Dissertations / Theses on the topic 'Sensory gardens'

One of every 166 children born today could be diagnosed with Autism Spectrum Disorder (ASD) (CDC 2006). Growing bodies of evidence show sensory integration issues may be at the root of many of the symptoms children with ASD exhibit. Sensory integration is defined as the ability to feel, understand, and organize sensory information from the body and environment. The issues surrounding sensory integration are reflected in both hypersensitive and hyposensitive reactions by children with ASD to the vestibular, proprioception, visual, audio, tactile, and olfactory senses.The goal of this paper is to address the sensory integration issues of children with ASD by creating a sensory garden which would allow them to focus on therapeutic and diagnostic interventions. By using the principles and elements of design, guidelines for this garden focused on producing calming effects for hyper reactive children with ASD and stimulating effects for hypo reactions.

Master of Landscape Architecture
Department of Landscape Architecture/Regional and Community Planning
Anne E. Beamish
The purpose of this research was to develop a mobile sensory garden to help children with Sensory Integration Disorders. Sensory Integration (SI) is how an individual processes sensory information. Issues with sensory integration can lead to behavioral disorders, which can cause difficulties with social-emotional skills, gross motor skills, fine motor skills, play skills, and self-help skills. The goal of the project was to develop a mobile sensory garden to help alleviate or reduce the negative aspects of Sensory Integration Disorders. The research involved qualitative research, projective design, and evaluative research on a mobile sensory cart that was used in an elementary school in Topeka, Kansas. Methods included: interviews, design/build, and observation. The current sensory room was inventoried in Williams Science & Fine Arts Elementary Magnet School in Topeka, Kansas, and the children who used were observed. The faculty at the school, including the principal, teachers whose students use the current sensory room, counselors, and other support faculty, were interviewed. Once the observations were analyzed, a mobile sensory garden cart was designed and built. The new cart was brought to the elementary school and placed in the sensory room. A second phase of observation assessed how the children interacted with the new mobile sensory garden cart. During the second phase of observation the children showed intense interest in the mobile sensory garden cart. Some of this can be attributed to it being a new item in the sensory room. Some of the most popular items included the zen garden, wood slices on the wooden dowel, and the plants. In the second week children transitioned to using both the sensory garden cart and the original items in the sensory room. When an item on the sensory garden cart best suited their needs, that item was chosen and when their needs were best suited by other items in the room then that item was chosen. Overall the mobile sensory garden cart was beneficial to the school and the children. It can be easily replicated and modified to fit the individual needs of the children and school.

O trabalho avaliou a percepção tátil de espécies vegetais por uma parcela da população de deficientes visuais em diferentes graus de intensidade, de ambos os sexos e com idades variando entre treze e setenta e sete anos, residentes em Piracicaba (SP), classificando-as de acordo com a maior ou a menor preferência, por meio de análises sensoriais afetivas. As plantas foram escolhidas entre aquelas utilizadas na composição de parques e jardins, instalados nas condições ambientais da região de Piracicaba (SP). No processo de seleção das plantas, considerou-se, também, a escolha daquelas que possibilitassem maior segurança física e psicológica aos deficientes visuais, além da sua disponibilidade no mercado. Foram selecionados, para os testes, indivíduos vegetais adultos, organizados em grupos distintos, de acordo com seu porte, sua estrutura e suas funções específicas na composição paisagística: treze espécies arbóreas; cinco palmeiras; dois tipos de bambus; dezenove arbustos, 34 espécies herbáceas e quatro tipos de gramas, totalizando 77 diferentes plantas. As espécies arbóreas foram avaliadas pelas características do tronco: a circunferência à altura do peito (CAP) e a textura da casca; as arbustivas, segundo o porte da planta, o tipo, a textura e o tamanho das folhas; as herbáceas e as gramíneas, segundo o tipo, a textura e o tamanho das folhas. A partir dos testes realizados, concluiu-se que com relação aos provadores, não houve diferença significativa entre os fatores sexo, idade, grau e tempo da deficiência, no que se refere às preferências sobre as espécies vegetais, dentro de cada categoria. Em relação às espécies arbóreas, constatou-se que, aos menores valores de CAP e à textura mais fina da casca, foram associados os maiores escores médios, refletindo a preferência dos provadores por indivíduos com menores diâmetros e por espécies com texturas macias, lisas e muito lisas. Os resultados sugeriram que a característica textura da casca foi mais importante, do ponto de vista afetivo, que a circunferência do caule à altura do peito. No que se refere aos arbustos testados, verificou-se que o porte foi pouco importante e que a textura e o tamanho das folhas foram os fatores preponderantes na discriminação das espécies, com ampla vantagem para as texturas macias. Os testes com as herbáceas e as gramíneas para relvados também evidenciaram que as características mais importantes, do ponto de vista afetivo, foram a textura e o tamanho das folhas. As herbáceas contempladas com flores ou inflorescências receberam escores médios maiores, exceção feita ao antúrio e à estrelícia, provavelmente, por apresentarem folhas médias e grandes, respectivamente, ou pelas características específicas de suas flores.
The tactile perception of plant species by part of the visual impaired population at different intensity degrees of both genders, and ages ranging 13 to 77 years, residents of Piracicaba (SP) were evaluated, assorted according to higher or lower preference through affective sensorial analysis. The plants were collected from parks and gardens set up under the environmental conditions of the region of Piracicaba (SP). While selecting the plants, the choice of those plants likely to provide more physical and psychological safety to the visual impaired and market availability was also taken into account. Adult individuals were selected for the tests, organized into distinct groups according to size, structure and specific function in the landscape composition: thirteen arboreal species; five palm trees; two types of bamboo; nineteen shrubs; thirty four herbaceous species and four types of grass, in a total of seventy seven different plants. The arboreal species were evaluated according to the trunk characteristics: circumference at breast height (CBH) and bark texture; shrubby plants according to plant size, type, texture and leaf size; herbaceous plants and grasses according to type, texture and leaf size. Regarding the testers, the results showed that no significant difference occurred among gender, age, deficiency degree and time as to the preference for plant species within each category. As to the arboreal species, one verified that lower CBH values and thinner bark texture were associated to the mean scores, thus reflecting the preference of testers for lesser diameters and soft, smooth and very smooth texture species. The results suggested that the bark texture feature was more important, from the affective viewpoint, than the stem circumference at breast height. Regarding the tested shrubs, one verified that the size was not significant and that both leaf texture and size were preponderant in discriminating the species, with soft textures being much more preferred. Tests with herbaceous plants and grasses for grassland also pointed that the more important characteristics, from the affective viewpoint, were leaf texture and size. Blooming herbaceous plants were given higher mean scores, except for the Anthurium and Strelitzia, probably because of their medium and large size leaves, respectively, or due to specific flower features.

In the last decades of the eighteenth century, urban lives were touched by a series of innovations in the technology and aesthetics of illumination. Unfamiliar combinations of new fuel sources and auxiliary equipment (for example, curtains, blinds, glass, mirrors and lampshades) meant that cities looked and felt different during both the day and the night. The spheres of elite, popular, public and private culture explored, exploited and were fascinated by the cultural value of light. Through four case studies in the aesthetics of urban illumination, my thesis demonstrates how the acquisition of skills for the manipulation of transparent and reflective surfaces were crucial when negotiating a balance between self-expression and standards of taste, morality, gender and class. Rather than relying upon canonical examples of the period’s fascination with light, such as the high Romantic idealization of nature’s sunrises and sunsets, my thesis investigates more everyday encounters with light in the built environment: the fashionably genteel pastime of transparent painting; the gendering of light to design both domestic interiors and female identity; the appropriation of patrician top-lighting for public buildings of education and exhibition; and the popularity of illuminated spectacles in commercial pleasure gardens. I argue that these new possibilities of lighting temporarily enabled new possibilities of subjectivity. My historical phenomenology suggests that the formation of perception between 1780 and 1840 was actively directed towards changes in the world through a finely-attuned consciousness of light.

The focus of this master’s report was to examine the sensory garden experience - a comforting space that emphasizes the broad stimulation of all 5 of the user’s senses. Tucson’s beautiful Arizona School for the Deaf & Blind (ASDB) provides an education and sense of place for its students and community; moreover it serves as a cultural resource and center for Deaf culture and developing young minds. However the problem is that the campus truly lacks an outdoor space that unifies the campus as a whole and provides an enhanced sensory experience for its student body and populace. The intent of this master’s report was to develop a set of comprehensive guidelines and principles that designers will be able to use in the future to enhance the sensory experience for deaf and blind users. These guidelines have been applied towards the design of a master plan for the Arizona School for the Deaf and Blind located in Tucson, Arizona. The sensory garden serves as a means of providing students, faculty and guests with an opportunity to interact with the environment, engage in passive recreation, spaces for opportunistic meetings, the promotion of cultural awareness, and last it provides all of its users with a heightened sensory experience. This report has investigated: the various components of a sensory garden, the concept behind sensory designs, and how our senses interact in relation to spaces. The report also examined potential design standards used in DeafSpace and blind spaces, and last it examined sensory mapping and how its methods are involved in the design process.

Qu'est-ce qui pousse les citadins à jardiner, dans des contextes souvent peu favorables, les abords de leur logement ? Guidé par cette question, notre travail se focalise sur les pratiques habitantes du jardin privé de type balcon, loggia, terrasse et pied d'immeuble. Parmi les nombreux travaux consacrés à l'étude des modes d'habiter urbains, peu se sont jusque-là spécifiquement intéressés au rôle du "petit" jardin. Comment ce petit jardin - et en particulier son jardinage - permet-il à la fois de se ménager un chez-soi et de cohabiter avec ses voisins ? C'est cette problématique que nous avons explorée en inscrivant notre travail dans le champ des ambiances architecturales et urbaines, c'est-à-dire en faisant de l'environnement sensible une clé de lecture privilégiée des pratiques habitantes jardinières. Notre enquête a porté sur quinze ensembles de logements grenoblois et parisiens situés en milieu urbain dense. Sur une période de quatre ans, elle s'est déployée autour du recueil de la parole habitante, couplée à des observations ethnographiques. Adoptant une approche pluridisciplinaire qui croise les dimensions spatiales, horticoles, sociales et sensibles du jardin, l'analyse s'attache à élaborer une typologie de configurations de jardins à partir de quatre critères : la morphologie (horticole et paysagère) des jardins, leur imaginaire, les perceptions sensibles et les tactiques habitantes dont ils sont le support. Cette typologie propose une rhétorique jardinière explicitant les formes de liens et de ruptures que les habitants créent entre eux et leurs voisins, entre leur logement et leur jardin, entre leur jardin et le voisinage et entre leur jardin et la ville. Elle intéresse directement la programmation et la conception des abords de l'habitat en questionnant les manières de composer le jardin et ses articulations au logement, d'agencer les logements entre eux et de penser le rapport du logement à la ville par le biais du jardin. Deux expériences pédagogiques réalisées à la fin de la recherche rendent compte de ce potentiel. Plus largement, cette recherche ouvre vers l'hypothèse selon laquelle les enjeux de l'habiter urbain se situeraient à la lisière jardinée entre un chez-soi (qu'il soit privé ou public) et la ville.

L'eau anime un paysage particulier par ses qualités physiques et aussi par la vie et l'activité qu'elle apporte, où qu'elle se trouve, mais l'homme peut être confronté à un contexte de rareté ou d'abondance de cet élément fondamental selon les régions du monde. L'eau, pour ses qualités esthétiques et environnementales, est perçue comme une ressource précieuse. Par la relation perceptive, significative et symbolique qu'elle crée avec l'homme, elle inspire les concepteurs et les architectes qui se nourrissent de cette relation pour imaginer différents espaces ou monuments où le liquide et le solide s'allient ou se fondent. Avec les développements de la science moderne et la notion d'environnement durable, l'eau a été transformée en « H2O » comme une matière à consommer qui tendrait à perdre ses capacités sensibles. D'autre part, les menaces qui planent sur cette ressource du fait qu'elle devient rare, en font un enjeu majeur du futur. C'est pourquoi les éléments « naturels » comme l'eau méritent une attention particulière : ils constituent à la fois des facteurs constitutifs d'une ambiance et des domaines fondamentaux de gestion environnementale se rapportant à des problèmes écologiques de première importance. En ce sens, notre recherche vise à articuler une écologie des environnements physiques et naturels à une esthétique des ambiances architecturales et urbaines. Il en va ici du rapport entre le matériel et l'immatériel, question particulièrement importante dans le cadre d'une théorie des ambiances. Tenant compte de cette problématique de recherche, nous avons choisi le jardin persan, à l'origine « paradeiza » (paradis), pour étudier les relations sensibles à une ressource dans un contexte où elle est rare. Bien que ces « paradis » soient situés en contexte désertique, l'eau y joue un rôle fondateur et omniprésent et elle est traitée sous différentes formes et dispositifs. Ainsi, malgré sa ¨rareté¨ dans les régions arides - notamment dans les deux jardins étudiés au centre de l'Iran -, l'eau se révèle alors comme élément construit de l'espace aussi bien qu'élément « formant » de l'ambiance. Nous nous posons la question plus précisément de savoir comment se forme l'ambiance visuelle, sonore, thermique et dynamique à partir d'une quantité minimale d'eau disponible en ces deux jardins. On se concentre plus précisément sur la dimension plurisensorielle de l'eau qui éveille et fait interagir nos sens en considérant principalement les rapports entre la proportion quantitative d'eau utilisée et la qualité de l'ambiance. L'objectif de ce travail est de dégager les principes et les dispositifs architecturaux utilisant l'eau comme élément d'ambiance, d'imaginaire, de structuration spatiale et de support d'usage dans l'aménagement des jardins à l'avenir. Les méthodes mises en œuvre pour évaluer l'impact de l'eau dans la perception de l'ambiance des jardins ont consisté, dans un premier temps en des enquêtes à partir de la mémoire sensible et basées sur les souvenirs et les récits d'une dizaine visiteurs. Cela nous permet d'énoncer une première interprétation sur la mémorisation des ambiances en référence à l'eau. Deuxièmement l'observation des espaces et usages in situ nous aide à repérer les dimensions objectivables de la présence de l'eau. Enfin, nous avons recueilli in situ des commentaires de perception en mouvement auprès d'une vingtaine de visiteurs qui expriment certains effets sensibles et pratiques de l'eau dans le milieu du jardin
Where water is found it animates a particular landscape by its physical qualities and also by the life and activities it brings forth, however man may be confronted with a context of both scarcity or abundance of this fundamental element in different regions of the world. Water is, for its aesthetic and environmental qualities, perceived as a valuable resource. Through the relation is has with man– perceptual, significant and symbolic – it inspires designers and architects who benefit from this relationship for imagining different spaces or monuments where the liquid and the solid combine or merge. With the developments of modern sciences and the notion of environmental sustainability, water has been turned into “H2O” as a material for use which tends to lose its sensory quality. On the other hand, the threats to this resource make it a major issue in the future. For that reason, "natural" elements such as water deserve special attention: they are both the constitutive elements of an ambience and also fundamental for environmental management in relation to environmental issues of primary concern. In this sense, our research aims at articulating an ecology of natural and physical environments for the aesthetics of architectural and urban ambiences. The research concerns the relationship between material and immaterial, questions of particular importance in the context of a theory of ambience. With respect to this problem of research, we have chosen the Persian garden, originally "paradeiza" (Paradise), to examine the sensory relationships of a resource in a context where it is scarce. Although these "paradises" are located in desert environment, water plays a fundamental and ubiquitous role and it is processed in different forms and devices. Thus, despite its “rarity” in arid regions – especially in the two gardens studied in central Iran – the water is revealed as an element for constructing the space as well as also an element “forming” the ambience. To be more specific, we ask about how visual, auditory, thermique, and dynamic ambiences are formed from a minimum amount of water available in these gardens. We focus on multisensory dimensions of water that awake and make our senses interact by considering mainly the quantitative relationship between the proportion of water used and the quality of the ambiance. The aim of this work is to identify the principles and architectural features using water as an element of ambiance, imagination, spatial structure and support of use in designing gardens in the future. The methods used to evaluate the impact of water on the perception of ambiance of the gardens consists of, in the first place, surveys concerning sensorial memory and based on the memories and narratives of the visitors. This allows us to formulate an initial interpretation of memories of ambiance in relation to water. Secondly, observations of spaces and uses in situ help us to identify the objective dimensions of the presence of water. Finally, we collect comments in situ of perception of motion with a score of visitors who expressed certain sensible effects and practical effects of the water in the gardens

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(Jardim Sensorial da UFJF, um Espaço de Terapia e Conscientização). O Jardim Sensorial (JS) da Universidade Federal de Juiz de Fora (UFJF) é formado por três canteiros circulares. Apresenta a entrada no leste, referenciando o sol nascente (fogo), seu oposto oeste corresponde à terra do poente, ao sul o elemento água vem com as chuvas, e ao norte temos o ar de expansão. Este referencial é baseado no “Opy”, casa de reza Tupi-Guarani. Contém 30 plantas sensoriais distribuídas nestes quadrantes. O trabalho avaliou as sensações e percepções do JS por visitantes adultos (18 a 59 anos) a partir de questionários semiestruturados respondidos voluntariamente pelas pessoas que visitavam o JS necessariamente pela 1ª vez, a fim de comparar duas formas de visita, uma quando os visitantes necessariamente caminhavam calçados e sem venda, não tocando nem cheirando nenhuma planta, denominada forma controle (FC) e outra quando os visitantes necessariamente realizavam o percurso descalços e de olhos vendados, tateando e cheirando as plantas, denominada forma Jardim Sensorial (FJS). Foram respondidos 474 questionários pelos adultos, sendo para FJS, 239 questionários para o sexo feminino e 118 para o masculino, e para a FC, 64 questionários para o sexo feminino e 53 para o masculino. A média de idade dos visitantes foi de 25 anos e 98% experimentou este modelo sensorial pela primeira vez, confirmando o caráter inovador do JS. Os sentimentos gerados foram predominantemente positivos, destacando-se Tranquilidade, Bem-estar, Calma e Paz (para ambas as formas de visita) demonstrando que o JS alivia o stress cotidiano provocando relaxamento. A partir da análise estatística, a alteração nas formas de percepção geradas na FJS, aumento do tato, olfato, audição e energia, alteração da percepção do tempo e espaço, as lembranças provocadas pelo aroma de determinadas plantas, além dos sentimentos positivos despertados pela percepção da planta dos pés, demonstram que essa forma de visita retira o visitante do estado contemplativo cotidiano além de apresentar um caráter provocativo. A educação ambiental como destaque de transmissão de conhecimento, aponta o caráter conscientizador do JS. O JS promove o alívio do estresse, pois espontaneamente provoca sentimentos positivos, tornando o visitante mais relaxado e onde tato e olfato agradáveis promovem sinergia e consequente bem-estar.
(UFJF Sensory Garden, a Place of Theraphy and Awareness). The Sensory Garden (SG) of Federal University of Juiz de Fora (UFJF) is formed by three circular beds. Its entrance is directed to the east referring to the rising sun (fire), the west corresponds the land of the sunset, to the south the element water comes with the rains, and to the north, it has the air of expansion. This reference is based on "Opy", a Tupi-Guarani prayer house. The SG has 30 sensory plants distributed in these quadrants. The work evaluated the sensations and perceptions of SG through adult visitors (with age between 18 and 59 years) that answered voluntarily a semistructured questionary, in order to compare the two ways of visit: one when the visitors necessarily walked through the space with shoes and with no blindfold, without touching nor smelling any plant – it´s called Control Form (CF), and another one when visitors necessarily performed the course barefoot and blindfolded, groping and smelling the plants, - this way is called Sensory Garden Form (SGF). 474 questionnaires were answered by the adults, being 239 questionnaires for females and 118 for males in SGF, and for 64 surveys for women and 53 for men in CF. The average age of the visitors was 25 years, and 98% experienced this sensory model for the first time, confirming the innovative character of SG. The feelings generated were predominantly positive, standing out Tranquillity, Well-being, Calm and Peace (for both forms of visit) demonstrating that SG relieves daily stress causing relaxation. From the statistical analysis, the alteration in the forms of perception generated inside the SG increased tact, smell, hearing and energy. It also altered the perception of time and space, activated memories by the aroma of some plants, and awakened positive feelings by the judgment of the soles of the feet. All those sensations demonstrate that this form of visit removes the visitor from the daily contemplative state and besides that, present a provocative character. Environmental education as a highlight of knowledge transmission points out the awareness of SG. The SG promotes stress relief by spontaneously provoking positive feelings, making the visitor more relaxed and where pleasant tact and sense of smell promote synergy and consequent well-being.

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Nas últimas décadas a Educação Inclusiva tem ganhado evidência por meio dos movimentos sociais, com várias conquistas de garantias legais que acenam com a possibilidade para uma melhoria na sua condição social, de estudo e de acessibilidade. Entretanto, as leis por si só, não são garantia de que seus direitos sejam respeitados, se esses direitos não forem trabalhados pela Educação. Esta pesquisa teve como objetivo estudar as espécies olerículas para uso em horta sensorial, como apoio a formação continuada de professores que trabalham com alunos “normais” e com deficiência visual. Este estudo foi realizado no período de março a novembro /2014 em Cáceres – MT, na Escola Estadual Dr. José Rodrigues Fontes, uma escola da rede estadual de ensino que trabalha na perspectiva da Educação Inclusiva. Para fazer o experimento com as plantas foi implantada uma horta suspensa para o cultivo das hortaliças e, posteriormente, realizou-se a avaliação sensorial para conhecer o status afetivo. Nessa avaliação os colaboradores (cegos) faziam uma análise criteriosa de todas as estruturas morfológicas e da arquitetura das plantas, depois baseado nos escores da escala hedônica atribuíam os conceitos. Os resultados foram favoráveis, pois das 17 plantas avaliadas, 14 tiveram os conceitos máximo (gostei muito) e 03 o conceito gostei, baseado nesses conceitos pode-se concluir que todas as plantas despertaram a sensação de prazer nas pessoas. Ainda como resultado, foi construído um Guia Pedagógico como material didático com sugestões de atividades pedagógicas para o ensino de ciências utilizando das técnicas da ilustração científica para alunos videntes e, para alunos cegos foi construído pranchas em relevo das estruturas morfológicas das plantas e avaliadas pelos alunos com deficiência visual. Consideramos que os resultados foram favoráveis no que se refere às plantas avaliadas e servirão de subsídio para os professores no ensino de ciências voltados a trabalhar os conceitos da botânica, especialmente, aos trabalhos relacionados às estruturas morfológicas das plantas para os alunos da Educação Inclusiva.
In recent decades, inclusive education has gained evidence through social movements with various achievements of legal guarantees waving with the possibility for an improvement in their social status, study and accessibility. However, laws alone are no guarantee that their rights are respected, if these rights are not worked for Education. This research aimed to study the greenery species for use in sensory garden to support the continuing education of teachers who work with students 'normal' and visually impaired. This study was carried out from March to November/2014 in municipality of Cáceres, Mato Grosso State; in a state school Dr. José Rodrigues Fontes a state school education working in the perspective of inclusive education. To make the experiment with plants was implemented a garden suspended for the cultivation of vegetables and later held the sensory evaluation to know the effective status. In this evaluation employees (blind) made a careful analysis of all morphological structures and plant architecture, then based on the scores of hedonic scale attributed the concepts. The results were favorable because of the 17 plants evaluated, 14 had the maximum concepts enjoyed and liked the concept 03, based on these concepts can be concluded that all plants have awakened the feeling of pleasure in people. Also as a result, a pedagogical guide was built as teaching material with suggestions of educational activities for teaching science using the techniques of scientific illustration for seers students and for blind students was built planks in relief of morphological structures of plants and evaluated by students visually impaired. We believe that the results were favorable with respect to the evaluated plants and will inform teachers in science education aimed at working the concepts of botany, especially the work related to morphological structures of plants for the students of inclusive education.

This work deals with the regulation of the water temperature in a small garden pool. The practical part consists of practical design control unit garden pool which is based on knowledge of the ambient air temperature and the temperature of the solar panel, evaluates and controls the filtration pump bypass valve and solar panel. Temperature sensing is done using digital sensors DS18B20 more 1-Wire bus. The control unit is formed by 2x4 matrix keyboard keys. All data are displayed on the alphanumeric display 2x16 characters. Control element is a microcontroller Atmel ATmega 3250PA. Furthermore, discussed in this thesis is data transfer using Bluetooth module.

ABSTRACT Multi-sensory and Kinetic Approaches to Installation Art in Outdoor Gardens: A Study of Expert and Non-expert Visitors Manon Douesnard Concordia University, 2013 Installation art is a mainstream and important contemporary art form. Yet installation art is often difficult for museum, gallery and festival visitors to comprehend. Installation art focuses on the multi-sensorial and physical engagement of the visitor. Therefore, it is impossible to access or fully appreciate such works through the use of sight alone. Multi-sensory and physical engagement may help provide new educational strategies relevant to installation art. This research examines art experts and non-experts in a series of three data gathering activities around an outdoor art installation at the International Garden Festival at the Reford Gardens in Métis, Québec, Canada. Video recordings of participants’ engagements with the outdoor installation work, interviews, and video elicitation activities provided rich insights into the participants’ experiences. They were used to compare the behaviors of expert and non-expert subjects. The findings of this study show that the senses of hearing, taste, smell and touch, as well as physical engagement were essential in order to fully appreciate and understand the installation work. They enhanced participants’ experience by providing aural, physical, orientational, spatial, imaginative and interpretative dimensions to expert and non-expert participants’ art experience. Differences between experts and non-experts focused on experts’ art training, kinetic compensatory activities and touch repression. The research also highlights the importance of participants’ previous knowledge and the value of taking time to explore. While video elicitation was originally intended only as a research procedure it proved to be a particularly valuable tool for both research and learning. As the research unfolded, it became clear that accepted definitions of expert and non-expert museum visitors did not adequately describe the participants’ responses in this study. Distinctions between my experts and non-experts were not as clearly demarcated as museum literature would suggest.

碩士
崑山科技大學
電機工程研究所
96
The planting of orchids nowadays is often prosecuted in a large greenhouse. The suitable temperature, humidity, and luminosity are required in the growing environment. Therefore, we need to rigidly monitor and controlled those factors to build a appropriate artificial cultivating environment. In the broad greenhouse, most of the information and data are transported by wires constructed by manpower to take much time and lots of work in present monitoring system. Therefore, the wireless sensor network is the best choice to construct a monitoring system in the orchid garden. In the past few years, the development of wireless communication technology has grown rapidly. Zigbee is a new wireless technique applied in the systems of control and sensor. The discussion of this discourse is based on the platform of Zigbee to sense the temperature, humidity, and luminosity. to control the environment of greenhouse to build a suitable growing space for orchids.

碩士
南台科技大學
休閒事業管理系
97
Night-market has become a part of Taiwanese life. Night-market sightseeing activity is becoming an important leisure activity for Taiwanese people and oversea tourists in Taiwan. The main purpose of this study is to investigate the relationship between tourist sensory experiences and emotional experiences in the night market. A qualitative research method was applied by collecting blog articles via internet. The researcher has collected blog articles which mentioned about “sightseeing experiences in Garden night market” in Tainan, Taiwan. A content analysis method was applied in analyzing the data and investigating how the five sensory experiences (see, listen, smell, taste, touch) affect night market tourist emotion and their night market sightseeing repeat behavior. The results of this study show that the majority of blog writers were female and non local tourists. Visual experience attracted tourists mostly. Different sensory experiences may affect tourist emotion positively and negatively. The emotion also has an impact on the night market tourist sightseeing repeat behavior. Further suggestion and discussion were made for further researchers, night market management, and night market vendors.

Attracting prey by exploiting a visual sensory bias is a common theme in stationary predators across many taxa, particularly for obligate ambush predators, such as orb-weaving spiders, because they construct complex prey traps. Mimicry of UV-reflecting floral-guides has been suggested as the mechanism behind the tendency for spiders and silk web decorations (stabilimenta) to reflect in the UV, to attract pollinators that they then prey upon. Also, many insects are attracted to UV because it most commonly indicates open sky, or a safe flight path. My study focuses on the prey attraction function of stabilimenta, in Argiope trifasciata in eastern Ontario. Decorated webs were no more likely to contain prey than undecorated webs, but for adult spiders, longer stabilimenta were associated with increased likelihood of prey capture. For both adults and juveniles, larger webs were more likely to contain prey in undecorated webs, but for decorated webs, web size was not a predictor of prey presence. I interpret this as evidence for a trade-off between two alternative prey capture strategies: building a web with a large capture area, or building a small web with a stabilimentum. In further support of this trade-off, smaller webs were more likely to contain a stabilimentum, for both juveniles and adults. My data also suggest that close neighbours compete rather than cooperate with each other. Adult webs were spaced farther apart from each other than juvenile webs, more than would be expected based on web diameter difference. For juveniles, webs with a closer neighbour were more likely to be decorated, implying an increased need for prey attraction in the presence of a nearby competitor. For adults, prey was more likely to be found in webs that were more solitary. My results do not support the hypothesis that visually attractive spiders increased prey capture by aggregating.
Thesis (Master, Biology) -- Queen's University, 2009-09-28 10:57:18.156