Orientador: Itamar Alves Martins / Banca: Fernando Rodrigues da Silva / Banca: Cynthia Peralta de Almeida Prado / Resumo: Neste estudo nós descrevemos pela primeira vez as vocalizações de H. laistriatus (Caramaschi & Cruz, 2004) da localidade tipo, Parque Nacional do Itatiaia (PNI), Itamonte, Minas Gerais, e do Parque Estadual de Campos do Jordão, São Paulo, ambas as localidades situadas na Serra da Mantiqueira. Adicionalmente, as vocalizações de H. laistriatus foram comparadas com os cantos descritos para as espécies do clado H. polytaenius... / Abstract: This study was the first to describe the vocalizations of H. laistriatus (Caramaschi & Cruz, 2004) from the type locality, Itatiaia National Park, Itamonte, Minas Gerais, and Campos do Jordão State Park (PECJ), São Paulo, both located in the Mantiqueira Mountains. In addition, the vocalizations of H. laistriatus were compared with the described vocalizations of the clade H. polytaenius species ... / Mestre

This thesis is an account of praxis: it examines Playback conceptually, and portrays a programme of practical work exploring the experience of workplace audiences of five Playback Theatre performances, delivered from 2002-2005. The aim of the performances was to assist multi-disciplinary teams of staff in community health centres in Auckland New Zealand to communicate and work together with more understanding of each other. The thesis describes Playback as a way not only to elicit complex narratives which allow for diverse points of view to be expressed, but also as an aesthetic reworking of these narratives using action, music, dance, gesture and speech, in ways which have been influenced by 20th century avant-garde forms such as surrealism, dada, collage, jazz and poetry. Unlike some forms of theatre, Playback calls on elements of ritual and group method, in that it relies on audience members taking an active part in the performance by contributing narratives from their own lives. The thesis interrogates the notion of audience in theatre, using the words audience, spectator, spectactor, participant, public and polis, and specifically investigates two moments of the theatre as polis, in the French and Russian revolutions, when the potential of theatre to engage with the widest cross-section of the nation led to influential experiments and innovations in theatrical practice, each of which influenced the succeeding century. Some Playback discourse and practice is found to contain simplistic, even nostalgic, concepts of personal narrative, and the potential for performers’ interpretations in Playback to reinscribe social privilege is noted. In spite of its simple structure, Playback demands extremely complex skills from all the performers, not only the facilitator. In addition, the complex setting of the practical work encompasses both local NZ health initiatives and developments in global health. The work in each Healthcare Centre is described in a complete chapter: each containing details of the Centre and the Playback, seen through the findings of the patient focus groups, through comments made in interviews by the staff and through the researcher’s observation and experience. In all three Centres, existential and emancipatory metanarratives surfaced in the performances and in interviews. Professionalism was seen as meaning different things: at Ngākau it was a measure by which people were found to be unsatisfactory; at Oranga, it referred to applying the lessons of the Playback to one’s own practice; while at Pātaka, professionalism was evident in narratives of self care, dedication and seeking clarification and support from peers. While the study revealed limitations of Playback, it also pointed to some unique contributions this form of improvisational theatre can make to a programme of staff or group development. In particular, Playback can open up spaces, people and topics, for non-dogmatic, pluralistic, embodied thinking and reflection, leading people to more nuanced understandings of themselves and each other, and can even affect attitudes and behaviours.

Video playback is a technique used to study the visual communication and behaviors of animals. While video playback is a useful tool, most experiments lack the ability for the visual stimulus to interact with the live animal. The limited number of experiments involving interactive video playback can be attributed partially to the lack of software available to conduct instructive interactive video playback experiments. To facilitate such interactive experiments, I have created a method that combines real-time animations with video tracking software. This method may be used to conduct interactive playback experiments. To demonstrate this method, a prototype was created and used to conduct automated mating choice trials on female swordtail fish. The results of the mating choice trials show that this prototype is able to create effectively interactive visual stimulus automatically. In addition, the results show that the interactive video playback has a measurable effect on the female swordtail fish, Xiphophorus birchmanni.

MP3, or MPEG-1 Layer 3, is the most widely-used format for storing compressed audio. MP3 is more advantageous than uncompressed audio (PCM), offering a much smaller size but without a noticeable loss in audio quality. This report will demonstrate decoding and playback of MP3 audio using a TLL5000 FPGA board. / text

This thesis is an account of praxis: it examines Playback conceptually, and portrays a programme of practical work exploring the experience of workplace audiences of five Playback Theatre performances, delivered from 2002-2005. The aim of the performances was to assist multi-disciplinary teams of staff in community health centres in Auckland New Zealand to communicate and work together with more understanding of each other. The thesis describes Playback as a way not only to elicit complex narratives which allow for diverse points of view to be expressed, but also as an aesthetic reworking of these narratives using action, music, dance, gesture and speech, in ways which have been influenced by 20th century avant-garde forms such as surrealism, dada, collage, jazz and poetry. Unlike some forms of theatre, Playback calls on elements of ritual and group method, in that it relies on audience members taking an active part in the performance by contributing narratives from their own lives. The thesis interrogates the notion of audience in theatre, using the words audience, spectator, spectactor, participant, public and polis, and specifically investigates two moments of the theatre as polis, in the French and Russian revolutions, when the potential of theatre to engage with the widest cross-section of the nation led to influential experiments and innovations in theatrical practice, each of which influenced the succeeding century. Some Playback discourse and practice is found to contain simplistic, even nostalgic, concepts of personal narrative, and the potential for performers’ interpretations in Playback to reinscribe social privilege is noted. In spite of its simple structure, Playback demands extremely complex skills from all the performers, not only the facilitator. In addition, the complex setting of the practical work encompasses both local NZ health initiatives and developments in global health. The work in each Healthcare Centre is described in a complete chapter: each containing details of the Centre and the Playback, seen through the findings of the patient focus groups, through comments made in interviews by the staff and through the researcher’s observation and experience. In all three Centres, existential and emancipatory metanarratives surfaced in the performances and in interviews. Professionalism was seen as meaning different things: at Ngākau it was a measure by which people were found to be unsatisfactory; at Oranga, it referred to applying the lessons of the Playback to one’s own practice; while at Pātaka, professionalism was evident in narratives of self care, dedication and seeking clarification and support from peers. While the study revealed limitations of Playback, it also pointed to some unique contributions this form of improvisational theatre can make to a programme of staff or group development. In particular, Playback can open up spaces, people and topics, for non-dogmatic, pluralistic, embodied thinking and reflection, leading people to more nuanced understandings of themselves and each other, and can even affect attitudes and behaviours.

A Bioacoustica oferece ferramentas úteis para diversas ciências e práticas na utilização acadêmica, científica, aplicada e conservação da vida animal. Nossa hipótese é que as chamadas naturais, como o rugido de longo alcance do bugios preto, atuam como elemento de enriquecimento ambiental, se a sua execução aumenta a exibição de um comportamento natural em cativeiro. O bugio faz um uso diário do rugido e sua emissão é conhecida por evocar respostas de outros bandos de bugio em vida livre. Para testar a eficácia dos rugidos em melhorar o bem-estar foi realizado um experimento no Bosque e Zoológico Fábio Barreto, no município de Ribeirão Preto, onde treze indivíduos (6 fêmeas e 7 machos) viviam em cinco recintos adjacentes. Eles tiveram contato visual e acústico entre eles e com outras duas espécies de primatas e outros grupos de vida livre de bugio preto. Adotoamos o delineamento experimental ABABA, em que fases controle A foram intercaladas com o tratamento (playback de rugido) nas fases B, duas vezes ao dia (manhã e tarde). Na primeira fase B, o estímulo foi sempre tocado no mesmo horário (previsível) e, na segunda fase tratamento, horários aleatórios foram adotados (imprevisível). Nós avaliamos as alterações na duração relativa de 6 comportamentos entre as fases A e B, entre sexo e em ambos os períodos, com o teste ANOVA de medidas repetidas. Nós notamos um aumento no comportamento natural da espécie em fases de tratamento, como alerta, atenção dirigida, e interações sociais, juntamente com a diminuição de comportamentos estereotipados, sugerindo melhoria do bem-estar. As emissões naturais de rugidos também aumentaram. Concluímos que ambos os tratamentos, previsível e imprevisível, melhoraram o bem-estar e propomos a utilização da reprodução de chamadas específicas de especies como uma nova categoria de enriquecimento ambiental. A resposta dos outros primatas nos levou a concluir que houve um efeito sobre animais vizinhos que pode ser benéfico ou prejudicial de acordo com a espécie e a condição psicológica dos animais. / The Bioacoustics offers useful tools for diverse academic, scientific and applied sciences and practices in use and conservation of animal life. We hypothesized that natural call, as the loud roar of the black-howler monkey, would act as environmental enrichment element if its execution increased the display of natural behavior in captivity. The howler-monkey makes an everyday use of the roar and its emission is known to evoke free-living howler-monkeys to call back in response. To test the effectiveness of roars in improving welfare we conducted an experiment in Bosque e Zoológico Fábio Barreto, in the municipality of Ribeirão Preto where thirteen individuals (6 females and 7 males) were living in five adjacent enclosures. They had visual and acoustic contact between them and with two other primate species and a free-living black-howler monkey group. We adopted the ABABA experimental design, in which control phases A were interspersed with treatment (roar playback) phases B, two times a day (morning and afternoon). In the first B phase, the stimulus was always played at the same time (predictable) and, in the other different random schedules were adopted (unpredictable). We evaluate changes in relative duration of 6 behaviors from A to B phases, between sex and in both periods with a repetitive factorial ANOVA. We reported increase in natural behavior of the species in treatment phases, as alert, oriented attention, and social interactions, coupled with the decrease of stereotyped behaviors, suggesting welfare improvement. Thus, natural emissions of roars also increased. We concluded that both predictable and unpredictable routines improved welfare and we propose the use of playback of specie-specific calls as a new category of environmental enrichment. The answer of the other primates led us to conclude that there was a neighborhood effect that can be beneficial or harmful according to the species and the psychological condition of the animals.

A Bioacoustica oferece ferramentas úteis para diversas ciências e práticas na utilização acadêmica, científica, aplicada e conservação da vida animal. Nossa hipótese é que as chamadas naturais, como o rugido de longo alcance do bugios preto, atuam como elemento de enriquecimento ambiental, se a sua execução aumenta a exibição de um comportamento natural em cativeiro. O bugio faz um uso diário do rugido e sua emissão é conhecida por evocar respostas de outros bandos de bugio em vida livre. Para testar a eficácia dos rugidos em melhorar o bem-estar foi realizado um experimento no Bosque e Zoológico Fábio Barreto, no município de Ribeirão Preto, onde treze indivíduos (6 fêmeas e 7 machos) viviam em cinco recintos adjacentes. Eles tiveram contato visual e acústico entre eles e com outras duas espécies de primatas e outros grupos de vida livre de bugio preto. Adotoamos o delineamento experimental ABABA, em que fases controle A foram intercaladas com o tratamento (playback de rugido) nas fases B, duas vezes ao dia (manhã e tarde). Na primeira fase B, o estímulo foi sempre tocado no mesmo horário (previsível) e, na segunda fase tratamento, horários aleatórios foram adotados (imprevisível). Nós avaliamos as alterações na duração relativa de 6 comportamentos entre as fases A e B, entre sexo e em ambos os períodos, com o teste ANOVA de medidas repetidas. Nós notamos um aumento no comportamento natural da espécie em fases de tratamento, como alerta, atenção dirigida, e interações sociais, juntamente com a diminuição de comportamentos estereotipados, sugerindo melhoria do bem-estar. As emissões naturais de rugidos também aumentaram. Concluímos que ambos os tratamentos, previsível e imprevisível, melhoraram o bem-estar e propomos a utilização da reprodução de chamadas específicas de especies como uma nova categoria de enriquecimento ambiental. A resposta dos outros primatas nos levou a concluir que houve um efeito sobre animais vizinhos que pode ser benéfico ou prejudicial de acordo com a espécie e a condição psicológica dos animais. / The Bioacoustics offers useful tools for diverse academic, scientific and applied sciences and practices in use and conservation of animal life. We hypothesized that natural call, as the loud roar of the black-howler monkey, would act as environmental enrichment element if its execution increased the display of natural behavior in captivity. The howler-monkey makes an everyday use of the roar and its emission is known to evoke free-living howler-monkeys to call back in response. To test the effectiveness of roars in improving welfare we conducted an experiment in Bosque e Zoológico Fábio Barreto, in the municipality of Ribeirão Preto where thirteen individuals (6 females and 7 males) were living in five adjacent enclosures. They had visual and acoustic contact between them and with two other primate species and a free-living black-howler monkey group. We adopted the ABABA experimental design, in which control phases A were interspersed with treatment (roar playback) phases B, two times a day (morning and afternoon). In the first B phase, the stimulus was always played at the same time (predictable) and, in the other different random schedules were adopted (unpredictable). We evaluate changes in relative duration of 6 behaviors from A to B phases, between sex and in both periods with a repetitive factorial ANOVA. We reported increase in natural behavior of the species in treatment phases, as alert, oriented attention, and social interactions, coupled with the decrease of stereotyped behaviors, suggesting welfare improvement. Thus, natural emissions of roars also increased. We concluded that both predictable and unpredictable routines improved welfare and we propose the use of playback of specie-specific calls as a new category of environmental enrichment. The answer of the other primates led us to conclude that there was a neighborhood effect that can be beneficial or harmful according to the species and the psychological condition of the animals.

High-level language virtual machines (HLL VMs) have been playing a key role as a mechanism for implementing programming languages. Languages that run on these execution environments have many advantages over languages that are compiled to native code. These advantages have led HLL VMs to gain broad acceptance in both academy and industry. However, much of the research in this area has been devoted to boosting the performance of these execution environments. Few eorts have attempted to introduce features that automate or facilitate some software engineering activities, including software testing. This research argues that HLL VMs provide a reasonable basis for building an integrated software testing environment. To this end, two software testing features that build on the characteristics of a Java virtual machine (JVM) were devised. The purpose of the rst feature is to automate weak mutation. Augmented with mutation support, the chosen JVM achieved speedups of as much as 95% in comparison to a strong mutation tool. To support the testing of concurrent programs, the second feature is concerned with enabling the deterministic re-execution of Java programs and exploration of new scheduling sequences / Máquinas virtuais de linguagens de programação têm desempenhado um papel importante como mecanismo para a implementação de linguagens de programação. Linguagens voltadas para esses ambientes de execução possuem várias vantagens em relação às linguagens compiladas. Essas vantagens fizeram com que tais ambientes de execução se tornassem amplamente utilizados pela indústria e academia. Entretanto, a maioria dos estudos nessa area têm se dedicado a aprimorar o desempenho desses ambientes de execução e poucos têm enfocado o desenvolvimento de funcionalidades que automatizem ou facilitem a condução de atividades de engenharia de software, incluindo atividades de teste de software. Este trabalho apresenta indícios de que máquinas virtuais de linguagens de programação podem apoiar a criação de ambientes de teste de software integrado. Para tal, duas funcionalidades que tiram proveito das características de uma máquina virtual Java foram desenvolvidas. O propósito da primeira funcionalidade e automatizar a condução de atividades de mutação fraca. Após a implementação de tal funcionalidade na máquina virtual Java selecionada, observou-se um desempenho até 95% melhor em relação a uma ferramenta de mutação forte. Afim de apoiar o teste de programas concorrentes, a segunda funcionalidade permite reexecutá-los de forma determinística além de automatizar a exploração de que novas sequências de escalonamento

A autora conceitua e sistematiza a metodologia brasileira de sociopsicodrama Teatro de Reprise, criada em 1993 pelo Grupo Reprise, do qual era integrante. Diferencia a prática de seu método inspirador, o Playback Theatre (1975) americano, criado por Jonathan Fox, principalmente pelo acento na grupalidade, apresentando-a como facilitadora/mediadora de interação e aprendizagem para público adulto. Para tanto, define seus fundamentos baseado na abordagem sociopsicodramática de Jacob L. Moreno (1889-1974), na qual há um \"homem moreniano\" aludido, que possui um alto grau de espontaneidade, que cria sempre e que se orienta para a busca de uma utopia de saúde mental e social, que escape da doença social da cristalização e das conservas culturais. O trabalho descreve as inovações práticas e teóricas brasileiras do sociopsicodrama, especialmente quanto às noções de coconsciente, coinconsciente e de campo télico, e mostra as especificidades da modalidade Teatro de Reprise como uma intersecção entre o individual e o coletivo pela ressonância estética de seus ego-atores e ego-músicos. A partir dessa fundamentação, a autora constrói a conceituação e as diversas etapas do Teatro de Reprise, e exemplifica o impacto da transformação/aprendizagem grupal, resultante da utilização do método em organizações, políticas públicas, instituições etc. Além disso, uma intervenção demonstrativa com o uso do Teatro de Reprise e com um grande grupo, no espaço de um centro cultural em São Paulo, é relatada e processada pela leitura do fenômeno, no viés da sociodinâmica grupal. / The author defines and systematizes the Brazilian methodology of socio-psychodrama: Reprise Theatre, created in 1993 by the Reprise Group, of which she was a member. She distinguishes the practice from its motivational method, the American Playback Theatre (1975), created by Jonathan Fox, mainly due to the emphasis on groupality, presenting it as facilitator/mediator of interaction and learning for adult audiences. In order to do so, she defines its foundations based on the sociopsychodramatic approach of Jacob L. Moreno (1889-1974), in which there is a \"Morenian man\" alluded to, who has a high degree of spontaneity, who always creates and who is oriented towards the search for a utopia of mental and social health, who gets away from the social disease of crystallization and from the cultural preserves. This paper describes the Brazilian practical and theoretical innovations on sociopsychodrama, especially regarding the notions of co-conscious and co-unconscious states and of telic field. It shows the particularities of the modality Reprise Theatre as an intersection between the individual and the collective, by the aesthetic resonance of its ego-actors and ego-musicians. From this grounding, the author builds up the concepts and the various stages of the Reprise Theatre and exemplifies the impact of the group transformation/learning, resulting from the use of the method in organizations, public policies, institutions, etc. In addition, a demonstrative intervention with the use of the Reprise Theatre and with a large group in the space of a cultural center in São Paulo is reported and processed by reading the phenomenon, in bias of the group sociodynamics.

A autora conceitua e sistematiza a metodologia brasileira de sociopsicodrama Teatro de Reprise, criada em 1993 pelo Grupo Reprise, do qual era integrante. Diferencia a prática de seu método inspirador, o Playback Theatre (1975) americano, criado por Jonathan Fox, principalmente pelo acento na grupalidade, apresentando-a como facilitadora/mediadora de interação e aprendizagem para público adulto. Para tanto, define seus fundamentos baseado na abordagem sociopsicodramática de Jacob L. Moreno (1889-1974), na qual há um \"homem moreniano\" aludido, que possui um alto grau de espontaneidade, que cria sempre e que se orienta para a busca de uma utopia de saúde mental e social, que escape da doença social da cristalização e das conservas culturais. O trabalho descreve as inovações práticas e teóricas brasileiras do sociopsicodrama, especialmente quanto às noções de coconsciente, coinconsciente e de campo télico, e mostra as especificidades da modalidade Teatro de Reprise como uma intersecção entre o individual e o coletivo pela ressonância estética de seus ego-atores e ego-músicos. A partir dessa fundamentação, a autora constrói a conceituação e as diversas etapas do Teatro de Reprise, e exemplifica o impacto da transformação/aprendizagem grupal, resultante da utilização do método em organizações, políticas públicas, instituições etc. Além disso, uma intervenção demonstrativa com o uso do Teatro de Reprise e com um grande grupo, no espaço de um centro cultural em São Paulo, é relatada e processada pela leitura do fenômeno, no viés da sociodinâmica grupal. / The author defines and systematizes the Brazilian methodology of socio-psychodrama: Reprise Theatre, created in 1993 by the Reprise Group, of which she was a member. She distinguishes the practice from its motivational method, the American Playback Theatre (1975), created by Jonathan Fox, mainly due to the emphasis on groupality, presenting it as facilitator/mediator of interaction and learning for adult audiences. In order to do so, she defines its foundations based on the sociopsychodramatic approach of Jacob L. Moreno (1889-1974), in which there is a \"Morenian man\" alluded to, who has a high degree of spontaneity, who always creates and who is oriented towards the search for a utopia of mental and social health, who gets away from the social disease of crystallization and from the cultural preserves. This paper describes the Brazilian practical and theoretical innovations on sociopsychodrama, especially regarding the notions of co-conscious and co-unconscious states and of telic field. It shows the particularities of the modality Reprise Theatre as an intersection between the individual and the collective, by the aesthetic resonance of its ego-actors and ego-musicians. From this grounding, the author builds up the concepts and the various stages of the Reprise Theatre and exemplifies the impact of the group transformation/learning, resulting from the use of the method in organizations, public policies, institutions, etc. In addition, a demonstrative intervention with the use of the Reprise Theatre and with a large group in the space of a cultural center in São Paulo is reported and processed by reading the phenomenon, in bias of the group sociodynamics.