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Yes / Objectives To examine the impact of memory accessibility on episodic future thinking. Design Single-case study of neurological patient HCM and an age-matched comparison group of neurologically Healthy Controls. Methods We administered a full battery of tests assessing general intelligence, memory, and executive functioning. To assess autobiographical memory, the Autobiographical Memory Interview (Kopelman, Wilson, & Baddeley, 1990. The Autobiographical Memory Interview. Bury St. Edmunds, UK: Thames Valley Test Company) was administered. The Past Episodic and Future Episodic sections of Dalla Barba's Confabulation Battery (Dalla Barba, 1993, Cogn. Neuropsychol., 1, 1) and a specifically tailored Mental Time Travel Questionnaire were administered to assess future thinking in HCM and age-matched controls. Results HCM presented with a deficit in forming new memories (anterograde amnesia) and recalling events from before the onset of neurological impairment (retrograde amnesia). HCM's autobiographical memory impairments are characterized by a paucity of memories from Recent Life. In comparison with controls, two features of his future thoughts are apparent: Reduced episodic future thinking and outdated content of his episodic future thoughts. Conclusions This article suggests neuropsychologists should look beyond popular conceptualizations of the past–future relation in amnesia via focussing on reduced future thinking. Investigating both the quantity and quality of future thoughts produced by amnesic patients may lead to developments in understanding the complex nature of future thinking disorders resulting from memory impairments. / Institute of Psychological Sciences, University of Leeds

The purpose of this study was to explore what exactly bound post-Second World War American conservatives together. Since modern conservatism's recent birth in the United States in the last half century or more, many historians have claimed that both anti-communism and capitalism kept conservatives working in cooperation. My contention was that the intellectual founder of postwar conservatism, Russell Kirk, made imagination, and not anti-communism or capitalism, the thrust behind that movement in his seminal work The Conservative Mind. In The Conservative Mind, published in 1953, Russell Kirk created a conservative genealogy that began with English parliamentarian Edmund Burke. Using Burke and his dislike for the modern revolutionary spirit, Kirk uncovered a supposedly conservative seed that began in late eighteenth-century England, and traced it through various interlocutors into the United States that culminated in the writings of American expatriate poet T.S. Eliot. What Kirk really did was to create a counter-narrative to the American liberal tradition that usually began with the French Revolution and revolutionary figures such as English-American revolutionary Thomas Paine. One of my goals was to demystify the fusionist thesis, which states that conservatism is a monolithic entity of shared qualities. I demonstrated that major differences existed from conservatism's postwar origins in 1953. I do this by using the concept of textual communities. A textual community is a group of people led by a privileged interpreter—someone such as Russell Kirk—who translates a text, for example Burke's Reflections on the Revolution in France, for followers. What happens in a textual community is that the privileged interpreter explains to followers how to read a text and then forms boundaries around a particular rendering of a book. I argue that conservatism was full of these textual communities and privileged interpreters. Therefore, in consecutive chapters, I look at the careers of Russell Kirk, John Lukacs, Christopher Lasch, and Paul Gottfried to demonstrate how this concept fleshed out from 1953 and well into the first decade of the new millennium. / Ph. D.

The way in which environmental designers design neighborhood spaces has a role to play in the quality of outdoor spaces that shapes and directs daily outdoor social activities as well as creates a bridge between individuals and the local community. The high quality design of outdoor spaces is fundamental in fostering social cohesion among users/residents in order to produce a healthy social atmosphere, whereas a decline in the quality of outdoor spaces can contribute to antisocial behavior. Today, In Jeddah City, Saudi Arabia, in many cases of new neighborhoods, the outdoor space has become abandoned, and empty, or is avoided. Within this setting, these spaces do not provide opportunities for families with their children to gather and play, to sit and socialize with neighbors, to gather in outdoor activities, to walk to the mosque or school, or to do their daily grocery shopping without being threatened by dangerous car traffic. Moreover, even if users and residents experience problems in their neighborhood, and have their own needs and visions to solve the problem, they do not have the experience to mentally visualize and resolve these problems. Through this qualitative research, the researcher proposes a new approach in incorporating users' imagination in the ideation process of design in order to examine to extend the current normative theory through the development of a more "collaborative ideation process."In this new collaborative process, the representation of ideas becomes more iterative and knowledge exchange between researcher and users becomes more seamless. Through incorporating the researcher's sketching skills as a process of "collaborative-sketching," possible ideas and solutions are explored that are responsive to the needs and desires of users. Using a number of photographs of an outdoor residential space as an example, the objective of this study is to examine the use of collaborative sketching as a way of taping into users' imagination as a rich source of their needs and desires to empower the design process. The findings showed that applying a collaborative sketching process in the early ideation stage of design can result in a rich exchange between designers and user, enabling the designer to have a better and more realistic understanding of needs and desires from the perspective of the user. Through this collaborative-sketching process, the users were continuously, iteratively, and instantly stimulated to not only to narrate their needs and desires, but to visually provide realistic and specific details about the social activities and physical elements including their affordance, rationale of using, value of use, and how social interactions might occur within the different settings. / Ph. D.

To inhabit a space is to be within that space. The interiority of a room places emphasis on inhabitation. By inhabiting a room, one perceives the phenomenal qualities of that room. To inhabit a drawing is to do so imaginatively rather than perceptively. Perspective drawings can shape imagination by defining form, light, and context. They capture and frame an instant in space and time. The presence of light in a drawing creates an awareness of the outside. These qualities of drawings allow the viewer to imagine a room through inhabitation. A series of nine rooms were developed in perspective with elements articulated through tracing, translation, rotation, and refection. Three of these nine rooms were chosen for further investigation through drawing. Drawings were then tested against formal models. / Master of Architecture

A series of chance encounters with the city of Cleveland leads to a non-objective reading of this place. It is an intuitive approach, an attempt to understand the complexity of a city in fragments and to change the city's perception of itself. This thesis is a reciprocal play between conceiving and creating, revealing their close interrelation. It is an inquiry into how our imagination transforms our built and not-built environment. To be an architect is to dwell at the interface between the imaginary and the real, to draw from both worlds. / Master of Architecture

There is nothing impossible in the world. Humans use their imagination to make their dreams come true or to achieve their desires. In architecture, a project should be completed by team effort and technology. Architects and engineers transform their ideas and imagination into an real object: space. Like a film, reflecting the director's thought and expression. How can space be defined ? A wall, a column.... every element in architecture can define a space, even though it might be only a door. A wall can be a separation as defining edges of a space, but a wall also is a connection as indicating other spaces for human to enter. A column is not just a part of the structure in architecture; it may guide people approaching a space or imply that there is another different space beyond?.... / Master of Architecture