Traditional, transmission methods of professional development (PD) for educators have been criticized as being ineffective, failing to provide enough time, context, autonomy, active engagement, and content information to enable educators to meaningfully shift their practice. This case study examined if and how transdisciplinary inquiry could be used as a vehicle for professional learning in the public-school system. Over six months, seven educators with diverse academic backgrounds, developed into a team, identified a shared concern, and engaged in transdisciplinary inquiry. To address the issue of concern, they created and utilized a set of mini-lessons on metacognitive strategies to help intermediate grade students, with a wide variety of learning exceptionalities, to reflect on and regulate their own learning. At the same time, the educators purposefully attended to their own learning as well as the learning of their fellow team members. Interview and focus group data suggest it was possible and productive to use transdisciplinary inquiry as the vehicle for professional learning. Participants reported that the experience facilitated educator learning, provided opportunity to apply knowledge, introduced multiple perspectives, and fostered positive relationships. Findings suggest that the transdisciplinary team acted as a complex system with cohesive and divisive forces working together with information from the environment to occasion learning within the system. Findings also suggest that the use of transdisciplinary inquiry projects as professional learning opportunities may be an effective and practical supplement to traditional PD methods currently used in the public education system. / Graduate

This thesis explores how locally-constructed agency, based on what we really care about, can be developed within and thence beyond localities. At issue is the need for new forms of connectedness and belonging in the globally-based network society. Globally-based communications and media technologies create new networks and mobilities that stretch and fragment existing socio-economic, administrative and ecological systems and with this, older, local and national forms of sociality. Such social upheavals are apt to drive people into defensive and divisive "us" against "them" forms of belonging. Local communities are then called on almost daily to fix these problems, but scarcely exist as connected effective agents on their own account. The thesis examines how official institutions (policy and academic) can help undo one-way global-local flows, by supporting new forms of local-local and local-through-to-global agency. A transdisciplinary methodology, developed in this thesis, performatively demonstrates productive, new local-academic-policy connections. Research included a fully participatory process that blends theoretical concepts (social, aesthetic, literary and film), with film and interactive technologies. A microcosm or simulation of locality was created through DVD film and an interactive research website. Through the shared use of screen interfaces, over one hundred co-detectives or co-researchers from hugely diverse backgrounds collaborated to search for, help reveal, and test out ways that local inhabitants could more effectively connect and co-create a filmed narrative of the kind of place that all would like to inhabit. A "network locality" development narrative is here piloted as a counterpoint to the global network society. Based on inclusive co-construction of locally grounded technology - and aesthetic-based communities - new possibilities of belonging around engagement in locally grounded civic-cosmopolitan projects are demonstrated.

The researcher’s previous experience suggested the use of computer-based design and fabrication tools might enable new models of practice that yield a greater integration between the 3D art and design disciplines. A critical, contextual review was conducted to assess what kinds of objects are being produced by art and design practitioners; what the significant characteristics of these objects might be; and what technological, theoretical and contextual frameworks support their making. A survey of international practitioners was undertaken to establish how practitioners use these tools and engage with other art and design disciplines. From these a formalised system of analysis was developed to derive evaluative criteria for these objects. The researcher developed a curatorial framework for a public exhibition and symposium that explored the direction that art and design practitioners are taking in relation to computer-based tools. These events allowed the researcher to survey existing works, explore future trends, gather audience and peer response and engage the broader community of interest around the field of enquiry. Interviews were conducted with practitioners whose work was included in this exhibition and project stakeholders to reveal patterns and themes relevant to the theoretical framework of this study. A model of the phases that practitioners go through when they integrate computer-based tools into their practice was derived from an existing technology adoption model. Also, a contemporary version of R. Krauss’s ‘Klein Group’ was developed that considers developments in the field from the use of digital technologies. This was used to model the context within which the researcher’s practice is located. The research identifies a form of ‘technologyled- practice’ and an increased capacity for a ‘transdisciplinary discourse’ at the intersection of disciplinary domains. This study will be of interest to practitioners from across the 3D art and design disciplines that use computerbased tools.

Urban design has splintered into increasingly narrow specialist disciplines since the mid Twentieth Century. Traffic engineers, statutory planners, civil engineers, landscape architects and architects each make specific but isolated contributions to urban design frameworks. Each consultant documents their position predominantly through text and two dimensional representations, occasionally with specious perspective images produced by a hand rendering specialist. This fragmented and sequential design approach inadequately addresses contemporary urban agendas, practice constraints or the potential of digital design techniques, particularly in light of increasing fears of an imminent environmental crisis and peak oil, and concerns for health, amenity and accommodating an increasingly urbanised population. The aim of my thesis is to identify and address disparities between contemporary urban design practice and society's prevailing urban agendas for integrated and sustainable cities. The hypothesis tested by my thesis is that the gulf between prevailing urban agendas of society and urban design can be reduced by developing a 'defragmented' design approach that uses rapid, parametric, four-dimensional, digital analysis and design techniques, which build upon software commonly available within the industry. This hypothesis has been tested in four ways: firstly through the analysis of urban agendas, design techniques and urban design paradigms, in both historic and contemporary contexts; secondly by identifying currently available technologies with the potential for adaptation and customisation; thirdly by development of new digital techniques; and finally by testing this defragmented approach on both simplified models and various case studies within an urban design practice as part of the embedded research program. Techniques I have developed and tested as part of the approach fit into four categories: firstly pedestrian connectivity - walkability and accessibility; secondly daylight amenity assessment; thirdly visual impact analysis assessing urban form visualisation, generation and composition; and finally feasibility modelling, including linked data yield analysis. I have evaluated the success of the approach in these studies with regard to practice constraints (time and budget) and contemporary society's pr evailing urban agendas. My rapid, defragmented design approach has resulted in new techniques shown to be used quickly and concurrently 'in-house' contributing to the urban design process, whilst meeting fee budgets and project deadlines. I have demonstrated that issues that are currently difficult to solve using the constraints of conventional planning techniques can be addressed more effectively than they are currently, whilst avoiding the considerable expense of specialised hardware/software or the appointment of additional consultants. My thesis concludes that the rapid, defragmented approach can demonstrably yield more synergistic urban design responses. The inherently flexible approach can be tailored for a myriad of different urban design scenarios, as well as potentially other disciplines. The defragmented approach can expand the realm of urban designers and increase their contribution in the generation and advocacy of sustainable planning policy and reduce the disparities between contemporary urban design practice and society's need for integrated and sustainable cities.

This thesis explores how locally-constructed agency, based on what we really care about, can be developed within and thence beyond localities. At issue is the need for new forms of connectedness and belonging in the globally-based network society. Globally-based communications and media technologies create new networks and mobilities that stretch and fragment existing socio-economic, administrative and ecological systems and with this, older, local and national forms of sociality. Such social upheavals are apt to drive people into defensive and divisive "us" against "them" forms of belonging. Local communities are then called on almost daily to fix these problems, but scarcely exist as connected effective agents on their own account. The thesis examines how official institutions (policy and academic) can help undo one-way global-local flows, by supporting new forms of local-local and local-through-to-global agency. A transdisciplinary methodology, developed in this thesis, performatively demonstrates productive, new local-academic-policy connections. Research included a fully participatory process that blends theoretical concepts (social, aesthetic, literary and film), with film and interactive technologies. A microcosm or simulation of locality was created through DVD film and an interactive research website. Through the shared use of screen interfaces, over one hundred co-detectives or co-researchers from hugely diverse backgrounds collaborated to search for, help reveal, and test out ways that local inhabitants could more effectively connect and co-create a filmed narrative of the kind of place that all would like to inhabit. A "network locality" development narrative is here piloted as a counterpoint to the global network society. Based on inclusive co-construction of locally grounded technology - and aesthetic-based communities - new possibilities of belonging around engagement in locally grounded civic-cosmopolitan projects are demonstrated.

The politics of knowledge in the age of the internet is concerned with many overlapping elements. From the reimagining of research in relation to the new infrastructures to the development of new technologies and their social, cultural, ontological, and epistemological implications, here the politics of knowledge centers around questions of information technology infrastructures in late capitalism, the control society, and reflexive modernization. As these social and political theories operate across academic disciplines and organizational systems, new formulations of knowledge production arise such as transdisciplinary research. Transdisciplinary research can be considered as a model for knowledge production that is still capable of recognizing the shared and processual nature of knowledge that operates contrarily to the objectified and commodified understanding of knowledge in late capitalism. Using critical analysis centered in considerations of reflexivity and the control society, I argue for the possibility of alternative cyberinfrastructures for the e-sciences and virtual learning environments as systems of cultural reproduction. These alternatives privilege constructions of science understood as creative, social, and processual following the findings of actor-network theory and the theories of Deleuze and Guattari. Finally, I argue that we are co-constructing a politics of knowledge within and through the infrastructures that we are building, and within these politics there is a conception of the practices of science and research that could be informed by a reconsideration of social theories of technology and our contemporary social and political theory in relation to the development of future technologies and future ways of understanding those technologies. / Ph. D.

Thesis (Ph. D.)--Illinois State University, 1998. / Title from title page screen, viewed July 13, 2006. Dissertation Committee: Valeri Farmer-Dougan (chair), Mark E. Swerdlik, Jayne Bucy, Matthew Hesson-McInnis, Ming-Gon John Lian. Includes bibliographical references (leaves 108-112) and abstract. Also available in print.

In this study evidence is presented that suggests transdisciplinary art practices and participatory biology programs may successfully increase public understanding of ecological phenomenon. As today’s environmental issues are often complex and large-scale, finding effective strategies that encourage public awareness and stewardship are paramount for long-term conservation of species and ecosystems. Although artists and biologists tend to stay confined to their professional boundaries, and their discourses largely remain inaccessible to larger audiences, arguments here are presented for a combined approach, which may disseminate knowledge about ecology to non-specialists through novel art-science participatory research and exhibitions. Moreover, historically several scientists utilized varied creative art forms to disseminate scientific insights to a larger populace of non-specialists, such strategies as engaging writings and visually provocative artworks may still be effective to captivate contemporary audiences. In addition such historic hybrid science-art practitioners may have laid a conceptual terrain for some of today’s transdisciplinary art and citizen science practices. Furthermore, seminal ecological artworks from the 20th Century by Joseph Beuys, Patricia Johanson and Hans Haacke utilized novel strategies to reach audiences with a message of wetland conservation, blurring boundaries between art, ecology and activism. More recently artists like Cornelia Hesse-Honegger, Helen and Newton Harrison and others have integrated biological research into their art practices, which resulted in new scientific discoveries. Through my own transdisciplinary artwork about frogs, data suggests that the visual strategies I employ were effective to increase non-specialist understanding of the ecological phenomenon of amphibian declines and deformations. In addition through my participatory biology programs, Public Bio-Art Laboratories and Eco-Actions, evidence suggests that non-specialists achieved an increased awareness of the challenges amphibians and ecosystems currently face. Likewise, that through such participatory citizen science research new scientific insights about the proximate causes for deformities in anuran amphibians at select localities in middle England and Quebec were achieved. Here laboratory and field evidence, generated with the aid of public volunteers, found that non-lethal predatory injury to tadpoles from odonate nymphs and some fishes resulted in permanent limb deformities in post-metamorphic anurans. From an environmental-education and larger conservation standpoint, these findings are very relevant as they offer novel strategies for experientially engaging non-specialist audiences while generating important insights into biological communities and wetland ecosystems.

This study focused on game physics, an area of computer game design where physics is applied in interactive computer software. The purpose of the research was a fresh analysis of game physics in order to prove that its current usage is limited and requires advancement. The investigations presented in this dissertation establish constructive principles to advance game physics design. The main premise was that transdisciplinary approaches provide significant value. The resulting designs reflected combined goals of game developers, artists and physicists and provide novel ways to incorporate physics into games. The applicability and user impact of such new game physics across several target audiences was thoroughly examined. In order to explore the transdisciplinary nature of the premise, valid evidence was gathered using a broad range of theoretical and practical methodologies. The research established a clear definition of game physics within the context of historical, technological, practical, scientific, and artistic considerations. Game analysis, literature reviews and seminal surveys of game players, game developers and scientists were conducted. A heuristic categorization of game types was defined to create an extensive database of computer games and carry out a statistical analysis of game physics usage. Results were then combined to define core principles for the design of unconventional new game physics elements. Software implementations of several elements were developed to examine the practical feasibility of the proposed principles. This research prototype was exposed to practitioners (artists, game developers and scientists) in field studies, documented on video and subsequently analyzed to evaluate the effectiveness of the elements on the audiences. The findings from this research demonstrated that standard game physics is a common but limited design element in computer games. It was discovered that the entertainment driven design goals of game developers interfere with the needs of educators and scientists. Game reviews exemplified the exaggerated and incorrect physics present in many commercial computer games. This “pseudo physics” was shown to have potentially undesired effects on game players. Art reviews also indicated that game physics technology remains largely inaccessible to artists. The principal conclusion drawn from this study was that the proposed new game physics advances game design and creates value by expanding the choices available to game developers and designers, enabling artists to create more scientifically robust artworks, and encouraging scientists to consider games as a viable tool for education and research. The practical portion generated tangible evidence that the isolated “silos” of engineering, art and science can be bridged when game physics is designed in a transdisciplinary way. This dissertation recommends that scientific and artistic perspectives should always be considered when game physics is used in computer-based media, because significant value for a broad range of practitioners in succinctly different fields can be achieved. The study has thereby established a state of the art research into game physics, which not only offers other researchers constructive principles for future investigations, but also provides much-needed new material to address the observed discrepancies in game theory and digital media design.

The subject of this case study is the Vermont Agricultural Resilience in a Changing Climate initiative, a transdisciplinary research team at UVM that has maintained success in meeting research and outreach objectives despite collaborating in a way that does not follow any particular ideal-type transdisciplinary process. In following recent science and technology (STS) studies' accounts of cross-disciplinary collaboration, the hypothesis pursued is that the transdisciplinary study of messy or "wicked" problems like climate change brings forth an array of responses from researchers whose disciplinary backgrounds already position them to pursue their research differently, particularly when they involve outside stakeholders in a participatory action research agenda. When not addressed explicitly through the transdisciplinary research framework, these differences are likely to result in more subterranean or affective responses, such as ambivalence and equivocation, which may permeate the collaborative group process. Through a qualitative ethnographic approach, I show that transdisciplinary work is complex and situational, due to the topic itself in agricultural resilience and climate change, the affective nature of the collaborative process, the differences in disciplinary perspectives, the researchers' subjectivities, and the influence of outside actors in the initiative. I argue that transdisciplinary work must necessarily be challenging given the variety of heterogeneous forces at play, and that deeper attention to the situation elucidates underlying dynamics that are not addressed in the normal research process. This research contributes insights into the literature on transdisciplinary research on messy problems.