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The western Piedmont of Pennsylvania is underlain by the Octoraro and Peters Creek Formations, and these formations were juxtaposed during Late Paleozoic dextral strike-slip shearing. North of the shear zone, the Octoraro Formation contains evidence for two metamorphisms and deformations prior to strike-slip shearing, whereas south of the shear zone the Peters Creek Formation contains evidence for only one. The discordance in metamorphic and deformational history across the shear zone suggests the now juxtaposed rocks originated in different parts of the orogen. A minimum of 150 km of orogen parallel dextral offset is proposed for the shear system based on palinspastic reconstruction of the Cambrian-Ordovician shelf edge between northern Maryland and southeastern New York. The Peters Creek Formation consists of three lithofacies: 1) graded metasandstone beds, 2) meta-quartz-pelite, and 3) massive metasandstone lenses within the graded bedded sequences. The occurrence of interlayered greenstone in lithofacies 1) suggests rift related deposition. These rift clastics consist of two submarine turbidite-fan systems defined by thick sequences of interlayered feldspathic metasandstone and schist, separated by a region underlain of quartz-schist. Comparison of the Peters Creek Formation with known Iapetan rift clastics in the central Appalachians of Virginia suggests the Peters Creek deposits are also related to Iapetan rifting. Transpressional structural models have been applied to oblique convergence tectonics, with the coeval development of contractional and transcurrent structures. Late Paleozoic post-Taconian deformation in the north-central Appalachian Piedmont of Pennsylvania and Maryland is characterized by two stages of dextral transpression. Stage one comprises a map-scale ductile conjugate shear zone pair (the Rosemont and Crum Creek shear zones) that developed at amphibolite facies. These conjugate shear zones were later overprinted, during stage two, by greenschist facies dextral shear zones that flank broad upright antiforms. Conjugate shear-pair criteria were applied to these structures to constrain the paleo-principal compressive stress orientations. During stage one σ1 and σ3 were shallowly plunging, with σ2 steeply plunging. During stage two σ1 and σ2 were shallowly plunging, with σ3 steeply plunging. The structural evolution and associated change in stress array suggests unroofing during transpression, consistent with the decrease in metamorphic grade. Post-transpressional deformation produced a pair of conjugate cleavages in the lower Susquehanna River region, and determined orientations of the principal compressive stresses suggest Late Paleozoic extension, possibly related to gravitational collapse. Previously published orthogonal collision and tectonic assembly models for the north-central Appalachian Piedmont are incompatible with the new data. Oblique collision tectonics resulted in complex dextral transpressional deformation and large orogen parallel displacement of crustal blocks. Tectonic models that do not include the transpressional orogen component of the tectonic history should be seriously reconsidered. / Ph. D.

Dark Pattern Design är ett paraplybegrepp för design vars syfte är att förvirra, vilseleda eller utnyttja användaren. Detta görs genom att man konstruerar gränssnittet på ett sådant sätt att det döljer, försvårar eller omöjliggör en viss handling för användaren – dessa sätt att designa ett gränssnitt på går att identifiera genom olika mönster. Brignull (2010) och Gray m.fl. (2018) har gjort skapat olika kategorier och definitioner för dessa mönster, men det existerar även andra standarder upprättade av andra forskare och branschexperter. Näthandeln är ett av de vanligaste ställena där man kan hitta mörka mönster, och då Dark Pattern Design kan skapa stora konsekvenser för användaren följs ämnet av en debatt kring etik. Det existerar ett flertal etiska ramverk och hederskodexar ämnade för att hjälpa designers skapa mer etiskt korrekta artefakter som bland annat hederskodexen etablerad av ACM (2018), Berdichevsky och Neuenschwanders (1999) ramverk kring övertygande teknik, med flera. En intervjustudie genomfördes för att undersöka hur UX-designers uppfattade Dark Pattern Design inom näthandeln, vilken roll etiska ramverk hade vid utformningen av artefakter ämnade för näthandel, samt om det existerade ett behov av att etablera en så kallad branschstandard där man särskiljer på vilka mönster som är acceptabla att använda eller inte. Resultatet från intervjustudien visar att UX-designers känner till fenomenet Dark Pattern Design och kan exemplifiera mönster som man vanligtvis stöter på inom näthandeln. Etiska ramverk har ingen större roll vid utformningen av artefakter ämnade för näthandel, men andra ramverk som GDPR och WCAG spelar större roll. Resultatet visar att det inte existerar något behov av att etablera en branschstandard, men respondenterna är öppna för idéen. / Dark Pattern Design is an umbrella term for design whose purpose is to confuse, mislead, or exploit the user. This is done by designing the interface in such a way that it hides, complicates, or makes a certain action inaccessible to the user – these ways of designing an interface can be identified by different patterns. Brignull (2010) and Gray et al. (2018) have created different categories and definitions for these patterns, but there are also other standards established by other scientists and industry experts. E-commerce is one of the most common places where you can find dark patterns, and since Dark Pattern Design can create major consequences for the user, the topic is followed by a debate about ethics. There are several ethical frameworks and codes of honor intended to help designers create more ethically correct artifacts, ACM’s (2018) Code of Ethics, and Berdichevsky and Neuenschwanders (1999) framework regarding persuasive technology are two examples of such. An interview study was conducted to investigate how UX designers perceived Dark Pattern Design in e-commerce, what role ethical frameworks played in the design process for artifacts intended for e-commerce, and whether there was a need to establish an industry standard where one distinguishes which patterns that are acceptable to use or not. The results from the interview study show that UX designers are familiar with the phenomenon of Dark Pattern Design and can exemplify patterns that are usually encountered in e-commerce. Ethical frameworks do not play a major role in the design process of artifacts intended for e-commerce, but other frameworks such as GDPR and WCAG play a greater role. The results show that there is not a need to establish an industry standard, but the respondents are open to the idea.

Typescript (photocopy).rev / Digitized by Kansas Correctional Industries / Department: Computer Science.

Orientador: Marizilda dos Santos Menezes / Resumo: A complexidade é uma propriedade com reconhecimento emergente dentro das ciências, e sua presença está cada vez mais valorizada no desenvolvimento de projetos interdisciplinares. Tratando de lidar com princípios evolutivos e as regras de organização dos sistemas complexos, a complexidade traz conceitos que podem aportar inovações para a área do design e dos métodos de composição de formas e geometrias. Nesse cenário, o design de superfícies é uma especialidade que pode se beneficiar desses novos métodos, principalmente com o avanço das tecnologias digitais e o uso de algoritmos computacionais. Buscando entender a importância da complexidade para o design de superfícies complexas, este trabalho investiga a relação da programação de dados com as metodologias de design envolvidas. Por meio de um estudo de caso, foram pesquisados os projetos que envolvessem os princípios do desenvolvimento de padrões aplicados à área têxtil, estabelecendo a conexão de superfícies bidimensionais e tridimensionais com os sistemas complexos e a utilização de softwares de programação algorítmica, como o Processing e o Grasshopper. Foram realizadas também experimentações que reproduzissem alguns algoritmos de padronagem. Deste modo, o projeto abrange novos caminhos para a concepção do design de superfícies e busca estabelecer parâmetros para o uso de novos processos digitais. / Abstract: Complexity is a property with emerging recognition within the sciences, and its presence is increasingly valued in the development of interdisciplinary projects. Trying to deal with evolutionary principles and the rules of organization of complex systems, complexity theory carry concepts that can bring innovations to the area of design with methods of composition of shapes and geometries. In this scenario, surface design is a specialty that can benefit from these new processes, especially with the advancement of digital technologies and the use of computational algorithms. Seeking to understand the importance of complexity for the design of complex surfaces, this work investigates the relationship of data programming with the design methodologies involved. Through a case study, were analyzed projects involving the development of textile design with pattern principles, establishing the connection of two-dimensional and three-dimensional surfaces with complex systems and the use of algorithmic programming software, such as Processing and the Grasshopper. As a consequence of the research, were also performed experiments that reproduced some algorithms for pattern design. In this way, the project covers new ways of improving surface design and establishes parameters for the use of new digital processes. / Mestre

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Submitted in fulfilment of the requirements for the Degree of Master of Applied Arts in Fashion, Durban University of Technology, Durban, 2017. / The South African pear-shaped Black women’s jeans market has been confronted by fit dissatisfaction, although there is a growing demand for jeans. This study was approached from a viewpoint that jeans do not fit a large population of this consumer group and investigates the issues related to this problem. Local manufacturers and retailers currently use an adaptation of the British sizing system to suit their customer profile. Not much research however, has been carried out on developing a sizing system for the pear-shaped figure type, which makes up a sizeable portion of the population in the country. The intention of the study was to establish key variables for developing a jeans sizing system for Black South African pear-shaped indigenous women. A total of 60 Black women aged 18-35 years at the Cape Peninsula University of Technology were scanned for body measurements using a 3D body scanner. Body measurement differences were examined by using a quantitative research approach to establish the difference between waist and hip measurements. The findings revealed an average drop value of 39cm between waist and hip circumference for a Black pear-shaped figure, in comparison to a drop value of 24cm for a standardised sizing used by the clothing industry. It is recommended that the major stakeholders in South Africa conduct a national anthropometric study to update sizing systems, by using 3D body scanning technology, which provides accurate and consistent measurements of the human body. / M

Within Alinea, the purpose is to explore the use of bioplastic as unconventional yarn in the traditional technique of handweaving. The focus toward bioplastic as a design material and the technique of handweaving as the fabrication technique to generate broader alternatives for using bioplastic materials in woven textile design. Described through experimental and practise-based research, handwoven bioplastic samples have been explored to investigate the methods of structures and bindings, gradient colouring and print design within bioplastic and weaving. With the attempt to make bioplastic more accessible for the textile industry. The experimental design research resulted in scaled prototypes that showcase a collection of seven pieces that present various design possibilities and potentials regarding bioplastic within the textile weaving technique, including distinct structural tactile qualities bioplastics can offer to the field of textile. It can be concluded that bioplastic can play a role in becomes a desirable material steering textile design towards a more sustainable future in the textile design field. Furthermore, give handwoven materials new aesthetics by producing unique structures and tactile features.

The purpose of this research was to establish the relationship between the stylistic changes the men's business suit and the masculine roles as represented in advertising imagery in the United States from 1950 through 1988. The men's business suit is a behavioral expectation for business and professional men often called "white collar workers." The suits are a social product given to change as collective tastes are manifest over time. The masculine role, a set of behavioral expectations dictated by consensus, is also a social product given to change over time. This research examined the relationship between changes in styling of men's business suits, and changes in masculine roles apparent in advertising. A content analysis of men's business suits was executed to quantify the stylistic expressions, manifest in the structural components of the business suit. The classic appearance was represented by a composite illustration and was used as a device against which to compare the dominant style traits apparent in business suits for each decade researched. A survey of advertising and editorial spreads in The New York Times, Esquire and Vogue was combined with a survey of scholarly literature on gender and masculine roles to determine the pervasive masculine roles for each decade. / Master of Science

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