Esta dissertação tem como objetivo o relato das apresentações de Fluidos, o primeiro projeto realizado no formato CineVivo. Trata-se de uma experiência inédita de longa-metragem realizado ao vivo, com captação, edição e exibição simultâneas. Em diversas locações, atores encenam a história de ficção captada por três câmeras. Essas imagens são transmitidas para a edição em tempo real e a exibição para os espectadores na sala de cinema. As apresentações aconteceram no Centro Cultural São Paulo, no Sesc Pompeia e no CineSESC entre o período de maio de 2009 a maio de 2010. Em anexo, encontram-se o último tratamento do roteiro, o DVD com a versão apresentada no CineSESC e as principais reportagens publicadas na mídia. / The aim of this dissertation is to report the exhibitions of Fluids. This is the first project completed in the format CineVivo. It is a new experience for feature film performed live, with capture, editing and projection simultaneously. At several locations, cast acts the story captured by three cameras that transmit live for realtime editing and projection in the theater. The film was screened at Centro Cultural São Paulo, SESC Pompeia and CineSESC, between May 2009 to May 2010. Attached the last screenplays treatment, DVD with the version presented in CineSESC, and main reports in the media.

L’écriture théâtrale de Giraudoux est une traversée du miroir. Elle donne à l’évanescence du reflet les contours définis d’une réalité nouvelle. Il suffit d’ailleurs de situer l’œuvre de Giraudoux dans son contexte historique et littéraire et de se débarrasser de l’image convenue d’un écrivain précieux pour apprécier toute la modernité du texte. Car c’est au cœur même de cette pratique du langage dramatique qu’éclate avec le plus de force la particularité de Giraudoux. En apportant au théâtre la force incantatoire d’une langue littéraire, l’auteur affirme son refus du prosaïque. Notre problématique s’inscrit dans une optique de création et d’agencement, le théâtre est un art de la composition. L’auteur dramatique compose avec les différents éléments de l’écriture théâtrale : le langage, la construction du personnage, le temps, l’espace ou encore les différents impératifs du système dramatique. Par ailleurs, le succès de Giraudoux doit beaucoup au talent de Jouvet qui, en véritable artisan du théâtre, a su transposer sur scène, avec un mélange subtil de sensibilité et de grandeur, de passion et d’émotion, le texte à entendre et le texte à voir, l’éclat unique du théâtre de Giraudoux.Giraudoux a cette particularité d’introduire une sorte de jeu avec les poncifs du langage dramatique pour en tirer des effets inattendus. Le jeu, c’est peut-être là le maître mot du théâtre de Giraudoux tant son écriture joue avec le texte et se joue des contraintes du genre. Son écriture didascalique, sans pour autant complètement s’affranchir des canons classiques, se transforme ainsi en espace d’écriture ; sans être un didascale prolixe, Giraudoux est l’un de ceux qui redorent le blason d’un texte circonscrit jusque-là dans une fonction purement utilitaire. L’espace, le temps, les personnages, les conventions dramatiques tout obéit chez Giraudoux à une sorte de pratique ludique de l’écriture qui s’inscrit bien souvent à contre-courant des attentes critiques. On veut coûte que coûte le faire entrer dans une case alors qu’il échappe aux codes de classification établis. Son écriture refuse de se soumettre aux confinements génériques. Son théâtre repose sur un désir de transcender le réel en donnant à la fantaisie les couleurs du quotidien et au quotidien les allures d’une féerie, Intermezzo, Ondine ou encore La Folle de Chaillot sont des exemples parfaits de cette dichotomie qui traverse toute l’œuvre. Nous nous sommes posé deux questions mais qui nous semblent essentielles : Comment se construit l’écriture théâtrale de l’auteur? Et comment s’opère cette traversée du miroir qui est le propre du passage du texte à la scène ? / Redefining the reality, Giraudoux’s playwriting seems to be a sort of passing through the looking glass.Only when situating Giraudoux’s work in its historical and literary context and getting rid of the conventional image of preciousness that one can appreciate the modernity of the text. For it is in the deep of the playwriting practice that Giraudoux’s virtuosity appears.Bringing the incantatory power of a poetic language to the theatre, the author affirms his rejection of prosaic. Playwriting is an art of composition. The playwright is dealing with the different elements of dramaturgy: language, character, time, space, and dramatic impulse… Moreover, the success of Giraudoux owes much to the talent of Jouvet. The theatre director knew how to transpose on stage, with a subtle blend of sensitivity and grandeur, passion and emotion, the unique glow of Giraudoux's poetic fantasy.In this thesis we intend to demonstrate that Giraudoux's playwriting is an area of an undiscovered modernity. His specificity is to play with the clichés of dramatic language in order to produce unexpected effects. This study starts with the specifics of the playwriting: language, stylistic elegance, stage directions, characters, time, space and play structure. Then, we investigate in Jouvet’s direction through the play’s premiere and finally we try to point out the specifics of the close collaboration between the two men.

This doctoral research comprises a practitioner-based reflective enquiry to bridge the gap between theory and practice and enhance my compositional output. In tandem with the composition of my chamber opera, The Exile, I have undertaken research into characterisation within the context of opera and musical theatre, with a focus on both the delineation of individual characters and the context in which they appear. Parameters of the work are discussed in comparison with canonic works of both opera and music theatre. Contemporary uses of leitmotif, representation of speech and folk music within operatic works are acknowledged and their influence on the composition is presented along with musical examples. The conventional composer-librettist partnership is discussed, along with suggestions for how respective roles for composer and librettist have evolved in recent times. An insight into the collaborative compositional process is presented in the final chapter, as my work with librettist Gillian Pencavel is discussed. The Exile is an original work informed by this research and is a contribution to the repertoire as well as an investigation into many compositional techniques presented in this thesis.

Cette recherche en science de l’art a pour objet de questionner l’expérience esthétique du théâtre en matière de comportement humain et plus particulièrement de modification comportementale. Trois approches sont ici articulées.La première s’inscrit dans le cadre d’une étude de terrain ayant pour objet de décrire les processus de modification comportementale d’après la pratique de trois metteurs en scène de renommée internationale. Le caractère strictement factuel de cette approche propose une taxonomie des comportements des directeurs d’acteurs et permet de formuler, à partir des résultats, des hypothèses relatives aux diverses fonctions des comportements directifs dans un contexte de création esthétique et de construction du personnage.La seconde approche, propose principalement de voir en quoi l’émergence du behaviorisme et la prise de distance avec une culture mentaliste allait, au début du XXe siècle, alimenter le discours d’une fonction expérimentale du théâtre. Un théâtre qui, comme en témoigne les enjeux proposés par Brecht lorsqu’il évoque un théâtre de l’âge scientifique, sera évoqué comme scène de la recherche d’un changement du monde.Enfin, la troisième approche, appréhende la question de la « scientificité » du théâtre à travers une analyse de la La Mégère apprivoisée de William Shakespeare. Nous observons cela au moyen de l’analyse dramaturgique et de l’analyse fonctionnelle des comportements de ladite mégère et de son « dresseur ». / The present research attempts to question the theater’s aesthetic experience in terms of human behavior and more specifically with regards to its modification. Our investigation unfolds around three methodological approaches articulated herein.The first approach is a field study for which we used a methodology call "descriptive analysis" applied to the behavior modification practices used by three internationally renowned stage directors. In the context of the descriptive analysis we propose a taxonomy of directors’ behaviors and the results allowed us to formulate fact-based hypothesis regarding the causal behavior-environment links (functions) of habitual directive behaviors in the context of aesthetic creation and character construction.The second approach is historical. We found evidence that in the early part of the XXth century, the emergence of behaviorism fed the discourse of theater’s experimental role. One such theater, that Brecht named the theater of the scientific era, had for ultimate vocation no less than to change the world.Finally, the third approach is a textual-dramaturgic analysis for which we used the descriptive analysis tool. In doing so we address the "scientificity" of theater, the symbiosis of an art and a science, via an analysis of William Shakespeare’s "Taming of the Shrew". Concretely, we "observed" the ways the "tamer" modifies the "shrew’s" behaviors.

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 aperture problem describes an effect by which a contoured stimulus, moving behind an aperture with both ends occluded, appears to move in a direction perpendicular to its own orientation. Mechanisms within the human visual system allow us to overcome this problem and integrate many of these locally ambiguous signals into the perception of globally coherent motion. In the current experiment, younger and older observers viewed displays composed of either 64 or 9 straight contours, arranged in varying orientations and moving behind circular apertures. Because these lines moved behind apertures, their individual local motions were ambiguous with respect to direction (i.e., subject to the aperture problem). On each trial, motion patterns were displayed for 2.4 seconds, and observers estimated the coherent direction of motion (true motion directions ranged from 0 to 360 degrees). There was a significant effect of direction, such that cardinal directions of pattern motion were judged more accurately than oblique directions. In addition, there was a large effect of aging upon accuracy (the average errors of older observers were 46 and 30.4 percent higher in magnitude than those exhibited by the younger observers for the 64 and 9 aperture conditions, respectively). Additionally, the observers’ precision deteriorated markedly as the number of apertures was reduced from 64 to 9. Finally, a statistically significant, albeit negligible relationship was found between orientation discrimination threshold (a behavioral measure of resting gamma amino butyric acid neurotransmitter levels) and ability to accurately estimate coherent direction of motion.

This study examines the infotainment versus social responsibility debate as it applies to local television newscasts in the United States. An overview of the concerns surrounding infotainment as news follows, including a look at a newsroom's traditional responsibilities to its viewers, as well as its current role in adding to parent company profit. Socially responsible hard news and infotainment characteristics are defined as they apply to television news broadcasts, both within the context of news story content and in presentation style. A descriptive content analysis examines these characteristics within the late night local newscasts airing in Portland, Oregon. Portland is a large broadcast news market with over one million potential local news viewers. It is also a community with an exceptionally high rate of civic engagement (Abbott, 2001; Putnam & Feldstein, 2003). Its media coverage of the city, however, has been the subject of criticism by local columnists and national journalism scholars. A socially responsible news product would provide the city's residents with the information needed to continue the trend of participation, community betterment, and overall citizenship knowledge.

Using a grounded theory approach, the purpose of this research study is to generate a learning-how-to-learn training model for learners in flipped language course. The model is grounded in the interactions and comments from college students enrolled in an elementary Spanish I class at a large Midwestern university. The study participants video recorded themselves on two occasions during the semester as they worked online to study and learn new vocabulary. Twice during the semester the participants discussed with their classmates how they approached the online course work, offering tips and suggestions to one another. Finally, the participants met with me individually to view recordings of themselves working online and to reflect on their behaviors. The study addressed research questions pertaining to (a) their online interactions with three online components, (b) the insights gained from discussing their online interactions with their peers, (c) the insights gained from watching and reflecting on video clips of themselves working online, (d) the supports needed to help learners learn in a flipped course. The grounded theory analysis of the three data sources—recorded think-aloud sessions, focus groups, and individual sessions with the researcher— provides a clear picture of how students learn in an online environment and what supports they need to become more effective language learners in a flipped course environment The study identified communication as the core construct that emerged from the data. Communication was found to be central to the types of supports that learners in a flipped course need and essential to the learning-how-to-learn training model. The training model considers the learner as well as the director and instructors and communication at each level is vital to the learners’ understanding of flipped learning and subsequent interactions. Autonomy, guidance, and reflection are the three concepts that support the core construct by addressing ways to support learners. A major contribution of this study is to explore the culture of flipped learning from the students’ perspective, since previous research on flipped learning is weighted toward the instructor side. The findings suggest that training in a flipped course be ongoing to increase communication and in-class to bridge the disconnect between face-to-face time and online time. The pedagogical implications, which consider the entire language program from the program level to the classroom level, describe ways to guide learners in building their autonomous learning skills and practices, along with the practice of reflection, both of which are fundamental to learning in a flipped course. The need for ongoing and in-class training is presented in addition to pedagogical implications at the program level, instructor level, student level, and the classroom level.

This master’s thesis covers the design and implementation of a monopulse directionof arrival (DOA) estimation algorithm on an FPGA. The goal is to implement a complete system that is capable of estimating the bearing of an incident signal. In order to determine the estimate quality both a theoretical and practical noise analysis of the signal chain is performed. Special focus is placed on the statistical properties of the transformation from I/Q-demodulated signals with correlated noise to a polar representation. The pros and cons for three different methods of calculating received signal phasors are also covered.The system is limited to two receiving channels which constrains this report to a 2D analysis. In addition the used hardware is limited to C-band signals. We show that an FPGA implementation of monopulse techniques is definitely viable and that an SNR higher than ten dB allows for a gaussian approximation of the polar representationof an I/Q signal.

The research reported here addressed the questions 'what is spirituality?' and 'how should spiritual development be provided in education?'. The literature reviewed indicated confusion and uncertainty over the meaning of the concept spirituality, and the only guidance as to how spiritual development should be facilitated, was mainly from a religious perspective. This however, proved to be problematic for adoption into state-run educational institutions, where religious education is not provided for. As spiritual development is an aspect of the overall educative development of individuals, attention was given to what is meant by both 'education' and the 'educated person'. This initial research provided the context by which spiritual development could be understood and grounded in accepted and well argued notions of what interventions into the development of the individual are to count as educational. This also clarified the context for which the formulated framework of spirituality was to have implications. The major approach of this research was philosophical, in that an existential perspective was sought to develop a framework of spirituality that was able to embrace both religious and secular contexts of education. The major works examined were those written by Søren Kierkegaard, Friedrich Nietzsche and Martin Heidegger, because these were argued to have most relevance for spirituality and spiritual development of the educated person. While these works were analysed one philosopher at a time, the existential perspective that was relevant for spirituality was developed using common themes found in their writings. Consequently this approach produced a rather eclectic view of Existentialism that down-plays the many differences that exist between these philosophers. An existential framework of spirituality was then formulated using the philosophy of these contributors as the foundation. This framework is argued to be more effective than the other frameworks of spirituality that were identified in the literature reviewed. Its implications for education practice were developed and argued. The evaluative applicability of the framework was then illustrated and tested through a critique of an educational project in Queensland. It was beyond the scope of this thesis to test the framework any further than this particular case. However, further research is recognised as being required to test other aspects of the framework.