Comment les êtres, humains ou plus-qu’humains, en viennent-ils à partager leurs mouvements ? Qu’est-ce qui exauce, soutient ou empêche la confluence de leurs gestes ? Ces questions sont des questions métaphysiques (question de la comobilité des êtres), anthropologiques (question du vivre-ensemble) ou biologiques (question de la symbiose) : pour y répondre, il est de bonne méthode de lire des philosophes, des anthropologues, des biologistes. Nous avons décidé de les adresser à une pratique chorégraphique : le Contact Improvisation, une forme de danse initiée par le chorégraphe américain Steve Paxton en 1972, et où danseurs et danseuses se sautent les un-es sur les autres, entrent en contact les un-es avec les autres, roulent par terre et tombent dans les airs, considérant que la philosophie avait tout intérêt à reconnaître que danseurs et danseuses non seulement savent bouger ensemble, mais, plus important, savent s’apprendre et penser la manière dont ils bougent ensemble. / How do human and more-than-human beings come to share movements? What supports, hinders or ignites the confluence of their gestures? These questions are metaphysical (how do things coexist?), anthropological (how to live together?), and biological (how do we merge and exist symbiotically?): to answer them, our anthropo-phenomenological “philosophy of gestures” offers a reading of contemporary philosophers, anthropologists and biologists. But next to those field specialists, the investigations also led us to ask our questions to dancers and to a dance practice—Contact Improvisation, a movement form that was initiated by North American choreographer in 1972, where dancers jump at each other, enter in contact, roll on the ground and fall in the air. Our hypothesis was simple: we are in urgent need to renew our understanding of movement and specifically of our ways of moving together (with other, humans or more-than-humans), who better than dancers to lead the inquiry with?

O tema hipertexto tem figurado como frequente ponto de discussão por parte da Linguística. Ainda assim, há pouca clareza quanto ao seu conceito. Flutuações terminológicas e descrições pouco ou muito específicas impedem uma consistência maior de hipertexto e hipertextualidade. Dessa forma, a presente dissertação procura compilar as principais ideias relatadas sobre o tema, principalmente em contexto nacional, para então discuti-las. Os conceitos são separados com base nos problemas recorrentes de descrição, sendo eles o problema da natureza, o problema da fronteira e o problema da vagueza. Alguns dos autores contemplados são Coscarelli, Gomes, Koch, Lobo-Sousa, Marcuschi e Xavier, e considerações de Nelson sobre o tema são trazidas para o centro da discussão. Posteriormente, as categorias pelas quais o hipertexto é comumente definido são discutidas uma a uma, com base em Koch, Komesu e Marcuschi. Por fim, disserta-se sobre a relação entre hipertexto e realidade aumentada, tomando como alicerce Mann, Manovich e Nelson. Propõe-se a realidade aumentada como melhor exemplo de hipertexto contemporâneo devido às suas características dinâmicas e também ao diálogo para com o espaço físico, o qual remete à transclusão imaginada por Nelson. / The subject hypertext has been the centre of recurrent discussions in Linguistic. In spite of that, there has not been a lot of clarity in regards to its concept. Terminological fluctuation and too vague or too specific descriptions prevent bigger consistency about hypertext and hypertextuality. Therefore, the present dissertation aims to compile the principal ideas written about the subject, mainly in a national context, to discuss them afterwards. Such concepts are divided by the recurrent problems found in their descriptions, being the nature problem, the boundary problem and vagueness problem. Some of the commented authors are Coscarelli, Gomes, Koch, Lobo-Sousa, Marcuschi e Xavier, and considerations from Nelson about the subject are taken to the centre of the discussion. Posteriorly, the categories through which hypertext is commonly defined are discussed one by one, based on Koch, Komesu e Marcuschi. Lastly, the connexion between hypertext and augmented reality is addressed, starting from Mann, Manovich e Nelson. Augmented reality is proposed as the best example of hypertext because of its dynamic features, and also because of the relation kept with physical space, which itself recalls the transclusion as imagined by Nelson.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2017-09-18T12:29:18Z No. of bitstreams: 1 Amanda Moura da Silva dos Santos.pdf: 4842874 bytes, checksum: 23744ffdb2bf6401ae37d88f26b46616 (MD5) / Made available in DSpace on 2017-09-18T12:29:19Z (GMT). No. of bitstreams: 1 Amanda Moura da Silva dos Santos.pdf: 4842874 bytes, checksum: 23744ffdb2bf6401ae37d88f26b46616 (MD5) Previous issue date: 2017-09-05 / Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq / Steve Jobs’ speech, that marked the launch of products made by Apple, a technology company, was eagerly anticipated by the market, fans and media. All over the world, many people line up and even set up tents in front of Apple stores on the eve of product launches, and then come out holding their package as a trophy. But what explains Apple’s phenomenon? This study is based on the assumption that Jobs is considered a sort of modern times messiah, making Apple an extension of himself, and aims to understand, within an enunciative-discursive perspective, as developed by Dominique Maingueneau, how the messiah figure is personified in Jobs and unveils a “savior” myth established around him. This investigation is also founded on the hypothesis of sacralization of technology (Noble, 1997), which considers that, by promoting the encounter between the physical and the metaphysical, technology aims at transcendence and appropriates religious ideas. As such, this study is spread across different discursive fields, such as advertising, religion and the media, aiming to understand not only the intertextuality but also the discursive ethos and set design in the conjuncture of the public appearances of Apple’s co-founder. In addition, in order to understand how Steve Jobs’ discourse got acclaimed by the world, using the religious discourse to legitimize his own speech, the notion of constituent discourses is thus mobilized. Considering the evolution in the networks of discourse genres, especially after the emergence of the internet and the widespread dissemination of technology, the study also contemplates the notion of generic valence (Maingueneau, 2015), which allows us to reflect on how discourse genres and consequently the exercise of the discourse have been transforming over time. This reflection is essential, since the analysis of this research focuses on events that happened empirically and were reproduced on YouTube, an online video sharing platform. The results show how the pre-discursive ethos was constructed with an interaction between different genres, the discursive artifices used by the enunciator in the scenography of his presentations to challenge his co-exponents, as well as the links between what Jobs demonstrated and the contents circulating about him, raising expectations of his public appearances / Nas apresentações que marcavam o lançamento oficial dos produtos da Apple, empresa de tecnologia, o pronunciamento de Steve Jobs, cofundador e presidente da companhia, era ansiosamente aguardado por todo o mercado, por fãs e pela mídia. Ao redor do mundo, muitos fazem filas e até montam acampamentos em frente às lojas às vésperas do lançamento de algum produto e depois saem exibindo o pacote como um troféu. Mas o que explica esse fenômeno Apple? Esta pesquisa parte do pressuposto de que Jobs se consagrou como uma espécie de messias dos tempos modernos, tornando a Apple uma extensão de si, e objetiva compreender, na perspectiva enunciativo-discursiva, tal como desenvolvida por Dominique Maingueneau, como a figura de messias se personifica em Jobs e desvela uma mítica de “salvador” instaurada sobre ele. Esta investigação também parte da hipótese da sacralização da tecnologia (NOBLE, 1997), a qual considera que, promovendo o encontro entre o físico e o metafísico, a tecnologia visa à transcendência e se apropria de ideias religiosas. Assim, neste trabalho realiza-se um atravessamento por diferentes campos discursivos como o publicitário, o religioso e o midiático, com vistas a depreender não somente a intertextualidade como o ethos discursivo e a cenografia na conjuntura das aparições públicas do cofundador da Apple. Ademais, para compreender o modo como o discurso de Steve Jobs encenou sua consagração ao mundo, recorrendo ao discurso religioso para legitimar a própria fala, mobiliza-se a noção de discurso constituinte. Considerando a evolução nas redes dos gêneros do discurso, especialmente após o surgimento da internet e da ampla disseminação da tecnologia, a pesquisa também contempla a noção de valência genérica (MAINGUENEAU, 2015), que permite refletir sobre o modo como os gêneros do discurso e, consequentemente, o exercício do discurso vêm se transformando. Essa reflexão é essencial, uma vez que a análise desta pesquisa se concentra em eventos que aconteceram de modo empírico e que foram reproduzidos em um site de compartilhamento de vídeos, o YouTube. Os resultados mostram o modo como o ethos pré-discursivo se construiu por meio da interação entre diferentes gêneros, os artifícios discursivos utilizados pelo enunciador na cenografia de suas apresentações para interpelar seus coenunciadores, bem como o encadeamento que havia entre aquilo que Jobs demonstrava e os conteúdos que circulavam a seu respeito, suscitando expectativas em relação a suas aparições públicas

The project investigates mathematics, informatics, statistical analysis and their histories, the history of human engagement with machines, and illustrates some uses of artificial intelligence and robotic technologies as media. It is concerned with, amongst other issues, the sentient and not sentient binaries offered in discourses on machine intelligence. The term intelligence is used to distinguish between human and not human. However, a non-human, the intelligent machine, has become incorporated into the processes by which our culture defines intelligence. Those processes were explored in phases of the project that focused upon various kinds of interactions between people and machines, particularly the ways in which those interactions are mediated by knowledge. The discourses that underpin the field of mechanical intelligence spring from the same sources as the rhetoric that delineates human beings from all other things. We make intelligent machines because we have something to prove regarding our own intelligence. The devices expose attributes considered in our culture to be intelligent. The size and technical sophistication of modern robots result from the expenditure of considerable funds across several disciplines. Such machines signify wealth, power and excess, despite any other significance their makers intend.

Composing or arranging for orchestra is a skill which is hard to learn and hard to teach. Literature on orchestration is comprehensive in terms of rules of thumb and these heuristic tools are sometimes called principles of orchestration. However, a study of the literature on orchestration revealed that these 'principles' are not theories about the outcomes and effects of specific decisions made by composers. An exception is the work of George McKay who does indeed establish principles of orchestration to some extent. Granting a few exceptions, literature on orchestration takes as point of departure recommendations about techniques of orchestration and illustrates these techniques with analyses of existing compositions for orchestra. In this study I invert the approach followed in the literature and take music analysis as a point of departure for my study. I used an existing and conventional analysis of Claude Debussy's Syrinx for solo flute from the book Sonic Design: The Nature of Sound and Music by Robert Cogan and Pozzi Escot (1976) as context for my own analysis of Syrinx in which the less familiar type of analysis – the analysis of musical gestures and musical forces – can be understood. This analysis formed the basis for my orchestral composition titled Ananke which is based upon musical gestures from Syrinx. A reinterpretation of Cogan and Escot's analysis of Debussy's Syrinx enabled me to identify the musical gestures I used as a basis for my orchestral composition. Musical gestures are understood in this dissertation in terms of the theory of musical forces by Steve Larson. The objective in composing Ananke, based upon material from Syrinx by Debussy, is to explore different ways in which the musical gestures can be orchestrated in order to amplify the three musical forces namely musical gravity, musical magnetism and musical inertia. This process of composing the orchestral composition enabled me to construe principles of orchestration concerning musical forces and the different ways in which musical forces can be amplified. I found that the approach I followed in this study can indeed be employed in order to investigate and construe principles of orchestration, taking music analysis as a point of departure. This new approach to the study of orchestration opens up new possibilities in teaching and learning orchestration, as well as in composing or arranging for orchestra. / Thesis (MMus (Composition))--North-West University, Potchefstroom Campus, 2013.

Composing or arranging for orchestra is a skill which is hard to learn and hard to teach. Literature on orchestration is comprehensive in terms of rules of thumb and these heuristic tools are sometimes called principles of orchestration. However, a study of the literature on orchestration revealed that these 'principles' are not theories about the outcomes and effects of specific decisions made by composers. An exception is the work of George McKay who does indeed establish principles of orchestration to some extent. Granting a few exceptions, literature on orchestration takes as point of departure recommendations about techniques of orchestration and illustrates these techniques with analyses of existing compositions for orchestra. In this study I invert the approach followed in the literature and take music analysis as a point of departure for my study. I used an existing and conventional analysis of Claude Debussy's Syrinx for solo flute from the book Sonic Design: The Nature of Sound and Music by Robert Cogan and Pozzi Escot (1976) as context for my own analysis of Syrinx in which the less familiar type of analysis – the analysis of musical gestures and musical forces – can be understood. This analysis formed the basis for my orchestral composition titled Ananke which is based upon musical gestures from Syrinx. A reinterpretation of Cogan and Escot's analysis of Debussy's Syrinx enabled me to identify the musical gestures I used as a basis for my orchestral composition. Musical gestures are understood in this dissertation in terms of the theory of musical forces by Steve Larson. The objective in composing Ananke, based upon material from Syrinx by Debussy, is to explore different ways in which the musical gestures can be orchestrated in order to amplify the three musical forces namely musical gravity, musical magnetism and musical inertia. This process of composing the orchestral composition enabled me to construe principles of orchestration concerning musical forces and the different ways in which musical forces can be amplified. I found that the approach I followed in this study can indeed be employed in order to investigate and construe principles of orchestration, taking music analysis as a point of departure. This new approach to the study of orchestration opens up new possibilities in teaching and learning orchestration, as well as in composing or arranging for orchestra. / Thesis (MMus (Composition))--North-West University, Potchefstroom Campus, 2013.

Master of Music / Department of Music / Kurt R. Gartner / This is a report intended for musicians planning to perform any number of, or scholars seeking to enrich understanding of, the following compositions: Concerto for Marimba and Wind Ensemble by David Gillingham, XL Plus One by Alvin Etler, March from Eight Pieces for Four Timpani by Elliott Carter, 42nd Street Rondo by Wayne Siegel, and Oceanus by Steve Houghton and Wendell Yuponce. Each work is analyzed in accordance with Jan Larue's method of style analysis. For some compositions, analysis of harmony has been omitted. For all compositions, the author has added a pedagogical realm of analysis, dedicated to notable performance considerations, interpretive possibilities, and technical considerations, to Larue's organizational scheme. Therefore, the approach taken in this document can be expressed as: Sound, Harmony, Melody, Rhythm, Growth, and Performance.

From Integrative Summary: There has been a growing interest in successful entrepreneurs. Research on entrepreneurship has focused on the identification of personality variables that would assist in the prediction of entrepreneurial success. The present study moves away from attempting to predict entrepreneurial success and instead focuses on exploring and describing the personality of a successful entrepreneur. A psychobiographical case study was adopted by the researcher to explore and describe the extent to which Steve Jobs demonstrated the entrepreneurial characteristics identified by Rauch and Frese (2007). A personality trait approach to entrepreneurship was adopted in the study. The study also attempted to explore the socio-cultural and economic context within which Jobs practised his entrepreneurial activities. Jobs was a successful entrepreneur who co-founded Apple and founded NeXT and Pixar, which were all companies that transformed various technological industries. His entrepreneurial orientation allowed him to produce innovative products that transformed society in various sectors which included personal computing, mobile phones, music, retail stores and films (Isaacson, 2011). A qualitative approach was adopted in the study. The data collection and analysis was guided by the three linked sub-processes proposed by Miles and Huberman (2002) which involved data reduction, data display and conclusion drawing and verification. The findings of this study showed that Jobs demonstrated, at varying levels, all the entrepreneurial characteristics identified by Rauch and Frese (2007) which included a need of achievement, risk-taking, innovativeness, autonomy, locus of control and self-efficacy. The researcher however noted that the desire for autonomy, risk-taking, innovativeness and self-efficacy were the most dominant characteristics driving his entrepreneurial orientation. The research thesis adopted the structure of a teaching case which can be used to explore and discuss the personality trait perspective to entrepreneurship in a classroom setting. The findings of the study can be recognised as positively contributing to the growing field of psychobiographical research on exceptional individuals, including entrepreneurs. The study can be considered as a foundation for future studies which will add to the body of knowledge relating to entrepreneurship and personality.

No description available.

Thesis (MPhil)--Stellenbosch University, 2014. / ENGLISH ABSTRACT: This thesis discusses ethical dilemmas faced by district surgeons in South Africa. District surgeons render clinical forensic services, which means that they deal mainly with detainees and victims of crime. The main functions of district surgeons are the collection of forensic evidence from patients and the care of detainees. So the focus is to assist in the administration of justice rather than improvement of patient wellbeing. The district surgeon may therefore find himself in a situation where patients’ interests are in conflict with those of law enforcement agencies. Being a medical practitioner in clinical forensic medicine, the district surgeon has an obligation to assist in the administration of justice, as opposed to the traditional obligation to care for patients and put patient’s interests first. This allegiance to both administration of justice as well as patient wellbeing lead to an ethical dilemma of dual loyalties. A dual obligations presents an ethical dilemma for the district surgeon, especially if they are in conflict and mutually exclusive. I discuss the detention and subsequent death of Steve Biko to illustrate how dual obligations can lead to serious human rights violations and even death. Dual obligations are however not limited to detainees and police custody settings, and I demonstrate this by discussing three other scenarios commonly encountered by district surgeons. There is a lack clear guidance for district surgeons who are faced with a conflict of obligations. I explore several ethical theories including consequentialism, deontology and virtue ethics, in search of an ethical framework suitable for resolving conflicts in clinical forensic medicine. I therefore argue that a duty based ethical framework is central to clinical forensic medicine and the resolution of loyalty conflicts. I recommend the resolution of conflicts by using an approach developed by Benjamin (2006). This approach involves weighing -up the different duties in conflict, applying philosophical reasoning and then amelioration. By adopting a structured and wellreasoned ethical framework, district surgeons will be able to deal with conflicts of obligations better. / AFRIKAANSE OPSOMMING: Hierdie tesis bespreek etiese dilemmas wat in die gesig gestaar word deur distriksgeneeshere in Suid-Afrika. Distriksgeneeshere lewer kliniese forensiese dienste, wat beteken dat hulle handel hoofsaaklik oor die gevangenes en slagoffers van misdaad. Die belangrikste funksies van distriksgeneeshere is die insameling van forensiese getuienis van pasiënte, en die sorg van gevangenes. Met hierdie benadering is die fokus om te help met die administratiewe doeleindes van geregtigheid, eerder as die verbetering van die pasiënt se welstand. Die distriksgeneesheer kan hom dus in 'n situasie vind waarby die pasiënte se belange in konflik is met dié van wetstoepassingsagentskappe. As 'n geneesheer in kliniese forensiese geneeskunde, het die distriksgeneesheer 'n verpligting om te help met die administrasie van geregtigheid, in teenstelling met die tradisionele verpligting om te sorg vir hul pasiënte, en hul welstand eerste te plaas. Hierdie getrouheid gaan gepaard met beide regspleging, sowel as die welstand van die pasiënt, wat kan lei tot 'n etiese dilemma van dubbele lojaliteit. Dubbele verpligtinge bied 'n etiese dilemma vir die distriksgeneesheer, veral as hulle in konflik en wedersyds uitsluitend is. Ek bespreek die aanhouding en die daaropvolgende dood van Steve Biko om te illustreer hoe dubbele verpligtinge kan lei tot ernstige skending van menseregte en selfs die dood. Dubbele verpligtinge is egter nie beperk tot die gevangenes en polisie-aanhouding instellings nie, en ek demonstreer dit deur die bespreking van drie ander “scenario's” wat oor die algemeen eervaar word deur distriksgeneeshere. Daar is 'n gebrek aan duidelike riglyne vir distriksgeneeshere wat 'n botsing van verpligtinge in die gesig staar. Ek verken verskeie etiese teorieë insluitende konsekwensialisme, deontologie en deugde-etiek, op soek na 'n etiese raamwerk geskik vir die oplossing van konflikte in kliniese geregtelike geneeskunde. Ek argumenteer dus dat 'n pligsgebaseerde etiese raamwerk sentraal is tot kliniese forensiese geneeskunde, en die resolusie van lojaliteit konflikte. Ek beveel die oplossing van konflikte deur die gebruik van 'n benadering wat ontwikkel is deur Benjamin (2006). Hierdie benadering behels 'n gewigsoorweging tussen die verskillende pligte in konflik, die toepassing van filosofiese redenasie en verbetering. Deur die aanneming van 'n gestruktureerde en beredeneerde etiese raamwerk, sal distriksgeneeshere dus in staat wees om konflikte van verpligtinge beter te hanteer.