Magistro baigiamajame darbe nagrinėjama ES atsakomybė pasauliui ESGP vykdomų misijų, krizių valdymo, valstybių taikos palaikymo, (at)statymo ar kūrimo - taikdarystes kontekste. Tyrimo objektas – ES misijos (Kongo Demokratinės Respublikos ir Kosovo atvejai). Darbo tikslas – išsiaiškinti ES taikdariškų misijų svarbą ir reikšmę XXI a. valstybėms. Užsibrėžti uždaviniai – įvertinti BUSP ir ESGP, kaip misijų pagrindą; išanalizuoti ES misijų sampratą, kuri yra pristatoma oficialiuose dokumentuose; išnagrinėti ES veikiančius pagalbos mechanizmus žlugusioms valstybėms ir jų svarbą; palyginti ES misijas Afrikoje ir Balkanuose ir jų metu pasiektus rezultatus; analizuoti ES misijų reikšmę ES ir jos valstybėms narėms ir taip pat NATO, JTO, AS ir NVO veiklai šioje sferoje. Darbe aptariama teorinė BUSP ir ESGP samprata, jų tikslai ir uždaviniai, vystymasis bei sąveika, apžvelgiama valstybių narių ir institucijų veikla jų formavime. Taip pat analizuojami BUSP ir ESGP vykdymo mechanizmai, ES misijų modeliai SOFA ir SOMA, žlugusios valstybės, reikalaujančios krizių valdymo ir humanitarinių intervencijų. Analizuojant dokumentus, pateikiamos ES misijų patirtys Kongo Demokratinėje Respublikoje ir Kosove. Nagrinėjama ES bendradarbiavimas ir sąveika su įvairiomis tarptautinėmis organizacijomis NATO, JTO, AS ir NVO, vykdant taikdarystės ir krizių sprendimo misijas. Daromos išvados, kad BUSP vykdoma įvairiais instrumentais, iš kurių svarbiausi stabilumas ir taikos kūrimo partnerystė. Sprendžiant... [toliau žr. visą tekstą] / The final paper of Master degree is devoted for making consideration of EU responsibility to the World while exercising ESDP missions, such like crisis management, peace and states rebuilding, building peace and states in the context of peacekeeping. The subject of the paper: EU missions (cases of Democratic Republic of Congo and Kosovo). The aim of the paper: find out the importance and weight of the EU peacekeeping missions to the states of the 21st century. The goals of paper: to evaluate CFSP and ESDP as missions background; to analyze the concept of EU missions, which was introduced in the official documents; to review functioning mechanisms of the EU support and their importance; to compare EU missions in Africa and Balkans and their achieved results; to analyze importance of the EU missions to member states and also to NATO, UN, AU and NGOs actions in this area. The introduction of paper is devoted for theoretical background of CFSP and ESDP and their aims and goals, their evolution and cooperation, and for the role of member states and institutions. Also there is analyzing CFSP and ESDP exercising mechanisms, EU SOFA and SOMA models and failed states. Introducing missions experiences in Democratic Republic of Congo and in Kosovo. There is made considerations about EU cooperation with various international organizations, like NATO, UN and NGOs while exercising missions of peacekeeping and crisis resolutions. To conclude with, CFSP is exercising with various... [to full text]

Fundação de Amparo a Pesquisa no Estado do Rio Grande do Sul / The aim of this study was to evaluate the growth and development of watermelon hybrids in relation to air temperature by obtaining the thermal time for vegetative and reproductive subperiods for the hybrid cultivar Manchester and Top Gun, both early cycle were used. The experiment was conducted in an area belonging to the Federal University of Santa Maria/Campus Frederico Westphalen-RS, from September to December 2014. During the execution of the experiment, evaluations were performed every two days for the following characteristics: emission nodes/leaves, development of primary and secondary vines, and issuance of staminate flowers and pistillate. The spacing used was 1.5 m between plants and 3.0 m between rows of the crop. The values obtained for the evaluated criteria differ significantly where the hybrid Manchester demonstrated superiority over the hybrid Top Gun which presented average values of plastichrone with 16.6 °C day-1 node, the amount of nodes on the main vine was 45.8 nodes, the thermal sum for the issuance of secondary vines was 18.1 °C growing degree days-1 vine, and the final number of secondary vines and vines of 26.6, and a total number of growing degree days for staminate flower emission of 9.6 °C day-1 flower. The hybrid Top Gun was superior to the hybrid Manchester for the final number of primary vines, emitting on average 14.6 vines per plant and an accumulated growing degree day for pistillate flower emission of 51.9 °C day-1 flower. In the variables of thermal time on the main stem, primary stem, and growing degree day, the thermal time for primary and secondary vines, final number of staminate flowers and pistillate hybrids showed no statistical difference in mean values. / O objetivo deste estudo foi avaliar a velocidade de emissão de órgãos vegetativos e reprodutivos para dois híbridos de melancieira em relação a temperatura do ar, com a obtenção da soma térmica acumulada. Foram utilizados os híbridos Manchester e Top Gun, ambos de ciclo precoce. O experimento foi conduzido em área pertencente à Universidade Federal de Santa Maria/Campus Frederico Westphalen RS, no período de setembro a dezembro de 2014. Durante a execução do experimento, foram realizadas avaliações a cada dois dias sobre as seguintes características: emissão de nós, emissão de ramificações primárias, secundárias, emissão de flores estaminadas e pistiladas. As variáveis foram estimadas pelo inverso do coeficiente angular da regressão linear do órgão visível com a soma térmica diária acumulada a partir do transplante para o campo. Os resultados obtidos para os critérios avaliados diferiram significativamente, sendo que o híbrido Manchester demonstrou superioridade em relação ao híbrido Top Gun apresentando valores médios de plastocrono com 16,6 ºC dia nó-1, número final de nó na haste principal de 45,8 nós, soma térmica para emissão de ramificação secundária de 18,1 ºC dia-1 ramificação, número final de ramificações secundárias de 26,6 ramificações e soma térmica para emissão de flor estaminada de 9,6 ºC dia-1 flor. O híbrido Top Gun foi superior ao híbrido Manchester para as variáveis número final de ramificações primárias emitindo em média 14,6 ramificações por planta e soma térmica acumuladas para emissão de flor pistilada de 51,9 ºC dia flor-1. Nas variáveis soma térmica acumulada na haste principal, soma térmica para ramificação primária, soma térmica acumulada para ramificações primárias e secundárias, número final de flores estaminadas e pistiladas os híbridos não apresentaram diferenciação estatística dos valores médios.

Self-image and the way we present ourselves to the world are highly relevant in today’s society, fostered to some extent by the ubiquitous use of technology. For example, the idealized body image that is disseminated in the media and on social networks can affect the relationship we have with ourselves. Beyond the idyllic images promoted by external agents, there is a personal aspect that also defines who we are and how we relate to our environment; that is self-fashioning, a constant self-driven, ameliorative change in accordance to the ideals promoted by somaesthetics. In line with this approach, our bodies could be understood as spaces for self-design to increase somaesthetic appreciation, both of ourselves and the world. This thesis discusses some early considerations for the development of self-fashioning technologies and the exploration of the design space. By conducting a soma-oriented workshop and a subsequent first-person exploration, I introduce a set of design features that might be addressed when devising embodied artifacts. They highlight the importance of "constant becoming," a situated ongoing process that shapes us, arguing that technologies for self-fashioning should support it. / Självbilden och hur vi presenterar oss för världen är högst relevanta i dagens samhälle, delvis underblåst av den allestädes närvarande användningen av teknik. Till exempel kan den idealiserade kroppsbild som sprids i medierna och på sociala nätverk påverka relationen vi har till oss själva. Utöver de idylliska bilder som främjas av externa agenter finns det en personlig aspekt som också definierar vilka vi är och hur vi förhåller oss till vår miljö; det vill säga self-fashioning, en konstant självdriven och förbättrande förändring i enlighet med de ideal som främjas av somaestetiken. I linje med detta synsätt kan våra kroppar förstås som utrymmen för självutformning för att öka somaestetisk uppskattning, både av oss själva och av världen. Denna uppsats diskuterar några tidiga överväganden för utformningen av self-fashioning teknologier och utforskningen av designutrymmet. Genom en soma-orienterad workshop och en efterföljande förstapersonsutforskning presenterar jag en uppsättning designfunktioner som kan hanteras när man designar inbäddade artefakter. De betonar vikten av "constantly becoming", en situerad pågående process som formar oss, och argumenterar för att teknologier för self-fashioning bör stödja det.

With the emergence of ubiquitous computing and biosensing technologies, there is a growing interest to explore wellbeing within design research. This paper unpacks the notion of wellbeing from somaesthetic and feminist perspectives. Through a series of evocative first-person design explorations, a soma-based design workshop, and a cultural probes study, I re-think wellbeing along the concept of the ever-changing body, a continuously and holistically changing organism with human and non-human features which is influenced by society, culture and economy. This contributes to a new understanding on how we relate to wellbeing and to practices of care and wellness, and how might we design technologies for awareness and understanding of our wellbeing. As the process unfolds, I discuss alternative design approaches for digital wellbeing considering aspects of touch and discomfort, materiality as a probe and care for the more-than-human. I argue that the slowness and openness of somaesthetic design paired with the open-ended character of cultural probes reveal tensions that exist between individuals and wellbeing and facilitate a greater diversity of bodies and minds. With this project, I propose an open-ended design approach to wellbeing building on the soma design space that can be used in the design of biosensing technologies for wellbeing. / Med framväxten av allestädes närvarande datorer och bioavkänningssensing-teknologier finns det ett växande intresse för att utforska välbefinnande inom designforskning. Denna artikel tar upp begreppet välbefinnande på en individuell berikad med andras förstapersonsupplevelser ur somestetiska samtoch feministiska perspektiv. Genom en serie stämningsfulla designutforskningar i första person, en soma-baserad designworkshop och en kulturell probesstudie utforskarstuderar jag välbefinnande längs konceptet ever-changing body, en kontinuerligt och holistiskt föränderlig organism med mänskliga och icke-mänskliga egenskaper som påverkas av samhälle, kultur och ekonomi. Detta bidrar till en ny förståelse för hur vi förhåller oss till välbefinnande och till praxis för vård och välbefinnande, samtoch hur vi kan utforma teknologier för medvetenhet och förståelse för vårt välbefinnande. Jag hävdar att långsamheten och öppenheten ihos somestetisk design i kombination med den öppna karaktären hos kulturella undersökningar avslöjar spänningar som finns mellan individer och välbefinnande vilkeoch underlättar en större mångfald av kroppar och sinnen. Allt eftersom processen utvecklas, jag diskuterar alternativa designmetoder för digitalt välbefinnande med tanke på aspekter såsomav beröring och obehag, materialitet som en sond och mer än mänsklig design i åtanke. Med det här projektet föreslår jag en öppen designstrategi för välbefinnande som bygger på soma-designutrymmet som kan användas vid utformningen av bioavkännings-teknologier för välbefinnande.

Media designed to elicit Autonomous Sensory Meridian Response (ASMR) has been used for years for relaxation and improved sleep. Recent research has shown that experiencing ASMR lowers markers for stress, and can induce a relaxed mood. In this thesis, the use of ASMR in a somaesthetic design process was used to define experiential qualities of relaxation. Somaesthetic sensitivity training, ASMR exploration, a material exploration, and a workshop produced several themes relevant to relaxation. Out of these, the themes with the most promise for this project were selected and further examined through the formation of the artifact The Rice Walker, a walking-based artifact for ASMR-inspired relaxation. Using a thematic analysis, the foundations for three experiential qualities of relaxation were identified: Allowing for Anticipation, Softness, Gentleness, and Gradual Transitions, and Control Without Demands. These qualities can be used to expand the soma design space, or could be used in the development of relaxing human-computer interactions. / Media designad för att framkalla ASMR har använts i flera år för avslappning och bättre sömn. Ny forskning har visat att upplevd ASMR sänker stressmarkörer, och kan leda till ett avslappnat tillstånd. I detta examensarbete utforskades användandet av ASMR i en somaestetisk designprocess för att definera experientiella kvalitéer av avslappning. Somaestetisk träning, utforskning av ASMR, en förstapersons material utforskning, samt en workshop resulterade i flera teman relevanta för avslappning. Av dessa valdes de teman med bäst möjlighet till utveckling ut, och dessa teman utvärderades mer utförligt i skapandet av artifakten The Rice Walker som använder gång för att ge känslan av ASMR-inspirerad avslappning. Tre kvalitéer identifierades genom en tematisk analys: Allowing for Anticipation, Softness, Gentleness, and Gradual Transitions, och Control Without Demands. Dessa kvalitéer kan utöka soma design-området, och kan användas i utvecklingen av avslapppnande människo-dator interaktioner.

A plethora of multi-copter drones can be found in a variety of public and private sectors in society; crime detection, border guard, agricultural inspections, aerial photography, cinematography, television, and entertainment. Unlike commercial drones, ornithopters - flapping bird-like drones - have a very different materiality. The different aesthetics and flight dynamics of these machines require designers to rethink the design space of this kind of drone. This study aims to map out the preliminary design space of ornithopters and explore their interesting flight dynamics and material qualities. Participants were invited to a workshop to build and fly three different ornithopters and reflect on the ornithopters and their experiences while flying them. This thesis presents a series of insights into ornithopters, especially their unique materiality. The unique materials used in ornithopters, such as balsa wood, polystyrene, nylon and carbon fiber, allow them to fly more efficiently and withstand the forces of flight. Finally, I argue that designers can embrace the design space of ornithopters by creating features that amplify the unique and unpredictable movements of the machine, which could lead to new and innovative designs. This would work towards a celebration of non-uniformity of morphologies and movements in an ecosystem of biologically-inspired flying robots. / En mängd av multirotor drönare kan hittas i olika offentliga och privata sektorer i samhället; brottsbekämpning, gränskontroller, jordbruksinspektioner, flygfotografering, filmproduktion, television och underhållning. Till skillnad från kommersiella drönare har ornithoptorer - fågelliknande flaxande drönare - en helt annorlunda materialitet. De olika estetiska och flygdynamiska egenskaperna hos dessa maskiner kräver att designers omprövar designutrymmet för denna typ av drönare. Denna studie syftar till att kartlägga det preliminära designutrymmet för ornithoptorer och utforska deras intressanta flygdynamik och materialkvaliteter. Deltagare var inbjudna till en workshop för att bygga och flyga tre olika ornithoptar och för att observera deras upplevelse att flyga med dem. Detta arbete omfattar ett antal insikter om ornithoptar, speciellt deras unika materialitet. De unika material som används i ornithoptar, såsom balsaträ, polystyren, nylon och kolfiber, tillåter de att flyga mera effektivt och motstå krafterna i flygningen. Slutligen argumenterar jag att designers kan ta tillvara designutrymmet av ornithoptar genom att skapa egenskaper som amplifierar de unika och oförutsägbara rörelserna av maskinerna, vilket skulle leda till nya och innovativa designer. Detta skulle bidra till en hyllning av icke uniformitet av morfologier och rörelser i ett ekosystem av biologiskt inspirerade flygande robotar

Elevated heart rate is considered to be an indicator of stress. Thus, noticing one’s own heartbeat can have a negative connotation. Yet, the heartbeat is simply a physiological function, neither positive nor negative in itself, that is experienced in diverse contexts, such as medical, athletic, or intimate. This study uses first-person  research through design and soma design to increase awareness of the heartbeat from both an individual and social angle and examines the potential benefits of using external sensory stimuli to convey biofeedback information. It also opens up the design space around the heartbeat and sensory stimuli and reflects upon comfort and relaxation, biofeedback and digital mindfulness, the Sensiks sensory reality pod as a tool and space, and the heartbeat as a spectrum and a way of getting to know people. The study results in four deliverables: a design critique of the Sensiks sensory reality pod, a design fiction publication, a design proposal, and an experience prototype. The study proposes the design for the Gallery of Heartbeats – a sensory experience aimed at externalising and sharing the heartbeat of self and others. The Gallery of Heartbeats supports individual reflections, providing the user with real-time numerical, graphical, and auditory biofeedback on their heart rate. It also encourages social communication of this commonly unnoticed physiological feature, allowing users to record and store their heartbeat to an archive and experience the pre-recorded heartbeats of others in a multisensory way. The evaluation of the Gallery of Heartbeats prototype shows that the design succeeds in making people more aware of their cardiovascular activity, triggers their curiosity, and increases empathy. However, the Gallery of Heartbeats also makes the users want to control or change their heart rate which goes against the mindfulness principles of presence-in and presence-with the design was inspired by. Sensory stimuli, especially sound and visuals, are assessed as beneficial for creating feelings of immersion, whereas different representations of the biofeedback information have different effects and use cases. / En förhöjd hjärtfrekvens anses vara en indikator på stress. Därför kan en hög puls tolkas som något negativt. Likväl har hjärtats pulserande enbart en fysiologisk funktion, som i sig varken har en positiv eller negativ betydelse, och som kan erfaras under olika omständigheter, såsom i medicinska sammanhang, vid fysisk träning eller under intima stunder.  Denna studie är en forskning-genom-design ur ett förstapersonsperspektiv samt soma-design för att öka medvetenheten om sina hjärtslag, både från en individuell och en social vinkel, samt en undersökning av de potentiella fördelar som kan finnas med att använda ett yttre stimuli för att ge biofeedback. Den öppnar också upp designrymden kring hjärtslag och sensorisk stimuli, reflekterar kring välbefinnande och avslappning, biofeedback och digital mindfulness, Sensiks sensoriska kapsel som ett verktyg och en plats, samt hjärtfrekvens som ett spektrum och ett sätt att lära känna människor. Resultatet av studien framställs i fyra olika delar: en designkritik av Sensiks sensoriska kapsel, en fiktiv design publikation, ett designförslag, och en prototyp av upplevelser. Detta examensarbete utmynnar i ett förslag på en design kallad “Gallery of Heartbeats” - en sensorisk upplevelse avsedd att ge en yttre form och för att dela hjärtslagen med sig själv och andra. “Gallery of Heartbeats” skapar utrymme för individuell reflektion, och ger användaren i realtid en numerisk, grafisk och ljudmässig biofeedback på sin hjärtfrekvens. Den uppmuntrar också till samtal av detta vanligtvis omärkbara fysiologiska fenomen, den möjliggör användaren att spela in och spara sina hjärtslag i ett arkiv, och användaren ges möjlighet att uppleva förinspelade hjärtslag av andra personer på ett multisensoriskt sätt. Utvärdering av prototypen för “Gallery of Heartbeats” visar att designen lyckas få människor mer medvetna om sin kardiovaskulära aktivitet, väcker deras nyfikenhet och ökar empatin. Dock gör även “Gallery of Heartbeats” att användaren vill kontrollera eller ändra sin hjärtfrekvens, vilket går emot de principerna inom mindfulness av att vara ‘presence-in’ och ‘presence-with’. Sensorisk stimuli, särskilt ljud och bild, ses som främjande av att skapa känslan av att vara absorberad, medan andra signaler från biofeedback har en annan påverkan och andra användningsområden.

This essay explored gendered embodiement within the practice of kinbaku, also called shibari or Japanese rope bondage. The research has been done within the Swedish kinbaku community using ethnographic methods consisting of interviews with practitioners of kinbaku and complete participation observations. By using phenomenology of touch as a methodological and theoretical approach together with theories of somatechnics the intimate experiences and relationships practitioners have to kinbaku, the practice of rope bondage can be understood as processes of embodiement through affect, sensation and technology. By using this understanding of kinbaku questions are asked about how these embodied positions are gendered and further what possibilities, restrictions and potential of renegotiating these positions are embedded within the practice.

Usamos as regras de soma da QCD para obter a massa dos pentaquarks \" \'teta\' POT.+\"(1540) e \"\'ksi\' POT.--\" (1862), a largura de decaimento da \"\'teta\' POT.+\" e a constante de acoplamento e fator de forma presentes no vertice J/ \'psi\' \"DD POT.*\". No estudo dos pentaquarks, usamos dois tipos de campos interpolantes contendo dois diquarks altamente correlacionados. Obtemos as massas consistentes com os dados experimentais, porém esta regra de soma têm uma grande contribuição do contínuo e a OPE não é muito boa. Obtivemos uma largura de decaimento compatível com os valores experimentais desde que sejam subtraídos diagramas que representam a \" \'teta\' POT.+\" como um estado ligado K - n. No estudo do vértice vertice J/ \'psi\' \"DD POT.*\" calculamos o fator de forma e a constante de acoplamento, considerando três casos: D off-shell, \"D POT.*\" off-shell e J/ \'psi\' off-shell. A constante de acoplamento é a mesma nesses três casos, porém o fator de forma depende da escolha da partícula off-shell, onde para a J/ \'psi\' off-shell o fator de forma é bem mais duro que o fator de forma obtido para os outros casos. Também comparamos os nossos resultados com outros métodos: o modelo de quark méson constituintes e o modelo de quarks relativísticos constituintes / We use the QCD sum rules to obtain the masses of the pentaquarks _+(1540) and _−−(1862), _+ decay width and the coupling constant and the form factor for the J/ DD* vertex.In the study of the pentaquarks, we use two kinds of interpolating fields, containing two highly correlated diquarks. We get the masses in a good agreement with the experimental value, but this sum rule has a large continuuum contribution and the OPE convergence is not so good. We get the decay width compatible with the experimental value, since we subtract the diagrams that represent _+ as a K − n bound state. In the study of J/ DD* vertex, we calculate the form factor and the coupling constant considering three cases: D off-shell, D* off-shell and J/ off-shell. The coupling constant is the same in those three cases, however the form factor depends on the choice of the particle off-shell, where for the J/ off-shell the form factor is much harder than the form factor obtained for the other cases. We also compare our results with other methods: the constituent quark meson model and the relativistic constituent quark model.

Usamos as regras de soma da QCD para obter a massa dos pentaquarks \" \'teta\' POT.+\"(1540) e \"\'ksi\' POT.--\" (1862), a largura de decaimento da \"\'teta\' POT.+\" e a constante de acoplamento e fator de forma presentes no vertice J/ \'psi\' \"DD POT.*\". No estudo dos pentaquarks, usamos dois tipos de campos interpolantes contendo dois diquarks altamente correlacionados. Obtemos as massas consistentes com os dados experimentais, porém esta regra de soma têm uma grande contribuição do contínuo e a OPE não é muito boa. Obtivemos uma largura de decaimento compatível com os valores experimentais desde que sejam subtraídos diagramas que representam a \" \'teta\' POT.+\" como um estado ligado K - n. No estudo do vértice vertice J/ \'psi\' \"DD POT.*\" calculamos o fator de forma e a constante de acoplamento, considerando três casos: D off-shell, \"D POT.*\" off-shell e J/ \'psi\' off-shell. A constante de acoplamento é a mesma nesses três casos, porém o fator de forma depende da escolha da partícula off-shell, onde para a J/ \'psi\' off-shell o fator de forma é bem mais duro que o fator de forma obtido para os outros casos. Também comparamos os nossos resultados com outros métodos: o modelo de quark méson constituintes e o modelo de quarks relativísticos constituintes / We use the QCD sum rules to obtain the masses of the pentaquarks _+(1540) and _−−(1862), _+ decay width and the coupling constant and the form factor for the J/ DD* vertex.In the study of the pentaquarks, we use two kinds of interpolating fields, containing two highly correlated diquarks. We get the masses in a good agreement with the experimental value, but this sum rule has a large continuuum contribution and the OPE convergence is not so good. We get the decay width compatible with the experimental value, since we subtract the diagrams that represent _+ as a K − n bound state. In the study of J/ DD* vertex, we calculate the form factor and the coupling constant considering three cases: D off-shell, D* off-shell and J/ off-shell. The coupling constant is the same in those three cases, however the form factor depends on the choice of the particle off-shell, where for the J/ off-shell the form factor is much harder than the form factor obtained for the other cases. We also compare our results with other methods: the constituent quark meson model and the relativistic constituent quark model.