The goal of this thesis is to study the transformation of architectural space with the aid of artistic production. By questioning architectural production as a non-static process open to alteration and intervention, this condition is claimed to enlarge the frontiers of architecture in terms of interdisciplinary contributions and new design methods. Inspired by the course ARCH 524, conducted by Assoc. Prof. Dr. Aysen Savas in the METU Department of Architecture, this study aims to understand the possible ways of transforming architectural space by the defined function of exhibition. The condition of exhibiting is claimed to manifest a &ldquo / temporary&rdquo / and reciprocal relation between the architectural space and the artwork / therefore, it redefines architectural space as a temporary entity open to intervention.For this reason, &ldquo / site-specific artwork&rdquo / is believed to play a pragmatic role in the creation of the &ldquo / new space&rdquo / . This study will focus on the selected works of the artist Esther Stocker. Stocker&rsquo / s productions offer systematic and analytic (re)readings that analyze and decipher spatial qualities. Her productionsare claimed to shift the conventional definitions of architectural terminology and introduce physical, visual and cultural/social levels of understanding both for the built, and the yet-to-be-built space. Throughout this study, the transformation process is commonly referred to as (re)construction, and/or (re)definition, which will, at the end of the process, generate a &ldquo / new space&rdquo / open to continuous transformation. The analysis of the same space will provide new intellectual agents for the promotion of theoretical methods in architectural education and practice.

Proteins are diverse polymers of covalently linked amino acids. They play a role in almost every biological process that occurs within an organism. Twenty different amino acids are genetically encoded by mammalian cells to build proteins. The sequence of these amino acids determines the protein’s final shape, structure, and function. Modern molecular cloning techniques allow for the genetic encoding and expression of mutant proteins that have one or more amino acids replaced with one of the others. The roles of individual amino acids in a protein can therefore be studied. Proteins with novel functions have also been designed or evolved using this technology. However, the genetic code is limited to the twenty natural amino acids. Nonnatural amino acids have unique side groups that not found on any of the twenty natural amino acids. They can be site-specifically incorporated using a mutant orthogonal suppressor tRNA/aminoacyl-tRNA synthetase (aaRS) pair. Each pair only allows for one type of nonnatural amino acid to be genetically encoded. This technology has resulted in the incorporation of over fifty different types of nonnatural amino acids into proteins in prokaryotic and eukaryotic cells. Unfortunately, most of these pairs are not orthogonal outside of prokaryotic systems and only a few have been developed for mammalian cells. To create more mammalian pairs a nonnatural aaRS has to be evolved and screened in a cumbersome process. In this dissertation an approach is outlined that can be used to change the orthogonality of existing nonnatural suppressor tRNA/aaRS pairs. As a result of the orthogonality change many previously unavailable pairs can be shuttled into mammalian cells. The ability to genetically encode a 21st amino acid is a powerful tool in the study and engineering of proteins. / text

In this thesis, I explore applied theatre and site-specific performance workshops as methods for public participation in city planning. “The Ghosts of Waller Creek” program worked to foster interest in and facilitate dialogue around the redevelopment of an abandoned urban creek area in Austin, TX. I explore three guiding questions: How does an applied theatre practitioner foster collaboration with non-theatre artists on a creative project that achieves common goals? How can applied theatre and site-specific performance workshops and events foster place attachment and engage citizens in city planning? How does an applied theatre practitioner translate participatory, applied theatre workshops into an artifact that is useful to city planners? Using reflective practitioner research processes and qualitative coding methods, I examine these questions through an analysis of surveys, interviews, performances, discussions, field notes, and observations. I first explore the role that goals, communication, and reflection played in my partnership with an urban designer. I then use place attachment theory to examine how the workshops and events shifted participants’ interest in, and engagement with, Waller Creek and city planning. Next, I investigate how performative artifacts such as audio maps and interactive performances can communicate participants’ opinions about Waller Creek to city planners and to the general public. Finally I discuss how the project situates in the field of arts-based civic dialogue and address guidelines for future projects. This thesis invites applied theatre practitioners to consider how their work can contribute to arts-based civic dialogue in their own communities. / text

This dissertation develops a theory for analyzing the role of audiences as aesthetic resources in contemporary site-specific performance and relational art. Collaborating with three Canadian companies as a participant-observer, interviewer, and in some cases, documenter, I develop case studies that track flexible stage-audience relationships in public spaces. By analyzing how companies Radix Theatre Society, Bluemouth, and Mammalian Diving Reflex put spectators to work in sites like IKEA showrooms, disused warehouses, and theatres, I advance a method that attends to the doubled practice of the spectator as worker and witness. This framework, which I term bifold spectatorship, articulates how audiences constitute theatrical worlds through direct physical engagement with the cultural criticism and formal experimentation that artists stage. Folded into the event, spectators literally compose the scene of the action, and enter into what I call critical proximity with the discourses that shape the performance. As participants interact with and directly query the artistic expressions that they patron, they answer a challenge to perform that is typically reserved for professionals. Such novel participation begins with a hail that interpellates audiences into the action as subjects and even sites of performance. Adapting the concept of the casting call, or what I coin site-casting, miscasting, and central casting, I show how spectators are aligned with the exigencies of the site; “mis-placed” or miscast by artists (provoking performance anxiety in participants); or cast to play a role they already perform in their everyday lives. In addition to these critical frameworks, I challenge the established narrative of “liberating the audience” by forwarding a multi-sited genealogy of site-specific performance that confronts the romance of freeing spectators from stage conventions. In examining the ethical problems that arise when audiences are made responsible for representation, The Stagehands of Subversive Spaces extends debates within site-specific performance to wider conversations in performance studies about ethics, subjectivity, and audience reception.

This dissertation develops a theory for analyzing the role of audiences as aesthetic resources in contemporary site-specific performance and relational art. Collaborating with three Canadian companies as a participant-observer, interviewer, and in some cases, documenter, I develop case studies that track flexible stage-audience relationships in public spaces. By analyzing how companies Radix Theatre Society, Bluemouth, and Mammalian Diving Reflex put spectators to work in sites like IKEA showrooms, disused warehouses, and theatres, I advance a method that attends to the doubled practice of the spectator as worker and witness. This framework, which I term bifold spectatorship, articulates how audiences constitute theatrical worlds through direct physical engagement with the cultural criticism and formal experimentation that artists stage. Folded into the event, spectators literally compose the scene of the action, and enter into what I call critical proximity with the discourses that shape the performance. As participants interact with and directly query the artistic expressions that they patron, they answer a challenge to perform that is typically reserved for professionals. Such novel participation begins with a hail that interpellates audiences into the action as subjects and even sites of performance. Adapting the concept of the casting call, or what I coin site-casting, miscasting, and central casting, I show how spectators are aligned with the exigencies of the site; “mis-placed” or miscast by artists (provoking performance anxiety in participants); or cast to play a role they already perform in their everyday lives. In addition to these critical frameworks, I challenge the established narrative of “liberating the audience” by forwarding a multi-sited genealogy of site-specific performance that confronts the romance of freeing spectators from stage conventions. In examining the ethical problems that arise when audiences are made responsible for representation, The Stagehands of Subversive Spaces extends debates within site-specific performance to wider conversations in performance studies about ethics, subjectivity, and audience reception.

In the recent past precision farming has become increasingly popular amongfarmers. However, little has been done to study the business aspect of precision farming,with most research focusing on the production side. This purpose of this thesis is tostudy the feasibility of successfully opening and operating a precision farming firm inKentucky. To determine the feasibility of such a venture a computer model was createdand a producer survey was designed and distributed to farmers in Western and CentralKentucky.The purpose of the computer model was to determine the factors that wouldinfluence the successful operation of a precision farming firm including number of acresserviced per year, pricing of services, the cost of capital to borrow money, and manyother factors. A break-even analysis was performed to determine what kind of annualincreases in business would be required, what price range services should be in, and atwhat interest rate money could be borrowed and a simulated precision farming firm couldstill operate successfully.The producer survey was mailed to 336 farmers in Western and Central Kentuckybecause of their geographical locations and the type of crops that are grown there. Thesurvey response rate was 20 percent and of the 66 surveys that were returned 59 wereappropriate and useful for research. After compiling the results of the surveys,regressions were run to determine any correlation between dependent and independentvariables that affect the adoption rate of precision farming techniques. The results foundthat a negative correlation exists between age adoption rates of precision farming and thata positive correlation exists between farm size and adoption rates of precision farming.After conducting the research, it is believed that given the right economicconditions and management a precision farming firm is very capable of thriving inKentucky. However, the workforce must be very motivated and capable of constantlyrecruiting new clients to adopt precision farming.

The thesis is focused on site-specific labeling of affinity molecules for different applications where two types of binding proteins, Affibody molecules and antibodies, have been used. For the purpose of improving the properties of Affibody molecules for in vivo imaging, novel bi-functional chelators for radiolabeling using the radionuclide 111In were evaluated. In a first study, two chelators denoted NOTA and DOTA, respectively, were separately conjugated via maleimide chemistry to a C-terminal cysteine residue in a HER2-binding Affibody molecule (ZHER2:2395). In vivo evaluation using mice with prostate carcinoma cell line xenografts showed that the 111In-NOTA-MMA-ZHER2:2395 tracer exhibited faster clearance from blood than the 111In-DOTA-MMA-ZHER2:2395 counterpart,resulting in improved tumor-to-organ ratios. In a second study the in vivo imaging properties of a third tracer, 111In-NODAGA-MMA-ZHER2:2395, was investigated in tumor-bearing mice. While the tumor uptake was lower than seen for the 111In-DOTA-MMA-ZHER2:2395 tracer, a low uptake in non-targeted organs and a fast clearance from blood resulted in higher tumor-to-organ ratios for 111In-NODAGA-MMA-ZHER2:2395 compared to the DOTA variant. In a following study, a synthetically produced HER2-targeting affibody variant, denoted ZHER2:S1, was used where NODAGA, NOTA and DOTA chelators instead were conjugated via an amide bond to the N-terminus. In vivo evaluation in mice showed an unfavorable uptake in liver for 111In-NOTA-ZHER2:S1, resulting in a discontinuation. The study showed faster clearance of 111In-NODAGA-ZHER2:S1 from blood, but also an increased uptake in bone in comparison to 111In-DOTA-ZHER2:S1. As bone is a common metastatic site in prostate cancer, the favorable tumor-to-bone ratio for 111In-DOTA-ZHER2:S1 suggests it as the tracer of choice for prostate cancer. Further, the DOTA chelator was also evaluated as conjugated to either N- or C-terminus or to the back of helix 3 via an amide bond, where the in vivo evaluation showed that that C-terminal conjugation resulted in the highest contrast. Site specificity is also of great importance for labeling antibodies, as conjugation in the antigen-binding regions might influence the affinity. A method for site-specific labeling of antibodies using an IgG-binding domain that becomes covalently attached to the Fc-region of an antibody by photoconjugation was optimized. By investigation of positions most suitable for incorporation of the photoreactive probe, the conjugation efficiencies were increased for antibody subclasses important for both diagnostic and therapeutic applications. In addition, optimized variants were used in combination with an incorporated click-reactive handle for selective labeling of the antibody with a detection molecule. / <p>QC 20140929</p>

No description available.

This thesis is concerned with architectural and design practitioners involved in areas outside of their training: specifically, with the way designers embrace a do-it-yourself or DIY ethic to create experimental, ephemeral, collaborative environments not usually considered “architecture” in the professional sense. This happens because they become directly involved with a variety of methods, construction activities, project types and materials normally associated with amateur building. The thesis does not aim to contribute to more comprehensive solutions for architectural production (say, commercial practice), but rather focuses on a particular production opportunity. It attempts to draw forth qualities of process, practice and conceptualisation that are of relevance to architecture and could be the basis of future exploration in architecture. With this intent, this thesis outlines a conceptual explanation for why these designers sometimes background their training in, and knowledge of, building procurement, in favour of amateur building activities. This design approach raises questions about the way architecture is understood, discussed and practiced. In philosophy and architectural theory, architecture is usually described as a device for ordering and framing the world, an opposition to the unfolding, unpredictable process of the evolving, natural world. Yet there are things that some designer-maker-inhabitants do in practice to thwart their environmental control and influence, thus introducing a degree of unpredictability into projects. This unusual design approach has the potential to inform discussions about architecture and architectural practice beyond this thesis. There is a plethora of technical information about DIY in the popular media, yet little investigation of how professionally-trained designers creatively engage with DIY. The experimental approach to building and space studied in this research is different to self-building or simple DIY because it does not adhere to a set of design plans or set approaches. This approach is also different to outsider architecture or vernacular building because it is initiated by people with design knowledge and training, even if they put aside some of their knowledge. To clarify this latter approach to architecture and space, the research describes a space of blurring between professional and non-professional building, architectural control and spontaneity; a space of germinant practice, based on the precepts and proposals manifest in germinant philosophy. The thesis includes speculations about ways to encourage germinancy in design practice. This practice-led study involved preliminary fieldwork studies through critical analysis of my own, and others, sitespecific installation art practice. These preliminary studies led to two major fieldwork projects in Brisbane: both are homes to artists and architecturally- trained designers working outside of commercial, professional practice.

Art and the Greater Good: Ecology and the Leisure Economy is a research project concerned with exploring how one could alternatively address the environmental issues of our day through site-specific art. Central to this investigation has been attending to the ways historical and contemporary accounts of environment politics, site specificity, land and environmental art could resonate within a more modest artistic gesture. The resulting work Would you go on without me? reflects the possibility of this by its position in an indeterminate zone; that draws together the demotic, gardening, rainwater harvesting, play and ecology into the manifold of environmental art.