Made available in DSpace on 2016-04-26T18:10:14Z (GMT). No. of bitstreams: 1 Walmeri Kellen Ribeiro.pdf: 2539053 bytes, checksum: ae6e1e31aa235bb7beff2c548f1be720 (MD5) Previous issue date: 2010-10-25 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / Considering the hypothesis that Brazilian audiovisual production presents, as a fundamental element of it"s creative process, the actor as a co-creator of the final audiovisual work, this thesis investigates the creation procedures which are the basis of this actor"s work, such as the unfoldings of this co-creation relation. Using the analysis of creation processes of the films Bicho de Sete Cabeças (Brainstorm), Cidade de Deus (City of god), Lavoura Arcaica (To the Left of the Father), Contra Todos (Up against them all), Céu de Suely (Love for Sale), Crime Delicado (Delicate Crime) and of the miniseries Pedra do Reino and Capitu, and having the Critica de Processo (Process critics), proposed by Cecília Almeida Salles (2006) as a basis, this study sees the creation laboratory as a locus of investigation, experimentation and emergence in audiovisual work, in which the improvisation practice is configured as a procedure to be used in the search of creative and aesthetic possibilities. With this assumption, by proposing a dialog between audiovisual studies (Machado, Burch and Aumont), studies of the actor (Artaud, Grotówski, Stanislávski, Barba and Burnier) and of the contemporary scenic production (Cohen, Zumthor, Fischer-Lichte, Lehmann), we"ll point out some unfoldings and displacements in tradicional cinematographic praxis. As a result of these procedures, a transformation finds its course, in the modes of audiovisual production, approaching those with modes of contemporary scene creation. Aiming the comprehension of the audiovisual object"s meaning regimes own comunication processes, the theoretical reference of this research is established upon theory connections between many knowledge fields, audiovisual theories, actor and scenic creation studies, as mentioned above, the process of creating in a net (Salles), and the theories about corpomídia (or mediabody , by Greiner, Katz), co-creation and complexity (Morin), emergence (Johnson), fluidity and mobility (Bauman) / Percorrendo a hipótese de que a produção audiovisual brasileira contemporânea, apresenta como elemento fundamental de seu processo criativo o ator como co-criador da obra, esta tese investiga os procedimentos de criação que alicerçam o trabalho deste ator, bem como os desdobramentos desta relação de co-criação. Partindo da análise dos processos de criação dos filmes Bicho de Sete Cabeças, Cidade de Deus, Lavoura Arcaica, Contra Todos, Céu de Suely, Crime Delicado e das minisséries Pedra do Reino e Capitu e fundamentada pela Critica de Processo, conforme proposto por Cecília Almeida Salles (2006), esta pesquisa, aponta o laboratório de criação como lócus de investigação, experimentação e emergência da obra audiovisual, no qual a prática improvisacional configura-se como um procedimento empregado na busca de possibilidades criativas e estéticas. Com esta afirmação, ao propor um diálogo entre os estudos do audiovisual (Machado, Burch e Aumont), do ator (Artaud, Grotówski, Stanislávski, Barba e Burnier) e da produção cênica na contemporaneidade (Cohen, Zumthor, Fischer-Lichte, Lehmann), pontuamos alguns desdobramentos e deslocamentos na tradicional práxis cinematográfica. Como resultado destes procedimentos acontece uma transformação nos modos de produção audiovisual, aproximando-os dos modos de criação cênicos contemporâneos. Visando a compreensão dos processos comunicacionais próprios aos regimes de sentido do objeto audiovisual, o referencial teórico desta pesquisa é estabelecido a partir de conexões teóricas entre diversas áreas do conhecimento, das teorias do audiovisual, do ator e da criação cênica, conforme apontados acima, ao processo de criação em rede (Salles), a teoria do corpomídia (Greiner, Katz), da co-criação e complexidade (Morin), da emergência (Jonhson) e da fluidez e mobilidade (Bauman)

Die Dissertation hat eine umfassende Betrachtung der aktuellen urheberrechtlichen Probleme des Tonträgersamplings zum Ziel. Sie teilt sich in einen zivil- und einen strafrechtlichen Teil. Der zivilrechtliche Teil der Untersuchung zeigt, inwieweit durch unautorisiertes Tonträgersampling die Vervielfältigungsrechte des Urhebers, des Interpreten sowie des Tonträgerherstellers verletzt werden können. Im Bereich der Rechte des Urhebers liegen die Schwerpunkte der Bearbeitung in der Frage der Schutzfähigkeit von Werkteilen, in der Anwendung der Regelung zur freien Benutzung gemäß § 24 Abs. 1 UrhG sowie in der Erörterung der für das Sampling relevanten urheberrechtlichen Schranken, insbesondere des Zitatrechts. Im Bereich der Rechte des Tonträgerherstellers sowie des ausübenden Künstlers werden schwerpunktmäßig die Schutzfähigkeit von Teilen der jeweiligen Leistung behandelt sowie die Frage einer möglichen analogen Anwendung der Regelung zur freien Benutzung gemäß § 24 Abs. 2 UrhG erörtert. Hierbei wird ein Überblick über die in der Lehre und der Rechtsprechung vertretenen Ansichten gegeben und ausführlich auf das zum Fall „Metall auf Metall“ im Jahr 2016 ergangene Urteil des Bundesverfassungsgerichts eingegangen. Der strafrechtliche Teil der Arbeit fragt danach, inwieweit unautorisiertes Sampling auch strafrechtliche Folgen haben kann. Schwerpunkte des strafrechtlichen Teils bilden die Erörterung der für das Sampling relevanten Straftatbestände des UrhG sowie die Behandlung der für das Sampling relevanten Irrtumskonstellationen nach der Irrtumsdogmatik des Strafgesetzbuches. / The purpose of this dissertation is to conduct a comprehensive investigation into current copyright issues associated with the sampling of audio recordings. The study is divided into two sections, one dealing with civil law and the other with criminal law. The section dedicated to civil law seeks to demonstrate to what extent unauthorised sound recording sampling represents a violation of the reproduction rights of the creator, the practising musical artist and the sound recording manufacturer. In terms of the rights of the creator, the main focus of the processing lies in the question of the protectability of work pieces used, the application of regulations determining free use pursuant to Section 24 paragraph 1 of the German Copyright Law, and the consideration of copyright limitations relevant to the sampling process, in particular quotation rights. In terms of the rights of the sound recording manufacturer as well as those of the practising artist, principal considerations are the protectability of parts of the respective performance and the question of a possible analogous application of regulations determining free use pursuant to Section 24 paragraph 2 of the German Copyright Law. In this regard, an overview of the views held in academia and jurisprudence will be provided as well as an extensive analysis of the judgment reached by the Bundesverfassungsgericht (German Federal Constitutional Court) in the 2016 case of “Metall auf Metall” (“Metal on Metal”). The section on criminal law addresses the question as to what extent sampling may result in penal consequences. The focus of the section on criminal law comprises the discussion of the respective copyright offences relevant to sampling, as well as the handling of the respective error framework relevant to sampling and pursuant to the doctrine of error in the German Criminal Code.

Around the time of his famous conversion in 386, Augustine planned to dedicate a treatise to each of the artes liberales. However, he finished only a work on grammar and the first part of the De musica (books I-VI), which deals with rhythmus\the second part, which was to treat melos, was never written, since Augustine became occupied with his ecclesiastical career. The present work is the first critical edition of the sixth book of the De musica; the Latin text is accompanied by an English translation. The introduction includes a full analysis of the manuscript tradition from the 8th to the 14th century and a selective analysis of the later manuscript tradition. Among the conclusions reached are that all extant manuscripts descend from a single archetype which is not identical with the original text, that most manuscripts can be divided into four families, and that the text can be established on the basis of six of the oldest manuscripts. The introduction also contains a discussion of the much-debated question concerning Augustine's own revision of the sixth book, a section where solutions are proposed to several textual problems that were confronted during the establishment of the text, and a selective commentary on the contents of the sixth book of the De musica.

Submitted by Glauber Assunção Moreira (glauber.a.moreira@gmail.com) on 2018-08-28T13:27:26Z No. of bitstreams: 1 DISSERTAÇÃO VERSÃO FINAL.pdf: 4279010 bytes, checksum: 9e298cb6046d5914da891aa18f5fc2ae (MD5) / Approved for entry into archive by Ednaide Gondim Magalhães (ednaide@ufba.br) on 2018-08-28T13:36:08Z (GMT) No. of bitstreams: 1 DISSERTAÇÃO VERSÃO FINAL.pdf: 4279010 bytes, checksum: 9e298cb6046d5914da891aa18f5fc2ae (MD5) / Made available in DSpace on 2018-08-28T13:36:08Z (GMT). No. of bitstreams: 1 DISSERTAÇÃO VERSÃO FINAL.pdf: 4279010 bytes, checksum: 9e298cb6046d5914da891aa18f5fc2ae (MD5) / Esta pesquisa tem como objeto a reflexão sobre a improvisação como procedimento criativo no espetáculo teatral Dias de Folia. O interesse em observar e construir reflexões sobre este espetáculo, que tem os atores como co-criadores, impulsionou a análise do percurso da criação, identificando as escolhas feitas para chegar à produção da obra artística. A escolha da Teoria da Formatividade, a partir dos estudos do filósofo italiano Luigi Pareyson (1997), como ponto de mirada, se dá pelo fato de que esta teoria analisa a obra de arte como a tentativa de dar forma a uma ideia, como uma invenção que se realiza enquanto é criada, e é no por-fazer que se dão as leis desse fazer. O olhar sobre o processo criativo permitiu refazer o percurso, identificando as leis que nortearam esta criação, algo que se pode ver com clareza depois que a obra é dada como pronta. Por tratar-se de um espetáculo teatral que tem como via criativa a improvisação, e que não parte de um texto dramático, mas do movimento dos corpos e sua relação com o espaço e com a musicalidade das cenas propostas, Dias de Folia constitui uma obra artística que tem em seu processo criativo um foco de interesse e uma amostra de algo que, contemporaneamente, é recorrente no teatro brasileiro: o atorcriador (também chamado de ator-compositor) e o seu trabalho realizado dia a dia, em sala de ensaio. Neste ambiente de discussão da arte como produção, onde o ator é agente dessa produção, e não apensas um intérprete das indicações de um texto dramático ou das idéias de um diretor, encontrei o pensamento de outros filósofos e artistas que vieram somar, trazendo suas contribuições na elaboração de um olhar sobre o processo criativo em artes, além de refletir, especificamente, sobre a improvisação neste contexto. Foram eles: Fayga Ostrower (1977), Suzanne Langer (2006), Edith Derdyk (2001), Matteo Bonfitto (2006 e 2009), Jean-Pierre Ryngaert (2009), Jacques Lecoq (2010), Yoshi Oida (2007), Keith Johnstone (1990), Sonia Machado de Azevedo (2009), Viola Spolin (2005), Renato Ferracini (2003), Dario Fo (2004), Josette Féral (1995) e Ariane Mnoukchine (2009). A Crítica Genética, a partir da obra Gesto Inacabado, Processo de Criação Artística (SALLES, Cecília Almeida, 2004), ofereceu um instrumental metodológico, no que tange a análise do processo criativo e as operações inerentes a ele. Nesta pesquisa, o espetáculo foi analisado do ponto de vista da atriz-pesquisadora, que também é atriz-criadora desta obra, na tentativa de identificar as leis (chamadas aqui de elementos fundamentais) que nortearam a criação, debruçando-se atentamente à improvisação como método de criação. / This research has as its object the creative process of theatrical spectacle Dias de Folia, held in Salvador, Bahia, in 2010. The interest in observing and reflecting on this composition, which has the actors as co-creators, boosts the analysis of the creation course, identifying the choices made to reach the final result of the work. The choice of the Theory of Formativeness, from studies of the Italian philosopher Luigi Pareyson (1997), as a point of gaze, is given by the fact that it analyzes the work of art as an attempt of shaping an idea, like an invention that is realized while being made, and is in the "being done" that you find the laws of doing. The look on the creative process allows for redoing the route identifying the laws that coordinated and underpinned this creation, something that can be seen more clearly after the work is given as done. Since it is a play which has improvisation as means of creation, and which does not start from a text but from the movements of the bodies and their relationship with the space and the musicality of the proposed scenes, Dias de Folia becomes an artistic work which has in its creative process a focus of interest and a sample of something that is recurrent in contemporary Brazilian theater: the actor-creator (also referred to as actor-composer) and their their work done day by day in the rehearsal room. In this environment of discussion of art as production, where the actor is an agent of this production, and not just an interpreter of the indications of a dramatic text or the ideas of a director, I found the thought of other philosophers and artists who were added, bringing their contributions in developing a glimpse into the creative process in art, in addition to thinking, specifically, about the improvisation in this context. They were: Fayga Ostrower (1977), Suzanne Langer (2006), Edith Derdyk (2001), Matteo Bonfitto (2006 e 2009), Jean-Pierre Ryngaert (2009), Jacques Lecoq (2010), Yoshi Oida (2007), Keith Johnstone (1990), Sonia Machado de Azevedo (2009), Viola Spolin (2005), Renato Ferracini (2003), Dario Fo (2004), Josette Féral (1995) and Ariane Mnoukchine (2009). The Genetic Criticism, from the work Gesto inacabado, processo de criação artística (SALLES, Cecília Almeida, 2004), comes to offer methodological tools when it comes to the analysis of the creative process and operations inherent to it. In this research the performance is analyzed from the perspective of the researcher, who is also an actress-creator of the work, in an attempt to identify the laws that guided the creation, and will focus more closely on the most remarkable of them: improvisation as means of creation.

A primeira parte da tese investiga os deslocamentos da narrativa na obra de Luís Alberto de Abreu, em elementos de suas peças teatrais, em seus roteiros de cinema e nas implicações de processos em dinâmica coletiva de criação. Partindo de sua ideia de uma restauração da narrativa épica e com características orais no âmbito do teatro, este trabalho analisa a narratividade como criadora de imagens no personagem narrador, na \"imagem cheia\" dos roteiros e na configuração mais recente de um narrador em trânsito, distante da configuração de personagem como uma individualidade. Visando oferecer um campo teórico-prático de discussão às questões da narratividade e das relações criativas entre atores e dramaturgo em processo de criação teatral de dinâmica coletiva, a segunda parte da tese trata da realização de um laboratório de criação entre dramaturga e atores. Nele, foram desenvolvidos quatro eixos propositivos de criação dramatúrgica, de acordo com o ponto de partida e diferentes procedimentos: a lei do material, o território de criação dos atores, as composições da dramaturga e (Contra) dispositivos dramatúrgicos. Por fim, à luz das experiências do laboratório, configura uma ideia de cartografia que tem principalmente no dramaturgo aquele que rascunha e traceja mapas, aproximando sua ação criativa do gesto primordial do narrador. / The first part of the thesis investigates the narrative shifts in the work of Luis Alberto de Abreu, in elements of his plays and in his film scripts and the implications of the processes in the dynamics of the collective creation. Departing from his idea of restoration of the epic narrative and with oral characteristics of the theater, this part of the thesis analyzes the narrativity as the creator of images upon the narrator, in the \"full picture\" of the scripts and upon the newest configuration of a narrator in process, distant from the configuration of the character as an individual. Aiming at offering a theoretical and practical field of discussion to the questions of narrativity and the creative relationships between actors and playwright in a process of collective dynamics of theatrical creation, the second part of the thesis deals with the realization of a creative laboratory between playwright and actors. In this, four propositional axis for dramaturgical creation were developed according to the starting point and different procedures: the law of the material, the territory of creation of the actors, the compositions of the playwright and dramaturgical (counter) devices. Finally, in the light of the laboratory experiments, an idea of cartography begins to set up that has mainly playwright who drafts and outlines maps, bringing together his creative action of the primordial gesture of the narrator.

This thesis examines whether character creators in fantasy role-playing games allow players to create ethnically diverse characters. We studied eight games following a procedure to record perceivable data about the available options, and conducted interviews. The results show that options for minority ethnicities are usually either very few and lack variation or are non-existent. All the interviewees answered that they were generally dissatisfied with the options given to them in character creators and could rarely make a representation of themselves. This highlights the need to diversify the options in order to not exclude players. / Denna avhandling undersöker om karaktärsskapare i fantasy dator-rollspel tillåter spelare att skapa karaktärer av etnisk mångfald. Vi studerade åtta spel efter bestämda riktlinjer och samlade information om de tillgängliga alternativen, och genomförde intervjuer. Resultaten visar att alternativ för minoritetsetniciteter är vanligtvis antingen mycket få och har ingen variation eller är helt obefintliga. Alla de intervjuade svarade att de var allmänt missnöjda med de alternativ som ges i karaktärsskapare och kan sällan göra en representation av sig själva. Detta belyser behovet av att diversifiera alternativen för att inte utesluta spelare.

This research investigates the potential of the general public to actively design their own products and let consumers either manufacture by themselves or send the files to manufacturers to be produced. This approach anticipates the rapid growth of fabrication technology, particularly in Additive Manufacturing (AM)/3D printing. Recent developments in the field of AM/3D printing have led to renewed interest in how to manufacture customised products and in a way that will allow consumers to create bespoke products more easily. These technologies can enhance the understanding of non-technology compliant consumers and bring the manufacturing process closer to them. Consequently, to make AM/3D printing more accessible and easier to employ by the general public, design aspects need to be developed to be as simple to operate in the same manner as AM/3D printing technologies. These technologies will then attract consumers who want to produce Do-It-Yourself (DIY) products. This study suggests a Computer-aided Consumer Design (CaCODE) system as user- friendly design software to simplify the Computer Aided Design (CAD) stages that are required to produce 3D model data required by the AM/3D printing process. This software will be an easy-to-operate design system where consumers interact with parameters of designed forms easily instead of operating conventional CAD. In addition, this research investigates the current capabilities of AM/3D printing technologies in producing consumer products. To uncover the potential of consumer-led design and manufacturing, CaCODE has been developed for consumer evaluation, which is needed to measure the appropriateness of the tool. In addition, a range of consumer product samples as pens has been built using a range of different materials, AM/3D printing technologies and additional post-processing methods. This was undertaken to evaluate consumer acceptance of the AM/3D printed product based on products perceived quality. Forty non-designer participants, 50% male and 50% female, from 5 to 64 years old, 6-7 participants per ten-year age groups in 6 groups, were recruited. The results indicated that 75% of the participants would like to design their own product using consumer design software. The study compared how consumers interacted with the 3D model to manipulate the shape by using two methods: indirect manipulation (sliders) and direct manipulation (drag points). The majority of the participants would prefer to use the direct manipulation because they felt it was easy to use and enabled them to enjoy the design process. The study concluded that the direct manipulation was more acceptable because it enabled users to touch the digital product and manipulate it, making it more intuitive and natural. The research finds that there is a potential for consumers to design a product using user-friendly design tools. Using these findings, a consumer design tool concept was created for future development. The study indicated that 53% of participants would like to use products made by AM/3D printing although they still wanted the surface finish of injection moulded parts. However, the AM/3D printing has advantages that can fulfil the participants preference such as multi-materials from the material jetting method and it is proved that additional post-processing can increase participants acceptance level.

The aim of this thesis is to find the estimation of the market price of Elektroprof a.s. on 1st April 2009. DCF entity was applied as the main valuation method, the alternative one is the method of market comparison, namely method of comparable companies. The introductory provides basic information about company, other chapters includes financial analysis, strategic analysis and prognosis of value creator and financial plan.

När stadsbyggnadsprojekt planeras och städer omformas, var kommer medborgares kunskap om sin omgivning in? Hur behåller eller skapar medborgarna en anknytning till stadens platser, när deras användning och identitet förändras? Om staden ska vara en allmän rättighet krävs det att den växer fram kollektivt. Därför måste medborgares kunskap tas till vara på i stadens utveckling och i konkreta stadsbyggnadsprojekt. Det är svårt att se hur medborgare kommer få en koppling till dessa platser när de under en lång tid av stadsomvandlingen är avskärmade från den. Hur kan dessa platser, istället för att exkludera medborgare, bli en del av deras vardag redan under planerings- och förändringsprocesser? Hur kan medborgarnas delaktighet i planerings- och byggprocessen vara med om att bygga upp värden för platsers framtida användare?I Jubileumsparken i Göteborg används en metod planerarna kallar platsbyggnad. Arbetet bygger på att koppla samman medborgare med platsen under planeringen av den nya stadsdelen i Frihamnen genom att skapa urbana prototyper. Prototyperna öppnar upp för medborgarna att använda och utveckla platsen medan den planeras och tar fysisk form.Genom att prototyperna är i ett konstant flöde av användning och omvandling kan nya förståelser av hur planering kan gå till och vad platsen kan bli skapas. Prototyperna hjälper till att gå från något flytande (planer, idéer, visioner) till något fast.I studien ställer vi oss frågorna: var kommer idén om prototypprojekt ifrån? Hur har idén vuxit fram? Hur har prototyperna utvecklats och förändrats? Hur förstår och använder olika aktörer prototyperna och hur fungerar de i arbetet med Jubileumsparken?Prototyperna i sig själva hamnar i ett gränsland mellan aktörers relationer till prototyperna. Kontrasten av aktörernas relation till prototyperna gör det svårt att definiera vad prototyperna egentligen är, men genom att för en stund gör relationerna till något fast kan vi studera dem. När prototyperna är stabila och relationerna inte längre kommer omvandlas, och inga nya relationer kommer skapas, så har de kanske slutligen övergått till något fast. Men kommer de någonsin bli permanenta? Kanske är de bara i ett fast tillstånd för en stund? De är fasta objekt så länge inga relationer skapas eller omvandlas. / When urban construction projects are planned and cities are transformed, where will citizens’ knowledge of their surroundings come in? How do the citizens create or keep an attachment to the city’s places when their use and identity change? If the city is to be a universal right, it is required that it grows collectively. Therefore, citizens’ knowledge must be taken into account in the city’s development and in concrete urban construction projects. It’s hard to see how citizens will get a connection to these sites when they are shielded from the urban transformation for a long time. How can these places, instead of excluding citizens, become part of their everyday lives during the planning and construction process? How can citizens’ involvement in the planning and construction process help to build up the values ​for site’s future users?Jubileumsparken in Gothenburg uses a method the planners call space building. The work is based on linking citizens with the site during the planning of the new district in Frihamnen by creating urban prototypes. Prototypes open up for citizens to use and develop the site while it’s being planned and taking physical form. Because the prototypes are in a constant flow of use and conversion, new understandings of how planning can be and how the site can be created. Prototypes help move from something floating (plans, ideas, visions) to something solid.In the study we are asking the following questions: where does the idea of ​​prototype projects come from? How has the idea emerged? How have prototypes evolved and changed? How do different actors understand and use prototypes and how do they work in Jubileumsparken?The prototypes themselves end up in a borderland between actors’ relations with the prototypes. The contrast of the actors’ relation to the prototypes makes it difficult to define what the prototypes really are, but by making the relationships solid for some time we can study them. When the prototypes are stable and the relationships will no longer be transformed, and no new relationships will be created, they may eventually have shifted to something fixed. But will they ever become permanent? Maybe they are just in a solid state for a while? They are fixed objects as long as no relationships are created or converted.

KROBOVÁ, K. (2012). Public space, its social parameters and not only pictorial dimensions. Praha: Charles University, Faculty of Education, Art department, 122 pages. (Attachment: set of photography and object-totem) This thesis is corcerned with public space in its dimensions of visual, architectonic, pictorial, social and psychological. How does the space impact us and how do we influence it. This kinds of view are hold out with people in age of adolescent. I follow up with my bachelor work which was concerned with this age group in course of study in subculture graffiti and street art which I use now for examples and possible influnces on graphic design and illustration. I continue with refilling questionnaire and didactics project, partly practically maked in practice, after theory. This work is topped up with documentary of pictures in public space, object of my own and ritual in space like this. Key words: PUBLIC SPACE, COMUNICATION, CREATOR, SUBCULTURES, VIZUALITY, CONTEXT, ADVERTISMENT, GRAFFITI, STREET ART, ART, CULTURE, ART EDUCATION