<p>In problems of spatial choice, the choice set is often more aggregated than the one considered by decision-makers, typically because choice data are available only at the aggregate level. These aggregate choice units will exhibit heterogeneity in utility and in size. To be consistent with utility maximization, a choice model must estimate choice probabilities on the basis of the maximum utility within heterogeneous aggregates. The ordinary multinomial logit model (OMNL) applied to aggregate choice units fails this criterion as it is estimated on the basis of average utility. In this thesis, the aggregated spatial logit model, which utilizes the theory underlying the nested logit model to estimate the appropriate maximum utilities of aggregates, is derived and discussed. Initially, the theoretical basis for the model is made clear and an asymptotic version of the model is derived. Secondly, the model is tested in a simulated environment to demonstrate that the OMNL model lacks the generality of the aggregated model in the presence of heterogeneous aggregates. Thirdly, full endogenous estimation of the aggregated model is studied with a view toward finding the best optimization algorithm. Finally, with all the elements in place, the model is tested in an application of migration from the Canadian Atlantic Provinces.</p> / Doctor of Philosophy (PhD)

As the body moves through space ephemeral lines of movement are created. These lines of movement are influenced by body tendencies. We learn from the body by watching the path and patterning of movement. From the study of the movement of the body, theories of spacial movement were developed. The goal of my project is to draw from spacial movement theory to create an architectural expression that motivates movement of the body on my site and through my building. The focus of my thesis is the movement theory of Rudolph Laban (1879-1958), a modern dance pioneer and a spacial movement theorist. / Master of Architecture

Spatial representations are external, physical entities, which are used to symbolise real world environments. These kinds of symbols provide information about the world, and shape the way that we think about it. Previous research into children's understanding and use of spatial representations has led to differing conclusions about how and when such abilities develop. This may be due to the diversity of different tasks and methods which have been adopted in the past. The aim of this thesis was to provide a systematic investigation of some of these tasks and methods, in order to establish whether they assess the same underlying abilities, and whether children perform similarly on all such tasks, using all such methods. A series of studies compared performance on two tasks - positioning and retrieval - and on two methods - inferring from a representation to a referent space, and from a referent space to a representation. Error data and time data were recorded in addition to success and failure. Results show that when target locations are completely concealed, levels of absolute success are similar on the two tasks. However, children take more time on the retrieval task, which may indicate a difference in the way they approach tasks presented in a familiar game format. Results also show that the two methods may not be equivalent. Performance under these two methods differs in younger children particularly. Familiarity with the referent space leads to improved performance when inferring from referent to representation, and to more sophisticated response strategies overalL. The presence of irrelevant material in either space does not affect performance. Results support the notion that some representational understanding can be achieved early in development, so representations of space can begin to be used from three years of age. However, despite this early achievement of representational understanding, deficits in spatial cognition mean that the ability to fully understand and use spatial representations is stil developing at 6 years of age.

Thesis advisor: Sean MacEvoy / Humans can pay attention both to particular locations in space (“space-based attention”) and to specific objects (“object-based attention”). The goal of this study was to understand the role of object familiarity and complexity in the control of object-based attention. We used a well-known manifestation of object-based attention known as same-object advantage (SOA) to test this. In SOA, participants are faster at detecting a target event that takes place in a cued object than one that takes place in an uncued object, even when the distance between cue and target is kept fixed. To control shape familiarity, objects in the current study were randomly-generated irregular polygons known as Attneave shapes. Experiment 1 showed that SOA exists for these irregular shapes, even when participants are unfamiliar with them. In Experiment 2, participants first underwent training designed to familiarize them with a subset of the Attneave shapes used in Experiment 1. Again there was a significant SOA. If object-based attention is dependent upon object familiarity, we hypothesized that SOA, measured in terms of reaction time, should be greater in Experiment 2 than Experiment 1. Although there was a numerical increase in the reaction time signature of SOA in Experiment 2, this effect was not significant. While this does not strictly support our hypothesis, several aspects of this study suggest that object familiarity does play some role in mediating object-based attention. / Thesis (BS) — Boston College, 2013. / Submitted to: Boston College. College of Arts and Sciences. / Discipline: Psychology Honors Program. / Discipline: Psychology.

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In some contexts, the experience of sound and space are often considered as two unrelated experiences. In an auditorium, the senses of hearing and seeing are not necessary unrelated. This thesis proposes that there is a sensorial relationship between sound and space in the context of symphonic concert halls. Through a study of three auditoria, this thesis explores the relationship, and the degree of correspondence and interaction between auditory and visual spatial impression. It begins by exploring the concepts of auditory and visual spatial impression in relation with auditorium acoustics and architectural design. In auditorium acoustics, a number of terms are used to describe auditory spatial impression, such as �spaciousness,� �envelopment,� and �intimacy.� These terms have connotations beyond the auditory. The thesis suggests that they may also be used to describe visual spatial impression in auditoria. Through textual analyses, the thesis finds that the auditory and visual terms do not always relate to the same physical characteristics of auditoria and can conflict with one another. Hence, it is apparent that further subjective analyses of auditory and spatial impression are needed. Three chapters in this thesis are devoted to auditory and visual subjective experiments. Their purpose is to explore the degree of correspondence or contrast, and interaction between auditory and visual spatial impression. The degree of correspondence and contrast between auditory and visual spatial impression appear to vary between auditoria and within auditoria. The relationship between auditory and visual spatial impression appear to be both necessary and arbitrary, and the degree of interaction between them appear to be strong in some cases and weak in other. From the findings, this thesis suggests that the degree of correspondence or contrast, and interaction between auditory and visual spatial impression could be used to create an audiovisual experience that suit specific musical events. Concert auditoria are culturally and artistically unique spaces. Hence, consideration must be taken to understand the relationships between, and intentions of the acoustical and architectural designs, music and architecture, for a successful and creative collaboration between designers - since the ultimate goal is to create an extraordinary audiovisual experience in a concert hall.

In some contexts, the experience of sound and space are often considered as two unrelated experiences. In an auditorium, the senses of hearing and seeing are not necessary unrelated. This thesis proposes that there is a sensorial relationship between sound and space in the context of symphonic concert halls. Through a study of three auditoria, this thesis explores the relationship, and the degree of correspondence and interaction between auditory and visual spatial impression. It begins by exploring the concepts of auditory and visual spatial impression in relation with auditorium acoustics and architectural design. In auditorium acoustics, a number of terms are used to describe auditory spatial impression, such as �spaciousness,� �envelopment,� and �intimacy.� These terms have connotations beyond the auditory. The thesis suggests that they may also be used to describe visual spatial impression in auditoria. Through textual analyses, the thesis finds that the auditory and visual terms do not always relate to the same physical characteristics of auditoria and can conflict with one another. Hence, it is apparent that further subjective analyses of auditory and spatial impression are needed. Three chapters in this thesis are devoted to auditory and visual subjective experiments. Their purpose is to explore the degree of correspondence or contrast, and interaction between auditory and visual spatial impression. The degree of correspondence and contrast between auditory and visual spatial impression appear to vary between auditoria and within auditoria. The relationship between auditory and visual spatial impression appear to be both necessary and arbitrary, and the degree of interaction between them appear to be strong in some cases and weak in other. From the findings, this thesis suggests that the degree of correspondence or contrast, and interaction between auditory and visual spatial impression could be used to create an audiovisual experience that suit specific musical events. Concert auditoria are culturally and artistically unique spaces. Hence, consideration must be taken to understand the relationships between, and intentions of the acoustical and architectural designs, music and architecture, for a successful and creative collaboration between designers - since the ultimate goal is to create an extraordinary audiovisual experience in a concert hall.

Invasões biológicas estão entre as principais causas da perda de biodiversidade no planeta. Ambientes isolados como as ilhas oceânicas e ambientes sujeitos a distúrbio antrópico são considerados mais propensos à invasão. Para as plantas, o sucesso na invasão pode ter relação com a superioridade na competição com as espécies nativas, que pode ocorrer através da produção de substâncias alelopáticas. Dentre as 100 principais espécies invasoras do planeta está a Leguminosa Leucaena leucocephala, que produz substâncias com potencial alelopático e está estabelecida em ilhas oceânicas tropicais em todo o mundo. No Brasil, a invasora foi introduzida na ilha de Fernando de Noronha, onde ocupa vastas áreas. Apesar da relevância desta ilha para a conservação da biodiversidade, não há informações essenciais para o manejo da invasora, como a situação da invasão e seus fatores determinantes. Neste trabalho, realizado em Fernando de Noronha, utilizamos experimentos para investigar a alelopatia como mecanismo associado à invasão e para avaliar o efeito de L. leucocephala sobre o estabelecimento de Erythrina velutina (Leguminosae), espécie nativa comum na ilha, mas frequentemente excluída das áreas invadidas por L. leucocephala. Não encontramos indícios de efeitos alelopáticos de L. leucocephala sobre a germinação de E. velutina, mas a exótica reduziu o crescimento e a sobrevivência da nativa. O efeito negativo é potencializado quando L. leucocephala está associada à Capparis flexuosa (Capparaceae), única espécie nativa frequentemente encontrada em áreas invadidas. Isoladamente, o efeito de C. flexuosa sobre E. velutina varia de positivo a neutro, evidenciando que o saldo das interações entre espécies nativas é alterado na presença de uma exótica. Adicionalmente, diagnosticamos a extensão atual da invasão e sua expansão nos últimos 20 anos, seus fatores determinantes e o impacto sobre a comunidade de plantas nativas em Fernando de Noronha. O diagnóstico da invasão mostrou que L. leucocephala está amplamente distribuída pela ilha, povoando densamente a maioria dos locais onde ocorre. A área ocupada pela espécie aumentou cerca de 40% nos últimos 20 anos, e não há restrições ambientais para o estabelecimento da exótica, embora ela seja favorecida pela atividade agropecuária. Em áreas invadidas o número de espécies nativas diminui quase pela metade e observamos uma tendência à homogeneização da comunidade. É provável que o alto grau de perturbação antrópica em Fernando de Noronha gere limitações à dispersão e modifique os ambientes tornando-os desfavoráveis para o estabelecimento de espécies nativas. Entretanto, há fortes evidências de que L. leucocephala causa mudanças ecológicas na ilha influenciando na perda espécies nativas. Considerando a importância biológica de Fernando de Noronha, ações de controle da expansão da exótica e restauração das áreas invadidas demonstram-se urgentes / Biological invasions are among the main causes of biodiversity loss on the planet. Isolated environments such as oceanic islands and disturbed environments are considered more prone to invasion. For plants, the invasion success may be related to advantages in competition with native species, which may occur through the production of allelopathic substances. Among the 100 most invasive species on the planet is the legume Leucaena leucocephala, which produces substances with putative allelopathic effects and is established on tropical oceanic islands worldwide. In Brazil, the invader was introduced on the island of Fernando de Noronha, where it occupies vast areas. Despite the relevance of this island for biodiversity conservation, important information for the management of the invasion, as its extension and determinants, do not exist. In this work we use experiments to investigate allelopathy as a mechanism associated with the invasion and to evaluate the effect of L. leucocephala on the establishment of Erythrina velutina, a native species common on the island, but often absent from invaded areas. We found no evidence of allelopathic effects of L. leucocephala in the germination of E. velutina, but the exotic reduced the growth and survival of the native. The negative effect is enhanced when L. leucocephala is associated with Capparis flexuosa, the only native species often found in heavily invaded areas. When alone, the effect of C. flexuosa on E. velutina varies from positive to neutral, indicating that the balance of interactions between native species is altered in the presence of an exotic. Additionally, we describe the current distribution of L. leucocephala and its expansion in the last 20 years in Fernando de Noronha. We also investigate the environmental and anthropic factors determining the invasion and the impact of L. leucocephala on the plant community. We found that L. leucocephala is widely distributed throughout the island, densely populating most places where it occurs. The area occupied by the species increased about 40% in the last 20 years, and there are no environmental restrictions for the establishment of exotic, although it is favored by farming. In invaded areas, the number of dominant native species decreased by almost half and we observed a tendency towards homogenization of the community. It is likely that the high degree of human disturbance in Fernando de Noronha poses dispersal limitations and modifies the environments making them unsuitable to the establishment of natives. However, there are strong evidences that L. leucocephala is driving ecological changes on the island that influence in native species loss. Considering the biological importance of Fernando de Noronha, actions to control the expansion of exotic and to restore the invaded areas are urgent

This report examines all the occurrences of the atrium in Latin literature and the context for each occasion. It begins with an overview of the etymology of atrium and the development of the atrium-house plan then analyzes the use of the word atrium in terms of theories of spatial conception. The results are that the atrium as a cognitive model is restricted to an upper class, elite mindset and that the space appears to be more multifunctional in nature than is usually thought. / text

Parengtas teorinis darbas ir suprojektuota, atlikta kūrybinė kompozicija „Kubo magija“. Darbo tikslas - sukurti erdvinę kompoziciją , naudojant veidrodį. Veidrodis interjerui suteikia žaismingumo, gyvybingumo. Kintant veidrodžio aplinkai kartu kinta ir jo išvaizda. Kūrinys sukurtas, siekiant parodyti, kad meno kūrinys gali keistis. Dažniausiai darbai keičiasi kintant laikui, dėvintis medžiagai, laiko paveiktai konstrukcijai. Šis kūrinys visada keičiasi, kai kinta jo aplinka. Veidrodis darbe naudotas kaip medžiaga, sugerianti ir atspindinti aplinką. Veidrodis magiškas, dėl savo savybių priverčiantis pasitempti, nusišypsoti, sukeliantis kitas įvairias emocijas, kas paveikia žmogų vienokia ar kitokia linkme, turi kažką magiško, paslaptingo. Kubas yra pastovus, statiškas, tad jo forma pakeičiau, suteikiau kitokią formą, nei įprasta kubui. Pakitusi forma suardo kubo pastovumą. Įvedus veidrodį, jis įgauna gyvybę, kitimo, magiškų savybių, iš statiško virsta į dinamišką. Pusiausvyros suardymas, taisyklių pažeidimas, medžiagos, turinčios magiškų savybių įvedimas kūrinį paverčia magišku. Magija tai ne tik burtai, iliuzijos, bet ir visa kita, kas žmogų priverčia elgtis kitaip, jam to nejaučiant. Tad darbą ir pavadinau „Kubo magiją“. Darbe apžvelgiami kompozicijos pagrindai, erdvinė kompozicija, kubas mene ir jo simbolika, aprašoma erdvinės kompozicijos „Kubo magija“ darbo eiga. Pateikiamas baigiamojo darbo ryšys su edukacine veikla. Erdvinė kompozicija “ Kubo magija“ gali... [toliau žr. visą tekstą] / Prepared theoretical work designed and carried out the creative composition “Cube magic”. The purpose of the work was to create a spatial composition using a mirror. The mirror gives a playful and viability for the interior. When the mirror environment is changing, also change its appearance. The work is designed to show that a work of art can vary. Frequently changing work shifts time, wearing the material affected by the construction time. This work is always changing, when its environment is changing. The mirror was used as a material absorbing and reflecting the environment in this work. The mirror is the magic, of his character gets the toes, smile, causing a range of other emotions, which affects a person one or another direction, which has something magical, mysterious. The cube is a constant and static, so I changed its shape in a different format than the usual cube. Destroy the abnormal form of a cube provide a stability. The introduction of the mirror he gets life, change, magical properties, it become dynamic from static. Balancing destruction, violation, materials which have magical properties of the introduction of the work makes it magic. The magic is not only spells, illusions, and everything else what makes a man behave differently, when they do not feel what. So I called work “Cube magic”. There are review the composition framework, the spatial composition, the cube in the art and its symbolism, describe the spatial composition in “Cube magic” workflow in... [to full text]