Submitted by Nara Lays Domingues Viana Oliveira (naradv) on 2015-07-01T15:43:04Z No. of bitstreams: 1 fernandoneto.pdf: 987891 bytes, checksum: b872ba927b56c8a8de37b93ae4e1e0b7 (MD5) / Made available in DSpace on 2015-07-01T15:43:04Z (GMT). No. of bitstreams: 1 fernandoneto.pdf: 987891 bytes, checksum: b872ba927b56c8a8de37b93ae4e1e0b7 (MD5) Previous issue date: 2013-03-21 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / O texto possui como alicerce as questões histórico-sociais e culturais do cinema argentino, as questões identitárias de gênero e sexualidade envolvidas nas obras desse cinema e também os fatores comunicacionais dessas audiovisualidades que as configuram como um modo de expressão artística através da sétima arte. O estudo adota uma perspectiva pós-estruturalista, por meio de autores como: Michel Foucault, com seu método de analisar a procedência dos fenômenos de produção de subjetividade que constituem o meio social através dos jogos de verdade; Gilles Deleuze, que faz uma análise do dispositivo foucaultiano da sexualidade e do desejo, demonstrando a maneira com que as linhas de força realizam o atravessamento nesse objeto; e também Roland Barthes, através do estudo da crítica como um método interpretativo sobre o olhar. Com os processos históricos que configuraram o dispositivo cinema na Argentina já traçados, há a identificação dos modos de se realizar o audiovisual no país, o reconhecimento realizado de uma nova manifestação na sétima arte, na qual se realizou o recorte, além da pré-análise dos observáveis elaborada, analisando-se linhas de fugas que fazem os atravessamentos nesse dispositivo cinema, identificando um lugar no qual essas linhas articulam-se em direção à expressão de novas e outras subjetividades no âmbito do gênero, sexualidade e juventude. Esse ponto de convergência/emergência corresponderá a um resultado pelo qual se fará compreender a procedência da manifestação audiovisual no presente momento no país, que é rebatida num jogo de forças que rompem fronteiras pré-estabelecidas, num momento de ingresso na pós-modernidade, considerando essa etapa não apenas como um período histórico mas também como uma fase em que as grandes teorias, responsáveis pelas “certezas” da humanidade, não são mais suficientes para a compreensão dos fenômenos sociais. / The text has as base historical-social questions and cultural of argentine cinema, the identity questions of genre and sexuality involved in the cinematographic work, and also the communicational factors of these audiovisuality that set it up as a mode of artistic expression throught the seventh art. The study adopts a poststructuralist perspective, by authors such as Michel Foucalt, with his method of analyze the source of these subjectivity production phenomenons that constitute the social through games of truth; Gilles Deleuze, makes an analysis of the sexuality foucaultiano device and desire, showing the way that the lines of power perform the crossing on this object, and also Roland Barthes through the study of critical as a interpretative method about the look. With historical process that configures the cinema device on Argentina already definite, the identification of the ways to perform the audiovisual in the country, the realized recongnition of a new manifestation in the seventh art where it was performed the profile, besides the pre-analysis of the observables elaborated, identifies lines of escape that makes the crossing in this cinema device, identifying a place where these lines articulates in the direction of the expression of new and another subjectivities in the sphere of genre, sexuality and youth. These point of convergence/emergency will correspond to a result whereby it will understand the source of the audiovisual manifestation in the present moment in the country, that is controverted in a game of power that break pre-established borders, in a moment of entry into the post-modernity, considering these stage not as a historical period only, but also as a phase where the great theories, responsible for the ‘’certainties’’ of humanity, is no longer enough to the understanding of the social phenomenons.

A presente pesquisa procura um deslocamento dos limites da arte para situações da vida, através da redescoberta do olhar sobre determinadas imagens fotográficas e o fenômeno do apagamento, contrariando assim o excesso de exposição que caracteriza a fotografia desde suas origens. A proposta plástica explora as dimensões estéticas de situações banais e características como o esquecimento, o apagamento e o esconderijo, surpreendendo o olhar do observador com objetos onde este não espera encontrá-los, expandindo o campo do laboratório e trazendo o questionamento dos processos da fotografia para o cotidiano. Os objetos constituem-se de pequenas embalagens contendo em seu interior fotografias com sais de prata ainda em processo de oxidação, resultando numa imagem instável que, ao ser exposta à luz, sofre um apagamento. Dessa forma, cada vez que a fotografia é retirada da embalagem, há uma perda progressiva da informação visual. As embalagens são escondidas – intencionalmente esquecidas - em livros de bibliotecas de acesso público, onde podem ser encontradas por pessoas desavisadas: observadores acidentais. A escolha dos livros baseia-se no conteúdo dos mesmos, que possuem relação com os temas explorados neste trabalho. O apagamento da imagem e seu modo de circulação questionam o lugar da imagem fotográfica e propõe uma extensão da experiência do laboratório para outros contextos de recepção. / This search explores the limits of art to life situations, through the rediscovery of view on certain photographic images and the erasure phenomenon, being contrary to the over-exposure that characterizes the photo from its origins. The plastic proposal explores the aesthetic dimensions of banal situations and characteristics such as forgetfulness, erasing and hiding surprising the observer eye with artistic object where it does not expect to find them, expanding the field of the laboratory and bringing the questioning of photo procedures for the daily life. The objects are small packages with inside photos with salts of silver still in process of oxidation, resulting an unstable image that suffers deletion when exposed to light. Thus, each time the photo comes from packaging, there is a progressive loss of sharpness. The packages are hidden - intentionally forgotten - in books from public access libraries, which can be found by people who don’t expect them: accidental observers. The choice of books is based on their content, that has relation with the themes explored in this search. The erasure of the image and its method of presentation questioning the place of the photographic image and proposes an extension of the laboratory experience to other contexts of receipt.

A partir de mon expérience personnelle en tant que myope, j'ai eu l'idée d'une «contre vision» dans la création artistique. Les philosophes et les artistes ont longtemps pensé que le sens de la vue occupait la place la plus noble par rapport aux autres sens. Mais il y a une autre tendance à l'opposé de ce point de vue. Le paradoxe de la supériorité de la vue établit la théorie de base de cette thèse. Le concept de cette recherche vient de l'ouvrage d'Aloïs Riegl, qui a défini I' «haptique» comme une vision de près, spéciale car devant obligatoirement se référer au sens du toucher. Mon hypothèse est la suivante : Est-ce que le sens du toucher peut être le moyen le plus efficace pour percevoir et pour créer une œuvre d'art? Quel serait l'apport privilégié de la vidéo à cette perception ? Trois séries d'œuvres sont réalisées comportant tableaux, broderies, sculptures et vidéos. Elles se présentent en trois chapitres pour répondre à l'hypothèse : le toucher de la main est analysé dans le premier chapitre; puis c'est au tour de celui de l'œil dans le deuxième ; Enfin, au troisième chapitre, la caméra-toucher mêle les deux fonctions. La thèse tente de briser la règle de l'«interdiction de toucher» dans le musée. Par l'inspiration de la manière de faire d'un groupe de personnes qui ne voient pas, elle propose que l'œuvre d'art puisse être appréciée par le toucher des handicapés visuels et des personnes voyantes. Elle présente la vision haptique - une vision corrigée par l'expérience du sens du toucher. A travers l'intervention de l'art vidéo, la recherche s'inscrit dans l'art contemporain. Cette thèse conduit à «la réhabilitation du toucher», réfutant la théorie selon laquelle «la vue est supérieure aux autres sens». / From my personal experience as myopic, I had an idea of « cons-vision » in artistic creation. For a long time, philosophers and artists have thought that the sense of sight occupied the nobles place of senses. But there is another tendency is opposite to that view. The paradox of sight's superiority establishes the basic theory of this thesis. Concept of this research comes from the work of Aloïs Riegl, who defined "haptic". As a near and special vision because it must refer to the sense of touch. My hypothesis is: Does the sense of touch can be the most effective way to perceive and create an art work? What would be privileged contribution of video to that perception? Three series of art works are created including paintings, embroideries, sculptures and videos. They are presented in three chapters as a response to the hypothesis: touch of hands is analyzed in first chapter; then the sense of sight in the second; finally in the third chapter, the touch-camera combines these two functions. This thesis tries to break anti-contact rule in museum. Inspired by a group of blind people, it proposes that the artwork can be appreciated by the touch of blind and sighted people. It shows that the haptic vision -a vision corrected by the experience of sense of touch. Through the intervention of video art, this research becomes a part of contemporary art. This thesis supports "rehabilitation of touching”, refuting the theory that “sight is superior to other senses”.

The present study proposes to use a Conrad probe for transient growth study by measuring the two-dimensional velocity behind an array of roughness elements in the Blasius boundary layer. A look-up table approach is proposed to increase the accuracy of the data reduction process at low velocities, based on the results of the calibration performed in a round jet. A velocity correction method is proposed to minimize the errors due to high velocity shear and wall-proximity in the Blasius boundary layer by comparing Conrad probe results to previous hot-wire data. Measurements of the steamwise velocity perturbation obtained with the Conrad probe agree with previous studies. The measured spanwise perturbation confirms the transport process suggested by simulation. The results show that the perturbation amplitude increases by increasing both the freestream velocity and roughness elements height. However, the mechanism for changing the perturbation amplitude of influence differs for these two parameters.

The present study proposes to use a Conrad probe for transient growth study by measuring the two-dimensional velocity behind an array of roughness elements in the Blasius boundary layer. A look-up table approach is proposed to increase the accuracy of the data reduction process at low velocities, based on the results of the calibration performed in a round jet. A velocity correction method is proposed to minimize the errors due to high velocity shear and wall-proximity in the Blasius boundary layer by comparing Conrad probe results to previous hot-wire data. Measurements of the steamwise velocity perturbation obtained with the Conrad probe agree with previous studies. The measured spanwise perturbation confirms the transport process suggested by simulation. The results show that the perturbation amplitude increases by increasing both the freestream velocity and roughness elements height. However, the mechanism for changing the perturbation amplitude of influence differs for these two parameters.

In modern wireless communication systems, advanced modulation techniques are used to support more users by handling high data rates and to increase the utilization efficiency of the limited RF spectrum. These techniques are sensitive to the nonlinear distortions due to their high peak to average power ratios. Main source of nonlinear distortion in transmitter topologies are power amplifiers that determine the overall efficiency and linearity of the transmitter. To increase linearity without sacrificing efficiency, power amplifier linearization techniques may be a choice. Baseband predistortion technique is known to be one of the optimum methods due to its relatively low complexity and its convenience for adaptation. In this thesis, different memoryless baseband signal predistortion methods are investigated and analyzed by simulations. Look-Up Table(LUT) and Polynomial approaches are compared and LUT approach is found to be better in performance. Parameters, like indexing, training sequences and training duration are evaluated. An open loop testbench is built with a real amplifier and a different LUT predistortion method that is based on amplifier modeling is offered. It is evaluated by using two tone test and adjacent channel power suppression with 8PSK data. Also, some Look-Up Table parameters are re-investigated with the proposed method. The performances of the proposed method in dierent amplifier classes are observed. Along with these studies, a list of prerequisites for design of a predistortion system is determined.

Walter Benjamin, in Thesis IX of his “Theses on the Philosophy of History,” wrote of the angel of history looking back at the past from the now-time of the present moment, at the historical wreckage, a single catastrophe as it were, piling in front of its feet, as it gets pulled forward facing back into the temporality of the future and the space of modernity’s violent excesses, heralded by the promise of apparent progress. As the title to my dissertation suggests, my study begins, following the angel’s look, with these three words, seeing what remains, and as such it is structured around the very nature of this arresting “look back” and that which is being regarded, the ruins, or the remains and remainders that exist after, and in the aftermath of, traumatic loss. Working with and across a variety of mediums, I conduct a series of exegetical studies of recent “texts” – literary, photographic, and cinematic – within which, I argue, this look back figures as central to the concern of how we might understand the simultaneous existence of the forces of remembrance and forgetting, and of mourning and melancholia in memory-work. The various “texts” within which I explore this look back are Anne Michaels’s novel Fugitive Pieces, the photographic series titled Library of Dust by David Maisel, the movies Hiroshima, mon amour by Marguerite Duras and Alain Resnais and Amour by Michael Haneke. I situate my exploration of the enigmatic nature of the look back in these different textual scenes alongside Sigmund Freud’s critical work on transference and transference love and Kaja Silverman’s rigorous expansion of the psychoanalytic objective of the “cure by love.” Here, it is my intention, as such, to work toward and expand on my thesis that this look, of the angel (or the materialist historian or the artist as witness), is a look of redemptive love, both against erasure and against the possibility of invisibility, “to awaken the dead” as it were, so as to address the loss inscribed in historical experiences with catastrophic temporality and to thereby redeem the ethical from within the scene of trauma.

The increasing globalization of the market has rendered the competitive situation for companies worldwide more fierce than ever with order winners becoming order qualifiers and the demand continues to rise. Especially, the situation has become more complex for SME´s that are suppliers to large global companies. To ensure themselves that the suppliers are conforming to the high standards set by the large companies. In mediating the quality of the production as well as having a well-performing production, practitioners are using the term industrial look and feel to encapsulate a production that both deliver and looks the part. However, this term is loosely used, and a clear definition of it is missing, hence creating problems when the term industrial look and feel is used in production line design. In this study, the authors aim to investigate the possibilities of providing a clear definition of the term industrial look and feel and what it involves. Further, the authors want to investigate what are the important aspects to consider when designing a production line considering industrial look and feel. The study was directed by these three research questions: * How can Industrial Look and Feel be defined? * How does Industrial Look and Feel contribute to increased performance of a production line? * What is important to consider when designing a production line considering industrial look and feel in an HMLV environment? To answer the research questions a case study has been conducted at a company producing the robust data communication equipment and a literature review was conducted with the aim of understanding the concepts included in the term industrial look and feel. The study resulted in a definition of industrial look and feel, how industrial look and feel may contribute the production performance and important aspect to consider and include in the design of a production line considering industrial look and feel. Taking the newly defined concept of industrial look and feel into consideration, a concept assembly line was developed at the case study company.

Este estudo analisa a articulação dos jogos de saber e poder, bem como os efeitos de verdade no trabalho, sustentados pelo olhar de trabalhadores do centro cirúrgico e presentes na produção de éticas nos modos de trabalhar. A análise do estudo toma como eixo principal o trabalho dos profissionais que atuam no centro cirúrgico do Hospital de Clínicas de Porto Alegre, um hospital-escola, instituição pública e universitária, integrante da Rede de Hospitais Universitários do Ministério da Educação e vinculada academicamente à Universidade Federal do Rio Grande do Sul (UFRGS). Com este eixo principal, tomo o pensamento de Michel Foucault como norteador de um recorte teórico sobre a condição deste sujeito trabalhador permeado pelas relações de saberpoder e jogos de verdade, traçando um diálogo no que se refere às questões do olhar e buscando outros suportes que contemplem uma trajetória particular para essas questões além do campo foucaultiano. A proposta metodológica utilizada nesta pesquisa contemplou as ferramentas da pesquisa intervenção e a estratégia da intervenção fotográfica. Os participantes foram convidados por cartazes e e-mails para a produção de fotografias e realização de encontros para oficinas de fotografias e produção de narrativas fotográficas. Essas narrativas foram construídas coletivamente e possibilitaram refletir sobre os jogos de verdade, indicando visibilidades e invisibilidades nos processos saber-poder presentes neste trabalho. Com imagens escolhidas pelos participantes do grupo, foi realizada uma exposição fotográfica no corredor central do bloco cirúrgico com espaços para a livre manifestação dos trabalhadores. O Centro Cirúrgico foi retratado como um espaço do olhar, da vigilância e do controle. O saber é determinado a partir da visibilidade dos corpos, sejam de pacientes ou de trabalhadores e este saber é legitimado quando emana do brilho do foco cirúrgico. Os recortes produzidos por este estudo e visibilizados pelas imagens apontaram para os elementos que gravitam ao redor, que estão na obscuridade e fora do foco iluminado. As fotos possibilitaram um olhar que se sobressai à cegueira do trabalho cotidiano e lança luz à penumbra do trabalho “secundário”. Tanto esta “cegueira” como o “brilho” são instâncias que fazem parte de um jogo de forças, são estratégias dos jogos de verdade. A visibilidade desses jogos adquire novas possibilidades através do olhar fotográfico, com suas táticas de congelamento no tempo, possibilidades de olhares diversos e de criação de um espaço de discussão. / This study analyses how the games of knowledge and power are played and the effects of truth at work, uphold by the surgical center’s workers’ point of view and present in the ethic production on the ways of working, The main objective of the work is the professionals’ job who work in the surgical center of the Hospital de Clínicas from Porto Alegre, a teaching hospital, university and public institution, part of the University hospitals’ network of the Education Minestry and connected academically with the Universidade Federal do Rio grande do Sul(UFRGS). Having it as the main objective, I follow Michel Foucault thoughts as a theoretical framework guider on this worker’s job conditions permeated by power and knowledge relations and the games of the truth, establishing a dialogue related to the point of view issues and searching other supports that can sustain the private route for the issues beyond Foulcault’s field. The methodological proposal used in this research observed the tool of the Intervention Research and the photographic intervention strategy. The candidates were invited by posters and e-mails for the photographic production and for the meetings for pictures workshops and photographic narrative’s production. These narratives were made out collectively and allow reflecting on the truth games indicating the visibility and the invisibility in the knowledge and power process existing in this work. It was done a photographic exhibit with the images chosen by the participants in the main aisle of the surgical area with places so that workers could openly show their thoughts .The surgical center was portrayed as a space of the look, vigilance and power. The knowledge is determined from the bodies’ visibility be it from patients or from workers and this knowledge is legitimized when it comes from the surgery focus’s brightness. The frameworks produced by this study and enabled by these images spotted the elements around it, that are hidden and out of the bright focus. The pictures displays what is beyond the everyday job’s blindness and shows the “secondary” job. As much this blindness as the brightness they are pieces that are part of a strength game, they are strategies of the truth game. The visibility of these games gains new prospects through the photographic view, with its tactics of freezing in the time, several possibilities of look and the creation of a space for debates.

A presente pesquisa procura um deslocamento dos limites da arte para situações da vida, através da redescoberta do olhar sobre determinadas imagens fotográficas e o fenômeno do apagamento, contrariando assim o excesso de exposição que caracteriza a fotografia desde suas origens. A proposta plástica explora as dimensões estéticas de situações banais e características como o esquecimento, o apagamento e o esconderijo, surpreendendo o olhar do observador com objetos onde este não espera encontrá-los, expandindo o campo do laboratório e trazendo o questionamento dos processos da fotografia para o cotidiano. Os objetos constituem-se de pequenas embalagens contendo em seu interior fotografias com sais de prata ainda em processo de oxidação, resultando numa imagem instável que, ao ser exposta à luz, sofre um apagamento. Dessa forma, cada vez que a fotografia é retirada da embalagem, há uma perda progressiva da informação visual. As embalagens são escondidas – intencionalmente esquecidas - em livros de bibliotecas de acesso público, onde podem ser encontradas por pessoas desavisadas: observadores acidentais. A escolha dos livros baseia-se no conteúdo dos mesmos, que possuem relação com os temas explorados neste trabalho. O apagamento da imagem e seu modo de circulação questionam o lugar da imagem fotográfica e propõe uma extensão da experiência do laboratório para outros contextos de recepção. / This search explores the limits of art to life situations, through the rediscovery of view on certain photographic images and the erasure phenomenon, being contrary to the over-exposure that characterizes the photo from its origins. The plastic proposal explores the aesthetic dimensions of banal situations and characteristics such as forgetfulness, erasing and hiding surprising the observer eye with artistic object where it does not expect to find them, expanding the field of the laboratory and bringing the questioning of photo procedures for the daily life. The objects are small packages with inside photos with salts of silver still in process of oxidation, resulting an unstable image that suffers deletion when exposed to light. Thus, each time the photo comes from packaging, there is a progressive loss of sharpness. The packages are hidden - intentionally forgotten - in books from public access libraries, which can be found by people who don’t expect them: accidental observers. The choice of books is based on their content, that has relation with the themes explored in this search. The erasure of the image and its method of presentation questioning the place of the photographic image and proposes an extension of the laboratory experience to other contexts of receipt.