Innovative Model Based Systems Engineering approach for the design of hypersonic transportation systems

L'abstract è presente nell'allegato / the abstract is in the attachmen

Aesthetic Values of Five Primary Wood Transporting Methods Common to Northern New England

Throughout northern New England and across the country, increasing populations and the exurbanization of rural forested landscapes have had a tremendous impact on forest management. As forested areas become more populated, society has become more exposed to the sights and sounds associated with different forest operations. As a result, aesthetics are increasingly driving public reaction to and concern about forestry practices, especially timber harvesting. How people perceive forestry harvesting can be significant in defining the future of forest management, particularly in more populated woodlands. The objective of this study was to better understanding public values as they relate to timber harvesting, especially as it occurs in forested residential areas and other places where people come in contact with working forests. Our goal was to develop information that will help NIPF owners and foresters better fit timber harvesting into the flow of community life, with all of its constraints, rather than to expect communities to adjust to the temporary inconveniences often associated with the conduct of logging. By utilizing videography, media editing technology, focus groups, and a written survey, this research was able to assess and compare the visual and aural qualities of five timber harvest yarding methods based on a battery of attributes and situations. The operations evaluated consisted of a forwarder, a rubber-tired cable skidder, a bulldozer, a farm tractor, and a workhorse. This study was successful in clarifying the aesthetic preferences of these yarding methods among a subsample of the general public, as well as among members of forestland owners associations in the northern New England region. In addition, this study investigated the relationships between several possible explanatory variables (e.g., age, education) and respondents’ preferences for the logging methods studied. Throughout much of the video survey, response patterns were very similar between the general public, represented by students, and landowners, represented by landowner group association members. Though acceptability ratings and preference rankings of the timber harvest yarding methods were similar, statistical tests (e.g., chi-square analysis, polytomous logistic regression, and repeated measures analysis of variance) revealed significant differences that existed between the two populations

Critical engineering pedagogy: curricular peer mentoring as a case study for change in the Canadian neoliberal university

This research explores themes of pedagogy, change, and agency within education systems, by examining the possibility of changing a pedagogical discourse within an undergraduate engineering program through critical pedagogy. Changing that discourse is necessary because engineering, as engineers themselves acknowledge, cannot remain an exclusionary space given its crucial role in shaping our postmodern world. This world is full of tensions: it is defined by a pervasive neoliberalism that values technical knowledge for its commercial utility; however, it also values human rights, social responsibility, and environmental stewardship. If engineering education only focuses on training students to solve technical problems, it risks producing engineering professionals who are unwilling to reflect on, and lack the agency to address, the effects of engineering on individuals, society, and the environment. To address these concerns, this study piloted a peer-based learning program that ran in an undergraduate engineering program at a Canadian university for one semester, returning rich qualitative data on implementing a change process within engineering education. The pilot program was informed by critical pedagogy, and attempted to introduce a specific model of undergraduate peer mentoring, known as curricular peer mentoring, within engineering education to question exclusionary discourses. Therefore, the pilot program primarily acted as a case study into implementing a pedagogical change within engineering education at a program and faculty-level. However, the case study was also used to assess whether introducing curricular peer mentoring within university education generally might produce graduates who are critical thinkers, and able to engage in the academic, professional, and civic discourses within and beyond their chosen fields of study and practice. This is a pressing issue of contemporary university education, for as we enter the ‗Post-Truth Era‖ there is an urgent need to train university graduates to think critically, so they can effectively evaluate social, political, and economic discourses. Finally, as the wider university continues to be impacted by a neoliberal agenda that curtails their agency and shapes their pedagogies, research, and organizational structures, they too must change. The pilot program also provided an exploration of a change process that challenges that neoliberal discourse, while at the same time existing within it

A holistic view of the creative potential of performance practice in contemporary music

This thesis was submitted for the degree of Doctor of Philosophy and was awarded by Brunel UniversityThe creative potential and work of the performer in new music extends from the moment of conceptualising a concert to the moment of presenting it on stage and comprises many areas between and around those two points. In this thesis I explore the nature of this activity, from the act of playing itself to the commissioning and creating of new pieces, curatorial and collaborative tasks, and the actual concert presentation. I deliberately include interrelations between performer and music promoters, composers and the audience. This leads me to further areas of investigation, namely the question of the performer’s leadership, the charismatic bond with the audience and the creation of what I call “concert aura”. I do not strive to offer all-purpose formulae for the “perfect concert” or for the ideal collaboration. I investigate performance practice not as an absolute art but rather as something embedded in and shaped by social relations and society. Accordingly I understand this thesis as an empirically based study of the questions performers could ask, as well as processes in which they might want to engage, to find meaningful solutions for each new situation. Not all of the questions I raise will be new to each performer, but in their collaborative and concert practice many performers rely on a random, unsystematic, empirical understanding that has been gained by chance. In contrast, I attempt to draw a theoretical basis for my investigation from the fields of psychology, philosophy, media science and sociology, together with the evaluation of my own and other artists’ performance practice. In this way I hope to develop an academic foundation and a comprehensive, systematic approach that can be applied to different collaboration and concert situations. Part 1 of my thesis is concerned with theories and concepts relating to creativity, collaboration and presentation (concert aura and charisma) and aims to establish a firm theoretical basis for application in practice. Part 2 presents, discusses and analyses a selection of case studies from my own practice, considered in relation to the theories discussed in the first part. I conclude by offering guidelines to collaboration and giving a model example of how one might plan a future performance, aiming to create a Gesamtkunstwerk through the totality of the preparation and presentation, its social and psychological connotations. The thesis includes two DVDs with Quicktime Movies and two CDs with recordings of the compositions, commissioned as part of this research and discussed throughout the thesis. The Appendix contains three sample-CDs with an accompanying commentary which give an introduction to contemporary playing techniques for the acoustic and electronic violin and acoustic viola. This CD is intended as a guide for composers to get acquainted with the instruments and was given to each composer involved in this research