This thesis, entitled Farm in the Cave-a Laboratory Theatre, presents Viliam Dočolomanský's International Theatre Studio Farm in the Cave based in Prague, Czech Republic as an aspect of the discourse of 'laboratory theatres.' The first part examines the concept of the 'laboratory theatres' that developed in the 1960s as a new 'genre' of theatre practice and a 'method' of creating performances based on physical expression; this is presented as distinct from the 'theatre laboratories' that emerged at the beginning of the 20th century mostly in the framework of institutions as 'schools' for actors. As such, this thesis introduces the changes that came with Jerzy Grotowski's manifestos in connection to his easily adaptable training for actors and idea of 'physical scores.' Laboratory theatres' background and interests are presented as alternative theatre practice that emerged from a need of 'searching for truth' through the body what evolved into counterculture attitude. The first part establishes Eugenio Barba's Odin Teatret as an independent laboratory that developed on the margins of the contemporary theatre community and evolved into an influential culture institution. Odin Teatret's achievements in developing physical acting and original theatre directing are set in confrontation with the...

There are many forms of speed control for an autonomous ground vehicle currently in development. Most use a simple PID controller to achieve a speed specified by a higher-level motion planning algorithm. Simple controllers may not provide a desired acceleration profile for a ground vehicle. Also, without extensive tuning the PID controller may cause excessive speed overshoot and oscillation. This paper examines an approach that was designed to allow a greater degree of control while reducing the computing load on the motion planning software. The SpAM+PI (Speed-based Acceleration Map + Proportional Integral controller) algorithm outlined in this paper uses three inputs: current velocity, desired velocity and desired maximum acceleration, to determine throttle and brake commands that will allow the vehicle to achieve its correct speed. Because this algorithm resides on an external controller it does not add to the computational load of the motion planning computer. Also, with only two inputs that are needed only when there is a change in desired speed or maximum desired acceleration, network traffic between the computers can be greatly reduced. The algorithm uses splines to smoothly plan a speed profile from the vehicle's current speed to its desired speed. It then uses a lookup table to determine the correct pedal position (throttle or brake) using the current vehicle speed and a desired instantaneous acceleration that was determined in the splining step of the algorithm. Once the pedal position is determined a PI controller is used to minimize error in the system. The SpAM+PI approach is a novel approach to the speed control of an autonomous vehicle. This academic experiment is tested using Odin, Team Victor Tango's entry into the 2007 DARPA Urban Challenge which won 3rd place and a $500,000 prize. The evaluation of the algorithm exposed both strengths and weaknesses that guide the next step in the development of a speed control algorithm. / Master of Science

Made available in DSpace on 2016-04-26T18:10:34Z (GMT). No. of bitstreams: 1 Vanja Poty.pdf: 5479517 bytes, checksum: e0aae55b08f935f0a51b626b021c7f22 (MD5) Previous issue date: 2010-12-09 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Based on the critic of the creative processes, the way it is developed by Cecilia Salles (1998 and 2006), this project aims to reflect the ways of Odin Teatret creative organization and its director Eugenio Barba. This discussion is based on the research of the body treatment in the training of its actors, the technique notion and Theatre Anthropology proposal by the group, and a review of its forty-six years of history on the staging of Andersen's Dream, held in 2004. The methodology consisted of literature review, rehearsal analysis, public work demonstrations, performances and interviews. We also approached the communication aspects, physical and symbolic procedures in the construction of the scene, with their restrictions and trends. We will stand out the unfinished, the flow, throw nonlinearity and the mobility of this object, through the debate about the collective dimension of the poetic project and about the part of the director as creator and private spectator of the so called collaborative process. The means of mass communication monopolize the life of society, and exactly because of this we see the scene as a dialogic and nonlinear form of active communication between artists and audience "awakening" the imaginative capacity. From this proposition, we intended to also address the dream and the rite as powers for promoting creation and to question how these work in the scenic construction of the ensemble. As theoretical bases fundamental for such intent, we used investigations of the material imagination concept proposed by Gaston Bachelard (1988, 1990, 1991, 1993 and 1998); analysis of Adriana Mariz (2007) of the construction procedures of the Odin Teatret; studies of Eleazar Meletínski (2002) about the myth and literary archetypes through his approach of the analytical psychology of Carl G. Jung; laboratories theaters of Jerzy Grotowski, Constantin Stanislavsky and Vsevolod Meierhold; the ritual scene of Antonin Artaud; and finally, the archaic practices of self-care reflected in research by Michel Foucault (2006) / Fundamentado na crítica de processos criativos, da maneira como é desenvolvida por Cecília Salles (1998 e 2006), o presente projeto visa refletir sobre as formas de organização criativa do Odin Teatret e de seu diretor Eugênio Barba. Esta discussão tem como base a pesquisa do tratamento dado ao corpo na formação de seus atores, a noção de técnica e de Antropologia Teatral proposta pelo grupo, e a revisão de seus quarenta e seis anos de trajetória a partir da encenação O Sonho de Andersen, realizada em 2004. A metodologia consistiu em pesquisa bibliográfica, análise de ensaios, demonstrações públicas de trabalho, espetáculos e entrevistas. Foram abordados os aspectos comunicacionais, corporais e simbólicos dos procedimentos construtivos da cena, com suas restrições e tendências. Destacamos o inacabamento, o fluxo, a não linearidade e a mobilidade deste objeto, por meio da discussão sobre a dimensão coletiva do projeto poético e sobre o papel do diretor como criador e espectador particular do chamado processo colaborativo. Os meios de comunicação de massa monopolizam a vida da sociedade, e exatamente por isso encaramos a cena como uma forma dialógica e não linear de comunicação ativa entre artistas e público de despertamento da capacidade imaginativa. A partir desta proposição, pretendeu-se também tratar o sonho e o rito como potências fomentadoras da criação, e interrogar como estes atuam na construção cênica do ensemble. Como suportes teóricos fundamentais de tal intento, recorremos às investigações do conceito de imaginação material proposto por Gaston Bachelard (1988, 1990, 1991, 1993 e 1998); à análise de Adriana Mariz (2007) sobre os procedimentos construtivos do Odin Teatret; aos estudos de Eleazar Meletínski (2002) sobre o mito e os arquétipos literários por meio de suas aproximações e embates com a psicologia analítica de Carl G.Jung; aos teatros laboratórios de Jerzy Grotowski, Constantin Stanislavski e Vsevolod Meierhold; à cena ritual de Antonin Artaud; e, por fim, às práticas arcaicas do cuidado de si refletidas na investigação apresentada por Michel Foucault (2006)

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Detta är en jämförande undersökning mellan hinsidesföreställningar i de skriftliga källorna till fornskandinavisk religion och bildscener på de sena (700 – 1100-talet) gotländska bildstenarna. Den tidigare forskningen kring hinsidesföreställningarna har ofta fokuserat på Valhall vilket enligt mig kan ha lett till att andra centrala föreställningar kan ha kommit i skymundan. Jag visar med min genomgång av föreställningarna i de skriftliga källorna att de olika platserna som den döde kunde komma till bär på gemensamma aspekter i form av kvinnan som möter den döde, kvinnan som härskar över den döde samt hallen där man åt och drack. Samma tema återkommer på de sena gotländska bildstenarna . De visar dessutom en liknande variation av föreställningarna som de skriftliga källorna. Valhall är alltså inte nödvändigtvist den enda tolkningen av dessa bildscener. / This is a comparative study between afterlife beliefs in written sources to the Norse religion and visual scenes in the late Gotland picture stones. The previous research on afterlife beliefs has often focused on the Valhallamotif, which in my opinion, could have led to the problem that other essential ideas of afterlife may have been overlooked. I show in my review that the afterlife beliefs in the written sources share common aspects: the woman who meets the deceased, the women who rule over the dead and the hall where the dead eat and drinks. The same aspects return on the late Gotland picture stones. They also show a similar variation in the notions of afterlife as the written sources. Valhalla is not necessarily the only interpretation of the image scenes.

This dissertation deals with the interpretation of four myths from early medieval Scandinavia, in which the main role is played by the god Óðinn. All four myths narrate how he achieved a state of permanent increase of his numinous knowledge. Based on the fact that the outcome of all of the narratives is the acquisition of the Mead of Poetry (or its equivalent), they can be percieved as "four reports on the same event". The analysis of myths itself has been executed in two steps: firstly the separate inquiry of the two more central myths and introduction of the other two followed by thorough analysis of the four together. All four myths demonstrate to a certain degree a presence of motifs and structures associated with the religious phenomena of sacrifice and initiation. By the means of said analysis the study reviews the systematic relations of the sacrificial and initiatory structures and postulates a common core which is subsequently named "monomyth".