Orientador: Irenilza de Alencar Naas / Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Engenharia Agricola / Made available in DSpace on 2018-08-15T17:46:50Z (GMT). No. of bitstreams: 1 Neves_DiegoPereira_M.pdf: 5283046 bytes, checksum: b82b4259c9e80ea06f454b337aefd6a7 (MD5) Previous issue date: 2010 / Resumo: As últimas 30 décadas foram marcadas por uma intensiva produção avícola, onde se alcançou um nível satisfatório de produção com a utilização de tecnologia. Estes fatos permitiram que o país se destacasse dentro de um cenário global, tornando o país o maior exportador e o terceiro maior produtor de carne de frango do mundo. Atualmente os projetos relacionados a equipamentos rurais desenvolvidos no Brasil têm sido objeto de estudo unicamente por engenheiros e técnicos, mas que poderão ser otimizados com a participação dos Designers. Este trabalho teve como objetivo comparar de três tipos de comedouros para frangos de corte sob o ponto de vista de manejo e preferência das aves, analisando as atividades comportamentais e tempo de duração das refeições das aves, além de estimar a eficiência dos equipamentos. Os comedouros avaliados foram: Tubular e Automático, ambos comercializados atualmente, e o comedouro Fênix, equipamento manual proposto por um Designer que ainda encontra-se em fase de testes. O estudo foi conduzido em um galpão comercial de frangos de corte que alojava 14 mil aves, com densidade de 16 aves m-2 aos 17, 18, 20, 21, 23 e 24 dias de idade. Utilizou-se vídeo-filmagem para o registro dos comportamentos e, a partir destas análises e de conhecimentos gerais sobre o tema, foi procedida uma avaliação, através do método AHP (Analitic Hierarchy Process), para se estimar a eficiência de cada comedouro de acordo com três tipos distintos de consumidores: C1 (produtor de pequeno porte), C2 (produtor de grande porte) e C3 (pesquisador). Os resultados apontam uma preferência das aves pelo comedouro Tubular, no qual o comportamento "comendo" e o tempo de refeição foram maiores, sendo este o único que não dispunha de uma divisória sobre o prato de alimentação, fato que pode ter sido determinante na preferência das aves. O comedouro Fênix indicou ser mais adequado ao consumidor C1 e o Automático para os consumidores C2 e C3. O Tubular ficou na terceira colocação para os três consumidores, mesmo sendo o preferido pelas aves. O comedouro Fênix apresentou características compatíveis com os concorrentes, sendo mais eficiente que o Tubular, indicando, após alguns ajustes, a possibilidade de ser fabricado / Abstract: The last 30 decades were marked by an intensive poultry production, which reached a satisfactory level of production with the use of technology. These facts have allowed the country to stand out in a global setting, making the country the largest exporter and third largest producer of chicken meat in the world. Currently, projects related to rural equipment developed in Brazil have been studied only by Engineers and technicians, but could be optimized with the participation of Designers. This study aimed to compare three types of feeder for broiler chickens under the standpoint of management and preference of birds, examining the behavioral and duration of birds' meals, and estimate the efficiency of the equipments. The evaluated feeders were: Tubular and Automatic, both currently marketed, and Fênix feeder, manual equipment proposed by a designer who is still undergoing tests. The study was conducted in a shed broiler commercial house that housed 14 thousand birds at a density of 16 birds m-2 at 17, 18, 20, 21, 23 and 24 days old. We used video footage to record the behavior and, based on these results and general knowledge on the subject, an assessment was preceded by the AHP (Analytic Hierarchy Process), to estimate the efficiency of each feeder in accordance with three distinct types of consumers: C1 (small producer), C2 (large producer) and C3 (researcher). The results indicate a bird's preference to the Tubular feeder, in which the behavior of "eating" and the time of meal were higher, and this is the only one that did not have a partition grid on the food plate, which may have been determinant to the birds' preference. The Fênix feeder indicated that it was more appropriate to the consumer C1 and Automatic for consumers C2 and C3. The Tubular came in third place for the three consumers, even as the favorite for birds. The Fênix feeder presented compatible characteristics with competitors, been more efficient than the Tubular indicating, after some adjustments the ability to be manufactured / Mestrado / Construções Rurais e Ambiencia / Mestre em Engenharia Agrícola

Submitted by Giovanna Brasil (1154060@mackenzie.br) on 2017-09-29T20:35:40Z No. of bitstreams: 2 André Luíz Olzon Vasconcelos.pdf: 1771296 bytes, checksum: fabca89396c43432ea1d1a5c05ac70c0 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Paola Damato (repositorio@mackenzie.br) on 2017-10-24T17:17:30Z (GMT) No. of bitstreams: 2 André Luíz Olzon Vasconcelos.pdf: 1771296 bytes, checksum: fabca89396c43432ea1d1a5c05ac70c0 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2017-10-24T17:17:30Z (GMT). No. of bitstreams: 2 André Luíz Olzon Vasconcelos.pdf: 1771296 bytes, checksum: fabca89396c43432ea1d1a5c05ac70c0 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2017-08-04 / Universidade Presbiteriana Mackenzie / This thesis discusses and analyzes particularities and sound nuances present in essay films, demonstrating the aesthetic uniqueness of this type of contemporary audiovisual production. It is noticed that the debate about the essay-film has deepened in the questions related to the image, thus, the work sought to organize the international and national bibliography on the subject, evidencing the absence of approaches in the sonic field and bringing a questioning that dialogues and contributes to the discussions about sound in the cinema. It is an interdisciplinary work that involves sound language in the audiovisual field and the technologies that produce it. / Essa tese discute e analisa particularidades e nuances sonoras presentes em filmes-ensaio, demonstrando a singularidade estética desse tipo de produção audiovisual contemporânea. Percebe-se que o debate sobre o filme-ensaio tem se aprofundado nas questões referentes à imagem, assim, o trabalho buscou organizar a bibliografia internacional e nacional a respeito do assunto, evidenciando a ausência de abordagens no campo sônico e trazendo um questionamento que dialoga e contribui com as discussões sobre o som no cinema. Trata-se de um trabalho interdisciplinar que envolve a linguagem sonora no âmbito audiovisual e as tecnologias que a produzem.

A dissertação investiga possibilidades formais de articulação entre universos pessoais e processos históricos no campo da realização documentária em primeira pessoa. O ponto de partida são materiais e procedimentos advindos de um documentário de longa-metragem que atualmente desenvolvo, intitulado Bem vindos de novo. O filme aborda as experiências da minha família na imigração de nipo-brasileiros para o Japão, conhecida como \"fenômeno decasségui\". Nele, busco articular as experiências pessoais e familiares com aspectos mais amplos desse acontecimento histórico e social, de proporções internacionais, que atingiu, e continua afetando diretamente, cerca de 600 mil pessoas. Abordo três procedimentos formais empregados no filme: (1) a utilização de fotografias domésticas; (2) a elaboração da narração em voz over; (3) o emprego de filmagens históricas realizadas por Hikoma Udihara, colonizador e cinegrafista pioneiro da imigração japonesa no Brasil. Através do mapeamento de possibilidades formais relacionadas aos procedimentos em questão, busco identificar e analisar um conjunto de conceitos, de instrumentos críticos e teóricos, úteis para se pensar a articulação entre o íntimo e o histórico, o pessoal e o social, em documentários na primeira pessoa; em diálogo constante com aspectos concretos da realização cinematográfica. / This master\'s thesis investigates formal possibilities of articulation between personal universes and historical processes inside the first person filmmaking practice. The bases are materials and procedures related to a feature documentary film that I am now developing, called Welcome Back, Farewell (Bem vindos de novo). The film addresses my family experiences in immigration of Japanese-Brazilians to Japan, known as \"dekassegui phenomenon\". In the film, I try to articulate personal and familiar experiences with wider features of this historical and social event of international proportion, which reached, and still concerns directly to six hundreds thousand people. Three formal procedures of the film are covered: (1) the use of domestic photography; (2) the elaboration of the voice over narration; (3) the usage of historical footage produced by Hikoma Udihara, colonizer and pioneer amateur filmmaker of the Japanese immigration in Brazil. Through the organization of formal possibilities related with the previous procedures, the aim is to identify and analyze a group of concepts, of critical and theoretical devices, useful to think the articulation between the intimate and the historical, the personal and the social, within the first person documentary; in frequent contact with concrete features of the filmmaking practice.

Cities involve several systems that work together as a network of urban relationships. These systems are in balance, and they work as a whole that articulates urban life. But what makes a city memorable and special are its events: those magical situations where the uniformity of the experience stops and something unique arise. Those are the moments where our memory is deeply engraved by a particular situation that will come back in our dreams and imaginative processes as an agent image. Four urban events — a space for film edition and writing, an urban stage, a footage archive and park, and a projection space- whose locations have been determined by a Cartesian game dictated by the Plan of Washington DC; and one common discipline, Film, will be the main focus of this research and a way of understanding the relations among Memory and its spaces, Architecture and Film in the City. Each event will respond to the particularities of its context by understanding first the sites and their relation with the city. These sites will be located in the four quadrants of Washington DC- NE, SE, SW and NW- and they will be consider as different communities that, by keeping their own idiosyncrasy, create one city. The question of urban scale as well as the concept of detail as part of an architectural cosmology will be present throughout the process of the thesis by the alternation of micro and macro analysis of each stage of the research. The question of scale will be present as well when comparing the four projects with their differences in shape and size. Characterization and monstrosity as architectural concepts will be incorporated into the project too, by understanding the role of Architecture in the city and what it wants to show or "monstrare" to its inhabitants. / Master of Architecture

[pt] Na nova cena da poética da obsolescência, dentro do campo específico do cinema do found footage de vanguarda contemporânea, um cineasta célebre e laureado nos festivais de cinema tem se colocado frontalmente na trincheira em prol do analógico: Peter Tscherkassky (1958-). Esta tese é escrita no entroncamento fulcral entrea sua biografia, a historiografia e teoria do cinema e as análises fílmicas críticas ad hoc de sua filmografia. A metodologia da tese reflete o pensamento excessivo anti-axiomático de Georges Bataille assim como a ideia da constelação intempestiva de Walter Benjamin. Desse modo criamos uma série de afinidades eletivas que compõe uma rede de autores basilares para a tese, sendo eles: Georges Didi-Huberman, Mark Fisher, Rosalind Krauss, Jacques Derrida, Thomas Elsaesser, Roland Barthes, entre outros. Tscherkassky opera uma transgressão da semelhança conforme das imagens, fazendo vir à tona a parte maldita da historiografia cinematográfica. No lugar de uma ontologia indexical clássica, ele nos faz adentrar no campo da hantologia, na condição estrutural do cinema enquanto espectros. Seu trabalho é uma tentativa genealógica de reencantamento com as imagens do cinema hoje apaziguado pelo controle da teleologia narrativa do cinema comercial e da dominância do regime representativo. / [en] At the intersection between the museum and the movie theater, a number of contemporary artists have been investigating the corporeality of analog images. In this new scene of the poetics of obsolescence, within the specific field of contemporary found footage avant-garde cinema, our object of study, the Austrian Peter Tscherkassky (1958-) occupies a prominent place. The thesis is written at the central injunction of three lines: i - The biography and critical fortune of the director; ii- the dialogue with a classical historiography and film theory; and iiithe ad hoc critical film analysis of his filmography. In an inflection with Georges Bataille s excessive anti-axiomatic and formless thought and, as well, into Walter Benjamin s idea of constellation, we seek to create a series of elective affinities that compose a network of authors that are fundamental to the thesis, namely: George Didi -Huberman, Mark Fisher, Rosalind Krauss, Jacques Derrida, Thomas Elseasser, Roland Barthes, among others. From a genealogical and extemporaneous re-elaboration of the filmic ruin, he operates a transgression of the mimesis and the conform similarity of the images, bringing to light the cursed part of cinematographic historiography. Instead of a classic indexical ontology, Tscherakassky takes us into the field of hauntology, in other words, the structural condition of cinema as specters.His work would be a genealogical attempt of re-enchantment with images of cinema that are today appeased by the control of narrative teleology and the representative regime. We conclude that the filmmaker s extemporaneous and anachronistic cinema are strong responses and symptoms of problematics of the contemporary cinema scene.

Ce mémoire portera sur le réemploi d’images dans le cinéma politique d’une manière générale dans un premier temps, puis plus spécifiquement dans l’oeuvre du cinéaste québécois Pierre Falardeau. Il s’agit donc d’abord de regarder comment, d’un point de vue historique, l’image fut réemployée dans le cinéma documentaire classique. Il sera ensuite question de la réutilisation de l’image à des fins politiques dans le cinéma expérimental à travers une analyse du found footage film. Dans un deuxième temps, nous verrons le réemploi d’images dans le cinéma militant, engagé politiquement (voire révolutionnaire) dans le cinéma d’Amérique latine (Santiago Alvarez, Fernando Solanas et Octavio Getino) et en France (Guy Debord, Chris Marker et Jean-Luc Godard). Par la suite, nous verrons comment Pierre Falardeau recyclera des images principalement dans trois de ses documentaires : Pea Soup, Speak White et Le temps des bouffons. Nous allons voir où il se situe dans les différentes traditions de réemploi d’images que nous avons vu précédemment et comment il se rapprochait et se distinguait de ses prédécesseurs. / This thesis is concerned with the reuse of images in political cinema in general and, specifically, in the work of Quebec filmmaker Pierre Falardeau. We will first see how, from a historical point of view, archival images have been recycled in traditional documentary and then how they were used or reused for political purposes in found footage experimental films. We will then discuss the use of found footage in militant or revolutionary cinema both in Latin America (Santiago Alvarez, Fernando Solanas and Octavio Getino) and France (Guy Debord, Chris Marker and Jean-Luc Godard). We will then analyse Pierre Falardeau’s reuse of images in three of his documentaries: Pea Soup, Speak White and Le temps des bouffons. We will try and see how Falardeau fits within this tradition of the found footage film and the distinctive features of this aspect of his work.

Ce travail a pour objet le found footage, analysé en tant que pratique de recyclage culturel et comme important mouvement cinématographique de notre époque. L’étude trace d’abord un parallèle entre la fabrication du film d’images trouvées et le processus de recyclage industriel. Ensuite, le travail aborde les influences artistiques de ce mouvement du cinéma expérimental initié dans les années 1960, qui s’intensifie de plus en plus depuis l’avènement des dernières technologies numériques. En dernier lieu, l’étude propose une mise au point sur le found footage à l’ère des technologies numériques, en analysant les causes et conséquences de la (re)montée du mouvement, et en tenant compte de sa présence qui se multiplie sur l’Internet, par le biais du mashup. / This research deals with the found footage, analyzed here as a practice of cultural recycling and as a major cinematographic movement of our time. The study first draws a parallel between the manufacturing of "found images" and the process of industrial recycling. The thesis then discusses the artistic influences of the experimental film movement initiated in the 1960s, which has been increasing its presence more and more since the introduction of the latest digital technologies. Finally, the study proposes an investigation of found footage in relation to the digital technology era, analyzing the causes and consequences of the [re]rise of the movement, and taking into account the multiplication of its format on the Internet through the practice of mashup.

Ce travail a pour objet le found footage, analysé en tant que pratique de recyclage culturel et comme important mouvement cinématographique de notre époque. L’étude trace d’abord un parallèle entre la fabrication du film d’images trouvées et le processus de recyclage industriel. Ensuite, le travail aborde les influences artistiques de ce mouvement du cinéma expérimental initié dans les années 1960, qui s’intensifie de plus en plus depuis l’avènement des dernières technologies numériques. En dernier lieu, l’étude propose une mise au point sur le found footage à l’ère des technologies numériques, en analysant les causes et conséquences de la (re)montée du mouvement, et en tenant compte de sa présence qui se multiplie sur l’Internet, par le biais du mashup. / This research deals with the found footage, analyzed here as a practice of cultural recycling and as a major cinematographic movement of our time. The study first draws a parallel between the manufacturing of "found images" and the process of industrial recycling. The thesis then discusses the artistic influences of the experimental film movement initiated in the 1960s, which has been increasing its presence more and more since the introduction of the latest digital technologies. Finally, the study proposes an investigation of found footage in relation to the digital technology era, analyzing the causes and consequences of the [re]rise of the movement, and taking into account the multiplication of its format on the Internet through the practice of mashup.

Ce mémoire portera sur le réemploi d’images dans le cinéma politique d’une manière générale dans un premier temps, puis plus spécifiquement dans l’oeuvre du cinéaste québécois Pierre Falardeau. Il s’agit donc d’abord de regarder comment, d’un point de vue historique, l’image fut réemployée dans le cinéma documentaire classique. Il sera ensuite question de la réutilisation de l’image à des fins politiques dans le cinéma expérimental à travers une analyse du found footage film. Dans un deuxième temps, nous verrons le réemploi d’images dans le cinéma militant, engagé politiquement (voire révolutionnaire) dans le cinéma d’Amérique latine (Santiago Alvarez, Fernando Solanas et Octavio Getino) et en France (Guy Debord, Chris Marker et Jean-Luc Godard). Par la suite, nous verrons comment Pierre Falardeau recyclera des images principalement dans trois de ses documentaires : Pea Soup, Speak White et Le temps des bouffons. Nous allons voir où il se situe dans les différentes traditions de réemploi d’images que nous avons vu précédemment et comment il se rapprochait et se distinguait de ses prédécesseurs. / This thesis is concerned with the reuse of images in political cinema in general and, specifically, in the work of Quebec filmmaker Pierre Falardeau. We will first see how, from a historical point of view, archival images have been recycled in traditional documentary and then how they were used or reused for political purposes in found footage experimental films. We will then discuss the use of found footage in militant or revolutionary cinema both in Latin America (Santiago Alvarez, Fernando Solanas and Octavio Getino) and France (Guy Debord, Chris Marker and Jean-Luc Godard). We will then analyse Pierre Falardeau’s reuse of images in three of his documentaries: Pea Soup, Speak White and Le temps des bouffons. We will try and see how Falardeau fits within this tradition of the found footage film and the distinctive features of this aspect of his work.

Entre les archives, telles que définies par l’archivistique, et l’archive comme concept, tel qu’utilisé en dehors de la discipline, il existe un écart sémantique, conceptuel et théorique. D’un côté, les archives représentent des rassemblements documentaires issus des activités d’une personne ou d’un organisme ; de l’autre, il est question d’un outil conceptuel permettant d’exprimer une variété d’idées liées à l’histoire ou à la mémoire. Toutefois, cet intervalle entre archives et archive est particulièrement fertile. C’est dans cet espace que les utilisateurs non traditionnels des archives, comme les cinéastes de réemploi (dont les œuvres sont constituées d’images en mouvement préexistantes), trouvent leur inspiration. À travers leurs mises en récit, ces derniers montrent ce qui n’est pas visible dans les archives. De la décomposition des matières filmiques, aux dynamiques de pouvoir derrière le geste d’archivage et leurs récits tacites, en passant par les émotions et l’affect véhiculés par les documents, les œuvres nous confrontent à une double dimension inarchivée (ce qui n’est pas archivé) et inarchivable (ce qui ne peut pas être archivé), qui est constitutive de ce que sont les archives et de comment elles se construisent. En étudiant les archives qui constituent les œuvres de réemploi à partir de leur exploitation, c’est-à-dire leurs diverses utilisations et l’ensemble de leurs utilisations potentielles, il est possible de catégoriser ce qui se trouve dans l’inarchivé et l’inarchivable. Ainsi, trois principales modalités émergent des analyses : l’absence, qui relève de la lacune, du fragment et de l’incomplétude ; l’interdit qui se manifeste dans les archives comme traces matérielles ; et l’invisible qui participe de ce qui ne se montre pas. Ces trois catégories relèvent d’un impensé archivistique, c’est-à-dire d’un état de la discipline qui reflète l’inconcevabilité ou l’omission, volontaire ou non, de certains de ses aspects théoriques ou pratiques. C’est en investissant l’impensé, en étudiant l’archivistique à partir des pratiques en marges, qu’il est possible renouveler les discours sur la discipline. / Between archives, as defined by archival science, and the archive as a concept used outside of the discipline, there is a semantic, conceptual and theoretical gap. On one side archives represent the documentary by-product of human activity retained for their long-term value. On the other the archive has become a conceptual and critical tool to address a variety of ideas linked to memory and history. However, this interval between archives and archive is particularly fertile. In this space, nontraditional archives users, such as found footage filmmakers (whose works consist in reusing pre-existing footage) find inspiration. Through the narratives of their work, they show what is not always visible in archives. From the decomposition of film stock to the power dynamics behind archiving and its tacit narratives, through emotions and affect conveyed by records, the artworks confront us with a double unarchived and unarchivable dimension (what is not archived and what cannot be archived), constituent of how archives are created. Studying the archives that are part of found footage works through their usage (exploitation), namely their uses and potentials uses, it is possible to categorize the composition of the unarchived and the unarchivable. Three main divisions emerge from this analysis: the absence, linked to gaps, fragments and incompleteness; the forbidden that manifests in archives as material traces; the invisible that takes part in what is not shown. These three categories have to do with an unconceived (impensé): a state of the archival field reflecting the intentional or unintentional inconceivability or omission of some of its theoretical or practical aspects. In investing in the unconceived, in other words studying archival science from practices on the margins, it is possible to renew ideas and discourses inside the discipline.