Thesis (M.A.)--University of Delaware, 2008. / Principal faculty advisor: Pauline K. Eversmann, Winterthur Program in Early American Culture. Includes bibliographical references.

Thesis (D. Min.)--Trinity Evangelical Divinity School, 1991. / Abstract. Includes bibliographical references (leaves 127-129).

No description available.

Every day we encounter objects and use them for purposes related to improving our life. However, sometimes the reason these objects are manufactured is because of capitalistic gain rather than the need for improved quality of life. In fact, the more objects that are produced by American companies, the more garbage is inevitably ending up in landfills. The installation work, Ocean of Objects, arranges mundane objects in a different context within a diorama. The United States is in an age of consumerism where our relationship to the objects we buy defines the way we conceptualize our relationship to the physical environment we are in. As a theater artist, I studied scenic design and installing scenery for productions. The exhibition and diorama are created using methods of theatrical scenic design, and digital elements such as projections help reinforce the narrative setting. I sense that if people paid more attention to how things get made and then discarded and changed the perception of their environment through the objects they buy and use, then they could build a better community with each other. / Master of Fine Arts / The effectiveness of waste management impacts every person. Most people tend not to think about what they throw out once it leaves their home. To create a better ecology, it is critical to persuade people that their individual effort makes a difference. In the process of "Reduce, Reuse, Recycle," individuals can try in the latter two steps. Besides recycling, people have the power to buy less and find new ways to use objects that become "disposable" after their initial use. The exhibition Ocean of Objects puts members of the Blacksburg, Virginia community in close contact with objects, and asks them to reconsider how they buy and use things in their daily lives.

Mudanças na economia, na sociedade e no mundo do trabalho deram grande destaque à educação não formal ao longo da segunda metade do século XX, gerando maior valorização dos processos de aprendizagem que se preocupam em aproximar a ciência, a tecnologia, a sociedade e o ambiente. Nesse cenário, uma das questões e desafios que se revelam está em torno do como realizar a socialização do conhecimento científico. De acordo com Marandino (2004), a transformação do conhecimento científico, com fins de ensino e divulgação, pode ser analisada no intuito de compreender a produção de novos saberes nesses processos. Nesse sentido, encontramos na Teoria Antropológica do Didático (TAD), proposta por Chevallard (1991), o referencial teórico que permitiu identificar quais saberes são produzidos pelo museu, por meio de suas ações educativas, e que podem ou não ser observados pelo visitante, por meio de uma Organização Praxeológica (OP). Atualmente, vários meios museográficos são usados na preparação de exposições de museus de ciências e, entre eles, destacam-se os dioramas. O entendimento dos dioramas como objetos didáticos, produzidos com a finalidade de ensino e aprendizagem, implica estudá-los numa perspectiva praxeológica, pois permite visualizar a articulação entre a dimensão prática e a teórica do objeto que está sendo analisado. O estudo da praxeologia em museus foi recentemente desenvolvido e busca, entre outros aspectos, analisar como revelar determinados conhecimentos e objetivos em um espaço, de forma inteligível para diferentes tipos de público. O objetivo deste trabalho foi verificar como os museus ensinam por meio de exposições, em especial, pelo diorama \"Floresta Amazônica\", presente na exposição do Museu de Zoologia da USP. A metodologia desenvolvida incluiu a elaboração de um quadro praxeológico a partir dos dados obtidos por três instrumentos de coleta: documentos sobre a exposição e sobre o diorama; entrevistas com os designers e/ou os responsáveis pela exposição; e por meio da descrição e da observação do diorama. A análise qualitativa dos dados permitiu identificar a teoria e a tecnologia do diorama no contexto de sua exposição e, também, as tarefas e as técnicas propostas. Os resultados obtidos ajudaram a identificar o potencial educativo do diorama e serviram como proposta para desenvolver processos de produção de exposições em museus de ciências. / Changes in the economy, in the society and in the world of work gave great prominence to non-formal education, during the second half of the twentieth century, generating greater appreciation of learning processes, which are concerned to approach the relationship among science, technology, society and environment. In this scenario, one of the issues and challenges that unfold, is around how to perform the socialization of scientific knowledge. According to Marandino (2004), the transformation of scientific knowledge for purposes of education and dissemination, can be analyzed in order to understand the production of new knowledge in these processes. Accordingly, we find in Anthropological Theory of the Didactic (TAD), proposed by Chevallard (1991), the theoretical framework that will identify which knowledge is produced by the museum, through its educational activities, and that they can or can not be observed by the visitor, through a praxeological Organization (OP). Nowadays, several museographic means are used in the preparation of exhibitions, in science museum, and among these, we highlight the dioramas. The understanding of dioramas as didactic objects produced for the purpose of teaching and learning, involves studying them in a praxeological perspective, because it allows to visualize the relationship between the theoretical and the practical dimension of the object being analyzed. The study of praxeology in Museums has been recently developed and it seeks, among other things, to examine how to expose certain knowledge and objectives in a space, in intelligible form for different types of public.The objective of this work was to investigate how museums teach through exhibitions, especially the diorama \"Amazon Forest\" present at the exhibition of the USP Zoology Museum. The methodology included the development of a praxeological framework from the data obtained by three collection tools: documents about the exhibitions and the diorama; interviews with the designers and/or responsible for the exhibition; description and observation of the diorama.The qualitative analysis identified the theory and technology in the context of his exhibition and also the tasks and technical proposed for the diorama.The results allowed us to identify the educational potential of the diorama and they served as a proposal to the development of processes for producing exhibitions in science museums.

Mudanças na economia, na sociedade e no mundo do trabalho deram grande destaque à educação não formal ao longo da segunda metade do século XX, gerando maior valorização dos processos de aprendizagem que se preocupam em aproximar a ciência, a tecnologia, a sociedade e o ambiente. Nesse cenário, uma das questões e desafios que se revelam está em torno do como realizar a socialização do conhecimento científico. De acordo com Marandino (2004), a transformação do conhecimento científico, com fins de ensino e divulgação, pode ser analisada no intuito de compreender a produção de novos saberes nesses processos. Nesse sentido, encontramos na Teoria Antropológica do Didático (TAD), proposta por Chevallard (1991), o referencial teórico que permitiu identificar quais saberes são produzidos pelo museu, por meio de suas ações educativas, e que podem ou não ser observados pelo visitante, por meio de uma Organização Praxeológica (OP). Atualmente, vários meios museográficos são usados na preparação de exposições de museus de ciências e, entre eles, destacam-se os dioramas. O entendimento dos dioramas como objetos didáticos, produzidos com a finalidade de ensino e aprendizagem, implica estudá-los numa perspectiva praxeológica, pois permite visualizar a articulação entre a dimensão prática e a teórica do objeto que está sendo analisado. O estudo da praxeologia em museus foi recentemente desenvolvido e busca, entre outros aspectos, analisar como revelar determinados conhecimentos e objetivos em um espaço, de forma inteligível para diferentes tipos de público. O objetivo deste trabalho foi verificar como os museus ensinam por meio de exposições, em especial, pelo diorama \"Floresta Amazônica\", presente na exposição do Museu de Zoologia da USP. A metodologia desenvolvida incluiu a elaboração de um quadro praxeológico a partir dos dados obtidos por três instrumentos de coleta: documentos sobre a exposição e sobre o diorama; entrevistas com os designers e/ou os responsáveis pela exposição; e por meio da descrição e da observação do diorama. A análise qualitativa dos dados permitiu identificar a teoria e a tecnologia do diorama no contexto de sua exposição e, também, as tarefas e as técnicas propostas. Os resultados obtidos ajudaram a identificar o potencial educativo do diorama e serviram como proposta para desenvolver processos de produção de exposições em museus de ciências. / Changes in the economy, in the society and in the world of work gave great prominence to non-formal education, during the second half of the twentieth century, generating greater appreciation of learning processes, which are concerned to approach the relationship among science, technology, society and environment. In this scenario, one of the issues and challenges that unfold, is around how to perform the socialization of scientific knowledge. According to Marandino (2004), the transformation of scientific knowledge for purposes of education and dissemination, can be analyzed in order to understand the production of new knowledge in these processes. Accordingly, we find in Anthropological Theory of the Didactic (TAD), proposed by Chevallard (1991), the theoretical framework that will identify which knowledge is produced by the museum, through its educational activities, and that they can or can not be observed by the visitor, through a praxeological Organization (OP). Nowadays, several museographic means are used in the preparation of exhibitions, in science museum, and among these, we highlight the dioramas. The understanding of dioramas as didactic objects produced for the purpose of teaching and learning, involves studying them in a praxeological perspective, because it allows to visualize the relationship between the theoretical and the practical dimension of the object being analyzed. The study of praxeology in Museums has been recently developed and it seeks, among other things, to examine how to expose certain knowledge and objectives in a space, in intelligible form for different types of public.The objective of this work was to investigate how museums teach through exhibitions, especially the diorama \"Amazon Forest\" present at the exhibition of the USP Zoology Museum. The methodology included the development of a praxeological framework from the data obtained by three collection tools: documents about the exhibitions and the diorama; interviews with the designers and/or responsible for the exhibition; description and observation of the diorama.The qualitative analysis identified the theory and technology in the context of his exhibition and also the tasks and technical proposed for the diorama.The results allowed us to identify the educational potential of the diorama and they served as a proposal to the development of processes for producing exhibitions in science museums.

Habitat group dioramas were developed depicting two types of Indiana habitat. A beaver-wolf habitat group diorama was constructed in a display case adjacent to C. L. 166 on the first floor, south hallway, of the Life Science wing of the Cooper Science Complex. A white-tailed deer habitat group diorama was constructed in a display case contained in the north hallway of the second floor of the Life Science wing of the Cooper Science Complex.Methods involved in the development of the aioramas included: collection of information through field studies and research, collection, identification and preservation of plant and animal specimens and development of the descriptive labels.The beaver-wolf habitat group diorama depicted a beaver habitat in early winter. The white-tailed deer habitat group illustrated a segment of white-tailed deer habitat group in Indiana in the spring.Ball State UniversityMuncie, IN 47306

Esta tesis trata sobre la importancia de la luz en el conjunto de la civilización, especialmente en el campo de las bellas artes. Estudia la luz en la antigüedad descubriendo las ideas y los mitos; el simbolismo de la luz y los mitos de la sombra. Sigue la evolución de las artes y de los espectáculos de la luz hasta su desarrollo en el cine.En este viaje, he comprobado que el concepto de luz está presente en todas las civilizaciones y culturas como uno de los símbolos más importantes. Desde los primeros indicios en la antigüedad hasta los espectáculos contemporáneos el dominio de la luz y la sombra ha catalizado mucho saber y magia. El simbolismo y el dominio, tanto de la luz natural como de la luz artificial, ha sido una cuestión central de las artes.La tesis estudia la luz en las bellas artes, arquitectura, pintura y escultura. En la arquitectura, desde el fuego, primer hogar, hasta el muro de cristal haciendo mención especial en el simbolismo de la luz en la arquitectura religiosa. La luz o su ausencia ha sido utilizada en los rituales litúrgicos de la mayoría de las religiones. La luz en la pintura donde su representación ha sido la preocupación constante de los artistas para conseguir crear sensación de realidad. Repasa pintores como Giotto y Masaccio, los flamencos Jan Van Eyck y Jan Vermeer, los holandeses Frans Hals y Rembrandt, De la Tour; Caravaggio y otros más cercanos como Velázquez y Goya que han sido motivo de inspiración para los directores de fotografía. La mayoría de los directores de fotografía que he entrevistado me han comentado que ellos "pintan con la luz", se sienten pintores y han tomado como referente a algunos artistas pintores.La tesis examina los espectáculos de la luz y de la sombra a lo largo de la historia: el teatro de sombras, la cámara oscura, la linterna mágica, el panorama, el diorama, el cinematógrafo. Sigue la pista de la luz en el teatro indagando en las aportaciones de Adolphe Appia y Marià Fortuny. la relación entre música y luz en los trabajos de L. B. Castell y la magia que aporta Carles Buigas en sus fuentes y proyectos cuando combina agua y luz.Explica la evolución del espejo y la fabricación del vidrio con sus diferentes aplicaciones, en un recorrido desde el faro de Alejandría o el espejo de Arquímedes hasta las modernas tecnologías como el horno solar de Font Romeo.En el cine, profundiza en la historia de la iluminación descubriendo la utilización de la Black Maria para la grabación de sonido. Se estudian los cambios más importantes que se dieron con la llegada de la electricidad, que ha permitido el control de la luz y el sonido. El cine sonoro supone una gran evolución para los iluminadores, como luego también lo sería la película de color o la introducción de la lente fresnel. La historia de la iluminación en el cine esta contada en función de los avances tecnológicos que han facilitado el trabajo a los iluminadores en su lucha para pintar con la luz.Vemos como en muchas ocasiones los avances técnicos y tecnológicos no parten directamente de la ingeniería, sino que son fruto de las intuiciones, impulsos o imaginación de los iluminadores, creadores y artistas en busca de recursos expresivos y creativos.Todo este camino sirve para entender "El Sentido de la Luz" en todo su recorrido hasta la iluminación en el cine y comprobar, entre otras cosas, cómo los iluminadores, y directores de fotografía, pintan con la luz inspirándose en sus antepasados los pintores. / This thesis deals with notions and ideas of light throughout history, especially in the plastic arts. It begins with a study of ideas and myths about light in Antiquity, especially the symbolism of light and myths about shadows, and then proceeds to see the role of art in both the plastic and the performing arts culminating in the development of film and cinema.Ideas about light exist in all civilizations and cultures and are expressed in important symbols. Human control of both natural and artificial light are a key part of any artistic expression.This thesis studies the meaning of light in bellas artes. First, we analyze the symbolism of light in religious architecture, and then proceed to prove that painters have always been the source of inspiration of cinema's directors of photography, who tend to see themselves as painters for they "paint" light.The thesis surveys the spectacles of light and shadows throughout history, such as the theater of shadows, the camera obscura (dark chamber), the magic lantern, the panorama, the diorama and cinema. Two particular case studies of artistic use of light are the evolution of light technique in theater by Appia and Fortuny, and the interplay of light and water by the Catalan engineer Buigas.Concerning cinema, we make a historical analysis of the most relevant changes brought up by electricity, which allowed to control both sound and light. Sonoro cinema allowed major innovations for light experts, who also benefited by inventions such as the color film or the Fresnel lens. We survey the most important technological advances that have contributed to new ways to paint light.Our historical survey thus illuminates the long and cumbersome process of innovation to express and control the "Sense of light".

Thesis (Ph. D.)--Uppsala University, 1993. / Includes bibliographical references (p. 259-260) and index.

Disaster management and emergency response mechanisms are coming of age post 9/11. Paper based triaging and evacuation is slowly being replaced with much advanced mechanisms using remote clients (Laptops, Thin clients, PDAs), RFiDs etc. This reflects a modern trend to deploy Information Technology (IT) in disaster management. IT elements provide a great a deal of flexibility and seamlessness in the communication of information. The information flowing is so critical that, loss of data is not at all acceptable. Loss of data would mean loss of critical medical information portraying the disaster scenario. This would amount to a wrong picture being painted of the disaster incident. This basic idea led to the motivation of DiNAR (Diagnosis of Network and Application Resource). The aim of DiNAR was to remotely monitor all the components of the deployed system infrastructure (Remote clients, Servers) and if there is a fault in the infrastructure (Hardware, Software or Communication) DiNAR captures the fault alarm and do an event correlation to find the source of the problem. The biggest challenge that lies here is the fact that the entities we are trying to monitor are scattered around in the Internet. Traditional network management techniques always assume that the network is within administrative control and every device we monitor is easily reachable on demand. But the ad-hoc scenario of deployment of disaster management systems makes this task non trivial. DiNAR has been designed with an aim to work with any application which has its infrastructure elements scattered in the Internet space. DIORAMA (A real time disaster management system) represents a new series of applications (especially in medical field) where the deployment of network infrastructure is scattered around with Internet being the backbone connector. Another such example is the Intel® Health Guide PHS6000 [1], which is used in patient monitoring in homes. This thesis work uses DIORAMA as a case study application used to prove the concept of DiNAR.