Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal

Thesis--Universität Bonn, 2007. / Includes bibliographical references (p. 556-589) and index.

Mémoire (M.Ress.Renouv.)--Université du Québec à Chicoutimi, 1996. / Document électronique également accessible en format PDF. CaQCU

Mémoire (M.Ress.Renouv.)--Université du Québec à Chicoutimi, 2001. / Document électronique également accessible en format PDF. CaQCU

Thesis (M.A.)--Catholic Theological Union at Chicago, 1995. / Vita. Includes bibliographical references (leaves 177-179).

Catastrophe et Répétition pensent le théâtre. Ils en donnent une intelligence. « Uneintelligence du théâtre » : une idée ou plusieurs, que l’on peut s’en faire en usant de formes,notions ou principes qui ne relèvent pas essentiellement de cet art. À partir des propositionsde Jean Genet dans Le Funambule, texte mis en regard notamment avec le récit de GeorgesBataille Le mort ; de la corrida et d’une phrase prononcée par le matador José Tomás, quiaffirme laisser son « corps à l’hôtel » avant de faire son entrée sur la piste des arènes (procheen cela de l’« acteur en vrai » suicidé dans Le Théâtre des paroles de Valère Novarina) ; ouencore, de quelques représentations, poétiques, urbanistiques ou théoriques de la villeenvisagée comme une scène oeuvrée par « la Mort » (celle dont on ne meurt pas encore : cemonde antérieur, cette « région désespérée et éclatante où opère l’artiste », écrit Genet) ; àpartir de ces textes et images, Catastrophe et Répétition forment un couple pensif, et leurtravail a décidément quelque chose à dire de ces scènes où l’amour et la mort ont leursentrées. Quelque chose à dire de leurs spécificités, de ce qui les fonde et les structure, les fait tenir ou les défait. Quelque chose à dire de ce qui fait scène. / Catastrophe and Repetition make one think about theater. They give an intelligence of it. « Anintelligence of theater » : one or several ideas of this last we can arrive at, using forms,notions or principles which don’t essentially originate in this art itself. Thus, starting fromJean Genet’s propositions in The Tightrope-Walker, notably viewed in the light of GeorgesBataille’s The Dead Man ; from bullfighting and especially a sentence pronounced by thematador José Tomás, who claims he’s leaving his « body at the hotel » before making hisentrance unto the arena floor (akin to the « acteur en vrai » who committed suicide in ValèreNovarina’s Le Théâtre des paroles) ; as well as from several poetic, urban, or theoreticalrepresentations of the city as a scene operated upon by « Death » (the one from which we donot yet die : this preceding world, this « desperate and radiant region where the artistoperates », as Genet put it) ; starting from these texts and images, Catastrophe and Repetitionform a pensive couple, and sometimes their work has something to tell about those sceneswhere love and death have their entries. Something to tell about their specificities, about whatgrounds and structures them, what keeps them standing or makes them come undone.Something to tell about what makes a scene.

Orientador: Milton Terumitsu Sogabe / Banca: Pelópidas Cypriano de Oliveira / Banca: Silvia Laurentz / Resumo: Este trabalho reúne análises sobre as imagens digitais com questões estruturais e poéticas do movimento, fazendo um levantamento histórico e artístico desde os primeiros experimentos em cronofotografia, até as manifestações atuais, do universo digital, que incorporam o movimento como temática. A imagem digital tratada não é de cunho sintético, mas sim que passou por algum processo de captura analógica, por meio de câmeras, e após isso, foi digitalizada. A partir daí, a pesquisa reflete as transformações estéticas e sinestéticas que as imagens podem sofrer de acordo com as possibilidades oferecidas pela tecnologia digital. Procuramos discutir os processos e precedimentos artísticos sob a luz desse caráter tecnológico, em que as imagens ganham novas formas dinâmicas e novos padrões de movimento. Buscamos incluir os principais fatores que são singulares ao universo digital e permitem concepções artísticas inovadoras através das novas mídias surgidas. Entre as características estão a convergência, desmaterialização, ubiqüidade e a replicabilidade dos remixes e samplers. Três obras foram discutidas com maior profundidade por oferecerem suporte conceitural, visual e nova proposta estética: Stop Motion Studies (David Crawford), Soft Cinema (Lev Manovich) e as Live Images (Luiz Duva). Durante a pesquisa, a autora também elaborou três obras construídas em momentos distintos, que acompanhavam os questionamentos feitos ao longo do processo: convergência, gradeativa e passagens. As obras sugerem um estreitamento intenso entre arte e pesquisa, pratica e teoria, no intuito de atingir complexidade sobre o tema, para contribuir com estudos contemporâneos sobre as manifestações artísticas nas novas mídias. / Abstract: This work analyses the digital under the structural and poetical issues of the movement, making a historical and artistic retrospective since the first experiments in cronophotography, to the current manisfestations of the digital universe, that incorporate the movement as thema. The treated digital image is not asynthetic matrix, but the one that passed for some process of analogical capture by cameras and then digitalized. Further on, the research reflects about the aesthetic and synesthesic transformations that images can receive with possibilities offered by the digital technology. We look for debate the processes and artistic procedures and its techological features, when the images gain new dynamic forms and new standards of movement. We try to include the main factors that are singular to the digital universe and allow innovative artistic comceptions through the new appeared medias. Some of the features are the convergence, dematerialization, ubiquity and the replicability of remixes and samplers. Three artistic creation had been deeply analysed because of its conceptual visual and new aesthetic proposal support: Stop Motion Studies (David Crawford), Soft Cinema (Lev Manovich) and the Live Images (Luiz Duva). During this work, the author also elaboreted three creactions built in different times, that accompany the debates made throughout the process: Convergência, Gradeativa and Passagens. These creations suggest an intense relationship between aty and research, practical and theory in intention to reach complexity on the subject, to contribute with contemporaneous studies on artistic manisfestations in the new medias. / Mestre

La simulation numérique est un outil de plus en plus utilisé pour la conception et le choix de matériaux composites. Celle-ci permet en effet de générer et tester numériquement des structures très diverses plus facilement et plus rapidement qu’avec des procédés de fabrication et de tests réels. Suite au choix d’un matériau virtuel et sa fabrication tangible, un retour sur expérience est nécessaire afin de valider simultanément la simulation et le procédé de fabrication. Pour cela, la numérisation des matériaux fabriqués permet de renvoyer une modélisation comparable aux structures virtuelles générées. Il devient possible d’appliquer les mêmes algorithmes de simulation et de vérifier les prévisions.Le sujet de cette thèse consiste donc en la modélisation de matériaux composites réels à partir d’images 3D, afin d’y retrouver le matériau virtuel originel. Des méthodes de traitement d’images sont appliquées aux images afin d’en extraire les informations sur la structure du matériau, c’est-à-dire la localisation de chaque constituant et, s’il y a lieu, de leurs orientations. Ces connaissances permettent théoriquement de simuler le comportement thermique et mécanique de structures constituées du matériau étudié.Cependant, en pratique, représenter fidèlement les composites demande de prendre une discrétisation très fine. Par conséquent, une structure macroscopique demande beaucoup trop de points de discrétisation et donc de temps de calcul et de mémoire pour simuler son comportement. Un aspect de la thèse consiste donc aussi en la détermination d’un matériau homogène équivalent, permettant d’alléger la charge de calcul pour les algorithmes de simulation. / Digital simulation is a wide-spreading tool for composite materials design and choice. Indeed it allows to generate and test digitally various structures more easily and quickly than with real manufacturing and tests processes. A feedback is needed following the choice and the fabrication of a virtual material in order to simultaneously validate the simulation and the fabrication process. With this aim, models similar to generated virtual structures are obtained by digitization of manufacturing materials. The same simulation algorithms can then be applied and allow to verify the forecasts. This thesis is also about the modelling of composite materials from 3D images, in order to rediscover in them the original virtual material. Image processing methods are applied to images to extract material structure data, i.e. each constituent localization, and orientation if applicable. These knowledge theoretically allow to simulate thermal and mechanical behavior of structures constituted of studied material. However to accurately represent composites requires practically a very small discretization step. Therefore behavior simulation of a macroscopic structure needs too much discretization points, and then time and memory. Hence a part of this thesis focuses also on determination of equivalent homogeneous material problem, which allows, when resolved, to lighten calculation time for simulation algorithms.

L'objectif de cette thèse est d'analyser l’utilité de la thermographie dans le cadre du diagnostic précoce du pied diabétique. Un protocole d'acquisition robuste des images thermiques est proposé, ainsi qu'un algorithme spécifique de traitement de ces images. Cet algorithme comporte une étape de prétraitement, suivie d'une segmentation et d’un recalage rigide. Différents paramètres sont ensuite évalués : la moyenne et l'écart type de la température de la voute plantaire de chacun des pieds droit et gauche, de même que le pourcentage des pixels pour lesquels la différence de température entre les pieds droit et gauche est supérieure à 2,2°C. Cela permet de mettre en évidence les régions en hyperthermie. Une étude clinique est menée sur une population de 85 personnes diabétiques. Ces patients sont classés sur critères médicaux dans trois groupes : risque faible, moyen ou élevé. Pour le groupe à faible risque, la température des pieds est proche de 32°C. Pour le groupe à risque moyen, elle descend à 31°C et remonte à 32°C pour le groupe risque élevé. Au stade précoce du pied diabétique, c'est-à-dire entre le risque faible et le risque moyen, la température de la surface plantaire diminue de 1°C : si ce résultat est confirmé par d'autres essais cliniques, cette information peut être utile pour le diagnostic précoce du pied diabétique. Enfin, 9 images sur les 85 étudiées révèlent une hyperthermie significative : cette indication d'hyperthermie peut être d'une aide considérable dans la prévention précoce de l'ulcère du pied et pourrait éviter des complications graves chez ces patients. / The object of the thesis is to analyze the potential of thermography in the early diagnosis of type 2 diabetic foot. The main advantages of thermography are that it is simple to use, non-invasive, contactless, non-irradiant, and fast. A robust acquisition protocol is proposed, as well as a dedicated image processing algorithm. The algorithm includes a pre-processing step, plus a segmentation and a rigid registration procedures. Various parameters are assessed: the mean and standard deviation of right and left feet plantar surfaces temperaure, as well as the percentage of pixels such that the absolute point to point temperature difference between right and left feet is greater than 2.2°C. A percentage greater than 1% indicates significative hyperthermia regions. A transversal clinical study is conducted on a population of 85 persons of type 2 diabetic foot. They are classified in one of these three groups: Low risk, Medium risk, and High risk. For the Low risk group, the mean temperature is close to 32°C. For the medium one, it goes down to 31°C, and increases for the High risk group to a value of 32°C. In the early stage of diabetic foot, i.e. from the Low risk group to Medium risk group, the plantar foot surface temperature is lowered by 1°C: if this result is confirmed by other clinical tests, this information can be useful for the early diagnosis of diabetic foot. Finally, 9 images out of the 85 show hyperthermia, mainly in the heel or toes regions. This hyperthermia indication may be of a substantial assistance in the early prevention of foot ulcer and can help in avoiding subsequent foot amputation.

OLIVEIRA, Klycia Fontenele de. Práxis comunicativa no Antônio Bezerra: das memórias do vivido às imagens do bairro e de si que os moradores constroem. 2015. 255f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-graduação em Comunicação Social, Fortaleza (CE), 2015. / Submitted by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2015-12-22T12:22:34Z No. of bitstreams: 1 2015_dis_kfoliveira.pdf: 2979086 bytes, checksum: 5635bf5347255f25daee5eca258ef971 (MD5) / Approved for entry into archive by Márcia Araújo(marcia_m_bezerra@yahoo.com.br) on 2015-12-22T12:33:29Z (GMT) No. of bitstreams: 1 2015_dis_kfoliveira.pdf: 2979086 bytes, checksum: 5635bf5347255f25daee5eca258ef971 (MD5) / Made available in DSpace on 2015-12-22T12:33:29Z (GMT). No. of bitstreams: 1 2015_dis_kfoliveira.pdf: 2979086 bytes, checksum: 5635bf5347255f25daee5eca258ef971 (MD5) Previous issue date: 2015 / This Master’s research discusses about how sociocultural practices are communicative praxis to thereby identify and understand the processes of construction of the images that the dwellers and communicators of Antonio Bezerra district make of the neighborhood, about their communicative experiences and about themselves. Last district of the northwest of Fortaleza and part of Regional Executive Office – SER III, Antonio Bezerra is the scenario of the website , the community radio station Costa Oeste 87,9 FM, and the old Radio Comunitaria Antonio Bezerra, 103,5 FM. Communicative experiences, lived by the neighborhood residents, who get far from the market-guided. As specific objectives, we aim to identify the processes that contribute to the construction of social identifications; understand how the images about the neighborhood, constructed by the residents, dialogue with the images they have about themselves, of the radiocom and the website and find the counterpoints and the similarities between these images and self images, reflecting on how the elaboration of these representations and the affective liaisons of the communicators with the place affect each other mutually. We chose a methodology that uses the cartography principles understanding that every research intervenes more than represents the reality investigated, given the lack of neutrality in knowledge. And to understand a given object, it’s necessary to be flexible before the phenomena studied, understanding that the scientific research is made of meetings that reach, provoke and transform the researcher and the object, especially when this object is made of people. We use the memory as the main methodological strategy, associated to the interview of oral story, conceived in a dialogical form when experienced as social interaction practice. The residues of the everyday actions, retained in memory, contribute to the elaboration of the self representations (and the others’) that guide the social identifications, define differences and identities. The reports by memory contribute, then, for the individual to define his place and the relationships that keep with the others and the things. Finally, although the scientific investigation is a continuous process, this study infers that the Antonio Bezerra residents – inhabitants whose families live in the district for a long time and who are part of a net of contacts of this research – keep a strong link of affect with the district, created by living together with people who live at the same place for decades. This link results in positive images of the district, contradicting the social stigma that reach the poor neighborhoods. In spite of the bad indices of criminality and low social indicators, the district is seen as a good and calm place to live, with features close to the country life, against the frenetic metropolitan rhythm. The communicators see themselves as residents who value and defend Antonio Bezerra neighborhood, whereas the communicative experiences carry different images. BAB and 103,5 are means that worry about the district issues, while the current phase of Costa Oeste has a negative image, as a radio station that got apart from the community. / Esta pesquisa de Mestrado reflete sobre como práticas socioculturais constituem-se como práxis comunicativa para, assim, identificar e compreender processos de construção das imagens que moradores e os comunicadores do Antônio Bezerra fazem sobre o bairro, sobre as experiências comunicativas e sobre si. Último bairro do lado noroeste de Fortaleza e integrante da Secretaria Executiva Regional – SER III, o Antônio Bezerra é o cenário do site BAB (), da rádio comunitária Costa Oeste 87,9 FM, e da antiga Rádio Comunitária Antônio Bezerra, 103,5 FM. Experiências comunicativas, vividas por moradores do bairro, que se distanciam da comunicação orientada pelo mercado. Como objetivos específicos, busca-se identificar os processos que contribuem para a construção de identificações sociais; compreender como as imagens sobre o bairro, que os moradores constroem, dialogam com as imagens que eles têm de si, das radiocom e do site e encontrar os contrapontos e aproximações entre essas imagens e autoimagens, refletindo sobre como a elaboração dessas representações e as ligações afetivas com o lugar afetam-se mutuamente. Para tanto, optou-se por uma metodologia que dialoga com os princípios da cartografia ao compreender que toda pesquisa mais intervém do que representa a realidade investigada; haja vista a inexistência de neutralidade no conhecimento. E que, para compreender um determinado objeto, é preciso ser flexível diante dos fenômenos estudados, entendendo que a pesquisa científica é feita de encontros que atingem, provocam e transformam tanto pesquisador como objeto, especialmente quando este objeto é formado por pessoas. Utiliza-se, ainda, a memória como principal estratégia metodológica, associada à entrevista de história oral, concebida de forma dialógica quando vivenciada como prática de interação social. Visto que os resíduos das ações cotidianas, retidos na memória, contribuem para a elaboração das representações de si (e do outro) que, por sua vez, guiam as identificações sociais, ou seja, definem diferenças e identidades. Os relatos de memória contribuem, então, para que o indivíduo defina seu lugar social e as relações que mantém com os outros e com as coisas do mundo. Por fim, embora se compreenda a investigação científica como um processo contínuo, este estudo infere que os moradores do Antônio Bezerra – no caso, moradores cujas famílias moram no bairro há tempos e que integram a rede de contatos desta pesquisa – mantêm forte elo de afetos com o bairro, criado pelo convívio de quem habita o mesmo lugar há décadas. Essa ligação resulta em imagens positivas sobre o bairro, contrariando os estigmas sociais que assolam um bairro de periferia. Apesar dos péssimos índices de criminalidade e baixos indicadores sociais, o bairro é visto como um bom lugar para viver, pacato, com características próximas à vida do interior, indo na contramão do frenético ritmo metropolitano. Já os comunicadores se percebem como moradores que valorizam e defendem o Antônio Bezerra, enquanto as experiências comunicativas carregam imagens distintas. O BAB e a 103,5 seriam veículos que se importam com as questões do bairro, enquanto a fase atual da Costa Oeste teria uma imagem negativa, de uma emissora que se distanciou da comunidade.