Orientador: Iara Lis Schiavinatto / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-25T20:11:36Z (GMT). No. of bitstreams: 1 Aquino_LiviaAfonsode_D.pdf: 255946029 bytes, checksum: 176794ed5283231aa05740c0d9e70a27 (MD5) Previous issue date: 2014 / Resumo: Esta tese trata da fotografia do amador e sua construção histórica no campo do turismo, refletindo sobre a criação de práticas sociais e sobre as transformações na percepção da experiência da viagem. O turista-fotógrafo é sujeito que comporta tanto o turista quanto o fotógrafo amador, mas se constitui, sobretudo, no entrelaçamento entre os dois. Parte-se de uma relação entre a fotografia e o turismo operando como dispositivo, cristalizando inerente relação. Nessa direção, a Eastman Kodak Company é peça fundamental no processo de popularização da fotografia e, consequentemente, na construção dos modos de produzir, consumir e compreender imagens. Por meio da publicidade, de estratégias de negócio, da elaboração de um sistema educativo e de ampla cadeia de produção, a Kodak atua na criação de valores relativos à importância do registro da viagem e enfatiza o fato de que sua rememoração pode ser obra do amador. O turista-fotógrafo torna-se assim um sujeito produtor de parte do mundo-imagem, pelo desejo de posse e status que a fotografia e o turismo carregam, e, especialmente, pela busca de uma fotografia que está sempre a sua espera / Abstract: This thesis addresses the amateur photography and its historical construction in the tourism area, reflecting on the creation of social practices and on the transformations in the perception of the travel experience. The tourist-photographer is the subject that encompasses both the tourist and the amateur photographer, but is mainly the interlacing between both. The starting point is the relationship between photography and tourism operating as an apparatus, crystalizing their inherent relationship. In this sense, Eastman Kodak Company is a fundamental piece in the process that made photography popular and consequently in the construction of the ways to produce, consume and comprehend images. By means of advertising, business strategies, creation of an educational system and an ample production network, Kodak creates values related to the importance of recording the trip and emphasizes the fact that recalling it can be the work of an amateur. The tourist-photographer becomes then a subject that produces part of the world-image, through the wish for possession and status inherent in photography and tourism, and, especially, through the search for a picture that is always waiting to be taken. / Doutorado / Artes Visuais / Doutora em Artes Visuais

This thesis discusses the camera design development from its very beginning until present time. Methodological is based on a basic ideas of industrial design, cooperation of brands with specific designers and achieve goals of industrial design. In the beginning, I am trying to find a breakpoint in thinking about the cameras, moment of not-only light-sensitive material development, but also adding of new ideas of camera ergonomics, the functional elements of the marking symbol or extra aesthetic value and mapping the effects and conditions to which it was formed. It contains substantial cooperation with world famous brands (Kodak, Leica, Hasselblad, Pentax ...), their theoretical basis and problems, concerning media images linked to the samples as well.

Thesis--New York University, 1973. / Includes bibliographical references (p. 179-190).

Post-minimalist American composer Julius Eastman's residency at Northwestern University in 1980 provides a rare opportunity to mitigate, if not eliminate, the problems involved in defining his compositional style. Eastman occupies a complex and unlikely position in late twentieth-century music as an openly gay, African-American composer of serious art music who both a member of the Creative Associates at SUNY Buffalo as well as participated in the diverse musical culture of Downtown New York. Eastman's surviving scores are notated in a fragmentary and idiosyncratic fashion and the composer's outrageous personality left few people with whom he worked closely or on a regular basis. However, scores of three of Eastman's works survive. Crazy Nigger, Evil Nigger, and Gay Guerilla were performed on January 16, 1980, as the culmination of Eastman's residency at Northwestern. Eastman's use of inflammatory was influenced by the political timeframe of their composition, particularly black cultural narratives and the state of gay rights conflict in the era between Stonewall and the AIDS crisis. Drawing upon newspaper reports, early scholarship on Eastman's biography, and interviews with concert participants, this thesis documents the rehearsal process and the controversy surrounding the titles of the works. For Members Only, the black student organization at Northwestern, protested advertisements of the concert in the midst of their own conflict with the student government. A viable analytical framework for Eastman's works draws from the techniques of earlier minimalist theorists, including John Roeder's adaptation of set theory. Crazy Nigger, the earliest and longest of the three works, provides to be the least complex example of Eastman's "vertically additive process." Whereas composer Philip Glass extends an original melodic kernel by adding notes horizontally, Eastman adds notes vertically to create increasingly dense textures. Evil Nigger's use of the process is more complicated, introducing additional elements such as ostinati and de-emphasizing the kind of sectional form found in Crazy Nigger. In Gay Guerilla, the last of the three works to be composed, Eastman totally obscured any salient perception of form by eliding several simultaneous occurrences of the vertically additive process and introducing a quotation of the Lutheran chorale "Ein feste Burg." With these three analysis, a more generalized concept of Eastman's compositional style thus consists of his vertically additive process, the introduction of modernist harmony into minimalist technique, the use of hendecachords (11-note sets), a gradual dissolution with the sectional form dominant in concert-length minimalist works, and a move away from post-modernity that Eastman termed "organic music."

The Eastman Wind Ensemble is known as the pioneer ensemble of modern wind music in North America and abroad. Its founder and conductor, Frederick Fennell, was instrumental in facilitating the creation and performance of a large number of new works written for the specific instrumentation of the wind ensemble. Created in 1952, the EWE developed a new one-to-a-part instrumentation that could be varied based on the wishes of the composer. This change in instrumentation allowed for many more compositional choices when composing. The instrumentation was a dramatic shift from the densely populated ensembles that were standard in North America by 1952. The information on the EWE and Fennell is available at the Eastman School of Music’s Ruth Watanabe Archive. By comparing the repertory and instrumentation of the Eastman ensembles with other contemporary ensembles, Fennell’s revolutionary ideas are shown to be unique in the wind music community.

The Eastman Wind Ensemble is known as the pioneer ensemble of modern wind music in North America and abroad. Its founder and conductor, Frederick Fennell, was instrumental in facilitating the creation and performance of a large number of new works written for the specific instrumentation of the wind ensemble. Created in 1952, the EWE developed a new one-to-a-part instrumentation that could be varied based on the wishes of the composer. This change in instrumentation allowed for many more compositional choices when composing. The instrumentation was a dramatic shift from the densely populated ensembles that were standard in North America by 1952. The information on the EWE and Fennell is available at the Eastman School of Music’s Ruth Watanabe Archive. By comparing the repertory and instrumentation of the Eastman ensembles with other contemporary ensembles, Fennell’s revolutionary ideas are shown to be unique in the wind music community.

The Eastman Wind Ensemble is known as the pioneer ensemble of modern wind music in North America and abroad. Its founder and conductor, Frederick Fennell, was instrumental in facilitating the creation and performance of a large number of new works written for the specific instrumentation of the wind ensemble. Created in 1952, the EWE developed a new one-to-a-part instrumentation that could be varied based on the wishes of the composer. This change in instrumentation allowed for many more compositional choices when composing. The instrumentation was a dramatic shift from the densely populated ensembles that were standard in North America by 1952. The information on the EWE and Fennell is available at the Eastman School of Music’s Ruth Watanabe Archive. By comparing the repertory and instrumentation of the Eastman ensembles with other contemporary ensembles, Fennell’s revolutionary ideas are shown to be unique in the wind music community.

Photography is inherently technological, based as it is on intricate chemical processes. George Eastman famously created the conventional photographic system, making the technology widely available to a mass market. Using the systems approach, I show how the Eastman Kodak Company consolidated critical photographic technologies through acquisition and research in the beginning of the twentieth century. Once the company achieved predominance in the industry, it set about expanding its markets. However, as the non-chemical elements of the technology advanced in the 1970s and beyond, the market changed. At the same time, foreign competitors matched and even surpassed Kodak's production efficiencies, threatening the company as never before. Just as Kodak began facing serious price competition in the 1980s for the first time in decades, electronics manufacturers introduced video camcorders and, later, digital still cameras. Dismissed by Kodak managers as inferior, the radical technology advanced far more rapidly than Kodak's chemical research. Computers in particular guided consumers to embrace new values, emphasizing a means of imaging that the conventional system could not match. Eastman Kodak's success with the older system created a protective mindset that led its managers to focus very narrowly on the survival of film. They viewed the new competitive landscape skeptically, and as a result they stifled innovation and prevented the company from aggressively competing in emerging technologies. / Master of Science

Reducing the operating costs of chemical processes is very beneficial in decreasing a company's bottom line numbers. Since chemical processes are usually run in steady-state for long periods of time, saving a few dollars an hour can have significant long term effects. However, the complexity involved in most chemical processes from nonlinear dynamics makes them difficult processes to optimize. A nonlinear, open-loop unstable system, called the Tennessee Eastman Chemical Process Control Problem, is used as a test-bed problem for minimization routines. A decentralized controller is first developed that stabilizes the plant to set point changes and disturbances. Subsequently, a genetic algorithm calculates input parameters of the decentralized controller for minimum operating cost performance. Genetic algorithms use a directed search method based on the evolutionary principle of "survival of the fittest". They are powerful global optimization tools; however, they are typically computationally expensive and have long convergence times. To decrease the convergence time and avoid premature convergence to a local minimum solution, an auxiliary fuzzy logic controller was used to adapt the parameters of the genetic algorithm. The controller manipulates the input and output data through a set of linguistic IF-THEN rules to respond in a manner similar to human reasoning. The combination of a supervisory fuzzy controller and a genetic algorithm leads to near-optimum operating costs for a dynamically modeled chemical process. / Master of Science

Excerpt: Professional development has been of central importance throughout the mathematics education reforms in our educational history. Recognizing that math teachers represent the major link between the curriculum and student learning, expert practitioners, researchers, and policy makers emphasize professional development as an essential mechanism for deepening teachers’ content knowledge and developing their teaching practices.