Schlenker and Leary (1982) and Clark and Wells (1995) each propose two highly influential models of social anxiety disorder with important implications for theory and treatment. In the current study, overlapping and competing cognitive components of these theories were tested with a focus on understanding the socially anxious (SA) individual’s mental representation of self, and its relation to the experience of anxiety in a social situation. Unacquainted pairs of non-socially anxious individuals (n = 61 pairs) and mixed pairs of highly SA and non-socially anxious (NSA) individuals (n = 101 pairs) participated in a “get acquainted” and a structured problem-solving task. All participants rated both their expectations for making specific impressions as well as the importance of making those impressions. All participants also rated how anxious they felt, how anxious they thought they appeared, and how anxious their partners appeared during the interaction. While all participants believed it was important to make a positive impression, SA individuals expected they would make an overall less positive impression than NSA participants. All individuals reported increased anxiety when ratings of impression importance were higher than expectation ratings (test of Schlenker and Leary’s [1982] model). While self-ratings of anxious appearance were similarly influenced by interoceptive information for both SA and NSA individuals (test of Clark and Wells’ [1995] model), for NSA individuals who had a high tendency to attend to publicly observable aspects of their body, the relation between arousal and self-reported appearance was particularly robust in comparison with that for SA individuals. SA individuals as a group were rated by partners as appearing more anxious than NSA participants. Overall, NSA participants’ ratings of a desire for future interaction with SA and NSA partners were comparable. Implications for theory, measurement concerns of key anxiety constructs, treatment implications and need for further investigation are discussed.

Schlenker and Leary (1982) and Clark and Wells (1995) each propose two highly influential models of social anxiety disorder with important implications for theory and treatment. In the current study, overlapping and competing cognitive components of these theories were tested with a focus on understanding the socially anxious (SA) individual’s mental representation of self, and its relation to the experience of anxiety in a social situation. Unacquainted pairs of non-socially anxious individuals (n = 61 pairs) and mixed pairs of highly SA and non-socially anxious (NSA) individuals (n = 101 pairs) participated in a “get acquainted” and a structured problem-solving task. All participants rated both their expectations for making specific impressions as well as the importance of making those impressions. All participants also rated how anxious they felt, how anxious they thought they appeared, and how anxious their partners appeared during the interaction. While all participants believed it was important to make a positive impression, SA individuals expected they would make an overall less positive impression than NSA participants. All individuals reported increased anxiety when ratings of impression importance were higher than expectation ratings (test of Schlenker and Leary’s [1982] model). While self-ratings of anxious appearance were similarly influenced by interoceptive information for both SA and NSA individuals (test of Clark and Wells’ [1995] model), for NSA individuals who had a high tendency to attend to publicly observable aspects of their body, the relation between arousal and self-reported appearance was particularly robust in comparison with that for SA individuals. SA individuals as a group were rated by partners as appearing more anxious than NSA participants. Overall, NSA participants’ ratings of a desire for future interaction with SA and NSA partners were comparable. Implications for theory, measurement concerns of key anxiety constructs, treatment implications and need for further investigation are discussed.

Thesis (Ph. D.)--University of Oregon, 2002. / Typescript. Includes vita and abstract. Includes bibliographical references (leaves 171-204). Also available for download via the World Wide Web; free to University of Oregon users.

Located just east of Missoula, Montana, Milltown Dam stood from 1908 to 2008 immediately downstream of the Clark Fork River’s confluence with the Blackfoot River. After the discovery of arsenic-contaminated groundwater in the nearby community of Milltown, as well as extensive deposits of contaminated sediment in the dam’s upstream reservoir, in 1981, the area was designated a Superfund site – along with much of the Upper Clark Fork Watershed. This motivated the eventual decision to remove the dam, perform environmental remediation, and reconstruct approximately five kilometers of the Clark Fork River and its floodplain. This study is part conceptual and part empirical. It describes a state-and-transition framework equipped to investigate channel evolution as well as the adjustment trajectories of other socio-biophysical landscapes. This framework is then applied to understand the post-restoration channel evolution of the Clark Fork River’s mainstem, secondary channels, and floodplain. Adopting a state-and-transition framework to conceptualize landscape evolution lets environmental managers more effectively anticipate river response under multiple disturbence scenarios and therefore use more improvisational and adaptive management techniques that do not attempt to guide the landscape toward a single and permanent end state. State-and-transition models can also be used to highlight the spatially explicit patterns of complex biophysical response. The state-and-transition models developed for the Clark Fork River demonstrate the possibility of multiple evolutionary trajectories. Neither the secondary channels nor the main channel have responded in a linear, monotonic fashion, and future responses will be contingent upon hydrogeomorphic and climatic variability and chance disturbances. The biogeomorphic adjustments observed so far suggest divergent evolutionary trajectories and that in some instances the long-term fates of the mainstem, floodplain, and secondary channels are inescapably enmeshed with one another.

Although the GRC National Historical Park, Vincennes, Indiana, has been on the National Register of Historic Places since 1966, its development as an Historic Designed Landscape had never been thoroughly researched. Archival research and a field survey of the site evaluated the existing conditions of the grounds and structures to determine their historical significance, integrity and physical condition.The George Rogers Clark Memorial, the park grounds, and other structures and features in and near the park setting were determined to be a historic designed landscape that used formal, classical design principles in a response to the City Beautiful Movement, popular at the beginning of this century, to memorialize the achievements of a man and people significant to our national history.An analysis comparing the historic plans and designers' intent for the park to the existing conditions has resulted in a rehabilitation recommendation for the park that includes the process for returning the park to its original design and an advocation for the development of the historic park setting. / Department of Landscape Architecture

Honors Project--Smith College, Northampton, Mass., 2009. / Includes bibliographical references (p. 88-89).

abstract: The study of fault zones is a critical component to understanding earthquake mechanics and seismic hazard evaluations. Models or simulations of potential earthquakes, based on fault zone properties, are a first step in mitigating the hazard. Theoretical models of earthquake ruptures along a bi-material interface result in asymmetrical damage and preferred rupture propagation direction. Results include greater damage intensity within stiffer material and preferred slip in the direction of the more compliant side of the fault. Data from a dense seismic array along the Clark strand of the SJFZ at Sage Brush Flat (SGB) near Anza, CA, allows for analysis and characterization of shallow (<1km depth) seismic structure and fault zone properties. Results indicate potential asymmetric rock damage at SGB, similar to findings elsewhere along the SJFZ suggesting an NW preferred rupture propagation. In this study, analysis of high resolution topography suggests asymmetric morphology of the SGB basin slopes are partially attributed to structural growth and fault zone damage. Spatial distributions of rock damage, from site mapping and fault perpendicular transects within SGB and Alkali Wash, are seemingly asymmetric with pulverization dominantly between fault strands or in the NE fault block. Remapping of the SJFZ through Alkali Wash indicates the fault is not isolated to a single strand along the main geologic boundary as previously mapped. Displacement measurements within SGB are analogous to those from the most recent large earthquake on the Clark fault. Geologic models from both a 3D shear wave velocity model (a product from the dense seismic array analysis) and lithologic and structural mapping from this study indicate surface observations and shallow seismic data compare well. A synthetic three-dimensional fault zone model illustrates the complexity of the structure at SGB for comparison with dense array seismic wave products. Results of this study generally agree with findings from seismic wave interpretations suggesting damage asymmetry is controlled by a NW preferred rupture propagation. / Dissertation/Thesis / Geologic Map of Sage Brush Flat / 3D fault zone model of the SJFZ at Sage Brush Flat / Masters Thesis Geological Sciences 2018

Orientador: Márcia Maria Strazzacappa Hernandez / Tese (doutorado) - Universidade Estadual de Campinas, Faculdade de Educação / Made available in DSpace on 2018-08-16T12:16:53Z (GMT). No. of bitstreams: 1 Costas_AnaMariaRodriguez_D.pdf: 28536062 bytes, checksum: bd31363bec31aebc36d27c3be1070ceb (MD5) Previous issue date: 2010 / Resumo: Esta tese analisa as relações e as contribuições das abordagens somáticas e do trabalho da artista plástica Lygia Clark na construção de saberes sensíveis da dança, mais especificamente da dança contemporânea. O lócus da investigação foi uma disciplina ofertada em um Curso de Graduação em Dança do município de São Paulo, intitulada Ateliê Somático em Dança, na qual foi desenvolvido um Projeto nominado "Por que Lygia Clark?". Dialogando com alguns dos procedimentos da referida artista, com a exploração sensorial de objetos e com o contato com elementos da e na natureza, foram realizadas experiências somático-dançantes como: sacos de água, múltiplos objetos, sacos de ar e praia. As narrativas e análises dessas experiências evidenciaram a emergência de gestos e qualidades expressivas de movimento ainda desconhecidos pelos sujeitos-dançarinos, resultantes das investigações corporais junto aos sentidos, às sensações, à remodelagem da percepção e à mobilização do imaginário. Para fundamentar tais práticas, foi elaborado um inventário de conhecimentos acumulados sobre o desenvolvimento da sensibilidade ou o saber-sentir no trânsito somático-dançante, pelo qual a prática docente foi realizada, possibilitando a sistematização de algumas técnicas de emergência da expressividade e da criatividade. Considerando ainda a noção de experiência, foram realizados alguns apontamentos quanto às condições para o aprendizado dos saberes sensíveis nas relações do corpo com objetos e do corpo com os outros corpos para a apropriação de conteúdos e, fundamentalmente, a apropriação de sentido pelo sujeito. Por fim, resultam dessa pesquisa concepções, conhecimentos e procedimentos formulados nos conceitos de corpo-sensível, corpo-plástico, corpo-continente e corpo-diálogico, os quais dizem respeito a alguns saberes sensíveis e inteligíveis apontados aqui como significativos à formação do futuro artista da dança e do professor de dança contemporânea, pois é no encontro com as abordagens somáticas que os dançarinos fortificam-se como sujeitos descobridores e investigadores de outras sensibilidades corpóreas, daí a abertura para outros possíveis agenciamentos motores, estéticos, artísticos, éticos, poéticos, políticos e educacionais / Abstract: The present thesis analyzes the relation and the contribution between the somatic approaches and the work of the artist Lygia Clark in the construction of "the body senses knowledge" in contemporary dance. The locus of this investigation was a class offered in an undergraduate course of Dance in São Paulo city, named Atelier Somatic in Dance, in which was developed a project called "Why Lygia Clark?". Dialoguing with some of this artist's procedures, with the sensorial exploitation of objects, and the contact with elements from the nature and in the nature, somatic dancing experiences were organized, using: plastic bags full of water or air, different objects and the beach. The narrative and analysis of such experiences show the appearance of gestures and yet unknown expressive qualities of the movement, which were ignored by the dancers, who considered these qualities as a result of a body investigation through the senses, sensations, renewal of the perception, and imaginary awakening. To support such practices, an inventory of cumulative knowledge was made about the development of sensitivity or the know-feel relationship in the somatic-dancing field, from which the teaching practice was made and allowed the organization of some techniques of creativity and expressivity appearance. Considering the idea of experience, some points were made about the conditions to learn "the body senses knowledge" through the relation of the body with objects and of the body with other bodies for the subject acquisition, and a sense acquisition by the individual. To sum up, result from this research, conceptions, knowledge and procedures formulated upon the idea of sensitive- body, plastic-body, security-body, dialogical-body, which relate to some of the sensible and intelligible knowledge, pointed here as significant to the formation of the future dancer and the contemporary dance teacher, knowing that it's in the encounter of the somatic approaches that the dancers discover the other body senses, and open themselves to others possible engagements: physical, esthetic, artistic, ethical, poetic, political and educational / Doutorado / Educação, Conhecimento, Linguagem e Arte / Doutor em Educação

The content of this thesis is to introduce with the issues taught in the course MGMP and create tutorials and 3D models in Blender for computer exercises of course MGMP. The first part is devoted to some similar courses taught at universities in the Czech Republic. Another parts are dealing with the method of Catmull-Clark subdivision surfaces, texture mapping issues, issues of curves and animation of objects with using curves. The last part is about shading 3D models and about various methods which have been developed and are in use to this day. The output of work are video tutorials and models for MGMP course, dealing with different parts of the thesis.

This dissertation is a study of the early career of the American architect-turned-artist Gordon Matta-Clark (1943–1978) that spans the years 1968 to 1972. Immersing himself in SoHo’s vibrant artistic community, of which he was both a catalyst and a nexus, Matta-Clark worked through the essential ideas and concerns that would inform his practice during this condensed but incredibly generative four-year period. The works that resulted are heterogeneous, united less by specific media than by a shared constellation of concepts. Foremost among these concepts is energy: a key trope in the cultural, theoretical, and artistic discourses of Matta-Clark’s late-1960s and early-1970s moment. In histories of this period (spurred, in part, by the attention paid to Matta-Clark’s peer, Robert Smithson), energy has often been aligned with entropy: a negative movement that leads to an ultimate stasis. In contrast, Matta-Clark marshaled energy as a creative force: a motor of the "metamorphic" processes that his works both enacted and pursued. By focusing on these four years, my study opens new perspectives on both Matta-Clark’s project and the artistic and discursive formation, Postminimalism, from which it is inextricable. In doing so, I defamiliarize art history’s current conception of Postminimalism, “requestioning” (to adopt Matta-Clark’s neologism) its central term, process, through his creative energetics.