Thesis (M. S.)--Materials Science and Engineering, Georgia Institute of Technology, 2008. / Committee Chair: Sandhage, Kenneth H.; Committee Co-Chair: Snyder, Robert L.; Committee Member: Sanders, Thomas H.

Orientador: Antonio Carlos Vitte / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Geociencias / Made available in DSpace on 2018-08-14T22:54:57Z (GMT). No. of bitstreams: 1 Cisotto_MarianaFerreira_M.pdf: 9593525 bytes, checksum: fcfc621a501bc0fb0e37faa9097119f1 (MD5) Previous issue date: 2009 / Resumo: No presente trabalho relacionamos a distribuição das áreas verdes, como fragmentos florestais e a urbanização de Campinas-SP. Por meio do resgate histórico da produção urbana em Campinas, com seus principais planos urbanísticos e de um vasto trabalho empírico, com a localização e caracterização de algumas áreas verdes e o padrão de ocupação nas regiões de Campinas, identificamos que o padrão de ocupação urbana caracterizada por ser difusa e espraiada, acompanhando os principais vetores de expansão, onde os fragmentos naturais são incorporados como áreas verdes em um novo tecido urbano marcado por condomínios, loteamentos fechados dispersos no município. Discutido o significado de áreas verdes, realizamos um diagnóstico da distribuição das áreas verdes de Campinas e tomamos como universo empírico dois patrimônios tombados, o Bosque dos Jequitibás e a Mata de Santa Genebra, o primeiro incorporado a malha urbana em período pretérito, no planejamento higienista, e o segundo que está sendo incorporado atualmente e altera a dinâmica de produção fundiária. A natureza nas cidades, representada pelas áreas verde, se tornaram elementos raros e em um momento de valorização do contato com a natureza, pela busca de melhor qualidade de vida, a natureza passa a receber valor de troca, sendo um novo elemento na valorização fundiária. O aumento no número de novos loteamentos que têm como apelo a proximidade do verde indicam que há uma busca da população por novas áreas para viver próximo à natureza, esse processo incorpora áreas verdes ao sistema urbano através da lógica do mercado imobiliário, seguindo os vetores de expansão e a urbanização dispersa. As áreas verdes dos novos loteamentos, que ainda existem em meio à cidade estão sendo (re)incorporados como demonstrativo de qualidade de vida que pode ser comprada. A compreensão dessas relações de produção urbana e produção da natureza são de extrema relevância, pois nos incitam à análise de um processo em curso de valorização diferencial da terra e de mudança no discurso do planejamento urbano-ambiental. / Abstract: In the present work we have related the distribution of the green areas, such as forest fragments, to the urbanization in Campinas-SP analysing the urbanization history and its main urbanistic plannings. After comparing the location of green areas to the patterns of human occupation within Campinas region, we have found that the occupation is sparse, caracterized for the urban sprawl, promoted by the vectors of expansion vectors, where forest fragments appears as green areas within a main urban matrix. Once the meaning of green areas is exposed, we analysed the distribution of these areas considering the case studies of two natural protected areas, the Bosque dos Jequitibás and the Mata de Santa Genebra, which were incorporated to the urban matrix in different times. The natural resources in cities, represented by green areas, have become scarce in the last decades. Considering the increasing desire of better life quality, forest fragments and green areas have promoted the land valorization. An incresing number of comdominiums have highlightened the population desire for living close to green areas, a process that incorporates these areas to the urban system through real state markets, following the vectors of urban expansion andurban sprawl. Consequently, the green areas in comdominiuns, wich still occurs within the cities, are being (re) incorporated as quality of life that can be purchased. / Mestrado / Análise Ambiental e Dinâmica Territorial / Mestre em Geografia

Orientador: Antonio Carlos Vitte / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Geociências / Made available in DSpace on 2018-08-20T02:34:30Z (GMT). No. of bitstreams: 1 Santos_JosevanDutrados_M.pdf: 1573021 bytes, checksum: 170d4158a80bae5100aadc29c6c0b314 (MD5) Previous issue date: 2012 / Resumo: A proposta de investigação deste trabalho envolve uma temática que possui embasamento teórico envolvendo discursos histórico-filosóficos e naturalistas atribuídos ao longo do tempo às transfomações do termo forma. Para tanto, buscamos organizar um texto em que os argumentos se manifestam e se entrelacem a partir de alguns discursos filosóficos encontrados na Grécia antiga. Na sequência, pontuamos algumas considerações a respeito da relação entre o homem e a natureza advindas de alguns pensadores alemães, preferencialmente: Immanuel Kant, J. Goethe, Arthur Schopenhauer e Alexander Von Humboldt. Optamos por esta composição por acreditarmos que o termo representação concorre num primeiro momento à estruturação do conceito de forma manifestado na natureza, sendo que, posteriormente tais conceitos servirão como elementos base à composição e desenvolvimento da geografia em nível de ciência. Desta forma, obteve-se como principal resultado da investigação, um acréscimo teórico na pesquisa, culminando na constatação positiva em relação a hipótese contida no projeto; ou seja, haveria uma filogênse Kant-Goethe-Schopenhauer na geografia humboldtiana? De acordo com os dados levantados e analisados acredita-se que sim / Abstract: The proposed work involves an investigation of this issue that hastheoretical basis involving discourse-historical and philosophicalnaturalists assigned over time to the end transfomações way. To this end, we organize a text in which the arguments are intertwinedand manifest from some philosophical discourses found in ancient Greece. Further, we point to some considerations about the relationship between man and nature arising out of some German thinkers, preferably: Immanuel Kant, J. Goethe, Schopenhauer and Alexander Von Humboldt. We chose this composition because we believe that the term representation competes at first the structure of the concept of form manifested in nature, and later these concepts will serve as basic elements to the composition of the geography and development level of science. Thus, we obtained the main result of the investigation, an increase in theoretical research,culminating in the positive statement about the hypothesiscontained in the project, ie, there would be afilogênse Kant,Goethe, Schopenhauer Humboldtian geography? According to thedata collected and analyzed it is believed that yes / Mestrado / Análise Ambiental e Dinâmica Territorial / Mestre em Geografia

Orientador: Antonio Carlos Vitte / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Geociências / Made available in DSpace on 2018-08-20T04:58:26Z (GMT). No. of bitstreams: 1 Silveira_RoberisonWittgensteinDiasda_D.pdf: 4231278 bytes, checksum: 7618a5ec10784fd8dfa0a911c5f81cdb (MD5) Previous issue date: 2012 / Resumo: Humboldt incorpora muitos legados do seu contexto científico, estético e filosófico. Aparentemente contraditórias, na verdade excludentes, essas vias não podem sem qualquer dificuldade serem aproximadas, na medida em que partem de noções cosmológicas distintas e compreendem um conjunto diversificado de diretrizes e pressupostos conceituais. Mas, nessa aparente desarmonia, toma forma uma nova composição científica, marcada pela associação entre razão e sensibilidade, ciência e estética, descrição e explicação causal, mecanicismo e teleologia. Como base para essa integração inovadora, Humboldt assimila a fundamentação ontológico-metafísica oferecida por Schelling, além da concepção de homem schilleriana e da goethiana concepção de forma. A tese que defendemos é que essa confluência de pressupostos e métodos se harmonize sob o conceito de paisagem e que, nesse domínio, tenha pretendido Humboldt compreender e apaziguar na ciência o embate ontológico que acompanha o saber filosófico desde sua origem, e que é exatamente o ponto alto de toda a transformação operada no pensamento do período: o embate entre as cosmovisões materialista e idealista. Mais do que isso, sustentamos que esta articulação original sob o conceito de paisagem fundamentou a construção moderna do saber geográfico, a despeito de uma série de interpretações que pretendem subtrair de Humboldt seu papel estruturador e sistematizador. Nessa releitura da gênese da Geografia moderna, pretendemos também mostrar, ao final da tese, como essa origem ainda incompreendida pode e deve oferecer novos horizontes para o saber e fazer geográficos contemporâneos / Abstract: Humboldt incorporates many legacies of his scientific, aesthetical, and philosophical context. Seemingly contradictory, indeed exclusive, these pathways can't be approximated without any difficult, whereas start from different cosmological notions and embrace a diverse range of guidelines and conceptual assumptions. But, in this apparent disharmony, takes shape a new scientific composition, characterized by the association between reason and sensibility, science and aesthetics, description and causal explanation, mechanism and teleology. As a basis for this innovative integration, Humboldt assimilated the ontological-metaphysical foundation offered by Schelling, addition Schiller's conception of man and goethean conception of form. We defended the thesis that this confluence of assumptions and methods is harmonized under the landscape concept and that, in this field, Humboldt has attempted understand and appease in his science the ontological divergence that comes from philosophy since its origin, and that is exactly the high point of the whole transformation operated in the thought of the period: the divergence between the idealist and materialist cosmoviews. More than that, we argue that this articulation under the landscape concept founded modern construction of geographic knowledge, despite a series of interpretation that want to subtract from Humboldt his structured and systematic role. In this reinterpretation of the genesis of modern Geography, we also wanted show how this misunderstood source can and should offer new horizons for the contemporary geographic knowledge / Doutorado / Análise Ambiental e Dinâmica Territorial / Doutor em Geografia

Orientador: Antonio Carlos Vitte / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Geociências / Made available in DSpace on 2018-08-26T13:58:06Z (GMT). No. of bitstreams: 1 Cene_VoneiRicardo_M.pdf: 3621223 bytes, checksum: 17a433ae32f19fb10174aa6066b23eb4 (MD5) Previous issue date: 2014 / Resumo: O presente trabalho discute a participação e as relações entre a Geografia e a Arte, bem como a colaboração entre ambas, proporcionando um desenrolar tanto no campo do pensamento como das aplicações das investigações geográficas. O objetivo é demonstrar essas confluências de ideias na ciência geográfica, num período em que a arte e a ciência mantiveram íntimas relações, ocorrendo a formulação da Geografia como nascente ciência moderna, ou seja, estudar a transformação da pintura de paisagem como categoria de análise, ao mesmo tempo em que funda a geografia como ciência. Os assuntos aqui abordados tiveram como base o pensamento de que a preeminência da ciência na cultura ocidental é manifestada e quem quer que estude a sociedade moderna deve reconhecer a importância de compreender como a ciência conduz sua tarefa de inventar, testar e, finalmente, aceitar ou rejeitar teorias. Assim, para compreender a forma com que se procede a ciência, é necessária uma reflexão sustentada pelo levantamento histórico, não apenas de forma descritiva, mas associando a ela o estudo de tais processos de forma analítica, objetivando o esclarecimento do desenvolvimento do pensamento geográfico. Para isso, realizou-se uma investigação teórica demonstrando a confluência das ideias envolvidas na construção da categoria e da representação de paisagem, além da demonstração de como ocorreu a concepção das ideias que surgiram da junção da arte com a Geografia, resultando uma nova concepção da superfície terrestre. Trata-se de um estudo sistemático dos processos de mudança e invenção da teoria da ciência, com propósito intelectual de determinar a natureza e o escopo do conhecimento humano. No que concerne à pesquisa da relação geografia e arte, recorreremos à gênese da ideia de paisagem, que surge nas artes pictóricas e sua inserção na nascente ciência geográfica do século XVIII e XIX. A pintura de paisagem, a partir do século XVII, passou a ganhar o status científico e filosófico de representar o mundo, tendo assim uma profusão de acontecimentos, como o aperfeiçoamento das técnicas em representar tanto na pintura como na cartografia e o desenvolvimento das técnicas e dos instrumentos que possibilitou a apreensão da natureza pelo nascente modo capitalista de produção, bem como as viagens ultramares. No campo político, tem-se a independência do Brasil e sua busca para se tornar uma nação, quando a natureza assume um papel de destaque e passa a ser a amalgama que uniria os diferentes povos que aqui se encontravam. Sendo assim, as representações utilizadas pela ciência terão a arte como campo profícuo de seu desenvolvimento, além da colaboração no debate sobre a natureza e as concepções sobre ela. Para corroborar com o presente trabalho, foram analisadas as obras do artista alemão João M. Rugendas (1802 ¿ 1858), considerado por Humboldt como o pintor das Américas, além de ser o grande representante da iconologia "brasileira". Esteve em dois momentos no Brasil, que coincidiram com o processo de independência e tentativa, por parte da elite, de configurar, interna e externamente, uma nação, afinal o Brasil se fez império antes mesmo de ser uma nação. As obras de Rugendas apresentam um motivo de exaltação da exuberante natureza tropical, vista como um motivo de orgulho e prosperidade. Em vista disto, a paisagem tropical representada permite criar símbolos e projetar nela os ideais que buscavam também manter a integridade territorial do império herdado do período colonial / Abstract: This paper discusses the participation and the relationship between Geography and Art, as well as the collaboration between both, providing a progress on thoughts and applications of geographical investigations. The purpose is to demonstrate these confluences of ideas in Geographical Science, during a period in which Art and Science maintained close relationships, occurring the formulation of Geography as nascent modern Science, ie, this text studies the transformation of landscape painting as a category of analysis that has founded Geography as Science. The issues discussed are based on the preeminence of Western Science as culture manifested, and anyone who studies modern society should recognize the importance of understanding how science leads his task to invent, test and finally accept or reject theories. To understand how the reflection about science proceeds, it is necessary a reflection sustained for the historical survey, not only descriptively but associating it to the study of such processes analytically, aiming to clarify the development of geographical thought. For this, we carried out a theoretical investigation demonstrating the confluence of the ideas involved in the construction of the category and the representation of landscape, and a demonstration of how it came to designing the ideas that emerged from the junction of Art and Geography, resulting in a new conception of the earth's surface. A systematic study of the processes of changing and invention of science theory with intellectual purpose of determining the nature and scope of human knowledge. Concerning the research of the relationship Geography-Art, we used the genesis of the idea of ?landscape, which appears in the pictorial arts, and its place in the nascent Geographical Science of the 18th and 19th centuries. Landscape painting, from the seventeenth century went on to win the scientific and philosophical status of representing the world, so we have a plethora of events, such as improving techniques to represent painting and mapping and the development of techniques and instruments allowed the understanding of nature by the way, spring, capitalist production and the navigation age's traveling. Politically, we had the independence of Brazil and his quest to become a nation where nature plays an important role becoming the amalgam that would unite the different people whose belonged here. Thus, the representations used by Science find in the art a useful field of development cooperation beyond the debate about the nature and notions about it. This text analyzes the works of the German artist John M. Rugendas (1802 - 1858), considered by Humboldt as the painter of the Americas, in addition of being the great representative of the "Brazilian" iconology. He had been to two moments in Brazil, firstly during the period of independence process and the attempt by the elite setting, internal and external, of a nation, when Brazil becomes the empire even before being a nation. The works of Rugendas represent a cause for uplift of lush tropical nature, when it is seen as a source of pride and prosperity. In this point of view, the tropical landscape allows the symbols create and design the ideals that were aimed to maintain the territorial integrity of the empire inherited from the colonial period / Mestrado / Análise Ambiental e Dinâmica Territorial / Mestre em Geografia

Thesis (MPhil (Visual Arts. Illustration))--University of Stellenbosch, 2009 . / This thesis investigates the historical roots of botanical illustration. It argues that far from being simply scientific representations of plants and flowers, empty of artistic comment and only accompaniments to a scientific text, botanical illustrations assisted in presenting plants brought to Europe from the colonies, in ways that influenced the easy assimilation and appropriation of these plants into European culture. The "mastery of nature", which implies an attitude of dominance by humans over nature, is discussed as symptomatic of the European colonial period. European acts and attitudes of dominance are manifest in scientific approaches toward botany, botanical illustrations and gardens. This thesis proposes that attitudes of dominance have resulted in humans being spiritually and physically separated from nature. This thesis proposes that associations of botany, flowers and botanical illustrations with the feminine have assisted in human domination over nature. In much the same way as female is dominated by male, in a human sense, so plants and flowers were pictured as feminine − replete with feminine associations of subservience, weakness and vulnerability − making a human domination of the plant world possible. The artworks produced in conjunction with this thesis, for the degree Master of Philosophy (Illustration), aim to promote a sense of human attachment to and identification with the plants painted, in opposition to the separateness from nature that is promoted by the "mastery of nature". While traditional botanical illustration, in service to modern science, promoted the supremacy of vision as a way of knowing nature, the artworks draw attention to the unseen issues around plants and the human spiritual connections with them. This thesis proposes that, in a contemporary context characterized by an environmental crisis, there is a new role to be played by botanical illustration: it is felt that botanical illustrations should emphasize human connections with the plant world, thus alerting humans to the necessity of nature for our physical, as well as spiritual, survival.

Leung Wai Yin Phyllis. / "Architecture Department, Chinese University of Hong Kong, Master of Architecture Programme 1998-99, design report." / In double-leaves format. / Includes bibliographical references (p. 68). / PREFACE --- p.ii / TABLE OF CONTENT --- p.iii / Chapter 1. --- Introduction --- p.1 / Chapter 2. --- Proposition --- p.3 / Chapter 3. --- Background Exploration --- p.9 / Chapter 4. --- Project Brief --- p.19 / Chapter 5. --- Design Process --- p.31 / Chapter 6. --- Final Design --- p.45 / Chapter 7. --- Conclusion --- p.60 / Chapter 8. --- Appendix --- p.62 / BIBLIOGRAPHY --- p.67

The central purpose of this dissertation is to discuss different ways in which land and the broader natural environment has been used as a vehicle or medium in art-making, with a specific focus on the works of Jenny Cullinan and Lynne Hull and the candidate. The work centres on artworks that are in the landscape, of the landscape, in the earth, of the earth or predominantly concerned with ecological issues and the inter-relatedness of all living systems. It is argued that artworks included under the general appellation land or environmental art may be widely divergent in character, notwithstanding threads of commonality and convergence. In addition, the often fluid or ambiguous nature of the terminology associated with this area of investigation has necessitated some definition of key terms. / Thesis (M.A.)-University of Natal, Pietermaritzburg, 2001.

This dissertation considers nature imagery in selected South Afiican ceramics and printmaking. The main focus is on ecological issues in recent art productions. The text consists of five chapters. The first examines the ideologies of Fritjof Capra in relation to issues about deep ecology and ecofeminism; this chapter seeks to clarify the scope of the words 'land' and 'landscape' as used in a late 20th century context. The second chapter examines some historical works and ideas that have influenced perceptions of nature imagery in South Afiica. Chapters three, four and five constitute the main body of the thesis, and examine nature imagery in selected examples of contemporary printmaking and ceramics. Chapter three investigates selected landscape images ofceramist Esias Bosch and printmakers Gerda Scholtemeijer and Kim Berman. In chapter four the focus is on the flora as the point of reference. Prints of Gerhard Marx, Douglas Goode, EIsa Pooley and Karel Nel, who were all participants in the Art meets Science: Flowers as Images exhibition, will be examined. Important issues such as the separation ofbotanical and fine art, and art and science will be discussed with reference to their work. This will be followed by discussion of works of Susan Sellschop (a ceramic mural) and Bronwen Jane Heath (a wood engraving) in order to demonstrate the different intentions and outcomes ofthese to artists. Three dimensional works of the three ceramists, Lesley-Anne Hoets, Samantha Read-and Katherine Glenday are discussed in the final section of chapter four. Chapter five examines the interrelationship oflandscape and land. This chapter comprises two main sections. The first deals with aspects of landownership in South Africa reflected in recent ceramics and printmaking. Examples of the work of Marion Arnold and Ellalou O'Meara reinterpret images of early explorers and colonists situating them in a contemporary arena, demonstrating connections between past and present. Landownership is the overt subject in the Fee Halsted Berning, whose ceramic relief panel reflects a different perspective of landownership from the prints ofthe Schmidtsdrift artists. The second section surveys work of four artists whose images draw attention to ecological matters. Wendy Ross, Diana Carmichael, Marion Arnold and Carol Hofrneyr create images that higWight different aspects of the fragile balance of nature. / Thesis (M.A.) - University of Natal, Pietermaritzburg, 2000

Numerous organisms produce ornately detailed inorganic structures (often known as shells) with features on length scales from the nanoscale to the microscale. One organism, commonly referred to as a diatom, originates from algae and is found throughout the oceans on Earth. These diatoms possess skeletal structures, frustules, made from silicon dioxide. This chemical makeup limits the number of possible applications for which these structures can be used. Using a series of gas displacement reactions, these frustules can be converted to other useful materials, such as magnesium oxide and titanium dioxide, while maintaining the features of the frustule template. In the current research, silicon dioxide frustules were converted to titanium dioxide replicas using method previously devised by our group. The titanium dioxide replicas were subjected to a hydrothermal reaction by exposing the replicas to an aqueous basic solution containing barium hydroxide to form barium titanate and barium strontium titanate replicas. The effects of reaction temperature, time, and solution composition on extent of conversion were examined. The conventional method of converting titanium dioxide to barium titanate, using a convection heating oven, was compared with a microwave assisted heating method to study the advantages of using microwave heating over convection heating.