Os Mbyá-Guarani são um subgrupo indígena de fala Guarani, pertencente à família lingüística Tupi-Guarani. Estima-se que cerca de 5.000 pessoas da etnia Mbyá vivam entre o Sul e o Sudeste brasileiro. As crianças indígenas Mbyá-Guarani e as performances musicais e lúdicas que as envolvem cotidianamente são o tema central desta tese desenvolvida a partir de uma etnografia norteada pela Etnomusicologia, em uma aldeia Mbyá-Guarani, no estado do Rio Grande do Sul, Brasil. Neste estudo reflito sobre o protagonismo das crianças Mbyá como agentes sociais co-responsáveis pela construção do modo de ser Mbyá-Guarani e problematizo o estudo da música nos moldes ocidentais, no sentido de descrever etnograficamente categorias êmicas Mbyá relacionadas ao âmbito sonoro, cuja centralidade na sociocosmologia Mbyá indico pelo termo "cosmo-sônico". A partir da análise músico-performática, textual e músicoestrutural de três âmbitos de performance musical de que as crianças participam - as apresentações dos mboraí (cantos sagrados) pelos grupos de cantos e danças tradicionais Guarani, as gravações dos mboraí em diversos CDs e as performances cotidianas dos kyringüé mboraí (cantos das crianças) -, apresento os significados que os Mbyá compartilham e negociam sobre estas performances, sobre ser criança e sobre sua musicalidade. A análise destes cenários indica seu vínculo a uma outra esfera performático-musical, às rezas xamânicas, assim como aos processos de construção da pessoa, da etnia e do território. Interpretei que a agentividade (agency) entre as kyringüé se expressa, por um lado, no âmbito ontológico. A concepção de uma criança é vista como um sinal de satisfação das divindades na relação com os humanos e ao mesmo tempo propulsora desta relação; os adultos, ao se tornarem mais alegres e sábios no convívio com as crianças, ganham força para criar cantos e cantar, no caminho de se tornarem mais próximos às divindades. Por outro, no âmbito da cosmo-sônica Mbyá, a performance cantada das crianças, variavelmente conforme o âmbito de performance musical em que se realiza, desencadeia emoções nos humanos, colaborando na constituição de caminhos de comunicação destes com as divindades e na perpetuação da vida na Terra; media a relação dos Mbyá com os não-indígenas; faz circular capacidades e notícias entre os Mbyá de diferentes aldeias; ou ainda media as relações afetivas, de cuidado e de diálogo das kyringüé entre si e com seus afins adultos. / The Mbyá-Guarani are an indigenous subgroup of Guarani speech that belongs to the Tupi-Guarani linguistic family. It is estimated that nearly 5.000 people of the Mbyá ethnical group live between the South and South-east Brazil. The Mbyá-Guarani indigenous children and the music and play performances that involve them in their daily life are the central theme of this work, developed from one oriented by a ethnomusicological ethnography, in a Mbyá-Guarani village, in the state of Rio Grande do Sul, Brazil. In this study I reflect about the role of Mbyá children as social agents, co-responsible for the construction of the way of being Mbyá-Guarani, and I consider the problem of the study of the music in the western ways, in the sense of to describe ethnographically emics Mbyá categories related to the sound ambit, which centrality in the Mbyá socio-cosmology I refer by the term "cosmo-sonic". Beginning from performing-musical, textual and structural-musical analysis of three ambits of music performance in which participate the children - presentations of the mboraí (sacred songs) by the Guarani groups of traditional songs and dances, the records in CD of mboraí, and the daily performances of kyringüé mboraí (children's songs), I present the meaning that the Mbyá share and negotiate about these performances, about being a child and about their musicality. The analysis of these settings points to their vinculum to another performing-musical context, of the shamanic prayers, so as to the construction of the person, the ethnical group and the territory. I interpreted that the agency between the kyringüé expresses itself, by one side, in the ontological domain. The conception of a child is seen as a sign of satisfaction of the divinities in face of the human beings and, at the same time, as stimulating to this relationship; so that the adults, becoming more happy and wise in the life sharing with the children, gain force to create songs and to sing, in the way to become more close to the divinities. On the other side, in the ambit of Mbyá cosmo-sonic, the singing performance of children, variously, in accord of the domain of musical performance in which it happens, it provokes emotions in the humans, collaborating to the constitution of ways of communication between humans and divinities and to the perpetuation of life on Earth; makes the mediation between the Mbyá with the not-indigenous people; makes circulate capacities and news between the Mbyá of different villages; or still mediates de affective relations, the care, and the dialog of the children to each other and to the related adults.

The purpose of this research is to understand the senses of the sound practice called “música propia” (own music) in the ontology of Misak amerindian collective, that inhabits the southwest of Colombia, through an ethnography. The central concerns were triggered during a dialogic relationship in a participant observation that was modulated by the visual and auditory perceptions. These are the main two points: what do the Misaks call “música propia”, and what do they mean with the frequent claim that “música propia” differs from the "chirimía". The latter consists of a type of musical ensemble that has been associated with festive and catholic practices which manifests itself in different variations, common near the Misak territory and in other regions of the country. The sonority of the “música propia” comes from the mixing of two flutes timbres and two or more drums, whose sounds refer to the presence of non-human alterities performed in public and ritualized events within what Misaks call the “Ciclo de Vida” (Life Cycle). Drawing from performance studies, and on the discussion of epistemologies of sound in ethnomusicology and anthropology of music (Seeger, Feld, Bastos), I propose that the idea of cosmo-sonic (Stein) is a possibility to understand the música propia. Sonoro-performatic categories, socio-cosmological conceptions and the ideal principles of being Misak are all articulated within the Misak’s cosmo-sonic. In this sense, the Misak cosmo-sonic is a sonic ontology that enters cosmopolitical scene when disputing with other worlds its existence. One of these worlds is in the process of patrimonialization of the type of ensemble of “chirimía caucana” that is underway and intendes to include in it the música propia. Here I interpret this attempt of patrimonialization as a state’s mechanism of simplification supported by global policies that tries to incorporate the música propia within a standardized logics. It is a hegemonic form of the ontology of modernity that is not detached from the coloniality of power, and which is revealed in the effects of the interactions of subjects. Faced with this process, some Misak musicians have reacted and, based on the field of cosmopolitics, these reactions are taken in here as an indicator of an ontological conflict. / El objetivo de esta investigación es, mediante una etnografía, comprender los sentidos de la práctica sonora de la “música propia” en la ontología del colectivo amerindio misak, que habita en el sudoeste de Colombia. Las inquietudes centrales fueron provocadas durante la relación dialógica en la observación participante, modulada por lo visual y lo auditivo, concretándose en las dos siguientes: qué es lo que los misak llaman música propia y a qué se refiere el frecuente esclarecimiento de que la música propia se diferencia de la “chirimía”. Esta última consiste en un tipo de conjunto musical que ha estado relacionado con prácticas festivas y católicas, y que se manifiesta en diferentes variaciones, comunes en las proximidades del territorio misak y en otras regiones del país. La sonoridad de la música propia surge del trenzado tímbrico de dos flautas y dos o más tambores, cuyos sonidos remiten a la presencia de alteridades no humanas performadas en eventos públicos y ritualizados dentro de lo que los misak llaman el Ciclo de Vida. Basado en los estudios de performance, y en la discusión sobre epistemologías sonoras en la etnomusicología y en la antropología de la música (Seeger, Feld, Bastos) planteo que la idea de cosmosónica (Stein) es una posibilidad de entender la música propia. En la cosmosónica misak se articulan categorías sonoro-performáticas, las concepciones sociocosmológicas y los principios ideales del ser misak. En este sentido, la cosmosónica misak es una ontología sonora que entra en escena cosmopolítica (De la Cadena, Blaser) al disputar con otros mundos su existencia. Uno de estos mundos es el proceso de patrimonialización del conjunto de chirimía caucana que está en curso y pretende incluir en él a la música propia. Aquí interpreto esta tentativa de patrimonialización como un mecanismo de simplificación del estado apoyado en políticas globales, que intenta incorporar a la música propia dentro de unas lógicas estandarizadas. Se trata de una forma hegemónica de la ontología de la modernidad que no se desliga de la colonialidad del poder, y que se revela en los efectos de las interacciones de los sujetos. Frente a este proceso, las reacciones por parte de algunos músicos misak se revelan en el campo de la cosmopolítica como un conflicto ontológico.

Os Mbyá-Guarani são um subgrupo indígena de fala Guarani, pertencente à família lingüística Tupi-Guarani. Estima-se que cerca de 5.000 pessoas da etnia Mbyá vivam entre o Sul e o Sudeste brasileiro. As crianças indígenas Mbyá-Guarani e as performances musicais e lúdicas que as envolvem cotidianamente são o tema central desta tese desenvolvida a partir de uma etnografia norteada pela Etnomusicologia, em uma aldeia Mbyá-Guarani, no estado do Rio Grande do Sul, Brasil. Neste estudo reflito sobre o protagonismo das crianças Mbyá como agentes sociais co-responsáveis pela construção do modo de ser Mbyá-Guarani e problematizo o estudo da música nos moldes ocidentais, no sentido de descrever etnograficamente categorias êmicas Mbyá relacionadas ao âmbito sonoro, cuja centralidade na sociocosmologia Mbyá indico pelo termo "cosmo-sônico". A partir da análise músico-performática, textual e músicoestrutural de três âmbitos de performance musical de que as crianças participam - as apresentações dos mboraí (cantos sagrados) pelos grupos de cantos e danças tradicionais Guarani, as gravações dos mboraí em diversos CDs e as performances cotidianas dos kyringüé mboraí (cantos das crianças) -, apresento os significados que os Mbyá compartilham e negociam sobre estas performances, sobre ser criança e sobre sua musicalidade. A análise destes cenários indica seu vínculo a uma outra esfera performático-musical, às rezas xamânicas, assim como aos processos de construção da pessoa, da etnia e do território. Interpretei que a agentividade (agency) entre as kyringüé se expressa, por um lado, no âmbito ontológico. A concepção de uma criança é vista como um sinal de satisfação das divindades na relação com os humanos e ao mesmo tempo propulsora desta relação; os adultos, ao se tornarem mais alegres e sábios no convívio com as crianças, ganham força para criar cantos e cantar, no caminho de se tornarem mais próximos às divindades. Por outro, no âmbito da cosmo-sônica Mbyá, a performance cantada das crianças, variavelmente conforme o âmbito de performance musical em que se realiza, desencadeia emoções nos humanos, colaborando na constituição de caminhos de comunicação destes com as divindades e na perpetuação da vida na Terra; media a relação dos Mbyá com os não-indígenas; faz circular capacidades e notícias entre os Mbyá de diferentes aldeias; ou ainda media as relações afetivas, de cuidado e de diálogo das kyringüé entre si e com seus afins adultos. / The Mbyá-Guarani are an indigenous subgroup of Guarani speech that belongs to the Tupi-Guarani linguistic family. It is estimated that nearly 5.000 people of the Mbyá ethnical group live between the South and South-east Brazil. The Mbyá-Guarani indigenous children and the music and play performances that involve them in their daily life are the central theme of this work, developed from one oriented by a ethnomusicological ethnography, in a Mbyá-Guarani village, in the state of Rio Grande do Sul, Brazil. In this study I reflect about the role of Mbyá children as social agents, co-responsible for the construction of the way of being Mbyá-Guarani, and I consider the problem of the study of the music in the western ways, in the sense of to describe ethnographically emics Mbyá categories related to the sound ambit, which centrality in the Mbyá socio-cosmology I refer by the term "cosmo-sonic". Beginning from performing-musical, textual and structural-musical analysis of three ambits of music performance in which participate the children - presentations of the mboraí (sacred songs) by the Guarani groups of traditional songs and dances, the records in CD of mboraí, and the daily performances of kyringüé mboraí (children's songs), I present the meaning that the Mbyá share and negotiate about these performances, about being a child and about their musicality. The analysis of these settings points to their vinculum to another performing-musical context, of the shamanic prayers, so as to the construction of the person, the ethnical group and the territory. I interpreted that the agency between the kyringüé expresses itself, by one side, in the ontological domain. The conception of a child is seen as a sign of satisfaction of the divinities in face of the human beings and, at the same time, as stimulating to this relationship; so that the adults, becoming more happy and wise in the life sharing with the children, gain force to create songs and to sing, in the way to become more close to the divinities. On the other side, in the ambit of Mbyá cosmo-sonic, the singing performance of children, variously, in accord of the domain of musical performance in which it happens, it provokes emotions in the humans, collaborating to the constitution of ways of communication between humans and divinities and to the perpetuation of life on Earth; makes the mediation between the Mbyá with the not-indigenous people; makes circulate capacities and news between the Mbyá of different villages; or still mediates de affective relations, the care, and the dialog of the children to each other and to the related adults.

The purpose of this research is to understand the senses of the sound practice called “música propia” (own music) in the ontology of Misak amerindian collective, that inhabits the southwest of Colombia, through an ethnography. The central concerns were triggered during a dialogic relationship in a participant observation that was modulated by the visual and auditory perceptions. These are the main two points: what do the Misaks call “música propia”, and what do they mean with the frequent claim that “música propia” differs from the "chirimía". The latter consists of a type of musical ensemble that has been associated with festive and catholic practices which manifests itself in different variations, common near the Misak territory and in other regions of the country. The sonority of the “música propia” comes from the mixing of two flutes timbres and two or more drums, whose sounds refer to the presence of non-human alterities performed in public and ritualized events within what Misaks call the “Ciclo de Vida” (Life Cycle). Drawing from performance studies, and on the discussion of epistemologies of sound in ethnomusicology and anthropology of music (Seeger, Feld, Bastos), I propose that the idea of cosmo-sonic (Stein) is a possibility to understand the música propia. Sonoro-performatic categories, socio-cosmological conceptions and the ideal principles of being Misak are all articulated within the Misak’s cosmo-sonic. In this sense, the Misak cosmo-sonic is a sonic ontology that enters cosmopolitical scene when disputing with other worlds its existence. One of these worlds is in the process of patrimonialization of the type of ensemble of “chirimía caucana” that is underway and intendes to include in it the música propia. Here I interpret this attempt of patrimonialization as a state’s mechanism of simplification supported by global policies that tries to incorporate the música propia within a standardized logics. It is a hegemonic form of the ontology of modernity that is not detached from the coloniality of power, and which is revealed in the effects of the interactions of subjects. Faced with this process, some Misak musicians have reacted and, based on the field of cosmopolitics, these reactions are taken in here as an indicator of an ontological conflict. / El objetivo de esta investigación es, mediante una etnografía, comprender los sentidos de la práctica sonora de la “música propia” en la ontología del colectivo amerindio misak, que habita en el sudoeste de Colombia. Las inquietudes centrales fueron provocadas durante la relación dialógica en la observación participante, modulada por lo visual y lo auditivo, concretándose en las dos siguientes: qué es lo que los misak llaman música propia y a qué se refiere el frecuente esclarecimiento de que la música propia se diferencia de la “chirimía”. Esta última consiste en un tipo de conjunto musical que ha estado relacionado con prácticas festivas y católicas, y que se manifiesta en diferentes variaciones, comunes en las proximidades del territorio misak y en otras regiones del país. La sonoridad de la música propia surge del trenzado tímbrico de dos flautas y dos o más tambores, cuyos sonidos remiten a la presencia de alteridades no humanas performadas en eventos públicos y ritualizados dentro de lo que los misak llaman el Ciclo de Vida. Basado en los estudios de performance, y en la discusión sobre epistemologías sonoras en la etnomusicología y en la antropología de la música (Seeger, Feld, Bastos) planteo que la idea de cosmosónica (Stein) es una posibilidad de entender la música propia. En la cosmosónica misak se articulan categorías sonoro-performáticas, las concepciones sociocosmológicas y los principios ideales del ser misak. En este sentido, la cosmosónica misak es una ontología sonora que entra en escena cosmopolítica (De la Cadena, Blaser) al disputar con otros mundos su existencia. Uno de estos mundos es el proceso de patrimonialización del conjunto de chirimía caucana que está en curso y pretende incluir en él a la música propia. Aquí interpreto esta tentativa de patrimonialización como un mecanismo de simplificación del estado apoyado en políticas globales, que intenta incorporar a la música propia dentro de unas lógicas estandarizadas. Se trata de una forma hegemónica de la ontología de la modernidad que no se desliga de la colonialidad del poder, y que se revela en los efectos de las interacciones de los sujetos. Frente a este proceso, las reacciones por parte de algunos músicos misak se revelan en el campo de la cosmopolítica como un conflicto ontológico.

Os Mbyá-Guarani são um subgrupo indígena de fala Guarani, pertencente à família lingüística Tupi-Guarani. Estima-se que cerca de 5.000 pessoas da etnia Mbyá vivam entre o Sul e o Sudeste brasileiro. As crianças indígenas Mbyá-Guarani e as performances musicais e lúdicas que as envolvem cotidianamente são o tema central desta tese desenvolvida a partir de uma etnografia norteada pela Etnomusicologia, em uma aldeia Mbyá-Guarani, no estado do Rio Grande do Sul, Brasil. Neste estudo reflito sobre o protagonismo das crianças Mbyá como agentes sociais co-responsáveis pela construção do modo de ser Mbyá-Guarani e problematizo o estudo da música nos moldes ocidentais, no sentido de descrever etnograficamente categorias êmicas Mbyá relacionadas ao âmbito sonoro, cuja centralidade na sociocosmologia Mbyá indico pelo termo "cosmo-sônico". A partir da análise músico-performática, textual e músicoestrutural de três âmbitos de performance musical de que as crianças participam - as apresentações dos mboraí (cantos sagrados) pelos grupos de cantos e danças tradicionais Guarani, as gravações dos mboraí em diversos CDs e as performances cotidianas dos kyringüé mboraí (cantos das crianças) -, apresento os significados que os Mbyá compartilham e negociam sobre estas performances, sobre ser criança e sobre sua musicalidade. A análise destes cenários indica seu vínculo a uma outra esfera performático-musical, às rezas xamânicas, assim como aos processos de construção da pessoa, da etnia e do território. Interpretei que a agentividade (agency) entre as kyringüé se expressa, por um lado, no âmbito ontológico. A concepção de uma criança é vista como um sinal de satisfação das divindades na relação com os humanos e ao mesmo tempo propulsora desta relação; os adultos, ao se tornarem mais alegres e sábios no convívio com as crianças, ganham força para criar cantos e cantar, no caminho de se tornarem mais próximos às divindades. Por outro, no âmbito da cosmo-sônica Mbyá, a performance cantada das crianças, variavelmente conforme o âmbito de performance musical em que se realiza, desencadeia emoções nos humanos, colaborando na constituição de caminhos de comunicação destes com as divindades e na perpetuação da vida na Terra; media a relação dos Mbyá com os não-indígenas; faz circular capacidades e notícias entre os Mbyá de diferentes aldeias; ou ainda media as relações afetivas, de cuidado e de diálogo das kyringüé entre si e com seus afins adultos. / The Mbyá-Guarani are an indigenous subgroup of Guarani speech that belongs to the Tupi-Guarani linguistic family. It is estimated that nearly 5.000 people of the Mbyá ethnical group live between the South and South-east Brazil. The Mbyá-Guarani indigenous children and the music and play performances that involve them in their daily life are the central theme of this work, developed from one oriented by a ethnomusicological ethnography, in a Mbyá-Guarani village, in the state of Rio Grande do Sul, Brazil. In this study I reflect about the role of Mbyá children as social agents, co-responsible for the construction of the way of being Mbyá-Guarani, and I consider the problem of the study of the music in the western ways, in the sense of to describe ethnographically emics Mbyá categories related to the sound ambit, which centrality in the Mbyá socio-cosmology I refer by the term "cosmo-sonic". Beginning from performing-musical, textual and structural-musical analysis of three ambits of music performance in which participate the children - presentations of the mboraí (sacred songs) by the Guarani groups of traditional songs and dances, the records in CD of mboraí, and the daily performances of kyringüé mboraí (children's songs), I present the meaning that the Mbyá share and negotiate about these performances, about being a child and about their musicality. The analysis of these settings points to their vinculum to another performing-musical context, of the shamanic prayers, so as to the construction of the person, the ethnical group and the territory. I interpreted that the agency between the kyringüé expresses itself, by one side, in the ontological domain. The conception of a child is seen as a sign of satisfaction of the divinities in face of the human beings and, at the same time, as stimulating to this relationship; so that the adults, becoming more happy and wise in the life sharing with the children, gain force to create songs and to sing, in the way to become more close to the divinities. On the other side, in the ambit of Mbyá cosmo-sonic, the singing performance of children, variously, in accord of the domain of musical performance in which it happens, it provokes emotions in the humans, collaborating to the constitution of ways of communication between humans and divinities and to the perpetuation of life on Earth; makes the mediation between the Mbyá with the not-indigenous people; makes circulate capacities and news between the Mbyá of different villages; or still mediates de affective relations, the care, and the dialog of the children to each other and to the related adults.

<div>Conventional soybean oil and high-oleic soybean oil offer opportunities as bio-solvents for sweetening sour natural gas, adding value to the soybean oil industry and the natural gas industry. The rise of fracking in the United States and changing economics in the energy industry have increased use of natural gas, which is often rendered sour by high concentrations of hydrogen sulfide (H2S), a toxic and corrosive impurity. The present work evaluates the viability of both conventional and high-oleic soybean oil to act as bio-solvents for removing gaseous H2S. Predictive in silico methods, experimental validation, and economic feasibility analysis are included to draw conclusions regarding the overall capability and feasibility of using soybean oils as bio-solvents for gas sweetening.</div><div><br></div><div>In silico predictive methods for sweetening were implemented to assess the relationship between fatty acid composition in the soybean oils and the ability to effectively partition H2S from methane or nitrogen gases. The Conductor-like Screening Model for Real Solvents (COSMO-RS) was used to predict the partition coefficient (K) of H2S in a bi-phasic liquid-vapor system made up of fatty acids in the liquid phase and methane or nitrogen gas in the vapor phase. The fatty acid mass fractions represented those found in soybean or high-oleic soybean oil. Methane represented gas and nitrogen was considered in order to compare to experimental conditions. This proof of concept work predicted K values for H2S below 0.0005 at temperatures from 10 to 100 °C at atmospheric pressure; K values near zero indicate near-complete removal of H2S from the gas phase.</div><div><br></div><div>Experimental validation included equilibrium extraction experiments as well as data collection for isotherm model development. Experimental equilibrium studies were carried out at residence times ranging from 0 – 60 minutes with mixing at ambient conditions. Experiments resulted in K values below 0.1 for H2S in soybean oil and high-oleic soybean oil at 25 °C with residence times less than 15 minutes and a 2:1 gas to oil ratio. More than 90% of the H2S was removed from the gas phase within 15 minutes. Isotherm models demonstrated the saturation limits of the soybean oils and compared them to saturation limits in water and heptane. </div><div><br></div><div>Economic feasibility experiments used graphical and algebraic methods to determine the number of equilibrium stages needed to remove 99.9% of H2S from feed gas with H2S concentrations ranging from 40 – 400 ppm. A gas flow rate equivalent to industrial levels was used to design an extraction column. Capital costs and operating costs were estimated, along with the revenues to be gained from selling methane and selling recovered elemental sulfur as a secondary product. Solvent regeneration would need to exceed 98% in order to keep the cost of treating a unit of natural gas equal to or less than existing industrial methods. Suggestions for cutting costs and improving process viability are made.</div><div><br></div>

Diese Dissertation beschäftigt sich mit regionaler Klimamodellierung über Südamerika, der Analyse von Modellsensitivitäten bezüglich Wolkenparametrisierungen und der Entwicklung neuer Methoden zur Modellevaluierung mithilfe von Klimanetzwerken. Im ersten Teil untersuchen wir Simulationen mit dem COnsortium for Small scale MOdeling model in CLimate Mode (COSMO-CLM) und stellen die erste umfassende Evaluierung dieses dynamischen regionalen Klimamodells über Südamerika vor. Dabei untersuchen wir insbesondere die Abhängigkeit simulierter tropischer Niederschläge von Parametrisierungen subgitterskaliger cumuliformer und stratiformer Wolken und finden starke Sensitivitäten bezüglich beider Wolkenparametrisierungen über Land. Durch einen simultanen Austausch der entsprechenden Schemata gelingt uns eine beträchtliche Reduzierung von Fehlern in klimatologischen Niederschlags- und Strahlungsmitteln, die das COSMO-CLM über tropischen Regionen für lange Zeit charakterisierten. Im zweiten Teil führen wir neue Metriken für die Evaluierung von Klimamodellen bezüglich räumlicher Kovariabilitäten ein. Im Kern bestehen diese Metriken aus Unähnlichkeitsmaßen für den Vergleich von simulierten mit beobachteten Klimanetzwerken. Wir entwickeln lokale und globale Unähnlichkeitsmaße zum Zwecke der Darstellung lokaler Unähnlichkeiten in Form von Fehlerkarten sowie der Rangordnung von Modellen durch Zusammenfassung lokaler zu globalen Unähnlichkeiten. Die neuen Maße werden dann für eine vergleichende Evaluierung regionaler Klimasimulationen mit COSMO-CLM und dem Statistical Analogue Resampling Scheme über Südamerika verwendet. Dabei vergleichen wir die sich ergebenden Modellrangfolgen mit solchen basierend auf mittleren quadratischen Abweichungen klimatologischer Mittelwerte und Varianzen und untersuchen die Abhängigkeit dieser Rangfolgen von der betrachteten Jahreszeit, Variable, dem verwendeten Referenzdatensatz und Klimanetzwerktyp. / This dissertation is about regional climate modeling over South America, the analysis of model sensitivities to cloud parameterizations, and the development of novel model evaluation techniques based on climate networks. In the first part we examine simulations with the COnsortium for Small scale MOdeling weather prediction model in CLimate Mode (COSMO-CLM) and provide the first thorough evaluation of this dynamical regional climate model over South America. We focus our analysis on the sensitivity of simulated tropical precipitation to the parameterizations of subgrid-scale cumuliform and stratiform clouds. It is shown that COSMO-CLM is strongly sensitive to both cloud parameterizations over tropical land. Using nondefault cumulus and stratus parameterization schemes we are able to considerably reduce long-standing precipitation and radiation biases that have plagued COSMO-CLM across tropical domains. In the second part we introduce new performance metrics for climate model evaluation with respect to spatial covariabilities. In essence, these metrics consist of dissimilarity measures for climate networks constructed from simulations and observations. We develop both local and global dissimilarity measures to facilitate the depiction of local dissimilarities in the form of bias maps as well as the aggregation of those local to global dissimilarities for the purposes of climate model intercomparison and ranking. The new measures are then applied for a comparative evaluation of regional climate simulations with COSMO-CLM and the STatistical Analogue Resampling Scheme (STARS) over South America. We compare model rankings obtained with our new performance metrics to those obtained with conventional root-mean-square errors of climatological mean values and variances, and analyze how these rankings depend on season, variable, reference data set, and climate network type.

In dieser Arbeit wird die Entwicklung eines Gebäudeenergiemodells (BEM) und eines Schemas für die mittlere Strahlungstemperatur ($T_mrt$) vorgestellt, das in das Doppel-Canyon basierte städtische Bestandsschichtsschema (DCEP) integriert ist. Das erweiterte DCEP-BEM Modell zielt darauf ab, eine Verbindung zwischen anthropogener Wärme und dem Stadtklima herzustellen, indem Gebäude in Straßenschluchten einbezogen werden, um die Energieflüsse auf städtischen Oberflächen, die Auswirkungen der anthropogenen Wärme auf die Atmosphäre, die Innenraumlufttemperatur und die Abwärme von Klimaanlagen zu untersuchen. Das DCEP-BEM wird mit dem mesoskaligen Klimamodell COSMO-CLM (COnsortium for Small-scale MOdelling in CLimate Mode, im Folgenden CCLM) gekoppelt und zur Simulation des Winters und Sommers 2018 in Berlin. Die Auswertung der Wintersimulationen zeigt, dass CCLM/DCEP-BEM den mittleren Tagesverlauf der gemessenen turbulenten Wärmeströme gut reproduziert und die simulierte 2-m-Lufttemperatur und den städtischen Wärmeinseleffekt (UHI) verbessert. Im Sommer bildet das CCLM/DCEP-BEM die Innenraumlufttemperatur richtig ab und verbessert die Ergebnisse für die 2-m-Lufttemperatur und die UHI leicht. Außerdem wird das CCLM/DCEP-BEM angewendet, um die Abwärmeemissionen von Klimaanlagen im Sommer zu untersuchen. Die Abwärmeemissionen der Klimaanlagen erhöhen die Lufttemperatur in Oberflächennähe erheblich. Der Anstieg ist in der Nacht und in hochurbanisierten Gebieten stärker ausgeprägt. Es werden zwei Standorte für die AC-Außengeräte betrachtet: entweder an der Wand eines Gebäudes (VerAC) oder auf dem Dach eines Gebäudes (HorAC). Die Auswirkung von HorAC ist im Vergleich zu VerAC insgesamt geringer, was darauf hindeutet, dass HorAC einen kleineren Einfluss auf die oberflächennahe Lufttemperatur und den UHI hat. Ein Schema für $T_mrt$ wird für das CCLM/DCEP-BEM entwickelt und umfassend validiert. Es wird gezeigt, dass dieses Schema eine zuverlässige Darstellung von $T_mrt$ bietet. / This work presents the development of a building energy model (BEM) and a mean radiant temperature ($T_mrt$) scheme integrated in the urban canopy scheme Double Canyon Effect Parametrization (DCEP). The extended DCEP-BEM model aims to establish a link between anthropogenic heat emissions and urban climate by including the interior of buildings in urban street canyons to investigate the energy fluxes on urban surfaces, the effects of anthropogenic heat on the atmosphere, the evolution of indoor air temperature, and waste heat from air conditioning (AC) systems. DCEP-BEM is coupled with the mesoscale climate model COSMO-CLM (COnsortium for Small-scale MOdelling in CLimate Mode, hereafter CCLM) and applied to simulate the winter and summer 2018 of Berlin. The evaluation for winter simulations indicates that CCLM/DCEP-BEM reproduces well the average diurnal characteristics of the measured turbulent heat fluxes and considerably improves the simulated 2-m air temperature and urban heat island (UHI). In summer, CCLM/DCEP-BEM accurately reproduces the indoor air temperature, and slightly improves the performance of the 2-m air temperature and the UHI effect. Furthermore, CCLM/DCEP-BEM is applied to explore the waste heat emissions from AC systems in summer. AC waste heat emissions considerably increase the near-surface sensible heat flux and air temperature. The increase is more pronounced during the night and in highly urbanised areas. Two locations for the AC outdoor units are considered: either on the wall of a building (VerAC) or on the rooftop of a building (HorAC). The effect of HorAC is overall smaller compared to VerAC, indicating that HorAC has a smaller impact on the near-surface air temperature and the UHI effect. A $T_mrt$ scheme is developed for CCLM/DCEP-BEM and extensively evaluated. It is shown that this scheme provides a reliable representation of $T_mrt$.

Da sempre si è ritenuto che Parmenide affermasse l'unità dell'Essere. Nel corso del '900 si è però iniziato a dubitare di tale attributo. Nella prima parte della tesi ho analizzato le varie interpretazioni critiche che sono state date a tal proposito e ho cercato di mostrare come, col tempo, si sia sempre più abbandonata l'idea di un monismo assoluto per abbracciare l'idea di un'unità che fosse in rapporto con i molti. Questa revisione si è spesso accompagnata ad una rivalutazione della fisica Parmenidea esposta nella seconda parte del Poema. In particolar modo mi sono concentrato sulle letture di metà '900 (Verdenius, Calogero, Untersteiner), predicazioni (Kahn, Mourelatos, Curd) e fisiche più recenti (Ruggiu, Casertano, Cerri, Palmer). Nella seconda parte della tesi ho invece analizzato i frammenti in cui i vari storici della filosofia hanno intravisto la possibilità di argomentazioni pro o contro determinate concezioni di monismo. Mi sono dedicato quindi all'analisi critica del frammento 4 e del frammento 8 (versi 4, 5-6, 12-13, 22-25, 36-37, 38, 53-54). In questa analisi ho cercato di portare elementi a sostegno della teoria da me sostenuta per cui Parmenide affermerebbe l'uni-molteplicità, cioè che il soggetto parmenideo è il Cosmo, la Realtà intera, il Tutto che ingloba dentro di sé il molteplice sensibile. La tesi si chiude con un'appendice dedicata ai riferimenti platonici sul tema dell'unità in Parmenide. / It has always been believed that Parmenides affirmed the unity of Being. During the 20th century, however, some scholars began to doubt this attribute. In the first part of the thesis I analyzed the various critical interpretations that have been given in this regard and I tried to show how, over time, the idea of ​​an absolute monism was increasingly abandoned to embrace the idea of ​​a unity that was in relationship with the many. This revision was often accompanied by a re-evaluation of the Parmenidea physics exposed in the second part of the Poem. In particular, I focused on the mid-1900s readings (Verdenius, Calogero, Untersteiner), predicational interpretations (Kahn, Mourelatos, Curd) and more recent physics readings (Ruggiu, Casertano, Cerri, Palmer). In the second part of the thesis I have analyzed the fragments in which the various historians of philosophy have seen the possibility of arguments for or against certain conceptions of monism. Then I made a critical analysis of the fragments 4 and 8 (verses 4, 5-6, 12-13, 22-25, 36-37, 38, 53-54). In this analysis I have tried to bring elements to support the theory supported by me for which Parmenides would affirm the uni-totality, i.e. that the Parmenides poem's subject is the Cosmos, the whole Reality, the Whole that incorporates the sensitive manifold. The thesis terminates with an appendix dedicated to the Platonic references on the theme of unity in Parmenides.

Native potatoes are an important element of food security both as a direct food source and as a cash crop for peasant producers in the Andes of Peru. Production is basically for self-consumption and the shift to commercialization is a challenge. As a response, the Papa Andina Initiative (COGEPAN) was initiated to promote market innovation and pro-vide relative advantage to producers to respond to emerging markets. Research is limited on the integration, information and communication in relation to social relations. Old and new nonreciprocal relations and roles among stakeholders, consequences of customary practices, undermine the ability of female peasant producers. Any process requires an un-derstanding of culture, traditions and the gendered practices of agricultural production. As the research was premised on a feminist perspective, a sequential explanatory and mixed design was utilized for obtaining background and contextual data in a way that coupled collecting sex-disaggregated data with iterative planning activities readjusting the research to sharpen its focus on women. The situation of Andean peasant women within modern-day agricultural innovation systems is influenced by traditions and cus-tomary laws embedded in the specific lifeworlds of peasant communities. In COGEPAN, gender relations and roles are changing from the macro to the individual levels. Each change opens up new opportunities to shape innovation and benefit women. The partici-patory nature of market chains unfolds spaces for women to reveal leadership abilities. Gender relations and innovation have shifted in their own areas of interest or spheres. However, other gender issues are still embedded in peasant farming systems and the na-tive market chain. Results allow the researcher to recommend further policy analysis. The full range of women’s and men’s activities, resources, and benefits has to be reflected in the assessment of the innovation system and continuing activities. Gendered socio-economic factors affecting the adoption of proposed technological or institutional innova-tions need to be considered. Structural obstacles have to be addressed by implementing policies that facilitate peasant women’s advancement. The design and implementation of policy and legislation have to acknowledge that communities are not homogeneous and mechanisms have to be context-specific to achieve equitable representation of women and men. / Government of Ontario, IDRC/AUCC - LACREG, University of Guelph