Thesis (Ph. D.)--Washington State University, December 2007. / Includes bibliographical references (p. 142-151).

The purpose of this study was to utilize the dual frameworks of Body-Centered Constructivism and Lived Religion to analyze the work of contemporary photojournalists and documentary photographers. Interviews were conducted with a targeted selection of professional and non-professional photojournalists whose experiences and work were relevant to the Body-Centered Constructivist framework. Informants were asked to comment on how physical factors including but not limited to new photographic technologies affected the use of their bodies while on assignment, their interpretation of stories, and their relationships with their subjects. Next, visual analyses of works of photojournalism were conducted using a Lived Religion framework. These works were selected based on their relevance to the research questions presented, namely how photojournalists approach the mundane in coverage of religious stories. An additional creative component operated as a case study for applying each framework to a work of visual journalism. Various media were employed based on relationships fostered between the media, the photographer’s body, and the subjects. Reflections and conclusions based on this project are included.

In this study, we synthesized amphiphilic block copolymer Poly(ethylene glycol)-b-Poly(£`-caprolactone) (PEO-b-PCL), and the mesoporous silica and phenolic were synthesized by using EISA (evaporation induced self-assembly) strategy. The mesoporous carbon also obtained after carbonization. After incorporating the precursors into the mesoporous channels through incipient wetness impregnation and further hydrogen reduction, 3D body-centered cubic (BCC) metal network/silica, metal nanowires/silica, metal/phenolic, and metal/carbon nanocomposites could be obtained. Moreover, metal replica was obtained through HF etching. Transmission electron microscope (TEM) and the small angle X-ray scattering (SAXS) patterns indicate that the parent ordered mesoporous structure was well-maintained during the synthesis process. The X-ray diffraction (XRD) and selected-area electron diffraction (SAED) demonstrate that Pd and Ag were reduced within the channels of mesoporous materials. The pore size distribution and BET surface area of mesoporous materials and metal/mesoporous materials composite were recorded by N2 isotherm adsorption-desorption experiment. In the future, we expect that the mesoporous metal and mesoporous nanocomposite with specific morphologies behave excellent performance in various applications, such as catalysis, gas sensors, nano electronic/optical devices and medical diagnosis.

A detailed study has been made of thermally activated glide between 373 K and 20 K for UHV annealed single crystals of two Nb based substitutional alloy systems containing 1-16 at.%Mo or 4 - 60 at.%Ta, in conjunction with a study of the deformation of UHV annealed single crystals of Nb between 4.2 K and 77 K. Whilst the addition of Ta had only a small effect on the properties of Nb as measured by activation volume and enthalpy and the temperature dependence of the flow stress, it produced a large increase in the low temperature yield stress and displaced the appearance of anomalous slip to lower temperatures, e.g. 77 K for the 10 at.%Ta alloy. Addition of Mo produced more rapid changes Whilst the 1 at.%Mo alloy behaved like the Nb-Ta alloys, the appearance of anomalous slip was depressed to 113 K. Further additions appeared to suppress anomalous slip completely and radically alter the behaviour of the alloys. The thermodynamic analysis suggested that the more concentrated Nb-Mo alloys show a change in the rate limiting step at low temperatures, cf. a peak in the activation volume - effective stress curve. No solution softening was observed in the alloys. Complex transients were found for all the alloys at and below 77 K after changes in strain rate. The yield and thermal stresses for Nb deforming by anomalous slip were independent of temperature between 77 K and 50 K, only regaining a temperature sensitivity below 50 K. The importance of this for models of anomalous slip was discussed. Complex overshoots were observed after changes in the strain rate. Those observed at and below 20 K have been explained by reference to the change in specimen temperature produced by heat generation during dislocation glide.

Over the last few decades, body-centered-cubic (bcc) beta (β) titanium alloys have largely been exploited as structural alloys owing to the richness in their microstructural features. These features, which lead to a unique combination of high specific strength and ductility, excellent hardenability, good fatigue performance, and corrosion resistance, make these alloys viable candidates for many applications, including aerospace, automobile, and orthopedic implants. The mechanical properties of these alloys strongly depend on the various phases present; which can be controlled by thermomechanical treatments and/or alloy design. The two most important and studied phases are the metastable ω phase and the stable α phase. The present study focuses on the microstructural evolution and the mechanical behavior of these two phases in a model β-Ti alloy, binary Ti-12wt. %Mo alloy, and a commercial β-Ti alloy, β-21S. Microstructures containing athermal and isothermal ω phases in the binary Ti-12wt. %Mo alloy are obtained under specific accurate temperature controlled heat treatments. The formation and the evolution of the ω-phase based microstructures are investigated in detail via various characterization techniques such as SEM, TEM, and 3D atom probe tomography. The mechanical behavior was investigated via quasi-static tensile loading; at room and elevated temperatures. The effect of β phase stability on the deformation behavior is then discussed. Similar to the Ti-12wt. %Mo, the formation and the evolution of the athermal and isothermal ω phases in the commercial β-21S alloy was studied under controlled heat treatments. The structural and compositional changes were tracked using SEM, TEM, HR-STEM, and 3D atom probe tomography (3D-APT). The presence of additional elements in the commercial alloy were noted to make a considerable difference in the evolution and morphology of the ω phase and also the mechanical behavior of the alloys. The Portevin-Le Chatelier (PLC) like effect was observed in iii this alloy at elevated temperature and this has been attributed to the shearing of the ω precipitates and the dynamic precipitation of the α phase within these channels. The formation of the stable α phase in the commercial β-21S alloy due to the influence of precursor phases, like the metastable ω phase, is investigated. It is evident from the microstructural characterization, using SEM, TEM, HR-STEM, and 3D-APT, that the ω phase does play a role on the fine scale α precipitation. The mechanical behavior of the β+α microstructure, investigated via tensile testing, shows that these alloys are ideal candidate for precipitation hardening. The exceptional strength values obtained in this alloy have been attributed to a combination of several factors.

The development of sensor-based technologies has opened up avenues for a dialogue between the body and digital spaces, uncovering new possibilities for cross-disciplinary projects and engagements that demand new methods compatible with the ethos of embodied practices, which, in turn, require new approaches and tools. This research seeks to address this need by examining the quantifiability and visual properties of embodied emotion through a multi-layered study of human movement and gesture. It is an elaboration of scientific and artistic research methods, intended to answer the following principal question and related sub-questions: How can emotions, expressed via whole-body movement be visually documented and archived as a reference framework to stimulate the use and studies of expressive gesture in digital environments? As a consequence the following sub-questions become relevant for this research: The first, ontological in its nature; what is expressed emotion? And the second, methodological; how can bodily expressed emotions be visualised and quantified? To answer these questions, the research is divided into three parts. Drawing on phenomenological interpretative inquiry and heuristic methodology, whole-body emotive expressions are documented and analysed from multiple perspectives: body, expressiveness, time, space volume and their correlations. The first part contains information related to video data collection and the database design. The second part describes silhouette extractions of whole body emotive expressions and an online survey where the visual perception of visual data is measured. The third part of the research contains visual and quantitative data analysis providing the basis for visualisation of the four archetypal emotions: anger, fear, joy and sadness and their relationships. In this process, a multi-method approach was adopted combining both qualitative and quantitative methods adopted from sociology and cognitive science. The contextual review, where virtual embodiment and interactivity are explored build on the aesthetics of performance within new technology, highlighting the adaptability of the methods used in performance art to the field of game design. The results of this research and contribution to knowledge reside within both the ontological and methodological approaches used within this study. The ontological resides within the development of two reference frameworks: a correlation table defined as the Periodic Table of Movements (PTM) and a PTM database. The PTM database is a synthesis of embodied emotion data derived from multiple visual representations such as colour, shape, space, volume, time and intensity, whereas the relationship between expressions is visualised in the PTM correlation table. Within the context of an educational framework, the database also provides visual concepts of emotion as epistemic objects for analysis and experimentation. It is a starting point for future cross-disciplinary studies and research on emotions in the context of embodiment and digital technology. The novel methodology of this research contributes to a number of fields with new methods and models of enquiry, grounded within a hermeneutical interpretation driven by artistic development. This exploration opens up a holistic approach to future studies and research grounded in a multimodal attitude to knowledge acquisition.

Esta pesquisa teve como objetivo investigar o processo de aprendizagem de um novo repertório, a partir de uma abordagem centrada no gesto, por meio do estudo de caso de uma aluna de piano do primeiro ano do curso de Licenciatura em Música da Universidade Estadual de Londrina. Para a metodologia da pesquisa, empregamos três técnicas complementares de coleta de dados: a gravação em vídeo, a entrevista semiestruturada e a observação participante. Considerando o caráter holístico e multimodal do gesto e sua definição como movimento portador de significado e intenção expressiva (GODØY; LEMAN, 2010), a abordagem do texto musical a partir do gesto demanda a integração de conhecimentos musicais na prática instrumental, bem como a consciência corporal. Dessa forma, investigamos como os gestos foram construídos ao longo de oito semanas de aulas de piano, de que forma conceitos teóricos foram integrados à prática instrumental e quais mudanças foram observadas na prática da aluna. A aplicação da abordagem gestual na preparação de um novo repertório contribuiu para desenvolver a fluência, a expressividade, a compreensão musical e a consciência corporal. As estratégias utilizadas ao longo das oito semanas de aulas objetivaram a compreensão e a expressão musical por meio da construção do gesto em um processo centrado no corpo. Essas estratégias contribuíram, também, para a organização do próprio processo de aprendizagem, fornecendo ferramentas para a estruturação da prática. / This research consist of a case study of a first-year Music Education major at the State University of Londrina that investigate the process of learning a new piano repertoire through a gestural approach. The methodology employed comprised three complementary techniques of data collection: video recording, semi-structured interviews, and participant observation. Considering the holistic and multimodal character of gesture (GODØY; LEMAN, 2010), a gestural approach to learning a new piece music demands the integration of musical knowledge in instrumental practice, as well as body consciousness. In this way, we investigated how gestures were constructed during eight weeks of piano lessons, how music theory concepts were integrated in instrumental practice and the changes observed in student's practice. The application of a gestural approach in the preparation of a new repertoire has contributed to develop fluency, expressiveness, musical understanding of musical structure and music theory, and body awareness. The strategies used during the eight weeks of classes aimed at understanding and expressing music through the perspective of gesture in a learning process centered on the body. These strategies also contributed to the organization of the learning process itself by providing tools for structuring the student's practice.

Esta pesquisa teve como objetivo investigar o processo de aprendizagem de um novo repertório, a partir de uma abordagem centrada no gesto, por meio do estudo de caso de uma aluna de piano do primeiro ano do curso de Licenciatura em Música da Universidade Estadual de Londrina. Para a metodologia da pesquisa, empregamos três técnicas complementares de coleta de dados: a gravação em vídeo, a entrevista semiestruturada e a observação participante. Considerando o caráter holístico e multimodal do gesto e sua definição como movimento portador de significado e intenção expressiva (GODØY; LEMAN, 2010), a abordagem do texto musical a partir do gesto demanda a integração de conhecimentos musicais na prática instrumental, bem como a consciência corporal. Dessa forma, investigamos como os gestos foram construídos ao longo de oito semanas de aulas de piano, de que forma conceitos teóricos foram integrados à prática instrumental e quais mudanças foram observadas na prática da aluna. A aplicação da abordagem gestual na preparação de um novo repertório contribuiu para desenvolver a fluência, a expressividade, a compreensão musical e a consciência corporal. As estratégias utilizadas ao longo das oito semanas de aulas objetivaram a compreensão e a expressão musical por meio da construção do gesto em um processo centrado no corpo. Essas estratégias contribuíram, também, para a organização do próprio processo de aprendizagem, fornecendo ferramentas para a estruturação da prática. / This research consist of a case study of a first-year Music Education major at the State University of Londrina that investigate the process of learning a new piano repertoire through a gestural approach. The methodology employed comprised three complementary techniques of data collection: video recording, semi-structured interviews, and participant observation. Considering the holistic and multimodal character of gesture (GODØY; LEMAN, 2010), a gestural approach to learning a new piece music demands the integration of musical knowledge in instrumental practice, as well as body consciousness. In this way, we investigated how gestures were constructed during eight weeks of piano lessons, how music theory concepts were integrated in instrumental practice and the changes observed in student's practice. The application of a gestural approach in the preparation of a new repertoire has contributed to develop fluency, expressiveness, musical understanding of musical structure and music theory, and body awareness. The strategies used during the eight weeks of classes aimed at understanding and expressing music through the perspective of gesture in a learning process centered on the body. These strategies also contributed to the organization of the learning process itself by providing tools for structuring the student's practice.

Esta pesquisa teve como objetivo investigar o processo de aprendizagem de um novo repertório, a partir de uma abordagem centrada no gesto, por meio do estudo de caso de uma aluna de piano do primeiro ano do curso de Licenciatura em Música da Universidade Estadual de Londrina. Para a metodologia da pesquisa, empregamos três técnicas complementares de coleta de dados: a gravação em vídeo, a entrevista semiestruturada e a observação participante. Considerando o caráter holístico e multimodal do gesto e sua definição como movimento portador de significado e intenção expressiva (GODØY; LEMAN, 2010), a abordagem do texto musical a partir do gesto demanda a integração de conhecimentos musicais na prática instrumental, bem como a consciência corporal. Dessa forma, investigamos como os gestos foram construídos ao longo de oito semanas de aulas de piano, de que forma conceitos teóricos foram integrados à prática instrumental e quais mudanças foram observadas na prática da aluna. A aplicação da abordagem gestual na preparação de um novo repertório contribuiu para desenvolver a fluência, a expressividade, a compreensão musical e a consciência corporal. As estratégias utilizadas ao longo das oito semanas de aulas objetivaram a compreensão e a expressão musical por meio da construção do gesto em um processo centrado no corpo. Essas estratégias contribuíram, também, para a organização do próprio processo de aprendizagem, fornecendo ferramentas para a estruturação da prática. / This research consist of a case study of a first-year Music Education major at the State University of Londrina that investigate the process of learning a new piano repertoire through a gestural approach. The methodology employed comprised three complementary techniques of data collection: video recording, semi-structured interviews, and participant observation. Considering the holistic and multimodal character of gesture (GODØY; LEMAN, 2010), a gestural approach to learning a new piece music demands the integration of musical knowledge in instrumental practice, as well as body consciousness. In this way, we investigated how gestures were constructed during eight weeks of piano lessons, how music theory concepts were integrated in instrumental practice and the changes observed in student's practice. The application of a gestural approach in the preparation of a new repertoire has contributed to develop fluency, expressiveness, musical understanding of musical structure and music theory, and body awareness. The strategies used during the eight weeks of classes aimed at understanding and expressing music through the perspective of gesture in a learning process centered on the body. These strategies also contributed to the organization of the learning process itself by providing tools for structuring the student's practice.

Nous avons réalisé des calculs de structure électronique ab initio, basés sur la théorie de lafonctionnelle de la densité (DFT), pour étudier les propriétés des dislocations vis h111i dansles métaux de transition cubiques centrés (V, Nb, Ta, Mo, W et Fe). Dans tous ces éléments,le coeur facile non-dégénéré est la configuration d’énergie minimale et la configuration de coeurdissociée a une énergie très élevée, comparable ou plus élevée que celle du coeur difficile, encontradiction avec les prédictions des potentiels interatomiques. Nous avons mis en évidence destendances de groupe marquées sur l’énergie de coeur de la dislocation facile, reliées à la positiondu niveau de Fermi par rapport au minimum du pseudo-gap de la densité d’états électroniques.Notre travail fait aussi apparaitre un comportement atypique du fer, avec une énergie relativedu coeur difficile basse, proche de celle du point col entre deux coeurs faciles, conduisant à unpotentiel de Peierls plat autour de la configuration difficile, contrairement aux autres éléments.A partir de ces calculs DFT, nous avons construit le paysage énergétique à deux dimensionsdans le plan {111} (potentiel de Peierls) et nous avons étudié plusieurs propriétés relativesau glissement des dislocations, et en particulier l’énergie de formation de la paire de décrochementset la dépendance de la contrainte de Peierls en fonction de l’orientation cristalline.Nous proposons une modification simple de la loi de Schmid, qui prend en compte la trajectoirenon rectiligne de la dislocation et qui permet d’expliquer qualitativement pourquoi l’asymétriemaclage/antimaclage est moins marquée dans Fe que dans les autres métaux cubiques centrés. / We performed electronic structure ab initio calculations based on density functional theory(DFT) to study the h111i screw dislocation properties in body-centered cubic transition metals(V, Nb, Ta, Mo, W and Fe). In all investigated elements, the nondegenerate easy coreis the minimum energy configuration and the split core configuration has a high energy nearor above that of the hard core, contrary to interatomic potential predictions. A strong groupdependence of the core energy of the easy dislocation is also evidenced, related to the positionof the Fermi level with respect to the minimum of the pseudogap of the electronic density ofstates. Our work also reveals an atypical behavior in Fe, with a low relative energy at the hardcore position, close to that of the saddle configuration between easy cores, resulting in a flatPeierls potential around the hard core configuration, at variance with other elements. Fromthese DFT calculations, the two-dimensional energetic landscape in the {111} plane (Peierlspotential) is constructed and we investigated several properties of dislocation glide and in particular,the kink-pair formation enthalpy, as well as the dependence of the Peierls stress oncrystal orientation. We proposed a simple modification to the Schmid law that takes accountof the non-straight trajectory of the dislocation and that qualitatively explains why the twinning/antitwinning asymmetry is less pronounced in Fe than in other body-centered cubic metals.