Studies were conducted on the penetration and permanence of 1.0% chlorpyrifos [0,0-diethyl 0-(3,5,6-trichloro-2-pyridyl) phosphorothioate], formulated as Dursban® TC (Dow Chemical Co.), in pine (Pinus spp.), spruce (Picea spp.), and fir (Abies spp.). Results indicated the highest degree of penetration in southern yellow pine. Surface roughness and orientation had an effect upon chemical penetration. Longevity studies ranging over time periods from three to 52 months revealed rapid loss of chlorpyrifos from the surface of the wood but relatively stable below-surface concentrations. Similar studies with 0.5% permethrin [(3-phenoxypheny]) methyl] (+) - cis, trans-3-(2,2-dichloroethenyl)-2,2dimethylcyclopropane-carboxylate] applied to the same wood types revealed comparable penetration differentials between types of wood. Formulation differences had little significant effect on penetration. One-year longevity studies revealed surface losses less drastic than those reported for chlorpyrifos, as well as superior below-surface stability. Studies employing volumes five, 10, and 25 times less than that required to achieve a runoff application revealed significantly lower chlorpyrifos penetration with reduced volume. Some reduced volumes resulted in below-surface concentrations of chlorpyrifos higher than the LC₉₀ value for Hylotrupes bajulus (Coleoptera: Cerambycidae). Toxicity testing with chlorpyrifos on first-instar larvae of H. bajulus, the old house borer, revealed contact LC₅₀ and LC₉₀ values of 14 ppm and 78 ppm, respectively. Similar tests with permethrin indicated LC₅₀ and LC₉₀ values of 2 ppm and 8 ppm. Tests with first-instar larvae on wood treated with 1.0% chlorpyrifos and 0.5% permethrin resulted in 100% mortality on wood aged for nine months in the case of chlorpyrifos, and six months in the case of permethrin. Tests utilizing H. bajulus eggs placed on treated wood revealed ovicidal properties of permethrin and lack of ovicidal effect with chlorpyrifos. Accelerated ageing studies employing an environmental chamber (40°C, 70% RH) at a 1:6 ratio of accelerated to natural weathering indicated no significant difference in surface or below-surface concentrations of permethrin in wood aged artificially for one month and in wood aged naturally for six months. Similar results were obtained with chlorpyrifos-treated wood artificially aged for 10 months and aged naturally for 4-1/3 years. Mathematical models were developed to predict surface and one millimeter concentrations of chlorpyrifos and permethrin after five and 10 years. / Ph. D.

Wood-based panel products (WBPs) are considered highly sustainable due to their carbon neutrality, low embodied energy, and ability to be produced from various low-grade wood species. However, WBPs exhibit limited resistance to biological degradation, which can deteriorate their mechanical performance and shorten their service life. Additionally, WBPs may not be fully compatible with traditional wood preservation chemicals. This dissertation demonstrated a facile method of synthesizing essential oil-based natural preservatives compatible with WBPs. Four essential oils (EOs), namely thymol (THY), trans-cinnamaldehyde (tCN), carvacrol (CRV), and eugenol (EUG), were complexed with beta-cyclodextrin (beta-CD) to form beta-CD-EOs inclusion complexes through a sonochemical process using a high-power ultrasonicator (750W). The sonochemical variables, such as a molar ratio between beta-CD and EO, ultrasonication power, and centrifugation speed and time, were optimized to improve the inclusion yield of EOs in the complex and facilitate the large-scale production of beta-CD-EOs. Attenuated Fourier transform infrared spectroscopy (AT-FTIR) and X-ray diffraction analysis confirmed the formation of inclusion complexes at the different production scales. The inclusion yield of EOs in the complexes was estimated by ultraviolet-visible spectrophotometry (UV-vis) as well as thermogravimetric analysis (TGA), which was capable of differentiating unreacted EOs and loosely encapsulated EO molecules from the estimation of the inclusion yield. Differential scanning calorimetry (DSC) revealed that beta-CD-tCN did not adversely affect the curing properties of polymeric methylene diisocyanate (pMDI) used as a glue for plywood. The influence of beta-CD-tCN addition on the bonding strength of the wood composite was assessed by a lap shear strength test using 3-ply SYP plywood, following ASTM D906-20. Statistical analysis using the Tukey test at p<=0.05 indicated no significant difference between the bonding strength of pMDI and beta-CD-tCN as an additive, indicating that beta-CD-tCN could be successfully implemented in the manufacturing process of wood composite products as natural preservatives.

An Art School in Old Town Edinburgh that has historically preserved facades along the Royal Mile, bridging old and new in a new city center. / Master of Architecture / For my thesis I wanted a site where I could combine old and new. A site that had a lot of history and some element of historical preservation, but not so old that there wasn't flexibility in what could be done with it. I began by focusing on sites in Britain, which has some truly wonderful ancient cities and structures, some of which have been continuously occupied for thousands of years. The site I chose has a unique development history for Edinburgh, a touch of historic preservation in the mandate to keep the exterior walls along the Royal Mile, but otherwise free to be developed as desired behind these walls. The nature of the site, along the North side of a slope downward away from the Royal Mile, and the height restrictions of Old Town, meant that the site itself receives even North lighting throughout the year, but not much else. This even lighting combined with translucent roofs and ceilings, was the original inspiration for an Art School here. The Art School is meant to explore how a place of learning can maximize its sources of natural lighting, how the school can serve the public by idsplaying student's artwork and hosting local events, how school support areas can be made both accessible and secure, and how the students who attend can be housed affordably.

My thesis is an urban intervention into the small town of Blacksburg, Virginia. The ideas and explorations of this project are derived from the placement of a canopy over the Main Street of the downtown. The thesis addresses the existing energy and essence of the town, while introducing the external object of a canopy and a grid to establish a level of order and unity for the area. / Master of Architecture

A comparison of two methods to deal with allocating controls for unattainable moments in an aircraft was performed using a testbed airframe that resembled an F/A-18 with a large control effector suite. The method of preserving the desired moment direction to deal with unattainable moments is currently used in a specific control allocator. A new method of prioritizing the pitch axis is compared to the moment-direction preservation. Realtime piloted simulations are completed to evaluate the characteristics and performance of these methods. A direct comparison between the method of preserving the moment direction by scaling the control solution vector and prioritizing the pitching moment axis is performed for a specific case. Representative maneuvers are flown with a highly unstable airframe to evaluate the ability to achieve the specific task. Flight performance and pilot interpretation are used to evaluate the two methods. Pilot comments and performance results favored the method of pitch-axis prioritization. This method provided favorable flight characteristics compared to the alternative method of preserving the moment direction for the specific tasks detailed in this paper. NOTE: An updated copy of this ETD was added on 09/28/2010. / Master of Science

[ES] El videoarte surge en la década de 1960 con la comercialización de los primeros equipos de video electrónico, ofreciendo a los artistas posibilidades estéticas ilimitadas en un momento clave para la desmaterialización de la obra de arte y el activismo social. En la actualidad, el video es uno de los medios más empleados en el arte contemporáneo, manteniendo el espíritu transformador que lo caracterizó en sus inicios, y tiene cada vez mayor presencia en las colecciones de los grandes museos. La presente Tesis Doctoral pretende estudiar el espíritu activista del video y sus transformaciones en relación con otros productos audiovisuales habitualmente presentes en las colecciones artísticas, así como realizar una clasificación desde el punto de vista de la conservación-restauración de los diferentes tipos de videoarte. Simultáneamente, conforme avanza la llamada Era Digital, la naturaleza del video se ve transformada, y las instituciones se enfrentan a nuevos retos en relación con la preservación y exhibición del video y los nuevos hábitos de los visitantes. En este marco, las plataformas online aparecen como una herramienta indispensable, ofreciendo acceso al patrimonio video artístico a las grandes audiencias y favoreciendo las transformaciones sociales pretendidas por los artistas. La transición de los formatos físicos a las plataformas digitales presentan una serie de problemáticas, especialmente en relación con la consideración de la autenticidad, la participación y los derechos de autor. La investigación también explora estos retos y propone una clasificación de los diferentes tipos de archivos de video online junto con un análisis comparativo de casos de estudio, con el objetivo de ofrecer una visión completa de los aspectos teóricos y prácticos de la conservación de videoarte y establecer un paradigma sostenible e inclusivo para el videoarte, que asegure su preservación en el futuro. / [CA] El videoart sorgeix en la dècada de 1960 amb la comercialització dels primers equips de vídeo electrònic, oferint als artistes possibilitats estètiques il·limitades en un moment clau per a la desmaterialització de l'obra d'art i l'activisme social. En l'actualitat, el vídeo és un dels mitjans més emprats en l'art contemporani, mantenint l'esperit transformador que el va caracteritzar en els seus inicis, i té cada vegada major presència en les col·leccions dels grans museus. La present Tesi Doctoral pretén estudiar l'esperit activista del vídeo i les seues transformacions en relació amb altres productes audiovisuals habitualment presents en les col·leccions artístiques, així com realitzar una classificació des del punt de vista de la conservació-restauració dels diferents tipus de videoart. Simultàniament, conforme avança l'anomenada Era Digital, la naturalesa del vídeo es veu transformada, i les institucions s'enfronten a nous reptes en relació amb la preservació i exhibició del vídeo i els nous hàbits dels visitants. En aquest marc, les plataformes en línia apareixen com una eina indispensable, oferint accés al patrimoni vídeo artístic a les grans audiències i afavorint les transformacions socials preteses pels artistes. La transició dels formats físics a les plataformes digitals presenten una sèrie de problemàtiques, especialment en relació amb la consideració de l'autenticitat, la participació i els drets d'autor. La investigació també explora aquests reptes i proposa una classificació dels diferents tipus d'arxius de vídeo en línia juntament amb una anàlisi comparativa de casos d'estudi, amb l'objectiu d'oferir una visió completa dels aspectes teòrics i pràctics de la conservació de vídeo art i establir un paradigma sostenible i inclusiu per al vídeo art, que assegure la seua preservació en el futur. / [EN] Video art emerged in the 1960s with the commercialisation of the first electronic video equipment, offering artists unlimited aesthetic possibilities at a critical moment for the dematerialisation of the work of art and social activism. Today, video is one of the most widely used media in contemporary art, maintaining the transformative spirit that characterised it in its beginnings, and it is increasingly present in the collections of major museums. This Doctoral Thesis aims to study the activistic spirit of video and its transformations concerning other audiovisual products usually present in art collections, as well as to carry out a classification from the point of view of conservation-restoration of the different types of video art. Simultaneously, as the so-called Digital Age advances, the nature of video is transformed, and institutions face new challenges in relation to video preservation and exhibition and visitors' new habits. In this framework, online platforms appear as an indispensable tool, offering access to video art heritage to large audiences and favouring the social transformations intended by artists. The transition from physical formats to digital platforms presents challenges, especially considering authenticity, participation and copyright. The research also explores these challenges and proposes a classification of different types of online video archives together with a comparative analysis of case studies, intending to provide a comprehensive overview of the theoretical and practical aspects of video art preservation and establish a sustainable and inclusive paradigm for video art, which will ensure its preservation in the future. / Agradecer las concurrencias competitivas y proyectos que me han permitido la realización de la investigación. En concreto, el Contrato Predoctoral para la Formación de Doctores dentro del Programa Propio de la Universitat Politècnica de València – Subprograma 1 (PAID-01- 20), del que he disfrutado entre 2020 y 2023; así como los proyectos asociados al Archivo ARES, el Proyecto MINECO de I+D+i ARES: Archivo y estudio crítico de las prácticas artísticas audiovisuales (vídeo expandido) en el arte español. Identidad y nuevos medios (2013-2017) y el Proyecto MCIN de I+D+i EShID: Estéticas híbridas de la imagen en movimiento. Videoarte español y dinámicas identitarias en el mapa global (2019- 2022), que me han permitido formar parte del grupo de investigación asociado a la colección. / Fernández Valdés, P. (2023). Pasado, presente y futuro del videoarte en España: nuevas posibilidades para su preservación mediante estrategias de distribución en red [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/200467

No / The maintenance of self in dementia is associated with socio-biographical factors. The theoretical literature suggests that interpersonal relationships, the social context, and the generation of stories are important in maintenance of self. Empirical research on self in dementia supports this but has been predominantly conducted with participants living in the community. Living in residential care brings additional threats to self. This paper presents a study examining the relevance of a socio-biographical theory of self to people with dementia living in residential care. Between 3 and 8 tape-recorded and transcribed unstructured interviews were conducted with 14 people with dementia who were living in 4 residential homes throughout England and Wales, over a 6-24-month period. They were analysed using an interpretive biographical methodology. The results provide evidence to support the relevance of a socio-biographical theory of self to this group. Relationships with family, other residents and care home staff were important for maintenance of self. Social roles related to work, being part of a family, caring for others and being cared for, were particularly significant for self in this group. The creation of a life story, stories of selected life events, and the telling of stories with possible metaphorical interpretations were also important for the maintenance of self. The results also suggest that psychological and embodied factors may be relevant to the self in dementia. The study suggests that staff working in residential homes should consider these elements if they are to provide care that supports maintenance of self for people with dementia. Implications for future research are discussed.

This thesis project explores the development of a project about culture preservation conducted between an Italian designer and a Somali collector. For the process to be fair and respectful, a decolonising stance and a pluriversal approach were applied. The literature related to this area of interaction design will be presented with an insight into positionality, as well as design cases that hold an impact on the process and final design. Afterwards, it will be discussed the methodology employed for this case study that consisted of a dialogical and iterative process with a personal approach. The tangible result of this dialogue is manifested through a lectern that mimics the interaction between the two participants of the project. This thesis aims to advocate for the customization of the design process in order to respect the individualities and needs of the participants.

Video understanding involves tasks like action recognition, video retrieval, human pose propagation which are essential for applications such as surveillance, surgical videos, sports analysis, and content recommendation. The progress in this domain has been largely driven by advancements in deep learning, facilitated by large-scale labeled datasets. However, video annotation presents significant challenges due to its time-consuming and expensive nature. This limitation underscores the importance of developing methods that can learn effectively from unlabeled or limited-labeled data, which makes self-supervised learning (SSL) and semi-supervised learning particularly relevant for video understanding. Another significant challenge in video understanding is privacy preservation, as methods often inadvertently leak private information, presenting a growing concern in the field. In this dissertation, we present methods to improve the label efficiency of deep video models by employing self-supervised and semi-supervised methods, and a self-supervised method designed to mitigate privacy leakage in action recognition task. Our first contribution is the Temporal Contrastive Learning framework for Video Representation (TCLR). Unlike prior contrastive self-supervised learning methods which aim to learn temporal similarity between different clips of the same video, TCLR encourages the learning differences rather than similarities in clips from the same video. TCLR consists of two novel losses to improve upon existing contrastive self-supervised video representations, contrasting temporal segments of the same video at two different temporal aggregation steps: clip level and temporal pooling level. Although TCLR offers an effective solution for video-level downstream tasks, it does not encourage framewise video representation for addressing low-level temporal correspondence-based downstream tasks. To promote a more effective framewise video representation, we first eliminate learning shortcuts present in existing temporal pretext tasks by introducing framewise spatial jittering and proposing more challenging frame-level temporal pretext tasks. Our approach "No More Shortcuts"(NMS) results in state-of-the-art performance across a wide range of downstream tasks, encompassing both high-level semantic and low-level temporal correspondence tasks. While the VideoSSL approaches, TCLR and NMS, focus only on learning from unlabeled videos, in practice, some labeled data often exists. Our next focus is on semi-supervised action recognition, where we have a small set of labeled videos with a large pool of unlabeled videos. Using the observations from the self-supervised representations, we leverage the unlabeled videos using the complementary strengths of temporally-invariant and temporally-distinctive contrastive self-supervised video representations. Our proposed semi-supervised method "TimeBalance" introduces a student-teacher framework that dynamically combines the knowledge of two self-supervised teachers based on the nature of the unlabeled video using the proposed reweighting strategy. Although TimeBalance performs well for coarse-grained actions, it struggles with fine-grained actions. To address this, we propose "FinePseudo" framework, which leverages temporal alignability to learn phase-aware distances. It also introduces collaborative pseudo-labeling between video-level and alignability encoder, refining the pseudo-labeling process for fine-grained actions. Although the above mentioned video representations are useful for various downstream applications, they often leak a considerable amount of private information present in the videos. To mitigate the privacy leaks in videos, we propose SPAct, a self-supervised framework that removes private information from input videos without requiring privacy labels. SPAct exhibits competitive performance compared to supervised methods and introduces new evaluation protocols to assess the generalization capability of the anonymization across novel action and privacy attributes. Overall, this dissertation contributes to the advancement of label-efficient and privacy-preserving video understanding by exploring novel self-supervised and semi-supervised learning approaches and their applications in privacy-preserving action recognition.

Using ethnographic research methods, I worked with the International Game Developers Association (IGDA) to conduct an exploratory study about developer perspectives on video game preservation. I conducted in-depth interviews with independent developers in the Dallas-Fort Worth region, a hub for Texas game development. These interviews explored developers' knowledge and awareness of game preservation as a topic of concern, archival culture and practices in the industry, and the IGDA's potential role in addressing issues related to preservation work. This research contributes to a growing body of literature on game preservation, urgently needed as many gaming technologies face obsolescence in the near future. I use Ellen Cushman's concept of "perseverance" to examine the difference between simply preserving video games for the future, and the perseverance of game development as a professional trade and artistic craft.