Orientador: Antonio Fernando da Conceição Passos / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-24T21:34:19Z (GMT). No. of bitstreams: 1 Henrique_MarinaGomes_M.pdf: 1393898 bytes, checksum: c3b6192a2da03a56185d3e6db5020ee0 (MD5) Previous issue date: 2010 / Resumo: Este trabalho é fruto do processo de transcriação do poema de Bertold Brecht "A infanticida Marie Farrar" em uma peça de teatro e um roteiro de curta metragem. Para isso outras fontes literárias e o filme documentário "Camelos também choram" foram fundamentais no processo criativo, assim como os ensaios constantes da peça "Marias". O processo empírico da criação revelou em primeiro plano as histórias a serem contadas no teatro e no cinema / Abstract: This work is a result of the recreation of Bertold Brecht's poem "The infanticide Marie Farrar" in a theater play and a short film. Other sources for this literary and movie-documentary "The story of the weeping camel" were crucial in the creative process as well as the rehearsal for the play "Marias". The empirical process of creation revealed in the foreground the stories to be told in the play and in the movie / Mestrado / Multimeios / Mestra em Multimeios

M.Ing. / Intelligent object identification (the ability to find the identity, position and orientation of an remote object) in a Manufacturing environment plays an important role in the areas of Automation and Manufacturing. Radio frequency identification (RFID) systems have solve the problem of finding the identity of a remote object, but it fails to determine the position and orientation. The Global Positioning System (GPS) have a solution to find the position of a remote object in the global environment, but in a Manufacturing environment it fails. The main obstacle to overcome in finding a unique solution with radio frequency technology is reflections. This thesis investigates the idea of finding the identity, position (and orientation) of a (dormant) chip remotely. The chip transmits a binary signal at 244kHz. The string is Amplitude modulated. The receiver demodulates the signal to obtain the chip's identity. The receiver antenna is divided into four quadrants. First the quadrant in which the chip is located are determined. Three different voltages are then measured to obtain the position of the chip in the specific quadrant. Reflections can be ignored since the system works at a low frequency.

Parce qu’elle se donne comme un discours ancillaire chargé d’actualiser le dialogue et de construire la représentation, parce qu’elle semble empiéter sur le terrain réservé du metteur en scène mais ne peut égaler la magie du spectacle, parce qu’elle n’est ni vraiment littéraire ni réellement scénique, la didascalie est longtemps restée le parent pauvre des études théâtrales. Depuis quelques années, elle fait l’objet d’un engouement relatif. D’une part, des études linguistiques décrivent le fonctionnement standard du discours didascalique en synchronie.D’autre part, des études critiques éclairent les poétiques didascaliques d’auteurs en s’intéressant particulièrement aux infractions par rapport à une pure fonctionnalité supposée.Dans cette thèse, nous cherchons à dépasser cette approche clivée en fournissant une poétique générale de la didascalie et, afin de lui donner sens, poids et nuance, nous l’ancrons résolument dans l’histoire en nous fondant sur le théâtre du XXe siècle, de Villiers à Koltès, soit un XXe siècle élargi, solidement ancré dans le XIXe et les yeux déjà tournés vers le XXIe. C’est le moment où la didascalie se redéfinit du fait de l’avènement et de la prise de pouvoir du metteur en scène, le moment où elle sort spectaculairement de son ornière sans pour autant pouvoir ou vouloir se débarrasser totalement d’un fond utilitaire. Elle apparaît alors sans conteste comme une parole boitant "un pied dans le devoir, un pied dans le désir", une parole icarienne tendue entre des catégories théoriquement exclusives. Dans une première partie, nous posons le format du discours didascalique, son territoire,son fonctionnement énonciatif (c’est-à-dire la place exacte qu’il occupe dans la communication dramatique) et ses caractéristiques graphiques (ponctuation, typographie, mise en page). Dans une seconde partie, c’est la fabrique même de l’écriture didascalique qui est étudiée, c’est-à-dire sa tension constitutive entre le pacte qui la régit (clarté, économie) et sa fondamentale aspiration à devenir (devenir-spectacle, devenir-poème, devenir-roman…). / Because they seemingly have to make the dialog work as well as to construct theperformance, because they seem to encroach upon the director’s grounds and yet cannot level with the magic of the actual staging, because they are not a real piece of literature nor do they belong to the show, the stage directions have long been overlooked by theater studies. In the past few years, a mild interest has arisen. On the one hand, linguists describe in a synchronic fashion the generic features of this particular type of discourse. On the other hand, critics wish to seize the specificity of each author’s stage directions, with an emphasis on the breaches of their theoretical functional purity.In this thesis, we intend to go beyond this fragmented approach by offering an overall poetics of stage directions and, in order for it to carry meaning, weight and nuance, we choose to base it on history and, specifically, on XXth century theater, from Villiers to Koltès, an enlarged century, deeply rooted in the XIXth and already glancing at the XXIst. It is then that stage directions redefine themselves as a result of the advent of the director and his coming to power ;it is then that they spectacularly travel out of joint but appear, nonetheless, incapable or unwilling to get rid altogether of their fundamental usefulness. Unequivocally, they prove to be a form of speech limping “one foot in duty, on foot in desire”, an icarian discourse reconciling what is theoretically opposed.This study starts with the format of the stage directions, their territory, their enunciation (i.e. the exact role they play in the dramatic communication), their graphic characteristics (punctuation, typography, lay-out). Then, we investigate the very fabric of stage directions writing, the perpetual tension between the pact that rules them (clarity, economy) and a fundamental drive to become something else (to become stage, to become poem, to become novel…).

Cette recherche se propose d'étudier les interactions entre l'espace scénique et la folie dans le théâtre contemporain. À partir de l'étude de scénographies et des lieux dans lesquels elles se déploient, nous souhaitons interroger le recours à la déraison, non pas comme thématique ou comme caractéristique de personnages, mais comme outil de questionnement et de renouvellement de l'espace théâtral. La folie, notion polémique dont l'existence même est régulièrement questionnée, constitue pour certains metteurs en scène et/ou scénographes la possibilité d'une remise en cause radicale du réalisme illusionniste et une passerelle vers la mise en place d'une "réalité théâtrale" au sens où Antonin Artaud l'entendait. Ces interactions peuvent se manifester par les lieux dans lesquels sont joués les spectacles, mais aussi par l'usage de la symptomatologie de la folie (hallucination, délire, rêves) comme élément perturbateur de l'espace scénique. La folie est alors employée pour bouleverser les repères du spectateur, qui n'est plus en prise avec une représentation de sa réalité quotidienne, ni une représentation de l'ambiance du drame ou de l'état mental d'un personnage, mais avec des espaces qui proposent une perception en dehors des normes de la raison. La folie n'apparaît donc plus dans la constitution d'une fable, mais dans la structure même des spectacles. Dans la lignée des recherches de certains groupes futuristes ou surréalistes, certaines mises en scène et scénographies contemporaines cherchent alors à se défaire d'une raison dominante et voit dans la déraison le moyen de remettre en cause l'ordre politique et social autant que l'ordre théâtral. / This research proposes to study existing interactions between scenic space and madness in contemporary theater. By studying scenography and locations where they occur, we wish to question the use of insanity, not as a theme or dimension of a character, but as a tool to question and renew theatrical space. Madness, a subject of debate whose very existence is regularly questioned, appears for certain directors and/or set designers as a way to radically question illusionist realism and as a pathway to a "theatrical reality" as perceived by Antonin Artaud. These interactions may be exploited by the site chosen for staging but also through the use of madness (hallucination, delirium, dreams) as a disruptive element of scenic space. Madness is then used to disorient the spectator : he is no longer exposed to a representation of his daily life, or a representation of the drama’s setting, or the mental state of a character, but with spaces that offer a perception outside the norms of reason. Madness no longer occurs in the creation of a fable, but in the very structure of theater. Along the lines of certain futurist or surrealist groups’ research, some contemporary staging and scenography therefore tries to do away with dominant reasoning, and view insanity as a means to question political and social order as much as theatrical order.

Context. According to Swedish National Council for Crime Prevention, there is an increase of 19% in residential burglary crimes in Sweden over the last decade and only 5% of the total crimes reported were actually solved by the law enforcement agencies. In order to solve these cases quickly and efficiently, the law enforcement agencies has to look into the possible linked serial crimes. Many studies have suggested to link crimes based on Modus Operendi and other characteristic. Sometimes crimes which are not possible to travel spatially with in the reported times but have similar Modus Operendi are also grouped as linked crimes. Investigating such crimes could possibly waste the resources of the law enforcement agencies. Objectives. In this study, we investigate the possibility of the usage of travel distance and travel duration between different crime locations while linking the residential burglary crimes. A filtering method has been designed and implemented for filtering the unlinked crimes from the estimated linked crimes by utilizing the distance and duration values. Methods. The objectives in this study are satisfied by conducting an experiment. The travel distance and travel duration values are obtained from various online direction services. The filtering method was first validated on ground truth represented by known linked crime series and then it was used to filter out crimes from the estimated linked crimes. Results. The filtering method had removed a total of 4% unlinked crimes from the estimated linked crime series when the travel mode is considered as driving. Whereas it had removed a total of 23% unlinked crimes from the estimated linked crime series when the travel mode is considered as walking. Also it was found that a burglar can take an average of 900 seconds (15 minutes) for committing a burglary. Conclusions. From this study it is evident that the usage of spatial and temporal values in linking residential burglaries gives effective crime links in a series. Also, the usage of Google Maps for getting distance and duration values can increase the overall performance of the filtering method in linking crimes.

The ability to self-localize and navigate in both stable and changing environments is crucial for the survival of many species. Research conducted on the non-human mammalian hippocampus and surrounding brain structures has uncovered several classes of spatial related cells. These cells provide the rest of the brain with knowledge of the animal’s location and direction—knowledge that is subsequently used in spatial navigation. This thesis provides an overview of three types of cells underlying this ability in rodents. First, place cells located in the hippocampus encode the animal’s specific location in the environment. Second, head direction cells found throughout the Papez circuit convey the angular direction of the animal’s head. Last, grid cells in the medial entorhinal cortex generate a regular triangular grid spanning the entire explored setting. The focus of this review lies on the most salient features of these types of cells. It is also considered how the cells respond to manipulations of external and internal information, as well as how different lesions affect their activity.

Cette thèse examine et réévalue l’oeuvre théâtrale d’Osanai Kaoru qui a joué un rôle fondamental pour instaurer le théâtre moderne dit shingeki au Japon et qui a incarné à lui seul le héraut de la modernité en cumulant une multitude de fonctions. Notre étude repose en premier lieu sur les écrits théoriques d’Osanai sur le théâtre et s’articule en trois parties. Tout d’abord nous procédons à l’examen de son parcours multiple et foisonnant en le divisant en trois périodes dans l’histoire du shingeki. La deuxième partie explore son rapport avec la modernité, en traitant d’abord de la réforme visée par lui dans un paysage théâtral dominé par la tradition, ensuite de sa quête du public populaire qui soustend sa seconde phase et qui se complexifie conjointement à sa quête du théâtre national. Par la suite nous examinons l’émergence de la mise en scène, point nodal du théâtre occidental, et son évolution en nous en tenant à trois pièces emblématiques. Enfin nous procédons à l’examen des apports du théâtre occidental au travers de quatre visionnaires : E.G.Craig dans la théorie duquel Osanai puise, puis trois metteurs en scène Stanislavski, Reinhardt et Meyerhold, lui donnant l’occasion d’aborder des scènes occidentales majeures et ayant une grande incidence sur son propre travail. Dans la troisième partie, nous nous consacrons à étudier le rapport complexe d’Osanai avec le théâtre traditionnel, aspect très mal évalué au Japon, principalement le kabuki sans pour autant négliger le théâtre de marionnette [bunraku] et le nô. Nous prolongeons notre réflexion sur le paradigme de la tradition à deux metteurs en scène japonais, Suzuki Tadashi et Miyagi Satoshi (Ku Na’uka). / This thesis consists in examination and re-evaluation of the theatrical works of Osanai Kaoru who played a fundamental rule to launch modern theatre called shingeki in Japan and embodied the herald of modernity accumulating different functions. Our study relies first of all on theoretic writings of Osanai on theatre and is structured in three parts. The first one examines his multiple and rich courses and is divided in three periods along the history of shingeki. The second part explores his relations with modernity regarding first the reform intended by him in a theatrical landscape dominated by tradition, then his search for a popular audience underlining his second phase and becoming more complex in conjunction with his quest for a national theatre. Thereafter we examine the emergence of mise en scène, a concept specific to western theatre and its evolution through the examination of three emblematic plays. Lastly we analyse the contribution of western theatre through four visionaries: first E.G.Craig of whom he has drawn much and then getting in touch with three directors, Stanislavski, Reinhardt and Meyerhold that impacted his own work. All along the third part we study the complexity of Osanai’s relations with traditional theatre, aspect which is not properly considered in Japan, focusing mainly on kabuki without neglecting puppets theatre [bunraku] and nô. We broaden our research on the tradition’s paradigm to two Japanese stage directors, Suzuki Tadashi and Miyagi Satoshi [Ku Na’uka].

[pt] Este trabalho de tese trata do emprego de arranjos de antenas em ambientes de comunicação móvel,dando-se ênfase ao canal de dados reverso do Sistema IS-95. Propõe-se dois estimadores: um para a direção de chegada dos sinais e outro para outros dados. Inicialmente é apresentado um estudo sobre arranjos de antenas e dos principais detalhes do sistema IS-95,especialmente a multiplicidade de acesso via divisão por códigos (CDMA).Aborda-se em seguida o problema da estimação da direção da chegada(DOA), onde se constata que os algoritmos mais conhecidos na literarura especializada, tais como Atraso-e-Soma, Capon, MUSIC e ESPRIT, não apresentam desempenho satisfatório quando empregados em ambiente CDMA. Por isso, propõe-se uma versão do método de estimação de máxima verossimilhança (ML) que utiliza a técnica denominada de EM (-Expectation Maximization-).Seu emprego permitir fracionar o problema de otimização multidimensional gerado pelo estimador ML, em últimas estimações de menor dimensão,simplificando sobremaneira a solução. O estimador proposto além da DOA,permite ainda estimar a atenuação e a defasagem dos sinais incidentes. Através de simulações, constata-se que este estimador EM apresenta um desempenho bastante satisfatório.Para tornar mais completa a análise, faz-se ainda uma comparação da variância do erro na estimação da DOA comolimitante de Cramér-Rao. Em presença de multipercursos, propõe-se quatro versões de um estimador de dados, sendo que uma delas utiliza a estrutura de treliça e objetiva a decisão sequencial dos dados. O desenvolvimento de tais estimadores faz uso de bases de espaços vetoriais para representar as funções de walsh, sendo que as operações aritméticas convencionais . Através de simulações constata-se que essas versões apresentam diferentes relações entre de desempenho e custo computacional, o que permite flexibilidade na adequação do seu emprego. / [en] This thesis deals with antenna arrays when used in mobile communication environment, but the emphasis is on the reverse data link of IS-95. Two estimators are proposed: one for the direction-of-arrival (DOA) and other for the data. Initially, study of the antenna arrays is presented together with the main details of the IS-95 System, especially the details related to the code division multiple access (CDMA). After that, the problem of dirction- of-arrival estimation is discussed. It is shown that mostly of the known estimators, such as Delay-and-Sum, Capon, MUSIC and ESPRIT, do not offer reasonable performance when used in CDMA environment. Therefore, a new Maximum- Likelihood (ML) method is proposed using the so-called Expectation Maximization (EM) algorithm. The main advantage of using such approach is due to the fact that multidimensional optimization required by ML estimation can be split into several problems of lower dimension, thus simplifying the solution. The proposed estimator, besides the DOA estimation, also allows the estimation of attenuation and phase shift of the arriving signals. Simulations show that EM-estimator offers a fair performance when compared to other methods. In order to properly access the statistical significance of this study, the of DOA-estimation erro´s variance is compared with the Cramér-Rao Lower Bound (CRLB). Under a multipath environment, four versions of a data estimator are proposed, and one of them do employ trellis. In the development of such estimators, vector basis are used to represent the Walsh functions and the module-2 operations are replaced by convenient ordinary arithmetic operations. By means of simulation, it is shown that these versions present different levels of performance and computational cost thus allowing to choose the method according to the environmentn conditions. / [es] Este trabajo de tese trata del empleo de arreglos de antenas en ambientes de comunicación móvil, con énfasis en el canal de datos reverso del Sistema IS-95. Se proponen dos estimadores: uno para la dirección de llegada de las señales y otro para el resto de los datos. Inicialmente se presenta un estudio sobre arreglos de antenas y los principales detalles del sistema IS-95,especialmente la multiplicidad de acceso vía división por códigos (CDMA). Se aborda el problema de la estimación de la dirección de llegada(DOA), donde se constata que los algoritmos más conocidos en la literarura especializada, tales como Atraso-y-Suma, Capon, MUSIC y ESPRIT, no tiene un desempeño satisfactorio cuando son utilizados en ambiente CDMA. Por eso, se propone una versión del método de estimación de máxima verosimilitud(ML) que utiliza la técnica denominada de EM (-Expectation Maximization-).Su empleo permite fraccionar el problema de optimización multidimensional generado por el estimador ML, en estimaciones de menor dimensión,simplificando la solución. El estimador propuesto, además de la DOA, permite estimar la atenuación y el defasaje de las señales incidentes. A través de simulaciones, se constata que el estimador EM tiene un desempeño bastante satisfactorio. Para un análisis más completo se comparan las varianza del error en la estimación de la DOA como límite de Cramér-Rao. En presencia de multitrayectoria, se proponen cuatro versiones de un estimador de datos, donde una de ellas utiliza la extructura de celosía y objetiva la decisión secuencial de los datos. El desarrollo de tales estimadores utiliza bases de espacios vectoriales para representar las funciones de walsh, con las operaciones aritméticas convencionales . A través de simulaciones se observa que esas versiones presentan diferentes relaciones entre de desempeño y el costo computacional, que permite flexibilidad en la adecuación de su empleo.

La réalité contemporaine de la profession enseignante comporte des défis de taille, dont certains sont associés à la détresse psychologique, à l’épuisement professionnel, à l’abandon de la profession ainsi qu’à des difficultés d’engagement professionnel chez les enseignants. Ces phénomènes sont en retour susceptibles d’exercer un effet sur la persévérance et la réussite scolaires des élèves. Identifier des cibles de soutien prioritaires à offrir aux enseignants dans ce contexte s’avère important. Il s’agit de l’objectif de la présente thèse, qui s’inscrit au sein du programme Actions concertées Persévérance et réussite scolaire, phase II du FQRSC–MELS. Une analyse thématique a été réalisée afin de dégager la perception de 223 enseignants du primaire québécois quant aux mesures de soutien jugées prioritaires à mettre en place concernant quatre thèmes identifiés comme particulièrement préoccupants dans la pratique enseignante, soit la gestion de classe et de groupes hétérogènes, le soutien aux élèves en difficulté, la stabilité des conditions de travail et les relations avec la direction d’école. Un traitement mixte des données qualitatives a permis de faire ressortir les mesures de soutien les plus fréquemment mentionnées et de pouvoir ensuite les classer en quatre catégories, soit le soutien s’appuyant sur la composition des groupes-classes, sur l’expertise professionnelle, sur les pratiques de collaboration et sur de meilleures conditions de travail. Ces résultats suggèrent des pistes d’action aux instances gouvernementales et administratives du système d’éducation québécois dans l’optique d’offrir un contexte de pratique plus favorable aux enseignants. Le psychologue qui travaille auprès d’enseignants, à titre de psychologue scolaire, organisationnel, consultant ou clinicien, peut également y trouver des pistes intéressantes pour mieux comprendre et soutenir les enseignants.

M.Bibl. / Television producers form a unique user group that mainly requires information regarding audio-visual material in order to produce or to enhance a television programme Information services can contribute to the successful completion of a programme by making information available. The aim of this study is to determine whether information services can enhance information for producers by adding value. The question is also asked which value-added level of information is required. A literature study was done to -examine the term "value-added" in order to be able to apply it to the information needs of television producers; -study the work environment of television producers in order to determine their information needs. An empirical investigation was executed by means of a layered random sampling test. Structured interviews were conducted by means of a questionnaire with a random portion of the television producer corps of the SABC. Personal details were gathered, as well as the use of information sources and services within the SABC and to which value- added level of information they require for a production. Value-added levels were based on Taylor's value-added continuum which consists of information that is enhanced to level two, Information Knowledge, followed by level three, Productive Knowledge, which leads to level four, Action. A television production is completed in four phases, that is the planning and research phase, filming phase, editing phase and final mixing phase .. The results showed that during the planning and research phases television producers require access to all possible information sources and services within the SABC. The information specialist can add value to the first level of value adding. In certain cases the television producers require information during the editing phase, during which the information specialist can add value up to the third level. The results of the research were distilled into a matrix, structured to indicate the levels of added-value to the television producer. Recommendations were made in order to provide a better information service.