232f. / Submitted by Suelen Reis (suziy.ellen@gmail.com) on 2013-04-11T17:41:33Z No. of bitstreams: 1 Dissertacao Gleide Silvaseg.pdf: 1998408 bytes, checksum: 9f548112824dd87b1e59fb78902cb3e6 (MD5) / Approved for entry into archive by Rodrigo Meirelles(rodrigomei@ufba.br) on 2013-05-11T15:31:53Z (GMT) No. of bitstreams: 1 Dissertacao Gleide Silvaseg.pdf: 1998408 bytes, checksum: 9f548112824dd87b1e59fb78902cb3e6 (MD5) / Made available in DSpace on 2013-05-11T15:31:53Z (GMT). No. of bitstreams: 1 Dissertacao Gleide Silvaseg.pdf: 1998408 bytes, checksum: 9f548112824dd87b1e59fb78902cb3e6 (MD5) Previous issue date: 2006 / Constituindo-se no bojo temático Modernidade, Religião e Identidade o propósito que norteou todo o trabalho dissertativo refere-se à compreensão dos processos e elementos que entram em jogo para a construção de identificações no espiritismo e prováveis reorientações existenciais. Com a finalidade de contemplar tal objetivo foi realizado trabalho de campo durante dois anos e meio em um centro espírita de grande porte na cidade de Salvador, entrevistas e aplicação de quinze questionários gravados com os participantes da instituição. Os resultados da pesquisa estão refletidos na estruturação dissertativa em quatro capítulos. Em dois deles procuro problematizar religião, modernidade e possíveis relações entre ambos; a emergência da Razão e do Sujeito Reflexivo; e a conformação cosmológica e histórica do espiritismo dialogando com outras instâncias sociais modernas. No capítulo intermediário foi abordado a estrutura organizativa e funcionamento do centro espírita levando em consideração seus rituais e práticas; e por último, analisados os processos de identificação contribuidores de redefinições de contextos e sujeitos em dimensões que abrangem reflexividade, corporalidade e performance. / Salvador

abstract: Beneath the epidermis, the human body contains a vibrant and complex ecology of interwoven rhythms such the heartbeat, the breath, the division of cells, and complex brain activity. By repurposing emergent medical technology into real-time gestural sound controllers of electronic musical instruments, experimental musicians in the 1960s and 1970s – including David Rosenboom – began to realize the expressive potential of these biological sounds. Composers experimented with breath and heartbeat. They also used electroencephalography (EEG) sensors, which register various types of brain waves. Instead of using the sound of brain waves in fixed-media pieces, many composers took diverse approaches to the challenge of presenting this in live performance. Their performance practices suggest different notions of embodiment, a relationship in this music which has not been discussed in detail. Rosenboom reflects extensively on this performance practice. He supports his EEG research with theory about the practice of biofeedback. Rosenboom’s work with EEG sensors spans several decades and continue today, which has allowed him to make use of advancing sensing and computing technologies. For instance, in his 1976 On Being Invisible, the culmination of his work with EEG, he makes use of analyzed EEG data to drive a co-improvising musical system. In this thesis, I parse different notions of embodiment in the performance of EEG music. Through a critical analysis of examples from the discourse surrounding EEG music in its early years, I show that cultural perception of EEG sonification points to imaginative speculations about the practice’s potentials; these fantasies have fascinating ramifications on the role of the body in this music’s performance. Juxtaposing these with Rosenboom, I contend that he cultivated an embodied performance practice of the EEG. To show how this might be manifest in performance, I consider two recordings of On Being Invisible. As few musicologists have investigated this particular strain of musical experimentalism, I hope to contextualize biofeedback musicianship by offering an embodied reading of this milestone work for EEG. / Dissertation/Thesis / Masters Thesis Music 2015

abstract: Paseo is a postmodern dance performance that reveals the migrational passage of bodies through space and time. Paseo included five dance participants, and the choreographer/pedagogue. Paseo members participated in rehearsal and performance events that completed the investigational study. The creative process focused on integrating somatic and improvisational movement practices to design an environment where dancers could build body-mind awareness and sensitivity to their surroundings, participate democratically, and build agency in their performative decision-making. Paseo investigated the performance as an informal site for learning and understanding of migration, identity, and community. Another objective of Paseo was to explore the performance as an informal site of learning and its transformative effects on lived experiences that occur from the act of doing, the act of becoming, and experiential sensations. Paseo was part of the Arizona State University’s (ASU) School of Film, Dance, and Theatre Emerging Artists I series, one of two performances that shared the stage with fellow graduate cohort member, Grace Gallagher. Paseo took place at ASU’s Margaret Gisolo Theatre, located at the Physical Education Building East. Performance dates were the following; fix punctuation Friday, November 6th, Saturday, November 7th, and Sunday, November 8th. Paseo had a fourth presentation on Saturday, December 5th, 2015, at Margaret Gisolo Theatre as part of the post-conference performance and dialogue event, “By The People.” The conference was hosted by the Participatory Government Initiative on the ASU Campus from December 3rd-5th, 2015. / Dissertation/Thesis / Masters Thesis Dance 2016

Este trabalho visou compreender a experiência da queimadura e a percepção de pacientes queimados sobre sua imagem corporal em relação aos padrões que regulam o ideal de corpo em nossa sociedade. Além disso, objetivou interpretar os significados atribuídos a um corpo que apresenta marcas de queimaduras. Recorreu à abordagem antropológica, à história de vida tópica e às técnicas de observação e entrevista. A pesquisa foi realizada com 10 pacientes de uma unidade de tratamento de queimados de hospital universitário do interior do Estado de São Paulo. Os resultados demonstram que os pacientes queimados percebem que seu corpo é estigmatizado de uma forma a afetar a identidade social do grupo focalizado. / This study aimed to understand the experience and perception of burn patients about their body image compared to contemporary standards, which regulate the body ideal in our society. The research aimed also interprets the meanings assigned to a body that has burn marks. In anthropological approach and topical history of life, the techniques used by research were observation and interview. The study was developed with 10 patients in a burn treatment unit of a university hospital in the state of São Paulo. The results point to the stigmatization of burn patients\' body in ways that affect the social identity of the group focused.

abstract: Embodied Continuity documents the methodology of Entangled/Embraced, a dance performance piece presented December, 2011 and created as an artistic translation of research conducted January-May, 2011 in the states of Karnataka and Kerala, South India. Focused on the sciences of Ayurveda, Kalaripayattu and yoga, this research stems from an interest in body-mind connectivity, body-mind-environment continuity, embodied epistemology and the implications of ethnography within artistic practice. The document begins with a theoretical grounding covering established research on theories of embodiment; ethnographic methodologies framing research conducted in South India including sensory ethnography, performance ethnography and autoethnography; and an explanation of the sciences of Ayurveda, Kalaripayattu and yoga with a descriptive slant that emphasizes concepts of embodiment and body-mind-environment continuity uniquely inherent to these sciences. Following the theoretical grounding, the document provides an account of methods used in translating theoretical concepts and experiences emerging from research in India into the creation of the Entangled/Embraced dance work. Using dancer and audience member participation to inspire emergent meanings and maintain ethnographic consciousness, Embodied Continuity demonstrates how concepts inspiring research interests, along with ideas emerging from within research experiences, in addition to philosophical standpoints embedded in the ethnographic methodologies chosen to conduct research, weave into the entire project of Entangled/Embraced to unite the phases of research and performance, ethnography and artistry. / Dissertation/Thesis / M.F.A. Dance 2012

abstract: This thesis document encapsulates the findings of my research process in which I studied my self, my artistic process, and the interconnectivity among the various aspects of my life. Those findings are two-fold as they relate to the creation of three original works and my personal transformation through the process. This document encapsulates the three works, swimminginthepsyche, applecede and The 21st Century Adventures of Wonder Woman, chronologically from their performance dates. My personal growth and transformation is expressed throughout the paper and presented in the explanation of the emergent philosophical approach for self-study as creative practice that I followed. This creative-centered framework for embodied transformation weaves spiritual philosophy with my artistic process to sustain a holistic life practice, where the self, seen as an integrated whole, is also a direct reflection of the greater, singular and holistic existence. / Dissertation/Thesis / M.F.A. Dance 2013

M. Comm. / The assessment and measurement of positive psychology have been largely survey driven, given the way in which this domain’s focus areas have been operationalised. The disadvantage of using surveys in the measurement of positive psychology is that measurement is to an extent ‘disembodied’ in this approach, meaning that positive psychology is reduced to a mental activity – something which implies the negation of the physical. The purpose of the study was therefore to explore to what extent an alternative instrument, the Positivity Projective Technique (PPT), based on embodiment theory, serves as a valid projective technique for eliciting positivity. Data were collected by means of a sentence completion technique (SCT) whereafter it was quantitatively (to a limited extent) and qualitatively analysed by means of a content analysis. The results were similar to, but greater in number than, the variables proposed by formal theories/models of positivity. Given the results, the PPT seems to be a valid projective technique of positivity and may be applied for positive developmental purposes within individual, organisational and consumer contexts.

Cognition has for a long time been viewed as a process that can be described in terms of computational symbol manipulation, i.e. a process that takes place inside people’s heads and is largely unaffected by contextual aspects. In recent years, however, there has been a considerable change in the way researchers look at and study human cognition. These changes also have far-reaching implications for education and educational research. Situated learning is a theoretical framework in which sociocultural aspects of cognition and learning are strongly emphasised, that is, the context in which learning takes place is an important part of learning activity. The concept of activity is central to situated learning theories, but activity has been considered an exclusively sociocultural process in which the body only plays a minor role. In embodied cognition research, on the other hand, there is an increasing awareness that mind and body are inextricably intertwined and cannot be viewed in isolation. Findings in cognitive neuroscience provide additional evidence that cognition is tightly linked to perception and action. The aim of this thesis has been to investigate the role of the body in situated learning activity by integrating these different perspectives on cognition and learning. The analysis suggests that, like individual human conceptualization and thought, situated learning is in fact deeply rooted in bodily activity. In social interactions the body provides individuals with a similar perspective on the world, it functions as a means of signalling to others what cannot (yet) be expressed verbally, and it serves as a resonance mechanism in the understanding of others.

Premenstrual syndrome (PMS) was originally coined to describe the various changes that many women experience the days before their period. Today, we understand PMS as a complex phenomenon that not only involves the materiality of the body, but also discursive ideas and cultural mythology around women and femininity. The field of PMS-research is fragmented and includes a medical, a social constructivist, and, more recently, a material-discursive-intrapsychic perspective. This study takes its starting point in the latter approach, which allows for a multidimensional analysis of both material, discursive, and psychological aspects of PMS. To avoid pathologization, the use of premenstrual change, rather than -syndrome when discussing material experiences of menstrual cycle-related experiences, is supported and encouraged. Theoretical concepts such as bio-power, the body politic, and sexual difference, are used to make sense of the material which consists of three semi-structured group discussions and one interview with seven German women between 21 and 30. The study centers around how these women negotiate and make deliberate choices around PMS and menstruation, including embracing and/or resisting PMS as a material-discursive concept. The study aims at gaining insight into how we can make sense of PMS as a social and embodied phenomenon. Findings suggest that rather than considering premenstrual change as disempowering or as splitting menstruators lives into bad days and normal days, it can be viewed as a translator between the needs of body, psyche, and being. Premenstrual change, together with menstrual cycle-related pain, can furthermore form the basis for a supportive sisterhood.

Western intellectual property frameworks have at least one feature in common: performers are less protected than authors. This situation knows many justifications, although all but one have been dismissed by the literature: performers are simply less creative than authors. As a result, the legal protection covering their work has been proportionally reduced compared to that of their authorial peers. This thesis investigates this phenomenon that it calls the 'author-performer divide'. It uncovers the culturally-rooted principles and legal reasoning that policy-makers and judges of Australia, France, the United Kingdom and the United States have developed to create in the legal narrative a hierarchy between authors and performers. It reveals that those intellectual property systems, though continuously reformed, still contain outdated conceptions of creativity based on the belief in ex nihilo creation and over-intellectualised representations of the creative process. Those two precepts combined have led legal discourse to portray performers as their authors' puppets, thus underserving of authorship themselves. This thesis reviews arguments raised against improving the performers' regime to challenge the preconception of performers as uncreative agents and questions the divide it supports. To this end, it seeks to update the representations of creativity currently conveyed in the law by drawing on the findings of other academic disciplines such as creativity research, performance theories as well as music, theatre and dance studies. This comparative inter-disciplinary study aims to move current legal debates on performers' rights away from the recurring themes and repeated arguments in the scholarship such as issues of fixation or of competing claims, all of which have made conversations stagnate. By including disciplines beyond the law, this analysis seeks to advance the legal literature on the question of performers' intellectual property protection and shift thinking about performative forms of creativity.