June 26, 2020 marked the passing of H.R.51 through the House of Representatives, a historic moment in the long fight for DC's statehood. This fight is not merely anchored by an argument about taxation without representation; it is centered on returning voting rights removed from the nation's capital nearly 230 years ago. Statehood is an argument about the reparations of equality being given to a city built on the institution of slavery, embracing parts of a city divided by borders visible and hidden, and revealing cultural contexts hidden in plain sight behind the federal city. Given this complex background, there were numerous essential elements that were paramount to a critical study of what a 51st state capitol building should include. Though this self-designed brief raised a number of questions, none was more central than the relationship between aesthetics and representation within the typology of the American state capitol. The architecture of politics is often the built manifestation of ideals, policies, and values. In times of discord and unrest, we are reminded that architecture can represent the core systems of a society, exhibiting underlying truths that may have been ignored or intentionally concealed. There can be an architecture of slavery as much as an architecture of freedom. There can be architectures of oppression as well as architectures of democracies. The natural starting point for the project began with a comprehensive survey of U.S. state capitols, which share a lineage of classical architectural elements and styles inextricably linked to the Founding Father's desire to embed the United States with an origin story descending from the aesthetic, political, and social ideals of ancient Western civilizations. This thesis asks, for a (new) state that has been denied representation for over 200 years, should these same architectural ideals be embedded in its state building, or should a different symbology, aesthetics, materiality, or origin story be reoriented and introduced? However, it also became clear that site selection would be of critical importance to this project. The result of months of research led me to believe that although the building's aesthetic decisions might challenge normative architectural forms, the appropriate site for a Washington, Douglass Commonwealth State Capitol would also be one that honored and found its place within the context of Washington's symbolic plan. The site of RFK Stadium was ultimately selected because of its accessibility, its planned demolition, and its alignment with the United States Capitol. Through its placement as the epilogue to L'Enfant's unfinished plan for Washington, this site not only recognizes the importance of history and lineage, but also reorients the new state government's political nucleus, ultimately presenting ideas about freedom and democracy through a contemporary interpretation of the classic state capitol's form and planning. Overall, this thesis seeks not to be a final answer, but an investigation of some of the critical issues involved in this topic, a proposal of dissent from the expectations of systematic oppression, and an invitation to start a dialogue about a complex, multifaceted, and prescient design prompt. / Master of Architecture / June 26, 2020 marked the passing of H.R.51 through the House of Representatives, a historic moment in the long fight for DC's statehood. Over 200 years of history led to June 26, but events such as the reduced funding of COVID-19 care, tear gassing of protesters at Lafayette Square, and the subsequent groundbreaking of Black Lives Matter Plaza exacerbated the urgency of Statehood for both DC residents and outside observers alike. This was also the moment I realized what this thesis could be about. It seemed somehow wrong to spend a year tackling a project that did not relate to politics, equality, or social justice; the core passions that drive my pursuit of architecture. During our recent lockdown, I read a number of books that inspired this project, but one in particular came to haunt me. In Isabel Wilkerson's Caste, she writes about an infamous photo taken of a 1930s Hamburg shipyard, a crowd of men raising their arms to salute Hitler. All but one man, who exhibited dissent by not raising his arm. Wilkerson asks, what will we do to be that one man in the crowd? What does it take to not be complicit in the face of genocide and oppression? Watching current events, in relation to the world, the nation, and our profession, made me consider our complicity as architects in systems of racism and oppression, and what we, as designers, can do to raise our voices now instead of later. This project seeks to examine not only the issues that brought Washington, D.C.'s fight for statehood to a boiling point, but also the underlying systemic problems that have framed the argument for it. I've come to respect and support statehood after reading, researching, and listening to the incredible resources (especially Chocolate City), supporting HR51's ratification. This is not merely an argument about taxation without representation; it is about returning voting rights removed from the nation's capital nearly 230 years ago. It is about giving equality, harmony, and belonging to a city built on the institution of slavery. It is about embracing and including the parts of this city divided by borders visible and hidden. It is about honoring a city of vibrant cultures and stories, known for their ability to triumph in the face of adversity. This research has raised a number of questions. Architecturally, what would a capitol building for the 51st state look like? What are the inherent values that would be expressed in its design? The architecture of politics is often the built manifestation of ideals, policies, and values. In times of discord and unrest, we are reminded that architecture can represent the core systems of a society, exhibiting underlying truths that may have been ignored or intentionally concealed. There can be an architecture of slavery as much as an architecture of freedom. There can be architectures of oppression as well as architectures of democracies. The natural starting point for this research is to look at the history of U.S. state capitols, a lineage of classically-inspired buildings based on the philosophical and architectural ideals of Ancient civilizations. Do these architectural symbols signify the things we think they do? The aim of this research is to ask this question: For a (new) state that has been denied representation for over 200 years, should these same architectural ideals be embedded in its state building? I hope that this project can offer an opportunity to start a meaningful dialogue on how the ideals of freedom and democracy can be expressed through architecture, and how to design a building for a new chapter of history. What can we do to be that one (designer) in the crowd? How can a building dissent from a history or system of oppression, and how can we raise our voices for the people and architectures that can't necessarily raise their own?

The objective of this study was to determine which size symbols should be used by the U.S. Army for an operator control unit to indicate the status of unmanned ground vehicles (UGVs). Three sizes of symbols were studied. The symbols subtended 20, 40, and 69 minutes of arc corresponding to 0.116, 0.233, and 0.400 inches high when viewed at a distance of 20 inches from a touch screen. Twelve participants were asked to watch the symbols on a map display and touch one of four UGV symbols when it stopped moving. Different numbers (0, 8 and 12) of distracter symbols with the same height as the UGV symbols appeared during the experimental trials. The time to notice that a UGV symbol had stopped (recognition time) and to touch the screen (response time) were measured. Participants were asked for Subjective Workload Assessment Technique (SWAT) ratings for each combination of symbol size and number of distracter symbols. Errors committed while attempting to touch the correct symbol were counted. Participants made very few errors attempting to touch the wrong symbol. Results for the time and error measures were as expected for changes in symbol size. As symbol size increased, recognition time, response time, and extra touches decreased. Significant differences were seen in these measures between the subtending 20 and 40 minutes of arc and between symbols subtending 20 and 69 minutes of arc. Also, as expected, subjective mental workload increased as symbol size decreased with differences seen between all symbol size levels. No significant differences were observed for workload manipulation (number of distracter symbols) as measured by time and error. However, SWAT scores did show a significant difference as a result of number of distracters. The differences between 0 and 8 distracters and between 0 and 12 distracters were significant. There was no significant interaction between symbol size and number of distracters for any of the measures. Overall results suggest that symbols smaller than those recommended for keypads may be sufficient for interactive map displays. For static platforms with barehanded operators, symbols that subtend 40 minutes of arc may be sufficiently large to ensure adequate touch screen performance under low to moderate workload conditions. / Master of Science

The BOSS symbology for rotorcraft is specifically designed to provide the pilot with the necessary information and guidance to safely land in brownout environments. From the last BOSS study, issues were brought forth regarding the longitudinal velocity algorithm, which sets up a deceleration profile and commands the forward speed of the aircraft throughout the approach. Pilots commented that the algorithm lead the aircraft to be too slow for too long, effectively prolonging the brownout. Thus the purpose of this study was to investigate new algorithms to enable a faster approach with less time spent in brownout. The previous deceleration algorithm was also not robust in its ability to provide consistent guidance at variable starting distances and starting velocities. Therefore a new algorithm was developed capable of providing more consistent guidance from various starting positions and velocities. Additionally, through manipulation of its parameters, it was found possible to reduce the amount of time spent at low speeds in the approach. Four algorithms were subsequently developed with varying levels of aggressiveness. Eight highly skilled pilots participated in a simulation study using a generic fixed-base simulator with a high-fidelity rotorcraft H-60 model. Results found that as the aggressiveness of the algorithm increased, the time spent at low speeds and in brownout significantly decreased. Concurrently the pitch of the aircraft (and resulting deceleration) significantly increased, though the pitch values were within reasonable limits for IMC flight according to previous literature. One of the new algorithms was found to significantly reduce the amount of time spent at low speeds by 24% and also received the highest preference ranking and the highest comfort ratings.

Orientador: Igor Rossoni / Banca: Suzi Frankl Sperber / Banca: Evelina de Carvalho Sá Hoisel / Banca: José Carlos Zamboni / Banca: Jeane Mari Sant'Ana Spera / Resumo: Magma é o volume de poemas que marcou a estréia literária de João Guimarães Rosa, tendo no entanto permanecido inédito por mais de sessenta anos e sido até o momento relegado à marginalidade pela maior parte da crítica. O presente trabalho tem como objetivo contribuir para o resgate desse livro, bem como levantar, no discurso do mesmo, elementos úteis para o reconhecimento da sua inserção ideológica no conjunto da obra do autor. Com esse intento, procede-se à análise do universo simbológico plasmado por seus textos componentes, através do que se consegue identificar em Magma a inquietação anagógica que é o cerne da literatura rosiana. / Abstract: Magma is the poems volume that set out the literary debut of João Guimarães Rosa, although have stayed inedited over sixty years and until now have been discarded by the majority of the critique. The aim of the present work is to contribute to the ransom of that book and to find in its discourse able factors to its insertion into the whole author production. With that purpose, is accomplished the analysis of the symbological universe shaped by its component texts, with what is possible to identify in Magma the anagogical inquietud that is the pith of the Guimarães Rosa literature. / Doutor

I became interested in Marcel Duchamp's work at an early stage of my art history studies. His then most important piece, The Bride Stripped Bare by her Bachelors, Even, particularly fascinated me and I wished to understand the complexity of the work itself. I also wanted to learn more about the personality and psyche of this artist.For several years I lived in Philadelphia, and spent many Sunday afternoons in the Philadelphia Museum of Art studying, evaluating and appreciating Duchamp's works which can be found in the Arensberg Collection. I obtained Richard Hamilton's translation of the Green Box1 and used it as Duchamp wished--reading it along with a visual study of The Bride Stripped Bare.During my residence in Philadelphia and, shortly after his death, Duchamp's final work was unveiled. Upon further study of his total work and the writings about him, I experienced in several dimensions the message of his art and felt that this new writing, this thesis, needed to be done. I could not accept the frustration, castration, negation, and non-aesthetic that was read into his work by many critics. Duchamp was a revolutionary in art, yes--but there was an erotic joy, a sensuous aesthetic sensitivity to his form, be it created or found, and a continuous desire on his part to extend man's aesthetic awareness to new areas of life experience.This thesis presents a critical re-evaluation of Marcel Duchamp's two works: first, The Bride Stripped Bare by her Bachelors, Even; and secondly, Etant Donnés: 1° la chute d'eau, 2° le gaz d'éclairage, which is the concern of chapter two.Because of the nature of these two works of art, it was necessary to discuss and analyse iconographically, in chapter one, various other works -- following their development and recurrences as symbolic images. Several statements by writers and critics are also re-evaluated, mainly those referring to an erotic pessimism reflected in Duchamp's work.An important guide line for this study has been the Green Box. It, along with other writings and staements, revels Duchamp as a sensitive, highly intellectual artist ready for constant changes. From the material within the Green Box is woven the thread for the final content -- the positive, erotic message and the aesthetic experience.1 Duchamp saved all of the notes, sketches, and drawings related to The Bride Stripped Bare in a green box, which he later published, titled the Green Box. A typographic version of the notes, translated by George Heard Hamilton, was prepared by Richard Hamilton, titled The Bride Stripped Bare by her Bachelors, Even (London: Percy Lund, Humphries and Co. Ltd., 1960).

Made available in DSpace on 2016-08-10T11:06:57Z (GMT). No. of bitstreams: 1 ROSANGELA MARIA SANTANA.pdf: 600316 bytes, checksum: 26ad48f3259465d1a74cb315a42185fe (MD5) Previous issue date: 2012-12-14 / This dissertation presents an analysis based on a bibliographical research on the imagination/imaginary in the novel Maya, by Ursulino Leão. The novel was written in 1949, when the writer, student of a law course, still very young, volatilized himself into the literary world. The book describes as illusory all feelings present in the novel, which brings an interesting story because of its content of truths, its drama and its human experience. The novel Maya stands out for its structure and narrative technique, the characterization of the characters, its values discussed and questioned and the richness and appropriateness of vocabulary. Imagination, fantasy, sentimentality, the exuberance of emotions and symbolism make the novel a story focused on a vision of the innermost essence of the human being. The study is theoretically based on Gaston Bachelard and Gilbert Durand, when analyzing the imaginary; on C. G. Jung, about the symbolic; and finally on G. Lukacs and M. Bakhtin, about a possible reading of the novel theory. / Esta dissertação apresenta uma análise fundamentada numa pesquisa bibliográfica sobre o imaginário na obra literária Maya, de Ursulino Leão. O romance foi escrito em 1949 quando o escritor, acadêmico do Curso de Direito, ainda muito jovem, se evolava para o mundo literário. A obra descreve como ilusórios todos os sentimentos revelados numa história interessante pelo seu conteúdo de verdades, seu drama e sua experiência humana. Maya se destaca pela sua estrutura e técnica narrativa e pela caracterização das personagens, por seus valores discutidos e questionados e pela riqueza e adequação do vocabulário. A imaginação, a fantasia, o sentimentalismo, a exuberância de emoções e a simbologia o fazem um romance concentrado numa visão da essência mais íntima do ser. O estudo se alicerça teoricamente em Gaston Bachelard e Gilbert Durand, ao analisar o imaginário; em C.G. Jung, a respeito do simbólico; e finalmente em G. Lukács e M. Bakhtin, acerca de uma leitura possível da teoria do romance.

Este trabalho é resultado de uma tese de doutorado realizada na Universidade de São Paulo, com o objetivo de: Analisar a forma de representação cartográfica temática presente nos mapas turísticos destinados aos visitantes no Município de Ponta Grossa PR. Tal intuito veio de encontro à problemática observada nos diferentes usos simbólicos em mapas ofertados aos turistas, em diferentes localidades do Estado do Paraná e até mesmo do País, criando uma imagem local muitas vezes não correspondente à realidade identitária cultural destes respectivos espaços. No caso do Município de Ponta Grossa PR (recorte espacial escolhido para estudo), os mapas turísticos focalizam com grande ênfase o Parque Estadual de Vila Velha, deixando pouco retratados, ou de difícil localização, outros pontos turísticos importantes como: Buraco do Padre, Cachoeira da Mariquinha, Rio Verde, Capão da Onça, Parque Margharita Mazzine, Vila Hilda, Estação Saudade e tantos mais. Isto permite de certa forma condenar o município a uma espécie de extensão da capital estadual (Curitiba), dentro dos roteiros turísticos, penalizando fortemente este setor econômico, e, maculando de insignificantes outras potencialidades naturais e culturais locais. Assim, apesar de um número expressivo de visitantes que vem até o município, estes turistas praticamente só comparecem até o Parque e já retornam, sem visitar demais áreas e sem sequer conhecer a cidade. O resultado desse descaso é o desinteresse de maiores políticas públicas que fomentem uma ampliação nas infraestruturas de acesso, de atendimento, de acomodação e até mesmo de dinamização frente ao que poderia ser um salto para o turismo sustentável local. No desenvolvimento da pesquisa, utilizamos como metodologia de trabalho a análise de materiais cartográficos (mapas turísticos) e as entrevistas com usuários do serviço (turistas e visitantes locais), diagnosticando a eficácia da representação simbólica empregada nos dois mapas mais atualizados, correlacionando isto às causas e consequências do resultado de tal material produzido, como instrumento de marketing, de localização e informação. Também foram entrevistados os sujeitos responsáveis pela produção do material de divulgação aos visitantes, para saber sua formação profissional e critérios considerados importantes na elaboração dos mapas, bem como os chefes de departamento de turismo, para permitir um entendimento, frente ao ponto de vista dos mesmos, quanto ao tipo de material ofertado, fazendo uma correlação com os dados quantitativos obtidos no campo de investigação anterior. Nossos estudos se basearam com prioridade às concepções teóricas atuais e internacionais de Mark Monmonier, (How to lie with maps), para discutir as mentiras presentes nos mapas, e em Jacques Bertin, (Sémiologie Graphique), de modo a retratar as formas convencionais de comunicação cartográfica. A conclusão final da pesquisa aponta para uma gama de artifícios pictóricos com o intuito de estimular o imaginário dos visitantes e vender-lhes tal fantasia em detrimento de emprego de variáveis visuais convencionais à cartografia. O que justifica esta ocorrência é o interesse de mercado de órgãos específicos, e a responsabilidade profissional de produção de mapas que é muitas vezes atribuída a sujeitos não qualificados para este exercício. É necessário nos preocuparmos com o rigor de produções científicas, como o instrumental cartográfico, visto que é visível a banalização que, muitas vezes, é atribuída a esta área do conhecimento, diante da facilidade de reprodução de imagens, via avanço tecnológico. / This work is the result of a doctoral thesis held at the University of São Paulo, with the objective: \"Examining thematic cartographic representation present in tourist maps for visitors in the municipality of Ponta Grossa-PR\". This order came the problems observed in different uses symbolic maps offered to tourists, in different localities of the State of Paraná and even the country, creating a local image often not corresponding to the reality of cultural identity of these spaces. In the case of the municipality of Ponta Grossa PR (Snip space chosen for study), tour focused on maps with great emphasis the Vila Velha State Park, leaving little depicted, or difficult location, other important sights: Hole of Priest, Mariquinha Waterfall, Green River Resort, Capão of ounce, Margharita Mazzine Park, Hilda Village, Saudade Station and many more. This allows somewhat condemn the municipality to a kind of extension of the State capital (Curitiba) within the itineraries pollute heavily this economic sector, and maculando of insignificant other potential natural and cultural sites. Thus, despite an overwhelming number of visitors who come to the city, these tourists virtually only comes to the Park and return, without visiting other areas and without even knowing the city. The rest is the lack of major public policies that promote a magnification in infrastructure access service, accommodation and even pivoting forward that could be a leap into the local sustainable tourism. In the development of search we use as working methodology of cartographic materials analysis (tourist maps) and interviews with users of the service (tourists and visitors locations), diagnosing the effectiveness of symbolic representation used in the two most up-to-date maps, correlating it to the causes and consequences of the outcome of such material produced as marketing tool, location and information. Also interviewed every responsible production of material to visitors, to learn their vocational training and criteria are considered important in the preparation of maps, as well as the heads of Department of tourism, to allow an understanding to the point of view, on the type of material contributed by doing a correlation with the quantitative data from previous research. Our studies are based, with priority to current theoretical conceptions and international Monmonier, Mark (how to lie with maps) to discuss the \"lies\" present on maps, and Jacques Bertin, (Sémiologie Graphique) to portray the conventional forms of cartographic communication. The final completion of the survey points to a range of pictorial artifice to stimulate the imagination of visitors and sell them this fantasy to the detriment of employment of conventional Visual variables to cartography. What justifies this occurrence is the interest of specific organs market and professional liability for the production of maps is often assigned to non-qualified for this exercise. You need to concern ourselves with the rigor of scientific productions such as instrumental cartographic, since it is visible to the banal, which is often assigned to this area of knowledge, given the ease of reproduction of images, via technological advance.

Com o intuito de aproximar as Literaturas Portuguesa e Brasileira, mais especificamente Machado de Assis e Eça de Queirós, este trabalho procura elucidar pontos de convergência e de divergência na elaboração e utilização da simbologia literária num estudo comparado da construção e personificação das casas em Dom Casmurro e Os Maias, relevando os aspectos em que a simbologia das casas em Eça (O Ramalhete e a Toca) e Machado (Matacavalos) é antitética ou análoga. Além da simbologia das casas e sua personificação, aborda- -se ainda a copiosa exploração dos símbolos ligados a nomes próprios, cores, números e objetos, integrados todos para construir a riqueza narrativa das duas obras, e procura-se traçar um paralelo de algumas semelhanças literárias de criação, a par de contrastes igualmente detectados. / The purpose of this study is to draw Brazilian and Portuguese literature closer to each other, especially two authors of indisputable value - Machado de Assis and Eça de Queirós - by showing points in which they converge and diverge while creating and using literary symbols. Conceived as a comparative study on the elaboration and personification of the dwellings where much of the action takes place (Ramalhete and Toca in Os Maias and Matacavalos in Dom Casmurro), it points out the aspects in which symbology is antithetic or analogous. Besides the symbology and personification of the dwellings, there is also an extensive analysis of the symbols connected to proper names, colours, numbers and objects - all woven together to form the narrative richness of each novel - and a parallel between similarities and contrasts detected in them.

Made available in DSpace on 2016-03-15T19:45:19Z (GMT). No. of bitstreams: 1 Mariana Calvo Mozer.pdf: 571257 bytes, checksum: 7ab8ecb06bfd04d5d432bcb90b5cf867 (MD5) Previous issue date: 2011-02-25 / The present paper develops the analysis of the figurative presences in the work of Frederico Garcia Lorca. For this ,it is used as corpus for the analysis the work of Llanto by Ignácio Sanchez Meijas, wherein the author proposes through the bullfight ceremony the vision of the death. Constituting this ceremony as the basis of the paper, we will focus on the study of the symbolic figures-the moon, the blood, the flowers, the colors red and white, the bull, the stone, the wind etc.. by focusing on the presence of the death as the main reason of this work. / O presente trabalho desenvolve a análise de presenças figurativas na obra de Federico Garcia Lorca. Para tanto, utiliza-se, como corpus de análise a obra Llanto por Ignácio Sanchez Mejías, em que autor propõe, por meio do ritual da tourada, a visão de morte. Constituindo este ritual a base do trabalho, vamos nos deter no estudo das suas figuras simbólicas a lua, o sangue, as flores, as cores vermelho e branco, o touro, a pedra, o vento, entre outros, afim de enfocar a presença da morte como motivo principal desta obra.

Made available in DSpace on 2014-06-11T19:26:52Z (GMT). No. of bitstreams: 0 Previous issue date: 2010-06-25Bitstream added on 2014-06-13T19:14:15Z : No. of bitstreams: 1 yatsu_rk_me_assis.pdf: 641166 bytes, checksum: 5d7b2ce790cd209f94655f0110c76b1b (MD5) / O presente trabalho apresenta uma análise do romance Noites no circo (1984), da autora inglesa Angela Carter, abordando principalmente a personagem central, Fevvers. No primeiro capítulo tratamos brevemente da vida e obra da autora, e também da fortuna crítica produzida sobre o romance. Ainda neste primeiro capítulo, procuramos analisar algumas das nomenclaturas ligadas à produção carteriana, como realismo mágico, pósmodernismo e feminismo, tendo como referência alguns estudos já realizados. No segundo capítulo, utilizamos teorias acerca da simbologia. O interesse é analisar alguns dos símbolos que aparecem no romance e são relevantes na leitura, pois deixam subentendidos alguns dos sentidos que a autora deseja transmitir. No terceiro capítulo, o interesse é demonstrar que nesta extensa narrativa de Angela Carter, as representações estão presentes e produzem o clima de espetáculo, fazendo do romance um verdadeiro circo / The present work presents an analysis of the novel Nights at the circus (1984), by the English writer Angela Carter, above all approaching the main character, Fevvers. In the first chapter we briefly deal with the writer´s life and work, and also with the critical works produced about the novel. Still in this chapter, we try to analyze some of the terminology related to Carter´s production, such as magic realism, post-modernism and feminism, taking as reference studies already done. In the second chapter, we use theories about symbology. The interest is to analyze some of the symbols which appear in the novel and are important during the reading because they let implicit some of the meanings that the author wants to transmit. In the third chapter the interest is to demonstrate that in this long Carterian narrative the representations are present and produce the spectacle mood, turning the novel into a real circus