Introduction: The purpose of the study was to analyze the differences in word recognition abilities between the Auditec (male) and VA (female) speakers for the Northwestern University Auditory Test No. 6 (NU-6) word lists for young adults with normal hearing for pure tones. Based on the literature, the hypothesis was recognition performance would be better on the Auditec version than on the VA version. The results were considered with respect to the mean data, individual subject data, and individual word data. Methods: Twelve young listeners with normal-hearing for pure tones (≤20 dB HL) participated (M = 24 years). The pure-tone thresholds were obtained using an automated test protocol. The pure-tone average (PTA) at 500, 1000, and 2000 Hz in the first session was used to reference the presentation levels of the words [-2 to 28 dB sensation level (SL) in 6-dB steps]. Each participant was presented 1200 recorded words (100 words by six presentation levels by two speakers), over three, 1-hour sessions. The NU-6 words, which were compiled with a waveform editor and in-house routines, were presented in a randomized order and at randomized presentation levels. The participants completed a questionnaire to determine the perceived difficulty level for each speaker. Results: The overall recognition performances on the Auditec and VA versions of NU-6 were 71.4% and 64.1% respectively. All subjects performed better on the Auditec version. Recognition performances on the two versions were nearly identical at higher presentation levels. The difference between the two 50% points on the overall mean psychometric functions was 3.3 dB (Auditec, 3.8-dB SL; VA, 7.0-dB SL), with equivalent slopes (4.9 and 4.8%/dB respectively). Using the Spearman- Kärber equation, the difference between the two 50% points on each of the 200 words was 2.6 dB (Auditec, M = 5.3-dB SL, SD = 3.7 dB; VA, M = 7.9-dB SL, SD = 3.7 dB), which was a significant difference. A bivariate lot of individual word performances demonstrated that Auditec had had 140 words with better performances, VA had 47 words with better performances, and 13 words were equal. The questionnaire revealed that 11 of the 12 participants indicated that the Auditec version of the NU-6 was easier to understand. Conclusions: Overall, recognition performance was better on the Auditec version but at high presentation levels, recognition performance was equivalent on both versions of NU-6. At the lower presentation levels, recognition performance was poorer with the VA speaker. It should be noted that calibration differences could account for the differences.

Sustainable development in geographic in compulsory school

O que hoje se denomina Mon coeur mis à nu é um conjunto de notas, aforismos bombásticos, ideias de capítulos por vir, agrupados e encadernados por Poulet-Malassis após a morte de Charles Baudelaire. Em 1887, Eugène Crépet publica a obra pela primeira vez, sob o título factício Journaux intimes. Os gestos editoriais pelos quais passou desde então tendem a conter seus inacabamentos, seja recorrendo à denominação diário íntimo, seja apagando editorialmente marcas da materialidade manuscrita e da provisoriedade de toda proposta de ordenação das notas. Mais recentemente, dois marcos começam a apontar para a dimensão inacabada de Mon coeur mis à nu, ainda que circunscritos a certa concepção filológica do processual: a noção de poética do rascunho, cunhada por Béatrice Didier ao tratar dos escritos póstumos de Baudelaire, e a edição diplomática de 2001, realizada por Claude Pichois para a editora suíça Droz. Tomando a retradução como estratégia de tradução, propõem-se nesta tese duas traduções simultâneas de Mon coeur mis à nu: uma tradução manuscrítica (voltada para a materialidade do manuscrito e sua transcrição-tradução) e um comentário do original como possibilidade de escrita tradutória (voltado para a necessidade de traçar linhas de força que rompam com a ordenação arbitrária de Malassis e desenhem outras relações possíveis, sem cair, em contrapartida, na falsa solução da desordenação absoluta e primordial). Mon coeur mis à nu apresenta uma escrita de cólera, que tem relação, por sua vez, com a teatralidade (a encenação de certa postura encolerizada, desagradável e chocante) e com a fusée (o aforismo incendiário, o processo de escrita que, atravessado pela cólera, faz-se projeto inacabado, promessa de explosão, projetos-projéteis lançados sobre a página contra a França, a modernidade, a canaille littéraire). Por fim, propomos a noção de contínuo do rascunho, que nos permite construir estratégias de edição e tradução que levem em consideração os inacabamentos de Mon coeur mis à nu, seu aspecto manuscrito, sua dispersão, seu efeito processual, sua cólera que, no limite, se volta contra a própria possibilidade de obra acabada. / The todays so-called Mon coeur mis à nu is a compound of notes, bombastic aphorisms, ideas for chapters to come, combined and bound by Poulet-Malassis after Charles Baudelaires death. In 1887, Eugène Crépet publishes the work for the first time under the sham title of Journaux intimes. The editorial gestures by which the work has passed ever since tend to contain its unfinishments, by means of denominating it intimal journal or by editorially erasing marks of the handwritten materiality and of the fugacity of any suggested organization of the notes. More recently, two milestones begin to highlight Mon coeur mis à nus unfinished dimension, albeit limited to a certain philological conception of the processual: the notion of draft poetics, initiated by Béatrice Didier approaching Baudelaires posthumous writings, and the 2001 diplomatic edition prepared by Claude Pichois for Droz, a Belgian publishing house. Understanding retranslation as a translation strategy, this thesis proposes two simultaneous translations for Mon coeur mis à nu: a manuscriptical translation (aiming the handwritten materiality and its transcription-translation) and a commentary of the original as a possibility of translational writing (aiming the necessity of tracing lines of force that break Malassis arbitrary ordering and redraw other possible relations, without succumbing, in return, to the false solution of the absolute and primeval disorder). Mon coeur mis à nu presents a wrathful writing related to, on the other hand, the theatricality (the mis-en-scène of a certain rabid, unpleasant, shocking posture) and the fusée (the incendiary aphorism, the writing process that, traversed by cholera, produces itself as an unfinished project, a promise of explosion, projects-projectiles launched over the page against France, the modernity, the canaille littéraire). Finally, we offer the notion of draft continuum, that allows us to build strategies of edition and translation that consider Mon coeur mis à nus unfinishments, its handwritten aspect, its dispersion, its processual effect, its cholera that, to the limit, turns against the possibility itself of being a finished work.

Submitted by Erika Demachki (erikademachki@gmail.com) on 2015-10-14T20:51:24Z No. of bitstreams: 2 Dissertação - Patricia Mendes da Silva - 2014.pdf: 3558852 bytes, checksum: 520f2ac1328627a633e96ed593132637 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Approved for entry into archive by Erika Demachki (erikademachki@gmail.com) on 2015-10-14T20:52:42Z (GMT) No. of bitstreams: 2 Dissertação - Patricia Mendes da Silva - 2014.pdf: 3558852 bytes, checksum: 520f2ac1328627a633e96ed593132637 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Made available in DSpace on 2015-10-14T20:52:42Z (GMT). No. of bitstreams: 2 Dissertação - Patricia Mendes da Silva - 2014.pdf: 3558852 bytes, checksum: 520f2ac1328627a633e96ed593132637 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2014-12-05 / This dissertation investigated the trajectory of the theater company “Nu escuro”, in Goiânia, since its creation, initialized in the old technical school of Goiás – current IFG -, until its recent show called Gato Negro. Since its first show, Três por três, the company uses the puppet theater, and, over the course of time, it has been developing this language, specifically in the shows Envelopes (2005) and Plural (2012), focused in this research. It aims, therefore, to analyze the work of the animator-actor in the theater company “Nu escuro” in the shows Envelopes, in which the animator-actor is visible, but neutral in the scene, and Plural, in which it is visible and active in the scene. The objective was to investigate, through interviews and living with the group, the work of the animator-actor in its presence and neutrality and in its relation with the puppets and the masks in the puppet theater. Concerning both shows – Envelopes and Plural –, it was possible to observe how the creation of the animator-actor‟s bodywork of the theater company “Nu escuro” happened, being based, initially, on his body and on the animated artifacts – puppets and masks. Finally, it‟s considered the actor‟s body, in which one body is the animator-actor and the other is the character-actor, differentiating one from the other by the technique, that is, by the question of guiding the focus. / Esta dissertação averiguou o percurso da Companhia “Nu escuro”, em Goiânia, desde sua formação, iniciada na antiga escola técnica de Goiás – atual IFG –, até seu recente espetáculo denominado Gato Negro. Desde seu primeiro espetáculo, Três por três, a Companhia usa o teatro de animação, e, no decorrer do tempo, tem aprimorando essa linguagem, especificamente nos espetáculos Envelopes (2005) e Plural (2012), focos desta pesquisa. Busca-se, portanto, analisar o trabalho do ator-animador da Companhia “Nu escuro” nos espetáculos Envelopes, em que o ator-animador está visível, porém neutro na cena, e Plural, em que está visível e atuante em cena. O objetivo foi averiguar, por meio de entrevistas e convivência com o grupo, o trabalho do ator-animador em sua presença e neutralidade e em sua relação com os bonecos e as máscaras no teatro de animação. A respeito dos dois espetáculos – Envelopes e Plural –, foi possível perceber como aconteceu a formação do trabalho corporal do ator-animador da Companhia de teatro “Nu escuro”, tendo sido baseada, a princípio, em seu corpo e nos artefatos animados – bonecos e máscaras. Por conseguinte, considera-se a questão do corpo do ator, em que o corpo um é ator-animador e o outro é ator-personagem, diferenciando-se pela técnica, ou seja, pela questão de direcionamento de foco.

L’archipel des Açores dans l’océan Atlantique est édifiées sur un épais plateau océanique, à proximité de la jonction triple entre les plaques Nord-américaine (Na), Nubienne (Nu) et Eurasienne (Eu). La formation du plateau et l’origine du volcanisme ont été le plus souvent attribués à la présence d’une instabilité mantellique. Cependant, la répartition et la morphologie des édifices volcaniques semblent avoir été grandement influencés par la déformation régionale liée à la migration de la frontière de plaque (Eu/Nu). En effet, la frontière serait passée d’une faille transformante aujourd’hui inactive, la zone de fracture est des Açores (EAFZ), à un rift ultra lent actif appelé le Rift de Terceira (TR).Lors de ce travail, nous utilisons le volcanisme comme marqueur de la déformation régionale. Nous nous intéressons particulièrement aux îles de S. Miguel et Graciosa, qui sont localisées à l’intérieur du TR, et à Santa Maria, une île volcanique éteinte qui se situe entre la EAFZ et le TR. De par leur position, ces trois îles constituent donc des cibles particulièrement appropriées afin d’étudier l’architecture et l’évolution de la frontière de plaque Eu/Nu durant les dernier Millions d’années. A partir de nouvelles données géomorphologiques, stratigraphiques, géochronologiques et tectoniques, couplées aux données bathymétriques et géophysiques disponibles, nous reconstruisons les étapes successives de construction et de démantèlement de ces îles puis discutons de leur signification géodynamique. Ces données sont ensuite complétées par des expériences de mécanique des fluides afin d’investiguer les liens possibles entre un panache mantellique, la migration de la frontière de plaque sur plusieurs échelles d’espace et de temps.Les résultats montrent que les édifices localisés dans le TR se construisent via des pulses volcaniques courts (<100 kyr) et relativement synchrones, séparés par des épisodes d’effondrements catastrophiques. Nous proposons qu’une telle évolution reflète des épisodes brefs et intenses de déformation régionale le long de la frontière de plaque active. La distribution des marqueurs tectoniques ainsi que leurs orientations N110 et N150 dans la partie Est de S. Miguel, nous conduit à proposer que l’extension oblique du TR est principalement accommodée par les failles bordières majeures du rift. Nous identifions une nouvelle tendance tectonique orientée N50° qui pourrait représenter des failles transformantes accommodant les variations d’obliquité du TR. L’activité de île de Santa Maria est ici datée entre 5.7 et 2.8 Ma. S. Maria a été façonnée par plusieurs effondrements sectoriels catastrophiques, le plus probablement déclenchés par les mouvements tectoniques régionaux. Nous identifions également une nouvelle structure de type graben reliant les îles de S. Maria et S. Jorge plus loin au NW. La forme de ce graben est semblable au TR et est située entre l’ancienne et la nouvelle frontière Eu/Nu. Nous interprétons ce graben comme un ancien rift transitionnel et donc comme une ancienne frontière de plaque Eu/Nu. A partir de nos données géochronologiques, nous proposons que la partie Est de ce rift transitionnel aurait migré vers la partie Est du TR entre 2.8 et 1.7 Ma.La migration de la frontière Eu/Nu a été interprétées par Vogt and Jung (2004) comme résultant de sauts successifs vers le NE de l’axe du Rift afin de maintenir sa position au dessus d’un point chaud fixe. Nos expériences de mécanique des fluides suggèrent que l’archipel des Açores, comme celui des Canaries, du Cap Vert, de Madère ainsi que les volcans sous marins de Great Meteor sont la signature en surface d’un groupe d’instabilités mantellique prenant naissance et remontant à partir du sommet d’un dôme thermochimique situé dans le manteau inférieur. De plus, Ces panaches secondaires pourraient être suffisamment faibles pour adapter leurs mouvements aux équilibres de forces pré-existants, notamment la structure et la morphologie de la lithosphère. / The Azores archipelago in the Atlantic comprises nine volcanic islands which developed on a thick oceanic plateau close to the Triple Junction between the North American (Na), the Nubian (Nu), and the Eurasian (Eu) lithospheric plates. The formation of the plateau and the origin of the volcanism remain controversial, but have been generally attributed to a plume-like mantle instability. However, the distribution of the volcanic edifices east of the Mid-Atlantic Ridge (MAR) appears greatly influenced by regional deformation associated with the northward migration of the Eu/Nu plate boundary from an extinct old transform fault, the East Azores Fracture Zone (EAFZ), up to the presently active ultra-slow Terceira Rift (TR). In this thesis, we use the volcanism as a marker for regional deformation. We especially focus on S. Miguel and Graciosa, which are located within the TR, and on S. Maria, an old volcanically extinct island located between the EAFZ and the TR. These three islands thus constitute particularly suitable targets to track the architecture and the evolution of the Eu/Nu plate boundary during the last few Myr. From new geomorphological, stratigraphic, geochronologic, structural/tectonic data, and existing bathymetric and geophysical data, we reconstruct the successive stages of growth and destruction of the islands, and discuss their geodynamic meaning. These data are then complemented by fluid dynamic modelling using laboratory experiments to examine the possible links between mantle instability, plate boundary migration and the development of the volcanism on various spatial and temporal scales.The new results on the islands show that the edifices located within the TR grew through short (<100 kyr) and partly synchronous volcanic pulses, separated by catastrophic sector collapses. We propose that such evolution reflects brief and intense episodes of regional deformation along the still active Eu/Nu plate boundary. The distribution of tectonic markers and the recognition of N110 and N150 tectonic structures in eastern S. Miguel leads us to propose that oblique extension in the TR is mainly accommodated by the master faults of the rift, and that the TR is presently not the locus of appreciable sea-floor spreading. Furthermore, we identify a new N050 trend, which may represent transform faults accommodating the variation in obliquity of the TR. The activity of S. Maria is here dated between 5.7 and 2.8 Ma. Like the recent islands, S. Maria experienced catastrophic flank collapses, most probably triggered by regional tectonics. We identify a new graben structure linking Santa Maria to the island of S. Jorge further NW. The shape of this graben is similar to the TR and it is located between the EAFZ and the current plate boundary. We interpret this graben as a former transient rift, and therefore an old Eu/Nu plate boundary. From the new data, we propose that the eastern part of the transient rift migrated to the eastern part of the TR between 2.8 Ma and 1.7 Ma.The overall migration of the Eu/Nu plate boundary to the north and the creation of the Azores plateau has been interpreted by Vogt and Jung (2004) as resulting from successive NE jumps of the rift axis to maintain its position over a fixed ‘hotspot’. Our fluid mechanics experiments suggest that the Azores, as Canary, Cape Verde, Madeira Islands and Great Meteor seamounts might be the surface signature of a cluster of mantle instabilities rising from the top of a large thermochemical dome located in the lower mantle. However, such secondary plumes present a strong time-dependence 5-40 Myr time scale. Moreover, they could be sufficiently weak to adapt their motions to the pre-existing force balances and morphology of the lithosphere. We therefore present a scenario of the Azores area evolution combining a triple junction and decompression melting buoyant material (i.e. such in volatiles and/or temperature) under a thickening lithosphere.

Orientador: Stephane Remy Georges Malysse / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-10T03:44:41Z (GMT). No. of bitstreams: 1 Camargo_LucioMartinsde_M.pdf: 2990532 bytes, checksum: 5d566a1de07ede0c47d4df38267485ae (MD5) Previous issue date: 2006 / Resumo: O objeto da pesquisa é constituído de vinte e quatro fotografias selecionadas dentro da produção fotográfica de nus femininos no Brasil, a partir do estabelecimento de alguns critérios, tais como a nacionalidade de fotógrafos e modelos, o suporte de publicação e o grau de nudez, entre outros, com o objetivo de criar uma gramática dos signos presentes nessas imagens. Num primeiro momento, foi possível identificar alguns modos recorrentes de apresentação dessas imagens: o "nu editorial" e o "nu artístico", que são os principais modelos temáticos dos fotógrafos brasileiros e um terceiro modo, muito menos expressivo em termos numéricos, mas que apresenta imagens mais densas em termos de conteúdo e questionamento de padrões pré-estabelecidos que é o modo do ?nu como expressão?. As fotografias foram separadas em grupos menores, para atender a projetos analíticos diferenciados, conforme cada capítulo, e foi feita a opção metodológica de análise imanente das mesmas. Ao final é proposta uma forma de classificação da produção de fotografias de nus conforme o conteúdo e sua abordagem, como alternativa para a percepção aparentemente exclusiva de conteúdo erótico e abordagem comercial / Abstract: The object of the research is constituted of twenty-four photographs selected among the photographic output of female nudes in Brazil, from the establishment of some criteria, such as the nationality of photographers and models, the support of publication and the rank of bareness, between others, with the objective of creating a grammar of the present signs in those images. In a first moment, was possible to identify some recurring ways of presentation of those images: the "editorial nude" and the "artistic nude", that are the main thematic models of the Brazilian photographers and a third way, a lot less expressive in quantity, but which presents denser images considering content and questioning of pre-established standards which is "nude as expression". The photographs were separated in smaller groups, to attend an analytic differentiated project, according to each chapter, and the methodological option made was of immanent analysis. To sum up, the purpose was to classify photographs of nudes output according to the content and approach, as an alternative to the apparently exclusive perception of erotic content and commercial approach / Mestrado / Mestre em Multimeios

Gas turbines are today used in numerous industrial and aeronautical applications. To increase the specific power output and efficiency, a high turbine inlet gas temperature is desired. The high temperature leads to the need of cooling critical components in the hot gas path. Siemens Industrial Turbomachinery AB, SIT AB, in Finspång manufactures gas turbines where the internal cooling of critical components is done through serpentine channels. To utilize the cooling air as efficiently as possible, vortex creating objects are placed inside the channel which result in higher heat transfer. To compute the heat transfer in the channel, correlation based approaches that will give a uniform value for an entire channel are often used. This thesis contains two parts. First, investigating how an automated CAE process can be developed that is able to be incorporated into the SIT AB CAE process of today and with a future vision of a, basically, "one-click-CFD" approach for non-generic geometries. Secondly, how CFD simulations for predicting heat transfer levels inside the cooling channels with high accuracy and that captures local features of heat transfer can be performed. The suggested CAE approach involves the CAD-tool NX for geometry creation and for managing an entire CFD project the ANSYS software Workbench, combined with ANSYS Meshing for generation of computational grid, CFX-pre and CFX for pre-processing and solving and CFD-post for post-processing. This approach is suggested for generic geometries due to the simplicity in incorporating it into existing CAE processes. For the future vision of non-generic geometries, the inhouse developed project manager Concept is suggested. It allows for customized coupling between a broader range of available software tools. To validate the CFX model and to investigate how the CFD calculations should be performed, two cases were set up, one where the CFD model and the inhouse code was compared to experimental data of a generic geometry and one where the CFD model and the inhouse code were compared at engine-like conditions. The results for the experimental case resulted in heat transfer coefficients from the CFD model that were 30% off from experimental data, and the inhouse code maximum deviation was 10%. Compared to previous numerical studies this was considered to be of acceptable accuracy, and the location of data extraction points were considered to cause the deviation in the CFD model. For the engine-like case both CFD and inhouse code predicted the heat transfer level as expected. The simulations were performed in steady state mode on automatically generated meshes with the SST-Reattachment turbulence model. The Reynolds number varied from 10 000 to 80 000 and the meshes were around 4-10M elements in size.

La métamorphose envisagée comme principe révélateur du nu laisse apparaître la réalité ambiguë de son existence plastique, la situant dans un entre-deux permanent oscillant entre accès et détournement, monstration et effacement. Corps photographique ou pictural, il devient signe d’une trace, d’une sensation par son incorporation au sein de livres photographiques. Ces recueils intimistes, dévoilant les identités multiples du corps féminin, proposent une intensification du désir par la mise en suspens d’une étreinte métaphorique. Lié à des récits mythologiques, poétiques et artistiques, le nu métamorphosé offre une entrée particulière où la mise en doute de son aspect présente sa suspension dans une immensité le dépassant. Etendu, morcelé, établit dans toute sa fragilité, il compose tout autant de paysages à arpenter qu’à contempler, où le toucher répond à l’excitation visuelle. L’infime apparence du corps sous-tend la peau, transperce le regard en se déployant dans un érotisme éblouissant. Par l’inscription de cette surface-peau, le nu métamorphosé est cette forme en dissolution qui survient dans un éclatement du corps et propose une véritable géographie épidermique, qui s’articule entre révélation de l’intimité de l’être et pluralité des sensations. / Transformation considered as a revealing principle of the nude shows the ambiguous reality of its plastic existence, putting it an everlasting in-between place that wavers between access and diversion, showing and fading. Photographic or pictorial body, it becomes the sign of an impression, a feeling by its incorporation into photography books. These intimist collections, revealing the numerous identities of the feminine body, offer an intensification of the desire by having a figurative embrace to await. Being linked to mythological, poetical or artistic tales, the transformed nude presents a peculiar entry where questioning its aspect displays its suspension in a vastness that goes beyond it. Stetched, broken up, fully settled in its frailty, it forms landscapes to be stridden across just as well as gazed upon, where the sense of touch responds to the visual excitement. The minimal appearance of the body underlines the skin, enhances its grain, enshrouds it and gives life to the unspeakable. Burning, biting, the picture and especially one of the skin, pierces through the glance by unfolding in a dazzling eroticism. By the inscription on this skin-surface, the transformed nude is this form in dissolution which occurs thanks to the breaking of the body and which presents a real epidermal geography that is made of a mix between the disclosure of the intimacy of the self and the multitude of feelings.

Análise da produção da imagem da mulher enquanto mercadoria na era moderna. O imaginário erótico na sociedade de consumo, na mídia gráfica do Século XIX ao Século XX. A imagem técnica e suas relações com a pintura acadêmica na representação da figura feminina e do nu, pela fotografia, cinema, ilustração e cartum. A pin-up sua origem e suas variações. / Analysis of the production of the female image as a commodity in modern age. The erotic imagery in the consumer society, in the graphic media from XIX to XX century. The technical image and its relation with the academic painting in the representation of the womens figure and the nude in the photography, cinema, illustration and cartoon. The pin-up, its origins and variations.

No description available.