Policy and Design Guidelines for Trees in a Growing Seattle

Thesis (Master's)--University of Washington, 2016-08

Arthropods associated with the crown of Mauritia flexuosa (Arecaceae) palm trees in three different environments from Brazilian Cerrado

Artrópodos associados à copa de árvores, principalmente palmeiras, são pouco conhecidos no Cerrado. Para descrever a estrutura da comunidade de artrópodos à copa de Mauritia flexuosa (Arecaceae) foram amostradas 150 palmeiras em seis veredas” do Distrito Federal, de áreas silvestres, rurais e periurbanas na estação chuvosa. Os artrópodos presentes nos ninhos abandonados de aves, refúgios de mamíferos, folhas e matéria orgânica foram coletados manualmente, fixados em etanol 70% e separados em ordem, família, morfoespécie e guildas alimentares. As características das palmeiras medidas foram altura da estipe, diâmetro da copa, número de folhas e de ninhos de aves nas palmeiras. Foram coletados 3.862 indivíduos, pertencentes a 15 ordens, 45 famílias e 135 morfoespécies. As ordens mais abundantes foram Coleoptera (28,6%), Blattodea (21,8%), Collembola (11,4%) e Hemiptera (10,2%). As famílias Blaberidae, Tenebrionidae, Entomobryidae, Reduviidae, Oniscidae, Staphylinidae, Carabidae e Formicidae representaram 82,1% de todos os indivíduos coletados. A maioria das morfoespécies foi pouco abundante, 71 (52,6%) apresentaram uma abundância média igual ou menor que 1 indivíduo/palmeira. Coleoptera compreendeu o maior número de morfoespécies (43,7%) seguida de Araneae (20,0%). A análise das guildas alimentares mostrou prevalência de predadores e hematófagos (36,0%). A riqueza e a abundância de artrópodos foram menores no ambiente periurbano. O número de ninhos de aves apresentou correlação positiva com abundância e riqueza, o que não ocorreu com as medidas das palmeiras. A importância de M. flexuosa para a manutenção da artropodofauna nas “veredas” no bioma Cerrado é discutida. _______________________________________________________________________________________ ABSTRACT

Palaeo-geoecological significance of Pleistocene trees in the Lluta Valley, Atacama Desert

In the Lluta Valley, northern Chile, climate is hyperarid and vegetation is restricted to the valley floors and lowermost footslopes. Fossil tree trunks and leaves of predominantly Escallonia angustifolia, however, are abundant up to ∼15 m above the present valley floor, where they are intercalated with slope deposits, reflecting higher water levels in the past. A total of 17 samples have been radiocarbon dated, yielding ages between 38 and 15k cal a BP. The youngest ages of 15.4k cal a BP are interpreted as reflecting the beginning of river incision and lowering of the valley floor, impeding the further growth of trees at higher parts of the slopes. The most plausible scenario for this observation is intensified river incision after 15.4k cal a BP due to increased stream power and runoff from the Río Lluta headwaters in the Western Cordillera and Altiplano corresponding to the highstand of the Tauca and Central Andean Pluvial Event (CAPE) wet phase.

Dendroecology of Aspidosperma polyneuron Müll. Arg. (Apocynaceae) trees in two different geomorphological growth conditions in Atlantic forests, Paraná State, Brazil.

2016

Plasticity in leaf-level water relations of tropical rainforest trees in response to experimental drought.

The tropics are predicted to become warmer and drier, and understanding the sensitivity of tree species to drought is important for characterizing the risk to forests of climate change. This study makes use of a long-term drought experiment in the Amazon rainforest to evaluate the role of leaf-level water relations, leaf anatomy and their plasticity in response to drought in six tree genera. The variables (osmotic potential at full turgor, turgor loss point, capacitance, elastic modulus, relative water content and saturated water content) were compared between seasons and between plots (control and through-fall exclusion) enabling a comparison between short- and long-term plasticity in traits. Leaf anatomical traits were correlated with water relation parameters to determine whether water relations differed among tissues. The key findings were: osmotic adjustment occurred in response to the long-term drought treatment; species resistant to drought stress showed less osmotic adjustment than drought-sensitive species; and water relation traits were correlated with tissue properties, especially the thickness of the abaxial epidermis and the spongy mesophyll. These findings demonstrate that cell-level water relation traits can acclimate to long-term water stress, and highlight the limitations of extrapolating the results of short-term studies to temporal scales associated with climate change.

Effect of trees in the soil nutrient concentration and pasture produtivity in Mediterranean silvo-pastoral systems

Silvo-pastoral are mixed systems of trees and grass, which have been proposed as a means to extend the benefits of forest to farmed land. Agro-forestry systems under semi-arid Mediterranean conditions, called montados in Portugal and dehesas in Spain, cover substantial areas in the world. These silvo-pastoral systems are the most extensive European agro-forestry system, as they cover 3.5–4.0 Mha in Spain and Portugal. Long-term studies are essential to assess the magnitude of the temporal nutrient flow dynamics in terrestrial ecosystems and to understand the response of these systems to fertilizer management. In order to implement the conservation task and recovery of resources through silvo-pastoral systems it is necessary to know and correct potential limiting factors, especially the soil factor, and this requires agronomic knowledge as well as the implmentation of the available new technologies. In this context, this task aims at a better understanding of the contribution of the two components of montado ecosystem (trees and herbaceous vegetation) on the soil nutrient and water dynamics, that allow for the interpretation of the variability of pasture dry matter yield and help the farmer in the management of tree density. Collaterally the task will evaluate and calibrate new technologies that simplify the monitoring of soil, grassland, trees and grazing animals.

Development of tahiti acid lime [Citrus latifolia (YU. Tanaka) Tanaka] budded trees in combination with different rootstocks.

2016

Growth of native trees in two agroforestry systems.

Agroforestry systems with eucalyptus prevail in Central and Southeast Brazil, and little information is available about systems using native trees. The aim of the present study was to evaluate the development of seven native tree species grown under two agroforestry systems. The experiment was conducted starting in 2007 in 12-hectare area in the municipality of São Carlos, São Paulo state, Brazil. The tree species planted in the two systems (a silvopastoral system and an agrisilvicultural system) were: 'capixingui' (Croton floribundus) and 'mutambo' (Guazuma ulmifolia) (tutors), 'jequitibá-branco' (Cariniana estrellensis), 'canafistula' (Peltophorum dubium) and 'ipê felpudo' (Zeyheria tuberculosa) (timber trees), and 'angico-branco' (Anadenanthera colubrina) and 'pau-jacaré' (Piptadenia gonoacantha) (N-fixing trees). Data were collected for 48 months. The results show differences among tree development, which was evaluated as growth in height and diameter, as well as sensitivity to insect and disease damage. The overall results show that the agrisilvicultural system allowed better tree development. The species with best performance in the two systems were capixingui, mutambo and canafístula. Ipê-felpudo and jequitibá-branco showed the worst results. The high variability among individuals of the same species indicates the possibility of high production advances with selective breeding of these species.

On medium specificity and discipline crossovers in modern art : An interview with Jacques Ranciére on Medium-Specificity and Discipline Crossovers in Modern Art

Jacques Ranciere's work on aesthetics has received a great deal of attention recently. Given his work has enormous range – taking in art and literature, political theory, historiography, pedagogy and worker's history – Andrew McNamara and Toni Ross (UNSW) seek to explore his wider project in this interview, while showing how it leads to his alternative insights into aesthetics. Rancière sets aside the core suppositions linking the medium to aesthetic judgment, which has informed many definitions of modernism. Rancière is emphatic in freeing aesthetic judgment from issues of medium-specificity. He argues that the idea of autonomy associated with medium-specificity – or 'truth to the medium' – was 'a very late one' in modernism, and that post-medium trends were already evident in early modernism. While not stressing a simple continuity between early modernism and contemporary art, Ranciere nonetheless emphasizes the ethical and political ramifications of maintaining an a-disciplinary stance.

Art and the sublime : the paradox of indeterminacy unknowing and (dis)orientation in the presentation of the unpresentable

the (dis)orientation of thought in its encounter with art can be understood as the direct result of an encounter with indeterminacy as a lack in meaning. As an artist I am aware of how this indeterminacy impacts on the perceived value and authority of the artistic voice and in particular its value as a research voice. This paper explores this indeterminacy of meaning, as a profound and disturbing unknowing characteristic of the sublime and argues its value to advanced thought and for any methodological understanding of practice-led research. Lyotard described the sublime as an ‘understanding’ through which art and its associated practices may be able to resist an all too easy assimilation by the public as just a consumer commodity. His thought represents an attempt to both politically and philosophically understand art’s, and particularly abstract painting’s, affect as a state of profound and positive unknowing. To talk of the sublime in art is to speak of the suspension of any comfortable certainty in being and instead to engage with the real as a limit to meaning and knowing. It is to talk of the presentation of the unpresentable as a momentary but significant dissolution of representation. This understanding of the sublime is then further explored through the cultural phenomena of the monochrome painting and applied to the work of the two contemporary artists, Franz Erhard Walter and Günter Umberg. Initially the monochrome was understood as an attempt to go beyond traditional representation and present the unpresentable. In the one hundred years or so since that initial move this understanding has broadened. The monochrome now presents itself as a genre or even project within visual art but it still has much to teach us. In the concretely abstract and performative artworks of Franz Erhard Walter and Günter Umberg, traces of this ambition remain and their work can be seen to pose questions probing our understandings and experiences of artistic meaning, its value and the real.

Art in early childhood : the discourse of 'proper' teaching

This thesis is a problematisation of the teaching of art to young children. To problematise a domain of social endeavour, is, in Michel Foucault's terms, to ask how we come to believe that "something ... can and must be thought" (Foucault, 1985:7). The aim is to document what counts (i.e., what is sayable, thinkable, feelable) as proper art teaching in Queensland at this point ofhistorical time. In this sense, the thesis is a departure from more recognisable research on 'more effective' teaching, including critical studies of art teaching and early childhood teaching. It treats 'good teaching' as an effect of moral training made possible through disciplinary discourses organised around certain epistemic rules at a particular place and time. There are four key tasks accomplished within the thesis. The first is to describe an event which is not easily resolved by means of orthodox theories or explanations, either liberal-humanist or critical ones. The second is to indicate how poststructuralist understandings of the self and social practice enable fresh engagements with uneasy pedagogical moments. What follows this discussion is the documentation of an empirical investigation that was made into texts generated by early childhood teachers, artists and parents about what constitutes 'good practice' in art teaching. Twenty-two participants produced text to tell and re-tell the meaning of 'proper' art education, from different subject positions. Rather than attempting to capture 'typical' representations of art education in the early years, a pool of 'exemplary' teachers, artists and parents were chosen, using "purposeful sampling", and from this pool, three videos were filmed and later discussed by the audience of participants. The fourth aspect of the thesis involves developing a means of analysing these texts in such a way as to allow a 're-description' of the field of art teaching by attempting to foreground the epistemic rules through which such teacher-generated texts come to count as true ie, as propriety in art pedagogy. This analysis drew on Donna Haraway's (1995) understanding of 'ironic' categorisation to hold the tensions within the propositions inside the categories of analysis rather than setting these up as discursive oppositions. The analysis is therefore ironic in the sense that Richard Rorty (1989) understands the term to apply to social scientific research. Three 'ironic' categories were argued to inform the discursive construction of 'proper' art teaching. It is argued that a teacher should (a) Teach without teaching; (b) Manufacture the natural; and (c) Train for creativity. These ironic categories work to undo modernist assumptions about theory/practice gaps and finding a 'balance' between oppositional binary terms. They were produced through a discourse theoretical reading of the texts generated by the participants in the study, texts that these same individuals use as a means of discipline and self-training as they work to teach properly. In arguing the usefulness of such approaches to empirical data analysis, the thesis challenges early childhood research in arts education, in relation to its capacity to deal with ambiguity and to acknowledge contradiction in the work of teachers and in their explanations for what they do. It works as a challenge at a range of levels - at the level of theorising, of method and of analysis. In opening up thinking about normalised categories, and questioning traditional Western philosophy and the grand narratives of early childhood art pedagogy, it makes a space for re-thinking art pedagogy as "a game oftruth and error" (Foucault, 1985). In doing so, it opens up a space for thinking how art education might be otherwise.

Come together : forging publics in Brisbane's Gallery of Modern Art

The Gallery of Modern Art (GoMA) in Brisbane, Australia’s third largest city, recently staged ‘21st Century: Art of the First Decade’. The gallery spaces were replete with a commissioned slide by Carsten Höller, an installation of Rivane Neuenschwande’s I Wish Your Wish (2003), a table of white Legos, a room of purple balloons and other participatory or interactive artworks designed to engage multiple publics and encourage audience participation in a variety of ways. Many of the featured projects used day-to-day experiences and offered new conceptions about art practice and what they can elicit in their public – raise awareness about local issues, help audiences imagine different ways of negotiating their environs or experi-ence a museum in a new way. At times, the bottom floor galleries resembled a theme park – adults and children playing with Legos and using Höller’s slide. This article examines the benefits and limitations of such artistic interventions by relating the GoMA exhibition to Brisbane City Council’s campaign of ‘Together Brisbane’ (featuring images of Neunenschwande’s ribbons); a response to the devastation brought to the city and its surrounds in January 2011. During the Brisbane floods, GoMA’s basement was damaged, the museum closed and upon reopening, visitor numbers soared. In this context, GoMA’s use of engaged art practice – always verging on the ephemeral and ‘fun’ – has been used to project a wider notion of a collective urban public. What questions does this raise, not only regarding the cultural politics around the social and participatory ‘turn’ in art practice, but its use to address a much wider urban public in a moment of crisis.

Artscience in practice : exploring the critical and creative potentials of transdisciplinary art and science practice using a methodological and conceptual framework of creative becoming

In response to a growing interest in art and science interactions and transdisciplinary research strategies, this research project examines the critical and conceptual affordances of ArtScience practice and outlines a new experiential methodology for practice-lead research using a framework of creative becoming. In doing so, the study contributes to the field of ArtScience and transdisciplinary practice, by providing new strategies for creative development and critical enquiry across art and science.

Focus on Form : J. J. Tikkanen, Giotto and Art Research in the 19th Century

My doctoral dissertation is on Johan Jakob Tikkanen (1857 1930), the first professor of art history in Finland, and his significance and methods in the context of late 19th and early 20th-century European art history. Tikkanen was one of the pioneering scholars in the field of medieval art research, and, along with Anton Springer, Heinrich Wölfflin, Aloïs Riegl, Adolfo Venturi, Franz Wickhoff, Julius von Schlosser, Aby Warburg, Emile Mâle and others, one of the scholars who defined art history as an independent academic discipline. Tikkanen s scholarly interests and his methods resemble those of many formalistically oriented German and Austrian art historians of his time. He became well known throughout Europe, mainly for his studies on illustrated medieval manuscripts. Tikkanen s dissertation, Der Malerische Styl Giotto s Versuch zu einer Characteristik Desselben, from 1884 was regarded in its day as the best form-analytical study on the painter. It has a central position in the present thesis, as it already included nearly all the methods that Tikkanen used and elaborated upon throughout his career. Giotto also gives a good perspective for comparing Tikkanen s ideas with a long art-historical tradition. Tikkanen was profoundly interested in artistic creativity. In his own words, he wanted to study das künstlerische Können , artistic ability, instead of das künstlerische Wollen or artistic will, which was an important theoretical issue in art history in the late 19th century. This starting point led him to the history of style and iconographical research. Along with the Danish art historian, Julius Lange, he was one of the first scholars who began to study the meaning of gestures and postures in art. In my dissertation I have emphasized the importance of Tikkanen s personal art education. I regard it as having influenced both his scholarly argumentation and his working methods. I have also written a short overview of the situation of art history in Finland and in Northern Countries before Tikkanen s time in order to give an idea of his scientific background. My thesis is a critical and historiographical study on J. J. Tikkanen s role in the development of art history and its methodology.