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The purpose of this study is to see how AI-mixing tools being integrated into mixing workflows can impact the decision-making process of mixers and their workflows. This is through six qualitative semi-structured interviews with experienced mixing and sound engineers who have experience with AI-mixing tools. The study also explores creativity, intuition and the role of experience in mixing and how that shapes interactions with AI-tools. The results show how AI-mixing tools can be used for as a tool for making more informed mixing decisions and as a learning process in mixing.

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Tableau d’honneur de la Faculté des études supérieures et postdoctorales, 2004-2005 / Dans la présente recherche le sens commun est étudié en termes de connaissance pratique et de connaissance intersubjective. Partant de l’hypothèse que le sens commun est un mode de connaissance collective, je formule la question directrice de la recherche de savoir comment il est possible de connaître ensemble ou de posséder du savoir en commun. Deux interprétations du sens commun se dressent en réponse à cette question : il est l’opinion communément acceptée; ou bien il constitue une réserve commune de connaissances pratiques. Les trois éléments constitutifs de ce mode du connaître sont l’intuition sensible, le jugement réfléchissant et le rapport à autrui qui s’établit dans le jugement. La recherche aboutit à la définition du sens commun en tant que capacité de connaître l’indéterminé, de ce qui peut être autrement qu’il n’est (le contingent), de ce qui découle du hasard et de l’imprudence. / This Ph.D. thesis studies the concept of common sense in terms of practical knowledge and intersubjective knowledge. Departing from the hypothesis that common sense is a modus of collective knowledge, the guiding question of the study is formulated: How is it possible to know-in-common or to share knowledge? Two interpretations of common-sense knowledge can be formulated in response to that question: it is a shared opinion; or it constitutes a collective stock of practical knowledge. Common-sense thinking as a cognitive mode is characterised by three elements: a sensitive intuition, reflective judgement, and a relation to others in judgement. Common sense is finally defined as a capacity to grasp the uncertain; the comprehension of what can be otherwise (of contingent beings); the ability to master the haphazard occurrences and gain practical certainty.

This study has explored the role of presence and the power of intuition in musical improvisation, drawing inspiration from Eckhart Tolle's concept of the present moment, Kenny Werner's book "Effortless Mastery," and jazz guitarist Peter Bernstein’s way of improvising. This has been presented with a combination of musical exercises that include awareness of internal thought processes. The exercises aim to cultivate a more intuitive improvisational style among musicians.   This study investigated the impact of analyzing musical phrases, engaging in active listening, and ear training, alongside cultivating presence in the moment, on enhancing musical experiences. The findings underscored the critical role of present-moment awareness in nurturing spontaneity, creativity, and emotional engagement in musical interactions for both performers and audiences. It sought to deepen our understanding of how mindful presence enriches musical expression and interaction.   Through analyzing intuition, thoughts, and awareness of ego, the study illuminated the transformative potential of present-moment awareness in fostering a deeper connection between musician and instrument, thereby elevating the authenticity and quality of musical output.

La présente recherche met en évidence un phénomène qui est le fond commun des manières d’apparaître analysées par la phénoménologie française contemporaine. Ce phénomène est mis en évidence par l’analyse des œuvres de Jean-Luc Marion, Mihel Henry et Emmanuel Lévinas. L’analyse de l’œuvre de Marion permet de définir la métaphysique : celle-ci considère que l’apparaître est nécessairement la prérogative d’un Je. Contre cette idée, la phénoménologie met en évidence un phénomène qui apparaît avant qu’un Je ne s’en reçoive. Ce qui se montre ainsi de soi-même est le phénoménal. C’est sur fond de ce phénoménal que la donation se déploie, et si la donation ne donne plus son contenu à l’apparaître, elle est déploiement des phases qui structurent la phénoménalité. L’analyse de l’œuvre de Henry permet de distinguer la manière d’apparaître du phénoménal de celle du Je. Le contenu de l’apparaître du phénoménal est identiquement sa manière d’apparaître, et en cela le phénoménal est affectivité. Mais cette affectivité est impersonnelle et se dit d’une foison de tonalités affectives. Elle doit donc être distinguée du fait de se sentir soi-même considéré en lui-même qu’est cette essence de l’affectivité où le Soi se saisit de son ipséité. L’analyse de l’œuvre de Lévinas permet de décrire le déploiement des phases de la phénoménalité en deux mouvements. Par un mouvement d’en-stase, l’essence de l’affectivité se distille du phénoménal. Par un mouvement d’extase, le gouffre de l’« il y a », l’idée d’infini et la distance phénoménologique s’évaporent du phénoménal. L’unité de ces deux mouvements contraires est nommée diastase, et cette diastase est comprise comme quête d’emphase. / This researh highlights a phenomenon that is the common bakground of the various modes of manifestation analysed by the french contemporary phenomenology. That phenomenon is highlighted by the analysis of the works of Jean-LucMarion, Mihel Henry and Emmanuel Levinas. The analysis of the works of Marion brings us to a definition of the metaphysics : it considers that the manifestation is always the prerogative of a subject. Against this idea, the phenomenology highlights a phenomenon that appears before any subject. The phenomenon that shows itself that way is the phenomenal. It’s on that that the donation spreads, and if that donation does not give its content to the manifestation, it is the deployment of the phases that structure the phenomenality. The analysis of the works of Henry brings us to a distinction between the way that the phenomenal appears and the way that the ego appears. The contents of the manifestation of the phenomenal is also its way of appearance, and in that sense, the phenomenal is affectivity. But that kind of affectivity is impersonal, and concerns an abundance of affective qualities. It must be distinguish from the fact to feel itself considered in itself whih is that essence of affectivity on whih the self seize its selfhood. The analysis of the works of Levinas allows a description of the deployment of the phases of the phenomenality in two movements. By a movement of enstasis, the essence of affectivity gets distilled from the phenomenal. By a movement of extasis, the gulf of the « there is », the idea of infinity, and the phenomenological distance, evaporates from the phenomenal. The unity of these two movements is called diastasis.

Submitted by JOSIANE SANTOS DE OLIVEIRA (josianeso) on 2017-06-27T16:33:50Z No. of bitstreams: 1 Luiza Leal Fontanella_.pdf: 15738578 bytes, checksum: 45fea0b476c58e5b707ace3683ece480 (MD5) / Made available in DSpace on 2017-06-27T16:33:50Z (GMT). No. of bitstreams: 1 Luiza Leal Fontanella_.pdf: 15738578 bytes, checksum: 45fea0b476c58e5b707ace3683ece480 (MD5) Previous issue date: 2017-03-24 / Nenhuma / As heurísticas são regras gerais de influência que atuam nas decisões das pessoas. Estudos recentes mostram que elas interferem nas decisões de projeto dos designers, tanto através do uso da memoria ou da imaginação (heurística da disponibilidade), quanto de julgamentos por similaridade (heurística da representatividade). Devido ao fato de designers lidarem com problemas incertos, percebe-se a importância desses profissionais estarem cientes do processo que envolve tais julgamentos intuitivos. Acredita-se que o ensino do autoconhecimento intuitivo, durante os anos de formação dos designers, tem o potencial de prepará-los para projetar com maior consciência dos processos cognitivos envolvidos em suas práticas. Nesse sentido, o presente estudo propôs, como objetivo geral, compreender o funcionamento das heurísticas em estudantes de design nas decisões de projeto, durante o seu primeiro e último ano de formação. Para tanto, foi desenvolvida uma pesquisa exploratória com entrevistas em profundidade, buscando entender o problema através das percepções dos próprios estudantes de design. Como principais resultados, percebeu-se que as heurísticas atuam nos designers em formação, durante todo o processo de projeto. Além disso, elas demostraram estar mais presentes do que o raciocínio, ao tomar decisões projetuais. Quanto a diferença sobre o a influência das heurísticas entre os estudantes do início e do final do curso, observou-se que os alunos cursando o último ano da graduação tinham percepção sobre algumas influências heurísticas. Porém por não terem conhecimento sobre o processo intuitivo, e nem da atuação das heurísticas, os estudantes não sabiam como gerenciar tais influências. Sendo assim, compreendeu-se a importância das instituições de ensino de design incentivarem o desenvolvimento da intuição, buscando integra-lo as habilidades trabalhadas nos seus programas de educação. / Heuristics are general rules of influence that act on people's decisions. Recent studies show that they interfere in designers' project decisions, either through the use of memory or imagination (heuristics of availability), or through judgments by similarity (heuristics of representativeness). Because designers deal with uncertain problems, its possible to realize the importance of these professionals being aware of the process involving such intuitive judgments. It is believed that the teaching of intuitive self-knowledge during the formative years of designers has the potential to prepare them to project with greater awareness of the cognitive processes involved in their practices. In this sense, the present study proposed, as a general objective, to understand the operation of heuristics in design students in design decisions during their first and last year of formation. For that, an exploratory research with in-depth interviews was developed, trying to understand the problem through the perceptions of the students of design itself. As main results, it was noticed that heuristics act in the designers in formation, throughout the entire design process. In addition, they proved to be more present than reasoning in making project decisions. As for the difference about the influence of the heuristics between the students at the beginning and end of the course, it was observed that the last year students of had perceptions about some heuristic influences. But, because they had no knowledge of the intuitive process, or of the heuristics, they did not know how to manage such influences. Thus, it was understood the importance of design education institutions to encourage the development of intuition, seeking to integrate it to the skills worked in their education programs.