may be regarded in a number of ways. How do we represent Chile? What do we show? What don't we want to show? How do we express it? And even how can we define Chile. These were questions that had to be addressed before even thinking about designing the embassy. In order to this, the concept that had to be adopted had to be capable of handling this selective process. It's a process in which the person doing the representation also takes part in it. In other words, it's a process by which you are presenting yourself. Through research done at this stage of the thesis, the best way to describe the procedure was by making a Self Portrait. By adopting this concept we were given the possibility to create our own image of what Chile was, and to reveal and conceal whatever we thought was appropriate. / Master of Architecture

[pt] No presente trabalho é desenvolvido um Display comendável pelo IBM-1130, capaz de traçar em uma tela de 10 X 8, gráficos e símbolos. Ele faz parte de um projeto maior, que inclui uma Interface de Uso Geral e outras Unidades Periféricas, ora em desenvolvimento no Departamento de Engenharia Elétrica da PUC/RJ. Primeiramente é feita uma análise das diversas técnicas empregadas em Displays para gerar linhas e símbolos, procurando-se com isto, situar o problema em particular. Na solução adotada, a geração de linhas e símbolos é feita por meio de pequenos vetores, cujas coordenadas X, Y dos pontos extremos e a intensidade luminosa do feixe, são controladas digitalmente. O formato dos símbolos e as instruções geradoras de uma imagem, estão armazenadas em uma unidade de memória auxiliar com capacidade de 4K palavras de 16 bits. A seguir é feito um estudo das instruções necessárias ao funcionamento do Display e dos circuitos eletrônicos que as executam. Finalmente, são apresentados resultados experimentais que provam a veracidade de solução teórica. / [en] This thesis develops a Display which is controlled by an IBM-1130 computer, na is able to draw graphs and symbols on an 10 X 8 screen. The work is \part of the project called Interface de uso Geral being developed in the Electrical Engineering Department at PUC. Several techniques employd in displays of graphs and symbols were analysed. The approach used for the specific problem is to generate graphs and symbols by small beam intensity are digitally controlled. The shapes used to forma the symbols and the instructions to generate them are stored in an auxiliary memory with a capacity of 4K words of 16 bits each. Those instructions are studied. In this thesis. And the circuitry that generate them are presented. Experimental results are presented which confirm the veracity of the theorical solution.

Jenny Lind was an opera singer in the years 1838–49. During this time she was given the status f an icon mainly due to her image. She was almost sanctified by the press. Her “private personality” was assigned a saintly purity, and she became a stereotype symbol of femininity. This dissertation investigates what factors interacted that made this possible, and highlight the importance of Lind’s voice for her image. Jenny Lind’s voice was a high soprano, but not very powerful. By positioning herself in a singing tradition that corresponded to her voice’s advantages, she managed to develop an equilibrium, which she used well. Lind’s voice was often perceived as unusual; she had a particular voice timbre. She also had a vocal defect. Her tones from f’–a’ are described as “husky”, and sometimes hoarse. This means that her voice let through more air than her vocal cords could use. My argument is that it was the voice damage that created unique timbre that the contemporary critics perceived as particularly “feminine”. Lind’s weak and damaged voice corresponds to the nineteenth century’s female ideal: fragile and weak. Moreover, Lind needed to adept her roles to her damage voice and the consequence was that also her interpretations were perceived “feminine”. In other words, Lind exerted a gender performative voice processing. All of Jenny Lind’s roles became representatives of femininity, regardless of whether it was the role’s purpose or not. Lind adapted all her interpretations to her weak voce, it's strength being high notes, pianissimo dynamics and equilibrism, and gave all her roles a genderstereotyped voice.