Submitted by Márcio Maia (marciokjmaia@gmail.com) on 2016-08-22T17:52:33Z No. of bitstreams: 1 arquivototal.pdf: 2293475 bytes, checksum: 8cd329cc7e5bfc6b551e4d9bba645eef (MD5) / Made available in DSpace on 2016-08-22T17:52:33Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 2293475 bytes, checksum: 8cd329cc7e5bfc6b551e4d9bba645eef (MD5) Previous issue date: 2015-11-30 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / In order to address the spectacle of Candomblé for contemporary theater scene, we set out with this work to analyze the spectacular dimension of Candomblé and its symbolic elements present in the scenic compositions, as well as understand the process of transposition by which such component parts Candomblé rituals suffer. To achieve this goal we take the show titled Black Look, Cia Theatrical Carona, Blumenau - SC, for analysis. Based on the concept of spectacle, Armindo Jorge de Carvalho Bião, we are assuming that the elements present in the rituals of african-Brazilian religions create a spectacular phenomenon born of rites that are interconnected to different areas such as folklore, religion, anthropology , dance, and theater, for example. Thus, we see another opportunity to study religion, leaving the most common places to it, like temples and churches, perceiving it through its overflow, through which we can make a dialogue between theater and religion from its size Amazing. / Com o intuito de abordar a espetacularidade do candomblé para a cena teatral contemporânea, propusemo-nos com este trabalho analisar a dimensão espetacular do Candomblé e seus elementos simbólicos presentes nas composições cênicas, assim como entender o processo de transposição pelo qual tais elementos que compõem os rituais do Candomblé sofrem. Para atingir tal objetivo tomamos o espetáculo intitulado Negro Olhar, da Cia Teatral Carona, de Blumenau – SC, para análise. Com base no conceito de espetacularidade, de Armindo Jorge de Carvalho Bião, estamos assumindo que os elementos presentes nos rituais das religiões afro-brasileiras criam um fenômeno espetacular que nasce de ritos que se interligam com diferentes áreas, como o folclore, a religião, antropologia, a dança, e o teatro, por exemplo. Dessa forma, vemos uma outra possibilidade de estudar a religião, saindo dos lugares mais comuns a ela, como os templos e igrejas, percebendo-a através de seu transbordamento, através da qual podemos fazer um diálogo entre teatro e religião a partir de sua dimensão espetacular.

Dans quelle mesure le geste dansé a-t-il du sens ? Et, lorsque celui-ci est indissociable de lapratique qui le fait exister, à quel niveau doit se situer l’analyse ? Quelle serait la contributionspécifique que la sémiotique peut apporter aux savoirs chorégraphiques ? Ce travail vise àrépondre à ces questions à travers le choix d’un objet d’étude complexe, tel que le tangoargentin. Ce phénomène multidimensionnel est abordé dans sa globalité, c’est-à-dire en tantqu’interaction corporelle, pratique, et moteur de constructions identitaires et imaginaires à lafois. Pour ce faire, ce travail interroge certains modèles théoriques et méthodologiquesexistants actuellement en sémiotique. En particulier, les spécificités d’un objet d’étude commele tango invoquent la mise en place d’un modèle capable de tenir ensemble une perspectivesémiogénétique et expressiviste avec une approche syntagmatique. Finalement, l’articulationentre différents niveaux de déploiement et de développement du tango que le modèle propose,pourrait contribuer à éclairer le débat autour des enjeux de la patrimonialisation d’unepratique fondée sur l’improvisation. / To what extent does dancing gesture make sense ? If considered as inseparable from the wholepractice of dance, at which level should the analysis be placed? How could semiotics make asignificant contribution to dance studies ? This work aims to answer to these questionsfocussing on the Argentinian tango. It is approached as a complex object of analysis, a "wholeof sense", that is both as bodily interaction and practice, and as a fundamental driver inidentity and imaginary building processes. To this end, we examine and test some theoreticaland methodological models in current semiotics. The peculiar aspects of tango require a pointof view able to keep together a semiogenetic approach and a syntagmatic one. Therefore, wepropose a model which strengthens different levels of deployment and development of tango.Finally, we show how this framework could provide an original perspective about some issueson patrimonialization and improvisation, as a crucial topic in the current debate on tango.

Over the course of a day we meet countless materials and objects but rarely consider these surfaces of negotiation within the everyday environment. If we consider gestures as a language, then the actions we perform and the surfaces we encounter result in conversations with our surroundings. Where body meets details inside architecture, the commonplace ritual occurs. I will discuss the importance of touch in response to my finished work in Can you Handle this? but also during the making process.

abstract: Real-world environments are characterized by non-stationary and continuously evolving data. Learning a classification model on this data would require a framework that is able to adapt itself to newer circumstances. Under such circumstances, transfer learning has come to be a dependable methodology for improving classification performance with reduced training costs and without the need for explicit relearning from scratch. In this thesis, a novel instance transfer technique that adapts a "Cost-sensitive" variation of AdaBoost is presented. The method capitalizes on the theoretical and functional properties of AdaBoost to selectively reuse outdated training instances obtained from a "source" domain to effectively classify unseen instances occurring in a different, but related "target" domain. The algorithm is evaluated on real-world classification problems namely accelerometer based 3D gesture recognition, smart home activity recognition and text categorization. The performance on these datasets is analyzed and evaluated against popular boosting-based instance transfer techniques. In addition, supporting empirical studies, that investigate some of the less explored bottlenecks of boosting based instance transfer methods, are presented, to understand the suitability and effectiveness of this form of knowledge transfer. / Dissertation/Thesis / M.S. Computer Science 2011

The master's thesis named Body as a live image is dealing with the topic of the body in the art education. The focus of the theoretical part of the work is to describe basic theoretical starts points and evolution of the body art, including descriptions of characteristics of typologists streams in wide contexts, connect the topic of the body with the art education describe it in the pedagogy context as well. The focus of the empirical part of the thesis is to describe authors own work with the given topic, describe possible use of the topic of the body in the art education and to describe the realization of the theme line in the creative art class. The theoretical base in master's thesis is described in general contexts with the evolution of the body including art education and pedagogy. Author's works with the topic of the body create an open compilation. Work includes thematic art assignation for practical pedagogy, following by the self-reflection of the teacher and suggestions for the improvement. The master's thesis focus on the created typology, categorized into streams and the author's artwork with the topic of the body. There is an emphasis on the line of creative assignation that is followed by the created typology of the streams. The part of the realization is a self-reflection of the...

Pas de résumé disponible. / Pas de résumé disponible.

xv, 198 p. : music / Music has meaning. But what is the nature and source of meaning, what tools can we use to illuminate meaning in musical analysis, and how can we relate aspects of musical structure to our embodied experience? This dissertation provides some possible answers to these questions by examining the role that metaphors and models play in creating musical meaning. By applying Mark Johnson and Steve Larson's conceptual metaphors for musical motion, Larson's theory of musical forces, perspectives on musical gesture, and a wide variety of models in music analysis, I show how meaning is constructed in selected works by Bach and Schubert. My approach focuses on our experience of musical motion as a source of expressive meaning. The analysis of two gigue subjects by Bach shows how we create expressive meaning by mapping musical gestures onto physical gestures, and five detailed case studies from Schubert's Winterreise show how the same basic underlying pulse leads to different expressive meanings based on how that pulse maps onto walking motion. One thread that runs through this dissertation is that models play a significant role in creating meaning; this idea is central to my analysis of the prelude from Bach's fourth cello suite. Questions of meaning are not new to musical discourse; however, claims about meaning often lurk below the surface in many musical analyses. I aim to make the discussion of meaning explicit by laying bare the mechanisms by which meaning is enacted when we engage with music. The view of musical meaning adopted in this study is based on several complementary ideas about meaning in general: meaning is something our minds create, meaning is not fixed, meaning is synonymous with understanding, and meaning emerges from our embodied experience. Other scholars who address musical meaning (for example, Hatten and Larson) typically adopt a singular approach. Although I do not create a new theory of meaning, I employ numerous converging viewpoints. By using a multi-faceted approach, we are able to choose the best available tools to discuss aspects of our musical experience and relate the expressive meaning of that experience to details of musical structure. / Committee in charge: Stephen Rodgers, Chairperson; Jack Boss, Member; Lori Kruckenberg, Member; Steven Larson, Member; Mark Johnson, Outside Member

Comment aborder l'éthique médicale à l'heure de la grande confusion entre déontologie, morale, éthique, éthique de la biomédecine, éthique appliquée, éthique du care, méta-éthique, bioéthique…? Peut-être par un retour « aux choses mêmes » comme aurait dit Husserl, un retour à la médecine pour y chercher, comme nichée en son sein, matière à penser l'éthique de la médecine et non une éthique fabriquée de toute pièce qui constituerait, au final et de façon définitive, une éthique pour la médecine.Un mode d'exercice particulier, la médecine d'urgence, permet d'étudier l'acte médical, dans sa puissance et son actualisation (au sens que prennent ces termes chez Aristote) et ses intersections avec le geste technique. Qu'est-ce qu'un acte médical, qu'est-ce qu'un geste technique et comment les distinguer ? Ou encore, comment reconnaître un acte sans geste et un geste sans acte ? C'est le médecin, auteur de l'acte, qui fait de l'acte un acte médical. Même lorsque le geste technique recouvre la totalité d'un acte, il ne peut que se distinguer de l'acte médical si son auteur n'est pas médecin, non en qualité statutaire mais en celle de dépositaire du savoir (épistémè) médical. L'acte sans geste rencontré au cours de la régulation médicale est la preuve que la médecine d'urgence ne se réduit pas à des gestes techniques.Comme beaucoup de disciplines à orientation scientifique, la médecine d'urgence tend à transformer le temps en espace pour mieux quantifier sa pratique mais finit par se heurter à la vérité d'adéquation des autres spécialités médicales. La vérité qui se réduit à l'exactitude mathématique donne à la paraclinique la place centrale de l'exercice médical, participant peu à peu à éloigner le médecin du patient.Le tri médical, exercice singulier de la médecine de masse, de la médecine de catastrophe, met en évidence, de façon inattendue, l'éthique médicale. La catégorisation des victimes, au principe du tri médical n'est qu'un reflet exacerbé de la pensée rationnelle. Car penser, c'est trier. L'irruption du tiers dans la relation médecin malade limite la responsabilité médicale laquelle, sinon, serait insupportable. La responsabilité infinie de chacun vis-à-vis de l'autre, redoublée par la condition de soignant précède et fonde la liberté. Le Tiers empêche de faire l'impossible pour Autrui, il contraint à partager. Introduit au moment du tri médical, il donne la chance au politique de s'enraciner profondément dans l'éthique. / How to approach medical ethics at the time of the great confusion between business ethics, morals, ethics, ethics of biomedicine, applied ethics, ethics of care, meta-ethics, bioethics ...? Perhaps by a return "to the things themselves" as Husserl would have said, a return to medicine itself to find in its “nest” the ethics of medicine and not the fabricated ethics that would ultimately and definitively become ethics for medicine.A particular type of practice, emergency medicine, allows to study the procedure, its power and its updates (in the sense that these terms are in Aristotle) and its intersections with the technical movement. What is a medical procedure, what is a technical movement and how can we distinguish them? Also, how can we recognize an act without a gesture and a gesture without an act? It's the doctor, author of the act, that makes the act a medical procedure. Even when the technical gesture covers an entire act, it can only be distinguished from the medical procedure if the applicant is not a doctor, doctor being intended not in the statutory sense but as in the holder of medical knowledge (episteme). The act with no gesture met in medical regulation is evidence that emergency medicine is not limited to technical moves.Like many disciplines in science policy, emergency medicine tends to transform time into space to better quantify its practice but it eventually has to face the necessity of adaptation to other medical specialties. The truth, which is reduced to mathematical accuracy, gives para-clinics the central place of medical practice, gradually separating patients away from their physician.The triage, unique exercise in mass medicine and disaster medicine, is unexpected proof of medical ethics. The categorization of victims, which is a principle of triage, is a reflection of heightened rational thought. Because thinking is sorting. The advent of third parties in the doctor-patient relationship limits medical liability, which would otherwise be unbearable. The infinite responsibility of everyone vis-à-vis the other, intensified by the role of nursing, precedes and is at the origin of freedom. The Third party makes it impossible to do the impossible for others, it forces to share. Introduced at the time of triage, it gives the opportunity to politics to be deeply rooted into ethics.

O presente trabalho investiga as percepções e concepções sobre corpo, gesto, técnica pianística e suas relações nas vivências de alunos de piano de dois cursos de Graduação em Música. Fundamentada no conceito de corporalidade, utilizo os conceitos de gesto musical e técnica pianística para examinar as relações que emergem entre o indivíduo, o piano e a música, expressas nas experiências externadas pelos participantes. O conceito de corporalidade (MERLEAU-PONTY [1999], VAZ [2004], CHAUÍ [2011]) compreende o indivíduo como uno, ímpar e indissociável, uma unidade portadora de simbolismos, de memória cultural e social, e repleta de nuances pelas bagagens constituídas ao longo da vida nas relações estabelecidas culturalmente e socialmente, considerando que o modo como construímos nossa visão de mundo passa pelo nosso corpo. O conceito de gesto musical (JENSENIUS et al. [2010], LEMAN; GODØY [2010]) implica em um movimento que carrega intenção e significado, unindo aspectos técnicos e interpretativos, possibilitando pensar a relação entre o texto musical, pianista e piano a partir da individualidade de cada sujeito expressa na organização de movimentos ímpares. Os conceitos de técnica pianística (CHIANTORE [2001]; SANDOR [1981]; KAEMPER [1967]; WHITESIDE [1955]; JAËLL [1904]) elencados neste trabalho são convergentes em proposições fundamentadas no movimento. Participaram deste estudo oito estudantes de duas instituições de Ensino Superior: Universidade Federal do Rio Grande do Sul – UFRGS – Curso Bacharelado em Música/Piano e Escola de Música e Belas Artes do Paraná – EMBAP/UNESPAR – Universidade Estadual do Paraná – Campus I de Curitiba – Curso Superior de Instrumento/Piano. O enfoque metodológico foi de Estudo Qualitativo, tendo como instrumento de coleta de dados a filmagem de vídeos, uma entrevista semiestruturada que abordou o sentir-se na performance e o ver-se na performance (momento em que os participantes apreciaram suas próprias performances gravadas), e uma Entrevista Fenomenológica que abordou os três grandes eixos temáticos do trabalho: técnica pianística, corpo e gesto musical. O instrumento de análise e interpretação de dados foi fundamentado nos três passos do Método Fenomenológico: descrição fenomenológica, redução fenomenológica e interpretação fenomenológica. / This study investigates perceptions and conceptions of the body, gesture and piano technique and the relationship between them in the experiences of piano students on two undergraduate music courses. Drawing on the idea of corporeality, I use the concepts of musical gesture and piano technique to examine the relationships that emerge between the individual, the piano and music and are expressed in the experiences manifested by the participants. According to the notion of corporeality (MERLEAU-PONTY [1999], VAZ [2004], CHAUÍ [2011]), the individual is singular, unique and indissociable, a unity that carries symbolism and cultural and social memory and is full of nuances resulting from the cultural and social relationships established during an individual’s life, as the way we build our view of the world is linked to our body. The concept of musical gesture (JENSENIUS et al. [2010], LEMAN; GODØY [2010]) implies movement charged with intention and meaning, combining technical and interpretative aspects and allowing one to consider the relationship between musical score, pianist and piano in terms of the individuality of each subject expressed in the organization of unique movements. The concepts of piano technique (CHIANTORE [2001]; SANDOR [1981]; KAEMPER [1967]; WHITESIDE [1955]; JAËLL [1904]) mentioned in this work all share ideas based on movement. Eight students from the following two music programs at two higher-education institutions took part in this study: the Bachelor’s Degree Program in Music/Piano, Federal University of Rio Grande do Sul, UFRGS, and the Degree Program in Instrumental Music/Piano, School of Music and Fine Arts, EMBAP/UNESPAR, Paraná State University, Campus I, Curitiba. The study was a qualitative one, and data were collected in videos filmed during the study, in a semi-structured interview that addressed self-feeling in the performance and self-seeing in the performance (when participants appreciated their own recorded performances) and in a phenomenological interview covering the three main themes in the study: piano technique, body and musical gesture. The data analysis and interpretation was based on the three steps of the phenomenological method: phenomenological description, phenomenological reduction and phenomenological interpretation.

Este estudo teórico propõe a investigação sobre o gesto flamenco, a partir da análise do espetáculo Las Cuatro Esquinas, da Companhia de Flamenco Del Puerto. Com o objetivo contextualizar o espetáculo dentro da estética da arte flamenca contemporânea, considerando seus pilares tradicionais a música instrumental, o canto e a dança propriamente dita, a investigação destaca e relaciona diferentes noções de gesto com a operacionalidade artística entre os integrantes do grupo. A pesquisa também estabelece intersecções entre os discursos do corpo do grupo e as especificidades para criação da obra. São utilizados, para fins análise, os registros do espetáculo, como fotos, vídeos, anotações de ensaio, além de entrevistas com o elenco, reafirmando assim o permanente ir e vir entre a reflexão teórica e a prática artística continuada, principal caráter de trabalho desta companhia de dança. / This theoretical study proposes the investigation on the flamenco gesture, through the analysis of the show Las Cuatro Esquinas of the Del Puerto Flamenco’s Company. With the purpose of contextualizing the show within the aesthetics of contemporary flamenco art, considering its traditional pillars as instrumental music, singing and dance proper, the investigation highlights and relates different notions of gesture with the artistic operability among the members of the group. The research also establishes intersections between the body speeches of the group and the specificities for the creation of the work. The records of the show, such as photos, videos, essay notes, as well interviews with the cast, were used for analysis purposes, thus reaffirming the permanent coming and going between the theoretical reflection and the continued artistic practice, the main work character of this company of dance.