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Made available in DSpace on 2015-02-24T19:48:45Z (GMT). No. of bitstreams: 1 WashingtonLET_TESE.pdf: 9876489 bytes, checksum: b0b53c16cdf88ab9e63cb1b22c08ab0f (MD5) Previous issue date: 2013-06-17 / The monitoring of Earth dam makes use of visual inspection and instrumentation to identify and characterize the deterioration that compromises the security of earth dams and associated structures. The visual inspection is subjective and can lead to misinterpretation or omission of important information and, some problems are detected too late. The instrumentation are efficient but certain technical or operational issues can cause restrictions. Thereby, visual inspections and instrumentation can lead to a lack of information. Geophysics offers consolidated, low-cost methods that are non-invasive, non-destructive and low cost. They have a strong potential and can be used assisting instrumentation. In the case that a visual inspection and strumentation does not provide all the necessary information, geophysical methods would provide more complete and relevant information. In order to test these theories, geophysical acquisitions were performed using Georadar (GPR), Electric resistivity, Seismic refraction, and Refraction Microtremor (ReMi) on the dike of the dam in Sant Lloren? de Montgai, located in the province of Lleida, 145 km from Barcelona, Catalonia. The results confirmed that the geophysical methods used each responded satisfactorily to the conditions of the earth dike, the anomalies present and the geological features found, such as alluvium and carbonate and evaporite rocks. It has also been confirmed that these methods, when used in an integrated manner, are able to reduce the ambiguities in individual interpretations. They facilitate improved imaging of the interior dikes and of major geological features, thus inspecting the massif and its foundation. Consequently, the results obtained in this study demonstrated that these geophysical methods are sufficiently effective for inspecting earth dams and they are an important tool in the instrumentation and visual inspection of the security of the dams / O monitoramento do comportamento de barragens de terra faz uso da inspe??o visual e da instrumenta??o para identificar e caracterizar danos no barramento ou estruturas auxiliares. A primeira ? subjetiva possibilitando erros de interpreta??o ou omiss?o, mesmo assim, alguns problemas s? podem ser detectados tardiamente. A instrumenta??o tem se mostrado satisfat?ria, mas pode apresentar restri??es por quest?es t?cnicas ou operacionais. Assim, pode existir defici?ncia nas informa??es produzidas pela inspe??o visual e pela instrumenta??o. A Geof?sica disp?e de m?todos consolidados, n?o invasivos, n?o destrutivos, e de baixo custo, com forte potencial para atuar auxiliando a instrumenta??o convencional, podendo, no caso de inexist?ncia ou falha geral desta, fornecer informa??es mais completas e relevantes que a inspe??o visual. Para fundamentar essas afirma??es, foram realizadas aquisi??es geof?sicas de Resistividade El?trica, Georadar (GPR), S?smica de refra??o, e Refraction Microtremor (ReMi) no dique da barragem de Sant Lloren? de Montgai, localizada na prov?ncia de Lleida, a 145 Km de Barcelona Catalunha. Os resultados obtidos confirmaram que os m?todos geof?sicos utilizados respondem individualmente de forma satisfat?ria ?s condi??es construtivas do dique de terra, ?s anomalias presentes, e ? geologia encontrada (aluvi?o, rochas carbon?ticas e evapor?ticas). Pode se afirmar ainda que esses m?todos, quando utilizados de forma integrada, s?o capazes de diminuir as ambiguidades nas interpreta??es individuais e permitem o imageamento satisfat?rio do interior do dique e das principais fei??es geol?gicas e dessa forma inspecionar o maci?o e sua funda??o. Dessa forma, os resultados apresentados por essa pesquisa demonstram que os m?todos geof?sicos constituem uma importante ferramenta que pode ser utilizada na verifica??o das condi??es do maci?o de uma barragem de terra

A cerâmica encontrada no sítio arqueológico Cerâmica Preta, localizado entre Camanducaia e Itapeva, Sul do Estado de Minas Gerais, Brasil, apresenta marcas negras de redução que levaram o autor a formular a hipótese sobre uma técnica específica de queima utilizada por aquele povo que habitou o local preteritamente. O conjunto de fragmentos e as marcas neles encontradas representam os remanescentes de uma técnica morta de cerâmica preta, praticada com maestria e regularidade intencionalmente pelo povo que o produziu. A queima da cerâmica, assim como seu uso ao fogo, deixam marcas de diferentes cores e características nas peças submetidas a estes processos. Relata-se aqui a pesquisa de correlatos entre estas marcas, os processos e comportamentos em que esta coleção de fragmentos cerâmicos arqueológicos participou durante sua produção e uso, sua história de vida. Os parâmetros da arqueologia experimental, com base na teoria comportamental, orientam o desenvolvimento dos experimentos sobre as técnicas da queima redutora em fogueiras. Apresento uma análise do material encontrado no sítio Cerâmica Preta em coletas sistemática e assistemáticas, tendo como foco a marcas de queima, buscou-se reproduzir a morfologia e colorimetria para se entender as condições de sua formação através de experimentações em laboratório e em campo. Obtivemos resultados nas experimentações que foram compatíveis com a amostragem arqueológica tendo sucesso em reproduzir condições de queima, investigando o papel das diversas técnicas possíveis para a situação. Conclui-se, pelos correlatos levantados que as ceramistas que viveram no local do sítio praticavam uma determinada tradição técnica de queima de cerâmica que envolvia o uso de recipientes para conter atmosferas redutoras no sentido de produzir uma cerâmica extremamente reduzida de tamanho pequeno a médio e tendo como produto paralelo uma cerâmica reduzida internamente de maiores proporções que serviu de ferramenta na produção da cerâmica preta. O material arqueológico também indica a utilização de uma segunda técnica de queima que difere da primeira principalmente na forma de colocação das peças na fogueira para a queima. Outras marcas encontradas no material arqueológico sugerem que um tipo de queima seria utilizado especificamente para os vasilhames utilizados como panelas e outro para vasilhas e potes de armazenamento. A ligação encontrada entre as marcas de queima e a utilização posterior dos potes leva a proposição de uma ligação estreita entre a técnica de queima e a cosmologia destes povos. O simbolismo das cores resultantes e das superfícies coloridas remetem ao universo feminino, ao útero que gera a vida, ao pote negro e à inserção desta cultura na ordem do mundo em uma camada entre o telúrico e o celeste. / The ceramic artifacts found in Cerâmica Preta archaeological site, situated at Camanducaia and Itapeva county, at southern Minas Gerais State, Brazil, show reduction marks that led the author to formulate an hypothesis about a specific technique of reducing firing of ceramics, used by the people who lived in this site preteritally. The black marks on the ceramic fabric and the black sherds, are remains of a forgotten technique of black pottery practiced intentionally and skillfully by the people who lived in this site preteritally. Firing of the ceramic and its use on the bonfire as pans, leaves different color and characteristic marks on the tissue of the pieces submitted to these processes. The search for correlates between these marks, processes and behaviors lead to the inference of activities in which the artifacts took part during its production and use. The Experimental Archaeology parameters, based on the Behavioral Theory, guided the development of the experiments on techniques of reduction firing in bonfires. The analisys of the material found in the ceramic site, by systematic and unsystematic search, focusing on the burning marks of which, through laboratory and field experiments, aim to reproduce the morphology and colorimetry, in the way to understand the conditions of its formation. The results of the experiments were compatible with the archaeological sampling and successfully reproduced burning conditions with similar results. The research investigated the role of various possible conditions for the production of black pottery. The correlates found by the research, lead to the conclusion that the ceramists, who lived in the site preteritally, practiced a certain technical tradition of ceramic firing, wich involved the use of containers to retain reducing atmospheres, in the sense of producing an extremely thin black ceramic of small to medium size. This firing has as parallel product, an internally reduced ceramic of greater proportions that served as a tool in the production of black pottery, a sagar. Archaeological material also indicates the use of a second firing technique which differs from the first one mainly in the way the parts are placed in the bonfire, but also in its production and use. Other marks found in archaeological material suggest that the people who practiced this tradition used the pots of one kind of firing as pans and diferent ones for consuming and for storage pots too. The connection found between the firing marks and other, dued to the later use of the pots over the fire, leads to the proposition of a close connection between the burning technique and the cosmology of these peoples. The symbolism of the resulting colors and colored surfaces refers to the female universe, the life-giving uterus, the black pot, and the insertion of this culture into the order of the world in a layer between the tellurian and the celestial.

Neuroaesthetics is the study of the brain’s response to artistic stimuli. The neuroscientist V.S. Ramachandran contends that art is primarily “caricature” or “exaggeration.” Exaggerated forms hyperactivate neurons in viewers’ brains, which in turn produce specific, “universal” responses. Ramachandran identifies a precursor for his theory in the concept of rasa (literally “juice”) from classical Hindu aesthetics, which he associates with “exaggeration.” The canonical Sanskrit texts of Bharata Muni’s Natya Shastra and Abhinavagupta’s Abhinavabharati, however, do not support Ramachandran’s conclusions. They present audiences as dynamic co-creators, not passive recipients. I believe we could more accurately model the neurology of Hindu aesthetic experiences if we took indigenous rasa theory more seriously as qualitative data that could inform future research.

On December 22, 1926, an opening ceremony of the so-called Gypsy school was held in Uzhhorod, the capital of the Czechoslovak administration in Carpathian Ruthenia. Czech officials who gave talks pointed out pedagogical significance of the established institution which they described as unique and exceptional "experiment". The creation of a special school for children of those inhabitants who were labelled as "Gypsies" on the territory which was annexed by Czechoslovakia only later after the First World War and which in the contemporary imagination represented specific, "backward" region of the newly established state, served to consolidate the legitimacy of the First Republic as a democratic, progressive, modern, liberal state which belonged to the developed and civilized West. More than a half year later, on July 14, 1927, representatives in the Czechoslovak Parliament in Prague passed the Act No. 117/1927 on Wandering Gypsies. The development of this law was related to an immense interest of the contemporary media in "Gypsies" which was encouraged by the arrest of approximately twenty "Gypsies" from a village located in East Slovakia. They were charged of numerous robberies and murders. In contrast to the situation shortly after the First World War when the central Czechoslovak authorities...

The purpose of this thesis was to design and evaluate The ContexTable, a context-aware system built into a kitchen table. After establishing the current status of the field of context-aware systems and the hurdles and problems being faced, a functioning prototype system was designed and built. The prototype makes it possible to explore established, untested theory and novel solutions to problems faced in the field.

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The Program of the Czech Decadent Movement and the Question of Intertextuality. The Work of Miloš Marten This thesis explores the work of Miloš Marten (1883-1917) seeking to analyse its decadent narrative as a modern narrative that brings into play the unity between the pinnacle and the decline. It departs from the comparison between the style and interpretation of the two versions of Cyklus rozkoše a smrti (orig. The Cycle of delight and death; 1907 and 1917/1925) and the study of the realisations of this work. For this purpose the study contextually examines the conceptions of "intertextuality" from fin de siècle authors-critics, meaning their conceptualisations of similarity and/or identity of literary works which frequently involve a confluence of degeneration theory, the argument of the non-ethical nature of plagiarism and theory of decadence. All were often used as instruments of disqualification as well as justifications for a modern aesthetics and style. Reconstitution of Marten's theoretical reflection on artistic genres evidences his research of a harmonizing modern culture within an anti-syncretic tendency: mythology and revolt against myth Order being shifted to tragedy and parable, while the novel is designed as an analytical-critical synthesis. Applying contemporary approaches to...