Pause is a necessity within the rhythm of life. There are pauses everywhere around us; we pause when we breathe, we pause when we speak, and we pause when we think. Pause is a crucial part in the most beautiful pieces of music, it is in between our bites of food and sips of coffee. Pause is what makes life beautiful; without it the world around us will consist of a meaningless cacophony. Architecture, much like other things in life must also contain pauses to be enjoyable. The most memorable and appreciative architecture consist of spaces where once has an ability to pause and have an experience be it much needed rest, peace or a moment to think. There are many memorable places that create such moments and that I have experienced across places in Europe and United States. This experiences I studied and would like to bring to much needed places closer to home. I strongly believe that it is very important to have places of pause in our urban fabric. Thus, I searched and found a site which I believe would be most beneficial from a community center filled with opportunities to pause. The site location is being developed with a cacophony of commercial and residential construction with little consideration to what is needed in between in order to create a beautiful composition of a city; a pause in the urban fabric. / Master of Architecture

No / In this paper, we investigate how controlled changes to image properties and orientation affect eye movements for repeated viewings of images of natural scenes. We make changes to images by manipulating low-level image content (such as luminance or chromaticity) and/or inverting the image. We measure the effects of these manipulations on human scanpaths (the spatial and chronological path of fixations), additionally comparing these effects to those predicted by a widely used saliency model (L. Itti & C. Koch, 2000). Firstly we find that repeated viewing of a natural image does not significantly modify the previously known repeatability (S. A. Brandt & L. W. Stark, 1997; D. Noton & L. Stark, 1971) of scanpaths. Secondly we find that manipulating image features does not necessarily change the repeatability of scanpaths, but the removal of luminance information has a measurable effect. We also find that image inversion appears to affect scene perception and recognition and may alter fixation selection (although we only find an effect on scanpaths with the additional removal of luminance information). Additionally we confirm that visual saliency as defined by L. Itti and C. Koch's (2000) model is a poor predictor of real observer scanpaths and does not predict the small effects of our image manipulations on scanpaths.

Sitting in a pub in Dublin, I tried to understand the architectural qualities of my so-called watering hole. The stylish wood and spatial divisions were pleasant but were not the full reasons behind why I loved being apart of the place. I started to think why architecture is not valued through our sensibilities? Or a better question, how can architecture be valued through our sensibilities? Our emotions are developed through our experiences. The movement through the pub, my actions within the space, and the senses being formed from my surroundings helped my understanding of why I enjoyed the pub. There was a function, a process, and an interpretation of senses. Our senses are developed from our immediate environments. We know ourselves in relation to other things. We know how certain things make us feel. Things have histories and we evaluate these things in relation to our own timeline. When these relationships and feelings meet we understand our surroundings through placement. Here is where we dwell in a place. Place is the building, within the building, and around the building. Place and dwelling are more cognitive than physically inhabiting within a location. Our understanding of how we love a building starts with place. How do you design a place? How do things and people belong to these places? Can a bar and brewery become one of these things on the banks of the Potomac in Old Town Alexandria? And, will it make a new and better place? Will it be loved? / Master of Architecture

The research question that motivates this study is: what insights can be drawn from collaborative filmmaking as new modes of interaction with the world around us? Against the backdrop of contemporary societal and environmental divisions, this artistic research explores ways to rethink relationships - both human and nonhuman - through the lens of the philosophical framework of co-poiesis. Situating the inquiry within prevailing cultural paradigms that prioritize individualism over collaboration, this study underscores the collaborative nature of filmmaking. Additionally, it seeks to address environmental challenges by challenging existing power structures and proposing participatory decision-making models rooted in creativity. Using a practice-led research methodology based on the collaborative process of the short documentary The Spectacle, and various co-creation theories, this study investigates how collaborative practice and sensory engagement can serve as a reflective tool, illuminating our relational dynamics and perceptual interactions with each other and our environment. This thesis shares findings from the perspective of the filmmaker, focusing on the collaborative process.

This thesis examines how the experience of touch is depicted in modern/contemporary Japanese literature and culture. Employing touch-related 20th century French thought (Merleau-Ponty, Derrida, Nancy) and psychoanalytic theory (Klein, Anzieu, Kimura), it discusses how the representations of touch illuminate various aspects of human existence, specifically: the mediated nature of touch, the process of the bodily encounters, the formation of subject identity, sexual differences, and the way memories of touch depicted in literature affect our sense of temporality. Touch is a particularly interesting way of approaching Japanese literature because touching between people (apart from mother and child, called skinship) has been considerably repressed at least until after WW2, due to the relative absence of public practices of touch, authors’ aesthetic choices and censorship. Opposing this tendency, female authors born postwar write freely about touch. In comparison to Judeo-Christian cultures, Japanese culture has historically not been open to tactile communication, nor is explicit articulation of internal experience, as in psychoanalysis, particularly prominent. Japanese literary characters are thus especially self-conscious about touch. Following a theoretical and historical overview regarding touch and contact in the Introduction, Chapter 1 discusses different ways of mediating touch in the works of Yoshiyuki Junnosuke, Tanizaki Jun’ichirō, and Abe Kōbō. Chapter 2 argues how high levels of mediation affect the manners of engaging in direct encounters with others in Yoshiyuki, Kawabata Yasunari, and Matsuura Rieko. Chapter 3 discusses the temporality of tactile memories in Yoshiyuki, Kawabata, and Ogawa Yoko. Reflecting on such a complicated portrayal of touch in Japanese culture will help fill a gap in the existing scholarship regarding touch in literature. By critically examining the relationship between theories and literature in the East and West, this thesis also significantly contributes to the field of comparative literature and cultural studies as an example of cross-cultural research on touch.

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Den här uppsatsen undersöker hur språket kan hjälpa att beskriva den kvalitet hos en produkt som utgör dess identitet, det som ligger inbäddat i formspråk och det en designer gör när hen ger form. För detta har jag tagit avstamp i forskning kring de neurologiska fenomenen synestesi och ideastesi vilka hjälper oss översätta abstrakta koncept sinnen emellan. Mot bakgrund av detta har jag genomfört en undersökning i användande av personliga egenskaper för att beskriva färg samt form och sedan använt datan för att beskriva tre olika designföretags formgivning. Jag har funnit att det här språket inte går att göra objektivt, som en kan använda för att stoppa in data och få ut en färdig produkt, där form a plus färg b är lika med respons c, utan att det krävs en designer som tar subjektiva beslut för att fånga upp de små detaljerna. Samtidigt har jag kunnat se att det verbala språket är en riktigt bra grund för mig som designer att tänka över mina formbeslut och göra mig klarsynt i min process. / This paper investigates how language can help describe the quality within a product that make up it's identity, what's embedded in design aesthetics and what designers do when they give shape to objects. For this I have looked into research in the neurological phenomena synesthesia and ideasthesia which help us translate abstract concepts between our different senses. With this in mind, I have conducted a test in using personal traits to describe colors and shapes, later using the data to to describe three different design companies' design aesthetics. What I've found is that this language can't be objective and therefore cannot be used as a way of putting data in to get a finished product, where shape a plus color b equals response c. All without requiring a designer to make subjective decisions to make sure the tiny details and nuances get picked up. At the same time I've realized that this language is a good foundation for me, as a designer, to stand on and use to reflect on my decisions and give me clarity in my process.

Gustav Vasa-föreningen planerar att bygga en utställning för att främja kulturlivet och öka lärandet kring Gustav Vasas ledning på 1500-talet. Förhoppningen är att genom utställningen kunna agera som en förlängd arm till skolorna i Strängnäs kommun i form av studiebesök. I utställningen vill föreningen informera om Gustav Vasas utnämning till kung den 6 juni 1523 på ett intresseväckande och informativt sätt, för att kunna nå ut till en yngre målgrupp, lågstadieelever. Genom ett samarbete med föreningen har detta examensarbete undersökt hur sinnen som modaliteter kan tillämpas i en utställningsmiljö i lärande syfte. I rapporten har Selanders teorier om multimodalt lärande tillsammans med McKenna-cress & Kaminens och Velvets riktlinjer kring utställningsmiljöer tillämpats. Teorierna har tillsammans med en etnografisk undersökning i form av en observation lagt grund för det designförslag som fastställts. Designförslaget redogör för hur utnämnandet av Gustav Vasa som kung kan kommuniceras i utställningsmiljö, för att bidra till lärande med hjälp av sinnen som modaliteter. / The Gustav Vasa Association plans to build an exhibition to promote cultural life and increase learning about Gustav Vasa's leadership in the 16th century. The ambition is that through the exhibition will act as an extended arm for the schools in Strängnäs municipality in the form of study visits. In the exhibition, the association wants to inform about Gustav Vasa's coronation as king on June 6, 1523 in an interesting and informative way, in order to reach a younger target group in the form of primary school pupils. Through a collaboration with the association, this degree project has examined how the senses as modalities can be applied in an exhibition environment for learning purposes. In the report, Selander's theories on multimodal learning together with McKenna-cress & Kaminens and Velvet's guidelines on exhibition environments have been applied. Together with an ethnographic survey in the form of an observation, the theories have laid the foundation for the design proposal that has been established. The proposal describes how the appointment of Gustav Vasa as king can be communicated in an exhibition environment, in order to contribute to learning with the help of the senses as modalities.

O fenômeno da ambiguidade lexical foi o tópico central desta pesquisa, especialmente no que diz respeito às relações entre acepções de formas gráficas ambíguas e aos padrões de distribuição de acepções de palavras polissêmicas na língua, isto é, de palavras cujas acepções são semanticamente relacionadas. Este trabalho situa-se como uma proposta de interface entre explorações computacionais da ambiguidade lexical, especificamente de processamento de linguagem natural, e investigações de cunho teórico sobre o fenômeno do significado lexical. Partimos das noções de polissemia e de homonímia como correspondentes, respectivamente, ao caso de uma palavra com múltiplas acepções relacionadas e ao de duas (ou mais) palavras cujas formas gráficas coincidem, mas que apresentam acepções não relacionadas sincronicamente. Como objetivo último deste estudo, pretendia-se confirmar se as palavras mais polissêmicas teriam acepções menos uniformemente distribuídas no corpus, apresentando acepções predominantes, que ocorreriam com maior frequência. Para analisar esses aspectos, implementamos um algoritmo de desambiguação lexical, uma versão adaptada do algoritmo de Lesk (Lesk, 1986; Jurafsky & Martin, 2000), escolhido com base nos recursos linguísticos disponíveis para o português. Tendo como hipótese a noção de que palavras mais frequentes na língua tenderiam a ser mais polissêmicas, selecionamos do corpus (Mac-Morpho) aquelas com maiores ocorrências. Considerando-se o interesse em palavras de conteúdo e em casos de ambiguidade mais estritamente em nível semântico, optamos por realizar os testes apresentados neste trabalho apenas para substantivos. Os resultados obtidos com o algoritmo de desambiguação que implementamos superaram o método baseline baseado na heurística da acepção mais frequente: obtivemos 63% de acertos contra 50% do baseline para o total dos dados desambiguados. Esses resultados foram obtidos através do procedimento de desambiguação de pseudo-palavras (formadas ao acaso), utilizado em casos em que não se tem à disposição corpora semanticamente anotados. No entanto, em razão da dependência de inventários fixos de acepções oriundos de dicionários, pesquisamos maneiras alternativas de categorizar as acepções de uma palavra. Tomando como base o trabalho de Sproat & VanSanten (2001), implementamos um método que permite atribuir valores numéricos que atestam o quanto uma palavra se afastou da monossemia dentro de um determinado corpus. Essa medida, cunhada pelos autores do trabalho original como índice de polissemia, baseia-se no agrupamento de palavras co-ocorrentes à palavra-alvo da desambiguação de acordo com suas similaridades contextuais. Propusemos, neste trabalho, o uso de uma segunda medida, mencionada pelos autores apenas como um exemplo das aplicações potenciais do método a serem exploradas: a clusterização de co-ocorrentes com base em similaridades de contextos de uso. Essa segunda medida é obtida de forma que se possa verificar a proximidade entre acepções e a quantidade de acepções que uma palavra exibe no corpus. Alguns aspectos apontados nos resultados indicam o potencial do método de clusterização: os agrupamentos de co-ocorrentes obtidos são ponderados, ressaltando os grupos mais proeminentes de vizinhos da palavra-alvo; o fato de que os agrupamentos aproximam-se uns dos outros por medidas de similaridade contextual, o que pode servir para distinguir tendências homonímicas ou polissêmicas. Como exemplo, temos os clusters obtidos para a palavra produção: um relativo à ideia de produção literária e outro relativo à de produção agrícola. Esses dois clusters apresentaram distanciamento considerável, situando-se na faixa do que seria considerado um caso de polissemia, e apresentaram ambos pesos significativos, isto é, foram compostos por palavras mais relevantes. Identificamos três fatores principais que limitaram as análises a partir dos dados obtidos: o viés político-jornalístico do corpus que utilizamos (Mac-Morpho) e a necessidade de serem feitos mais testes variando os parâmetros de seleção de coocorrentes, uma vez que os parâmetros que utilizamos devem variar para outros corpora e, especialmente, pelo fato de termos realizados poucos testes para definir quais valores utilizaríamos para esses parâmetro, que são decisivos para a quantidade de palavras co-ocorrentes relevantes para os contextos de uso da palavra-alvo. Considerando-se tanto as vantagens quanto as limitações que observamos a partir dos resultados da clusterização, planejamos delinear um método sincrônico (que prescinde da documentação histórica das palavras) e computacional que permita distinguir casos de polissemia e de homonímia de forma mais sistemática e abrangendo uma maior quantidade de dados. Entendemos que um método dessa natureza pode ser de grade valia para os estudos do significado no nível lexical, permitindo o estabelecimento de um método objetivo e baseado em dados de uso da língua que vão além de exemplos pontuais. / The phenomenon of lexical ambiguity was the central topic of this research, especially with regard to relations between meanings of ambiguous graphic forms, and to patterns of distribution of the meanings of polysemous words in the language, that is, of words whose meanings are semantically related. This work is set on the interface between computational explorations of lexical ambiguity, specifically natural language processing, and theoretical investigations on the nature of research on the lexical meaning phenomenon. We assume the notions of polysemy and homonymy as corresponding, respectively, to the case of a word with multiple related meanings, and two (or more) words whose graphic forms coincide, but have unrelated meanings. The ultimate goal of this study was to confirm that the most polysemous words have meanings less evenly distributed in the corpus, with predominant meanings which occur more frequently. To examine these aspects, we implemented a word sense disambiguation algorithm, an adapted version of Lesk algorithm (Lesk, 1986; Jurafsky & Martin, 2000), chosen on the basis of the availability of language resources in Portuguese. From the hypothesis that the most frequent words in the language tend to be more polysemic, we selected from the corpus (Mac-Morpho) those words with the highest number occurrences. Considering our interest in content words and in cases of ambiguity more strictly to the semantic level, we decided to conduct the tests presented in this research only for nouns. The results obtained with the disambiguation algorithm implemented surpassed those of the baseline method based on the heuristics of the most frequent sense: we obtained 63% accuracy against 50% of baseline for all the disambiguated data. These results were obtained with the disambiguation procedure of pseudowords (formed at random), which used in cases where semantically annotated corpora are not available. However, due to the dependence of this disambiguation method on fixed inventories of meanings from dictionaries, we searched for alternative ways of categorizing the meanings of a word. Based on the work of Sproat & VanSanten (2001), we implemented a method for assigning numerical values that indicate how much one word is away from monosemy within a certain corpus. This measure, named by the authors of the original work as polysemy index, groups co-occurring words of the target noun according to their contextual similarities. We proposed in this paper the use of a second measure, mentioned by the authors as an example of the potential applications of the method to be explored: the clustering of the co-occurrent words based on their similarities of contexts of use. This second measurement is obtained so as to show the closeness of meanings and the amount of meanings that a word displays in the corpus. Some aspects pointed out in the results indicate the potential of the clustering method: the obtained co-occurring clusters are weighted, highlighting the most prominent groups of neighbors of the target word; the fact that the clusters aproximate from each other to each other on the basis of contextual similarity measures, which can be used to distinguish homonymic from polysemic trends. As an example, we have the clusters obtained for the word production, one referring to the idea of literary production, and the other referring to the notion of agricultural production. These two clusters exhibited considerable distance, standing in the range of what would be considered a case of polysemy, and both showed significant weights, that is, were composed of significant and distintictive words. We identified three main factors that have limited the analysis of the data: the political-journalistic bias of the corpus we use (Mac-Morpho) and the need for further testing by varying the selection parameters of relevant cooccurent words, since the parameters used shall vary for other corpora, and especially because of the fact that we conducted only a few tests to determine the values for these parameters, which are decisive for the amount of relevant co-occurring words for the target word. Considering both the advantages and the limitations we observe from the results of the clusterization method, we plan to design a synchronous (which dispenses with the historical documentation of the words) and, computational method to distinguish cases of polysemy and homonymy more systematically and covering a larger amount of data. We understand that a method of this nature can be invaluable for studies of the meaning on the lexical level, allowing the establishment of an objective method based on language usage data and, that goes beyond specific examples.

Nesse estudo, objetivamos investigar a seguinte questão: Quais são os sentidos que os aprendentes da docência em física tecem para as histórias em quadrinhos direcionadas ao ensino em disciplinas de Metodologia de Ensino de Física? Como contexto, estabelecemos as disciplinas de Metodologia do Ensino de Física (MEF) do curso de licenciatura em física da Universidade de São Paulo (USP). A perspectiva metodológica adotada foi o modelo materialista de Vigotski. Para tal perspectiva, optamos por desenvolver estudos de casos circunstanciados pela observação participante. Em meio ao modelo materialista, adotamos como unidade de análise a natureza da curiosidade para as histórias em quadrinhos no ensino de física. Deste modo, analisamos a trajetória formativa de dois aprendentes da docência em sua historicidade e as interações estabelecidas por estes com as atividades formativas que pautaram a apreensão das histórias em quadrinhos como elemento de ensino. A pesquisa contou com a gravação em áudio e vídeo das aulas de MEF1, dos encontros de supervisão e das entrevistas semiestruturadas; de igual modo, contou com a análise de portfólios e planos de ensino produzidos pelos aprendentes para as disciplinas. O arcabouço analítico foi estruturado a partir de elementos da teoria histórico-cultural de Vigotski e constructos da perspectiva freireana. A construção dos dados se deu a partir da constituição de quatro movimentos de curiosidades, os quais foram tecidos a partir das ações que levaram os aprendentes a se engajar com as histórias em quadrinhos e, de igual modo, abarcaram em si as atividades formativas que os mesmos organizaram para apreender este elemento. Por conseguinte, enfatizamos as curiosidades dos aprendentes, os sentidos atribuídos às histórias em quadrinhos, assim como as situações e os modos como as curiosidades se complexificaram e os sentidos se estruturaram. Os resultados apontaram como estruturas significativas para a atribuição de sentidos os modos singulares como os aprendentes internalizaram este elemento; as discussões promovidas pelos coletivos de aprendizagens sobre as histórias em quadrinhos; as perspectivas formativas adotadas nas aulas de MEF1; a pluralidade de atividades que compuseram as disciplinas de MEF e as temáticas problematizadas no estágio supervisionado. Ademais, devemos ressaltar que a dinâmica de atribuição de sentidos para as histórias em quadrinhos no ensino teve sua gênese na disciplina de MEF1, mas não se esgotou nela. Logo, o panorama articulado nos permitiu destacar alguns dos sentidos tecidos pelos aprendentes para as histórias em quadrinhos, dentre os quais está a sua interpretação enquanto linguagem mediadora para engajar estudantes em discussões científicas; meio para dar centralidade às ações dos estudantes; estratégia de ruptura com a rotina escolar; recurso cultural condicionado ao contexto histórico-cultural; a ação crítica e criativa dos docentes e a arte de contestação e reflexão. / In this study, we aim to investigate which senses teaching learners assign to comics in education. As a context, we established the disciplines of Physics Teaching Methodology (MEF) of the degree course in Physics at the University of São Paulo (USP). The methodological perspective adopted was Vygotsky\'s materialist model. For this perspective, we chose to develop case studies conditioned by participant observation. For this, we embrace as a unit of analysis the nature of curiosity for comics in teaching of Physics. Thus, we analyze the formative trajectory of two learners of teaching in their historicity and interactions established through formative activities that guided the apprehension of comics as factor of teaching. The research included audio and video recording of classes, supervision meetings and semi-structured interviews, as well as the analysis of portfolios and teaching plans produced by students containing comics. The analytical framework structured from elements of Vygotsky\'s historical-cultural theory and from constructs from Paulo Freire\'s perspective. The construction of the data based on constitution of four curiosity movements, woven from actions that led the learners to engage with comics. In the same way, they embraced the formative activities and organized them for the apprehension of study element. Therefore, we emphasize the curiosities of the learners, the senses attributed to the comics, as well as the situations and the ways in which curiosities have become more complex and the senses structured. As significant structures for the attribution of senses, the results point: the singular modes as learners internalized this element, the discussions promoted by the collectives of learning about comics, the formative perspectives adopted in the MEF1 classes, the plurality of activities that composed the MEF disciplines and the approached topics in the supervised internship. Moreover, we must emphasize that the dynamics of attribution senses to comics in teaching had its genesis in discipline of MEF1, but it did not run out in itself. Therefore, the articulated viewpoint allowed us to highlight some of the senses woven by the learners for comics, among which is their interpretation: as mediator language to engage students in scientific discussions, path to grant centrality to student actions. As well as, disruption strategy with school routine, cultural resource conditioned to historical-cultural context, and critical and creative action of teachers and art of contestation and reflection.