The Columbia River Gorge National Scenic Area (NSA) was created in 1986 in response to a growing interest in preserving the scenic beauty of the gorge. The creation of the NSA and other areas around the country with a scenic resource emphasis indicates a growing interest in protecting landscapes with diverse scenic qualities that are not showcase areas such as the Grand Canyon and Yosemite. NSA mandates included the protection and enhancement of scenic, natural, cultural, and recreational resources (SNCRs) as the primary concern in the consideration of new land uses. The NSA management plan contains a complex mix of management tools for the protection of SNCRs in the gorge. This research was an investigation into how scenic resources policy was developed, with a focus on the scenic resources of the NSA. One issue was the definition of scenic resources, which are undefined in the management plan. Because of the difficulty of identifying scenic resources, other resources may be managed as a surrogate for them. An analysis was made of the scenic resources management schemes of several federal reserve lands with a stated scenic management objective to determine if this was the case, and to compare their management strategies for the NSA. A second issue was the public's understanding of what constitutes a scenic resource and the role that public input had in the development of the management plan. Empirical work suggests that complexity of issues may hinder successful public input processes. A final issue was how identifiable stakeholders in the Columbia River Gorge differed in their views on scenic resources, which may depend on their proximity to and relationship with such resources. Results of data analysis and the interview process reveal that public understanding about scenic resource concepts is low, and that gorge planners were primarily responsible for development of scenic resources policy in the NSA management plan. As expected there were some identifiable differences in the views on scenic resources among various stakeholders. Scenic resources management elsewhere is done primarily through traditional zoning requirements, and the basis of management of scenic resources appears to be for other culturally-defined purposes such as recreation.

No description available.

This thesis is a description of the process of creating the scene design for the Theatre VCU production of Arabian Nights. It was directed by Gabriel Barre and the production ran April 11th – 27th, 2014. It follows the preproduction, build and a final evaluation of the design and the process used in creating it.

Esta pesquisa propõe reflexões acerca da importância dos espaços para a criação na educação musical. Focalizando as práticas de improvisação no ambiente do jogo, foram investigadas as contribuições das experiências de improvisação em jogos cênico-musicais para a formação integral das crianças. O pensamento pedagógico-musical de Hans-Joachim Koellreutter e os jogos desenvolvidos pelo educador nortearam este estudo, assim como as ideias desenvolvidas pela educadora Teca Alencar de Brito. Através de uma pesquisa-ação, uma Oficina de Música voltada a crianças entre sete e dez anos foi instaurada. Esta Oficina perdurou dois meses e foi realizada na Escola de Aplicação da Faculdade de Educação da Universidade de São Paulo (EAFEUSP), atendendo os alunos desta instituição. Visando a perspectiva das crianças a respeito das contribuições dos jogos de improvisação, a coleta de dados articulou diferentes procedimentos: (1) registros audiovisuais; (2) entrevistas semiestruturadas com as crianças; (3) protocolos confeccionados pelos alunos. Considerando a abordagem qualitativa da pesquisa, que possibilita mudanças no decorrer do processo, acrescentou-se às técnicas de coleta de dados uma entrevista semiestruturada com a professora de música da EAFEUSP (professora que acompanhou a prática da pesquisa-ação). Na análise dos dados, apontamentos gerais e específicos foram apresentados, relacionando as opiniões das crianças e da professora de música com as ideias de autores abarcados na pesquisa. Os resultados indicam que as práticas de improvisação, no contexto do jogo cênico-musical, propiciam o desenvolvimento de capacidades musicais e humanas, permitindo pensar acerca da educação musical como meio para a formação integral da criança / The purpose of this research is to reflect about the value of spaces for creation in Music Education. Focusing the improvisation practices inside the game environment, the scenic-musical games improvisation experiences contributions to an integral formation of children were investigated. Hans-Joachim Koellreutter\'s pedagogic-musical thoughts and his games guided this study, as well as the ideas developed by Teca Alencar de Brito. Proposed as an action-research, was offered a Music Workshop to children from seven to ten years old from Application School at USP, occurring weekly between April and June of 2014. Aiming the children own perspective about the improvisation games contributions, the data collection techniques used were: (1) video record; (2) semi-structured interviews with the children; (3) protocols - made by the children. Considering the research qualitative approach, that permits changes in the course of the research process, a semi-structured interview with the school teacher (that accompanied the practice) was added to the data collection. General and specific appointments were presented in the data analysis, relating the opinions of the students and the music teacher with the authors ideas embraced in the research. The results indicate that the improvisation practices, in the scenic-musical game context, provide the development of both musical and human capacities, allowing to think Music Education as a way to children integral formation.

Made available in DSpace on 2016-04-04T18:27:23Z (GMT). No. of bitstreams: 1 katia Panfiete.pdf: 630982 bytes, checksum: f2da2ed4f4bc7956f74935cb26e4d1de (MD5) Previous issue date: 2005-11-08 / The scenic plays in this research purposed to wake and to investigate the creative process and the creative scenic expressions and no creative . The vocable creativity derives of Latin creare that means to make new something, and of Greek krainem to realize. To create of the theatre can signify to invent, to express new and different corporal and verbal repertory on the subject s history. This research studied the creativity s phenomenon above viewpoint of subject, its process according to the qualitative research and the Historic-Cultural of Subjectivity s Theory. The creativity is viewed that a complex phenomenon involved one connection of complex psychological functions, can or cannot develop during subject s history of life. There were 9 subjects studied, from ages 21 to 45 years old. They did not have theatrical experience. There were 5 masculine and 4 feminine. The subjects arrived timid without corporal and verbal scenic repertory. Inside of the conversation dynamics showed, difficult of subjects how to create alone and with a group. During application, scenic plays the subjects development repertory of corporal and verbal expression. Inside conversation, dynamics begun to share blockades and fears connected of creation. News subjective senses were constituted and news configuration senses were connected to create to iniciate modification. The conclusion was that this group could create after occurred the emergency of critic subject that reflects about his values and his subjective senses and he intensifies his self-knowledge. So the scenic expressions showed different matrices with new corporal expressions and new verbal expressions. Finally, there was consideration that this theatre and its plays stimulated and developed new creative configurations and creative scenic expressions peculiar to each subject. I understood that this theatre and his plays stimulated and developed configuration creative news and creative scenic expressions singulars in the subjects. Consequently this theatre is understood in Theatre of Creativity: viewpoint of how play stimulates and transports the sleeping actor to create and how a protagonist plays in the scene of your life. / Os jogos de teatro, neste estudo, visaram despertar e investigar os processos criativos e as express?es c?nicas criativas e n?o-criativas. O termo criatividade deriva do latim, creare , que significa fazer algo novo e do grego krainem realizar. Criar cenicamente seria produzir, expressar repert?rio corporal e verbal novo e diferente na hist?ria do sujeito. Esta pesquisa estudou o fen?meno da criatividade do ponto de vista do sujeito, de seus processos segundo a pesquisa qualitativa e a Teoria Hist?rico-Cultural da Subjetividade. A criatividade ? vista como um fen?meno complexo, que envolve uma jun??o de fun??es psicol?gicas complexas, que podem ou n?o se desenvolver na trajet?ria de vida do sujeito. Foram estudados 9 sujeitos com idade entre 21 e 45 anos sem experi?ncia teatral 5 do sexo masculino e 4 do sexo feminino. Os sujeitos chegaram t?midos e sem repert?rio corporal nem verbal c?nico. Com o inicio das din?micas conversacionais apresentaram suas dificuldades de criar individualmente e em grupo. Com a aplica??o dos jogos c?nicos, os sujeitos foram desenvolvendo repert?rio de express?o corporal e verbal e, durante as conversas, come?aram a compartilhar medos e bloqueios relacionados ? cria??o. Novos sentidos subjetivos come?am a se formar, e as configura??es de sentido relacionadas ? cria??o come?am a se modificar. Conclui-se que este grupo conseguiu criar, ap?s emerg?ncia do sujeito cr?tico que reflete sobre seus valores e sentidos subjetivos e aumenta seu autoconhecimento. Assim a express?o c?nica vai se apresentando de forma diferenciada, com novos gestos corporais e novas express?es verbais. Por fim, notou-se que este teatro e seus jogos estimularam e desenvolveram novas configura??es criativas e express?es c?nicas criativas idiossincr?ticas em cada sujeito e, portanto, este teatro passou a ser compreendido como Teatro da Criatividade: visto como jogo que estimula e alavanca o ator adormecido para criar e atuar como ator protagonista no palco de sua vida.

Made available in DSpace on 2016-04-25T20:20:01Z (GMT). No. of bitstreams: 1 CICERA VANESSA MAIA.pdf: 2807072 bytes, checksum: ed747b4322c9d2ae6d0e7bdc0aa76d78 (MD5) Previous issue date: 2010-11-12 / This study aimed to understand the experiences of students in classes for the Performing Arts at CEFET-MG so that try to establish the parallel between the created characters from the scenic laboratories, mirror exercises, integrating them until the final scene elaborated by them in the classroom. It is a collaborative research (auto) biographical, ie the life narratives and oral and written reports that traces the history and retrieve past events, reflective observation made by means of systematic and cyclical processes of reflection in and on action. To collect the information were carried out three questionnaires during the school year. A major objective would be to understand why the characters are archetypes fulfill the scenes of anti-heroes created by students from their own images reflected in the mirror. The student understands that this young hero and antihero in building their own identity? How effective is the way to look, see, realize feel, think, create, recognize, develop and then represent the character. The text is collective production of several characters. At the time of construction of the spectacle, after experiencing what each brought to the scene the students in an effort to become effective team in the rite of passage that makes up the scenario. The main outcome of the stage production where the stories and actors mingle and meet represented by heroes of everyday life, an example of men on stage / O presente estudo teve como objetivo compreender as experiências dos alunos nas aulas de Artes Cênicas no CEFET-MG, para então tentar estabelecer o paralelo entre as personagens criadas a partir dos laboratórios cênicos, exercícios do espelho, até integrá-las a cena final elaborada por eles na sala de aula. É uma pesquisa colaborativa (auto) biográfica, ou seja, realizada por meio narrativa de vida e relatos orais e escritos que reconstitui a história e recupera os acontecimentos passados, observação reflexiva realizada por meio de processos cíclicos e sistemáticos de reflexão na e sobre a ação, conforme Ibiapina (2008). Com abordagem metodológica qualitativa a análise foi realizada com base nas atividades cênicas que ocorreram no período de 2009 (segundo semestre) e 2010 (primeiro semestre) em que participaram alunos de três turmas; Eletrotécnica, Eletrônica e Equipamentos Biomédicos do CEFET-MG que cursavam o primeiro ano do ensino médio. Para a coleta inicial das informações foram aplicados três questionários durante o ano letivo. Neste instrumento os estudantes apontaram o sentido da experiência vivenciada, o que posteriormente, serviu para a construção da metodologia das aulas de artes cênicas. Um dos principais objetivos foi o de entender por que as personagens que preenchem as cenas são arquétipos de antiheróis criados pelos alunos a partir das próprias imagens refletidas no espelho. As perguntas que instigaram o ciclo reflexivo foram: O que esse jovem aluno compreende como herói e anti-herói na construção da sua própria identidade? Como se efetiva a passagem de olhar, ver, perceber, sentir, refletir, criar, reconhecer, conceber para então representar determinado personagem. Como o texto é produção coletiva de várias personagens, naquele momento de construção do espetáculo, após experimentar o que cada um propôs para a sua cena, os alunos, no esforço de equipe, efetivam o ritual de passagem que compõe a encenação. O principal resultado da montagem teatral onde as histórias e atores se permeiam e se preenchem é representar heróis que pertencem ao seu cotidiano

Made available in DSpace on 2016-04-26T14:52:55Z (GMT). No. of bitstreams: 1 CICERA VANESSA MAIA.pdf: 2807072 bytes, checksum: ed747b4322c9d2ae6d0e7bdc0aa76d78 (MD5) Previous issue date: 2010-11-12 / This study aimed to understand the experiences of students in classes for the Performing Arts at CEFET-MG so that try to establish the parallel between the created characters from the scenic laboratories, mirror exercises, integrating them until the final scene elaborated by them in the classroom. It is a collaborative research (auto) biographical, ie the life narratives and oral and written reports that traces the history and retrieve past events, reflective observation made by means of systematic and cyclical processes of reflection in and on action. To collect the information were carried out three questionnaires during the school year. A major objective would be to understand why the characters are archetypes fulfill the scenes of anti-heroes created by students from their own images reflected in the mirror. The student understands that this young hero and antihero in building their own identity? How effective is the way to look, see, realize feel, think, create, recognize, develop and then represent the character. The text is collective production of several characters. At the time of construction of the spectacle, after experiencing what each brought to the scene the students in an effort to become effective team in the rite of passage that makes up the scenario. The main outcome of the stage production where the stories and actors mingle and meet represented by heroes of everyday life, an example of men on stage / O presente estudo teve como objetivo compreender as experiências dos alunos nas aulas de Artes Cênicas no CEFET-MG, para então tentar estabelecer o paralelo entre as personagens criadas a partir dos laboratórios cênicos, exercícios do espelho, até integrá-las a cena final elaborada por eles na sala de aula. É uma pesquisa colaborativa (auto) biográfica, ou seja, realizada por meio narrativa de vida e relatos orais e escritos que reconstitui a história e recupera os acontecimentos passados, observação reflexiva realizada por meio de processos cíclicos e sistemáticos de reflexão na e sobre a ação, conforme Ibiapina (2008). Com abordagem metodológica qualitativa a análise foi realizada com base nas atividades cênicas que ocorreram no período de 2009 (segundo semestre) e 2010 (primeiro semestre) em que participaram alunos de três turmas; Eletrotécnica, Eletrônica e Equipamentos Biomédicos do CEFET-MG que cursavam o primeiro ano do ensino médio. Para a coleta inicial das informações foram aplicados três questionários durante o ano letivo. Neste instrumento os estudantes apontaram o sentido da experiência vivenciada, o que posteriormente, serviu para a construção da metodologia das aulas de artes cênicas. Um dos principais objetivos foi o de entender por que as personagens que preenchem as cenas são arquétipos de antiheróis criados pelos alunos a partir das próprias imagens refletidas no espelho. As perguntas que instigaram o ciclo reflexivo foram: O que esse jovem aluno compreende como herói e anti-herói na construção da sua própria identidade? Como se efetiva a passagem de olhar, ver, perceber, sentir, refletir, criar, reconhecer, conceber para então representar determinado personagem. Como o texto é produção coletiva de várias personagens, naquele momento de construção do espetáculo, após experimentar o que cada um propôs para a sua cena, os alunos, no esforço de equipe, efetivam o ritual de passagem que compõe a encenação. O principal resultado da montagem teatral onde as histórias e atores se permeiam e se preenchem é representar heróis que pertencem ao seu cotidiano

Este estudo tem como objetivo, investigar, compreender, evidenciar e analisar aspectos da Performance como meio de diálogo entre o social e o cotidiano urbano. Com vistas a um panorama de uma sociedade de relações diluídas, esta investigação confronta tal realidade através de ações que valorizam o encontro em uma proposta relacional de performance. Para tanto, serão analisadas práticas em performance em que o performer intervém no cotidiano urbano dos transeuntes, propondo um instante de encontro com o outro. Desta forma, a reflexão deste trabalho se desenvolve através da análise das criações de duas performers atuantes no Brasil, Eleonora Fabião e Tania Alice e minhas próprias experiências em performance. Entre os principais teóricos estudados destacam-se André Carreira, Eleonora Fabião, John Dewey, Laurence Louppe, Nicholas Borriaud, Renato Cohen, Tania Alice Feix e Zygmunt Bauman. A análise das práticas performáticas será concretizada buscando associações entre os estudos da performance e as práticas observadas e experimentadas. / This study aims to investigate, understand, analyse and highlight aspects of performance as a means of dialogue between the social and the urban daily life. Toward a panorama of a society of diluted relations, this investigation confronts this reality and obtaining values of relational proposal for performance. Therefore, practices will be analyzed in performance where the performer intervenes in the urban everyday flow of passers, proposing a moment of encounter with the other. Thus, the reflection of this work is developed through the analysis of the creations of two active performers in Brazil, Eleonora Fabião and Tania Alice and my own performance's experience. Among the main theoretical researches stand out André Carreira, Eleonora Fabião, John Dewey, Laurence Louppe, Nicholas Borriaud, Renato Cohen, Tania Alice Feix e Zygmunt Bauman. The analysis of performance practices will be held seeking associations between performance studies and observed practices and experienced.

Esta pesquisa propõe reflexões acerca da importância dos espaços para a criação na educação musical. Focalizando as práticas de improvisação no ambiente do jogo, foram investigadas as contribuições das experiências de improvisação em jogos cênico-musicais para a formação integral das crianças. O pensamento pedagógico-musical de Hans-Joachim Koellreutter e os jogos desenvolvidos pelo educador nortearam este estudo, assim como as ideias desenvolvidas pela educadora Teca Alencar de Brito. Através de uma pesquisa-ação, uma Oficina de Música voltada a crianças entre sete e dez anos foi instaurada. Esta Oficina perdurou dois meses e foi realizada na Escola de Aplicação da Faculdade de Educação da Universidade de São Paulo (EAFEUSP), atendendo os alunos desta instituição. Visando a perspectiva das crianças a respeito das contribuições dos jogos de improvisação, a coleta de dados articulou diferentes procedimentos: (1) registros audiovisuais; (2) entrevistas semiestruturadas com as crianças; (3) protocolos confeccionados pelos alunos. Considerando a abordagem qualitativa da pesquisa, que possibilita mudanças no decorrer do processo, acrescentou-se às técnicas de coleta de dados uma entrevista semiestruturada com a professora de música da EAFEUSP (professora que acompanhou a prática da pesquisa-ação). Na análise dos dados, apontamentos gerais e específicos foram apresentados, relacionando as opiniões das crianças e da professora de música com as ideias de autores abarcados na pesquisa. Os resultados indicam que as práticas de improvisação, no contexto do jogo cênico-musical, propiciam o desenvolvimento de capacidades musicais e humanas, permitindo pensar acerca da educação musical como meio para a formação integral da criança / The purpose of this research is to reflect about the value of spaces for creation in Music Education. Focusing the improvisation practices inside the game environment, the scenic-musical games improvisation experiences contributions to an integral formation of children were investigated. Hans-Joachim Koellreutter\'s pedagogic-musical thoughts and his games guided this study, as well as the ideas developed by Teca Alencar de Brito. Proposed as an action-research, was offered a Music Workshop to children from seven to ten years old from Application School at USP, occurring weekly between April and June of 2014. Aiming the children own perspective about the improvisation games contributions, the data collection techniques used were: (1) video record; (2) semi-structured interviews with the children; (3) protocols - made by the children. Considering the research qualitative approach, that permits changes in the course of the research process, a semi-structured interview with the school teacher (that accompanied the practice) was added to the data collection. General and specific appointments were presented in the data analysis, relating the opinions of the students and the music teacher with the authors ideas embraced in the research. The results indicate that the improvisation practices, in the scenic-musical game context, provide the development of both musical and human capacities, allowing to think Music Education as a way to children integral formation.

Anthropogenic reactive nitrogen is emitted into the atmosphere from fossil fuel combustion (nitrogen oxides) and agricultural activities (nitrogen oxides and ammonia). Nitrogen oxide emissions have long been controlled for their role in ambient air pollution and human health effects. However, reactive nitrogen deposition is less understood even though it can play a significant role in altering biodiversity, impairing ecosystem and biogeochemical function and degrading cultural artifacts. Although nitrogen deposition is a natural part of biogeochemical cycling, many ecosystems across the United States are at risk of exceeding the critical nitrogen deposition load. While nitrogen oxides are routinely measured in urban areas, far less is known in non-urban landscapes where ecosystems may be especially sensitive. Regional chemical transport models have been used to predict the impacts of ambient reactive nitrogen deposition in non-urban areas, but models have difficulty simulating reactive nitrogen due to poorly quantified emissions, especially from the agricultural sector. My research explores the speciated deposition of reactive nitrogen through monitoring and modeling in the unique field setting of the 150 mile Columbia River Gorge (CRG) located along the border of Oregon and Washington. This site is ideally suited for this investigation due to the large sources of reactive nitrogen at either end of the CRG and unique seasonally driven channel wind flow. Seasonally driven wind allowed us to look at the reactive nitrogen emissions flowing through the CRG to assess ambient the reactive nitrogen partitioning and deposition gradient. Using data collected by the United States Forest Service to control ambient haze in the CRG and our co-located nitrogen oxides (NOx) gas analyzer, we first characterized the influence of seasonal, bimodal wind distributions on the spatial distribution of reactive nitrogen. We found that during winter months with predominantly easterly winds, particulate nitrate and ammonium and gas-phase nitrogen dioxide levels create a gradient from the eastern end to the western end. Particulate nitrate and sulfate mass concentrations influence the CRG gradient during summer months with predominantly western winds. We also found that the magnitude of the impact from east is greater than the magnitude of impact from the west. When we compared our observations to regional chemistry transport models, we found that models are significantly under-predicting levels of reactive nitrogen in the CRG. This bias is not isolated to a single station within the Gorge, but throughout the whole Columbia Basin. Our results indicate that there are under-represented emissions in the region leading to this bias. Partly due to the bias in reactive N gas-phase species in the CRG, regional models have been underestimating the impact of gas-phase reactive N on dry N deposition. We conducted field studies at two sites within the CRG monitoring reactive nitrogen species (nitric oxide, nitrogen dioxide, ammonia, nitric acid, particulate nitrate, particulate ammonium, and particulate sulfate) as well as ozone and meteorological parameters. These measurements allowed us to conduct the first comprehensive analysis of reactive nitrogen partitioning and deposition in the CRG. Through our measurements, we found reactive nitrogen was higher in the spring than the summer. We found concentrations ranging from 0-15 ppbv ammonia, 0-7 ppbv nitric acid, 0-2 µg/m3 ammonium nitrate and 0-1 µg/m3 ammonium sulfate at the sites. Through the measurements of all these species, we evaluated the limiting gas-phase precursor to inorganic nitrogen particle formation. In the springtime, ammonia limits the formation of particulate reactive nitrogen; while in the summer, nitric acid and oxidized sulfur limit the formation of inorganic nitrogen particles. This suggests that there may be more sources of ammonia in the spring with fertilizer application or perhaps reactive nitrogen reservoirs are renoxified through thermal dissociation during warmer summer months. Our estimated deposition from gas and particle phase reactive nitrogen ranged from 0-0.14 kg N/ha per day. We also found that gas-phase reactive nitrogen plays the largest role in dry N deposition in the CRG with particle-phase contributing less than 15% of total dry N deposition. These results are important for land managers to understand the total impact of reactive nitrogen to non-urban areas. This research can inform mitigation strategies for haze formation, identify the major species and sources involved in dry N deposition and assess the potential impacts to ecosystems and cultural artifacts.