A. Purpose.To present a study of the various meanings of the words revelation and inspiration that have been used in the Church of Jesus Christ of Latter-day Saints.B. Significance.This thesis points out the difficulties involved in the understanding of the theology of The Church of Jesus Christ of Latter-day Saints when the two words are used without discretion. The thesis elucidates the various meanings of the words and presents the doctrine arising from their meaning that has been generally understood and confirmed by the leaders of the Church.C. Method of Study and Presenting Material.Three references were considered as the source material for this thesis: The Doctrine and Covenants, The Book of Mormon, and The Journal of Discourses. Every instance of the occurrence of the two words revelation and inspiration was considered. The various meanings and ways the words were used were classified, and these classifications have been discussed separately. Each group classification comprises the subject matter of a section.The two words revelation and inspiration have been used in such a way that they can have more than one meaning. Sometimes they appear to be used synonymously. But in the majority of the cases they have a difference of meaning that is significant to the Latter-day Saints.The difference between revelation (the knowledge given to the Saints as associated with the gospel and the Church) and inspiration (or knowledge received by the world at large) is primarily in the differences of assignment, office, and power of the Holy Ghost and Jesus Christ, from God the Father. The Holy Ghost is the source of revelation as is given in relation to the Church and kingdom of God when the recipients obey the principles of the gospel of Jesus Christ. The light and gift of Christ which is given to every man that is born into the world is the source of the good and of the knowledge that comes by inspiration.

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There has been a growing interest in development of nature-inspired miniature mobile robotics, for navigating complex ground scenarios, unknown terrains, and disaster-hit areas. One application is the development of a remotely operated vehicle (ROV) for rumen monitoring to improve our understanding of microbiology, and real-time physical changes and correlations with health. This interest is being driven from the desire to improve the safety and efficiency of food production by improving precision animal agriculture, which involves understanding the digestive system of ruminant animals and responding to the biochemical and physical changes. Most miniature robotic locomotion methods have taken inspiration from insects and have focused on adopting approaches that results in improved gait performance with respect to stability, velocity, cost-of-transport, and ability to navigate uneven surface terrains. In order to operate in the rumen environment, the locomotion mechanism should have the ability to handle large frictional and viscous forces in the direction of motion performing submerged burrowing-like action. The rumen environment consists of varying stiffness content with different fluidic concentration across the layers, reaching high viscosity and densities similar to wet soil or mud. Taking inspiration from millipedes for a locomotion mechanism to function in such an environment is attractive as these organisms have evolved to be proficient burrowers in similar substrates. In this dissertation, the bio-mechanics of millipedes were investigated in-depth and modeled using analytical approaches. Multiple experiments were conducted on real animals to gain fundamental understanding of their locomotive abilities under varying environmental conditions. From this understanding, their gait behavior was emulated on a robotic platform to confirm the predicted dynamics and practically demonstrate the phenomena of modulating thrust force. The robotic models were also utilized to validate the parametric analysis and gain insight of the burrowing ability in varying gait behavior and body morphology. The primary features that govern the millipede behavior for effective burrowing were analyzed and utilized to design a locomotion mechanism for a rumen ROV. The design of the locomotion mechanism was tested in rumen-like media consisting of a wet mud mixture, where both locomotion thrust and steering ability were demonstrated. / Ph. D. / In this dissertation, the movement of millipedes utilize to traverse effectively within an environment that provides significant resistance is studied. Through various experimental observations and mathematical modeling, we are able to develop an understanding of the techniques millipedes use to be effective burrowers. To validate our model and understanding the millipede movement techniques, a robot was designed to emulate a millipede’s body structure and movement behavior. The performance of the millipede robot was found to be consistent with that of the biological creatures, indicating that we are able to emulate their behavior to achieve desirable tasks. With this developed understanding of the fundamental concepts that allow millipedes to effectively move against large resistances, we introduce the ability to design robots or devices that can achieve similar performance for various applications ranging from search and rescue to health inspection. One such application is a device that traverse within the stomach (rumen) of dairy cows to investigate its biological features and characteristics for improvement in animal agricultural efficiency. The fundamental concepts of millipede motion are translated to a rumen monitoring vehicle design, which would operate in a wet-soil-like environment, similar to millipedes. The device motion techniques are demonstrated, an indication of successfully transferring the fundamental mechanism used by millipedes for an engineering application.

The biosonar system of bats has many unique adaptations which allow for navigation in extremely cluttered environments. One such adaptation is the rapid motion of the pinna and noseleaf observed in certain families of old-world bats (Rhinolophidae and Hipposiderae). Little is known about the physical properties about this adaptation affects emitted pulses or incoming echoes. To explore the physical properties of biosonar systems utilizing dynamic peripheries, biomimetic sonar systems have been devised, which can be used to simulate the structural characteristics of the pinna and noseleaf geometry as well as the motor characteristics. Using this method, it was determined that the changing conformations of the biomimetic baffles were responsible for time-variant signatures in echoes. These signatures could be seen in echoes from a variety of both simple and complex target shapes. Then to further the capabilities of the device, an improved actuation system was devised using pneumatic actuation. This allowed for the baffles to make several unique motions as opposed to being restricted to one previously. It was also shown that the distinct motion profiles of the system led to distinct differences in the received acoustic signal. The features encoded by this system could lead to improvements in the development of improved sensing of smaller autonomous systems. GRANT INFORMATION: This work was supported by grants from the Office of Naval Research (ONR) and the Naval Engineering Education Consortium (NEEC). Additional support was provided by an East Asia and Pacific Summer Institutes (EAPSI) fellowship from the National Science Foundation (NSF). / Doctor of Philosophy / Bats are known for using echolocation in addition to sight for hunting and navigating at night. The capabilities of bats and their ``sonar'' systems vary widely, as each species has evolved to survive in its specific environment. Certain species of bats indigenous to Eurasia are observed to perform complex motions of the outer ear and noseleaf (a ridged structure which sits atop the nostrils and acts like a ``megaphone'' of sorts). These bats are noted to be able to live in particularly cluttered environments and could be a particularly useful model organism for improving sonar. This is because since they are able to acquire detailed information about its surroundings with only their nostrils and ears, are able to outperform complicated man-made devices with thousands more sensing elements. To be able to better understand how a fast-moving ear and noseleaf can improve the sonar capabilities of bats, robots which mimic these bats have been devised, with the main purpose being to replicate the sensing elements of the bat. There have been significant changes made to the robotic sonar head in order to allow for us to expand the capabilities of our research. Using CT-scans as reference, the design of the baffles was redesigned to become more realistic and to have more features observed in the bats. A new method was designed in order to move the ``ears'' and ``noseleaf'' of the robot, using pneumatic actuators, which allowed for better control of the system. Finally, prototype sensors were developed to aid in the development of a motion feedback system to ensure a stable system. The robotic sonar has been used in several experiments to study the effects of a fast-moving, flexible anatomy on the physical properties of echoes. This is first illustrated by studying the echoes from various targets with changes in ear and noseleaf shape. Additionally, with the use of the improved actuation system, it was shown that different motion profiles lead to different responses. The continued development of this system and the changes to the signals explored provide new opportunities for furthering the fields of adaptive sensing as they apply to robots and other platforms. Being able to use a few ``smart'' sensors will help reduce the size, power, and weight costs of traditional sensing designs and allow for more robust and efficient technology to be produced.

År 1947 förutspådde konstnären Thomas Wilfred att ljuskonst inom 20 år skulle bli en självklarhet inom konstvärlden. Nu, nästan 70 år senare är ljuskonst fortfarande inte en erkänd konstform eller ett definierat begrepp. Idag skapas ljuskonst av konstnärer runt om i världen med tilltagande entusiasm samtidigt som det råder en uppenbar kunskapslucka och förvirring kring ljuskonst vilket denna studie ämnar att stilla. Studien syftar till att belysa värdet och nyttan med ljuskonst som utvecklande faktor för ljusdesignsbranschen. Att konsumera konst är ett sätt att berika den inre repertoaren och inspirationskällan. De frågeställningar som undersökts är ”Vad är ljuskonst?”, ”Vad inom ljuskonst inspirerar ljusdesigners och andra som arbetar med ljus? och ”Vilka innovationer har gått från ljuskonst till ljusdesign?”. Arbetet är fokuserat till personer som arbetar med ljus och studiens definition av ljuskonst är konst som gestaltar eller skapas av ljus. Undersökningen har ett intensivt och kvalitativt upplägg och har genomförst med snöbollsmetoden i form av intervjuer via frågeformulär, som totalt besvarats av nära femtio personer. Kompletterande datainsamlingsmetoder består av massmail, telefonintervjuer och sociala medier. Primärdatan har analyserats genom sammanställning, kategorisering och sammanfattning. Det är mycket stor spridning i hur personer som arbetar med ljus beskriver ljuskonst och vad inom den de inspireras av. Vad som är ljuskonst bestäms av vem som är kreatören, var den är placerad, vad den består av och hur den upplevs. Ljuskonst har ett stort inspirationellt värde för personer som arbetar med ljus, som applicerar influenserna från ljuskonstens in i ljusdesign. Studiens slutsatser består i att ljuskonst kan skapas av både naturligt och artificiellt ljus, kan vara allt från en liten detalj till något stort och iögonfallande, skapas till en unik kontext, har ett budskap, en funktion och skiljer sig från ljusdesign i fråga om syfte och kontext. Det inom ljuskonsten som inspirerar personer som arbetar med ljus är projekt där dagsljus behandlas eller efterliknas, dess teknik och material, ljusfestivaler och andra ljusevent, verk där betraktaren kan påverka och bli en del av ljuskonsten, verk som skapar mönster, objekt med eller av ljus, scenljussättning och friheten som upplevs finnas i skapandet av ljuskonst. Studiens resultat pekar avslutningsvis mot att accentuerad arkitektur, färgat och dynamiskt ljus, ljusprojicerade mönster, neon och att placera armaturer med klassisk design för inomhusbruk i exteriöra miljöer, har gått från att betraktas som ljuskonst till ljusdesign. / In 1947 the artist Thomas Wilfred predicted that light art will become an obvious part of the art world in the next 20 years. Now, almost 70 years later, light art is still not acknowledged or defined - neither as a art form or as an expression. Artists today are creating light art all around the world with increasing enthuiaism but in point of fact there is nothing such as light art, according to the encyclopaedias. There is an obvious gap in knowledge and confusion surrounding the field of light art which this study intends to reduce. The study aims to highlight the value and benefit of light art as developing factor for the lighting design industry. Consuming art is one way of enriching the inner repertoire and inspiration. The examined issues are "What is Light art?", "What within Light art inspire Lighting designers and others who work with light?” and "Which innovations have gone from considered as Light Art to Lighting design?". The work is focused on people who work with light and the definition of light art in this study is: art that portrays or creates from light. The survey has a deep and qualitative approach and is accomplished with the snowball method throughout questionnaires, which all together were answered by nearly fifty persons. Complementary methods of collecting data consist of bulk mail, telephone interviews and the posting of the survey at social media. The primary data has been analyzed through compilation, categorization and summary. People who work with light describes light art, and also what within light art they find inspiring, in many widely different ways. In summary light art is defined by who the creator is, where it is located, what it consists of and how it is perceived. Light art inspire people working with light who apply their influences from the field of light art into the lighting design industry. The conclusions is that light art can be created by both natural and artificial light, from small details to big and eye-catching installations, has an unique context, a message, a function, and differs from lighting design in terms of purpose and context. The specific parts within light art that inspire people working with light are projects where daylight is involved, the technology and materials of the pieces, light festivals and other light events, light art pieces where the viewer can influence and become a part of it, works that create patterns or objects by light, stage lighting and the expressive freedom in the making of light art. The results indicates that accentuated architecture, colored and dynamic light, light patterns, neon and the placing of fixtures with classic design for indoor use in exterior environments, has gone from being considered as light art to lighting design.

L’objectif de cette thèse est de s’inspirer de la neurobiologie pour modéliser les mécanismes émotionnels de bas niveau sur un robot évoluant en environnement réel. Ce travail présente un modèle des émotions cohérent avec les données expérimentales décrivant le fonctionnement des structures cérébrales principales impliquées dans les mécanismes émotionnels. Les émotions jouent un rôle capital aussi bien pour la régulation du comportement des êtres humains que des animaux. En accord avec la vision darwinienne, les émotions sont vues comme des mécanismes adaptatifs favorisant la survie. Cependant, leur organisation autours de signaux essentiellement positifs et négatifs leur donne un caractère dimensionnel. Notre modèle considère les émotions comme le résultat de la dynamique d’interactions entre deux systèmes permettant l’évaluation des interactions avec l’environnement physique d’une part et l’environnement social d’autre part. Cette approche bioinspirée des émotions permet de donner aux robots une mécanique de base pour construire leur autonomie comportementale et leurs capacités de communication. Dans cette thèse, nous montrons qu’elles permettent autant de s’adapter aux caractéristiques de l’environnement que de servir de support à une communication non verbale. L’approche biomimétique de notre travail se traduit en termes méthodologiques par l’utilisation de réseaux de neurones formels pour les architectures de contrôle du robot mais aussi en termes fonctionnels par l’organisation de ces réseaux comme modèles de différentes structures du cerveau et de leurs interactions (amygdale, accumbens, hippocampe et cortex préfrontal). Suivant le courant animat, le robot est vu comme un animal aux besoins vitaux satisfaits par les ressources de son environnement. Les expérimentations seront illustrées sur des comportements de navigation reposant sur les apprentissages de conditionnements visuo-moteurs (stratégie visuelle) et sur l’intégration de chemin (stratégie propioceptive). Les conditionnements associant les signaux nocicepteurs et hédoniques aux autres informations sensorielles ou aux actions du robot sont à la base des régulation sémotionnelles. Les prédictions que forme le robot lui permettent d’apprendre des comportements aversifs ou appétitifs en réponse à ses anticipations de "douleur" ou de "plaisir". Il peut aussi monitorer ses prédictions afin d’évaluer l’efficacité de ses comportements. C’est ce qui lui permet de réguler ses motivations et de sélectionner ses stratégies (navigation visuelle ou proprioceptive) et ses buts (ressources de l’environnement) de façon à satisfaire au mieux son équilibre interne en fonction de son environnement. Cette utilisation de signaux bas niveau positifs et négatifs permet de construire un modèle émotionnel minimal assurant au robot une autonomie comportementale. Dans un deuxième temps, nous utilisons l’expressivité émotionnelle comme base à une communication avec le robot. Une tête mécanique permet au robot d’exprimer ses émotions grâce à ses expressions faciales. Cette communication consiste à donner au robot des signaux de récompense et de punition. Nous avons développé un modèle permettant de construire de manière autonome ces signaux d’interaction en leur donnant leur valeur émotionnelle. Cet échange d’informations avec le robot lui permet d’apprendre à valuer son environnement ou son comportement et ainsi d’apprendre interactivement à résoudre ses problèmes de navigation. / The objective of this thesis is to draw inspiration from the neurobiology to model low level emotional mechanisms on a robot evolving in real environment. This work presents an emotional model coherent with experimental data describing the functioning of the cerebral structures involved in emotional mechanisms. Emotionsplay a central part in the regulation of behavior of humans as well as animals. In agreement with the darwinian view, emotions are seen as adaptive mechanismsenhancing survival. However, their organization around essential positive and negative signals gives them a dimensional flavor. Our model considers emotions as the result of the interaction dynamics between two systems. These systems allow the evaluation of the interactions with the physical and the social environment. This bio-inspired approach of emotions gives robots a basic framework to construct their behavioral autonomy and their communication skills. In this thesis, we show that they allow the robot to adapt itself to the characteristics of the environment as well as they underlie non verbal communication. The bio-mimetic approach of this thesis is reflected in methodological terms by the use of artificial neural networks for robot control architectures but also in functional terms by the organization of these networks as models of different brain structures and their interactions (amygdala, accumbens, periaqueductal grey, hippocampus, prefrontal cortex). Following the animat paradigm, the robot is seen as an animal which vital needs are satisfied by the resources of the environment. Experimentation are conducted on navigation behaviors relying on visuo-motor conditionings (visual strategy) and on path integration (proprioceptive strategy). Conditionings between nociceptive or hedonic signals and other sensory information or actions of the robot are at the basis of emotional regulation. The robot predictions allow it to learn aversive or appetitive behavior in response to its "pain" or "pleasure" expectations. The robot can also monitor its predictions to assess the effectiveness of its behaviors. This enables it to regulate its motivations and select its strategies (visual navigation or proprioceptive) and goals (environmental resources) in order to best meet its internal balance depending on its environment. This use of low level positive and negative signals allows to build a minimal emotional model providing autonomy to the robot behavior.In a second step, we use the emotional expressiveness as the basis for communication with the robot. A mechanical head enables it to express its emotions through its facial expressions. This communication consists in giving the robot reward and punishment signals. This exchange of information with the robot allows it to learn to valuate its environment or its behavior and thus to learn interactively to solve its navigation tasks. The model of emotional mechanisms presented in this work allows to investigate issues of autonomous robotics as well as issues of Human-Robot interactions. Moreover, this approach shows the interest of putting robotics at the heart of cognitive sciences due to the perspective given by the analysis of robot’s behaviors supported by relatively simple neuronal architectures.

Syftet med denna studie är att jämföra hur lärare i årskurs F–3 respektive årskurs 4–6 använder högläsning i sin undervisning. Studiens frågeställningar är: vad syftet med högläsning är i årskurs F–3 jämfört med årskurs 4–6, hur lärare i årskurs F–3 respektive årskurs 4–6 använder högläsning i sin undervisning samt om aktiviteter används i samband med högläsningen. Studiens teoretiska utgångspunkt är det sociokulturella perspektivet. För att få syn på deltagarnas perspektiv har halvstrukturerade intervjuer använts som datainsamlingsmetod. Det är sex verksamma lärare som intervjuats i studien. Studiens resultat visar att syftet med högläsningen är att utveckla elevers språkförståelse samt upptäcka böckernas värld. Det ges även mer utrymme åt högläsning i årskurs F–3 än årskurs 4–6. Den vanligaste aktiviteten är att samtala om och diskutera det lästa. / The purpose of this study is to compare how teachers in grades F-3 and 4–6 use reading aloud in their teaching. The following research questions have been considered: what is the purpose of reading aloud in grades F-3 compared to grades 4–6 and how teachers in grades F-3 and 4–6 respectively use reading aloud in their teaching. The study will also inquire into activities used with reading aloud. The theoretical starting point of this study is the socio-cultural perspective. In order to gain an overview of the participants' perspectives, semi-structured interviews have been used as a data collection method. There are six teachers interviewed in this study. The results of the study show that the purpose of reading aloud is to develop the pupils' language comprehension and to discover the world of books. Reading aloud is also given more space in grade F – 3 than grade 4–6. Speaking about and discussing the reading is a common activity.

La tendance marquée de ces dernières années au niveau des systèmes informatiques est à l'Ubiquitous Computing. Ces plateformes pervasives ont des contraintes (environnementales et architecturales) qui leurs sont propre et influence la manière de les programmer. En se basant sur l'étude des réseaux de capteurs une approche orientée agents et bio-inspirée est proposée pour programmer les plateformes pervasives en assurant leur adaptabilité dans un environnement non maitrisé. La question se pose de savoir comment améliorer les performances de ce type de plateforme construites à partir de modules possédant peu de ressources de calcul. L'emploi de coprocesseurs parallèles est envisagé. L'utilisation de matériel spécifique à l'un ou l'autre des modules de la plateforme pose des problèmes de facilité de programmation. Une solution de programmation adaptée est proposée tirant partie de la portabilité de Java et de la flexibilité de l'environnement proposé précédemment. L'ensemble de ces deux contributions qui forme un environnement de programmation pour plateformes pervasives, a été testé sur la plateforme PERPLEXUS. / Ubiquitous Computing is the emerging trend in computing systems. These pervasives platforms have characteristic constraints (environmental and architectural). Such characteristics clearly impact the way pervasive platforms should be programmed. Base on Sensor Network programming experience an agent oriented and bio-inspired approach is proposed as a reliable programming framework for pervasive platforms. Nevertheless, how to improve performance of such platforms made of modules with small computing resources. The use of parallel coprocessors is then considered. Such distributed and locally hardware dependent programming does not ease platform programming. Taking advantage of Java's portability and of the proposed framework flexibility a coprocessor programming solution is proposed. These contributions are basic blocks of a pervasive platform programming environment that has been tested on the PERPLEXUS platform.

<p>Jag har via min verksamhetsförlagda utbildning under lärarutbildningen kommit i kontakt med elever som har för avsikt att färgsatta sina slöjdföremål. I samband med detta har jag ställt mig frågorna. Vilka är elevernas inspirationskällor och vilka faktorer skulle kunna påverka elevernas färgsättningsval? Efter intervjuer med elever och genomförda litteraturstudier så har jag fått en inblick i vilka inspirationskällor elever kan använda sig av. I min undersökning visade det sig att elever ofta vill efterlikna sin färgsättning med något de sett tidigare. De faktorer som påverkade eleverna var många gånger inspirerat från miljöer utanför skolans miljö. Men de fanns också faktorer i slöjdsalen som gav eleverna inspiration till deras färgsättningsval.</p>

Jag har via min verksamhetsförlagda utbildning under lärarutbildningen kommit i kontakt med elever som har för avsikt att färgsatta sina slöjdföremål. I samband med detta har jag ställt mig frågorna. Vilka är elevernas inspirationskällor och vilka faktorer skulle kunna påverka elevernas färgsättningsval? Efter intervjuer med elever och genomförda litteraturstudier så har jag fått en inblick i vilka inspirationskällor elever kan använda sig av. I min undersökning visade det sig att elever ofta vill efterlikna sin färgsättning med något de sett tidigare. De faktorer som påverkade eleverna var många gånger inspirerat från miljöer utanför skolans miljö. Men de fanns också faktorer i slöjdsalen som gav eleverna inspiration till deras färgsättningsval.