This research investigates the music-theatre phenomenon for the purpose of: clarifying how that differs from more traditional forms of musical theatre, i.e., Opera and Broadway musical; discussing its aesthetic bases; explicating its modes of operation in relation to both music and theatre. The writing is structured in three main parts. The first concern of the discussion is to clarify the connection between music and performance. To that end, Part One starts by reflecting on the nature of music and how its perception has been changed by modern technology, throwing live performance into question. The notions of physicality, embodiment, and gesture are then invoked in order to re-position music firmly within the performing arts. Part Two then delves into music-theatre touching on issues of terminology, artistic scope, positioning, production, funding, structures, institutions. Part Three, finally, offers some conclusions and recommendations. The Thesis is then followed by a commentary to the portfolio of compositions accompanying this research. The musical scores and audio-visual material relative to the works therein discussed are included on 1 separately bound volume.

The buildings people inhabit everyday frame their existence and provide a backdrop for life. This relationship is inextricable and, as such, begs the question as to whether buildings can function as more than mere containers for life or whether they, at some point or in some capacity, can begin to bare influence over the life or quality of life of their patrons. This project is an intention to explore this qualitative, unquantifiable aspect of building. Through a manipulation of volume and mass, constriction and expansion, solid and void, light and shadow, and the qualities of interiority and exteriority an occupied space will begin to impress itself upon the user. The main objective of this project is to use these architectural properties to create a place that fosters introspection through self awareness. By choosing presence over practicality and content over convention, the construct proposed in this thesis attempts to create spaces that are imposing and unfamiliar yet somehow emotionally reminiscent. Confronted by these contradictions and juxtapositions, this building will stand as an object, in opposition to the occupant, and through that opposition inspire and promote a greater awareness of, and possibly a reflection upon, normally unconscious thought processes. / Master of Architecture

This thesis is a discussion of my ideas, struggles and outcomes experienced during the making of my two bodies of work, Devices and Relics. These two bodies of work explore fleeting moments, the intrinsic values of labor and imagination with reference to sedentary living and labor in contemporary American society.

The thesis ,,The social program of support for a client with physical handicap" is devided into two parts. The theoretical part presents the filosofy of the spirit and body, the physicality, body dissability, cerebral palsy and the Act No. 108/2006 Coll., on social services. The empirical part consists of the case managment of the client with cerebral palsy. I describe the goal of the thesis here and the method of collecting data. I also introduce my respondent in this part and mention the tasks of the research. The chapter called ,,Data and it's interpretation" consists of the qualitative interview. The aim of the interview is to show in what extent my respondent use a social services. The interview is the part of the thesis.

Made available in DSpace on 2016-04-28T19:58:56Z (GMT). No. of bitstreams: 1 Maria Lucia Maciel.pdf: 1763659 bytes, checksum: aa56c72cd5fa151658fdae338b66658c (MD5) Previous issue date: 2015-10-01 / This dissertation examines the nonlinear narrative of the novel Eles eram muitos cavalos written by Luiz Ruffato. The main question concern to the analogy between the novel's verb-space structure and the art-installation. The focus is on specifics aspects of the novel, such as the distinctive creative process that, in turn, coadunate to performance and plasticity that are related to installation art. Ruffato's novel, which, as a heterogeneous work, does not follow the regular poetics' prerogatives. Instead, it is a new creative literary composition in which the author, the work, and the reader are imbricated, emerging out of this intransitive experience that requires from the reader a dispersive unfolding of the novel's structure. To understand a composition whose parts are disconnected, you must see this composition as an limite-experience, as limit in which interiority, subjectivization, desire and eroticism are involved as just the concept of "outside", which means an unstopped way to resignification their intensive and multiples means. Therefore, the theme is divided into three chapters through which we approach the novel's creation from its familiarity with the hypertext and the necessary "outside" experience. In other terms, the topic is addressed by the Ruffato's novel relationship with an art installation, especially by the concept of spatial performance that can or can not present the possibility of verisimilitude. Ultimately, we state on the novel spatial narrativity as intranscriptible realism unless by meaning is imposed by the aesthetic art experience provided by Eles eram muitos cavalos. From authors such as Heidegger, Bataille, and Blanchot, this paper tried to elucidate the dispositif poetics that are articulated and are articulators of a work that evoke the human totality only intelligible in the paradigm of contemporaneity / Esta dissertação tem o objetivo geral de elucidar a construção não linear do romance Eles eram muitos cavalos, de Luiz Ruffato. A questão principal diz respeito à analogia entre sua estrutura verbo-espacial e a arte instalação. Preocupa-nos o processo de criação da referida obra em sua singularidade que, em muitos aspectos, coaduna-se às performances da plasticidade características de uma instalação. Ao apresentar uma composição heterogênea, este romance foge das prerrogativas poéticas usuais e se insere em uma nova ordem de composição literária em que autor obra leitor se imbricam de modo a criar uma experiência intransitiva que requer do leitor um desdobramento tão dispersivo quanto sua própria estrutura. Diante de uma composição cujas partes são desconexas entre si, seu entendimento requer uma experiência limite em que tanto interioridade, subjetivação, desejo e erótico se fazem presentes, quanto uma postura de fora é requerida em um esforço contínuo de ressignificações múltiplas e intensas. O tema está distribuído em três partes-capítulos em que abordamos sua construção a partir de sua familiaridade com o hipertexto e a necessária experiência do fora mediante sua fragmentação; seu parentesco com a arte-instalação, com destaque para a performance espacial que apresenta e possibilidade ou não de verossimilhança; e, por último, sua diegese enquanto realismo intraduzível senão pela presentidade obrigatória da experiência estética. A partir de autores como Heiddeger, Bataille, Blanchot, entre outros, buscou-se elucidar os dispositivos poéticos articulados e articuladores de uma obra que, em sua desarmonia, evoca uma totalidade humana somente inteligível na contemporaneidade

Les curseurs sont l'un des widgets les plus utilisés pour contrôler les paramètres continus - par exemple, luminosité, volume sonore, température d'une maison intelligente, etc. Sur les téléphones mobiles, les curseurs sont représentés graphiquement, nécessitant l'attention visuelle de l'utilisateur. Ils sont principalement exploités avec un seul pouce. Alors que les curseurs de grande taille offrent de meilleures performances, ils présentent des zones difficiles à atteindre pour le pouce. Cet article explore différentes conceptions de curseurs tangibles pour offrir une interaction sans yeux et efficace avec le pouce. Les nouveaux concepts que nous avons explorés sont basés sur un espace de conception englobant des solutions graphiques et des solutions tangibles inexplorées. Pour évaluer nos conceptions, nous avons construit des prototypes et les avons testés expérimentalement dans trois expériences. Dans notre première expérience, nous avons analysé l'impact sur la performance de la longueur du curseur tangible: soit dans la zone confortable du pouce ou non. Dans notre deuxième expérience, nous avons analysé la performance d'un design tangible extensible qui permet un fonctionnement dans la zone confortable du pouce. Dans notre troisième expérience, nous avons analysé la performance d'un design tangible bimodal déformable qui permet un fonctionnement dans la zone confortable du pouce, et au-delà de cette zone, avec l'index sur le dos de l'appareil. Ce travail contribue à la littérature en: premièrement, en fournissant un espace de conception pour une interaction à une main avec des éléments tangibles déformables. Deuxièmement, analyser l'impact sur la performance lors de la manipulation de curseurs tangibles en dehors de la zone confortable du pouce. Et troisièmement, analyser l'impact de la déformation lors de la manipulation / Sliders are one of the most used widgets to control continuous parameters - e.g., brightness, sound volume, the temperature of a smart house, etc. On mobile phones, sliders are represented graphically, requiring the user's visual attention. They are mostly operated with a single thumb. While large sliders offer better performance, they present areas difficult for the thumb to reach. This article explores different tangible slider designs to offer eyes-free and efficient interaction with the thumb. The novel designs that we explored are based on a design space encompassing graphical solutions and the unexplored tangible solutions. To evaluate our designs, we built prototypes and experimentally tested them in three experiments. In our first experiment, we analyzed the impact on the performance of the tangible slider's length: either within the thumb's comfortable area or not. In our second experiment, we analyzed the performance of an extensible tangible design that allows operation within the comfortable area of the thumb. In our third experiment, we analyzed the performance of a bi-modal deformable tangible design that allows operation within the comfortable area of the thumb, and beyond this area, with the index finger on the back of the device. This work contributes to the literature by: first, providing a design space for one-handed interaction with deformable tangible elements. Second, analyzing the impact on performance when manipulating tangible sliders outside the thumb's comfortable area. And third, analyzing the impact that deformation has during manipulation.

No description available.

Driven by the crippling command of Eros, my work provides a veiled exposure to my secret life in love, desire, fear, and obsession. My sculptures are the physical evidence of an emotional realm coming forth in a coded language that is, even to me, only remotely accessible. The Demon that Lives in My Bedroom, the saga of the Cat People, the stories of Trasnichi and the Love Crusade; all came to me in a beam of thought. Once the beam takes hold, it becomes my obsession, and the era of that work begins. I can trace my development through these eras of obsessions.

SEDLÁČKOVÁ, E., Painted by dance. Prague 2014. Charles University in Prague, Faculty of Education, Department of Art. 106 pages (78 norm pages) The dissertation Painted by dance is focused on the development of dance-movement exposure of the pupils during the art education. It amplifies forms of body usage and finds out its' application as the expression means. The dissertation points on abstract expression opportunities usable for personal and social development of the authors. The findings and conclusions are based on the long term experiences at the field of dance training and are confronted with the own experiences and practical usage. Key words: motion, space, dance, time, body, photography, video, body, physicality, reflection, dance and movement education

Esta dissertação tem por objetivo refletir sobre a criação poética a partir do corpo cênico. Nossa reflexão está fundamentada na práxis sobre o ato criativo, a percepção e a sensibilidade para a elaboração de um conhecimento através de nossa experiência. Nesse percurso, percebemos o corpo cênico a partir de um diálogo constante entre a dança e o teatro, fundamentando nosso pensamento principalmente nas noções de movimento, corpo e fisicalidade trazidas pelos filósofos José Gil (2004) e Susanne Langer (1980) e pelo crítico Antônio Pinto Ribeiro (1994). Entendemos a práxis como essencial ao desenvolvimento do corpo cênico. Nosso pensamento se funda na elaboração de um estudo experimental sobre o corpo cênico através da práxis sobre alguns princípios presentes no sistema de movimento de Rudolf Von Laban, especificamente os fatores de movimento: peso, espaço, tempo e fluência, e na pedagogia de Jacques Lecoq, sobre a metodologia das transferências. A partir desse estudo, desenvolvemos habilidades técnico-artísticas que nos permitiram reconhecer o material poético e expressivo de cada atriz-bailarina envolvida nesta pesquisa. Após realizar a experiência sobre as metodologias pesquisadas, utilizamos o material corpóreo criativo de cada intérprete na elaboração do exercício cênico de composição: O Sentido se Sente com o Corpo. Através de nosso processo criativo e das noções sobre o corpo cênico, elaboramos nossas reflexões sobre a criação artística fundamentada no corpo e sua fisicalidade singular e poética. Por fim, percebemos que o material corporal de cada atriz-bailarina encontrou, no diálogo entre a dança e o teatro, uma possibilidade de investigação e criação, elaborando uma linguagem artística que encontra seu material poético no corpo cênico / The purpose of this dissertation is to reflect about the poetry creation through the cenical body. Our reflexion emerges from the praxis about the creative act, perception and sensibility, aiming the elaboration of a knowledge through our experience. In this experience, we perceived the cenical body as a constant dialogue between dance and theater, grounding our thought mainly on the notions of movement, body and physicality brought by the philosophers José Gil (2004) and Susanne Langer (1980) e by the critic Antonio Pinto Ribeiro (1994). We understand the praxis as essential to the development of the cenical body. Our thought is based in the elaboration of an experimental study about the cenical body though praxis of some principles present in the movement system of Rudolf Von Laban, specifically the movement factors: weight, space, time and fluency, and in the pedagogy of Jacques Lecoq, about the methodology of transferences. Starting with this study, we developed technical-artistic abilities that allowed us to recognize the poetical and expressive material of each dancer-actress involved in this research. After performing the experience about the researched methodologies, we used the creative body material of each interpreter in the elaboration of the cenical composition exercise: The sense is felt by the body. Through our creative process and the notions about the cenical body, we elaborated our reflexions about artistic creation based on the body and its poetical and singular physicality. Finally, we realized that the body material of each dancer-actress found, in the dialogue between dance and theater, a possibility of investigation and creation, elaborating an artistic language that finds its poetical material in the cenical body.