Archaeological sites in the New World are the fragile and non-renewable remains of cultures which flourished for thousands of years prior to European contact and displacement. Sites which escape the effects of erosion and development often fall victim to vandalism. Cultural resources, including rock art and other archaeological sites, are protected by state and federal laws which prohibit the removal or disturbance of the sites, whether from development or from vandalism. Vandalism is frequently seen as a problem for law enforcement rather than a problem for cultural resource management. Management plans which include cultural resource protection provisions and guidelines often focus on threats to cultural resources from development, and omit planning which targets vandalism. The rock art sites of the Columbia River Gorge National Scenic Area ("Scenic Area") have been affected by developments such as The Dalles Dam and by the vandalism. In this study, the nature and degree of vandalism to the rock art sites in the Scenic Area is considered in the context of public awareness of, and access to, these sites. Rock art sites which are easily located and which have been the focus of public awareness are hypothesized to be the most severely vandalized. To test this hypothesis, fifteen of the 44 rock art sites in the Scenic Area were selected for study, and were assessed for kind and degree of vandalism, and means and ease of access. The results of analysis yielded two statistically significant associations of variables which support the hypothesis: an association between vandalism and public awareness of sites, and an association between vandalism and the primary means of access. The analysis suggests that public awareness is one of the most important issues which land managers must address when designing cultural resource protection plans.

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.

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.

Avec les avant-gardistes, la scène théâtrale occidentale a rompu avec l’image scénique figurative et l’illusion d’un espace présent qui représente un temps. En Tunisie, le théâtre, art implanté au début du XXe siècle (ce qui coïncide avec la naissance de l’art contemporain), a eu recours au départ à des dispositifs scéniques figuratifs imitant le quotidien tunisien. Mais dès les années soixante, le regard du metteur en scène tunisien, ayant côtoyé de près celui du plasticien, commence la recherche de sa propre voie esthétique avec l’emprunt d’un héritage oriental précolonial et plus généralement d’un ailleurs. L’image scénique abandonne la représentation figurative depuis Ben Ayed (à la fin de son parcours artistique) et devient, depuis, un lieu de recherche et d’expérimentation : d’un espace figuratif narratif vers un espace abstrait. En effet, les conditions d’échange et d’interaction entre les arts de la scène se traduisent dans l’image scénique tunisienne contemporaine et évoluent de plus en plus, aussi bien sur le fond que sur la forme.À partir d’un corpus de spectacles contemporains, allant du Théâtre National et du Théâtre de la terre, en passant par Elteatro et Familia Production, jusqu’à l’expérience du Centre National des Arts de la Marionnette et du théâtre amateur, nous examinons la présence de l’interaction entre les arts et la transcréation entre les différentes formes d’expression artistique. Des procédés technologiques, des médiums innovants, ou encore l’influence de formes théâtrales orientales, permettent aux metteurs en scène d’« ’écrire » sur scène et au public de lire et de ré-imaginer le monde avec ses visions multiples. / With avant-garde artists, the Western theatrical scene broke with figurative scenic image and the illusion of a current space that representing a certain period of time. In Tunisia, theater, an art that appeared in the early twentieth century (which coincided with the birth of contemporary art), initially resorted to figurative stage devices that represent the Tunisian daily life. But, since the sixties, the Tunisian director who had similar experience to the plastic artist, starts searching his own aesthetic way while borrowing an oriental, precolonial, and foreign heritage.The scenic images have given up its figurative representation since Ben Ayed (at the end of his artistic career) and have become a place of research and experimentation: from a narrative and figurative space to an abstract space. Indeed, the conditions of exchange and interaction between theatrical arts are reflected in contemporary Tunisian scenic image and are continuous development, in substance as well as in form.Starting from a body of contemporary performances, through the National Theatre and the Theatre of the earth, then Elteatro, and Familia Production, until the experience of the National Puppetry Arts Center and amateur theater, we can notice the presence of an interaction between the arts. We also examine a certain transcreation between the various forms of artistic expression. Another point is that Technological processes, innovative mediums, and the influence of Eastern theatrical forms, allow directors to "write" on stage and the public to read and re-imagine the world with its multiple visions

No description available.

Within these years, in order to effectively arrange the limited resource that the government has owned and been able to allocate, a detailed financial plan and a well-structured evaluation system for any project is essential. Normally the most research topics issued are related to the economic effect of natural resources. In Taiwan, the article about analyzing the economic effect about the tour schemes proposed for the development of National Scenic Area is few and only at the beginning stage and the cause mainly is because of the common property of such schemes, i.e. the involvement of different departments needed. At this situation, effected by the different control froces from a varity of government departments and varied industry structures and developing progress in different areas, it is difficult to clarify and analyze the achievement for each department. Owing to this character, the economic effect related to such development schemes is difficult to conclude and it is even harder to evaluate whether or not the economic benefit is definitely resulted from the improving projects. The research topic is going to comprehend the economic effect caused by the medium-range scheme launched by National Scenic Areas, then is able to propose some feasible items to evaluate the economic effect and collect the figures the Cost-Efficiency Evaluation relaed to the effect. As to the intangible benefit, it is assessed by the Contingent Valuation Method (CVM). The study takes the case of Penghu National Scenic Area to predict the economic effect between 2008 to 2011. From the research, it shows that the figure of Willing To Pay (WPA) among the tourists already visited the Penghu National Scenic Area is NT$6,943 and within 2008 and 2011, after the development implemented, the amount is going to raise to NT$9,638. Based on this raise, the economic revenue would be NT$415,691,000 caculated from the Prediction equation in 2008, NT$428,984,000 in 2009, NT$442,397,000 in 2010 and NT$ 455,933,000 in 2011. Within 10 year of available analytic fixed number of years, the 4-year Net Present Value¡]NPV¡^ ¡]valuta of 2008 year ¡^ will be NT$1,766,586,000 based on the discount rate at 2% and the 4 year Benefit-Cost Ratio, B/C ratio is 3.05>1. From this result, the 2008-2011 development plan itself has demostrated its economic feasibility.

Submitted by Glauber Assunção Moreira (glauber.a.moreira@gmail.com) on 2018-08-31T17:37:57Z No. of bitstreams: 1 A CENA NAS REDES utilizacao de tecnologias digitais no desenvolvimeno da presenca e do espaco cenico VINICIO DISSERTACAO ~1.pdf: 1441833 bytes, checksum: 77ed7b52b5149a378671ee9695661e27 (MD5) / Approved for entry into archive by Ednaide Gondim Magalhães (ednaide@ufba.br) on 2018-09-11T13:21:27Z (GMT) No. of bitstreams: 1 A CENA NAS REDES utilizacao de tecnologias digitais no desenvolvimeno da presenca e do espaco cenico VINICIO DISSERTACAO ~1.pdf: 1441833 bytes, checksum: 77ed7b52b5149a378671ee9695661e27 (MD5) / Made available in DSpace on 2018-09-11T13:21:27Z (GMT). No. of bitstreams: 1 A CENA NAS REDES utilizacao de tecnologias digitais no desenvolvimeno da presenca e do espaco cenico VINICIO DISSERTACAO ~1.pdf: 1441833 bytes, checksum: 77ed7b52b5149a378671ee9695661e27 (MD5) / Neste trabalho elaboro uma análise crítico-reflexiva sobre o desenvolvimento do espaço cênico e da presença do ator e do espectador a partir da utilização das tecnologias da informação e comunicação. Adoto como eixo para a reflexão o pressuposto delimitador que ainda hoje é definidor de um evento teatral – a presença de pelo menos um ator e um espectador em um espaço determinado unidos por um acordo tácito. Com base nesse pressuposto relaciono ao longo do trabalho conceitos e definições referentes às tecnologias digitais da informação (realidade virtual, virtualidade, telepresença, ciberespaço) com os elementos do teatro e sua aplicabilidade na arte teatral. Analiso exemplos de propostas de espetáculos construídos sobre a perspectiva do teatro digital e midiático e por fim proponho duas características de um possível teatro digital. / In this paper I develops a critical and reflective analysis of the development of the scenic area and the presence of the actor and the spectator from the use of information and communication technologies. I adopt as an axis for reflection delimiter assumption that today is defining a theatrical event - the presence of at least one actor and spectator states in a given space unite by a tacit agreement. Based on that assumption I do a relation about concepts and definitions relative to digital information technologies (virtual reality, virtuality, telepresence and cyberspace) with the elements of theater and their applicability in theatrical art. I analyze examples of plays built on the perspective of digital and mediatic theater and finally i propose two characteristics of a possible digital theater.

Submitted by Valquíria Barbieri (kikibarbi@hotmail.com) on 2017-08-21T21:47:07Z No. of bitstreams: 1 DISS_2014_Tatiana Mendes Horevicht.pdf: 2056669 bytes, checksum: 4523a14ef80ba02ebb5e127fd1eb4565 (MD5) / Approved for entry into archive by Jordan (jordanbiblio@gmail.com) on 2017-08-22T16:09:40Z (GMT) No. of bitstreams: 1 DISS_2014_Tatiana Mendes Horevicht.pdf: 2056669 bytes, checksum: 4523a14ef80ba02ebb5e127fd1eb4565 (MD5) / Made available in DSpace on 2017-08-22T16:09:40Z (GMT). No. of bitstreams: 1 DISS_2014_Tatiana Mendes Horevicht.pdf: 2056669 bytes, checksum: 4523a14ef80ba02ebb5e127fd1eb4565 (MD5) Previous issue date: 2014-08-27 / Este trabalho observa como a Urbitária, máquina de cena do espetáculo Cidades dos Outros, da Cia. Pessoal de Teatro –MT,alia cenário, espaço cênico e materializa a escritura cênica do espetáculo. Para auxiliar na compreensão do conceito de espaço cênico e cenário trabalho com Ciro Del Nero e Francisco Javier. Também o entendimento de dramaturgia de Eugenio Barba e de dramatografia e João Brites. O surgimento das máquinas de cena como objetos polissêmicos que contribuem com a dramaturgia do espetáculo teatral é recente no teatro contemporâneo e tem como proponente o grupo teatral O Bando, dirigido por João Brites em Palmela –PT. / This paperlooks at howUrbitária, machinescenespectacleOtherCities, CiaStaffTheatre-MTcombinesscenery,scenic area andmaterializes thescripturescenicspectacle. Toassist in understanding theconcept ofscenic areaand sceneryworkwithCiroDelNero andFranciscoJavier. Alsothe understandingthedramaturgyof EugenioBarbaanddramatografyof João Brites. The appearance of the stage machinesaspolysemicobjectsthat contribute tothetheatrical showdramaturgyislatestincontemporary theaterand isproposingthe theater groupTheBand, directed byJoãoBritesin Palmela-PT.

This research has started on pondering over the scenic area in contemporary dance real-time composition. The scenic area, while articulating the scene, congregates architectural space, scenic space and bodies-spaces (interpreters) interdependently. This makes this interrelation as a condition for the outcome of choreographic layers produced in the creation process in the real-time composition, which are also necessary as an artistic object. Thus, the research aims at contextualizing and conceptualizing in a interdisciplinary way the research areas (scenic area and real-time composition) using theoretical remarks on research methodology in arts, contemporary dance, architecture, visual arts and scenography. In practice, this research has pondered overan experience, the performance Sobre pontos, retas e planos [About points, lines and planes], created by the Dramaturgia do Corpo- Espaço e Territorialidade research group [Body-space Dramaturgy and Territoriality], which was presented in five different places in the city of Uberlândia / Essa pesquisa tem como ponto de partida uma reflexão acerca do espaço cênico na composição em tempo real em dança contemporânea. O espaço cênico enquanto articulador da cena congrega espaço arquitetônico, espaço cenográfico e corposespaços (intérpretes) de forma interdependente, fazendo com que essa inter-relação seja condicionante para o resultado das camadas coreográficas produzidas no processo de criação na composição em tempo real, que também se impõem enquanto objeto artístico. Assim, a pesquisa busca contextualizar e conceitualizar de forma interdisciplinar as áreas de investigação (espaço cênico e composição em tempo real), utilizando teóricos das áreas de metodologia de pesquisa em artes, dança contemporânea, arquitetura, artes visuais e cenografia. Em termos aplicados, a pesquisa apresenta reflexões desenvolvidas sobre uma experiência prática, o espetáculo Sobre pontos, retas e planos, trabalho criado pelo Grupo de Pesquisa Dramaturgia do Corpo-Espaço e Territorialidade, que para essa investigação, foi apresentado em cinco lugares diferentes na cidade de Uberlândia / Mestre em Artes