Orientador: Ana Silvia Lopes Davi Médola / Banca: Samuel José Holanda de Paiva / Banca: João Eduardo Hidalgo / Resumo: O presente trabalho tem o objetivo de estudar as relações no processo de montagem cinematográfica a partir da análise dos filmes Um homem com uma câmera (1929) de Dziga Vertov e Koyaanisqatsi (1983) de Godfrey Reggio. A escolha de tais filmes justifica-se, pois ambos procuram em sua montagem trabalhar a relação entre as imagens de uma maneira mais orgânica, relacional, não havendo tantos cortes que geram descontinuidade como na maioria dos filmes narrativos comerciais. A pesquisa também apresenta um panorama sobre o desenvolvimento e estabelecimento da linguagem cinematográfica desde seus pioneiros até o cinema captado com câmeras digitais, passando pelos grandes movimentos do século XX como, por exemplo, o Neorealismo italiano ou a Nouvelle Vague francesa e o quanto os filmes provenientes desses movimentos ajudaram no estabelecimento do cinema enquanto linguagem e expressão artística no século XX. A partir dos escritos teóricos dos grandes cineastas russos dos anos 1920-30 como Sergei Eisenstein, Vsevolod Pudovkin e Dziga Vertov, além dos estudiosos brasileiros Eduardo Leone e Maria Dora Mourão, apresenta-se um estudo sobre a importância da montagem no processo de construção de um filme. A análise do processo de montagem em Um homem com uma câmera e Koyaanisqatsi evidencia os pontos de contato entre ambos revelando uma lógica da linguagem fílmica, mesmo tendo sido realizados em um intervalo de mais de 50 anos e em duas culturas cinematográficas bastante distintas, além do que cada um tem de particular e o faz ser visto como produto de sua época / Abstract: The present research has the objective of studying the relationship in the cinematographical editing process from the analyses of the films A man with a movie camera (1929) by Dziga Vertov and Koyaanisqatsi (1983) by Godfrey Reggio. The selection of such films is justified, because both try in its editing to work the relationship among the images in a more organical, relational way, there are not so many cuts which generate discontinuity as in most commercial narrative films. The research also presents a panorama about the development and establishment of the cinematographical language since its beginning until the cinema captured with the aid of digital cameras, passing through the greatest movements of the 20th century, for example, the Italian New-realism or the French Nouvelle Vague and how much the films originary of these movements helped in the establishment of the cinema as language and artistic expression in the 20th century. From the rhetorical writing of the greatest Russian moviemakers in the 1920's and 1930's like Sergei Eisenstein, Vsevolod Pudovkin and Dziga Vertov, besides the Brazilian researchers Eduardo Leone and Maria Dora Mourão, a study is presented about the importance of the editing in the process of construction of a film. The analysis of the editing process of A man with a movie camera and Koyaanisqatsi to evident the connecting points between them revealing a logic of the film language, even being produced more than 50 years apart each other and in two totally different cinematographic cultures, besides what each one presents as being of itself and what makes them be seen as products of their times / Mestre

archives@tulane.edu / A-to-I RNA editing, catalyzed by a family of enzymes called adenosine deaminases acting on RNA (ADARs), brings broad significance in various biological processes. To date, the roles of ADARs and its associated RNA editing in Epstein-Barr virus (EBV)’s life cycle and pathogenesis are still largely unknown. To fill this significant knowledge gap, we utilized our well-established next-generation RNA sequencing-based computational approaches and traditional molecular biology methodologies to elucidate the triangle relationship between ADARs, RNA-editing, and EBV infection. The expression of ADARs was first evaluated in a cohort of EBV-associated lymphoma cells. A constitutive expression of ADAR1, the predominant form of ADARs, was observed in the examined cells. In synchronous EBV reactivation cell models, we found that EBV reactivation led to a decreased expression of ADAR1 as well as a global suppression of A-to-I RNA editing. Further, we found that expression of the key viral trans-activator Zta inhibited ADAR1 expression in EBV-associated lymphoma cells. Analyses of the ADARs-mediated RNA editing events revealed novel editing sites on viral lytic transcripts. Knockdown of ADAR1 led to a global suppression of RNA-editing accompanied by a more robust EBV reactivation. Meanwhile, the enhanced expression of ADAR1 inhibited Zta’s expression and transactivation function. Together, our findings reveal a novel mechanism controlling the balance of EBV life cycle, in which ADAR1 and associated RNA editing events help maintain the viral latency by silencing Zta; whereas a bona fide lytic signal leads to high-level Zta expression by inhibiting ADAR1 and ADARs-mediated RNA editing. / 1 / Yi Yu

This thesis considers the moral permissibility of heritable non-therapeutic human genome editing. That is, genetic changes that seek to alter the genes of future generations for enhancement and aesthetic reasons. Some examples include genetic changes to muscle mass, cognitive abilities, eye colour, hair texture, skin colour, and so on. Given relevant moral considerations, I argue that the case against heritable non-therapeutic human genome editing is stronger than the case in favour. / Thesis / Master of Philosophy (MA)

Centralized systems are easier to build and maintain as compared to completely distributed systems. However, distributed systems have the potential to be responsive and robust relative to centralized systems. This thesis proposes an architecture and concurrency algorithm for collaborative editing that lies between these extremes and preserves the advantages of both approaches while minimizing their shortcomings The Jupiter collaboration system at Xerox PARC uses a 2-party synchronization protocol for maintaining consistency between two users performing unconstrained edits to the document simultaneously. The primary goal of our work has been to extend this 2-party synchronization protocol to an n-way synchronization algorithm. NetEdit is a prototype collaborative editor built to demonstrate this n-way protocol. It uses a replicated architecture with the processing and data distributed across all the clients and the server. Due to replication, the response time of the local edits performed by the users is quite close to a single user editor. The clients do not need to be aware of other clients in the system since each of them synchronizes with their counterpart at the server. All communication regarding editing operations takes place through this server. As a result this system is quite scalable (linear growth) relative to distributed systems (quadratic growth) in terms of number of communication paths required as the number of clients grow. I discuss the details of this extension and illustrate it through an editing scenario. NetEdit uses groupware widgets (telepointers, and radarview) to distribute awareness information between participants. It supports completely unconstrained editing and allows late joining into a session. It does not assume any structure in terms of roles of participants or protocol for collaboration and thus allow users to form whatever protocol suits them. The results and conclusions derived from a preliminary usability study of NetEdit, discuss its efficacy. They also investigate the role of communication and its use in a groupware setting. / Master of Science

The Ars edendi Lectures are organized by the research programme of the same name based at Stockholm University and funded by the Bank of Sweden Tercentenary Foundation. Both the programme and the lectures focus on editorial method and theory as applied to dynamic textual traditions of medieval Latin and Greek works. In the Lecture Series, leading scholars are invited to share their expertise regarding textual criticism or, as we call it, ‘the art of editing’.In this second volume of lectures, Nicole Bériou o2ers an analysis of medieval Latin sermons, treating oral aspects of written texts and analyzing to what extent traces of a performance can be detected in written testimonies. Traces of orality in a written text also concern punctuation; here, Diether Reinsch and Börje Bydén o2er two diverging approaches on how to deal with medieval punctuation in Byzantine manuscripts, one supporting an adherence to the manuscript usage and the other advocating normalisation. Michael W. Herren discusses the particular challenges involved in editing Latin texts from the pre-Carolingian era. Elizabeth Je2reys describes the edition Michael Je2reys and she made of the letters of Iakovos Monachos, which are almost entirely made up of quotations, and their experiments with a special apparatus to account for variants in the cited texts. David d’Avray examines the theoretical underpinnings of Martin West’s proposed method for dealing with contaminated manuscripts, while Caroline Macé, Ilse de Vos and Koen Geuten compare the results of stemmatological and phylogenetic methods as applied to the transmission of a Byzantine anthology, the Florilegium Coislinianum. / Ars edendi

CRISPR/Cas has been developed for targeted mutagenesis in diverse species, including plants. However, precise genome editing via homology-directed repair (HDR) is inefficient in plants, limiting our ability to make large deletions or insertions in the plant genomes. Prime editing increases the control over the desired editing and allows the precise introduction of all types of mutations, including insertion, deletions, and all possible base conversions, albeit at low efficiencies. Here, we designed a dual prime editing system to generate large deletions and precise insertions of sequences by repairing template complementarity. We coupled dual pegRNA with Cas9 nickase (nCas9) to generate deletions and insertions. In another modality, we used dual pegRNA with wild-type Cas9 to generate double-stranded breaks to improve the editing at the targeted sites. We tested dual pegRNAs to delete the last exon in OsCCD7, delete the microRNA targeted sequence in OsIPA, and insert the T7 promoter in the 3'UTR of OsALS. Our results showed a high frequency of targeted insertion of the T7 promoter sequence in the 3'UTR of OsALS with wtCas9 and nCas9. Sanger sequencing analysis showed partial deletions at the targeted locus. Further improvements in the designs of pegRNAs will increase the precise genome insertions and deletions in plants.

京都大学 / 新制・課程博士 / 博士(農学) / 甲第25339号 / 農博第2605号 / 新制||農||1106(附属図書館) / 京都大学大学院農学研究科応用生物科学専攻 / (主査)教授 大門 高明, 教授 松浦 健二, 教授 吉田 健太郎 / 学位規則第4条第1項該当 / Doctor of Agricultural Science / Kyoto University / DFAM

In response to early technologies of seeing, hearing, and moving at the turn of the twentieth century, modernist authors, poets, and artists experimented with forms of textual production enmeshed in mechanical technologies of the time. Unfolding a literary history of such mechanical forms, this dissertation sees modern manuscripts as blueprints for literary production, whose specific rules of assembly model historical mechanisms of cultural production in practice during their period of composition. Central to this analysis is the concept of the inscriptive procedure, defined as a systematic series of strategies for composing, revising, and arranging a literary text that emerge in the context of that text’s specific political and technological environment; in so doing, inscriptive procedures use composition as a material act that works through a set of political circumstances by incorporating them into the signifying process of the physical text. As such, procedurally authored texts do not neatly instantiate in the form of the print book. Reading modern manuscripts instead as media objects, this dissertation applies the physical operation of a given old media mechanism as a hermeneutic strategy for interpreting an author’s inscriptive procedure. It unspools the spectacular vignettes of Raymond Roussel, plays back the celluloid fragments of Marcel Proust, decrypts the concordances of Samuel Beckett, and processes a digital history of Djuna Barnes’s editorial collaboration with T.S. Eliot. Rather than plotting a positivist literary genealogy, this dissertation instead traces an ouroboros mode of literary critique that emerges in its own wake, as digital experiments with textual manipulation reveal analog bibliographic arrangement procedures. Using the methods of contemporary scholarly editing to undertake a procedural archaeology of experimental literature, this dissertation unearths an analog prehistory of digital humanities practice, one that evolves alongside the mechanisms of old media as they lead to the advent of the digital age. In so doing, it unfolds a historicity of cultural form, one whose mechanical and ideological apparatuses participate in the development of early methods in humanities computing. / Graduate / 2018-06-21

No description available.

This project studies the ways recent changes in cultural theory and information technology are influencing the delivery of texts, and how these changes signal a need for innovation in editing practice. The word incunabulum describes the material objects produced in the early stages of the development of a technology; most commonly, it refers to printing during the period just before the turn of the sixteenth century when material textuality in the west was changing from a manuscript to a print base. According to critics of digital culture like Janet Murray the current shift to digital media entails many of the same changes. Following this, I will refer to this period as the second incunabulum. Given the limitations of HTML and SGML markup and storage technologies used in early digitization projects, scholars realize that the second incunabular period, much like the first, will not be a simple linear change succession. Just as the shift from manuscript to print involved a multifaceted series of complex social and practical transformations over decades, our current technological transition generates a wide variety of communicative, cultural, and political implications. As a critical point of entry, the comparison of the first and second incunabular periods offers insight into the ways in which past practices can help us approach our textual future. As a broad study of highly particular textual practices, the current work presents something of a paradox. However, through a series of focused historical readings and formal applications, this trans-historical study provokes questions that may lead to effective new work in the field. In Theories of the Text, leading editorial theorist D.C. Greetham points out the need to study the same three projects that I examine: William Langland's Piers Plowman, The Oxford Shakespeare, and James Joyce's Ulysses. By examining the editorial practices underlying each work, I develop a theory of editing based on a form of philological critique that engages with problems faced by many current research projects and which provides suggestions for further research. / Graduate