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The non-profit organization Scenic Virginia is dedicated to identifying and showcasing the state’s scenic landscapes. Recently, the state incorporated a “scenic” element into its new Conserve Virginia land conservation strategy. Consequently, there is a need for a standardized assessment tool that both citizens and professionals can use to identify and evaluate the scenic value of publicly accessible viewsheds in Virginia. This paper outlines the rationale behind developing a scientifically robust protocol, which is based on an extensive literature review and photographs from Scenic Virginia’s annual photo contest. The protocol serves as a scenic assessment tool designed to encourage local citizen participation in identifying significant scenic resources in Virginia. Local communities will utilize this new tool to help them identify and evaluate their scenic assets. The protocol was reviewed by a panel of experts, and its implementation is currently underway.

BackgroundPublished in 2015, the International Consensus Recommendations on Surveillance for Colorectal Endoscopic Neoplasia Detection and Management in Inflammatory Bowel Disease Patients (SCENIC) recommended abandoning the use of diagnostic term "dysplasia-associated lesion or mass (DALM)" for polypoid dysplastic lesions detected in patients with inflammatory bowel disease (IBD). The aim of this study was to investigate whether this recommendation had any influence on diagnostic terminologies used by pathologists in their practice.MethodsWe retrospectively reviewed all pathology reports for surveillance colonoscopic biopsies from ulcerative colitis (UC) patients in our institution during 1/2012-12/2014 (pre-SCENIC) and 1/2016-12/2018 (post-SCENIC). These included 1203 biopsies from 901 UC patients during the pre-SCENIC period and 1273 biopsies from 977 UC patients during the post-SCENIC period. Their corresponding endoscopic findings and histopathologic diagnoses were recorded. Clinical indications for total colectomy for UC patients and corresponding histopathologic findings in colectomy specimens were also recorded and compared.ResultsA total of 347 and 419 polyps/polypoid lesions were identified during the pre-SCENIC and post-SCENIC periods, among which 60 and 104 were dysplastic/adenomatous, respectively. More polypoid dysplastic lesions were simply diagnosed as "adenoma" during the post-SCENIC period in comparison with the pre-SCENIC period (97.1% vs 65.0%; P < 0.001). The number of cases with a comment in pathology reports regarding the distinction between DALM and sporadic adenoma was also significantly decreased during the post-SCENIC period (5.8% vs 38.3%; P < 0.001). In addition, the term "dysplasia" was more consistently used for random biopsies during the post-SCENIC period. Furthermore, the terms "sessile serrated adenoma/polyp" (SSA/P) and "serrated epithelial change" (SEC) were more consistently used for polypoid lesions and random biopsies, r

The objective of this research was to analyze the linguistic acts as a didactic strategy for the strengthening of the pedagogical discourse of undergraduate students in the Faculty of Basic Sciences of Education at the Universidad Popular del Cesar -Valledupar. Methodologically, it was located in the qualitative paradigm, in the socio-critical approach; its method was centered on the pedagogical action research, which was deployed in three phases: description of the problematic situation, construction of theories and field work. A field diary and a semi-structured interview were used to record the information. The results indicated that the pedagogical discourse lacks coherence with the cognitive and affective areas; however, through the workshops, a transforming experience was achieved, where students were encouraged to acquire the competencies of their pedagogical work and to recognize the importance of strengthening communication to reinforce the discourse., O objetivo desta pesquisa foi analisar os atos linguísticos como estratégia didática para o fortalecimento do discurso pedagógico dos estudantes de graduação da Faculdade de Ciências Básicas da Educação da Universidade Popular de Cesar - Valledupar. Metodologicamente, localizava-se no paradigma qualitativo, na abordagem sociocrítica; seu método estava centrado na pesquisa da ação pedagógica, que se desenvolveu em três fases: descrição da situação problemática, construção de teorias e trabalho de campo. Um diário de campo e uma entrevista semiestruturada foram utilizados para registrar as informações. Os resultados indicaram que o discurso pedagógico carece de coerência com as áreas cognitivas e afetivas; no entanto, através das oficinas, foi realizada uma experiência transformadora, onde os estudantes foram encorajados a adquirir as competências de seu trabalho pedagógico e a reconhecer a importância de fortalecer a comunicação para reforçar o discurso., La investigación tuvo como objetivo, analizar los actos lingüísticos como estrategia didáctica para el fortalecimiento del discurso pedagógico de los licenciados en formación de la Facultad de Ciencias Básicas de Educación en la Universidad Popular del Cesar –Valledupar. Metodológicamente, se ubicó en el paradigma cualitativo, en el enfoque sociocrítico; su método estuvo centrado en la investigación acción pedagógica, que se desplegó en tres fases: descripción de la situación problemática, construcción de las teorías y trabajo de campo. Para registrar la información se utilizó un diario de campo y una entrevista semiestructurada. Los resultados indicaron que el discurso pedagógico está carente de coherencia con el área cognitiva y afectiva; sin embargo, a través de la realización de los talleres se logró una experiencia transformadora, donde se impulsó a los estudiantes a adquirir las competencias de su quehacer pedagógico y a reconocer la importancia de afianzar la comunicación para fortalecer el discurso.

The purpose of this thesis is to provide research, supporting paperwork, production photographs, and other materials that document the scenic design process for The Cunning Little Vixen by the University of Maryland – College Park, Maryland Opera Studio. This thesis contains the following: scenic research images that express the play, and location, and inspiration that helped develop a common emotional vocabulary with the production team; preliminary sketches; photographs of the ¼” scale model; a full set of drafting plates and paint elevations used to communicate the design to the technical director and the paint charge; a prop list with research supporting, in detail, what is needed for hand props, set dressing, and consumable pieces for the prop master; and an epilogue of the continuing transformation of this production due to the unforeseen circumstance of COVID-19.

The purpose of this thesis is to provide research, supporting paperwork, production photographs, and other materials that document the scenic design process for the production of Clove, a devised, multidisciplinary work written and directed by Paige Hernandez. This thesis contains the following: research images; sketches; photographs of 1/4” scale sketch modeling; continued explorations of the design in the form of additional research, sketches, renderings, and 1/4” scale models; photographs of the final full color 1/4” scale model; a full set of drafting plates and paint elevations; a properties list and research book to detail each hand prop, furniture piece, and consumable; archival production photos to document the completed design; and finally, a post-production reflection on the entire process.

“Digesting Diegesis”Audience Engagement Through Immersive DesignbyCharles David JichaMaster of Fine Arts in Theatre and Dance (Scenic Design)University of California, San Diego, 2017Professor Robert Brill, Chair The first impact of the world of the play is a ripe chance to allow for the audience to forget about their technology and the outside world, enabling them to engage with the performance in a more thorough manner. When entering a theatrical setting, you should gather a context that not only tells you where you are, but also leaves you rendered with an emotion or reaction that sets the scene for what is coming. This moment of induction into the world of the play can be summed up with the idea of Diegesis: the ability of the narrative environment to engage the audience and allow them to forget about the rest of the world around them. As a designer, I find being able to forget about the outside world enables you to better focus on what is right in front of you. In my own work I have aimed to create worlds that engage audiences from the beginning to the end of a performance. Collaborating with designers, playwrights, and directors has enabled me to bring these ideas to life in multiple forms that I would not be able to do on my own. In this day and age of personal technology, entertainment has to compete with many other distractions in order to maintain an audiences attention, I believe diegesis may be one of the best solutions. The best forms of immersive design are only able to come to fruition due to the collaboration of many artists coming together with a uniform idea of creation.

“Digesting Diegesis”Audience Engagement Through Immersive DesignbyCharles David JichaMaster of Fine Arts in Theatre and Dance (Scenic Design)University of California, San Diego, 2017Professor Robert Brill, Chair The first impact of the world of the play is a ripe chance to allow for the audience to forget about their technology and the outside world, enabling them to engage with the performance in a more thorough manner. When entering a theatrical setting, you should gather a context that not only tells you where you are, but also leaves you rendered with an emotion or reaction that sets the scene for what is coming. This moment of induction into the world of the play can be summed up with the idea of Diegesis: the ability of the narrative environment to engage the audience and allow them to forget about the rest of the world around them. As a designer, I find being able to forget about the outside world enables you to better focus on what is right in front of you. In my own work I have aimed to create worlds that engage audiences from the beginning to the end of a performance. Collaborating with designers, playwrights, and directors has enabled me to bring these ideas to life in multiple forms that I would not be able to do on my own. In this day and age of personal technology, entertainment has to compete with many other distractions in order to maintain an audiences attention, I believe diegesis may be one of the best solutions. The best forms of immersive design are only able to come to fruition due to the collaboration of many artists coming together with a uniform idea of creation.

The purpose of this thesis is to provide research, supporting paperwork, production photographs, and other materials that document the scenic design process for the production of William Shakespeare’s Troilus & Cressida by the University of Maryland – College Park, School of Theater, Dance, and Performance Studies. This thesis contains the following: scenic research images collected to express period, location, and emotional/intellectual landscapes to the production team; preliminary sketches; photographs of the ¼” scale model; a full set of drafting plates and paint elevations used to communicate the design to the technical director and paint charge; a unit list naming each scenic element; a props list and research book to detail each hand prop, furniture piece and consumable to the prop master; and, lastly, archival production photographs to document the completed design.

Theatre exists as a moment between an actor and an audience member. A scenic designer knows that her work serves to heighten that moment, but still feels a temptation to view the scenic design as separate from the innately ephemeral aspects of theatre. While the a scenic designer is creating a tangible art installation, she cannot fully contribute to the creative process of the play without accepting that the design is as in flux as any other part of the production right up to opening night. The design is not a set of draftings, or a model, but what the audience experiences while they are watching the performance--this unique theatrical moment. In "Little Children Dream of God" by Jeff Augustin, seventy-two feet of poly-silk fabric only really defined the eleven separate locations in the story once the actors walked over, around and through the undulating cloth. For "Drums in the Night" by Bertolt Brecht, a wall of satyrical billboards highlighted American love of buying things but only gained urgency when juxtaposed to the apathy shown to returning soldiers. In "A Lie of the Mind" by Sam Shepard, the dangling boxes of mementos that defined the walls were just a clutter of bric-a-brac until the faulty memories of the characters turned them into a physical representation of hopelessly disorganized recollection. The scenic design for "Mr. Burns" by Anne Washburn, was built of scavenged parts, which were merely whimsical until they were given the context of the characters struggling to rebuild a society.

Theatre exists as a moment between an actor and an audience member. A scenic designer knows that her work serves to heighten that moment, but still feels a temptation to view the scenic design as separate from the innately ephemeral aspects of theatre. While the a scenic designer is creating a tangible art installation, she cannot fully contribute to the creative process of the play without accepting that the design is as in flux as any other part of the production right up to opening night. The design is not a set of draftings, or a model, but what the audience experiences while they are watching the performance--this unique theatrical moment. In "Little Children Dream of God" by Jeff Augustin, seventy-two feet of poly-silk fabric only really defined the eleven separate locations in the story once the actors walked over, around and through the undulating cloth. For "Drums in the Night" by Bertolt Brecht, a wall of satyrical billboards highlighted American love of buying things but only gained urgency when juxtaposed to the apathy shown to returning soldiers. In "A Lie of the Mind" by Sam Shepard, the dangling boxes of mementos that defined the walls were just a clutter of bric-a-brac until the faulty memories of the characters turned them into a physical representation of hopelessly disorganized recollection. The scenic design for "Mr. Burns" by Anne Washburn, was built of scavenged parts, which were merely whimsical until they were given the context of the characters struggling to rebuild a society.

Theatre exists as a moment between an actor and an audience member. A scenic designer knows that her work serves to heighten that moment, but still feels a temptation to view the scenic design as separate from the innately ephemeral aspects of theatre. While the a scenic designer is creating a tangible art installation, she cannot fully contribute to the creative process of the play without accepting that the design is as in flux as any other part of the production right up to opening night. The design is not a set of draftings, or a model, but what the audience experiences while they are watching the performance--this unique theatrical moment. In "Little Children Dream of God" by Jeff Augustin, seventy-two feet of poly-silk fabric only really defined the eleven separate locations in the story once the actors walked over, around and through the undulating cloth. For "Drums in the Night" by Bertolt Brecht, a wall of satyrical billboards highlighted American love of buying things but only gained urgency when juxtaposed to the apathy shown to returning soldiers. In "A Lie of the Mind" by Sam Shepard, the dangling boxes of mementos that defined the walls were just a clutter of bric-a-brac until the faulty memories of the characters turned them into a physical representation of hopelessly disorganized recollection. The scenic design for "Mr. Burns" by Anne Washburn, was built of scavenged parts, which were merely whimsical until they were given the context of the characters struggling to rebuild a society.

The purpose of this thesis is to provide research, supporting paperwork, production photographs and other materials that document the scenic design process for the production of Jared Mezzocchi’s new play The Lost World at the University of Maryland – College Park, Department of Theater Dance and Performance Studies. This thesis contains the following: research images collected to express emotional landscape; location; shapes; forms; texture; scale and mood; preliminary sketches; photographs of the ¼” scale model; a full set of drafting plates and paint elevations used to communicate the design to the production team; a unit list naming each scenic element; a prop list and prop book to detail each hand prop, furniture piece, and consumable to the prop master; and archival production photographs to document the completed design.

The purpose of this thesis is to record the scenic design process for the production of Sarah Ruhl's Dead Man's Cell Phone. This thesis contains the following: research images to develop and communicate ideas about location, shapes, forms, texture, scale, mood, and historical references to the production team; preliminary sketches and photographs of the ¼" scale model, visual tools to convey the ideas of the scenic design; a full set of drafting plates and paint elevations to describe the look of each scenic element to the technical director and paint charge; a unit list providing detailed information about each element of the scenic design; a props list detailing each prop in the production; prop/paint research images used to visually support the information in the unit and prop list: and additional ground plans and paperwork generated during the rehearsal process. Archival production photographs included as documentation of the completed design.

The purpose of this thesis is to provide research, supporting paperwork, production photographs, and other sundry materials that document the scenic design for the co-production between the University of Maryland - College Park, Department of Theatre, Dance and Performance Studies and the Georgetown University, Department of Theatre titled A Child Shall Them: The Making of The Night of The Hunter. This thesis contains the following: research images collected to develop and communicate ideas about location, shapes, forms, texture, scale, mood, and historical reference to the production team; preliminary sketches and photographs of the 1/4" scale model, visual tools used to convey the ideas of the scenic design; a full set of drafting plates and paint elevations used to communicate the look of each scenic element to the technical director and paint charge; a unit list providing detailed information about each element of the scenic design; a props list detailing each prop used in the production; prop/paint research images, used to visually support the information in the unit and prop list; and additional ground plans and paperwork generated during the rehearsal process. Archival production photographs are included as documentation of the completed design.

The purpose of this Thesis is to provide research, supporting paperwork and production photographs that represent the scenic design for Anna in the Tropics by Nilo Cruz at the University of Maryland, Department of Theatre. This thesis contains the following documentation: research images which contribute to the intellectual design of the production and visually communicate to the director the ideas of texture, color, scale, and mood; photographs of the ¼"; scale model; a full set of draftings communicating to the technical director the look of each scenic element; a unit list which gives detailed information on each element of the scenic design; the props list which details the construction and purpose of each type of prop used in the production; and the props and paint research book which visually supports the information in the props and unit list. Archival production photographs are included to visually document the completed final design.

This paper presents an optimal control model to analyze reforestations with two different species, including commercial values, carbon sequestration and biodiversity or scenic values. We solve the model qualitatively with general functions and discuss the implications of partial or total internalization of environmental values, showing that internalizing only carbon sequestration may have negative impacts on biodiversity-scenic values. To evaluate the practical relevance, we compare reforestations in the South-west of Spain with cork-oaks (a slow growing native species) and with eucalyptus (a fast growing alien species). We do the analysis with two different carbon crediting methods: the Carbon Flow Method and the Ton Year Accounting Method. With the .first method forest surface increases more, but using mainly eucalyptus. With the second, additional reforestations are done mainly using cork-oaks. We value the impact on visitors of these reforestations using stated preferences methods, showing that when these values are internalized cork-oaks are favored.

A scenic design for the play Cat on a Hot Tin Roof by Tennessee Williams was developed and executed using steps of the design process used in the design program at Texas Tech University’s Department of Theatre and Dance.

The Coweeta Hydrologic Laboratory, USFS Southern Research Station, worked with state and local agencies and various organizations to provide guidance and tools to reduce sedimentation and facilitate restoration of the 1900km2 Conasauga River watershed in northern Georgia and southern Tennessee. The Conasauga River has the most diverse aquatic ecosystem of any river in the region and is currently being considered for designation as a Federal wild and scenic river. The watershed is encircled and dissected by highways and roads, and receives intense recreational, industrial, and agricultural use from the surrounding human population. Unpaved roads have been found to account for more than 80 percent of stream sedimentation in the forested lands of this region. Collaborative efforts of research and management focused on developing sediment yield models, prioritizing road restoration, and reducing sediment yields from roads to streams. Model development facilitated identification of highly erosive roads and prediction of sediment yield reductions following reconstruction of forest roads. We monitored sediment yield and transport from a wide variety of existing forest roads during autumn 2001. We used these data for model validation. We then used the model to characterize roads by erosion susceptibility and to prioritize roads for reconstruction. During the summer of 2002, we completed reconstruction and installation of best management practices along more than 20 miles of forest roads. We monitored sediment yield from these roads through autumn 2002. Simulated estimates of sediment yield from the reconstructed roads were severely limited by the resolution and quality of available data and the sediment transport algorithms employed in the model. Despite a 46 percent increase in rainfall from the pre to post-treatment period, road reconstruction reduced sediment yield by 70 percent.

The Coweeta Hydrologic Laboratory, USFS Southern Research Station, worked with state and local agencies and various organizations to provide guidance and tools to reduce sedimentation and facilitate restoration of the 1900km2 Conasauga River watershed in northern Georgia and southern Tennessee. The Conasauga River has the most diverse aquatic ecosystem of any river in the region and is currently being considered for designation as a Federal wild and scenic river. The watershed is encircled and dissected by highways and roads, and receives intense recreational, industrial, and agricultural use from the surrounding human population. Unpaved roads have been found to account for more than 80 percent of stream sedimentation in the forested lands of this region. Collaborative efforts of research and management focused on developing sediment yield models, prioritizing road restoration, and reducing sediment yields from roads to streams. Model development facilitated identification of highly erosive roads and prediction of sediment yield reductions following reconstruction of forest roads. We monitored sediment yield and transport from a wide variety of existing forest roads during autumn 2001. We used these data for model validation. We then used the model to characterize roads by erosion susceptibility and to prioritize roads for reconstruction. During the summer of 2002, we completed reconstruction and installation of best management practices along more than 20 miles of forest roads. We monitored sediment yield from these roads through autumn 2002. Simulated estimates of sediment yield from the reconstructed roads were severely limited by the resolution and quality of available data and the sediment transport algorithms employed in the model. Despite a 46 percent increase in rainfall from the pre to post-treatment period, road reconstruction reduced sediment yield by 70 percent.

Scenic view of the Uinta Mountains.

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