Thesis (Ed.D.)--Boston University / PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you. / This study is an historical analysis of Brown University and Massachusetts Institute of Technology faculty engagement with network-based courseware development between 1983 and 2003. Specifically, the research focused on how and why faculty engaging in work with Intermedia and Project Athena undertook their projects, what pedagogical models they employed, and what factors contributed to the success and longevity of their courseware. Data collection models included interviews with faculty, project coordinators and technical staff, review of the courseware applications, and examination of internal and external documentation about each project. The findings indicated that faculty tended to utilize the same pedagogical methods in software as they already did in regular teaching, turning to the computer primarily for areas that were difficult to teach or learn; that continued faculty commitment to expanding and updating the software was necessary for sustainability; that faculty perceived their projects as having been successful in increasing student learning and communication despite the fact that formal evaluation was rarely undertaken; and that faculty in the Humanities were more likely to use the network to foster communication and collaboration, while Science and Engineering faculty used the network as a means of disseminating modelling and simulation applications. / 2031-01-02

Thesis: Sc. D., Massachusetts Institute of Technology, Department of Mechanical Engineering, 1942 / Vita. / Includes bibliographical references (leaves 212-214). / by John Anthony Hrones. / Sc. D. / Sc. D. Massachusetts Institute of Technology, Department of Mechanical Engineering

Thesis (M.S.)--Massachusetts Institute of Technology, Dept. of Electrical Engineering and Computer Science, 1991. / Includes bibliographical references (leaves 88-89). / by Steven Bruce Chanin. / Thesis (M.S.)--Massachusetts Institute of Technology, Dept. of Electrical Engineering and Computer Science, 1991.

Thesis (B.S.)--Massachusetts Institute of Technology, Dept. of Naval Architecture and Marine Engineering, 1927. / by Henry George Steinbrenner. / Thesis (B.S.)--Massachusetts Institute of Technology, Dept. of Naval Architecture and Marine Engineering, 1927.

Thesis: M.S., Massachusetts Institute of Technology, Sloan School of Management, 1975 / Bibliography: leaves 120-127. / by Neil J. Boyer. / M.S. / M.S. Massachusetts Institute of Technology, Sloan School of Management

Thesis: M.S., Massachusetts Institute of Technology, Program in Media Arts & Sciences, 1995 / Includes bibliographical references (p. [75]-[76]). / by Max Edward Metral. / M.S. / M.S. Massachusetts Institute of Technology, Program in Media Arts & Sciences

Thesis: Ph. D., Massachusetts Institute of Technology, School of Industrial Management, 1964 / Includes bibliographical references (leaves 161-165). / by Raghu Nath. / Ph. D. / Ph. D. Massachusetts Institute of Technology, School of Industrial Management

Thesis: M.S., Massachusetts Institute of Technology, Dept. of Mining Engineering and Metallurgy, 19098 / MIT Institute Archives copy has the following paper bound with thesis: Design of plant for smelting and converting a sulphide copper ore, by C.Y. Wen. 1909. (29 leaves, [1] leaf of plates : ill.; 27 cm.). / Includes bibliographical references. / by Ching Yu Wen. / M.S. / M.S. Massachusetts Institute of Technology, Dept. of Mining Engineering and Metallurgy

Thesis: B.S., Massachusetts Institute of Technology, Dept. of Business and Engineering Administration, 1922 / Includes bibliographical references (leaf 141-143). / submitted by Reginald Sexton Hall, Charles Gordon Malcolm and Charles Herbert Taylor. / B.S. / B.S. Massachusetts Institute of Technology, Dept. of Business and Engineering Administration

Muriel Cooper (1925–94) worked at the Massachusetts Institute of Technology (MIT) for more than four decades as a graphic designer, an educator, and a researcher. Beginning in the early 1950s, she was the first designer in MIT’s Office of Publications, where she visualized the latest scientific research in print. In the late 1960s, she became the first Design and Media Director for the MIT Press, rationalizing its publishing protocols and giving form to some of the period’s most significant texts in the histories of art, design, and architecture, among other fields. In the mid-1970s, Cooper co-founded the Visible Language Workshop in MIT’s Department of Architecture. There she taught experimental printing and explored new imaging technologies in photography and video. And from the 1980s until her death, Cooper was a founding faculty member of the MIT Media Lab, where she turned her attention to the human-computer interface. Cooper helped cultivate a design culture at MIT. And before her premature death, she established some of the metaphors and mentored some of the designers that have shaped our contemporary digital landscape. Few 20th century designers have made significant contributions in both print and digital media, or helped to navigate the epochal transition between the two. Yet Cooper, in designing and redesigning roles for herself within new fields at MIT, did just that. Over her career and across multiple media, Cooper’s concerns remained quite consistent: She focused on developing both design tools and user experiences that would provide greater control and quicker feedback, eventually to be aided by machine intelligence. She sought to create experiences that were dynamic rather than static and simultaneous rather than linear, ones that engaged multiple media and a range of human senses. Cooper applied her knowledge of print design to software, and considered print and the process of its production as a prototype for the experiences that she would seek on screen. She also borrowed freely from media such as photography and film to inspire some of the effects she would later explore in new media. Cooper’s career traced an arc, in her practice and her pedagogy, from a focus on objects to one on systems. And her relationship to the digital evolved from a set of effects to be emulated in other media to seeing the computer at first as a tool, then as an assistant, and finally, as the medium itself. At the same time, she participated in a broader shift during this period from the paradigm of the humanist subject to the digitally augmented, “posthuman” condition of the present. In her interests and her achievements, Cooper exceeded any traditional definition of a graphic designer. At the same time, her work has defined the present state of the field. This dissertation, the first dedicated to Cooper, charts her pathbreaking career at MIT while also shedding new light on vital moments in the history of art, design, architecture, and media in postwar America.