Inadequate and uncertain transportation funding have in recent years resulted in a renewed emphasis on using investments that can be recovered by toll charges to finance new roads and modernize existing roads. This has raised questions about environmental justice (EJ) and how it pertains to tolling. In 2004, TxDOT Project 0-5208 was funded to propose an approach for the identification, measurement, and mitigation of disproportionately high or adverse impacts imposed on minority and low-income (EJ) communities by toll roads relative to non-tolled facilities. The methodology proposed had two equally important components: an analysis/quantitative component and an effective EJ participation component. However, the research raised concerns about the ability of various available analytical tools and analysis techniques to measure the potential impacts imposed on EJ communities by toll roads relative to non-toll roads. The objective of this thesis study was to extend the work that was conducted under TxDOT Research Project 0-5208 by (a) reviewing the ability of available tools and analysis techniques to quantify and qualitatively describe the EJ impacts associated with toll road projects and toll road systems through an evaluation of state-of-the-practice applications, and (b) recommending a suitable approach to assess the EJ impacts of toll roads and toll road systems on EJ communities. The research conducted to meet the study objectives has culminated in this thesis. / text

Yes / The abstract nature of physical chemistry and spectroscopy makes the subject difficult to comprehend for many students. However, bridging arts and science has the potential to provide innovative learning methods and to facilitate the understanding of abstract concepts. Herein, we present a high-school project based on the conversion of selected infrared absorbances of well-known molecules into audible frequencies. This process offered students a unique insight into the way molecules and chemical bonds vibrate, as well as an opportunity to develop their creativity by producing musical pieces related to the molecules they synthesized. We believe that experiencing chemistry from an alternative viewpoint opens up new perspectives not only for student learning but also for the decompartmentalization of scientific and artistic disciplines. / This project was supported by the Royal Society (Partnership Grant no. PG\170122 to NPEB and NG and University Research Fellowship no. UF150295 to NPEB) and the Academy of Medical Sciences/the Wellcome Trust/the Government Department of Business, Energy and Industrial Strategy/the British Heart Foundation springboard Award [SBF003\1170 to NPEB].

Yes / Alternative forms of information dissemination have always been a crucial part of many radical forms of activism and organization. Arguably the most famous is the ‘zine - popularized in the punk/anarchist subculture of the 1980’s and 90’s, ‘zines were the antithesis of mainstream magazines, journals, and periodicals. They were an extension of the D.I.Y. (do-it-yourself) attitude that flourished within the subculture, reflecting a more informal and individualistic approach to the dissemination of information and ideas without the rigid formalities of mainstream literature. With the emergence of a new countercultural led by millennials, ‘zines have once again found popularity, taking advantage of the Internet to spread information even further than before through digital means. Although all ‘zines are different due to the individualistic and free nature of the format, most are often educational texts that also incorporate other forms of writing and media to help engage its audience with its content in a more exciting and entertaining way. Unfortunately, it appears that ‘zines have yet to find a foothold in academia as they have in social justice and activist groups – this is a shame, as there is a wealth of possibilities for the application of a ‘zine format for the dissemination of information to non-specialist audiences. This paper explores the idea of utilizing ‘zines as an alternative approach to public outreach in archaeology. This will include documenting and reflecting on the current progress of a ‘zine being developed by myself and other archaeologists about anarchist approaches to archaeological theory and practice. I will examine how practical it is to adopt this method for outreach, compare it to the more "traditional" methods of dissemination (journals, conferences, etc.), and reflect on my personal experiences with creating an archaeological 'zine of my own.

Depuis leur émergence au milieu du XIXe siècle, les notes de programme, contenant des informations parfois détaillées sur les œuvres qui s’apprêtent à être jouées, n’ont eu de cesse de s’adresser au public de concerts. Les besoins sont multiples, voire même divergents : donner des outils de compréhension intelligibles aux novices, qui découvrent la musique de compositeurs du passé ou de compositeurs actuels, et en même temps susciter la curiosité d’auditeurs déjà initiés, qui approfondissent ainsi leurs connaissances et leur culture personnelle. Il en va des notes de programme comme d’autres outils de vulgarisation musicale, partagés entre la volonté de rendre la musique classique accessible à tous et le devoir de rigueur musicologique auquel les connaisseurs sont en droit de s’attendre. Dans cette thèse, nous allions la théorie à la pratique. Outre les résultats d’une enquête réalisée en octobre 2017 dans le cadre de trois concerts produits par l’Orchestre symphonique de Montréal (ci-après, OSM) et qui porte notamment sur l’appréciation des notes de programme, nous présentons une série de courtes vidéos de vulgarisation que nous avons préparée pour l’OSM, au cours de la saison 2015-2016. La réalisation de ces nouveaux outils numériques s’appuie sur l’analyse d’un vaste corpus de notes de programme dont nous avons dégagé les tendances et les cas plus particuliers. Des résultats que nous avons obtenus, il ressort que le public de l’OSM, loin d’être homogène, est formé d’auditeurs aux attentes très diverses. Pour beaucoup, les notes de programme sont jugées adaptées à la situation du concert, mais elles génèrent aussi des réactions critiques : trop détaillées pour certains, ou bien pas assez approfondies pour d’autres. Bien qu’ils aient acquis des formations et des connaissances musicales diverses, les membres du public semblent du moins s’accorder sur leur intérêt pour la musique, expliquée par l’analyste. C’est à cet intérêt, correspondant aussi aux exigences de la discipline musicologique, que les notes de programme viennent répondre. La question reste de savoir comment décrire l’objet musical afin de répondre aux besoins de chacun. Dans cette thèse, nous cherchons à proposer une solution. / Since their appearance in the mid-nineteenth century, program notes, sometimes containing detailed information on the works that are about to be performed, have continued to meet audiences needs during concerts. They respond to a wide range of needs: providing intelligible comprehension tools for laymen and laywomen, who discover the music of the past and of the present, while arousing the curiosity of well-accustomed listeners, who increase their knowledge and cultivation. This goes for program notes as well as other music appreciation tools, torn between the desire to make classical music accessible to all and, on the other hand, the rigorous approach to musicology that is expected from connoisseurs. In this thesis, we combine both theory and practice. In addition to an inquiry, conducted in October 2017 as part of three concert nights at the Orchestre symphonique de Montréal (hereafter, OSM) – an inquiry which gives us an idea of how program notes are regarded by concert audiences –, we will display a series of short open educational videos that we produced for the OSM, during the 2015-2016 season. The work necessary for these new digital tools is partly based on the analysis of a large body of former program notes from which we have identified a number of trends and specific cases. The results of the inquiry show that the OSM’s audience, far from being homogeneous, is made up of listeners who bear very different expectations. According to many, the program notes are considered appropriate for one’s concert experience. However, they may also spring critical reactions among concertgoers: either too detailed, tedious for some, or somewhat dull for others. Although audience members have different musical backgrounds and scales of knowledge, both novices and connoisseurs seem to share a common interest in the music itself, which needs to be explained through means of analysis. This interest is being fulfilled by program notes, in line with the requirements of musicological research. The question remains: how can one describe a work of music in order to meet the needs of everyone? In this thesis, we try to find appropriate answers to this matter.