Doctorat en Sciences / info:eu-repo/semantics/nonPublished

Dissertação (mestrado)—Universidade de Brasília, Instituto de Artes, Programa de Pós-graduação em Arte, 2016. / Submitted by Fernanda Percia França (fernandafranca@bce.unb.br) on 2016-06-02T18:47:34Z No. of bitstreams: 1 2016_NinaApriglianoOrthof.pdf: 12175247 bytes, checksum: 87876c49c32302572f87694f9fce6cc3 (MD5) / Approved for entry into archive by Raquel Viana(raquelviana@bce.unb.br) on 2016-12-21T13:13:10Z (GMT) No. of bitstreams: 1 2016_NinaApriglianoOrthof.pdf: 12175247 bytes, checksum: 87876c49c32302572f87694f9fce6cc3 (MD5) / Made available in DSpace on 2016-12-21T13:13:10Z (GMT). No. of bitstreams: 1 2016_NinaApriglianoOrthof.pdf: 12175247 bytes, checksum: 87876c49c32302572f87694f9fce6cc3 (MD5) / Procurando combinar os cadernos de viagem e
a escrita, o trabalho reflete sobre a minha prática artística - em movimento, na imobilidade e no entre- meio. Em percursos terrestres, aquáticos, no espaço sideral ou no próprio trabalho. O texto levanta reflexões poéticas acerca de conceitos como: imensidão, navegar e cosmos. Estilo de escrita, formato e conteúdo foram considerados para configurar uma estrutura que constitua outra dimensão do trabalho artístico. Os trabalhos podem ser encontrados no seguinte endereço eletrônico: www.ninaorthof.com. ________________________________________________________________________________________________ ABSTRACT / As it merges travel journeys and writing, this work reflects upon my artistic practice – in movement, in stillness, in between – either on terrestrial, aquatic or outer space courses and in the artwork itself. The text brings about poetic reflections on: wideness, navigation and cosmos. Writing style, format and content is aimed to structure yet another dimension to the artistic work.Works can be found on the following webpage: www.ninaorthof.com.

<p>In this dissertation I examine some possible areas in which Pierre Teilhard de Chardin and Alfred North Whitehead share similar interpretations of the nature of the cosmos and the nature of God. Further, I seek to illustrate areas of their cosmological-theistic interpretations where they offer distinctive views.</p> <p>Several recent authors have made references to apparent similarities between specific areas contained in the writings of Whitehead and Teilhard. For the most part these references are made somewhat in passing and are, therefore, undeveloped. </p> <p>However, two articles by Ian Barbour deal at some length with a comparison of Whitehead and Teilhard. The first "Five Ways of Reading Teilhard," (in The Teilhard Review, III (1968) 1, 3-20) is an attempt to show ". . . . that Teilhard's most significant intellectual contribution is a 'process theology' which combines Christian theology and process philosophy." The second article, "Teilhard's Process Metaphysics," (Journal of Religion, 49 (1969) 2, 136-159) is an exploration of "some of Teilhard's metaphysical categories which reflect both evolutionary and biblical assumptions." While each of these articles is a clear interpretation of Teilhard's thought and of significant value for anyone interested in comparing Whitehead and Teilhard, nevertheless, they tend to describe Teilhard as closely allied to the general scheme of Whitehead's 'process' philosophy. While I agree with Dr. Barbour on many of his points, I am led to challenge an interpretation which too closely allies Whitehead and Teilhard. Therefore, while a number of authors have suggested some similarities between Whitehead and Teilhard, no one (to my knowledge) has presented a developed comparison of their thoughts. Among the many possible areas for comparison, I have chosen to concentrate on two; namely, their respective interpretations of the structure and activity of the cosmos and their respective interpretations of the nature and activity of God. While noting several similarities between the thoughts of these two thinkers, I have been led to conclude that their distinctive interpretations are of greater importance. Briefly, I maintain in this study that each describes the universe as having a different structure and guided by God described as having a different nature and function.</p> <p>Hopefully, this dissertation will have scholarly significance not only because of its 'pioneer' quality, i.e., because it raises issues others might wish to challenge and pursue further, but also, because of its concentration on specific pivotal issues, this dissertation might be useful to those suspecting some alliance of these two systems with one another.</p> STRUCTURE AND DEVELOPMENT <p>In Chapter One, I seek to organize Teilhard's cosmological ideas. In Chapter Two, I consider Whitehead's cosmological categories and present a preliminary comparison between his cosmology and that of Teilhard.Next, in Chapter Three I turn my attention to Teilhard's 'theism,' examining what his cosmological proposals lead him to say regarding the existence of God. Also, within this chapter, I take note of the 'theological' interpretation of God which Teilhard appears to incorporate into his system. In Chapter Four, I turn my attention to Whitehead's 'theism,' noting his discussion of God's existence and activity relative to the cosmos. Also, in this chapter I offer a preliminary comparison of the 'theisms' of Teilhard and Whitehead. Next, in Chapter Five, I consider, in summary, the principle areas in which Teilhard and Whitehead agree and, specifically, where their interpretations differ. The latter portion of this chapter is devoted to what might be a central critique of Teilhard's scheme from a Whiteheadian point of view. Finally, in an Appendix I consider Teilhard's "Christology," asking whether his interpretation of Christ provides a theme indicating that Teilhard's God is mutable(i.e., passive) and asking, further, whether Teilhard's interpretation of Christ revises the cosmological issues of irreversibility and infallibility I found so prominent in Teilhard's system.</p> / Thesis / Doctor of Philosophy (PhD)

Thesis (M.S.)--Montana State University--Bozeman, 2005. / Typescript. Chairperson, Graduate Committee: David M. Klumpar. Includes bibliographical references (leaves 220-221).

Il s’agit d’une thèse menée en sciences de l’art, plus particulièrement en poïétique et esthétique, d’un praticien sculpteur qui réfléchi sur la notion du chaos et la surface dans la sculpture contemporaine. J’ai commencé par mon approche poïétique et celles des autres, comme ceux qui sont à l’origine de l’Arte Povera et du Land Art. Une partie graphique, consistera à traiter ce rapport à travers mon journal d’artiste, un journal du quotidien et du banal à travers le dessin, qui n’est pas seulement un moyen de représentation mais il est un outil de connaissance et de production le réel, il est aussi une façon d’explorer la nature et une manière de comprendre le chaos et de produire la surface. Pour la partie plastique, je sollicite l’utilisation de matériaux trouvés dans ma région natale. Ces matériaux sont touffus, pleins de branches entremêlées, aucune organisation n’est visible. Cette thèse ouvre la voie sur une réflexion qui met l’accent sur les notions du chaos et de la surface. Dans la première partie se pose la question de la création - recherche. Ensuite on a posé la question du chaos et de la surface d’une façon générale en appuyant la réflexion sur des références sûres comme celles de Reynal Sorel (Mythologie et philosophie grecques) Maurice Merleau-Ponty (phénoménologie), Gilles Deleuze et Clément Rosset (philosophie), Jacqueline Lichtenstein (Histoire de l’art et esthétique). Toujours chaos et surface vont ensemble, ils sont complémentaires. On a traité ce duel dans des cas particuliers, comme Auguste Rodin, Henry Moore, de Jean (Hans) Arp et d’artistes d’Arte Povera et du Land Art. / This is a thesis conducted in the science of art, especially in poetics and aesthetic s by a practitioner sculptor who reflected on the notion of chaos and the surface in contemporary sculpture. I started with my approach about poetics and that of other artists, such as those at the origin of the Arte Povera and Land Art. Some graphics will treat this report through my journal as an artist, a daily and banal journal, and through drawing, which is not only a means of representation but it is a tool of knowledge and the production of reality, it is also a way to explore nature and a way of understanding chaos and to produce the surface .The plastic part requests the use of materials found in my home area. These materials are dense, full of tangled branches, where there is no visible order. This thesis opens a discussion that focuses on the concepts of chaos and the surface. In the first part is the issue of creation - research. Then we dealt with the issue of chaos and the surface of a general reflection on supporting references such as Reynal Sorel (Greek mythology and philosophy) Maurice Merleau-Ponty (Phenomenology), Gilles Deleuze and Clément Rosset (philosophy), Jacqueline Lichtenstein (art history and aesthetics). Surface and chaos are always together, they are complementary .We treat this duel in special cases, such as Auguste Rodin, Henry Moore, Jean (Hans) Arp and artists of Arte Povera and Land Art.

Entre 1759 et 1822, Diderot, Rétif de la Bretonne et Fourier coopèrent à distance et sur le mode de la fiction à la formation d'une utopie sexuelle libérale. Les « êtres de fiction » (Souriau/Latour) qu'ils mettent en scène expérimentent dans l'espace, dans des décors merveilleux ou dans une campagne réenchantée par une humeur gaillarde, des relations sexuelles utopiques. Ces relations tissent un « nouveau monde amoureux » qu'on peut qualifier de « libéral » par le soin accordé aux goûts de chacun-e, la générosité à l'égard des déshérité-e-s de l'amour et la pluralité de ses formes d'association. Notre enquête dégage ainsi un nouveau type de coopération, indissociablement littéraire et intellectuelle, entre des auteurs et des textes d'époques différentes, qui pouvaient ne se connaître que de loin, mais qui s'avèrent consonner de près : une même ouverture cosmique, un éthos sexuel commun, une semblable gaieté fictionnelle se traduisent par la formation d'une utopie sexuelle et textuelle convergente. La texture de cette utopie conduit notre enquête à emprunter aux études littéraires, pour l'analyse du merveilleux et de la gaieté notamment, ainsi qu'aux études philosophiques, pour l'analyse de la pensée sexuelle – mais surtout aux deux à la fois, car ce sont les « êtres de fiction » délégués par Diderot, Rétif et Fourier qui façonnent cette pensée et lui confèrent son originalité utopique. / Between 1759 and 1822, Diderot, Rétif de la Bretonne and Fourier co-invented, in various fictional ways, a liberal sex-utopia. They put on stage ‘‘fictional beings'' (Souriau/Latour) which experiment new sexual relations in deep space, in marvelous sceneries or in a rustic and ribald atmosphere. These relations can be qualified as “liberal” because they display a generous and caring attitude towards everyone's tastes and towards sexually-deprived people, without advocating any form of authoritarian State. Our inquiry reveals a new style of cooperation, literary and intellectual at once, between authors and texts from different eras: the same cosmic feeling, a common way of thinking sexual ethics, a similar fictional cheerfulness jointly lead towards a liberal sex-utopia. The different aspects and forms of this utopia produced the mixed form of our inquiry: literary tools help us study the role of marvel and cheerfulness, while philosophical concepts express the utopian way of thinking sex. Indeed, these tools and concepts combine with one another in exploring the thinking route of ‘‘sex-fictional beings'' and the fictional route of sex-thinking: a new type of literary philosophy emerges from this utopian combination.

La thèse explore les différentes voies du désordre empruntées par l’œuvre de Jean Giono, en adoptant une lecture littéraire, mais aussi anthropologique, ethnologique et sociologique des textes. L’étude s’intéresse d’abord à l’importance thématique de la nature, et montre qu’au-delà des apparents désordres climatiques ou saisonniers, le monde gionien est globalement ordonné. La deuxième partie de la thèse examine alors le traitement que Giono réserve aux hommes : confrontés à un ordre quotidien ennuyeux, ceux-ci explorent des divertissements qui les conduisent à un désordre de l’action démesuré et mortifère. Finalement, l’étude aboutit à l’idée que seul le désordre parfaitement organisé de l’art, et plus particulièrement de la littérature, constitue un divertissement suffisant selon Giono qui, tout au long de son œuvre, expérimente dans le contenu comme dans la forme de ses textes un désordre total au travers duquel il cherche à profiter d’un vertige systématique, d’un déséquilibre savamment maîtrisé / This thesis deals with the various forms of disorder that can be found in Jean Giono’s literary work. The chosen approach for this analysis is multifaceted, mainly literary but also anthropological, ethnological and sociological. The study first examines the thematic importance of nature. It reveals, despite climatic and seasonal disorders, the orderliness of the natural world Giono usually describes. The study then focuses on human beings in Giono’s work: philosophically bored by the monotony of a day-to-day order, they investigate various forms of diversions, and in doing so eventually experiment a dangerous violent action disorder, which leads them to physical or mental death. The study finally proves that artistic disorder seems to be the only one that can save mankind from everlasting metaphysical boredom: Giono’s work insists on the value of literary disorder. Writing enables him to test absolute disorder, considered to be the only way to benefit from a systematic vertiginous lack of balance.

Dans la décennie précédente les supernovae se sont imposées comme une des sondes les plus puissantes pour reconstruire l'histoire globale de l'Univers. Cependant la standardisation des supernovae de type Ia est toujours une relation empirique. De futures expériences, tel que JDEM, sont prévues pour apporter une meilleure caractérisation de l'équation d'état de l'énergie noire responsable de l'accélération de l'Univers. Ces expériences nécessiterons un contrôle des erreurs systématiques pour assurer aux conclusions futures de n'être pas dominées par des effets non liés à la cosmologie. L'évolution des supernovae avec le redshift ou la présence de sous-classes parmi elles peuvent être à l'origine de ce type de systématiques. Ainsi une meilleure compréhension des propriétés des supernovae et de leur environnement pourrait apporter, une meilleure compréhension de leur standardisation, finalement une meilleure description des supernovae en tant qu'objets astrophysiques. Cette étude apporte également des informations traitant de la simulation de missions spatiales telles que JDEM / Over the past decade supernovae have emerged as one of the most powerful tools for reconstructing the global history of the Universe. However type Ia supernovae are still empirical tools. Future experiments, as JDEM, are planned to better characterize the equation of state of the dark energy leading to the observed acceleration thousands of objects. These experiments will need to carefully control systematic errors to ensure future conclusions are not dominated by effects unrelated to cosmology. The evolution of N Ia with redshift or the presence of subclasses among them can be at the origin of that kind os systematics. So a better understanding of the properties of supernovae in their host galaxies could provide information about the correlation between supernovae and their environment, a better understanding of their standardization, finally a better description of supernovae as astrophisical object. this study can also provide informations for more realistic simultations of a space mission like JDEM

This research is a study of the Female Metaphor in her three aspects of Virgin, Mother and Crone. It is an interpretation of these three faces as representing the Dynamic by which the Cosmos unfolds, that is, the extant Creativity that is in continual transformation and has always been so. Accordingly, as this thesis takes the Cosmos to be a seamless whole, the conscious alignment with the continual process of transformation innate to Being. Thomas Berry and Brian Swimme call the composition of these three, cosmic grammar. The ritual celebration of seasonal points are then developed as a method of embodying and sensualizing, and speaking this deep Dynamic of Creativity. These ritual celebrations are based in ancient Western spiritual practice that relates with Earth's cyclical transitions. Through methods of ritual, meditation, imagination, dance and storytelling, over the period of the annual seasonal cycle, I created a context, which sought to enable more harmonious relationship with self, other and Cosmos through identification of the self with an organic and primordial process innate to the unfolding Cosmos. I found it to be a process that catalyzed personal transformation of the participants over time - a transformation that has clear and inevitable cultural implications. While it is not the focus of this thesis to track these cultural changes, such change is implicit in the personal and relational changes experienced and noted, since the personal and the cultural are mutually embedded in a shamanic process like this is. / Doctor of Philosophy (PhD)

Existing techniques measure soil moisture either at a point or over a large area many kilometers across. To bridge these two scales, we used the mobile cosmic-ray probe, or cosmic-ray rover, an instrument similar to the recently developed COSMOS probe, but bigger and mobile. This study explores the challenges and opportunities for making maps of soil moisture over large areas using the cosmic-ray rover. In 2012, soil moisture was mapped 22 times in a 25 km x 40 km survey area of the Tucson Basin at 1 km² resolution, i.e., at a scale comparable to that of a pixel for the Soil Moisture and Ocean Salinity (SMOS) satellite mission. The soil moisture distribution is influenced mainly by climatic variations, notably by the North American monsoon, which resulted in a systematic change in the regional variance as a function of the mean soil moisture.