Made available in DSpace on 2014-06-11T19:23:31Z (GMT). No. of bitstreams: 0 Previous issue date: 2001-11-26Bitstream added on 2014-06-13T20:50:28Z : No. of bitstreams: 1 ishikawa_mi_me_prud.pdf: 658123 bytes, checksum: e1d7f4d23437dc8bb19a8805ed344335 (MD5) / O grande avanço tecnológico desta década, na área de Sensoriamento Remoto, pode ser percebido quando são observadas as grandes mudanças nas características dos sistemas orbitais mais tradicionais, bem como da nova geração de sistemas sensores desenvolvidos com o intuito de auxiliar, cada vez mais, as tarefas de identificação de alvos na superfície terrestre, devido à grande melhoria na resolução espacial. Produtos orbitais de alta resolução, com grau de detalhamento em torno do metro, permitem um melhor aproveitamento das imagens em aplicações cartográficas. O mercado de mapeamento urbano atualmente é ainda quase inteiramente baseado em fotografias aéreas. Porém, o Sensoriamento Remoto orbital vem passando por uma grande evolução tecnológica desde o final de 1999, quando foi lançado pela empresa norte-americana Space Imaging o satélite IKONOS. Este satélite possui sensores capazes de gerar imagens com lmetro de resolução espacial no modo pancromático e 4 metros no modo multiespectral. Estas imagens permitem o mapeamento da cobertura e uso do solo de maneira detalhada e continuada, desde que sejam usados métodos e/ou técnicas apropriadas. Este trabalho teve como objetivo fazer um estudo do potencial de uso das imagens geradas pelo satélite IKONOS, produto Geo, no que diz respeito a escala máxima de utilização em aplicações cartográficas. O procedimento para verificar a exatidão cartográfica baseou-se na análise estatística das discrepâncias entre as coordenadas de pontos no terreno, obtidas através do GPS, e as coordenadas dos pontos homólogos extraídas da imagem IKONOS, através da análise da existência de tendências e da precisão. Como resultado final, chegou-se a conclusão que a imagem IKONOS/Geo utilizada é adequada a escala 1:50000 e menores. / The huge technological advancement that occurred in this decade, in the field of Remote Sensing, can be well perceived when we observe the great changes that occurred in the characteristics of the more traditional orbital systems, as well as of those which belong to the new generation of sensor systems developed with the aim of helping, more and more, the tasks of identification of targets on the Earth surface, due to the improvement on the spatial resolution. Orbital products of high resolution with the possibility of showing details of about one meter in size allow a better employment of imagery in cartographic applications. The urban mapping market is nowadays almost totally based on aerial photography. However, the orbital Remote Sensing is getting through a immense technological evolution since the end of 1999, when the satellite IKONOS was launched by a north American company called Space Imaging. This satellite has sensors capable of generating images with 1 meter resolution in the panchromatic mode and 4 meter resolution in the multispectral mode. These imagery allow mapping the land cover and use in a detailed and continuous manner, providing the appropriate methods and/or techniques are used. This dissertation aimed at studying the potential use of such imagery obtained by IKONOS satellite, Geo Product, specially with respect to the maximum scale of employment for cartographic applications. The approach for the checking the cartographic accuracy was based upon the statistical analysis of discrepancies between the coordinates on the ground, obtained by the use of GPS, and the coordinates of homologue points extracted from the IKONOS imagery, through the analysis of existence of trend and also by the analysis of precision. As a final result, it has been found that the IKONOS/Geo imagery is useful for mapping at 1:50.000 and smaller scales.

Esta tese propõe, a partir da premissa de que existe um cinema pós-moderno, observar e identificar marcas estéticas e técnicas nos filmes contemporâneos que construam uma imageria audiovisual pós-moderna. Após, procura compreender que sentidos são criados por essa imageria e que figuras comuns do “espírito pós-moderno” estão engendradas nessa estética. Para tanto, conduzo um mapeamento de filmes realizados entre 1980 e 2010, a partir de onde busco compreender os clichês visuais, ou recorrências técnicas e estéticas, que marquem a produção audiovisual contemporânea, a fim de organizar um objeto de análise. Essas recorrências são analisadas dentro de quatro estéticas, categorias de pesquisa dentro das quais relaciono as marcas estéticas e técnicas como formas com as figuras históricas e culturais que caracterizam o período pós-moderno. Nesse percurso teórico-metodológico, lanço mão de uma abordagem de Omar Calabrese e de um constructo teórico que articula, por um lado, as teorias de Fredric Jameson e Zygmunt Bauman sobre a contemporaneidade e, por outro, uma abordagem da imagem e do audiovisual principalmente das perspectivas de Philippe Dubois, Arlindo Machado e Jacques Aumont, assim como da contribuição de Maria Beatriz Rahde e Flávio Cauduro no que tange o apontamento sobre formas pós-modernas nas artes visuais gráficas. / This thesis proposes, based on the premise that there is a postmodern cinema, observe and identify aesthetic and technical marks of the contemporary movies that build a postmodern audiovisual imagery. Following, to understand the meanings created by this imagery and common figures of the "post-modern spirit" engendered in these aesthetics. In order to do this, I mapped films made between 1980 and 2010, from where I try to comprehend the visual cliches or technical and aesthetic recurrences that mark the contemporary audiovisual production in order to organize an object of analysis. These recurrences are analyzed within four aesthetics, categories of research within which I relate the aesthetic and technical marks as forms and the historical and cultural figures that characterize the postmodern period. Along the theoretical and methodological course, I made use of an approach by Omar Calabrese and a theoretical construct that hinges on the one hand, the theories of Fredric Jameson and Zygmunt Bauman on contemporary and, secondly, an approach of image and audiovisual, mainly the prospects for Philippe Dubois, Arlindo Machado, Jacques Aumont, as well as the contribution of Maria Beatriz Rahde and Flavio Cauduro regarding the appointment of postmodern forms in visual graphic arts.

Multi-spectral imagery provides a robust and low-cost dataset for assessing wetland extent and quality over broad regions and is frequently used for wetland inventories. However in forested wetlands, hydrology is obscured by tree canopy making it difficult to detect with multi-spectral imagery alone. Because of this, classification of forested wetlands often includes greater errors than that of other wetlands types. Elevation and terrain derivatives have been shown to be useful for modelling wetland hydrology. But, few studies have addressed the use of LiDAR intensity data detecting hydrology in forested wetlands. Due the tendency of LiDAR signal to be attenuated by water, this research proposed the fusion of LiDAR intensity data with LiDAR elevation, terrain data, and aerial imagery, for the detection of forested wetland hydrology. We examined the utility of LiDAR intensity data and determined whether the fusion of Lidar derived data with multispectral imagery increased the accuracy of forested wetland classification compared with a classification performed with only multi-spectral image. Four classifications were performed: Classification A - All Imagery, Classification B - All LiDAR, Classification C - LiDAR without Intensity, and Classification D - Fusion of All Data. These classifications were performed using random forest and each resulted in a 3-foot resolution thematic raster of forested upland and forested wetland locations in Vermilion County, Illinois. The accuracies of these classifications were compared using Kappa Coefficient of Agreement. Importance statistics produced within the random forest classifier were evaluated in order to understand the contribution of individual datasets. Classification D, which used the fusion of LiDAR and multi-spectral imagery as input variables, had moderate to strong agreement between reference data and classification results. It was found that Classification A performed using all the LiDAR data and its derivatives (intensity, elevation, slope, aspect, curvatures, and Topographic Wetness Index) was the most accurate classification with Kappa: 78.04%, indicating moderate to strong agreement. However, Classification C, performed with LiDAR derivative without intensity data had less agreement than would be expected by chance, indicating that LiDAR contributed significantly to the accuracy of Classification B.

This thesis provides evidence for patterned and pervasive ritual symbolism through use of animals and animal imagery in early Mesoamerican villages. I look at the faunal remains excavated from Early and Middle Formative (1350-850 B.C) domestic and ceremonial contexts at the Mixteca Alta site of Tayata, Oaxaca. I focus on the presence of exotic and locally available fauna including: domesticated dog, fish, turtle, small bird and nine-banded armadillo. By investigating the variable use of these animals in purposeful domestication, seasonal celebrations, autosacrifice, as musical instruments and in conjunction with building dedications, I highlight their importance to understanding broader patterns in the site as a whole. Specifically, I compare the presence of these animals at Tayata to other contemporary artifact assemblages, regional iconography, linguistic data, ethnographic descriptions and ethnohistoric accounts of Oaxaca and Mesoamerica. This investigation of ritual deposits within village-level societies provides a means to understand larger socio-political dynamics in this region. Based on the evidence provided, the use of animals in ritual activity at Tayata fits into larger spatial and temporal patterns of local and exotic faunal assemblages seen throughout Formative Mesoamerica. The importance of ritual activity is seen in the association of these animals within residential, ceremonial and elite deposits across multiple sites, indicating an increase in socio-political complexity as well as the presence of a Pan-Mesoamerican belief system during the Early and Middle Formative Periods. This study integrates faunal data within larger patterns of cultural activity including architectural style and zoomorphic figurines. Finally, this approach provides a more thorough understanding of the importance of looking at the context of all artifact types, even those which exist in small quantities, to form a broader perspective on a site or region.

Utilization of an external focus of attention has been proved to be beneficial in the motor learning literature. When people focus on the effects of the movement (i.e., external focus of attention), the motor skill is enhanced compared to directing attention to the body movements (i.e., internal focus of attention). Previous studies that have examined the effect of focus of attention on learning a motor skill often used visible or imagined objects to elicit an external focus of attention. However, the effects of these different types of external focus instruction have not been investigated thoroughly. It was unclear prior to this thesis how the focus of attention effect is influenced by the use of imagery. The purpose of the present study was to investigate the difference between directing attention to a visible object and an imagined object when performing and learning the standing long jump. It was hypothesized the group of participants who practiced with an imagery instruction would perform similarly in the post-test with or without an object that was used to elicit an external focus of attention. It was also hypothesized the group of participants who practiced with a visible object would perform similarly during the post-test with the same visible object; but the performance would decline in the post-test with no object. The results indicated there was no difference in the effect of the two different types of instructions. That is, performance during the practice and post-test were similar for the participants who imagined an object during the practice phase compared to the participants who practiced with an object. The post-test with and without an object were also similar within the same group as well as between the two groups. The results of the study provided additional evidence vision does not influence the focus of attention effect. Participants that practiced the standing long jump with a visible cone did not change the performance on the transfer test when the cone was removed. Also, participants that were instructed to direct their attention toward an imaginary cone performed just as well as participants that focused their attention on a visible cone on both the retention and transfer test. Therefore, the primary finding of the present experiment is that the focus of attention effect can be induced through the use of imagery.

The use of imagery and movement to affect vocal tone has long been a part of choral pedagogy. These often used, yet little explored tools, are employed by choral directors on all levels. The present study sought to determine if the use of imagery, metaphor, motion, and a combination of the three, as pedagogic tools to affect vocal tone, could be perceived by outline listeners. Three singers - an untrained singer, an undergraduate in choral music education, and a graduate student in vocal performance - were asked to perform a melody under a control and three research conditions: metaphoric-image, motion, and dual modality (a combination of metaphoric-image and motion). Participants were randomly assigned to listen to one of the three singers. Participants were asked to rate each condition on tone color, tension, and preference and were directed to ascribe a color to the tone they heard for each condition. Results indicated that respondents could indeed perceive a difference in tone over the different conditions. For the metaphoric-image condition, the singers were asked to "sing the line as if it were yellow." Overall, respondents rated this tone brighter than any others across singers and conditions. The majority of respondents also ascribed the color yellow to the metaphoric-image tone across singers and conditions. Overall data indicated that respondents rated the dual modality condition as darkest and most relaxed while the metaphoric-image condition was rated as brightest and most tense. These results were consistent with the expected pedagogic intent of the conditions as well as the researcher's hypothesis. A chi-square test performed on the color ascription data revealed statistical significance in the expectation of response. The data seem to indicate that specific color ascription to vocal tone is consistent across respondents and conditions.

Esta tese propõe, a partir da premissa de que existe um cinema pós-moderno, observar e identificar marcas estéticas e técnicas nos filmes contemporâneos que construam uma imageria audiovisual pós-moderna. Após, procura compreender que sentidos são criados por essa imageria e que figuras comuns do “espírito pós-moderno” estão engendradas nessa estética. Para tanto, conduzo um mapeamento de filmes realizados entre 1980 e 2010, a partir de onde busco compreender os clichês visuais, ou recorrências técnicas e estéticas, que marquem a produção audiovisual contemporânea, a fim de organizar um objeto de análise. Essas recorrências são analisadas dentro de quatro estéticas, categorias de pesquisa dentro das quais relaciono as marcas estéticas e técnicas como formas com as figuras históricas e culturais que caracterizam o período pós-moderno. Nesse percurso teórico-metodológico, lanço mão de uma abordagem de Omar Calabrese e de um constructo teórico que articula, por um lado, as teorias de Fredric Jameson e Zygmunt Bauman sobre a contemporaneidade e, por outro, uma abordagem da imagem e do audiovisual principalmente das perspectivas de Philippe Dubois, Arlindo Machado e Jacques Aumont, assim como da contribuição de Maria Beatriz Rahde e Flávio Cauduro no que tange o apontamento sobre formas pós-modernas nas artes visuais gráficas. / This thesis proposes, based on the premise that there is a postmodern cinema, observe and identify aesthetic and technical marks of the contemporary movies that build a postmodern audiovisual imagery. Following, to understand the meanings created by this imagery and common figures of the "post-modern spirit" engendered in these aesthetics. In order to do this, I mapped films made between 1980 and 2010, from where I try to comprehend the visual cliches or technical and aesthetic recurrences that mark the contemporary audiovisual production in order to organize an object of analysis. These recurrences are analyzed within four aesthetics, categories of research within which I relate the aesthetic and technical marks as forms and the historical and cultural figures that characterize the postmodern period. Along the theoretical and methodological course, I made use of an approach by Omar Calabrese and a theoretical construct that hinges on the one hand, the theories of Fredric Jameson and Zygmunt Bauman on contemporary and, secondly, an approach of image and audiovisual, mainly the prospects for Philippe Dubois, Arlindo Machado, Jacques Aumont, as well as the contribution of Maria Beatriz Rahde and Flavio Cauduro regarding the appointment of postmodern forms in visual graphic arts.

Master of Arts / Department of Geography / Kevin Blake / Place-defining novelists convey regional imagery and regional sense of place to a wide audience, thus shaping popular perceptions of regions. Peter Mayle and Pierre Magnan are the most recent place-defining novelists of Provence, France. This research compares each author’s regional imagery and sense of place to understand what it means for each author to be in Provence. Place-name mapping geographically frames each authors’ regional imagery and sense of place. Qualitative coding and close readings of selected texts for each author identify sets of regional imagery, including nature and culture imagery, which help develop a sense of place for Provence. The subjectivities of qualitative coding analysis is addressed through personal narratives which acknowledges the researcher’s positionality vis-à-vis Provence. Mayle’s nature imagery emphasizes remote, rough topography and bright sunny skies, which presents the natural landscape as benevolent and therapeutic. Magnan’s nature imagery emphasizes rough topography, rivers, winds, and storms, which presents the natural landscape as powerful, indifferent or malevolent towards human affairs, and imbued with a sense of deep time and an enigmatic quality. Mayle’s culture imagery emphasizes healthy, traditional agrarian lifeways; vibrant village life and social connectedness; a positive and prominent tourist industry; and a food culture which permeates Provençal identity. Magnan’s culture imagery emphasizes the harsh realities of agrarian lifestyles; insular and mistrusting villages; hard and frugal villagers; historical continuity; and references to ruined or abandoned landscapes and cultural loss. Mayle’s sense of place defines Provence as a region defined as idyllic, most strongly developed by his culture imagery which emphasizes idealized agrarian lifeways and Provence’s food culture. This idyll is deepened with the positive associations with Provence’s tourist industry. Magnan’s sense of place defines Provence as a region defined by a melancholic sublime. His powerful, enigmatic nature imagery is the strongest shaping force behind developing Provence’s sublime qualities. Provence’s melancholic quality is linked to Magnan’s nature imagery’s enigmatic characteristics, which invite contemplation, and his culture imagery associated with ruins and cultural loss, which offers further invitation to contemplation and conveys a sense of grief.

abstract: The Imagination + Imagery model for design pedagogy is presented. Two studies were conducted to develop the model: (a) the visual imagery assessment of design students; and (b) a historical research on the concept of imagination. Results suggest the following implications as the components of strong imagination for design thinkers: (a) the ability to shape vivid images of objects in mind; (b) the ability to mentally transform the spatial representations of images; (c) to consider the ethical consequences of imagined situation; (d) to use imagination for resolving design wicked problems; and (e) to actively imagine for mental and emotional health. / Dissertation/Thesis / Masters Thesis Design 2018

The medical model has been criticised for its failure to attend to individuals' experience of illness and the meaning they attribute to illness. HIV / AIDS has challenged its adequacy and brought the question of meaning in illness into sharp focus. This study aimed to understand what it means to live with HIV by exploring the fantasies, images and metaphors that make up the depth of such an experience. Phenomenology was deemed the appropriate approach, as it assigns epistemological significance to metaphor and ontological primacy to the lifeworld. An interview guide was fashioned from existing phenomenological literature and in-depth interviews were conducted with eight HIV -infected individuals. Five protocols were selected to constitute the study. In addition, an audio tape recording of one individual's metaphorical dialogue with HIV was obtained and transcribed. The three protocols with the richest content of imagery and metaphor were subjected to phenomenological explication. The remaining two protocols were used to support and clarify emergent meaning. A phenomenological explication of the data revealed a number of salient metaphors and themes. Upon being diagnosed with HIV, individuals were confronted with a socially and institutionally prescribed understanding of the disease; HIV as synonymous with AIDS and immediate death, HIV as sexual deviance, and HIV as myth. These metaphors influenced their conceptualisation and handling of HIV. Individual embodied metaphors included: embodying a heart of stone to live with HIV and perceiving HIV as a punishment from God, a demon from the Devil, a death sentence and a torture. Affectively, the experience of HIV was constituted as fear of physical disfigurement and exposure, anxiety, vulnerability, anger, betrayal, injustice and isolation. In a process of resolution and transformation, individuals imbibed positive metaphors with which to continue living with HIV. In order to cope with HIV, individuals seemed to negotiate a metaphorical space in which to dwell with their virus. This entailed establishing some form of dialogue with HIV or a Higher Power. This study revealed that metaphorical thinking about HIV /AIDS has a powerful impact on individuals' embodiment of their world. Metaphor is also an effective means Clf conveying and eliciting meaning in the experience of illness. Based upon these findings, it was suggested that metaphor be a prime focus for future research endeavours.