This thesis treats the users experience about assembling a building in virtual reality and the implementation of an application for the purpose. The work studies how users experience that after they have assembled a building in virtual reality understand how a building should be assembled. To be able to study this an application was implemented where it is possible to build a simple garage in virtual reality. The application is build with moments in mind where a moment in a part of a building for example wall parts and trusses. The participants assemblies every moment separately and a moment is finished when all the moments parts is places and nailed. The application supports feedback as audio instructions and vibration in the controllers, this is crucial for easier learning. The result shows that most of the participants in the study experience that they have learned how a building should be assembled. The assembeling order of a building is that the users experience that they have learned most of. Tough that the participants doesn't feel that they would dare to assembly a building in real world after virtual reality. The virtual reality still feels like a game and is not sufficiently reliable. In the study it appears that see and do is better than the traditional see and learn. This adds a reason that it is possible to learn through virtual reality even still as today doens't feels safe enough. / Denna studie behandlar användarens upplevelse kring att montera en byggsats i virtuell verklighet och utveckladet av en applikation för ändamålet. Examensarbetet efterforskar hur användarna efter att ha fått montera en byggnad i virtuell verklighet upplever att de förstått hur en byggnad ska monteras. För att kunna efterforska detta utvecklades en applikation där det det är möjligt att bygga ett enklare garage i virtuell verklighet. Applikationen är byggd med moment i åtanke där ett moment är en del av en byggnad exempelvis syll, väggblock och takstolar. Deltagarna monterar varje moment för sig och ett moment är avklarat när momentets delar är utlagda och korrekt fästa. I applikationen kan användaren få återkoppling i form av ljudinstruktioner och vibrationer i kontrollerna vilket är avgörande för att lära sig lättare. Resultatet visar att flera deltagare anser att de i applikationen har lärt sig att bygga en byggsats i virtuell verklighet. Ordningen som delarna i en byggsats ska monteras i är det som användarna anser de lärt sig mest om. De anser dock inte att de förstått tillräckligt utifrån applikationen för att våga montera byggnaden i verkligheten. Virtuell verklighet upplevs fortfarande som ett spel och inte är nog tillförlitligt. Det framkommer i studien att det är bättre att se och göra istället för det traditionella se och lära. Detta lägger en grund till att det går att lära sig genom virtuell verklighet trots att det idag uppleves inte vara säkert nog.

CoordenaÃÃo de AperfeiÃoamento de Pessoal de NÃvel Superior / Solon Ribeiroâs work with the frames of classical cinema inherited from his father articulates apparatus through another montage so that these images survive through constant variations made by his gestures in a minor cinema. The solo exhibitions O golpe do corte (2005), Quando o cinema se desfaz em fotograma (2009) and O cinema à meu playground (2013) are investigated following the development of his work over the course of time. The methodology used takes the body of workâs singularities into account to promote the encounter with the theories of important authors, turning them into intercessors in the construction of the discussion. Furthermore, a documental research was accomplished, which included conversations with the artist â Appendix A in the thesis â and the reunion and analysis of archive material regarding his exhibitions. Starting with apparatus theory on film (BAUDRY), the research moves to the concept of apparatus on Agambenâs and Flusserâs philosophy and dispositif on Deleuzeâs philosophy, expanding the understanding of cinema to the experiences on an expanded field (PARENTE). The elements of each work are examined to point out the processes and singularities of their configurations. The processual characteristics of the artistâs work is made evident by the repeated use of given frames and by the modification of some apparatuses already shown. The transformation from the classical montage (LEONE; MOURÃO) to the ones Ribeiro produces on space turns him closer to Aby Warburgâs philosophical and historic practice in his Atlas Mnemosyne (1924-1929). The heuristic montage (DIDI-HUBERMAN) found on framesâ time collision is related to Deleuzeâs time-image, since both comprise the development of thought through images, emphasizing the difference between the fatherâs affective and collector practice and the artistâs acts of dislocation which led to framesâ survival (DIDI-HUBERMAN). The changes on each workâs time and space point out to the improbable movements (DUBOIS) placed between the framesâ apparent fluidity and immobility (BELLOUR). Ribeiroâs cinema becoming-photography (FATORELLI) leads to reflection on cinema itself and to the making of a minor cinema (DELEUZE; GUATTARI) that asserts the possibility of other cinema created from the elements of hegemonic cinemaâs form (PARENTE). / O trabalho de Solon Ribeiro com os fotogramas do cinema clÃssico herdados de seu pai articula dispositivos atravÃs de outra montagem para que essas imagens sobrevivam por meio da constante variaÃÃo operada por seus gestos em um cinema menor. As exposiÃÃes individuais O golpe do corte (2005), Quando o cinema se desfaz em fotograma (2009) e O cinema à meu playground (2013) sÃo investigadas acompanhando os desdobramentos do trabalho no tempo. A metodologia empregada toma as singularidades do corpo da obra em questÃo ao tensionÃ-las com a teoria de importantes autores, tornando-os intercessores na tessitura da discussÃo. Ademais, foi realizada pesquisa documental, que inclui conversas com o artista â ApÃndice A da dissertaÃÃo â e reuniÃo e anÃlise de material de arquivo referente a suas exposiÃÃes. A partir da teoria do dispositivo no cinema (BAUDRY), a pesquisa passa aos conceitos de dispositivo na filosofia de Agamben e de Deleuze e de aparelho em Flusser, alargando a noÃÃo de cinema para as experiÃncias em campo expandido (PARENTE). Os elementos pertencentes a cada obra sÃo examinados e tÃm os processos e as singularidades de suas configuraÃÃes apontados. A caracterÃstica processual inerente ao trabalho do artista à evidenciada pela reiteraÃÃo no uso de determinados frames e pelo retorno ou modificaÃÃo de certos dispositivos jà apresentados. As transformaÃÃes da montagem cinematogrÃfica clÃssica (LEONE; MOURÃO) para as montagens operadas por Ribeiro no espaÃo o aproximam da prÃtica filosÃfico-histÃrica de Aby Warburg em seu Atlas Mnemosyne (1924-1929). A montagem heurÃstica (DIDI-HUBERMAN) no choque entre os tempos dos fotogramas à relacionada com a imagem-tempo deleuzeana, posto que ambas compreendem uma experimentaÃÃo que envolve a articulaÃÃo de um pensamento em imagens, ressaltando a diferenÃa entre a prÃtica afetivo-colecionista do pai e o deslocamento ensejador da sobrevivÃncias (DIDI-HUBERMAN) dos frames pelo artista. As modificaÃÃes no tempo e no espaÃo de cada obra apontam para movimentos improvÃveis (DUBOIS) que se colocam no interstÃcio entre a aparÃncia de fluidez e de imobilidade dos fotogramas (BELLOUR). O devir fotogrÃfico (FATORELLI) do cinema de Ribeiro leva à reflexÃo sobre a linguagem cinematogrÃfica, conduzindo-a a um cinema menor (DELEUZE; GUATTARI) ao afirmar a possibilidade da construÃÃo de um outro cinema engendrado a partir dos elementos da forma cinema (PARENTE) hegemÃnica.

Submitted by JÚLIO HEBER SILVA (julioheber@yahoo.com.br) on 2017-12-20T11:07:44Z No. of bitstreams: 2 Dissertação - Jordana Albino Oliveira - 2017.pdf: 3150287 bytes, checksum: 3680510e53922e021ec129a2fd4b0796 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2017-12-21T12:33:29Z (GMT) No. of bitstreams: 2 Dissertação - Jordana Albino Oliveira - 2017.pdf: 3150287 bytes, checksum: 3680510e53922e021ec129a2fd4b0796 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2017-12-21T12:33:29Z (GMT). No. of bitstreams: 2 Dissertação - Jordana Albino Oliveira - 2017.pdf: 3150287 bytes, checksum: 3680510e53922e021ec129a2fd4b0796 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2017-06-28 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The research seeks to analyze the essayist thought, the gesture of montage and the production of memory on the film-essay Rocha que Voa (2002) by the brazilian filmmaker Eryk Rocha. Film of assembly of sonic and imaginary elements, symbiotic and amalgamated, that transit between temporalities and localities producing memory of the latin american cinema of the years of the 60s and 70s. Memory that is not a subject or a whole movement, but immemorial, absolute and involuntary as the contact of a self and a world. In the movement of looking at the past and dialoguing with it, the files that constitute the film are updated in the present. Archives of Havana, Glauber Rocha, Latin American cinema, and aesthetic and political dimensions tensioned and in relation to the cinematographic language and with the established settlements with the world. Through bibliographical research and a film analysis, we seek to understand how the traces of images (visual and sound) are mobilized by the experience of the filmmaker and performed by the montage At first, we seek to contextualize the film within the context of Brazilian contemporary documentary and to approach it with the concept of filmessay, conceiving the essaistic gesture as the guide of our process of film analysis and bibliographic research. Next, we discuss the appropriation of archives and the unrelated relations of images with memory and history. The poetic-constructive operation of the montage marked by the heterogeneity of materials and their new combinations gains prominence in the figure of the palimpsest that summons in form and gesture the aporia of a past that is not over but still, and continues to be updated in the present. / A pesquisa busca analisar o pensamento ensaístico, o gesto da operação da montagem e a produção de memória no filme-ensaio Rocha que Voa (2002), do cineasta brasileiro Eryk Rocha. Filme de montagem de elementos sonoros e imagéticos, simbióticos e amalgamados, que transitam entre temporalidades e localidades produzindo memória do cinema latino-americano dos anos das décadas de 60 e 70. Memória essa não apenas de um sujeito ou de um movimento todo, mas memória imemorial, absoluta e involuntária enquanto contato de um eu e de um mundo. No movimento de olhar o passado e com ele dialogar, os arquivos que constituem o filme se atualizam no presente. Arquivos de Havana, de Glauber Rocha, do cinema latino-americano, e de dimensões estéticas e políticas tensionadas e em relação com a linguagem cinematográfica e com os agenciamentos estabelecidos com o mundo. A partir da pesquisa bibliográfica e de uma análise fílmica ensaística, buscamos compreender como a forma do filme-ensaio é modulada e como os vestígios de imagens são mobilizados pela experiência fílmica do cineasta. A princípio, buscamos contextualizar o filme no âmbito do documentário contemporâneo brasileiro e aproximá-lo do conceito de filme-ensaio, percebendo seus contornos e camadas que se formam ao conceber o pensamento ensaístico como o norteador de nosso processo de análise fílmica. Em seguida, discutimos a as relações imbrincadas das imagens com a memória e a história possibilitadas pela montagem. A operação poética-construtiva da montagem marcada pela heterogeneidade de materiais e correspondências ganha destaque na figura do palimpsesto que convoca em forma e gesto a aporia de um passado que não foi, mas que é, e que continua se atualizando no presente.

Publicado em 1929, o romance Berlin Alexanderplatz de Alfred Döblin foi considerado, desde as primeiras resenhas, um marco na literatura alemã. Sua novidade residia, sobretudo, na utilização das técnicas da colagem e da montagem, por meio das quais os fragmentos recolhidos da metrópole foram inseridos no romance como sua própria matéria formal. Döblin tentou, com isso, deslocar o espaço concedido à metrópole, de objeto de representação a sujeito da enunciação. Essa dissertação analisa a composição formal de sua narrativa para compreender o que o novo espaço angariado pela metrópole, em Berlin Alexanderplatz, implica para o gênero. Esse problema dialoga diretamente com a importante discussão da \"crise do romance\", que animava os debates de então sobre literatura e encontrava franca ressonância também na produção teórica de Döblin, desenvolvida entre 1910 e 1930. Contrapor Berlin Alexanderplatz às questões levantadas nesses textos teóricos torna ainda mais explícita a relação da obra com seu próprio tempo. Ademais, há uma estrita coincidência entre a importância da objetividade em boa parte da teoria de Döblin e os pressupostos do movimento artístico mais característico dos anos da República de Weimar, a Neue Sachlichkeit. Examinar essa convergência ajuda a iluminar os problemas de uma narrativa que oscila, dialeticamente, entre a representação do destino individual e busca uma montagem realista da metrópole. Todos esses diálogos, além do confronto com a tradição do gênero, ajudam a entrever alguns dos elementos que levaram à configuração, nas palavras de Döblin, dessa \"épica da modernidade\". / Published in 1929, Berlin Alexanderplatz, a novel by Alfred Döblin, was considered - since its first reviews - a landmark in German literature. Its novelty resided above all in the use of the techniques of collage and montage, the use of which made possible that fragments collected in the metropolis could be inserted in the novel as its own formal matter. What Döblin has tried to do with that was to displace the position usually afforded to the metropolis, from object of representation to subject of enunciation. This dissertation engages in an analysis of the narrative formal composition in order to understand what this new position - conquered by the metropolis in Berlin Alexanderplatz - implies to the genre. This problem is in constant dialogue with the very important \"crises of the novel\" issue, which supported much of the literary debate of the time and has a corresponding development in Döblin\'s own theoretical production from 1910 to 1930. Contrasting Berlin Alexanderplatz to the questions posed in these theoretical texts makes the relationship of the novel with its own time even more explicit. Moreover there is a strict coincidence between the importance of objectivity in a good deal of Döblin\'s theory and the presuppositions of the most characteristic artistic movement of the Weimer Republic, the Neue Sachlichkeit. To examine this convergence helps us cast some light on the problems of a narrative that dialectically oscillates between the representation of an individual destiny and the search for a realist montage/image of the metropolis. All this dialogues, besides the confrontation with the novel tradition, help us glimpse some of the elements that headed towards the configuration of this, in Döblin\'s own words, \"epic of modernity\".

Da confluência entre o conceito de texto artístico de Iuri Lotman e a teoria do cinema intelectual de Sergei Eisenstein, este trabalho oferece uma análise do filme Vida humilde (1997) de Aleksandr Sokúrov. De estudos de Eisenstein sobre a lógica composicional do pensamento por imagens, foi compilado um conjunto de ferramentas analíticas a fim de se investigar a imagem geral do filme. Por meio de tais ferramentas, é investigada a relação entre a construção plástica do filme e a percepção da imagem de uma vida humilde. Ainda alinhada à teoria da montagem eisensteiniana, essa imagem é proposta como resultante intelectual de outras três imagens: as da circularidade, da harmonia e da homologia. Desta maneira o filme é esquadrinhado de maneira a salientar os elementos formais que possibilitam sua decodificação como qualidades abstratas. / Through the articulation between the concept of artistic text of Juri Lotman and the theory of intellectual cinema of Sergei Eisenstein, this work offers an analysis of the film Humble life (1997) of Aleksandr Sokurov. Eisenstein\'s studies on the compositional thought on the logic of images, gave rise to a compilation of analytical tools in order to investigate the overall image of the film. Thus, analyzing the relationship between the construction of the plastic film and the overall image of a humble life. Still aligned to Eisenstein\'s theory of montage, this image is proposed as an intellectual result from three other images: circularity, harmony and homology. In this way the film is scanned in order to emphasize the formal elements that enables us to decode it as abstract qualities.

Sabemos que em placas de circuito impresso montadas com tecnologia SMD Surface Mount Device podem ocorrer problemas com a migração eletroquímica. O fenômeno aparece principalmente porque os novos encapsulamentos possuem terminais com espaçamentos muito próximos. A migração eletroquímica pode tornar-se um potencial problema no processo de soldagem eletrônica quando é utilizado a tecnologia Lead Free na montagem das placas. O processo de migração eletroquímica ocorre quando temos metal, isolante e metal, em ambiente de alta umidade e sobre polarização elétrica, o metal deixa a posição inicial em forma de íon e se redeposita sobre o isolante. Em uma placa de circuito impresso, dois terminais adjacentes podem tornar-se eletrodos, dessa forma as dendritas crescem do cátodo para o ânodo. Podem aparecer diferentes morfologias com diferentes elementos envolvidos no processo de migração, dependendo da composição da pasta de solda ou acabamento da placa de circuito impresso. Uma estrutura do tipo pente comb feita sobre laminado FR4 foi utilizada nos experimentos. A distância entre as trilhas foram de 102 e 254 mícrons para simular uma distancia real dos terminais dos dispositivos. Os fatores considerados durante os experimentos foram: A distancia entre os terminais na estrutura (102 ou 254 mícrons), tensão aplicada (2 ou 3 V). Foi observado que a pasta de solda e o acabamento final não influenciam no processo de migração eletroquímica. O Estanho foi o principal metal que migrou. Todos os resultados obtidos nesse estudo concordam com a literatura. / It is well known that in printed circuits boards assembled by SMT technology may occur Electrochemical migration (ECM). This phenomenon appears mainly because the new packaging has the terminals very close. Also the Electrochemical migration may become a potential reliability problem in electronic soldering when lead free technology is used in soldering electronic devices. Electrochemical migration is an electrochemical process where metal on an insulating material, in a humid environment and under an applied electric field, leaves its initial location in ionic form and redeposit. In a PCB two adjacents terminal may behave as electrodes so the dendrites grow from cathode to anode. It can show different morphologies with the different migration elements involved depending on the solder paste composition or PCB surface finishing. A structure with a comb shape printed on FR4 substrate was used in the experiments. The distance between the fingers in the structure was 102 or 254 microns, in order to simulate a real distance between dispositive terminals. The factors considered during the experiments were surface finishing (ENIG or HASL), solder paste composition, distance between terminals (102 or 254 microns) and applied voltage (2 or 3 V). It was observed that the solder paste and the surface finishing dont influence the ECM process. Tin was the main metal that migrates. All the results obtained in these study agrees with the literature.

L’usinage tient une place considérable dans l’industrie, c’est un des procédés les plus répandu. A ce titre, la maitrise du procédé de fraisage, notamment lors d’une opération de finition, est devenu un enjeu majeur dans le secteur industriel. La compréhension des phénomènes physiques présents lors d’un usinage de finition est un facteur important pour l’optimisation d’un procédé de fabrication par enlèvement de matière.Afin de déterminer les paramètres influents lors d’un usinage de finition, notamment lors d’un fraisage de profil, une nouvelle méthodologie expérimentale sera développée. Ces travaux vont s’articuler autour de trois activités principales :- La mise en place d’une instrumentation capable de recueillir une image des efforts de coupe. Ce dispositif expérimental devra être équipé de capteurs et d’une chaine d’acquisition pour acquérir les composantes des efforts selon les directions x et y.- Le développement d’un nouveau dispositif passe par une étape qualification dans laquelle une série de tests permettra d’établir la capabilité du montage.- Cette étude expérimentale s’accompagne d’une campagne d’essais permettant de définir les paramètres les plus influents lors d’un fraisage de profil de finition. / Machining holds an important place in the industry, this is one the most common process. As thus, mastering the milling process, especially during a finishing operation, has become a major issue in the insdustrial sector. Understanding the physical phenomena present in a finishing machining is an important factor for the optimization of a manufacturing process by removing material.In order to determine the most important factors during a finishing machining, in particular during a profile milling, a new experimental methodology will be developed. This work will focus on three main activities :- The introduction of instrumentation capable of collecting an image cutting forces. This experimental device must be equipped with sensors and an acquisition channel to acquire the components of the forces in the x and y directions.- The development of a new device going through a stage qualification in which a series of tests will establish the capability of experimental device.- This experimental study is accompanied by a series of tests to define the most important parameters in a finishing profile milling

Die Gesundheit von Beschäftigten in Unternehmen wird unter dem Aspekt einer sich verändernden Altersstruktur und sich schneller wandelnden Arbeitsbedingungen zunehmend an innerbetrieblicher Bedeutung gewinnen. Sie ist einer der Schlüssel zur Erhaltung und Förderung der Arbeitsbewältigungsfähigkeit der Mitarbeiter und damit Arbeitsfähigkeit sowie die Leistungsbereitschaft auf der Lebensarbeitszeitachse zu erhalten und somit Kontinuität in einer manuellen Produktion zu erzeugen. Die vorliegende Masterarbeit beschäftigt sich mit der Analyse eines Montagearbeitsplatzes in einem mittelständischen Betrieb, hinsichtlich ergonomischer Belastungsfaktoren. Bei der analysierten Tätigkeit steht die physische Belastung aus Körperzwangshaltung und des Hand-Arm-Schulter Systems im Mittelpunkt, da dieses die wesentlichen Belastungsfaktoren sind. Ein weiterer Aspekt war, dass die hier untersuchte Arbeitsaufgabe eine sehr gute Ausgangsbasis schafft um Rückschlüsse auf die Fertigungs- und Montagebedingungen fast aller anderen Produkte zu ziehen. Die Arbeit gibt somit nicht nur Auskunft über die aktuelle ergonomische Belastung bei der Produktion des Centerwave 6000 und ihrer Verbesserungsmaßnahmen, sondern eröffnet auch die Perspektive einen generellen Gesundheitsgewinn zu erzielen, der auf der Minimierung von vergleichbaren ergonomischen Risikofaktoren in der gesamten Fertigung beruht.

Zusammenfassung Heutige Ansätze des 3D-Trackings für die Registrierung in der realen Welt zum Einsatz von Augmented Reality lassen sich in modellbasierte und umgebungsbasierte Verfahren unterteilen. Umgebungsbasierte Verfahren nutzen den SLAM-Algorithmus zur Erzeugung dreidimensionaler Punktwolken der Umgebung in Echtzeit. Modellbasierte Verfahren finden Ihren Ursprung im Canny edge detector und nutzen aus den CAD-Modellen abgeleitete Kantenmodelle. Wird das modellbasierte Verfahren über Kantendetektion und das umgebungsbasierte Verfahren über 3DPunktewolken kombiniert, ergibt sich ein robustes, hybrides 3D-Tracking. Die entsprechenden Algorithmen der verschiedenen Verfahren sind in heute verfügbaren AR-Frameworks bereits implementiert. Der vorliegende Betrag zeigt zwar, welche Effizienz das hybride 3D-Tracking aufweist, jedoch auch die Problematik der erforderlichen geometrischen Ähnlichkeit von idealem CAD-Modell, bzw. Kantenmodell, und realem Objekt. Bei unterschiedlichen Montagestufen an verschiedenen Montagestationen und mit wechselnden Anwendern ist beispielsweise eine erneute Initialisierung erforderlich. Somit bedingt das hybride 3D-Tracking zahlreiche Kantenmodell, die zuvor aus der jeweiligen Montagestufe abgeleitet werden müssen. Hinzu kommen geometrische Abweichungen durch die Fertigung, die je nach Größe der branchenspezifischen Toleranzen keine hinreichend hohe Übereinstimmung mit den abgeleiteten Kantenmodellen aus den idealen CAD-Modellen aufweisen. Die Autoren schlagen daher den Einsatz parametrisch aufgebauter Mastermodelle vor, welche durch eine interaktive Initialisierung geometrisch Instanziiert werden. Zum Einsatz kommt hier ein mobiler Tiefensensor für Smart Devices, welcher mit Hilfe des Anwenders eine Relation der realen geometrischen Merkmale mit den Idealen des CAD-Modells ermöglicht. Des Weiteren wird in dem dargestellten Konzept die Nutzung von speziellen Suchalgorithmen basierend auf geometrischen Ähnlichkeiten vorgeschlagen, sodass eine Registrierung und Instanziierung auch ohne hinterlegtes Mastermodell ermöglicht wird. Der Beitrag fokussiert sich bei der Validierung auf die interaktive Initialisierung anhand eines konkreten anwendungsnahen Beispiels, da die Initialisierung die Grundlage für die weitere Entwicklung des Gesamtkonzeptes darstellt.

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