This thesis is an investigation of the complex processes and relationships between the physical human performer and the technologically manufactured cyber-human counterpart. I acted as both researcher and the physical human performer, deeply engaged in the moment-to-moment creation of events unfolding within a shared virtual reality environment. As the primary instigator and activator of the cyber-human partner, I maintained a balance between the live and technological performance elements, prioritizing the production of content and meaning. By way of using practice as research, this thesis argues that in considering interactions between cyber-human and human performers, it is crucial to move beyond discussions of technology when considering interactions between cyber-humans and human performers to an analysis of emotional content, the powers of poetic imagery, the trust that is developed through sensory perception and the evocation of complex relationships. A theoretical model is constructed to describe the relationship between a cyber-human and a human performer in the five works created specifically for this thesis, which is not substantially different from that between human performers. Technological exploration allows for the observation and analysis of various relationships, furthering an expanded understanding of ‘movement as content’ beyond the electronic connection. Each of the works created for this research used new and innovative technologies, including virtual reality, multiple interactive systems, six generations of wearable computers, motion capture technology, high-end digital lighting projectors, various projection screens, smart electronically charged fabrics, multiple sensory sensitive devices and intelligent sensory charged alternative performance spaces. They were most often collaboratively created in order to augment all aspects of the performance and create the sense of community found in digital live dance performances/events. These works are identified as one continuous line of energy and discovery, each representing a slight variation on the premise that a working, caring, visceral and poetic content occurs beyond the technological tools. Consequently, a shift in the physical human’s psyche overwhelms the act of performance. Scholarship and reflection on the works have been integral to my creative process throughout. The goals of this thesis, the works created and the resulting methodologies are to investigate performance to heighten the multiple ways we experience and interact with the world. This maximizes connection and results in a highly interactive, improvisational, dynamic, non-linear, immediate, accessible, agential, reciprocal, emotional, visceral and transformative experience without boundaries between the virtual and physical for physical humans, cyborgs and cyber-humans alike.

O controle da extrusão apical durante a reintervenção endodôntica é essencial para o sucesso do novo tratamento. Nesse contexto, o presente estudo teve como objetivo comparar a quantidade de material sólido extruído na desobturação de canais radiculares variando-se a técnica de esvaziamento e o limite de obturação. Foram utilizados 40 incisivos inferiores previamente tratados divididos em dois grupos de acordo com o limite de obturação estabelecido. Cada grupo foi subdividido em dois subgrupos levando-se em conta a técnica de desobturação empregada; manual (subgrupos A1 e B1) e mecânico-rotatória com limas de Ni-Ti (Quantec LX) (subgrupos A2 e B2). O material sólido extruído foi coletado por meio do sistema de filtração Millipore, levado à secagem em dessecador de sílica e pesado em balança analítica de precisão. Os resultados obtidos foram submetidos a ANOVA para dois fatores de variação sendo em seguida empregado o Teste de Tukey (&#945; = 5%). A técnica de desobturação mecânico-rotatória produziu menor extrusão (0,66mg) que a manual (1,11mg), havendo diferença estatística significante entre elas (p < 0,05). Os canais preenchidos até o vértice radiográfico apresentaram maior quantidade de extrusão (1,38mg) do que os obturados 1 mm aquém do forame (0,39mg), observando-se diferença estatística significante entre eles (p < 0,05). A menor quantidade extrusão foi observada no subgrupo A2 (0,20mg), em que foi empregada a técnica rotatória de desobturação em canais obturados 1mm aquém do forame apical, sendo constatada diferença estatisticamente significante deste subgrupo com os demais (p < 0,05). A extrusão de material sólido durante a desobturação de canais radiculares é influenciado pela técnica empregada e pelo limite apical de obturação. / The apical extrusion control during the endodontic retreatment is essential for the success of the new treatment. The purpose of this study was to compare the quantity of solid apically extruded material during filling removal according the gutta-percha removal technique and root filling limit. Forty mandibular incisors with a single straight canal were selected. The canals were previously endodontically treated and then divided into two groups according the filling level. Each group was subdivided in two groups considering the retreatment technique: stainless steel hand files (subgroups A1 and B1) versus niquel-titanium rotatory instruments (subgroups A2 and B2). The extruded solid material was collected by Millipore filtration system, dried in silica desiccators and weighed in an eletrobalance. The results were analyzed using ANOVA with two variation factors and Tukey Test (&#945; = 5%). The niquel-titanium rotatory instruments produced less extrusion (0,66mg) than the stainless steel hand files (1,11mg), with significant statistical difference between them (p < 0,05). The canals filled until the radiographic apex showed larger amount of extruded material (1,38mg) than those filled 1 mm beyond the foramen (0,39mg). It was observed significant statistical difference between them (p < 0,05). The smaller extruded debris amount was observed in subgroup A2 (0,20mg), in which one the rotary technique was used to remove the gutta-percha of canals filled 1mm beyond the apical foramen. It was verified significant statistical difference of this subgroup with the other ones (p < 0,05). The extrusion of solid material during the gutta-percha removal is influenced by the technique as well as the apical filling limit.

Submitted by admin tede (tede@pucgoias.edu.br) on 2016-12-12T17:45:59Z No. of bitstreams: 1 IVONETE FERREIRA DA COSTA.pdf: 1144206 bytes, checksum: 112aea88b52fbaed3f56007447beaf47 (MD5) / Made available in DSpace on 2016-12-12T17:46:00Z (GMT). No. of bitstreams: 1 IVONETE FERREIRA DA COSTA.pdf: 1144206 bytes, checksum: 112aea88b52fbaed3f56007447beaf47 (MD5) Previous issue date: 2016-03-23 / The text brings the analysis of aspects of the literary discourse as the processes of construction of the scenes and the magical universe, in which the narratives of Marina Colasanti are realized, having as it shows the tales of the works Doze reis e a moca no labirinto do vento (2006): "The woman ramada", Uma ideia toda azul (2006): "Beyond the frame", "Between the leaves of green ó" and "Yarn after yarn". The general and specific objectives are to highlight and distinguish the encompassing and generic scenes present in the narratives, to identify the nature of the verbal sign in its relation to the nonverbal sign, and to analyze intertext resources, paratext, among others, as an artistic procedure. The narrative plans are approached, in which the characters are realized mimically, starting from the initial assumption formulated by Dominique Maingueneau. Non-verbal language is an invitation to read verbal language and vice versa. Both are associated with the signs that are constructed through the textual writing: loom and fabric. They can be seen now either explicitly or implicitly, and put in the service of a power that is realized by the act of reading. Thus, in the narrative text, there are traces of a speech in which the text is staged. / O texto traz a análise de aspectos do discurso literário como os processos de construção das cenas e o universo mágico, em que se realizam as narrativas de Marina Colasanti, tendo como mostra os contos das obras Doze reis e a moca no labirinto do vento (2006): “A mulher ramada”, Uma ideia toda azul (2006): “Além do bastidor”, “Entre as folhas do verde ó” e “Fio após fio”. Os objetivos geral e específicos são destacar e distinguir as cenas englobante e genérica presentes nas narrativas, identificar a natureza do signo verbal na sua relação com o signo não verbal e analisar recursos de intertexto, paratexto, entre outros, como procedimento artístico. Abordam-se os planos narrativos, nos quais se dá a realização dos personagens mimeticamente, partindo do pressuposto inicial formulado por Dominique Maingueneau. A linguagem não verbal é um convite à leitura da linguagem verbal e vice-versa. Ambas se associam aos signos que se constroem por meio da escritura textual: tear e tecido. Elas podem ser vistas ora de modo explícito, ora implícito, e se colocam a serviço de um poder que se realiza pelo ato de leitura. Assim, no texto narrativo, há rastros de um discurso em que o texto é encenado.