Snake species are notoriously difficult to study in the field due to their cryptic natural-histories and secretive behaviors. Difficulties associated with detection present challenges estimating parameters including occupancy and abundance, as well as responses to habitat degradation. Our objectives were to use Passive Integrated Transponder (PIT) telemetry to enhance detection of Queensnakes (Regina septemvittata) as compared to traditional capture-mark-recapture (CMR) survey techniques and to examine occupancy and abundance of Queensnakes and Northern Watersnakes (Nerodia sipedon) in streams of differing levels of anthropogenic impact within Central Kentucky. During 2013, we captured Queensnakes and implanted them with PIT tags. We detected significantly more tagged snakes using PIT telemetry than visual surveys. We did not observe significant differences in numbers of snakes detected using PIT telemetry at different times of day. We observed relatively high site fidelity of individuals. During 2014, we conducted point-count surveys of Northern Watersnakes and Queensnakes in streams characterized as highly degraded and lightly impaired. We estimated occupancy and conditional abundance among site types. We did not observe significant differences in occupancy or abundance between historically highly-impacted sites and less-impacted sites. We were able to determine significance of some environmental variables influencing detection of snakes.

The purpose of this thesis is to examine a new approach to planning as advocated by Ron Clark, the Director of Planning in Regina from 1976 to 1980. Compared to the traditional planning role, Clark outlined an activist orientation to planning based on the following five strategies. It was short term and issue oriented as opposed to "master" planning, policy planning versus reactive and regulatory planning, public participation rather than planning for private interests, and political intervention instead of a passive and non-controversial role. The study reviews the relevant literature to develop a theoretical perspective on the urban planner's role. The traditional approach to planning, the rational comprehensive model, is examined along with two basic reforms to this model in order to contrast the planning style advocated by Clark. Next, theoretical concerns regarding each of Clark's strategies are outlined. A case study of the inner city is the basis for analyzing the extent to which these strategies were put into practice. In addition, the formulation of Regina RSVP, a municipal development plan for the City, is examined to ascertain the extent of public input as the latter strategy was to be a major feature of planning in Regina. The study concludes that Clark was successful in introducing a new planning process to Regina. This was reflected in city council's support of Regina RSVP. Rather than being a traditional land use plan, RSVP documents presented a strategy for public planning, described major and emerging issues confronting the City, and offered policy objectives for resolving these issues. In the process, a model for the future development of Regina emerged. The case study on inner city planning clearly showed that Regina planners were successful in implementing their strategies. Planning staff and community groups identified pressing inner city problems, short term action was taken, planning was policy oriented, there was a considerable amount of community level participation, and Regina planners were activists in terms of both initiating action and lobbying for the implementation of planning goals. However, the study also found some limitations in the application of these strategies. With respect to Regina RSVP, public participation was not initiated at an early stage of the planning process. There was a lack of documented evidence on many inner city problems or research on viable growth alternatives. Lastly, the strategies of political intervention and public participation create potential role conflicts as to who should initiate planning goals. Two external constraints which reduced the effective application of these strategies also became apparent. First, policy planning at the local level is difficult due to the dominant role of the provincial government. Secondly, planners are constrained in making long term improvements as their legitimacy has been limited primarily to technical matters. Local planners are unable to make any basic changes as they have little power to influence social and economic trends. At best, they can support programs that alleviate some of their worst effects. This case study has illustrated an approach to planning that re-defined the planner's role beyond the traditionally passive and technical role critics have claimed characterize the profession. Regina planners were largely successful in implementing their strategies. Because the approach used in Regina went well beyond basic reforms to the profession, and proved to be implementable, the strategies of short term action, issue orientation, policy formation, public participation, and political intervention should be used by other urban planners in Canada. If planners want to assume a more influential role in city development, there will have to be more discussion on the practice and function of the planning profession. Planning education should also reflect a more responsible role for planners. The values and purposes of planning should be stressed over technical competency. An understanding of who and what we are planning for is more important than achieving proficiency in using planning tools. / Applied Science, Faculty of / Community and Regional Planning (SCARP), School of / Graduate

Orientador : Carol H. Collins / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Quimica / Made available in DSpace on 2018-07-19T12:02:21Z (GMT). No. of bitstreams: 1 Mesquita_ReginaCleliadaCosta_M.pdf: 7376205 bytes, checksum: 64733609cb260a0a2d7b48e3dbc2b0d2 (MD5) Previous issue date: 1994 / Mestrado

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Esta tese parte dos contextos de obras de Regina Silveira (Porto Alegre, RS, 1939) e Carlos Fadon Vicente (São Paulo, SP, 1945), realizadas a partir dos anos de 1970, para reflexão e problematização sobre as relações entre fotografia e ficção, na arte contemporânea. Entre os artistas brasileiros que tiveram importante atuação nos anos 1970 no uso da fotografia como elemento de suas obras, ou como fotógrafos, este estudo enxerga em Regina Silveira e Carlos Fadon Vicente pesquisas seminais e declaradas em torno da representação e do debate sobre a visualidade, que persistem até hoje. Este estudo reconhece também similaridades nas obras dos dois artistas, mesmo que trabalhadas de modo diferente, no que concerne ao uso de elementos que levam à problematização do conceito de representação e à ideia de ficção. A dualidade entre arte e fotografia e vice-versa, permeia toda a tese. Da mesma forma, o debate em torno da ficção dado a partir da ideia de terreno como conjunto de significados capaz de problematizar diversas noções de ficção: fingir, imitar, parecer semelhante, real, verdadeiro, fidedigno, verossímil. Iludir, encenar, construir, falsificar. Tornar ambíguo, virtual, simular. O ponto fulcral da questão reside no jogo em torno da representação, da natureza artificiosa da imagem fotográfica. A fotografia permeia o campo das Artes Visuais e o da própria Fotografia, como suporte mediático que possibilita se pensar a questão da representação, o embate entre as noções de realidade e de ficção e a permeabilidade entre ambas: a ficção pode constituir uma realidade em si mesma. A ideia de ilusão explorada e demonstrada a partir do uso da fot ografia como fonte ficcional. As reflexões giram ao redor do debate sobre a representação na ou por meio da fotografia. As noções de ilusão, ficção e simulacro se manifestam de maneira semelhante e intercambiável tanto quando estamos diante da fotografia (tout court), como de uma obra visual que tem a fotografia como base. Quando o assunto é fotografia, alguns debates entram em pauta. Por exemplo, a questão da fotografia como documento, como memória; o embate entre real e ficcional; a fotografia como arte; a postura do fotógrafo perante a fotografia. No momento em que o assunto é arte contemporânea, outros debates ao redor da fotografia, e da própria arte, são suscitados como o caso em que a fotografia está presente como componente da obra, e, dessa forma, de que maneira ela dialoga com a arte e cria sentidos semelhantes àqueles quando se trata da fotografia tout court. Observam-se as especificidades da fotografia e seu trânsito entre os campos, Arte e Fotografia, permeando-os, de modo a refletir sobre o que acontece quando está no campo da Arte Contemporânea e de que forma contribui para trazer à tona uma discussão sobre ficção e representação. Como faceta metodológica, este estudo emprega, além das imagens das obras visuais, entrevistas com os dois artistas e documentos de época, de modo a contextualizar, esclarecer e enriquecer o debate e a reflexão empreendidos na tese. / This thesis comes from the context of works by Regina Silveira (Porto Alegre, RS, 1939) and Carlos Fadon Vicente (São Paulo, SP, 1945), carried out from the 1970s, for reflection and problem contextualization about relationships between photography and fiction in contemporary art. Among Brazilian artists, who had important performances in the 70s as photographers or with the use of photography as an element of their work, this study is complied with Regina Silveira and Carlos Fadon Vicente seminal researches over representation and declared debate on visuality, that persists todays. This study also recognizes similarities in the works of both artists, even if accomplished in a different manner in what concerns the usage of elements that lead to the questioning of the concept of representation and the idea of fiction. The duality between art and photography and vice-versa, involves all the theses. Similarly, the debate around fiction given from the idea of terrain as a set of meanings capable to bring problems to several notions of fiction: pretending, imitating and looking similar, real, truthful, faithful, credible: illusion, staging, building, faking. Make it ambiguous, virtual, simulated. The crucial point of the question resides around the representation of the artificial nature of the photographic image. The photograph lines up with the field of Visual Arts and of Photography itself as a media support that enables to think of the representation question, the clash between the notions of reality and fiction and the permeability between the two: fiction can constitute a reality in itself. The idea of illusion exploited and demonstrated through the use of photography as a fictional source. Reflections turn around the debate over representation on photography or through its means. Notions of illusion, fiction and simulation show themselves in a similar and interchangeable manner, as well as when we are before a photograph tout court, or before a visual work with a photography basis. When the subject is photography, some debates arise, for instance: the issue of photography as a document, as a source of memory; the draw between whats real and fictional; photography as an art and the photographers attitude before the photograph. When it comes to contemporary art, other debates arise around photography, and art itself, it comes to the case when photography is present as a component of the work, and, this way, exposes the manner it creates a dialog with art and similar meanings to those related to photography tout court. The specifics of photography are observed, as well as its transit among the fields, Art and Photography, lining them up, so as to reflect what happens in the sphere of Contemporary Art and the way it contributes to arouse a discussion about fiction and representation. As a methodological asset, this study applies, on top of visual work images, interviews with the two artists and a set of documents, in such a way to contextualize, clarify and enrich the debate and reflection invested in the thesis.

Esta tese parte dos contextos de obras de Regina Silveira (Porto Alegre, RS, 1939) e Carlos Fadon Vicente (São Paulo, SP, 1945), realizadas a partir dos anos de 1970, para reflexão e problematização sobre as relações entre fotografia e ficção, na arte contemporânea. Entre os artistas brasileiros que tiveram importante atuação nos anos 1970 no uso da fotografia como elemento de suas obras, ou como fotógrafos, este estudo enxerga em Regina Silveira e Carlos Fadon Vicente pesquisas seminais e declaradas em torno da representação e do debate sobre a visualidade, que persistem até hoje. Este estudo reconhece também similaridades nas obras dos dois artistas, mesmo que trabalhadas de modo diferente, no que concerne ao uso de elementos que levam à problematização do conceito de representação e à ideia de ficção. A dualidade entre arte e fotografia e vice-versa, permeia toda a tese. Da mesma forma, o debate em torno da ficção dado a partir da ideia de terreno como conjunto de significados capaz de problematizar diversas noções de ficção: fingir, imitar, parecer semelhante, real, verdadeiro, fidedigno, verossímil. Iludir, encenar, construir, falsificar. Tornar ambíguo, virtual, simular. O ponto fulcral da questão reside no jogo em torno da representação, da natureza artificiosa da imagem fotográfica. A fotografia permeia o campo das Artes Visuais e o da própria Fotografia, como suporte mediático que possibilita se pensar a questão da representação, o embate entre as noções de realidade e de ficção e a permeabilidade entre ambas: a ficção pode constituir uma realidade em si mesma. A ideia de ilusão explorada e demonstrada a partir do uso da fot ografia como fonte ficcional. As reflexões giram ao redor do debate sobre a representação na ou por meio da fotografia. As noções de ilusão, ficção e simulacro se manifestam de maneira semelhante e intercambiável tanto quando estamos diante da fotografia (tout court), como de uma obra visual que tem a fotografia como base. Quando o assunto é fotografia, alguns debates entram em pauta. Por exemplo, a questão da fotografia como documento, como memória; o embate entre real e ficcional; a fotografia como arte; a postura do fotógrafo perante a fotografia. No momento em que o assunto é arte contemporânea, outros debates ao redor da fotografia, e da própria arte, são suscitados como o caso em que a fotografia está presente como componente da obra, e, dessa forma, de que maneira ela dialoga com a arte e cria sentidos semelhantes àqueles quando se trata da fotografia tout court. Observam-se as especificidades da fotografia e seu trânsito entre os campos, Arte e Fotografia, permeando-os, de modo a refletir sobre o que acontece quando está no campo da Arte Contemporânea e de que forma contribui para trazer à tona uma discussão sobre ficção e representação. Como faceta metodológica, este estudo emprega, além das imagens das obras visuais, entrevistas com os dois artistas e documentos de época, de modo a contextualizar, esclarecer e enriquecer o debate e a reflexão empreendidos na tese. / This thesis comes from the context of works by Regina Silveira (Porto Alegre, RS, 1939) and Carlos Fadon Vicente (São Paulo, SP, 1945), carried out from the 1970s, for reflection and problem contextualization about relationships between photography and fiction in contemporary art. Among Brazilian artists, who had important performances in the 70s as photographers or with the use of photography as an element of their work, this study is complied with Regina Silveira and Carlos Fadon Vicente seminal researches over representation and declared debate on visuality, that persists todays. This study also recognizes similarities in the works of both artists, even if accomplished in a different manner in what concerns the usage of elements that lead to the questioning of the concept of representation and the idea of fiction. The duality between art and photography and vice-versa, involves all the theses. Similarly, the debate around fiction given from the idea of terrain as a set of meanings capable to bring problems to several notions of fiction: pretending, imitating and looking similar, real, truthful, faithful, credible: illusion, staging, building, faking. Make it ambiguous, virtual, simulated. The crucial point of the question resides around the representation of the artificial nature of the photographic image. The photograph lines up with the field of Visual Arts and of Photography itself as a media support that enables to think of the representation question, the clash between the notions of reality and fiction and the permeability between the two: fiction can constitute a reality in itself. The idea of illusion exploited and demonstrated through the use of photography as a fictional source. Reflections turn around the debate over representation on photography or through its means. Notions of illusion, fiction and simulation show themselves in a similar and interchangeable manner, as well as when we are before a photograph tout court, or before a visual work with a photography basis. When the subject is photography, some debates arise, for instance: the issue of photography as a document, as a source of memory; the draw between whats real and fictional; photography as an art and the photographers attitude before the photograph. When it comes to contemporary art, other debates arise around photography, and art itself, it comes to the case when photography is present as a component of the work, and, this way, exposes the manner it creates a dialog with art and similar meanings to those related to photography tout court. The specifics of photography are observed, as well as its transit among the fields, Art and Photography, lining them up, so as to reflect what happens in the sphere of Contemporary Art and the way it contributes to arouse a discussion about fiction and representation. As a methodological asset, this study applies, on top of visual work images, interviews with the two artists and a set of documents, in such a way to contextualize, clarify and enrich the debate and reflection invested in the thesis.

This thesis explores energy efficiency in space heating for new single-family detached mass-market houses in two locations— Regina, Saskatchewan and Vancouver, British Columbia. The study is based on the premise that the energy efficiency of new housing is insufficient given its long life-span and the uncertainty of future energy supplies. The study investigates the process by which housing consumers, builders, government housing programs and regulations interact, in order to understand the obstacles to achieving greater energy efficiency. Seventeen builders were interviewed in Regina and Vancouver together with architects, building inspectors and other individuals closely related to the housing industry. The thesis begins by outlining the problem and justifying the method of investigation. Chapter Two briefly describes Canada's energy context, establishes a need for greater energy conservation, and examines government energy efficiency regulations and other initiatives to encourage greater energy efficiency in new housing. Chapter Three describes the techniques available to the mass-market builder for improving the energy efficiency, of the building envelope and briefly explains some passive solar design options. Chapter Four reviews the economics of residential energy conservation from the perspective of the consumer. Cost-effectiveness analysis and its limitations are described and costs and payback periods are approximated for the techniques detailed in Chapter Three. The chapter concludes with an account of the economic constraints to increasing energy efficiency in new housing. Chapter Five briefly explains the important attitudinal and regulatory barriers to energy efficient housing. Chapter Six examines the energy efficiency standards of the builders interviewed, their responses to key questions, and discusses the major issues that arose from the interviews. The final chapter outlines the major findings of the thesis, and on this basis attempts to justify government intervention to overcome the market inadequacies uncovered in the investigation. The study found that in the absence of strict government regulation of energy efficiency standards in the housing industry, builders have built to standards reflecting consumer preferences and awareness of energy efficiency which have been influenced by energy prices, government information programs and climate. Regional variation were encountered in that consumer demand was a weaker factor in Vancouver while a more severe climate and more active government participation in Regina has created a greater energy consciousness among consumers and builders. Certain builders in each location were responding to an increased energy awareness by building to higher standards than those prevalent in the market, thus acting to direct future consumer demand. The study uncovered several market inadequacies, economic constraints, social and attitudinal resistances, and government policy shortcomings currently inhibiting greater energy efficiency; among them: 1. The value of energy conserving features does not appear to be recognized in the resale housing market. 2. Projected periods of ownership for new home purchasers are less than five years and in the absence of proven resale value these purchasers are dependent on recovery of energy conserving investment through energy savings within this short period. 3. Strict government regulation of energy efficiency has been absent or so lax as to be an insignificant factor in raising energy efficiency standards. 4. The two determinants of housing energy efficiency, builders and consumers, are lacking information on energy conserving techniques and investment required to make informed choices. These problems, the special nature and long life-span of residential buildings, the consequent broader social welfare goals to be achieved by conserving an essential resource, and the need to protect the economic interests of future homeowners, make the energy efficiency of new housing a special case. As a result, the study argues that there is justification for a comprehensive program of government intervention. / Applied Science, Faculty of / Community and Regional Planning (SCARP), School of / Graduate

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Esta dissertação tem por objetivo analisar artística e historicamente as exposições dos artistas Tunga e Regina Silveira concebidas especialmente para o Centro Cultural Banco do Brasil (CCBB) de São Paulo. Buscamos confrontar/comparar duas obras de Tunga e de Regina Silveira analisando-as criticamente a partir de documentos e projetos pertencentes aos arquivos do CCBB, que permitiram uma avaliação dos resultados pretendidos e alcançados pelos artistas. De maneira mais ampla, buscamos contribuir para o debate e a reflexão acerca da produção artística atual nas artes visuais brasileiras, especialmente no caso do Centro Cultural Banco do Brasil de São Paulo com as exposições de Tunga e Regina Silveira, de forma a provocar a discussão do papel do artista e da atuação das instituições culturais na sociedade contemporânea. / This dissertation aims to examine artistically and historically the exhibitions of artists Tunga and Regina Silveira designed specifically for the Centro Cultural Banco do Brasil (CCBB) in São Paulo. We seek to confront/compare two art works of Tunga and Regina Silveira critically analyzing them from project documents and files belonging to the CCBB, which allowed an evaluation of the results intended and achieved by the artists. More broadly, we seek to contribute to the debate and reflection on the current artistic production in the visual arts in Brazil, especially in the case of Centro Cultural Banco do Brasil in Sao Paulo with the exhibitions of Tunga and Regina Silveira, in order to provoke discussions about the artists role and the activities of cultural institutions in contemporary society.