<p> Parts machined from relatively large thickness cross sections can experience significant deformations from high residual stresses that develop in the part during the heat treatment used to form the aluminum alloy. Uphill quenching is a process that can create a part with low residual stress and stable dimensions when the process is controlled properly. The uphill quenching process involves a solution heat treat, quench, cool to liquid nitrogen, steam blast, and then age to final temper. </p><p> In this thesis two parts were modeled using ANSYS. The first part underwent the uphill quench process in the rough machined state. The second part was modeled in the stock material shape and only underwent a solution heat treat, quench, and age to final temper. After the residual stress in the second part was predicted the excess material was removed by killing the associated elements and the deformation of the final machined part was predicted. For both parts analyzed measurements were made and compared against predictions with fairly good results.</p>

<p> Actors create blocks based in fear, over-intellectualization of acting concepts, and the limiting assumptions they often make from any given theatrical text. Mask work can release the actor out of fear and into a non-intellectualized flow of freedom, expressivity and character transformation. Exploration with the various pedagogies and styles of Mask work can open doors for the actor that other contemporary training methods cannot, and therefore should be considered an essential component of the actor's training process. </p>

<p> Interaction design is the definition of digital behavior, from desktop software and mobile applications to components of appliances, automobiles, and even biomedical devices. Where architects plan buildings, graphic designers make visual compositions, and industrial designers give form to three-dimensional objects, interaction designers define the digital components of products and services. These include websites, mobile applications, desktop software, automobiles, consumer electronics, and more. Interaction design is a relatively new but fast-growing discipline, emerging with the explosive growth of the World Wide Web. In a software-saturated world, every day, multiple times a day, billions of people encounter the work products of interaction design. </p><p> Given the reach of their profession, how interaction designers work is of paramount concern. In considering interaction design, this dissertation turns away from a longstanding question of design studies: <i>How does interaction design demonstrate a special form of human thought?</i> And towards a set of questions drawn from practice-oriented studies of science and technology: <i>What kinds of objects and subjects do interaction design practices make, and how do those practices produce them? </i> </p><p> Based on participant observation at three San Francisco interaction design consultancies and interviews with designers in California's Bay Area, this dissertation argues that performance practices organize interaction design work. By &ldquo;performance practices,&rdquo; I mean episodes of storytelling and narrative that take place before an audience of witnesses. These performances instantiate &mdash; make visible and tangibly felt &mdash; the human and machine behaviors that the static deliverables seem unable on their own to materialize. In doing so, performances of the project help produce and sustain alignment within teams and among designers, clients, and developers. </p><p> In this way, a focus on episodes of performance turns our concerns from cognition, in which artifacts assist design thinking, to one of enactment, in which documents, spaces, tools, and bodies actively participating in producing the identities, responsibilities, and capacities of project constituents. It turns our attention to questions of political representation, materiality and politics. From this perspective, it is not necessarily how designers <i> think</i> but how they stage and orchestrate performances of the project that makes accountable, authoritative decision-making on behalf of clients and prospective users possible.</p>

<p> My thesis work, which consists of a series of small scaled, mixed media constructions, is inspired by the beauty and complexity of the natural world in which we live. There is beauty in the harmony and balance found in the intricate arrangements and order of a variety of living systems such as the rising and falling tides, human DNA structures, life cycles of plants, and the orbits and rotations found in our galaxy. Each work is intended to reveal the density and sophistication of these networks through layers of information and intricate detail. Found wooden cases, drawers, wire, reclaimed metals and recycled plastic, found glass objects, thread, monofilament, and mylar are just a few of the materials I work with to create my sculptures or assemblages. </p><p> The beauty and sophistication of the diverse elements in the natural world have inspired me to create these small scale assemblages or microcosms. Using science and nature as a foundation, I allow my interest in the reuse and transformation of found objects to direct the construction of these intimate environments. I hope the size of the work and layers of visual information entice viewers to explore the spaces and consider the numerous associations evident from my unique orchestration of elements.</p>

No description available.

<p> The rapid development of consumer culture during the two decades after World War II, coupled with the rise of the teenager, resulted in a powerful cultural and socioeconomic shift that marketers exploited to sell goods and ideas. In this dissertation, I analyze particular spaces and objects marketed to teenagers, particularly teenage girls, for use in the postwar home, both real and imagined. I highlight the ways in which age, gender, privacy, personal identity, parental concerns, and familial relationships intersected with the design and use of specific spaces, interior decoration, and selected objects. I examine the recreation room and family room, the teenage bedroom, the dressing table, the telephone, and what I call the "teenage trousseau" as examples of interiors and objects marketed to reflect heteronormative and gendered expectations. I also consider the ways in which teenage girls derived pleasure from and expressed agency through consuming, creating, and envisioning domestic space. The increased prominence of teenage girls embodied this tension, which was at once bound to the social pleasures found in feminine culture and to the influence of marketers responding to postwar affluence.</p><p> At this time, magazines such as <i>Seventeen</i>, a publication marketed expressly to teenage girls, forged a symbiotic relationship with commercial interests. Consequently, household furnishings and objects figured prominently in editorial and advertising discourse, providing a rich source of information concerning the cultural attitudes and expectations relating to middle-class teenage girls at that time. A paradoxical space, the postwar home was at once a place of containment as well as one of autonomy and power, where teenage girls could socialize, experiment, and assume different identities and roles. The consistent emphasis on consumption and its relation to domesticity makes the study of representations of teenage girls particularly integral to the analysis of the interpretation, decoration, and design of the postwar home.</p>

Thesis (Ph. D.)--Columbia University, 1941. / Thesis note on label mounted on t.p. Vita on label mounted on p. [136]. Bibliography: p. 131-[136].

Thesis (M.S.)--University of Missouri-Columbia, 2004. / Typescript. Includes bibliographical references (leaves 81-82). Also available on the Internet.

Thesis (M.S.)--University of Missouri-Columbia, 2004. / Typescript. Includes bibliographical references (leaves 81-82). Also available on the Internet.

No description available.