Parallax is integral to the conception of movement in modern architectural space. This research examines the role of architectural parallax in creating dynamic spaces that champion the primacy of perception to reinforce a conceptual narrative. The study is contextualized in the cinematic context of Miami Beach to understand the dynamic quality of its public spaces. An analysis of these spaces studies the role of parallax in reinforcing the city???s scopophiliac meta-narrative of Seeing and being Seen. A final design project is situated within the shifting sociocultural context of Miami Beach today as it strives to reinvent itself into a cultural destination for the high Arts. The chosen site is a historically significant site that has remained as a municipal parking lot for over 70 years, and may not be developed for commercial purposes. The design proposes Collins Cultural Center that draws from the exhibitionist Beach culture of the city and fuses it with the high Arts culture. The aim is to use parallax as an architectural strategy to create a dynamic space for cultural production and exchange. Reframing the cultural imagination of residents and visitors fuels Miami Beach???s momentum towards becoming a future cultural destination for the Arts.

This paper presents a qualitative study in which an attempt was made to extend the debate surrounding the use of real life contexts to make mathematics more meaningful and real. The study investigated Grade 8 learners’ knowledge of number, understanding of number concepts and the kinds of connections they make between number and the context in which number is used. An important aspect of the study’s methodological approach involved an examination of the comments that learners made about what they said they know about number. A response to the question: “Why is the number in the picture?” provided a framework for establishing how learners saw relationships between number and the context in which numbers are used. A face scenario with four questions was given to learners to elicit these relationships. Results pointed to the usefulness of real life contexts as tools that have a central role in uncovering what learners know about number and how they use that knowledge to understand situations that call for proficiency in mathematics.

Submitted by Elisio José da Silva Filho (elisiofh@gmail.com) on 2018-08-02T14:27:20Z No. of bitstreams: 1 Elisio Silva_Dissertacao_FACED-UFBA_2018.pdf: 4407754 bytes, checksum: 8734430d3ec206ddc59d253a56f0109f (MD5) / Approved for entry into archive by Ana Miria Moreira (anamiriamoreira@hotmail.com) on 2018-08-10T15:57:32Z (GMT) No. of bitstreams: 1 Elisio Silva_Dissertacao_FACED-UFBA_2018.pdf: 4407754 bytes, checksum: 8734430d3ec206ddc59d253a56f0109f (MD5) / Made available in DSpace on 2018-08-10T15:57:32Z (GMT). No. of bitstreams: 1 Elisio Silva_Dissertacao_FACED-UFBA_2018.pdf: 4407754 bytes, checksum: 8734430d3ec206ddc59d253a56f0109f (MD5) / Capes / Trazer a Arte para a discussão em educação não é algo novo, mas tem se mostrado sempre necessário ao longo da história dessa área de conhecimento, que sofre de forma muito direta as flutuações da política educacional brasileira. Contudo, a Arte não tem deixado de fazer parte do cotidiano escolar e merece ser visitada sempre e, por no mínimo, um outro ângulo. Assim, esta dissertação descreve situações possíveis para o ensino de Arte numa perspectiva fenomenológica tendo como forma final uma escrita criativa por acreditar que percepção e subjetividade estão em maior sintonia com o ensino de Arte do que os modelos tradicionais de trabalhos acadêmicos. O Ponto, a Linha e o Plano desenham os caminhos da pesquisa que entrecortada por ficção e realidade se desdobram em objeto/processo/espaço. As questões que se descortinam na pesquisa surgem da fala do estudante F, um personagem ficcional nascido da observação dos diversos estudantes. Embora parcialmente ficcional, o texto é uma imersão num cotidiano escolar de Ensino Médio e das relações que se estabelecem entre professor e estudantes na busca por uma linha de contato com a Arte que chamamos de Prática do Ver. A proposta de pesquisa utilizou a conversão de método de ensino em metodologia de pesquisa somada ao Fórum de Artes, um espaço virtual de produção de informações. O caminho da linha é conduzido do Ponto de Partida até o Ponto Final, realiza três paradas, num caminhar que ora vai, ora volta, para ambientar a percepção da arte a partir das vivências entre professor e estudantes. A Parada I conta a história ficcional de F, a Parada II contextualiza a realidade da pesquisa e a Parada III apresenta o tratamento das informações. Não consolidamos formatos para a compreensão ou interpretação de uma obra de arte, ou mesmo de um currículo de Arte que se queira implementar, o trabalho que aqui se apresenta deseja que o estudante leitor que se coloca diante da obra de arte possa falar sobre ela a partir daquilo que lhe é dado, e não de forma manualizada ou padronizada e, em consequência, esperamos familiariza-lo ao fenômeno da Arte. / ABSTRACT Bring the art for discussion in education is not something new but has shown whenever necessary throughout the history of this area of knowledge, which suffers from very direct way the fluctuations of the Brazilian educational policy. However, the Art not ceased to be part of daily school and deserves to be visited, always, and at least one other angle. Thus, this thesis describes possible scenarios for the teaching of art in a phenomenological perspective having as final form a creative writing by believing that perception and subjectivity are in greater harmony with the teaching of art than traditional models of academic papers. The Point, the Line and the Plan draw the paths of research that choppy for fiction and reality unfold in object/process/space. The issues that are insufficient in research arise from the speech of a student F, a fictional character born of the observation of different students. Although partly fictional, the text is an immersion in a daily school of education and the relationships that are established between teacher and students in pursuit of a line of contact with the Art which we call the Practice of Seeing. The research proposal used as methodology the conversion of teaching method in research methodology coupled to the Forum of Arts, a virtual space for the production of information. The path of the line is driven from the Starting Point to the End Point, performs three stops, a move that will now turn to acclimatize the perception of art from the experiences between teacher and students. In Stop I has a fictional story of F, the Stop II illustrates the reality of the research and the Stop III presents the treatment of information. Do not consolidate formats for the understanding or interpretation of a work of art, or even a curriculum of art that you want to implement, the work here is what you want the student reader who puts himself before the work of art can speak about it from what is given to you, and not so manualized or standardized and, as a consequence, we expect familiarizes you to the phenomenon of Art.

Submitted by Cássia Santos (cassia.bcufg@gmail.com) on 2015-02-02T09:59:52Z No. of bitstreams: 2 Dissertação - Dania Soldera - 2014.pdf: 15204983 bytes, checksum: c82bdaee340a3b058ad4adb84960cda3 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2015-02-04T14:44:06Z (GMT) No. of bitstreams: 2 Dissertação - Dania Soldera - 2014.pdf: 15204983 bytes, checksum: c82bdaee340a3b058ad4adb84960cda3 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Made available in DSpace on 2015-02-04T14:44:06Z (GMT). No. of bitstreams: 2 Dissertação - Dania Soldera - 2014.pdf: 15204983 bytes, checksum: c82bdaee340a3b058ad4adb84960cda3 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2014-06-30 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The research entitled Photography: conversation with pictures, between light and darkness, aims to answer the question : What are the ways of seeing and how are they given? Thus, the proposal is to discuss what is the seeing and what are the ways of seeing, especially regarding images, and propose new possibilities to perceive and relate to the images. The look of blind photographers artists Teco Barbero, Pete Eckert and Evgen Bavcar is the starting point for articulating concepts, notes, contextualizing and question the oculocentrista beliefs that the world thinks the imagery as belonging only to the visionaries. The theoretical foundation is rooted in the study of the visual culture to think that corroborate the view, photography and reflection of visually impaired people enabled by the field, and discuss issues such as image, its production and some possible ways of seeing and relating to the images. The photograph is placed on debate to advance the reflection on the ways of seeing, perceiving, thinking and create the view beyond. And think the description and language as articulators for the visually impaired relationship with photography and images in general way. When entering the world of language, translation emerges as a possibility to reflect on ways of building the images for the visually impaired. The structure of the thinking process of the seeing, perceive and relate to the imaging, is woven from the poetics of 'see', ' review ' and ' transverse ' metaphor proposed by Manoel de Barros. Also relies, in the possibilities of translation, Flusser, entering the field of visual culture studies. The field research, observation and data collection was performed with a group of visually impaired and bachelors in travel photography Visual Literacy extension, Senac - SP, where students learn how to shoot and handle the camera, doing exercises to increase awareness, perception and imaging, as well as discussion and reflection on the photographic and image production. Research indicates, among other issues, that the seeing is not something unique of the eye and that it is built from the experiences, experiments, and especially the perceptions coming from the senses. The view is a construction that relies on vision, and is completed in sensations, memories and imagination. Seeking to expand the discussion on the ways of seeing, are listed the reports, processes and photographic works of Lelo Araújo, Ana Domingues and grandson Josiah. Analysis and interpretations that cover the production of these blind photographers are not woven, since the purpose of the research is to reflect upon the possibilities of seeing in its wealth of forms and manifestations, thus increasing the knowledge about the image. / A pesquisa intitulada Fotografia: conversa com imagens, entre a luz e as trevas, tem por objetivo responder à questão: O que é e como se dão os modos de ver? Desse modo, a proposta é problematizar o que é o ver e os modos de ver, principalmente no tocante às imagens fotográficas, e propor novas possibilidades para perceber e relacionar-se com as imagens. O olhar dos artistas fotógrafos cegos Teco Barbero, Pete Eckert e Evgen Bavcar é o ponto de partida para articular conceituações, apontamentos, problematizações equestionar a convicção oculocentrista que pensa o mundo imagético como pertencente apenas aos videntes. A fundamentação teórica tem raízes nos estudos da cultura visual que corroboram para pensar o ver, a fotografia e a reflexão dos deficientes visuais viabilizada pelo campo, e discutir questões como imagem, sua produção e alguns possíveis modos de ver e se relacionar com as imagens. A fotografia é colocada em debate para avançar nas reflexões referentes aos modos de ver, perceber, criar e pensar o ver que vai além. E pensa a descrição e a língua como elementos articuladores para a relação dos deficientes visuais com a fotografia e imagens de modo geral. Ao adentrar no universo da língua, a tradução surge como possibilidade para refletir sobre os modos de construção das imagens fotográficas pelos deficientes visuais. A estruturação desse processo de pensar o ver, perceber e se relacionar com as imagens, é tecida a partir da poética do 'ver', 'rever' e 'transver', metáfora proposta por Manoel de Barros. Apoia-se também, nas possibilidades da tradução, de Vilém Flusser, adentrando o campo de estudos da cultura visual. Apesquisa de campo, observação e coleta de dados foi realizada com um grupo formado por deficientes visuais e bacharéis em fotografia do curso de extensão Alfabetização Visual, SENAC-SP, onde os alunos aprendem a fotografar e manusear a câmera, fazem exercícios de sensibilização, percepção e criação de imagens, além de debates e reflexões sobre a produção fotográfica e imagética. A investigação aponta, dentre outras questões, que o ver não é algo exclusivo do olho e que ele é construído a partir das vivências, experiências e, principalmente, das percepções oriundas dos sentidos. O ver é uma construção que se apoia na visão, e que se completa nas sensações, memórias e imaginação. Buscando ampliar a discussão sobre os modos de ver são apresentados os relatos, processos e trabalhos fotográficos de Lelo Araújo, Ana Domingues e Josias Neto. Análises e interpretações que abarquem a produção destes fotógrafos cegos não são tecidas, pois o intuito da pesquisa é refletir a respeito das possibilidades do ver em sua riqueza de formas e manifestações, com isso, ampliar o conhecimento sobre a imagem.

The co-construction of helping services in the community of Ennerdale is a study that explores men’s reluctance to make use of helping and psychological services. Academic and informal literature informs us that men are often unwilling to seek medical or psychological assistance and that the male stereotypes view these services as utilised only by the weak and powerless. A great part of men’s unwillingness is furthermore related to historical male roles and the perception that the helping, and specifically the psychological services, are for the weak and insane. This research study was conducted in the Community of Ennerdale, a community south of Johannesburg. A focus group was conducted with adult male volunteers from the community and individual interviews were conducted with two psychologists, one medical doctor, and one church minister. The study was conducted from a social constructionist epistemology that falls within the qualitative research framework. The social constructionist epistemology views our (individuals) understanding and views of our world as a uniquely social process that is influenced by our gender, culture, language, and history. A discourse analysis was utilised to analyse the information obtained from both the focus group and individual interviews. The results from this research study indicate that a great part of men’s reluctance is related to the dominant male discourses and male scripts that construct men as superior and proud individuals who are not supposed to display weakness or inability. The helping and psychological services are constructed as services that assist the weak, insane and powerless, constructing an identity of weakness and insanity which men wait to avoid. The most common indicator for men’s reluctance is the historical constructs of the helping services and the historical constructs and discourses related to masculinity and appropriate male behaviour. / Dissertation (MA (Counselling Psychology))--University of Pretoria, 2006. / Psychology / unrestricted

The thesis deals with the issue of authentic or inauthentic work of art in the context of philosophy of authentic / inauthentic mode of existence (Dasein) as it was developed by Martin Heidegger in his Time and Being. The reason for addressing this issue is an effort to open the possibility of understanding authenticity or inauthenticity of individual Dasein in the manner which grasps it in the act of its performance, i.e. as a singular event. Thinking of authentic / inauthentic work of art demonstrates the limits of approach which understands authenticity only as certain originality or "selfness" which should belong to something authentic or inauthentic, almost like its accident. This thesis is therefore concerned with what is revealed if the concept of authenticity is transposed to a work of art. Since it is the subject who can make the act of performance of authenticity happen, the author and the recipient of the authentic / inauthentic work of art are problematized as well. When dealing with the work of art with respect to its temporality (historicality) or its being, the thesis also provides room for the issue of perception of the work of art. The resemblance of the author and the recipient is thus revealed and so is the necessity to learn to see not only artworks as such but to see them...

Archaeological fisheries information represented in fish scales provides relative abundance and age-at-harvest data that can assist in understanding a range of culturally vital Indigenous fisheries. In this thesis, I undertake fish scale analysis (squamatology) to explore fish scale preservation in twelve coastal archaeological sites from two First Nations’ territories in coastal British Columbia (Wuikinuxv and Tseshaht). These data demonstrate that fish scales are more readily preserved in coastal archaeological deposits than is currently appreciated and can refine species-level identification of culturally significant Indigenous fisheries including forage fish and salmon. Fish scales can additionally generate baseline data on age-at-harvest in Pacific herring and when considered alongside other fisheries records provide relative abundance records for forage fisheries in Wuikinuxv territory that span the last 3000 years. This study additionally temporally anchors eulachon fishing along the Wannock River by at least 3000 years ago extending upon previous archaeological assessments by over 2000 years. I apply the concept of two-eyed seeing, as envisaged by Mi’kmaw elder Dr. Albert Marshall, to recognize the strengths of Indigenous and Western perspectives in developing decolonial practices for sharing archaeological fisheries data with community-based fisheries managers. Two-eyed seeing highlights the strength of archaeological data as deep time records of Indigenous fisheries that can be anchored by Indigenous knowledge including cultural stewardship and fishing practices. In this case study, I provide baseline fisheries data co-derived from archaeological and Indigenous knowledges including deep time accounts of relative abundance and traditional harvest methods that community-based managers may wish to use on their terms to pursue future activities of restoration, renewal, and affirmation of traditional fishing practices. / Graduate / 2022-05-14

This study attempts to identify normalization cues within multimodal scholarship to highlight moments of "un-seeing" multimodal composing practices and theoretical contributions from non-Western traditions. Advocates of this approach to teaching composition understand it as an effective way for incorporating other voices into the curricular structures of composition courses. However, the instructional resources do not include or cite research that does not lend itself easily to dominant views of composing within academia. I assert that academia must go further with how value is assessed. There is research that acknowledges the multiliteracies practices found within subcultures of America, and plenty of work that deems the communicative practices observed in these subcultural communities as valuable. However, it is more than just including and citing scholarship from and about people of color's compositional practices, academia must also employ these ways of knowing and being to fully empower students and utilize the knowledge that the students bring with them to the FYC classroom. The dominant assignment genre in academia is the academic essay. Other dominant methods of communication and transferring scholarship are the journal article, annotated bibliography, proposal, and personal essay. Not to mention the many scholars who have critiqued academia for privileging print literacies, which although may be multimodal, promotes a multimodality of one culture and ideological standpoint. Although the seminal texts from the study offer exceptional multimodal composition research and classroom resources, if we can agree that "the mission of education…is to ensure that all students benefit from learning in ways that allow them to participate fully in public, community, and economic life" and that literacy pedagogy, essentially what the FYC course offers, "is expected to play a particularly important role in fulfilling this mission," then failing to see the value and utilize the scholarship from and about people of color ensures those that are marginalized continue to be "un-seen" and students remain unprepared for the tasks of composing and communicating outside of school (New London Group 60).

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Bridging knowledge systems is a potential means of equitably and collaboratively working towards shared goals in aquatic ecosystems, such as the management of invasive species. Invasive species pose a significant threat to aquatic ecosystems, and one example of an invasive species with an established control program are sea lamprey (Petromyzon marinus) within the Laurentian Great Lakes. Sea lamprey management faces many challenges including climate change and the apparent declining social acceptance of control programs, especially amongst Indigenous communities in the region. Such challenges illustrate the need for sea lamprey management to better engage Indigenous Nations and knowledge systems. Etuaptmumk (Two-Eyed Seeing) is a Mi’kmaw concept that can facilitate knowledge bridging as it enables Indigenous and Western knowledge systems to work together in parallel on a shared issue. This thesis research uses social science and Indigenous methodologies to understand the Denny’s Dam rehabilitation (sea lamprey barrier) as a case study for relationship-building and knowledge coexistence between Indigenous and non-Indigenous parties in sea lamprey control. Virtual semi-structured interviews (n = 14) were conducted with key decision-makers and others involved in the Denny’s Dam rehabilitation. Results illustrated why and how a knowledge coexistence approach (e.g. Two-Eyed Seeing) could bridge knowledge systems to inform a shared decision-making process. Moreover, findings outline four main factors needed for relationship-building. This study provides practical guidance for practitioners and addresses a gap in the literature concerning Indigenous engagement in sea lamprey management and knowledge coexistence/Two-Eyed Seeing in aquatic invasive species management.