Le cadre global des oscillations de neutrinos est maintenant bien compris et nous quittons une ère d'exploration pour une ère de précision. L'expérience Double Chooz a pour but de mesurer l'angle de mélange theta13 par l'étude des oscillations des antineutrinos électroniques produits par les réacteurs de la centrale nucléaire de Chooz. Dans cette thèse, une sélection préliminaire des neutrinos détectés dans le détecteur proche est présentée. Les résultats les plus récents de Double Chooz, desquels sont extraits la mesure de theta13 la plus précise que l'expérience peut fournir à ce jour, seront également discutés. La géométrie de l'expérience, relativement simple, représente un avantage considérable afin d'effecteur des études de directionalité des neutrinos dont les résultats, obtenus en analysant les jeux de données les plus récents avec captures sur Gd et H, sont présentés. Ce concept de directionalité peut être appliqué à l'astronomie/astrophysique en offrant la possibilité de localiser des supernovas après détection de leurs neutrinos. Les résultats de simulations de directionalité effectuées avec différentes combinaisons de détecteurs seront présentées. Enfin, plusieurs anomalies pourraient s'expliquer par l'existence de nouveaux états, stériles, de neutrinos. Le but de l¿expérience CeSOX est de confirmer ou réfuter cette hypothèse en déployant une source radioactive à coté d'un grand détecteur comme KamLAND ou Borexino. Dans cette thèse seront présentés les résultats des simulations de signaux et de bruits de fond effectuées afin de valider le principe de l'expérience et de s'assurer de sa sensibilité à l'observation d'une oscillation vers un neutrino stérile. / The framework of neutrino oscillations is quite well-understood and now requires precision rather than exploration. The Double Chooz experiment aims at measuring the theta13 mixing angle through the oscillations of electronic antineutrinos produced by the reactors of the Chooz nuclear power plant. The comparison of the interaction rates and spectral shapes in the two Double Chooz's detectors allows the observation of a disappearance and a spectral distortion, both driven by theta13. In this thesis, a preliminary neutrino selection with the near detector, whose data taking started in December 2014, has been performed. The most recent results of Double Chooz, providing the most precise measurement of the experiment, are presented as well.The simple layout of Double Chooz is a strong advantage to conduct directionality studies. Results of these studies using the most recent neutrino candidates with neutron captures on Gd and H are showed. Neutrino directionality can be applied to astronomy, with the localization of core-collapse supernovae. To this purpose, results of directionality measurements performed with combinations of large neutrino detectors over the globe are presented.Finally, recent anomalies observed in short baseline experiments provided hints of the hypothetical existence of additional sterile neutrino states. The goal of the CeLAND/CeSOX experiment is to test this hypothesis by deploying a radioactive source next to a large liquid scintillator detector such as KamLAND or Borexino. In this thesis, are presented results of signal and background simulations performed to validate the design and assess the sensitivity of such an experiment.

Tall buildings are wind-sensitive structures and could experience high wind-induced effects. Aerodynamic boundary layer wind tunnel testing has been the most commonly used method for estimating wind effects on tall buildings. Design wind effects on tall buildings are estimated through analytical processing of the data obtained from aerodynamic wind tunnel tests. Even though it is widely agreed that the data obtained from wind tunnel testing is fairly reliable the post-test analytical procedures are still argued to have remarkable uncertainties. This research work attempted to assess the uncertainties occurring at different stages of the post-test analytical procedures in detail and suggest improved techniques for reducing the uncertainties. Results of the study showed that traditionally used simplifying approximations, particularly in the frequency domain approach, could cause significant uncertainties in estimating aerodynamic wind-induced responses. Based on identified shortcomings, a more accurate dual aerodynamic data analysis framework which works in the frequency and time domains was developed. The comprehensive analysis framework allows estimating modal, resultant and peak values of various wind-induced responses of a tall building more accurately. Estimating design wind effects on tall buildings also requires synthesizing the wind tunnel data with local climatological data of the study site. A novel copula based approach was developed for accurately synthesizing aerodynamic and climatological data up on investigating the causes of significant uncertainties in currently used synthesizing techniques. Improvement of the new approach over the existing techniques was also illustrated with a case study on a 50 story building. At last, a practical dynamic optimization approach was suggested for tuning structural properties of tall buildings towards attaining optimum performance against wind loads with less number of design iterations.

The Bo-Kaap is traditionally a Cape Muslim Afrikaans-speaking community, and sociohistorically it is particularly relevant to the development of Afrikaans at the Cape (Davids 2011, Mahida 1993). The Cape Muslim Afrikaans spoken in the Bo-Kaap is a sub-variety of Standard Afrikaans (Kotzé 1989, Davids 2011) and is distinguishable by its retained lexis (Mesthrie and Bhatt 2008) from languages historically spoken by slaves at the Cape, such as Malay, Arabic, Gujarati, and Konkani. Over time a number of socio-cultural, geographic, and historical factors have introduced the use of South African English alongside Cape Muslim Afrikaans in this speech community. The goal of this study was to provide insight into the nature of bilingual talk in the Bo-Kaap community, and to make a useful contribution to the growing body of codeswitching1 (hereafter CS) research generally. Based on natural language data collected during group interviews with members of the community, the study explored the language contact situation in the Bo-Kaap today, taking the viewpoint that what is occurring presently may be considered CS Three aspects of the CS documented were analysed and quantified. Specifically, the study investigated language interaction phenomena (Myers-Scotton 1995, Deuchar et al 2007) triggers (Clyne 1987) and directionality (Muysken 1997, Deuchar et al 2017, Çetinoglu 2017). A quantitative approach was taken to the data analysis. The interview audio files were downloaded and transcribed in ELAN. (Max Planck Institute). The annotations2 produced in ELAN were organised in a spreadsheet for analysis, resulting in a data set comprised of 356 annotations. The full data set was divided into subsets and tagged for language interaction phenomena, triggers, and directionality. These data sets were then sorted and quantified to identify trends in these three areas of interest. The study found Intra-sentential switches to be the most common type of language interaction phenomenon in the CS of this speech community, being present in 79% of the sampled annotations. Results from other CS studies echo this finding in other speech communities (Al Heeti et al 2016, Koban 2012, Falk 2013). The most common trigger for Intra-word switching in this corpus was in the head of the past tense Verb Phrase. Out of 27 occurrences of Intra-word switching, 16 were of this nature. In all of those an English verb head was housed within an Afrikaans past tense structure. No exceptions were observed in the data set, a strong indicator of the relationship status of the two languages involved. Cape Muslim Afrikaans almost certainly playing the role of the Matrix language, with South African English embedded. In terms of directionality, switching from Cape Muslim Afrikaans into South African English was by far the most common, at 85%. This further supports what the findings on triggers suggest about the hierarchy between these two languages.

La directionnalité est une composante perceptivo-motrice et culturellement déterminée qui intervient de façon prééminente dans l’acquisition initiale de l’écriture. Cette thèse visait à apporter des données empiriques et des éclairages théoriques nouveaux sur 1) son évolution au cours du développement et, 2) sa contribution à la production et à la reconnaissance des formes de lettres. Ces deux axes de recherche ont été déclinés en cinq études. Une première étude investiguait le poids de l’influence culturelle sur la directionnalité graphique au long du développement. Elle permettait de comparer les performances de tracé chez des enfants âgés de 5 à 9 ans dans des conditions où des contraintes biomécaniques, syntaxiques et sémantiques variaient. Les résultats faisaient apparaître un renforcement de l’influence culturelle sur la directionnalité graphique à partir de 6 ans. Cependant, les enfants les plus âgés (9 ans) se montraient capables d’adopter des procédures plus flexibles et de se désengager de contraintes culturelles afin de satisfaire des contraintes contextuelles. La deuxième étude examinait l’évolution développementale de la directionnalité de l’écrit chez des enfants âgés de 4 à 11 ans en comparant la production de formes communes à l’écriture et au dessin. Les résultats obtenus mettaient en évidence une acquisition synchrone des invariants universels (i.e., l’écriture est uni-directionnelle) et des spécificités culturelles du système d’écriture (i.e., la langue est transcrite de gauche à droite). Dans le deuxième axe de recherche, deux études avaient pour objectif de mettre à l’épreuve des faits des hypothèses explicatives récentes de l’écriture en miroir dans l’acquisition initiale et typique de l’écrit. La comparaison de productions en temps réel et appariées d’écritures en miroir et d’écritures conventionnelles chez des enfants pré-lettrés révélait une implication majeure de la directionnalité de l’écrit et une invariance cinématique. Enfin, la dernière étude a permis de mettre en évidence, à l’aide d’un paradigme d’entrainement, une contribution de la directionnalité de l’écriture au rappel de l’orientation de lettres a été mise en évidence chez des enfants pré-lettrés. Les résultats obtenus sont discutés dans une approche incarnée de la cognition et des pistes pédagogiques sont amorcées. / Directionality is a crucial perceptual-motor and culturally-based component of early writing acquisition. This research was aimed at providing empirical data and new theoretical insights on 1) its developmental evolution and, 2) its contribution to the production and the recognition of the shapes of letters. Five studies have been devised to fulfill the research objectives.The first study was aimed at investigating how print experience, as a cultural factor, influences directional tendencies in children’s drawing in the interplay with biomechanical, syntactic and semantic factors. Results showed a reinforcement of cultural influence on directional tendencies from 6 years onward. Older children were better able to disengage from a prevalent embodied behavior to meet contextual constraints. The second study examined the specific developmental evolution of writing directionality in children aged from 4 to 11 years while producing the same shapes in both writing and drawing tasks. The results suggested that universal and culture-specific features of writing appear concomitantly and early on in children’s productions. Another two studies were aimed to empirically test competing accounts of mirror writing in preliterate children. On-line productions of paired conventional and mirror writings revealed a predominant role of writing directionality and a kinematic invariance. Finally, a training study showed a contribution of writing directionality to the subsequent recall of the shapes of letters. Results are discussed in terms of embodiment and perspectives in educational settings.

No description available.

Utopia, as a concept, has experienced a resurgence within literature of various genres, ranging from scholarly work inside the 'academy' to diverse accounts of utopian and/or dystopian imaginaries within diverse fictional stories. Identifying what utopia picks out conceptually, however, is challenging, not least due to the limitations inherent in the ways we perceive the world could be. In this dissertation, I first defend a 'processual' account of utopia, contrasting this way of thinking about the idea against any fixed or granular description of some candidate, concrete state of affairs. I then look at the primary methodology leveraged by most processual utopian theorists, namely: utopian hope. After considering this affective, performative stance against what I call 'merely-political' combat, I demonstrate how utopian hope, within processual accounts, turns out to be equivalent to religious faith. As such, processual utopian projects require a return to a mystical, transcendent field of play for both their theoretical and methodological constituents. The second half of my project attempts to outline a fledgling, practical methodology for processual utopia, first identifying a very counter-intuitive directional focus on the part of the privileged when pursuing utopian ends. This focus requires the privileged to consider alternate imaginaries for possible futures while additionally requesting assistance from the marginalized to appropriately parse them. I conclude by examining several instances of liminal 'utopias' that have occurred in the wake of tragic events. These are placed in conversation with fictional accounts of utopian effort in order to highlight why utopian performativity must begin from a space of mutual vulnerability. / Doctor of Philosophy / In this dissertation I aim to do two things. In the first half, I defend the concept of "processual utopia" as a more fruitful way to think about striving for societies that feature less stratification in the way they distribute opportunity and privilege. I contrast this idea with those theories that try to describe, using present-day imaginaries, concretely-imaginable utopias in the here and now. I argue that the latter effort is a fool's errand, a process that incurs insurmountable difficulties in that opposing visions are immediately juxtaposed against any solidified description of what utopia might look like. I then examine the primary constituent of processual utopia's process, namely: utopian hope. I contrast this with the kind of affective performativity normally found within politics and political struggle, concluding that these efforts do not result in utopian ends. This is because what I call the 'merely-political' is bent on a kind of binary striving for power, focused on proving the 'other' side to be subhuman and irrational. Utopian hope counters political maneuvering for a particular vision of 'better' societies on a more transcendental foundation. It looks for a reality that humankind cannot yet understand or describe – something that remains on the horizon as a target for our dreams and efforts. This affective viewpoint should motivate our actions to make currently unimaginable realities possible in a distant, not-seen-by-us, future. I also suggest that utopian hope, although talked about a great deal over the past century by writers such as Ernst Bloch and Ruth Levitas, has its conceptual genesis in religious faith. I argue that the two are equivalent in the case of utopian affect and desire. My foils in this effort are Kierkegaard and St. Augustine and examining their accounts of faith reveals the parallel nature this mystical logic shares with contemporary ideas about utopian hope. In the second half of the dissertation, I connect processual utopian theory to potential practice. The investigative point-of-view throughout is that of the currently privileged. I argue that those who possess the highest levels of opportunity within realms of social and political power tend to defend the status quo, even when suggesting or devising initiatives to supposedly level the playing field more fairly. Privileged actors, it seems, are culturally programmed to reinforce the same logics that prevent substantive change. This also means that our targets for 'better societies' tend to simply reinforce the same stratifications of opportunity that exist currently. Privileged actors not only need help understanding the ideas of the marginalized concerning more just societies, they also need to engage in what might seem like 'dystopian' effort (from our perspective) in order to actually strive for something more 'utopian' in the future. To help orient those wishing to be allies to the marginalized, I examine various accounts of alternate futures, explaining how those challenge our default ways of understanding the world. These, in turn, should motivate the privilege to ask for help (from the marginalized) in order to understand them, a request the latter must answer if processual utopia is the goal of all concerned. This highlights what I call an 'ethical minefield' that highlights divisive issues we can observe in our current socio-cultural moment. I end with an analysis of both tragedy and dystopian fiction, arguing that a sense of mutual vulnerability is needed for an actor to pursue processual utopia.

In this dissertation, I investigate various aspects of object marking and how these manifest themselves in the signed modality. The main focus is on Swedish Sign Language (SSL), the national sign language of Sweden, which is the topic of investigation in all five studies. Two of the studies adopt a comparative perspective, including other sign languages as well. The studies comprise a range of data, including corpus data, elicited production, and acceptability judgments, and combine quantitative and qualitative methods in the analyses. The dissertation begins with an overview of the topics of valency, argument structure, and object marking, primarily from a spoken language perspective. Here, the interactions between semantics and morphosyntax are presented from a typological perspective, introducing differential object marking as a key concept. With regard to signed language, object marking is discussed in terms of both verbal and nominal strategies. Verbal strategies of object marking among sign languages include directional verbs, object handshape classifiers, and embodied perspective in signing. The first study investigates the use of directionality and object handshapes as object marking strategies in Al-Sayyid Bedouin Sign Language (ABSL), Israeli Sign Language (ISL), and SSL. It is shown that the strategies generally display different alignments in terms of the types of objects targeted, which is uniform across languages, but that directionality is much more marginal in ABSL than in the other two languages. Also, we see that there is a connection between object marking strategies and the animacy of the object, and that the strategies, object animacy, and word order preferences interact. In the second and third studies, SSL is investigated with regard to the transitive–reflexive distinction. Here, we see that there are interactional effects between object handshapes and the perspective taken by the signer. This points to intricate iconic motivations of combining and structuring complex verb sequences, such as giving preference to agent focusing structures (e.g., agent perspective and handling handshapes). Furthermore, the use of space is identified as a crucial strategy for reference tracking, especially when expressing semantically transitive events. Nominal strategies include object pronouns and derivations of the sign PERSON. The fourth study provides a detailed account of the object pronoun OBJPRO in SSL, which is the first in-depth description of this sign. It is found that the sign is in widespread use in SSL, often corresponds closely to object pronouns of spoken Swedish, and is argued to be grammaticalized from the lexical sign PERSON. In the final study, the possible existence of object pronouns in other sign languages is investigated by using a sample of 24 languages. This analysis reveals that the feature is found mostly in the Nordic countries, suggesting areal contact phenomena. However, the study also shows that there are a number of derivations of PERSON, such as reflexive pronouns, agreement auxiliaries, and case markers. The use of PERSON as a source of grammaticalization for these functions is attributed to both semantic and phonological properties of the sign. This dissertation is unique in that it is dedicated to the topic of object marking in the signed modality. It brings a variety of perspectives and methods together in order to investigate the domain of object marking, cross-linguistically and cross-modally.

The dissertation provides a comprehensive analysis of the issue of quality in simultaneous interpreting. The theoretical part explores general questions related to quality in interpreting, namely the inherent difficulties encountered in defining quality, the issue of subjectivity in the assessment of quality, the different perspectives on quality and the issues surrounding the various quality criteria as suggested by different authors. The work focuses on the cognitive processes involved in simultaneous interpreting; concepts of working memory and cognitive load are discussed as well as their connection to the concept of interpreting as a decision-making process and a strategic behaviour. Quality is therefore understood as the capacity to efficiently and effectively manage available cognitive resources and to choose appropriate strategies to solve a particular problem in a specific interpreting situation, while taking into account the overall working conditions and the individual predispositions of the interpreter. The empirical part includes an analysis of actual interpreting of technical (legal) speeches. The technical nature of the speeches and the resulting linguistic and conceptual difficulties of the input material is considered to be a factor that increases cognitive load. The aim is to...

Esse trabalho tem como objeto o estudo das variações de densidade e seu diálogo com direcionalidade nos processos de composição musical estabelecendo indicações para análise interpretativa. Uma vez que problematizamos os conceitos de densidade e direcionalidade, buscamos estabelecer leituras dessas variáveis tanto quanto ao seu comportamento harmônico, rítmico, contrapontístico, timbrístico, transformações de intensidade, seja vertical ou horizontalmente, quanto à trama psicológico-dramática nas relações entre texto e música, assim como no uso do silêncio. O pensamento metodológico está apoiado tanto no Referencial Silva Ramos de Análise de obras corais (2003), que deu origem as nossas reflexões sobre densidade e direcionalidade, quanto em outras referências, igualmente estruturais, que são: Wallace Berry (1976), Arnold Schoenberg (1969, 2012), Barenboim (2007, 2009), Riemann (1896), Menezes (2002, 2006) e Schenker (1996, 2000). Ao tratar diretamente do significado destes parâmetros na estrutura musical, buscamos responder a principal pergunta deste trabalho: como tais variáveis e seus entrelaçamentos podem contribuir para uma análise voltada para construção de possíveis futuras performances. Divide-se em três capítulos, no primeiro constituímos três premissas de densidade: i) densidade vertical, a partir da análise das obras de Berry (1976), ii) densidade horizontal, com base nos fundamentos composicionais de Schoenberg (2012), iii) densidade dramática, fundamentada a partir de Ramos (2003). Realizamos a análise do madrigal Moro Lasso de Carlo Gesualdo para compreender o significado da densidade na estrutura musical e a sua contribuição para uma análise voltada para performance. No segundo capítulo, desenvolvemos as ideias de direcionalidade como um movimento transformador, destacando a direcionalidade melódica e harmônica, caracterizando também na ausência desta, a adirecionalidade. Percebemos na revisão bibliográfica e análise comparativa conceitual, a importância do conflito e do contraste para a caracterização e/ou intensificação da direcionalidade. Por fim, na análise interpretativa da obra Salmo 22 de Claudia Alvarenga, apontamos para as variações de densidade, em toda sua abrangência, como um possível elemento formador dos conflitos, contrastes e estranhamentos influenciadores de direcionalidade. / This work has as its object the study of density variations and its dialogue with directionality in the processes of musical composition, establishing indications for interpretative analysis. Once we have problematized the concepts of density and directionality, we seek to establish readings of these variables as well as their harmonic, rhythmic, contrapuntal, timbre, and intensity transformations, either vertically or horizontally, as well as the psychological-dramatic plot in the relationships between text and music, as well as in the use of silence. Methodological thinking is supported both in the Silva Ramos Reference Framework for Choral Works (2003), which gave rise to our reflections on density and directionality, as well as in other, equally structural, references that are: Wallace Berry (1976), Arnold Schoenberg (1969, 2012), Barenboim (2007, 2009), Riemann (1896), Menezes (2002, 2006) and Schenker (1996, 2000). When dealing directly with the meaning of these parameters in the musical structure, we try to answer the main question of this work: how these variables and their interlacings can contribute to an analysis directed to the construction of possible future performances. It is divided into three chapters, in the first one we establish three density assumptions: (i) horizontal density, based on the compositional foundations of Schoenberg (2012), (ii) the density of the vertical density, from the analysis of Berry\'s works (1976), (iii) density based on Ramos (2003). We performed the analysis of the madrigal Moro Lasso by Carlo Gesualdo to understand the meaning of density in the musical structure and its contribution to a performance - oriented analysis. In the second chapter, we develop the ideas of directionality as a transforming movement, highlighting the melodic and harmonic directionality, also characterizing in the absence of this, the adirecionalidade. We noticed in the bibliographic review and conceptual comparative analysis, the importance of conflict and contrast for the characterization and / or intensification of directionality. Finally, in the interpretative analysis of Claudia Alvarenga\'s Psalm 22, we point to the density variations, in all their scope, as a possible element forming the conflicts, contrasts and strangeness that influence directionality.

Esse trabalho tem como objeto o estudo das variações de densidade e seu diálogo com direcionalidade nos processos de composição musical estabelecendo indicações para análise interpretativa. Uma vez que problematizamos os conceitos de densidade e direcionalidade, buscamos estabelecer leituras dessas variáveis tanto quanto ao seu comportamento harmônico, rítmico, contrapontístico, timbrístico, transformações de intensidade, seja vertical ou horizontalmente, quanto à trama psicológico-dramática nas relações entre texto e música, assim como no uso do silêncio. O pensamento metodológico está apoiado tanto no Referencial Silva Ramos de Análise de obras corais (2003), que deu origem as nossas reflexões sobre densidade e direcionalidade, quanto em outras referências, igualmente estruturais, que são: Wallace Berry (1976), Arnold Schoenberg (1969, 2012), Barenboim (2007, 2009), Riemann (1896), Menezes (2002, 2006) e Schenker (1996, 2000). Ao tratar diretamente do significado destes parâmetros na estrutura musical, buscamos responder a principal pergunta deste trabalho: como tais variáveis e seus entrelaçamentos podem contribuir para uma análise voltada para construção de possíveis futuras performances. Divide-se em três capítulos, no primeiro constituímos três premissas de densidade: i) densidade vertical, a partir da análise das obras de Berry (1976), ii) densidade horizontal, com base nos fundamentos composicionais de Schoenberg (2012), iii) densidade dramática, fundamentada a partir de Ramos (2003). Realizamos a análise do madrigal Moro Lasso de Carlo Gesualdo para compreender o significado da densidade na estrutura musical e a sua contribuição para uma análise voltada para performance. No segundo capítulo, desenvolvemos as ideias de direcionalidade como um movimento transformador, destacando a direcionalidade melódica e harmônica, caracterizando também na ausência desta, a adirecionalidade. Percebemos na revisão bibliográfica e análise comparativa conceitual, a importância do conflito e do contraste para a caracterização e/ou intensificação da direcionalidade. Por fim, na análise interpretativa da obra Salmo 22 de Claudia Alvarenga, apontamos para as variações de densidade, em toda sua abrangência, como um possível elemento formador dos conflitos, contrastes e estranhamentos influenciadores de direcionalidade. / This work has as its object the study of density variations and its dialogue with directionality in the processes of musical composition, establishing indications for interpretative analysis. Once we have problematized the concepts of density and directionality, we seek to establish readings of these variables as well as their harmonic, rhythmic, contrapuntal, timbre, and intensity transformations, either vertically or horizontally, as well as the psychological-dramatic plot in the relationships between text and music, as well as in the use of silence. Methodological thinking is supported both in the Silva Ramos Reference Framework for Choral Works (2003), which gave rise to our reflections on density and directionality, as well as in other, equally structural, references that are: Wallace Berry (1976), Arnold Schoenberg (1969, 2012), Barenboim (2007, 2009), Riemann (1896), Menezes (2002, 2006) and Schenker (1996, 2000). When dealing directly with the meaning of these parameters in the musical structure, we try to answer the main question of this work: how these variables and their interlacings can contribute to an analysis directed to the construction of possible future performances. It is divided into three chapters, in the first one we establish three density assumptions: (i) horizontal density, based on the compositional foundations of Schoenberg (2012), (ii) the density of the vertical density, from the analysis of Berry\'s works (1976), (iii) density based on Ramos (2003). We performed the analysis of the madrigal Moro Lasso by Carlo Gesualdo to understand the meaning of density in the musical structure and its contribution to a performance - oriented analysis. In the second chapter, we develop the ideas of directionality as a transforming movement, highlighting the melodic and harmonic directionality, also characterizing in the absence of this, the adirecionalidade. We noticed in the bibliographic review and conceptual comparative analysis, the importance of conflict and contrast for the characterization and / or intensification of directionality. Finally, in the interpretative analysis of Claudia Alvarenga\'s Psalm 22, we point to the density variations, in all their scope, as a possible element forming the conflicts, contrasts and strangeness that influence directionality.