Made available in DSpace on 2018-08-23T21:57:04Z (GMT). No. of bitstreams: 1 tese_12412_DISSERTAÇÃO MARCELO FERREIRA REVISADA E FORMATADA PRONTA.pdf: 5377162 bytes, checksum: 4339e7b971e8bb101e679d86b20677fc (MD5) Previous issue date: 2018-06-29 / A pesquisa inaugura uma reflexão sobre a Poética do Teatro Urgente, revelando sua genealogia, dimensões conceituais e referências assimiladas principalmente das artes visuais e audiovisuais num procedimento que se aproxima do teatro pós-dramático, conceito formulado pelo dramaturgo e teórico alemão Hans-Thies Lehmann ao se referir aos processos cênicos multifacetados que caracterizaram o teatro dos anos 70 aos 90 do séc. XX. Essas proposições cênicas situam-se entre linguagens como artes plásticas, música, dança, cinema, vídeo, performance e novas mídias. Apresento como estudo de caso uma incursão aos bastidores e às estratégias de montagem das obras Um Corpo que Cai (2014) e Crash, Ensaio sobre a Falência (2015), do repertório do Teatro Urgente, que foram selecionadas devido à diversidade de soluções estéticas que as inserem na composição de um teatro performativo cujo cerne se daria no corpo do ator. Palavras-chave: teatro; performance; pós-dramático. (versão provisória)

Submitted by Claudinei Pracidelli (cpracide@ipen.br) on 2015-03-13T11:34:17Z No. of bitstreams: 1 20183.pdf: 850087 bytes, checksum: ec9a7abe37957ce610a042196dc7fdd0 (MD5) / Made available in DSpace on 2015-03-13T11:34:17Z (GMT). No. of bitstreams: 1 20183.pdf: 850087 bytes, checksum: ec9a7abe37957ce610a042196dc7fdd0 (MD5) / Dissertação (Mestrado) / Escola de Comunicação e Artes de São Paulo - Universidade de São Paulo

Submitted by Erika Demachki (erikademachki@gmail.com) on 2016-10-14T18:18:12Z No. of bitstreams: 2 Dissertação - André Carlos Conrado Inácio da Silva - 2016.pdf: 5170361 bytes, checksum: b30260de2baa8b6ac5e436c714f31823 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Erika Demachki (erikademachki@gmail.com) on 2016-10-14T18:19:49Z (GMT) No. of bitstreams: 2 Dissertação - André Carlos Conrado Inácio da Silva - 2016.pdf: 5170361 bytes, checksum: b30260de2baa8b6ac5e436c714f31823 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2016-10-14T18:19:49Z (GMT). No. of bitstreams: 2 Dissertação - André Carlos Conrado Inácio da Silva - 2016.pdf: 5170361 bytes, checksum: b30260de2baa8b6ac5e436c714f31823 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2016-05-31 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The word performance was popularized and became appellant in everyday human being. However, they make use of it without understanding the size and strength she has. . The performance takes place in all areas of our life, she runs the kitchen at the time of cooking, in sports, at work, on the floor, finally the performance is a term loaded with meanings and synthesis shows that our life is structured with ways behavior and gestural expression that a social attitude that is evident in daily living. The dissertational work images that speak: A pictorial ethnographic research goianiense cultural performance (2014-2016), sought to demonstrate how to constitute the daily lives of the city of Goiania cultural performance of passers-by that it circulating in their day-to-day. For this, we used the Photoethnography in a collection of images made through photographs taken at various points of the city, which were later transformed into lick lick and taken for public reception in the same places where photographed form. With the reception process we seek to identify the goianiense or goianiense recognize the images its own cultural performance or not. So in the receptive process we conducted interviews with the receiver public that were later used for data analysis on procedural research. This time, the results led to a gestural performance goianiense and goianiense that became evident in his statements on the existence of an identity - performative than is to be a goianiense or goianiense. This work is an invitation to get to know how to built and present in living daily "be goianiense". / A palavra performance se popularizou e tornou-se recorrente no cotidiano do ser humano. No entanto, fazem uso da mesma sem entenderem a dimensão e força que ela tem. A saber que performance ocorre em todos os espaços de nossa vida, ela ocorre na cozinha no ato de cozinhar, no esporte, no trabalho, no andar, enfim, a performance é um termo carregado de sentidos e em síntese demonstra que a nossa vida está estruturada com modos de comportamentos e gestuais que expressam uma postura social que se evidencia no viver cotidiano. O trabalho dissertativo Imagens que falam: uma investigação fotoetnográfica da performance cultural goianiense (2014-2016) buscou demonstrar como se constitui no viver cotidiano da cidade de Goiânia a performance cultural dos goianienses que por ela circulam no seu dia a dia. Para tanto, fizemos uso da fotoetnografia em uma coleta de imagens realizada por meio de fotografias feitas em diversos pontos da cidade que, posteriormente, foram transformadas em l ambe -l ambes e levadas para recepção do público nos mesmos locais onde foram fotografados. Com o processo de recepção, buscamos identificar se o goianiense ou a goianiense reconheceria nas imagens a sua própria performance cultural ou não. Assim, no processo receptivo, realizamos entrevistas com o público receptor que foram posteriormente usadas para análise de dados no processual da pesquisa. Dessa feita, os resultados obtidos nos levaram a conhecer uma performance gestual do goianiense e da goianiense que foi construída desde a formação da cidade, e eles afirmaram nos depoimentos a existência de uma performance que constitui a identidade – performática do que viria a ser um goianiense ou uma goianiense. O presente trabalho é um convite à reflexão sobre o viver cotidiano do “goianiense”.

O presente trabalho pretende demonstrar, por meio de notas etnográficas, o caráter lúdico e dramatúrgico dos processos seletivos para trainees, suas contradições e clichês, bem como a necessidade implícita da montagem de performances por parte dos concorrentes para esses momentos decisivos e extremamente concorridos. A pesquisa se pautou na experiência que o pesquisador vivenciou ao longo de cinco meses de trabalho de campo, período em que trabalhou em uma consultoria de gestão de pessoas, ocupando uma posição liminar, sendo ao mesmo tempo um antropólogo e um headhunter. Além disso, foram realizadas análises documentais, entrevistas e visitas a feiras de carreira e profissões. Outra parte importante do estudo é a experiência subjetiva dos candidatos entrevistados, que são pensados enquanto atores que devem escolher o que entra e o que fica de fora de suas performances e que necessitam dispor de uma série de características desejadas pelo universo corporativo. Os sonhos de sucesso que povoam o imaginário dos participantes, alimentados pela publicidade das empresas, são contrastados com o profundo silêncio das experiências de fracasso que muitos vivenciam, seja por não se adequarem ao perfil esperado, seja pela insuficiência de suas formações acadêmica e profissional, ou até mesmo pelo show de horrores que compõe esses momentos arbitrários e subjetivos das seleções de emprego. / The present research intends to demonstrate through ethnographic notes the playful and dramaturgical character of the selective processes for trainees, their contradictions, clichés as well as the implicit necessity of performance´s building on the part of the competitors for these crucial and extremely disputed moments. The research was based on the researcher´s experiences during five months of fieldwork, period when he worked in a people management consulting company, taking a liminal position, being at the same time anthropologist and headhunter. In addition, documental analyses, interviews and visits to professions fairs were developed. Another important part of the study is the subjective experience of the interviewed candidates who are seen as actors who must choose what goes in and what is left out of their performances and who need to dispose of a series of desired characteristics from the corporative universe. The dreams of success, which invade the imagination of the participants, who are fueled of companies advertisements, are contrasted with the deep silence of the failed experiences, either because they do not fit the expected profile, or due to the insufficiency of their academic and professional background, or even the \"show of horrors\" that compose these arbitrary and subjective moments of the job selections.

Orientador : Maria Lucia Bueno / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-03T23:23:48Z (GMT). No. of bitstreams: 1 Moyses_ElizabethdeMeloCamargo_M.pdf: 3576281 bytes, checksum: 58dcaa6121f08d031950908a79e5cb59 (MD5) Previous issue date: 2004 / Resumo: O ponto de partida desta dissertação foi uma pesquisa que realizei sobre a violência contra as mulheres, tendo como principal espaço a delegacia da mulher em São Paulo. O objetivo foi apontar a necessidade que tenho como artista em utilizar minha produção poética como uma forma de reflexão de temas e problemas da vida social, transformando o nosso cotidiano em obra de arte. Todo o material obtido advém de um levantamento histórico, de minha vivência como artista e principalmente do projeto que denominei ¿Mulheres Divididas¿, onde colhi depoimentos de várias mulheres que sofreram alguma espécie de violência doméstica, durante um período em que freqüentei uma das unidades da Delegacia da Mulher, localizada na Zona Leste, periferia da cidade de São Paulo, onde nasci e resido. A base histórica por mim pesquisada, tem como principal destaque a sociedade familiar fundamentada no poder patriarcal. Vários episódios, em diferentes épocas, exemplificam a condição da mulher sempre vitimada pelo abuso do poder masculino. Em menor ou maior graus, depoimentos e registros analisados demonstram que mulheres, de todas as camadas sociais e sob diferentes culturas ou religiões, estão igualmente sujeitas à condição de dominadas e oprimidas pelo homem. Isto mesmo até nestes dias em que vivemos. Toda a minha produção artística vem se configurando dentro dessa proposta. Procuro transformar esse cotidiano, que não deixa de ser o de todos nós, em obras de arte.¿ objetos, instalações, fotos, performances e desenhos ¿ E, como resultado, se tornou de maneira inevitável, uma forma de denúncia contra a violência, às vezes até velada , que acontece às mulheres no ambiente doméstico. Revela que as regras, nas diversas formas de casamento no mundo e através do tempo, só serviram para subjugar ainda mais as mulheres, submetidas ao poder que o patriarcado atribui ao homem, conduzindo em casos extremos à violência doméstica. O título desta dissertação ¿ ¿Abrigo da memória¿ ¿ provém da tentativa de reproduzir essa consciência da condição feminina na prática que nós mulheres desenvolvemos de armazenar lembranças no decorrer da vida, associando-as a determinados objetos, que passam a funcionar como elementos desencadeadores da memória afetiva. O objeto de principal destaque em todo o meu projeto artístico é o vestido de noiva. Ele assinala o marco da mudança na vida da mulher que é o casamento. Desde os anos 90 tenho utilizado vestidos de noiva como tema e matéria-prima de minha obra. São todos vestidos usados, que carregam a memória do afeto retido no traje do dia do casamento. Através de meu trabalho procuro evocar este sentimento, confrontando o amor que ficou impregnado na roupa com a realidade vivida pelas mulheres em nossa ainda sociedade patriarcal. A experiência na Delegacia da Mulher, testemunhando a violência vivida por um grande número de mulheres que sofrem abusos e agressões da parte de seus companheiros, foi um subsídio fundamental para a concretização de meu projeto como artista e foi durante essas minhas visitas que produzi a seqüência de desenhos que apresento no corpo desta dissertação. Como conclusão, mostro o conjunto de minha obra, traduzindo a necessidade de reformular conceitos através da arte, sempre comprometida com a sociedade na medida em que me aproximo e me vinculo às questões sobre a luta feminina contra a violência doméstica / Abstract: The starting point of the current dissertation was a survey that I conducted, mainly about registered crimes against women at one the São Paulo's women's police station arena. The ultimate objective is to draw attention to the habitual and genuine needs that we as contemporary artists deal with, in terms of utilizing our poetic production as a reflective construct of the social motif and predicaments; in other words, the transformation of our quotidian into a piece of art. All the obtained material originated from a myriad of authentic sources such as: an accurate and historical survey, my experience as an artist, and mainly from a project, named ¿Women in Conflict¿ (¿Mulheres Divididas¿), carried throughout a certain period of time at one of the women's police station units in my hometown Sâo Paulo's outskirts, and that reflects many collected testimonies given by women who fall prey to any sort of violence. The historical surveyed base has as its cornerstone the patriarchal family society anchored by the patriarchal power. Several episodes, at different times, have been illustrating the victimization of women always perpetrated by the abuse of the masculine power. In a less or high degree, analyzed testimonies and records have demonstrated that women from all social classes, under any culture or religion, are equally subjected to a dominating and opressing condition imposed by men. And this has been happening ever! All my artistic production fits into all that proposal. I have been always looking forward to transform our common daily lives into pieces of art such as: objects, facilities, photos, performances and drawings. And as a major consequence, it has become inevitably a denouncing form against violence, occasionally a veiled one, that victimized women on the issues of domestic violence. Furthermore, it discloses that the rules of all sorts of world marriages throughout time increasingly served to subjugate women and to perpetuate male inherited power given by the patriarchalism, both leading to the extreme cases of domestic violence. The dissertation's title ¿Memory's Shelter¿ is an attempt to reproduce the practical feminine condition consciousness of stocking memories during the life, associating them to certain objects, that start acting as initiating elements of the affective memory. The prominent object of my artistic project is the wedding dress. It is women's most desired ¿milestone¿ called marriage Ever since the 90's I have used wedding dresses as theme and raw material of my work. All the dresses are worn, and carry the memory of the affection retained in the costume on the wedding day. Throughout my work I have tried to evoke this feeling, confronting the love impregnated on clothing with these women's living reality at a patriarchal society. The women's police station experience, witnessing the violence suffered by countless women who have been abused and assaulted by their mates, was a fundamental aid for achieving my project as an artist; also it was during my visits to the institution that I produced the drawing sequel presented within the dissertation. As a conclusion, I show the wholeness of my work, which clearly demonstrates the need for reformulation of concept throughout art, and obviously always engaged with society as long as I take part in the matters tied to the feminine fight against domestic violence / Mestrado / Artes / Mestre em Artes

This study explores gender discrimination among attorneys using Young Lawyers survey data from 2007. The survey included five questions about discrimination which are used as outcome measures. The survey asks respondents about receiving demeaning comments, missing out on desirable assignments, client requests for someone else to do work, colleague requests for someone else to work with, and the partner discounted hours. Results show gender gaps in two of the discrimination measures: experience in receiving demeaning comments and missed out desirable comments. Gaps persist even after controlling for performance, educational attainment and ability, individual characteristics, firm characteristics and areas of law. Data do not indicate gender gaps for the other measures. This suggests that gender discrimination persists in specific situations among young lawyers.

The work of the British theatre company Blast Theory explores intermedial dramaturgies that this thesis claims can be categorized as radical because they present a generative characteristic. Intermediality, understood here as the impact of analogue and digital technologies in theatrical performance, establishes complex relationships between physical and virtual spaces, structures that create a rich polyphony of multiple temporal orchestrations, and narratives that present a multiplicity of performative arrangements. Intermedial performance, as a performative and experiential event, encompasses a triad of performative interactions between performers, spectators and the media itself executed at and concentrated on the moment of the performance encounter. This research argues that this encounter displays a generative character – a moment at which all the attending performance variables come together in a constant process of performative re-activation thus generating the intermedial performance event. Within this descriptive parameter, this research claims that recent performance conceptualizations fail to account for the work of Blast Theory. Contemporary performance and liveness debates focus principally on the ontology of performance. So, notwithstanding their differences, performance theorists such as Lavender (2002), Fischer-Lichte (2008), and Schechner (2003), and presentness/presence theorists such as Phelan (1993) and Power (2008) all agree that performance is an ontological, ephemeral, and fleeting event. While there are many valid points in these diverse approaches, they only offer a partial account of the specificities of the work of Blast Theory and, by extent, the intermedial performance event. This thesis therefore relocates the terms of the debate on a constructivist epistemological basis. In this way, the thesis proposes that an intermedial performance event must be understood beyond the ontological approach by specifically interrogating the conditions of intelligibility; that is, its operative and intelligible architecture of attending elements and the participating subject. The key hypothesis shared is that in introducing a constructivist reading of epistemology, as described by Alfred Whitehead and Gilles Deleuze, a new account of intermediality in performance emerges as a radical dramaturgy, incorporating generative aspects, and with this, a unique type of intermedial performance subjectivity is enabled.

Les achats en ligne sont de plus en plus populaires auprès de la population, mais les skieurs sont encore réticents à acheter leurs skis alpins en ligne. La vente en ligne de skis est entre autres limitée par le manque d'informations disponibles sur les skis et l’absence de bon conseils comme ceux que peuvent prodiguer les vendeurs souvent spécialisés dans leur domaine. Pour augmenter la quantité d’information disponible sur les skis, un banc de test a été conçu pour caractériser les propriétés mécaniques et la géométrie des skis. Les propriétés mesurées sont les distributions de rigidité en flexion et en torsion, la cambrure et la largeur. Ce banc de test, en plus d’être très rapide (3 minutes d’utilisation), permet d’obtenir une grande précision et une répétabilité avec une erreur inférieure à 5%. Pour ce qui est de prodiguer de bons conseils, la première étape est de comprendre l’influence de ces propriétés sur les performances des skis. Pour ce faire, de nombreuses études ont tenté de prédire les relations entre des critères de performance du ski sur la neige et les propriétés des skis en utilisant des coefficients de corrélation de Pearson ou de Spearman en deux dimensions [1, 2, 3, 4]. Ces modèles offrent des résultats mitigés en raison de la nature complexe du ski. Pour tenir compte de cette complexité, cette étude propose d'utiliser des analyses multivariées pour développer des outils de recommandation. Un premier outil prédit le niveau optimal de rigidité en flexion et en torsion des skis pour un profil de skieur donné et le deuxième outil prédit les performances sur la neige des skis à partir de ces propriétés mécaniques. Ces outils sont basés sur les résultats de tests sur neige avec 23 participants, 12 paires de skis géométriquement identiques mais avec des rigidités en flexion et en torsion différentes et un questionnaire. Ce questionnaire identifie le profil du skieur et les impressions sur la neige de chaque skieur sur chaque ski selon 8 critères de performance. De fortes relations linéaires multivariées ont été trouvées (jusqu'à R^2 = 0,96) entre le profil des skieurs et les propriétés mécaniques de leur ski préféré. De même, des relations multivariées linéaires fortes ont été trouvées entre la performance du ski et ses propriétés. Dans les deux cas, en comparant le coefficient de détermination ajusté, les modèles linéaires multivariés dépassent de manière significative les modèles en deux dimensions basés sur les coefficients de corrélation de Pearson. Cela confirme la nature complexe du ski. L'intégration future de l'effet de la géométrie et des conditions de neige à cette analyse permettra de créer un outil de recommandation complet et utile pour le commerce électronique et la vente au détail.

Context: Cloud computing is a concept in which a user get services like SaaS, PaaS and IaaS by deploying their data and application on remotely servers. Users have to pay only for the time the resources are acquired. They do not need to install and upgrade software and hardware. Due to these benefits organization are willing to move their data into the cloud and minimize their overhead. Organizations need to confirm that cloud can replace the traditional platform, software and hardware in an efficient way and provide robust performance. Web servers play a vital role providing services and deploying application. One might be interested to have information about a web server performance in the cloud. With this aim, we have compared cloud server performance with a local web server. Objectives: The objective of this study is to investigate cloud performance. For this purpose, we first find out the parameters and factors that affect a web server performance. Finding the parameters helped us in measuring the actual performance of a cloud server on some specific task. These parameters will help users, developers and IT specialists to measure cloud performance based on their requirements and needs. Methods: In order to fulfill the objective of this study, we performed a Systematic literature review and an experiment. The Systematic literature review is performed by studying articles from electronic sources including ACM Digital Library, IEEE, EiVillage (Compendx,Inspec). The Snowball method is used to minimize the chance of missing articles and to increase the validity of our findings. In experiment, two performance parameters (Throughput and Execution Time) are used to measure the performance of the Apache Web Server in Local and Cloud environment. Results: In Systematic literature review, we found many factors that affect the performance of a web server in Cloud computing. Most common of them are throughput, response time, execution time, CPU and other resource utilization. The experimental results revealed that web server performed well in local environment as compared to cloud environment. But there are other factors like cost overhead, software/ hardware configuration, software/hardware up -gradation and time consumption due to which cloud computing cannot be neglected. Conclusions: The parameters that affect the cloud performance are throughput, response time, execution time, CPU utilization and memory utilization. Increase and decrease in values of these parameters can affect cloud performance to a great extent. Overall performance of a cloud is not that effective but there are other reasons for using cloud computing

Current research in music scholarship appears to be trending towards the “embodied” yet from the vantage point of the performer this progression seems to be lacking a key component of such an embodied discourse: their voice. In this thesis I argue that the oversight of the performing body and its importance to the field of musicology is a result of conceptual dualities that attempt to conceal the body in its role within thought, culture, and meaning. Illustrating this oversight with the gaps in the current academic discourse, I show how many in the field either consider the body only in a metaphorical sense, or see the performer as an object of study. An examination of the contributions of three performer-scholars to this field demonstrates ways in which the gap can be filled, and lack addressed. Their approaches are then combined in an embodied analysis of Messiaen’s “Abîme des Oiseaux” from Quatour pour la Fin du Temps which reveals the potentialities of depth and breadth that can be considered when the performer’s body is permitted to be a site from which a musical analysis might originate. This thesis concludes that the performing body must be reintroduced into musicological discourse with a new understanding of its value, and that this can best be accomplished by addressing the “embodied” within the academic music curriculum, alongside traditional tonal and formal analyses.