x, 113 p. : ill. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number. / In 2000, a non-profit organization, the Confluence Project, based in Vancouver, Washington commissioned Maya Lin to design seven site-specific art installations. Lin chose certain points along the Columbia River to commemorate the bicentennial of the Corps of Discovery, the Lewis and Clark Expedition. I will focus on the third completed site, Bird Blind, located at the Sandy River Delta in Troutdale, Oregon. This artwork is a functional piece for viewing the surrounding wildlife in addition to a textually informative work referencing the diaries of Lewis and Clark and includes the current species status report published by the Sierra Club on the animals observed by Lewis and Clark. This thesis examines the accessibility of the artwork to the wide variety of audiences and its success as a point of dialogue for its specific site. / Committee in Charge: Dr. Kate Mondloch; Dr. Leland Roth; Prof. Kenneth Helphand

The investigation analyses the grammatical and semantic properties of a number of commonly occurring time words in Lakandon Maya, the least described of the four existing Yukatekan languages spoken in southern Mexico and in parts of Guatemala and Belize. Lakandon Maya has around 800 speakers who live in one of two settlements in the southeastern lowlands of Chiapas, Mexico. The language materials that the analysis rests on were collected by the author in the field as part of a documentation effort supported and funded by the Endangered Languages Documentation Programme (ELDP) at SOAS, University of London. In Lakandon Maya, deictic time words such as 7uhch ('before', 'long ago') and ka7chik ('before', 'previously') have pragmatically dependent features of meaning that relate to the indexical ground rather than the before-after relations relevant to time reference proper. The salient meaning in the two forms can best be described in terms of knowledge asymmetries between the speech participants. However, such modal-like semantics do not exclude the forms from being considered as operators of time reference since they are only used in specific temporal contexts. The results of the investigation point to a shift in meaning in the forms that cannot be anticipated from the available literature on other Yukatekan languages. There, cognates of the investigated forms have been described solely as temporal operators with simultaneous, anterior, and posterior meaning. The investigation argues for a separation between time words that uses the speech situation as the sole point of reference and time words that denote a relation between two events. This separation is defined in terms of speaker-dependent and event-dependent time reference. These concepts are analogous to absolute and relative time reference but should be considered as separate due to the pragmatic motivations that underlie the function and use of the forms.

Made available in DSpace on 2015-05-14T16:53:21Z (GMT). No. of bitstreams: 0 Previous issue date: 2014-12-05Bitstream added on 2015-05-14T16:58:57Z : No. of bitstreams: 1 000822828_20161205.pdf: 69648 bytes, checksum: ef0c57bdfdf326e255ab28238d28e5b7 (MD5) Bitstreams deleted on 2016-12-06T15:11:20Z: 000822828_20161205.pdf,. Added 1 bitstream(s) on 2016-12-06T15:12:03Z : No. of bitstreams: 1 000822828.pdf: 771544 bytes, checksum: 2e449eebea6e7538bb49de8d1679feb5 (MD5) / Este trabalho, valendo-se da leitura das obras I know why the caged Bird sings(1969), Gather together in my name(1974), de Maya Angelou, Diário de Bitita(1982) e Quarto de Despejo(1960), de Carolina Maria de Jesus, tem por objetivo evidenciar a escrita autobiográfica como a forma de expressão que não apenas traz à baila relatos preciosos acerca das mazelas enfrentadas pelas personagens, mas também que sinaliza a tripla opressão vivida pelas mulheres negras. De fato a hierarquia de gênero, raça e classe direcionou as mulheres negras para a fronteira dos acontecimentos, forjando muitas vezes a verdade dos fatos, calando e subjugando as vozes afro-femininas. Nesse sentido, demonstraremos que a opressão por causa da raça, do gênero e da classe social influencia a própria condição existencial das autoras que, por meio de experiências traumáticas, têm suas identidades massacradas. Com o intuito de resgatar a identidade e a subjetividade perdida, Carolina Maria de Jesus e Maya Angelou escrevem e (re)constroem um eu que, mesmo fragmentado pelas vicissitudes da vida, é capaz de expressar seu grito por meio da escrita. Acima de tudo, a interseccionalidade de opressões torna-se a grande temática das obras em questão, e pode ser entendida como uma realidade social conflitiva e tensa, que se quer transformada / This thesis aims to take a reading of the works I know why the caged bird sings(1969),Gather together in my name(1974) by Maya Angelou, Bitita´s Diary(1982) and Child of the Dark(1982) by Carolina Maria de Jesus revealing autobiographical writing as a form of expression that not only brings up precious stories about the difficulties faced by characters but also signaling the triple oppression experienced by black women. In fact the hierarchy of gender, race and class black drove black women to the border of events, often forging true facts, subduing and silencing the afrofemales voices. Accordingly, we demonstrate that oppression due to race, gender and social class influence the existential condition of the authors who through traumatic experiences have massacred their own identities. In order to rescue the lost identity and subjectivity, Carolina Maria de Jesus and Maya Angelou write and (re) construct a self that even fragmented by the vicissitudes of life is able to express their scream through writing. Above all, the intersectionality of oppressions becomes the major theme of the works in question, and can be understood as a confrontational and tense social reality that is either transformed

Denna uppsats handlar om hur de semantiska värdena kan överföras från ett koncept till en 3Dmodell. Detta innebär att vi tar de fysikaliska attribut av en karaktär i ett koncept bygger dessa i en 3-dimensionnell miljö. Med hjälp av genreteori kring semantik och syntax, gör vi oss medvetna om vad dessa begrepp kan innebära i den process som ingår i modellering av karaktärer. Vi bryter upp karaktärskonceptet i mindre beståndsdelar så som mjuka/hårda ytor och gör en granskning av karaktärernas semantiska drag. Därefter beskrivs den arbetsmetod som användes för att skapa 3D karaktären, där vi berör några av de viktiga punkterna i arbetsprocessen. Min frågeställning som var, Hur kan vi överföra de semantiska värdena av en karaktär till en tredimensionell modell som är anpassad för dator/TV-spel? Besvaras med de metoder som användes i skapandet av karaktären. Slutligen presenteras 3Dmodellen med en videosekvens

One of the main problem areas within computer graphics is simulating natural phenomena’s, working with fluid solvers, and particle systems. In the special effects industry, there is a demand for mimicking appearance of common special effect such as fire, smoke, and water. Autodesk Maya and FumeFx are used for exploring those methods in creating smoke and fire simulations and implementing those into a large dynamic system, while researching the possibility to efficiently control and modify an entire dynamic system on a per object level. Final production renders results are from both Maya and FumeFx.

Stereoscopy is a technique that can create an illusion of depth in a flat image. There are many different methods to do this, and here is explained some of the most common and popular ways, with a bigger focus on the anaglyphic method. Since stereoscopy is an old technique, the discovery of it by Charles Wheatstone is explained briefly. In Autodesk Maya 2009, a new stereoscopic plug-in was included which makes the creation of stereoscopic imagery easier. An animated project is made during the course of this research which takes advantage of and tests the functions of the new plug-in. The main purpose of the project is to create a stereoscopic movie which utilized the anaglyph stereoscopic technique. The result is rendered stereoscopic material that is edited with Adobe Premiere Pro to create anaglyphic imagery and a full color alternative using the Infitec technique.

The tools for creating realistic fur using a computer have continued to develop sincethe first computer-generated fur was accomplished. Tools for creating fur can befound inside of the software Autodesk Maya. Rendering fur is often a very timeconsuming process and therefore this thesis investigates how the relationship ofrealistic fur versus render time can be improved. When creating fur, there are severalaspects to take into account, for example shadowing, length, color and irregularities.This thesis assesses the question through a case study and includes experimentalresearch which was attempted simultaneously. It valuates the results through asurvey. The qualitative research does not include animated fur, only still images ofcomputer-generated fur. This research will hopefully improve the knowledge and actas a guide for others who are creating fur.

In this paper I’ll be investigating how to implement and use virtual 3D sets using only simple 2D reference footage. There are many possible ways to achieve similar effects but I’ll be specifically targeting the lower end segment of the industry by using methods that require fewer resources. Other methods are used in large film productions in Hollywood but my goal with this paper is to make the technology more accessible for small-scale companies and productions.

There are several different setups for facial rigs today, joint-based and blendshape-based are two popular examples, both of them fall in the category of geomtetry-based facial rigs. The goal with this dissertation is to attempt to develop a Maya muscle facial rig. Then the rig is tested to examine to see where this rig can be an improvement in relation to other rigging systems. It was possible to create a rig using the Maya muscle system. There was an attempt to reach out to the public and get some opinions but it was to weak so no real conclusions could be drawn from it. This rig was most useful when creating stylized cartoon characters. The Maya muscle rig has several substantial flaws that is weighted against several cons that reveal that this is a niche rig that is useful in some areas but should be completely avoided in the game industry.

Syftet med detta arbete var att skapa en animationsvänlig rigg. En karaktärmodellerades, riggades och animerades med hjälp av Maya 2009/2010. Bakgrundsinformation om andra riggar presenteras och en viktig del av bakgrunden är förekomsten av mulitlevelriggar samt exempel på vad som kännetecknar en brarigg. Riggen består av flera nivåer av animationskontroller, nödvändigheten av denna typ av uppsättning utvärderas. Animationen är en kort cartoon-style animation. Riggen utvärderas med hjälp av professionell feedback.