Simulation modeling and visualization can substantially help in designing complex construction operations and in making optimal decisions where traditional methods prove ineffective or are unfeasible. However, there has been limited use of simulation in planning construction operations due to the unavailability of appropriate visual communication tools that can provide users with a more realistic and comprehensible feedback from simulation analyses. Visualizing simulated construction operations in 3D can significantly help in establishing the credibility of simulation models. In addition, 3D visualization can provide valuable insight into the subtleties of construction operations that are otherwise non-quantifiable and presentable. New software development technologies emerge at incredible rates that allow engineers and scientists to create novel, domain-specific applications. This study capitalized on a computer graphics technology based on the concept of the "Scene Graph" to design and implement a general-purpose 3D Visualization System that is Simulation and CAD-software independent. This system, the "Dynamic Construction Visualizer", enables realistic visualization of modeled construction operations and the resulting products in 3D and can be used in conjunction with a wide variety of simulation tools. This thesis describes the "Dynamic Construction Visualizer" as well as the "Scene Graph" architecture and the Frame Updating algorithms used in its design. / Master of Science

This research delves into the enduring and evolving punk scene in Carbondale, Illinois,examining its hybridity and the experiences of aging punks within the community. Through personal experiences, historical context, and conversations, the study explores how punk culture intersects with the socio-economic conditions and cultural characteristics of Southern Illinois. The conclusion highlights the profound impact of the punk scene on participants' lives, shaping self-identity and community connections. It emphasizes the adaptability of punk ideology, which allows individuals to maintain their identity while embracing their otherwise changing life circumstances. This hybridity of this experience extends beyond music and fashion, reflecting a fusion of punk and regional identities. Ultimately, the punk scene in Carbondale persists as a space for alternative expression and leaves an indelible mark on both the punk subculture and the broader Southern Illinois cultural landscape.

Unwanted and distressing visual imagery is a persistent and emotionally taxing symptom characteristic of several mental illnesses, including depression, schizophrenia, and posttraumatic stress disorder. Intrusive imagery symptoms have been linked to maladaptive memory formation, abnormal visual cortical activity during viewing, gaze pattern deficits, and trait characteristics of mental imagery. Emotional valence of visual stimuli has been shown to alter perceptual processes that influence the direction of attention to visual information, which may result in enhanced attention to suboptimal and generalizable visual properties. This study tested the hypothesis that aberrant gaze patterns to central and peripheral image regions influence the formation of decontextualized visual details which may facilitate involuntary and emotionally negative mental imagery experiences following a stressful or traumatic event. Gaze patterns and hemodynamic response from occipital cortical locations were recorded while healthy participants (N = 39) viewed and imagined scenes with negative or neutral emotional valence. Self-report behavioral assessments of baseline vividness of visual imagery and various cognitive factors were combined with these physiological measures to investigate the potential relationship between visual perception and mental recreation of negative scenes. Results revealed significant effects of task and valence conditions on specific fixation measures and hemodynamic response patterns in ventral visual areas, which interacted with cognitive factors such as imagery vividness and familiarity. Findings further suggest that behaviors observed during mental imagery reveal processes related to representational formation over and above perceptual performance and may be applied to the study of disorders such as PTSD. / Ph. D. / Intrusive imagery describes the visual components of flashbacks that are common to mental disorders such as posttraumatic stress disorder (PTSD), obsessive-compulsive disorder, and schizophrenia. Several explanations for this symptom have been suggested, including incomplete memories, changes in visual brain structures and function, inappropriate viewing patterns, and an individual’s ability to imagine visual scenes in detail. The emotional tone of a scene has also been shown to affect viewing patterns, which may lead to attention being narrowly directed toward specific visual details while ignoring surrounding information. This study tested whether inappropriate viewing patterns to central and outer image regions in negative images influence narrow focus to emotional details, thereby allowing flashback-type imagery to occur following a traumatic or stressful event. Viewing patterns and blood flow in brain regions were measured while participants (<i>N</i> = 39) viewed and imagined scenes with negative or neutral emotional tone. Self-reported detail of voluntary mental imagery and other cognitive factors such as content familiarity and pleasantness were used to investigate a relationship between viewing and imagery of emotionally negative scenes. Results showed that certain cognitive factors as well as the type of visual task significantly affected particular eye movements and patterns of blood flow in visual regions of the brain. These measures interacted with cognitive factors such as imagery detail and content familiarity. Findings further suggest that behaviors observed during mental imagery reveal cognitive processes over and above those during viewing and may be useful in the study of disorders such as PTSD.

Este estudo tem como objetivo investigar e sistematizar princípios e procedimentos de formação da cena performativa. A pesquisa se justifica a partir da necessidade de reflexão sistemática sobre a cena contemporânea, dinâmica, sincrética, pulsante, em constante movimento e contaminada pela performance, visando à elaboração de fundamentos que possam auxiliar artistas e educadores cênicos em seus processos de formação. A seleção das referências teóricas se deu a partir da perspectiva de filósofos como DELEUZE, GUATTARI, SPINOZA, MORIN, LEVY, BARTHES, PELBART e de teóricos do teatro contemporâneo como FÉRAL, LICHTE, FERNANDES, ARAÚJO, MARTINS, PAVIS, ANDRÉ e CIOTTI. Propomos a investigação sobre a perspectiva rizomática em processos de formação cênica, a noção de desterritorialização destes processos, os conceitos de nuvem hipertextual e navegação rizomática como abordagem metodológica. Por fim, considerando a navegação rizomática proposta neste estudo, sistematizamos princípios e procedimentos de formação contextualizados na cena performativa contemporânea, através de experimentos cênicos realizados com atores, não-atores e iniciantes, bem como da análise de experimentos performativos da cena contemporânea. As considerações elaboradas pelo presente estudo poderão contribuir para o debate acerca do panorama atual das artes cênicas no que concerne a seus processos de formação, além de desdobrar-se na criação de uma nuvem hipertextual, no ciberespaço, com conteúdo didático desenvolvido durante a pesquisa. / This study aims to investigate and systematize principles and procedures for formation of the performative scene. The research is justified by the need for systematic reflection on the contemporary scene, which is dynamic, syncretic, pulsating, constantly moving and contaminated by performance, aiming at the design of foundations that can assist scenic artists and educators in their training processes. The selection of theoretical references has drawn on the perspective of philosophers such as DELEUZE, GUATTARI, SPINOZA, MORIN, LEVY, BARTHES, PELBART and contemporary theater theorists such as FÉRAL, LICHTE, FERNANDES, ARAÚJO, MARTINS, PAVIS, ANDRÉ and CIOTTI. We propose research on the rhizomatic perspective in scenic formation processes, the notion of deterritorialization of these processes, the concepts of hypertextual cloud and rhizomatic navigation as a methodological approach. Finally, considering the rhizomatic navigation proposed in this study, we systematized principles and training procedures contextualized in the contemporary performative scene, through scenic experiments with actors, non-actors and beginners, having also relied on the analysis of performative experiments in the contemporary scene. The considerations emerging from this study can contribute to debates about the current panorama of scenic arts as far as its formation processes are concerned, besides unfolding into the creation of a hypertextual cloud in the cyberspace, with teaching content developed during the research

[pt] O presente estudo analisa a aplicação da temporização de animação japonesa para TV nos filmes brasileiros que a utilizaram como recurso estético. Buscou-se, para tanto, mapear as diferentes aplicações de temporização por diferentes estúdios, que fizeram escola. Inicialmente, foi estudada a aplicação da temporização nos filmes de longa-metragem realizados pelo estúdio de Walt Disney, passando pelos curta-metragens da UPA e chegando até o trabalho para TV de Osamu Tezuka. A pesquisa tem como conceitos norteadores a Aura de Walter Benjamin, Legitimidade e Performance de Jean-Francois Lyotard, o estudo da mise-en-scéne no cinema por David Bordwell, e a atualização deste conceito para animação por Maureen Furniss. Com base no estudo prévio da temporização descrito no presente trabalho, pôde-se analisar três obras brasileiras de animação representativas quanto à aplicação da temporização japonesa, a saber: Uma História de Amor e Fúria, de Luiz Bolognesi, O Menino e o Mundo, de Alê Abreu, e Menina, de Pedro Eboli. A análise dos filmes foi confrontada com as informações obtidas em entrevistas semi-estruturadas feita com os autores, a fim de conseguir um quadro mais completo do uso da temporização japonesa nesses filmes, das intenções nessas aplicações e dos resultados obtidos. / [en] This study analyzes the applications of Japanese s TV animation timing in the Brazilian films that used it as a aesthetic tool. In order to do so, it was researched the different applications of timing from the Disney movies to UPA and Osamu Tezuka s TV series. The research has as a guilding concepts the Walter Benjamin s Aura, Lagitimacy and Performance of Jean-François Lyotard, the study of mise-en-scène in the cinema by David Bordwell, and the updating of this concept for animation by Maureen Furniss. Based on the previous study of the timing, it was possible to analyze three representative Brazilian animation movies regarding the application of Japanese timing, namely: Rio 2096, by Luiz Bolognesi, The Boy and the World, by Alê Abreu, and Menina, by Pedro Eboli. The analysis of the films was compared with the information obteained in semistructured interviews with the authors, in order to obtain a more complete picture of the use of the Japanese timing in these works, the intentions in these applications and the results.

Este estudo objetivou identificar, apresentar e analisar, à luz do trabalho imaterial, o trabalho e a estratégia de viver a vida de músico da cena autoral e independente na sociedade do hiperespetáculo. Sua base teórica foi fundamentada sob a noção de trabalho imaterial (GORZ, 2005; GRISCI, 2006; LAZZARATO; NEGRI, 2001), sociedade do espetáculo (DEBORD, 1997) e hiperespetáculo (LIPOVETSKY 2015), indústria musical e cena musical independente (GALLETA 2014; HERSCHMANN, 2012; MAUDONNET, 2015; NETO, 2015; FRANCIS, 2011; VIVEIRO; NAKANO, 2008), e estratégia existencial consumista (BAUMAN, 2008a; BAUMAN; RAUD, 2017). A pesquisa caracterizou-se como exploratória qualitativa e contou com a participação de quatorze músicos da cena autoral e independente que participaram, pelo menos, de um de dois coletivos de músicos da cena autoral e independente de Porto Alegre/RS e que estão ativos na cena. A coleta de dados se deu pela realização de um grupo focal com seis participantes de um dos coletivos mencionados e entrevistas semiestruturadas com outros oito músicos de ambos os coletivos. A análise de conteúdo seguiu orientações de Minayo (2001) e resultou três categorias de análise: (i) (auto)composição e trabalho imaterial: a difícil arte de ser músico da cena autoral e independente; (ii) música e cena autoral e independente; e (iii) estratégia de viver a vida em busca de afinação. O estudo permitiu mostrar o esforço em busca de afinação como estratégia de viver a vida de músico da cena autoral e independente. Algo que se dá em meio a tensão – consentir, resistir – no que diz respeito aos princípios e valores que circulam na cena independente cada vez mais dependente. A estratégia de viver a vida em busca de afinação explicita o debate entre a harmonia e a cacofonia, mostrando-se condizente com a estratégia existencial consumista (BAUMAN, 2008a; BAUMAND; RAUD, 2017). / This study aimed to identify, present and analyze, based on immaterial labor, the work and the strategy of living of the authoral and independent scene musical life in the hyper-spectacle society. Its theoretical basis was grounded on the notion of immaterial labor (GORZ, 2005; GRISCI, 2006; LAZZARATO; NEGRI, 2001), spectacle society (DEBORD, 1997), hyper-spectacle society (LIPOVETSKY 2015), music industry and independent musical scene (GALLETA 2014; HERSCHMANN, 2012; MAUDONNET, 2015; NETO, 2015; FRANCIS, 2011; VIVEIRO; NAKANO, 2008) and existential consumerist strategy (BAUMAN, 2008a, BAUMAND, RAUD, 2017). The research was characterized as qualitative exploratory and reached the participation of fourteen authoral and independent scene musicians who have participated at least in one of two collective of musicians of the authorial and independent scene of Porto Alegre/RS and that are active in the scene . The data collection occurred through a focus group with six participants from one of the mentioned collectives and semi-structured interviews with eight other musicians from both collectives. Content analysis followed Minayo's (2001) instructions and supported three categories of analysis: (i) (self)composition and immaterial labor: the hard art of being authorial and independent scene musician; (ii) music and authorial and independent scene; and (iii) the strategy of living life looking for tuning. The study allowed to show the effort in looking for tuning as a strategy of living the authoral and independent scene musicians life. Something that occurs through the tension – consenting, resisting – regarding to the principles and values that circulate in the independent scene, increasingly dependent. The strategy of living life looking for tuning explicitly explains the debate between harmony and cacophony, showing itself to consistent with the existential consumerist strategy (BAUMAN, 2008a; BAUMAND, RAUD, 2017).

In this study, a video tracker system for traffic monitoring and analysis is developed. This system is able to detect and track vehicles as they move through the camera&rsquo / s field of view. This provides to perform traffic analysis about the scene, which can be used to optimize traffic flows and identify potential accidents. The scene inspected in this study is assumed stationary to achieve high performance solution to the problem. This assumption provides to detect moving objects more accurately, as well as ability of collecting a-priori information about the scene. A new algorithm is proposed to solve the multi-vehicle tracking problem that can deal with problems such as occlusion, short period object lost or inaccurate object detection. Two different tracking methods are used together in the developed tracking system, namely, the multi-model Kalman tracker and the Markov scene partition tracker. By the combination of these vehicle trackers with the developed occlusion reasoning approach, the continuity of the track is achieved for situations such as target loss and occlusion. The developed system is a system that collects a-priori information about the junction and then used it for scene modeling in order to increase the performance of the tracking system. The proposed system is implemented on real-world image sequences. The simulation results demonstrates that, the proposed multi-vehicle tracking system is capable of tracking a target in a complex environment and able to overcome occlusion and inaccurate detection problems as well as abrupt changes in its trajectory.

Auditory stream denotes the abstract effect a source creates in the mind of the listener. An auditory scene consists of many streams, which the listener uses to analyze and understand the environment. Computer analyses that attempt to mimic human analysis of a scene must first perform Audio Scene Segmentation (ASS). ASS find applications in surveillance, automatic speech recognition and human computer interfaces. Microphone arrays can be employed for extracting streams corresponding to spatially separated sources. However, when a source moves to a new location during a period of silence, such a system loses track of the source. This results in multiple spatially localized streams for the same source. This thesis proposes to identify local streams associated with the same source using auditory features extracted from the beamformed signal. ASS using the spatial cues is first performed. Then auditory features are extracted and segments are linked together based on similarity of the feature vector. An experiment was carried out with two simultaneous speakers. A classifier is used to classify the localized streams as belonging to one speaker or the other. The best performance was achieved when pitch appended with Gammatone Frequency Cepstral Coefficeints (GFCC) was used as the feature vector. An accuracy of 96.2% was achieved.

Este estudo objetivou identificar, apresentar e analisar, à luz do trabalho imaterial, o trabalho e a estratégia de viver a vida de músico da cena autoral e independente na sociedade do hiperespetáculo. Sua base teórica foi fundamentada sob a noção de trabalho imaterial (GORZ, 2005; GRISCI, 2006; LAZZARATO; NEGRI, 2001), sociedade do espetáculo (DEBORD, 1997) e hiperespetáculo (LIPOVETSKY 2015), indústria musical e cena musical independente (GALLETA 2014; HERSCHMANN, 2012; MAUDONNET, 2015; NETO, 2015; FRANCIS, 2011; VIVEIRO; NAKANO, 2008), e estratégia existencial consumista (BAUMAN, 2008a; BAUMAN; RAUD, 2017). A pesquisa caracterizou-se como exploratória qualitativa e contou com a participação de quatorze músicos da cena autoral e independente que participaram, pelo menos, de um de dois coletivos de músicos da cena autoral e independente de Porto Alegre/RS e que estão ativos na cena. A coleta de dados se deu pela realização de um grupo focal com seis participantes de um dos coletivos mencionados e entrevistas semiestruturadas com outros oito músicos de ambos os coletivos. A análise de conteúdo seguiu orientações de Minayo (2001) e resultou três categorias de análise: (i) (auto)composição e trabalho imaterial: a difícil arte de ser músico da cena autoral e independente; (ii) música e cena autoral e independente; e (iii) estratégia de viver a vida em busca de afinação. O estudo permitiu mostrar o esforço em busca de afinação como estratégia de viver a vida de músico da cena autoral e independente. Algo que se dá em meio a tensão – consentir, resistir – no que diz respeito aos princípios e valores que circulam na cena independente cada vez mais dependente. A estratégia de viver a vida em busca de afinação explicita o debate entre a harmonia e a cacofonia, mostrando-se condizente com a estratégia existencial consumista (BAUMAN, 2008a; BAUMAND; RAUD, 2017). / This study aimed to identify, present and analyze, based on immaterial labor, the work and the strategy of living of the authoral and independent scene musical life in the hyper-spectacle society. Its theoretical basis was grounded on the notion of immaterial labor (GORZ, 2005; GRISCI, 2006; LAZZARATO; NEGRI, 2001), spectacle society (DEBORD, 1997), hyper-spectacle society (LIPOVETSKY 2015), music industry and independent musical scene (GALLETA 2014; HERSCHMANN, 2012; MAUDONNET, 2015; NETO, 2015; FRANCIS, 2011; VIVEIRO; NAKANO, 2008) and existential consumerist strategy (BAUMAN, 2008a, BAUMAND, RAUD, 2017). The research was characterized as qualitative exploratory and reached the participation of fourteen authoral and independent scene musicians who have participated at least in one of two collective of musicians of the authorial and independent scene of Porto Alegre/RS and that are active in the scene . The data collection occurred through a focus group with six participants from one of the mentioned collectives and semi-structured interviews with eight other musicians from both collectives. Content analysis followed Minayo's (2001) instructions and supported three categories of analysis: (i) (self)composition and immaterial labor: the hard art of being authorial and independent scene musician; (ii) music and authorial and independent scene; and (iii) the strategy of living life looking for tuning. The study allowed to show the effort in looking for tuning as a strategy of living the authoral and independent scene musicians life. Something that occurs through the tension – consenting, resisting – regarding to the principles and values that circulate in the independent scene, increasingly dependent. The strategy of living life looking for tuning explicitly explains the debate between harmony and cacophony, showing itself to consistent with the existential consumerist strategy (BAUMAN, 2008a; BAUMAND, RAUD, 2017).

Cette thèse aborde le problème du calcul de manière fiable d'un champ de mouvement 3D, appelé flot de scène, à partir d'une paire d'images RGBD prises à des instants différents. Nous proposons un schéma d'estimation semi-rigide pour le calcul robuste du flot de scène, en prenant compte de l'information de couleur et de profondeur, et un cadre de minimisation alternée variationnelle pour récupérer les composantes rigides et non rigides du champ de mouvement 3D. Les tentatives précédentes pour estimer le flot de scène à partir des images RGBD étaient des extensions des approches de flux optique, et n'exploitaient pas totalement les données de profondeur, ou bien elles formulaient l'estimation dans l'espace 3D sans tenir compte de la semi-rigidité des scènes réelles. Nous démontrons que le flot de scène peut ^etre calculé de manière robuste et précise dans le domaine de l'image en reconstruisant un mouvement 3D cohérent avec la couleur et la profondeur, en encourageant une combinaison réglable entre rigidité locale et par morceaux. En outre, nous montrons que le calcul du champ de mouvement 3D peut être considéré comme un cas particulier d'un problème d'estimation plus général d'un champ de mouvements rigides à 6 dimensions. L'estimation du flot de scène est donc formulée comme la recherche d'un champ optimal de mouvements rigides. Nous montrons finalement que notre méthode permet d'obtenir des résultats comparables à l'état de l'art. / This thesis addresses the problem of reliably recovering a 3D motion field, or scene flow, from a temporal pair of RGBD images. We propose a semi-rigid estimation framework for the robust computation of scene flow, taking advantage of color and depth information, and an alternating variational minimization framework for recovering rigid and non-rigid components of the 3D motion field. Previous attempts to estimate scene flow from RGBD images have extended optical flow approaches without fully exploiting depth data or have formulated the estimation in 3D space disregarding the semi-rigidity of real scenes. We demonstrate that scene flow can be robustly and accurately computed in the image domain by solving for 3D motions consistent with color and depth, encouraging an adjustable combination between local and piecewise rigidity. Additionally, we show that solving for the 3D motion field can be seen as a specific case of a more general estimation problem of a 6D field of rigid motions. Accordingly, we formulate scene flow estimation as the search of an optimal field of twist motions achieving state-of-the-art results.STAR