Esta pesquisa tem como objetivo a reunião de crônicas do historiador e crítico da literatura José Brito Broca (1903-1961), divulgadas entre 1921 e 1931, em periódicos de Guaratinguetá, no Rio de Janeiro e São Paulo. A documentação pertence à Coleção Brito Broca, no Centro de Documentação Cultural Alexandre Eulálio, no Instituto de Estudos da Linguagem da Unicamp. A dissertação ressalta três vertentes temáticas da produção inicial do jornalista: o memorialismo, a ficção e os aforismos. / This research is related to the gathering of chronicles by the historian and literature critic José Brito Broca (1903-1961) publicized between 1921 and 1931 in periodicals of Guaratinguetá, Rio de Janeiro and São Paulo. The documentation belongs to Brito Broca Collection, Cultural Documentation Center Alexandre Eulálio at Institute of Language Studies, Unicamp. The dissertation emphasizes three discussed thematics from the initial production of the jornalist: memorials, fiction and propositions (thoughts).

Esta pesquisa se dedica à investigação dos modos de invenção em arte que utilizam como base da sua construção a materialidade técnica e tecnológica. Partimos de uma pesquisa-ação, que teve como objetivo principal o desenvolvimento de metodologias possíveis para a inserção de conteúdos relacionados à cena intermedial na formação de docentes de teatro. Sistematizamos um estudo de caso alicerçado em duas produções artísticas contemporâneas: Shary Boyle e Collectif Lebovitz. Nos aproximamos de seus processos criativos com o maquínico, destacando em seus modos de agir a elaboração de uma mentalidade técnica associada ao conhecimento das etapas de concretização dos aparelhos, ciclos de invenção e modulações criativas pertinentes aos processos em grupo. Em paralelo empreendemos cursos de extensão voltados para alunos das Licenciaturas em Teatro das universidades UFMA e UFRGS, com o intuito de experimentarmos modos de encenar e apreciar a cena intermedial, partindo de uma perspectiva ética/ estética, deslocando-nos da primazia humanista ou tecnicista para uma uma ênfase sobre a correlação dos processos de individuação entre homem e máquina. A referida mudança de perspectiva, no contexto desta investigação, gerou a construção da disciplina Laboratório de Arte, Tecnologia e Educação, componente curricular obrigatório do Curso de Licenciatura em Teatro da UFMA, que pretende atuar como rearticulador de uma mentalidade técnica, voltada para o ensino e apreciação da Cena Intermedial nos contextos formativos das Licenciaturas em Teatro no Brasil. / This research is dedicated to investigates ways of the invention in art; that uses as a basis for this construction, the technical and technological materiality. We start from an action research, which aimed to develop possible methodologies for the inclusion of content related to the intermedial scene, in the formation of drama teachers. We systematized a study of case, starting from two contemporary art productions: Shary Boyle and Colecttif Lebovitz. We approached from their creative processes with the machinic, highlighting in his ways, the development of a technical mentality associated with knowledge of the stages of concretization of the device, invention cycles, and relevant creative modulations to processes in a group. In parallel, we organized extension courses for Undergraduate Drama Teachers of UFMA and UFRGS universities, to experience ways to stage and appreciate the intermedial scene, starting from an ethical/aesthetic perspective, shifting the humanist or technicalities primacy, for a correlation to the individuation process between man and machine. That change of perspective, in the context of this investigation, led to the construction of the discipline Laboratory of Art, Technology and Education. This compulsory curricular component in the UFMA degree in theater acts as an articulator of technical mentality, focused on teaching and appreciation of Intermedial scene in the formative context of undergraduate drama teachers in Brazil.

The psychological profiling is regarded as one of the promising method of criminalistics employed for solving crimes. The object of my dissertation is to clarify the role of the criminalistic method of psychological profiling within the process of investigating crime, its significance and possibilities for the application. The dissertation consists of three main parts which are subsequently divided into chapters and subchapters. Particular chapters and subchapters of the dissertation deal with various points of view on the methods of psychological profiling of the offender. The introduction is followed by a part of my dissertation which deals with particular elementary aspects of the method of psychological profiling. This part is divided into seven chapters. The first chapter familiarizes the reader with the notion of psychological profiling and its substance. The second chapter describes within its two subchapters the historical development of the method abroad and in the Czech Republic. The third chapter specifies the types of crimes which are eligible for the profiling. The fourth chapter is focused on the possibilities of employing the services of psychologists for investigating crimes. This chapter consists of three subchapters which characterizethe consultancy, the psychological judicial...

Literature Review: Expertise, decision making and situation awareness literature have allowed a better understanding of practitioner performance in Engineering, Healthcare and Sport. Discourse is thin in the domain of Crime Scene Examination, although Hierarchical Tasks Analysis, Distributed Cognition, Team Working and Perception have all received attention in recent years. The use of camera technology to uncover performance has also found footing in diverse professions, notably Firefighting and Social Work. Crime Scene Investigator practice is proposed as being a fertile area of study, to make apparent aspects of the work that are tacit, as well as to ascertain if performance metrics in the sector connect with the tacit knowledge expressed in the role. Methodology: This study explored the differences in searching strategies between expert and novice Crime Scene Examiners (n=12) in a simulated environment, before discussing a longitudinal ethnographic examination of how Volume Crime Scene Investigators (n=4) make sense of their practice. Eye-tracker and head-mounted camera technology was used to capture performance from an own point of view perceptive. Nvivo 9 was utilised to collate and code video data, field notes and interview transcriptions. Results & Discussion: Results from verbal protocol analysis and eye-tracker recordings indicate that expert examiners target fewer objects within the crime scene space however spend longer on the objects being viewed. Field study results report that Volume Crime Scene Investigators engage in sharing tacit knowledge, this impacted on their strategies or perception of obtaining forensic evidence. In addition the analysis of coded data from video and verbal protocol reports found that specific physical aspects of examination practice such as fingerprint powdering were aligned to decision making or analysis processes. For example, commenting on the morphology of the surface being examined. Furthermore examiners engaged in and highlighted aspects of their role they felt were important but were not captured in any metrics. Conclusion: It is proposed this new understanding will be of use to those in developing crime scene investigation practitioners as well as presenting related literature on how expertise in the domain can be recognised, elicited and developed in others. This work also sheds light on the value of sector standards for this field along with what is needed to make them more user- friendly for the developing practitioner.

A geração de ambientes virtuais de áreas urbanas ou cenas naturais coloca um grande número de problemas no âmbito da Computação Gráfica, dado que a quantidade de informação necessária para a criação de modelos realistas é dependente da dimensão e complexidade da área a modelar. A construção de um grande número de modelos de objetos naturais de forma detalhada é extremamente trabalhosa. Enquanto os modelos de estruturas artificiais, tais como máquinas ou edifícios podem ser obtidos a partir de fontes CAD, o mesmo não ocorre as plantas e outros fenômenos naturais. Embora muitos ambientes virtuais sejam criados por modelagem manual e individual de cada um dos seus componentes, os processos automáticos e semi-automáticos de reconstrução de ambientes naturais 3D provaram que podem ser muito mais eficientes, reduzindo a duração, o custo e a alocação de recursos humanos. A integração entre diferentes tecnologias e ferramentas que possibilitem a identificação de elementos em um cenário agrícola, modelagem de objetos 3D e a posterior apresentação e utilização do ambiente virtual em um sistema do tipo CAVE não é uma tarefa trivial. Dessa forma, o objetivo desta pesquisa é desenvolver uma metodologia de montagem automática de ambientes virtuais agrícolas baseada na extração de objetos de cenas naturais reais a partir de imagens de vídeo para utilização no sistema de multiprojeção imersivo do Laboratório Multiusuário de Visualização 3D Imersiva de São Carlos (LMVI). A partir de um modelo de dados 3D projetado em um sistema que oferece um alto grau de imersão e interação como o LMVI, pode-se fazer comparações com outros modelos de dados ou com o mesmo modelo em épocas diferentes. Através da comparação entre modelos é possível identificar alterações que ocorreram no ambiente ao longo do tempo (tanto naturais como causadas pelo homem) auxiliando na tomada de decisão em processos agrícolas. / The generation of virtual environments for urban or natural scenes poses a number of problems within the Computer Graphics, since the amount of information needed to create realistic models is dependent on the size and complexity of the area to be modeled.The construction of a large number of natural object models in detail is extremely laborious. While the models of artificial structures, such as machines or buildings can be obtained from CAD sources, the same is not true plants and other natural phenomena. Although many virtual environments are created by individual and manual modeling of each of their components, the processes of automatic and semi-automatic 3D reconstruction of natural environments have proved to be much more efficient, reducing duration, cost and allocation of human resources.The integration between different technologies and tools that enable the identication of elements in an agricultural setting, modeling of 3D objects and the subsequent presentation and use of virtual environment in a CAVE-like system is not a trivial task. Thus, the objective of this research is to develop a methodology for automatic mounting of agricultural virtual environments based on the extraction of objects of natural scenes from real video images for use in the immersive multiprojection system of the Multiuser Laboratory of 3D Immersive Visualization of Sao Carlos (MLIV). From a 3d data model projected in a system that offers a high degree of immersion and interaction as MLIV, one can make comparisons with other data models or with the same model at different periods. Through the comparison between models is possible to identify changes that occurred in the environment over time (both natural and manmade) assisting the decision making in agricultural processes.

Analiso a constituição e o desenvolvimento das cenas do \"rock paulista\" e do \"rock carioca\" na década de 1980, no intento de compreender quais relações foram estabelecidas com suas metrópoles de origem, com os influxos estrangeiros e com a forte tradição da música popular brasileira construída entre os anos de 1930 e 1970. Objetivo também entender que ideia de \"rock brasileiro\" consagrou-se ao final do período, quais elementos foram incluídos e excluídos desta categoria. Assim, desvendam-se como as dinâmicas social, cultural e econômica de cada cidade imprimiram uma dicção própria às cenas; sonoridades e narrativas foram elaboradas e tensionadas com o contexto local, rendendo perspectivas e linguagens artísticas distintas. Com a inserção dos grupos na indústria fonográfica, concentrada no Rio de Janeiro, as linguagens artísticas desenvolvidas em cada cena não desapareceram, ao contrário, eles foram alçados em meio às disputas simbólicas entre os músicos, críticos e produtores musicais acerca do que seria produzir \"rock brasileiro\". / I analyze the formation and development of the scenes of the \"paulista rock\" and \"carioca rock\" in the 1980s, in an attempt to understand what relations were established with their home cities, with foreign inflows and the strong tradition of popular music Brazilian built between 1930 and 1970. I aim also understand that the idea of \"Brazilian rock\" was consecrated in the end of the period, which elements were included and excluded from this category. Thus is revealed as the social, cultural and economic dynamics of each city printed its own diction to the scenes; sonorities and narratives were created and tensioned with the local context, rendering perspectives and different artistic languages. With the inclusion of groups in the music industry, concentrated in Rio de Janeiro, the artistic languages developed in each scene did not disappear, on the contrary, they reached in the midst of symbolic disputes among musicians, critics and music producers about what would a \"Brazilian rock\".

Esta pesquisa nasce na vontade de sistematizar uma experiência com o jogo teatral e suas variações, em função da prática teatral no trabalho de formação de atores iniciantes. O percurso se dá no encontro da necessidade de explorar o processo de criação e a apropriação do texto dramático em seu primeiro contato com a obra. Proponho articular os instrumentos de condução do trabalho a partir do foco na \"espontaneidade\" como potência para a mobilização do instante da criação cênica. No universo do lúdico, investiguei o sentido e a veracidade da potência do jogo teatral no processo de criação e na relação outra do ator com o texto dramático, analisando as possibilidades positivas e negativas da experiência vivida. Assim, monta-se uma prática reflexiva que mantém ativo o impulso advindo da efemeridade da espontaneidade, a força da imaginação e como tudo se relaciona no processo de criação do ator iniciante. / This search is born from the need of a development action by the drama scene at the beginners performers shaping. There is an indispensable link between the creation process improvement and the drama topic preparation at the prime rehearsal. However, in my point of view, it is important to manage direction ways of the labor by the individual natural gifts to act powerfully at the play. Inside the playful universe I found out the real sense of this theater power reconnaissance at the creation process and the characters link with the drama topic. The real experience showed me results with advantages and disadvantages. From now on, I create an analysis habit to encourage an action belonging to the natural ephemerality, the creativity and how everything is attached to the beginner performer creation process.

The information age has brought with it a dual problem. In the first place, the ready access to mechanisms to capture and store vast amounts of data in all forms (text, audio, image and video), has resulted in a continued demand for ever more efficient means to store and transmit this data. In the second, the rapidly increasing store demands effective means to structure and access the data in an efficient and meaningful manner. In terms of audio data, the first challenge has traditionally been the realm of audio compression research that has focused on statistical, unstructured audio representations that obfuscate the inherent structure and semantic content of the underlying data. This has only served to further complicate the resolution of the second challenge resulting in access mechanisms that are either impractical to implement, too inflexible for general application or too low level for the average user. Thus, an artificial dichotomy has been created from what is in essence a dual problem. The founding motivation of this thesis is that, although the hypermedia model has been identified as the ideal, cognitively justified method for organising data, existing audio data representations and coding models provide little, if any, support for, or resemblance to, this model. It is the contention of the author that any successful attempt to create hyperaudio must resolve this schism, addressing both storage and information management issues simultaneously. In order to achieve this aim, an audio representation must be designed that provides compact data storage while, at the same time, revealing the inherent structure of the underlying data. Thus it is the aim of this thesis to present a representation designed with these factors in mind. Perhaps the most difficult hurdle in the way of achieving the aims of content-based audio coding and information management is that of auditory source separation. The MPEG committee has noted this requirement during the development of its MPEG-7 standard, however, the mechanics of "how" to achieve auditory source separation were left as an open research question. This same committee proposed that MPEG-7 would "support descriptors that can act as handles referring directly to the data, to allow manipulation of the multimedia material." While meta-data tags are a part solution to this problem, these cannot allow manipulation of audio material down to the level of individual sources when several simultaneous sources exist in a recording. In order to achieve this aim, the data themselves must be encoded in such a manner that allows these descriptors to be formed. Thus, content-based coding is obviously required. In the case of audio, this is impossible to achieve without effecting auditory source separation. Auditory source separation is the concern of computational auditory scene analysis (CASA). However, the findings of CASA research have traditionally been restricted to a limited domain. To date, the only real application of CASA research to what could loosely be classified as information management has been in the area of signal enhancement for automatic speech recognition systems. In these systems, a CASA front end serves as a means of separating the target speech from the background "noise". As such, the design of a CASA-based approach, as presented in this thesis, to one of the most significant challenges facing audio information management research represents a significant contribution to the field of information management. Thus, this thesis unifies research from three distinct fields in an attempt to resolve some specific and general challenges faced by all three. It describes an audio representation that is based on a sinusoidal model from which low-level auditory primitive elements are extracted. The use of a sinusoidal representation is somewhat contentious with the modern trend in CASA research tending toward more complex approaches in order to resolve issues relating to co-incident partials. However, the choice of a sinusoidal representation has been validated by the demonstration of a method to resolve many of these issues. The majority of the thesis contributes several algorithms to organise the low-level primitives into low-level auditory objects that may form the basis of nodes or link anchor points in a hyperaudio structure. Finally, preliminary investigations in the representation’s suitability for coding and information management tasks are outlined as directions for future research.

Cette recherche questionne les mécanismes scénographiques de l'Architecture émotionnelle au niveau de leur conception (ambiantale, spatio-temporelle) et de leur perception (érosion, métamorphoses). Concentrée sur sept oeuvres mexicaines de Luis Barragan (entre 1940 et 1980), elle interroge la pertinence d'un héritage des principes de composition et du processus de conception de l'Architecture émotionnelle pour un projet contemporain alternatif. L'hypothèse générale est que pour travailler sur les émotions du visiteur, l'Architecture émotionnelle s'assure de sa participation consciente et inconsciente, le transforme en acteur en anticipant (provoquant) ses mouvements et lui offre un territoire de liberté. Deux questions se posent alors : 1) quelles sont les modalités spatiales de l'implication sensible du visiteur ? 2) dans quelle mesure le scénario processionnel imaginé par Barragan fonctionne-t-il toujours aujourd'hui et pourquoi ? Les résultats de la recherche sont triples. Au niveau théorique, ils contribuent d'une part à la connaissance de l'œuvre de Luis Barragan et d'autre part à la problématique de la conception et de la perception des ambiances. Au niveau pratique, ils révèlent des principes de composition scénographique et établissent une typologie d'ambiants qui constitueront une aide à la conception afin de mieux intégrer l'homme dans sa dimension sensible dans un projet futur alternatif.

<p>Ireland has long been famous for its rich traditional music. Yet the recent global success of Irish pop, rock and traditional music has transformed the Irish music scene into a world centre attracting musicians, tourists, fans and the music industry from both Ireland and abroad. This ethnographic study of young musicians in Dublin and Galway in the late 1990s analyses the Irish music scene in terms of identity, authenticity and transnationality contextualised in contemporary Ireland.</p><p>The study explores the making of Dublin and Galway into central places in the Irish music scene. It identifies musical links between the cities, and how for the young musicians, Dublin has become a 'springboard' and Galway a 'playground'. These cities provide the local arenas where young folk and popular musicians negotiate individual and collective lifestyles, identities and musical genres. By developing the concept of 'musical pathways', the study shows how these mobile musicians constantly interact with different musical sounds and scenes.</p><p>The idea that Irishness has to emanate from traditional music is challenged by a diversity of musical genres and pathways of the musicians. Some musicians embrace a certain construction of Irishness while others reject it, but they are all involved in this process in one way or another. Contrary to older generations of traditional musicians, a global awareness is more important among the young musicians than a 'restricted' view of Irishness. As the young musicians are interested in multiple musical ideas and influences, they are often reluctant about a 'narrow nationalism'. They make use of the fact that the musics of the contemporary world are very much interconnected.</p><p>This study discusses transnational processes of the Irish music scene in the late 1990s primarily on local and national levels in Ireland. This reveals how globalisation has contributed to the popularity of Irish music, yet without controlling its pathways completely. In Ireland the past is still in the present.</p>