Right now you are reading a sentence. Earlier, you might have been looking at a realistic picture, such as a photograph, or an outline drawing in a set of instructions. If you are a programmer, you work with sentence-like structures, such as code, or a system diagram. These are all graphic representations. To varying degrees, the effectiveness of every graphic representation relies on its ability to convey the designer’s intended meaning and elicit the intended reaction from its audience. However, the design of graphic representations, even in technical domains such as visual programming language design or interactive information visualization, currently relies heavily on general principles based solely on practice, intuition, and informal measures of effectiveness from the applied art and craft of design (as opposed to scientific analysis or theory). There is an increasing demand for a scientific understanding of design and its evaluation from stakeholders (who seek evidence for effectiveness) and designers (who seek to advance their field). Because both the creation of graphic displays and their perception are literally embodied experiences, a model was developed with an embodiment orientation, specifically based on how graphics are perceptually and cognitively processed. In my research, I found that graphic representations are constituted of two properties, pictorial and symbolic information, that emerge through two interrelated aspects of perception. In sighted individuals, for example, every graphic representation makes use of biological capabilities to process visual sensation (i.e., light hitting the retina), which are processed in relation to culturally-learned capabilities (i.e., writing). I observed how graphic representations – such as pictures, diagrams, and sentences – are “naturally selected” (i.e., during different phases of design or problem solving). From these observations, I developed a model that distinguishes and predicts the effectiveness of pictures, diagrams, and sentences, in terms of how object relations and attributes are pictorially or symbolically represented, relative to the functional roles of those representations, contexts, and in some cases, individual perceptual-cognitive differences among perceivers. This model is a step toward a science of graphics that could lead to evaluation techniques for information systems, theories for inclusive design, and ergonomically designed software programming tools.

Malgré la notoriété de Gabriel Fauré, le style particulier de sa musique chambre reste encore difficile à appréhender par l’analyse. La construction formelle y est un réel sujet de questionnement. Tandis que certains analystes essaient d’attester son originalité en examinant en quoi elle s’éloigne de la tradition, d’autres proposent des analyses de la dynamique caractéristique de ses thèmes, dont le développement continu aboutit à la réalisation de la grande forme. Ces dernières se sont jusqu’à présent appuyées sur un corpus limité. Cette thèse se propose d’élargir le corpus aux cinq grandes œuvres de chambre pour cordes et piano – deux Quatuors op. 15 et 45, deux Quintettes op. 89 et 115 et le Trio op. 120 et d’y cerner la « dynamique formelle ». Après l’étude des témoignages de l’époque du compositeur qui permet de mettre en relief la conception de l’originalité formelle dans son œuvre, l’analyse porte sur l’agencement interne des thèmes et sur la réalisation de la grande forme à partir de l’étude des partitions mais aussi à l’aide d’une représentation donnée par un logiciel informatique qui permet de visualiser l’enveloppe dynamique et de repérer des climax. En révélant en quoi consiste ce processus, la présente thèse contribue à mieux rendre compte du style personnel de Fauré et de la façon dont il élabore une musique qui donne l’impression d’une progression et d’un développement continus se prolongeant jusqu’à la fin de l’œuvre. / Despite the notoriety of Gabriel Fauré’s musical style, the particular style of his chamber music still remains difficult to comprehend by analysis. Formal construction is a real subject of question. While some analysts try to attest to his originality by examining how it departs from tradition, others offer analyses of the dynamic characteristic of its themes, whose continuous development leads to the realization of large form. The latter have so far relied on a limited corpus of works. This thesis proposes to expand the corpus to the five large chamber works for strings and piano - two Quartets op. 15 and 45, two Quintets op. 89 and 115 and the Trio op. 120 in order to define the “formal dynamics.” After the study of testimonies from the composer's time that highlights the formal originality in his work, the subsequent analysis deals with the internal arrangement of themes and the realization of large form from the study of scores. I conduct my analysis with the help of graphic representation created by a computer software that can visualize the enveloping dynamic and identify climaxes. By revealing the contents of this process, this thesis helps to better reflect the very personal style of Fauré and the way in which he creates music that gives the impression of continuous progression and development extending to the end of the work.

Submitted by Vânia Bitencour Serrasqueiro (vaniabitencour@uol.com.br) on 2018-09-13T10:19:11Z No. of bitstreams: 1 DISSERTAÇÃO VANIA B SERRASQUEIRO.pdf: 4959102 bytes, checksum: a5786c270d90ce44f2b7304b9e398434 (MD5) / Approved for entry into archive by Lucilene Cordeiro da Silva Messias null (lubiblio@bauru.unesp.br) on 2018-09-13T12:53:58Z (GMT) No. of bitstreams: 1 serrasqueiro_vb_me_bauru.pdf: 4955159 bytes, checksum: 7919c9480cb3673f734d00eb74cae9f2 (MD5) / Made available in DSpace on 2018-09-13T12:53:58Z (GMT). No. of bitstreams: 1 serrasqueiro_vb_me_bauru.pdf: 4955159 bytes, checksum: 7919c9480cb3673f734d00eb74cae9f2 (MD5) Previous issue date: 2018-08-17 / Os materiais educacionais são instrumentos decisivos no processo de ensino e aprendizagem da criança, em especial aquelas com transtornos de aprendizagem. A presente pesquisa se propôs a verificar que aspectos do Design Gráfico tornam os materiais educacionais de intervenção e avaliação aplicados às crianças portadoras de dificuldade ou transtornos da aprendizagem mais inclusivos. Para isso foram levantados conceitos relacionados ao Design Inclusivo, Design da Informação e Design Educacional, gerando subsídios que embasam a coleta de dados através de entrevistas com especialistas em transtornos da aprendizagem, a fim de identificar os materiais educacionais mais usados em intervenção junto ao público infantil, bem como os problemas que apresentam neste processo. Tais materiais foram analisados e problemas relativos ao design dos mesmos foram evidenciados. Por fim, alcançou-se um conjunto de diretrizes capazes de auxiliar no desenvolvimento e projeto de novos materiais tendo como norte o Design Gráfico Inclusivo. / Educational materials are decisive instruments in the teaching and learning process of children, especially those with learning disorders. The present research aimed to verify which aspects of Graphic Design make the educational materials of intervention and evaluation applied to children with difficulty or learning disorders, more inclusive. In order to do, concepts related to Inclusive Design, Information Design and Educational Design were developed, generating support that supports the collection of data through interviews with specialists in learning disorders, in order to raise the educational materials most used in intervention with children, as well as the problems they present in this process. These materials were analyzed and problems related to their design were evidenced. Finally, a set of guidelines capable of assisting in the development and design of new materials based on Inclusive Graphic Design, were reached

[pt] As particularidades e funções da representação gráfica de jóias são analisadas sob o aspecto histórico de sua evolução a partir do Século XVI na Europa e no Brasil, e através da documentação e análise dos processos de trabalho dos principais designers de jóias atuantes no período de estabelecimento da atividade joalheira no Rio de Janeiro, no período entre as décadas de 1950 e 1970. As origens e formações diversas destes profissionais que foram pioneiros no design de jóias e no uso e divulgação das gemas brasileiras a nível nacional e internacional. Este trabalho propõe uma sistematização do processo de representação gráfica de jóias e demonstra as possibilidades de sua complementação pelas novas tecnologias de informática. / [en] The particularities and functions of graphic representation of jewelry are analyzed under historical aspects of its evolution from XVI Century in Europe and Brasil, and through documentation and analysis of working process of the more significant jewelry designers in activity at the beginning of the jewelry industries in Rio de Janeiro. The origins and backgrounds of these professionals wich was the pioneers of jewelry design especially by using the brazilian gemstones. This work suggests a systematization of the jewelry graphic representation process and demonstrates the possibilities of its complement by new technologies of computer-aided design and computer-aided manufacturing.

[pt] Com o objetivo de demonstrar as possibilidades oferecidas pelas tecnologias tridimensionais, no entendimento das doenças cardíacas e testar tratamentos inovadores, o presente estudo obteve imagens da região torácica de um paciente utilizando tomografia computadorizada multi-fatias. Essas imagens foram tratadas, para selecionar apenas a região de interesse, obtendo-se um modelo tridimensional digital da aorta torácica e tóraco-abdominal. A partir daí, foram confeccionados uma serie de modelos físicos, com a utilização da manufatura aditiva, e testados com diversos materiais para simular a estrutura elástica deste vaso. Após a construção dos modelos físicos, as imagens obtidas foram processadas e renderizadas e um modelo de simulação virtual foi criado para testar procedimentos minimamente invasivo. O uso de imagens da Tomografia Computadorizada, transformadas em modelos matemáticos virtuais e posteriormente em representação física, através da tecnologia aditiva, expande as possibilidades didáticas do ensino medico e possibilitam simular práticas e procedimentos cardiológicos minimamente invasivos. / [en] In order to demonstrate the possibilities provided by three-dimensional technologies, to understand disease states and test innovative treatments, this study obtained images of the thoracic region of a patient using multi-slice Computerized Tomography (CT). These images were handled to select only the region of interest, obtaining a three-dimensional digital model of thoraco-abdominal and thoracic aorta. Thereafter, a series of physical models were made using additive manufacturing and thoroughly tested on materials to simulate the elastic structure of the vessel. After building up physical models, the images were processed and rendered, and a virtual simulation model was created to test minimally invasive procedures. The CT s images transformed into virtual mathematical models and later in physical representation, by additive technology, expand educational opportunities and enable simulation of minimally invasive cardiological procedure.

La presente investigación tiene como objeto de estudio las representaciones de la denominación de origen en la identidad gráfica de los empaques de chocolate fino peruano entre los años 2013 y 2020. Se parte de la hipótesis de que existe un conjunto de elementos identificadores de la denominación de origen que suelen representarse y que, mediante alteraciones gráficas, se encuentran en todos los envases del producto. La investigación se centró en el estudio cualitativo de trece empaques de chocolate fino peruano bajo una delimitación geográfica y temporal establecida por los criterios de la denominación de origen otorgada al Cacao Amazonas Perú (Indecopi, 2016). Asimismo, los resultados obtenidos en el análisis descriptivo fueron complementados con la realización de entrevistas a informantes clave. Entre los principales resultados se encontró la tendencia a presentar una visión generalizada de la Amazonía con el objetivo de lograr una rápida identificación y trazabilidad al origen del producto. Por otro lado, decisiones como la diagramación de contenido, la selección de elementos visuales, el manejo del idioma y los valores semánticos que denotan prestigio responden directamente al discurso de cada marca de chocolate y su alcance, sea local o global. Se concluyó que la denominación de origen es un fenómeno relevante en la conceptualización del empaque de chocolate, ya que las características propias de su definición, como los factores humanos y naturales inamovibles, son representados gráficamente en él, sobre todo cuando se siguen intereses comerciales que buscan diferenciar al producto en la categoría. / The research aims to study the representations of the designation of origin in the graphic identity of Peruvian fine chocolate packaging between 2013 and 2020. It was hypothesized that there is a set of identifying elements of the designation of origin that are usually represented and, through graphic alterations, are found in all Peruvian fine chocolate packaging. The research focuses on the qualitative study of thirteen packages of Peruvian fine chocolate under a geographical and temporal delimitation established by the criteria of the denomination of origin granted to Cacao Amazonas Peru (Indecopi, 2016). Likewise, semistructured interviews with key informants were conducted to compliment the results obtained from the descriptive analysis. Among the main results was the tendency to represent a generalized view of the Amazon with the aim of achieving rapid identification and traceability to the origin of the product. On the other hand, decisions such as content layout, selection of visual elements, language management, and semantic values ​​that denote prestige directly respond to each chocolate brand's discourse and their reach, be it local or global. It was concluded that the designation of origin is a relevant phenomenon in the conceptualization of Peruvian fine chocolate packaging, since the characteristics of its definition, the immovable human and natural factors, are graphically represented in them, especially when following commercial interests that seek to differentiate the product in the category. / Trabajo de investigación

O arquiteto tem no processo de produção do projeto o foco principal de sua atividade atualmente. Afastado do conjunto das práticas de produção do espaço, o arquiteto tem encontrado a materialidade de seu fazer arquitetônico nas práticas projetuais, representada principalmente pelo desenho. Assumindo diversos significados, o desenho serve de instrumento fundamental de sua prática como suporte ao projeto, como instrumento de expressão e materialização das ideias e também como registro de soluções. O presente trabalho investiga o processo de produção do desenho do projeto em grandes escritórios da cidade de São Paulo, dentro do atual contexto produtivo mercadológico. Tendo como objeto de estudo o desenho do projeto, identifica na estrutura de organização do processo projetual, questões relevantes implícitas no papel mediador do desenho nas relações de produção do projeto e da arquitetura em que a prática do arquiteto se insere. / Nowadays, the architect main focus in the design process is its production. Kept apart from space production practices, the architect uses his abilities in design activities, mainly in drawing production. Assuming several meanings, the drawing is an essential practice tool as design support, as an expression and materialization instrument and as media to record solutions. This work investigates the drawing production in the design process within main architectural offices in São Paulo City, considering the actual market production status. With the main focus on design drawing, identifies relevant questions related to the drawing\'s mediation role on design process structure organization between both the design and the building production, activities related to the architect practices.

O arquiteto tem no processo de produção do projeto o foco principal de sua atividade atualmente. Afastado do conjunto das práticas de produção do espaço, o arquiteto tem encontrado a materialidade de seu fazer arquitetônico nas práticas projetuais, representada principalmente pelo desenho. Assumindo diversos significados, o desenho serve de instrumento fundamental de sua prática como suporte ao projeto, como instrumento de expressão e materialização das ideias e também como registro de soluções. O presente trabalho investiga o processo de produção do desenho do projeto em grandes escritórios da cidade de São Paulo, dentro do atual contexto produtivo mercadológico. Tendo como objeto de estudo o desenho do projeto, identifica na estrutura de organização do processo projetual, questões relevantes implícitas no papel mediador do desenho nas relações de produção do projeto e da arquitetura em que a prática do arquiteto se insere. / Nowadays, the architect main focus in the design process is its production. Kept apart from space production practices, the architect uses his abilities in design activities, mainly in drawing production. Assuming several meanings, the drawing is an essential practice tool as design support, as an expression and materialization instrument and as media to record solutions. This work investigates the drawing production in the design process within main architectural offices in São Paulo City, considering the actual market production status. With the main focus on design drawing, identifies relevant questions related to the drawing\'s mediation role on design process structure organization between both the design and the building production, activities related to the architect practices.

<p>The thesis describes steps taken towards using graphic representation and visual modelling support for the knowledge acquisition process in knowledge-based systems – a process commonly regarded as difficult. The performance of the systems depends on the quality of the embedded knowledge, which makes the knowledge acquisition phase particularly significant. During the acquisition phase, a main obstacle to proper extraction of information is the absence of effective modelling techniques.</p><p>The contributions of the thesis are: introducing a methodology for user-centred knowledge modelling, enhancing transparency to support the modelling of content and of the reasoning strategy, incorporating conceptualisation to simplify the grasp of the contents and to support assimilation of the domain knowledge, and supplying a visual compositional logic programming language for adding and modifying functionality.</p><p>The user-centred knowledge acquisition model, proposed in this thesis, applies a combination of different approaches to knowledge modelling. The aim is to bridge the gap between the users (i.e., knowledge engineers, domain experts and end users) and the system in transferring knowledge, by supporting the users through graphics and visualisation. Visualisation supports the users by providing several different views of the contents of the system.</p><p>The Unified Modelling Language (UML) is employed as a modelling language. A benefit of utilising UML is that the knowledge base can be modified, and the reasoning strategy and the functionality can be changed directly in the model. To make the knowledge base more comprehensible and expressive, we incorporated visual conceptualisation into UML’s diagrams to describe the contents. Visual conceptualisation of the knowledge can also facilitate assimilation in a hypermedia system through visual libraries.</p><p>Visualisation of functionality is applied to a programming paradigm, namely relational programming, often employed in artificial intelligence systems. This approach employs Venn-Euler diagrams as a graphic interface to a compositional operator based relational programming language. </p><p>The concrete result of the research is the development of a graphic representation and visual modelling approach to support the knowledge acquisition process. This approach has been evaluated for two different knowledge bases, one built for hydropower development and river regulation and the other for diagnosing childhood diseases.</p>

The thesis describes steps taken towards using graphic representation and visual modelling support for the knowledge acquisition process in knowledge-based systems – a process commonly regarded as difficult. The performance of the systems depends on the quality of the embedded knowledge, which makes the knowledge acquisition phase particularly significant. During the acquisition phase, a main obstacle to proper extraction of information is the absence of effective modelling techniques. The contributions of the thesis are: introducing a methodology for user-centred knowledge modelling, enhancing transparency to support the modelling of content and of the reasoning strategy, incorporating conceptualisation to simplify the grasp of the contents and to support assimilation of the domain knowledge, and supplying a visual compositional logic programming language for adding and modifying functionality. The user-centred knowledge acquisition model, proposed in this thesis, applies a combination of different approaches to knowledge modelling. The aim is to bridge the gap between the users (i.e., knowledge engineers, domain experts and end users) and the system in transferring knowledge, by supporting the users through graphics and visualisation. Visualisation supports the users by providing several different views of the contents of the system. The Unified Modelling Language (UML) is employed as a modelling language. A benefit of utilising UML is that the knowledge base can be modified, and the reasoning strategy and the functionality can be changed directly in the model. To make the knowledge base more comprehensible and expressive, we incorporated visual conceptualisation into UML’s diagrams to describe the contents. Visual conceptualisation of the knowledge can also facilitate assimilation in a hypermedia system through visual libraries. Visualisation of functionality is applied to a programming paradigm, namely relational programming, often employed in artificial intelligence systems. This approach employs Venn-Euler diagrams as a graphic interface to a compositional operator based relational programming language. The concrete result of the research is the development of a graphic representation and visual modelling approach to support the knowledge acquisition process. This approach has been evaluated for two different knowledge bases, one built for hydropower development and river regulation and the other for diagnosing childhood diseases.