Este trabalho apresenta um estudo analítico dos elementos melódicos e gestuais presentes em Notas Soltas (1978) para flauta transversal solo e Notas Irresponsáveis (1986/87) para trio de flautas transversais de Bruno Kiefer. O livro Introduction to Post-Tonal Theory de Joseph Straus é utilizado como referencial teórico para a abordagem melódica. Buscamos identificar quais são os padrões de escrita empregados pelo compositor e procurar relações entre as duas peças. Utilizamos o catálogo de Gestos Musicais apresentados por Luciane Cardassi em A música de Bruno Kiefer : "terra", "vento", "horizonte" e a poesia de Carlos Nejar. Através dos resultados dessas análises, procuramos entender como se dá a escrita idiomática do compositor, bem como encontrar traços em comum entre repertório escolhido para essa pesquisa e obras de Kiefer investigadas por outros autores. / The purpose of this work is to present an analytical study of the melodic elements and gestures in Bruno Kiefer’s pieces entitled Notas Soltas (1978) for solo flute and Notas Irresponsáveis (1986/87) for flute trio. The theoretical framework for the melodic approach is based on Joseph Straus’ Introduction to Post-Tonal Theory. The aim has been to identify the musical patterns employed by the composer and their relationship in both works. The catalogue of Musical Gestures compiled by Luciane Cardassi in A música de Bruno Kiefer: "terra", "vento", "horizonte" e a poesia de Carlos Nejar was also used. Through the analyses of these two works it was possible to understand the idiomatic character of Kiefer’s style, while finding common traces in other works by the same composer.

É descrito o projeto de um sistema baseado em visão computacional, para o reconhecimento de poses manuais distintas, além da discriminação e rastreamento de seus membros. Entre os requisitos prioritários deste software estão a eficácia e a eficiência para essas tarefas, de forma a possibilitar o controle em tempo real de sistemas computacionais, por meio de gestos de mãos. Além desses fatores, a portabilidade para outros dispositivos e plataformas computacionais, e a possibilidade de extensão da quantidade de poses iniciais, também consiste em condições importantes para a sua funcionalidade. Essas características tendem a promover a popularização da interface proposta, possibilitando a sua aplicação para diversas finalidades e situações; contribuindo dessa forma para a difusão deste tipo de tecnologia e o desenvolvimento das áreas de interfaces gestuais e visão computacional. Vários métodos foram desenvolvidos e pesquisados com base na metodologia de extração de características, utilizando algoritmos de processamento de imagens, análise de vídeo, e visão computacional, além de softwares de aprendizado de máquina para classificação de imagens. Como dispositivo de captura, foi selecionada uma câmera de profundidade, visando obter informações auxiliares aos vários processos associados, reduzindo assim os custos computacionais inerentes e possibilitando a manipulação de sistemas eletrônicos em espaços virtuais tridimensionais. Por meio desse dispositivo, foram filmados alguns voluntários, realizando as poses manuais propostas, de forma a validar os algoritmos desenvolvidos e possibilitar o treinamento dos classificadores utilizados. Esse registro foi necessário, já que não foram encontradas bases de dados disponíveis contendo imagens com informações adequadas para os métodos pesquisados. Por fim, foi desenvolvido um conjunto de métodos capaz de atingir esses objetivos, através de sua combinação para adequação a diferentes dispositivos e tarefas, abrangendo assim todos os requisitos identificados inicialmente. Além do sistema implementado, a publicação da base de imagens de poses de mãos produzida também consiste em uma contribuição para as áreas do conhecimento associadas a este trabalho. Uma vez que as pesquisas realizadas indicam que esta base corresponde ao primeiro conjunto de dados disponibilizado, compatíveis com vários métodos de detecção de gestos manuais por visão computacional, acredita-se que esta venha a auxiliar ao desenvolvimento de softwares com finalidades semelhantes, além possibilitar uma comparação adequada entre o desempenho desses, por meio de sua utilização. / A project of a computer vision based system is described here, for the recognition of different kinds of hand poses, in addition to the discrimination and tracking of its members. Among the software requirements priority, were the efficiency and effectiveness in these tasks, in order to enable the real time control of computer systems by hand gestures. Besides these features, the portability to various devices and computational platforms, and the extension possibility of initial pose number, are also importants conditions for its functionality. Several methods have been developed and researched, based on the methodology of feature extraction, using image processing, video analysis, and computer vision algorithms; in addition to machine learning software for image classification. As capture device, was selected a depth camera, in order to obtain helper information to several associated processes, so reducing the computational costs involved, and enabling handling electronic systems in three-dimensional virtual spaces. Through this device, some volunteers were recorded, performing the proposed hand poses, in order to validate the developed algorithms and to allow the used classifiers training. This record was required, since available databases containing images with relevant information for researched methods was not found. Finally, were developed a set of methods able to achieve these goals, through its combination for adaptation to different devices and tasks, thus covering all requirements initially identified. Besides the developed system, the publication of the hand poses image database produced, is also an contribution to the field of knowledge related with this work. Since the researches carried out indicated that this database is the first set of available data, compatible with different computer vision detection methods for hand gestures, it\'s believed that this will assist in developing software with similar purposes, besides permit a proper comparison of the performances, by means of its use.

SUTIS INVENÇÕES CURATORIAIS é uma montagem poética de acontecimentos colhidos na arte, na clínica e também onde elas se encontram e faíscam. Um maquinário estético-clínico que pretende dar a ver certos invisíveis, ilegíveis e indizíveis. Essa montagem reúne em três constelações curatoriais [CAIXA PRETA], [PONTO CEGO] e [SISMÓGRAFO] imagens, gestos e palavras, fabricações artesanais agitadas de um extremo ao outro, tremores na fronteira com a linguagem, segundo Deleuze. Invenções estéticas que constituem saberes, na forma de apreensão do mundo, na variação dos tempos e na apropriação das experiências, indagando o que essas imagens-gestos apresentam de um tempo e de uma força, na insistência em existir apesar de tudo, nas palavras de Didi-Huberman. Balizam esse trabalho os conceitos de inoperância proposto por Agamben com o intuito de nos ajudar a desmanchar a exigência de respostas na chave da eficiência/eficácia, funcionalidade ou completude e de rememoração, de Benjamin, convocado pelas narrativas menores, lacunas da história, que na opacidade podem cintilar devires. Uma montagem poético-curatorial que joga com a ideia de curadoria em arte e cuidadoria (do cuidado) em saúde, reunindo gestos, imagens e narrativas que surgem de uma sobrevivência a prescritivos modos de vida, resistindo aos ideais de cura e de protocolos existenciais normatizantes. / SUBTLE CURATORIAL INVENTIONS is a poetical assembly of events harvested from art, clinic and at points where art and clinic meet and sparkle. It is a aesthetic-clinic machinery created in order to show some invisibles, illegibles and unspeakables. This assembly reunites in three curatorial constellations [BLACK BOX], [BLIND SPOT] and [SEISMOGRAPH] images, gestures and words, artisanal manufactures wiggled from one end to the other, quivering at the edge of language, according to Deleuze. Aesthetical inventions that constitute knowledge, forms of world-apprehension, variation in time and appropriation of experiences, inquiring as to what these images gestures present from a time and a strength, insisting on existing in spite of everything, to quote Didi-Huberman. This work is constructed upon the concept of inoperability proposed by Agamben aiming at helping us to dismantle the demand for answers on the key efficiency/efficacy, functionality or completeness and the concept of remembrance, from Benjamin, evoked by smaller narratives, history gaps, that in opacity may twinkle becomings. A poetic-curatorial assembly which plays with the concepts of curatorship from art and careship from care in health, gathering gestures, images and narratives that come from surviving prescriptive ways of living, resisting ideals of cure and normalized existential protocols.

Este trabalho apresenta um estudo analítico dos elementos melódicos e gestuais presentes em Notas Soltas (1978) para flauta transversal solo e Notas Irresponsáveis (1986/87) para trio de flautas transversais de Bruno Kiefer. O livro Introduction to Post-Tonal Theory de Joseph Straus é utilizado como referencial teórico para a abordagem melódica. Buscamos identificar quais são os padrões de escrita empregados pelo compositor e procurar relações entre as duas peças. Utilizamos o catálogo de Gestos Musicais apresentados por Luciane Cardassi em A música de Bruno Kiefer : "terra", "vento", "horizonte" e a poesia de Carlos Nejar. Através dos resultados dessas análises, procuramos entender como se dá a escrita idiomática do compositor, bem como encontrar traços em comum entre repertório escolhido para essa pesquisa e obras de Kiefer investigadas por outros autores. / The purpose of this work is to present an analytical study of the melodic elements and gestures in Bruno Kiefer’s pieces entitled Notas Soltas (1978) for solo flute and Notas Irresponsáveis (1986/87) for flute trio. The theoretical framework for the melodic approach is based on Joseph Straus’ Introduction to Post-Tonal Theory. The aim has been to identify the musical patterns employed by the composer and their relationship in both works. The catalogue of Musical Gestures compiled by Luciane Cardassi in A música de Bruno Kiefer: "terra", "vento", "horizonte" e a poesia de Carlos Nejar was also used. Through the analyses of these two works it was possible to understand the idiomatic character of Kiefer’s style, while finding common traces in other works by the same composer.

Submitted by Erika Demachki (erikademachki@gmail.com) on 2015-10-22T19:29:01Z No. of bitstreams: 3 Dissertação - Katarine de Sousa Araújo - 2014 - PARTE 01.pdf: 18936017 bytes, checksum: 34a4c3046b9c96aa1a71ea0b11d7b422 (MD5) Dissertação - Katarine de Sousa Araújo - 2014 - PARTE 02.pdf: 7590714 bytes, checksum: ce34c0adf5bfadb9135010e1456c3982 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Approved for entry into archive by Erika Demachki (erikademachki@gmail.com) on 2015-10-22T19:30:46Z (GMT) No. of bitstreams: 3 Dissertação - Katarine de Sousa Araújo - 2014 - PARTE 01.pdf: 18936017 bytes, checksum: 34a4c3046b9c96aa1a71ea0b11d7b422 (MD5) Dissertação - Katarine de Sousa Araújo - 2014 - PARTE 02.pdf: 7590714 bytes, checksum: ce34c0adf5bfadb9135010e1456c3982 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Made available in DSpace on 2015-10-22T19:30:46Z (GMT). No. of bitstreams: 3 Dissertação - Katarine de Sousa Araújo - 2014 - PARTE 01.pdf: 18936017 bytes, checksum: 34a4c3046b9c96aa1a71ea0b11d7b422 (MD5) Dissertação - Katarine de Sousa Araújo - 2014 - PARTE 02.pdf: 7590714 bytes, checksum: ce34c0adf5bfadb9135010e1456c3982 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2014-03-28 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This aim of this paper is to study and apply gestures in the interpretation of the symphonic work Psalmus, by João Guilherme Ripper. Zagonel (1992) and Heller (2006), were the references used in defining gesture. To define interpretation, the author consulted Laboissiére (2007), Lima (2006) and Schuller (1997), and for the definition of style and conducting, the author makes reference to Schuller (1997) and Swarowsky (1989). Once the definitions were established, the next step was to choose a representative contemporary work, in this case, the symphonic piece Psalmus (2002), by João Guilherme Ripper, from the Brazilian symphonic literature. The choice of this work was based on the following criteria: it is a contemporary Brazilian 21st Century piece, and while it presents technical and interpretation challenges to the conductor, it is not excessively complex for young musicians. This piece was played by the Orquestra Sinfônica Jovem de Goiás, rehearsed and conducted by the author of this paper. The data collected by this survey were approached and discussed with a view to their qualitative aspects. Musical elements are employed as guide to this study. For that purpose, rehearsals were recorded and the resulting video and audio focused on the conductor. Results point to the challenge of conciliating the conductor’s gestures, as a means to establish and maintain the beat while, at the same time, bringing the work to life. Additionally, an analysis of the results indicates that since this is a contemporary Brazilian work, it also presents a challenge to conducting students and these difficulties must be approached throughout their training. / A temática de investigação desta pesquisa é a exploração e a aplicação do gestual com finalidades interpretativas da obra sinfônica Psalmus, de João Guilherme Ripper. Para conceituar-se o gesto, utilizou-se Zagonel (1992) e Heller (2006), conceituou-se interpretação, com Laboissiére (2007), Lima (2006) e Schuller (1997), e estilos de regência, com Schuller (1997) e Swarowsky (1989). Com os conceitos estabelecidos, selecionou-se, no repertório sinfônico brasileiro, a obra Psalmus (2002), do compositor João Guilherme Ripper, levando-se em consideração os seguintes critérios: obra brasileira do século XXI, contendo desafios técnico-interpretativos para o regente e de nível acessível ao músico jovem. A obra foi executada pela Orquestra Sinfônica Jovem de Goiás, na qual esta pesquisadora atuou como regente durante ensaios e apresentações. Tendo como base os fundamentos teóricos sobre gesto e interpretação musical, as discussões dos dados foram abordadas qualitativamente e norteadas por elementos musicais, resultado da gravação de áudio e vídeo dos ensaios, utilizando-se apenas a imagem da regente. Os resultados apontam desafios de conciliação gestual do regente entre a manutenção da pulsação e a realização interpretativa da obra e, também, indicam que essa obra, parte do repertório sinfônico brasileiro contemporâneo, propõe desafios ao estudante de regência, que devem ser abordados durante sua formação.

The field of virtual reality (VR) is getting increasing attention from the scientific community and it is being portrayed by advertisements as the user interface (UI) of the future. This is a fair statement since the prior uses of VR that used to exist only in fiction movies and books are now widely available in many forms and settings to the public. One of the most interesting outcomes from this technological evolution is that now VR can be experienced through the use of a mobile phone and the addition of some inexpensive means typically in a form of a headset. The combination of the phone’s screen as attached to the headset creates a form of Head Mounted Display (HMD) which can be utilized in order for the user to be immersed within a virtual environment (VE). The argument here is that even if the means to get access to VR are cheap, this should not be the case with the experience as well. On the contrary, the low entry requirements in combination with a high quality experience are the basis for the medium's success and further adoption by the users. More specifically, the capability of utilizing a three dimensional space (3D) should not limit the medium’s use on just that but instead, this space should be used in order to offer immersive environments which make the user feel as if he is there.    There are many factors that contribute to that result and significant progress has been made to some such as the quality of screen or other hardware parts that allow the user get immersed into the virtual scenery, however, little progress has been made towards the conceptual means that allow the user of better experiencing this VE. Most of the VR applications so far are specifically designed for a single user session. This creates an isolation of the user from any other type of communities which further increases the stigma of VR being a solitary experience. Another issue is the interaction method that is available to users in order to interact with the VE. The use of buttons in most of the available headsets is a counter intuitive method for a person to interact with an environment that wants to be called real. The technological advancements in the field of image processing have resulted in many new methods of interaction and multimodal manipulation within VE and it would be worthy of exploring their effects on the user experience (UX) when used as an interaction method.    For these reasons, this thesis used the case of VR games as a setting to study how UX can be enhanced from its current state by introducing a bare hand gesture interaction method and expanding the VR setting in order to host two users in shared VE. Two individual studies were conducted where user feedback was collected in order to describe the effects of this approach in both a qualitative and quantitative manner. As results indicate, by utilizing gesture analysis on a headset equipped with a smartphone, it is possible to offer a natural and engaging solution for VR interaction capable of rich UXs while maintaining a low entry level for the end users. Finally, the addition of another player significantly affected the experience by influencing the emotional state of the participants in the game and further enforcing their feeling of presence within the VE.

L'enquête relatée dans cette thèse a été menée en Bretagne et en région lyonnaise auprès de conteurs contemporains. La plupart des pratiques observées se sont constituées dans le sillage dudit "renouveau du conte" qui a pris place en France au début des années 1970. La présente recherche propose une analyse de la performance orale, dans le but de mieux comprendre la portée de cette pratique – les liens, accointances, rencontres qu'elle occasionne – et les causes de son efficience sociale. Pour ce faire, le terrain de recherche a été envisagé sous trois focales ethnographiques : la scène (quand l'énonciation est examinée de très près), les coulisses (une observation des processus d'élaboration) et le contexte (ethnographie qui vise à appréhender l'environnement social et culturel du contage). La méthodologie s'est voulue expérimentale – recherche par tâtonnements – réflexive et dialogique. De nombreux dispositifs d'enquête ont été élaborés, la majorité impliquant un recours aux technologies audiovisuelles. Le parcours proposé commence par une plongée dans l'univers de deux conteurs bretons : où l'on découvre pourquoi les conteurs peuvent être vus comme des porteurs de mémoire. Par la suite s'opère un "zoom" sur la performance orale des conteurs ; ce sont les modalités d'entrée en scène, la chorégraphie et la réception par l'auditoire qui font l'objet d'un long examen. Il en résulte que les artistes de la parole provoquent une situation dans laquelle les imaginaires se croisent. Le dernier itinéraire de recherche retracé renvoie aux situations dans lesquelles le conte est mobilisé comme un instrument de médiation sociale. Les conteurs et leurs apprentis s’attellent alors à "mettre en bouche" des histoires dans lesquelles s'expriment en filigrane des sentiments d'appartenance, des expériences vécues et au travers desquelles se créent des passerelles culturelles et sociales. / The investigation related in this thesis was conducted in Bretagne (France) and in urban areas of Lyon, in close collaboration with some contemporary storytellers. Most of their practice were formed in the wake of the so-called "revival of storytelling" that took place in France in the early 1970s. The present research provides an analysis of the oral performance, in order to better understand the scope of this practice – the social ties, acquaintances, encounters it creates -- and the causes of its social efficiency. In that aim, the fieldwork was considered under three ethnographic scales: the stage (when the enounciation is evaluated very closely), the wings (an observation of the creative process) and the context (ethnography that aims to understand social and cultural environment of storytelling). The methodology pretended to be experimental – searching by trial and error approach – reflexive and dialogic. Many devices were developed, most of them requiring the use of audiovisual technology.The itinerary proposed here starts with an immersion in the world of two Bretons storytellers, which shows why storytellers can be considered as "memory holders". Then, we make a "zoom" on the oral performance of storytellers; the ways they enter in stage, their choreography and the reception by audience are the subjects of a long examination. It follows that the storytellers inciting a situation in which the imaginaries cross. The last itinerary of research refers to the situations in which the storytelling is used as an instrument of social mediation. At that time, storytellers and their apprentices work to "put in their mouths" stories in which are expressed, beneath the surface, feelings of belonging, life experiences and through which social and cultural bridges are created.

This thesis investigates the impact of different factors on public displays that use touch and mid-air gestures. We present a novel application for public displays: MirrorTouch — a game combining touch interaction with mid-air gesturing through depth sense. We studied the impact of these factors through a series field studies. We show that clear affordances are important to communicate both modalities clearly and also how to improve the conversion rate of passers-by. We present our findings of how social situations around such a display varied with the location where the display was placed. We also present quantitative data on group behavior around our public display, such as a measuring of the honeypot effect and how people made transitions between the different modalities. Our results can be of great value to designers and researchers of public displays that want to deploy displays with similar techniques.

The purpose of this essay is to investigate how Joseph Conrad has used animal imagery and religious symbolism in “Heart of Darkness,” and determine if these tools are somehow linked to the theme of the story. Close reading has been applied in order to be able to go through the entire story in search of these often well-hidden tools. Considering the fact that the story in focus of the analysis is believed by some, including myself, to be a long short story rather than a short novel, this method of approach has proved to be highly useful. First a discussion about a possible theme in “Heart of Darkness” is presented, followed by a brief comment on Conrad’s personal life philosophy and view on the use of symbolic devices in literary works. In order to determine the differences between symbols and imagery, as well as theme, subject and topic, a short discussion of terminology has been included. Much of the discussion in the analysis relies heavily upon articles and books by critics who have focused exclusively on symbolism and imagery in “Heart on Darkness” and other works by Conrad. The scholarly names worth mentioning in connection with the discussion about animal imagery are Olof Lagercrantz, John A. Palmer, and Samir Elbarbary. The critics Anthony Fothergill and Cedric Watts explore religious symbolism in general, whereas P.K. Saha and Rita A. Bergenholtz focus on particular aspects of it, such as Buddhism and Greek mythology. The analysis section is for the most part a combination between my own personal interpretations of “Heart of Darkness” and those made by others. It is divided into two major sections, Animal Imagery and Religious Symbolism. The latter, furthermore, comprises two subgroups. The conclusion suggests that Conrad used symbolism and imagery as narratological tools in order to present us with the theme of morality in the story.

Syftet med studien är att undersöka vilka upplevelser och uppfattningar några erfarna pedagoger har kring tecken som stöd samt att få en förståelse för vilken effekt tecken som stöd upplevs ha på språk och kommuniktion bland vuxna och barn i förskolan. Genom frågeställningarna i studien undersöks på vilket sätt några erfarna förskolepedagoger tillämpar tecken som stöd för att främja kommunikationen bland vuxna och barn i förskolan samt vilken inverkan pedagogerna upplever att metoden frambringar. Studien innehåller teorier kring kroppslig kommunikation och sociokulturell interaktionism, men även litteratur om språk och kommunikation, vuxnas mottaglighet, tecken och gester samt förutsättningar och effekter. I kombination med ett kritiskt perspektiv på tecken som stöd har studien ett teoretiskt och litterärt ramverk. Genom kvalitativa semistrukturerade intervjuer samlas empiri in. Ett subjektivt urval och ett snöbollsurval har resulterat i att fem pedagoger, som aktivt använder tecken som stöd i sina verksamheter, deltagit i studien. Då varje pedagog företräder varsin förskoleverksamhet är fem olika förskolor representerade  i denna studie. Intervjuerna har genomförts på deras respektive arbetsplatser. Resultatet som framkommer visar på att tecken som stöd är ett multimodalt kommunikationsverktyg som skapar möjlighet för alla barn och vuxna att föra dialog med varandra. Dessutom visar resultatet på att tecken som stöd bidrar till verksamhetens etiska grund. Detta då tecken bland annat skapar ett behagligt arbetsklimat där alla ges möjlighet att kommunicera, bli synliggjorda och respekterade på sitt sätt. Pedagogerna upplever tecken som stöd som ett positivt och lustfyllt arbetsmetod.