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The genera of Tingidae of the neotropics are herein diagnosed and a key for their identification is also provided. Five new genera are described from Central America, two from Panama, two from Costa Rica, and one new genus is described from Mexico. This brings the total of neotropical genera to 74. One new species, Mexibyrsa woolleyi is described from Mexico. The Tingidae of southern Central America (Nicaragua, Costa Rica, and Panama) are reviewed in detail. There are now 153 described species spread among 43 genera. Thirty-two new species from southern Central America are described. Identification keys are provided for all species found in the study region. / NDSU Entomology Scholarship Committee / Oswald, John D. (TAMU)

Programmed cell death (PCD) is pervasive in eukaryotes, playing a fundamental role in development. PCD in animals has been studied in detail, partly due to Caenorhabditis elegans, a worm whose anatomy allowed for the investigation of exactly 131 cells that die via PCD. Elucidating this complex pathway in this simple worm laid the foundation for further insights into mammalian PCD. Overall, less is known regarding PCD in plants, where cell death is broadly separated into developmentally regulated and environmentally induced. The lace plant (Aponogeton madagascariensis) undergoes developmentally regulated PCD to form perforations between longitudinal and transverse veins over its leaf surface. The optimization of protoplast isolation and induced cell death via heat shock (HS) in the lace plant is detailed here. Following HS, protoplasts displayed characteristics of PCD including: Terminal deoxynucleotidyl transferase-mediated dUTP nick-end labeling (TUNEL) positive nuclei, increases in vesicles as well as Brownian motion, and plasma membrane blebbing. Additionally, mitochondrial dynamics were investigated, and a role for the mitochondrial permeability transition pore (MPTP) was indirectly established via cyclosporine A (CsA) experimentation. The main focus of this dissertation was to elucidate cellular dynamics during developmentally regulated PCD in the lace plant, which is visibly discernable during the window stage of leaf development. A single areole within a window stage leaf was further divided into three areas based on the progression of PCD; non-PCD (NPCD) cells, early PCD (EPCD) cells, and late PCD (LPCD) cells. Using this gradient, mitochondria were delineated into four stages based on distribution, motility, and membrane potential. Additionally, it was determined that the MPTP also played a role in developmental lace plant PCD, as inhibition of the pore with CsA not only reduced caspase-like proteases (CLPs) but also stopped perforation formation. Furthermore, the actin cytoskeleton was also investigated, with evidence suggesting it as a possible target for CLPs. The novel use of lace plant leaves for long-term live cell imaging allowed for the establishment of a timeline of cellular events that occur during developmental PCD. Major conclusions of this dissertation reveal various similarities between environmental induced and developmentally regulated PCD in this one plant species.

Mainly used for decorative purpose in the textile industry, lace is a type of lightweight, openwork fabric. The process of lace manufacturing is complex but much of it has been highly automated with the advancement of modern technology. One exception is the lace cutting operation which is used to cut the wide lace webs (as wide as 3.8 m) knitted from automatic knitting machines into individual lace breadths. Currently, lace cutting IS carried out by skilled operators or a low speed mechanical cutting system, leading to high cost and increased product lead times. Therefore the lace cutting operation has become a bottleneck of the whole process oflace manufacturing and its automation is highly desired. Based on the combination of machine vision and laser cutting technology, two automatic lace cutting systems have been developed in Loughborough University, which have fully demonstrated the feasibility of replacing the slow and expensive traditional lace cutting methods. However, the edge quality of the lace cut by these systems is not satisfactory enough to meet the requirements of demanding lace markets. In this thesis, based on the investigation of the effect of handling tension on lace cutting edge quality and the microstructure of lace, a strategic lace cutting solution has been presented. The cutting strategy is aimed at tensioning and exposing the loop thread by strategically tensioning and cutting individual threads. The loop thread is considered critical to cutting lace with a high quality finish. To automatically implement the cutting strategy, a machine vision system has been developed. An automatic lace transport and tensioning rig has been designed and manufactured. The long term aim of this rig is to be able to transport and tension lace continuously for lace cutting and apply localised tension on individual threads with the vision system providing feedback for tension control. The work in this thesis has been limited to manual adjustment of the rig to prove the initial ideas for this concept. An integrated vision guided, pulsed laser cutting system for lace cutting has been developed, based on which two types of representative lace have been cut. According to the assessment results of using a combination of user trials, microscopic and newly developed measurement techniques, the lace cut by this newly developed system has shown significant improvement in cutting edge quality, when compared to the lace cut by the previous laser cutting systems.

Bobbin lace is a 500-year-old art form in which threads are braided together in an alternating manner to produce a lace fabric. A key component in its construction is a small pattern, called a bobbin lace ground, that can be repeated periodically to fill a region of any size. In this thesis we present a mathematical model for bobbin lace grounds representing the structure as the pair (Δ(G), ζ (v)) where Δ(G) is a topological embedding of a 2-regular digraph, G, on a torus and ζ(v) is a mapping from the vertices of G to a set of braid words. We explore in depth the properties that Δ(G) must possess in order to produce workable lace patterns. Having developed a solid, logical foundation for bobbin lace grounds, we enumerate and exhaustively generate patterns that conform to that model. We start by specifying an equivalence relation and define what makes a pattern prime so that we can identify unique representatives. We then prove that there are an infinite number of prime workable patterns. One of the key properties identified in the model is that it must be possible to partition Δ(G) into a set of osculating circuits such that each circuit has a wrapping index of (1,0); that is, the circuit wraps once around the meridian of the torus and does not wrap around the longitude. We use this property to exhaustively generate workable patterns for increasing numbers of vertices in G by gluing together lattice paths in an osculating manner. Using a backtracking algorithm to process the lattice paths, we identify over 5 million distinct prime patterns. This is well in excess of the roughly 1,000 found in lace ground catalogues. The lattice paths used in our approach are members of a family of partially directed lattice paths that have not been previously reported. We explore these paths in detail, develop a recurrence relation and generating function for their enumeration and present a bijection between these paths and a subset of Motzkin paths. Finally, to draw out of the extremely large number of patterns some of the more aesthetically interesting cases for lacemakers to work on, we look for examples that have a high degree of symmetry. We demonstrate, by computational generation, that there are lace ground representatives from each of the 17 planar periodic symmetry groups. / Graduate / 0389 / 0984 / 0405 / veronikairvine@gmail.com

Pattern is a familiar concept ever present in our daily lives, existing in many material forms, observable in varied states, and able to be created from a diverse range of processes and events. Natural pattern forms, such as biological and chemical patterns, have been extensively studied, often within the digital environment because of its capacity to process large amounts of data which aids investigation of not only their characteristics but their potentiality. However, human designed physical patterns, while having been investigated extensively in terms of their historical, geographic and cultural significance and their aesthetic and/or mathematical characteristics, have not been fully investigated in terms of their evolutionary potential. This project explores one example of human designed physical patterns, crochet lace patterns ??? which have remained largely stable and consistent throughout various technological transformations such as the industrial revolution ??? in order to explore pattern as a process and investigate the potential for these patterns to become emergent. This exploration translated the patterns into the digital environment where, as data, the patterns become available for manipulation using a generative art practice approach. By translating the patterns into a digital environment and engaging with the pattern forms at their systematic core, where crochet pattern instructions and software programming scripts operate similarly as ???code???, this research provided a deeper understanding of the patterns and allowed exploration of whether a pattern???s developmental path can be altered to create new emergent patterns. This research draws on systems theory and systems aesthetics and their application within contemporary generative art practice and informs visual arts in several areas including showing how aesthetic values shift as work becomes cross-disciplinary and enters the digital environment, and how the introduction and location of innovation affects the relationship between the original and its copy.

Pattern is a familiar concept ever present in our daily lives, existing in many material forms, observable in varied states, and able to be created from a diverse range of processes and events. Natural pattern forms, such as biological and chemical patterns, have been extensively studied, often within the digital environment because of its capacity to process large amounts of data which aids investigation of not only their characteristics but their potentiality. However, human designed physical patterns, while having been investigated extensively in terms of their historical, geographic and cultural significance and their aesthetic and/or mathematical characteristics, have not been fully investigated in terms of their evolutionary potential. This project explores one example of human designed physical patterns, crochet lace patterns ??? which have remained largely stable and consistent throughout various technological transformations such as the industrial revolution ??? in order to explore pattern as a process and investigate the potential for these patterns to become emergent. This exploration translated the patterns into the digital environment where, as data, the patterns become available for manipulation using a generative art practice approach. By translating the patterns into a digital environment and engaging with the pattern forms at their systematic core, where crochet pattern instructions and software programming scripts operate similarly as ???code???, this research provided a deeper understanding of the patterns and allowed exploration of whether a pattern???s developmental path can be altered to create new emergent patterns. This research draws on systems theory and systems aesthetics and their application within contemporary generative art practice and informs visual arts in several areas including showing how aesthetic values shift as work becomes cross-disciplinary and enters the digital environment, and how the introduction and location of innovation affects the relationship between the original and its copy.

Orientador: Maria Suely Kofes / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-25T10:09:23Z (GMT). No. of bitstreams: 1 Almeida_A.C.C._M.pdf: 10020406 bytes, checksum: 2536fb7cf433fbb6f8f2c535182385ab (MD5) Previous issue date: 2014 / Resumo: Esta dissertação tem por objetivo investigar os diversos modos de existência das rendas de bilros confeccionadas pelas mulheres rendeiras da "Casa das Rendeiras", no município de Ilha Grande (Morros de Mariana, PI-Brasil) em seu processo de produção e confecção, desde a coleta da matéria-prima até a comercialização das rendas. Uma etnografia que busca alcançar, ainda que provisória ou sucintamente, as relações que se constituem entre rendas e rendeiras no espaço da Casa. Tomando como referência teórica o autor Ingold (2007, 2012) interessa-me expressar e enfatizar as diversas relações que se estabelecem entre rendas e rendeiras nos movimentos das linhas que compõem os pontos das rendas. Para expressar as diversas relações que pude apreender no local, baseio-me no desenho de meshwork, tal como proposto por Ingold (2012), em que as linhas são os vestígios dos materiais das rendas conjuntamente com o conhecimento técnico e habilidade de cada rendeira mostrando o aprendizado de rendar, a técnica, as relações das rendeiras na Casa, enquanto um espaço de sociabilidade e, ainda os aspectos emocionais e estéticos envolvidos no ofício de rendar. Nessa perspectiva, o ofício de rendar é pensada como um modo de conhecimento transmitido na Casa das Rendeiras na relação rendas e rendeiras / Abstract: This work has as objective to investigate the several ways of the existence of bobbins lace made by the lace-makers, women from "Casa das Rendeiras", in Ilha Grande (Morros de Mariana, PI-Brazil), in its production and confection process, from the very gathering of the raw material to the sale of the laces. It presents an ethnography that intends to apprehend, though briefly, the relations that are constituted between laces and lace-makers in the space of Casa das Rendeiras. Drawing upon Ingold¿s theoretical ideas, my interest is to focus on the several relations established between the laces and lace-makers in the movements of lines that shape the lace¿s points. In order to express the relations observed in the place I took for basis the meshwork drawing as proposed by Ingold (2012), where the lines are traces of the lace¿s material conjugated to the technical knowledge and the ability of each lace-maker showing the lace making learning, the technique, the lace-makers relations in Casa das Rendeiras as a place of sociability, and yet the emotional and aesthetic aspects involved in the work of making laces. Upon this perspective the work of making laces is thought as a kind of knowledge transmitted in Casa das Rendeiras in the relation between laces and lace-makers / Mestrado / Antropologia Social / Mestra em Antropologia Social

M.Tech. / In this research, I examine whether cultural meanings embedded in original sixteenth to eighteenth century Dutch lace and Shweshwe fabric, as examples of colonial forms, are transformed through selected processes. With reference to Dutch lace from Holland, I analyse how the form changes within colonial and post-colonial contexts, but propose that the cultural meanings of the lace remain similar in both contexts. With reference to Shweshwe fabric, I argue that the form stays the same within both colonial and post-colonial contexts, but that its cultural meaning changes as a result of how patterns printed on it are named and identified in a post-colonial context. In this research, I use the term ‘cultural meaning’ to refer to certain signifiers of culture. I propose that factors such as value, class, aspiration, desire and consumption are embedded in or make cultural meaning. My central argument proposes that crocheted doilies, and plastic tablecloths and placemats might be seen as post-colonial versions of Dutch lace. These post-colonial versions of Dutch lace are adopted and adapted by female homemakers in Naledi Ext. 2 to suit certain decorative tastes, values, aspirations and act as markers of class. This adoption and adaptation of the original colonial form, shifts the cultural meanings imbued within it, but not necessarily the associated consumptive meanings. Whilst the primary focus of the theoretical research is Dutch lace and its proposed post-colonial counterparts, I also examine examples of original Shweshwe fabric and how meanings of motifs found on this fabric have been transformed by the modern Mosotho to reflect notions of value and aspiration, whilst the actual motifs appear to be unchanged. In my practical work, I use Dutch lace, crocheted doilies, and plastic tablecloths and placemats, as well as Shweshwe fabric as visual references in the production of large to small scale paintings. In these, I explore how, through painterly alteration and transformation, shifts can occur in the meanings of patterns derived from these culturally-loaded sources.

The purposes of the study were to identify laces located on the fifteen white dresses worn between 1900 and 1922. The dresses selected for study were chosen from the Dallas Fashion Museum located at North Texas State University. All laces were identified and the history of each lace was traced.