Grasslands are a significant source of biodiversity in farmed landscapes that is important to monitor. New generation satellites such as Sentinel-2 offer new opportunities for grassland’s monitoring thanks to their combined high spatial and temporal resolutions. Conversely, the new type of data provided by these sensors involves big data and high dimensional issues because of the increasing number of pixels to process and the large number of spectro-temporal variables. This thesis explores the potential of the new generation satellites to monitor biodiversity and factors that influence biodiversity in semi-natural grasslands. Tools suitable for the statistical analysis of grasslands using dense satellite image time series (SITS) with high spatial resolution are provided. First, we show that the spectro-temporal response of grasslands is characterized by its variability within and among the grasslands. Then, for the statistical analysis, grasslands are modeled at the object level to be consistent with ecological models that represent grasslands at the field scale. We propose to model the distribution of pixels in a grassland by a Gaussian distribution. Following this modeling, similarity measures between two Gaussian distributions robust to the high dimension are developed for the lassification of grasslands using dense SITS: the High-Dimensional Kullback-Leibler Divergence and the -Gaussian Mean Kernel. The latter outperforms conventional methods used with Support Vector Machines for the classification of grasslands according to their management practices and to their age. Finally, indicators of grassland biodiversity issued from dense SITS are proposed through spectro-temporal heterogeneity measures derived from the unsupervised clustering of grasslands. Their correlation with the Shannon index is significant but low. The results suggest that the spectro-temporal variations measured from SITS at a spatial resolution of 10 meters covering the period when the practices occur are more related to the intensity of management practices than to the species diversity. Therefore, although the spatial and spectral properties of Sentinel-2 seem limited to assess the species diversity in grasslands directly, this satellite should make possible the continuous monitoring of factors influencing biodiversity in grasslands. In this thesis, we provided methods that account for the heterogeneity within grasslands and enable the use of all the spectral and temporal information provided by new generation satellites.

Orientador: Maria de Lourdes Bueno Trindade Galo / Resumo: Atualmente o volume de dados produzidos tem atingido patamares nunca imaginados, sobretudo em decorrência da multiplicação do número de sensores e da popularização da internet, com a web 2.0 e as redes sociais. Dentre os diversos tipos de sensores existentes, os de imageamento, transportados principalmente por satélites, produzem vastos conjuntos de observações da superfície da Terra. A observação contínua da Terra por satélites possibilita o monitoramento de mudanças no uso e cobertura da terra. Contudo, em diversas pesquisas relacionadas a mudanças no planeta, são utilizados apenas pequenos fragmentos do imenso conjunto de dados existente, essencialmente devido a ainda haver uma lacuna científicatecnológica relacionada aos procedimentos de organização, armazenamento, análise e representação de grandes conjuntos de dados. Portanto, nessa pesquisa foi definida uma estrutura para organização, armazenamento e recuperação de dados espaço-temporais, com o propósito de fornecer suporte a detecção de mudanças na cobertura da terra. Para tanto, foi definida como aplicação a análise de séries temporais de Normalized Difference Vegetation Index (NDVI) derivadas de imagens adquiridas desde 1984 até 2017, pelos sensores Thematic Mapper (TM), Enhanced Thematic Mapper Plus (ETM+) e Operational Land Imager (OLI) para a região de Porto Velho, Rondônia. Foi construída uma série temporal de NDVI para a posição de cada pixel presente na área de estudo. Regiões de referência foram definidas par... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: Nowadays the size of datasets has been reaching levels never seen before, mainly due to new sensors and the widespread of the internet, with web 2.0 and social media. Among the various types of sensors, the imaging sensors, mainly carried by satellites, have produced big Earth observations datasets. The regular Earth observation by satellites enable to monitor Land Use/Cover Change (LUCC). However, in many researches related to LUCC, only small parts of the big Earth Observation datasets are normally used, because there is still a scientifictechnological gap related to the organization, storage, analysis and representation of big Earth Observations data. Therefore, in this research was defined a database for the organization, storage and retrieval of spatio-temporal data, to support a LUCC task. Therefore, the time series analysis of Normalized Difference Vegetation Index (NDVI) of images acquired from 1984 to 2017 by Thematic Mapper (TM), Enhanced Thematic Mapper Plus (ETM+) and Operational Land Imager (OLI) for the region of Porto Velho, Rondônia was defined as the application. To the position each of the pixel in the study area was built a NDVI time series. Reference areas were defined to retrieve reference time series that describe the land cover types and the change classes (anthropic and natural). The Fast Dynamic Time Warping (FastDTW) algorithm was used to measure the similarity between the time series, to be classified and reference ones. To find the time series clas... (Complete abstract click electronic access below) / Mestre

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This thesis is about concept of time in work of french philosopher Gilles Deleuze. First of all is nescessery to introduce reader with philosophy of Henri Bergson and Deleuze's interpretation of Bergon's work and how Deleuze uses it for demonstration of his own thoughs. After Bergson, there is finally an art, Marcel Proust and his novel In Search of Lost Time, which is subject of Deleuze's early work. Philosopher's original interpretation of proustian time is introduced in context of other intepretations of his time and also in the context in relation to philosophy of Bergson. The second half of thesis talks about modern film, which was Deleuze's interest through 1980s. This thesis doesn't try to make any brave interpretations of Deleuze's work, but does try to introduce a problém of time in his work, The concept of time is something which is not a big thing in Deleuze's philosophy, but i tis something what is there for a whole time because of Henri Bergson's influence.

Galima teigti, jog ilgą laiką filosofija kino atžvilgiu buvo nusiteikusi priešiškai. Filosofai bei menininkai abejojo kino priklausomybe meno sričiai, nes kinas, anot jų, neturi savitos ir unikalios kalbos, o režisieriai piktinosi, jog filosofai, interpretuodami tam tikrus filmus, jiems primeta savas teorijas, taip atimdami iš kinematografinio meno jo unikalumą. Šio darbo tikslas – pažvelgti į kinematografinį meną iš filosofinės perspektyvos, o, tiksliau, kokias prielaidas interpretuojant kiną gali pasiūlyti filosofija. Aptariant tokius konceptus kaip – laikas, trukmė, kinematografinis mechanizmas, vaizdas, vaizdinys-judėjimas, vaizdinys-laikas, momentinės nuotraukos, montažas ir kt. – nuo filosofinės disciplinos pereinama prie kinematografinio meno, bei bandoma įrodyti, jog kinas, bent jau kartais, turi nemažai bendro su filosfinėmis teorijomis. Kino kuriami vaizdiniai gali tapti iliustracijomis filosofijos kuriamų konceptų. / We can say, that for a very long time, philosophy was bad-minded in regard to cinema. Philosophers and artists had doubts about cinema‘s subordination to art, because, in their opinion, cinema doesn‘t have his own, unique language, and film directors were in anger, because philosophers, in their interpretations of certain films, tried to enforce their own theories to cinema, by taking away its unique being. The aim of this work - to look into cinematic art from philosophical perspective, more precise, what assumptions of cinema interpretation can offer philosophy. Discussing concepts like – time, duration, cinematic mechanism, image, image-movement, image-time, snapshot, montage – we move from philosophical discipline to cinematic art, by trying to prove, that cinema has something common with philosophical theories. Images composed by cinema, can become illustrations of philosophical concepts.

Em nossa pesquisa cartográfica nos propomos a lançar um olhar para as forças que são capazes de atravessar um corpo, o corpo de Luiz Guides, uma tentativa precária de captar o rumor expressivo de uma vida. Não queremos aqui falar de uma história pessoal, de um sujeito psicológico, de um ego ou uma identidade, mas visibilizar a potência do tempo, de sua cisão, de outras temporalizações possíveis. A partir do conceito de imagem-tempo, cartografamos vida e obra, lançamo-nos à vertigem em que os planos coexistem e não se sucedem. Das variações expressivas desse corpo, cintilam acontecimentos que sobrevoam os encontros experienciados. A Oficina de Criatividade, tal qual um dispositivo maquínico, possibilitou a sustentação para a poiesis de si e de mundos. Sua pintura, capaz de ultrapassar o caos-catástrofe eclode em planos expressivos que germinam, o diagrama nasce apontando-nos os agenciamentos que ali operam. A pintura como um território existencial possível em meio à adversidade do Hospital Psiquiátrico. No paradoxo em que o corpo torna-se passagem para forças, quanto mais se exalta o impessoal mais se afirma a produção de uma singularidade. Pintura-dobra que nos faz ver a potência de um corpo, nos faz pensar nos outros corpos que também habitam o manicômio silenciados pelo discurso da razão. Vida e obra em imagem-tempo, que nos lançam a vertigem de um intempestivo, que nos visibiliza a resistência e criação. / In our cartographic research we propose to take a look at the forces capable of crossing a body, the body of Luiz Guides, a precarious attempt to capture the expressive rumor of a life. We do not aim to address a personal history, a psychological subject, ego or identity, but to make the power of time visible, its division, and other possible times. Starting from the concept of image-time, the cartography of his life and work is accomplished, we throw ourselves into a vertigo where the planes coexist and do not succeed themselves. Events surrounding the experienced encounters sparkle from the expressive variations of this body. “Oficina de Criatividade”, such that a machinic device, enabled the support for the poiesis of himself and of worlds. His paintings, able to cross the chaos-catastrophe, breaks out in blooming expressive planes, the diagram is born pointing out the agents operating there. Paintings as a possible existential territory, in the midst of the adversities in a Psychiatric Hospital. In a paradox on which the body becomes a passage for forces, the more the impersonal is exalted, the more the production of a singularity is strengthened. Painting-fold which shows us the power of a body, make us wonder about other ones also residing in an asylum, silenced by the discourse of reason. Life and work in image-time, which throw us the vertigo of an unexpected, which shows us resistance and creation.

Em nossa pesquisa cartográfica nos propomos a lançar um olhar para as forças que são capazes de atravessar um corpo, o corpo de Luiz Guides, uma tentativa precária de captar o rumor expressivo de uma vida. Não queremos aqui falar de uma história pessoal, de um sujeito psicológico, de um ego ou uma identidade, mas visibilizar a potência do tempo, de sua cisão, de outras temporalizações possíveis. A partir do conceito de imagem-tempo, cartografamos vida e obra, lançamo-nos à vertigem em que os planos coexistem e não se sucedem. Das variações expressivas desse corpo, cintilam acontecimentos que sobrevoam os encontros experienciados. A Oficina de Criatividade, tal qual um dispositivo maquínico, possibilitou a sustentação para a poiesis de si e de mundos. Sua pintura, capaz de ultrapassar o caos-catástrofe eclode em planos expressivos que germinam, o diagrama nasce apontando-nos os agenciamentos que ali operam. A pintura como um território existencial possível em meio à adversidade do Hospital Psiquiátrico. No paradoxo em que o corpo torna-se passagem para forças, quanto mais se exalta o impessoal mais se afirma a produção de uma singularidade. Pintura-dobra que nos faz ver a potência de um corpo, nos faz pensar nos outros corpos que também habitam o manicômio silenciados pelo discurso da razão. Vida e obra em imagem-tempo, que nos lançam a vertigem de um intempestivo, que nos visibiliza a resistência e criação. / In our cartographic research we propose to take a look at the forces capable of crossing a body, the body of Luiz Guides, a precarious attempt to capture the expressive rumor of a life. We do not aim to address a personal history, a psychological subject, ego or identity, but to make the power of time visible, its division, and other possible times. Starting from the concept of image-time, the cartography of his life and work is accomplished, we throw ourselves into a vertigo where the planes coexist and do not succeed themselves. Events surrounding the experienced encounters sparkle from the expressive variations of this body. “Oficina de Criatividade”, such that a machinic device, enabled the support for the poiesis of himself and of worlds. His paintings, able to cross the chaos-catastrophe, breaks out in blooming expressive planes, the diagram is born pointing out the agents operating there. Paintings as a possible existential territory, in the midst of the adversities in a Psychiatric Hospital. In a paradox on which the body becomes a passage for forces, the more the impersonal is exalted, the more the production of a singularity is strengthened. Painting-fold which shows us the power of a body, make us wonder about other ones also residing in an asylum, silenced by the discourse of reason. Life and work in image-time, which throw us the vertigo of an unexpected, which shows us resistance and creation.

Em nossa pesquisa cartográfica nos propomos a lançar um olhar para as forças que são capazes de atravessar um corpo, o corpo de Luiz Guides, uma tentativa precária de captar o rumor expressivo de uma vida. Não queremos aqui falar de uma história pessoal, de um sujeito psicológico, de um ego ou uma identidade, mas visibilizar a potência do tempo, de sua cisão, de outras temporalizações possíveis. A partir do conceito de imagem-tempo, cartografamos vida e obra, lançamo-nos à vertigem em que os planos coexistem e não se sucedem. Das variações expressivas desse corpo, cintilam acontecimentos que sobrevoam os encontros experienciados. A Oficina de Criatividade, tal qual um dispositivo maquínico, possibilitou a sustentação para a poiesis de si e de mundos. Sua pintura, capaz de ultrapassar o caos-catástrofe eclode em planos expressivos que germinam, o diagrama nasce apontando-nos os agenciamentos que ali operam. A pintura como um território existencial possível em meio à adversidade do Hospital Psiquiátrico. No paradoxo em que o corpo torna-se passagem para forças, quanto mais se exalta o impessoal mais se afirma a produção de uma singularidade. Pintura-dobra que nos faz ver a potência de um corpo, nos faz pensar nos outros corpos que também habitam o manicômio silenciados pelo discurso da razão. Vida e obra em imagem-tempo, que nos lançam a vertigem de um intempestivo, que nos visibiliza a resistência e criação. / In our cartographic research we propose to take a look at the forces capable of crossing a body, the body of Luiz Guides, a precarious attempt to capture the expressive rumor of a life. We do not aim to address a personal history, a psychological subject, ego or identity, but to make the power of time visible, its division, and other possible times. Starting from the concept of image-time, the cartography of his life and work is accomplished, we throw ourselves into a vertigo where the planes coexist and do not succeed themselves. Events surrounding the experienced encounters sparkle from the expressive variations of this body. “Oficina de Criatividade”, such that a machinic device, enabled the support for the poiesis of himself and of worlds. His paintings, able to cross the chaos-catastrophe, breaks out in blooming expressive planes, the diagram is born pointing out the agents operating there. Paintings as a possible existential territory, in the midst of the adversities in a Psychiatric Hospital. In a paradox on which the body becomes a passage for forces, the more the impersonal is exalted, the more the production of a singularity is strengthened. Painting-fold which shows us the power of a body, make us wonder about other ones also residing in an asylum, silenced by the discourse of reason. Life and work in image-time, which throw us the vertigo of an unexpected, which shows us resistance and creation.

Les prairies représentent une source importante de biodiversité dans les paysages agricoles qu’il est important de surveiller. Les satellites de nouvelle génération tels que Sentinel-2 offrent de nouvelles opportunités pour le suivi des prairies grâce à leurs hautes résolutions spatiale et temporelle combinées. Cependant, le nouveau type de données fourni par ces satellites implique des problèmes liés au big data et à la grande dimension des données en raison du nombre croissant de pixels à traiter et du nombre élevé de variables spectro-temporelles. Cette thèse explore le potentiel des satellites de nouvelle génération pour le suivi de la biodiversité et des facteurs qui influencent la biodiversité dans les prairies semi-naturelles. Des outils adaptés à l’analyse statistique des prairies à partir de séries temporelles d’images satellites (STIS) denses à haute résolution spatiale sont proposés. Tout d’abord, nous montrons que la réponse spectrotemporelle des prairies est caractérisée par sa variabilité au sein des prairies et parmi les prairies. Puis, pour les analyses statistiques, les prairies sont modélisées à l’échelle de l’objet pour être cohérent avec les modèles écologiques qui représentent les prairies à l’échelle de la parcelle. Nous proposons de modéliser la distribution des pixels dans une prairie par une loi gaussienne. A partir de cette modélisation, des mesures de similarité entre deux lois gaussiennes robustes à la grande dimension sont développées pour la classification des prairies en utilisant des STIS denses: High-Dimensional Kullback-Leibler Divergence et -Gaussian Mean Kernel. Cette dernière est plus performante que les méthodes conventionnelles utilisées avec les machines à vecteur de support (SVM) pour la classification du mode de gestion et de l’âge des prairies. Enfin, des indicateurs de biodiversité des prairies issus de STIS denses sont proposés à travers des mesures d’hétérogénéité spectro-temporelle dérivées du clustering non supervisé des prairies. Leur corrélation avec l’indice de Shannon est significative mais faible. Les résultats suggèrent que les variations spectro-temporelles mesurées à partir de STIS à 10 mètres de résolution spatiale et qui couvrent la période où ont lieu les pratiques agricoles sont plus liées à l’intensité des pratiques qu’à la diversité en espèces. Ainsi, bien que les propriétés spatiales et temporelles de Sentinel-2 semblent limitées pour estimer directement la diversité en espèces des prairies, ce satellite devrait permettre le suivi continu des facteurs influençant la biodiversité dans les prairies. Dans cette thèse, nous avons proposé des méthodes qui prennent en compte l’hétérogénéité au sein des prairies et qui permettent l’utilisation de toute l’information spectrale et temporelle fournie par les satellites de nouvelle génération. / Grasslands are a significant source of biodiversity in farmed landscapes that is important to monitor. New generation satellites such as Sentinel-2 offer new opportunities for grassland’s monitoring thanks to their combined high spatial and temporal resolutions. Conversely, the new type of data provided by these sensors involves big data and high dimensional issues because of the increasing number of pixels to process and the large number of spectro-temporal variables. This thesis explores the potential of the new generation satellites to monitor biodiversity and factors that influence biodiversity in semi-natural grasslands. Tools suitable for the statistical analysis of grasslands using dense satellite image time series (SITS) with high spatial resolution are provided. First, we show that the spectro-temporal response of grasslands is characterized by its variability within and among the grasslands. Then, for the statistical analysis, grasslands are modeled at the object level to be consistent with ecological models that represent grasslands at the field scale. We propose to model the distribution of pixels in a grassland by a Gaussian distribution. Following this modeling, similarity measures between two Gaussian distributions robust to the high dimension are developed for the lassification of grasslands using dense SITS: the High-Dimensional Kullback-Leibler Divergence and the -Gaussian Mean Kernel. The latter outperforms conventional methods used with Support Vector Machines for the classification of grasslands according to their management practices and to their age. Finally, indicators of grassland biodiversity issued from dense SITS are proposed through spectro-temporal heterogeneity measures derived from the unsupervised clustering of grasslands. Their correlation with the Shannon index is significant but low. The results suggest that the spectro-temporal variations measured from SITS at a spatial resolution of 10 meters covering the period when the practices occur are more related to the intensity of management practices than to the species diversity. Therefore, although the spatial and spectral properties of Sentinel-2 seem limited to assess the species diversity in grasslands directly, this satellite should make possible the continuous monitoring of factors influencing biodiversity in grasslands. In this thesis, we provided methods that account for the heterogeneity within grasslands and enable the use of all the spectral and temporal information provided by new generation satellites.

Il existe deux approches, culturelle et cinématographique, dans les recherches sur Ozu. En réponse au conflit entre les deux, nous proposons de retourner plus profondément aux idées essentielles du bouddhisme Zen qui affectent la culture et l’esthétique traditionnelles japonaises, pour obtenir un nouveau regard sur la richesse et la profondeur de son cinéma. Le style du « ni s’attacher ni quitter » d’Ozu vient de la pensée bouddhiste « La couleur même est la vacuité. » « Couleur » signifie « phénomène », le bouddhisme affirme que dans l’univers de vacuité, tout phénomène est changeant et temporaire, à savoir impermanent. Dans notre recherche, nous analyserons comment Ozu nous permet d’apercevoir et de comprendre la réalité de l’impermanence de l’univers et de la vie, à travers l’arrangement d’éléments du vide et du plein, et nous inspire à chérir la compagnie des émotions humaines dans la vie impermanente. Nous constaterons que c’est juste l’interpénétration entre le vide et le plein, entre l’absence et la présence, qui fait naître dans le cinéma d’Ozu une tension qui nous touche. Et son cinéma est pour ainsi dire une manifestation de « la couleur de la vacuité ». / There are two approaches, cultural and cinematographic, in the study of Yasujiro Ozu’s films. In response to the conflict between the two, and to view the richness and depth of Ozu’s works from a new perspective, I propose to return to Zen Buddhism ideas, which are deeply rooted in Japanese culture and aethetics. Ozu’s style of “neither attaching nor quitting" comes from the Buddhist idea that "Color is Emptiness”. "Color" means "phenomenon"; Buddhism asserts that in the universe of Emptiness, all phenomena are changeable and temporary, namely, impermanent. In my research, I will analyze how Ozu, by arranging elements of emptiness and fullness, reveals to us that impermanence is the reality of universe and life, and inspires us to cherish our companies in the impermanent life. We will find that it is the interpenetration of emptiness and fullness, of absence and presence, which give rise to the tension in Ozu’s films. And these films are the manifestation of “the Color of Emptiness”.